1816.]

Mr. Britton on the Monumental Bust of Shakspeare.

eyes and understandings with all the force
of truth. We view it as a family record;
as a memorial raised by the affection and
esteem of his relatives, to keep alive
contemporary admiration, and to excite
the glow of enthusiasm in posterity.
This invaluable "effigy" is attested by
tradition, consecrated by time, and pre-
served in the inviolability of its own sim-
plicity and sacred station. It was evi-
dently executed immediately after the
poet's decease; and probably under the
Superintendance of his son-in-law, Dr.
Hall, and his daughter; the latter of
whom, according to her epitaph, was
"Witty above her sexe," and therein like
her father. Leonard Digges, in a poem
praising the works and worth of Shak-
speare, and published within seven years
after his death, speaks of the Stratford
inonument as
a well known object.
Dugdale, in his "Antiquities of War-
wickshire," 1656, gives a plate of the
monument, but drawn and engraved in a
truly tasteless and inaccurate style, and
observes in the text that the poet was
famous, and thus entitled to such dis-
tinction. Langbaine, in his "Account
of English Dramatic Poets," 1691, pro-
nounces the Stratford Bust Shakspeare's
"true effigies." These are decided
proofs of its antiquity; and we may
safely conclude that it was intended to
be a faithful portrait of the poet. In
the age this was executed it was custom-
ary to portray the heads and figures of
illustrious and eminent persons by mo-
numental statues and busts. (See Gough's
"Sepulchral Monuments," vol. 2.) Many
were cut in alabaster, and in white mar-
ble, and others were formed of stone. In
the reigns of Henry VI. VII. and VIII.
some of the English monumental sculp-
ture is remarkable for a fine style; com-
bining the essentials of breadth, simpli-
city, and nature. During Elizabeth's
reign it gradually degenerated; and
under the sway of James we find a still
greater debasement. Still we have rea-
son to believe that some of the artists
studiously endeavoured to perpetuate
portraits, or true effigies, of the persons
commemorated. Indeed, it is quite
clear that they aimed rather at likeness
than tasteful composition.
This is
evinced in the statue of Queen Eliza-
beth, in Westminster Abbey Church; in
the bust of Camden, in the same church;
the statue of Lord Bacon, at St. Albans;
and in several others that might be ad-
duced. All these show that the artists'
had their prototypes in nature; either
by modelling the respective persons

415

while living, or by taking casts after death.

It has been deemed advisable to offer these remarks relating to the Stratford Bust; because this has been hitherto wholly neglected by biographers and critics, or treated slightly and superciliously. In Dugdale's Warwickshire, Bell's edition of our poet, in the splendid one of Boydell, in Ireland's Tour of the Avon, and in Wheler's pleasing History, &c. of Stratford, it has been published; but in.no one of these works has it been correctly delineated. In the two former, indeed, it is done in a vulgar and contemptible manner. The Bust is the size of life; it is formed out of a block of soft stone; and was originally painted over in imitation of nature. The hands and face were of flesh-colour, the eyes. of a light hazle, and the hair and beard, auburn; the doublet, or coat, was scarlet, and covered with a loose black gown, or tabard, without sleeves; the upper part of the cushion was green, the under half crimson, and the tassels gilt. Such appear to have been the original features of this important, but neglected or insuited bust. After remaining in this state above one hundred and twenty years, Mr. John Ward, grandfather to Mrs. Siddons and Mr. Kemble, caused it to be "repaired, and the original colours preserved," in 1748, from the profits of the representation of Othello. This was a generous, and apparently judicious act; and therefore very unlike the next alteration it was subjected to in 1793. In that year, Mr. Malone caused the bust to be covered over with one or more coats of white paint; and

tucs and busis to imitate nature is repugnant Although the practice of painting stavulgar and hostile to every principle of art, to good taste, and must be stigmatized as yet when an effigy is thus coloured and transmitted to us, as illustrative of a particular age or people, and as a record of fashion. and costume, it becomes an interesting relic, and should be preserved with as much care as an Etruscan vase, or an early specimen of Raffaelle's painting; and the man who deliberately defaces or destroys either, will ever be regarded as a criminal in the high court of criticism and taste. From an absence of this feeling, many truly curious, and to us important subjects have been destroyed. Among which is to be noticed a vast monument of antiquity which, though once the most stupendous on Marlborough Downs, in Wiltshire; and work of human labour and skill in Great Britain, is now nearly demolished.

+ Wheler's Guide to Stratford-uponAvon." 12mo. 1814.

416

Mr. Britton on the Monumental Bust of Shakspeare.

thus at once destroyed its original character, and greatly injured the expression of the face. Having absurdly characterized this expression for "pertness," and therefore differing from that placid composure and thoughtful gravity so perceptible in his original portrait, and his best prints," Mr. Malone could have few scruples about injuring or destroying it. In this very act, and in this line of comment, our zealous annotator has passed an irrevocable sentence on his own judgment. If the opinions of some of the best sculptors and painters of the metropolis are entitled to respect and confidence on such a subject, that of Mr. Malone is at once false and absurd. They justly remark, that the face indicates cheerfulness, good humour, suavity, benignity, and intelligence. These characteristics are developed by the mouth and its muscles-by the cheeks-eyebrows-forehead-and skull; and hence they rationally infer, that the face is worked from nature. Again, Mr. M. talks strangely of" his original portrait, and of his best prints;" as if there was one authenticated and acknowledged picture, and that, out of the multitude of prints, miscalled portraits of Shakspeare, any of them were good and genuine. It would not be difficult to show, to the satisfaction of every impartial reader, that there is nothing like proof, nor scarcely probability, in the genuineness of any of the paintings or prints that have come before the public as portraits of our unrivalled bard. That by Droeshout cannot be like any human face, for it is evidently ill drawn in all the features: and a bad artist can never make a good likeness. On such a print Ben Jonson's lines are futile and unworthy of credit. From the time of the publication of that print up to the present, we have been insulted and trifled with by numerous things called portraits of Shakspeare; most, if not all of which, are as palpable forgeries as the notorious Ireland manuscripts.

Very recently an extraordinary trick

* Mr. Wheler, in his interesting Topographical Vade Mecum, relating to Stratford, has given publicity to the following stanzas, which were written in the Album, at Stratford Church, by one of the visitors to Shakspeare's tomb :

Stranger, to whom this monument is
shown,

Invoke the Poet's curses on Malone;
Whose meddling zeal his barbarous taste
displays,
[his plays!"
And daubs his tomb-stone, as he marr'd

[Jane 1,

of this kind has been played upon the lovers of Shakspeare. A printseller announced a newly-discovered picture of Shakspeare, closely resembling the "stotue at Stratford, and the print in the folio edition;" and asserts that upwards of 3,000 persons, of competent judgment, concurred in pronouncing it "a genuine portrait of Shakspeare, painted from the life."A short history of this portrait, it is hoped, will serve to warn collectors of prints, and illustrators of books, against future imposition. A maker and mender of old pictures having purchased an old head for a few shillings, first christened it Shakspeare, and then tried to sell it to a worthy shopkeeper, near Holborn, at a small profit. Not succeeding here, the manufacturer deemed it expedient to borrow Houbracken's engraved head, for the purpose of altering and improv ing the "true" original. Thus by put ting in ear-rings, painting on the forehead, touching the mouth, rubbing on a little new paint in some places, and tak ing off the old from others, the portrait was completed, a purchaser was found for it at a price under five pounds, and this purchaser proclaimed it to the world as an original of the Bard of Avon.

It is ardently hoped that every subsequent attempt at imposition may be as easily detected, and that it may always be branded by the contempt and avowed indignation of every true Englishman and lover of Shakspeare.-" In the end J. BRITTON. truth will out."

10, Tavistock-place, London,
April 23, 1816;
The Anniversary of the Birth and Death
of Shakspeare, and the Second Cen-
teuary after his Decease.

[To every admirer of Shakspeare (and who is there-what Englishman at least is there that does not admire him?) the preceding remarks must be highly interesting. They accompany a print from the bust in question, just published by Mr. BRITTON, and engraved in mezzotinto by WILLIAM WARD from a painting by THOMAS PHIL LIPS, R.A. after a cast made from the original by GEORGE BULLOCK. The skill and talents united in the production of this print would alone be sufficient to recommend it to universal favour were even the subject of a less popular nature; and Mr. BRITTON has very commendably signified his determination that only good and perfect impressions shall be sold, each of which will be signed and numbered by himself. The price of proofs on India paper, folio, will be 17, each; plain folio 16s.; and plain quarto 10s.EDITOR.]

1816.] Ignis Fatuus-J. Boydell―J. Brown-H. W. Bunbury, &c. 417

EXTRACTS

FROM THE PORTFOLIO OF AN AMATEUR.

In fact, anecdotes are small characteristic narratives, which, though long neglected or secreted, are always valuable; as being frequently more illustrative of the real dispositions of men than their actions of great publicity, and therefore particularly requisite in biography.-Supplement to NORTHCOTE'S Life of REYNOLDS.

418

Carlini--Carlisle-Chamberlaine-Charles I., &c.

but his vices blunted his faculties, and put an early period to his exertions.Butts had a sovereign disdain for those obligations which bind the wise and discreet. He is said to have finished a picture, of any size his employers chose, for a guinea; and he would often carry a charming composition to a whiskyshop, and sell it for a crown, with which he got literally drunk, and refused to work again while a penny remained. He became acquainted with Chapman, a picture-dealer; and these inconsiderate associates lived in the same tenement, but had a partition which bisected the garret into two apartments, and an aperture was made in it through which a jug could pass. Butts sat on one side, producing gems of art; while Chapman, to please an ignorant employer, was nutilating and daubing the productions of the best masters. The pot was handed incessantly through the hole while any liquor remained, and when that failed they jointly quitted their labours. But this vulgar social madness too quickly curtailed the being of the thoughtless Butts, who may be said rather to have perished than died.

CARLINI.

The executors of Dr. Ward promised this artist an annuity for a statue of the doctor, instead of the price agreed on. This, however, he never received; and the figure lay for some time disregarded in a stable at Westminster. It is now in the room of the Society for the Encouragement of Arts.

Carlini died without a will, and having no relations, his servant-maid being advised to administer to his will by her brother, who lived in Doctors' Commons, came in for all his property, pictures, &c. Dr. Ward, as long as he lived, allowed him 2001. a-year-While this artist was on his death-bed, a countryman of his, who came to take leave of him, exchanged his old watch for a gold one that hung at the statuary's bed's head.

MRS. ANNE CARLISLE.

Charles I. presented this lady with 500l. worth of ultramarine, which lay in so small a compass as only to cover his hand while he gave it her.

MASON CHAMBERLAINE

was originally apprenticed to a mealman, and used to carve heads out of beans. These were shown to Hogarth, who recommended him to study the arts of design.

CHARLES THE FIRST

was a man of very elegant mind. He had a good taste in art, and drew tole

[June 1,

rably well. The celebrated Rubens, in one of his letters, expressed his satisfaction at being soon to visit England, adding: "I am told that the sovereign of that country is the best judge of art of any of the princes of his time." Charles used to say of himself, that he knew so much of arts and manufactures in general, that he believed he could get his living by any of them except weaving tapestry."

CHATELAINE.

This artist and the late Alderman Boydell were employed by Mr. Toms, and never perhaps was the character of the idle and industrious apprentice more clearly illustrated in real life, than in the conduct of these two young men. They both etched and engraved at one shilling an hour; but with all Chatelaine's taste and talents, and he had much of both, he was so dissipated and idle, that at the expiration of the first half hour he frequently demanded his sixpence, and retired to a neighbouring alehouse to expend it. Boydell's industry brought with it honourable wealth, and if he at length died poor, it was from no want of his own exertion.

CIPRIANI.

In the house occupied by Bartolozzi at North End, there was a window of ground glass "Stand still, Chip," said the engraver, as the former was one day passing on the other side, “and I'll draw your portrait." The profile was taken, and Cipriani entered the room. "What! that my portrait?" said the artist; "you have given me the air of a voluptuary;" and he dashed his hand through the guiltless pane. Fortunately the face was not injured; and it was afterwards given by the late Mr. Cromek to Mr. Tomlins, the writing-master, in whose possession it now is. This story was corroborated by Bartolozzi; and an engraving bas been executed from this sketch.

EMMA CREWE.

There are two portraits of young ladies engraved from a painting by Sir Joshua Reynolds, under which is written "Emma Crewe." As this lady was in her day reckoned a bit of an artist, I should like to know which of the portraits is intended for her's. Dr. Darwin has mentioned her in his Botanic Garden.

SIR WILLIAM CIAMBERS

was one of those who signed his resig nation as a member of the Chartered Society of Artists, and joined Cotes, Moser, and West, in soliciting his Majesty's patronage for a Royal Academy. When this was obtained, he un

1816.] Sir W. Chambers-Chambars-Dayes-Dean-De Bruyn. 419

dertook the task of digesting the plan or form of the intended institution, and the laws necessary for its government, all of which were arranged under the immediate inspection of the King. His first work of consequence was Lord Besborough's villa at Roehampton, which, from his honourable conduct in that business, procured him many other engagements. He gave in a plan to his lordship, with an estimate, as an architect; but on that nobleman applying to him to know whether he would undertake to build it bimself for the same money, he consented, and accordingly finished it to the satisfaction of all parties.

CHAMBARS, (engraver,)

died in London about 1792. A few days previous to his death his landlord importuned him for his rent, which he was unable to discharge. This circumstance so affected his mind, that he quitted his apartments the next morning, and left the following note upon his table directed to his creditor: "If I should not return by to-morrow night, I desire that you will sell my effects, and pay yourself." Poor Chambars did not return, and his body was found floating near Battersea a few days afterwards. He was an artist of much merit.

EDWARD DAYES (landscape painter). This artist was often heard to say, that if he should ever come to be hanged, he would choose a wet day and plenty of company. This was literally the mode of his death, but it was caused by his own hand, in a fine day and alone. He had ordered his wife to dress herself and go out, when he walked up to his workroom or study, and hung himself from a

staple to which he used to suspend plaster casts to draw from. It appears that his mind was often bent towards this death, as he often said to Pugh (landscape painter) his pupil-"How convenient would that staple be if a man wished to hang himself!"

HUGH DEAN,

a native of Ireland, painted landscape, and found a patron in the late Lord Palmerstone. He left a wife and son in England, of whom he became totally negligent; but his patron disapproving this part of his conduct, sent her and the youth to Italy. The meeting of the parties was attended with circumstances rather comic; for Dean happening to be standing at the door of the locandu where he dwelt, and seeing a calash approach with a lady, immediately advanced to offer his assistance; but what was his surprise and chagrin when he found the lady to be his wife, for whom he entertained the most sovereign contempt. He fled from the object of his disgust to Valombrosa, where he staid some days to recover his spirits. On his return he contrived to persuade the lady to return to England, promising her he would soon follow; but he had the kindness to retain the son, whom he placed soon after with Admiral Mann, at that time in the Mediterranean.

DE BRUYN.

This artist was a native of France or

Switzerland, and was eminent in painting in chiaroscuro, and executed several decorations in this style at Greenwich Hospital. It was said that De Bruyn lost his native language, and never gained any other.

ORIGINAL POETRY.

THE FATE OF ULLIN:
AN ODE.

By THOMAS FURLONG.

BENEATH an oak, whose blasted form
Rose on Plinlimmon's summit grey,
Bare to the wild unpitying storm,
The dying harper lay.

His cheek was pale, parch'd was his tongue,
His hoary head dejected hung;
Wild wand'ring on each gale that blew,
His scatt'ring locks dishevell'd flew.

He mourn'd each joy, each blessing fled,
His country lost, his brethren dead;
For o'er each hill, each lonely plain,
A tyrant spread his hateful reign;
And still from vales that lay afar
Echoed the sullen sound of war;

And still the blaze ascending high
Illumin'd all the glowing sky.
Through all the desolated scene
He turn'd an anxious eye in vain-
No wand'rer came, no friend was near,
To wipe away the trickling tear;
No voice, whose accents might impart
A shade of comfort to his heart-
But Piety's celestial pow'r
Shone sweetly on that awful hour;
A ray of sacred light was giv'n,
That shew'd the op'ning joys of heav'n;
And still that harp, renown'd of yore,
Within his feeble arms he bore;
And once again (a transient gleam)
A spark of inspiration came.
Again his fingers dar'd to try
The trembling chords of extasy;