Rhodes, and an equal number at Del- | the great national achievement it was phi, Athens, and Olympia. erected to record, and of those heroes to whom the world is still indebted for repose. With this noble object in view, about ten thousand pounds were speedily raised; and but for some misunderstanding and misrepresentation respecting the nature, charac The changes which took place on the death of Alexander, so greatly affected the arts, that this branch may be said to date the period of its decline from that event. It rose to perfection under Lysippus, and with him, if it did not expire, it partially disap-ter, and attitude, of the monument to peared. be erected, it is more than probable, that this sum would have been considerably augmented. The military spirit which governed the Romans, and entered into nearly all their transactions, left them no time to cultivate the arts; and it was not until their acquaintance with the Greeks, that they acquired a taste for those productions, which led them to despoil the towns they conquered, and decorate their own with thosc statues and monuments for which they have been renowned. Under the reign of Augustus, the arts were revived; but this branch appears to have made a retrograde movement, as they had again returned to the period of its infancy, their most celebrated statues having been formed by the hammer, and afterwards riveted together. It was not until the reign of Domitian, that this art began to revive, when Celon, a Greek artist, was employed to cast a colossal statue of that emperor. In the time of Severus, another colossal work appeared in bronze, to commemorate an event that had occurred during a preceding reign. But from this period downward, although the knowledge of the art has been preserved, and numerous statues have appeared, nothing that can be termed colossal, equal in dimensions to that lately erected in Hyde Park, has been produced during the last 1600 years. The splendid and decisive victory obtained by the Duke of Wellington on the plains of Waterloo, is too well known throughout Europe, and every portion of the civilized world, to render a detail even of its outlines necessary. It was a battle which issued in the total overthrow of Napoleon, and restored peace to the European nations. To commemorate this great event, and transmit some permanent memorial to posterity, the British ladies, with a truly patriotic spirit, entered into a voluntary subscription, that, with the sum advanced, they might employ an artist to produce a statue, that should at once be worthy of his talents, of their gratitude, of The artist employed on this great occasion, was Mr. Westmacott, whose abilities have been long known, and deservedly appreciated; and, in the accomplishment of the present work, he has added fame to his former reputation. The want of pecuniary means has, however, in some degree, circumscribed the operation of his genius, and prevented spectators and posterity from contemplating those emblematical representations, that would have imbodied the conquests of Wellington and his companions in arms, and have presented a group of figures, which would have added much to the effect produced. The figure chosen, is presumed to be a statue of no less a character than Achilles; but of the famous model whence the present cast is taken, the remote history is scarcely known. The original, though a work of considerable magnitude and superior excellence, is not mentioned by any ancient writer who has employed his pen on the arts. The workmanship, which is attributed to Phidas, has been a subject of admiration among all modern artists. During the Papacy of Sixtus V. this original statue was found at the baths of Constantine, from which place it was removed, under the direction of Fontana, to the Quirinal Hill, at Rome, where it now stands. The horse which accompanies the statue, and was discovered near it, is now applied to form the group; but whether between them there was originally a connection, cannot at present be ascertained. The horse, however, is allowed by competent judges to possess considerable merit, but many connoissieurs say, that it is inferior to the grandeur of form displayed in the statue. Of this statue and this horse, plaster casts were exhibited some years since, in the Mews, at Charing Cross. At that time, one of the most The height of this bronze statue alone, is upwards of eighteen feet. This is erected on a basement and plinth of gray granite, brought from Dartmoor, in Devonshire, surmounted scientific horse dealers in London, whose acquaintance with the anatomy of the horse was universally acknowledged, observed, that he was astonished at the knowledge and skill displayed by the ancient artist, in throw-on a simple pedestal of red granite, ing the animal into an attitude, which none but horses of the highest blood could assume. from Peterhead, near Aberdeen. The whole, including the mound on which it stands, taking the road as being parallel with its base, is thirty-six feet in height. The situation which it oc But while the statue is admitted by the most enlightened antiquaries to be that of Achilles, the evidence in fa-cupies is just within the angle, where, vour of the fact is not indubitable. Some have imagined, from the horse having been found near it, that it was erected to represent Castor; but even on this supposition, in several respects there will be found deficiencies. Mr. Westmacott has adopted the former of these opinions, having placed | a shield in one hand, while in the other he is presumed to grasp a short sword. after entering by the gate at Hyde On the pedestal, in bronze letters, CAST FROM CANNON TAKEN IN THE BATTLES IS INSCRIBED BY THEIR COUNTRY WOMEN. ON THE XVIII OF JUNE, MDCCCXXII. HIS MAJESTY, GEORGE IIII. This statue was brought from the foundry at some distance, on the anniversary of the battle of Waterloo, from which time, until about the middle of August, the workmen were employed in elevating and placing it on the pedestal. In the composition of this colossal statue, twelve twenty-four pounders were melted; but as the metal of the cannon was deemed too brittle for a work which required so much nicety, it was found necessary to add about one-third more of different metals, that the whole mass in fusion might acquire that toughness and pliancy, without which perfection could not be attained. The whole of the metal thus incorporated in the statue is equal to eighteen twenty-four pounders, and in weight it has been estimated at between thirtythree and thirty-four tons. The real thickness of the metal varies in different parts of the statue, being about an inch at the head, and increasing to an inch and half, and thence to two inches as the figure descends. In the interior of the body is the core, which it was impossible to extract. This adds considerably to its weight, which, to remove from the foundry to the pedestal, required a mechanical force of stupendous power. The extraordinary magnitude, and prodigious weight of this statue, although they did not present insurmountable obstacles to its being cast in one mass, must unavoidably have occasioned many difficulties, considerable hazard, and much additional expense, had that course been adopted. It would also have interfered with the plan which the artist had determined to pursue, in copying his model, so as to make his statue a facsimile of the original. Having floated the parts which time had corroded, with a composition that restored the anatomical details, he followed a mode frequently practised by the ancients, that of separating the extremities from the trunk in casting. These were afterwards united by fusion, so as to leave no blemish, and to render the junction of the parts invisible. The figure itself reflects lasting credit on the artist. Nothing can exceed the beauty, the harmony, the proportions, and the anatomical peculiarities, by which it is distinguished. Not a flaw, not a scratch, could be detected on the surface of the body, the parts of which are finished with the greatest exactness; and in the eyes of posterity, little doubt can be entertained that it will reflect a distinguished honour on the age and patriotic spirit which called it into existence. The state of nakedness in which this statue appears, has, since its erection, been made the subject of severe and indelicate criticism; and in the march of animadversion, many unhandsome reflections have been thrown on the English ladies, by whose liberality it was erected. On a question of this nature, many things of considerable weight may be urged on each side. Were the limbs arrayed in drapery, the state of the muscles must have dis appeared, and all the anatomical skill of the artist would have been concealed. Under such circumstances, the figure might have secured our esteem, though it would no longer have been an object commanding universal admiration. But even these advantages are insufficient to compensate for the wounds which the figure may unconsciously inflict on the feelings of delicacy, especially as the object is so exposed, as to invite and even attract the eye of every passenger. On this subject we cannot but regret that the following hint of the poet has been neglected, "What would offend the eye in a good ture, The painter casts discreetly into shades." of the British champion, a microscope is not required to discover more amiable qualities. In the formation of this statue, future generations perhaps may regret, that the taste of the present age had not rather imbodied a philosophical abstraction, than an individual character. The personification of Courage, Valour, Conquest, Triumph, or Victory, would probably have answered every purpose intended by the British fair, and have exhibited a national monument, which the present generation and posterity might be as proud to own, without having any thing to fear from the animadversions of criticism, or the reproaches of foreign smiles and sneers. And wing his soul to dread eternity. Then would he tell him how his messmate Who had for many a long severe campaign Stood by his side, and fought where he had pic-Struck blow for blow, and gloried in his fought, strength, By the statue of Achilles being erected to commemorate the achievements of the Duke of Wellington, the reader and spectator are almost inevitably led to trace some resemblance between these two heroes; but on making an appeal to fact, the similitude will not appear exceedingly obvious. Personal strength, ferocious valour, brutality of disposition, and savage vengeance, are among the distinguishing characteristics of the Grecian warrior; but in the composition No. 45.-Vol. IV. Like a brave warrior fell, unconquered. fallen, Yet 'twas to rise again, tho' wounded sore, And faint and nerveless with the loss of blood. |