Marquis Wellesley. Were the detestable practice of burning widows suppressed by the British authorities to-morrow, the historical fact would for ever remain as an illustration of the spirit of the Hindoo institutions and the native character of the people. The same remark applies to the prevalence of infanticide among the Rajapoots, to the sacrifice of children at Ganga Saugur, and to all the nameless atrocities and deeds of darkness which may have been checked by either Christian or Mahommedan interference. Mr. Ward's opponents will not for a moment pretend that any of these reforms have originated with the Hindoos; and all their quibbles, therefore, about his alleged over-statements, only go to prove how much more might safely have been done by the British authorities in abatement of the enormous mass of evil, since practices as inveterate and as sacred' in the eyes of the Hindoos as any which are now tolerated, have been put down. The Abbé Dubois has not succeeded in making good his Vindication of the Hindoos on any one point: he has sacrificed his own character without any benefit to theirs. That of the Hindoos was already past redemption, a moral carcase, shapeless and loathsome; but, with more than the self-devotion of the widow, this poor man has resolved on immolating his integrity and his fair reputation by a sort of literary suttee, the miserable victim of bigotry and fanaticism.

We should now advert to the subject of Biblical translations, but we must reserve this topic, as well as the consideration of the alleged impracticability of converting the Hindoos, for a separate article in our next Number.

Art. II. Memoirs, including original Journals, Letters, Papers, and Antiquarian Tracts of the late Charles Alfred Stothard, F.S.A. By Mrs. Charles Stothard. 8vo. pp. 497. Price 15s. London. 1823.

THE

HE recollections awakened by the name of Stothard, refer us at once to some of the most exquisite productions of modern art. The elder Stothard is unrivalled among painters of the present day, for the fluency of his line and the beauty of his pastoral scenes. We are told by the Compiler of the present volume, that he was, by his son, deemed the Raphael of our day, and, though much deduction is to be made from. this estimate, which speaks the language of filial partiality, there is, at least, in some important points, a general resemblance. In the feeling of his subject, and, to a certain extent, in its management, Stothard often reminds us of the illustrious native of Urbino. The attitude and grouping of his figures,

the beauty and facility which distinguish his forms, shew that he has kept a steady eye on the works of the great Italian. But the Englishman has chosen to move in a lower sphere: he has neglected some of the most indispensable requisites of his art. His simplicity too often degenerates into poverty, his ease into negligence, his beauty into affectation, and his mechanical dexterity into a pretext for multiplying vague and shadowy sketches, in lieu of producing works of finished excellence. Much, indeed, of this is to be attributed to accident; and before we condemn a man of genius for preferring the lighter graces of Watteau to the lofty aims of the leader of the Roman school, we should advert to the circumstances in which he has been placed. The patronage which fostered the infancy, and cherished the manhood of Italian art, gave full scope for the boldest efforts of genius and mastery. The wealth which traffic and superstition poured into Rome and the commercial Republics, was lavished with discriminating magnificence. There was nothing puny in the taste of that age and that country. The power of mind and mechanism which raised the Coliseum, survived in the architects of St. Peter's; and the rich decorations of Hadrian's villa, were emulated and surpassed in the stanzas of the Vatican. The extent and loftiness of the temples and palaces of Rome, Florence, and Genoa, required that the paintings and sculptures by which they were adorned, should be on a proportioned scale; and while ample room was given for the full display of the artist's skill, there was no opportunity for concealing want of learning by minute elaboration. When the human figure was to be displayed in full or colossal size, and in all the varieties of action and repose, all positive and relative defects were immediately and offensively conspicuous. The anatomy of bone and muscle became an object of as indispensible acquirement to the artist as to the medical student, and the laws of muscular exertion were investigated with the most vigilant and successful curiosity. Every other branch of knowledge connected with the profession, was studied with equal care; and all this was the result of circumstances acting powerfully on minds of the highest order. Angelo and Leonardo were men of universal knowledge. Independently of their own peculiar pursuits, they were architects, engineers, mechanists, and authors. They, as well as others of their honoured tribe, were the pride of their native provinces, the companions of nobles and princes, the welcome visitants of kings and pontiffs. Thus favoured and cherished, thus made the highway, not only to fame, but to wealth and dignity, it ceases to be a matter of astonishment, that Art ob

tained its highest triumphs amid circumstances so favourable to

success.

We are not aware of any other obstacles than those resulting from difference of times and habits, in the way of similar achievements in the present day. We do not profess to be very intimately acquainted with the history of Mr. Stothard; but, as far as we can trace it from recollection, his principal works have been produced under the patronage of the Trade. His earliest, and some of his most attractive designs appeared in the Novelist's Magazine; he was among the decorators of the Boydell Shakspeare; one of his most delightful series of drawings was made for an edition of Robinson Crusoe; his chef d'œuvre, both in design and execution, the Pilgrimage to Canterbury, was painted for a speculation of Cromek's; and, if our information be correct, his exquisite illustrations of Boccace, were originally intended to ornament an edition of that author, which had been planned without a sufficient reference to the licentious character of his tales, and was laid aside when their objectionable nature was ascertained. Now it is quite clear, that such a patronage (if the abuse of terms may be allowed) as this, must have an effect the reverse of favourable to the higher efforts of the artist. He is limited in scale and in price, and has no scope for the higher efforts of intellectual or manual skill. A certain fertility of invention, united with dexterity of hand, is the main requisite in this department; and it is the high praise of Stothard, that, while he has been turned out of a path which would have led him to the noblest eminences of Art, he has, on a lower level, surrounded himself with forms of transcendent gracefulness, and scenes of unequalled beauty.

The son of such a father could not but answer in some degree to the excellence of his tuition; and the younger Stothard, possessed as he undoubtedly was of much native talent, availed himself to the utmost of the advantages of his situation. He had the eye, the hand, the enthusiasm, the perseverance of the genuine artist; and, even in the short interval of a life prematurely closed, he gave to the world fragments which entitle him to high admiration as an artist and an antiquary. He was born in London, on the 5th of July, 1786. • The most remarkable qualities of his infant years, were, an uncommon 'sweetness of temper, an early propensity to study, and the strictest regard for truth.' He does not seem to have been carried through a regular course of professional instruction; but an early talent for drawing manifested itself in various ways, and decided the character of his mind as well as the

objects of his life. His elder brother, Thomas, a youth of excellent disposition, had shewn indications of even superior powers in the same pursuits; but a strong propensity to military adventures, determined his choice in favour of a soldier's hazardous career. His schemes were, however, cut short at the early age of sixteen. A school-fellow, handling a loaded gun without proper precaution, shot him dead upon the spot.

Eager in the quest of knowledge, Charles Stothard ran round the whole circle too hastily for much permanent acquisition, but never lost sight of his main object. Fully determined on the choice of an artist's life, he hesitated for some time respecting the particular branch to which he should direct his attention. He had felt some inclination to start as a portraitpainter;

'but an accidental occurrence altered this determination; for one morning, chancing to call upon a friend who was of that profession, he found him busily engaged in finishing the portrait of a lady of rank. A party, who knew nothing of art, but its name, happened to call in to look at the picture of the lady, who was the head of their familya woman of plain features and vulgar character. The likeness was so just, that it offended all the company. One complained there was nothing genteel about the person; another, that the features were masculine. In short, the painter was universally condemned, for representing an ugly woman as Heaven made her. Charles was so disgusted at witnessing this scene, that he left the house with a determination never to become a portrait-painter; feeling that he could not submit to give up his own independence and judgment to be the sport of ignorance and vanity.' p. 6.

We were rather disappointed in that portion of the volume which should have contained the detail of young Stothard's early studies. He must have derived so much benefit from the very hints of his father, that we much regret the entire absence of every thing of this kind. The observations which are substituted for these useful memoranda, are somewhat commonplace, and have too little of specific elucidation to be of much practical use.

In the year 1802, the elder Stothard being employed to decorate the staircase of Burleigh House, his son accompanied him, and, at the recommendation of his father, employed himself in making studies of costume from the monumental remains preserved in the neighbouring churches. This circumstance had, probably, a considerable influence, combined with prudential considerations, in determining him in after-life to antiquarian pursuits. His first efforts, however, were made in historical painting; and his coup d'essai, exhibited in 1811, representing the assassination of Richard II. in Pomfret Castle,

gave a fair promise of future excellence. But the work by which he will be advantageously known to posterity, is the masterly series of graphic illustrations of the "Monumental "Effigies of Great Britain." The history of this publication contains, in part, the narrative of his life. He engaged in it as offering a prospect of profitable and gratifying employment; and the circumstances under which he commenced the undertaking, were so much to the credit of his character and feelings, that we shall state them in his own words.

"When I first determined upon publishing the work myself, I knew I should require a small sum of money exclusively for it, to begin with; and, at the time, my purse was on the decline. I might have had what I wanted by applying to my father; but I know not how it was, I had a feeling I could not conquer, of wishing to begin the world without calling upon his assistance. Added to this, I thought my not doing so, as I was the elder, would be a good example to my brothers. I therefore applied to a friend, who had plenty of money, and requested him to lend me the sum I wanted. He did so. This was the first time I had ever borrowed money; and I felt uneasy till it was repaid. Accordingly, when I brought out my first number, I laid by every pound note I received, till I found sufficient of them lying together to discharge my debt. I then carried the sum to my friend, and as soon as I saw it deposited in his pocket, I felt I had regained my independence, and resolved never again to become a borrower." p. 38.

His skill and tact in ascertaining the age and character of antiquities, were the natural result of the ability, enterprise, and perseverance with which he conducted his investigations. To secure an important subject, he would place himself in the most hazardous situations; he scaled monuments, exposed himself to privations, and followed up intimations, with an entire disregard of personal convenience, and sometimes even of safety. The consequence of this determined spirit was, a real and ready conversance with antiquarian lore, very different from the insufferable charlatanism by which, in the present day, the science is so frequently disgraced. He examined with close attention, the joints and braces of a suit of complete steel,' the peculiarities of the Almain rivet, the varieties of mail armour, and the singularities of a sword guard. The forms and colours of stained-glass figures and decorations, were to him familiar indications of the age of their execution. To all this knowledge, at once minute and extensive, he added a fine artist-like feeling and execution, which took away from his drawings the slightest appearance of stiffness or mere elaboration. Hence his "Monumental Effigies" could not but be a work of the most masterly kind. Yet, it seems to have