1818.1 The Basso-Relievo at the New Custom House. gression until the happy time shall arrive when they may be equalled, or, if possible, surpassed. These considerations suggested them selves to us on viewing the bas-reliefs at the NEW CUSTOM HOUSE. One would have imagined that the influence of the exquisite marbles, of which we have been speaking, would have been first perceptible in the art of sculpture, and particularly in the department of basso-relievo; but we are sorry to say, that in this instance not the remotest trace of their ascendant power is discernible. We cannot imagine how any one, to whom such an interesting and extensive work was entrusted, could have imbibed so little of the feeling of those excellent models, which were within his reach, and were pressed upon his notice, not merely by their intrinsic merit, but by the concurring admiration of all whose opinion in art is valuable. The Custom-House, as most of our readers know, is situated on the banks of the Thames, from the edge of which it is separated by a very broad and beautiful terrace, affording an excellent and unusually good view of the building and its appendages. On each side of the centre of the new building is placed a very long basso-relievo, and other sculp tural decorations are introduced; the following account is extracted from a description of the building by Mr. Laing the architect:- 153 On each side of this principal group are placed inhabitants of the various countries which have formed mercantile connections with Britain: these are dressed in their va rious costumes as representatives of their respective nations; Abyssinia, Africa, Arabia, Brazil, Caful, Canada, China, Egypt, Hindostan, Holland, Lapland, Pennsylvania, Spain, Turkey, &c. &c. These characters Peru, Poland, Prussia, Russia, Saxony, or personages are promiscuously grouped to shew the intermingling nature of commerce, which promotes universal intercourse, and gives whatever is wanting or whatever can be furnished by every people without exception; and, in fact, such representatives of various nations do assemble indiscriminately in this public edifice. allegory is to shew that commerce, founded "The prevailing intention of the general tude, virtue, and knowledge, produces that on public protection, and guided by rectiopulence which encourages and supports national elegance; and the arts, in their various department, contribute to furnish fresh materials for the operations and employment of commerce, to the great convenience, emolument, and civilization of all nations throughout the globe." The remaining figures in this part are thus described. They are situated in the centre and on a part of the building called the King's Warehouse. western extremity of the entrance to "The sitting figure placed over the the King's Warehouse, is Britannia. bellished with the arms of St. George: She is distinguished by her shield, emon her head a helmet; and while she "The compartment on the eastern side represents Britannia seated on her car, atgrasps in her right hand the spear tended by Strength, Justice, Naval Power, which she holds an olive branch, on a of defence she rests her left hand, in and Victory: this group forms the centre. On the right hand of Britannia, Philosophy globe, expressive of her desire to extend is introducing Jurisprudence, Mathematics, the blessings of peace to all the world. Chemistry, and Navigation-sciences indis- The caduceus marks her commerce: the pensably necessary to the prosperity of our cornucopia indicates the result of that insular power, whose establishments and co- commerce in wealth and plenty; the lonies are found in all parts of the world, and British lion hints at the power and readiwhose vessels circumnavigate the globe. Fol-ness of her protection, and the general lowing the sciences are the virtues-Charity, interest taken by the nation at large in Hope, and Faith, Temperance, Fortitude, the welfare and security of the commerce and Prudence. The polite arts are ranged of the left of Britannia, where Wisdom and issuing from and returning to the port of Genius are leading on Painting, Sculpture, her capital. and Architecture. History and Astronomy are placed in succession to these; and the composition closes by the sister Muses in company, whose various offices and employments allude to the clegant and refined studies ip all their branches. "The compartment on the western side of the central inscription represents, as a leading and general idea by a group in the centre, the four quarters of the globe, Europe, Asia, Africa, and America, offering their commodities to the British empire, symbolized by natives of the three kingdoms. NEW MONTHLY MAG.-No. 56. 66 The figure placed over the eastern extremity of the entrance to the King's Warehouse represents Neptune, armed with his trident, recumbent on a seahorse." Over the centre is the royal arms. The idea of the allegory is good; but the mode in which it is conveyed to the spectator is extremely deficient and ambiguous. The composition is entirely destitute of sentiment: no impres sion is made on the mind of the obVOL. X. X 154 The Basso-Relievo at the New Custom House. server; nor does it appear that any was intended by the artist. A crowd of figures are presented to the eye, but it can neither understand their import nor occupation; and had it not been for the translation which is furnished by Mr. Laing, and which we have already quoted, we should have still remained in the ignorance in which we were left after nearly an hour's attentive consideration upon the terrace of the Custom-House. The eastern compartment is certainly the best; and in some of the detached parts merit is observable-for instance, in the single figure of Genius, the back of which is forcibly expressed, but the entire composition is lamentably deficient. The centre is too mechanically equipoised. Britannia is a sitting figure; behind her on each side are two standing figures; before them two recumbent ones; and on each side of these, are three seahorses. The group is devoid of nature, and strongly reminds one of the well known satire on the exploded taste in gardening: Grove nods at grove, each alley has a brother, And half the platform just reflects the other. The sister arts of Painting, Sculpture, Architecture, are very feebly personified. The figure of History is good, but that of Astronomy, which the sculptor doubtless intended to be very imposing, is star-gazing in a very vulgar attitude, and seems to have borrowed the right arm of some other figure, for it is too badly set on to have ever been her own. The Muses who follow are very plain, ordinary ladies, who might as well pass for so many sempstresses as for the inspired Nine. The other side of the bas-relief is no better. Philosophy has studied so long as completely tohave impaired whatever personal charms Nature imight have bestowed on him; but perhaps this is intentional: the sculptor may consider a want of grace as the characteristic mark of the votaries of philosophy; and in that case he has personified it excellently. The attitude of Chemistry is natural, and the figure is altogether well managed. Navigation is represented by a young man with a plumb-line for measuring the depth of water. This is a very imperfect appendage; the mariner's compass would have been a more perfect, and the nautilus a more poetical illustration; as it is, the line and weight may just as well be a symbol of his calling as a mason, as descriptive of the genius of navigation, the pride and prop of Britain, and the peculiar deity of this edifice. Charity is at least intelligible, for she is accompanied by charity-children; the coat [Sept. 1, and badge are perhaps a little too common-place. Faith and Hope are designed in much better taste. Temperance is nearly a copy of the figure of the same virtue in the window of New College, Oxford: but the personification of Pru dence is quite beyond our reach: it is a female looking attentively in a small looking-glass, and adjusting her head-dress. To have a mirror before her on such an occasion is certainly a prudent provision, but the attitude is unfortunately vague, and were the figure taken down it would make a very fit ornament for the window of a hair-dresser or looking-glass manufacturer. In the western compartment the centre group is again composed of figures which are placed in mechanical equilibrium : there are three upright figures, forming nearly parallel lines, and two on each side disposed alike. The three figures we should never have found names for, had not the description been put into our hands. The foreigners on each side, in their varied costume, conveyed to us instantly the meaning of the artist; but the three personages in the middle were still inexplicable. We guessed, but as it appears we were in error, that they were portraits of three of the commissioners who had gone on 'Change to inform the congregated merchants of the world that the Custom-House was now open for the transaction of public business. In this supposition we were confirmed by seeing one of them in a Scotch dress, as gentlemen of that nation frequently get hold of good things--such as commissioners of public offices, &c. &c. It seems, however, that these three figures are intended to represent England, Scotland, and Ireland; the one is designated, as we have hinted, by national attire, and the difference of the other two is, that one of them is clothed in what the tailors call a single-breasted coat, whilst the other has one of a more fashionable form. The mob of foreigners have little to deserve attention. The figures in other parts of the building are very common-place, both in design and execution. Britannia and a Lion, Neptune and a Sea-horse. In conclusion, we regret to be obliged to confess, that the works we have considered are entirely devoid of all that is requisite in art. They possess no sentiment; they express nothing, they are seen, and are forgotten. The material of which they are composed is artificial stone, and the process of baking, which it undergoes, frequently distorts 1818.] New Musical Publications. and injures the work; it is of a bricklike feruginous colour, and the general effect is very unpleasing. The name of the sculptor, or rather modeller, is BUBB, a gentleman only known to the world by the monument to Mr. Pitt, in Guildhall. It is a thousand pities that the perform ance of so great a national work should have been withheld from such men as Flaxman, Chantrey, and others, and its execution intrusted to a burner of artificial stone, whose style of design is as far inferior to theirs, as is the tasteless material in which he deals to the purest marble of Italy. INTELLIGENCE. A new silver coinage is preparing at the Mint, after the designs of the celebrated gem-engraver, Pistrucci. reverse of the half-crown is St. George The and the dragon. We have not yet seen 155 an impression, but augur most favourably from the taste and talents of the artist. the Literary Gazette, that the artists of We perceive, by an announcement in Worcester have determined on opening an annual exhibition of their works. We are heartily glad to witness the stitution in any of our provincial towns; rise and establishment of such an inthey serve to disseminate a love for art, genius which may hereafter be highly and are calculated to create and foster honourable to the country. In this particular instance much may be expected, city, whose talents deserve to be exhifor many very able artists reside in that bited in a mode more congenial to their celain. feelings than in the mere painting of por NEW MUSIC. A Sonata for the Piano forte, with an To give this sonata its proper effect will require the aid of an excellent violin player, and a very steady timist at the piano-forte. And though the violin part is written over the other for the convenience of those who lack the accompaniment, yet the parts are so interwoven that it is impossible to quit one part without losing many beautiful harmonies blended with the other. This, therefore, is not a piece in which it is indifferent whether the violin accompaniment is used or not; but when two performers meet, who are perfect masters of their respective instruments, (and none other should attempt it,) the effect is grand and striking, far beyond the conception of the common jog-trot players of waltzes and quadrilles. We have seen much of Beethoven's music from foreign copies, and we trust that his masterly compositions will be sufficiently appreciated in this country to pay the expense of reprint ing. Essais sur différents Caractères, pour le com These characteristic pieces are prised in three numbers. The first," Con Gracia," is all smoothness, grace, and elegance. The second, " Adagio Melancolico," is rather of a sombre cast, but possessing an infinite variety of pathos and taste. The spirited movements that follow is all science and execution, imbued with those energies 66 Pappataci! che mai sento!" Terzetto in the Opera of L'Italiana in Algeri. Composed by Signor G. Rossini. This trio is for two sopranos and a bass voice. The greater part of the opening movement is in measured recitative, which, in due time, breaks into a most spirited "Allegro," in which all the performers have enough to do. We cannot but admire the convenience of the Italian words to a song, where, if the singer is at a loss, or forgets his part, he can easily fill up the chasm with other monosyllable. no, no, no," or "ah! ah! ah!" or any A Duet for two Performers on the Pianoforte, with an Accompaniment ad libitum for the Flute. Adapted from Mozart's Opera of "Il Don Giovanni,” and dedicated to Misses Gorings, by F. Fiorillo. No. 2. The first air, "Il mio tesoro intanto," is elaborated in the form of what is technically part alternately takes the subject. "Giovitermed a conversation-piece, in which each good-humour, and worthy the hand who nette che fate all'amore," is all gaiety and wrote it; nor does it suffer at all in the present dishing up. The next air" Deh vieni alla finistra," in a movement of, is in the penseroso style, and prepares the way for the most spirited of all spirited movements, though somewhat irregularly, gone through "Fin' ch han dal vino." We have now, the four sets of this charming music, and tion of all lovers of harmony to a work comcannot quit them without calling the attenmost profundity of science. bining the most exquisite taste with the ut 156 Childe Harold's Pilgrimage, by Lord Byron. "O call back the roses of morn." Canzonet, the poetry by John Stewart, esq. composed by Dr. John Clarke, of Cambridge. A charming little air in the doctor's best manner that is to say, tasteful and elegant. Fantaisie Ecossaise, for the Harp, on the air" Nanny wilt thou gang with me." Composed and respectfully dedicated to Miss Denys, by W. Henry Steil. Amid the arpeggios and sprinklings of chords in the introduction, the air now and then peeps out, as a taste of what may be expected in the next movement. This style of writing seems to have been obtained from the Proems of Cramer, and is admirably calcu lated to connect the different branches of a sonata. We need not descant on the pathetic beauties of this air, but we may be allowed to say that it is peculiarly well adapted to the harp, nor can the taste and brilliancy of the variations be listened to with indifference. "Cease your Funning," with six Variations, and the Air (by way of introducduction) "The Miser thus a Shilling Arranged for the Piano-forte, sees. by T. C. Panormo. [Sept. 1, tions to it: but though we are here in complete possession of the tune as it is performed, yet the variations run so widely off the mark, that we scarcely recognize it in its evolutions. Whether the defect arises from the thema or the insufficiency of the adapter, we will not decide, but merely relate the fact. Having mentioned Dr. Arne, a little anecdote occurs, which may perhaps amuse article having, many years ago, accompanied our musical readers. The writer of this the Doctor to Cannons, the seat of the late Duke of Chandos, to assist at the performchurch, such was the throng of company ance of an oratorio in the chapel of Whitthat no provisions were to be procured at Arms, in the town of Edgeware, we made the duke's house. On going to the Chandos our way into the kitchen, where we found nothing but a solitary leg of mutton on the spit. This, the waiter informed us, was bespoke by a party of gentlemen. The doctor (rubbing his elbow-his usual manner) says to me, "I'll have that mutton-give me a fiddle-string." He took the fiddle-string, cut it in pieces, and privately sprinkling it over the mutton, walked out of the kitchen. Then waiting very patiently till the waiter had served it up, he heard one of the gentlemen exclaim" Waiter! this meat is full of maggots, take it way." This was what the doctor expected, who was on the watch. "Here give it me."-" O, sir," says the waiter," you can't eat it-'tis full of maggots."-"O never mind," crys the doctor, "fiddlers have strong stomachs." bearing it away, and scraping off the fiddle strings, we made a hearty dinner on the ap We have put on our spectacles, but can find no arrangement in the introduction at all differing from that which Dr. Arne made when he adapted it for Covent Garden theatre. We are not sure whether "Cease your Funning" is well calculated for variations: a composer of whom we had recently occasion to speak, noted down the tune rather incorrectly, and made tolerable varia-parently maggoty mutton. So MONTHLY REGISTER OF LITERATURE, ART, AND SCIENCE. NEW PUBLICATIONS, WITH CRITICAL REMARKS. 1. Childe Harold's Pilgrimage, Canto the Fourth. By Lord Byron. It is by no means our intention to enter into a regular and elaborate review of this beautiful poem, but we cannot prevail upon ourselves to pass it over without enriching our pages with a few of its admirable passages. With the opinion expressed by its noble author, in his dedication, we entirely coincide, namely, that "it is the most thoughtful and comprehensive of all his compositions;" and those who have delighted to trace the progress of the poet's mind in the earlier emanations of his genius, and compare the lofty, but varied tones of feeling by which they are so peculiarly distinguished, will peruse this portion of his writings, with a degree of interest, not often excited on such occasions. They will discover amid the many wild and inextinguishable bursts of energy with which this volume abounds, something like a yearning after the better affections of the heart; a willingness to look forward, with consoling hope, to some end or attainment, over which, Circumstance, that unspiritual god, and miscreator," can have no influence. Amid the utter wretchedness which occasionally breaks forth in this immortal lament, there is the appearance of passions subdued into mournful resignation, the soul of the "wondrous Childe," seems to have been tempered and chas tened even by its own fire, "And like the plants which throw * Moore. 1818.] Childe Harold's Pilgrimage, by Lord Byron. powerful a talisman for discerning the But ever and anon of griefs subdued And slight withal may be the things which Back on the heart the weight which it would fling Aside for ever it may be a sound A tone of music,--summer's eve-or spring, A flower-the wind-the ocean-which shall wound, Striking the electric chain wherewith we're darkly bound. XXIV. And how and why we know not, nor can trace Home to its cloud this lightning of the mind, But feel the shock renewed, nor can efface The blight and blackening which it leaves behind, Which out of things familiar, undesigned, When least we deem of such, calls up to view The spectres whom no exorcism can bind, The cold-the changed-perchance the dead-anew The mourned, the loved, the lost-too many! yet how few! The following exquisite burst of patriotism will surely be thought to more than atone for the petulant allusion which Lord Byron has thought proper to make, in his dedication, to our "permanent army and suspended Habeas Corpus." VIII. I've taught me other tongues--and in strange eyes Have made me not a stranger; to the mind The inviolate island of the sage and free, Perhaps I loved it well: and should I lay 157 My hopes of being remembered in my line far These aspirations in their scope incline,- X. My name from out the temple where the dead Are honoured by the nations-let it be— tree I planted, they have torn me, and I bleed! I should have known what fruit would spring from such a seed. and loves to "hold converse with her That Lord Byron is the poet of nature, charms, and see her stores unrolled," we learn from that sublime and well known definition of solitude in the 1st Canto of Childe Harold; but his vividness of perception has perhaps never been so finely instanced as in the following luxurious description of an Italian evening. XXVII. |