ard is a good one. Professor Camper, after measuring
and comparing, with a laborious minuteness peculiarly
Dutch, an immense variety of skulls, concludes his la-
bours by triumphantly exclaiming, "If it now be asked,
what is meant by a fine countenance, we may answer,
that in which the facial line makes an angle of 100 de-
grees with the horizon. The ancient Greeks have, con-
sequently, chosen this angle." This is going a certain
length, but not far; for the question still remains un-
answered, Why does the facial line, when at such an
angle, appear more agreeable than any other? Sir
Joshua Reynolds has attempted to get rid of the diffi-
culty in a very ingenious manner. According to him,
"beauty is the medium or centre of the various forms
of the individual;-every species of animal has a fixed
and determinate form, towards which nature is conti-
nually inclining, like various lines terminating in a
centre, or like pendulums vibrating in different direc-
tions over one central point; and as they all cross the
centre, though only one passes through any other point,
so it will be found, that perfect beauty is oftener pro-
duced than any one kind of deformity." "But," justly
remarks Charles Bell, in his second Essay on the Anatomy
of Expression, "how shall we reconcile this with the
form of the antique? Though this theory may account
for the straight line of the ridge of the nose being more
beautiful than that which is concave or convex, because
it is the central form, it will not explain the peculiar-
ity of the form of the nose, brow, and eye, of the an-
tique." "The true cause of beauty in the antique,"
proceeds the same author, "is the ennobling the form of
the head, by increasing those peculiarities of character,
-the indication of intellect and the powers of expres-
sion,-which distinguish the human form, and by care-
fully reversing those proportions which produce a re-
semblance to the physiognomy of brutes." Completely
coinciding with this view of the case, we at once dis-
cover one of the greatest causes of our admiration of the
Greeks, namely, the originality of thought, and scienti-
fic research, thus exhibited by them; and, even were
their brightest efforts to be equalled by modern artists,
still the grand source of our respect and reverence would
remain for the minds that first conceived, and the hands
which first palpably gave being to, an entirely new ar-
rangement of forms, yet so aptly mingled, that they may
be said to hover betwixt heaven and earth.

"These fish are iv'ry-but by Phidias made:

From want of water only-seem they dead.' "Of the works belonging to the first division, the Olympian Jupiter, and the Minerva of the Parthenon, colossal statues composed of gold and ivory, were the most wonderful productions of ancient art. The former, placed in the Temple at Elis, was sixty feet high, in a reposing attitude, the body naked to the cincture, the lower limbs clothed in a robe gemmed with golden flowers; the hair also was of gold, bound with an enamelled crown; the eyes of precious stones; the rest of ivory. Notwithstanding the gigantic proportions, every part was wrought with the most scrupulous delicacy; even the splendid throne was carved with exquisite nicety. The whole was finished before the artist had obtained the direction of the public works of the Athenians, in the 83d Olympiad, after a labour of ten years; the same date in which Herodotus read the second part of his history, the first regular prose composition that had been heard at Athens.

"About twelve years later was executed the Minerva, of inferior dimensions, being only forty feet in altitude, but equal, if not superior, in beauty of workmanship and richness of material, the nude being of ivory, the ornaments of gold. A flowing tunic added grace to the erect attitude of the goddess; in one hand was a spear, upon the head a casque; on the ground a buckler, exquisitely carved, the concave representing the giants' war, the convex a conflict with the Amazons, portraits of the artist and of his patron being introduced among the Athenian combatants-one cause of the future misfortunes which envy brought upon the author. On the golden sandals was also sculptured another favourite subject, the battle of the Centaurs, praised by historians as a perfect gem of minute art.

"Such admiration attached to these two works, that they were regarded as having added majesty to the received religion,' and it was esteemed a misfortune not to have been able, once in a lifetime, to behold them. Yet judged according to the true principles of genuine art, theirs was not a legitimate beauty. It does not excite surprise, then, to learn that Phidias himself disapproved of the mixed effect produced by such a combination of different substances, nor will it appear presumption here to condemn these splendid representations. It is not sufficient that a work of art does produce a Here it is, luxuriating amongst the immortal produc-powerful impression-it is indispensable to its exceltions of an immortal people, that Dr Memes' pen seems lence that the means employed be in accordance with to bound under his hand like a “steed that knows his the principles and the mode of imitation. Now, in the rider." Dr Memes has himself visited the country of compositions just described, exposed as they were to the glorious reminiscences, and he speaks with all the ar- dim light of the ancient temple, and from very magnidour and enthusiasm of one who had lingered amongst tude imperfectly comprehended, the effects of variously its ruins, and, in the inspiration of the moment, had reflecting surfaces, now gloom, now glowing of uncalled forth the mighty from their tumbling sepulchres, earthly lustre, must have been rendered doubly impoto pass in bright review before him. We cannot follow sing. But this influence, though well calculated to inhim through all his descriptions; but we must give one crease superstitious devotion, or to impress mysterious portrait : terror on the bewildered sense, was meretricious, altogether diverse from the solemn repose, the simple majesty of form and expression, which constitute the true sublimity of sculptural representation.

PHIDIAS.

"This great master, the son of Charmidas, an Athenian citizen, was born about the 72d Olympiad, or "Statuary, or the art of casting in bronze, as the nearly 500 years before our era, and studied under Ela. term was used by the ancients, Phidias carried to undas. His numerous works belonged to three distinct rivalled perfection. The Amazon, the Minerva, at Lemclasses: Toreutic, or statues of mixed materials, ivory nos, and in the Acropolis, were considered as the masbeing the chief,-statues of bronze,-sculptures in marble. In this enumeration are included only capital per-nerva Polias, was of such majestic proportions, that the terpieces in this department. The last, called the Miformances, for exercises in wood, plaster, clay, and minute labours in carving, are recorded occasionally to have occupied his attention. The beauty of these miniatures was not inferior to the excellence of his greater works; at once sublime and ingenious, he executed grand undertakings with majesty and force, and the most mi-ed for our positive knowledge of his style and principles nute with simplicity and truth.

"Artis Phidiacæ toreuma durum

Pisces adspicis: adde aquam, natabunt.'

crest and helmet might be discerned above the battlements of the citadel at a distance of twenty-five miles, pointing home to the Athenian mariner, as he rounded the promontory of Sunium. Of these and other works, descriptions alone remain; we are consequently indebt

to the marble sculptures of Phidias, in which department numerous admirable performances of his hand have also perished; but we have here an advantage in

the possession of undoubted originals denied in every other instance."

The Romans were to the Greeks in sculpture and architecture what bad engravers are to good painters; they served to multiply heavy and bungled copies of their works. There is nothing interesting in the review of Roman art. There is no originality of thought, no expansion of soul.

We pass in silence over the long slumber of art, during what may well be termed the dark ages, and hasten to a period when returning genius began to brighten the horizon of art. Michael Angelo Buonarotti, in himself a constellation, rose in 1474 and set in 1564. In whatever light we consider this man, his name has a right to a high place amongst the mighty of the earth; but we shall not presume to enter the lists with such a description as the following:

art.

MICHAEL ANGELO BUONAROTTI.

first impressions created by these works are thus irresistibly powerful; but they startle, surprise, astonish— do not soothe, delight, and satisfy the mind. An influence originating solely in the imagination, and in which the sensibilities of the heart have little interest, cannot long retain its power; the ordinary tone of feeling returns, and amid the unquiet and aspiring composition seeks for nature and repose.

"If the productions and style of Michael Angelo be compared with the great standards of excellence and of truth in sculpture-nature, and the remains of ancient art, he will be found to have deviated widely from both, or rather, perhaps, he has rendered both subservient to his own particular views of each. He has created to himself modes of imitation, which should in themselves claim a paramount importance, independent of all archetypes; while these latter are connected with the originals of reality, only as an intermediate step to the realms of fancy. Hence, round a false, though gorgeous and imposing art, his genius has swept a magic "For three-fourths of the sixteenth century, this ex- circle, within whose perilous bound no inferior spirit traordinary man presided in the schools, and by his has dared with impunity to tread. Unfortunately, how. style influenced much longer the principles of modern ever, such was the fascination produced in his own age, To him, therefore, during the most brilliant pe- when the forcible and imaginative were admired above riod in the annals which we are now feebly endeavour- the simple and the true, that his works became a standing to trace, is the attention chiefly directed. Nor only ard by which the past was to be tried, and the future in one point of view is his genius to be contemplated. directed. As a necessary consequence, a prodigious and He has extended the grasp of a mighty though irregu- irreparable lapse was prepared for the art. The imitalar spirit over our whole subject. Sculptor of the Moses, tion of a natural style will ever be productive of good; painter of the Last Judgment, architect of the Cupola it will ultimately lead to no imitation, by conducting to we behold him in the greatest of the works of art. It the primeval source. The very reverse is the effect of is this, more than any other circumstance, which has in- following a guide such as Buonarotti, who has departvested the character of his genius with a species of aw-ed from nature farther, we will venture to say, than any ful supremacy not to be enquired into: discrimination great name on record, whether in literature or in art. is lost in general admiration; and to him who thus Irregularities and imperfections in almost every other seems to bear away the palm of universal talent, we are instance of lofty genius, are forgotten amid the deepinclined to concede the foremost rank in each separate thrilling pathos, or soothing loveliness, of natural expursuit. His productions, thus dominating among the pression; but amid the awe-inspiring, the commandlabours of man, bewilder the judgment both by their ing, the overpowering representations of the Tuscan, the real and their apparent magnitude. Thus some giant soul languishes for nature. His creations are not of this cliff, rising far above minor elevations, while it serves world, nor does feeling voluntarily respond to the mysas a landmark to the traveller, misleads his conceptions terious and uncontrollable mastery which they exert of its own distance and immediate relations of site. over it. The cause and progress of this dereliction of Here it appears the proper, or at least simplest me- nature can also be traced. He had marked the perplexithod, to present such gradual unfolding of the subject ties and constraint under which his predecessors had laas each branch separately may seem to require, reser-boured, in their endeavours to unite the forms and exving a general view for such place as shall give the reader full command of the joint influences, bearings, and consequences of these details.

"In sculpture, the works of Michael Angelo are divided between Rome and Florence. They are not numerous, and few are even finished. Impatience of slowly progressive labour, united with indomitable activity and unwearied industry-fastidiousness of fancy, and exalted perceptions of excellence, joined with a reckless daring in execution, form singular distinctions of intellectual temperament. Hence have sprung the characteristic beauties and the besetting errors of his style in sculpture a style discovering much that is derived from liberal and enlightened study of the sublime and graceful in nature, but still more of those qualities which arise from the peculiarities of an individual and erratic, though rich and powerful, imagination. Rarely do his statues exhibit that simplicity and repose essential to beauty in an art grave, dignified, or even austere, and possessing means comparatively limited and uniform. Forced and constrained attitude, proportions exaggerated, expression awful, gloomy, and unearthly, forms of unnatural, of superhuman energy-these constitute the ideal of his composition. In giving visible existence to these ideas, his execution is most wonderful. A force, a fire, an enthusiasm, elsewhere unfelt, unknown, give to every limb and lineament a vitality, a movement, resembling more the sudden mandate of inspiration, than a laborious and retarded effort. The

pressions of living nature with images of idcal beauty, overlooking the productions of classic sculpture, in which this union is so happily accomplished: because to his vigorous, rather than refined perceptions, its simplicity appeared poverty, he fearlessly struck into a line of art, where all was to be new-vehement-wonderful."

If our limits allowed us, we should feel pleasure in presenting our readers with several other passages, equally powerful; but we have room for only one-a descriptive sketch of Thorwaldsen, the most successful and celebrated of all living sculptors:

THORWALDSEN.

"Since the death of his illustrious contemporary, Canova, Thorwaldsen, born at Copenhagen in 1771-2, has occupied the public eye as head of the modern school. The character and powers of this master are doubtless of a very elevated rank; but neither in the extent nor excellence of his works, do we apprehend his station to be so high as sometimes placed. The genius of the Danish sculptor is forcible, yet is its energy derived more from peculiarity than from real excellence. His ideal springs less from imitation of the antique, or of nature, than from the workings of his own individual mind-it is the creation of a fancy seeking forcible effect in singular combinations, rather than in general principles; therefore hardly fitted to excite lasting or

beneficial influence upon the age. Simplicity and im- denying precepts ? If I am told, ""Twere to consider posing expression seem to have hitherto formed the too curiously to consider so," I answer, "Not a jot." principal objects of his pursuit ; but the distinction be- Easter-Monday sent forth its crowds, anxious for tween the simple and rude, the powerful and the exag- amusement, and the theatres put forth their dazzling gerated, is not always observed in the labours of the announcements to attract them. Covent-Garden speDane. His simplicity is sometimes without grace; the culated upon the popular taste for horrors, and "The impressive austere, and without due refinement. The Devil's Elixir, or the Shadowless Man," seemed to lend air and contours of his heads, except, as in the Mer- an appearance of unwonted gloom and grandeur to its cury-an excellent example both of the beauties and de- bills. Drury-Lane resorted to the treasures of fairy fects of the artist's style when immediately derived legend, and "Thierne-na-Oge, or the Prince of the from antiquity, though grand and vigorous, seldom har- Lakes," operated powerfully upon the wondering optics monize in the principles of these efforts with the majes- of the sight-seeking spectators. Astley's proclaimed tic regularity of general nature.. The forms, again, are "The Storming of Seringapatam.' The Surrey minnot unfrequently poor, without vigorous rendering of gled "John Orery the Miser," and a pantomime called, the parts, and destitute at times of their just roundness."Love in a Humble Shed;" and the renowned Coburg These defects may in some measure have arisen from the turned "The Money Diggers," a story of Washington early and more frequent practice of the artist in relievos. Irving's, into minor theatre dialogue, and managed to In this department, Thorwaldsen is unexceptionably to give the audience terrible satisfaction. It is unnecesbe admired. The Triumph of Alexander, originally in- sary to spend much critical gravity upon these sublime tended for the frieze of the government palace at Milan, doings. The Covent-Garden novelty was good in little notwithstanding an occasional poverty in the materials except its scenery. A disobedient shadow occasioned of thought, is, as a whole, one of the grandest compo- much mirth, by obstinately persisting in its determinasitions in the world; while the delicacy of execution, tion to act independently of the substance. Weekes and poetic feeling, in the two exquisite pieces of Night played Dan O'Reilly, the chief acting part in the Druryand Aurora, leave scarcely a wish here ungratified. But Lane piece, and acquitted himself greatly to the satisin statues, Thorwaldsen excels only where the forms and faction of the audience. sentiment admit of uncontrolled imagination, or in which I have visited Pandemonium, as represented in Mr no immediate recourse can be had to fixed standards of Burford's panorama in Leicester-square. The subject taste, and to the simple effects of nature. Hence, of all of the painting is taken from Milton's description of the his works, as admitting of unconfined expression, infernal empire, as embellished by the agency of Satan and grand peculiarity of composition, the statues and his angels. Martin is palpably imitated in every of the Apostles, considered in themselves, are the part of the piece. The exhibition is certainly worth most excellent. Thorwaldsen, in fine, possesses singu- inspection, and the cits seem wondrously delighted with lar, but in some respects erratic genius. His ideas of it. But a view of Sydney in the same building detaincomposition are irregular; his powers of fancy surpassed me much longer, and gratified me much more. those of execution; his conceptions seem to lose a portion of their value and freshness in the act of realizement. As an individual artist, he will command deservedly a high rank among the names that shall go down to posterity. As a sculptor, who will influence, or has extended the principles of the art, his pretensions are not great; or, should this influence and these claims not be thus limited, the standard of genuine and universal cellence must be depreciated in a like degree." We shall proceed to the consideration of Painting

next week.

It

is executed with great delicacy; and the romantic character of the scenery almost made me wish myself of the number of those

"Doom'd the far isles of Sydney Cove to see." Tam O'Shanter and Souter Johnny have arrived here, and have received the approbation of some highly com. petent metropolitan authorities. A group of statues in ex-marble by Mr Carew, who is patronised by the Earl of Egremont, is now open to the public. In my opinion, they indicate an acquaintance with art more than the possession of genius,

LETTERS FROM LONDON.
* No. IX.

AN ESKDALE ANECDOTE. Extract of a letter from the Ettrick Shepherd. ANOTHER time I chanced to be on a week's visit to a kind friend, a farmer in Eskdale-muir, who thought meet to have a party every day at dinner, and mostly the same party. Our libations were certainly carried rather to an extremity, but our merriment corresponded therewith. There was one morning, indeed, that several of the gentlemen were considerably hurt, and there were marks of blood on the plaster, but no one could tell what had happened. It appeared that there had been a quarrel, but none of us knew what about, or who it was that fought.

In these "No Popery and Pro-Popery" days, I marvel that the adherents of the Catholic Church omit ted one argument, which could not fail of operating powerfully on the motley citizenship of this overgrown metropolis. The argument I refer to is comprised in the astonishing pantomimes, gorgeous spectacles, and unaccountable sights, that surprise the eyes and gladden the hearts of all the men, women, and children, who sally forth in quest of civic entertainment during the holidays. For these we are indubitably indebted to the Lady of Babylon; and were the fact generally un- But the most amusing part of the ploy (and a very derstood, it would serve her cause better in London than amusing part it was) regarded a half hogshead of ale, all the bulls, brazen or golden, that ever left their pad- that was standing in the lobby to clear for bottling. On dock in the Vatican. Had it not been for the attach- the very first forenoon, our thirst was so excessive, that ment of Old Mother Church to fasts and festivals, the farmer contrived to insert a spigot into this huge cask, saints and saint-days, and her diligent housewifery and really such a treasure I think was hardly ever opentouching the outside of her cups and platters, the Cock-ed to a set of poor thirsty spirits. Morning, noon, and ney fry, young and old, might have sighed in vain for a pantomime at Christmas, or a melodramatic spectacle at Easter. And "why might not the imagination trace" the agile Harlequin to a monk of the order of St Dominic, and his faithful Columbine to the secluded sister of a convent, matchless in the exact observance of self

night, we were running with jugs to this rich fountain, and handing the delicious beverage about to lips that glowed with fervour and delight. In a few days, however, it wore so low, that before any would come, one was always obliged to hold it up behind; and, finally, it an dry.

EDINBURGH LITERARY JOURNAL;

OR,

WEEKLY REGISTER OF CRITICISM AND BELLES LETTRES.

No. 25.

SATURDAY, MAY 2, 1829.

LITERARY CRITICISM.

Narrative of an Official Visit to Guatemala from Mexico. By G. A. Thompson, Esq., late Secretary to his Britannic Majesty's Mexican Commission, and Commissioner to report to his Majesty's Government on the State of the Central Republic. London. John Murray. 1829.

PRICE 6d.

consequently, the demand upon the domestic stores of Guatemala becomes greater, a new impetus will be given to the spirit of industry. Under its genial influence, manufactures must flourish, and science will find ample scope for its operations. Nor are these conclusions deduced from unwarrantable premises. They rest not upon the success of conquest. Spain originally trusted to conquest in effecting her settlements; and what was the result? The Spanish invaders, enervated by luxury, made no endeavours to improve the victory which they had achieved. On the contrary, they exercised the GUATEMALA occupies a central position between the most intolerant despotism, by reducing the inhabitants Columbian and Mexican Republics. In consequence to bondage, and desolating their territories. In this of the extraordinary variety of its soil and temperature, manner the flame of civil dissension was kindled, the it yields almost all the productions of the frigid, tem- consequences of which were necessarily destructive to perate, and torrid zones. It might have been expected, the stability of the Spanish power. Under no circumthat the importance of such a country, covering a sur. stances, therefore, can conquests be defended, unless in face of nearly seventeen thousand square leagues, and so far as they tend to ameliorate the situation of those lying in the midst of those vast relations which now over whom they have been obtained. Keeping this exist, and may hereafter be opened, between the Old and great principle steadily in view, and making those pro New Worlds, would at once have been fully apprecia-posals which it becomes a humane and liberal nation to ted; and that a description of its natural curiosities, offer, and which it would be justifiable in a free and inpolitical institutions, and commercial superiority, would dependent people to accept, Great Britain may, by estahave held a prominent place in the Journals of our Ame-blishing a permanent intercourse with Guatemala, en, rican topographers. But the peculiar advantages which large her national wealth, and more effectually secure Guatemala presents to the British government, from its her possessions in the American States. contiguity to that part of the Honduras shore, consti- The great number of works on America which have tuting the colony of Belize, have, somewhat unaccount-been already published, might appear to render the preably, been either altogether overlooked, or sadly under-sent "Narrative" superfluous. Mr Thompson, howvalued, by our capitalists. There might be some pre- ever, was induced to lay it before the public, for the text for such indifference, if these advantages were un- purpose of furnishing additional information in regard certain if they could only prove comparatively limited to a portion of these countries which has been least in their effects or if the acquisition of them would in- known or visited by Europeans. After having nego terfere with the internal policy of the Guatemalian Re- tiated the Treaty of Mexico, he set off for Guatemala, public, and would consequently excite an antipathy on in order to report to his Majesty's government on the its part, detrimental alike to present security and ulti-state of affairs in that republic. The style of Mr mate aggrandizement. But why might not Guatemala Thompson's narrative is extremely perspicuous, and, become as valuable a colony as Buenos Ayres? The what is of more consequence, it bears the impress of population of both republics is equal. Even the most truth. There are no inflated recitals of "hair-breadth insignificant district in Guatemala is capable of cultiva- 'scapes," calculated to delight a modern Dido or Desdetion. In its numerous towns and villages the resources of mona. We meet with no pedantic detail of geographical trade are rapidly augmenting-a circumstance that would positions, or of mere latitudes and longitudes. His deseem to augur favourably for the introduction of the scriptions of scenery, without being tediously minute, more polished arts. Several navigable rivers intersect are generally spirited. If he seldom displays much the country, which is also fertilized and ornamented scientific research, there is considerable ability in his with large lakes. If the proposed establishment of a delineations of American customs and manners. Bewater communication between the Pacific and Atlantic ing merely an agreeable narrator of incidents which Oceans, by means of the lake of Nicaragua and the actually occurred, and of scenes which were actually river St Juan, be accomplished, the traffic of Guatemala witnessed, he almost entirely avoids original reasoning, must improve. Viewing its financial affairs, even at and advances no political theories which deserve the title the present moment, it will be found that they may of novelty. In the absence of such qualities, however, safely bear a comparison with those of Mexico and the his book is instructive, as being almost the only work neighbouring republics. In short, a finer field cannot illustrative of that part of America through which he be afforded for British enterprise. Lord Bacon, in his travelled. In particular, his Historical and Statistical Novum Organum, compares society to a pillar composed Sketch of Guatemala will be perused with interest. of four parts: agriculture-manufactures-commerceand science. In Guatemala, the basement of this pillar has in some measure been laid. When the market with Great Britain is more extensively opened, and when,

Though such is our general opinion of Mr Thompson's narrative, we occasionally observe passages which are sufficiently frivolous in themselves, and assuredly impart little knowledge concerning the South American