13 MARCH 1830, Page 12

LECTURES AT THE ROYAL ACADEMY.

MR. WEST MACOT VS fourth Lecture on Sculpture consisted principally of an examination of the works of the Phidiac and Praxitilean schools,—those of the former distinguished by grandeur and severity, and those of the latter, its success possessing more of a luxuriant and voluptuous character. The art of sculpture being circumscribed, expression becomes of the first impor.. tance ; and to the consideration of this essential quality the learned Pro. fessor directed the attention of the students, illustrating his remarks by very elaborate criticisms of several, of the antique statues, and particularly of the group of the Niobe. In this grand work, he observed, the strong feeling for nature in the mind of the sculptor eclipsed its defects : its beauty was pure and sublime, and the expression varied Ivith the character of each figure, while it harmonized-in all with the pervading feeling of grief. In remarking upon the strict observance of character by the ancient sculptors, the Professor instanced the statue generally known as the "Dying Gladi- ator," but which he considered to represent a dying herald, who was killed in the discharge of his office, and to whom several statues were raised. "Statue-making, and the art of sculpture," said Mr. WESTMAC OTT " are two different things. Rules of art, without accordance of character, are useless. Expression is dependent on mind, and cannot be defined by rules. Obser- vance of nature and the study of the antique are the most efficient means of acquiring this power. The excellencies of the ancient sculptors were the result of reason and reflection as well as of observation. Their delicacy of taste was remarkable, in the preservation of beauty, even in those works portraying violent passion or sensual character." The Professor entered into a consideration of the principles of beauty as far as it influenced the art ; and appropriately illustrated his remarks by an examination of the Venus di Medicis ; which, he observed, was not an ideal, but simply a mortal form, and its beauty consisted in its truth and delicacy. Mr. WESTM 11 COT T concluded his lecture by tracing the art of sculpture from its decline after the time of PHILIP of Macedon into the age of portrait sculpture, when the heroic style became neglected, until the complete expiration of the golden age of art after the time of LYSIPP US. .

Mr. Porturs having before treated of invention and design, devoted his fourth lecture to the consideration of composition in painting, which, he observed, united and employed all the others, and consisted in the arrange- ment of figures, colours, and chiaroscuro. The principles of art must be sought for in the objects imitated. Composition implies order, arrangement, motion, and combination : it consists of two parts,-the first and highest arising out of a feeling for the subject, the second devoted to arrangement and technical purposes. The first was the foundation of the Florentine school, the second was displayed in the later Venetian masters after the time of '1' ITt AN. After remarking that composition indicated peculiarly the artist's taste, the Professor defined taste, and observed that it controlled the artifice requisite to represent

"The gayest, happiest attitude of things."

The exercise of this necessary part of art was not inconsistent with, but accessary to the development of truth and nature; expression being the soul of composition. Mr. Pnitttes illustrated this part of his lecture by exemplifying the cartoons of ItarFAELLE, copies of which adorn the walls of the lecture- room, and by the exhibition of valuable prints from Mier/Aim ANGELO, &c. He then proceeded to remark upon the styles of composition adopted by the masters of art from (itovro to Hun E NS, arid remarked upon the different principles of their art in this respect. He observed upon the pre- valence of geometrical forms in the best compositions, and inculcated the necessity of perspective and clearness of arrangement.

The Professor then treated of the secondary principles of composition, those technical means tending to improve the general effect ; amongst which he enumerated continuity of form and coheir, so much observed and

recommended by WEST, and so essential in the management of backgrounds, the most difficult of the subordinate parts of art, and the successful manage-

ment of widch-where to produce union or contrast-where to relieve or absorb the outline-demanded so much the taste and judgment of the artist, and contributed so powerfully to improve or detract from the value of the general effect in a picture. This brief report conveys a very imperfect idea of the valuable pre- cepts enforced by the learned Professor in the course of this interesting

lecture ; which was delivered with great feeling, and in very elegant lan-

guage. To us it possessed unusual interest, fram the frequent allusions to the beautiful works of art which adorn the walls of the Academy ; and we

cannot refrain from suggesting, that it few evenings might be advantageously devoted to a critical examinatiour of the merits and failings of eminent spe- cimens of art. The passing- allusion or reference to them forms one of the principal recommendations of a viva voce lecture ; and the value of such illustrations is alike felt by the professor and the student. How much more would a dissertation at large upon the principles of composition adopted by a particular master, and exemplified in his hest works, tend to impress upon the mind of the student in tine ti,timate of the value of the productions, and of the principles employed itt their composition ? The opportunity of illus- tration is too limited in a short lecture ; a course of examples and critical examinations would be jut interesting- accompaniment to tile series. We make the suggestion the mitre wilLng-ly, from a sense. of the intellectual character of the two eminent Professors whose lectures we have briefly re- ported, and of the high feeling for the promotion of the interests of fine art, both in and out of the Academy, which has been evinced by its present President.