prints, and of elementary subjects in drawing; but he also was deficient in grace and taste, though other of his works showed considerable merit: his imitations of the drawings of the old masters is an admirable performance. His book is similar to one of the same kind, executed and published by Arthur Pond, who also contributed something to the English School of Design: there is a very clever specimen of his skill below the head of Pope, in which Apollo and the Muses are introduced, in the way of a vignette, as a compliment to the talents of that great poet. The head is engraved by Houbracken in his work of illustrious characters.

Kirk must not be omitted in our catalogue of this class of artists. He was principally employed in making designs for Cook's publication of the Poets. The genius of this artist was best displayed in pastoral and classic subjects, in which the elegance of his figures partook much of the style of Angelica Kaufman. He has given to the public a book of outlines, selected from Sir William Hamilton's collection of Etruscan Vases.

Benwell, whose name is little known, and whose life was as transient as the colours he used*, gave, however, in the few drawings he left, an example of taste and talent which might be said to have been entirely his own, and which appears in the character of his 'St. Giles's Beauty.' This sort of character would not have been conceived by an artist like Cipriani or Angelica Kaufman; and Morland would have given a local vulgarity to the subject, which might have rendered it revolting: that of Benwell is personable and attractive, but displaying a being who never could have moved in any higher sphere. The companion to this was his 'St. James's Beauty,' got up rather as a contrast than with a sufficiently marked character. His best drawing was the subject of "The Children in the Wood," and surpasses in design and composition every other that has appeared from this popular old ballad. The original drawing was in the possession of the late Benjamin West, P.R.A.; it was engraved by the late W. Sharp, and will continue to be the admiration of all who are capable of feeling the pathos of the story, and the elegant simplicity of its graphic illustration.

Harlow, with an equal precocity of genius, gave still more evident marks of talent in what he effected: and from his painting of 'Mrs. Siddons and the Kemble Family,' showed sufficient powers in design and composition to place him in a high and distinguished rank in this de

This artist worked with what is called wet crayon, more liable to be effaced and destroyed than any other mode of practice.

partment of art. It was the fate of Harlow, as well as Benwell, to be cut off in the early career of successful practice.

Bonington, the last in this triumvirate of genius, shared their fate; and in the full development of his extraordinary talents was also stopped short by death. The picturesque character of his works appears to have been compounded from the best qualities of the Italian and Flemish schools of art, yet so apparently his own, that it would be difficult to point out the precise master or school to whom he was indebted for the magic of his performances.

Our brief retrospect of the British School of Design has been (with the exception of Mr. Stothard and Mr. Smirke) derived from the works of the illustrious deceased, and has also been for the most part confined to drawings and designs from book-prints at a time when the harvest was more abundant and the labourers comparatively few.

But we must not take leave of our subject without adverting to the works and to the talents of one of the few excellent historical painters this country has ever known,-those of the late Benjamin West, P.R.A. Looking to the design of his pictures, there are few which do not afford examples of the most perfect composition. His drawings and cartoons, preparatory to his finished pictures, are among the finest specimens of design, and are in many instances preferable to his larger and more finished works; but this must happen in all cases where the mind pours itself out in the rapidity of its first impressions of the subject. There is one example, however, in this artist's works which is an exception to this rule: this picture is from the tragedy of King Lear; and while in every part it is carefully finished, retains all the fire and spirit of a first thought. The whole of this performance represents a chaos of horrors, reaching the sublime without departing from truth in depicting the principal actors in this pictorial drama, or the strife of elements raging around them. Then observe the power of contrast in the figure and character of Edgar; the mind is hardly less excited in contemplating the wretched inmate of the hovel than the frantic monarch. It is, in fact, the opinion of many that the character of Edgar divides the palm with that of Lear. At all events, there is such a display of talent in this performance, that whether in regard to expression, composition, or effect, it may be considered as one of the finest examples of the British School of Art.

In West's picture, The Departure of Regulus,' the virtues of fortitude and patriotism are brought into view, under the most trying and appalling circumstances: it was not merely to certain death that the patriot hero was going, but to experience the most excruciating tortures

his vindictive and disappointed enemies could inflict. In this performance the painter has powerfully and ably depicted not only the solicitations and grief of kindred and friends, but those of a whole people. Subjects like these, while they reflect honour on human nature, show also the dignity and exalted destination of Art.

It is not here our intention to treat of the English School of Painting in its present state; as this, though including design, would embrace too wide a field for our purpose, which is simply to take a view of what was effected at an earlier period of Art, with fewer advantages than we now possess. There were then no galleries of paintings open for the inspection of the works of the great masters. The painters of that day were, like the Egyptians of old, obliged to scatter themselves abroad, and gather materials where they might best find them. We will only further observe that the British School of Art, whether in paintings or in drawings, possesses one truly essential quality-variety, both in subject and style of execution; a quality without which exhibitions and collections would sink into insipidity. Nothing can go well in art where fashion or example interferes. To imitate the style of a David or a West through all the departments of painting, would soon bring the artist's occupation to an end.

It was from this independent style and manner of the English School of Art that the late R. P. Knight predicted it would approach nearer to that abstract perfection contemplated by all who aspire to reach the excellence seen in the best works of the best masters, than any other; nor need we yet despair in our day of seeing that prediction fulfilled.

NEGLECTED BIOGRAPHY. No. I.-R. M. PAYE.

RICHARD MORTON PAYE was born at Botley, in Kent,- -a circumstance of no small importance to the individual, though the philosophic observer considers it otherwise, in all cases except where talent has been seen to develope itself in situations adverse to its success, as was the case with Barry, Opie, and some others. In that of R. M. Paye we know of no particulars relative to his early predilection, or the bent of his genius for the Fine Arts; but from all that is known of him or his works, no one could have been more devoted to his profession or more ardent in its pursuit, though his success was not commensurate with his labours.

When first the writer of this brief account knew him, he resided in Swallow-street, where he was pursuing, principally, the employment of

a chaser, with occasionally the practice of painting, which latter soon became his exclusive pursuit.

It was in this situation, and at a time when the large room in the Royal Academy contained the whole of the paintings in oil, its mantel the miniatures, and the Model Academy all the sculptures and drawings sent for annual exhibition, that the works of Paye first appeared; and though placed by the side of those of Sir Joshua Reynolds, West, Hoppner, and others of name and note, his performances attracted the notice and approbation of the best judges of the Fine Arts.

Among the first, if not entirely so, to appreciate his merits was the Rev. Joseph Holden Potts, now Archdeacon, and Vicar of Kensington, who added the solid advantage of purchase to the commendations of the artist's performance, and whose patronage continued to stimulate the efforts of the painter by his own encouragement, as well as by the recommendations he afforded, and the connections to which he introduced him.

But, before speaking of his works as an artist, it may not be amiss to say something of his talents as a modeler and chaser,—a branch of art at that time much in vogue; as in the days of Benvenuto Cellini, when the decorations of the table, the appendages of the toilet, together with the trinkets and other ornaments of dress, were principally of the precious metals, and all in a greater or less degree derived their beauty and excellence from the hands of the chaser. Moser was at this time considered at the head of this class of art; and certainly the delicate character of his works and their gem-like finish might justly entitle him to this rank but opinion was divided between the merits of the two artists. The performances of Paye were by many thought to possess more the spirit of the sculptor, and less of the French flutter found in the chasings of Moser, exquisite as they were in other respects.

It is rather singular, and certainly to be lamented, that it should never occur to the promoters of these works, on which so much labour and finish had been employed, that, as trinkets more especially, they were liable by friction to be hourly destroyed, and their beauty effaced by the wear and tear of every day's use; nor was it alone the exquisite workmanship in the mechanical part of these chasings that was lost in this way, but the invention and composition of the artist, which in many instances exhibited great taste and skill, in like manner disappeared.

It is also remarkable that on these ephemeral ornaments were depicted subjects of a highly classical character, such as allegorical and other devices from the heathen mythology or the fictions of the poet; and such was the rage for the classic in art at that time, that, but for

the good sense of Mr. West, we should have had his Death of General Wolfe' under a figurative or allegorical representation: the same might have been the case in Penn's Treaty with the Indians**.

With this bias of public taste it is not wonderful that Paye at the outset of his practice should lean to subjects so authorized; and accordingly we find him employed on a grand historical subject, from the Roman history, where the virago Tullia is represented as ordering her eharioteer to drive over the dead body of her husband as it lay in the public way. It was while engaged on a sketch of this subject that a circumstance occurred to put to the proof all the energy and enthusiasm of the painter. Information was brought him that through some accident his brother had been shot: on hearing which, a wild and phrenzied glance was all that escaped him at the moment, and he continued in a hurried and rapid way to finish his composition.

The drawing from this sketch was never finished; but in what did appear, nature was studiously attended to, and the model used with skill and truth, both in the principal as well as the accessories of his picture.

But it was not long that our artist was permitted to exercise his powers in flights like these; the realities of life and an increasing family were now pressing upon him, and the subjects of his pencil became those of a familiar and domestic kind,—such as the sports and actions of children, in which he was acknowledged greatly to excel; and there was no want of models within his own circle. One of his earliest pictures in this way was a child sewing, seated among her ribbons and gew-gaws, in which the unpractised attempt of handling the needle, and the earnest desire to accomplish her purpose, were so happily depicted as to attract general admiration. This was we believe the first picture that he exhibited at the Royal Academy, which brought him into notice.

After this followed others of a similar character; as 'The Child of Sorrow,' 'Girl sketching a Boy on the pavement,' 'Children spouting Tragedy,' with its companion Children spouting Comedy,' from all of which there are prints. The first of these was engraved in mezzotint by J. Young, the other by J. R. Smith. At this time his paintings were of moderate dimensions, hardly exceeding a head or three-quarter canvas, with the exception of some whole length portraits; among which

It is well known that the late Benjamin West was urged to paint his 'Death of General Wolfe' in the way of allegory, and was in like manner desired by a relative of Penn that the philanthropist might not be painted in the costume of his sect. On this score the commission was declined; but good sense prevailed, and the picture was finished as in the print.