ther improved his style, till having acquired all the knowledge that human skill could give, he relied on his own genius and invention for the rest, and at once carried his art to perfection. The history of painting and sculpture abounds with similar proofs of the observation, that good models will do more than any thing else towards the improvement of the public taste and the advancement of the young student. With this view of the subject, I should apprehend that, till your Academy shall be furnished with excellent paintings as it is now with casts from the best specimens of sculpture, the progress made by the students in colouring and composition (both essential to perfection) will not be so rapid as the friends of the Academy could desire. The obstacle to this progress appears to me however not insurmountable, and the deficiency in paintings may be supplied without taxing the funds of the institution, provided its real friends will take a little pains to promote a plan for the purpose, both by their influence and example. The plan I would recommend is feasible; and though it might not immediately supply the young artist with the finest work of the best master, yet it will go far towards advancing the object in view. If you will give me leave I will suggest a few hints on the subject, which better digested and improved by some of your academicians may lead to the end proposed. From the circumstance of there not being in our country those immense fortunes which in Europe enter into competition. for the possession of valuable works of art, we might almost despair of seeing them in our private houses, admitting the taste to select and the desire to possess them to exist-On the contrary, when valuable paintings, at least considered such here, are offered for sale, the competition is not on the side of the purchasers, but on that of the sellers to find a purchaser; and I believe it will be admitted by those who have had any opportunity of remarking it, that of all the good, not to say fine, paintings thrown into this country by the French Revolution, few remain in it, and scarcely one that was sold brought its real value; it might to be sure be called its value here, because no more could be obtained for it; but, in many instances, charity alone prompted the purchase. There have been at times good pictures for sale, but they seldom changed their owner if his circumstances allowed him to hold them at what might be deemed their value -How else can you account for Mr. Trumbull being obliged to carry with him his very fine collection (not to speak of his own works, which it would have been patriotic to have kept in the country)? some of these pictures would have been considered as desirable acquisitions to any cabinet or gallery in Europe: If our means then will not allow us at this time to procure the chef d'œuvres of art, we must content ourselves with good copies, and good originals within the reach of an American purse. This will be facilitated by checking the too prevailing desire to have a collection, a cabinet, or a gallery-It would be a mark of good taste and sounder judgment if an amateur sacrificed a whole collection to obtain one picture of superior merit, it would be permanently useful as a model for imitation, and appreciate in value in the hands of its owner-Were each of your young gentlemen who visit Europe actuated by a sincere desire to serve the institution, they would soon accomplish the object, by making the sacrifice of some of the expensive and unprofitable baubles, which every one thinks it necessary to return home with, and apply the same money to the purchase of the best picture or statue (and only one) they could obtain, they would render a service to their country and add to the pleasure of themselves and friends through life. Suppose every young traveller to do this (and there are few who have not the means of doing it), what an advantage and an ornament to your city would it be! In almost every house there would be at least one good picture worth a 'travelling American's attention, and once a year the whole of these, or a selection from them should be deposited in the gallery of the Academy for exhibition and imitation, where they should remain at least one month. The copies which would be made, would soon find purchasers, and thereby doubly benefit the young student, by improving him in his art, and furnishing the means to prosecute his studies. And were the opubent of your city to appropriate, each, as large a sum as he could conveniently afford, and commit it to the charge of some young THE FINE ARTS. 495 friend visiting Europe, or to his correspondent there, to be applied in the same manner, under the direction of some artist or connoisseur, whose judgment could be relied on, as many pictures would in a few years be collected, of undoubted merit and genuine execution, as would form an exhibition important enough to attract visitors from the remotest parts of the continent, whither also the good copies would be carried. I need not enlarge on the advantages that in a pecuniary point of view would result to the Academy as well as to the city:-They are sufficiently obvious. I also take it for granted that our countryman, Mr. West, would make no small exertion, if properly applied to, to direct the purchasers to proper objects, were pictures to be bought in England. But I would prefer procuring the works of the best Italian masters, from Italy itself, where it can be done without difficulty, and at half the expense. Money laid out in this way, would be more valuably invested than in a profusion of plate and expensive jewelery, which never appreciate in value; whereas pictures are not only the handsomest ornament of a house, however splendidly it may be furnished in other respects, but descend with increasing value to remote generations. Should it be objected that in public exhibitions of an Academy of Arts, new pictures only are allowed-I will grant that this is the case in old countries, and for obvious reasons-There does not exist the necessity of exhibiting pictures of the old masters, as collections of them are found everywhere, to which access can readily be had for a mere trifle. This may be the case here in process of time, particularly if my plan of introducing good pictures into the country should take effect, and then these will only be seen in the annual exhibitions of original works which will no doubt mark the rapid progress of our artists, and lay the foundation of the American School. It is flattering to look forward to such a state of improvement, when in the same manner as we now exchange the natural productions of our various climate, for those of other countries, and to our national advantage, we may hope to see the balance of our com merce in works of art, form no insignificant auxiliary in increas ing our balance of trade. Baltimore, Dec. 14, 1810. A LOVER OF THE FINE ARTS. FOR THE PORT FOLIO.-ORLANDO, A POEM. MR. EDITOR, AMERICA has long, and very justly, been accused of negligence, in cultivating and fostering the genius of our country. Our poets, our painters, and other retainers of the fine arts, seek for patronage in a foreign country. Why is this?~~The following reason has been alleged in excuse: That men, who are busy in making their fortunes, have not time to attend to the polite arts; but that as opulence increases, society becomes more polished. Such an argument cannot now be maintained, as the country has amassed immense wealth, and many private citizens are in possession of princely riches. May we not, therefore, have reason to hope that such citizens, by their liberality and generosity, will prove they are worthy of living in a land of liberty; that they will not suffer American genius to pine in obscurity for want of patronage. The following poem, which I wish to introduce to your notice, was written by a young friend of mine, a resident of Trenton (N. J.) who has not yet attained his seventeenth year. His age is not mentioned to excuse any faults it may contain, (though after such a precedent as the great Addison has set, it might be done without a blush) but that it may be treated with more friendship, and less severity. Pope's Pastorals, written at about the same age, although they contain little to recommend them, but a brilliancy of versification, were received by critics with the highest approbation. Had Chatterton's Works been composed at a more advanced period of life, I doubt whether they would have been received, with half the regard, or treated with half the respect. The present poem is far superior to the Pastorals, but perhaps inferior to Chatterton. The author was about committing his work to the flames, when luckily I rescued it, and obtained permission to insert it in your valuable Miscellany, on condition of keeping his name secret. It is my opinion that if this poem was received with due encouragement, that at some future period of life he would produce works, which would do honour to himself and his country. I hope no unfeeling critic will attack this juvenile production; but the pen of a friend he demands, who will point out faults and beauties alike, that the former may be corrected, and from the latter the merit of the poem know The scene is laid in the south of France, which all travellers have described as a very beautiful country; and the author has with accuracy preserved the characteristic features of the country. From the first canto the reader cannot judge of the plan; suffice it then to say that the basis of the poem is a simple tale, and if encouraged, the author intends completing it in three Cantos, when in all probability he will disclose his name. The form of the stanza, is, I believe, original; though the idea of it is derived from Spencer. The versification is sometimes brilliant and vigorous, mostly correct, and few faulty lines, which on account of his never having reviewed it, have escaped. Of that great poetical beauty the consonance of the sound to the sense, he has many elegant examples, take the following, of a torrent, Hoarse dashing down, the 'whelming torrent pours. and afterwards its spiral course through the rocks, Then winding through the steep, the current roughly roars. The following very spirited line is, I believe, original in poetry: And the wild chamois bounding up the steep. as is also the representation of the vintage. In description some very beautiful and sublime passages could be produced, as those of morning and eve, which are very well contrasted; and stanzas thirteen, fourteen, and twenty-fifth, and others. In short, Mr. Editor, if you think this noble genius of sixteen, worthy of encouragement you will publish it in your next number; which should you do, I am persuaded my friend will continue the work.. Yours, &c. M. ORLANDO-A POEM. CANTO I. 1. SOME men there are, cold as the winter's snow, Whose souls were never touched by poet's strain, And ride aloft on heaven's azure main; Or laid supine, upon a, flowery bed, Along the banks of some clear gravelly brook, Who has to gain his love, her native stream forsook. |