Зображення сторінки
PDF
ePub

EUROPEAN MAGAZINE,

AND

LONDON REVIEW.

SEPTEMBER 1822,

MEMOIR

OF

JOHN MARTIN, Esq.

Historical Painter to his Serene Highness the Prince Leopold, and her late Royal Highness the Princess Charlotte, of Saxe Cobourg,

WITH A

PORTRAIT TAKEN FROM LIFE EXPRESSLY FOR THIS WORK.

THE history of Literature, Arts and Sciences is replete with the misfortunes of men of genius; and we can discover but few men, who have done honour to the human species, whose shining abilities have been fostered by the benevolence of power, or rewarded by the still more legitimate patronage of an enlightened public. The age of Pericles, the celebrated reign of Augustus, and the times of Cosmo and Lorenzo de Medici are, perhaps, the only periods in the annals of the world, during which the page of history has been brightened by the rays of protected genius. Persecutions have almost invariably followed and obscured the dawn of genius, and its possession has more frequently been a curse than a blessing to its possessor. New lights, shed on the dark hemisphere of ignorance, have generally been immediately darkened and destroyed by jealous power, or persecuting superstition. We may lament over the sad fate that has awaited the sons of genius, but the circumstances are more calculated to awake sympathy than create surprise. In proportion as the public mind encreases in knowledge, so will encrease the patronage of the arts among the powerful and the rich; who are ever ambitious to signalize themselves by the acquisition of qualities, that render them conspicuous in the eyes of the world. A demand for the productions of genius will Eur. Mag. Vol. 83.

always provide an adequate reward; and the best market, that can be sought for, exists directly or indirectly in the mental cultivation of all classes, which must be inevitably followed by an admiration of the highest powers of intellect and by refined taste. To this enviable state England, at the present time, seems making a rapid approximation. The encreasing knowledge of the lower orders necessarily commands a more refined and extensive intelligence among the higher classes of society; and it is nothing but strict justice to assert that in no period of the history of this country were the arts so generally patronised, or so successfully cultivated. This observation particularly applies to sculpture and painting, and the subject of the present memoir is a living instance of the fact. On him the patronage of the powerful and the rich is beaming, while the public in general encourage him with their eagerness to view his exhibitions, and the justice of this united patronage, due to transcendant talents, will be confirmed and eulogized by posterity.

Mr. Martin was born at Haydonbridge, an obscure town in Northumberland, on the 19th of July, 1789; although born in a place that presents no opportunities for the developement of talent, this son of genius rose from the obscurity in which he was nurtured, by the native powers of his mind, assisted by undeviat

2 A

ing perseverance, and an exercise of the moral virtues. At a very early age, his mind was directed to the art of painting from seeing some efforts of drawing executed by his brother, who had practised that art, in a minor degree, at some other place: these efforts he instantly surpassed, and the generous and sanguine praise of his brother fanned the latent flame of his nascent genius, which has since risen into meridian splendour. When he was about the age of fourteen his father removed to Newcastle-upon-Tyne, and this circumstance, perhaps, decided his destiny. Even the signs suspended before the inns were objects of admiration to his untutored mind, and afforded him rude materials on which he exercised his incipient powers. Although at this time particularly partial to boyish active sports, he would frequently forsake them in order to compare the signs with each other, and continually traversed the town from one end to the other for that

[ocr errors]

purpose. His friends were at first decidedly averse to his following the arts in any shape as a profession: but at last were prevailed upon to comply with his decided inclination, and with laudable care selected herald painting, as a branch of the art which would at all events be lucrative; with this provident design he was apprenticed to a coach-painter in Newcastle; but, in consequence of some disagreement, he did not serve the full time of his apprenticeship. At this critical period of his life, Mr. Martin found a friend in Mr. Muss, (father of the celebrated enamel painter of that name now in London) by whom he was kindly noticed and faithfully in structed and to whom he owes ob ligations, which he unceasingly, ac knowledges with all the gratitude and respect, that can be felt by a man capable of the most honourable and lasting attachments. About the age of seventeen Mr. Martin ventured up to town, buoyed up by all those vast hopes, that animate an aspiring mind conscious of extraordinary powers. He could no longer bear to be a burthen on his parents; and with the slenderest pecuniary means, at this early age, he entered on the arena of life, confidently relying on his talents, assisted by propriety of

conduct and invincible perseverence. He left Newcastle with a strong recommendation from his earliest friend Mr. Muss, to his son, who was already established in London as an enamel painter, and with a portrait of his master and a view, as specimens of his abilities. Under Mr. Muss, junr. he soon distinguished himself, but secretly sighed for eminence in the highest walk of the pictorial art, historical painting. He was scarcely twenty years of age before he ventured on matrimony, and although this proceeding increased his difficulties, it animated his exertions, and after spending the day upon a tea cup or a vase, he employed his evenings in some romantic designs, generally made in Sepia, in the working of which he has excelled every artist of his time. At this period he made many beautiful drawings which were very much admired, particularly by the late Earl of Warwick, and the late Princess Charlotte; however, these testimonies rather delighted than satisfied his aspiring ambition, and his ardent mind panted for the premium at that time annually given at the British gallery, for the best historical painting. His first essays, like all attempts at original style, met with few admirers; the defects of a young artists are but too palpable to the most common observer; and it requires penetration and judgment to discover latent excellences, and the bursting irregular energies of rising genius.

The first picture that attracted any considerable praise, SADAK IN

SEARCH OF THE WATERS OF OBLI

VION, was purchased by Wm. Mannig, Esq, the Bank Director.

The second was, ADAM AND EVE IN PARADISE, purchased by Spong, Esq. of Kent.

The third was, JOSHUA, first exhibited at the Royal Academy, and the year after at the British gallery, where it obtained the premium.

The fourth was the DESTRUCTION OF BABYLON, exhibited at the British gallery. The purchase of this picture, by H. P. Hope, Esq. for four hundred guineas, was made in the most liberal manner, and with the politest attention.

The fifth picture, BELSHAZZAR'S FEAST, exhibited at the British Gal

lery, raised the subject of this memoir to the highest pitch of celebrity; and we are sorry to be obliged to say, that the purchase of this excellent production was attended by circumstances of the most disgraceful nature, which prevented it from becoming the property of the Duke of Buckingham. It was exhibited afterwards to the public, and more than 50,000 persons paid for admission to see it, although it had been previously exhibited at the British Gallery.

The sixth and last picture, painted by this eminent artist, was the DESTRUCTION OF HERCULANEUM. This is, at present, Mr. Martin's chef d'œuvre, and is sufficient to hand his name down to the latest posterity: it was painted for his Grace the Duke of Buckingham, for the sum of 800 gnineas, and was exhibited together with Belshazzar's Feast, &c. at Mr. Bullock's Museum. While this pic ture was in progress, the artist was three times offered. the sum of one thousand guineas.

We cannot conclude this memoir

without mentioning the names of some admirers and encouragers of

the arts, who have honoured Mr. Martin with their liberal patronage. The late Earl of Warwick, her Royal Highness the Princess Charlotte, Lord Ennismore, the Duke of Buck! ingham, Thomas Wilson, Esq. Wm. Manning, Esq. and John Belisario, Esq, who has proved himself not only a liberal patron but a kind friend.

Mr. Martin is engraving his Josh. UA and his BELSHAZZAR, from the original design in the possession of Thomas Wilson, Esq. and is further employed on a work of perhaps much greater sublimity and difficulty of execution, than he has hitherto painted-the subject is SARDANAPALUS, OR THE FALL OF NINEveh.

We must here conclude this memoir, with wishing the subject of it a long, healthy, and prosperous life; in order that he may still further add to our elegant enjoyments, and the honour of his country. Let those who would profit by his example and arrive at his envied distinction, imi tate his industry, his temperance, his activity, and his perseverance.

TO THE MOON.

In thy fair visage, Moon of Night!
So purely, mildly, sweetly gleaming,
With soft and palely-glancing light,
The effigy of God is beaming.

When 'neath the weight of sorrow pining,
Thou castest comfort, rest on me;
And e'en illum'st, whilst brightly shining,
The dark robe of futurity.

When joy's mild shout around me rings,
To watch thee is my fondest duty;
When pleasure to my heart-pulse clings,
Thou smil'st on me in silent beauty.
My spirit in thy blest light strayeth
Towards the high Eternal's throne,
And thro' its heaven-wrought organs playeth
The music of the seraph's tone.

O! then, the calm which wraps the air,

My heart from thy soft beam can borrow

And offers up to God its pray'r,

In smiles and tears, in joy and sorrow.
The storm, too, oft times blows awhile,
And darkness o'er our path-way lieth,
But suddenly, thou deign'st to smile,
The clouds are gone, the tempest dieth.
O! when in ev'ning's stillness musing
On thee, with wishes undefin'd,
I feel sublimer thoughts diffusing
Their holy influence o'er my mind.

AZAR.

APHORISMS, OPINIONS AND THOUGHTS ON MORALS.

As the meanest scrap of gauze, of bead, or of tinsel, looks beautiful and costly through the mirror of the kaleidiscope, so does the most common and dreary scene acquire attraction and value, when beheld through the beautifying medium of gratified affection, and in the society of those whom we tenderly love.

Whatever merits we possess, I fear that it is always better for us not to allow ourselves to be seen too often, and too long, as we all grow tired of concealing our defects; and consequently, the more we are known, the less we are esteemed.

If we took as much trouble to conquer as to disguise our faults, we should get rid of them very soon.

It is always a mark of true superiority, to be able and willing to talk on trifles with those who can converse of nothing else—it is the surest way of pleasing also ;-for most persons charm less by displaying their own talents, than by calling forth the powers, or kindly throwing a veil over the deficiences of others. "Thou shalt not put a stumbling block before the blind, but shalt fear thy God." Lev. xix. 14.—I could write pages on this text-as nothing is more common than, in a figurative sense, to " put a stumbling block before the blind;" that is, to put temptation to fall, in the way of those who are, we well know, little able to withstand it: as for instance, to urge the man, who has a propensity to drink, to fill his glass, is putting a stumbling block in the way of the blind, and is disobeying the commandment to fear God; for whatever crimes or immoralities that man may commit, while under the influence of the wine which you have thus led him to drink, you have made yourself responsible in the eyes of a Just Judge. I must indulge myself with inserting here the following short but instructive tale: A dervise, walking in his little garden, looked up, and lo! a genius stood before him—“ I am commissioned," said he, "to inform you, O! dervise, that you are destined to commit one of three great faults-murder, adultery, or drunkenness; but you are allowed

to choose your offence." The der vise instantly chose to be guilty of drunkenness, as the least fault of the three-the consequence was, that while intoxicated, he committed the other two.

66

"In the adversity of our best friends," says Rochefoucauld, in his two hundred and forty-first maxim, we often find something which does not displease us." This is true, I believe; but whatever there is offensive in the sentiment may be explained away, thus:-We all love to render services to those who are dear to us; and it is only in their afflictions that our friends require our aid. A somewhat similar excuse for his own maxim, which has often been severely censured, is contained in his next-the two hundred

and forty-second. "We easily console ourselves for the disgrace of our friends, when they serve to prove our tenderness for them."

In maxim 267, Rochefoucauld says, that" the pleasure of love is loving, and that one is happier through the passion one feels, than that which one inspires. I think this is only true; where the affections are stronger than the vanity, and that is a rare case; where the selflove is stronger than the affections, delight results not from feeling, but from inspiring passion. How ashamed should we often be, were we resolutely to unveil to ourselves the true motives of our actions!For instance-we praise the beauty, or the talents of such an one, and with an ardour that appears most generous and exemplary; but search our motive, and it will often be found, to be the wish of mortifying some one who listens to us, or a desire of appearing candid and liberal in the eyes of the company. The poet Thyrsis is notorious for never praising any one, except when he fancies he mortifies the person to whom he speaks by doing so, as his envy is far greater than his talents. "I met Thyrsis to-day," said a wit, of his acquaintance, of his acquaintance," and I told him, that I could not read ten lines of C's. poetry-asked me to dinner directly."

66

When Bifrons smiles in my face,

and hopes I am very well," said Levihanes, of a very treacherous acquaintance, "I know that he means go to h-ll.'".

[ocr errors]

66

I

Love," says the Italian proverb, "is like a hole in a black stocking-it is discovered instantly." If (says Rochefoucauld) there be a love, pure and exempt from any mixture of other passions, it is that which is concealed at the bottom of the heart, and of which we are ignorant ourselves." This might be true, were it not (in my opinion) impossible for any such love to exist. cannot believe that a passion, which, if it exists at all, is always the governing motive of one's actions, and the ruler of all one's feelings, can remain long undiscovered by the person whose heart has conceived it, though it may be hidden from the knowledge of every one else. There are many persons who never like or dislike any one, but from the mean instigation of gratified or offended self-love; and one becomes, in turn, a fiend or an angel in their eyes, only as one has fed or mortified their vanity. I am convinced, that vanity is not only a universal feeling, but that it is oftener a deep-seated and all-pervading passion than we are any of us aware of. That person is very far from being pure, who is apt to see impurity in the most indifferent actions.-When I see women given to suspect other women of unchastity, I am apt to believe, that they know the secret weakness of their own hearts, and are con

scious, that so tempted, they should have erred themselves.-The truly virtuous woman is not only pure herself, but is slow to give credit to the impurity of others.

Familiarity and intimacy have the same effect on the light in which some characters appear to us, when viewed at a distance, which sunshine has on those towers and buildings which we beheld and venerated, when seen by the pale moon-light. Sun-shine divests them of the awfulness and grandeur which moon-light had bestowed, and the supposed greatness and beauty of a character often disappear on a nearer approach to, and on a further knowledge of it.-I scarcely know a better lesson than is contained in the following proverb :-" It is difficult for an empty purse to stand upright.'

[ocr errors]

Jealousy and Love are twins; but it is lamentable to think, that when Love, the pleasing twin, dies, Jealousy, the unpleasing one, usually survives, and is as vigorous as ever. -The cause is, that Jealousy had the strongest and most attentive nurse-namely, Self-love; and Selflove shrinks with aversion from the mortification of being forsaken.

How affecting are a man's tears! Those of women are as common as dew-drops, which are the production of every evening, and every night; therefore, but little regarded.-But the tears of men are like the rare and costly drops of Attar of roses, and every drop is precious, in proportion to its rarity.

DESCRIPTION OF ATTUSH KUDDA, OR THE TEMPLES OF FIRE OF THE GUEBRES,

FORMED FROM BURNING FOUNTAINS OF NAPHTA.

THE ancient sect of the Guebres, different from all other worshippers of fire, derived its opinions from Zoroaster. The Guebres were of Persian origin, but after having met with great persecution, many of them quitted the kingdom and formed an asylum at Bombay and other establishments on the Malabar coast. Those who remained in Persia are more miserable than their emigrated

brethren, through the oppression and exaction of the government they are reduced to the most abject state of degradation.

The Persian Guebres principally inhabit the banks of the Caspian Sea, and the towns of Ispahan, Yerd, and Kerman. Their great temple of fire called Attush Kudda, Atashgah, or Atechgah, is in the neighbourhood of Badku, which, before it was con

« НазадПродовжити »