pictures since their first commencement, (sums that in all probability, but for provincial institutions of this nature, would have flown in some other channel foreign to art,) it must add a pleasing feature to the proof of the benefit which has already been effected by these annual exhibitions.

Taking it for granted that all admit the general benefit as far as it has already been extended, at the same time there is great reason to deplore the lack of patronage for the supply. The question now is, why is it that there is not more patronage at these places? and what way shall we now exert ourselves to advantage?—An intimate acquaintance with several parties of the different provincial institutions, from whose deep experience, joined to a careful observation of some years, induces me to the conclusion that the principal reason why there has not been more patronage to these places, arises chiefly, in fact almost entirely, from a want of co-operation of the artists themselves with the labours of those who conduct annual exhibitions in the country, and in no cases more than of the celebrated and leading artists of the metropolis. However pained I feel in hearing it continually sounded in my ears, the illiberal feeling and jealousies of artists towards each other, and, like the Editor of the "Library of the Fine Arts," I oppose with all my might, and deny the accusation; yet, in the present instance, I am grieved to bear witness that so few of the Royal Academicians send their works to provincial exhibitions. Far be it from me to suppose, with some, that it is because they have Somerset House at their command, or that, as far as self is concerned, they experience no lack of patronage, and therefore, though they are ashamed in this enlightened age to say less than "Be ye warmed and be ye fed," yet hold not out a helping hand to their brethren by contributing to attract public attention to an exhibition :-If, however, such there be who act from this feeling, they merit not the thanks of their fellow-men-they send not forth their golden treasures to promote the taste of their country; such, in very fact, are of that class who oppose the liberal diffusion of knowledge. But let us not entertain for one moment the idea that they are satisfied with Somerset House alone, and say, "It is enough for us." Such a neglect in fostering and promoting provincial exhibitions must have arisen from a want of leisure to consider the important subject. They, as great public men of the nation, have a character to sustain; and it must be obvious to them, as well as to other persons, that if the titled and talented in art look coldly and indifferently on, well may there be a paucity of patrons. Again, there are those in the profession, though less elevated in rank, yet equally exalted in talent, so near-sighted, that, because they have not sold their

own works, will cease to contribute to keep up an establishment that must do good to others, while, at the same time, they have the like prospect of sale: this, without any breach of charity, may be justly put down to the score of selfishness. There are many other similar reasons given by artists, which might here be stated, that are also ruinous to the prosperity of provincial institutions; and but from a knowledge of the dispositions of many who thus excuse themselves, being men of the utmost liberal, generous, and disinterested nature, one would place it to the account of narrow-mindedness; but I believe the truth is, that the subject has never been sufficiently considered by artists. Next, we ask, in what way shall we now exert ourselves for the more effectual promotion of the Fine Arts of the nation? Considering that the liberal diffusion of knowledge, of literature, and the arts, is beneficial to the prosperity and happiness of mankind, and that provincial institutions are powerful auxiliaries, I should recommend that a Society of Artists be formed in London for the better regulating of annual exhibitions in the country;-that they should correspond and cooperate with the managers of all provincial institutions;-that they should arrange the time of the exhibitions opening and closing throughout the country, that they might not interfere with each other;-that they should unite in their exertions to apply plentifully both their own works and those of their friends. When we look at the numerous parent Societies in London, for the general promotion throughout the kingdom of various objects, we cannot but lament the artists being so deficient in exercising the advantages they have in their power, as to extending the means of encouragement, and promoting a greater feeling for works of art in the kingdom. It is to be hoped, then, that some of our liberal and influential brethren of the easel will see the importance of attention to provincial annual exhibitions; and that, seeing the necessity of a more extensive patronage, they will unite and cooperate in every possible way for the more effectual promotion of the Fine Arts.

[To be continued.]

London, March 10, 1832.

SIR, I observe in the newspapers a return of the money granted by the French nation for the encouragement of art, and the maintenance of institutions connected with it. If a similar statement were produced in our own country, it would exhibit the paltry sum grudgingly bestowed for the support of the British Museum.

Justly, indeed, did Napoleon stigmatize us a "nation boutiquière."

Let but a hint be dropped of a vote towards the encouragement of any desirable object in art, and which it would be for the national honour to obtain, and it is treated with neglect by the Government, and with ridicule by the economists in the House of Commons. I will mention two

or three instances. The armour in the Tower had long been a matter of ridicule to all acquainted with the subject: the confusion of periods and styles was in the highest degree absurd. A gentleman of the greatest knowledge in this matter proposed to arrange and class it in a proper manner : "It can't be done," was the official reply, "there is no money for such purposes." "I will do it for nothing;"-and for nothing was it done. It is now an exhibition affording a most gratifying treat to such as take pleasure in contemplating the military habits of their forefathers, and of real utility and authority to numbers of artists. Dr. Meyrick has the undivided honour of this spirited undertaking, and the satisfaction arising from having rescued one of our exhibitions from well-merited obloquy. The Government has bestowed a Knighthood upon him,-an honour which any City Alderman, or any member of that renowned committee who would have destroyed the Ladye Chapel, and have excluded from public view one of our finest ecclesiastical monuments, may at any time obtain for asking.

Sir Thomas Lawrence was desirous, as expressed in his will, that his invaluable collection of drawings should remain in this country :—when the propriety of the purchase was mentioned in the right quarter, the suggestion was treated with a contemptuous smile. The worthy Mr. Woodburn is now most honourably wearying himself in endeavours to secure the collection for this country by private subscription; but the desperate state into which our rulers have plunged this country has nearly convinced that gentleman of the hopelessness of his efforts. Few will be inclined to contribute to such purchases, which may, perhaps, be sacrificed in a few moments by a well-excited mob, such as attacked the house of the Duke of Wellington, but happily did not destroy any of his fine collection of pictures. Sir Thomas Lawrence's drawings will, in all probability, quit the country, and become, like the Houghton collection, the property of some nation whom we, in our conceit, style barbarian.

The National Gallery is another specimen of our shopkeeping taste. The proposal of a sum for the erection of a suitable building for this purpose would be received very coldly by most of our representatives, and would drive our economy Members frantic at the bare mention of such a thing. When I recollect that the most distinguished member of the present Government exerted himself to the utmost to prevent

the purchase of the Elgin marbles, and availed himself, on the score of expense, of so paltry a quibble as "they asked for bread, and you gave them a stone,"-with such a feeling prevailing in the highest and most influential quarter, it is in vain to hope for any encouragement of works worthy a refined nation, the expense of which,-if that is to be the sole consideration,would be returned with compound interest.

The nation's money is voted away without a sigh upon the Bankrupt Court, and the Reform scheme, which is to put I know not how many guineas per diem into the pockets of briefless barristers; but for the cultivation of the liberal arts, and the preservation of the monuments of the taste and splendour of our ancestors,—not a shilling. Truly indeed has it been said, that our boasted advance in knowledge is a vain and empty boast; for in the departments of painting, sculpture, and architecture, our efforts, compared with the works of former days, are feeble indeed; and whilst the present spirit pervades the Legislature, improvement is not to be expected, nor its decline a matter of wonder.

I am, Sir, yours, &c.
M. I.

SIR,-Seeing in the last Number of the "Library of the Fine Arts" an Article entitled "Last Moments of Henry Liverseege," in which certain reflections are cast upon a memoir of that artist, said to have been written by Miss Jewsbury, especially with reference to the return of a drawing there mentioned, I beg leave to hand you copies of the correspondence upon the subject, which will enable you to form perhaps a different opinion of the conduct of the parties, and to give such explanation as in justice you may consider necessary. W. K. F.

[The passage referred to by our correspondent we presume, is that where it is said, "On an intimate friend of Liverseege's writing to Miss Jewsbury, telling her of the inaccuracies and untruths mentioned in her memoir, the lady became offended, and has since thought proper to return to the family the water-colour drawing" given her by Liverseege.— Upon reading the letter written by the "intimate friend of Liverseege's," we must say we could not be surprised at any one becoming offended, so perfectly unjustifiable was the tone ;-but that whether this was the case in the present instance could not be discovered from the answer, which was much more temperate, and even expostulatory in argument, than could be expected. It is there stated (and we believe from other circumstances it was long before the intention), that it was because Liverseege's sister was not well provided for, and as the drawing might

be more valuable to her, under present circumstances, than to Miss Jewsbury. The drawing was therefore evidently returned from the kindest and best feelings, which we feel assured alone had actuated Miss Jewsbury in the part she had taken on the subject.

While making this acknowledgment in justice to one lady, we cannot but take the opportunity of expressing our regret that the author of the article "on Copying" should have allowed his affection for his Art to supersede his regard for the courtesies of society, and make such remarks as he has done upon the ladies who are in the habit of studying at the British Gallery. Ill health prevented last month the due superintendence of this work by the Editor, who but for that circumstance would have rejected every expression bordering upon personality. He feels a pleasure, however, in considering that it is the first time since the establishment of the publication that such an ill fortune has occurred.]

MR. EDITOR,-As a subscriber to your popular periodical, I have hailed it from its commencement as one bringing with it much interest and attraction to every lover of the Fine Arts. The portraits and memoirs you have given of Jackson, Northcote, Lawrence, Harlow, Sandby, Fuseli, Liverseege, Paye, and Bonington, I consider invaluable, not only for their originality, but from their forming an interesting continuation of Walpole's Anecdotes of Painting in England: but I perceive, from your communication in your last Number, that you now purpose giving portraits of the most eminent of the living school, and doubtless such an intention may still enhance the value of your work. But at the same time permit me to suggest, that alternately you might present, in continuation, a portrait and memoir of the most talented artists from the commencement of the Royal Academy, of vast numbers of whom little has been made known except in name and estimation of their works. You would thus be upholding mutually the fame of the living artists, and be strewing laurels over the graves of the illustrious dead. And surely, Mr. Editor, you have ample stores, when such a host of names present themselves, alike interesting in the various departments of the Arts, to the amateur, artist, and historian. I am, Sir, your obedient servant,

March 13th, 1832.

R. W.

[Agreeing with our correspondent in the propriety of the course he suggests, as well as of the character we should wish to obtain for our labours, we cannot pass over the opportunity of expressing our assent