SKETCHES BY A TRAVELLING ARCHITECT. EXETER wears an important and city-like aspect;-compact, respectable, and sufficiently bustling. Were it south of the Alps, we should hear of a thousand beauties which now lie unappreciated; for the site of Exeter, charming in itself, is the centre of a panorama including spots more charming still. The modern architecture of the city can boast of little beyond the virtues of modesty and neatness;—but can we conscientiously desire more than such a cathedral as St. Peter's,—a ruin so interesting as that of Rougemont,—and a thoroughfare so picturesque as the Fore-street? The latter includes every variety, from the Elizabethan gable to the modern horizontal parapet; and in the umbrageous walk of Northernhay we have all those natural beauties which, in the cathedral, are so felicitously " emulated in stone." Impressed with the loftier proportions of Salisbury, the perspective of Exeter nave and choir seemed at first something wanting in elevation; but in no other respect could any improvement of the interior be rationally desired. The main body of the church within and without, is more than usually consistent in style, and pervading in richness; but the two Norman towers are poorly matched with their more recent adjunct, though we are grateful for their preservation, at whatever sacrifice of congruity. In the distance, they look more like portions of a fortification than cathedral appendages. The entire mass, however, wears a singularly imposing aspect, when viewed from the elevated gravel terrace in the Castle-yard. Plymouth is a rapidly improving place; and as the prophets say it shall be everything, we will be the more brief in our present comments. It contains several public buildings, which only leave us to lament the use of plaster instead of stone. The elevation of the principal structure (which includes an hotel, theatre, and assembly-room) is of grand dimensions and noble simplicity. Its Ionic porticos are of the true Ilissus family, and are well neighboured by the sturdy Doric of the Athenæum close by. At Devonport are also two Grecian specimens of more than ordinary beauty, viz. the monumental column and the portico of the Town Hall, both Doric. The former was erected in 1824, and commemorates the pride of the Plymouth Dockers, which induced them to reject the name of their venerable mother town, and to assume the high-sounding title of Devonport. Their pride, however, does not seem to have been purse-pride; for the column is not yet (1831) paid for! It is of granite, fluted, not quite six diameters high, measuring sixty-five feet four inches from the bottom of the shaft to VOL. III.-No. 16. 3 E the top of the capital, and making, with its crowning and inferior pedestals, a total altitude of one hundred and one feet, four inches. The portico of the Town Hall finishes with a horizontal blocking course, and is yet essentially Doric, although no triglyphs appear on its frieze. The depth of the pronaos, and elevation of the entrance door upon a second internal landing, are admirable features in this building, which, with the others already mentioned, confer enviable honour upon their designer, Mr. Foulston. A reference to the accompanying plan and section will more clearly explain the peculiarities of the Devonport Portico, which may be further described as equal in size to that of Covent Garden Theatre. Of the several leading private residences in this neighbourhood, I had time and opportunity only to visit that of Mr. Norman, which may be regarded as a Grecian casket of choice design, inclosing an exquisite collection of Italian and other gems. At Saltram (the seat of the Earl of Morley) is a valuable selection of originals by Sir Joshua and the old masters, and some singularly felicitous imitations of Teniers by the Countess of Morley.-Mr. Tolcher also possesses a collection of paintings, including two choice Claudes; and at an exhibition in the Athenæum of Plymouth I had the gratification of seeing two of Vandervelde's happiest performances, belonging to the Earl of Mount Edgecumbe, and several highly interesting sketches by Vandyck, from the Earl St. Germain's gallery. To leap from the elegant to the mere scientific, our attention is vociferously demanded to the Breakwater. I say 'vociferously,' for the rolling billows of the English Channel are not less audibly than visibly manifest, as they exhibit their continuous mile of foamy anger at the effective daring of human power, which seems at length to have substantiated Canute's command to the ocean, "Thus far shalt thou come, and no further!" The pride of the Old World is now constantly receiving check in the more extraordinary works of the New,-not, certainly, as regards the poetry of art,-but, unquestionably, as respects the practice of constructive science. The abstract demands of mere colossal magnitude are to be answered by means which no country, under a liberal and Christian Government, would desire to see available. It is the quantity of mind employed in the Plymouth Breakwater and Eddystone Lighthouse, which renders them far more astonishing, and as much more truly estimable, than the great Egyptian Pyramid, or the Alexandrian Pharos. The adjoined plan and section of the Breakwater, with its general dimensions, will not be uninteresting. PLAN The dotted lines show the high and low water levels. Length 1760 14 While the Breakwater is admired as a work of mere utility and magnitude, the Eddystone Lighthouse possesses a triple charm: as a brilliant gem of constructive science, as an object fascinating in its form and situation, and as characterized by a noble purpose of humanity. Elevated on a head-land, or isolated within a short distance of the shore, it would claim (and, indeed, merit) little comparative interest: but, rising, as it does, amid the swelling billows of the open sea, apart from all but an occasional and brief communion with the social world, either shrouded in the black horrors of the ocean storm, or gleaming in un participated sunshine, it acts upon our senses with a spell of magic, and finely typifies the quality of truth,-" Immutable, immaculate, and immortal," firm alike in weal and woe, unaffected by the ever-floating change of surrounding existence, and serene amid the vainly threatening surge of worldly scorn. COLONEL HAMILTON SMITH'S COLLECTION OF DRAWINGS. If a stimulus to industry were required by a man, naturally capable but habitually indolent, I know not where he would be more likely to find it than in the sanctum of Colonel Smith, one of the most valuable members of the Plymouth Institution. The lower range of his bookshelves exhibits a long line of large quarto-sized portfolios, in which are classed the pictured forms of all sorts of men, and of every sort of thing that men "see, hear, or discourse of.” Instinctively propelled at a very early age to use the pencil in copying from the prints of Buffon and Pennant, he had, before the age of fifteen, formed such a collection of birds and beasts as would supply the wired apartments of the Zoological Gardens, and afford an ample superflux for Bartholomew Fair. A collection from nature was subsequently made during a voyage and residence abroad. This was destroyed by accident,—but not the student's zeal, which led him on through all the varieties of the human figure, through the fearful mazes of the lion's monarchy and the eagle's empire, and made him plunge into the deep to establish a connexion with its finny occupants. Then he dived into the mysteries, matters, and things of Egypt, Persia, and India, of Greece, Rome, and Britain; revelled in the gorgeous state of the ages of chivalry; made himself as well acquainted with the costumes of centuries, as Mr. Stultz may be with the fashions of the day; boarded every vessel, from the earliest canoe to the Caledonia flag-ship of Plymouth, and sketched from the summit of Mount Ararat every topographical variety between China and the Sandwich Islands. And now, call upon him when you will, he is still in full activity, making drawings as if he were writing despatches;-in short, to use his own words, acquiring knowledge by the direct use of pictorial forms. You must regard my collection," said he, "with reference to the spirit which directed its formation; that is, as a cabinet of types, conveying a more accurate notion of the given objects than could be afforded by description, however precise or eloquent." But it must not be supposed that the sentiment of art, skilful design, or beauty of colour, have been neglected, since the drawings under notice are of equal worth critically or typically. The facility and fearless decision with which the figures are sketched are not more remarkable than the rich and harmonious effect of the coloring; not that they are all finished specimens, since many are only so far advanced as to exhibit the requisite characteristic minutiæ." That this omission impugns not the Colonel's perseverance, will at once be allowed, when it is seriously stated that the number of drawings amounts to TEN THOUSAND ! 66 66 On my regretting the ignorance of the world with respect to the value and extent of his labours, Colonel Smith expressed an idea of introducing to the public such of his materials as might more immediately forward the interests of the Fine Arts. In this particular his collection of costumes would be of incalculable value. "I would adopt," said he, "the form of a series of familiar letters to a real or imaginary personage, whom I would assume to be a young painter entering the historical walk of Art; because this would admit of occasional desultory observations upon general principles and particular points. I might therein revert to some practices of the ancients, (which have not attracted as they ought to do the attention of writers upon Art,) to the nationality of beauty in the types of modern schools, &c. &c.: though I should, of course, chiefly regard the crying necessity for a correct knowledge of costume. I would also review the climate, geology, botany, and architecture of nations, taken seriatim; and then notice the races of men who inhabit them; their manners, customs, arts, dresses, weapons, religious practices, &c. so that an artist might have at hand the means of being not less historically true than poetically forcible. Thus I might com-, mence with the fabulous and heroic period of Greece, embracing all the legendary æras of Egypt, Assyria, and the East; and show from the remains of ancient art in what manner the mystical truths or personifications of dogmas have been treated, remarking that gods and heroes were not all represented naked until Grecian art had risen to its zenith. In treating of Egypt and the events of the Pentateuch, I would show the Pharaohs, not dressed like modern Turks,-not in a country of verdure and trees, with cloudy skies and fancy buildings, but the atmospheres of the Nile and Desert, the land of the date, the palm, the sycamore, the lotus, and paper-reed; crowded with obelisks, colossal temples, sphinxes, huge statues, vessels of reeds, the men nearly naked, and their rites and worship full of picturesque materials. I would then portray the costumes of the Persian and Eastern princes and warriors, from periods anterior to the æra of the Macedonian conquest; show a picture of the Phoenicians and Arabs cotemporaneous with the Judges of Israel; proceed onwards to the time of the Crusades, and exhibit the aspect of Saladin and his age. Thus I might depict the outward insignia of many nations and their æras, adding thereto their appropriate adjuncts, scenic or architectural, without being so rigid in the literality of inferior truths as to engender servility, or cramp the majesty of composition. My illustrations would be supported by satisfactory references; nor will any one deny the importance of establishing their accuracy, when we see with what attention Raphael himself endeavoured (but failed) to find the appropriate costumes, &c. of the times when the events represented in his paintings really took place. West apologized for the incorrectness of painters in these particulars, by the fact of their not having the required means at hand. Gavin Hamilton commenced an earnest search for these means, which it will yet require many years |