| Citation |
NHG-P.760.034
1 Aug 1760:12,13 (200)
To the Printer of the London Chronicle.
Sir, . . . [10 lines of introductory material] I will not
enumerate the various ways by which men have endeavoured to
eternize memorable actions, or to retain the remembrance of
persons who have been dear to them. It will be sufficient
to inform such as are not conversant in such matters, that
amongst those practiced by the Greeks, the masters of all
mankind in the fine arts, that which was in most general
estimation was a simple statue of the hero, in some action
or attitude according to the fancy or genius of the artist,
and on the pedestal of which some of his most memorable
exploits were engraven in basso relievo. Now as that
intended for our late British hero may possibly be of this
sort, which is second to none, whether for nobleness of
aspect, or for the pleasure of the beholder, I imagined a
hint of this kind might not be unacceptable to young
candidates for the performance; as I make no question that
the British nation, whose act by their representatives this
undoubtedly is, will take care to entrust the eternizing of
merit to none but the most deserving, and will make use of
this singularly noble opportunity to provoke an equally
noble emulation in those of a profession so honourable in
itself, and of so much utility to the publick.
Every body knows that the chief glory of sculpture, and
indeed of the fine arts, as well as of poetry, is that of
invention; being that gift of heaven which characterises the
first artists, and distinguishes great geniuses from the
mechanics of the profession. Now though this talent depends
entirely on the happy influence of our stars, yet a noble
fancy may be infinitely improved by viewing the best pieces,
by a constant observation of nature, and lastly, which is
inferior to one of them, by the study of good authors,
especially the poets, to whom some of the noblest
performances own not only their merit but their very
existence. Phidias, that divine artist, whose Olympian Jove
was esteemed one of the wonders of the world, took the hint
of it from Homer; and made no secret to declare, that he
owned the chief merit of that inestimable piece of
workmanship to the father of verse. The admirable lines,
which gave birth to this miracle of art are these:
He speaks and awful bonds his sable brows,
Shakes his embrossed curls and gives the nod,
The stamp of fate, and sanction of the God.
High heav'n with trembling the dread signal took,
And all Olympus to the center shook.
[attributed to] Pope.
After such an example, I hope I shall be forgiven if I quote
a new poem, intitled, Daphis and Menaicas, a pastoral sacred
to the memory of the late General Wolfe; which besides a
number of beauties of a different kind, [ ] one of the
noblest hints for the sculptures on three sides of the
pedestal of a statue of General Wolfe, that can any where be
found; and on which might be carved, on the first, his
conduct and bravery on the day of battle; so fatal to
himself, and so honourable to his country; [18 lines
describing the monument]
Raise to his mem'ry and deathless name,
The sculptur'd tomb, and monument of fame,
Show him like Proteus, patron of the bow;
How gazing armies fix on him their eyes,
Resolv'd like him each soldier fights or dies.
. . . [47 more lines].
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