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ACADEMIC ANNALS, 
 
 PUBLISHED BY AUTHORITY 
 
 * OF THE 
 
 * 
 
 ROYAL ACADEMY OF ARTS. 
 
 1804 - 5 . 
 
 COMMUNES UTILITATES IN MEDIUM AFEERRE; TUM ARTIBUS, TUM OPERA, TUM FACULTATIBUS DEVINCIRE 
 H0.MINUM INTER HOMINES SOCIETATEM. CICERO DE OFF. 
 
 ours are the plans of Peace ; 
 
 To live like Brothers, and, conjunctive all, 
 
 Embellish life.- Thomson. 
 
 COLLECTED AND ARRANGED BY 
 
 PRINCE HO A RE, 
 
 SECRETARY FOR FOREIGN CORRESPONDENCE TO THE ROYAL ACADEMY, 
 
 LONDON: 
 
 PRINTED BY B. M'MILLAN, BOW-STREET, COVENT-GARDEN, 
 
 PRINTER TO THE ROYAL ACADEMY. 
 
 SOLD AT THE ROYAL ACADEMY ; ALSO BY J. WHITE, FLEET-STREET J T. PAYNE, MEWS- 
 GATE } AND J. HARDING, ST. JAMES’S-STREET. 
 
 1805. 
 
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 _ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CONTENTS. 
 
 PAGE 
 
 Transactions of the Royal Academy, from the Exhibition of 1803 to that of 1804,.. 1 
 
 Continuation of d° to the Exhibition of 1805, 6 
 
 Letter from the Secretary of the National Academy of Milan, with an Account of 
 
 the Premiums proposed by that Institution, 13 
 
 Statutes and Disciplinary Plan of the National Academy of Milan, 17 
 
 Letter from Mr. Fiiger at Vienna, giving a farther Account of die state of Mr. Zau- 
 
 ner’s Equestrian Statue, in bronze, of the Emperor Joseph II. 30 
 
 Brief Account of that Statue, and of the method used in casting it, 32 
 
 Extract from a Discourse delivered by Mr. de Labzin in the Imperial Academy of 
 St. Petersburg, respecting the progress [of encouragement given to the Artists 
 
 in Russia, 36 
 
 Letter from the Secretary of the Academy of St. Ferdinand at Madrid, giving an Ac- 
 count of the present State of the Arts in Spain, 39 
 
 Account of the Establishment of the Royal Academy of St. Ferdinand, 42 
 
 Prizes distributed by the Academy of St. Ferdinand at the Triennial Meeting of 
 
 1802, 54 
 
 Account of the Historical Works, from the Sacred Writings and. other Histories, 
 painted for His Majesty by Benjamin West, President of the Royal Academy, 63 
 Farther Account of Public Monuments and other Works in Sculpture, executed in 
 
 England since the Institution of the Royal Academy, 70 
 
 List of the Members of the Royal Academy, 1804, 74 
 
 Ditto, 1805, 75 
 

 ERRA TA. 
 
 IN page 8 of the Summary of the Transactions of the Royal Academy (I. ult.), for Saturday 27th, reai 
 Saturday 27th of April. 
 
 Page 18, and subsequent pages, for Drawing of the Figure, Elements of the Figure, &c. read Drawing of the 
 Human Figure, Elements of the Human Figure, & C. 
 
 Page 30, for Letter from, & c. read Translation of a Letter from, &c. 
 
 Page 3 S, for Part of 3 Discourse, & c. read Translation of part of, &c. 
 
TO 
 
 THE PRESIDENT AND ACADEMICIANS. 
 
 GENTLEMEN, 
 
 I N O W consign to you the continuance of this Publication, 
 which you have before done me the honour to adopt, and have at pre- 
 sent enrolled among the permanent objects of your public duty. It is 
 with pride I deliver it to you accompanied with the favourable testi- 
 monies of two great Academies, in addition to the names of those with 
 whose approbation you are already acquainted. You will perceive by 
 a letter with which I have been favoured from Milan, the readiness of 
 that Academy to concur in the advancement of our design ; and I de- 
 rive a hope from the receipt of this answer, that my letters, written to 
 other parts of Italy, may likewise at length find their destination, and 
 be productive of the desired result. The letter from Madrid breathes 
 the same zealous and friendly sentiments, and strengthens our hopes 
 of the advantages which may accrue from such communications. 
 
 But it is with still higher satisfaction I now form to myself the flat- 
 tering promise, that these endeavours may eventually prove not wholly 
 void of effect among ourselves. The liberal and exalted plan adopted 
 
 a 
 
11 
 
 in Russia, for the general encouragement of Artists in the higher de- 
 partments of History, as presented to you and published in my last 
 Number of Academic Correspondence, has appeared to the Royal 
 Academy to be truly worthy of praise, and is become an object of its 
 regard and contemplation ; it is therefore not improbable, that it may 
 lead to the arrangement of a plan of similar advantage to this country. 
 
 In the progress of cultivation, it were to be wished that such a Gal- 
 lery as that of St. Petersburg could be established in every sovereign 
 court of the- world. In the contest for superior fame which now ani- 
 mates, and must ever animate, the enlightened masses of mankind, 
 an institution of this sort might justly become a subject of general, 
 solicitude, and be regarded as holding forth the noblest and amplest 
 scope for universal emulation. Here the recorded, and the recorder, 
 equally present themselves to the votes of the world ; they become 
 alike the objects of comparison and just appreciation ; and, while the 
 hearts of a whole people are taught to glow and expand by examples 
 of heroic worth hourly offered to their view, the judgment, thus called 
 forth to weigh and to approve, feels in the most powerful degree the 
 refining influence of Science and Taste. 
 
 1 1 is certainly far from your wishes, that we should in England imi- 
 tate the modes by which other nations have established the Arts among 
 themselves. Imitation, consulting neither the temper nor the habits 
 of the people to whom it aims to transfer the object of its admiration, 
 has always been found to oppress, rather than strengthen, the powers 
 of Taste, and leaves vacant the directive faculties of the mind, instead. 
 
Ill 
 
 of consolidating them towards essential and comprehensive pursuit. It 
 is enough for us to give, with a liberal voice, to others the tribute of de- 
 served applause. — But imitation and competition are in their nature es- 
 sentially different; while we deprecate the one, we may justly esteem 
 the other a source of every manly excellence. 
 
 With a view to awaken every attention, and call forth every' com- 
 munication which may be of utility towards our progress in this point, 
 I had requested your permission to print, from the Minutes of the 
 General Assembly in 1801, the outlines of a Plan which you then 
 thought proper to submit to His Majesty, for the establishment of an 
 English Gallery of History ; but it being the opinion of your Council 
 that it will more properly appear in its regular station in the Transac- 
 tions of the Royal Academy, I desist from my design of publishing 
 it at present, and shall only take this opportunity of remarking, that 
 it was a proposal for the erection of a public building (on such a plan 
 as would admit of occasional extension), to be progressively filled with 
 busts, statues, portraits, and historical paintings, representing the 
 heroes and heroic exploits of this country, as they should present 
 themselves in actual succession. 
 
 • Whatever be the merits or defects of that plan, your proposition of 
 it points out to general observation, that there is yet to be desired in 
 England, some act of high and public authority, towards the exaltation 
 and permanent establishment of your Art. It will indeed be readily 
 perceived by those who trace the progress of your advancement, that 
 farther measures are become necessary, in order to concentrate the de- 
 
 a 2 ' 
 
\ious efforts of Genius, and erect aScnooL of National Honouramong 
 the Fine Arts of England. 
 
 The Royal Academy of England has the King for its Patron. Un- 
 like to the forms of other Academies, there is no intermediate agency. 
 In this respect, it may be said to be the highest Academy in the world ; 
 in this respect its promise is the highest that can be given to the world* 
 Nor is there reason to fear that it should disappoint those lofty hopes. 
 
 v 
 
 May we not conjecture that, at the present moment, the cause 
 which retards the adoption of farther methods for the advancement of 
 painting, is not the want of a favourable disposition in the nation, but 
 the want of more deliberate investigation respecting the real importance 
 of this great organ of public instruction ? Whenever that point shall 
 call forth the usual earnestness of the nation, and be sufficiently ex^ 
 plored, what doubt can be entertained, that as great exertions will 
 be made by the English to promote the exaltation of the Plastic Arts, 
 as have ever been made by any state on the earth? The affection of a 
 people towards the Arts will always be proportionate to its acquaint- 
 ance with them. I hope to be pardoned for expressing my conviction, 
 that if, at tire present time, a duly digested proposition, for the farther 
 advancement of Painting as a national object (justly accordant to the 
 views of your benevolent Patron, and seconding his exalted designs), 
 were brought forward in the Houses of our Parliament, it would meet 
 with no discouraging or dissenting voice. — However, whether this may 
 be considered as the actual state of the public mind, or merely as the 
 probable one at a future period, its efficacy can be drawn forth only by 
 the due contemplation of the real value of the object, and the accurate 
 examination of its necessary consequences. 
 
V 
 
 To the Transactions of the Royal Academy I add the Communica- 
 tions received from other countries, and a farther account of the great 
 works of Art executed in England, either by high, or public authority, 
 since the establishment of this Institution. 
 
 The solicitude of two of our Sculptors, engaged in works of a similar 
 nature to that of Mr. Zauner at Vienna, induced me to press for a com- 
 munication of the process used in casting the equestrian statue of the 
 Emperor Joseph II., and I print Mr. Fiiger s obliging reply, with the 
 annexed communication, which I am authorized by the Sculptors before- 
 mentioned to consider as interesting to the Art ; although, being only 
 a summary view of the method employed, I should hesitate to insert 
 it, as partially forestalling the description we have reason, to hope for 
 from Mr. Zauner, if the length of time which will elapse before that 
 description can be given, were less considerable, and if it did not ap- 
 pear desirable to adopt every method of forwarding the progress of 
 Information on this difficult and hitherto undeveloped subject. 
 
 On Mr. de Labziffs account of the effects of that grand and pa- 
 triotic plan of encouragement, which, as has been shewn, is now in 
 actual progress in Russia, all remarks are superfluous. I have extracted 
 it from a Discourse delivered by him in a General Assembly of the 
 Academy of St. Petersburg, in December 1803, and I substitute 
 it in the place of one promised in my last Number*, which, bear- 
 
 * Discourse delivered by Mr. de L. on the first Commemoration of the new Academic Pri- 
 vileges granted by the present Emperor., 
 
VI 
 
 ing more reference to the general principles of knowledge than to 
 particular exertions of practice, I omit. I cannot, however, with- 
 hold my acknowledgment of the zeal and eloquence of the writer, and 
 my regret that they diffuse themselves beyond the limits of these An- 
 nals. 
 
 Besides the account of the Premiums offered by the Milanese Aca- 
 demy, accompanying the letter from the Secretary, I have since been 
 favoured with a Discourse delivered by him in the General Assembly, 
 on Occasion of a distribution of Medals ; in which, with great force of 
 language and argument, he recommends to the Students a rigorous 
 adherence to the style of the ancient Greek Artists. 
 
 From the Institutes of that Academy, transmitted to me at the 
 same time, I make a copious abstract, because they display an ardent 
 spirit of national effort, and are remarkable for the extensive mode in 
 which they embrace the professional cultivation of the Arts, and 
 reward the labours and talents of those who contribute to its pro- 
 gress. 
 
 The liberal procedure ol the Royal Academy of Madrid is no less 
 deserving of our acknowledgments. From the ample and splendid 
 documents transmitted to me, 1 have been enabled to furnish the 
 history of that Institution, as far as relates to its establishment, and 
 I shall add from the Adas of the Academy an account of its imme- 
 diate occupations during its latest triennial period, from July 1799? to 
 the same month in 1802. This, united to the information communi- 
 
cated by the Secretary's letter, will convey ah adequate idea of the 
 munificent attention bestowed on the cultivation of the Arts in Spain 
 at the present moment. Nor is this the whole advantage 1 propose 
 to derive from these documents, which contain materials for future 
 useful information. 
 
 In the design of Academic Correspondence, no wish can be nearer to 
 the heart of every Member of your Academy, than that of recording 
 to foreign nations the just honours of our own. The monuments raised 
 to the memory of our Patriots by the vote of the Legislature (which 
 formed a part of my last publication), bear testimony of an awakened 
 disposition to the zealous encouragement of the Fine Arts. The great 
 works of History, painted for our Sovereign by the President, of which I 
 now insert the account as delivered to me by himself, and the other works 
 ©f National Honour, which, although not deriving their authority im- 
 mediately from our Government, have yet been executed by order of 
 Public Bodies, will present no inconsiderable evidence of the same na- 
 ture. On the historical turn given by the President to the account 
 of his works, in the comprehensive view which he has taken of Royal 
 Patronage, I am precluded from making any comments. It speaks 
 for itself. The descriptions of the other public monuments are from, 
 the nearest sources of information. 
 
 I indulge a hope, Gentlemen, that of what I thus offer, under your 
 sanction, to the world, no part will be found inconsistent with the pro- 
 vince which you have done me the honour to intrust to my care, or 
 
Till 
 
 with the design you have expressed, of admitting into the Academic 
 Annals whatever may tend to the advantage and improvement of 
 the Arts. 
 
 I have the Honour to remain, 
 
 GENTLEMEN, 
 
 Your obedient Servant, 
 
 P. HOARE. 
 
 May 20, 1805. 
 
SINCE the preceding pages were sent to the press, the Writer 
 has had the satisfaction to observe an important confirmation of his sentiments 
 respecting the Public Disposition towards the Art of Painting : a Plan having 
 very lately been formed of a friendly tendency to Artists, and promoted by 
 persons ivhose character and situation peculiarly entitle them to become Pa- 
 trons of the Arts . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
SUMMARY ACCOUNT 
 
 OF THE 
 
 PRINCIPAL OCCURRENCES AND TRANSACTIONS 
 
 RELATIVE TO 
 
 THE lOYA'E ACADEMY OF JLONBON, 
 
 FROM THE PERIOD OF THE EXHIBITION, 1803, TO THAT OF 1804." 
 
 Exhibition of 1803 was closed on the 11th of June. The works of 
 
 Art exhibited were one thousand and twenty- eight ; of which about 
 sixty represented historical subjects, and subjects of fancy ; twenty were 
 works of sculpture ; one hundred and fifty-four architectural designs ; and the 
 remainder consisted of-portraits, landscapes, picturesque drawings, and a few 
 engravings. Of the Academicians twenty-two, of the Associates seventeen, 
 were Exhibitors. 
 
 The Academy was opened again for the usual purposes of study on the 
 27 th of June. 
 
 To the Library of the Academy have this year been added : 
 
 Hearne and Byrne’s Antiquities of Great Britain, 2d volume. 
 
 Smith’s Select Views in Italy. 
 
 Polyon topography, 2d No. 
 
 Views of the Lakes of Cumberland and Westmoreland, engraved by Byrne. 
 Description of the Cathedral of Florence, S la Maria de Fiori, &c. 
 Description of Pisa. 
 
 A Publication of C. M. Metz, subscribed to by the Academy. 
 
 By Mr. Flaxman, in the name of the Author, Anthropology, by Blair. 
 
 By Dr. Rowley, Schola Medicinae Universalis Nova, in 2 volumes. 
 
 By E. D? Clarke, Esq. a Treatise entitled, Testimonies respecting a Co- 
 
 presented to the academy : 
 
 B 
 
t 
 
 tossal Statue of Ceres, placed in the Vestibule of the Public Library at 
 Cambridge. 
 
 By the Society of Arts, Manufactures, and Commerce, the 21 st volume of 
 its Transactions. 
 
 By the late Mr. Alderman Boydell, a Collection of Proof Engravings from 
 Pictures in the Shakespeare Gallery, in 1 1 volumes, splendidly bound in 
 Russia leather. 
 
 By the Society of Engravers, the Abstract of their Rules and Orders. 
 
 By the Imperial Academy of St. Petersburg — Privileges et Reglemens de 
 L’Academie Imperiale des Beaux- Arts, Peinture, Sculpture, et Architec- 
 ture, Etablie a Saint-Petersbourg, avec le College d’Education qui en de- 
 pend. 1760 . 
 
 By the Imperial Royal Academy of Vienna — Statuten fur die kaiserl, 
 konigl. Akademie der bildenden Kiinste. 1800. 
 
 In a Council held December 1 9 th, the Candidates for the several Premiums 
 of this year were desired to attend, in order to make their probationary 
 sketches. They attended accordingly. The subjects given on the occasion 
 were : 
 
 In Painting, 
 
 f Adam and Eve driven out of Paradise. Milton. 
 [ Abraham entertaining the three Angels. 
 
 Sculpture, 
 
 Hercules chaining Cerberus. 1 
 Apollo and Daphne. J 
 
 Architecture, 
 
 ! 
 
 A Sepulchral Church. 
 A Triumphal Gate. 
 
 On the 23d December, the General Assembly being convened for the pur- 
 pose of deciding on the distribution of the Prizes, and having examined 
 the merits of the several performances offered for them, resolved, that two Me- 
 dals be given this year, viz. the Gold Medals in Painting and Sculpture. 
 
 On the ensuing day the Academicians proceeded to ballot, when the Gold 
 Medal in Painting was adjudged to George Daw, and that in Sculpture to 
 Humphry Hopper*. 
 
 * The subjects were noticed in the Second Number of this Publication. 
 
3 
 
 On delivering the Medals to the two successful Candidates, the President 
 addressed the Students in a brief discourse, in which, (having noticed 
 the accidental deviation and delay imposed by peculiar circumstances on the 
 performance of this part of his duty), he directed himself, in an admonitory 
 style, first to the younger Students in the Model Academy. He wished to 
 repeat to them, that the Human Figure was their professional alphabet : 
 without the complete mastery of it they could not hope ever to express them- 
 selves in the language of Painting. But this was not to be gained by rush- 
 ing impatiently to the School of the Living Model : correctness of form 
 and taste was first to be sought by an attentive study of the Grecian Figures. 
 He was sorry to observe a deficiency of merit in the drawings of Academy 
 Figures presented this year. 
 
 He then addressed those Students who had commenced their studies in 
 Painting. Pie wished them to fix in their minds that there were three great 
 points relative to the excellence of a picture ; the first and highest was. 
 
 The distinctness of the subject ; that comprehensive expression of it, 
 which separates it from every other subject in the world ; next, the 
 chiaro-scuro, and colour or harmony ; lastly, the execution. He ob- 
 served with regret, that the pictures presented for the Premiums this 
 year, were in general more deficient in the two former points than in the 
 last. He exhorted the Students to reflect that they were soon to enter that 
 sphere of their profession, in which consists the respect and dignity of their 
 Art, and that they would then be called on to maintain the honour of an 
 Academy, which under the patronage of their Sovereign, has rendered itself 
 one of the greatest institutions of this nature in the whole world. 
 
 The Annual Officers elected according to the rules of the Institution, for 
 the year 1804, were, 
 
 President — Benjamin West. 
 
 New Members of Council, by rotation — De Loutherbourg, Smirke, 
 Farington, Dance*. 
 
 New Visitors — Flaxman, Fuseli, Lawrence, Nollekens, Shee. 
 
 Auditors — Dance, Farington. 
 
 * Mr. Zoffany came in rotation, but the distance of his residence from London rendered him 
 ineligible. 
 
 B 2 
 
4 
 
 Of the Annual Lectures of the Institution only those on Painting have 
 been read. The unavoidable absence of the Professor of Anatomy prevents 
 c 1 tlie delivery of those belonging to his department. 
 
 Mr. Fuseli read his first Lecture on the 13th of February, and the suc- 
 ceeding ones on the five following Mondays. They contained many new 
 remarks and illustrations of his former topics. 
 
 The Royal Academy has this year lost one of its original Members, Joseph 
 Wilton, Esq. On February 7 , the General Assembly proceeded to ballot 
 for an Academician from the list of Associates, when Henry Thomson was 
 elected. He presented his probationary picture on the 20 th of the following 
 month. 
 
 In the present period two Associates have been added to the Academy, 
 viz. Theophilus Clarke, Painter, and Joseph Gandy, Architect. They were 
 elected (by ballot) November 7, 1803, and on February 9 , 1804, received 
 their diploma from the hands of the President. 
 
 The established claims on the Pension Fund were settled at their regular 
 period, and numerous claims to donations examined and allowed. Pecuniary 
 aid has likewise been at various times extended to cases of immediate distress. 
 
 February 21 . The plan of Foreign Correspondence, begun by the present 
 Secretary for that department, having been farther considered by the Council, 
 it was resolved that the ensuing Numbers of his Publication should be issued 
 by the Authority of the Royal Academy, under the title of Academic Annals, 
 (the two former Numbers being reprinted under the same title), and should 
 in future be sold at the Academy, and by the Booksellers of the Academy, in 
 the same manner as the Catalogues of the Exhibitions ; moreover that the 
 succeeding Numbers of this Publication should be open to the admission of 
 all notices relative to the Fine Arts, to be printed under the direction of the 
 Secretary and with the concurrence of the Council, in the same manner as 
 usually practised with regard to theTransactions of the Royal and other Socie- 
 ties of this country. 
 
 February 28. In Council, Resolved that the subject in Architecture for 
 the Premium of a Silver Medal, this year, be the West Front op the 
 Banqueting-house, Whiteharl. 
 
5 
 
 On account of the indisposition of our beloved Sovereign, the Exhibition 
 prepared for this year was not visited by the Royal Family, and the Academy 
 was thus deprived of that grateful opportunity of testifying to its illustrious 
 Patron its zeal and progress in the purposes of the Institution. 
 
 On the 28th of April the Annual Dinner in the Saloon of the Exhibition 
 was honoured by the presence of His Royal Highness the Prince of Wales, 
 the great Officers of State, several of the Bishops and Judges, the Foreign 
 Ministers, and other distinguished characters. 
 
 April 30th, the thirty-sixth Exhibition of the Royal Academy was opened 
 to the public. The following Members were Exhibitors : 
 
 THE PRESIDENT. 
 
 Beechey 
 
 Bourgeois 
 
 Copley 
 
 Daniell 
 
 Farington 
 
 Fuseli 
 
 Hoppner 
 
 Lawrence 
 De Loutherbourg 
 
 Nollekens 
 
 Northcope 
 
 " Opie 
 
 Rigaud 
 
 Rossi 
 
 Russell 
 
 ► Academicians. 
 
 Shee 
 J Soane 
 
 Thomson 
 
 Tresham 
 
 Turner 
 
 Westall. 
 
 Bigg 
 
 Bone 
 
 Clark 
 
 Downman 
 
 Edwards 
 
 Gandy 
 
 Garrard 
 
 ► Associates. 
 
 " Hone 
 Howard 
 Nixon 
 d Reinagle 
 
 WOODFORDE. 
 
 Fittler 1 Associate £ Q 
 
 TT C t? > Smith- 
 
 Heath J Engravers. C 
 
6 
 
 CONTINUATION 
 
 OF 
 
 TRANSACTIONS AND PRINCIPAL OCCURRENCES RELATIVE TO THE ROYAL 
 ACADEMY, FROM THE EXHIBITION OF ] 804 TO THAT OF 1805. 
 
 The Exhibition of 1804 was closed on the l6th of June. The Works of 
 Art exhibited were nearly as numerous as those of the preceding year, with 
 a similar proportion of historical to other subjects. 
 
 On account of various repairs which were requisite in the apartments of 
 the Academy, the Schools were not opened until the 1st of October. No 
 changes have since occurred in the usual periods. 
 
 To the collections of the Academy have keen added : 
 
 The third volume of Musee des Monumens Francais. 
 
 The second number of Stubbs’s Comparative Anatomical Exposition. 
 
 PRESENTED, 
 
 By the President, in the name of the Author, Dissertations, Essays, and 
 Parallels, by John Robert Scott, D. D. 
 
 By the Society for the Encouragement of Arts, Manufactures, and Com- 
 merce, the 22d volume of its Transactions. 
 
 By the National Academy of Milan — Statuti e Piano Disciplinare per le 
 Accademie Nazionali di Belle Arti, 1 Sett IC 1803, anno 2 ; and 
 Discorso Letto nell’ Accademia delle Belle Arti in Milano, Sept. 19, 1802. 
 By the Royal Academy of St. Ferdinand at Madrid — Four volumes of 
 Actas de la Academia de San Fernando ; and 
 Diccionario Historic© de los mas illustres Professores de las Bellas Artes en 
 Espana, in six volumes. 
 
 November 15. Henry Thomson received his diploma of Academician 
 from the President. 
 
T 
 
 December 10, being the day appointed for the distribution of the Silver 
 Medals, two Models, in clay, of Academy Figures, were presented. The 
 successful Candidate was declared to be William Tallemach, and he accord- 
 ingly received the Medal from the hand of the President. 
 
 ANNUAL OFFICERS ELECTED FOR THE YEAR 1805 ., 
 
 President (re-elected) — Benjamin West. 
 
 New Members of Council, by rotation — Henry Thomson, John Hopp- 
 ner, Thomas Lawrence, Thomas Stothard. 
 
 NewVisitors — James Northcote, J. Hoppner, H. Thomson, John Opie. 
 
 Auditors (re-elected) — Joseph Farington, George Dance. 
 
 December 24 . A Ballot was taken for the election of a Keeper of the 
 Royal Academy, in the place of the late Joseph Wilton, Esq. when Henry 
 Fuseli, the Professor of Painting, was chosen to fill that office. 
 
 On January 2d, this nomination was declared by the President, who sig- 
 nified His Majesty’s approval. 
 
 ANNUAL LECTURES. 
 
 Mr. Sheldon, Professor of Anatomy, commenced his Lectures on Mon- 
 day, November 12, and continued them on the five succeeding Mondays. 
 His Lectures were in all principal points, the same as delivered by him in his 
 last course, and specified in the Second Number of this Publication. 
 
 Mr. Fuseli, Professor of Painting, commenced his Lectures on Monday, 
 February 1 1, introducing them by a prefatory discourse relative to the pre- 
 sent state of the Arts, and to the precautions requisite to be observed by 
 Students in the determination of their pursuits. He read the remaining 
 Lectures on the five following Mondays. 
 
 In the course of the present period, two Associates have been elected, viz. 
 W illiam Owen and Thomas Phillips, Painters, and have accordingly re- 
 ceived their diplomas from the President. 
 
 Twenty-four Students in Painting and Sculpture, and two in Architecture, 
 have been admitted to the Schools of the Academy, 
 
8 
 
 The Pensions settled on the Pension Fund were paid at the regular period, 
 together with various donations of a large amount. Other donations have 
 been likewise made at different times. 
 
 February 5. The President announced the loss which the Academy had 
 suffered by the death of the eminent Sculptor, Thomas Banks, and declared 
 a consequent vacancy in the list of Academicians. 
 
 Application was made by the President and Council to the Lord Bishop of 
 Lincoln, Dean of the Cathedral of St. Paul, requesting that a Monument, 
 designed to be erected to the memory of Sir Joshua Reynolds, might be 
 placed in the fourth place under the Dome of that Cathedral (the three others 
 being now occupied by the Monuments of Dr. Johnson, Mr. Howard, and 
 Sir William Jones). 
 
 The Academy was honoured by the assent of the Dean and Chapter to the 
 above request. 
 
 The subjects of the Premiums to be distributed in December 1805, are. 
 For the Gold Medal : 
 
 . The Body of Patroclus carried to the ships of the 
 ! Greeks. — Homer’s Iliad, b. 18. 
 
 Prometheus chained to the rock by Vulcan. — VEschylus. 
 
 ’'Design of a Villa ; uniting to the greatest convenience 
 and elegance the most comprehensive arrange- 
 ment ; with suitable offices ; the whole building 
 not exceeding the space of 200 square feet. The de- 
 sign to be illustrated by elevations, plans, and sec- 
 _ tions. 
 
 For the Silver Medal : 
 
 An accurately finished Drawing of the West Front of the Banqueting- 
 house at Vv hitehall ( repeated from the last year). 
 
 On Saturday, 2/th, the Annual Dinner was" given by the Academicians 
 
 III Painting , 
 Sculpture , 
 
 Archite&ure , 
 
9 
 
 to the Nobility and distinguished Characters of the kingdom ; and was ho- 
 noured with the presence of His Royal Highness the Prince of Wales, several 
 of the Great Officers of State, Bishops, Judges, Foreign Ministers, and 
 other persons of eminence. 
 
 On Monday the 29th the thirty-seventh Exhibition was opened to the 
 Public. 
 
 In the list of Exhibitors are. 
 
 Beechey 
 
 Bourgeois 
 
 Copley 
 
 Daniell 
 
 Flaxman 
 
 Fuseli 
 
 Gilpin 
 
 Hoppner 
 
 Lawrence 
 De Loutherbourg 
 
 Nollekens 
 
 Northcote 
 
 Bigg 
 
 Bone 
 
 Clarke 
 
 Downman 
 
 Edwards 
 
 Gandy 
 
 Garrard 
 
 Hone 
 
 Collyer 
 
 Green 
 
 THE PRESIDENT, 
 
 
 - Opie 
 
 Richards 
 
 Russell 
 
 Rossi 
 
 ► Academicians, 
 
 Smirke 
 Stothard 
 i Shee 
 Soane 
 
 Thomson 
 
 Westall. 
 
 > 
 
 Associates, 
 
 " Howard 
 March ant 
 Nixon 
 « Owen 
 Phillips 
 Reinagle 
 
 WOODFORDE. 
 
 Associate c Heath 
 
 Engravers, £ Smith. 
 
 c 
 

 
 
 
 
 
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 TRANSLATION OF A LETTER FROM THE CAVALIER GIUSEPPE BOSSI, SECRE- 
 TARY OF THE NATIONAL ACADEMY AT MILAN. 
 
 (addressed, in reply, to prince hoare, secretary for foreign correspondence.) 
 SIRj Milan, May Q, 1804 . 
 
 Your favour, dated the i8th of July last (1803), came to my hands 
 only a few days ago. The pursuits which you therein mention, do honour 
 to the Royal Academy, and I shall have great pleasure in satisfying your in- 
 quiries in the best manner in my power. In the mean time, trusting this to 
 the usual conveyance of the post, I beg you to give me instructions by what 
 method I may with safety send you a copy of the Statutes of our Academy, 
 together with other papers relative to it, as well as to all other points, in 
 which my endeavours may contribute to forward the liberal design you have 
 communicated to me. In expectation of your reply, I have the honour to 
 subscribe myself, 
 
 SIR, 
 
 Your most humble and devoted Servant, 
 
 GIUSEPPE BOSSI. 
 
 [The foregoing Letter was accompanied by a printed declaration o'f the Premiums proposed by 
 the National Academy; of which the following is an Abstract] 
 
 NATIONAL ACADEMY OF THE FINE ARTS IN MILAN. 
 
 PROGKAMMA. 
 
 ( April 1st, 1804J 
 
 The National Academy invites all Artists, whether Italians or Foreigners, 
 to send their works to the Assembly, intended to be held annually, which is 
 
14 
 
 now opened for the first time, and directed to offer to public notice the fol- 
 lowing subjects and annexed regulations. 
 
 It calls forth and stimulates the youthful Artists to competition by the 
 prospects of glory and of professional improvement ; and it reminds the 
 more advanced in their profession not to slumber oyer their laurels, where 
 new victories, new rivalries of the Arts, without prejudice to any, impart 
 new glory to their country, and delight and advantage to all. 
 
 ARCHITECTURE. 
 
 Subject . — A Grand Military Orphanotroph, or edifice destined to the edu- 
 cation of orphans. Besides dwellings, offices, and every thing necessary to 
 the accommodation of a great number of persons, this building shall con- 
 tain schools of every art and trade relative to warfare, and various large 
 workshops for military manufactures of every sort. There shall be, more- 
 over, a Christian Church, a Palaestra, a Hippodrome, and a Naumachia 
 likewise for the purpose of swimming, which shall be supplied by the water 
 employed in working the machines for the various manufactures. 
 
 The principal points required in this building are, an economical distribu- 
 tion of the parts, and forms well adapted to their uses. A grave, but ele- 
 gant, simplicity shall prevail in the decorations. The dimensions are left to 
 the choice of the Artist. The designs shall consist of at least one ground 
 plan, and two elevations ; one of the exterior, the other of the interior of 
 the building. 
 
 Premium — A Gold Medal, of the value of sixty sequins. 
 
 PAINTING. 
 
 Subject . — The Death of iEgisthus. 
 
 The design is to be taken from the description of a picture on this sub- 
 ject, written with singular force and beauty of expression by Lucian, “ the 
 elegant philosopher of Samosata,” in his Declamation, ns o*x©u, and re- 
 commended as instructive to Painters of History. 
 
 The picture shall be on canvas, in height five Paris feet, and in width 
 seven ditto. 
 
15 
 
 Premium — A Gold Medal, of the value of one hundred and twenty 
 sequins. x x 
 
 SCULPTURE. 
 
 Subject. — A Bas Relief, representing the Muses around the Tomb of the 
 eminent tragic poet, Vittoria Alfieri. 
 
 “ The disposition of the subject, as well as the materials of the work, are 
 left entirely to the choice of the Artist. 
 
 The Bas Relief is to be, in height, two Paris feet ; in width, four. 
 
 Premium — A Gold Medal, of the value of forty sequins. 
 
 ENGRAVING. 
 
 Subject. — An Engraving on copper, from some work of a good Master, 
 which has never yet been well engraved. The surface of ,the plate shall 
 be sixty Paris inches, or may be larger. Each Competitor shall retain 
 the property of his plate, and shall be bound to send to the Academy six 
 proof impressions, together with a legal attestation that his work has not 
 before been published, nor presented elsewhere for the same purpose. 
 The Artist who obtains the Premium, shall have liberty to inscribe under 
 his Print the said honourable distinction. 
 
 Premium — A Gold Medal, of the value of thirty sequins. 
 
 HISTORICAL DESIGN. 
 
 Subject. — The two Poets of Mitylene, Alcaeus and Sappho, in the Elysian 
 Fields. 
 
 Their situations and distinguishing excellencies are described, and the 
 Artist is referred to the 14th ode, 2d book, of Horace, who is supposed 
 in his description to have insinuated the superior value of the serious 
 Muse to the highest charms of the soft and enervate kind : “ a lesson of 
 equal utility to Painters and Poets.” 
 
 Premium — A Gold Medal, of the value of thirty sequins. 
 
 ORNAMENTAL DESIGN. 
 
 Subject. — Two Frizes, in separate drawings ; one for a Corinthian, the 
 other for an Ionic Order ; both of rich and noble decoration. The or- 
 
naments of the former, as if designed for a Hall of Council, shall contain 
 something allusive to Justice and the Laws. Those of the latter shall bear 
 allusion to Agriculture and Commerce. 
 
 Each drawing shall be half a Paris foot, or larger, the width proportio- 
 nate to the height, being such as the distance between two columns would 
 require, in an eustile portico. The Artists are reminded of the additional 
 value which drawings of this nature derive from a highly finished execution. 
 
 Premium — A Gold Medal, of the value of twenty sequins. 
 
 The Programma proceeds to state the rules to be observed respecting 
 the works offered for competition, defining the modes of examining and de- 
 termining their merits, and concludes with the following article ; 
 
 Prior and subsequent to passing judgment, there shall be a public Exhi- 
 bition of all works presented for competition. To this Exhibition perfor- 
 mances of every kind in the Fine Arts will be admitted, for the purpose of 
 affording to National as well as Foreign Artists, additional means of render- 
 ing their talents known. Those works which shall obtain Premiums and 
 become the property of the Academy, shall be distinguished by a laurel 
 crown, and by an inscription, declaring the name and country of the Artist. 
 
 (Signed) Secretary of the Academy.. 
 
 G. Bossi.. 
 
1 7 
 
 ABSTRACT 
 
 OF THE 
 
 STATUTES AND DISCIPLINARY PLAN 
 
 FOR THE 
 
 NATIONAL ACADEMIES OF THE FINE ARTS, 
 
 CONFIRMED SEPTEMBER 1 , 1803 , YEAR 2 . 
 
 The Academic Body consists of thirty Academicians, Professors of the 
 Academy, and the most distinguished Artists who have a settled residence 
 in the City in which the Academy is situated ; and of an indefinite num- 
 ber of Honorary Associates, chosen by ballot of the Academicians, from 
 among the Artists, and friends of Art, of all countries. The patent of an 
 Academician must be confirmed by the Government. The Academic Body 
 attends to the advancement, theoretic and practical, of all the Arts of 
 Design. 
 
 The Academicians assemble once a month, or oftener if required. Those 
 sittings only are public, which are held for the distribution of the Premiums. 
 
 The Academicians appoint annually, from their own body, as many per- 
 manent Committees as there are principal branches of the Arts, and elect 
 extraordinary Committees for the determination of the Prizes. The result 
 of the permanent Committees is reported to the Academicians by the Se- 
 cretary. 
 
 The President is chosen by lot in the Assembly preceding that in 
 which he is to exercise his functions, which last only for one Sitting 
 (SessioneJ. He cannot be chosen again till every other Member shall have 
 been President. He has only a casting vote. 
 
 There are nine Professors, including the Secretary, all considered as 
 
 D 
 
18 
 
 equal, notwithstanding the difference of salary. The Schools under their care 
 are those of Painting, Sculpture, Perspective, Ornamental Design, 
 Elements op the Figure, Engraving, Anatomy. 
 
 The Schools of Architecture and Ornamental Design have each an Assist- 
 ant, to teach the elements of those branches. The Professors and Assistants 
 cannot be absent without leave obtained from the Government. 
 
 The Secretary, in concurrence with the Keeper, has the care of all the 
 internal arrangements of the Academy. Fie is charged with its Correspon- 
 dence, as well foreign as domestic. 
 
 In the Assembly for the distribution of the Premiums, he delivers a 
 Discourse relative to the Arts of Design. He writes Memorials of the de- 
 ceased Artists , which, if approved, are inserted in the Records of the 
 Academy. 
 
 The Models are chosen by the Committees of Painting and Sculpture. 
 
 PREMIUMS. 
 
 To promote the study of the Arts, the Academy distributes annual 
 Premiums, of two classes. 
 
 Those of the First Class are given to such Works of the Candidates as are 
 presented in conformity to the printed Programma, and judged the best by 
 the Committee appointed for that purpose. The Premiums are, 
 
 A Gold Medal, of the value of 120 sequins, for Painting. 
 
 D° - -- -- -- - 60 — - Architecture. 
 
 D° - - - - - - - 40 — - - Sculpture (in clay). 
 
 D° - - - - - - - 30 — - - Engraving. 
 
 D° - - - - - - - 30 — - - Drawing of the Figure. 
 
 D° - - - - - - - 20 — - - Ornamental Design. 
 
 Those works which obtain the Premiums, become the property of the 
 Academy, and are honorably placed in the Exhibition Room, distinguished 
 with the names of their Authors. 
 
 The Premiums of the Second Class are given to the Students of the 
 
19 
 
 greatest ability and diligence in the Academic Schools ; they are Silver Me- 
 dals of the value of two sequins each, and are assigned, 
 
 ' Two for the School of Architecture. 
 
 Two for the School of the Living Model. 
 
 Two for Drawings of Relievo. 
 
 Two for Models of the Figure. 
 
 Two for the School of the Elements of the Figure. 
 
 Two for the School of Ornamental Design. 
 
 Two for the School of Perspective. 
 
 The Premiums of the Second Class are distributed, together with those 
 of the first, agreeably to the judgment of the Permanent Committees. 
 
 The salaries paid from the National Treasury, are. 
 
 To the Secretary, ----- - - per ann. 3800 livres*. 
 
 Professor of Architecture, ------ 3500 
 
 Painting, ------- 3500 
 
 Sculpture, - - - - - - - 3500 
 
 Perspective, - - 2000 
 
 Ornamental Design, - - - - 3000 
 
 Elements of the Figure, - - - 2000 
 
 Engraving, - - - - - - 3000 
 
 Anatomy, ------- 1500 
 
 Assistant in Architecture, - - - - - - 1500 
 
 Ornamental Design, - 1500 
 
 Keeper, - -- -- -- -- - - - 2000 
 
 The National Treasury likewise pays to the Academy the yearly sum 
 of 18,000 livres, of which 4500 are the endowment ©f the Academy, 
 and 4500 for the Premiums of the First Class, 550 for the Premiums of 
 the Second Class, and the remainder for the expences of the Secretary’s 
 
 * The par of exchange of a Milanese livre is 32 for 1 1 . sterling. 
 
 D 2 
 
20 
 
 Office, printing, &c. maintenance of the Schools, and for other household 
 expence >. 
 
 The sum fixed for the annual allowance of the Academy cannot be altered. 
 The others are varied as circumstances shall direct. 
 
 GENERAL ARRANGEMENTS. 
 
 The methods of instruction, and every thing relative to the internal order 
 of the Academy, are regulated by a Disciplinary Plan, approved by 
 the Government, and common to both the National Academies*. No 
 change can be introduced in this plan without the consent of the Govern- 
 ment. The Academy decides all controversies which arise respecting the 
 competitions of the Professors and the discipline of the Schools. 
 
 Besides the Schools before named, the Academy has a School of the 
 Living Model, a Hall for Statues, a collection of Pictures, and a Library. 
 
 The two National Academies mutually communicate by their Secretaries, 
 every year, extracts of all the Transactions of the Academic Bodies, and par- 
 ticularly of the Theoretic Works. 
 
 The Academicians propose to the Government Rewards or Gratuities for 
 any extraordinary desert of the Professors, as well as for any works presented 
 to the Academy, and judged by it to be advantageous to the progress of the 
 Fine Arts. 
 
 Works of every kind in the Fine Arts, having first received the approba- 
 tion of a Committee, are admitted into the Public Exhibitions. 
 
 The Academy judges and decrees the erection of a Memorial or Monu- 
 ment in marble (besides that decreed by the law of 4th September 1802, 
 year l), to any person making a considerable addition to the stock or allow- 
 ance of the Establishment. 
 
 * The Academies of Paris and Milan are probably meant. 
 
21 
 
 The first article of the Disciplinary Plan describes the local conveni- 
 ences for the purposes of the Institution, and provides for the abode of the 
 Professors, who, when not otherwise advantaged, enjoy the same considera- 
 tion as the law of the 4th September 1802, allows to the Professors of the 
 two Universities. 
 
 The second regards the internal regulations of the Schools, all of which 
 are open from the 5th November to the 7th August. 
 
 Those of Ornamental Design, and the Elements of the Figure, are the 
 only ones into which Students can be admitted who are unacquainted with 
 the first rudiments of Design. 
 
 THE SCHOOL OF ARCHITECTURE 
 
 Is furnished with Models of the most beautiful Grecian Orders, and most 
 celebrated Buildings of Antiquity ; with those necessary for Stereotomy, as 
 well as for the demonstration of the most useful methods of Building ; and 
 with various Cartoons of the Elementary Geometrical Figures. 
 
 Besides the peculiar Theories and Orders of Architecture, the Pupils are 
 instructed in the knowledge of all requisite Materials, and in the methods of 
 friaking Estimates, as well as in all the most necessary parts of Mechanics. 
 
 The Professor of Architecture attends the School two hours every day, 
 and reads a Theoretic Lecture twice a week, at some hour distinct from those 
 of the School. The Lectures of two years complete an Architectural Course. 
 
 The Pupils form two Classes. The first composes on the sketches, or un- 
 der the direction of the Professor. The second draws practical Geometry, 
 the different Orders, &c. Those of the greatest proficiency in the latter 
 class, are practised in drawing the Orders of the most beautiful Edifices of 
 Antiquity ; those in the former, the best ancient and modern Buildings of 
 the City in which the Academy is situate. Such of these Drawings as obtain 
 Premiums, are to remain in the Academy, in order to facilitate the progress 
 of the Students. 
 
 The Professor of Architecture inspects the Schools of Ornamental Design 
 and Perspective, in every thing relative to Architecture. 
 
THE SCHOOL OF TAINTING 
 
 Is supplied with several Engravings of the finest compositions, and with 
 every thing which the Professor of Painting judges requisite for the instruc- 
 tion of the Students, viz. Casts, Pictures, Lay-men for drapery, &cc. 
 
 In this School are taught the theories of Composition, and the practice 
 of the best methods of Painting, principally in oil and in fresco. During the 
 execution of Drawings and Pictures of Composition, the Professor points out 
 the methods of study most adapted to the various kinds of Painting. He 
 likewise executes some of his own works in the presence of the Pupils, to 
 facilitate their progress, especially in the practical part of the Art. 
 
 When there is a sufficient number of Pupils capable of colouring from 
 Nature, the Professor is charged to procure for them select Models, at the 
 expence of the Academy. 
 
 No Student is admitted into this School, who is not sufficiently master of 
 the Human Figure, to begin the practice of Composition and Colouring. 
 
 THE SCHOOL OF SCULPTURE 
 
 Is furnished with all requisite Statues, Bas Reliefs, and Busts, and with 
 the necessary apparatus for the execution of Models of every size and kind. 
 In it are taught the methods of working in clay, wax, stucco, wood, marble, 
 and all sorts of metals. 
 
 Beginners study in the Statue-room, and in the School of the Living Mo- 
 del. The Professor first exercises them in modelling in clay. He makes 
 them copy select Extremities, and (according to their progress) Bodies and 
 entire Statues, improving them continually in the study of Proportions and 
 of Anatomy, until he considers them fit to pass into his especial School. 
 None are allowed to enter on the study of Architecture till they have given 
 proof of their proficiency in Drawing, and particularly of their exactness of 
 outline ; and when they are sufficiently advanced to compose from invention, 
 copy in marble, or execute large works, in any materials whatever, they pass 
 into the Special School. The Academy supplies the Professor with all requi- 
 site materials for the practice of the various branches of Sculpture in the 
 Public School, for the immediate instruction of the Pupils. 
 
23 
 
 The Professor instructs the Pupils in the theory of his Art, as well as in 
 the dresses and costume of the Ancients, particularly the Greeks and Ro- 
 mans, the characters of the various Mythological Divinities, the forms of 
 Animals, and the most appropriate Hieroglyphics and Emblems usually ap- 
 plied to Statues. 
 
 SCHOOL OP PERSPECTIVE, 
 
 Furnished with Levels, Models of Solids, and of the most select Orders 
 of Architecture, for the purpose of studying the various effects of Shadows. 
 The best methods are taught of representing relieved objects on a plain Sur- 
 face, particularly objects of Architecture; for which reason the Architectural 
 Designs are made with the assistance of the Professor of Architecture. 
 
 The Professor of Perspective teaches the rules of Landscape, Theatrical 
 Decoration, or of that particular branch of Art which he practises. 
 
 No Students are admitted who have not made some progress in one of the 
 other Schools. 
 
 SCHOOL OF ORNAMENTAL DESIGN, 
 
 Furnished with Casts of the finest Antique Ornaments, and with the best 
 Engravings, ancient and modern, relative to Decoration ; as well as with 
 Cartoons of the elementary figures of Geometry. 
 
 The chief attention is given to such ornaments as are immediately con- 
 nected with Architecture ; on which account the Professor of Architecture 
 assists in this Class. The other departments comprize all things relative to 
 ornament in useful manufactures. 
 
 SCHOOL OF THE ELEMENTS OF THE FIGURE, 
 
 Furnished with accurately finished Drawings and many Fragments 
 of Relievo taken from Antique Statues, chiefly heroic and colossal ones. It 
 contains also Cartoons, representing by simple outlines the parts of the 
 human body, copied from the Antique, on a scale larger than Nature, with 
 the measures of the most established proportions ; besides Drawings of 
 elementary geometrical forms, as in the preceding School. These Cartoons 
 are executed by the Professor, and must be approved by the Committees, 
 previous to their being used in the School. 
 
24 
 
 Beginners are directed in Drawing, until they are able to put together 
 and to shadow the parts of the Relievo. 
 
 The School is divided into two Classes ; one of which draws from Relievos 
 and entire Statues ; the other copies Prints, or draws parts only of the hu- 
 man body. The Pupils who obtain a Premium in the Second Class, pass 
 into the first, or into any other of the Schools, at their own choice. Until 
 they are allowed to attend the Elementary Courses, the Professor shall in- 
 struct them in copying from Prints (or Drawings approved by the Com- 
 mittee), first heads, and then, by degrees, the other parts of the human 
 body, teaching them the proportions of the Antique Statues. He gives like- 
 wise every week a Lecture, theoretic and practical, for their improvement in 
 the knowledge of the proportions of the human frame. He also conducts 
 them once a month to the Statue and Picture Galleries, where he teaches 
 them to apply what they have learned to the best works, and to make proper 
 deductions respecting method, measures, principles, &c. 
 
 SCHOOL OF ENGRAVING, 
 
 Furnished with the best ancient and modern Prints, of every style and 
 manner ; with a Printing Press, and the Instruments requisite to facilitate 
 the execution of any part of Graving. 
 
 The methods of engraving Figures, as well as Architecture and Landscape, 
 are taught here ; and the Professor executes his own works in the School for 
 the greater advantage of the Students ; he instructs them not merely in prac- 
 tice, but in the knowledge of the nice relations that subsist between the ob- 
 jects to be represented, and the modes of representing them by Engraving. 
 
 No Student is admitted who has not acquired a thorough proficiency in 
 Drawing, and who does not discover a disposition to accuracy and diligence. 
 
 SCHOOL OF ANATOMY, 
 
 Furnished with the best Anatomical Statues, large Osteological and Myo- 
 logical Tables, some Antique Statues, and Casts of various Dissections. 
 
 Here are taught the construction of the human frame, and its mode of 
 action, as relative to the Arts of Design. Three lessons are given every 
 
 week. 
 
25 
 
 In the winter season, the Professor demonstrates the system of the 
 muscles, by natural bodies duly prepared ; in the summer, that of the bones, 
 by skeletons of different sexes and ages. He is bound to furnish the School 
 with at least twelve fresh preparations, made on the human body with the 
 nicest attention, in all respects, to render them fit for the Students to draw 
 from. 
 
 Any muscular preparations that are remarkable for the beauty of propor- 
 tions, are moulded and cast, for the use of the Schools of Anatomy and 
 the Living Model, as well as for occasional purposes of the Summer 
 Lectures. 
 
 The Living Models are used for a comparison of the actual state of the 
 body with these preparations, skeletons, &c. 
 
 The Professor explains, in a treatise, the various uses, forms, and charac- 
 ters of the bones, muscles (chiefly external), &c. 
 
 SCHOOL OP THE LIVING MODEL, 
 
 Furnished with Skeletons, Anatomical Casts, and two or three Antique 
 Male Statues of various character. 
 
 This School is designed to prove, by the test of living Nature, the validity 
 of the notions relative to the human frame, acquired from the study of Pro- 
 portions, the Antique forms, and Anatomy. It is under the direction of 
 the Professors of Painting and Sculpture, who attend (together or alternate- 
 ly) to set the Model, and correct the works of their respective Pupils. 
 
 All supernumerary fragments and Tables of the School of Anatomy are 
 placed here, with the names of the muscles, bones, &c. No Student is ad- 
 mitted who has no.t a competent knowledge of the external muscles. 
 
 STATUE ROOM, 
 
 Furnished with Casts from the principal Antique Statues ; contains, more- 
 over, a collection from the finest Busts, Bas Reliefs, Idols, Animals, Furni- 
 ture, and every kind of ornament, of importance either for workmanship or 
 erudition. This School is under the inspection of the Professors of Painting 
 and Sculpture, in the same manner as the former. Those Pupils only are 
 admitted who have made a progress in the Elementary School, and have suf- 
 ficient knowledge of Outline, and shadowing from Relievo. 
 
 E 
 
26 
 
 PICTURE GALLERY, 
 
 Dest ined principally to the improvement of the Students in Painting, and 
 therefore under the immediate care of the Professor of Painting. No Stu- 
 dents are admitted who are not far advanced in Drawing. 
 
 When the works sent for Exhibition are too numerous to be contained in 
 the Exhibition Room, the Committee of Painting shall select some of the 
 best, and place them in this Gallery. 
 
 LIBRARY, 
 
 Open at all times to the Professors, and two days in every week to the 
 Students : it is to be augmented every year with the new Publications rela- 
 tive to the Arts. 
 
 The times of opening the various Schools are accurately defined. The 
 hours of each may be varied as circumstances require, but no alteration can 
 
 take place in the length of time allotted to them. 
 
 * 
 
 ELEMENTARY COURSES. 
 
 Both the National Academies have Elementary Courses in common, in 
 order to form the Students on the same principles, especially in the Schools 
 of Architecture, Ornamental Design, and the Elements of the Figure. 
 
 The Elementary Courses are divided into two parts, viz. theoretic and 
 practical ; each consisting of at least twenty-four Tables or Designs from 
 which Drawings may be made, and of the fundamental rules of each branch 
 of Art, besides an analogous explanation of the Tables. 
 
 For the Schools of Architecture and Ornamental Design, the theoretic 
 part is drawn up by the respective Professors : the practical part is executed 
 by the Assistants. For the School of the Elements of the Figure, the Pro- 
 fessor of Painting assists in drawing up the theoretic part, in concurrence 
 with the Professor of this School, who alone is to execute the practical part. 
 
 The Elementary Courses shall be offered for the judgment of an Extra- 
 ordinary Committee in both the National Academies, within three years 
 from the establishment of the three Schools aforesaid. 
 
The Academies decree, at their joint expence. Gold Medals, of the value 
 of fifty sequins each, for every Course which shall by the Extraordinary Com- 
 mittee be judged worthy to become a basis of instruction in the Academic, 
 Schools. These Medals are to be publicly delivered to the joint Authors, 
 and the Courses, printed and engraved at the expence of the two Academies, 
 with the names of the said Authors, become a rule of Elementary Instruc- 
 tion for the respective branches of Art in the Schools to which they ap- 
 pertain. 
 
 In case that no work of this degree of merit presents itself, two Medals, 
 of twenty-five sequins each, are allotted to the best of each class, the origi- 
 nal works becoming the property of the Academy (as in a former case) : and 
 the two Academies give public notice of a general Competition (Concorso), 
 offering a Premium of two hundred sequins for each Elementary Course, to 
 be presented within the term of two years. This Concorso to be renewed, 
 in case the works of the competitors do not answer the important purposes 
 for which they are designed. 
 
 At the end of every term of fifteen years, the Elementary Courses are re- 
 vised by the Permanent Committees, with power to confirm or reform them. 
 
 The Assistants supply the place of the Professors in cases of absence or 
 illness ; attend the Schools for three hours at a time ; make large Drawings 
 of the Elementary Geometrical Figures for their respective Schools ; and ex- 
 ecute the practical part of the Courses under the immediate inspection of the 
 Professors. 
 
 An Article regarding the Premiums of the Second Class regulates the 
 methods of ensuring the just distribution of the Premiums to such Pupils of 
 the Academy as shall produce the greatest number of good Drawings in the 
 course of the year. One of each of their works becomes the property of the 
 Academy, 
 
 competitions for prizes (concorsi). 
 
 The Programma defines the sizes, subjects, &c. of the works to be of- 
 fered by the Candidates. The works are exposed to public view before and 
 after the distribution of the Premiums. Before the publication of the Pro- 
 
 E 2 
 
28 
 
 gramma, the Academy inquires of the Government, whether any Public 
 Works are in contemplation, in order to make them the subjects for the 
 Annual Prizes. 
 
 % / 
 
 The Premiums of the First Class are adjudged by Extraordinary Commit- 
 tees, and those of the Second Class by the Permanent ones. An Extraordi- 
 nary Committee must consist of not less than five Members, and is chosen 
 on the day previous to decision. There is one for each branch of Art. 
 
 The vote of each Member is given in writing, with his reasons for appro- 
 val or disapproval. Each Member receives a Silver Medal struck on the 
 occasion. 
 
 The Premiums having been adjudged in the manner described, the Local 
 Authorities are invited, by a Deputation of the Academy, to assist at their 
 distribution. The Sitting is opened by a Discourse from the Secretary, tend- 
 ing to illustrate the theoretic part of some important branch of the Arts ; 
 which is followed by an Elogium on the Arts, pronounced by an Orator 
 chosen for this purpose by the Academicians. If the Elogium be approved, 
 the Orator becomes an Honorary Member by immediate right. 
 
 After the delivery of these Discourses, the Secretary reads the decisions, 
 with the reasons of approval or disapproval given by each Member, without, 
 however, mentioning their names, or those of the unsuccessful Candidates, i 
 
 The Premiums are then delivered by the Authorities ; and the names of 
 those who have obtained them are annexed to their works during the re- 
 maining time of Exhibition. 
 
 The Academy contains the Moulds of Fragments necessary chiefly for the 
 Schools of Ornamental Design and the Elements of the Figure ; likewise, 
 for the use of those who study the Figure (Figuristi), two or more Lay-men, 
 besides Tunics, Palliums, Chlamides, Togas, and other garments of ancient 
 modes, especially Greek and Roman ; all made of stuffs proper to the cos- 
 tume, and adapted to the study of Drapery. Also Models, or Drawings, of 
 every sort of ancient Armour, and of Accoutrements of every age. 
 
Works in writing- presented to the Academy, although receiving the Pre- 
 miums, remain the property of their Authors for publication. 
 
 The Dissertations which are capable of facilitating the progress of the Pu- 
 pils, are communicated to the Schools by the respective Professors. 
 
 Premiums in Sculpture, not being distributed, are accumulated to procure 
 the execution of Works in Marble. 
 
80 
 
 . n E JVJV.A-, 
 
 STATE OF THE FINE ARTS. 
 
 LETTER FROM MR. FUGER, DIRECTOR OF THE IMPERIAL ROYAL ACADEMY 
 OF THE FINE ARTS AT VIENNA. 
 
 (to trince iioare, &c.) 
 
 Sir, Vienna, September IS, ISO-1. 
 
 I have received the packet, containing the Institutions of the Royal 
 Academy of London, the sequel of its Correspondence, and the Tract re- 
 specting the Fragment of the Bust of Ceres, together with your obliging 
 Letter to me. I have duly laid the whole before the Assembly of our Aca- 
 demy, and am commissioned to express its acknowledgments to the Royal 
 Academy of London for those acceptable Communications, and especially 
 for the offer of obtaining for us the Mould of the above-mentioned Bust of 
 Ceres. 
 
 But, judging of this Fragment by the specimens given of it in the Tract, 
 it can no longer be interesting as an object of imitation for the Art of Sculp- 
 ture in its executive part. Consequently our Academy has resolved to re- 
 linquish the wish of placing either the Mould or the Cast in its Collection, 
 which is limited to such works alone as are immediately necessary for the 
 studies of the Artists. 
 
 With regard to the desire expressed, of having a copy of the description 
 of the manner of casting the Equestrian Statue of the Emperor Joseph II. 
 by Professor Zauner, and repeated in your second Letter of July 26th, I 
 am at present better enabled to comply with it than when you first made 
 the request. 
 
 There has, in this interval, been published in a journal a sketch of the 
 
 / 
 
 operations, in order to correct the many erroneous accounts detailed in the 
 newspapers, and to impress the public with a just idea of the proceeding 
 
31 
 
 of the Artist who is employed in this undertaking. I subjoin a copy of this 
 Tract. 
 
 This abridgment, short as it is, gives nevertheless an idea of the most es- 
 sential part (and hitherto the most difficult) of the mould for casting the 
 bronze, which is, at all times, the safe preparation of the core destined to 
 sustain the interior surface of the metal. A more ample description cannot 
 appear until the whole work shall be completed, and set in its place, which 
 will require at least two years more, and will not allow Mr. Zauner sooner 
 to give the attention requisite for methodizing a description of this kind, as 
 he is likewise obliged himself to direct the whole chiseling of the Statue, as 
 well as the bronze ornaments of the pedestal, composed of large blocks of 
 grey granite ; the construction of which he also superintends, and which 
 will be remarkable in its kind, as well for its solidity as for the beauty and 
 grandeur of the work. 
 
 If, subsequent to this period, the explanatory Treatise shall be publish- 
 ed, with the requisite Drawings, Professor Zauner will with great pleasure 
 transmit a copy to the Royal Academy of London. 
 
 In the mean time I have the Honor to be, with the highest regard, 
 
 SIR, 
 
 Your most humble Servant, 
 
 Henry Fugee 
 
32 
 
 BRIEF ACCOUNT 
 
 OF THE 
 
 EQUESTRIAN STATUE OF JOSEPH II. 
 
 IN BRONZE, 
 
 AND OF THE METHOD EMPLOYED BY MR. ZAUNER IN CASTING IT. 
 
 Although this great Monument of Art cannot, with propriety, be 
 fully submitted to the public judgment, until it shall have received the 
 finishing hand of the Sculptor, it may not be an unacceptable task to give 
 some previous historical information respecting it, gathered partly from 
 facts, of which the Writer has been an eye witness, and partly from ac- 
 counts which have occasionally been given by Mr. Zauner, an Artist no less 
 distinguished by his modesty than his skill. 
 
 Mr. Zauner justly conceived that the character of his Statue should be 
 congenial with the great Sovereign to whose memory it was designed as a 
 tribute ; that it should be simple, noble, sublime. 
 
 The Monarch is therefore represented on horseback, moving with a gentle 
 pace through the midst of his people, and gently stretching out his arm, as 
 watchful for their welfare, and blessing them. 
 
 By adopting also the Roman costume, by the Architecture of the pedes- 
 tal, and by the appropriate choice of the decorations, the Artist has endea- 
 voured to preserve, throughout, the purity of the Antique Style, alone 
 suited to the dignity of such Monuments. 
 
 In the Bas Reliefs he has delineated the Travels of Joseph, and his zeal 
 in encouraging Agriculture and Commerce, as the principal objects of his 
 wise government. 
 
 This Statue, the largest at present in Europe, was ordered to be cast in 
 bronze, and the confidence placed by his present Imperial Majesty in the 
 Artist, has animated him to an undertaking confessedly subject to so many 
 
 risks. 
 
33 
 
 In order, previously to the actual execution of his work, to ascertain as 
 much as possible the method of success, agreeably to conceptions he had 
 formed from smaller experiments, as well as to strengthen his confidence in 
 his own powers, he resolved first to cast the Statue on a small scale, pre- 
 cisely in the same manner in which he proposed to execute the work itself. 
 
 He obtained permission to this effect in the year 1705, and the small 
 Statue was already in the pit, prepared for casting, when (in i 797) he re- 
 ceived the work of Mariette, on the casting the Statue of Lewis XIV. by which 
 he found that the method adopted in casting that Statue, though in many 
 parts surprizingly agreeing with that which he had contrived, yet differed 
 from it in some of the most essential points. 
 
 As his preparations, therefore, were advanced to the very moment of 
 casting, and he was fully persuaded of the probability of his success, he could 
 not resolve on following the hints suggested by that otherwise valuable 
 Treatise; especially as the place allotted to him in the Imperial Cannon- 
 Foundery was very confined, and would not permit him to adopt altogether 
 the method described. 
 
 Thus, for instance, on account of the narrow space of the pit, he found 
 himself obliged to apply the fuel, requisite for the due ignition of the moulds, 
 from the top, instead of applying it from below. The oblique direction, 
 which he gave on all sides to the interior surface of the fire-wall, caused the 
 wood thrown into it to slide with ease towards the centre of the iron grate of 
 the fire-place underneath the moulds, and this with so equal a distribution, 
 that the fire was uninterruptedly preserved in its strongest state of action ; 
 on which account he was induced to conclude that the method he had thus 
 accidentally discovered of applying the heat, would be preferable to any 
 other, in whatever circumstances of a similar undertaking. 
 
 Nor had he any reason to be alarmed at finding, in Mariette' s description, 
 the casting-holes and vent-pipes narrower and much fewer than his own ; 
 since, from their enlargement and greater number, he was entitled to ex- 
 pect that the air would be more certainly expelled ; that the metal, thus 
 conveyed through a shorter channel, would be less liable to congeal, and be- 
 ing, by an increased pressure from above, brought into a more rapid circu- 
 lation, would with so much the greater force and speed tend to a general 
 union. 
 
 p 
 
34 
 
 But in no respect does Professor Zauner’s method more differ from that 
 described by Mariette, nor did he in any other point conceive himself more 
 obliged to adhere to his own contrivance, than in that most essential point, 
 the management of the nucleus, or core. 
 
 In France, the plaster moulds were lined with laminae of wax, according 
 to the intended thickness of the metal, and then the mass, forming the 
 core, was poured into those moulds accurately joined. 
 
 As, in this case, it becomes impossible to obtain sight of the core 
 again, in order to examine and repair it, and it must be left entirely to its 
 own fate, this disagreeable circumstance induced the Artist not to repent 
 that he had himself pursued a different method. 
 
 He was apprehensive that the fall of the mass composing the core, con- 
 sisting of from 910 to 1040 gallons of water, mixed with several hundred 
 weight of plaster and brick -dust, in its passage through the iron net-work 
 could not but throw down the skeleton, as well as produce a great quantity 
 of foam and air-bubbles ; and that the most impure parts would, by reason of 
 their levity, be conveyed towards the surface, and so render the nucleus 
 porous and spungy in the very place where, on account of the contraction 
 of the congealing metal, it ought to be most perfect and solid. 
 
 Moreover, he was afraid that the enormous mass of the core, when con- 
 fined for more than a twelvemonth, might decay ; might cause the iron to 
 rust ; that the nucleus would not then unite well with the wax ; and that 
 it would be highly difficult to free it entirely from moisture, which must be 
 attended with the most pernicious effects. * 
 
 All these considerations determined the Artist to enter courageously on 
 the execution of his own plan, from which no such accidents could be ap- 
 prehended. 
 
 The plaster mould being therefore properly smeared within with olive-oil, 
 the whole mass, forming the core, was at once poured immediately into it ; 
 and as soon as it had obtained a requisite consistence, the mould was re- 
 moved. 
 
 The Artist by this means had the core again entirely in his power, and 
 he found that it exhibited on its surface (as he had suspected) a quantity of 
 impure bubbles and scaly strata. He was therefore able to repair its defects 
 
35 
 
 wherever he judged it necessary; and thus the most essential operation of 
 casting could be secured from all danger. 
 
 He then cut away from the whole exterior circumference of the core as 
 much as was equal to the requisite thickness which he designed the metal to 
 have, and dried the new surface as well as he could by means of charcoal- 
 fire. Upon this the plaster moulds were again put together, and the vacant 
 space between them and the nucleus was filled (in the manner of strata) 
 with melted wax*. 
 
 The most complete success justified all the expectations of the Artist. 
 On the 19th September 1800, he had the gratification, on removing the 
 mould, of seeing the figure of the Emperor come out in a state of the great- 
 est possible perfection ; and on the 26th February 1 803, that of the Horse 
 appeared with equal felicity. 
 
 Thus have the genius and inventive mind of one man accomplished a 
 work, to which the united talents of Artists and Learned Men in various 
 departments have hitherto been generally considered as requisite. 
 
 The Bas-reliefs belonging to the Pedestal are now in the pit, for casting. 
 The probable success of these will bring the work considerably nearer to its 
 public exhibition. 
 
 * For the sake of those who are unacquainted with die process of operations of this kind, 
 it is requisite to remark, that upon the wax with which the core was now covered, the appro- 
 priate casting mouid, made of clay, was afterwards applied, of the requisite thickness, well 
 dried, and secured with iron hoops, and that it was necessary to melt out the wax by means of 
 fire, and to ignite the mould thoroughly, before the casting of the metal could be undertaken. 
 
 F 2 
 
36 
 
 ST. PETERSBURG . 
 
 STATE OF THE FINE ARTS. 
 
 PART OP A DISCOURSE DELIVERED BY MR. DE LABZIN, PERPETUAL SE- 
 CRETARY OP THE ACADEMY OP ST. PETERSBURG, IN THE GENERAL 
 ASSEMBLY OP THE ACADEMY, DECEMBER 1803. 
 
 It is the duty of the Academy, Gentlemen, on this day appointed by 
 the Regulations for its solemn Assemblies, to render you an account of its 
 occupations and progress during the course of the year. This year has been 
 particularly distinguished by the extensive favours it has pleased our August 
 Sovereign to confer on the Academy, in augmenting the Annual Stipends 
 assigned to it thirty-eight years ago, and now inadequate to the purposes of 
 the Institution. 
 
 Besides this mark of Imperial Favour, new resources have been opened to 
 the Academy, for the advancement of the Arts and the encouragement of the 
 Artists. The Painter and Sculptor will tread with a bolder step the majestic 
 career of their Art, when the Imperial Palaces and Gardens are thrown open 
 to receive their works. The Architect views before him a new path to ho- 
 nors and glory, when (in consequence of the 25 th Article of the Supplemen- 
 tary Regulations of the A.cademy) he finds, that all the Courts entrusted with 
 the charge of the Public Buildings, Civil and Ecclesiastic, are bound to em- 
 ploy, for the construction and decoration of these edifices, Russian Artists 
 in preference to Foreigners, and the Pupils of the Academy in preference to 
 all other Russians. 
 
 It is thus that within these late years, the construction of the Palace of St. 
 Michael afforded employment worthy of our Artists in Historical Painting, 
 and we beheld on canvas the history of our country ; — the election of the Czar 
 Michael Feodorovitch to the Imperial Throne, and the capture of Casana by the 
 Czar Ivan Vasilievicth, composed by M. Ougremoff ; Peter the Great at the 
 battle of Pultowa, by M. Sheboueff ; — while other Pictures represented diffe- 
 rent views of the Imperial Palaces and Gardens. The appropriate orna- 
 
 * 
 
37 
 
 merits of the Cascade of Peterhoff, have given to our Sculptors an opportu- 
 nity of displaying their talents in the Groups and Statues which their vari- 
 ous skill has produced. 
 
 In the same manner the construction of the magnificent Church of the Vir- 
 gin of Casana, by calling into action the powers of our Artists, will in future 
 years demonstrate the successful progress of the Arts in Russia. For on this 
 superb edifice Russian Artists alone will be employed, and the temple will 
 owe its entire magnificence to the materials of our country. 
 
 In process of time, the Academy has ground to hope its labours will 
 not be confined to the Capital. Majestic Monuments and Edifices will per- 
 haps equally adorn the other cities of the Empire. At the command of his 
 Imperial Majesty, M. Sacharoff has already made a tour through several dis- 
 tricts, in order to adapt the plans, proposed for the construction of the Pub- 
 lic Schools, to the nature and circumstances of the situation. Mr. Alexief, 
 a Member of the Council of the Academy, has been sent to Moscow, to 
 make Designs of the different Palaces of that ancient capital. Mr. Petroff 
 is at this moment in Siberia, in order to take views of that picturesque 
 country. M. Cameef travels with General Sprengporten through other 
 parts of the Empire, for a similar purpose. The Academician Kourtlaindzoff 
 attends the expedition of the American Company into diverse countries of 
 America, and the .Southern Regions, in order to make Drawings of the 
 lands and dwellings of the Inhabitants, their customs, their utensils, and 
 all that can be considered as objects of curiosity to Europeans. Four Pupils 
 of the Academy, distinguished by the exertion of their talents (M. M. Sche- 
 boueff, Egoroff, Demout, and Doudin, the two former in Historical Paint- 
 ing, the third in Sculpture, and the last in Architecture), have been sent 
 into Italy, to perfect their studies by the example of the Ancient Masters. 
 Two other Pupils of the Academy (M. Varnik, who has distinguished him- 
 self in Portrait Painting, and M. Outkin, in Engraving) are likewise com- 
 missioned to travel, the former into Italy, and the latter to Paris, in order 
 to acquire a more enlarged knowledge of their Art, and to strengthen their 
 efforts for success. 
 
 Their recent departure does not allow of the arrival of any* spe- 
 cimens of their labours, to be presented to you on this day. The works 
 of those Pupils who are still in the Academy, and whose merits have 
 
38 
 
 .jen conspicuous in the Compositions executed agreeably to the Programma, 
 are now offered to your view ; and the youthful talents which thus unfold 
 themselves before you, look to you for indulgence and approbation. 
 
 This, Gentlemen, is what the Academy is enabled to state to you since 
 the day of its solemn assembly in the month of December last. It is from 
 that day * the Academy dates its hopes of aggrandizement and success, by 
 the benevolent succours of the Government, and of the respectable friends of 
 Art and Science : it is from that day it dares to conceive the promise of uti- 
 lity, and of the power of contributing to the glory of the country. 
 
 * Vide Academic Correspondence, 1803 (p. 17 ). 
 
39 
 
 M JD R I B. 
 
 LETTER* PROM DON ISIDORO BOSARTE, SECRETARY TO THE ROYAL ACADEMY 
 
 OF ST. FERDINAND. 
 
 (addressed, in reply, to prince hoare, secretary for foreign correspondence, 
 
 AND RECEIVED APRIL 5 , 1805 ). 
 
 SIR, 
 
 It is with the utmost pleasure that this Royal Academy of Arts, under 
 the name of St. Ferdinand, have received your much esteemed Letter of 
 24th May last, wherein, in the name of the Royal Academy at Somerset- 
 House, you ask from me a short account of the state and culture of Paint- 
 ing, Sculpture, and Architecture here, in order to publish a general account 
 of the said Arts in Europe, after your obtaining equal documents from the 
 other civilized nations : in return for which, you are ready to furnish us with 
 equal notices of your country upon that subject. 
 
 The idea of publishing such a work has been thought by this Academy a 
 very laudable and useful one, they thinking that its execution will be pro- 
 portioned to the superior knowledge of the English Academicians, and to 
 the number and exactness of documents that shall be re-united to that pur- 
 pose : consequently, these Gentlemen desirous of contributing to such an 
 undertaking have agreed to send you, by my hand, a copy of the Acts pub- 
 lished by this Academy since its foundation to the present day ; the Historic 
 Dictionary of the Spanish Artists, composed by our Honorary Member, Mr. 
 John Augustin Cean Bermudes, and also published by this Academy ; and 
 lastly, the account that you desire. 
 
 * This will be discovered to be the Letter of a Foreigner, by the turn of a few phrases ; but 
 the perspicuity, and knowledge of our tongue, with which it is written, rendering any material 
 alteration superfluous, it is printed (with the exception of one sentence) in the writer’s own 
 words, as affording a collateral instance of the general state of culture in the Spanish Academy. 
 
-10 
 
 In accomplishment, therefore, of my commission, I must tell you, that 
 any notices, relating to our progress in the Liberal Arts, are to be found in 
 the mentioned Acts and Dictionary, except the names of some Artists who 
 are still living, and deserve great praise for their excellent merit in Painting, 
 Sculpture, and Architecture, respectively ; concerning which the Academy, 
 to avoid the censure of partiality, have ordered me to pass it by. 
 
 As for the learning of Arts here, it is necessary to give you previously an 
 idea, though rapid, of this Academy’s organization. It was founded about 
 fifty years ago ; and ever since, neither the spirit of its foundation has de- 
 cayed, nor its Statutes, published with Royal Authority in the year 1 757, 
 have been reformed. In the Institute, three Arts are comprehended, viz. 
 Painting, Sculpture, and Architecture, the engraving of Cuts being re- 
 ferred to Painting, and that of Medals to Sculpture. Those Arts are taught 
 gratis by their respective Directors from the rudiments themselves ; nothing 
 being paid for the title of Academician. Besides a General Director, there 
 are two of Painting, two of Sculpture, and an equal number of Architec- 
 ture : three Vice -Directors of Painting, three of Sculpture, and two of Ar- 
 chitecture : for the Engraving there are two Directors without Substitutes. 
 As auxiliary studies, Mathematics and Perspective are learned in three diffe- 
 rent Schools established by the Academy, two of them for the- first Science, 
 and one for the last. A select Library of the best authors who have written 
 upon Arts, is open in the Academy. 
 
 The study of the Arts is not arbitrary, but regular. The rudiments of Draw- 
 ing are- learned by Designs of the same Directors • and this apprenticeship 
 finished, young men pass to study the Ancient Statues, whose Plaster- 
 models belong to the Academy. These form a very valuable collection, 
 composed not only of a great number of them which our Kings have libe- 
 rally made a present of to the Academy, but of those too that being in the 
 property of D. Antonio Mengs, were bequeathed by him to His Majesty, 
 whose royal beneficence has given them up to the Academy, as a means of 
 incitement to the Students. After these exercises they study from the Life, 
 for which purpose the Academy assigns a Salary for the attendance of good 
 living Models. 
 
 The delineation of Architecture is learned in the ’ 1 Academy, and its prac- 
 tice acquired by assisting at the construction of buildings with which the 
 
'<w-V> 
 
 41 
 
 Directors are charged. Plans of Public Buildings are examined by the Aca- 
 demy, and duly corrected, to preserve the Art in all its purity' according 
 to the rules and taste of learned antiquity. 
 
 The expences of the Academy are paid by our beneficent King, who con- 
 fers every office of that body. The Secretary of State is the President : his 
 Substitute is a Vice-Protector, who, for the governance, is assisted by some 
 Nobles, and several considerable men of high employments, literature, and 
 good taste in the Arts. 
 
 At the end of every Triennium there is a general meeting in the Academy, 
 and exercitation upon matters relating to the three mentioned Arts, notice 
 being given to the public six months before ; and to those who excel, as 
 much in the workmanship as in the examen. Rewards are given without 
 partiality. 
 
 The Academy’s House enjoys the privilege of a royal one : and to pro- 
 mote the advancement of the Arts, Personal Nobility has been granted by our 
 King to the Academicians ; and the exemption from some plebeian charges to 
 those who, not having yet obtained that title, get some Reward at the Ge- 
 neral Meeting mentioned before. 
 
 The success has been proportioned to the wise dispositions of the Academy, 
 and to the Spanish genius, grave and thoughtful : thence it is that Spaniards 
 have excelled in the Arts since their restoration in Europe. 
 
 After the example of this Royal Academy some others have been founded in 
 several cities of the kingdom, such as Saragoza, Valencia, Valladolid, and 
 Mexico. Besides this, Schools to learn the Arts are open in the cities of 
 Cadiz, Seville, Granada, Barcelona, and other less considerable towns. 
 
 Drawing is esteemed here as a branch of a liberal education, and for this 
 reason a great number of persons, and many of the first nobility, apply 
 themselves to it. 
 
 Should this account happen to satisfy your wishes, the Academy hopes 
 you will be good enough as to send us similar notices on your part ; and if 
 you have any thing to command me, I shall take pleasure in obeying you. 
 
 I am, 
 
 SIR, 
 
 Your most obedient and most respectful Servant, 
 
 ISIDORO BOSARTE. 
 o 
 
42 
 
 ACCOUNT 
 
 OF THE 
 
 ESTABLISHMENT 
 
 OF THE 
 
 ROYAL ACADEMY OF ST. FERDINAND*. 
 
 'The first project for a Public Academy of the Fine Arts at Madrid, was 
 formed in 1619, when the Professors presented a printed Memorial to 
 Philip III. petitioning that he would establish in his Court an Academy of 
 Painting, in the same manner as he had already established one of Mathe- 
 matics, and that he would be pleased to direct the Statutes by which it 
 should be governed. The design, however, proved abortive. Nor did 
 better success attend the renewal of these instances on the part of the Pro- 
 fessors in the reign of Philip IV. when the Government, persuaded of the 
 utility of the project, in an Assembly of the States, named four Deputies, 
 who were ordered to discuss the subject with due deliberation. Meetings 
 were held, Forms and Regulations for the management and security of a 
 proper Institution were settled, and approved by the Government ; but 
 “ the execution of the whole scheme was suspended” (says Vincencio Car- 
 ducho), “ not on account of the Art of Painting, nor of the Lovers of 
 cc Painting, but of the opinions and particular sentiments delivered by the 
 “ Professors themselves.” 
 
 But, although this may be justly said to have been the principal occasion 
 of the decline of the Fine Arts in Spain, other causes concurred to their 
 downfal. Precisely at this epoch our Artists began to forsake the right road, 
 and to abandon the sound principles which Berruguete, Bicerra, Vigarny, 
 and other great Foreign and Spanish Professors, had brought from Italy ; 
 
 * Vide Diccionario de los Frofesores de las Bellas Artes — after the article Olivieri. 
 
43 
 
 mid the Arts, in the beginning of the 18th century, sunk to the most de- 
 plorable degree of ignorance and disrepute. 
 
 In this state they were found by Philip V. of whom it has been said by a 
 celebrated Orator, that when he passed the Pyrenees, he was already in- 
 flamed with the desire of restoring the Arts and Sciences. In fact, no sooner 
 had he surmounted the obstacles which lay in his way to the throne, than 
 he turned his attention to the re-establishment of the Arts, and with this 
 view drew from Italy and France the most eminent Artists of his time, and 
 brought thence likewise the valuable collection of Statues which had be- 
 longed to Queen Christina. 
 
 Among those Foreign Artists was Olivieri, a native of Carrara, in the 
 Genoese State, whose reputation in Sculpture was already considerable, 
 and who now, on the invitation of the Marquis de Villarias, Minister of State, 
 came to Madrid in quality of principal Sculptor to the King. Olivieri be- 
 came so attached to Spain,, that he resolved never to quit the kingdom, and 
 obtained an act for his naturalization ; after which he devoted himself, with 
 truly patriotic zeal, to the education and instruction of the youths entrusted 
 to his care. He established a Public School of Design in his house, and 
 continued it at his own expence for several years. At the same time he ur- 
 gently solicited the establishment of a Royal Academy in Madrid. His 
 high reputation, added to the favour which he constantly experienced from 
 Villarias, again procured the discussion of the project during several Ses- 
 sions, and the Government quickly began to take his School under its pro- 
 tection. A General Meeting was appointed at the house of the Princess de 
 Robec, at which Villarias presided; and an inaugural Oration was spoken 
 amidst a numerous concourse of Artists and Lovers of the Arts, 
 
 Olivieri, animated by the general applause bestowed on his endeavours, 
 and by the great increase of his School under the favour of the Government, 
 presented a proposal to the King for the establishment of a Public Academy, 
 and obtained his assent ; but, from some difficulties which occurred, it was 
 not till the 1 3th of July, 1 744., that the Preparatory Assembly met to determine 
 the means of perfecting the Plan of the Academy, and of continuing the 
 Public Studies of the Fine Arts. The house of the Panaderia was fixed on, 
 and every requisite provided for the purposes of the meeting. 
 
 G 2 
 
It should, however, be mentioned, that before Olivieri’s arrival in Spain, 
 great efforts had been made for the establishment of a Public Academy in 
 Madrid, by D. Juan de Villanueva, a Sculptor of Asturia, eminently zealous 
 for the national honour and the advancement of the Arts. He obtained a 
 meeting of the Artists, but the disturbances of war in 1709, put a total stop 
 to his useful projects. 
 
 Previous also to this attempt of Villanueva, another Asturian, D. Fran- 
 cisco Menendez, Miniature Painter to Philip V. having for many years 
 witnessed the progress of the Academies of Painting in Italy, printed, 
 in 1726, a copious Representation addressed to the King, demonstrating 
 the advantages which the kingdom would derive from a similar establish- 
 ment, and in like manner proposing the Pcoiaderia for the convenience of 
 the Public Studies. He also offered to draw up and publish a Plan of Ge- 
 neral Regulations, but he was unable to procure attention ; and the honour 
 of carrying the scheme into execution was reserved for a Foreigner, both 
 Villanueva and Menendez contenting themselves with the title of Directors 
 in the Preparatory Assembly for the establishment of an Academy they so 
 anxiously desired. 
 
 The first Public Meeting was held September 1, 1744, and the second 
 on July 15th of the following year ; but the death of the King, in 1746, again 
 suspended the wished-for sanction. The glory of conferring it was destined 
 to his son, D. Ferdinand, who, approving all that had been done, ordered 
 the regular arrangements to be formed. 
 
 In 1750, the endowment of the Academy was augmented, and Students 
 were pensioned and sent to Rome. In 1 751, the Statutes were confirmed ; 
 and on April 12, 1752, the Royal Mandate was issued for the incorpora- 
 tion of the Academy, by the title of St. Ferdinand, and under the patronage 
 of His Majesty, who at the same time named the Governors and Instructors. 
 His Excellency D. Josef Carvajal and Lancaster was appointed President, 
 and Olivieri took his place among the Directors in Sculpture. The number 
 of the Members was 32, consisting of a President, Vice-President, Coun- 
 sellors and Honorary Academicians, Directors and Deputy-Directors of the 
 respective Schools, and a Secretary. 
 
 The opening of the Academy was celebrated with great splendour on the 
 13th of June of the same year, in the house of th e Panaderia. The As- 
 
45 
 
 sembly was composed of persons of distinguished eminence, and an Ora- 
 tion was delivered by the Vice-President : some of the Pupils then drew and 
 modelled in the midst of the Assembly, a band of music playing ; and the 
 whole concluded with refreshments. 
 
 From this period the number of the Students increased, and the zeal and 
 attention of the Masters were redoubled. As an incentive to the Students, 
 the King ordered a distribution of eighteen Premiums, viz. nine Gold and 
 nine Silver Medals, bearing on the face the effigy of St. Ferdinand, and on 
 the reverse the device of the Academy, engraved by D. Thomas Prieto. He 
 likewise commanded, that, subjects being first proposed in each Art and 
 Class, all the Professors in the kingdom should be invited to competition by 
 Public Edict ; as was accordingly done, and is continued to this day. 
 
 Nothing was omitted that could give solemnity and importance to the first 
 distribution of the Prizes. It was celebrated December 23, 1753, in a lower 
 room of the Palacio Nuevo , decorated with the works of the Candidates, 
 D. Carvajal presiding at the Meeting, which was not only numerous, but 
 consisted of persons of the first distinction of the Court. 
 
 The distribution of the Premiums of the ensuing year was in the 
 Theatre of the Seminary of the Nobles, and D. Richard Wall, Secretary of 
 State, appeared as President in the room of D. Carvajal, deceased. On 
 this occasion the Academy, to demonstrate its gratitude to the Royal Foun- 
 der, and to the Minister who had been its first President, exhibited a Bust 
 of Flis Majesty, by Olivieri ; a Marble Medallion of Carvajal, by the same 
 Artist, and a Portrait of him painted by D. Andres de la Caileja ; and like- 
 wise ordered a Portrait of His Majesty to be painted by D. Antonio Gon- 
 zalez Ruiz. 
 
 The Academic Body not at that time possessing apartments sufficiently 
 spacious, or adapted to the celebration, of its Public Meetings, the third 
 and fourth distribution of the Prizes took place in the Consistorial Houses 
 of the city, on January 25th, 1756, and on March 6th, 1757. The 
 King, desirous of the final completion and stability of the Institution, con- 
 firmed its Statutes on the 30th of May, a day consecrated to the Saint 
 whose name he bore, and distinguished with public rejoicings at Court. 
 The Statutes were published in the Academy October 15th, and on Decern- 
 
46 
 
 ber 23d in the Council, whence they were sent, with due instructions for 
 their observance, to the principal Tribunals, Courts of Chancery and Judi- 
 cature throughout the kingdom. 
 
 In these Statutes notice was given, that the General Competition for the 
 Premiums was appointed to be once in three years, and consequently, the 
 fifth distribution was not made till the year 1760, when, the principal apart- 
 ment of the Panaderia being enlarged, the celebration took place on the 
 28th of August. These triennial functions were continued successively in 
 the same place till the year 1772, when, after the celebration of the ninth 
 distribution, it was proposed to remove the Academy to the House it now 
 occupies. On account of the various preparations requisite for so extensive 
 an Establishment, and the attention necessary to these operations, no Pre- 
 miums were distributed in 1775- The triennial distribution was, however, 
 resumed in 1778, and has been continued regularly, the nineteenth having 
 been celebrated in 1802. 
 
 The Academy was, from its commencement, sensible of the necessity of 
 sending some of its Pupils to Rome, to study the three noble Arts among the 
 celebrated Monuments possessed by that city, and, having obtained the Royal 
 Approbation, in the year 1 758 sent six Students (two in each branch of Art), 
 with an Annual Pension of 4400 reals each : and D. Francisco Preciado de 
 la Vega, who resided at Rome, was appointed their Director, with a Pension 
 of 6600 reals, which Salaries were to be continued for six years. Some in- 
 terruption ensued in this plan ; but it was renewed in September 1778, by 
 Charles III., who ordered a Competition for these Pensions to be announced, 
 with this previous condition, that the Competitors were to execute their 
 probationary works within the Academy, and should have no power of ad- 
 mitting any one to correct or assist them ; which regulation accordingly 
 took place. 
 
 On a proposal made by Olivieri, His Majesty" likewise appointed Pensions 
 for the maintenance often poor and industrious Pupils of the Academy (two 
 in each Profession, including Copper-plate Engraving and Medals), during 
 their Studies under the respective Masters and Directors in Madrid ; and in 
 September 1758, 1500 reals per annum were assigned to each Student for the 
 term of four years. From an experience of ten years it appeared more 
 
47 
 
 advantageous to convert these Pensions into Monthly Gratuities, among 
 the most deserving Pupils of the Academy ; which regulation was approved 
 by the King in 1768. Some time afterwards, these Gratuities were con- 
 ferred every three months ; in 1777> again became monthly ; and were at 
 length abolished. 
 
 The Study of Perspective, with the regular appointment of a Director, 
 commenced October 1 , 1766. In February 1768, the first Lectures were 
 read in Anatomy, a Science no less important to Painting and Sculpture ; 
 but of still greater and more general interest was the Study of the Ma- 
 thematics, in which department two Directors were nominated, and the first 
 Course was read on October 2 , of the same year. The 'Schools for these 
 Studies being arranged, the Academy directed its attention to the provid- 
 ing proper objects of imitation for the Students. On account of the bad 
 .state and inferior style of the Exemplars in Drawing already in the Acade- 
 my, many new ones were made by the Directors, and a collection of Draw- 
 ings was purchased, which had formerly belonged to D. Andres Proca- 
 cini, Painter in Ordinary (Pintor de Camara) to Philip V. ; consisting 
 of Heads, and Academy Figures, from the hand of Carlo Maratti and 
 his best Scholars. Others were added by D. Mariano Maella, and va- 
 rious Professors ; and lastly, seyenty by D. Josef Camaron and D. Agus- 
 tin Esteve, under the direction of Don Francisco Bayeu, who also con- 
 tributed twelve Heads of the size of life, which he had drawn as Studies 
 for his works in the Cloister of the Cathedral of Toledo. 
 
 The Casts which had been in the Academy ever since its first establishment, 
 had been made from the Statues and Heads brought from Italy by D. Diego 
 Velasquez, by order of Philip IV. and had mostly been restored in the princi- 
 pal parts by D. Juan Pasqual de Mena: but, without wronging the memory or 
 derogating from the ability of so respectable a Professor, these were by no 
 means either fit or adequate to satisfy the ideas of an Academy which aspired 
 to be a Model to others. Fortunately, Charles III. presented the Academy 
 with various Casts from the Antique, brought, by his orders, from Hercu- 
 laneum, and ceded to it the collection of Statues, Heads, and other Casts 
 of Greek and Roman works, which belonged to D. Antonio Mengs, in Ma- 
 drid, and had been offered by him to His Majesty. Afterwards, on the 
 decease of D. Philip de Castro, in Italy, the Academy acquired a part of 
 
48 
 
 those which were in his Study. But what served to enrich its collection in 
 a degree that perhaps will hardly be equalled by any other Academy in Eu- 
 rope, was the remittance from Rome, in 1778 and J 779 , of seventy-six 
 large cases, containing the valuable and choice collection formed by Mengs 
 for his Study, during the course of many years, from among the rarest spe- 
 cimens of Ancient Art in Italy. To these our present Sovereign added 
 fifty-six Casts from the best Antique Statues and Busts in the collection of 
 Queen Christina, now in the Palace of St. Ildefonso. 
 
 The Study of Drapery was next appointed, the Lay-man being ordered 
 to be placed in the Plaster-room, and one week in each month assigned for 
 studying from it. Nothing now remaining to be settled but the Study of 
 the Living Model, two were chosen from among twenty-six of the best pro- 
 portioned Youths that could be found ; and these, added to the one al- 
 ready in the Academy, completed the three requisite Classes in this School ; 
 one of the Models being regularly set every day, and, in the last week of 
 each month, the three placed in a group, for the study of the Pupils most 
 advanced in their Art. 
 
 Finally, a Public Library was opened in the Academy, for the Professors 
 and the Lovers of the Arts, on January 14, 1794. 
 
 After this view of the order established in the various Studies, let us con- 
 template the efforts made by the Sovereign, and the Academy, to give en- 
 couragement to each of these Professions. Charles III. more than once or- 
 dered Pictures of the highest estimation to be brought from his Palace, and 
 placed in the apartments- of the Academy, for the improvement of the Stu- 
 dents in Colouring : in 1774, he was pleased to permit a part of those which 
 had belonged to the Jesuits, to be deposited in the Academy, with the ad- 
 dition of some Paintings found on board a prize during the last War with 
 England, and a Magdalen, by Murillo, intercepted in the moment of carry- 
 ing it away from one of our Custom houses. W'ith a reference to this last 
 circumstance, the King commanded his order to be circulated to all the 
 Intendants, prohibiting the exportation of Original Pictures of the deceased 
 Spanish Masters ; which order was issued accordingly* October 5, 1779- 
 Our present Sovereign also sent to the Academy thirteen Original Pictures, 
 by Titian, Caracci, Guido, and Rubens. 
 
 The Academy carefully preserves the works contributed by the various 
 
49 
 
 Directors, those transmitted by the Students pensioned at Rome, those 
 wliich have obtained the General Premiums, those painted by such Students 
 as have aspired to the title of Academician of Merit, and lastly, those pre- 
 sented, on particular occasions, by the Members of the Council, and Hono- 
 rary Academicians, from their own Cabinets ; the whole forming a collection 
 sufficient to direct the Students in the paths pursued by the great Inventors 
 ar>d Exemplars of Painting. 
 
 Charles III. as soon as he arrived in Spain, seems to have formed the de- 
 sign of encouraging Sculpture. He immediately appointed a Salary for six 
 Students of the Academy, of the greatest proficiency in that branch of Art, 
 whom he ordered to be placed in the Royal Manufactory of Porcelain which 
 he had established at Buen-Retiro. These places were assigned by Compe- 
 tition, a Meeting for which was held at the house of the Marquis de Villa- 
 franca, a Member of the Council in the Academy. 
 
 The President also, in the name of His Majesty, addressed the following 
 Note to the Assembly, dated 17th September, 1778 : 
 
 “ The King, desirous of encouraging Sculpture, in undertakings the 
 u most worthy of his Royal Name, as well as of the national gratitude and 
 “ honour, wishes the Academy of St. Ferdinand to propose to the Directors 
 “ and Deputy-Directors in that Profession, to make a Model four feet in 
 “ height, representing His Majesty’s August Father, Don Philip V. on 
 “ horseback : at the same time leaving entirely at the option of the said 
 “ Professors to accept or decline the undertaking.” 
 
 Models having been presented by five of the Professors, the King deigned 
 to examine them at Buen-Retiro, and found them deserving his approbation. 
 
 The Academy of St. Ferdinand may be said to have given birth to the 
 Art of Copper-plate Engraving in Spain, the first Professors of that Art 
 having been Directors of the Academy. There were indeed in the kingdom, 
 before that period, Engravers who had acquired the title of Engravers in 
 Ordinary to His Majesty ; but they worked merely from fancy, and not on 
 any settled principles of their Art, the Elements of which were first taught 
 by D. Manuel Salvador Carmona, a Pupil in the Preparatory Assembly, 
 who had been sent to Paris on his Studies with a Pension from the King. 
 Precisely in the same situation, at that time, were D. Juan de la Cruz, and 
 D. Thomas Lopez, for Architectural Engraving, as well as that of Geogra- 
 phical Maps and Ornaments. The Academy, in the mean time, sought to 
 
 H 
 
50 
 
 reap every possible advantage from the Director D. Juan Bernabe Palomino, 
 who, though he had never been out of Spain, engraved with neatness and 
 accuracy ; and therefore three young Students were placed under his tuition 
 in Madrid, with an Annual Pension of 1 50 ducats each (likewise assigned 
 by Competition) ; and in 1760 a Triennial Premium was added for this Pro- 
 fession, in the same manner as before granted for Painting, Sculpture, and 
 Architecture. 
 
 Lastly, that the result of these arrangements, and of the improvement of 
 the Students, might be brought before the public with proper advantage, 
 two Pupils of the Academy were sent to Paris in 1703, with a Pension from 
 the King, to learn the Art of Copper-plate Printing, preparing and making 
 the Inks, and other articles necessary for this important subject, hitherto 
 little known. 
 
 The same earnestness was shewn in encouraging the Art of Engrav- 
 ing on Steel, or Die-sinking*, in which (with the exception of D. Alonzo 
 Crusado, who went to Paris to learn the Art of Engraving on Precious 
 Stones) it was thought unnecessary to send the Pupils out of the kingdom 
 for instruction, D. Thomas Prieto being, in this Art, at least equal, if not 
 superior, to Foreigners ; three other Pensioners were therefore placed under 
 his tuition, and the same General Premium was assigned for this branch in 
 the triennial distributions of the Academy, as for Copper-plate Engraving. 
 
 Architecture, however, obtained the predilection of the Government and 
 of the Academy, doubtless on account of the importance of its works. Al- 
 though the establishment of the two Professorships of Mathematics was in- 
 tended for the general assistance of the Fine Arts, it had a more immediate 
 reference to Architecture, an Art to which the knowledge of that Science is 
 absolutely necessary. The order given, with the approbation of the Aca- 
 demy, to two of the Students, on the 17 th September 1770? to make 
 Designs of the Arabic Monuments preserved in the Palace of the Alhambra 
 in Granada, and in the Cathedral of Cordova, was equally directed to the 
 encouragement and elucidation of this Profession. 
 
 Great diligence was employed by the Academy in rescuing Architecture 
 from the oppressive power of the Companies which subsist in the Provinces ; 
 
 * The Spanish term is Gralado en Hueco. D. Isid 0 Bosarte calls it, in his Letter, Engravi/ig 
 of Medals. — Vide p. 40. 
 
51 
 
 and two Royal Edicts were obtained and circulated throughout the kingdom, 
 forbidding the execution of any Public Work without first sending the Plans 
 and Designs to the Academy, to be examined and approved ; and ordering 
 that no Ecclesiastical Body, or Council of city or town, should in future 
 confer the title of Architect or Master Workman, or appoint to the direction 
 of any works, Artists who had not passed their examination in the Aca- 
 demy ; abolishing entirely all such privileges formerly enjoyed by the towns, 
 and imposing other restrictions equally advantageous to Architecture, and 
 honourable to the Government ; and on account of the frequency and num- 
 ber of Plans referred by the Council to the judgment of the Academy, the 
 King, on the 23d March, 1786, ordered the establishment of a Standing 
 Committee of Architecture in the Academy, to consist of Directors, De- 
 puty Directors, several Academicians, and a Secretary, to expedite all con- 
 cerns of this kind. 
 
 No farther task appeared now to remain for the active zeal of this Institu- 
 tion ; yet, from a desire of perfecting the method of its Studies, a revisal of 
 its Plan was resolved on. The opinions of all the various Directors, Depu- 
 ties, and' Academicians of both Classes (Honorary and of Merit), were re- 
 ceived, either verbally or in writing, and many points of great utility were 
 suggested for the improvement of the Students in future. 
 
 On the other hand, Their Majesties, and their August Family, omitted 
 nothing that could confer honour or distinction on the Academy of St. 
 Ferdinand. 
 
 The 34th article of its Statutes is thus expressed : 
 
 “ To all the Professors of the Academy, not previously enjoying such pri- 
 vileges, I grant the especial privilege of Nobility, together with all immu- 
 “ nities, prerogatives, and exemptions enjoyed by the Hidalgos by descent 
 “ within my realms, and I enjoin the same to be observed and fully com- 
 “ plied with in all towns of my dominions, wherever any Academician shall 
 <c fix his residence, on his presenting a certificate, signed by the Secretary, 
 “ of his being such Academician.” 
 
 On the appointment of D. Richard Wall to be Secretary of State, no- 
 tice was sent to the Assembly of the Academy on 6th June 1754, that 
 he had likewise been named President ; from which period the Presi- 
 dentship has remained annexed to that Office of State : and it was farther 
 
 h 2. 
 
52 
 
 declared by a Royal Edict of May 6, 1 777, that the post of Vice-President 
 should enjoy for ever the honours of Precedency (antiguedad) in the Council 
 of Finance. 
 
 The Academy derives no less lustre from the advantage it enjoys of rec- 
 koning among the Members of its Council, entrusted with its direction and 
 decisions, the most distinguished persons of the kingdom, in rank, public 
 situation, or learning. 
 
 Charles III. not only, on particular occasions, remitted the annual 
 Fine of 37,500 reals'*, which the Academy pays to the Revenues of the 
 Post-office, for the house it occupies in the street of Alcala, but, as a farther 
 mark of his royal favour, deigned to honour the Institution with his pre- 
 sence in the year 1705, and again in 1 776; and his example was followed 
 by his Illustrious Family. Their Most Serene Highnesses the Princes of 
 Asturia, in proof of their esteem, presented the Academy with some Draw- 
 ings executed by themselves. The Infante D. Gabriel likewise presented 
 two Heads, copied by him in chalk from some Drawings of Raffael d’Urbi- 
 no, and permitted his name to be enrolled in the list of the Academicians, 
 without any other distinction than that of Precedency. 
 
 Charles IV. imitating his August Father, visited the Academy July 3, 
 1794, accompanied by his beloved Consort, the Most Serene Infantes his 
 Sons and Brothers, and by the Infante D. Luis Prince of Parma, who on 
 July 13, J 796 , became an Academician in both Classes, and presided at 
 the distribution of the Medals in the General Assembly of that year, and 
 also of 1779. 
 
 Finally, besides the liberal endowment of the Academy, of 12,000 pesos per 
 ann. the most unbounded favour and protection has been freely bestowed on 
 this distinguished Institution. What then ought to be the grateful result ? It 
 is apparent in the temples, the palaces, buildings, streets, walks, gates, and 
 even private dwellings of Madrid ; in the royal residences, cities and towns 
 of the kingdom ; since the alteration and progress of Painting, Sculpture, 
 Architecture, and Engraving, is every where obvious. On a comparison of 
 
 * These I find, in the Adas of the Academy, to be reales Vellon, the exchange of which is 
 about five to an English shilling. There is also a real de Plata, double the value of the real 
 Vellon.*— ( Translator J 
 
53 
 
 the productions in the Fine Arts since the establishment of the Academy of 
 St. Ferdinand with those of the preceding 100 years, these later works de* 
 monstrate the attention and improvement of the Professors, the care of the 
 Academy, and the zealous protection of the Government. 
 
 A considerable change has already been effected since that happy epoch, 
 both in our taste and information with respect to the Fine Arts. The con- 
 stant patronage of the Great, the dissemination of knowledge by the Learn- 
 ed, and the zealous discharge of duty by the Masters, in imparting the 
 whole of their acquirements to their Pupils, are alone now wanting (as the 
 last Orator learnedly and aptly remarked in the Academy), to raise the Arts 
 to the height they attained in the Pontificates of Julius II. and Leo X. and 
 in the reigns of Charles V. and Philip II. 
 
54 
 
 PRIZES 
 
 GRANTED BY THE KING OUR SOVEREIGN 
 
 TO 
 
 THE PUPILS OF THE THREE NOBLE ARTS j 
 
 AS DISTRIBUTED 
 
 BY THE ROYAL ACADEMY OF ST. FERDINAND, 
 
 IN THE PUBLIC ASSEMBLY, JULY 24 , 1802 . 
 
 ( Extracts from the Account contained under the above Title.) 
 
 SUMMARY OP THE TRANSACTIONS OP THE ACADEMY, PROM JULY 13 , 1799 , 
 
 TO JULY 24 , 1802 . 
 
 The Academy of St. Ferdinand acknowledges the beneficence of the 
 Sovereign, in having deigned to grant to the Professors and others attached 
 to this Institution, the same privileges as are enjoyed by the Royal Spanish 
 Academy. 
 
 (The Royal Mandate follows, to that effect.) 
 
 The Academy in the same manner acknowledges the bounty of the So- 
 vereign in having granted to it all necessary aid for its advancement, for the 
 dispatch of its public management, and for the relief of many ingenious 
 Artists unprovided with sufficient means of subsistence, “ that they may not 
 be disheartened in their pursuit of the Arts” (of all of which instances are 
 given), and for having sent one of the Students of the Academy, with a Pen- 
 sion, to Paris, to perfect himself in the study of Copper-plate Engraving. 
 
 Lastly, it thanks the Sovereign for having remitted the payments of the 
 annual Fine agreed on for the purchase of the apartments it now occupies, 
 and due to the revenues of the Post-office in the last triennial period. 
 
55 
 
 (The Order of the King follows, as communicated to the Secretary by tjhe 
 President, his Excellency D. Pedro Cevallos Guerra.) 
 
 . Her Most Serene Highness the Infanta Donna Maria Isabel, Hereditary 
 Princess of Naples, having presented to the Academy a Drawing done by 
 herself, was declared Academician, in both Classes, in Painting — a tribute of 
 gratitude which she was graciously pleased to accept. 
 
 In the term of the last three years there have been admitted, for the study 
 of Design, 531 Pupils of twelve years of age and upwards ; for the study of 
 Mathematics 548, without restriction with regard to age. 
 
 The Committee of Architecture has answered twelve references from 
 the Supreme Council of Castile, and other Tribunals ; has proposed four 
 Architects for Commissions and Surveys ; has pronounced, in its delibera- 
 tive capacity, on 42 Proposals, and on 123 Designs of Public Buildings of va- 
 rious classes, as laid down in their respective Plans. 
 
 Then follow ; 
 
 “ Regulations which have been made for the better administering the 
 Schools of Architecture and Mathematics. 
 
 “ Resolutions entered into, and Arrangements made, for the adjustment 
 of many points relative to the practice of Architecture, and to the admission 
 to the regular Degrees in that Profession. 
 
 “ The qualifications requisite to an Architect, in order to his being re- 
 ceived into the body of the Academy. 
 
 “ Proofs of proficiency required of Engravers on Copper-plate, and Me- 
 dalists, or Die-Engravers, previous to their being admitted into the Academy. 
 
 “ Additional proofs required of Professors in general, previous to their be- 
 ing declared Academicians. 
 
 “ A correction of several misunderstandings and abuses which have arisen 
 in the late Regulations (ordered by Royal Mandate in 1787), with respect 
 to the title of Architect, and the exclusive privileges annexed to it*.” 
 
 * These Regulations are mentioned in the preceding account of the Academy : it appears that 
 no Euilder or otherWorkman may put in execul ion any Plan for Public Buildings, without the 
 
56 
 
 In a Meeting held June 30th, l/Qf), a Translation of Monsignor Botari's 
 Dialogues on the Arts of Design into Spanish, by D. Josef Ortiz, Honorary 
 Academician, having undergone the examination of the Academy, was or- 
 dered to be printed. 
 
 D. Juan Agustin Cean Bermudez presented to the Academy his Dictio- 
 nary of the Professors of the Fine Arts in Spain, in Manuscript. The Aca- 
 demy having heard the Report of its Committee, ordered the work to be 
 printed at its own expence, as was accordingly done in six vols. octavo. 
 
 For the completion of a Dictionary of Architecture composed by D. Benito 
 Bails, which had been ordered to be printed during the last Triennium, the 
 Academy directed that copies should be sent to the Committee of Architec- 
 ture, for the purpose of supplying deficiencies, and making corrections in 
 the said work, by the means of such of its Members as the Committee should 
 think fit ; the Academy reserving to itself the charge of making due ac- 
 knowledgments to the Authors of the Supplementary Articles, whose names 
 shall be duly annexed in the subsequent editions. 
 
 The Academy has likewise printed the first volume of the Elements of the 
 Mathematics , containing Arithmetic and Geometry, by the said Director 
 D. Benito Bails; adapted to the use of the Students in practical Geometry 
 by the present Principal Director in Mathematics, D. Antonio Varas^ 
 
 Farther directions have likewise been given for the teaching of Geometry 
 and Arithmetic, agreeably to the principles established in the above work. 
 
 Then follow : 
 
 “ A List of Books, Pictures, Prints, Drawings, Casts, and MedaR, pre- 
 sented to the Academy. 
 
 “ A List of such Members of the Academy as are deceased in this Trienni- 
 um, with a brief account of their lives, and, when professional, their works. 
 
 approbation and authority of an Architect deriving his title from the Academy, who becomes 
 thereby responsible to the Academy (and of course to the Government) for the due execution 
 of such Buildings; “ because,” says the Statute, “ the direction of all works of Architecture is 
 the prerogative of Architects lawfully approved by the Royal Academies of the Noble Arts ; 
 and because, on the other hand, this restriction is requisite for the just application of public and 
 private capital, for the security of the lives of the citizens, and is likewise due to the estirna.' 
 lion and ability of the nation in an Art of so high promise as Architecture.” 
 
“ An account of persons who have been chosen to fill the places of the de- 
 ceased Members, and of various promotions in the Offices of the Academy.” 
 
 GENERAL MEETING FOR THE PRIZES OF THE YEAR 1802. 
 
 The subjects for finished works proposed to the Competitors for this year, 
 were fixed by the Academy on 6th December last, 1801 : they were as fol- 
 lows : 
 
 IN PAINTING. 
 
 First Class. The Numantines, pressed by hunger and reduced to despe- 
 ration, resolved on destruction, and falling either by their own hands or 
 those of their fellow-citizens. 
 
 Second Class. P. Cornelius Scipio, in the Tent of Metellus, making Me- 
 tellus and his companions swear on his sword not to desert the Repub- 
 lic of Rome. 
 
 Third Class. A Drawing of the Statue of the Dying Gladiator. 
 
 IN SCULPTURE. 
 
 First Class. Decision of Sovereignty between Rome and Alba by the 
 Combat of the Horatii and Curiatii. 
 
 Second Class. The City of Lisbon, defended by the Moors, taken by as- 
 sault by the Spaniards in the presence of King Alonzo VII. 
 
 Third Class. A Model of the Statue of the Discobulus. 
 
 IN ARCHITECTURE. 
 
 First Class. Design for a magnificent Edifice intended for a Municipal 
 Tribunal (Casa de Ayuntamiento) belonging to the Court ; with apartments, 
 properly divided, for public and private assemblies, as well for state as do- 
 mestic purposes : containing likewise an apartment for Royal Galas, all 
 requisite offices, and a prison. 
 
 The whole geometrically laid down, in its several distributions. 
 
 Second Class. Design for an Edifice that cannot be destroyed by fire ; to 
 contain the Halls of Audience for the Deputy Corregidors of Madrid, the 
 Colleges of Notaries, Archives, and other proper and legal Offices. 
 
58 
 
 (Tlie site for the building is specified.) 
 
 Third Class. A Drawing of the Doric Order of the Theatre of Marcellas, 
 in large, comparing it with that of Vignola. Profiles of all the parts to be 
 drawn in large, with the measures of the Capitals and Cornishes. 
 
 COPPER-PLATE ENGRAVING. 
 
 An Engraving of a Picture by Alonso Cano, representing Jesus Christ on 
 Mount Calvary. 
 
 ENGRAVING OP MEDALS. 
 
 Spain holding an olive-branch in her right hand, and in her left the spear 
 of Mars and the trident of Neptune, with their points to the ground, in sig- 
 nal of peace. 
 
 IN PERSPECTIVE. 
 
 Representation of the interior of a Pantheon with Sepulchral Urns, lighted 
 by an artificial light placed at the extremity of the building. 
 
 These proposals having been regularly published and circulated through 
 the kingdom, Q4 Competitors gave their signatures ; 74 of whom have since 
 appeared with their works at the General Meeting; viz. in Painting 27 , in 
 Sculpture 20, in Architecture 22, in Engraving 1, in Medals 1, and in Per- 
 spective 4. 
 
 After the expiration of the term prescribed, the Academy, at a meeting of 
 the 4th July, appointed the 12th, 13th, and 14th of the same month for 
 calling the three General Assemblies, in which the extemporary Proofs (or 
 Sketches) were to be made, and the Premiums to be adjudged. Proper sub- 
 jects for the Sketches were accordingly given, and those in Painting, En- 
 graving, and Perspective, were made on the first of those days ; those in 
 Sculpture and Medals on the second ; and in Architecture on the last, in the 
 usual space of two hours, and without assistance from any Professor whatever. 
 
 The Conditions and Statutes of the Academy being thus complied with, 
 and the Sketches placed under the finished works of the respective Competi- 
 tors, the Assemblies proceeded to examine and to deliver their Votes to the 
 
50 
 
 Secretary on slips of paper distributed for this purpose. Notice of the Pre- 
 miums having been adjudged according to merit, was then sent to the 
 President, his Excellency Don Pedro Ceballos, with a request that he would 
 appoint a day for calling the Solemn Public Assembly, for the distribution of 
 the Prizes to the successful Candidates, whose names were also sent, in order 
 to be laid before His Majesty. 
 
 The President having appointed the following Saturday, the Assembly 
 met on that day ; when his Excellency having seen the performances of the 
 Competitors, after hearing the Transactions of the Academy read by the Se- 
 cretary, delivered the Prizes in the following order : 
 
 First Class — Gold Medals of three ounces. — 1st Prize. 
 
 Born. JE t. 
 
 In Painting , j D. Antonio Guerrero, Salamanca, 25. 
 
 Sculpture, J-D. Angel Monasterio, S. Domingo de la Calzada, 25. 
 
 Architecture, J D. Manuel Machuca, Alcala, 23. 
 
 Gold Medals of two ounces. — 2d Prize. 
 
 } D. Juan Antonio Ribera, Madrid, 20. 
 
 D. Juan Reyes, Barcelona, 26. 
 
 D. Juan Perez Juana, Cuenca, 22. 
 
 Second Class — Gold Medals of one ounce. — 1st Prize. 
 
 In Painting , 
 
 "| D. Josef Alonso del Rivero, 
 
 
 20. 
 
 Sculpture, 
 
 J>D. Manuel Garda Bayllo, 
 
 
 29. 
 
 Architecture , 
 
 J D. Manuel de Inza, 
 
 
 
 Silver Medals of eight ounces. — 2d Prize. 
 
 } D. Angel Palmerani, Jaen, 17. 
 
 D. Antonio Giorgi, Madrid, 21. 
 
 D. Fermin Pilar Diaz, Penaelsordo, 23. 
 
 Third Class — Silver Medals of five ounces. — 1st Prize. 
 
 In Painting, *j D. Francisco Llaser, Valencia, 19. 
 
 Sculpture, 1>D. Remigio de la Vega, Madrid, 16. 
 
 Architecture, J D. Romualdo de Vierna, Meruelo, 21. 
 
 I 2 
 
 In Painting , 
 Sculpture, 
 Architecture, 
 
 In Painting , 
 Sculpture, 
 Architecture, 
 
6o 
 
 
 Silver Medals of three ounces.- 
 
 — 2d Prize. 
 
 
 
 
 Born. 
 
 /Et. 
 
 In Painting, 
 
 "S D. Antonio Poza y Munoz, 
 
 
 
 
 f D. Evaristo Rubian, 
 
 
 
 Sculpture , 
 
 L D. Juan Bautista de Bautista, 
 
 
 
 Architecture , 
 
 ■J D. Miguel Antonio Marichalar, .. 
 
 
 
 Engraving — A Gold Medal of one ounce, to D. Manuel Alvarez deMon, born at Ma- 
 drid, set. 25. 
 
 Medals — A Gold Medal of one ounce. Vacant. 
 
 Perspective — A Gold Medal of one ounce, to D. Angel Humanes, born at Villalu- 
 enga, set. 18. 
 
 The distribution of the Medals being finished, the Students who had re- 
 ceived them took their seats in the Hall of the Assembly ; after which a Dis- 
 course was delivered by Don Josef Luis Munarriz, Honorary Academician. 
 In this the learned and elegant Orator demonstrates the utility of form- 
 ing the mind of the youthful Artist by the standard of the great examples 
 of Poetry, which he justly considers as necessary, to improve the natural 
 powers of genius, and to secure it from narrow or degrading pursuits. He 
 enumerates the advantages which not only the Artists of Greece, but also 
 Raphael, Rubens, Poussin, Pacheco, Velasquez, &c. derived from their ac- 
 quaintance with all the men of learning of their time, and recommends their 
 example to the Students of the Academy, enforcing in various modes, and on 
 the authority of Reynolds and other writers, the primary necessity (in the study 
 of the Plastic Arts), of informing the mind, and storing it with general 
 images. 
 
 Lastly is added a list of the present Members of the Academy, of which 
 the first in order (after the President) are Their Serene Highnesses The In- 
 fante Don Luis King of Etruria, Hereditary Prince of Parma, Plasencia, and 
 Guastala, and The Infanta Donna Maria Isabel, Hereditary Princess of 
 Naples. 
 
FARTHER ACCOUNT 
 
 OF 
 
 GREAT WORKS OF ART, 
 
 EXECUTED IN ENGLAND, 
 
 BY 
 
 HIGH OR PUBLIC AUTHORITY, 
 
 SINCE THE INSTITUTION OF THE ROYAL ACADEMY. 
 
V 
 
 
 
An Account, delivered at the Desire of the Council of the Royal 
 Academy , of the Great Historical Works painted for His 
 Majesty by Benjamin West , Esq. President. 
 
 DEAR SIR, 
 
 Newman- Street, Dec. 4, 1804. 
 
 Agreeably to your notice, I have sent you the Account of the 
 Works I have had the honor to execute for His Majesty. 
 
 In preparing this Statement, which the Council has done me the honor 
 to require from me, in order to be transmitted to Foreign Academies, I have 
 designed briefly to take a previous view of the patronage given to Artists by 
 the Sovereigns of this country, from the earliest periods of the Arts in the 
 kingdom down to the days of our beloved Monarch ; and having traced thus 
 far their general progress, to add the state of English Art at the time of the 
 Institution of the Royal Academy. 
 
 That I may the more distinctly exhibit the advancement made by Great 
 Britain in the Fine Arts, I have in this latter part confined my view within 
 
 the circle of British Artists. 
 
 . I am, dear Sir, &c. 
 
 B n West. 
 
 To Prince Hoare, 
 
 Secretary for Foreign Correspondence. 
 
 Many Sovereigns of this country have noticed and patronized the Fine 
 Arts. Edward the II Id caused several chapels to be embellished with paint- 
 ed glass, and enamelled Monuments, as well as with Paintings on the walls, 
 representing Scriptural Subjects, and others, from the Church Legends, to- 
 gether with Portraits of then existing characters of both sexes. The chapel 
 of St. Stephen, Westminster, was the most conspicuous. 
 
 Henry the Vllth gave patronage to many ingenious men, both in Painting, 
 Sculpture, and Architecture. 
 
 Henry the FI I 1th followed the example of his father, in giving patronage 
 to eminent men. He invited those of the greatest celebrity in Painting, in 
 Italy, Germany, and Flanders, to visit his capital. Raflaelle and Titian he 
 wished to see at his court, and he endeavoured to draw them thither by the 
 
04 
 
 most splendid offers ; but not succeeding in his desire, he procured several 
 of their works ; in particular the picture of St. George, by Raffaelle, at pre- 
 sent in the possession of the King of Spain, and the two pictures by Titian, 
 now in the gallery of the Marquis of Stafford ; the subjects of which are, 
 Diana and Acteon, and Diana and Calisto. He was more fortunate in his in- 
 vitation 'to Holbein, at that time famous as a Portrait Painter, who resided 
 in Henry’s palace, and whose works were soon spread through the kingdom. 
 
 Charles the 1st, more attached to the Fine Arts than any of his predeces- 
 sors, formed a splendid collection of the works of the great Italian, and Fle- 
 mish Masters. He invited to his court, Rubens, and Vandyke, and other 
 Painters of considerable eminence, from Flanders, and Holland; and he 
 gloried in counting among his natural subjects, Inigo Jones, his Architect, 
 and Dobson, who rose to eminence in Painting. These were the two first 
 English Artists who enjoyed the patronage of royal favour. 
 
 Charles the lid was proud to follow the liberal example of his father, 
 in bestowing rewards on ingenious Artists. He patronized most of those 
 who visited his court from Italy, France, Flanders, Germany, and Hol- 
 land ; of which the Decorative Paintings on the walls in Windsor Castle, 
 and the palace of Hampton Court, by Varrio, and others, are evident proofs; 
 beside many Pictures from poetical subjects, by Gennari, as well as Portraits 
 by several Painters of considerable eminence : the favours which this Monarch 
 showered on the Arts, were, however, confined to Foreign Artists. 
 
 Queen Anne was the first of our Sovereigns who called into activity the Bri- 
 tish pencil, as the Paintings in the Cathedral of St. Paul’s, and the Hospital at 
 Greenwich, by Sir James Thornhill, and others under his direction, suffi- 
 ciently evince*. In Architecture, Sir Christopher Wren was equally distin- 
 guished by her favour. 
 
 But to form the great epocha of patronage conferred by a British King on 
 British subjects, in Painting, Sculpture, and Architecture, was reserved for 
 the reign of his present Majesty. 
 
 * On being informed that there was considerable competition betwen the English and Foreign 
 Artisfs, for the decoration of St. Paul’s, the Queen asked if there were any great difference in 
 the merits of the Candidates, and being answered in the negative, declared that in that case she 
 preferred employing her own subjedts. 
 
65 
 
 In the year 1768 His Majesty gave his Royal Sanction to a plan formed 
 for the establishment of an Academy of Painting, Sculpture, and Architecture; 
 of which he was graciously pleased to become the Protector and Patron. 
 
 In the three branches of Art which constitute that Academy, he found 
 many Artists already formed : among others of considerable celebrity, in 
 Painting, Reynolds, Wilson, Hay man, Gainsborough, Hoarc, Dance, Mor- 
 timer, Barret, Sandby, Wright, Cotes, and West ; in Sculpture, Bacon, Nol- 
 lekens, and Wilton ; in Architecture, Chambers, G. Dance, Stuart, T. Sandby, 
 Gwyn, and the two Adams. 
 
 At the same time, Strange, Woollett, Hall, Green, and M £ Ardell, shone 
 with marked eminence among the Engravers; nor here should wholly be 
 omitted the name of Boydell, who, with a laudable, commercial enthusiasm, 
 strove to spread by Engravings the celebrity of the Art, in its higher excel- 
 lencies, through the civilized world. 
 
 All these were proud of being British subjects, and no less proud of pro- 
 moting their Sovereign’s views in the elevation of the Fine Arts in this 
 country. 
 
 The Exhibitions which followed, composed of the various productions of 
 the Pencil, Chisel, and Graver, and of Architectural Designs, were annually 
 honoured by the presence of His Majesty and the Royal Family ; a gracious 
 favour, which has in no small degree fostered, and given energy to the 
 praise-worthy emulation of the Exhibitors. From the combination of these 
 circumstances, the Arts have derived an extent and distinction unknown in 
 the annals of any former Sovereign of England. 
 
 To this fostering influence, as to the central stimulus of public atten- 
 tion towards the Arts, has been owing the unwearied progress of cultivation 
 and exertion in our numerous living Artists. 
 
 The merits of our Engravers, blended with the labours of the Painter, 
 opened a new avenue to fame. The harmonious softness of Strange, the 
 united skill of Wilson and Woollett in Landscape, as seen in the Prints of 
 Niobe, Phaeton, Ceyx, Celadon and Amelia, &c. ; the Portraits in mezzo 
 tinto from Sir Joshua Reynolds by M £ Ardell, Fisher, &c. ; the successful 
 combination of West with Earlom, Green, Woollett, Hall, &e. in Historical 
 Works, as seen in the Prints of Agrippina, Regulus, Hannibal, Wolfe, La 
 Hogue, the Boyne, Penn, Cromwell, arid the Restoration, &c. spread the 
 
 K 
 
celebrity of English Works of Art through the medium of Engraving; and 
 the circumstance of these Prints rising to a higher price in every market 
 throughout the Continent than had ever been known in the annals of the Arts, 
 inspired those commercial views which afterwards produced the Galleries of 
 Shakespeare, under Boydcll ; the Poets, under Macklin ; Historical, under 
 Bowyer, Sec. Sec. giving to this country a new source of commerce, highly 
 beneficial to its interests, and unexampled in any other. 
 
 The Royal Founder of the Academy, ever desirous to cultivate whatever 
 tends to promote throughout the world the purposes of Religion, Morality, 
 and Virtue, and taking into consideration that Painting speaks an universal 
 language, commanded Mr. West to paint such subjects from the Sacred 
 Writings, as well as others of Ancient and Modern History, as were best 
 calculated to assist his benign intentions. 
 
 The following subjects were accordingly chosen : 
 
 FROM THE SACRED WRITINGS*. 
 
 ANTEDILUVIAN AND PATRIARCHAL DISPENSATION. 
 
 The Expulsion of Adam and Eve from Paradise, 9 feet by 6 . 
 
 The Deluge, 9 ft. by 6. 
 
 Noah sacrificing after the Deluge, 9 ft. by 6 . 
 
 Abraham and Isaac going to sacrifice, 9 ft- by 6. 
 
 The Birth of Isaac’s two Sons, Jacob and Esau, 9 ft. by 6. 
 
 Jacob’s Death, surrounded by his twelve Sons in Egypt, 9 ft. by 6 . 
 
 THE MOSAICAL DISPENSATION. 
 
 Moses and Aaron before Pharaoh ; their rods turned into serpents, 9 ft. by 14. 
 
 'Idle Israelites having passed the Red Sea, Moses stretcheth his rod over Pharaoh and 
 his Host, who are overwhelmed by the waters, 9 ft. by 14. 
 
 Moses receiving the Laws on Mount Sinai, 12 ft. by 18. 
 
 Moses consecrates Aaron and his Sons for the Priesthood, 9 ft. by 14. 
 
 Moses showeth the Brazen Serpent to the People, 9 ft. by 14. 
 
 The Promised Land shown to Moses from the top of Mount Pisga,. where he dies, 9 ft. 
 by 6. 
 
 Joshua crossing the river Jordan with the Ark into the Promised Land, 9 ft. by 6. 
 
 * The Pictures from the four Dispensations, showing the progress of revealed religion, are for His Majesty's 
 New Chapel in Windsor-castle. 
 

 The Twelve Tribes casting lots for their Inheritance in the Promised Land, 9 ft. by 6. 
 The Call of Isaiah; and of Jeremiah; both 14 ft. by 6. 
 
 David anointed King, 9 ft. by 6. 
 
 THE GOSPEL DISPENSATION. 
 
 The naming of John, and the prophecy of Zacharias, 9 ft. by 6- 
 The Angel announcing our Saviour’s Birth, 9 ft. by 6. 
 
 The Birth of our Saviour, 9 ft. by 6. 
 
 The Wise Men bringing gifts to our Saviour, 6 ft. by 12. 
 
 Christ among the Doctors, 6 ft. by 9. 
 
 Christ receiving the Holy Ghost, when baptized by John at the river Jordan, 9 ft. by 14. 
 Christ healeth the Sick and Lame, 9 ft. by 14. 
 
 Christ’s Last Supper. 
 
 Christ crucified, 28 ft. by 36. 
 
 Christ’s Resurrection, 28 ft. by 32. 
 
 Christ’s Ascension, 12 ft. by 18. 
 
 Peter’s first Sermon, or Inspiration, 9 ft. by 14. 
 
 Paul and Barnabas rejecting the Jews and receiving the Gentiles, 9 ft. by 14. 
 
 THE REVELATION DISPENSATION. 
 
 John called to write the Revelations, 6 ft. by 9. 
 
 Saints prostrating themselves before the Throne of God, 6 ft. by 9. 
 
 The opening the Seals, or Death on the Pale Horse, 6 ft. by 9. 
 
 The overthrow of the Old Beast and False Prophet, 6 ft. by 9. 
 
 The Last Judgment, or the Sea giving up the Dead, 6 ft. by 9. 
 
 The New Jerusalem, 6 ft. by 9. 
 
 FROM ANCIENT HISTORY*. 
 
 The departure of Regulus from Rome, on his return to Carthage, 10 ft. by 7. 
 Hannibal when nine years old, swearing eternal enmity to Rome, 10 ft. by 7. 
 The Death of Epaminondas, 10 ft. by 7. 
 
 The Death of Bayard, 10 ft. by 7. 
 
 The Death of Wolfe, 5 ft. 6 in. by 8 ft. 
 
 The King of Armenia and his Family before Cyrus, 5 ft. by 7. 
 
 Segestus and his Daughter (the Wife of Arminius) before Germanicus, 5 ft. by 7. 
 
 The Pictures from Ancient History, are in the Queen’s House, and form one room. 
 
 K 2 
 
68 
 
 FROM MODERN HISTORY*. 
 
 Echvard the Illd crossing the river Soane in France, 6 ft. by 5. 
 
 Edward the Hid embracing his Son on the field of battle at Cressy, 9 ft. by 15. 
 
 Edward the Illd establishing the Order of the Garter, 9 ft. by 15. 
 
 Edward Prince of Wales receiving John King of France as Prisoner after the Battle of 
 Poictiers, 9 ft. by 15. 
 
 Oueen Philippa taking David King of Scotland Prisoner at the Battle of Durham, 4 ft. 
 by 6. 
 
 Queen Philippa interceding with Edward III. to pardon the Burghers of Calais, 4 ft. 
 by 6. 
 
 Edward the Hid crowning Ribaumont at the Banquet in Calais, 4 ft. by 6. 
 
 The subjects painted on glass from the Cartoons by Mr. West, under the 
 command of His Majesty, for the windows in the Collegiate Church at Wind- 
 sor, are as follows : 
 
 The Angel announcing the Birth of our Saviour, 14 ft. by 9. 
 
 The Birth of our Saviour, 18 ft. by 9. 
 
 The Kings bringing presents to our Saviour, 18 ft. by 9. 
 
 The Crucifixion of our Saviour, 36 ft. by 28. 
 
 The Resurrection of our Saviour, 32 ft. by 28. 
 
 Over the Communion Table, the Last Supper, painted by Mr. West, 12 ft. by 9, pre- 
 sented by His Majesty to that Communion. 
 
 Mr. West’s other public works in chapels, &c. 
 
 In the chapel, Greenwich-hospital, St. Paul shaking the Viper from his finger into 
 the fire, after his shipwreck, 27 ft. by 16. 
 
 In the cathedral, Winchester, the raising of Lazarus, 13 ft. by 9. 
 
 In St. Stephen’s, Walbrook, the Death of St. Stephen, 18 ft. by 12. 
 
 In the cathedral at Rochester, the Angel announcing the Birth of our Saviour, 12 ft. 
 by 8. 
 
 The Picture in the chapel of the Foundling Hospital, our Saviour showing a little child 
 as the emblem of Heaven, 1 2 ft. by 8. 
 
 * The Pictures from Modern History, or the Life of Edward the Hid, are in His Majesty’s Audience Cham- 
 ber in Windsor-castle. 
 
C)Q 
 
 The Picture in Christ Church in the Island of Barbadoes, representing our Saviour’s 
 Resurrection, 9 ft. by 6. 
 
 The Picture in ditto, Moses with the Tables of the Laws, 8 ft. 5. 
 
 The Picture of John the Baptist in ditto, 8 ft. by 5. 
 
 The Picture in Stationers’-hall, representing Alfred the Creat dividing his loaf with the 
 Pilgrim, 12 feet by 8. 
 
 The Picture of St. Michael casting the Old Beast into the bottomless pit — in Trinity 
 Chapel, Cambridge, 18 ft. by 10. 
 
70 
 
 PUBLIC MONUMENTS, 
 
 AND OTHEK 
 
 WORKS OF SCULPTURE. 
 
 MONUMENT 
 
 ELECTED IN ST. PAUL’S CATHEDRAE 
 TO THE MEMORY OF 
 DR. SAMUEL JOHNSON. 
 
 A Philosophic Character represented in the act of study : he leans his 
 head on his left arm, which is raised and resting on a Column, from which 
 a long unfolding scroll descends to his right hand. 
 
 The Statue is seven feet eight inches in height. 
 
 INSCRIPTION. 
 
 a n 
 
 Samueli . Johnson 
 Grammatico . Et . Critico 
 Scriptorum . Anglicorum . Litterate . Perito 
 Poetae . Luminibus . Sententiarum 
 Et . Ponderibus . Verborum . Admirabili 
 Magistro . Virtutis . Gravissimo 
 Homini . Optimo . Et . Singularis . Exempli - 
 
 Qui . Vixit . ann. lxxv . Mens, il . Dieb. xml 
 Decessit . idib. Decembr. Ann. Christ. cto.bcc.LXXxml 
 Sepult. in . Aed. Sanct. Petr. Westmonasteriens. 
 xixl . Kal. Januar. Ann. Christ. cb.bcc.LXXXv 
 Amici . et . Sodales . Litterarii 
 Pecunia . Conlata 
 H. M. Faciund . Curaver 
 
MONUMENT, 
 
 ERECTED IN ST. PAUL’S CATHEDRAL 
 TO THE MEMORY OF 
 
 JOHN HOWARD , ESQ. 
 
 The Figure of Mr. Howard, in reference to his itinerary labours, is repre- 
 sented as moving forward, his right foot trampling on a fetter which appears 
 to be broken off from a chain fastened to a massy stone. His right hand 
 holds the key of a Prison, and his left a double scroll, on which is written, 
 
 “ Plan for the Improvement of Prisons. 
 
 “ Plan for the Improvement of Hospitals .” 
 
 On the front of the Pedestal an Alto-relief, represents Mr. Howard, and his 
 attendants, relieving some prisoners with food and clothing. 
 
 The Statue is of the same height as that of Dr. Johnson. 
 
 INSCRIPTION. 
 
 This extraordinary man had the fortune to be honoured whilst living 
 In the manner which his virtues deserved. 
 
 He received the thanks 
 
 Of both houses of the British and Irish Parliaments 
 For his eminent services rendered to his country and to mankind. 
 
 Our national prisons and hospitals. 
 
 Improved upon the suggestions of his wisdom, 
 
 Bear testimony to the solidity of his judgment, 
 
 And to theestimation in which he was held. 
 
 In every part of the civilized world 
 Which he traversed to reduce the sum of human misery, 
 
 From the throne to the dungeon, his name was mentioned 
 With respect, gratitude, and admiration. 
 
 His modesty alone 
 
 Defeated various efforts that were made during his life 
 To erect this Statue, 
 
 Which the public has now consecrated to his memory. 
 
 He was born at Hackney, in the county of Middlesex, Sept. 2, 172G. 
 
 The early part of his life was spent in retirement, 
 
 Residing principally on his paternal estate 
 At Cardington, in Bedfordshire, 
 
 For which county he served the office of Sheriff 
 In the year 1773. 
 
 Fie expired at Cherson, in Russian Tartary, on the 20th of January, 1790, 
 
 A victim to the perilous and benevolent attempt 
 To ascertain the cause and find an efficacious remedy 
 For the plague. 
 
 He trod an open but unfrequented path to immortality, 
 
 In the ardent and unintermitted exercise of Christian charity. 
 
 May this tribute to his fame 
 Excite an emulation of his truly glorious achievements. 
 
72 
 
 MONUMENT 
 
 ERECTED IN ST. PAUL’S CATHEDRAL 
 TO THE MEMORY OF 
 
 SIR WILLIAM JONES, BART. 
 
 A Statue nearly eight feet in height, in the dress of the ancient Greek 
 Philosophers, exhibits the deceased in his philosophical character. He res ;> 
 his arm on a large Volume placed on a curtailed Pilaster, and lettered on the 
 back with Indian characters. His right hand holds a pen, and his left a . 
 scroll inscribed, Plan of the Asiatic Society*.” His head is raised in the 
 attitude of meditation. 
 
 On the Pilaster is seen the Celestial Sphere (the emblem of Order), with 
 Compasses applied, indicating the attention of his mind to System, as the 
 grand principle of Government. Above these are a Sword and Balance, in 
 reference to his judicial capacity ; and under them a Lyre, allusive to his 
 poetic genius. The Ark depicted in an open Bible, indicates the conformity 
 of his researches in Indian Literature with the subjects of Mosaic History. 
 
 The Statue is placed on a Pedestal six feet in height, on the front of which 
 is a Bas-relief representing Indian Science revealed by Genius and Study. 
 
 inscription. 
 
 To the Memory of Sir William Jones, Knight, one of the Judges of the Supreme 
 Court of Judicature at Fort William, in Bengal. 
 
 This Monument was erected by the Honourable East India Company, in testimony of 
 their grateful sense of his Public Services, their admiration of his genius 
 and learning, and their respect for his character and virtues. 
 
 He died in Bengal the 27th” April, 1794, aged 47. 
 
 These three Monuments were executed by the late John Bacon, R. A. 
 
 * The Asiatic Society owed its origin to Sir William Jones, who was perpetual Chairman of 
 it during his life. 
 
73 
 
 COLOSSAL STATUE OF MARQUIS CORNWALLIS, 
 
 ERECTED AT CALCUTTA BY VOTE OF THE HONOURABLE EAST INDIA COMPANY, 
 
 AND JOINT SUBSCRIPTION OF MANY ENGLISH RESIDENTS AT BENGAL. 
 
 (EXECUTED BY JOHN BACON, JUN. IN LONDON.) 
 
 A Statue, eight feet in height, of Lord Cornwallis, presenting with his 
 right hand an Olive-branch, and holding in his left a sheathed Sword, to 
 imply that the object of his eminent services was an honourable Peace. At 
 the sides of the Pedestal, on which the Statue is placed, are emblematic Figures 
 of Prudence and Fortitude. The latter, besides her usual attributes, has a 
 Mural Crown on her head, and is in the act of strangling a Serpent, in allu- 
 sion to the virtues of an active character. In front, at the bottom of the Pe- 
 destal, are grouped Trophies of Arms. 
 
 This is an insulated Composition, raised on a flight of Steps. The whole, 
 executed in Statuary Marble, is about the height of twenty feet. 
 
 L 
 
7 4 
 
 LIST OF THE MEMBERS 
 
 OF THE 
 
 ROYAL ACADEMY OF ARTS IN LONDON, 1804. 
 
 Banks, Thomas, Esq. 
 Bartolozzi, Francesco, Esq. 
 Beechey, Sir W illiam. 
 Bourgeois, Sir Francis. 
 Burch, Edward, Esq. Li- 
 brarian. 
 
 Copley, Jo. Singleton, Esq. 
 Cosway, Richard, Esq. 
 
 Dance, Geo. Esq. Professor 
 in Architecture, & Au- 
 ditor. 
 
 Daniell, Thomas, Esq. 
 Farington, Jos. Esq. Au- 
 ditor. 
 
 Flaxman, John, Esq. 
 Fuseli, Henry, Esq. Pro- 
 fessor in Painting. 
 
 Elias Martin, 
 
 Biagio Rebecca, 
 
 Edward Edwards, 
 
 James Nixon, 
 
 Horace Hone, 
 
 George Stubbs, 
 
 Valentine Green, 
 
 Joseph Collyer, 
 
 ACADEMICIANS. 
 Garvey, Edmund, Esq. 
 Gilpin, Sawrey, Esq. 
 
 Hoppner, John, Esq. 
 Humphry, Ozias, Esq. 
 
 Kauffman, Angelica. 
 
 Lawrence, Thomas, Esq. 
 De Loutherbourg, Philip 
 James, Esq. 
 
 Lloyd, Mary. 
 
 Nollekens, Joseph, Esq. 
 Northcote, James, Esq. 
 
 Opie, John, Esq. 
 
 Richards, John, Esq. Se- 
 cretary. 
 
 Rigaud, John Francis, Esq. 
 
 ASSOCIATES. 
 
 Philip Reinagle, 
 
 William Redmore Bigg, 
 Joseph Bonomi, 
 
 Nathaniel Marchant, 
 
 John Downman, 
 
 Henry Howard, 
 
 ASSOCIATE ENGRAVERS. 
 
 James Heath, 
 
 Anker Smith, 
 
 Russell, John, Esq. 
 
 Rossi, Charles, Esq. 
 
 Sandby, Paul, Esq. 
 Smirke, Robert, Esq. 
 Stothard, Thomas, ! sq. 
 Shee, Martin Archer, Esq. 
 Soane, John, Esq. 
 
 Tresham, Henry, Esq. 
 Turner, Jo. Mall. W. Esq. 
 
 West, Benjamin, Esq. Pre- 
 side/ t. 
 
 Westall, Richard, Esq. 
 Wyatt, James, Esq. 
 
 Yenn, John, Esq. Treasurer. 
 
 Zoffanij, Johan, Esq. 
 
 George Garrard, 
 
 Samuel Woodforde, 
 Henry Bone, 
 
 Henry Thomson, 
 
 Joseph Gandy, 
 Theophilus Clarke. 
 
 James Fittler. 
 
 Professor in Anatomy, John Sheldon, Esq. 
 HONORARY. 
 
 The Lord Bishop of I.imerick, Chaplain. 
 
 Dr. Charles Burney, Professor in Ancient Literature. 
 Prince Hoare, Esq. Secretary for Foreign Correspondence. 
 
Vo 
 
 LIST OF THE MEMBERS 
 
 OF THE 
 
 ROYAL ACADEMY OF ARTS IN LONDON, 1805. 
 
 Bartolozzi, Francesco, Esq. 
 Beechey, Sir William. 
 Bourgeois, Sir Francis. 
 Burch, Edward, Esq. Li- 
 brarian. 
 
 Copley, Jo. Singleton, Esq. 
 Cosway, Richard, Esq. 
 
 Dance, George, Esq. Pro- 
 fessor in Architecture, Sc 
 Auditor. 
 
 Daniell, Thomas, Esq. 
 
 Farington, Jos. Esq. Au- 
 ditor. 
 
 Flaxman, John, Esq. 
 Fuseli, Henry, Esq. Pro- 
 fessor in Painting , 
 
 Elias Martin, 
 
 Biagio Rebecca, 
 
 Edward Edwards, 
 
 James Nixon, 
 
 Horace Hone, 
 
 George Stubbs, 
 
 Philip Reinagle, 
 
 Valentine Green, 
 
 Joseph Collyer, 
 
 ACADEMICIANS. 
 
 Garvey, Edmund, Esq. 
 Gilpin, Sawrey, Esq. 
 
 Hoppner, John, Esq. 
 Humphry, Ozias, Esq. 
 
 Kauffman, Angelica. 
 Lawrence, Thomas, Esq. 
 De Loutherbourg, Phillip 
 James, Esq. 
 
 Lloyd, Mary. 
 
 Nollekens, Joseph, Esq. 
 Northcote, James, Esq. 
 
 Opie, John, Esq. 
 
 Richards, John, Esq. Se- 
 cretary 8c Trustee. 
 
 R igaud, John Francis,Esq. 
 Russell, John, Esq. 
 
 Rossi, Charles, Esq. 
 
 ASSOCIATES. 
 William Redmore Bigg, 
 Joseph Bonomi, 
 
 Nathaniel Marchant, 
 
 John Downman, 
 
 Henry Howard, 
 
 George Garrard, 
 
 ASSOCIATE ENGRAVERS. 
 
 Sandby, Paul, Esq. 
 Smirke, Robert, Esq. 
 Stothard, Thomas, Esq. 
 Shee, Martin Archer, Esq. 
 Soane, John, Esq. 
 
 Tresham, Henry, Esq. 
 Turner, Jos. Mall. W. Esq. 
 Thomson, Henry, Esq. 
 
 West, Benjamin, Esq. Pre- 
 sident 8c Trustee. 
 Westall, Richard, Esq. 
 W yatt, J ames, Esq. Trustee. 
 
 Yenn, John, Esq. Trea- 
 surer 8c Trustee. 
 
 Zoffanij, Johan, Esq. 
 
 Samuel Woodforde, 
 Henry Bone, 
 
 Joseph Gandy, 
 
 Theophilus Clarke, 
 William Owen, 
 
 Thomas Phillips. 
 
 James Fittler. 
 
 James Heath, 
 Anker Smith, 
 
 Professor in Anatomy, John Sheldon, Esq. 
 HONORARY. 
 
 The Lord Bishop of Limerick, Chaplain. 
 
 Dr. Charles Burney, Professor in Ancient Literaiure. 
 Prince Hoare, Esq. Secretary for Foreign Correspondence , 
 
 (’rimed by B. Vi*\ii:|an, } 
 Row-street, Co\em-(Jarden. J 
 

 
 
 
 
 
 
 
 
 
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