Memorials of Francis Chantrey RA in Hallamshire and Elsewhere Part IV The in Sheffield
Memorials of Francis Chantrey RA in Hallamshire and Elsewhere Part IV The in Sheffield is in Memorials of Francis Chantrey RA in Hallamshire and Elsewhere.
"Those who wish to trace the return of English Sculpture from the foreign artificial and allegorical style, to its natural and original character - from cold and conceited fiction to tender and elevated truth-will find it chiefly in the history of Francis Chantrey (age 38)."- Blackwood's Magazine, April, 1820.
To Norton [Map], as the birth-place of Chantrey, I have already adverted at length, and to that village, as his selected burial-place, I shall return hereafter; meanwhile, it has been shown that Hallamshire had a parental claim on the Painter - as the facts of this chapter will prove it had on the Sculptor also.
Ridiculous as it would be to look for the germ of his genius in any of those fictions of boyhood which I have previously mentioned, it does not seem equally immaterial here to remark, that at the time when Ramsay's apprentice first began to try his hand at modelling, there was not perhaps a large town in England that afforded fewer examples or incentives to such a pursuit than Sheffield. Three recumbent figures, and one kneeling effigy, in the "Shrewsbury Chapel," at the Parish Church [Map], comprised the monumental statuary-probably the work of Italian artists; while out-of-doors there were a respectably executed figure of Justice, by Waterworth, of Doncaster, at the head of the Shambles; a spirited profile of Shakspeare, with some dramatic symbols, on the pediment of the Theatre, executed by a wandering stranger of the name of Renilowe; a poor exhibition of the "Norfolk Arms" on the old Hospital Chapel, the joint work of one of the masons-Peter Skinner, of Gleadless and a rambling genius called "Jem Officer," from York; a small lugubrious lion over the door of the Assay Office, by H. Mozley, once an employé of Ramsay's; and, best of all, an "Angel, "in terra-cotta, with a brazen trumpet, as a sign on the inn and in the street denominated there from - the early work of Rossi, who, while a youth, lived with his father in a house opposite. Of course our young aspirant saw what works of the chisel were to be seen at Wentworth House - the present noble gallery at Chatsworth [Map] did not then exist: indeed, with the writer in the Atlas, I "happen to know that the few collections of ancient sculpture which were within his reach while he lived in the country were visited by him, and that in particular he paid two visits to Newby, whilst still a young man and still younger artist, and came away deeply impressed by the works of sculpture in that mansion." Perhaps it should be added, as somewhat remarkable, that, with the exception of the figures of the Marquis of Rockingham at Wentworth, and the Earl of Strafford at Stainbro', there did not at the period of Chantrey's apprenticeship - nor am I aware that there does at this day -- exist a single standing life-size statue, of modern man or woman, in marble or gritstone, within doors or without, either in Sheffield or within the circuit of more than a hundred miles around the town.
When, and wherefore then, did Chantrey absolutely determine to abandon painting for sculpture? These are questions which have repeatedly been asked and answered. But most of the printed notices on this subject are more ingenious than satisfactory-accident having apparently had as much to do with the matter as abstract reasoning. Undoubtedly his tastes for the sister arts may be said to have been twin-born, and for a time, mutually cherished. We have already seen how long and largely, and with what measure of success and promise, he exercised the brush-even in Sheffield perhaps, it may be said, because this was the only immediate source of income.
Mr. Rhodes - who knew Chantrey well-has a graphic passage descriptive of the perplexity and the embarrassment of the young enthusiast soon after he became an attendant at the Royal Academy. Leaving the students ' room, which was then at Somerset House, in a state of bewildering indecision as to the branch of profession finally to be adopted, he returned to his own apartments- "spread his canvass before him, prepared his pallet, took up his pencils, began to paint; landscape, portrait, and history by turns attracted his notice, and mingled with his contemplations; but the sculpture of the academy was continually before him, and the images it presented became associated with his thoughts, "& c. Mr. Rhodes adds that, during this critical crisis, the young student visited and re-visited the Elgin marbles:-"this influenced his choice, and determined him to become a sculptor." This is all, no doubt, very true, in a general sense; but if we apply the test of dates, it will be found that what at first sight seems only like the record of an after noon's struggle between the rival fascinations of Phidian and Apellean art, is really by the context shown to comprehend between three and four years!
Of the nature and progress of his early studies in London, it is not my purpose to speak; I have seen nothing that he produced at that time beyond a spread eagle, about four inches high, in wax, and a small hand and arm, formerly belonging to his mother at Norton, in clay; also a spirited study of an ancient head, in the possession of Richard Bayley, Esq., of Castle Dyke; and a child's head, in the possession of Thomas Stirling, Esq., at Sheffield. This early work happened, when I last saw it, to be placed beside some fine specimens of the most ancient sculptures in the world - a couple of slabs from the mounds of Ninevah! But there is evidence in what follows, coincidently with the earliest date of any existing life-model from his hand, that he was consolidating the success of the student into the confidence of the artist; for in the Sheffield Iris of October 18, 1804, appeared the following advertisement:
SCULPTURE AND PORTRAIT PAINTING. "F. Chantrey respectfully solicits the patronage of the ladies and gentlemen of Sheffield and its environs, in the above arts during the recess of the Royal Academy, which he hopes to merit from the specimens he has to offer to their attention at his apartments, No. 14, Norfolk-street. As models from life are not generally attempted in the country, F. C. hopes to meet the liberal sentiments of an impartial public."
A lover of the arts, and having a head admirably adapted for the modeller's purpose, William Younge, Esq., M.D., of Sheffield, sat to Chantrey for a bust; for this work, which, when finished, was deservedly admired, as presenting something more than the mere promise of excellence, the artist received twenty guineas. It is at present in the possession of John Jeeves, Esq., of Sharrow Grange.
Two other busts were modelled at this period, one of the artist's early friend Mr. Hunt, a teacher of drawing, in Sheffield; and one of James Wheat, Esq., solicitor, of the same place, who died in January, 1805. The exhibition of these works, along with that which will immediately demand a more extended notice, may almost be said to have formed an era of art in Sheffield, as well as in the history of the artist himself.
It was during Chantrey's professional visit to Sheffield at this time, that an opportunity occurred for the exercise of his skill, upon which his destiny as a sculptor may be said at that moment to have depended. The Rev. James Wilkinson, the venerated vicar of Sheffield, occasionally spent some time at his family mansion at Boroughbridge, and here he died on Friday, the 18th January, 1805, in the 75th year of his age. The late Hall Overend, surgeon, a zealous friend of Chantrey's, being in the neighbourhood at the time, went directly to Boroughbridge, sought and obtained permission for the young artist to take a cast of the face of the deceased. On reaching Sheffield, and communicating this intelligence to Chantrey, he immediately borrowed a horse, and early on the Sunday morning was on his way northward, notwithstanding the heavy snow that was falling at the time. He happily accomplished his object, at the expense of a ninety miles ' ride, at the worst season of the year -- a feat of horsemanship which few of the gentle devotees of the pencil or the chisel would be very willing to imitate, either on speculation or "commission."
Mr. Wilkinson was highly respected, as he deserved to be, by his parishioners; and the sagacity and activity of the Sculptor, will appear to be at least justified by the fact, that the lapse of a few days, not only produced the announcement of public mourning, but of a mezzotinto print of the late vicar, by J. R. Smith, Chantrey's master in crayons, from a painting by Needham, now in the Cutlers ' Hall; a medal, by Westwood, father of the present celebrated entomologist of that name, who was working as a die-sinker at Sheffield. This bust, along with those of Dr. Younge and Mr. Hunt, formed Chantrey's earliest contribution of models to the exhibition of the Royal Academy. They were much admired in London, and one of them was destined to a still more distinguished celebrity.
On the 5th of August, 1805, a highly respectable party met at the Cutlers ' Hall, Sheffield, to celebrate the late vicar's birth-day, their main object being to "collect the sense of the gentlemen assembled on the propriety of erecting a monument, by public subscription, to the memory of a man who, for half a century, had dedicated his talents almost exclusively to the service of the town and neighbourhood." The project was warmly taken up, a committee formed, at the head of which was Dr. Brown - a name ever to be mentioned with honour, as one of the most zealous patrons of dur "General Infirmary" -and, presently, the names of more than one hundred Members were announced.
Before, however, any final decision had been come to by the monument committee as to the artist to be employed, the arrival of news of the death of Nelson and the victory of Trafalgar threw the whole country into a paroxysm of loyalty, in which the "town trustees "of Sheffield so deeply participated, that they advised the inhabitants "to forbear illuminating their houses on that occasion," as the corporate bodies of the town had it in contemplation to raise a subscription for erecting in honour of the fallen hero "a naval pillar." This patriotic project, although not eventually carried out, was enthusiastically advocated by Mr. William Carey, a well-known connoisseur in art, who was at that time, as already mentioned, on a visit at Sheffield as a picture-dealer. In a long letter which was published in the Iris, Nov. 21, 1805, he says of the good people of Hallamshire:-"Fortunately they possess in Roche Abbey quarries a hard and durable stone1, and in Mr. Chantrey a sculptor, every way capable of fulfilling their intentions, and of reflecting credit on their choice. This young artist, whose modesty and zeal for improvement are equal to his talents, was born so immediately in the vicinity of Sheffield, that its townsmen will probably, at no distant period, be proud to claim him as a native of their town. The power of his hand in executing what he sees, and the readiness f his eye in catching a likeness, are exemplified in his admirable busts of the Rev. J. Wilkinson, the late vicar, and of Dr. Younge. There is a cold and timorous caution which can behold a man of genius struggling in obscurity, without daring to bear testimony to his merits. It requires a purer taste, an independent understanding, and something of a kindred spirit to discover the powers of a young artist in his first attempts. Chantrey had the good fortune, in Dr. Younge, to meet with an amateur whom nature and education, the classic acquirements of travel, and a judicious survey of the treasures of art in Italy, have qualified to appreciate his talents, and to bring forward his abilities to the public eye. It may not be improper to observe, that Chantrey has not fallen into the habit of servilely copying the forms of nature. His good taste and accurate reflections early enabled him to observe that a sculptor must take a certain license, owing to his being confined to a single cold colour and to hard materials, which are too apt to fall into acute angles and unpleasant lines. Hence this young artist appears, by the light of his own mind, to have adopted a large and liberal outline and a fulness of contour, after the manner of the best sculptors, who most successfully imitated nature by going a little beyond her. It is this which gives to the bust of Dr. Younge, and to the other busts of this zealous artist, something of an historical dignity and a character of the antique, of which he is so passionate an admirer." Mr. Carey recommended that a column, surmounted with a colossal statue, should be erected on the site of the old Town Hall, at the church gates; adding- "In executing the statue, Mr. Chantrey would possess a noble opportunity of signalizing his talents; and should he be chosen to execute the monument, the spirit of prophecy, at this moment, involuntarily cries aloud that the work will equally commemorate the taste and spirit of Sheffield, the talents of the artist, with the victories and death of the immortal hero of Aboukir, Copenhagen, and Trafalgar."
Note 1. It is worthy of remark, that the stone mentioned by Mr. Carey as so suitable for carving is almost identical, in source and quality, with that selected nearly half a century later for the erection of the new Houses of Parliament