the work was not entirely finished at his death. Amongst the finest of Flaxman’s later productions, Mr. Cunningham enumerates his Pysche, the pastoral Apollo (also in the possession of Lord Egremont), and two small statues of Michael Angelo and Raphael. But the most remarkable of them is the shield of Achilles, designed and modelled for Messrs. Rundell and Bridge, the silversmiths. The diameter is three feet, and the description of Homer has been strictly followed. In the centre is the chariot of the sun, in bold relief, almost starting from the surface, surrounded by the most remarkable of the heavenly bodies: around the rim is rolled the ever flowing ocean. The intermediate space is occupied by twelve scenes, beautifully designed in conformity with the words of the poet. For this the artist was paid £620. Four casts of it in silver were taken, the first for the late King, another for the Duke of York, the third for Lord Lonsdale, the fourth for the Duke of Northumberland.
Flaxman died on the 7th of December, 1826, of an inflammation of the lungs, the result of a cold. In person he was small, and slightly deformed, but his countenance was peculiarly placid and benign, and greatly expressive of genius. His dress, manners, and mode of life were simple in the extreme: he was never found at the parties of the rich and great, and mixed little even with his professional brethren. His life was spent in a small circle of affectionate friends, in his studio, and in his workshops, where those whom he employed looked up to him as a father.
Amongst the different classes of his works, the religious and the poetic were those in which he chiefly excelled. The number of pure and exalted conceptions, which he has left sketched in plaster or outlined in pencil, is quite extraordinary. “His solitude,” observes Sir Thomas Lawrence, “was made enjoyment to him by a fancy teeming with images of tenderness, purity, or grandeur. His genius, in the strictest sense of the word, was original and inventive.” Among the most important of his works not before noticed, is his monument to the memory of Sir Francis Baring, in Mitcheldever Church, Hants, a work of exquisite beauty, both in design and expression, embodying the words, “Thy kingdom come—thy will be done—deliver us from evil.” He also executed, among others, monuments to the memory of Mary Lushington, of Lewisham, in Kent, to the Countess Spencer, to the Rev. Mr. Clowes, of St. John’s Church, Manchester, and to the Yarborough family at Street Thorpe, near York. This last, and one to Edward Bulmer, representing an aged man instructing a youthful pair, Flaxman considered the best of his compositions.
He executed several historical monuments to naval and military commanders. These deal too largely in emblems and allegories, Britannias, lions, victories, and wreaths of laurel, to add much to the reputation of the artist: especially as his forte lay in the exquisite feeling and grace of his conceptions, not in manual dexterity of execution; the chief merit to which such cold and uninteresting productions can lay claim. He executed statues of Sir Joshua Reynolds; of Sir John Moore, in bronze, of colossal size, for Glasgow; of Pitt, for the Town-Hall of the same city; of Burns; and of Kemble, in the character of Coriolanus. That of Sir Joshua Reynolds (one of his earliest) is perhaps the best. Many of his works were sent abroad: for India he executed a statue of the Rajah of Tanjore, and a monument to the celebrated Schwartz; two monuments in memory of Lord Cornwallis, a figure of Warren Hastings, and a statue of the Marquess of Hastings.
Since the death of Flaxman, six plates have been published by his sister, from his designs. The subjects are religious; the engravings are admirable fac-similes of the original drawings, which were made in his best time; and perhaps there is no published work of his more illustrative of the peculiar taste and genius of the artist.
Our Portrait has been engraved from a fine picture by Jackson, in the possession of Lord Dover. There is also an excellent portrait painted by Howard, and a good bust of Flaxman was executed by Baily some few years before our artist’s death.
[“Feed the hungry,” from a bas-relief of Flaxman.]
COPERNICUS
The illustrious discoverer of the true planetary motions, whose features are represented on the accompanying plate, lived during the latter part of the fifteenth century, and the first half of the following one. Notwithstanding the success and celebrity of the theory which still bears his name, the materials are very scanty for personal details regarding his life and character. This ignorance is not the result of recent neglect. A century had scarcely elapsed from the time of his death, when Gassendi, who, at the request of the poet Chapelain, undertook to compile an account of him, was forced to preface it by a similar declaration.
Whilst Europe rang from one end to the other with the fierce dispute to which the new views of the relation and motions of the heavenly bodies gave rise, the character, the situation and manner of life, almost the country, of the great author of the controversy, remained unknown to the greater number of his admirers and opponents. Even the name of the discoverer of the Copernican system now appears strange, except in the Latinised form of Copernicus, in which alone it occurs in his own writings and in those of his commentators.
Nicolas Cöpernik[1], to use his genuine appellation, was a native of Thorn, a city of Polish Prussia, situated on the river Weichsel or Vistula. He was born in the year 1473. Little is known of his parents, except that his father, whose name also was Nicolas, was a surgeon, and, as it is believed, of German extraction. The elder Cöpernik was undoubtedly a stranger at Thorn, where he was naturalized in 1462: he married Barbara, of the noble Polish family of Watzelrode. Luke, one of her brothers, attained the high dignity of Bishop of Ermeland in the year 1489, and the prospects of advancement which this connection held out to young Cöpernik, probably induced his father to destine him to the ecclesiastical profession. He acquired at home the first elements of a liberal education, and afterwards graduated at Cracow, where he remained till he received the diploma of Doctor in Arts and Medicine from that university. He is said to have made considerable proficiency in the latter branch of study; and possessed, even in more advanced life, so high a reputation for skill and knowledge, as to produce an erroneous belief that he had once followed medicine.
Engraved by E. Scriven. NICOLAO COPERNICO. From a Picture in the possession of the Royal Society, presented by Dr. Wolf, of Dantzic, June 6, 1770. Under the Superintendance of the Society for the Diffusion of Useful Knowledge. London. Published by Charles Knight, Pall Mall East.
He also exhibited at an early age a very decided taste for mathematical studies, especially for astronomy; and attended the lectures, both public and private, of Albert Brudzewski, then mathematical professor at Cracow. Under his tuition, Copernicus, as we shall hereafter call him, became acquainted with the works of the astronomer, John Müller, (now more commonly known by his assumed appellation of Regiomontanus,) and the reputation of this celebrated man is said to have exercised a marked influence in deciding the bent of his future studies. Müller died at Rome a few years after the birth of Copernicus, and when the latter had reached an age capable of appreciating excellence and nourishing emulation, he found Müller’s works disseminated through every civilized country of Europe, his genius and acquirements the subject of universal admiration, and his premature death still regretted as a public calamity. The feelings to which the contemplation of Müller’s success gave rise, were still more excited by a journey into Italy, which Copernicus undertook about the year 1495. One of his brothers and his maternal uncle were already settled in Rome, which was therefore the point to which his steps eventually tended. He quitted home in his twenty-third year; when his diligence in cultivating the practical part of astronomy had already procured for him some reputation as a skilful observer. It seems to have been in contemplation of this journey that he began to study painting, in which he afterwards became a tolerable proficient.
Bologna was the first place at which he made any stay, being drawn thither by the reputation of the astronomical professor, Dominic