Star.
London, England, 1830-05-20 00:00:00

LOUGH'S STATUES.

All mankind have the same mental faculties mani-
fested with different degrees of power. When any individual rnani-
tests any mental faculty in an eminent degree, and possesses some
other mental qualities allied, when called into action with that
faculty which is most eminent, the person so endowed will produce
what is usually termed a work of genius. That work will be pro-
duced with that facility, power, originality of combination, and die-
wince, which another person, not so endowed, would be unable to
execute after any degree of labour or cultivation. No perseverance
or instruction could form the mind of a Shakspcare, or enable an in.
dividual to compose the Paradise Lost, or teach him to penetrate
into the laws which govern the universe, like Newton or La Place,
or even combine figures, like Bidder, or touch the strings of a harp,
like the Infant Lyra. When such, or any other powers so emi-
nently developed, are cultivated and given opportunity to act, the
productions constitute the highest examples of human power. True
genius is very rare, although the title is commonly bestowed : it is
therefore our duty to calmly consider the qualifications of the
claimant before so exalted a title Is bestowed, which ought, and
does, confer a reputation which will endure for ages.
Who was Lough ?—A peasant boy. Who was his instructor
—Nature. What were his means ?—lndustry and mental qualities,
eminently manifested, which taught him the pursuit in which he
would exceL To that may beadded some study of the relics of
ancient art after the hours of toil for subsistence.

This peasant boy, threatened with want, and without education,
perseveres in that Hoe of art to which his peculiar faculties lead him,
and he produces the heroic statue of Milo, endeavouring to rid
himself of the wolf which seized him when jammed in the fissure of
the tree—Musidora catching the sound of footsteps approaching her
retreat—lris sent to Somme—David, after slinging the stone at Go-
liah—and, at last, the Battle of the Standard. These works contain
the proofs of emanating from real genius, for they are produced with
facility, evince vigour in the execution, or orginality In the concep-
tion, and grace and elegance in the expression, and a conscious power
in every touch. Several of these works are known to the public, and
therefore do not require any notice from us. We shall confine our.
selves to a few remarks on the new productions.
The form of Musidora will bear comparison with the finest of
the ancient statues. The features arc beautiful, refined, and exqui-
sitely feminine the expression so delineated, that in a favourable
light it looks like a listening breathing form beginning to feel
some slight alarm, which is conveyed "by the touch of genius not to
be described" through every limb--even the muscles of the right
leg seem relaxing. The grace and modesty of the mien convey a
fascinating charm, which fixes the attention, and imprints the
statue on the mind.

The youthful David possesses similar excellencies to those de.
scribed as characterising blusidora, but carried to a degree even be.
yond them. as the figure is more elastic, and the action more posi-
tive, though more difficult to execute. The youthful hero has
hurled the fatal stone, and is represented at the very moment he
perceived that it had struck the giant enemy—the right hand is
raised, the foot drawn back, and the first conviction of vic.
tory rushing into his mind, mingled with a feeling which
seems to restrain the exhibition of joy,—and as if not, even
at that moment, unmindful of the high enterprise to which
he bad been supernaturally called. The back portion of the
statue is greatly to be admired. The forehead we do not like,
and pronounce it not characteristic of the mind of that extraordinary
man. As the statue is in plaster it may be remedied. With that
exception, it stands in the first rank of art, and, as long as marble
lasts, may bear the sculptor's fame to distant ages.
The Battle for the Standard, is, indeed, an effort worthy of the
sculptors' power. In it horses and men, roused to the greatest
mortal exertion, are contending for their country's banner. To at.
tempt, within the narrow limits of our columns, to describe every
expression, or every action, would be impossible, therefore we shall
generalise, and leave those who see it from our recommendation to fill
in the outline. It is a mighty mass of men and horses, fighting, strug-
gling, falling, dying, wounded, and dead. Yet so clearly has the subject
been conceived that it is not confused or massed. Every difficulty of
form has been boldly met and successfully moulded, and every va-
rying expression from fury, deliberate valour, despair, and anguish,
to death, has been truly delineated. The composition of the lines is
beautiful, and broken by the introduction and natural use of spears
and faulchions. The attitudes of the combatants are such as their
excitement and the circumstances would have placed them in. The
horses are roused to passion by the example of their riders, and join
in the dreadful fray until the spectator looks on it as almost
a living pageant. To speak of minor faults in such a work
would be idle. No human production was ever faultless—
but the faults in the Baltic of the Standard are easily
rectified, and not to be found but after a minute search. It is the
finest piece of modern sculpture extant, and raises the Arts of Eng.
land. The Duke of Northumberland, with a proper and princely
munificence, intends to have the group sculptured in Parian marble,
to adorn his Castle in the county from which Lough came. In so
I doing he confers honour on himself, and by fostering the sublime
attempts of native genius, like another Maecenas, gains the halo of
praise which radiates from the mighty work.