Flaxman (John), R.A.
FLAXMAN held the distinguished position of Professor of Sculpture to the Royal Academy. He was an excellent Greek and Latin scholar, and his mind seems to have been early imbued with that classic feeling and taste which it is essential for an historical sculptor to possess, and which laid the foundation of his future celebrity. He was admitted a Student of the Royal Academy, in 1770. In 1787, Mr. Flaxman went to Italy, where he pursued his studies for seven years. While resident at Rome, he made about eighty designs from the Iliad and Odyssey. These were so highly approved that he was afterwards engaged to illustrate, in the same manner, the works of Dante for Mr. Thomas Hope, and Æschylus for the late Countess Spencer. All these designs were made at Rome, and engraved there by Thomas Piroli. The Homer was published in quarto, in 1793, and again, with additional plates, in 1805; the Æschylus, in 1795; the Dante, in 1807. His illustrations of Hesiod were made after his return to England; they were engraved by W. Blake, and published in 1816. Mr. Flaxman returned from Rome in 1794, and was elected on his way a Member of the Academies of Florence and Carrara. His first work after his arrival in England, and for which he received the commission before he left Rome, was the monument to Lord Mansfield, in Westminster Abbey. He designed and executed many other sepulchral monuments, the most notable being those of Earl Howe, Lord Nelson, and Sir Joshua Reynolds, in St. Paul’s cathedral; while Westminster Abbey, and various other cathedrals and churches, are enriched with exquisite productions of his genius. Flaxman died, 3rd December, 1826, at the age of seventy-one.
HIS OBLIGING DISPOSITION.
The following letter curiously illustrates the kind and obliging nature of the celebrated sculptor. It is addressed to John Bischoff, Esq., Leeds:—
“Buckingham Street, Fitzroy Square,
“19th of Aug. 1814.
“Dear Sir,—Your first respected letter was duly received, concerning the drawing for Dr. Whitaker’s new edition of ‘The History of Leeds;’ the answer to which has been delayed so long because I wished to send by it such information respecting the manner of engraving the monument of Captains Walker and Beckett, with the expense, as might enable Dr. Whitaker and yourself to determine what kind of print will be most likely to answer the purpose of publication—which will consequently determine the kind of drawing from which the copper-plate must be engraved. This information I have just obtained. A highly-finished shadowed engraving, of the proper size for a quarto book, will cost twenty guineas, or more; and in this department of Art there are two engravers of distinguished excellence, Mr. Bromley and Mr. Englehart. For such an engraving a drawing should be made by Mr. Stothard, who is used to draw for engravers; which is an absolute requisite, as this is a distinct branch of Art. A drawing of this kind costs about five or six guineas. If the Rev. Doctor would be satisfied with an outline of the monument—such as those published of Homer’s Iliad and Odyssey, as well as some in Cowper’s translations of Milton’s Latin poems, which is now a favourite style of decoration in books—I can make the outline myself, and will request the Editor’s acceptance of it. The engraving, including the copper-plate, will cost six guineas if done by Mr. Blake, the best engraver of outlines. When you favour me with Dr. Whitaker’s intentions on this subject, pray send in the letter the size of the intended book. I hope you will excuse the trouble I have occasioned you; and accept my particular thanks for your kindness and attention.
“I have the honour to remain, etc.,
“John Flaxman.”