Page:Dictionary of National Biography volume 19.djvu/264

Flaxman Reynolds in St. Paul's (1807); one for a monument to Josiah Webbe for India (1810); monuments to Captains Walker and Beckett in Leeds Church (1811); a monument to Lord Cornwallis for Prince of Wales' Island (1812); one in honour of Sir J. Moore for Glasgow (1813); one to General Simcoe, and one to a Mr. Bosanquet for Leyton Church (1814). Since 1793 he had published no drawings in illustration of the poets except three for an edition, undertaken by Hayley, of Cowper's translations into English of the Latin poems of Milton (published 1810). Other sets of drawings made but not published about this time were one for the `Pilgrim's Progress' and one to illustrate a Chinese tale in verse, called `The Casket,' which he wrote (1812) to amuse his womankind. In 1817 he brought out the outlines to Hesiod, which are both the best in themselves of his designs to the Greek poets, and much the best rendered by the engraver, in this instance again Blake. For the next few years classical and decorative subjects in various forms began to occupy a larger share than usual of his time, side by side with monumental sculpture for churches. In the same year (1817) he designed a tripod to be executed by the goldsmiths Rundell and Bridge, and presented to John Kemble on his taking leave of the stage; and in 1818, on a commission from the same goldsmiths, set to work on the drawings and models for a shield of Achilles, to be executed in relief according to the description in the 18th book of the `Iliad.' This task gave him much labour and much pleasure, and in the result added considerably to his fame; though nothing, as we now know, could be more unlike the art of the Homeric age than Flaxman's suave and flowing work, which resembles a number of his happiest outline designs worked into a single ring-shaped composition. In 1820 Flaxman was engaged on a pedimental group in marble of `Peace, Liberty, and Plenty' for the Duke of Bedford's new sculpture gallery at Woburn. A group of `Maternal Love' for the monument to Mrs. Fitzharris (1817); two reliefs of `Faith' and 'Charity' for the monument of Lady Spencer, exhibited in 1819; and one of `Religious Instruction' in 1820, for a monument to the Rev. John Clowes at St. John's Church, Manchester, show that the artist had at the same time not broken off his usual labour on pious memorials for the dead, and symbols of Christian hope and consolation. His literary industry at the same time is shown by several articles on art and archæology contributed to Rees's `Encyclopædia ' (published 1819-20).

Flaxman's home life in Buckingham Street during these years was one of great contentment. He was childless, but his half-sister, Mary Ann Flaxman, who was thirteen years younger than himself, and his wife's sister, Maria Denman, had joined his household. He went little into society, but kept up an unpretending hospitality in his own home. Crabb Robinson, who was first acquainted with Flaxman in 1810, has borne witness to the spirit of pleasantness which reigned there; to the dignity and simnlicity of Flaxman's character, the charm and playfulness of his ordinary conversation, and the goodness of heart which made him beloved alike by pupils, servants, models, and the poor folk and children of the neighbourhood, among whom he went habitually armed with a sketch-book to note down their actions and groupings, and a pocketful of coppers to relieve their distress. Similar testimonies of affectionate and admiring regard have been left by others, especially by E. H. Baily the sculptor, who was his pupil from 1807 to 1814; by Watson the sculptor; and by Allan Cunningham, who only knew him in the last years of his life. In conduct Flaxman seems to have been faultlessly kind, upright, and generous, and in conversation sweetness itself; except on the subject of religion, in which he held stiffly to certain private opinions, compounded partly of puritan orthodoxy and partly of Sweden-borgian mysticism. The mystical `Book of Enoch' supplied many subjects to his pencil, and he had a sympathy with religious seers and enthusiasts. But he was not haunted, like Blake, by visions more real to him than reality; and when Sharp, the engraver, came to him with a message from the prophet Brothers, declaring that he must accompany them in leading back the Jews to Jerusalem, and undertake the office of architect to the Temple, he was able to put by the offer with a smile and speak of it humorously afterwards.

In 1820 Mrs. Flaxman, who had made a good recovery from a stroke of paralysis six years before, died on 6 Feb. The blow to Flaxman was very great. His health and spirits were never the same again, though he did not suffer the shock to diminish or interrupt his industry. The next year he finished and exhibited the group of `Michael and Satan,' for Lord Egremont, in marble, and in 1824 a `Pastoral Apollo ' for the same patron. Both are now at Petworth. In 1822 he gave an address at the Royal Academy on the occasion of the death of Canova, and in 1823 received a visit from his old admirer, Schlegel. He was at work about the same time on statuettes of Raphael and Michael Angelo, on small figures of Cupid and Psyche, on designs