Countless specimens of other artists are dispersed all over the palace; but passing by many very indifferent, and more that disgrace the walls, I have selected those only which are deemed worthy of the august patroness who formed the collection. Leaving you to con their merits, I shall now rest my pen, and bid you adieu!

LETTER VI.

St. Petersburgh, September, 1805. BEING still on the Muses' highway, allow me to lead you across the Neva to one of its proudest ornaments, the Institution for the encouragement of the Arts! The first idea of such a foundation was projected by the father of his country, the immortal Peter the great. The empress Elizabeth, in the year 1758, made many advances towards the fulfilment of his plan; but before the preliminary circumstances could be arranged, 'death put a period to her reign. The honour now fell to the lot of her successors: and the present extensive scale of the institution was designed and executed by the patriotic mind of the great Catherine. In 1764, it was finished and fully endowed; receiving from its foundress, proper laws to regulate the whole.

The establishment consists of a president, three rectors, two assistant rectors; six professors of painting, sculpture, and architecture, with each an assistant, and one perpetual secretary. One inspector of the college, with his assistant; an adequate number of professors of perspective, anatomy, geography, history, mythology, and iconology: and a number, unlimited, of academicians; admitting artists of all nations to that honour.

This institution is formed to watch and assist the bent of genius from its infancy; and yet, out of the number which are taken in here, very few come forth good artists. The fault then must lie in the minds of the pupils, which seem altogether barren of that talent which particularly points towards painting.

And where genius is not in some degree implanted by nature, I fear all the tuition in the world will never force it to any strength or beauty. Though this disappointing result is to be regretted, still the college is of incalculable service, as it instructs many (who would otherwise be ignorant) in the duties of a virtuous and useful citizen.

Sixty children are received at the age of five years; none above six. They must be free; and in the case of their being originally slaves, the nobleman to whom they belong, if he wishes to rear an architect, a sculptor, or a painter, and have him educated here, he must first accompany the child with a passport of his liberty. Every attention requisite for that tender age, is paid to the children; but when once they are registered in the college, it is impossible on any pretence, to draw them thence again, till the period of their pupilage is termiņated. For the three first years, they are instructed in the duties of religion, taught their own and foreign languages, the rudiments of drawing, and the elements of architecture. From the age of nine till twelve they go deeper into these researches, with the addition of geography, history and astronomy. From twelve till they reach their fifteenth year, they study mathematics, the principles of physics and natural history; and penetrate still farther into the mystery of the sciences. In each of the classes the genius of the youth is watched: and, should the instructors be men of discernment, much useless fatigue to themselves and their pupils might be saved, by observing in proper time the bias of the latter to any particular pursuit. Thus talents would not be thwarted by being thrust into contrary paths; and the ardour of the student would increase, as he found the obstacles removed which lay between him and his aim. Independent of every pains being taken to embellish these young men in all the accomplishments of education, lessons of piety and morals are most assiduously sown in their minds. The true source of the sublime in the arts, being laid in the mental greatness of the professor, no labour is spared to render the pupils of this college as admirable in private conduct as they hope to be in public reputation. Must we not pause to admire so excellent a plan! How broad are the views on which it is founded! Not merely

F

to teach youth to be artists, but to be men; to be useful citizens; to bless the country in which they were born; and to spread her glory with their own fame! Nay, not to stop even there; but in forming men to eternize their names here, it gives them a bright earnest of immortality hereafter. So far does the imperial eagle carry her sons! Nothing little, or contracted, is found in this munificent establishment. No care nor interruption arises to damp the ardour of the student; no ideas pervade his mind but those of improvement, emulation, and the prosecution of his favourite pursuit.

In order to estimate the progress of the growing geniuses, an examination, before the heads of the academy, takes place every six months. From the report of the masters, and specimens of the young people's particular efforts in the different departments of their study, a register is made of their conduct and abilities; and they are accordingly either praised for assiduity, or reprimanded for neglect. Rewards are distributed in the form of prints, &c. Having passed from the college into the academy of fine arts (which is considered as the last stage of their education), they are then carefully examined once every month, and their progress duly entered on the records of the school. As an incitement to emulation, medals of silver and gold are distributed, of various sizes and weights, according to the merit of the candidates. When the whole of their education, both in the college and in the academy, is completed, the assembly, or council, honours them with the gift of a sword, accompanied with an attestation of their freedom; in virtue of which they are authorized to exercise their profession wherever they may deem it proper. This foundation, like that of our own, sends a certain number of artists to study in those countries which we regard as the native seat of the arts. The term of their election is every three years. Twelve is the number selected; and they are chosen out of the students who have already been distinguished with medals. When abroad, they keep a journal; and every four months, send the academy a regular account of their progress and occupations. At the expiration of a stated time they send to St. Petersburgh specimens. of their improvement, either a design of their own, or some ex

cellent copy of a statue, picture, or building; after the reception of which, money is sent to enable them to return. From that period they cease to be pensioners of the academy; and are eligible to become members, or professors in the institution. All who leave this establishment without giving adequate proofs of genius, are placed out under respectable tradesmen and artisans.

In order to give you a just idea of the magnitude of this institution, you must remember that it embraces in the fullest extent of the several arts, architecture, sculpture, painting, casting in bronze, medals, and engraving in every branch, including gems. From the extent of the building you may imagine how noble are its schools. The finest models and drawings of every celebrated architectural relic, are here to be found. Casts of the most admired statues of antiquity are placed in large saloons; and for pictures, the precious gallery of the Hermitage is open to their study. A handsome chapel for the devotions of the students, is in the interior of the edifice; as is also a well-furnished and extensive library. Nothing is omitted as too minute, which can promote their improvement; or awaken the virtuous ambition of talents deserving distinction.

An annual exhibition of the works of the young artists is opened every July. Should I be in St. Petersburgh in that month, I shall then be able to form a pretty correct judgment of the growing state of all the arts in this metropolis; but at present I can only pronounce with any certainty upon sculpture and architecture; and they appear to me to be in a very promising state. The little I have seen of the students in painting, gives me an opposite impression; and that, when we consider the institutions of their academy, is rather inexplicable. I have several times passed through the apartments where the young men work, and, as an artist, minutely examined their performances; but in none of them could I discern the germs of the future painter. I sought to explain this to myself, and found one very efficient cause in the bad examples which are ever before their eyes; and which they copy, as the standards of perfection. The walls, instead of being enriched with a few

excellent pictures, are disgraced with myriads of vile daubings by heaven knows who. Who are we to blame for this? Certainly not the imperial foundress, or her successors. The invaluable saloons of the Hermitage are ever open to the students of the academy. There they may study from morning until night; imbibing from the sublime works of Michael Angelo and Kaphael, the very fountain of taste and improvement. These they neglect; or, rather I should say, the professors never introduce them to even a glimpse of such great originals. Why, I cannot pretend to tell you; but so it is: and thus, for want of the same plan which prevails in the schools of sculpture and architecture, the whole of the expense lavished on that of painting, is little better than absolutely wasted. Where manifest want of genius, and bad instructions are united, nothing but disappointment can be the result. Able teaching and industry may give respectable proficiency to the most moderate capacities; and it is as well known, that bad examples will corrupt and destroy the finest talents that ever were in man.

Before the architect and the sculptor are the best lessons. We see a vast number of models in cork (done by the same artist who executed those in the British Museum), of the most perfect remains in ancient Rome: also an immense model of St. Peter's, finished with scrupulous exactness. Though far from maturity, no one who looks around this superb city, will say that architecture is in its infancy: the Kazan church, and other public buildings, being all from the designs of Russian artists. But sculpture seems to me to have even been more rapid in her advances.

Many are the students who have accomplished pieces of admirable workmanship: but the academy has to boast of one that might be regarded with honour by any nation. Mr. Martauze. He is indebted to the institution at St. Petersburgh for his early education; for its perfection, is obliged to Italy and his own genius. He has produced an Acteon that would grace the most classic ages; and several funeral monuments of equal merit and Grecian taste. This gentleman has studied the beauties of ancient sculpture with the best disciplined judgment. He has not permitted his admiration of their graces to deceive