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The success of the tragedy was the crowning glory of Banim's hopes at this period. All the London papers were unanimous in its praise, and referring to his fire-work and other boyish failures, and slyly retorting his brother Michael's cautions, he wrote, to the latter, announcing his success"at length, my dear Michael, one of my sky-rockets has gone off." Macready and Charles Kemble played most gloriously; it was precisely the style of tragedy most approved by Macreadyit possessed that isolation for himself which rendered Richelieu so marked a favorite with him, and not less so with the audiences; besides, Damon and Pythias had no rôle sufficiently prominent to detract from the interest which this great actor desired his own character should possess. Indeed the only performer who failed in the representation of the tragedy was Miss Dance, who entirely misunderstood the conception of Calanthe.

Always desirous that the dear ones at home should rejoice and share in the pleasures of his success, Banim thus wrote to his father, and the true hearted trust in the toil of the future, and the purest resolve to pay the few, but, to him great, debts incurred in the wild days, are worthy of notice :

My dear Father,

66

Limerick, June 3rd, 1821.

If the papers have not already informed you of the fact, this letter goes to tell you, that at length, thanks to God, a trump has turned up for me.-The play has been successful. I have got Mr. Sheil's letter, giving Macready's account.I have also read the Courier, Globe, and Morning Chronicle.There is no doubt of my success, so again, I am a free man, my debts paid to the last farthing, and I am in possession, once more, of my seat by the old fireside, with my health better than ever it was to fit me for working on.

The moment I receive even part of the proceeds, I will fly to Kilkenny; that, however, may be some weeks.-Joanna is to weave a laurel crown for me; my poor mother shall place it on my brow, and we shall be as happy as happy can be."

This letter it will be perceived was written from Limerick. He had gone there for the purpose of making arrangements for a regular series of articles to be contributed to The Limerick Evening Post, and, as has been already stated, to gather local knowledge. Whilst staying in Limerick, and visiting the remark

able and interesting localities of the city, Banim first discovered that the stirring era of the Great Revolution, and the position of Ireland at that period, were romantic and exciting in all the glowing colors of that greatest of romances-historic fact; and many of the incidents afterwards introduced in his novel The Boyne Water were suggested by local association, and treasured in his never failing memory. Having arranged his business in Limerick, Banim returned to Dublin.

Upon arriving in town he found every party and grade of citizens in anxious expectation of the proposed visit of George the Fourth to Ireland. As all know, the King did then pay a visit to this country, remembered only as having incited Byron to compose The Irish Avatar, and by the erection of an unmeaning granite pillar at Kingstown. Banim, after the departure of the King for England, in September, 1821, went, late in the same month, to rejoin the dear friends at home; and his first act was to pay, from the money received for Damon and Pythias, the sums due to the creditors of former days.

This reunion was a happy one; he did not, whilst revisiting old scenes, and reviving old memories-some sad and dreary-neglect the duties of his self selected profession. Although devoted to literature, he still desired to see the arts supported and encouraged. With all literary men who have abandoned the pencil for the pen, like Hazlitt, and Hood, and Lover, he was ever ready in assisting to secure the interests of his old associates, and of their profession. When Banim found that the people of Ireland were about to erect a testimonial to commemorate the Royal Visit, (and this project, as all our projects of the same kind, ended but in failure,) he thought that the time was suitable for introducing to the public attention the requirements of Art in Ireland.

Accordingly, whilst still in Kilkenny, he commenced the composition of a letter which he completed before his return to Dublin. It was published in the month of January, 1822, by Milliken. It is in pamphlet shape, and extends to thirtytwo pages. The title-page is the following: "A Letter to the Committee Appointed to Appropriate a Fund for a National Testimonial, Commemorative of His Majesty's First Visit to Ireland. By John Banim, Esq;" and the letter is dedicated -"To Those of Every Class who have Contributed Any Sum Towards the Erection of A National Testimonial, Commemorative of His Majesty's First Visit To Ireland."

He commences by recounting the various plans proposed, and after showing that all professions, and all bodies in the city possess appropriate buildings in which to assemble, that all professions- save one-are enabled to claim some particular place of meeting as their own, for all their peculiar uses and porposes, he demands-" Where is your Temple of Art? Where is your Louvre or Somerset House ?" He then instances the support given to Art by the great statesmen and rulers of other nations; but, assuming that it may be contended that in this country the professions of painting and sculpture are not of sufficient importance to justify the serious contemplation of an outlay of the fund collected, in erecting an Irish National Gallery and School of Art, he writes, referring to the great men who have been the patrons of Art, thus:

"With the theorist who may think the immortal names we have glanced at were or are wrong in their large and national estimation of art; with the political huxter who picks his steps through every path of cultivated pursuit, leaning on Adam Smith as on a walkingstick; with him, to whose stunted apprehension this spacious and flowery world is but a sales-market or a compting-house, and mind and talent, in all their varied impulses and uncontrollable tendencies, predoomed exclusively to buy and sell, and barter and calculate ;with him to whose taste the pounds, shillings, and pence of a nation are the most glorious acquirements of a nation, and who is well prepared to run us up and down the politico-economical gamut on every note and key of increase and of supply,' demand and market, with such a theorist we have another appeal. If individuals of the order we have mentioned be wrong, let us ascertain the sense of the past and present civilized world on the importance of the Arts, generally.

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Egypt is a wilderness. We only remember that she was. of our recollections of her old name, which is the most lively-the most interesting? which most arouses our sympathy, commands our respect, our veneration? Is it our recollection of her wealth, her gaudiness, her arms, her commerce ?-No: it is her mind, and not her wealth; her philosophy, and not her arms; her arts, and not her commerce, which we remember with vivacity, which we admire, respect, emulate. We explore her waste places for one atom of her art; if found, we cherish it as a Saint's relic or a parent's memento, and we point to it and say, This is a part of Egypt.'

Her foster-child, Greece-old Greece, has left us a greater variety of models for admiration. Her laws, her arms, her poets, orators, heroes, either were more distinguished, or history has better defined and transmitted them to us. They invite our attention equally with her arts-but only equally. With her Lycurgus, her Homer, her Leonidas, we rank her Phidias, her Praxiteles, her Appelles ; and while we burn at the recollection of her Marathon and

Thermopyle, we glow with as pure an ardour over the historical memory of her pictured Thunderer, or in the actual presence of her Farnese and Apollo. In Greece, a painter* was allowed to assume the regal purple and golden crown. In Greece, painters and statuaries were eligible to the highest offices of the state. In Greece, it was the law that none but men of noble birth should profess the Art. + Pamphilus, the master of Apelles, was a statesman and a philosopher as well as an artist. By his influence the elementary principles of the Art were taught in the public schools of Greece, and its acquirement associated with a liberal education.§ When Emilius, after subduing all Macedonia, demanded of the Athenians their most renowned philosopher to educate his children, and their best painter to superintend the ornaments for his triumph, the Athenians sent Metrodorus to the Roman General, telling him, they had provided in one person all he had required of two. Metrodorus was an artist.

From the political structure of ancient Rome, we must not expect much practical excellence in the Art. But that which the Romans either did not or could not rival, they knew how to admire and appreciate. Quinctilian, Pliny, Tacitus, are often the his. torians or eulogists of ancient Art; and Cicero himself plucks from the garland of the graphic muse some of his sweetest flowers of exemplification.

The Augustan age of Britain does not present a character which stands more boldly forward than that of Reynolds. Those who do, and those who do not, understand his excellence, concur in estimating it as a high national honor and ornament. The more than Augustin age of Britain-her present age, displays a galaxy of talent, as variously as it is consummately excellent. With the senate, the field, the cabinet-with science, philosophy, poetry, great and immortal names are connected. Yet, against any of them, the names of West and Lawrence may be fearlessly arrayed. They stand as high as any in national estimation. They are as often appealed to as evidence of national character. They are as much the boast of their country. Their fame is as widely diffused through polite nations. They are parallels to Britain's proudest names, and can be produced to the same extent.

During thirty years, the profession of arms would seem to have been the only one pursued with enthusiasm in France, yet her Arts were not forgotten. In the hot career of her unrivalled success, elated and laurelled with triumph, France could pause, and hold out to Art the hand of patronage and protection. The genius of victory,

* Appelles.

† Vide Moore-F. Junius de pictura veterum,

+ Pliny.

Italy.

§ Pliny.

Turnbull-Rise and Decline of Art in ancient Greece and modern

gathering up all her trophies, often came to the genius of Art, and sued for her graphic immortality. Denon, David, Le Fever, Le Theyre, were or are cotemporaneous with every era of thirty years of political convulsion in France;-bright names, like brtght stars, have risen around them in the national horizen, yet theirs have not been eclipsed.

Italy has, at present, no name, no character, but that which her Arts reflect upon her. It is the only current which keeps her floating up to the level of nations. Italy, that was the war-school of the worldwhose thought was intelligence-whose tongue was oratory-whose breath was patriotism-whose sword was victory-Italy is a province-an abject, trampled province. Her Tully, her Cato, her Scipio, her Augustus, her Brutus, are no more.-Italy has only her Canova."

We here close the Second Part of the Biography of John Bauim. We have, in it, endeavoured to tell, through his own letters, the story of his life from his twentieth to his twenty-fourth year; and have shown his first struggles and successes in the hard profession to which he had devoted himself.

He was now warned by failure; he was honest and honorable in successes; and what the reader knows him to be now, he will find him to the end-earnest, true souled, not perfect-only a man. But a man in the noblest sense of that grandest word. A man who would pay the debts of folly; a man who would fear no pain, or labor, or want, or privation, in working out the bright, golden fame which he hoped to win by his own genius. "I KNOW NOT HOW LONG I COULD FAST; EVEN THAT I MAY BE CALLED ON TO TRY." So he wrote to Michael-could a heart like this fail?and mark he wrote it hopefully, above all, daringly and not heedlessly-for this follows-"I HAVE BEEN THE

BEST PART OF TWO DAYS WITHOUT TASTING FOOD OF LATE, OFTEN HAVE I GONE TO WHISTLE FOR MY DINNER; AND ONCE WALKED ABOUT THE TOWN ALL NIGHT FOR THE WANT OF A BED. This was the man to succeed-he never feared the world, he never doubted, because he had proved himself; he knew the thought which has been so graphically expressed by Archdeacon Hare in the Guesses At Truth-" Half the failures in life arise from pulling in one's horse as he is leaping." All these things will be clear and plain when we come, as we shall next, to write of Banim's marriage, and of his early struggles and literary successes in the great city, towards which all his aspirations had long tended; and now, more strongly than ever, his soul was, as Tennyson sings—

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