by *.*.T.
Originally published in The Literary Chronicle and Weekly Review (J. Limbird) vol.1 #22 (16 Oct 1819).
The Honourable Anne Seymour Damer has at length her vanity gratified, by having her statue placed on the first flight of stairs, at the British Museum. Acknowledging this lady to be, perhaps, the first female sculptor in the world, may I ask what connection has she with this national establishment? Or what peculiar circumstances warrant the officers in placing her statue in so honourable a situation? The statue is not placed in a sculptor-room, or at the entrance to a sculptor-room, but on the flight of stairs leading to the grand saloon, and the other top rooms. The busts of Banks and Townley appear in the museum; but the former distinguished himself in those researches which enriched the museum with productions; and the latter rendered himself eminent by the Townley collection of marbles, deposited in the British Museum. But it appears as if the museum were indebted to this lady only for a bust of Banks, and a statue of herself.
Let us confer on talent all reasonable distinctions and proper honours; but still let us affix a rule of discretion and let us not indulge the vanity of one at the expense of many.
4s a specimen of sculpture, the statue will, without doubt, rank high. The visage is rather sensible than pleasing, rather sentimental than beautiful; and displays native talent rather than foreign blandishments. The back part of the Roman nose, and the majestic forehead, display strength of mind, and the features of the face are generally interesting. The eyes are acutely penetrating;--a double lock of hair flows gracefully over the right shoulder;—the shoulders are of the most beautiful form, in consequence of their breadth. The part of the neck, which is exposed, appears rather cold, and not sufficiently anatomical. The arms and hands, (which hold a miniature figure of a river god,) are, perhaps, rather small for the size of the figure, but this piece of flattery is very excusable. The weight of the body rests on the left leg, and the right leg is gracefully thrown back. The feet are well cut, and are open, in sandal fashion. The figure is very modestly, (I had almost said vestally,) attired. The drapery of the dress is graceful, without confusion,—and bold, yet elegant. The figure is wrought in fine rough marble: the appearance of the features might have been better consulted in polishing the figure throughout, ad it is surprising that some artists do not polish their sculptures, from the softness which the polish gives to the stone. The statue is placed on a wooden pedestal, and is the first object which engages the attention of the visitor.