The Literary History of the Adelphi and Its NeighbourhoodBrereton, Austin
History
The Literary History of the Adelphi and Its Neighbourhood
Brereton, Austin
Adelphi (London, England) -- History; Literary landmarks -- England -- London; London (England) -- History
"Let us now ascend the stairs to the first floor, passing through the
little ante-room where the alto-relievos of Bacon and Nollekens are
mounted high upon the walls, and beneath the portrait of the founder
of the Society, which appropriately hangs over the door of the great
room, where the painter's works are to be found. The first glance shows
us in one way the magnitude of the undertaking; the upper portion
of the walls of the whole of the noble room, or hall, as it should
rather be called, is covered by the six paintings of which the series
consists; as we step from one to another, we perceive that these large
spaces have been wrought upon in a large spirit; and a still closer
examination opens to our view, pictures of surpassing beauty and
grandeur, and scarcely less remarkable as a whole for the successful
manner in which they have been executed than for the daring originality
of their conception."
Barry's six pictures for the Society of Arts were designed on dignified
and important subjects, so connected as to illustrate this great
maxim of moral truth: "That the attainment of happiness, individual
as well as public, depends on the development, proper cultivation,
and perfection of the human faculties, physical and moral, which are
as well calculated to lead human nature to its true rank and the
glorious designation assigned for it by Providence." To illustrate this
doctrine, the first picture exhibits mankind in a savage state, exposed
to all the inconvenience and misery of neglected culture; the second
represents a Harvest Home, or thanksgiving, to Ceres and Bacchus; the
third, the victors at Olympia; the fourth, Navigation, or the Triumph
of the Thames; the fifth, the Distribution of Rewards by the Society;
and the sixth, Elysium, or the state of final Retribution. Three of
these subjects are truly poetical, the others historical. The pictures
are all of the same height, viz., eleven feet ten inches; and the
first, second, fourth, and fifth are fifteen feet two inches long; the
third and sixth, which occupy the whole breadth of the room, at the
north and south ends, are each forty-two feet long.
Public-domain text, read in full here on John Shaqi.
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