I. The subject of the first compartment is the victory of Assaye, Sept. 23, 1803. Where the Duke, then Colonel Wellesley, leaving behind him the cumbrous part of his army, advanced briskly, with a comparatively small body of it, and gained a decisive victory over the Mahrattas. This victory was celebrated by the superb and well-known war-songShout, Britain, for the battle of Assaye, For that was a day

When she stood in her array,

And the battle-word was Conquer or die.

II. That of the second, is the battle of Vimiera, the first of that uninterrupted series of triumphs which the British arms were destined to achieve. Its immediate effect was the surrender of Lisbon by the French. The charge of the seventy-first regiment is also represented.

The

III. The third represents the passage of the Douro, with the city of Oporto; women and children hailing Wellington as their deliverer. French are seen in hasty retreat.

IV.—In the fourth, the allied armies are seen advancing from the lines of Torres Vedras, and rapidly pursuing the retreating enemy whose path is marked by conflagration and famine.

V. Represents the storming of Badajos, and may also be said to represent that of many other strong holds taken in that bloody but glorious campaign. VI. In the sixth compartment is a representation of the glorious victory of Salamanca, with the redoubted Marmont wounded.

VII. Is a similar view of the battle of Vittoria, where the pseudo-king Joseph was present in person;—his suite, baggage, and, what is more glorious, perhaps, the French eagles, were captured.

VIII. Represents the bloody battle of the Pyrenees; an officer plants the British colours upon the height before which the imperial standard is overthrown. The city of Bourdeaux appears hoisting the ancient colours of the Bourbons, and welcoming the British army.

IX. The ninth compartment represents the entrance of Wellington into Toulouse, after the happy news of peace had arrived.

X. In this compartment the dukedom of Wellington is conferred. The Duke with the Marshal's baton in his hand, kneeling before the Prince Regent, receives the ducal coronet.

The third or outermost circle is an ornamental border which completes the shield.

Thus are the most remarkable events of this glorious career characterized, and the ardour with which every one who has had any share in the design or execution, entered into the spirit of the work, speaks for itself. In every part they have been equally successful, and the field of battle and the more peaceful scenes are described with equal animation. It remains, however, to say something of the columns which stand one on each side of the shield. They are each four feet six inches high, including the figures of Fame and Victory, by which they are respectively surmounted each is formed by the trunk of a palm-tree with a capital of its leaves, each stands upon a triangular base, and each is surrounded by three characteristic figures. Military trophies and weapons are heaped by way of ornament, at the

:

angles of the base, and likewise convey the idea that they are no longer needful to the security of mankind.

Around the base of the first column, upon which stands the figure of Victory, appear, in attitudes of repose, three soldiers; one from each part of the United Kingdom. A British grenadier, a Highlander, and an Irish light-infantry man, supporting the flags of their respective countries, and also distinguished by the rose, the thistle and the shamrock. Upon the base are represented in basso-relievo, the following subjects-Britannia, awarding the laurel alike to the army and navy-A return to the occupation of useful and ingenious arts; and, lastly, a Festive Dance, wherein both old and young are represented as joining.

In a similar manner, about the second column, which supports the image of Fame, are placed in quiescent attitudes, a soldier of each of three foreign nations, whose troops the duke commanded, i. e. a Portuguese, a Sepoy, and a Guerilla, who are supposed to have bound a medallion of the duke among the folds of their respective flags. The peaceful occupations of the several countries are represented under each of these figures respectively, in the following manner. Under the Portuguese, the long-neglected vineyard appears restored to its productive harvest. Beneath the Sepoy is a Hindostanee family reposing peaceably under the protection of the British government, and listening to an account of the battle of Assaye, which is related by a Sepoy. The guardians of this scene are a soldier of the 19th dragoons and a Sepoy, with a Mahratta captive. Lastly, under the Guerilla are displayed Spanish peasants dancing, whilst the vines and oxen denote the return of agriculture and the vintage.

Having thus given a faint and feeble outline of the shield and its columns, which we are to consider not individually, but collectively, not as separate works, but as forming in conjunction one grand monument of art, we assure our readers, as some apology for the rude sketch that we have drawn, that it is not in the power of language to give an adequate idea of the original. Noble in conception, classical in arrangement, true to the life in the most minute particular, we are at a loss whether most to admire the genius that designed, the judgment that perfected, or the skill that executed it. Considering it in every point of view, we do not hesitate to pronounce it a chef-d'œuvre of art. Unfortunately we are deprived of the opportunity of judging of its merits, as compared with other productions of our own artists. The province of sculpture to which this belongs, is almost wholly unexplored by our countrymen. To account for this deficiency is by no means difficult. Years of toilsome and incessant labour are scarcely sufficient to ensure, even to a man of talent, a proficiency in the art; and when we consider the costliness of

the precious metals, and the rarity of the occasions that give rise to a demand for such a work, we shall see that these, independently of other circumstances, present a palpable obstacle to frequent displays of this nature. The only similar works of art, perhaps, between which and this it would be fair to draw a parallel, are the sculptured works of the 15th century; such, for instance, as those of Benvenuto Cellini, Fiamingo, Giulio Romano, Albert Durer, and others. Although such a comparison would probably afford both instruction and entertainment, and although we should not shrink from entering the lists, even in defiance of these illustrious names, we doubt whether we should not be trespassing too much on the indulgence of our readers, were we to enter it here.

Before we conclude, we have an imperative duty to fulfil; and it is one which we shall perform with the truest pleasure. In the course of the observations which we have made, we have bestowed our tribute of applause upon the artists who were engaged in this great national work. It remains, however, for us to bestow our unqualified praises upon those to whom the execution of it was intrusted. With a spirit of liberality and honourable ambition, they sought to associate their names with the arts of their country; they have been anxious not to benefit themselves, but to do justice to the splendour of the work committed to their care. In the progress of it, improvements have been suggested, adopted, and again improved upon; artists have in some instances died, in others failed to give satisfaction; and that which was estimated to be the labour of one year, has been with difficulty completed in seven. The personal fatigue and labour, the incessant anxiety attendant on so vast an undertaking, are such as none but the most sanguine and ardent minds could possibly have overcome. Under these various and discouraging circumstances they have steadily pursued their course: they have kept the goal in view; they have at length reached it: and we are sure that the reward which they aspire to, the approbation and applause of their country, will not be withheld.

In consequence of the great labour necessary to get up an engraving like that of the Shield of Wellington, we have been unable to give, in this Number, more than a faint outline; in our next, we shall present our readers with a correct and accurate representation of the shield itself, and the columns which accompany it.

LONDON.

NOTWITHSTANDING the presence of his majesty here, (Brighton,) which of course operates as a powerful drawback on the pleasures of the metropolis, London has been what is termed very gay during the last month. It commenced with the celebration of the festival of St. David, on which occasion all true

Welchmen proved their love and attachment to "the principality," and drank to the memory of the patron saint, if not in cwrw, at least in the very best their means and opportunities afforded.

In the House of Commons, Messrs. Hume, Bennett, and Davies, relieved occasionally (we mean on every occasion) the grave and solid proceedings of the great national council, by their vagaries.

Prick me Bull-calf till he roar.

At the Theatre Royal Drury-lane, Madame Vestris played the libertine Macheath, and Kean the wily Scot, Mac Sycophant, to the great amusement of the well-dressed audiences who honour that theatre with their presence. It is rumoured, but we know not on what authority, that Mr. Elliston has been catering for novelties in Paris, which he means to exhibit here. Amongst other things, he is said to have acquired a great taste for eastern customs; and, at the recommendation of a travelled friend, (an author too,) intends placing at the several doors of the theatre, various nymphs with " ewers and basins with fair water filled," to enable the visitants to perform their ablutions. This, indeed, would be a luxury to the majority of old Drury's audiences, and, if practised, would be an exhibition of novelty; and could Mr. Elliston manage a change of linen for the beaux, and endow the belles with a slight respect for decency," the most brilliant success" might fairly be anticipated.

We recollect to have heard "that funny fellow Mathews” allude to a regulation which formerly obtained at Drury for preventing the admission of undressed people into the dress circle. "They will not admit a legitimate black cravat," said Charles; "but those of every shade approaching to it are eligible.”

At Covent Garden, the sovereign (Mr. Henry Harris) abdicated in the early part of the month, to the regret of all who knew him. No very striking alterations are yet apparent, with the exception of Mr. Charles Kemble's appearance on the boards once more. How far his accession may be calculated to serve the concern, and promote the amusements of the public, time alone can tell; but we think there will be some difficulty proved in filling up the blank occasioned by the retirement of Liston from that theatre. He goes to the Haymarket, which will open on the 15th of April.

The Opera, as we have observed in another place," continues its successful career." (We cannot help quoting from the bills of old Drury.)

MATTHEWS has again reached "Home" and promises to be a most liberal host for the remainder of the season. His house, on his nights, crowd to overflow, and all depart entertained and satisfied.

On Saturday, the 16th of March, (St. Patrick's Day having

fallen on Sunday,) the festival of St. Patrick was celebrated at the City of London Tavern. The usual hilarity and good feeling prevailed amongst the sons of Erin there assembled. But one incident excited the warmest feelings of the warmed-hearted Irish present, the donation of three hundred pounds from the Marchionness of Londonderry to the charity. Its announcement was hailed with enthusiasm, and derived no little additional value from its having been the purchase-money for the copyright of the Suffield Letters." Her ladyship "thus felicitously combining (as the Marquess of Londonderry said) the interests of literature with the cause of charity;" and "enabling her ladyship," said the Marquess of Lansdown, " by the same act to amuse the higher, and to educate the lower, classes." Two gentlemen in masquerade appeared at the dinner, one of them (a Mr. Brandt) in the costume of a North American Indian chief, supposed, at first, to be the celebrated General Rock, the other (a Mr. Kerr) in an ill-chosen ill-made dress, resembling a military garb. Our readers may have heard of these people having been present at some Bible Society meetings.

Various exhibitions of Orreries, with hard names, filled up the blanks occasioned at some of the theatres, by the omission of dramatic performances on the Wednesdays and Fridays during Lent. We fear those speculations have not been attended with profit to the proprietors, who, no doubt, curse their stars for having ever engaged in them.

A Mr. Bochsa gave, on the same nights, (Wednesdays and Fridays,) at Covent Garden, what he termed Oratorios; but, notwithstanding the assistance of most of the corps d'Opera, Mr. Bochsa made sad work of it. The oratorio consisted of a most extraordinary mélange, to compile which (shall we say arrrange) of itself required no small share of industry. With every disposition to eulogize him, we must confess, however, that Mr. Bochsa had not in that particular the merit of originality. Three or four years ago, the oratorios at Drury-lane Theatre were better attended than those of Covent-garden, which must have been principally owing to the superior and delightful variety presented, and the good taste displayed in the selection of the pieces. If we recollect rightly, on one night the first act of the oratorio commenced with " Adeste Fideles," to which succeeded" O! Pescator." Miss Byrne then gave, "Adieu, thou dreary pile," which was followed by Braham's "Deeper and deeper still," and "Waft her angels;" and then came the bonne bouche by Miss Byrne, Savourner Deelish," the whole appropriately concluded with Handel's grand "Hallelujah." We had thus Sicilian, Venetian, English, and Irish music, hymns, ballads, and anthems, admirably and tastefully mingled. But Mr. Bochsa exceeded all that ever was done, or attempted before,