Our thoughts o'er numberless minutiæ roll,
And pain-mix'd pleasure solaces the soul.
To portrait's study should thy choice incline,
Ev'n there to aim at excellence be thine;
And strive to reach the point that few can gain,
Preserve the likeness, yet the spirit retain.

Of landscape's province wide extends the range,
From the deep vale and humble rural grange,
To Cambrian heaths sublimely brown and bare 5,
Or Alpine ice-points glitt'ring white in air:
And not from Nature only she designs,
But different parts of different scenes combines;
Or new creations of her own she forms,
Illumes with sunshine, or involves in storms".

Familiar prospects would thy hand bestow? Mark what our hay-fields and our hop-grounds show;

Where in neat rows the russet cocks are seen,
Or from tall poles depend festoons of green;
And long straight paths in perspective extend,
And yellow sandhills close behind ascend 7.
Nor sweeter contrast sure can meet the eye
Than village lanes in vernal months supply,
When amber clouds, in sky of soft bright blue,
Hang o'er the copse just crown'd with verdure
new;

Or where the orchard's sun-gilt branches spread
Their bloom of white or faintly-blushing red.
The fairest scenes, when peopled, look more fair,
But these to people asks peculiar care:
We wish not here for Virgil's classic swains,
Nor Dryad nymphs light tripping o'er the plains;
Nor yet the grinning Hobbinols of Gay,
Nor cottage Marians in their torn array:
The rustic life, in ev'ry varied place,
Can boast its few of beauty and of grace;
From them select the forms that most may please,
And clothe with simple elegance and ease:
Such forms in Smith's delightful spots we prize,
And such in Sandby's pleasant fields arise.

The observant artist much from travel gains;
Increase of knowledge well rewards his pains.
Now his pleas'd eye o'er Tuscan prospects roves,
Their sunny corn-fields and their cypress groves;
Their roads, where sports from tree to tree the
vine,

And through broad leaves its crystal clusters shine 9;
Their white cassines, with olive groves around;
And glitt'ring cliffs with towns and castles crown'd.
Now his pleas'd step a wider circuit tries,
Where Nile's vast flood on Egypt's level lies;
While midst the tide tall palms their tops uprear,
And causeways broad and cities fair appear 1o.
10.

5 That celebrated artist, Mr. Wilson, has painted a set of beautiful Views from Nature, in different parts of Wales.

6 These circumstances, termed by the painters accidents of nature, often agreeably diversify landscape.

7 For this imagery the author is indebted to Mr. Walpole, who in his Anecdotes of Painting, vol. iv. p. 65, proposes our hay-fields and hop-grounds as new subjects of landscape.

8 The late Mr. George Smith of Chichester. The hedge-row trees in Tuscany are covered with vines. Vide Smollet's Travels, vol. ii. p. 46. 10 Vide Rollin's Ancient History, 18mo. vol. i.

p. 22.

Now Indian climes he east or west explores,
Quits the dull factory and the sandy shores ",
Climbs craggy hills, pervades romantic woods,
Or winds along the cataracts of the floods;
Through beasts, and birds, and insects, fruits and
flow'rs,

In shape and colour all distinct from ours;
Or strays o'er isles that spicy vales unfold,
Midst skies of glory and midst seas of gold;
Such skies, such seas, as Hodges' pencil drew,
And round the rocks of Ulitea threw 12.

Whate'er we copy, or whate'er we feign, Through all the piece one character should reign: When Claude's bright morn on Mola's precincts dawns,

What sweet quiescence marks the groves and lawns!
How calm his herds among the ruins graze !
How calm his curious peasant stands to gaze 13!
When bold Salvator under turbid skies
Bids his scath'd hills and blasted trees arise,
Behind wild rocks bids his wild streams be lost,
And from vast cliffs shows broken fragments tost;
Midst them no shepherds lead their flocks along,
Nor village maidens seem to tune their song;
But solemn augurs flights of birds survey,
Or stern-ey'd robbers wait the passing prey 14,
In Rubens' forest, when the wounded boar,
Plung'd in the stream, attempts the further shore,
How the fierce dogs retard his awkward speed!
How the fierce hunters urge the straining steed!
And, eager, one the winged arrow sends,
And one firm-fix'd th' expectant spear protends 'S.
To History's group, where passion'd thought ex-
press'd

Strikes kindred feelings on the gazer's breast,—
To History's group, the epic of thy art,
Proceed we now, and what we can, impart.

The mighty masters of Italian name
All Rome, all Florence, and Bologna claim;
Whose fresco forms still animate their walls,
Whose living canvass decks their domes and halls:
What various pow'rs for these their glory won,
And what of theirs to choose, and what to shun,
Illustrious Reynolds much in prose has told,
And more my verse pretends not to unfold.
These still thy study but with caution make,
Nor prize the picture for the painter's sake;

"Several of our artists have attended to this circumstance of foreign scenery. The ingenious Mr. George Robertson has painted several fine romantic views in Jamaica, which have been engraved.

12 Several beautiful landscapes, taken in different parts of the new discovered islands, by Mr. Hodges, who attended captain Cook in one of his voyages, must be well remembered by those who attend the annual exhibitions of the Royal Academy.

13 Vide a beautiful engraving, by Vivarez, from a capital picture of Claude Lorrain, called the Morning, in which he introduces himself drawing an antique temple on the banks of the Tiber, between Ponte Mola and Rome.

14 Vide Salvator Rosa's landscapes, engraved by Goupy. See also sir Joshua Reynold's Discourses, p. 175.

15 Vide Rubens's landscape of boar-hunting, engraved by Bolswert.

Raffaelle himself, beneath himself oft fell,
And meaner hands' best works his worst excel 16.
T is general nature, in thy art and mine,
Must give our fame in future times to shine:
Sublime and pathos, like the Sun's fix'd flame,
Remain, and please through ev'ry age the same;
Humour's light shapes, like vapours in the sky,
Rise, pass, and vary, and for ever fly:
Hogarth and Swift, if living, might deplore
Half their keen jokes, that now are jokes no more.
What Truth's rich page of real event supplies,
What Fancy's pow'rs of fabled act devise,
Before thee lie-but where the field so wide,
There Judgment's hand Selection's step must guide.
To Horrour's forms the mind aversion feels,
To Spaniolet's 17 flay'd saints and torturing wheels;
Nor praise for nauseous images we win,
For Spenser's Errour, or for Milton's Siu.

Mythology, that Greek enchantress, long
Has reign'd the idol of the painting throng:
But Reason's thought disdains Ovidian dreams
Absurd, of nymphs transform'd to trees and streams;
And Virtue Homer's wanton gods abhors,
With all their lewd amours and all their idle wars.
The battle's conflicts ample scope bestow,
Th' effects of fury, fear, and pain to show ;
As different features these unlike express,
The contrast's force affects us more or less.
But here Confusion holds his crowded reign,
And the tir'd eye attempts to rest in vain;
And o'er the scene Humanity complains, [tains.
Where mangled corses lie, and blood the land dis-
When in the fore-ground kings or generals stand,
Direct the attack, or head the charging band,
Their graceful forms we unconcern'd survey,
Who fight for conquest, or who fight for pay:
Nor in their postures can there much be prais'd,
Their pistols levell'd, or their falchions rais'd;
And to dull sameness here so oft we fall,
That who beholds one piece, beholds them all.
But War's dire field, not all confin'd to these,
Affords us often incidents that please:
For oft the historian's, oft the poet's art,
Can win our wishes on some hero's part;
His country nam'd, his place and parents known,
Our busy thought his perils makes its own.
To fierce Pelides, midst Scamander's waves,
When young Lycaon's voice for pity craves 18;
The chief's stern brow and lance suspended high,
The youth's bent knee and deprecating eye,

Not West's rich pencil need disdain to trace,
Or Romney's stroke with glowing colours grace.
When Dithyrambus, on Oëta's plain,

Mourns the brave Persian whom his hand has slain,
Nor marks his danger from th' approaching foe,
Nor his bold friend prepar'd to ward the blow;
In one what grief, in one what vengeful rage,
In one what ardour, might the sight engage19!
The gentle Kauffman's traits can best declare
The sentimental feelings of the fair,
When soft Erminia in the sylvan shade
Leaves Tancred's name on ev'ry tree display'd 20;
Or kind Louisa pens the friendly scroll,
To sooth the mournful sister of her soul 21.
The same skill'd hand more strong expression
tries,

At Edward's feet when Woodville's daughter lies 22;
Or, midst th' admiring weeping train around,
Fond Eleanora sucks the poison'd wound 23,
Delightful artist!-Grace her pencil guides,
And Delicacy o'er its stroke presides!
Th' immortal swans, appointed to redeem
Genius and Worth from Lethe's silent stream,
Pleas'd with their charge, shall bear her medall'd

name

To the fair priestess of the fane of Fame 24.

Such tender subjects, if thy choice they gain, Enough for thee as yet untouch'd remain. Now from the page of Richardson bestow On Clementina's face the lines of woe; Or let sweet Harriet's livelier beauty wear The soul-fraught eye and apprehensive air; Or draw the proud Olivia's rage-flush'd charms, When the calm hero seiz'd her deadly arms;

Achilles, at the moment when the death of Patro-
clus, occurring to his thought, determined him to
kill Lycaon, would afford a fine expression:
Talk not of life or ransom, he replies;
Patroclus dead, whoever meets me dies.
19 Vide Leonidas, book viii. 1. 355.
He ended, rushing furious on the Greek,
Who, while his gallant enemy expir'd,
While Hyperanthes tenderly receiv'd
The last embraces of his gasping friend,
Stood nigh reclin'd in sadness on his shield,
And in the pride of victory repin'd.
Unmark'd his foe approach'd. But forward
sprung

Diomedon. Before the Thespian youth
Aloft he rais'd his targe

20 Vide Tasso's Jerusalem Delivered.

21 See Emma Corbett, an interesting novel, by Mr. S. I. Pratt, vol. i. letter 34.

22 See the story of Elizabeth Grey, daughter of sir Richard Woodville, suing to Edward IV. for restitution of her lands. Rapin, vol. i. p. 601.

23 The well-known story of Eleanor of Castile, queen of Edward I. sucking the poison from her husband's arm, when he was wounded by an assassin in Palestine.

24 See a painting of Mrs. Kauffman's, from a passage in Ariosto, where swans are introduced bringing the names of ingenious persons, inscribed on medals, to a nymph who deposits them in the temple of Fame.

And paint that hero, firm in trial prov'd,
Unaw'd by danger, and by vice unmov'd 25.
To Sterne's soft maniac let thy hand impart
The languid cheek, the look that pierc'd his heart,
When to her virgin saint the vesper song she rais'd,
Or earnest view'd him as he sat and gaz'd 26.
Mark, if thou can'st, philanthropy divine,
That swells the breast, and bids the features shine,
When the tear glist'ning starts from Toby's eyes
Fix'd on the couch where poor Le Fevre dies.
The Grecian classics' venerable lore

I see thee often diligent explore;
What Homer's Muse to Chian cities taught,
Or Pity's priest 27 to Athens' audience brought.
Methinks, now rising from thy plastic hand,
Troy's hoary monarch shall a suppliant stand;
To stern Achilles all his griefs explain,
And ask his Hector's corse, nor ask in vain 28.
Now Jove's kind son to Thebes's sorrowing king
Shall his restor'd unknown Alcestis bring;
Admetus' eyes his anguish'd thoughts declare,
And turn disgusted from the proffer'd fair 29.
The dark sublime of extra-natural scenes
The vulgar magic's puerile rite demeans;
Where hags their caldrons fraught with toads pre-
pare,

Or glide on broomsticks through the midnight air.
Chain'd on the rock let bold Prometheus lie,
And cast wild looks, upbraiding, to the sky 30;
Bid Milton's Satan from the burning steep
Call his wide legions, slumb'ring on the deep;
Or Camoens' spirit of the Cape upraise,
And show him only by the lightning's blaze;
Or place sad Hosier's ghost amid the tide,
Where by the pale Moon anchor'd navies ride 3'.
O where is he, whose thought such grandeur gave
To bold Fitzwalter and the barons brave,

25 The History of sir Charles Grandison, vol. iv. p. 176. The interview between Grandison and Olivia, at the instant of his seizing her poinard, would make a noble picture. This work of Richardson's abounds with fine situations. Brookes's Fool of Quality, and the Adventurer of Hawkesworth, are also books worthy the perusal of an artist who wishes for choice of interesting incidents.

26 This subject has been attempted by several ingenious artists, who have given very pleasing figures; but perhaps none that convey the precise idea of Sterne. This author being mentioned, a trite observation must be indulged, viz. That there probably never was a more striking instance of misapplication of talents than in him. With superior powers for the pathos, he chose to descend to ribaldry, that affronted the taste and corrupted the morals of the public. What pity that the gold had not been separated from the dross, and the latter consigned to that oblivion it so richly merits! 27 Euripides.

28 Vide the Iliad, book xxiv.

29 Vide the Alcestis of Euripides. Hercules restores to life Alcestis, the deceased wife of Admetus, and brings her to her husband, disguised with a veil, and represented as a stranger; whom Admetus, in the height of distress for the loss of his beloved consort, refuses to admit into his palace. 30 See the Prometheus of Eschylus.

31 See that admirable song, entitled Hosier's Ghost; by the author of Leonidas.

When, rang'd in arms along their Thames's strand
They snatch'd their charter from a tyrant's hand 32:
Through all the scenes his rapid stroke bestow'd,
Rosa's wild grace and daring spirit glow'd;
In him-ah, lost ere half his powers were shown!—
Britain perhaps an Angelo had known!

Would'st thou his honours emulous pursue,
And give the patriot energy to view,—
Deep in the gloom of Dalecarlia's mine,
Bid Freedom's flame in Vasa's visage shine 33;
The pass of fam'd Thermopylæ display,
And Sparta's monarch's port august portray 34,

For pontiffs and for kings, the painter's skill
From sacred story toils their walls to fill;
Where'er we turn, its subjects strike the eye,
And few untried are left for us to try.

Yet who has Jepthah's matchless woe express'd,
By his lov'd daughter's sudden sight distress'd;
Or shown the patriarchs, struck with wild amaze,
As on the viceroy's hidden cup they gaze 35?
Or who, when Israel's hosts on Edom's plain
Despairing lie,-a thirst-afflicted train !—
Has bade the prophet and his minstrel stand,
And call new waters o'er the burning sand 36?
When David's chiefs, with gen'rous thought inspir'd,
Bring the clear wave his sick'ning soul desir'd;
What dignity might to his act be given,
The pure libation pouring out to Heaven 37!

No more of theme; design must now succeed-
The mind's strong picture when we hear or read3,
Where every person finds his proper place,
And turn of attitude and turn of face:

32 Vide the late Mr. Mortimer's picture of king John delivering magna charta to the barons. That ingenious artist's obvious powers of imagination promised the attainment of a high degree of excellence in his profession.

33 Brooke's Gustavus Vasa, act i. scene 2. where Gustavus discovers himself to Anderson and Arnoldus in the copper-mines of Dalecarlia, See another fine subject in the same Tragedy, act iv. scene xi.

34 Vide Leonidas, book x. where the hero of the poem repeats to the assembled council the message of Argestes; while Alpheus, at the same instant, brings news of the Persians having passed the Upper Strait. This would make a noble picture; the dauntless appearance of the Greeks might be well contrasted with the fear and shame of the ambassador of Xerxes. The banquet of Melissa, priestess of the Muses, where Leonidas and Eschyus are supposed present, book vii. is another fine subject. Such pictures would hardly be popular; but to some minds they would afford singular plea

sure.

35 The author does not recollect seeing or hearing of any celebrated picture on those interesting subjects, of Jepthah's return, and the discovery of Joseph's cup in the sack of Benjamin.

36 Vide 2 Kings, chap. iii. This subject would afford a variety of noble expression in the different characters of the kings, the pious confidence of Jehosaphat, and the desponding anxiety of Jehoram, the distress of the soldiers, and the enthusiasm of Elisha. The streams of water might appear in the distance, seemingly visible only to the prophet, from his situation.

37 2 Samuel, chap. xxiii.

38 See sir Joshua Reynolds's Discourses, p. 104.