Chapter XXVII

See _ante_, note to p. 288. From ‘Basle’ on p. 298 to the end is the article for November 16, headed ‘Concluded.’

296. _In shape and station_ [gesture] _proudly eminent_. _Paradise Lost_, I. 590.

_Torrents of delight._ _La Nouvelle Héloïse_, Quatrième Partie, Lettre VI.

297. _Reveries of a Solitary Walker._ Written after October 1776.

299. _Cologne ... Rubens._ Rubens was born at Siegen in Westphalia. His parents came to Cologne when he was a year old.

_Striking fat its thick rotundity._ _King Lear_, Act III. Sc. 2.

301. _Paul Potter._ See _ante_, p. 63 and note.

302. _With eyes of youth._ _Merry Wives of Windsor_, Act III. Sc. 2.

303. _An English Minister handing the keys._ Perhaps Hazlitt refers to John Fane, eleventh Earl of Westmorland (1784–1859), known as Lord Burghersh until 1841, who signed the Convention of Caza Lanza by which Naples was restored to the Bourbons. He was sent on a mission to Naples, 1825, to congratulate Francis I. on succeeding his father to the throne of the Two Sicilies, the Constitution of which country had been abrogated by Ferdinand I. in 1821, and a reign of despotism substituted for it.

MISCELLANEOUS ESSAYS ON THE FINE ARTS

ON HAYDON’S SOLOMON

From The _Morning Chronicle_, May 4 and 5, 1814. See _Memoirs of W. Hazlitt_, vol. I. p. 211, for an account of the circumstances under which this article was written.

PAGE

309. _Glover._ John Glover, landscape painter in water-colours (1767–1849). He was President of the Society of Painters in Water-Colours in 1815, and was one of the founders of the Society of British Artists in 1824.

_Cristall._ Joshua Cristall (1767–1847), china-dealer’s apprentice in Rotherhithe, later President of the Society of Painters in Water-Colours.

_De Wint._ Peter de Wint (1784–1849), of Dutch extraction and Staffordshire birth, a pupil of John Raphael Smith. His subjects are chiefly from the flat lands of Lincolnshire.

_Mr. Richter._ Henry James Richter (1772–1857), an exhibitor at the Water-Colour Society from 1813 onwards.

_Disjecta_ [disjecti] _membra poetæ_. Horace, Sat. I. 4.

THE CATALOGUE RAISONNÉ OF THE BRITISH INSTITUTION

From _The Examiner_, November 3, 1816. See vol. I. _The Round Table_, pp. 140 _et seq._ and notes thereto. The article here reprinted is the first of the series of three ‘Literary Notices’ dealing with the Catalogue. Instead of reprinting the second and third of these papers entirely as promised in vol. I., it has been deemed sufficient to insert here the passages omitted from the two articles as given in their _Round Table_ form.

PAGE

_Damned in a fair face._ Cf. ‘damned in a fair wife.’ _Othello_, Act I. Sc. 1.

_Madame de ——._ Staël.

_Lived in the rainbow._ _Comus_, 298.

312. _In the presence of these divine guests._ An _erratum_ in the following number of _The Examiner_ (Nov. 10, 1816), states that these words should precede ‘the nauseous tricks,’ instead of preceding ‘like a blackguard.’

313. _Sent to their account._ _Hamlet_, Act I. Sc. 5.

314. _To the Jews a stumbling-block._ _1 Cor._ i. 23.

_A quantity of barren spectators._ _Hamlet_, Act III. Sc. 2.

_Hold the mirror up to nature._ _Ibid._, Act III. Sc. 2.

_The glass of fashion._ _Ibid._, Act III. Sc. 1.

_Numbers without number._ _Paradise Lost_, III. 346.

315. _Lavater._ Johann Kaspar Lavater (1741–1801), the student of physiognomy. Holcroft translated his _Physiognomische Fragmente zur Beförderung der Menschen-Kenntniss und Menschenliebe_ (1775–1778) into English (1793). See vol. II. _The Life of Thomas Holcroft_, p. 115.

_Spurzheim._ See vol. VII. _The Plain Speaker_, pp. 17 _et seq._, and 137 _et seq._

_Mr. Perry of the Chronicle._ James Perry (1756–1821), proprietor and editor of _The Morning Chronicle_. See vol. II. _The Life of Thomas Holcroft_, p. 89, etc.

_With most admired disorder._ _Macbeth_, Act III. Sc. 4.

PAGE

316. _To let I dare not._ _Macbeth_, Act I. Sc. 7.

_Service sweat for duty._ _As You Like It_, Act II. Sc. 3.

317. _This, this is the unkindest blow_ [most unkindest cut] _of all_. _Julius Caesar_, Act III. Sc. 2.

_Own gained knowledge._ _Othello_, Act I. Sc. 3.

_Turner._ Joseph Mallard William Turner (1775–1851).

_That’s a feeling disputation._ _1 King Henry IV._, Act III. Sc. 1.

318. _To some men their graces serve them but as enemies._ _As You Like It_, Act. II. Sc. 3.

The Second of the _Catalogue Raisonné_ papers was published in _The Examiner_, November 10, 1816, and proceeds as in _The Round Table_ to ‘the marring of Art is the making of the Academy’ (vol. I. p. 142); then add: ‘He would have the Directors keep the old Masters under, by playing off upon them the same tricks of background, situation, &c. which they play off upon one another’s pictures so successfully at the Academy Great Room. [Note.] The Academicians having out-done nature at home, wait till their pictures are hung up at the Academy to outdo one another. When they know their exact situation in the Great Room, they set to work with double diligence to paint up to their next neighbours, or to keep them under. Sometimes they leave nearly the whole unfinished, that they may have a more _ad libitum_ opportunity of annoying their friends, and of shining at their expense.—had placed a landscape, consisting of one enormous sheet of white lead, like the clean white napkin depending from the chin to the knees of the Saturday night’s customers in a barber’s shop, under a whole length of a lady by ——, in a white chalk dress, which made his Cleopatra look like a dowdy. Our little lively knight of the brush goes me round the room, crying out, “Who has any vermilion, who has any Indian yellow?” and presently returns, and by making his whole length one red and yellow daub, like the drop-curtain at Covent-Garden, makes the poor Academician’s landscape look “pale as his shirt.”[62] Such is the history of modern Art. It is no wonder that “these fellows, who thus o’er-do Termagant,”[63] should look with horror at the sobriety of ancient Art. It is no wonder that they carry their contempt, hatred, and jealousy of one another, into the Art itself.’

After the end of the first _Round Table_ paper (‘British Growth and Manufacture’) add: ‘To what absurdities may we be reduced by the malice of folly! The light of Art, like that of nature, shines on all alike; and its benefit, like that of the sun, is in being seen and felt. Our Catalogue-makers, like the puffers to the Gas-light Company, consider it only as a matter of trade, or what they can get by the sale and monopoly of it; they would extinguish all of it that does not come through the miserable chinks and crannies of their patriotic sympathy, or would confine it in the hard unfeeling sides of some body corporate, as Ariel was shut up in a cloven pine by the foul witch Sycorax. The cabal of Art in this country would keep it on the other side of the Channel. They would keep up a perpetual quarantine against it as infectious. They would subject it to new custom-house duties. They would create a right of search after all works of genuine Art as contraband. They would establish an alien-office[64] under the Royal Academy, to send all the finest pictures out of the country, to prevent unfair and invidious competition. The genius of modern Art does not bathe in the dews of Castalie, but rises like the dirty goddess of Gay’s _Trivia_ out of the Thames, just opposite Somerset-House, and armed with a Grub-street pen in one hand, and a sign-post brush in the other, frightens the Arts from advancing any farther. They would thus effectually suppress the works of ancient genius and the progress of modern taste at one and the same time; and if they did not sell their pictures, would find ease to their tortured minds by not seeing others admired.’

The Second of the _Examiner_ articles includes the first paragraph of the second of the _Round Table_ articles and ends with ‘encouragement of the Fine Arts?’ (vol. I. p. 147). A letter follows, signed H. R., protesting against being pointed out as the author of the _Catalogue Raisonné_, to which the following paragraph is added in square brackets:—

‘We insert the above letter as in duty bound; for it is a sad thing to labour under the imputation of being the author of the Catalogue—“that deed without a name.”[65] But we hardly know how to reply to our Correspondent, unless by repeating what Mr. Brumell said of the Regent—“Who is our fat friend?” We do not know his person or address, or by what marks he identifies himself with our description of him—Whether he answers to his name as a cheese-curd, or a piece of whitleather, or as a Shrewsbury Cake; or as a stocking, or a joint-stool; or as a little round man, or as a fair squab man? If he claims any or all of these marks as his property, he is welcome to them. We shall believe him. We shall also believe him, when he says he is not the anonymous author of the _Catalogue Raisonné_; and in that case, we can have no farther fault to find with him, even though he were the beautiful Albiness.’

The Third of the _Catalogue Raisonné_ articles was published in _The Examiner_, Nov. 17, 1816, and proceeds as in _The Round Table_ with the following additions.

The quotation from Burke to Barry (vol. I. p. 148) has the following footnote:—

‘Yet Mr. Burke knew something of Art and of the world. He thought the Art should be encouraged for the sake of Artists. They think it should be destroyed for their sakes. They would cut it up at once, as the boy did the goose with golden eggs.’

After _such heavy drollery_ (vol. I. p. 150) add: ‘with the stupid, knowing air of a horse-jockey or farrier, and in the right _slang_ of the veterinary art.’

After _will speak more_ (Ibid.) add: ‘We concluded our last with some remarks on Claude’s landscapes. We shall return to them here; and we would ask those who have seen them at the British Institution, “Is the general effect,”’ etc. [here Hazlitt inserted the criticism on Claude he used later in the article on _Fine Arts for the Encyclopædia Britannica_, see p. 394 of the present volume, ending with ‘What landscape-painter does not feel this of Claude?’]

‘It seems the author of the _Catalogue Raisonné_ does not; for he thus speaks of him:—

“_David Encamped._—_Claude._ _Rev. W. H. Carr_:—If it were not for the horrible composition of this landscape—the tasteless hole in the wall—the tents and daddy-long-legs, whom Mr. Carr has christened King David, we should be greatly offended by its present obtrusion on the public; as it is, we are bound to suppose the possessor sees deeper into the mill-stone than ourselves; and if it were politic, could thoroughly explain the matter to our satisfaction. _Be this as it may, we cannot resist expressing our regret at the absence of Claude Gillee’s Muses.—The Public in general merely know, by tradition, that this painter was a pastry-cook: had this delectable composition to which we now allude been brought forward, they would have had the evidence of his practice to confirm it. It is said to represent Mount Parnassus; and no one, who for a moment has seen the picture, can entertain the smallest doubt of its having been taken from one of his own Plateaux. The figures have all the character and drawing which they might be expected to derive from a species of twelfth-cake casts. The swans are of the truest wax-shapes, while the water bears every mark of being done from something as right-earnest as that at Sadler’s Wells, and the Prince’s Fete of 1814._”

‘This is the way in which the Catalogue-writer aids and abets the Royal Academy in the promotion and encouragement of the Fine Arts in this country. Now, what if we were to imitate him, and to say of the “ablest landscape-painter now living,” that.... No, we will not; we have blotted out the passage after we had written it—Because it would be bad wit, bad manners, and bad reasoning. Yet we dare be sworn it is as good wit, as good manners, and as good reasoning, as the wittiest, the most gentlemanly, and the most rational passage, in the _Catalogue Raisonné_. Suppose we were to put forth voluntarily such a criticism on one of Mr. Turner’s landscapes? What then? we should do a great injustice to an able and ingenious man, and disgrace ourselves: but we should not hurt a sentiment, we should not mar a principle, we should not invade the sanctuary of Art. Mr. Turner’s pictures have not, like Claude’s, become a sentiment in the heart of Europe; his fame has not been stamped and rendered sacred by the hand of time. Perhaps it never will.[66]

‘We have only another word to add on this very lowest of all subjects. The writer calls in the cant of morality to his aid. He was quite shocked to find himself in the company of some female relations, vis-à-vis with a naked figure of Annibal Caracci’s. Yet he thinks the Elgin Marbles likely to raise the morals of the country to a high pitch of refinement. Good. The fellow is a hypocrite too.’

Instead of ‘_return? nothing_‘, the paper ends thus:—‘return; the low buffoonery of a mechanic scribbler, a Bart’lemy-fair puppet-shew, Mrs. Salmon’s Royal Wax-work, or the exhibition of the Royal Academy, King George the Third on horseback, or his son treading in his steps on foot, or Prince Blucher, or the Hetman Platoff,[67] or the Duke with the foolish face, or the great Plenipotentiary[68]? God save the mark!’

WEST’S PICTURE OF DEATH ON THE PALE HORSE

From _The Edinburgh Magazine_, December 1817.

The full title was—_Remarks on Mr. West’s Picture of Death on the Pale Horse and on his Descriptive Catalogue which accompanies it_.

PAGE

318. _It sets on a quantity of barren spectators._ _Hamlet_, Act III. Sc. 2.

_High endeavour and the glad success._ Cowper, _The Task_, V. 901.

319. _So shall my anticipation._ _Hamlet_, Act II. Sc. 2.

319. _Like Bayes in the ‘Rehearsal.’_ A farce by George Villiers, second Duke of Buckingham, 1671.

320. _Spoken with authority and not as the scribes._ _S. Mark_ i. 22.

321. _Another enemy of the human race._ The phrase is applied to Buonaparte. See vol. VIII. _A View of the English Stage_, p. 284.

_Grin horrible a ghastly smile._ _Paradise Lost_, II. 146.

_Monarch of the universal world._ _Romeo and Juliet_, Act III. Sc. 2.

322. _Multum abludit imago._ Horace, _Sat._ II. 3. 320.

ON WILLIAMS’S VIEWS IN GREECE

From _The London Magazine_, May 1822.

324. _Mr. Hugh Williams._ Hugh William Williams (1773–1829), of a Welsh family, but Scotland was his adopted country. His various sketches gained him the name of Grecian Williams.

325. _Close to the gate._ Pope, _Odyssey_, Book VII., 142 _et seq._

326. The last paragraph of the essay is a ‘N.B.,’ following the initials W. H.

ON THE ELGIN MARBLES

Two papers from _The London Magazine_, February and May 1822. The second article began with the paragraph at the foot of p. 331. On p. 344, l. 9 from foot, the following sentence in the _Magazine_ is inserted after the words ‘The Ilissus or River-god’:—‘(of which we have given a print in a former number).’ The frontispiece to the February number was an engraving of the Ilissus by J. Shury.

In 1816 Hazlitt contributed two ‘Literary Notices’ to _The Examiner_ (June 16 and 30), on the _Report from the Select Committee of the House of Commons on the Elgin Marbles_.—Murray. The second of these two ‘notices’ formed the basis of the _London Magazine_ article. Certain paragraphs not given in the later _London Magazine_ form (the text adopted here) are given below. The first of _The Examiner_ ‘notices’ will be found in the Appendix to the present volume.

_The Examiner_ article, June 30, begins with the quotation from Cowley and then adds, before the paragraph beginning ‘The true lesson,’ etc., the following: ‘According to the account of Pliny, it does not appear certain that Phidias ever worked in marble. He mentions indeed a marble Venus at Rome, conjectured to be his; and another at Athens, without the walls, done by his scholar Alcamenes, to which Phidias was said to have put the last hand. His chief works, according to this historian, were the Olympian Jupiter, and the Minerva in the Parthenon, both in ivory: he executed other known works in brass. The words of Pliny, in speaking of Phidias, are remarkable:—[“That the name of Phidias is illustrious ... magnificence even in small things.”—_Natural History_, Book xxxvi.].

‘It appears, by the above description, that Phidias did not make choice of the colossal height of this statue with a view to make size a substitute for grandeur; but in order that he might be able, among other things, to finish, fill up, and enrich every part as much as possible. Size assists grandeur in genuine art only by enabling the Artist to give a more perfect developement to the parts of which the whole is composed. A miniature is inferior to a full-sized picture, not because it does not give the large and general outline, but because it does not give the smaller varieties and finer elements of nature. As a proof of this (if the thing were not self-evident), the copy of a good portrait will always make a highly-finished miniature, but the copy of a good miniature, if enlarged to the size of life, will make but a very vapid portrait. Some of our own Artists, who are fond of painting large figures, either misunderstand or misapply this principle. They make the whole figure gigantic, not that they may have room for nature, but for the motion of their brush, regarding the quantity of canvas they have to cover as an excuse for the slovenly and hasty manner in which they cover it; and thus in fact leave their pictures nothing at last but monstrous miniatures.

‘We should hardly have ventured to mention this figure of five and thirty feet high, which might give an inordinate expansion to the ideas of our contemporaries, but that the labour and pains bestowed upon every part of it,—the thirty Gods carved on the pedestal, the battle of the Centaurs and Lapithæ on the sandals, would at once make their magnificent projects shrink into a nutshell, or bring them within the compass of reason.—We had another inducement for extracting Pliny’s account of the Minerva of Phidias, which was, to check any inclination on the part of our students to infer from the Elgin Marbles, that the perfection of ancient Grecian art consisted in the imperfect state in which its earliest remains have come down to us; or to think that fragments are better than whole works, that the trunk is more valuable without the head, and that the grandeur of the antique consists in the ruin and decay into which it has fallen through time.’

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326. _Who to the life._ Cowley, _To the Royal Society_.

_To learn her manner._

‘Acknowledges with joy
His manner, and with rapture tastes His style.’
Cowper, _The Task_, III. 227–8.

327. _Alternate action and repose._ Cf.

‘And bid alternate passions fall and rise.’
Pope, _Essay on Criticism_, 375.

328. After ‘_is to us a mystery_,’ add, from _The Examiner_: ‘Further, we are ready (for the benefit of the Fine Arts in this kingdom) to produce two casts from actual nature, which if they do not furnish practical proof of all that we have here advanced, we are willing to forfeit all that we are worth—a theory’ [see p. 331, present volume]. The article then ends with the ten principles and the following note: ‘We shall conclude with expressing a hope, that the Elgin Marbles may not be made another national stop-gap between nature and art.

‘In answer to some objections to what was said in a former article on the comparative propriety of removing these statues, we beg leave to put one question. It appears from the Report of the Committee, that the French Government were, in the year 1811, anxious to purchase the collection of Lord Elgin, who was then a prisoner in France. We ask then, supposing this to have been done, what would have become of it? Would not the Theseus and the Neptune have been solemnly sent back, like malefactors, “to the place from whence they came?”—Yes, to be sure.—The Rev. Dr. Philip Hunt, in the service of Lord Elgin, declares, in his evidence before the Committee, that no objection was made nor regret expressed by the inhabitants at the removal of the Marbles. In the notes to _Childe Harold’s Pilgrimage_,[69] we find the following extract of a letter from Dr. Clarke to Lord Byron:—“When the last of the Metopes was taken from the Parthenon, and in moving it, great part of the superstructure, with one of triglyphs, was thrown down by the workmen whom Lord Elgin employed, the Disdar, who beheld the mischief done to the building, took his pipe from His mouth, dropped a tear, and in a supplicating tone of voice, said to Lusieri, ‘_Telos_! I was present.’”—It appears that Dr. Philip Hunt was not.’

330. _Image and superscription._ _S. Matthew_ xxii. 20.

332. _So from the ground_ [root]. _Paradise Lost_, v. 481.

_Laborious foolery._ See _ante_, note to p. 121.

333. _Fair varieties._ ‘And all the fair variety of things.’ Akenside, _Pleasures of Imagination_, I.

_Mr. Westall._ Richard Westall (1765–1836), chiefly remembered by his book-illustrations.

_Angelica Kauffman._ Maria Anna Angelica Kauffmann (1741–1807), a Swiss painter, chiefly of female characters.

334. _Torrigiano._ Pietro Torrigiano (1472–1528), Italian sculptor. The bronze tombs of Henry VII. and Queen Elizabeth at Westminster are his. He was imprisoned for heresy and died of hunger.

335. _Gay creatures of the element._ _Comus_, 299.

336. _Mr. Martin._ John Martin, landscape and historical painter (1789–1854), one of the founders of the Society of British Artists.

338. _Sir Joshua tells us ... the Idler._ Nos. 76 and 82. Cf. vol. VI. _Table Talk_, p. 131 and note.

Note. _Sedet in æternumque sedebit._ Virgil, _Æneid_, VI. 617–18.

339. _Villainous low._ _The Tempest_, Act IV. Sc. 1.

340. _To o’erstep the modesty of nature._ _Hamlet_, Act III. Sc. 2.

_All we hate._ Pope, _Moral Essays_, II. 52.

342. _Thrills in each nerve._

Cf. ‘A sudden horror chill
Ran through each nerve, and thrilled in ev’ry vein.’
Addison, _Milton’s Style Imitated_, 123–4.

347. _Mr. Kean._ Edmund Kean (1787–1833).

_Mr. Kemble._ John Philip Kemble (1757–1823).

FONTHILL ABBEY

From _The London Magazine_, November 1822

348. _Omne ignotum._ Tacitus, _Agricola_, XXX.

_Ships of pearl and seas of amber._ An unacknowledged recollection of ‘seas of milk, and ships of amber.’ Otway, _Venice Preserved_, v. 2.

349. _Breughel._ Jan Brueghel (1568–1625), of Brussels, a landscape painter greatly admired by Rubens, in some of whose pictures Brueghel painted the landscapes.

_Rottenhammer._ Johann Rottenhammer (1564–1623), of Munich, historical painter. Brueghel painted some of his landscape back-grounds also.

_Which like a trumpet._

‘That like a trumpet made young pulses dance.’
Leigh Hunt, _The Story of Rimini_, Canto III.

_Cumberland._ Richard Cumberland (1732–1811), the dramatist, who was sent to Spain on a diplomatic mission in 1780. See his _Memoirs_, 1807, vol. II. p. 78.

_While groves of Eden._ Pope, _Windsor Forest_, 7.

_Mr. Ritchie._ Joseph Ritchie (1788?-1819), who went out on a government expedition to Africa about 1818.

_Bruce._ James Bruce (1730–1794), who explored Abyssinia in 1769–1771.

_Beckford._ See _ante_, note to p. 56.

351. _Whose price is above rubies._ ‘The price of wisdom is above rubies.’ _Job_ xxviii. 18.

351. _The showman in Goldsmith’s comedy._ _She Stoops to Conquer_, I.

352. _In our mind’s eye._ _Hamlet_, Act I. Sc. 2.

_Mr. Christie._ James Christie, the elder (1730–1803), the London auctioneer. His son, James the younger (1773–1831), was both antiquary and auctioneer.

354. _Della Cruscan._ See vol. V. _Lectures on the English Poets_, note to p. 148.

_Nugæ Canoræ._ Horace, _Ars Poet._ 322.

_Stella._ A family of French painters of various years from 1525 to 1697.

_Franks._ Frans Francken, the younger, otherwise Don Francisco, of Antwerp (1581–1642), one of a numerous family of painters.

_Lucas Cranach._ Luther’s friend, the painter whose name is always associated with the Reformation (1472–1553).

_Netecher._ Caspar Netcher (1639–1684), of Heidelberg, painter of domestic scenes and small portraits. His two sons Constantine and Theodor were also painters.

355. _Cosway._ Richard Cosway (d. 1821), the miniaturist. This passage about Cosway is substantially repeated in vol. VII. _The Plain Speaker_, pp. 95–6.

_Mr. Cipriani._ Giambattista Cipriani, of Florentine birth (1727–1785).

_We scarce shall_ [shall not] _look upon his like again_. _Hamlet_, Act I. Sc. 2.

_G. Douw._ See _ante_, note to p. 35.

_Bassan._ See _ante_, note to p. 35.

JUDGING OF PICTURES

From _The Literary Examiner_, August 2, 1823

357. _Dr. Kitchener._ William Kitchiner (1775?-1827), M.D., author of _Apicius Redivivus, or the Cook’s Oracle_, 1817, a book which passed through many editions.

_Mr. Ude._ Louis-Eustache Ude, whose book, _The French Cook; or the Art of Cookery developed in all its branches_, was published in 1813.

_As ‘Squire Western would say._ See _Tom Jones_, Book IV. chap, X., etc.

THE VATICAN

From _The New Monthly Magazine_, November 1827. It was published later in the volume of Hazlitt’s _Literary Remains_, 1836.

359. _L._ Landor [W. C. Hazlitt].

360. _With hideous ruin._ _Paradise Lost_, I. 46.

361. _Divinæ particula_ [particulam] _auræ_. Horace, Sat. II. 2.

_The rapt soul._ _Il Penseroso_, 40.

_Seer blest._ _Paradise Lost_, XII. 553.

_As a book where one may read strange matters._ _Macbeth_, Act I. Sc. 5.

_Neither the cloud by day nor the pillar of fire._ _Exodus_ xiii. 21.

362. _His bodies thought._

‘——so distinctly wrought
That one might almost say, her body thought.’
John Donne: _An Anatomy of the World_, Second Anniversary, 245–6.

363. _A fiery soul._ Dryden, _Absalom and Achitophel_, I. 156.

365. _Hope elevates, and joy brightens their every feature_ [his crest]. _Paradise Lost_, IX. 633.

366. _On his front engraven thought_ [deliberation sat]. _Ibid._, II. 302.

_Scattered like stray-gifts._ Wordsworth, _Stray Pleasures_.

366. _Stately height though bare._ Cf. _Paradise Lost_, I. 723:

‘The ascending pile
Stood fixed her stately highth.’

367. _Cosmo Comyne Bradwardine._ _Waverley_, vol. II. chap. 28.

_Fergus MacIvor._ _Ibid._ vol. II. chap. 40.

ENGLISH STUDENTS AT ROME

From _The New Monthly Magazine_, October 1827

369. _The vast, the unbounded._ _Paradise Lost_, X. 471.

371. _Petrific mace._ _Paradise Lost_, X. 294.

372. _Pan is a god._ Lyly’s _Midas_, IV. 1.

_The colouring of Titian._ _Tristram Shandy_, III. 12.

373. _The high endeavour._ Cowper, _The Task_, V. 901.

374. _Hobbes said well._ Leviathan, Part IV., _Of the Kingdome of Darknesse_, chap. 47.

375. _Vox faucibus hæsit._ Virgil, _Æneid_, II. 774.

_Sedet infelix Theseus._ _Ibid._, VI. 617.

_His tediousness._ Cf. the scene between Leonato and Dogberry, etc. _Much Ado About Nothing_, Act III. Sc. 5.

376. _Tearing_ [wipe away] _from his memory_. _Hamlet_, Act I. Sc. 5.

_Her_ [my] _commandment all alone_. _Ibid._

FINE ARTS

An article contributed to the supplement to the fourth, fifth, and sixth editions of the _Encyclopædia Britannica_: 6 vols., 4to, 1824. Signed Z. This essay was based upon articles which appeared in _The Champion_ on August 28, September 11, and October 2, 1814, entitled—_Fine Arts_. _Whether they are promoted by academies and public institutions_, and on October 30 and November 6 entitled _Character of Sir Joshua Reynolds_. Passages omitted from the later publication will be found below. The article is a characteristic example of Hazlitt’s method of using his previous work when writing on a similar subject.

The text here printed is that of the supplementary volumes of 1824, published during Hazlitt’s lifetime, and incorporated later in the uniform issue of the _Encyclopaedia Britannica_ (the 7th) the title-pages of which were dated 1842.

Hazlitt’s article on _The Fine Arts_ and the one on _Painting_ by Haydon, ‘being the articles under those heads contributed to the seventh edition of the _Encyclopædia Britannica_,’ were published in one volume by Messrs. Adam and Charles Black, Edinburgh, in 1838. Hazlitt’s article was also published in the volume of _Literary Remains_ published in 1836.

The Essays in _Table Talk_, Nos. XIII. and XIV., ‘On certain Inconsistencies in Sir Joshua Reynolds’s Discourses,’ may be mentioned in connection with the subject-matter of the present article (see vol. VI. pp. 122 _et seq._), and also four papers contributed to _The Champion_ on Reynolds as critic, November 27, December 4 and 25, 1814, and January 8, 1815. See the final volumes of the present edition, where they are reprinted for the first time.

PAGE

382. _The Mistress or the saint._ Goldsmith’s _Traveller_, 152.

388. _Bright with excessive darkness._

Cf. ‘dark with excessive bright.’
_Paradise Lost_, III. 380.

389. _They are of the earth, earthy._ _1 Cor._ XV. 47.

_Vangoyen._ See _ante_, note to p. 36.

_Ruysdael._ See _ante_, note to p. 22.

_Vanderneer._ Probably Eglon Hendrik Van der Neer (1643–1703), of Amsterdam, is meant, since his pictures are characterised by their elaborate finish. His father, Aert Van der Neer (1603–1677), painted moonlight and winter scenes.

390. _To hold the mirror._ _Hamlet_, Act III. Sc. 2.

_To show vice_ [virtue] _her own feature, scorn her own image_. _Ibid._,