Latin, among his books. He was surlily asked to explain what it meant.
Upon doing so, the Inspector shook his head doubtingly, and said, ‘it
might pass this time,’ but advised him to beware of a second. ‘Here,
now, is a work,’ he continued, pointing to ——’s Lives of the Popes,
containing all the abominations (public and private) of their history,
‘You should bring such books as this with you!’ This is one specimen
of that learned conspiracy for the suppression of light and letters,
of which we are sleeping partners and honorary associates. The Allies
complain at present of Mr. Canning’s ‘faithlessness.’ Oh! that he
would indeed play them false and earn his title of ‘slippery George!’
Faithful to anything he cannot be—faithless to them would be
something. The Austrians, it is said, have lately attempted to strike
the name of Italy out of the maps, that that country may neither have
a name, a body, or a soul left to it, and even to suppress the
publication of its finest historians, that it may forget it ever had
one. Go on, obliging creatures! Blot the light out of heaven, tarnish
the blue sky with the blight and fog of despotism, deface and trample
on the green earth; for while one trace of what is fair or lovely is
left in the earth under our feet, or the sky over our heads, or in the
mind of man that is within us, it will remain to mock your impotence
and deformity, and to reflect back lasting hatred and contempt upon
you. Why does not our Eton scholar, our classic Statesman, suggest to
the Allies an intelligible hint of the propriety of inscribing the
name of Italy once more on the map,
‘Like that ensanguined flower inscribed with woe’—
of taking off the prohibition on the Histories of Guicciardini and
Davila? Or why do not the English people—the English House of Commons,
suggest it to him? Is there such a thing as the English people—as an
English House of Commons? Their influence is not felt at present in
Europe, as erst it was, to its short-lived hope, bought with flat
despair. The reason is, the cause of the people of Europe has no echo
in the breasts of the British public. The cause of Kings had an echo
in the breast of a British Monarch—that of Foreign Governments in the
breasts of British Ministers! There are at present no fewer than
fifteen hundred of the Italian nobility of the first families
proscribed from their country, or pining in dungeons. For what? For
trying to give to their country independence and a Constitutional
Government, like England! What says the English House of Lords to
that? What if the Russians were to come and apply to us and to them
the benefits and the principles of the Holy Alliance—the bayonet and
the thumbscrew? Lord Bathurst says, ‘Let them come;’—and they will
come when we have a servile people, dead to liberty, and an arbitrary
government, hating and ready to betray it!
Footnote 37:
Why have they such quantities of looking-glasses in Italy, and none in
Scotland? The dirt in each country is equal; the finery not. Neither
in Scotland do they call in the aid of the Fine Arts, of the
upholsterer and tapissier, to multiply the images of the former in
squalid decorations, and thus shew that the debasement is moral as
well as physical. They write up on certain parts of Rome ‘Immondizia.’
A Florentine asked why it was not written on the gates of Rome? An
Englishman might be tempted to ask, why it is not written on the gates
of Calais, to serve for the rest of the Continent? If the people and
houses in Italy are as dirty or dirtier than in France, the streets
and towns are kept in infinitely better order.
Footnote 38:
See _Westminster Review_.
Footnote 39:
They tell a story in Paris of a monkey at the Jardin des Plantes, that
was noted for its mischievous tricks and desire to fly at every one.
Dr. Gall observed the organ of philanthropy particularly strong in the
beast, and desired the keeper to let him loose, when he sprung upon
the Doctor, and hugged him round the neck with the greatest
_bon-hommie_ and cordiality, to the astonishment of the keeper and the
triumph of craniology! Some men are as troublesome as some animals
with their demonstrations of benevolence.
Footnote 40:
He was confined in the Inquisition about six weeks, where it is
supposed he was put to the torture; for he had strange pains in his
limbs, and bodily disabilities afterwards. In the Museum here is at
present preserved, in a glass-case, a finger of Galileo, pointing to
the skies! Such is the history of philosophy and superstition.
Footnote 41:
The jewellers’ shops on the bridge, in one of which he was brought up,
still remain. The Rape of the Sabines, by John of Bologna, near
Benvenuto’s Perseus, is an admirable group: nothing can exceed the
fleshiness and softened contours of the female figure, seen in every
direction.
Footnote 42:
See his Memoirs of himself, lately re-translated by Thomas Roscoe,
Esq.
Footnote 43:
Excellent tea is to be had at Rome at an Italian shop at the corner of
the Via Condotti, in the Piazza di Spagna.
Footnote 44:
We have five names unrivalled in modern times and in their different
ways:—Newton, Locke, Bacon, Shakspeare, and Milton—and if to these we
were to add a sixth that could not be questioned in his line, perhaps
it would be Hogarth. Our wit is the effect not of gaiety, but
spleen—the last result of a pertinacious _reductio ad absurdum_. Our
greatest wits have been our gravest men. Fielding seems to have
produced his _History of a Foundling_ with the same deliberation and
forethought that Arkwright did his spinning-jenny. The French have no
poetry; that is, no combination of internal feeling with external
imagery. Their dramatic dialogue is frothy verbiage or a mucilage of
sentiment without natural bones or substance: ours constantly clings
to the concrete, and has a _purchase_ upon matter. Outward objects
interfere with and extinguish the flame of their imagination: with us
they are the fuel that kindle it into a brighter and stronger blaze.
Footnote 45:
A Mr. Law lately came over from America to horsewhip the writer of an
article in the _Quarterly_, reflecting on his mother (Mrs. Law) as a
woman of bad character, for the Tory reason that she was the wife of a
Mr. Law, who differed with his brother (Lord Ellenborough) in
politics. He called on Mr. Barrow, who knew nothing of the writer; he
called on Mr. Gifford, who knew nothing of the writer; he called on
Mr. Murray, who looked oddly, but he could get no redress except a
public disavowal of the falsehood; and they took that opportunity to
retract some other American calumny. Mr. L. called on one Secretary of
the Admiralty, but there are two Secretaries of the Admiralty!
Footnote 46:
Chief Justice Holt used to say, ‘there were more robberies committed
in England than in Scotland, _because we had better hearts_.’ The
English are at all times disposed to interpret this literally.
Footnote 47:
See even the Ananias, Elymas, and others, which might be thought
exceptions.
Footnote 48:
The girls who work in the vineyards, are paid three batz a day.
Footnote 49:
Since my return I have put myself on a regimen of brown bread, beef,
and tea, and have thus defeated the systematic conspiracy carried on
against weak digestions. To those accustomed to, and who can indulge
in foreign luxuries, this list will seem far from satisfactory.
Footnote 50:
I believe this rule will apply to all except grotesques, which are
evidently taken from opposite natures.
Footnote 51:
Some one finely applied to the repose of this figure the words:
‘——Sedet, in æternumque sedebit,
Infelix Theseus.’
Footnote 52:
By Mr. Coleridge.
Footnote 53:
The oil-pictures attributed to Michael Angelo are meagre and pitiful;
such as that of the Fates at Florence. Another of Witches, at Cardinal
Fesch’s at Rome, is like what the late Mr. Barry would have admired
and imitated—dingy, coarse, and vacant.
Footnote 54:
See an admirable Essay on the genius of Hogarth, by Charles Lamb, in a
periodical work, called _The Reflector_.
Footnote 55:
This painter’s book of studies from nature, commonly called _Liber
Veritatis_, disproves the truth of the general opinion that his
landscapes are mere artificial compositions for the finished pictures
are nearly fac-similes of the original sketches.
Footnote 56:
The idea of the necessity of improving upon nature, and giving what
was called a _flattering likeness_, was universal in this country
fifty years ago; so that Gainsborough is not to be so much blamed for
tampering with his subjects.
Footnote 57:
Why does not the British Institution, instead of patronising pictures
of the battle of Waterloo, of red coats, foolish faces, and labels of
victory, offer a prize for a picture of the subject of Ugolino that
shall be equal to the group of the Laocoon? _That_ would be the way to
do something, if there is anything to be done by such patronage.
Footnote 58:
This subject of the _Ideal_ will be resumed, and more particularly
enlarged upon, under that head.
Footnote 59:
If we were to make any qualification of this censure, it would be in
favour of some of Mr. Northcote’s compositions from early English
history.
NOTES
PICTURE-GALLERIES IN ENGLAND
In 1824 a volume was published, entitled _British Galleries of Art_,
‘printed for G. & W. B. Whittaker, Ave-Maria-Lane,’ by Thomas Davison,
Whitefriars, which is sometimes put forward by second-hand booksellers
as by William Hazlitt. The articles composing the volume appeared in the
_New Monthly Magazine_ in 1823 (see vols. VII. and VIII.), and their
subjects are in most cases identical with those in Hazlitt’s
_Picture-Galleries in England_ (Angerstein, Dulwich, the Marquis of
Stafford’s Gallery, Windsor Castle, Hampton Court, Blenheim); apart from
the internal evidence, however, which is overwhelming, the anonymous
author says in his preface that ‘any merit that may attach to the mere
plan of “British Galleries of Art” belongs entirely to the author of
[the _Picture-Galleries in England_], the separate Papers of which
appeared, (also in a periodical work) about the same time with those of
the following which are on the same subjects.’
Hazlitt included his criticism on the pictures of Titian at the Marquis
of Stafford’s and at Windsor Castle in the Appendix to ‘The Life of
Titian: with anecdotes of the distinguished persons of his time. By
James Northcote, Esq., R.A. In two volumes. London. Henry Colburn and
Richard Bentley, 8, New Burlington Street, 1830.’ See _Memoirs of
William Hazlitt_, vol. II. pp. 212–13, and also the Biographical Sketch
by Hazlitt’s son, contributed to _The Literary Remains of William
Hazlitt_, 1836, for particulars of Hazlitt’s share in Northcote’s work.
This Appendix to Northcote’s _Titian_ also contains ‘Character of
Titian’s Portraits’ from _The Plain Speaker_ and ‘An Enquiry whether the
Fine Arts are promoted by Academies and Public Institutions.’
MR. ANGERSTEIN’S COLLECTION
From _The London Magazine_, December 1822.
PAGE
7. _Balm of hurt minds._ _Macbeth_, Act II. Sc. 2.
_Mr. Angerstein._ John Julius Angerstein (1735–1823), merchant and art
connoisseur. His collection of pictures formed a basis for the present
National Gallery.
8. _Colnaghi’s._ Paul Colnaghi (1751–1833), of the famous print-selling
house. He was of Milanese birth, but a naturalised Englishman.
9. _Ludovico Caracci._ Lodovico Carracci (1555–1619), of Bologna, the
founder of the Eclectic School of Painting, known better as a teacher
than as a painter. His nephew, Annibale (1560–1609), was the decorator
of the Farnese Palace.
_Piping as though he should never be old._ Sir Philip Sidney’s
_Arcadia_, Book I. chap. 2.
10. _A letter to his uncle Ludovico._ Hazlitt gives this letter in the
Appendix to Northcote’s _Life of Titian_.
_Sebastian del Piombo._ Sebastiano Luciani (1485–1547) of Venice, a
disciple
PAGE
of Giorgione. After the death of Raphael he was thought the greatest
painter in Rome.
10. _And still walking under._ Ben Jonson, _Underwoods_, XXX., ‘An
Epistle to Sir Edward Sackvile.’
11. _Parmegiano._ Francesco Mazzuola (1504–1540), of Parma. Vasari
relates that at Rome it was held ‘that the soul of Raphael had passed
into the person of Parmigiano.’ He was a follower of Correggio.
_Which pale passion loves._ Beaumont and Fletcher, _The Nice Valour_,
III. 3.
_All ear._ _Comus_, l. 560.
_Mask or midnight serenade._
‘ball
Or serenate, which the starved lover sings
To his proud fair.’
_Paradise Lost_, IV. 768.
12. _Carlo Dolce._ Carlo Dolci (1616–1686), of Florence, a painter of
tender and placid expressions, highly finished.
_Somerset-house._ The rooms of the Royal Academy of Arts were here,
1780–1838. See vol. VI. _Mr. Northcote’s Conversations_, where, by a
misprint, these dates are given in the note to p. 435 as 1870–1838.
13. _Where universal Pan._ _Paradise Lost_, IV. 266.
_Lord Egremont._ Sir George O’Brien Wyndham, 3rd Earl of Egremont
(1751–1837), stock-breeder and art patron. He first promoted the
recognition of Turner.
_N. Poussin._ Nicolas Poussin (1594–1665), of Villers, in Normandy. See
vol. VI. _Table Talk_, pp. 168 _et seq._
_The British Institution._ In Pall Mall (No. 52), built by Boydell to
contain his Shakespeare Gallery. The Institution was dissolved in 1866
and the building pulled down in 1868.
_Of outward show._ _Paradise Lost_, VIII. 539.
14. _Pious orgies._ Hazlitt may have been thinking of a passage by
Burke. See _Select Works_, ed. Payne, II. p. 85.
_Vice, by losing all its grossness._ Burke, _Reflections on the
Revolution in France_, (_Select Works_, ed. Payne, II. 89).
_Gaspar Poussin._ Gaspard Dughet (1613–1675), born in Rome of French
parents, Nicolas’s brother-in-law and pupil.
_The air is delicate._ _Macbeth_, Act I. Sc. 6.
_Sear and_ [the] _yellow leaf_. _Macbeth_, Act V. Sc. 3.
_Mr. Wilkie._ David Wilkie (1785–1841). He was knighted in 1836.
15. _Mr. Liston._ John Liston (1776?-1846).
_Flock of drunkards._ _Othello_, Act II. Sc. 3.
_Mr. Fuseli’s Milton Gallery._ Johann Heinrich Fuessly, or Henry Fuseli
(1741–1825), of Zurich, who came to England in 1763, writer and painter,
opened his Milton Gallery in 1799.
_A Catalogue._ This list was added to later issues of the
_Picture-Galleries_, with the title-page still dated 1824. The pages so
occupied are numbered 19*-22*. The list was not given in _The London
Magazine_.
THE DULWICH GALLERY
From _The London Magazine_, Jan. 1823.
17. _When yellow leaves._ Shakespeare’s _Sonnets_, LXXIII [those
boughs].
_Allen._ John Allen, M.D. (1771–1843), one of the staff of _The
Edinburgh Review_, was warden of Dulwich College, 1811–1820, and master,
PAGE
1820–1843. He is chiefly now remembered as the friend and factotum of
Lord Holland.
17. _Constrained by mastery._ Cf. ‘That Love will not submit to be
controlled by mastery,’ Wordsworth, _The Excursion_, VI. 163, 164.
_Green and yellow melancholy._ _Twelfth Night_, Act II. Sc. 4.
18. _Julio Romano._ Giulio Dei Giannuzzi, of Rome (1492–1546), Raphael’s
apprentice and best pupil.
_Sir Francis Bourgeois._ Sir Peter Francis Bourgeois (1756–1811),
landscape painter to George III. and painter to the King of Poland. He
acquired the collection of Desenfans (see note to p. 19) and bequeathed
371 pictures to Dulwich College, endowing the Gallery also.
19. _Mr. Desenfans._ Noel Joseph Desenfans (1745–1807), of French birth,
whose collection of pictures, bought for a Polish National Gallery, had
to be sold when Poland was dismembered.
_Shed_ [casting] _a dim ... religious light_. Milton, _Il Penseroso_,
160.
_Cuyp._ Aelbert Cuyp (1605–1691), the Dutch Claude.
_Carlo Maratti._ Of Camurano, in Ancona (1625–1713), etcher and painter.
_What a delicious breath painting_ [marriage] _sends forth_. Middleton’s
_Women Beware Women_, Act III. Sc. 1.
_Berkeley._ George Berkeley, Bishop of Cloyne (1685–1753), whose
_Treatise on the Principles of Human Knowledge_, wherein he sets forth
his philosophical speculations on Matter and Spirit, was published in
1710.
_Palpable_ [sensible] _to feeling as to sight_. _Macbeth_, Act II. Sc.
1.
_The eye is made the fool._ _Macbeth_, Act II. Sc. 1.
_So potent art._ _Tempest_, Act V. Sc. 1.
20. _Teniers._ David Teniers (1610–1694), of Antwerp, painter of scenes
of peasant life.
_Adrian Brouwer._ Of Haarlem or Oudenaerde (c. 1605–1638), painter of
Dutch interiors.
_Potations pottle deep._ _Othello_, Act II. Sc. 3.
_Ostade._ Adriaen Janzoon van Ostade (1610–1685), of Haarlem, painter of
peasant scenes. His brother, Isack van Ostade (1621–1649), was also a
painter.
_Polemberg._ Cornells van Poelenburgh, of Utrecht (1586–1667), landscape
and portrait painter.
_Crespi._ Giuseppe Maria Crespi (1665–1747), of Bologna.
_Sanadram._ Probably Pieter Saenredam (1597–1665), of Assendelft, who is
known for his large church interiors.
_Backhuysen._ Ludolf Bakhuisen (1631–1708), of Emden, the celebrated
painter of sea-storms.
_Vandervelde._ Willem Van de Velde (1633–1707), the younger, the
greatest Dutch marine painter. He lies buried in St. James’s Church,
Piccadilly.
_Both._ Jan Both (c. 1610–c. 1662), of Utrecht. The cattle and figures
in his landscapes were usually added by his brother Andries (c. 1609–c.
1644).
21. _Jordaens._ ?Jakob Jordaens (1593–1678), of Antwerp.
_Sacchi._ Andrea Sacchi (d. 1661), of Nettuno, near Rome; Carlo Maratti
(see note to p. 19) was one of his pupils.
_Beechey._ Sir William Beechey (1753–1839), portrait painter to Queen
Charlotte.
_Wouvermans._ Philips Wouverman (?1614–1668), of Haarlem, celebrated for
his paintings of horses.
22. _Ruysdael._ Jakob van Ruysdael (c. 1630–1682), of Haarlem, landscape
painter.
_Hobbima._ Meindert Hobbema (1638–1709), Dutch landscape painter.
PAGE
23. _Entire affection scorneth_ [hateth] _nicer hands_. Spenser, _The
Faerie Queene_, Book I. VIII. 40.
_Berchem._ Nicolaas Pietersz, commonly called Berchem (1620–1683), of
Haarlem, landscape painter, whose work is characterised by much delicacy
of composition.
_Watteau._ Antoine Watteau (1684–1721).
24. _Body and limbs ... add what flourishes._ Cf. _Hamlet_, Act II. Sc.
2.
_Grand caterers and wet-nurses of the state_ [dry nurse of the church].
Cowper, _The Task_, II. 371.
_Under the shade._ _As You Like It_, Act II. Sc. 7.
_Salvator Rosa._ Of Renella, near Naples (1615–1673).
25. _He has had his reward._ _S. Matthew_, VI. 2.
_Andrea del Sarto._ Andrea d’Agnolo (his father was a tailor, whence his
better-known name), of Florence (1487–1531), the ‘faultless painter.’
_What lacks it then?_ Cf. _S. Matthew_ XIX. 20.
_Le Brun._ Charles Le Brun (1619–1690), French historical painter. He
was one of the principal founders of the Academy, the first director of
the Gobelins manufactory, and did much of the decoration of Versailles.
_Wilson._ Richard Wilson (1714–1782), one of the greatest of English
landscape painters.
_Guercino._ Giovanni Francesco Barbieri, the squint-eyed (1591–1666), of
Cento, in the Ferrarese country.
_Francesco Mola._ Pietro Francesco Mola (1612–1668), a follower of the
Venetian School.
26. _Giorgione._ Giorgio Barbarelli (c. 1476–1511), of Castelfranco, a
fellow-student of Titian, and one of the greatest of the Venetian
painters.
_Guido._ Guido Reni (1575–1642), of Calvenzo, near Bologna.
_Vanderwerf._ Adriaan van der Werff (1659–1722), of Rotterdam.
_P. Veronese._ Paolo Caliari (1528–1588), of Verona.
_Morales._ Luis de Morales (d. 1586), of Badajoz, ‘the divine,’ a
follower of Michael Angelo and Leonardo da Vinci.
THE MARQUIS OF STAFFORD’S GALLERY
From _The London Magazine_, February 1823.
27. _Forked mountain._ _Antony and Cleopatra_, Act IV. Sc. 12.
_Volume of the brain._ _Hamlet_, Act I. Sc. 5.
_Life is as a_ [lasting] _storm_. _Pericles_, Act IV. Sc. 1.
28. _Lord Bacon exclaims ... poems of Homer._ In the _Advancement of
Learning_, Book I. VIII. 6.
29. _A book sealed._ Cf. _Revelation_, V. i.
_Hoole’s Version._ John Hoole’s (1727–1803) translations of Tasso’s
_Jerusalem Delivered_, and Arioto’s _Orlando Furioso_ were published in
1763 and 1783 respectively.
30. _David._ Jacques Louis David (1748–1825). During the Revolution he
supported Robespierre, but later he became first painter to the first
Napoleon.
_The foremost man in all this world._ _Julius Caesar_, Act IV. Sc. 3.
_Monsieur Talleyrand._ Charles Maurice Talleyrand de Périgord, Prince de
Bénévent (1754–1838), De Quincey’s ‘rather middling bishop, but very
eminent knave.’
PAGE
30. _The late Lord Castlereagh._ Lord Castlereagh had committed suicide
in a fit of insanity in 1822. See vol. III. _Political Essays_, pp.
102–3, and note to p. 36 etc.
31. _Barry._ James Barry (1741–1806). See Hazlitt’s article on him, p.
413 _et seq._
_Collins._ Probably Richard Collins (1755–1831), who was chief miniature
and enamel painter to George III.
_And o’er-informed the tenement of clay._ Dryden, _Absalom and
Achitophel_, I. 158.
32. _Like an exhalation_ [a steam]. Milton, _Comus_, 556.
33. _Which of you copied the other?_ Said of Menander by Aristophanes of
Byzantium.
Note. _Cleveland-House._ Near Stable Yard, St. James’s, now called
Bridgewater House. It was bought by the Duke of Bridgewater in 1730.
34. _Albano._ Francesco Albani (1578–1660), of Bologna, the friend of
Guido Reni, and his fellow-student under the Carracci.
_Moroni._ Giovanni Battista Moroni (1520–1578), of Bondio, in the
province of Bergamo, one of the greatest of portrait painters.
_Milk of human kindness._ _Macbeth_, Act I. Sc. 5.
_Pordenone._ Giovanni Antonio Licinio (1483–1539), of Pordenone, near
Udine.
_Tintoretto._ Jacopo Robusti, or Tintoretto, from his father’s trade,
dyeing (1519–1594), the head of Venetian sixteenth century painting.
Note. _The late Mr. Curran._ John Philpot Curran, the famous orator, had
died in 1817.
35. _Palma Vecchio._ Jacopo Palma (1480–1528), of Serinalta, in the
province of Bergamo. He is associated with Giorgione and Titian in the
reform of the Venetian school.
_Bassan._ Jacopo da Ponte, Il Bassano (1519–1592), a follower of Titian,
and a member of a family of north Italian painters.
_Luca Cambiasi._ Luca Cambiaso (1527–1585), of Moneglia, near Genoa,
whose greatest work, _The Rape of the Sabines_, is in the Imperial
Palace, at Terralba, near Genoa.
_Alessandro Veronese._ Alessandro Turchi (1582–c. 1648), of Verona.
_Domenichino._ Domenico Zampieri (1581–1641), of Bologna, a pupil of the
Carracci.
_Le Nain._ Antoine and Louis Le Nain (b. 1588 and 1593 respectively), of
Laon. They painted pictures of rustic life together.
_Metzu._ Gabriel Metsu (1630–1667), a genre painter, of Leyden. He was a
pupil of Dou.
_Douw._ Gerard Dou (1613–1675), of Leyden, one of the greatest of Dutch
painters of humble life.
36. _Vangoyen._ Jan van Goyen (1596–1666), of Leyden, one of the
earliest of Dutch landscape painters.
_With yellow tufted banks._
‘The slow canal, the yellow-blossomed vale,
The willow-tufted bank, the gliding sale.’
Goldsmith, _The Traveller_, 293–4.
THE PICTURES AT WINDSOR CASTLE
From _The London Magazine_, March 1823
36. _A line of Kings._ _Macbeth_, Act III. Sc. 1.
_The oak of Herne the hunter._ _Merry Wives of Windsor_, Act V. Sc. 5.
37. _The proud Keep of Windsor._ _A Letter to a Noble Lord_, (_Works_,
Bohn, V. 137).
PAGE
37. _Verrio._ Antonio Verrio (1639–1707), of Lecce, near Otranto. He was
employed at Windsor under Charles II. and James II., and at Hampton
Court under Anne.
_West._ Benjamin West (1738–1820), of Pennsylvania. He succeeded Sir
Joshua Reynolds in 1792 as President of the Royal Academy.
_Zuccarelli._ Francesco Zuccarelli (c. 1702–1788), of Tuscany. He was
one of the founders of the Royal Academy.
38. _Clear-spirited thought._
Cf. ‘Fame is the spur that the clear spirit doth raise.’
Milton, _Lycidas_, 70.
_Mrs. Hutchinson’s admirable Memoirs._ Lucy Hutchinson’s memoirs of her
husband, the Puritan Colonel, were first published in 1806.
_Lely._ Pieter van der Faes (1618–1680). His father changed the name to
Lely. He was made a baronet by Charles II.
39. _Kneller._ He was born at Lübeck in 1646, made a fortune in England
as a portrait painter, was knighted in 1692, made a baronet in 1715, and
died in 1723. Pope wrote an epitaph for his monument in Westminster
Abbey.
_Ramsay._ Allan Ramsay, portrait painter (1713–1784), son of ‘the Gentle
Shepherd.’
40. _The Misers._ See vol. II. _Characteristics_, p. 417.
_Quintin Matsys._ Quentin Massys (1466–1531), of Louvain, the painter of
_The Entombment_, in the Museum at Antwerp.
_The still, small voice of reason._ Cf. Cowper, _The Task_, v. 687, and
_1 Kings_ xix. 12.
41. _Denner._ Balthasar Denner (1685–1749), of Hamburg.
THE PICTURES AT HAMPTON COURT
From _The London Magazine_, June 1823.
The previous article in the series ended with the words:—‘We shall break
off here, and give some account of the Cartoons at Hampton Court in our
next, as we do not like them to come in at the fag-end of an article.’
42. _Fine by degrees._ Prior, _Henry and Emma_, 432.
44. _Calm contemplation and majestic pains._
Cf. ‘Calm pleasures there abide—majestic pains.’
Wordsworth’s _Laodamia_, 72.
and ‘Calm contemplation and poetic ease.’
Thomson’s _Autumn_, 1275.
46. _The seasons’ difference._ _As You Like It_, Act II. Sc. 1.
_Through their looped and tattered ‘wretchedness._ Cf. ‘Your loop’d and
windowed raggedness.’ _King Lear_, Act III. Sc. 4.
_Sir James Thornhill._ He copied the cartoons at Hampton Court,
decorated Greenwich, and was much employed by Queen Anne. He was
knighted in 1720 by George I. (1675–1734).
47. _Like to those hanging locks._ Fletcher, _The Faithful Shepherdess_,
I. 2.
48. _Dwelleth not in temples._ _Acts_ vii. 48.
_In act to speak._ Pope, _The Temple of Fame_, 241.
LORD GROSVENOR’S COLLECTION OF PICTURES
From _The London Magazine_, July 1823.
PAGE
49. _In our mind’s eye, Horatio._ _Hamlet_, Act I. Sc. 2.
_Warton._ Thomas Warton (1728–1790). See vol. V. _Lectures on the
English Poets_, p. 120 and note.
50. _At every fall._ Milton, _Comus_, 251.
51. _Nod to him, elves._ _A Midsummer Night’s Dream_, Act III. Sc. 1.
_The breezy call._ Gray’s _Elegy written in a Country Churchyard._
52. _Air_ [shape] _and gesture proudly eminent_. _Paradise Lost_, Book
I. 590.
53. _It is place which lessens._ _Cymbeline_, Act III. Sc. 3.
54. _Sigh our souls._ _Merchant of Venice_, Act V. Sc. 1.
_Snyders._ Franz Snyders (1579–1657), of Antwerp, painter of hunting
scenes.
55. _Of the earth, earthy._ _1 Cor._ xv. 47.
_We think it had better not be seen._ The _Magazine_ article adds:—‘We
never very much liked this picture; but that may probably be our fault.’
PICTURES AT WILTON, STOURHEAD, ETC.
From _The London Magazine_, October 1823.
The article ends with the words:—‘Blenheim in our next, which will
conclude this series of articles.’
Note. _The author of Vathek._ William Beckford (1759–1844), whose
romance was written in French in 1781–1782, translated anonymously into
English in 1784, and published in French in 1787.
57. _Ranged in a row._ ‘Ranged o’er the chimney, glistened in a row,’
Goldsmith, _The Deserted Village_, 236.
58. _Keep their state._ _Love’s Labour’s Lost_, Act V. Sc. 2.
_Burke’s description of the age of chivalry._ _Reflections on the
Revolution in France_, _Select Works_, ed. Payne, II. 89.
_The mood of lutes_ [flutes]. _Paradise Lost_, Book I. 551.
_Mount on barbed steeds, etc._ Cf. ‘Mounting barbed steeds.’ _King
Richard III._, Act I. Sc. 1. and,
‘Witch the world with noble horsemanship.’
_1 King Henry IV._, Act IV. Sc. 1.
_The Goose Gibbie._ See _Old Mortality_.
59. _Of all men the most miserable._ _1 Cor._ xv. 19.
_Above all pain._ Pope’s _Epistle to Robert, Earl of Oxford_.
_Berchem._ See _ante_, note to p. 22.
_Hath a devil._ _S. Luke_ vii. 33.
60. _Mieris._ A family of Delft and Leyden painters, the best known of
whom are Frans van Mieris, one of twenty-three children (1635–1681), the
‘prince of Dou’s pupils,’ and William van Mieris, his son (1662–1747).
_The porcelain of Franguestan._ ‘Vathek voluptuously reposed in his
capacious litter upon cushions of silk, with two little pages beside him
of complexions more fair than the enamel of Franguistan.’ The
description is commented on in a note which explains that they were
Circassian boy-slaves.
_Sir Richard Colt Hoare._ Historian of Wiltshire (1758–1838).
61. _Tempt but to betray._
Cf. ‘Whose fruit though fair, tempts only to destroy.’
Cowper, _The Progress of Error_, 238.
PAGE
61. _Trace his footsteps._
Cf. ‘Where shall I seek
His bright appearances, or footstep trace?
For, though I fled him angry, yet, recalled
To life prolonged and promised race, I now
Gladly behold though but his utmost skirts
Of glory, and far-off his steps adore.’
_Paradise Lost_, XI. 328.
_Though in ruins._ _Paradise Lost_, II. 300.
_Of the court, courtly._ Cf. ‘Of the earth, earthy.’ _1 Cor._ xv. 47.
PICTURES AT BURLEIGH HOUSE
From the _New Monthly Magazine_, vol. IV., 1822, _Table Talk_, No. IV.
62. _And dull_ [dead] _cold winter_. _The Two Noble Kinsmen_, Act II.
Sc. 1.
_Faded to the light._ Wordsworth, _Ode, Intimations of Immortality_.
_Ways were mire._ Milton, Sonnet XX.
63. _And still walking under._ See _ante_, note to p. 10.
_I was brutish_ [beastly] _like, warlike as the wolf_. _Cymbeline_, Act
III. Sc. 3.
_Paul Potter._ Of Enkhuizen (1625–1654), animal painter.
64. _To see the sun to bed._ Lamb, _John Woodvil_, Act II.
_Hunt half a day._ Wordsworth’s _Hart-Leap Well_, Part II.
65. _Humbled by such rebuke._ _Paradise Lost_, VI. 342.
_And in its liquid texture._ _Ibid._, VI. 348–9.
_Inimitable on earth._ _Ibid._, III. 508.
66. _Hesperian fable true._ _Ibid._, IV. 250.
_Dream of a Painter._ See Northcote’s _Varieties on Art_ in his _Memoirs
of Sir Joshua Reynolds_, etc. (1813–1815), p. xvi. See also vol. I. _The
Round Table_, note to Guido, p. 162.
_Paul Brill._ Of Antwerp (1556–1626), a follower of Titian.
67. _His light shone in darkness._ Cf. _S. John_ i. 5.
_Luca Jordano._ Luca Giordano (1632–1705), of Naples, ‘Il Presto,’ the
quick worker, who imitated all the great painters.
_Grinling Gibbons._ The wood carver (1648–1720), of Rotterdam. He was
brought to public notice by Evelyn, the Diarist, and his work may be
seen in St. Paul’s, London, and Trinity College Library, Cambridge.
68. _Lords who love their ladies like._ Cf. Home’s _Douglas_, Act I. Sc.
1: ‘As women wish to be who love their lords.’
PICTURES AT OXFORD AND BLENHEIM
From the _London Magazine_, November 1823
The article ends as follows:—‘We now take leave of _British Galleries of
Art_. There are one or two others that we had intended to visit; but
they are at a great distance from us and from each other; and we are not
quite sure that they would repay our inquiries. Besides, to say the
truth, we have already pretty well exhausted our stock of criticism,
both general and particular. The same names were continually occurring,
and we began sometimes to be apprehensive that the same observations
might be repeated over again. One thing we can say, that the going
through our regular task has not lessened our respect for the great
names here alluded to; and, if we shall have inspired, in the progress
of it, any additional degree of curiosity respecting the art, or any
greater love of it in our readers, we shall think our labour and our
anxiety to do justice to the subject most amply rewarded.’
PAGE
69. _With glistering spires._ _Paradise Lost_, III. 550.
_Hold high converse._ Thomson, _The Seasons: Winter_, 431.
_No mean city._ _Acts_ xxi. 39.
_All eyes shall see me._ Cf. _Isaiah_ xlv. 22–23 and _Romans_ xiv. 11.
70. _Clappeth his wings, and straightway he is gone._ Cf. Pope, _Eloisa
to Abelard_, 74:
‘Spreads his light wings, and in a moment flies.’
_Majestic, though in ruins._ _Paradise Lost_, II. 300.
_Giuseppe Ribera._ Josef Ribera (1588–1656), of San Felipe, near
Valencia, a pupil of Caravaggio and leader of the realist school of his
time.
71. _Lucid mirror._ Cowper, _The Task_, I. 701.
_And fast by hanging in a golden chain._ _Paradise Lost_, II. 1051.
_In form resembling a goose pie._ Cf. ‘A thing resembling a goose-pie,’
Swift, _Vanburgh’s House_, l. 104.
_The old Duchess of Marlborough._ Sarah Churchill, _née_ Jennings
(1660–1744), wife of John, 1st Duke of Marlborough.
72. _Leave stings._ Cf. ‘Would leave a sting within a brother’s heart.’
Young, _Love of Fame_, Sat. II. 113.
73. _Sure never were seen._ Sheridan, _The School for Scandal_, Act II.
Sc. 2. [Other horses are clowns.] See vol. I. The Round Table, p. 150.
_Mr. T. Moore’s ‘Loves of the Angels.’_ Published Jan. 1, 1823.
75. _As if increase of appetite._ _Hamlet_, Act I. Sc. 2.
_We are ignorance itself._ _1 King Henry IV._, Act III. Sc. 1.
CRITICISM ON HOGARTH’S MARRIAGE A-LA-MODE
See vol. I. _The Round Table_, pp. 25 _et seq._, and notes thereto.
NOTES OF A JOURNEY THROUGH FRANCE
AND ITALY
The circumstances which led to and succeeded the tour in France and
Italy described in the following letters will be found detailed in the
_Memoirs of William Hazlitt_, pp. 107 _et seq._ The journey began in
August 1824, shortly after Hazlitt married Mrs. Bridgewater; and it
ended in October 1825, by the return home alone of Hazlitt and his son.
CHAPTER I
From the _Morning Chronicle_, Tuesday, Sept. 14, 1824
90. _Forever the same._ Add, from the newspaper:—‘The sea at present
puts me in mind of Lord Byron—it is restless, glittering, dangerous,
exhaustless, like his style.’
_Can question thine._ Add:—‘Hearing some lines repeated out of Virgil,
while B—— and I were sitting near the melancholy Scottish shores,
looking towards England, I said that the sound of the Latin language was
to me like the sound of the sea—melodious, strange, lasting! So the
verses we had just heard had lingered on the ear of memory, had flowed
from the learned tongue, for near two thousand years!’
PAGE
91. _In a great pool._ _Cymbeline_, Act III. Sc. 4.
92. _Otto of roses._ Add:—‘It was like other beds in France—_not
aired_.’
_A compound of villainous smells._ _Merry Wives of Windsor_, Act III.
Sc. 5.
_Mieris._ See _ante_, note to p. 60.
_Jan Steen._ Of Leyden (1626–1679), a follower of Van Ostade, Brouwer,
and Van Goyen.
93. _Gay, sprightly land of mirth and social ease._ Goldsmith, _The
Traveller_, 41–2.
CHAPTER II
September 17
94. _Bidding the lovely scenes._ Collins, _Ode on the Passions_.
98. _The pomp of groves._ Beattie, _The Minstrel_, I. 9.
99. Note. _Gil Blas’s Supper._ Cf. Book I. chap. 2.
Note. _Chateaubriand_ ... _On the Censorship_. François René, Vicomte de
Chateaubriand’s (1768–1848) phase of politics between 1824 and 1830 was
one of Liberalism. His writings in the _Journal des Débats_ and
elsewhere caused the Chamber to abandon its proposed law against the
press.
100. _Swinging slow with sullen roar._ _Il Penseroso_, 76.
CHAPTER III
September 24
102. _My tables._ _Hamlet_, Act I. Sc. 5.
103. _Like the fat weed._ _Hamlet_, Act I. Sc. 5.
105. _Exhalation_ [steam] _of rich-distilled perfumes_. Milton, _Comus_,
556.
106. _Let their discreet hearts believe_ [think] _it_. _Othello_, Act
II. Sc. 1.
CHAPTER IV.
September 28
106. _First and last and midst._ _Paradise Lost_, v. 165.
_Worn them as a rich jewel._ Hazlitt quotes from himself. See vol. VI.,
_Table Talk_, p. 174.
_Thrown into the pit._ Cf. _Genesis_ xxxvii. 24.
_School calleth unto School._ _Psalm_ xlii. 7: ‘deep calleth to deep.’
107. _My theme_ [shame] _in crowds_. Goldsmith, _The Deserted Village_,
412.
_Brave o’er-hanging firmament._ _Hamlet_, Act II. Sc. 2.
_Hang upon the beatings of my heart._ Wordsworth, _Tintern Abbey_.
_Stood the statue that enchants the world._ Thomson, _The Seasons,
Summer_, 1347.
_There was old Proteus._ Altered from Wordsworth’s Sonnet, ‘The world is
too much with us.’
_Sit squat, like a toad._ _Paradise Lost_, IV. 800.
108. _The death of the King._ Louis XVIII. of France died in September
1824.
_Sir Thomas Lawrence._ Portrait-painter (1769–1830).
109. _To cure_ [drive] _all sadness but despair_. _Paradise Lost_, IV.
156.
_Verdurous wall of Paradise._ _Ibid._, IV. 143.
_In darkness visible._ _Ibid._, I. 63.
_Hulling._ ‘Hull on the flood.’ _Ibid._, XI. 840.
_Blind with rain._
Cf. ‘When the chill rain begins at shut of eve
In dull November, and their chancel vault,
The Heaven itself, is blinded throughout night.’
Keats’s _Hyperion_, II. 36–38.
_Lord Byron ... Heaven and Earth._ Sc. III.
PAGE
110. _Le Brun._ See _ante_, note to p. 25.
_Sebastian Bourdon._ French painter and engraver (1616–1671). He was one
of the twelve artists who founded the Academy of Painting and Sculpture
in 1648.
_Le Sueur._ Eustache Le Sueur (1616–1655), French historical painter,
also one of the twelve (see above). He is one of the greatest of French
painters, and is often called the French Raphael.
_Philip Champagne._ Philippe de Champaigne (1602–1674), of the French
school of historical and portrait painting, though of Brussels birth. He
was one of the first members of the Academy, worked for Cardinal
Richelieu, and was greatest as a portrait painter.
_David._ See _ante_, note to p. 30.
_Daniel Volterra._ Daniele Ricciarelli, or Daniele da Volterra from the
place of his birth (1509–1566), the friend of Michael Angelo, who aided
him in his chief work, the frescoes in the Capella Orsini, Trinità de
Monti, Rome.
111. _Weenix._ Jan Weenix (1640–1719), of Amsterdam, noted for his
painting of dead game.
_Wouvermans._ See _ante_, note to p. 21.
_Ruysdael._ See _ante_, note to p. 22.
_Non equidem invideo, miror magis._ Virgil, _Eclogues_, I. 11.
112. _Thick as the autumnal leaves._ _Paradise Lost_, I. 303.
113. _Founded as the rock._ _Macbeth_, Act III. Sc. 4.
_Coop’d_ [cribb’d] _and cabin’d_. _Macbeth_, Act III. Sc. 4.
CHAPTER V
October 5. No. VI. (October 6) in the newspaper, begins at the paragraph
‘The ordinary prejudice,’ etc., on p. 118.
_If the French have a fault._ A Sentimental Journey. Character,
_Versailles_.
115. _Jump at._ _Hamlet_, Act I. Sc. 1.
116. _The finest line in Racine._ ‘Je crains Dieu, cher Abner, et n’ai
point d’autre crainte.’ _Athalie_, Act I. Sc. 1.
118. _Pleas’d with a feather_ [rattle]. Pope, _Essay on Man_, Ep. II.
275.
_Marmontel’s Tales._ Jean Francois Marmontel’s (1723–1799), _Contes
Moraux_ (1761), of which several editions have appeared in English.
119. _Quickens, even with blowing._ _Othello_, Act IV. Sc. 2.
_The melancholy of Moorditch._ _1 King Henry IV._, Act I. Sc. 2.
120. _Rousseau’s Emilius._ Published 1762.
_La Place._ Pierre Simon, Marquis de Laplace (1749–1827), the great
astronomer and mathematician.
_Lavoisier._ Antoine Laurent Lavoisier (1743–1794), the founder of
modern chemistry: he was guillotined in the Revolution.
_Cuvier._ Leopold Christian Frédéric Dagobert Cuvier, better known as
Georges Cuvier (1769–1832), the great zoologist and reformer in
Education.
_Houdon._ Jean-Antoine Houdon (1741–1828), one of the greatest of French
sculptors. Of his statue of St. Bruno, the founder of the Carthusian
order, Pope Clement XIV. said that ‘it would speak were it not for the
Carthusian rule of silence.’
121. _Laborious foolery._ Cf. vol. VIII. p. 554, Hazlitt’s letter to
_The Morning Chronicle_ on Modern Comedy.
_Horace Vernet._ Emile Jean Horace Vernet (1789–1863), the ‘Paul
Delaroche of military painting.’
122. _Good haters._ See vol. VII. _The Plain Speaker_, note to p. 180.
PAGE
CHAPTER VI
October 8. Numbered VI. in the newspaper, but see _ante_, note to
chapter V.
122. _Guerin._ Pierre Marcisse, Baron Guérin, French historical painter
(1774–1833). His chief work is ‘The Return of Marcus Sixtus’ (1799).
123. _Rouget._ Georges Rouget (1784–1869), French portrait and
historical painter, a pupil of David.
_Ward._ Possibly James Ward (1769–1859), animal painter.
_Haydon._ Benjamin Robert Haydon (1786–1846), historical painter, whose
pupils included Bewick, Landseer, and Eastlake.
_Drölling._ Michel Martin Drolling (1786–1851), French portrait and
historical painter, a pupil of David.
_Gerard._ François Pascal Simon, Baron Gérard (1770–1837), French
portrait and historical painter, a follower of David, chiefly celebrated
for his portraits.
124. _Madame Hersent._ Louise Marie Jeanne Mauduit (1784–1862), the wife
of Louis Hersent. Both were historical and portrait painters.
_Bouton._ Charles Marie Bouton (1781–1853), a pupil of David. His
collaborator in the invention of the Diorama was Daguerre.
125. _Mons. Caminade._ Alexandre François Caminade (1783–1862), French
historical and portrait painter.
126. _Mr. Hayter._ Sir George Hayter (1792–1871), appointed miniature
painter to Queen Charlotte in 1816, knighted in 1842. His father,
Charles Hayter, was also a miniature painter. Sir George Hayter painted
‘The Trial of Queen Caroline’ (see p. 128).
_Mr. Constable._ John Constable (1776–1837), one of the greatest of
English landscape painters.
127. _Copley Fielding._ Anthony Vandyke Copley Fielding (1787–1855),
water-colour landscape painter.
_Jacquot._ Georges Jacquot (1794–1874). His work may be seen in the
museums of Nancy and Amiens and at Versailles.
_Chantry._ Sir Francis Legatt Chantrey (1781–1841).
_Nantreuil._ Charles François-Leboeuf Nanteuil (1792–1865).
129. _Jouvenet._ Jean Jouvenet (1644–1717), historical and portrait
painter of French birth and Italian descent. He is noted for the
gigantic size of his pictures and figures.
CHAPTER VII
October 22. Numbered VIII.
_Those faultless monsters which the art_ [world]. From the Essay on
Poetry of John Sheffield, Duke of Buckingham.
_Hand-writing on the wall._ _Daniel_ v. 5.
130. _Vice to be hated._ Pope, _Essay on Man_, II. 217–18.
131. _Girodet._ Anne Louis Girodet-De-Roussy-Trioson (1767–1824), French
historical painter. The picture ‘Endymion’ is one of his best known
works.
132. _Mezentius._ See the _Æneid_, VIII. 485.
_Quod sic mihi ostendis._ Horace, _Ars Poet._, 188.
_With hideous ruin._ _Paradise Lost_, I. 46.
_Accumulated horror._
‘On horror’s head horrors accumulate.’
_Othello_, Act III. Sc. 3.
PAGE
133. _It out-herods Herod._ _Hamlet_, Act III. Sc. 2.
Note. _Dip it in the ocean._ _A Sentimental Journey_, The Wig, Paris.
Note. _Perilous stuff that weighs upon the heart._ _Macbeth_, Act V. Sc.
3.
136. _Like stars, shoot madly_ [start] _from their spheres_. _Hamlet_,
Act I. Sc. 5.
_Paul Guerin._ Paulin Jean Baptiste Guérin, French portrait and
historical painter (1783–1855); his chief work is the one of which
Hazlitt speaks.
137. _La Thiere._ Guillaume Gillon Lethière, French historical painter
(1760–1832), of Creole birth (Guadeloupe). At one time he was considered
David’s rival.
_The human face divine._ _Paradise Lost_, III. 44.
_Ducis._ Louis Ducis (1773–1847), a pupil of David.
138. _Magnis excidit ausis._ Ovid, _Met._ II. 328.
CHAPTER VIII
October 23. Numbered IX.
_Captain Parry._ Captain, afterwards Sir William Edward Parry
(1790–1855), explorer of the North-West Passage.
139. Note. _Painful scene in Evelina._ Letter XXV.
142. Note. _My old acquaintance_ (_Dr. Stoddart_). Sir John Stoddart
(1773–1856), Hazlitt’s brother-in-law. He was knighted in 1826.
144. _Mutually reflected charities._ Burke, _Select Works_, ed. Payne,
II. 40.
Note. _In the manner of Swift._ Add, from the newspaper:—‘So
accomplished an equestrian (thought I) might ascend a throne with
popularity and effect! It was not the first or the last time in my life
I have been rebuked for glancing a sceptical eye at the same sort of
grave masquerading.—Cucullus non facit Monachum. It was but the other
day that I was called to account for having hinted that a subscriber to
_The Sentinel_,[60] and a patron and prime mover in Blackwood, is not
one of the best and greatest characters of the age; or that, if so, then
a tool of power, a party-bigot, and a suborner of private slander, in
support of public wrong, is one of the best and greatest characters of
the age. Mr. Blackwood should take care how he implicates any really
respectable character by defending it. The worst ever supposed of the
author of _Waverley_ was, that there was a clandestine understanding
between him and Mr. Blackwood—through Sir Walter Scott! The _Ned
Christian_[61] compliment turns upon this. Mr. Taylor of Fleet-street,
need not have disavowed the paragraph; it might as well have been laid
to the charge of Mr. Taylor of _The Sun_. The passage was not worth
speaking of—but I have since done the same thing better, and the one
passage is (cleverly enough) brought forward as a screen to the other.’
145. _Thrust us from a level consideration._ _2 King Henry IV._, Act II.
Sc. 1.
_Garlanded with flowers._
Cf. ‘All garlanded with carven imag’ries
Of fruits, and flowers, and bunches of knot-grass.’
Keats, _The Eve of St. Agnes_, XXIV.
_The lean abhorred monster._ _Romeo and Juliet_, Act V. Sc. 3.
_No black and melancholic yew-trees._ Webster’s _The White Devil_, Act
IV. Sc. 2.
_Pansies for thoughts._ _Hamlet_, Act IV. Sc. 5.
146. _The daughter of Madame d’Orbe._ _Sixième Partie_, Lettre XI.
146. _Ney._ Michel Ney (1769–1815), Napoleon’s great general, ‘the
bravest of the brave,’ who had five horses shot under him at Waterloo.
He urged Napoleon to abdicate after the campaign of 1814, and on
Napoleon’s return from Elba was sent to fight him. He went over to his
old Emperor, however, and, after Waterloo, was arrested for high
treason, condemned to death, and shot in the Luxembourg Gardens.
_Massena._ André Masséna (1756–1817), another of Napoleon’s generals,
‘the favoured child of victory.’
_Kellerman._ François Christophe de Kellermann (1735–1820), the
successful general at Valmy (1792).
_Fontaine._ Jean de la Fontaine (1621–1695), the fabulist.
_De Lille._ Jacques Delille (1738–1813), French poet and translator of
_Paradise Lost_.
CHAPTER IX
November 17. Numbered X.
147. _Mademoiselle Mars._ See vol. VII., _The Plain Speaker_, pp. 324
_et seq._
_Mrs. Jordan._ Dorothea or Dorothy Jordan (1762–1816). See vol. VIII.,
containing Hazlitt’s dramatic writings, for criticism upon her and the
following actresses.
_Mrs. Siddons._ Sarah Siddons (1755–1831).
_Miss Farren._ Elizabeth Farren (1759?-1829), Countess of Derby. See
vol. VIII., _Lectures on the Comic Writers_, 165, etc.
_Mrs. Abington._ Frances Abington (1737–1815).
_Miss O’Neil._ Eliza O’Neil (1791–1872), afterwards Lady Becher. See
vol. I., _The Round Table_, note to p. 156, and vol. VIII. _A View of
the English Stage_, p. 291.
_Flavia the least and slightest toy._ Bishop Atterbury’s _Flavia’s Fan_.
149. _Monsieur Damas._ For more than twenty-five years one of the most
brilliant actors at the Comédie Française. He retired from the stage in
1825 and died in 1834.
151. _Midsummer madness._ _Twelfth Night_, Act III. Sc. 4.
_Mr. Bartolino Saddletree._ See Scott’s _Heart of Midlothian_.
_Whole loosened soul._
Cf. ‘All my loose soul unbounded springs to thee.’
Pope, _Eloisa to Abelard_, 228.
_Mrs. Orger._ Mrs. Mary Ann Orger (1788–1849), chiefly remembered for
her excellence in farce at Drury Lane.
152. _Mr. Braham._ The famous tenor. See note to vol. VII., _The Plain
Speaker_, p. 70.
Note. _No single volume paramount._ Wordsworth, _Poems dedicated to
National Independence and Liberty_, XV., Sonnet beginning ‘Great men
have been among us.’
153. _Odry._ Jacques-Charles Odry (1781–1853). He played at the Variétés
for forty years, the idol of his audiences.
_Monsieur Potier._ Charles Potier (1775–1838), comic actor.
154. _Brunet._ Jean-Joseph Mira, called Brunet (1766–1851).
_Talma._ François Joseph Talma (1763–1826), one of the greatest of
French tragic actors.
_Mademoiselle Georges._ Marguerite-Joséphine Weimer, otherwise Georges
(1787–1867), one of the most famous actresses of her day, beautiful,
haughty, and wayward.
PAGE
154. _Madame Paradol._ Anne-Catherine-Lucinde Prévost-Paradol
(1798–1843).
_Mademoiselle Duchesnois._ Catherine-Joseph Rufuin, otherwise Duchesnois
(1777–1835), classical tragédienne. She was an intimate friend of Talma,
and has been considered his equal. The rivalry between her and the
beautiful Mlle. Georges extended to their respective admirers and to the
press.
CHAPTER X
October 26. Numbered XI.
157. _Inigo Jones._ The architect of Lincoln’s Inn Chapel, the
banqueting-house at Whitehall, St. Paul’s Church, Covent-Garden, etc.
(1573–1652).
_The famous passage in Burke._ _A Letter to a Noble Lord_ (_Works_,
Bohn, V. 137).
_Mr. Jerdan._ William Jerdan (1782–1869), editor of the Tory _Sun_
(1813–1817), and then associated for many years with the _Literary
Gazette_.
_The painful warrior._ Shakespeare, Sonnet XXV.
159. _What though the radiance._ Wordsworth, _Ode, Intimations of
Immortality_ [taken from my sight.... Of splendour in the grass, of
glory in the flower.]
_The burden and the mystery._ Wordsworth’s _Tintern Abbey_.
_The worst ... returns to good._ Cf. ‘the worst returns to laughter,’
_King Lear_, Act IV. Sc. 1.
_And bring with thee_ [and add to these] _retired Leisure_. _Il
Penseroso_, 49.
_Nature to advantage drest._ Pope, _Essay on Criticism_, Part II. 97.
_Paradise of dainty devices._ The name given to a collection of poems
published 1576 and various times later.
_The Frenchman’s darling._ Cowper, _The Task_, IV. 765.
161. _With glistering spires._ _Paradise Lost_, III. 550.
_Low farms and_ [poor] _pelting villages_. _King Lear_, Act II. Sc. 3.
162. _But let thy spiders._ _King Richard II._, Act III. Sc. 2
[treacherous feet ... thy sovereign’s enemies].
_Bear the beating of so strong a passion._ _Twelfth Night_, Act II. Sc.
4.
CHAPTER XI
November 2. Numbered XII.
163. _I also am a painter._ See Vasari’s _Lives_ (ed. Blashfield and
Hopkins), III. 32, note 28.
_Roubilliac._ Louis Francis Roubilliac (d. 1762). See vol. VII. _The
Plain Speaker_, p. 89 and note thereto.
164. _Bernini._ Giovanni Lorenzo Bernini (1598–1680), painter, sculptor,
and architect, the Michael Angelo of his day.
_And when I think that his immortal wings._ _Heaven and Earth_, Part I.
Scene 1.
165. _Thinly scattered to make up a shew._ _Romeo and Juliet_, Act V.
Sc. 1.
_The Chevalier Canova._ Antonio Canova, Venetian sculptor (1757–1822)
was commissioned by the Roman Government in 1815, after the fall of the
Napoleonic Empire, to recover the art treasures that had been taken to
France.
Note. _He heard it._ _Childe Harold’s Pilgrimage_, Canto IV. 141.
166. _Vestris._ Lucia Elizabeth Bartolozzi, Madame Vestris (1797–1856),
the famous actress, subsequently wife of the younger Mathews. See vol.
VIII. _A View of the English Stage_, p. 327 and note.
167. _Razzi._ Giovanni Antonio dei Razzi of Piedmont (1477–1549).
_Cortot._ Jean Pierre Cortot (1787–1843). The _Virgin and Child_ was
painted for the Cathedral of Arras.
PAGE
167. _Espercieux._ Jean Joseph Espercieux (1758–1840).
_Chaudet._ Antoine Denis Chaudet (1763–1810).
168. _Gayrard._ Raymond Gayrard (1777–1858).
CHAPTER XII
November 4. Numbered XIII
170. _The upturned eyes of wondering mortals._ _Romeo and Juliet_, Act
II. Sc. 2.
_His Devin du Village._ Rousseau’s opera (1753), now best known because
of the air in it called ‘Rousseau’s Dream.’
171. _Derivis._ Henri Etienne Dérivis (1780–1856), operatic singer,
renowned for his powerful bass voice.
_It is my vice to spy into abuses._ _Othello_, Act III. Sc. 3.
173. _Non sat_[is] _est pulchra poemata esse, dulcia sunto_. Horace,
_Ars Poet._, 99.
174. _Madame Le Gallois._ Amélie-Marie-Antoinette Legallois, born 1804.
She was a favourite dancer for many years, and retired about 1839.
_Nina._ An Italian opera, produced at Naples, May 1787. See vol. VII.
_The Plain Speaker_, p. 325.
_Oh for a beaker full of the warm South._ Keats, _Ode to a Nightingale_.
_Gazza Ladra._ A comic opera by Rossini, produced 1817.
_Mombelli._ Esther Mombelli (b. 1794).
_Pellegrini._ Félix Pellegrini (1774–1832).
175. _The Maid and the Magpie._ See vol. VII. _A View of the English
Stage_, pp. 244, 279.
CHAPTER XIII
April 5, 1825. Numbered XIV
Note. _Madame Pasta._ See vol. VII. _The Plain Speaker_, pp. 324, _et
seq._
176. _In summer shade_ [yield him], _in winter fire_. Pope, _Ode on
Solitude_.
_Maritorneses._ From the name of the servant wench in _Don Quixote_, who
had hair like a horse’s tail.
177. _A thing of life._ Byron’s _Corsair_, Canto I. 3.
_Fit for speed succinct._ _Paradise Lost_, III. 643.
_Mark how a plain tale shall put them down._ _1 King Henry IV._, Act II.
Sc. 4.
178. _Dr. S._ Dr. Stoddart. _See ante_, note to p. 142.
_Famous poet’s pen._ Cf. Spenser’s _Verses_ to the Earl of Essex.
182. _M. Martine’s Death of Socrates._ Alphonse-Marie-Louis de Prat de
Lamartine’s (1791–1869) work was published in 1823.
_A nation of shopkeepers._ See vol. I. _The Round Table_, note to p.
150.
_M. de la Place._ Pierre Antoine de la Place (1707–1793) translated _Tom
Jones_. The third edition of 1751 is in the British Museum.
183. _L. H._ Leigh Hunt.
CHAPTER XIV
April 6. Numbered XV
_Devoutly to be wished._ Hamlet, Act III. Sc. 1.
184. _Honest sonsie bawsont face._ Burns, _The Twa Dogs_.
_The icy fang and season’s difference._ _As You Like it_, Act II. Sc. 1.
_Mr. Theodore Hook._ Theodore Edward Hook (1788–1841), novelist and
political writer, the Lucian Gay of ‘_Coningsby_,’ and editor of the
Tory ‘John Bull’ newspaper.
PAGE
186. _Here was sympathy._ _The Merry Wives of Windsor_, Act II. Sc. 1.
_De Stutt—Tracey’s ‘Idéologie.’_ Antoine Louis Claude Comte Destutt de
Tracy’s (1754–1836), _Élémens d’Idéologie_ was published in 1817–1818.
_Mignet’s French Revolution._ François-Auguste-Marie Mignet’s
(1796–1884) _Histoire de la Révolution Française_ was published in 1824.
_Sayings and Doings._ Nine novels of Theodore Hook, published 1826–1829.
_Irving’s Orations._ Probably Edward Irving’s _Four Orations for the
Oracles of God_, published in 1823, a third edition of which was issued
in the following year. Cf. vol. iv. _The Spirit of the Age_, p. 228.
_The Paris edition of ‘Table Talk.’_ See vol. VI. Bibliographical Note
to _Table Talk_.
187. Note. _Mr. Canning’s ‘faithlessness.’_ He had the reputation for
preferring devious paths. ‘I said of him “that his mind’s-eye
squinted,”’ wrote Croker to Lord Brougham, March 1839. See the _Croker
Papers_, vol. II. p. 352.
Note. _Like that ensanguined_ [sanguine] _flower_. _Lycidas_, 106.
Note. Francesco Guicciardini’s (1483–1540), _History of Italy_ from
1494–1532.
Note. Enrico Caterino Davila (1576–1631) of Padua, author of a _History
of the Civil Wars of France_.
190. _The merit of the death of Hotspur._ _1 King Henry IV._, Act V. Sc.
4.
_He who relished._ _i.e._, Rousseau.
_The Magdalen Muse of Mr. Moore._ See vol. VII. _The Plain Speaker_, p.
368.
191. _Where Alps o’er_ [on] _Alps arise_. Pope, _Essay on Criticism_,
II. 32.
_This fortress, built by nature._ _King Richard II._, Act II. Sc. 1.
_Nodded to him._ _A Midsummer Night’s Dream_, Act III. Sc. 1.
193. _Hemskirk._ Maerten van Veen of Heemskerk, near Haarlem
(1498–1574), a follower of Michael Angelo.
_Kean._ Edmund Kean (1787–1833).
194. _With cautious haste_ [wanton heed] _and giddy cunning_.
_L’Allegro_, 141.
CHAPTER XV
July 15. Numbered XVI
196. _A gentle usher; Authority_ [husher, vanity] _by name_. _The Faerie
Queene_ I., iv. 13.
197. _Teres et rotundus._ Horace, _Sat._ II. 7.
_Spagnoletto._ Josef or Jusepe de Ribera, otherwise Lo Spagnoletto
(1588–1656), of Spanish birth, whose chief work was done in Naples. His
subjects are generally delineations of scourgings and other scenes of
torture. See _ante_, note to p. 70.
200. _With marriageable arms._ _Paradise Lost_, V. 217.
_To-morrow to fresh fields_ [woods]. _Lycidas_, 193.
_Mr. Crabbe._ George Crabbe (1754–1832).
202. _Serious in mortality._ _Macbeth_, Act II. Sc. 3.
203. _Methought she looked at us—So everyone believes that sees a
Duchess!_—OLD PLAY. Perhaps Hazlitt had in mind the following lines from
Middleton’s _Women Beware Women_, Act I. Sc. 3.
BIAN. ‘Did not the duke look up? methought he saw us.
MOTHER. That’s every one’s conceit that sees a duke.’
_Mengs._ Anton Rafael Mengs (1728–1779), of Bohemian birth, best known
by his fresco paintings.
PAGE
204. _The sense aches at them._ _Othello_, Act IV. Sc. 2.
205. _John of Bologna._ Born at Douai about 1524, died 1608, the
greatest Italian sculptor, architect, and worker in bronze, after the
death of Michael Angelo.
_Professor Mezzofanti._ Joseph Caspar Mezzofanti (1771–1848), who was
created Cardinal in 1838, and who claimed to be able to express himself
in seventy-eight languages.
_Giotto._ Giotto di Bondone (1266–76—1337), the inspirer of naturalistic
painting in Italy.
_Ghirlandaio._ Domenico Bigordi (1449–1494), generally called
Ghirlandaio, the Garland-maker (his father was a goldsmith), one of the
greatest artists in his time, and the teacher of Michael Angelo.
206. Note. _Dr. Gall._ John Joseph Gall, the phrenologist (1758–1828).
See vol. VII. _The Plain Speaker_, pp. 17 _et seq._ and 137 _et seq._
207. _By their works_ [fruits]. _S. Matthew_ vii. 20.
CHAPTER XVI
July 22. Numbered XVII
_And when she spake._ _The Faerie Queene_, II., II. 24.
209. _Cloud-clapt._ Cf. ‘Cloud-capp’d towers.’ _The Tempest_, Act IV.
Sc. 1.
211. _My friend L. H._ Leigh Hunt.
_The rival families of the Gerardeschi and the ——._ The missing word
should be Visconti.
_Enriched._ Burns, _Tam o’ Shanter_, 16.
212. _Enchants the world._ Thomson, _The Seasons, Summer_, 1347.
_Lord Burghersh._ John Fane, eleventh Earl of Westmorland (1784–1859)
was appointed minister plenipotentiary to Florence in 1814.
214. _Alien Bill._ In consequence of the flight from France during the
Revolution, Alien Bills were passed in 1792–1793 giving the crown power
to banish foreigners.
_Molière’s Tartuffe._ For the ordinance of the Archbishop of Paris see
MM. Despois and Mesnard’s edition of Molière, vol. IV. p. 322.
_Fishy fume._ _Paradise Lost_, IV. 168.
215. _Paved with good intentions._ An old saying: Hazlitt probably had
in mind Dr. Johnson’s use of it. (See Boswell’s _Johnson_, ed. G. B.
Hill, vol. II. p. 360.)
216. _Omne tulit punctum._ Horace, _Ars Poet._, 343.
218. _Otiosa Æternitas._ Milton’s _Sylvæ_, De Ideâ Platonicâ Quemadmodum
Aristoteles Intellexit.
_Redi._ Francesco Redi (1626–1698), Italian physician, naturalist and
poet. He helped in the compilation of the dictionary of the Academia
Della Crusca. See Masson’s _Life of Milton_, 1881, vol. I. p. 786.
CHAPTER XVII
July 26. Numbered XVIII
219. _Bandinello._ Bartolommeo Bandinelli, sculptor, of Florence
(1493–1560).
_The Perseus of Benvenuto Cellini._ See Roscoe’s translation of
Cellini’s _Memoirs_, chapters 41, 43, etc.
220. _Men of no mark or likelihood._ _1 King Henry IV._, Act III. Sc. 2.
221. _Even in death there is animation too._ Cf. ‘That were a theme
might animate the dead,’ Cowper, _Table Talk_, 202.
PAGE
221. _Forsyth._ Joseph Forsyth (1763–1815), whose _Remarks on
Antiquities, Arts, and Letters, during an Excursion in Italy in the
years 1802 and 1803_, were published in 1813.
222. _Elegant Extracts._ _Elegant Extracts in Prose, in Verse, and
Epistles_, 1789, and often reprinted later. Compiled by Vicesimus Knox
(1752–1821), Master of Tonbridge School, 1778–1812.
223. _Trim’s story of the sausage-maker’s wife._ _Tristram Shandy_, Book
II. 17.
_Labour of love._ _1 Thessalonians_ i. 3.
_As Rousseau prided himself._ _Les Confessions_, Partie II. Livre ix.
224. _Just washed in the dew._ _The Taming of the Shrew_, Act II. Sc. 1.
_Strange child-worship._ Lamb, _Lines on the celebrated picture by
Leonardo da Vinci; called the Virgin of the Rocks._
_Luini._ Bernardino Luini (c. 1460–70–c. 1530), whose style so resembles
that of Leonardo da Vinci that it is difficult to distinguish their
works.
225. _Bronzino._ A name applied to a family of Florentine painters,
Angiolo Allori (1502–1572), Alessandro Allori (1535–1607), and
Cristofano Allori (1577–1621).
_The late Mr. Opie._ John Opie (1761–1807), portrait painter. See vol.
VI. _Mr. Northcote’s Conversations_, p. 343 and note.
_A thing of life._ Byron’s _Corsair_, Canto I. 3.
226. _Deliberation sits and public care._ _Paradise Lost_, II. 303.
_Julio Romano._ See _ante_, note to p. 18.
_Andrea del Sarto._ See _ante_, note to p. 25.
_Giorgioni._ See _ante_, note to p. 26.
_Schiavoni._ ?Andrea Meldolla, or Il Schiavone (1522–1582), of Dalmatian
birth, a follower of Titian.
_Cigoli._ Lodovico Cardi, otherwise called Cigoli (1559–1613),
Florentine painter, a follower of Andrea del Sarto and Michael Angelo.
_Fra Bartolomeo._ Bartolommeo di Pagholo del Fattorino, generally called
Fra Bartolommeo (1475–1517). Some of his earliest sketches he committed
to the flames under the influence of Savonarola in 1489 and, later,
became a monk.
_Shardborne beetle._ _Macbeth_, Act III. Sc. 2.
_Lady Morgan._ Sydney Owenson, Lady Morgan (1783?-1859), the novelist.
Her _Life of Salvator Rosa_ was published in 1823; see Hazlitt’s review
of it, vol. X., _Edinburgh Review Articles_, pp. 276 _et seq._
CHAPTER XVIII
July 29. Numbered XIX
229. _Old Burnet._ Thomas Burnet (1635?-1715), Master of the
Charterhouse (1685–1715). See _Telluris Theoria Sacra_, lib. I. cap. 9.
_A thousand storms, a thousand winters._ Beaumont and Fletcher’s
_Philaster_, Act V. Sc. 3.
232. _A house that had belonged to Milton._ See vol. IV. _The Spirit of
the Age_, pp. 189, 190 and note; and the frontispiece to vol. III.
CHAPTER XIX
August 12. Numbered XX
234. _Though Mr. Hobhouse has written Annotations._ John Cam Hobhouse,
Baron Broughton de Gifford (1786–1869). See his _Historical
Illustrations of the Fourth Canto of ‘Childe Harold,’ containing
Dissertations on the Ruins of Rome_, PAGE
_and an Essay on Italian Literature_, 1818, and the Notes to the Canto
in Byron’s Poetical Works.
234. _He hears it not._ Byron, _Childe Harold_, IV. cxli. with sundry
alterations.
236. _So sit two Kings of Brentford._ Cowper, _The Task_, I. 78.
237. _Youthful poets dream of_ [fancy] _when they love_. Rowe’s _Fair
Penitent_, Act III. Sc. 1.
_Julia de Roubigne._ A novel by Henry Mackenzie, the ‘Man of Feeling,’
(1745–1831), published 1777.
_Miss Milner._ The heroine of Mrs. Elizabeth Inchbald’s (1753–1821)
novel, _A Simple Story_ (1791).
238. _Guercino._ See _ante_, note to p. 25.
_Garofolo._ Benvenuto Tisi, called Garofolo from his birth-place
(1481–1559). His best works are to be seen at Ferrara.
239. _Gaspar Poussin._ See _ante_, note to p. 14.
_Ariosto._ Ludovico Ariosto (1474–1533), the author of _Orlando
Furioso._
_Pietro da Cartona._ Pietro Berrettini of Cartoni (1596–1669). The
ceiling of the grand saloon of the Palazzo Barberini is his; it is
generally recognised as one of the greatest accomplishments of
decorative art.
240. _Andrea Sacchi._ A Roman painter (d. 1661). His greatest work is
the ‘St. Romuald with his Monks’ in the Vatican.
CHAPTER XX
242. _Scribe._ Eugène Scribe (1791–1861).
_Cribb._ Tom Cribb (1781–1848), the champion pugilist. See vol. IV. _The
Spirit of the Age_, note to p. 223.
244. _A tub to a whale._ The tradition is an old one, but Hazlitt may
have had in mind the Preface to Swift’s _Tale of a Tub_. The allusion is
undoubtedly to Canning’s recognition of the independence of the Spanish
American Colonies in 1823.
_Fænum in cornu._ Horace, _Sat._ I. iv. 33.
245. _Lily-livered._ _Macbeth_, Act V. Sc. 3 and _King Lear_, Act II.
Sc. 2.
_But that two-handed engine at the door._ _Lycidas_, 130.
246. _Finds a taint in the Liberal._ See vol. VII. _The Plain Speaker_,
p. 379 and note.
_Mr. Waithman._ Robert Waithman (1764–1833), linen-draper, pamphleteer,
Lord Mayor of London (1823), and M.P. for London (1818–1820, 1826–1833).
_Dr. E._ Mr. W. C. Hazlitt states that the name should be Edwards. This
incident forms a singular parallel with Johnson’s meeting with _his_
fellow-collegian, Edwards. See _Boswell_, ed. G. B. Hill, III. 302 _et
seq._
Note. _A Mr. Law._ Probably a son of Thomas Law (1759–1834), of
Washington, writer on finance, whose brother was Edward Law, first Baron
Ellenborough (1750–1818).
247. _The John Bull._ Theodore Hook’s paper. See vol. IV., _The Spirit
of the Age_, p. 217 and note.
_Mr. Shee’s tragedy._ Sir Martin Arthur Shee (1769–1850), one of the
founders of the British Institution, portrait painter, and President of
the Royal Academy, 1830–50. See _ante_, p. 434. His play, _Alasco_, on
the partition of Poland, was accepted by Charles Kemble for Covent
Garden, but prohibited by the examiner of plays, George Colman the
younger. It was published in 1824.
_To be direct and honest is not safe._ _Othello_, Act III. Sc. 3.
_Can these things be._ _Macbeth_, Act III. Sc. 4.
PAGE
247. Note. _Mr. Barrow._ Sir John Barrow (1764–1848) was second
secretary of the Admiralty, 1804–1806 and 1807–1845. Croker of course
was the other secretary of the Admiralty as well as a contributor to the
_Quarterly_.
248. _Very stuff o’ the conscience._ _Othello_, Act I. Sc. 2.
Note. _Chief Justice Holt._ Sir John Holt (1642–1710), Lord Chief
Justice of the King’s Bench (1689–1710), the Verus of _The Tatler._ See
No. 14, May 12, 1709.
249. _Man seldom is._
‘Man never Is, but always To be blest.’
Pope, _Essay on Man_, I. 96.
_There’s no such thing._ _Merry Wives of Windsor_, Act III. Sc. 3.
250. _M. Beyle ... De l’Amour._ Marie Henri Beyle’s (1783–1842) work was
published in 1822. He is better known under his pseudonym of Stendhal.
His best works are _Le Rouge et le Noir_ (1830) and _La Chartreuse de
Parme_ (1839).
CHAPTER XXI
September 6. Numbered XXII
Number XXIV., Sept. 9, begins with the paragraph ‘Tivoli is an
enchanting,’ etc., on p. 257.
253. _Native to the manner here._
‘Native here, and to the manner born.’
_Hamlet_, Act I. Sc. 4.
_Forsyth._ See _ante_, note to p. 221. He speaks of the butcher sticking
gold-leaf on his mutton’ (ed. 1813, p. 298).
254. _Maria Cosway._ Maria Cecilia Louisa Cosway (fl. 1820), miniature
painter, of Florentine birth and English extraction. She married Richard
Cosway in 1781.
_Charlemagne._ Lucien Bonaparte (1775–1840), Napoleon’s second brother,
published his epic in 1814. Its full title was _Charlemagne ou L’Eglise
sauvée_. Hazlitt reviewed it in _The Champion_, Dec. 25, 1814. See in
Lockhart’s _Scott_ (1st ed., vol. II., p. 351), the letter from Scott to
Morritt, 26th September 1811, respecting Scott’s refusal to translate
the poem. An English version by the Rev. S. Butler and the Rev. F.
Hodgson was published, apparently, in 1815.
255. _Poor Bowdich._ Thomas Edward Bowdich (1791–1824).
_The primrose path of dalliance._ _Hamlet_, Act I. Sc. 3.
257. _Where all is strength below._ Dryden, _Epistle to Congreve_.
258. _Lord Byron has described the Fall of Terni._ _Childe Harold’s
Pilgrimage_, Canto IV. 70.
_Poured it out as plain._ Pope, _Imit. of Hor._, Sat. I. 51–2.
260. _Sees and is seen._ An old phrase.
Cf. ‘I hadde the better leyser for to pleye,
And for to see, and eek for to be seye
Of lusty folk.’
Chaucer, _The Wife of Bath’s Prologue_, l. 551–3.
262. _Pietro Perugino._ Pietro Vannucci, generally called Pietro
Perugino (1446–1523), who had Raphael for a pupil.
_Honest as the skin._ _Much Ado About Nothing_, Act III. Sc. 5.
CHAPTER XXII
September 13. Numbered XXV
PAGE
265. _The busy hum of men._ _L’Allegro_, 118.
_Where buttress wall and tower._ Altered from _Peter Bell_, 856–60.
266. _Palladio._ Andrea Palladio, Italian writer and architect
(1508–1580).
267. _Lord Byron and Lady Morgan._ See note to _The Two Foscari_.
_And Ocean smil’d._
Cf. ‘And Ocean, ‘mid his uproar wild,
Speaks safety to his Island-Child.’
Coleridge, _Ode on the Departing Year_, 129–130.
268. _And now from out the watery floor._ Barry Cornwall, _A Vision_,
ll. 59–75.
CHAPTER XXIII
September 15. Numbered XXVI
From ‘The Picture of the Assumption,’ p. 273, to the end of this
chapter, formed No. XXVIII., Sept. 23, in the newspaper, the Sept. 15
article concluding with what is now the first paragraph of Chapter XXIV.
269. _Canaletti._ Antonio Canal, or Canaletto (1697–1768), painter of
Venetian landscapes and London views.
_Longhena._ Baldassare Longhena, Venetian architect and sculptor (died
after 1680).
_Sansovino._ Andrea Contucci, otherwise Sansovino (1460–1529) one of the
greatest sculptors of the Renaissance.
272. _Where no crude surfeit reigns._ _Comus_, 480.
_Foregone conclusions._ _Othello_, Act III. Sc. 3.
_In my mind’s eye._ _Hamlet_, Act I. Sc. 2.
CHAPTER XXIV
See _ante_, note to p. 268. From ‘we reached Verona’ to the end of the
chapter formed No. XXVII., Sept. 20.
277. _Motes that people the sun-beam._ _Il Penseroso_, 8.
278. _Mr. Beyle._ See _ante_, note to p. 250.
_A pyramid of sweetmeats._ See Richter’s _Titan_, vol. I. chap, i.,
where ‘the blooming pyramid, the island,’ is described in ‘heavy German
conceits.’
279. _Star-ypointing pyramids._ Milton, _On Shakespeare_.
_Chiffinch entertained Peveril of the Peak._ See vol. II. chap. viii.
280. _Chaos and old_ [ancient] _Night_. _Paradise Lost_, II. 970.
CHAPTER XXV
November 9. Numbered XXVIII
281. _In spite of Mr. Burke’s philippic._ _A Letter to a member of the
National Assembly_, 1791.
_Mr. Moore’s late Rhymes on the Road._ See vol. VII. _The Plain
Speaker_, p. 365, _et seq._
_Mais vois la rapidité de cet astre._ _La Nouvelle Héloïse_, Première
Partie, Lettre XXVI.