Chapter XXVII (9)

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.

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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.