To compass this, his building is a Town, Lo, what huge heaps of littleness around! NOTES. 105 110. 115 120 print, which is now become very valuable. It is remarkable our Author never once names Hogarth, though he had so many opportunities of doing it. Ver. 104. All Brobdignag] It is worth mentioning, that two pieces of burlesque poetry, one on Pygmies, by Moreau the preceptor of Scarron, and the other by Scarron himself, on Giants, bear a close resemblance to the Lilliput and the Brobdignag of Swift. Ver. 109. Lo, what huge heaps of littleness around!] Grandeur in building, as in the human frame, does not take its denomination from the body, but the soul of the work; when the soul therefore is lost or encumbered in its envelope, the unanimated parts, how huge soever, are not members of grandeur, but mere heaps of littleness. W. Ver. 110. A labour'd Quarry] In his letters he applies this expression to Blenheim; the massy magnificence of which Sir Joshua Reynolds always defended against the common cant of its being heavy. By Brown's late improvements, Blenheim is become one of the finest examples of laying out grounds judiciously. With here a Fountain, never to be play'd; First thro' the length of yon hot Terrace sweat; 130 thighs, Just at his Study-door he'll bless your eyes. His Study! with what Authors is it stor'd? In Books, not Authors, curious is my Lord; NOTES. Ver. 121. With here a Fountain,] It is amusing to see how far our taste in gardening has spread. The present Empress of Russia writes thus to Voltaire, June 25, 1772: “J'aime à la folie présentement les jardins à l'Anglaise, les lignes courbes, les pentes douces, les étangs en forme de lacs, les archipels en terre ferme; et j'ai un profond mepris pour les lignes droits, les allées jumelles. Je hais les fontaines qui donnent la torture a l'eau pour lui faire prendre un cours contraire à sa nature; les statues sont reléguées dans les galeries, les vestibules, &c. En un mot, l'Anglomanie domine dans ma plantomanie." Ver. 124. The two Statues of the Gladiator pugnans, and Gladiator moriens. Ver. 124. die in flow'rs ;] This is more finical and puerile than his usual manner. Ver. 130. The Approaches and Communication of house with garden, or one part with another, ill-judged, and inconvenient. P. Ver. 133. His Study! &c.] The false Taste in books; a satire on the vanity in collecting them, more frequent in men of Fortune than the study to understand them. Many delight chiefly in the elegance of the print, or of the binding; some have carried To all their dated backs he turns you round; And now the Chapel's silver bell you hear, NOTES. 135 140 145 it so far, as to cause the upper shelves to be filled with painted books of wood; others pique themselves so much upon books in a language they do not understand, as to exclude the most useful in one they do. P. Ver. 138. but they are Wood.] There is a flatness and insipidity in this couplet, much below the usual manner of our Author. Young has been more sprightly and poignant on the same subject. Universal Passion, Sat. 3. Ver. 139. or Milton] This is one of the few places in which our Author seems to speak highly of Milton. Ver. 142. The false taste in Music, improper to the subjects, as of light airs in churches, often practised by the organist, &c. P. Ver. 142. That summons you to all the Pride of Pray'r :] This absurdity is very happily expressed; Pride, of all human follies, being the first we should leave behind us when we approach the sacred altar.-But he who could take Meanness for Magnificence, might easily mistake Humility for meanness. W. Ver. 145.- And in Painting (from which even Italy is not free) of naked figures in churches, &c. which has obliged some Popes to put draperies on some of those of the best masters. P. Ver. 146. There sprawl the Saints of Verrio or Laguerre,] This was not only said to deride the indecency and awkward position On gilded clouds in fair expansion lie, NOTES. of the figures, but to insinuate the want of dignity in the subjects. Raphael's pagans, as the devils in Milton, act a nobler part than the Gods and Suints of ordinary poets and painters. The cartoons at Hampton-Court are talked of by every body; they have been copied, engraved, and criticised; and yet so little studied or considered, that in the noblest of them, of which likewise more has been said than of all the rest, we are as much strangers to St. Paul's audience in the Areopagus, as to those before whom he preached at Thessalonica or Berea. The story from whence the painter took his subject is this:"St. Paul came to Athens,-was encountered by the Epicureans and Stoics,―taken up by them to the court of Areopagus,--before which he made his apology; and amongst his converts at this time were, Dionysius the Areopagite, and a woman named Damaris." On this simple plan he exercises his invention. Paul is placed on an eminence in the act of speaking, the audience round him in a circle: and a statue of Mars, in the front of his temple, denotes the Scene of Action. The first figure has been taken notice of for the force of its expression. We see all the marks of conviction and resignation to the direction of the divine Messenger. But I do not know that it has been suspected that a particular character was here represented. And yet the Platonic countenance, and the female attendant, shew plainly, that the painter designed DIONYSIUS, whom Ecclesiastical story makes of this sect; and to whom sacred history has given this companion. For the woman is DAMARIS, mentioned with him, in the Acts, as a joint convert. Either the Artist mistook his text, and supposed her to be converted with him at this audience; or, what is more likely, he purposely committed the indecorum of bringing a woman into the Areopagus, the better to mark out his Dionysius; a character of great fame in the Romish Church, from a mystic voluminous impostor, who has assumed his titles. Next to this PLATONIST of open mien, is a figure deeply collected within himself, immersed in thought, and ruminating on what he hears. Conformable to his state, his arms are buried in his garment, and his chin reposing on his bosom; in a word, all his lineaments denote the STOIC; he says as plainly, Ne te quæsiveris extra, as if the Painter had To rest, the Cushion and soft. Dean invite, NOTES. 150 drawn this Symbol of his Sect out of his mouth on a label. Adjoining to him is an old man, with a squalid beard and habit, leaning on his crouch, and turning his eyes upwards on the Apostle; but with a countenance so sour and canine, that one cannot hesitate a moment in pronouncing him a CYNIC. The next who follows, by his elegance of dress, and placid air of raillery and neglect, proclaims himself an EPICUREAN: as the other which stands close by him, with his finger on his lips, denoting silence, plainly marks out a follower of PYTHAGORAS. After these come a group of figures, cavilling in all the rage of disputation, as criticising the divine Speaker. These plainly design the ACADEMICS, the genius of whose school was to debate de quolibet ente, and never come to a conclusion. Without the Circle, and behind the principal figures, are a number of young faces, to represent the scholars and disciples of the several sects. These are all fronting the Apostle. Behind him are two other figures: one regarding the Apostle's action, with his face turned upwards: in which the passions of malicious zeal and disappointed rage are so strongly marked, that we needed not the red bonnet, to see he was a Jewish Rabbi. The other is a pagan priest, full of anxiety for the danger of the established Worship. 1 Thus has this great Master, in order to heighten the dignity of his subject, brought in the heads of every sect of philosophy and religion which were most averse to the principles, and most opposite to the success, of the Gospel; so that one may truly esteem this cartoon as the greatest effort of his divine genius. W. I have the authority of two such eminent artists as Sir Joshua Reynolds and Nathaniel Dance, Esq. to say, that this whole criticism, on the cartoons of Raphael, is ill-grounded, and fanciful to the last degree. Ver. 146. Where sprawl] This single verb has marked with felicity and force the distorted attitudes, the indecent subjects, thewant of nature and grace, so visible in the pieces of these two artists, employed to adorn our royal palaces and chapels. "I cannot help thinking," says Pope to Mr. Allen, in Letter lxxxix. vol. ix. "and I know you will join with me, who have been making an altar-piece, that the zeal of the first reformers was illplaced, in removing pictures (that is to say, examples) out of |