Like them to shine through long-succeeding age, So just thy skill, so regular my rage. Smit with the love of Sister-Arts we came How oft in pleasing tasks we wear the day, How oft review; each finding like a friend, What flatt'ring scenes our wand'ring fancy wrought, Rome's pompous glories rising to our thought! With thee o'er Raffaelle's monument I mourn, Here thy well-study'd marbles fix our eye; Carracci's strength, Corregio's softer line, Paulo's free stroke, and Titian's warmth divine. How finish'd with illustrious toil appears This small, well-polish'd gem, the work of years! * Yet still how faint by precept is exprest The living image in the painter's breast. Thence endless streams of fair ideas flow, Strike in the sketch, or in the picture glow ; Thence beauty, waking all her forms, supplies An Angel's sweetness, or Bridgewater's eyes. Muse! at that name thy sacred sorrows shed Yet still her charms in breathing paint engage: Her modest cheek shall warm a future age. Beauty, frail flower, that every season fears, Blooms in thy colours for a thousand years. * Fresnoy employed above twenty years in finishing this Poem. 244 POPE'S EPISTLE TO MR. JARVIS. Thus Churchill's race shall other hearts surprise, Oh! lasting as those colours may they shine, Free as thy stroke, yet faultless as thy line! New graces yearly, like thy works display: Soft without weakness, without glaring gay; Led by some rule, that guides, but not constrains; And finish'd more through happiness than pains; The kindred Arts shall in their praise conspire, One dip the pencil, and one string the lyre. Yet should the Graces all thy figures place, * In one of Dr. Warburton's Editions of Pope, by which copy this has been corrected, the name is changed to Worsley. If that reading be not an error of the press, I suppose the poet altered the name after he had quarrelled with Lady M. W. Montague, and being offended at her wit, thus revenged himself on her beauty. M. GENERAL INDEX. A ACADEMY, the advantages of, i. 8, 9, 10. ---peculiar advantages of, i. 9. 77. Action, the principal requisite in a subject for His- Agamemnon.-See Timanthes. Aix-la-Chapelle, pictures in the Capuchin church, ii. 292. Allegorical Painting, defence of, i. 165. Some not adapted to Christian Churches, ii, 224. Anachronisms in Church-pictures, how excuse- Analogy of the several Arts; utility to be derived from, ii. 159. Angelo, Michel.-See M. Antique, the Model to be copied, iii. 43. Apollo, Statue of, criticism on, ii. 17, 18. Apostles, Statues of, in St. John Lateran's Church, Architecture, hints as to the principles of, ii. 103, Artist, the qualifications of, iii. 77. 81.—See Study, Arts, one cannot be engrafted on another, ii. 101. B BACKEREEL, his Crucifixion praised, ii. 231. The Back-ground in Pictures, rules as to, iii. 66. 136. 138. Bacon, an observation of his on Painting disputed, Bad Pictures, in what respect useful, i. 208. ii. Baroccio, his defect in colouring, iii. 156. Bassano, his excellencies, i. 168.-See iii. 179. Beauty, ideal; what, and the notion of it how to 177, 178. the foundation of, i. 47, 48, 49. ii. its varieties, i. 49. |