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 And met congenial, mingling fame with flame; Like friendly colours found them both unite, And each from each contract new strength and

light. How oft in pleasing tasks we wear the day, While Summer suns roll unperceiv’d away! How oft our slowly-growing works impart, While images reflect from art to art! How oft review; each finding like a friend, Something to blame, and something to commend !

What flattring scenes our wand'ring fancy

wrought, Rome's pompous glories rising to our thought! Together o'er the Alps methinks we fly, Fir'd with ideas of fair Italy, With thee o'er Raffaelle's monument I mourn, Or wait inspiring dreams at Maro's urn: With thee repose where Tully once was laid, Or seek some ruin's formidable shade; While Fancy brings the vanish'd pile to view, And builds imaginary Rome anew. Here thy well-study'd marbles fix our eye; A fading fresco here demands a sigh: Each heav'nly piece unwearied we compare, Match Raffaelle's grace with thy lov'd Guido's air,

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 Angels sweetness, or Bridgewater's eyes.

Muse! at that name thy sacred sorrows shed
Those tears eternal that embalm the dead : .
Call round her tomb each object of desire,
Each purer frame inform'd with purer fire :
Bid her be all that cheers or softens life,
The tender sister, daughter, friend and wife !
Bid her be all that makes mankind adore ;
Then yiew this marble, and be vain no more!

Yet still her charms in breathing paint engage : Her modest cheek shall warm a future age. Beauty, frail fower, that every season fears, Blooms in thy colours for a thousand years.

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Thus Churchill's race shall other hearts surprise,
And other beauties envy Wortley's* eyes,
Each pleasing Blount shall endless smiles bestow,
And soft Belinda's blush for ever glow.

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,
And breathe an air divine on ev'ry face;
Yet should the Muses bid my numbers roll,
Strong as their charm, and gentle as their soul ;
With Zeuxis' Helen thy Bridgewater vie,
And these be sung till Granville's Myra die ;
Alas! how little from the grave we claim !
Thou but presery'st a Face, and I a Name.

* 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.




ACADEMY, the advantages of, i. 8, 9, 10.
Academy, Royal, Observations on its foundation,
i. 5, 6, 7.

opeculiar advantages of, i. 9.
Accident, how far favourable to Painters, ii. 78. iii.

Action, the principal requisite in a subject for His-

tory-painting, iii. 98, 99.-See iii. 114.
Affectation, a hateful quality, i. 86. 198.

contrast to Simplicity, i. 198.
Agamemnon.--See Timanthes.
Aix-la-Chapelle, pictures in the Capuchin church,

ii. 292.
Albert Durer.-See D.
Allegorical Painting, defence of, i. 165. Some
by Rubens condemned, ii. 194.

- not adapted to Christian
Churches, ii, 224.
Amsterdam, Pictures at, ii. 256, 257.-The Stadt-

house, ii. 256.-Wharf-Office, ii. 257.-Sur-
geon's-Hall, ii. 258.-Mr. Hope's Cabinet, ii.
258.-Mr, Gart's, ïi. 262.-Cabinet of M. Le

Brun, ii. 264–268.
Anachronisms in Church-pictures, how excuse-

able, ii, 230.

Analogy of the several Arts ; utility to be derived

from, ii. 159.
Angelo, Michel.See M.
Antique, the Model to be copied, ii, 43. .
Antwerp, Pictures at, ii. 206.
Apollo, Statue of, criticism on, ii. 17, 18.

Drapery of, remarks on, ii. 25.
Apostles, Statues of, in St. John Lateran's Church,

defects of, ii. 25.
Architecture, hints as to the principles of, ii. 103,
1. & seq.
Artist, the qualifications of, iii. 77.81.-See Study,

Imitation, &c.
Arts, one cannot be engrafted on another, ii. 101.

what is the object and intention of them all,
i. 111.

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BACKEREEL, his Crucifixion praised, ii. 231. The

Apparition of the Virgin praised, ii. 238.
Back-ground in Pictures, rules as to, ii. 66.

136. 138.
Bacon, an observation of his on Painting disputed,

i. 48.
Bad Pictures, in what respect useful, i. 208. ü.

| 271. iii. 144.
Baroccio, his defect in colouring, iii. 156.
Bassano, his excellencies, i. 168.-See ïïi. 179.
Basso Relievo, improvement of the Moderns in,

ii. 27.
Beauty, ideal; what, and the notion of it how to

be pursued and acquired, i. 26. iii. 95.98, 99.
· 156. 193, &c.

- the foundation of, i. 47, 48, 49. ii.
177, 178.

its varieties, i. 49.

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