of his Irish Melodies" I saw that form"-in which, if we are to place any faith in the language of poetry, he gives a pathetic testimony to her powers of pleasing, and the charm of her manners and conversation. BARRY's father was, according to the best accounts, the commander of a trading vessel which coasted the south of Ireland. His childhood was early marked by the indications of an intellectual temperament. His love of study was carried even to a dangerous extreme. Originally designed for his father's calling, he was soon observed to have recourse to sketching with chalk, on every accessible surface of the ship, the various objects that presented themselves along the coast. As he grew older, he began to exhibit more impatience of the monotonous life to which he was destined by his father. And as his prevalent taste and his singular talents became at the same time more apparent, his father was urged by many friends to change his purpose, and send him to school. The history of his early days must be slightly passed; though, could we afford sufficient space, the formation of Barry's peculiar character would be instructive to trace. He made himself unusually remarkable by his intractable temper; his powers of conversation; his talents for, and love of, disputation; his devotion to reading; and, most of all, his enthusiastic study of art. His favourite books were theological, and his controversial temper was displayed and nourished by frequent disputes with the priests of the Roman Church who frequented his mother's house. His early attainments in the art of delineation attracted universal notice. Without any of the aids by which the most ordinary tyro can now be rapidly accomplished in all that can be taught of art, he had, in his seventeenth year, acquired an easy, powerful, and expressive mastery of the pencil. At this period he began to paint. For about five years from the point of time last mentioned, it will be unnecessary to trace him. Within that interval, he probably had advanced as far as was possible for mere intellectual power, unaided by the means usual for the students of so refined and difficult a branch of study. Of the actual state of art in that period, it is our design to speak more at large in our introduction to the next, as we shall thus be enabled to offer some approach towards a sketch of the history of this particular branch of art. It will be here enough to say, that, considering the defectiveness of his means of attainment, and the actually low state of art, his progress was surprising. He was not without such VOL. VI. P aid and encouragement as the praise of the crowd could give; and he also obtained occasional employment from the booksellers. It was in 1763, when he had attained the twenty-second year of his age, that he came to Dublin with several paintings, of which the enumeration here will show the range of his mind. These were, Æneas escaping with his family from the sack of Troy; a Dead Christ; Susanna and the Elders; Daniel in the Lion's Den; Abraham's Sacrifice; and the Baptism of the King of Cashel. This last mentioned alone needs be noticed, as it was his actual introduction into life. The story ou which this painting was designed, is told at length by Keating. Patrick was represented leaning on a staff, or crozier, of which the lower end, armed with a spike, rested on the monarch's foot. His guards were advancing to seize the supposed offender, but were stayed by perceiving that their master seemed quite unconscious of the spike which was piercing through his flesh. It was a well chosen subject; and the time was fortunate for the painter. The society for the encouragement of arts and manufactures in Ireland was just preparing for an exhibition of paintings. Barry applied for and obtained a place for his picture. It was hung near the two best paintings in the room, the productions of artists who had exhausted the means of improvement then to be obtained, and finished their studies in Italy. When Barry went to see his picture after it was hung, he was elated by perceiving his own decided superiority. The favourable anticipation thus raised was confirmed on the opening of the exhibition. He was excited to a fierce delight by the general impression: the crowd pressed eagerly to see the king of Cashel. A murmur of inquiry for the artist rose, and Barry could not refrain from crying aloud, "It is my picture." "Your picture!" answered a spectator, surprised at the rude appearance of the artist," what do you mean?" "I can paint a better," was the reply. But he was not believed, until an acquaintance came forward to confirm his word. This picture was immediately purchased and presented to the House of Commons. It was destroyed in the fire by which the parliament-house was a few years after consumed. Barry's fortune was eventually more promoted by a letter of introduction, addressed to Burke, from Dr Sleigh, of Cork. Burke was at the time in the commencement of his splendid career, and was in Dublin as private secretary to William Gerard Hamilton, of whom the reader may find some notices in our memoir of Burke. To Burke, Barry's animated and clever conversation and spirited tone of mind were favourable recommendations, and a strong friendship began between them. The first result must be briefly told. After being introduced to the refined and enlightened circle of which Burke was the ornament and conspicuous centre, and receiving eight months of pleasure and improvement in their society, Barry was advised to try his fortune in a fairer field, and set out for London with Richard Burke. There, by the active and zealous exertions of Burke he obtained some employment and much kind notice. By the advice of Reynolds, it was determined to send him to Italy. Some delay occurred, until Burke, by the improvement of his own income, and by the influence which he could exert, was enabled to |