aisle of St Patrick's Cathedral, where an inscription, composed by himself, records his exertions for liberty, and his detestation of oppression.

HIC DEPOSITUM EST CORPUS

JONATHAN SWIFT, S. T. p.

HUJUS ECCLESIÆ CATHEDRALIS

DECANI:

UBI SÆVA INDIGNATIO

ULTERIUS COR LACERARE NEQUIT.

ABI VIATOR,

ET IMITARE, SI POTERIS,

STRENUUM PRO VIRILI LIBERTATIS VINDICEM.

OBIIT ANNO (1745):

MENSIS (OCTOBRIS) DIE (19)
ÆTATIS ANNO (78).

manner of burying their Patriot, is a proof his memory is dear as his life was once so to them. I am told, and I wish my authority may not be true, that Dr Swift is to be carried out of his back-door at one in the morning by four porters into the church, attended only by two clergymen, with the circumstance of the respect paid to them, of giving each a scarf. I know his desire was to be buried as privately as possible; but, were the same persons to be executors to a duke, and a man who had left but five pounds behind him, would the words be construed in the same literal sense? and I appeal to yourself, whether ever you knew a gentleman, whose corpse was not in danger of being arrested for debt, treated in such a manner— an executed criminal, to whom the law doth not allow Christian burial, could only be used thus, by some slight acquaintance. Surely to hang the room Dr Swift lies in with black, to give him a hearse, and a few mourning coaches, would be judged a funeral sufficiently private for so great a man; and that he himself thought decency requisite at a funeral, may be

known by what he did for his honest, trusty servant, Alexander M'Gee. If this expense be thought too much to be taken from the noble charity he hath bequeathed, I make the offer of doing it, and desire it may be taken out of my legacy as the last respect I can pay to my great and worthy friend.

If this favour be denied me, I shall let whoever mentions this affair in my hearing, know the offer I have made.

I am, Sir,

Your most obedient and most humble servant,
MARTHA WHITEWAY.

October 22, 1745, ten in the morning.

CONCLUSION.

Person, Habits, and Private Character of Swift-His Conversation-His Reading-Apparent Inconsistencies in his Character-His Charity-His Talents for Criticism— Character of the Dean as a Poet-As a Prose Author.

SWIFT was in person tall, strong, and well made, of a dark complexion, but with blue eyes, black and bushy eyebrows, nose somewhat acquiline, and features which remarkably expressed the stern, haughty, and dauntless turn of his mind. He was never known to laugh, and his smiles are happily characterised by the well-known lines of Shakspeare. Indeed, the whole description of Cassius might be applied to Swift:

"He reads much,

He is a great observer, and he looks

Quite through the deeds of men.—

Seldom he smiles, and smiles in such a sort,
As if he mock'd himself, and scorn'd his spirit
That could be moved to smile at any thing."

The features of the Dean have been preserved in several paintings, busts, and medals.' In youth, he

Swift at the
A genius ap-

1 There is an excellent portrait of Dean Deanery House, Dublin, painted by Bindon. pears in the piece displaying a scroll, containing a Latin inscription, partly undecipherable, but which refers to the

was reckoned handsome; Pope observed, that though his face had an expression of dulness, his

eyes were

Dean's exertions in procuring for the church the grant of the first fruits and tenths. At the bottom of the canvass is the following inscription :

:

EFFIGIEM HUJUS REV. ADMODUM VIRI JONATH. SWIFT, S. T. P. ECCLESIÆ CATH. S. PAT. DUB. DECANI. IN PERPETUUM HARUM ÆDIUM TOTIUS CLERI ET HUJUSCE PRÆCIPUE GENTIS DEcus, AMORIS ET OBSERVANTIÆ ERGO PINGI CURAVIT CAPITULUM SUUM.

PRÆSENTI TIBI MATUROS LARGIMUR HONORES,

NIL ORITURUM ALIAS, NIL ORTUM TALE FATENtes.

In the back distance, through the window, is seen in perspective the great western door of the cathedral of St Patrick's, leading immediately to that aisle in which the illustrious pa triot is interred. The tower, or steeple, is preeminently conspicuous, however minute this part of the drawing be. It is to be observed, that at the period the original painting was taken, the spire, which now completes that fine Gothic structure, had not been erected.

The frame is of black Irish oak, curiously and tastefully carved with a variety of emblematical figures, having at the bottom the arms of the Deanery and of Swift quartered in one scutcheon. The unfortunate taste of one of his successors caused this frame to be gilded. This picture should not be mentioned without recording the patriotic disinterestedness of Dean Cradoc, who, when a fire broke out at the Deaneryhouse, commanded those who assisted to leave their exertions to save his own property and books, until they had secured the picture of his renowned predecessor.

Another portrait, supposed to be one of the best likenesses in existence, and also painted by Bindon, is the property of Dr Hill of Dublin. The expression of the features differs in some respects from the picture in the Deanery, being rather of a deep and melancholy cast, than of the stern, harsh, and imperative character.

There is a portrait of Dean Swift at Howth Castle. It is a full length, painted by Bindon. He is represented in the clerical costume. To the left of the figure is seen the Temple,

ness.

very particular. They were as azure, he said, as the heavens, and had an unusual expression of acuteIn old age, the Dean's countenance conveyed an expression which, though severe, was noble and impressive. He spoke in public with facility and impressive energy; and as his talents for ready

of Fame in the background; on the Dean's right appears the genius of Ireland, extending a laurel-wreath, as about to crown the patriot; in his left hand he holds forth a scroll, on which is written, "The fourth Drapier's Letter." At his feet, on the right of the picture, lies bound the famous patentee Woods; he is depicted in agony. On a scroll is written "Woods' patent."

A full-length painting of the Dean, in his clerical habit, is placed in the theatre, or examination-hall of Trinity College, Dublin. The head and figure, with some variation of attitude, appear to be copied from the oil painting at the Deaneryhouse. He is here represented as standing between two pillars; in the space between, in the background, is given a view of the steeple and spire of St Patrick's.

In the museum of Trinity College, Dublin, there is a dark plaster bust, or cast, of Dean Swift. It is an impression taken from the mask, applied to the face after death. The expression of countenance is most unequivocally maniacal, and one side of the mouth (the left) horribly contorted downwards, as if convulsed by pain. 1 It is engraved for Mr Barrett's Essay. There is a marble bust of Dean Swift in the possession of Dr Duke, Stephen's-green, Dublin.2

1 ["The most interesting representation of Swift is a plaster of Paris cast, taken after his death, which is in the museum of Trinity College, Dublin; the engraving made from it, which is to be found in the last edition of Swift's Works by Mr Nichols, is a vile representation. Mr Walter Scott must have alluded to this copy, when he asserted that the expression of the face was evidently maniacal,' for the original is not so in the slightest degree, but, on the contrary, the most placid and the most free from any turbulent expression that can be imagined."-MONCK MASON.]

2 ["That picture of Dr Swift (by Jervais) is very like him; though his face has a look of dulness in it, he has very particular eyes: they are quite azure as the heavens, and there is a very uncommon archness in them."-POPE, 1735-Spence's Anecdotes—Malone, p. 135.]