NOTES
In 1824 a volume was published, entitledBritish Galleries of Art, ‘printed for G. & W. B. Whittaker, Ave-Maria-Lane,’ by Thomas Davison, Whitefriars, which is sometimes put forward by second-hand booksellers as by William Hazlitt. The articles composing the volume appeared in theNew Monthly Magazinein 1823 (see vols.VII.andVIII.), and their subjects are in most cases identical with those in Hazlitt’sPicture-Galleries in England(Angerstein, Dulwich, the Marquis of Stafford’s Gallery, Windsor Castle, Hampton Court, Blenheim); apart from the internal evidence, however, which is overwhelming, the anonymous author says in his preface that ‘any merit that may attach to the mere plan of “British Galleries of Art” belongs entirely to the author of [thePicture-Galleries in England], the separate Papers of which appeared, (also in a periodical work) about the same time with those of the following which are on the same subjects.’
Hazlitt included his criticism on the pictures of Titian at the Marquis of Stafford’s and at Windsor Castle in the Appendix to ‘The Life of Titian: with anecdotes of the distinguished persons of his time. By James Northcote, Esq., R.A. In two volumes. London. Henry Colburn and Richard Bentley, 8, New Burlington Street, 1830.’ SeeMemoirs of William Hazlitt, vol.II.pp. 212–13, and also the Biographical Sketch by Hazlitt’s son, contributed toThe Literary Remains of William Hazlitt, 1836, for particulars of Hazlitt’s share in Northcote’s work. This Appendix to Northcote’sTitianalso contains ‘Character of Titian’s Portraits’ fromThe Plain Speakerand ‘An Enquiry whether the Fine Arts are promoted by Academies and Public Institutions.’
MR. ANGERSTEIN’S COLLECTION
FromThe London Magazine, December 1822.
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7.Balm of hurt minds.Macbeth, ActII.Sc. 2.
Mr. Angerstein.John Julius Angerstein (1735–1823), merchant and art connoisseur. His collection of pictures formed a basis for the present National Gallery.
8.Colnaghi’s.Paul Colnaghi (1751–1833), of the famous print-selling house. He was of Milanese birth, but a naturalised Englishman.
9.Ludovico Caracci.Lodovico Carracci (1555–1619), of Bologna, the founder of the Eclectic School of Painting, known better as a teacher than as a painter. His nephew, Annibale (1560–1609), was the decorator of the Farnese Palace.
Piping as though he should never be old.Sir Philip Sidney’sArcadia, BookI.chap. 2.
10.A letter to his uncle Ludovico.Hazlitt gives this letter in the Appendix to Northcote’sLife of Titian.
Sebastian del Piombo.Sebastiano Luciani (1485–1547) of Venice, a disciple
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of Giorgione. After the death of Raphael he was thought the greatest painter in Rome.
10.And still walking under.Ben Jonson,Underwoods,XXX., ‘An Epistle to Sir Edward Sackvile.’
11.Parmegiano.Francesco Mazzuola (1504–1540), of Parma. Vasari relates that at Rome it was held ‘that the soul of Raphael had passed into the person of Parmigiano.’ He was a follower of Correggio.
Which pale passion loves.Beaumont and Fletcher,The Nice Valour,III.3.
All ear.Comus, l. 560.
Mask or midnight serenade.
‘ballOr serenate, which the starved lover singsTo his proud fair.’Paradise Lost,IV.768.
‘ballOr serenate, which the starved lover singsTo his proud fair.’Paradise Lost,IV.768.
‘ballOr serenate, which the starved lover singsTo his proud fair.’Paradise Lost,IV.768.
‘ball
Or serenate, which the starved lover sings
To his proud fair.’
Paradise Lost,IV.768.
12.Carlo Dolce.Carlo Dolci (1616–1686), of Florence, a painter of tender and placid expressions, highly finished.
Somerset-house.The rooms of the Royal Academy of Arts were here, 1780–1838. See vol.VI.Mr. Northcote’s Conversations, where, by a misprint, these dates are given in the note to p.435as 1870–1838.
13.Where universal Pan.Paradise Lost,IV.266.
Lord Egremont.Sir George O’Brien Wyndham, 3rd Earl of Egremont (1751–1837), stock-breeder and art patron. He first promoted the recognition of Turner.
N. Poussin.Nicolas Poussin (1594–1665), of Villers, in Normandy. See vol.VI.Table Talk, pp. 168et seq.
The British Institution.In Pall Mall (No. 52), built by Boydell to contain his Shakespeare Gallery. The Institution was dissolved in 1866 and the building pulled down in 1868.
Of outward show.Paradise Lost,VIII.539.
14.Pious orgies.Hazlitt may have been thinking of a passage by Burke. SeeSelect Works, ed. Payne,II.p. 85.
Vice, by losing all its grossness.Burke,Reflections on the Revolution in France, (Select Works, ed. Payne,II.89).
Gaspar Poussin.Gaspard Dughet (1613–1675), born in Rome of French parents, Nicolas’s brother-in-law and pupil.
The air is delicate.Macbeth, ActI.Sc. 6.
Sear and[the]yellow leaf.Macbeth, ActV.Sc. 3.
Mr. Wilkie.David Wilkie (1785–1841). He was knighted in 1836.
15.Mr. Liston.John Liston (1776?-1846).
Flock of drunkards.Othello, ActII.Sc. 3.
Mr. Fuseli’s Milton Gallery.Johann Heinrich Fuessly, or Henry Fuseli (1741–1825), of Zurich, who came to England in 1763, writer and painter, opened his Milton Gallery in 1799.
A Catalogue.This list was added to later issues of thePicture-Galleries, with the title-page still dated 1824. The pages so occupied are numbered 19*-22*. The list was not given inThe London Magazine.
FromThe London Magazine, Jan. 1823.
17.When yellow leaves.Shakespeare’sSonnets,LXXIII[those boughs].
Allen.John Allen, M.D. (1771–1843), one of the staff ofThe Edinburgh Review, was warden of Dulwich College, 1811–1820, and master,
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1820–1843. He is chiefly now remembered as the friend and factotum of Lord Holland.
17.Constrained by mastery.Cf. ‘That Love will not submit to be controlled by mastery,’ Wordsworth,The Excursion,VI.163, 164.
Green and yellow melancholy.Twelfth Night, ActII.Sc. 4.
18.Julio Romano.Giulio Dei Giannuzzi, of Rome (1492–1546), Raphael’s apprentice and best pupil.
Sir Francis Bourgeois.Sir Peter Francis Bourgeois (1756–1811), landscape painter to GeorgeIII.and painter to the King of Poland. He acquired the collection of Desenfans (see note to p.19) and bequeathed 371 pictures to Dulwich College, endowing the Gallery also.
19.Mr. Desenfans.Noel Joseph Desenfans (1745–1807), of French birth, whose collection of pictures, bought for a Polish National Gallery, had to be sold when Poland was dismembered.
Shed[casting]a dim ... religious light. Milton,Il Penseroso, 160.
Cuyp.Aelbert Cuyp (1605–1691), the Dutch Claude.
Carlo Maratti.Of Camurano, in Ancona (1625–1713), etcher and painter.
What a delicious breath painting[marriage]sends forth. Middleton’sWomen Beware Women, ActIII.Sc. 1.
Berkeley.George Berkeley, Bishop of Cloyne (1685–1753), whoseTreatise on the Principles of Human Knowledge, wherein he sets forth his philosophical speculations on Matter and Spirit, was published in 1710.
Palpable[sensible]to feeling as to sight.Macbeth, ActII.Sc. 1.
The eye is made the fool.Macbeth, ActII.Sc. 1.
So potent art.Tempest, ActV.Sc. 1.
20.Teniers.David Teniers (1610–1694), of Antwerp, painter of scenes of peasant life.
Adrian Brouwer.Of Haarlem or Oudenaerde (c. 1605–1638), painter of Dutch interiors.
Potations pottle deep.Othello, ActII.Sc. 3.
Ostade.Adriaen Janzoon van Ostade (1610–1685), of Haarlem, painter of peasant scenes. His brother, Isack van Ostade (1621–1649), was also a painter.
Polemberg.Cornells van Poelenburgh, of Utrecht (1586–1667), landscape and portrait painter.
Crespi.Giuseppe Maria Crespi (1665–1747), of Bologna.
Sanadram.Probably Pieter Saenredam (1597–1665), of Assendelft, who is known for his large church interiors.
Backhuysen.Ludolf Bakhuisen (1631–1708), of Emden, the celebrated painter of sea-storms.
Vandervelde.Willem Van de Velde (1633–1707), the younger, the greatest Dutch marine painter. He lies buried in St. James’s Church, Piccadilly.
Both.Jan Both (c. 1610–c. 1662), of Utrecht. The cattle and figures in his landscapes were usually added by his brother Andries (c. 1609–c. 1644).
21.Jordaens.?Jakob Jordaens (1593–1678), of Antwerp.
Sacchi.Andrea Sacchi (d. 1661), of Nettuno, near Rome; Carlo Maratti (see note to p.19) was one of his pupils.
Beechey.Sir William Beechey (1753–1839), portrait painter to Queen Charlotte.
Wouvermans.Philips Wouverman (?1614–1668), of Haarlem, celebrated for his paintings of horses.
22.Ruysdael.Jakob van Ruysdael (c. 1630–1682), of Haarlem, landscape painter.
Hobbima.Meindert Hobbema (1638–1709), Dutch landscape painter.
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23.Entire affection scorneth[hateth]nicer hands. Spenser,The Faerie Queene, Book I.VIII.40.
Berchem.Nicolaas Pietersz, commonly called Berchem (1620–1683), of Haarlem, landscape painter, whose work is characterised by much delicacy of composition.
Watteau.Antoine Watteau (1684–1721).
24.Body and limbs ... add what flourishes.Cf.Hamlet, ActII.Sc. 2.
Grand caterers and wet-nurses of the state[dry nurse of the church]. Cowper,The Task,II.371.
Under the shade.As You Like It, ActII.Sc. 7.
Salvator Rosa.Of Renella, near Naples (1615–1673).
25.He has had his reward.S. Matthew,VI.2.
Andrea del Sarto.Andrea d’Agnolo (his father was a tailor, whence his better-known name), of Florence (1487–1531), the ‘faultless painter.’
What lacks it then?Cf.S. MatthewXIX.20.
Le Brun.Charles Le Brun (1619–1690), French historical painter. He was one of the principal founders of the Academy, the first director of the Gobelins manufactory, and did much of the decoration of Versailles.
Wilson.Richard Wilson (1714–1782), one of the greatest of English landscape painters.
Guercino.Giovanni Francesco Barbieri, the squint-eyed (1591–1666), of Cento, in the Ferrarese country.
Francesco Mola.Pietro Francesco Mola (1612–1668), a follower of the Venetian School.
26.Giorgione.Giorgio Barbarelli (c. 1476–1511), of Castelfranco, a fellow-student of Titian, and one of the greatest of the Venetian painters.
Guido.Guido Reni (1575–1642), of Calvenzo, near Bologna.
Vanderwerf.Adriaan van der Werff (1659–1722), of Rotterdam.
P. Veronese.Paolo Caliari (1528–1588), of Verona.
Morales.Luis de Morales (d. 1586), of Badajoz, ‘the divine,’ a follower of Michael Angelo and Leonardo da Vinci.
FromThe London Magazine, February 1823.
27.Forked mountain.Antony and Cleopatra, ActIV.Sc. 12.
Volume of the brain.Hamlet, ActI.Sc. 5.
Life is as a[lasting]storm.Pericles, ActIV.Sc. 1.
28.Lord Bacon exclaims ... poems of Homer.In theAdvancement of Learning, Book I.VIII.6.
29.A book sealed.Cf.Revelation,V.i.
Hoole’s Version.John Hoole’s (1727–1803) translations of Tasso’sJerusalem Delivered, and Arioto’sOrlando Furiosowere published in 1763 and 1783 respectively.
30.David.Jacques Louis David (1748–1825). During the Revolution he supported Robespierre, but later he became first painter to the first Napoleon.
The foremost man in all this world.Julius Caesar, ActIV.Sc. 3.
Monsieur Talleyrand.Charles Maurice Talleyrand de Périgord, Prince de Bénévent (1754–1838), De Quincey’s ‘rather middling bishop, but very eminent knave.’
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30.The late Lord Castlereagh.Lord Castlereagh had committed suicide in a fit of insanity in 1822. See vol.III.Political Essays, pp. 102–3, and note to p.36etc.
31.Barry.James Barry (1741–1806). See Hazlitt’s article on him, p.413et seq.
Collins.Probably Richard Collins (1755–1831), who was chief miniature and enamel painter to GeorgeIII.
And o’er-informed the tenement of clay.Dryden,Absalom and Achitophel,I.158.
32.Like an exhalation[a steam]. Milton,Comus, 556.
33.Which of you copied the other?Said of Menander by Aristophanes of Byzantium.
Note.Cleveland-House.Near Stable Yard, St. James’s, now called Bridgewater House. It was bought by the Duke of Bridgewater in 1730.
34.Albano.Francesco Albani (1578–1660), of Bologna, the friend of Guido Reni, and his fellow-student under the Carracci.
Moroni.Giovanni Battista Moroni (1520–1578), of Bondio, in the province of Bergamo, one of the greatest of portrait painters.
Milk of human kindness.Macbeth, ActI.Sc. 5.
Pordenone.Giovanni Antonio Licinio (1483–1539), of Pordenone, near Udine.
Tintoretto.Jacopo Robusti, or Tintoretto, from his father’s trade, dyeing (1519–1594), the head of Venetian sixteenth century painting.
Note.The late Mr. Curran.John Philpot Curran, the famous orator, had died in 1817.
35.Palma Vecchio.Jacopo Palma (1480–1528), of Serinalta, in the province of Bergamo. He is associated with Giorgione and Titian in the reform of the Venetian school.
Bassan.Jacopo da Ponte, Il Bassano (1519–1592), a follower of Titian, and a member of a family of north Italian painters.
Luca Cambiasi.Luca Cambiaso (1527–1585), of Moneglia, near Genoa, whose greatest work,The Rape of the Sabines, is in the Imperial Palace, at Terralba, near Genoa.
Alessandro Veronese.Alessandro Turchi (1582–c. 1648), of Verona.
Domenichino.Domenico Zampieri (1581–1641), of Bologna, a pupil of the Carracci.
Le Nain.Antoine and Louis Le Nain (b. 1588 and 1593 respectively), of Laon. They painted pictures of rustic life together.
Metzu.Gabriel Metsu (1630–1667), a genre painter, of Leyden. He was a pupil of Dou.
Douw.Gerard Dou (1613–1675), of Leyden, one of the greatest of Dutch painters of humble life.
36.Vangoyen.Jan van Goyen (1596–1666), of Leyden, one of the earliest of Dutch landscape painters.
With yellow tufted banks.
‘The slow canal, the yellow-blossomed vale,The willow-tufted bank, the gliding sale.’Goldsmith,The Traveller, 293–4.
‘The slow canal, the yellow-blossomed vale,The willow-tufted bank, the gliding sale.’Goldsmith,The Traveller, 293–4.
‘The slow canal, the yellow-blossomed vale,The willow-tufted bank, the gliding sale.’Goldsmith,The Traveller, 293–4.
‘The slow canal, the yellow-blossomed vale,
The willow-tufted bank, the gliding sale.’
Goldsmith,The Traveller, 293–4.
FromThe London Magazine, March 1823
36.A line of Kings.Macbeth, ActIII.Sc. 1.
The oak of Herne the hunter.Merry Wives of Windsor, ActV.Sc. 5.
37.The proud Keep of Windsor.A Letter to a Noble Lord, (Works, Bohn,V.137).
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37.Verrio.Antonio Verrio (1639–1707), of Lecce, near Otranto. He was employed at Windsor under CharlesII.and JamesII., and at Hampton Court under Anne.
West.Benjamin West (1738–1820), of Pennsylvania. He succeeded Sir Joshua Reynolds in 1792 as President of the Royal Academy.
Zuccarelli.Francesco Zuccarelli (c. 1702–1788), of Tuscany. He was one of the founders of the Royal Academy.
38.Clear-spirited thought.
Cf. ‘Fame is the spur that the clear spirit doth raise.’Milton,Lycidas, 70.
Cf. ‘Fame is the spur that the clear spirit doth raise.’Milton,Lycidas, 70.
Cf. ‘Fame is the spur that the clear spirit doth raise.’Milton,Lycidas, 70.
Cf. ‘Fame is the spur that the clear spirit doth raise.’
Milton,Lycidas, 70.
Mrs. Hutchinson’s admirable Memoirs.Lucy Hutchinson’s memoirs of her husband, the Puritan Colonel, were first published in 1806.
Lely.Pieter van der Faes (1618–1680). His father changed the name to Lely. He was made a baronet by CharlesII.
39.Kneller.He was born at Lübeck in 1646, made a fortune in England as a portrait painter, was knighted in 1692, made a baronet in 1715, and died in 1723. Pope wrote an epitaph for his monument in Westminster Abbey.
Ramsay.Allan Ramsay, portrait painter (1713–1784), son of ‘the Gentle Shepherd.’
40.The Misers.See vol.II.Characteristics, p. 417.
Quintin Matsys.Quentin Massys (1466–1531), of Louvain, the painter ofThe Entombment, in the Museum at Antwerp.
The still, small voice of reason.Cf. Cowper,The Task, v. 687, and1 Kingsxix. 12.
41.Denner.Balthasar Denner (1685–1749), of Hamburg.
FromThe London Magazine, June 1823.
The previous article in the series ended with the words:—‘We shall break off here, and give some account of the Cartoons at Hampton Court in our next, as we do not like them to come in at the fag-end of an article.’
42.Fine by degrees.Prior,Henry and Emma, 432.
44.Calm contemplation and majestic pains.
Cf. ‘Calm pleasures there abide—majestic pains.’Wordsworth’sLaodamia, 72.
Cf. ‘Calm pleasures there abide—majestic pains.’Wordsworth’sLaodamia, 72.
Cf. ‘Calm pleasures there abide—majestic pains.’Wordsworth’sLaodamia, 72.
Cf. ‘Calm pleasures there abide—majestic pains.’
Wordsworth’sLaodamia, 72.
and ‘Calm contemplation and poetic ease.’Thomson’sAutumn, 1275.
and ‘Calm contemplation and poetic ease.’Thomson’sAutumn, 1275.
and ‘Calm contemplation and poetic ease.’Thomson’sAutumn, 1275.
and ‘Calm contemplation and poetic ease.’
Thomson’sAutumn, 1275.
46.The seasons’ difference.As You Like It, ActII.Sc. 1.
Through their looped and tattered ‘wretchedness.Cf. ‘Your loop’d and windowed raggedness.’King Lear, ActIII.Sc. 4.
Sir James Thornhill.He copied the cartoons at Hampton Court, decorated Greenwich, and was much employed by Queen Anne. He was knighted in 1720 by GeorgeI.(1675–1734).
47.Like to those hanging locks.Fletcher,The Faithful Shepherdess,I.2.
48.Dwelleth not in temples.Actsvii. 48.
In act to speak.Pope,The Temple of Fame, 241.
LORD GROSVENOR’S COLLECTION OF PICTURES
FromThe London Magazine, July 1823.
PAGE
49.In our mind’s eye, Horatio.Hamlet, ActI.Sc. 2.
Warton.Thomas Warton (1728–1790). See vol.V.Lectures on the English Poets, p. 120 and note.
50.At every fall.Milton,Comus, 251.
51.Nod to him, elves.A Midsummer Night’s Dream, ActIII.Sc. 1.
The breezy call.Gray’sElegy written in a Country Churchyard.
52.Air[shape]and gesture proudly eminent.Paradise Lost, BookI.590.
53.It is place which lessens.Cymbeline, ActIII.Sc. 3.
54.Sigh our souls.Merchant of Venice, ActV.Sc. 1.
Snyders.Franz Snyders (1579–1657), of Antwerp, painter of hunting scenes.
55.Of the earth, earthy.1 Cor.xv. 47.
We think it had better not be seen.TheMagazinearticle adds:—‘We never very much liked this picture; but that may probably be our fault.’
FromThe London Magazine, October 1823.
The article ends with the words:—‘Blenheim in our next, which will conclude this series of articles.’
Note.The author of Vathek.William Beckford (1759–1844), whose romance was written in French in 1781–1782, translated anonymously into English in 1784, and published in French in 1787.
57.Ranged in a row.‘Ranged o’er the chimney, glistened in a row,’ Goldsmith,The Deserted Village, 236.
58.Keep their state.Love’s Labour’s Lost, ActV.Sc. 2.
Burke’s description of the age of chivalry.Reflections on the Revolution in France,Select Works, ed. Payne,II.89.
The mood of lutes[flutes].Paradise Lost, BookI.551.
Mount on barbed steeds, etc.Cf. ‘Mounting barbed steeds.’King Richard III., ActI.Sc. 1. and,
‘Witch the world with noble horsemanship.’1 King Henry IV., ActIV.Sc. 1.
‘Witch the world with noble horsemanship.’1 King Henry IV., ActIV.Sc. 1.
‘Witch the world with noble horsemanship.’1 King Henry IV., ActIV.Sc. 1.
‘Witch the world with noble horsemanship.’
1 King Henry IV., ActIV.Sc. 1.
The Goose Gibbie.SeeOld Mortality.
59.Of all men the most miserable.1 Cor.xv. 19.
Above all pain.Pope’sEpistle to Robert, Earl of Oxford.
Berchem.Seeante, note to p.22.
Hath a devil.S. Lukevii. 33.
60.Mieris.A family of Delft and Leyden painters, the best known of whom are Frans van Mieris, one of twenty-three children (1635–1681), the ‘prince of Dou’s pupils,’ and William van Mieris, his son (1662–1747).
The porcelain of Franguestan.‘Vathek voluptuously reposed in his capacious litter upon cushions of silk, with two little pages beside him of complexions more fair than the enamel of Franguistan.’ The description is commented on in a note which explains that they were Circassian boy-slaves.
Sir Richard Colt Hoare.Historian of Wiltshire (1758–1838).
61.Tempt but to betray.
Cf. ‘Whose fruit though fair, tempts only to destroy.’Cowper,The Progress of Error, 238.
Cf. ‘Whose fruit though fair, tempts only to destroy.’Cowper,The Progress of Error, 238.
Cf. ‘Whose fruit though fair, tempts only to destroy.’Cowper,The Progress of Error, 238.
Cf. ‘Whose fruit though fair, tempts only to destroy.’
Cowper,The Progress of Error, 238.
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61.Trace his footsteps.
Cf. ‘Where shall I seekHis bright appearances, or footstep trace?For, though I fled him angry, yet, recalledTo life prolonged and promised race, I nowGladly behold though but his utmost skirtsOf glory, and far-off his steps adore.’Paradise Lost,XI.328.
Cf. ‘Where shall I seekHis bright appearances, or footstep trace?For, though I fled him angry, yet, recalledTo life prolonged and promised race, I nowGladly behold though but his utmost skirtsOf glory, and far-off his steps adore.’Paradise Lost,XI.328.
Cf. ‘Where shall I seekHis bright appearances, or footstep trace?For, though I fled him angry, yet, recalledTo life prolonged and promised race, I nowGladly behold though but his utmost skirtsOf glory, and far-off his steps adore.’Paradise Lost,XI.328.
Cf. ‘Where shall I seek
His bright appearances, or footstep trace?
For, though I fled him angry, yet, recalled
To life prolonged and promised race, I now
Gladly behold though but his utmost skirts
Of glory, and far-off his steps adore.’
Paradise Lost,XI.328.
Though in ruins.Paradise Lost,II.300.
Of the court, courtly.Cf. ‘Of the earth, earthy.’1 Cor.xv. 47.
From theNew Monthly Magazine, vol.IV., 1822,Table Talk, No.IV.
62.And dull[dead]cold winter.The Two Noble Kinsmen, ActII.Sc. 1.
Faded to the light.Wordsworth,Ode, Intimations of Immortality.
Ways were mire.Milton, SonnetXX.
63.And still walking under.Seeante, note to p.10.
I was brutish[beastly]like, warlike as the wolf.Cymbeline, ActIII.Sc. 3.
Paul Potter.Of Enkhuizen (1625–1654), animal painter.
64.To see the sun to bed.Lamb,John Woodvil, ActII.
Hunt half a day.Wordsworth’sHart-Leap Well, PartII.
65.Humbled by such rebuke.Paradise Lost,VI.342.
And in its liquid texture.Ibid.,VI.348–9.
Inimitable on earth.Ibid.,III.508.
66.Hesperian fable true.Ibid.,IV.250.
Dream of a Painter.See Northcote’sVarieties on Artin hisMemoirs of Sir Joshua Reynolds, etc. (1813–1815), p. xvi. See also vol.I.The Round Table, note to Guido, p.162.
Paul Brill.Of Antwerp (1556–1626), a follower of Titian.
67.His light shone in darkness.Cf.S. Johni. 5.
Luca Jordano.Luca Giordano (1632–1705), of Naples, ‘Il Presto,’ the quick worker, who imitated all the great painters.
Grinling Gibbons.The wood carver (1648–1720), of Rotterdam. He was brought to public notice by Evelyn, the Diarist, and his work may be seen in St. Paul’s, London, and Trinity College Library, Cambridge.
68.Lords who love their ladies like.Cf. Home’sDouglas, ActI.Sc. 1: ‘As women wish to be who love their lords.’
From theLondon Magazine, November 1823
The article ends as follows:—‘We now take leave ofBritish Galleries of Art. There are one or two others that we had intended to visit; but they are at a great distance from us and from each other; and we are not quite sure that they would repay our inquiries. Besides, to say the truth, we have already pretty well exhausted our stock of criticism, both general and particular. The same names were continually occurring, and we began sometimes to be apprehensive that the same observations might be repeated over again. One thing we can say, that the going through our regular task has not lessened our respect for the great names here alluded to; and, if we shall have inspired, in the progress of it, any additionaldegree of curiosity respecting the art, or any greater love of it in our readers, we shall think our labour and our anxiety to do justice to the subject most amply rewarded.’
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69.With glistering spires.Paradise Lost,III.550.
Hold high converse.Thomson,The Seasons: Winter, 431.
No mean city.Actsxxi. 39.
All eyes shall see me.Cf.Isaiahxlv. 22–23 andRomansxiv. 11.
70.Clappeth his wings, and straightway he is gone.Cf. Pope,Eloisa to Abelard, 74:
‘Spreads his light wings, and in a moment flies.’
‘Spreads his light wings, and in a moment flies.’
‘Spreads his light wings, and in a moment flies.’
‘Spreads his light wings, and in a moment flies.’
Majestic, though in ruins.Paradise Lost,II.300.
Giuseppe Ribera.Josef Ribera (1588–1656), of San Felipe, near Valencia, a pupil of Caravaggio and leader of the realist school of his time.
71.Lucid mirror.Cowper,The Task,I.701.
And fast by hanging in a golden chain.Paradise Lost,II.1051.
In form resembling a goose pie.Cf. ‘A thing resembling a goose-pie,’ Swift,Vanburgh’s House, l. 104.
The old Duchess of Marlborough.Sarah Churchill,néeJennings (1660–1744), wife of John, 1st Duke of Marlborough.
72.Leave stings.Cf. ‘Would leave a sting within a brother’s heart.’