humanity might we not expect would be instilled into the mind from the labours of the pencil? This is a poetry which would be understood with much less capacity, and less expence of time, than what is taught by writings; but the use of it is generally perverted, and that admirable skill prostituted to the basest and most unworthy ends. Who is the better man for beholding the most beautiful Venus, the best wrought Bacchanal, the images of sleeping Cupids, languishing nymphs, or any of the representations of gods, goddesses, demi-gods, satyrs, Polyphemes, sphynxes, or fauns? But if the virtues and vices, which are sometimes pretended to be represented under such draughts, were given us by the painter in the characters of real life, and the persons of men and women whose actions have rendered them laudable or infamous; we should not see a good history-piece without receiving an instructive lecture. There needs no other proof of this truth, than the testimony of every reasonable creature who has seen the cartoons in her majesty's gallery at Hampton-court. These are representations of no less actions than those of our blessed Saviour and his apostles. As I now sit and recollect the warm images which the admirable Raphael has raised, it is impossible even from the faint traces in one's memory of what one has not seen these two years, to be unmoved at the horror and reverence which appear in the whole assembly when the mercenary man fell down dead; at the amazement of the man born blind, when he first receives sight; or at the graceless indignation of the sorcerer, when he is struck blind. The lame when they first find strength in their feet, stand doubtful of their new vigour. The heavenly apostles appear acting these great things, with a deep sense of the infirinities which they relieve, but no value of themselves who administer to their weakness. They know themselves to be but instruments; and the generous distress they are painted in when divine honours are offered to them, is a representation in the most exquisite degree of the beauty of holiness. When St. Paul is preaching to the Athenians, with what wonderful art are almost all the different tempers of mankind represented in that elegant audience? You see one credulous of all that is said; another wrapt up in deep suspense; another saying, there is some reason in what he says; another angry that the apostle destroys a favourite opinion which he is unwilling to give up; another wholly convinced, and holding out his hands in rapture; while the generality attend, and wait for the opinion of those who are of leading characters in the assembly. I will not pretend so much as to mention that chart on which is drawn the appearance of our blessed Lord after his resurrection. Present authority, late sufferings, humility and majesty, despotic command, and divine love, are at once seated in his celestial aspect. The figures of the eleven apostles are all in the same passion of admiration, but discover it differently according to their characters. Peter receives his master's orders on his knees with an admiration mixed with a more particular attention: the two next with a more open ecstasy, though still constrained by an awe of the divine presence. The beloved disciple, whom I take to be the right of the two first figures, has in his countenance wonder drowned in love; and the last personage, whose back is towards the spectators, and his side towards the presence, one would fancy to be St. Thomas, as abashed by the conscience of his former diffidence; which perplexed concern it is possible Raphael thought too hard a task to draw, but by this acknowledgment of the difficulty to describe it. The whole work is an exercise of the highest piety in the painter; and all the touches of a religious mind are expressed in a manner much more forcible than can possibly be performed by the most moving eloquence. These invaluable pieces are very justly in the hands of the greatest and most pious sovereign in the world; and cannot be the frequent object of every one at their own leisure: but as an engraver is to the painter what a printer is to the author, it is worthy her majesty's name, that she has encouraged that noble artist Monsieur Dorigny, to publish these works of Raphael. We have of this gentleman a piece of the transfiguration, which I think, is held a work second to none in the world. Methinks it would be ridiculous in our people of condition, after their large bounties to foreigners of no name or merit, should they overlook this occasion of having for a trifling subscription, a work which it is impossible for a man of sense to behold, without being warmed with the noblest sentiments that can be inspired by love, admiration, compassion, contempt of this world, and expectation of a better. It is certainly the greatest honour we can do our country, to distinguish strangers of merit who apply to us with modesty and diffidence, which generally accompanies merit. No opportunity of this kind ought to be neglected; and a modest behaviour should alarm us to examine whether we do not lose something excellent under that disadvantage in the possessor of that quality. My skill in paintings, where one is not directed by the passion of the pictures, is so inconsiderable, that I am in very great perplexity when I offer to speak of any performances of painters of landscapes, buildings, or single figures. This makes me at a loss how to mention the pieces which Mr. Boul exposes to sale by auc tion on Wednesday next in Chandois-street: but having heard him commended by those who have bought of him heretofore for great integrity in his dealing, and overheard him himself (though a laudable painter) say, nothing of his own was fit to come into the room with those he had to sell, I feared I should lose an occasion of serving a man of worth, in omitting to speak of his auction. T. N° 227. TUESDAY, NOVEMBER 20, 1711. Ω μοι ἔγω, τι πάθω; τί ὁ δύσσον; οὐχ ὑπακούεις; THEOCR. Idyl. iii. 24. Wretch that I am? ah, whither shall I go? P. In my last Thursday's paper, I made mention of a IN place called The Lover's Leap, which I find has raised a great curiosity among several of my correspondents. I there told them that this leap was used to be taken from a promontory of Leucas. This Leucas was formerly a part of Acarnania, being joined to it by a narrow neck of land, which the sea has by length of time overflowed and washed away; so that at present Leucas is divided from the continent, and is a little island in the Ionian sea. The promontory of this island, from whence the lover took his leap, was formerly called Leucate. If the reader has a mind to know both the island and the promontory by their modern titles, he will find in his map the ancient island of Leucas under the name of St. Mauro, and the ancient promontory of Leucate under the name of The Cape of St. Mauro. Since I am engaged thus far in antiquity, I must observe that Theocritus in the motto prefixed to my paper, describes one of his despairing shepherds addressing himself to his mistress after the following manner: Alas! What will become of me! wretch that I am! Will you not hear me? I'll throw off my clothes, and take a leap into that part of the sea which is so much frequented by Olpis the fisherman. And though I should escape with my life, I know you will be pleased with it.' I shall leave it with the critics to determine whether the place, which this shepherd so particularly points out, was not the above-mentioned Leucate, or at least some other lover's leap, which was supposed to have had the same effect. I cannot believe, as all the interpreters do, that the shepherd means nothing farther here than that he would drown himself, since he represents the issue of his leap as doubtful, by adding, that if he should escape with life, he knows his mistress would be pleased with it: which is according to our interpretation, that she would rejoice any way to get rid of a lover who was so troublesome to her. After this short preface, I shall present my reader with some letters which I have received upon this subject. The first is sent me by a physician. |