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urain, varours, and clouds, and forms,' but nishing the fantastic idea of travelling, reunder an aspect more gentle and conciliating. mains contentedly in its place : and that I am, Sir, et.

wind, which used to sport in the smooth PERSIU S. expanfe of the ocean, being seized with a

violent panic, in its fiight overset huge rocks. ALREADY a change was apparent in the The trees, as naked as ifjust come to resurSeason, and symptoms of mutability became rection, and stripped of their leaves and buds. evident in the conftitution of the times. The extend their imploring arms to heaven. The mighty king of the stars, forlaking the scale* nightingales'Ay from the garden to complain of justice, laid violent hands on the seaf, of the sun's clopement, leaving the ravens in which injustice curtailed the career of day. poffefion of the orchards; and the fleet of ad lrgthened the broad veil of darkness, the earth, in expectation of being imprinted The troops of harvest, who had long waited with vernal productions, becomes whiter than for this event in the ambuícade of expedia. the cheek of the jesfamine. The lowly inha. tion, now leaped from their concealinent, 'bitants of the field, chid hy the raging blait, with a design of pillaging the four inhab.ted have fled on the road of anmb.lation; the quarters of the globe ; and advancing on the rose and the tulip, leaving their deserted plain of the universe, began to exiend the habitations to the owl, fall victims to the hand of rapacity: the coldness of their cha- gioomy Di t, and the furious Behmen, their rity froze juit.ce; whilst they began their beautiful ornaments torn in ten thousand attack, by laying fiege to orchards and gar- pieces ; the fiately cypress, which had long dens, divesting them completely of their leaves reigned in the metropolis of vegetation, is and musical notes. The earth and its inha- pulled tiom the throne of dominion; the lily, bitarts, fro.n a dread of their swift and war. riling on its unbending Stall, was divefied of di se co:rførs, began to shiver like the trem-' its foliage, by tricle worse than Tartarian bling afyin; whilitoshers, like foxes, 'be. invaders, and thrown proftrate in the cell. f con ng enamoured oi furs, mut themfelves destruction. Neither did the fragrant locks

up in their secluded apartments, and otrzı ved of th: hyacinth, nor the pla.ted treffes of th: , tre external desolation from the rcors of their honey-fuckle, preserve them from the ruthless

fecurii. The clusters of grapes which have fue ; whilft the rose-buds, juic opening to escaped the persecution of the jackallis, now The day, expired with crror at the difinál offer thankiyiving in the cell of humility; tricks of Di's oppressive squadrons, and whilft that vagrant fluid, which forinerly ar- their crimion remnants were scattered on pired to circumnavigate the globe, now ba.

To the EDITOR of the EUROPEAN MAGAZINE.
SIR,
T

HE account of the differences sub- charge of his fun's education. That on

tilling in Trinity College, as given this occafion fome conversation might pals in your iwo Jatt Magazines, being prin- concerning the refutal of a copy of ihe cipalty extracted froin the affidaviis on Iunience; yet he did not recolle&t any cach lide, mult of course be admitted by direct repulifition of lich

copy being both parties as truc. To the general mide. The mention of a single fact ftatement no objection can 1. irly be maile, omitted in both the affidavits will recuit. and yet foie circumitances may not be cile this seeming contraddi&tiun. Mr. fufficiently explained. One omillion where Popple waited livice on the Matter; once, is which, though it has arisen from a pire in iie interval between presenting the M:tial knowledge of the fubject, and not morial and puting tne Cenfure, to decline from any with to suppress the truih, ought the tuition of his Loralship's ion, as instot to pats unnoticed. It is srifling as to compatible with his situation. The other the merits of the caule; but it may por. time was, as related in your Magazine, fibly'injere the reputation of an indivi.

and purposely, as Mr. Popple was heard dual. After itating that Mr. Popple hazi to lay both before and after this vilit, to waiied upon the Master, and applied to nake the applicacion alluded to; and tion for a copy of the centre, it is oh. which application he certainly muit have ferved in a Note, that the Master in his made, because it was his on'y reifun for alfidavit lys, " that wil respect to this his waiting on the Master. Ai the first in. application he underltood Mr. Popple's terview nothing was taid of the Memorial; Kilit to have been in consequence of an at the secund, nothing on the subject of offer which had been made to him to take education.

* Alluding to the sun's quitting Libra, and entering the sign Virgo : by the Arabs deno. *minated the sheaf. * D. and Dehnen give their names to two of the winter monthia

TH'E

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Observations relative to Picturesque Beauty; made in the Year 1772, on several Parts

of England; particularly the Mountains and Lakes of Cumberland and Weltmoreland. By William Gilpin, M. A. Prebendary of Salisbury, and Vicar of Bolder in New Forest, near Lymington. 2 Vols. 8vo. Blamire. 1786. With Plates: il. 118.6d, in Boards.

A

WORK which has lain for sometime English language, STERNE and GILPIN lished, of being weil received. If worth- In a preface we are told, that “the Ob. less, it is suppressed: if valuable, the wri. fervations before us were at first thrown ter's partialities being weakened by time, together, WARM FROM THE SUBJECT, and his judgement strengthened in propor. each evening after the scene of the day tion, his work undergoes due revision and had been presented ; and in a moment of correction.

more leisure, were corrected, and put into Thoughts thrown together for a man's form-but merely for the amusement of own amusement, or for the amusement of the writer himfelf; who had not, in a few friends, have an advantage over a truth, at that time, the least idea of their work which is written intentionally for being able to furnish amusement to any publication. The fornier enjoys a freedom body else. A few only of his friends saw which the latter in general is a stranger them. One of them, however, law them to. The licences of a PRIVATE MANU- with so partial an eye, that he thought SCRIPT require alone to be done away proper to mention them to the public*, in publication.

This raised the curiosity of many; and The work before us was written for laid the author under the necessity of prow private amusement in the year 1772, and ducing his papers to a wider circle; but was publifoed in 1786; lying in manu- still without any design of publishing scripi an interval of fourteen years ; du- them. A sense of their imperfections, ring which time it was read and improved and of the many difficulties in which by the author and his friends; and at such a work would engage him, prevent. length prepared (with it hould seem no ed any intention of that kind. {mall cale) for publication. It has there- “ Among others who desired to see them, fore had the requisite advantages of a li- was the late duchess dowager of Portland ; a terary work ; and its merit is such as few lady, of whose fuperior character the world literary works can claim : not merely, is well informed. Having seen them foon however, through the circumstances at after they were written, and a second time tending its composition and publication, after an interval of seven or eight years, hec but chiefly owing to a peculiar style of Grace pressed the author to print them; most thinking, and a happy mode of expression, obligingly offering to faclitate an expensive which this author may claim as his own. publication by contributing largely to a subIn point of originality, as writers in the scription. Though the author chose to de

* Mason's Memoirs of Gray, p. 377. VOL. XIII.

D

clino

ARTIFICIAL ORNAMENT.

cline that mode of publication, yet the du- " It is the aim of pi&turesque description chess's persuasion was among his principal to bring the images of nature as forciinducemients to prepare his papers for the bly, and as closely to the eye, as it can; public. The press-kork was about half and this must often be done by high cocompleted at the time of her Grace's death. louring, which this species of composi

“ But though this work has hcen thus fat. tion demands. By bigh-colouring is not tered; and hath received considerable im- meant a firing of rapturous epithets provements, both from the author himself, (which is the feeblest mode of delcripduring the many years it has lain by him, and tion) but an attempt to analyze the views from several of his ingenious friends ; yet of nature -- to open their several parts, in still be offers it to the public with apprehen. order to thew the effect of a whole.--to fion."

mark their tints and varied lights---and His first apprchension is, that the time to express all this detail in terms as apwhich lie bad to employ in making o5. propriate, and yet as vivid as postible." servations on the several landscapes he Oor author's execation is fully equal to has described was inadequate. His se his defign. He has, as it were, invented cond proceeds from the changes which a new language for the occasion: and take place in scenery, even the wildest, one which is fingularly well adapted to it; from the growth and destruction of tim- glowing, yet chaste. Now and then, ber and other causes. The third ground however, we meet with an expression of the author's apprehension is, that he which is not quite clear to our compremay be thought too severe in his stric. henlion. Thus, speaking of the English tures on scenes of art. This lias led him oak (Vol. I. p. 9.) he lays, “ The oak to contider fone general principles of is the noblest ornament of the foreground,

“ A house," fpreading from side to fide its tortuous he fays, “ is an artificial object; and the branches, and foliage, rich" perhaps scenery around it mufi, in fome degree, “ with some autumnal tini.Again (in partake of art. Propriety requires it : Vol. II. p. 60.) describing a remarkable convenience demands it. But it it par- echo. "It first rolls over the head in take of art as allied to the manfon; it one vast peal. Then subliding a few sethould also partake of nature, as allied conds, it rises again in a grand, interto the country."-" If the scene be large, rupted burft, perhaps on the right.it throws off art, by degrees, the more it Another solemn pause ensues. Then the recedes from the mantion, and approaches found arifes again on the left. Thus the country."

thrown from rock to rock, in a fort of These principles are just, but they are aerial perspective, it is caught again per. not new. We do not mean to accuse Iraps by Tome nearer promontory; and Mr. Gilpin of plagiary ; but we have returning full on the ear, surprizes you, mct with a passage, in a work on Orna. after you thought all had been over, with mental Gardening and Planting, publiked as great a peal as at first.”. Throwing by Dudley in 1785*, fo very limilar to echo into perspective is, we think, rather these which we have here quoted, that fanciful than pbilosopbical. In fome of we must at least infer, when two men the descriptions, notwithstanding the austudy the same fubje&t from nature, and thor's guardedness, epitbets have crept in think and write with freedom, their ideas abundantly I. But there blemishes, if and mode of expression will be similar t. they be really such, are few and small in

A fourth apprehension of the author is, coniparison with the beauties with which that he has wrought up some of the de. these two volumes are strongly characscriptions higher than the simplicity of teriled. prolaic language will allow. But he lays,

. For a review of this publication fee European Magazine, Vol. IX. p. 23.

+ The paffage alluded to is this : “ The manfion ought to be considered as the centre of the system; and the rays of art, like those of the sun, thould grow fainter as they recede from the centre. The house itself being entirely a work of art, its immediate environs fhould be highly finished; but as the distance increases the appearance of defign Mould gradually diminibh, until nature and fortuitousness have full possession of the scene.” Plansing und Orn. Gard. p. 6o6.

Were we inclined to cavil at words, it would be with foarce for scarcely—it's for its And indeed-a (pccies of tautology, with which almost every page is more or less fullied.

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Fifthly, the author fears he may be cal. Thus far the Preface. We now enter led on to apologize for the many digreso upon the body of the work; but not yet fions he has inade. These digressions are upon the tour. The first section is appartly didattic, and in part biftorical propriated to a general view of England They are numerous, and sometimes long; a picturesque country; which view but seldom tedious, mostly interesting. having been already inserted in Vol. XI.

Lastly, the author is apprehenfive left we shall proceed to the Tour; through any one should be so severe as to think which we have accompanied our intellihis work inconsistent with the profeflion gent and entertaining guide with fingular of a clerzyman. This we conceive to be satisfaction ; and wish we could, within a false fear; as we allow, with Mr. Gils the limits of our plan, convey to our reapin, that the amusements of the three fif- ders an adequate idea of the charming ter-arts are all con listent with the clerical fights we have seen. This, however, is profession. “ The only danger," as Mr. imposlible. All we can do is to select a G. well observes, “ is, left the amufement few passages, and thereby give some idea -the fascinating amusement ---Nould of Mr. Gilpin's language and power of press on improperly, and interfere too description. In doing this we will run much with the employment."

over the volumes progresively; marking Our author now passes on to the plates the more noticeable passages as they ocwhich accompany these yolunięs and which raise its price to an extravagant

Remarking on

the

AND height. They are of two kinds ; one to SHADE OF MOUNTAINS, Mr. G. fays, illuitrate and explain picturesque ideas; “ It is an agreeable amusement to attend the other to characterise the countries these vait fadows in their how, and fothrough which the reader is carried. lemn march over the mountains-to ob.

To the profefon these plates may be serve, how the morning sun sheds only a highly acceptable ; but by the generality faint catching light upon the summits of of readers, we fear, they are considered the hills, through one general mass of haas dross, for which they are paying the zy shade-in a few hours how all this price of pure metal. An edition of these confusion is diffipated--- how the lights volumes, together with Mr.G.'s Obser- and Mades begin to break, and separate, vations on the Wye, &c.without the and take their form and breadth--- how plates-would, we will venture to say, be deep and determined the shadows are at lingularly acceptable to the public. noon ---how fugitive and uncertain as the

Having laid down some general princi- fun declines, till it's fires, glowing in the ples of landfcape, our author fays, he west, light up a new radiance through the " means not, however, to offer the for- landscape; and spread over it, instead of traits and illuftrations he hath here given, sober light and Made, all the colours of as perfect examples of the principles he nature, in one bright, momentary gleam. hath laid down. It is a difficult matter It is equally amusing to obferve the va. for any artist (at least, who does not claim rious shapes which mountains affume through as a professional man) to reach his own all this variety of illumination; rocks,knolls, ideas. What he represents will ever falļ and promontories, taking new forms; apshort of what he imagines. With regard pearing and disappearing as the sun veers to figures particularly, the author withes round; whose radiance, like varnish on a to premise, that the rules laid down in picture it I may use a degrading comparison) the beginning of the second volume (p. brings out a thousand objects unobserved 43, &c.) are here little obierved. Thole before.” reinarks were chiefly intended for works In describing the effect of TEMPEST in a larger tyle. Figures on so small a ON LAKE SCENERY, our author exhibits Icale as these, are not capable of receiving a specimen of his big best Ayle of colour. character. They are ai best only what ing: he calls picturesque appendages.

" In the midst of the tempeft, if a bright " Besides, the representations here fun-beam Mould suddenly break out, and, in given have again sustained a lofs by going Shakespear's language, ligbs up tbe li orm, the ibrough a translation in fo rough and un- scenery of an agitated lake, thus afsifted by the manageable a langua:c as that of brass powers of contrast, affects both the imagina. and aquafortis.Who but Mr. Gilpin tion and the eye, in a fill greater degree. would have expressed the same idea in Some broad mountain-lide, catching a mass nearly the fame language?

of light, produces an astonishing effect amidst P 2

the the leaden gloom which surrounds it. Per- to let in some beautiful, transient view ; and haps a sunbeam, half suffused in vapour, perhaps fallen again, while we admire, leaves darting between two mountains, may stretch us that ardent relish which we have for please along the water in a lengthened gleam, just ing objects suddenly removed. as the skiff passes to receive the light upon Mr. Gilpin's remarks on VIEWING it's swelling fail; while the sea-gul!, wheel- PICTURES, are excellent. ing along the storm, turns its silver side, “ Painting is the art of deceiving ; and Atrongly illumined, against the borom of some it's great perfection lies in the exercise of Jurid clud; and by that single touch of op- this art. position gives double darkness to the rising “ Hence it is that genius and knowledge tempeft."

are as requifite in surveying a picture, as in Speaking of the River DERWENT, painting onc, The cold, untutored eye, Mr. Gilpin observes, " I cannot help tho it may enjoy the real scene (be it remarking the Angular character of this history, landscape, or wbat it will) is unmountain-ftream. There is not perhaps moyed at the first representation. It does not a river in England which passes through fue an 6x18 reseniblance of what it fees fuch a variety of different scenes, What abroad; and having no internal pencil, if I wild romantic channel it thapes, before may so speak, to work within, it is utterly it enters the vale of Burrodale, is to us unable to adminifier a picture to itself. unknown. There first we commenced our Whereas the learned eye, versed equally in acquaintance with it. It's passage through nature and art, easily compares the picture that mountain chasm, is marked with with it's archetype; and when it finds the objects, not only great in themselves, but characteristic touches of nature, the imagirarely to be found elsewhere in such in. nation immediately takes fire; and glows teresting combinations.

with a thicuíand beautiful ideas, suggested “From a mountain stream it soon assumes only by the canvas. When the canvas there, a new character, and changes into a lake; fore is so artificially wrought, as to suggest where it displays the wonders we have just these ideas in the strongest manner, the pic, seen.

ture is then most perfect, This is generally " From hence emerging, it again becomes best done by little labour, and great know. a river : but foon forms the lake of Baffen- ledge. It is knowledge only, which inspires thwait ; of form and dimensions very differ- that free, that fearless, and determined pencil, ent from that of Kelwick.

expressive in a skillul hand. As to the “Contracting iiseli again into a river, it minutice of nature, the picturesque eye will puts on a character entirely new, Hitherto generally suggest them better itself, and yet it has adorned only the wild, rough scenes of give the artist, as he deserves, the credit af nature. All these it now relinquishes tbe whole," rocks-lakes--and mountains; and enters a sweet delightful country, where all il's ac

" The evening, which grew more tempere companiments are soft, and lovely. Among tuous, began to close upon us, as we left other places it visits the noble and pictų.

the more beautiful parts of the vale of Lor. resque ruins of Cockermouth-castle ; under

We were ftill about six miles from the walls of which it glides,

Keswick; and had before us a very wild “ Frond hence it palles to the sea, which country, which probably would have afforded many streams of greater consequence never

no great amusement even in full day ; meet under their own names; but are ab- but amid the obscurity which now overforbed by larger rivers : while the Derwent, spread the landscape, the imagination was after all the astonishing fcenes it has adornedl

; left at large; and painted many images, which adds to it's other beauties those of au estuary,' perhaps did not really exist, upon the dead

colouring of nature. Every great and plealing " Among the beautiful APPEARANCES OF form, whether clear, or obscure, which Togs, and mists, their gradually going off we bad seen during the day, now played in

A landscape cakes a va- strong imagery before the fancy; as when riety of pleasing bues, as it paffes, in a re- the grand chorus ceales, idcal music vibrates tiring fog, through the different modes of in the ear. obscurity into full splendor.

In one part, a vicw pleased us much ; “ There is great beauty also in a fog's pur though perhaps, in stronger light, it might şially clearing up at once, as it pften does; and have escaped notice. The road made a sud. presenting lome distant piece of landscape den dip into a little winding valley; which under great radiance; when all the surround, being too abrupt for a carriage, was ealed by ing parts are still in obscurity.' The curtain a bridge : and the form of the arch appears is not entirely drawn up ; it is only just raised, ed to be what we commonly find in Roman

aqueducts.

ton.

may be observed.

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