The things which I have here before promised, I will perform and keep, so help me God, and the contents of this book: he then kisses the book. The following brilliant little Epigram, was written shortly after the coronation of his Majesty. THE PATRIOT KING, OR, GEORGE THE THIRD. THREE Georges now, for Britain's welfare born, The first, tho' view'd with party's envious eyes, M THE KING'S JUDGMENT IN THE FINE ARTS. GEORGE the Third, in his general esteem for the arts, professed great partiality for good paintings, and felt much gratification at being the founder of the Royal Academy. He was delighted with the magnificence of their apartments at Somerset-House, and did not envy their superior elegance to those of his own usual residences. He heard with great anxiety of any circumstances which disturbed the peace of the academy; particularly in the instance of that real genius, but eccentric man, Barry, (who painted the great room of the Adelphi Society), when he incurred the displeasure of the academicans by his free censure, in a lecture of the main design of the buildings of Somersethouse. This affair vexed the King, who had expressed his approbation of the great merits of Barry, but he entertained a high opinion of Sir W. Chambers, who was his first architect; yet most critics who have considered the site of Somerset-house, will incline towards Barry's ideas. The King used to devote several hours to his annual view of the exhibition; and though he asked the opinions of the attendant artists, yet, his accustomed rapid manner, was ge nerally pretty free in his own remarks. He always manifested his patriotic feeling at the proofs of rising native talents, exclaiming, "Clever artist!-Promising young man this!" Sir Joshua Reynolds was an immense favourite with him, and in this he was succeeded by Mr. West, whom he employed oftener. With this eminent artist he allowed his kingly dignity to lose itself in long and familiar chitchat; but, as in all such cases, he could resume it at once if occasion seemed to require it. He had a strong fancy for portraits. Though he bought a good many pictures, he was ever far enough from expending improvident sums for them. The celebrated Houghton collection, which some expected would find its place in his palaces, was suffered to be shipped off to St. Petersburgh, for the Empress Catharine. He had some pictures by Northcote, Zoffani, Gainsborough, and Romney. There is a wholelength of the King in one of the state-rooms, habited in his parliament robes, which he thought a good likeness, and generally asked his visitors to look at. His Majesty's taste forsook him at one time, when he removed the divine cartoons of Raphael from the long gallery, constructed for their reception at Hampton-court, by King William, to Buckinghamhouse. Their was no painted copies of them, but at Sir J. Thornhill's, at Bedford-house, and which are now in the University gallery, at Oxford. They travelled afterwards to Windsor, but the King at last restored them to their original places. In these removals they sustained no serious injury. Altogether there is a fine royal collection at Windsor, Buckinghamhouse, and Hampton-court; some good portraits at Kensington; but there are only the head of an old Venetian doge, and some other trifles, in the council-chamber at St. James's. The King patronized the valuable improvements of Jervis, &c. in the beautiful art of painting glass windows. His Majesty liked to look at monuments and read epitaphs, but his taste for sculpture did not appear very particular. Perhaps the King, to speak familiarly, was seldom more at home than in conversing on matters which mixed the mechanical with the scientific. Hence charts and maps, or the construction and goodness of a time-piece, a telescope, and other optical or mathematical instruments, or of pieces of clever machinery, down even to those of mere convenience, interested him greatly. He was occasionally philosophical. Inventions and discoveries were sure to attract his notice. In relieving his mind from matters of importance or mere routine, by light mechanical occupations, he bad the authority and recommendation of Locke. Old folks remember well what talk there was once about the King's having turned in a lathe a set of ivory buttons. His chief amusement, in doors, it is known, was music, and that certainly of the highest character for grandeur and sublimity of composition, by which he not only gratified a welltuned ear, but exalted his devotional feelings; but he had very little relish for the meretricious bravura of the Italian stage, and less for the fantastic and bewitching movements of its ballets. Had the voluptuous waltz been introduced at his court, the royal frown would assuredly have forbidden its reception; its German origin could not have saved it. For many years, the Opera had not been honoured by the royal presence. Neither the music, nor the show, nor the circled splendours of his nobility, and still less the lateness of the hours, had attraction sufficient to claim his evenings, or interfere with the regularity of his habits. But he loved with all his heart to go and see, and enjoy an English play as often as he could make it convenient. Here he was quite at home; an English king, in the midst of his subjects of all ranks and classes, partaking of the common amusement, and sharing in the universal pleasure. But here, while he relaxed his state to exhilirate his humanity, he could not command exemption from the sneers or the sarcasms of |