In the wild chaos of distempered sleep ;--- Life's waking dreams, from sleep's close counterfeit. Confound the forms, and substances of things;--- AMANTHA'S BLESSING. Curse thee, my father! Hear, all ye sacred hosts of heaven! my prayer! WOMAN. No, thou shalt live, a model to thy sex, HAPPINESS AND MISERY. O! had our lot been fix'd in calmer times, Life's tranquil course---where hearts might love at peace Wilt thou not frustrate, in their impious ends, Those evil spirits that molest thy world! Who vex our days with war, and make this earth--- With all things for our good---a howling waste CONVERSION OF A JEW. BOCCACCIO relates, that a Jew, named Abraham, on being pressed to become a Christian, answered the monk, who was endeavouring to convert him, that he would go to Rome, and see what was the conduct of the heads of the Catholic religion, and then decide. The monk, conscious of the profligacy of the Romish clergy, tried to dissuade him, but in vain. He went, and on his return thus addressed the friar: "Father, I am determined to embrace your religion, for if it were not true, the enormities committed by your clergy must have ruined it long since." MR. MERTON, ANCIENT PAINTINGS. (A Letter.) PERMIT me to offer your readers a description of the Ancient Paintings which adorn the meeting-room of the Society of Antiquaries at Somerset House. On the establishment of this learned and highly respectable body of gentlemen by King George the Second, his Majesty presented them four pictures, which he purposely removed from Windsor Castle, where they had been placed by Henry the Eighth, at whose command they were executed in commemoration of some of the most brilliant events of his reign. As works of art they possess very considerable merit, but as the utility and beauty of light and shade, and the harmony of colours, were not formerly so well understood as at present, it would be unfair to compare them with the productions of modern times. Still, however, if these pictures may be excelled in some respects, it should also be acknowledged that their merit in other particulars, will not yield to the most skilful pencil of any country or age. Besides the deficiencies of the ancient artists already hinted at, it is equally certain, that their knowledge of perspective was very imperfect. They evidently knew that all objects were viewed under its influence, but it was a science not yet reduced to fixed rules; and if we may judge from their performances, rules were to them unnecessary, since had any been followed, they would have diminished the interest, in proportion as they increased the accuracy, of their representations. The angle of sixty degrees would comprise but a small space in an ancient picture. If the subject were historical,-a procession, or a battle, the movements which occupied many acres of ground were compressed into a comparatively small space, which space, however, far exceeded any reasonable limits, according to the rules of perspective; or if the subject were an English landscape, the entire park and gardens were commonly placed before the eye, in one uninterrupted view. Labour and ingenuity were unsparingly bestowed on these performances; in proof of which I need only observe, that excepting on the back of an eagle, or some other soaring bird, no situation could enable the ancient artists to view their objects as they delineated them in their paintings, and in the engraved works of Plott, Kip, and Buck. I hope to be pardoned this exordium, having for my object to declare the system under which the fine arts in this department were formerly practised, and to which I know of no exception. I shall only farther observe, that artists of the present day are too apt, in the exuberance of their fancy, to overstep truth and nature. Formerly, exact representation was the solecism of the painter; no deformities were corrected, no deficiencies supplied. Gold and silver appeared in all their brilliancy, green trees and fields assumed nothing of the autumnal hue, and tiled houses shone in undiminished rubicundity. The battle of Guinegate, or, as it is more commonly called, the battle of the Spurs, was fought in the year 1513. Henry the Eighth commanded the English army then in France, but it does not appear that he was engaged in this action. The French forces were commanded by the Duke of Longueville, who, together with Bussi d'Amboise, Clermont, Imbercourt, the Chevalier Bayard, and many other officers of distinction, were made prisoners. The picture commemorating this remarkable engagement, is the first to be described. Its merits are numerous, and of so high a degree, that I despair of bringing them all within the narrow compass of this letter, so as to convey to the reader an adequate idea of the artist's invention in the design, and his skill in the execution of this piece. The centre part of the foreground exhibits all the horror and confusion of a battle; towards the left, we observe the approach of the warriors in regular order, mounted on horses, apparently no less eager than their riders to engage in the conflict: the men are clad in complete armour, they hold spears and banners, and their heads are crowned with plumes of feathers. Behind these are seen the trumpeters, whose banners display the royal arms of England, namely, France and England, quarterly. Towards the right appear the English in full pursuit of the enemy. The struggle in the foreground is of such a character, that had the entire field been contested in à similar manner, the name by which the battle has always been designated, could not with propriety have been applied. Immediately in the centre is a commander of rank, distinguished by the richness of his armour, the spreading plume in his helmet, and the superb dress of his horse, on which are displayed the royal arms of England, the crest, a lion passant guardant, being placed near the tail of the animal. The commander is apparently receiving the submission of a disarmed warrior, who is kneeling before him. Beyond, and towards the right of this figure, a warm contest is engaged in for the possession of the French standard. As it would be tedious and perplexing to point out the situation and action of every individual conspicuously engaged, I will only particularly notice two mounted warriors towards the left, and on the right hand, two veterans, whose horses have fallen beneath them, but who are still resting on their saddles, their feet on the ground, and their arms uplifted to oppose the menaces of their enemies. The first two figures are opposed to each other. Animation is no less characteristic of the horses than of their riders, who are closely engaged with the sword, and exhibit uncommon energy of attitude and expression. The other two figures command attention from the gallant spirit with which they resist the attacks of their opposers, although entangled with their dead horses. I have often dwelt with admiration on the easy elegance, the resolute air of self-defence, depicted in these warriors in particular, and I am bold to assert, that if their expression can be equalled, it cannot possibly be surpassed, by the most skilful artist of any age.* The landscape of this admirable picture is very interesting. In the middle distance appears the English camp; and beyond it, that of the enemy, whose soldiers are occasionally seen among the hollows of the hills. In the extreme distance is a fortified town, the principal feature of which is a magnificent church. The surrounding country is hilly and barren. It only remains to be observed farther of this picture, that its execution is masterly, and that it is in perfect preservation. * The interest of this part of the picture is enhanced by a scene characteristic of a field of battle, namely, the removal of the wounded or dead of distinguished rank, from the immediate scene of action. A soldier, in complete armour, and a youth, are bearing away the lifeless body of a chieftain, whose helmet has fallen from his head. It is worthy of notice, that the head of the living soldier, the vizor of whose helmet is down, was cut out many years ago, for some purpose or other now incapable of being ascertained, and at a subsequent period was carefully replaced. As another of these pictures bears similar marks of violence, I shall not, at present, state the probable reason of this blemish. The Duke of Longueville was taken prisoner by Sir John Clerk, who was rewarded for this act of his gallantry by an augmentation to his family arms. He lived in Oxfordshire, and lies buried in the chancel of Thame church, where a monument, consisting of a small, but beautifully engraved and enamelled brass, was placed to his memory. The warrior is represented in a kneeling posture, with his hands joined in prayer; he is clothed in armour, and wears his surcoat, on which are displayed his arms, with the augmentation, as follows: Argent, on a Bend Gules, between three Pellets, as many Swans proper. On a Canton Sinister, azure, a demi Ram Saliant, argent, armed or, in chief two fleurs de lis of the last, over all a Baton dexter as the second in the Canton. Beneath the figure, is this inscription: "Here lyeth Sr John Clerk of Northe Weston knyght wyche toke Louys of Orleans Duk of Longueville and Marquis of Rotuelin prysoner at the jorney of Borny by Teroilane ye xvi day of August in the v yere of the reigne of the noble and victorious Kyng Henry ye VIII. wyche John décessyd the v day of Apll Ao. Dni 1.5.3.9. whose soule God pdn." Being unwilling to mar that variety, which forms so agreeable a feature of your entertaining miscellany, I will not now trespass farther upon its pages; in order that I may, with a better grace, resume this subject at an early opportunity. Yours, &c. U. THE ABSENT MAN. THE Chevalier de Brancas, gentleman usher to the Queen Dowager of France, mother of Louis the Fourteenth, was subject to the most extraordinary absence of mind. On one occasion, as he passed under a lustre in the queen's drawing-room, his wig caught, and remained hanging on the chandelier. The courtiers could not refrain from laughing; De Brancas perceived the wig, and laughed louder than the rest; nor was it till some time afterward that he discovered his loss.-It is reported of him, that, on leaving the palace one evening, he got, by mistake, into another person's carriage. The coachman, thinking it was his master, put his horses in motion, and drove home. The chevalier sprang from the carriage, traversed the court-yard, hall, and ante-room, and seated himself calmly in the principal saloon. The master of the house at length returns, and has no small difficulty in persuading the chevalier that he is not in his own apartment. BARBARITY OF SYLLA. In the civil wars of Marius and Sylla, the greatest atrocities were alternately committed by both parties. On Sylla's return from the east, when undisputed master of Rome, he caused about four thousand soldiers of the opposite faction to be massacred near the temple of Jupiter Stator, where the senate was then assembled. Alarmed at the groans of the unhappy men, the senators sat silent and horrorstruck. 66 Proceed," " said Sylla, 'tis but a few seditious who are punished by my orders." THE tears dropp'd fast on armed breasts at the midmost hour of day, The setting sun look'd brightly forth, the pomp of war was gone, The heavings of her breast had ceased:-her heart was cold and still. Suns rose and set, and autumn's leaves were shed, and winter came- VOL. I. 11.-Second Edition. M S. |