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answer—“ Toujours riant, toujours gai." This was his character. He must have been of French extraction. His soul appeared to possess the life of a bird ; and such was the jauntiness of his air and manner, that to see him sit to have his half-boots laced on, you would fancy (by the help of a figure) that, instead of a little withered elderly gentleman, it was Venus attired by the Graces. His miniatures and whole-length drawings were not merely fashionable—they were fashion itself. His imitations of Michael Angelo were not the thing. When more than ninety, he retired from his profession, and used to hold up the palsied hand that had painted lords and ladies for upwards of sixty years, and smile, with unabated good-humour, at the vanity of human wishes. Take him with all his faults and follies, we scarce “shall look upon his like again !”

Why should such characters ever die ? It seems hard upon them and us! Care fixes no sting in their hearts, and their persons

present no mark to the foe-man." Death in them seizes upon living shadows. They

scarce consume vital air : their


functions have been long at an end-they live but to paint, to talk or think. Is it that the vice of age, the miser's fault, gnaws them? Many of them are not afraid of death, but of coming to want; and having begun in poverty, are haunted with the idea that they shall end in it, and so are willing to die—to save charges. Otherwise, they might linger on forever, and "defy augury !"

VOL. ll.




It is mentioned in the Life of Salvator Rosa, that on the occasion of an altar-piece of his being exhibited at Rome, in the triumph of the moment, he compared himself to Michael Angelo, and spoke against Raphael, calling him hard, dry, etc. Both these were fatal symptoms for the ultimate success of the work: the picture was in fact afterwards severely censured, so as to cause him much uneasiness ; and he passed a great part of his life in quarrelling with the world for admiring his landscapes, which were truly excellent, and for not admiring his historical pieces, which were full of defects. Salvator wanted selfknowledge, and that respect for others, which is both a cause and consequence of it. Like

many more, he mistook the violent and irritable workings of self-will (in a wrong direction) for the impulse of genius, and his insensibility to the vast superiority of others for a proof of his equality with them.

In the first place, nothing augurs worse for any one's pretensions to the highest rank of excellence than his making free with those of others. He who boldly and unreservedly places himself on a level with the mighty dead, shews a want of sentiment—the only thing that can ensure immortality to his own works. When we forestal the judgment of posterity, it is because we are not confident of it. A mind that brings all others into a line with its own naked or assumed merits, that sees all objects in the foreground as it were, that does not regard the lofty monuments of genius through the atmosphere of fame, is coarse, crude, and repulsive as a picture without aerial perspective. Time, like distance, spreads a haze and a glory round all things. Not to perceive this, is to want a sense, is to be without imagination. Yet there are those who strut in their own self-opinion,

and deck themselves out in the plumes of fancied self-importance as if they were crowned with laurel by Apollo's own hand. There was nothing in common between Salvator and Michael Angelo : otherwise, the consciousness of the power with which he had to contend would have over-awed and struck him dumb; so that the very familiarity of his approaches proved (as much as any thing else) the immense distance placed between them. Painters alone seem to have a trick of putting themselves on an equal footing with the greatest of their predecessors, of advancing, on the sole strength of their vanity and presumption, to the highest seats in the Temple of Fame, of talking of themselves and Raphael and Michael Angelo in the same breath! What should we think of a poet who should publish to the world, or give a broad hint in. private, that he conceived himself fully on a par with Homer or Milton or Shakespear? It would be too much for a friend to say so of him. But artists suffer their friends to puff them in the true “King Cambyses' vein” ' without blushing. Is it that they are often

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