CHAPTER III
September 24
102. My tables. Hamlet, Act I. Sc. 5.
[103]. Like the fat weed. Hamlet, Act I. Sc. 5.
[105]. Exhalation [steam] of rich-distilled perfumes. Milton, Comus, 556.
[106]. Let their discreet hearts believe [think] it. Othello, Act II. Sc. 1.
CHAPTER IV.
September 28
106. First and last and midst. Paradise Lost, v. 165.
Worn them as a rich jewel. Hazlitt quotes from himself. See vol. VI., Table Talk, p. 174.
Thrown into the pit. Cf. Genesis xxxvii. 24.
School calleth unto School. Psalm xlii. 7: ‘deep calleth to deep.’
[107]. My theme [shame] in crowds. Goldsmith, The Deserted Village, 412.
Brave o’er-hanging firmament. Hamlet, Act II. Sc. 2.
Hang upon the beatings of my heart. Wordsworth, Tintern Abbey.
Stood the statue that enchants the world. Thomson, The Seasons, Summer, 1347.
There was old Proteus. Altered from Wordsworth’s Sonnet, ‘The world is too much with us.’
Sit squat, like a toad. Paradise Lost, IV. 800.
[108]. The death of the King. Louis XVIII. of France died in September 1824.
Sir Thomas Lawrence. Portrait-painter (1769–1830).
[109]. To cure [drive] all sadness but despair. Paradise Lost, IV. 156.
Verdurous wall of Paradise. Ibid., IV. 143.
In darkness visible. Ibid., I. 63.
Hulling. ‘Hull on the flood.’ Ibid., XI. 840.
Blind with rain.
Cf. ‘When the chill rain begins at shut of eve
In dull November, and their chancel vault,
The Heaven itself, is blinded throughout night.’
Keats’s Hyperion, II. 36–38.
Lord Byron ... Heaven and Earth. Sc. III.
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[110]. Le Brun. See ante, note to p. [25].
Sebastian Bourdon. French painter and engraver (1616–1671). He was one of the twelve artists who founded the Academy of Painting and Sculpture in 1648.
Le Sueur. Eustache Le Sueur (1616–1655), French historical painter, also one of the twelve (see above). He is one of the greatest of French painters, and is often called the French Raphael.
Philip Champagne. Philippe de Champaigne (1602–1674), of the French school of historical and portrait painting, though of Brussels birth. He was one of the first members of the Academy, worked for Cardinal Richelieu, and was greatest as a portrait painter.
David. See ante, note to p. [30].
Daniel Volterra. Daniele Ricciarelli, or Daniele da Volterra from the place of his birth (1509–1566), the friend of Michael Angelo, who aided him in his chief work, the frescoes in the Capella Orsini, Trinità de Monti, Rome.
[111]. Weenix. Jan Weenix (1640–1719), of Amsterdam, noted for his painting of dead game.
Wouvermans. See ante, note to p. [21].
Ruysdael. See ante, note to p. [22].
Non equidem invideo, miror magis. Virgil, Eclogues, I. 11.
[112]. Thick as the autumnal leaves. Paradise Lost, I. 303.
[113]. Founded as the rock. Macbeth, Act III. Sc. 4.
Coop’d [cribb’d] and cabin’d. Macbeth, Act III. Sc. 4.