LORD GROSVENOR’S COLLECTION OF PICTURES
From The London Magazine, July 1823.
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[49]. In our mind’s eye, Horatio. Hamlet, Act I. Sc. 2.
Warton. Thomas Warton (1728–1790). See vol. V. Lectures on the English Poets, p. 120 and note.
[50]. At every fall. Milton, Comus, 251.
[51]. Nod to him, elves. A Midsummer Night’s Dream, Act III. Sc. 1.
The breezy call. Gray’s Elegy written in a Country Churchyard.
[52]. Air [shape] and gesture proudly eminent. Paradise Lost, Book I. 590.
[53]. It is place which lessens. Cymbeline, Act III. Sc. 3.
[54]. Sigh our souls. Merchant of Venice, Act V. Sc. 1.
Snyders. Franz Snyders (1579–1657), of Antwerp, painter of hunting scenes.
[55]. Of the earth, earthy. 1 Cor. xv. 47.
We think it had better not be seen. The Magazine article adds:—‘We never very much liked this picture; but that may probably be our fault.’
PICTURES AT WILTON, STOURHEAD, Etc.
From The London Magazine, October 1823.
The article ends with the words:—‘Blenheim in our next, which will conclude this series of articles.’
Note. The author of Vathek. William Beckford (1759–1844), whose romance was written in French in 1781–1782, translated anonymously into English in 1784, and published in French in 1787.
[57]. Ranged in a row. ‘Ranged o’er the chimney, glistened in a row,’ Goldsmith, The Deserted Village, 236.
[58]. Keep their state. Love’s Labour’s Lost, Act V. Sc. 2.
Burke’s description of the age of chivalry. Reflections on the Revolution in France, Select Works, ed. Payne, II. 89.
The mood of lutes [flutes]. Paradise Lost, Book I. 551.
Mount on barbed steeds, etc. Cf. ‘Mounting barbed steeds.’ King Richard III., Act I. Sc. 1. and,
‘Witch the world with noble horsemanship.’
1 King Henry IV., Act IV. Sc. 1.
The Goose Gibbie. See Old Mortality.
[59]. Of all men the most miserable. 1 Cor. xv. 19.
Above all pain. Pope’s Epistle to Robert, Earl of Oxford.
Berchem. See ante, note to p. [22].
Hath a devil. S. Luke vii. 33.
[60]. Mieris. A family of Delft and Leyden painters, the best known of whom are Frans van Mieris, one of twenty-three children (1635–1681), the ‘prince of Dou’s pupils,’ and William van Mieris, his son (1662–1747).
The porcelain of Franguestan. ‘Vathek voluptuously reposed in his capacious litter upon cushions of silk, with two little pages beside him of complexions more fair than the enamel of Franguistan.’ The description is commented on in a note which explains that they were Circassian boy-slaves.
Sir Richard Colt Hoare. Historian of Wiltshire (1758–1838).
[61]. Tempt but to betray.
Cf. ‘Whose fruit though fair, tempts only to destroy.’
Cowper, The Progress of Error, 238.
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[61]. Trace his footsteps.
Cf. ‘Where shall I seek
His bright appearances, or footstep trace?
For, though I fled him angry, yet, recalled
To life prolonged and promised race, I now
Gladly behold though but his utmost skirts
Of glory, and far-off his steps adore.’
Paradise Lost, XI. 328.
Though in ruins. Paradise Lost, II. 300.
Of the court, courtly. Cf. ‘Of the earth, earthy.’ 1 Cor. xv. 47.
PICTURES AT BURLEIGH HOUSE
From the New Monthly Magazine, vol. IV., 1822, Table Talk, No. IV.
62. And dull [dead] cold winter. The Two Noble Kinsmen, Act II. Sc. 1.
Faded to the light. Wordsworth, Ode, Intimations of Immortality.
Ways were mire. Milton, Sonnet XX.
[63]. And still walking under. See ante, note to p. [10].
I was brutish [beastly] like, warlike as the wolf. Cymbeline, Act III. Sc. 3.
Paul Potter. Of Enkhuizen (1625–1654), animal painter.
[64]. To see the sun to bed. Lamb, John Woodvil, Act II.
Hunt half a day. Wordsworth’s Hart-Leap Well, Part II.
[65]. Humbled by such rebuke. Paradise Lost, VI. 342.
And in its liquid texture. Ibid., VI. 348–9.
Inimitable on earth. Ibid., III. 508.
[66]. Hesperian fable true. Ibid., IV. 250.
Dream of a Painter. See Northcote’s Varieties on Art in his Memoirs of Sir Joshua Reynolds, etc. (1813–1815), p. xvi. See also vol. I. The Round Table, note to Guido, p. [162].
Paul Brill. Of Antwerp (1556–1626), a follower of Titian.
[67]. His light shone in darkness. Cf. S. John i. 5.
Luca Jordano. Luca Giordano (1632–1705), of Naples, ‘Il Presto,’ the quick worker, who imitated all the great painters.
Grinling Gibbons. The wood carver (1648–1720), of Rotterdam. He was brought to public notice by Evelyn, the Diarist, and his work may be seen in St. Paul’s, London, and Trinity College Library, Cambridge.
[68]. Lords who love their ladies like. Cf. Home’s Douglas, Act I. Sc. 1: ‘As women wish to be who love their lords.’