[With golden purples. l. 288. See additional notes, No. XXI.]
"ETRURIA! next beneath thy magic hands
Glides the quick wheel, the plaistic clay expands,
Nerved with fine touch, thy fingers (as it turns)
Mark the nice bounds of vases, ewers, and urns;
295 Round each fair form in lines immortal trace
Uncopied Beauty, and ideal Grace.
[Etruria! next. l. 291. Etruria may perhaps vie with China itself in the antiquity of its arts. The times of its greatest splendour were prior to the foundations of Rome, and the reign of one of its best princes, Janus, was the oldest epoch the Romans knew. The earliest historians speak of the Etruscans as being then of high antiquity, most probably a colony from Phoenicia, to which a Pelasgian colony acceded, and was united soon after Deucalion's flood. The peculiar character of their earthern vases consists in the admirable beauty, simplicity, and diversity of forms, which continue the best models of taste to the artists of the present times; and in a species of non-vitreous encaustic painting, which was reckoned, even in the time of Pliny, among the lost arts of antiquity, but which has lately been recovered by the ingenuity and industry of Mr. Wedgwood. It is supposed that the principal manufactories were about Nola, at the foot of Vesuvius; for it is in that neighbourhood that the greatest quantities of antique vases have been found; and it is said that the general taste of the inhabitants is apparently influenced by them; insomuch that strangers coming to Naples, are commonly struck with the diversity and elegance even of the most ordinary vases for common uses. See D'Hancarville's preliminary discourses to the magnificent collection of Etruscan vases, published by Sir William Hamilton.]
"GNOMES! as you now dissect with hammers fine
The granite-rock, the nodul'd flint calcine;
Grind with strong arm, the circling chertz betwixt,
300 Your pure Ka-o-lins and Pe-tun-tses mixt;
O'er each red saggars burning cave preside,
The keen-eyed Fire-Nymphs blazing by your side;
And pleased on WEDGWOOD ray your partial smile,
A new Etruria decks Britannia's isle.—
305 Charm'd by your touch, the flint liquescent pours
Through finer sieves, and falls in whiter showers;
Charm'd by your touch, the kneaded clay refines,
The biscuit hardens, the enamel shines;
Each nicer mould a softer feature drinks,
310 The bold Cameo speaks, the soft Intaglio thinks.
[Illustration: H. Webber init J. Holloway sculpt Copied from Capt.
Phillip's Voyage to Botany Bay, by permission of the Proprietor]
[Transcriber's note: names of painter and engraver are only guesswork.]
[Illustration: AM I NOT A MAN AND A BROTHER]
"To call the pearly drops from Pity's eye,
Or stay Despair's disanimating sigh,
Whether, O Friend of art! the gem you mould
Rich with new taste, with antient virtue bold;
315 Form the poor fetter'd SLAVE on bended knee
From Britain's sons imploring to be free;
Or with fair HOPE the brightening scenes improve,
And cheer the dreary wastes at Sydney-cove;
Or bid Mortality rejoice and mourn
320 O'er the fine forms on PORTLAND'S mystic urn.—
[Form the poor fetter'd Slave. l. 315. Alluding to two cameos of Mr. Wedgwood's manufacture; one of a Slave in chains, of which he distributed many hundreds, to excite the humane to attend to and to assist in the abolition of the detestable traffic in human creatures; and the other a cameo of Hope attended by Peace, and Art, and Labour; which was made of clay from Botany Bay; to which place he sent many of them to shew the inhabitants what their materials would do, and to encourage their industry. A print of this latter medallion is prefixed to Mr. Stockdale's edition of Philip's Expedition to Botany Bay.]
[Portland's mystic urn. l. 320. See additional notes, No. XXII.]