[!--Note--] 28 ([return])
"Thro' Erin's isle, to sport awhile," &c.
[!--Note--] 29 ([return])
In the German maps, Zweibrücken; the capital of those provinces of the kingdom of Bavaria, which lie on the left bank of the Rhine.
[!--Note--] 30 ([return])
The entire grouping of these figures is from the design of Mr. Robert Cockerell, one of the original discoverers, who in ascertaining their relative position has been guided in some measure by the situation in which their fragments were found strewed in front of the temple, and overwhelmed with masses of the frieze and pediment; but has been much more indebted to his own artist-like feeling, and architectural skill. He is of opinion that the western pediment contained several other figures besides the ten which have been restored.
[!--Note--] 31 ([return])
The character of the Emperor Rodolph would be one of the most interesting speculations in philosophical history. He was evidently a fine artist, degraded into a bad sovereign—a man whose constructive and imaginative genius was misplaced upon a throne. The melancholy, and incipient madness which hovered over him, was possibly the result of the natural faculties suppressed or perverted.
[!--Note--] 32 ([return])
The celebrated traveller, natural philosopher, and botanist. He has the direction of most of the scientific institutions at Munich.
[!--Note--] 33 ([return])
I remember Madame Devrient, in describing the effect which music had upon herself, pressing her hand upon her bosom, and saying, with simple but profound feeling, "Ah! cela use la vie!"
[!--Note--] 34 ([return])
"A l'exposition de Paris (1822) on a vu un millier de tableaux représentant des sujets de l'Ecritoire Sainte, peints par des peintres qui n'y croient pas du tout: admirés et jugés par des gens qui n'y croient pas beaucoup, et enfin payés par des gens qui, apparemment, n'y croient pas, non plus.
"L'on cherche après cela le pourquoi de la décadence de l'art!"
[!--Note--] 35 ([return])
Of this celebrated picture, Sir Joshua Reynolds says, that it is miscalled, and certainly does not contain the portraits of the Earl and Countess of Arundel. Perhaps he is mistaken. It appears that the Earl of Arundel, of James the First's time, (the collector of the Arundelian marbles,) with his Countess, sat to Rubens in 1620, and that "Robin the Dwarf" was introduced into this picture, which was not painted in England, but at Brussels. Rubens was at this time at the height of his reputation, and when requested to paint the portrait of the Countess of Arundel, he replied, "Although I have refused to execute the portraits of many princes and noblemen, especially of his lordship's rank yet from the Earl I am bound to receive the honour he does me in commanding my services, regarding him as I do, in the light of an evangelist to the world of art, and the great supporter of our profession."—(See Tierney's History and Antiquities of the Castle and Town of Arundel.)
[!--Note--] 36 ([return])
In Southey's Thalaba.