A glowing dawn was his, but noon's full blaze
Of 'perfect day' ne'er fill'd his heav'n with radiance.
Scarce were the flow'rets on their stems upraised
When sudden shadows cast an evening gloom
O'er those bright skies!—yet still those skies were lovely;
The roses of the morn yet lingered there
When stars began to peep,—nor yet exhaled
Fresh dew-drops glittered near the glowworm's lamp,
And many a snatch of lark-like melody
Birds of the shade trilled forth'mid plaintive warbling.
The principal portraits of Coleridge are, besides the one by Allston referred to by Sara Coleridge, engraved by Samuel Cousins, one by Peter Vandyke, painted in 1795; one by Hancock, drawn in 1796; another by Allston, unfinished, painted in Rome; one by C. R. Leslie, taken before 1819, one by T. Phillips, belonging to Mr. John Murray, engraved for the frontispiece of Murray's edition of the 'Table Talk'; another by Phillips, in the possession of William Rennell Coleridge, of Salston, Ottery St. Mary; and a crayon sketch by George Dawe, now at The Chanter's House. These portraits have often been engraved for biographies and editions of Coleridge's 'Poems'. Vandyke's portrait appears in Brandl's Life and Dykes-Campbell's edition of the 'Poems'; Hancock's in the Aldine edition of the 'Poems'; and Leslie's in the Bohn Library 'Friend' and in E. H. Coleridge's 'Letters of S. T. C'. Allston's portrait of 1814 is given in Flagg's 'Life of Allston'. The two best reproductions of Vandyke's and Hancock's portraits are to be found in Cottle's 'Early Recollections'.
A small portrait in oils (three replicas), taken by a Bristol artist, 'circ.' 1798, engraved for Moxon's edition of 1863.
A portrait in oils by James Northcote, taken in 1804 for Sir G.
Beaumont, engraved in mezzotint by William Say.
A portrait in oils taken at the Argyll Baths, 'circ.' 1828 (see
'Letters', 1895, ii, 758).
A pencil sketch of S. T. C., et. 61, by J. Kayser (see 'Letters', ii, frontispiece).
[Bust by Spurzheim. Bust by Hamo Thornycroft, Westminster Abbey.]
[Footnote 1: An error of Sara Coleridge. This portrait was painted for
Wade in Bristol, 1814: and is now in the National Portrait Gallery
(Flagg's 'Life of Allston', pp. 105-7). The portrait of 1806 was given
to Allston's niece, Miss R. Charlotte Dana, Boston.]
[Footnote 2: Talfourd's full description is found in "Final Memorials of
Ch. Lamb", last chapter.]
[Footnote 3: Hazlitt's full description is found in 'Essays of William
Hazlitt', Camelot Series, pp. 18-38.]