You mention the Sonnet I wrote upon Haydon's picture of the Duke of Wellington. I have known Haydon, and Wilkie also, from their contemporaneous introduction to the world as artists; their powers were perceived and acknowledged by my lamented friend Sir George Beaumont, and patronised by him accordingly; and it was at his house where I first became acquainted with them both. Haydon is bent upon coming to Rydal next summer, with a view to paint a likeness of me, not as a mere matter-of-fact portrait, but one of a poetical character, in which he will endeavour to place his friend in some favourite scene of these mountains. I am rather afraid, I own, of any attempt of this kind, notwithstanding my high opinion of his ability; but if he keeps in his present mind, which I doubt, it will be in vain to oppose his inclination. He is a great enthusiast, possessed also of a most active intellect, but he wants that submissive and steady good sense which is absolutely necessary for the adequate development of power in that art to which he is attached.
As I am on the subject of painting, it may be worth while to add, that Pickersgill came down last summer to paint a portrait of me for Sir Robert Peel's gallery at Drayton Manor. It was generally thought here that this work was more successful than the one he painted some years ago for St. John's College, at the request of the Master and Fellows.[177]
119. Of Peace's 'Apology for Cathedrals.'
I have no especial reason for writing at this moment of time, but I have long wished to thank you for the 'Apology for Cathedrals,' which I have learned is from your pen. The little work does you great credit; it is full of that wisdom which the heart and imagination alone could adequately supply for such a subject; and is, moreover, very pleasingly diversified by styles of treatment all good in their kind. I need add no more than that I entirely concur in the views you take: but what avails it? the mischief is done, and they who have been most prominent in setting it on foot will have to repent of their narrow comprehension; which, however, is no satisfaction to us, who from the first foresaw the evil tendency of the measure.[178]
120. Of 'The Task' of Cowper and Shenstone.
Though I can make but little use of my eyes in writing or reading, I have lately been reading Cowper's 'Task' aloud; and in so doing was tempted to look over the parallelisms, for which Mr. Southey was in his edition indebted to you. Knowing how comprehensive your acquaintance with poetry is, I was rather surprised that you did not notice the identity of the thought, and accompanying illustrations of it, in a passage of Shenstone's Ode upon Rural Elegance, compared with one in 'The Task,' where Cowper speaks of the inextinguishable love of the country as manifested by the inhabitants of cities in their culture of plants and flowers, where the want of air, cleanliness, and light, is so unfavourable to their growth and beauty. The germ of the main thought is to be found in Horace,
'Nempe inter varias nutritur sylva columnas,
Laudaturque domus longos quae prospicit agros;
Naturam expellas furcâ, tamen usque recurret.'
Lib. i. Epist. x. v. 22.
Pray write to me soon. Ever, my dear friend,