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train, vapours, and clouds, and forms,' but under an aspect more gentle and conciliating. 1 am, Sir, &c.

PERSIU S.

ALREADY a change was apparent in the feafon, and fymptons of mutability became evident in the conftitution of the times. The mighty king of the ftars, forfaking the feale of justice, laid violent hands on the fheaf, which injuftice curtailed the career of day, and lergthened the broad veil of darkness. The troops of harveft, who had long waited for this event in the ambuscade of expeâation, now leaped from their concealment, with a defign of pillaging the four inhabited quarters of the globe; and advancing on the plain of the univerfe, began to extend the hand of rapacity: the coldness of their charity froze juft.ce; whilst they began their attack, by laying fiege to orchards and gardens, divesting them completely of their leaves and mufical notes. The earth and its inhbitants, from a dread of their swift and warlike courfers, began to fhiver like the trembling afpin; whilft others, like foxes, be coming enamoured of furs, fhut themselves up in their fecluded apartments, and observed the external defolation from the roots of their fecurity. The clusters of grapes which have efcaped the perfecution of the jackalls, now offer thanksgiving in the cell of humility; whilft that vagrant fluid, which fɔrnerly afpired to circumnavigate the globe, now ba

nishing the fantastic idea of travelling, re-
mains contentedly in its place: and that
wind, which used to fport in the smooth
expanfe of the ocean, being feized with a
violent panic, in its fight overfet huge rocks.
The trees, as naked as ifjust come to refur-
rection, and stripped of their leaves and buds.
extend their imploring arms to heaven. The
nightingales Ay from the garden to complain
of the fun's elopement, leaving the ravens in
poffeffion of the orchards; and the sheet of
the earth, in expectation of being imprinted
with vernal productions, becomes whiter than
the cheek of the jeffamine. The lowly inha-
bitants of the field, chid by the raging blait,
have fled on the road of annihilation; the
rofe and the tulip, leaving their deserted
habitations to the owl, fall victims to the
gloomy Dit, and the furious Behmen, their
beautiful ornaments torn in ten thousand
pieces; the fiately cyprefs, which had long
reigned in the metropolis of vegetation, is
pulled from the throne of dominion; the lily,
rifing on its unbending stalk, was divefied of
its foliage, by thefe worse than Tartarian
invaders, and thrown poftrate in the cell f
deftruction. Neither did the fragrant locks
of the hyacinth, nor the pla.ted treffes of the
honey-fuck!e, preferve them from the ruthless
foe; whilft the rofe-buds, juit opening to
the day, expired with terror at the difinal
fhricks of Di's oppreffive fquadrons, and
their crimson remnants were fcattered on
every fide.

To the EDITOR of the EUROPEAN MAGAZINE.
SIR,

T
HE account of the differences fub-
filling in Trinity College, as given
in your two laft Magazines, being prin-
cipally extracted from the affidavits on
cach ide, mult of courfe be admitted by
both parties as true. To the general
fatement no objection can f. irly be made,
and yet fome circumitances may not be
fufficiently explained. One omiffion there
is which, though it has arifen from a par-
tial knowledge of the fubject, and not
from any with to fupprefs the truth, ought
stot to pal's unnoticed. It is trifling as to
the merits of the caule; but it may pol.
fibly injure the reputation of an indivı-
dual. After stating that Mr. Popple had
waited upon the Mafter, and applied to
him for a copy of the cenfure, it is ob.
ferved in a Note, that the Matter in his
athdavit lays," that with respect to this
application he underflood Mr. Popple's
wifit to have been in confequence of an
offer which had been made to him to take

charge of his son's education. That on this occalion fome converfation might pals concerning the refufal of a copy of the fntence; yet he did not recollect any direct requifition of fuch copy being made.

The mention of a fingle fact omitted in both the affidavits will recon. cile this feeming contradi&tion. Mr. Popple waited twice on the Matter; once, in the interval between prefenting the Memorial and paffing the Cenfure, to decline the tuition of his Lordship's ton, as incompatible with his fituation. The other time was, as related in your Magazine, and purpofely, as Mr. Popple was heard to fay both before and after this visit, to make the application alluded to; and which application he certainly muit have made, because it was his on y reafon for his waiting on the Muter. At the first interview nothing was faid of the Memorial; at the second, nothing on the subject of education.

* Alluding to the fun's quitting Libra, and entering the fign Virgo: by the Arabs denominated the fheaf.

†D. and Behmen give their names to two of the winter months.

THE

THE

LONDON REVIEW

AND

LITERARY JOURNAL,

FOR JANUARY, 1788.

Quid fit turpe, quid utile, quid dulce, quid non.

Obfervations relative to Picturefque Beauty; made in the Year 1772, on feveral Parts of England; particularly the Mountains and Lakes of Cumberland and Westmore→ land. By William Gilpin, M. A. Prebendary of Salisbury, and Vicar of Bolder in New Foreft, near Lymington. 2 Vols. 8vo. Blamire. 1786. With Plates. 11. 11s. 6d. in Boards.

AWORK which has ban for fometine English language, STERNE and GILPIN

in manufcript feldom fails, if published, of being weil received. If worthlefs, it is fuppreffed: if valuable, the writer's partialities being weakened by time, and his judgement ftrengthened in proportion, his work undergoes due revision and correction.

Thoughts thrown together for a man's own amusement, or for the amusement of a few friends, have an advantage over a work which is written intentionally for publication. The former enjoys a freedom which the latter in general is a stranger to. The licences of a PRIVATE MANUSCRIPT require alone to be done away in publication.

The work before us was written for private amufement in the year 1772, and was published in 1786; lying in manufcript an interval of fourteen years; during which time it was read and improved by the author and his friends; and at length prepared (with it should feem no fmall care) for publication. It has therefore had the requifite advantages of a literary work; and its merit is such as few literary works can claim not merely, however, through the circumftances attending its compofition and publication, but chiefly owing to a peculiar ftyle of thinking, and a happy mode of expreffion, which this author may claim as his own. In point of originality, as writers in the

VOL. XIII,

fall within the fame clafs.

In a preface we are told, that "the Obfervations before us were at first thrown together, WARM FROM THE SUBJECT, each evening after the fcene of the day had been prefented; and in a moment of more leifure, were corrected, and put into form-but merely for the amufement of the writer himself; who had not, in truth, at that time, the leaft idea of their being able to furnish amufement to any body elfe. A few only of his friends faw them. One of them, however, faw them with fo partial an eye, that he thought proper to mention them to the public. This raised the curiofity of many; and laid the author under the neceffity of producing his papers to a wider cicle; but ftill without any defign of publishing them. A fenfe of their imperfections, and of the many difficulties in which fuch a work would engage him, prevent ed any intention of that kind.

"Among others who defired to see them, was the late duchefs dowager of Portland; a lady, of whofe fuperior character the world is well informed. Having feen them foon after they were written, and a fecond time after an interval of feven or eight years, her Grace preffed the author to print them; most obligingly offering to facilitate an expenfive publication by contributing largely to a fubfcription. Though the author chofe to de

* Mafon's Memoirs of Gray, p. 377.
D

cline

cline that mode of publication, yet the duchefs's persuasion was among his principal inducements to prepare his papers for the public. The prefs-work was about half completed at the time of her Grace's death.

"But though this work has been thus flattered; and hath received confiderable improvements, both from the author himself, during the many years it has lain by him, and from feveral of his ingenious friends; yet Rill he offers it to the public with apprehenfion."

His firft apprehenfion is, that the time which he had to employ in making ob fervations on the several landscapes he has described was inadequate. His fecond proceeds from the changes which take place in fcenery, even the wildeft, from the growth and destruction of timber and other caufes. The third ground of the author's apprehenfion is, that he may be thought too fevere in his ftrictures on fcenes of art. This has led him to confider fome general principles of ARTIFICIAL ORNAMENT. "A houfe," he fays, "is an artificial object; and the fcenery around it muft, in fome degree, partake of art. Propriety requires it: convenience demands it. But if it partake of art as allied to the manfion; it should also partake of nature, as allied to the country."-" If the scene be large, it throws off art, by degrees, the more it recedes from the manfion, and approaches the country."

Thefe principles are juft, but they are not new. We do not mean to accufe Mr. Gilpin of plagiary; but we have met with a paffage, in a work on Ornamental Gardening and Planting, published by Dodfley in 1785*, so very fimilar to thefe which we have here quoted, that we must at least infer, when two men ftudy the fame fubject from nature, and think and write with freedom, their ideas and mode of expreffion will be fimilar †.

A fourth apprehenfion of the author is, that he has wrought up fome of the defcriptions higher than the fimplicity of profaic language will allow. But he fays,

"It is the aim of picturefque defcription to bring the images of nature as forcibly, and as clofely to the eye, as it can; and this must often be done by high colouring, which this fpecies of compofition demands. By high-colouring is not meant a fring of rapturous epithets (which is the feebleft mode of defcription) but an attempt to analyze the views of nature---to open their feveral parts, in order to fhew the effect of a whole---to mark their tints and varied lights---and to exprefs all this detail in terms as appropriate, and yet as vivid as poffible." Our author's execution is fully equal to his defign. He has, as it were, invented a new language for the occafion: and one which is fingularly well adapted to it; glowing, yet chafte. Now and then, however, we meet with an expreffion which is not quite clear to our comprehenfion. Thus, fpeaking of the English oak (Vol. I. p. 9.) he fays, "The oak is the nobleft ornament of the foreground, fpreading from fide to fide its tortuous branches, and foliage, rich" perhaps "with fome autumnal tint." Again (in Vol. II. p. 60.) describing a remarkable echo. "It firft rolls over the head in one vaft peal. Then fubfiding a few feconds, it rifes again in a grand, interrupted burft, perhaps on the right.Another folemn paufe enfues. Then the found arifes again on the left. thrown from rock to rock, in a fort of aerial perspective, it is caught again perraps by fome nearer promontory; and returning full on the ear, furprizes you, after you thought all had been over, with as great a peal as at firft." Throwing echo into perspective is, we think, rather fanciful than philosophical. In fome of the defcriptions, notwithstanding the author's guardedness, epithets have crept in abundantly t. But thefe blemishes, if they be really fuch, are few and finall in comparison with the beauties with which thefe two volumes are strongly characterifed.

* For a review of this publication fee European Magazine, Vol. IX. p. 23.

Thus

+ The paffage alluded to is this: "The manfion ought to be confidered as the centre of the fyftem; and the rays of art, like those of the fun, should grow fainter as they recede from the centre. The house itself being entirely a work of art, its immediate environs should be highly finished; but as the distance increases the appearance of defign should gradually diminish, until nature and fortuitoufness have full poffeffion of the scene." Planting and Orn. Gard. p. 606.

Were we inclined to cavil at words, it would be with searce for fcarcely—it's for its— And indeed—a (pecies of tautology, with which almost every page is more or less fullied.

Fifthly,

1

Fifthly, the author fears he may be called on to apologize for the many digreffions he has made. Thefe digrellions are partly didactic, and in part biftorical: They are numerous, and fometimes long; but feldom tedious, moftly interefting.

Lafly, the author is apprehenfive left any one fhould be fo fevere as to think his work inconfiftent with the profeflion of a clergyman. This we conceive to be a falfe fear; as we allow, with Mr. Gilpin, that the amufements of the three fifter-arts are all confiftent with the clerical profeffion. "The only danger," as Mr. G. well obferves, " is, left the amusement -the fafcinating amufement-fhould prefs on improperly, and interfere too much with the employment."

Our author now paffes on to the plates which accompany thefe volumes; and which raife its price to an extravagant height. They are of two kinds; one to illuftrate and explain picturefque ideas; the other to characterife the countries through which the reader is carried.

To the profeffion these plates may be highly acceptable; but by the generality of readers, we fear, they are confidered as drofs, for which they are paying the price of pure metal. An edition of thefe volumes, together with Mr. G.'s Obfervations on the Wye, &c.—without the plates-would, we will venture to fay, be fingularly acceptable to the public.

Having laid down fome general principles of landfcape, our author fays, he "means not, however, to offer the fortraits and illuftrations he hath here given, as perfect examples of the principles he hath laid down. It is a difficult matter for any artist (at least, who does not claim as a profeffional man) to reach his own ideas. What he reprefents will ever fall fhort of what he imagines. With regard to figures particularly, the author wishes to premife, that the rules laid down in the beginning of the fecond volume (p. 43, &c.) are here little obferved, Thole reimarks were chiefly intended for works in a larger ftyle. Figures on fo finall a fcale as thefe, are not capable of receiving character. They are at beft only what he calls picturefque appendages.

"Befides, the reprefentations here given have again fustained a lofs by going through a tranflation in fo rough and unmanageable a language as that of brass and aquafortis." Who but Mr. Gilpin would have expreffed the fame idea in nearly the fame language?

Thus far the Preface. We now enter upon the body of the work; but not yet upon the tour. The first fection is appropriated to a general view of England as a picturefque country; which view having been already inferted in Vol. XI. we shall proceed to the TOUR; through which we have accompanied our intelligent and entertaining guide with fingular fatisfaction; and with we could, within the limits of our plan, convey to our readers an adequate idea of the charming fights we have feen. This, however, is impoffible. All we can do is to select a few paffages, and thereby give fome idea of Mr. Gilpin's language and power of defcription. In doing this we will run over the volumes progreflively; marking the more noticeable paffages as they oc

cur.

the

LIGHT AND

Remarking on SHADE OF MOUNTAINS, Mr. G. fays, "It is an agreeable amufement to attend thefe vaft fhadows in their flow, and folemn march over the mountains-to obferve, how the morning fun fheds only a faint catching light upon the fummits of the hills, through one general mass of hazy fhade-in a few hours how all this confufion is diffipated---how the lights and fhades begin to break, and separate, and take their form and breadth---how deep and determined the fhadows are at noon-how fugitive and uncertain as the fun declines, till it's fires, glowing in the west, light up a new radiance through the landscape; and spread over it, instead of fober light and fhade, all the colours of nature, in one bright, momentary gleam.

"It is equally amusing to obferve the various shapes which mountains affume through all this variety of illumination; rocks,knolls, and promontories, taking new forms; appearing and disappearing as the fun veers round; whofe radiance, like varnish on a picture (if I may ufe a degrading comparison) brings out a thousand objects unobserved before."

In defcribing the effect of TEMPEST ON LAKE SCENERY, our author exhibits a fpecimen of his big heft ftyle of colour ing.

"In the midst of the tempeft, if a bright fun-beam should suddenly break out, and, in Shakefpear's language, light up the form, the fcenery of an agitated lake,thus affifted by the powers of contraft, affects both the imagination and the eye, in a ftill greater degree.→→ Some broad mountain-fide, catching a mass of light, produces an astonishing effect amidst

D 2

the

the leaden gloom which furrounds it. Perhaps a funbeam, half fuffused in vapour, darting between two mountains, may stretch along the water in a lengthened gleam, juft as the fkiff paffes to receive the light upon it's fwelling fail; while the fea-gull, wheeling along the ftorm, turns its filver fide, ftrongly illumined, against the bosom of fome Jurid clod; and by that fingle touch of oppofition gives double darkness to the rifing tempeft.

Speaking of the RIVER DERWENT, Mr. Gilpin obferves, "I cannot help remarking the Gngular character of this mountain-ftream. There is not perhaps a river in England which paffes through fuch a variety of different fcenes. What wild romantic channel it thapes, before it enters the vale of Borrodale, is to us unknown. There first we commenced our

acquaintance with it. It's paffage through that mountain chafm, is marked with objects, not only great in themfelves, but rarely to be found elsewhere in fuch interesting combinations.

"From a mountain-stream it soon affumes a new character, and changes into a lake; where it displays the wonders we have just feen.

"From hence emerging, it again becomes a river: but foon forms the lake of Baffenthwait; of form and dimensions very different from that of Kefwick.

"Contracting itself again into a river, it puts on a character entirely new. Hitherto it has adorned only the wild, rough fcenes of nature. All these it now relinquishes rocks-lakes-and mountains; and enters a fweet delightful country, where all it's açcompaniments are foft, and lovely. Among other places it vifits the noble and pictųrefque ruins of Cockermouth-castle; under the walls of which it glides.

"From hence it passes to the fea, which many ftreams of greater confequence never meet under their own names; but are abforbed by larger rivers: while the Derwent, after all the aftonishing fcenes it has adorned, adds to it's other beauties thofe of an estuary,"

"Among the beautiful APPEARANCES OF rocs, and mifts, their gradually going off may be observed. A landscape takes a variety of pleasing hues, as it paffes, in a retiring fog, through the different modes of obfcurity into full splendor.

There is great beauty alfo in a fog's partially clearing up at once, as it often does; and prefenting fome diftant piece of landfcape under great radiance; when all the furrounding parts are still in obfcurity. The curtain is not entirely drawn up; it is only just raifed,

to let in fome beautiful, tranfient view; and perhaps fallen again, while we admire, leaves us that ardent relish which we have for pleafing objects fuddenly removed.

Mr. Gilpin's remarks on VIEWING PICTURES, are excellent.

"Painting is the art of deceiving; and it's great perfection lies in the exercife of this art,

"Hence it is that genius and knowledge are as requifite in furveying a picture, as in painting one, The cold, untutored eye, tho' it may enjoy the real fcene (be it hiftory, landscape, or what it will) is unmoved at the first reprefentation. It does not fee an xa refemblance of what it fees abroad; and having no internal pencil, if I may fo fpeak, to work within, it is utterly unable to adminifter a picture to itself. Whereas the learned eye, verfed equally in nature and art, easily compares the picture with it's archetype; and when it finds the characteristic touches of nature, the imagination immediately takes fire; and glows with a thousand beautiful ideas, fuggefted only by the canvas. When the canvas there

fore is fo artificially wrought, as to fuggeft these ideas in the strongest manner, the pic, ture is then moft perfect. This is generally best done by little labour, and great knowledge. It is knowledge only, which inspires that free, that fearless, and determined pencil, expreffive in a fkilful hand. As to the minutice of nature, the picturefque eye will generally fuggeft them better itself, and yet give the artist, as he deferves, the credit of the whole,"

"The evening, which grew more tempeftuous, began to close upon us, as we left the more beautiful parts of the vale of Lor ton. We were still about fix miles from Keswick and had before us a very wild country, which probably would have afforded no great amusement even in full day; but amid the obfcurity which now overfpread the landscape, the imagination was left at large; and painted many images, which perhaps did not really exift, upon the dead colouring of nature. Every great and pleasing form, whether clear, or obfcure, which we had feen during the day, now played in ftrong imagery before the fancy; as when the grand chorus ceases, ideal music vibrates in the ear.

"In one part, a view pleased us much; though perhaps, in ftronger light, it might have escaped notice. The road made a fudden dip into a little winding valley; which being too abrupt for a carriage, was eafed by a bridge: and the form of the arch appeared to be what we commonly find in Roman aqueducts.

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