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erect with a huge club in his paw. I put every muscle into play, and threw such a terrific dignity into his features, as would not have disgraced the character of a Nero or Caligula. I was happy to observe the general notice which was taken of my performance by all the country folks who resorted to the show, and I believe my employer had no cause to repent of having set me upon the work.

"The figure of this animal, with the club in his paw, suggested a hint to a publican in the place of treating his ale-house with a new sign, and as he had been in the service of a noble family, who from ancient times have borne the Bear and ragged Staff for their crest, he gave me a commission to provide him with a sign to that effect. Though I spared no pains to get a real bear to sit to me for his portrait, my endeavours proved abortive, and I was forced to resort to such common prints of that animal as I could obtain, and trusted to my imagination for supplying what else might be wanted for the piece. As I worked upon this capital design in the room where my grandmother's portrait was before my eyes, it occurred to me to introduce the same hair-mole into the whiskers of Bruin, which I had so successfully copied from her chin, and certainly the thought was a happy one, for it had a picturesque effect; but in doing this I was naturally enough, though undesignedly, betrayed into giving such a general resemblance to the good dame in the rest of Bruin's features, that when it came to be exhibited on the sign-post all the people cried out upon the likeness, and a malicious rumour ran through the town, that I had painted my grandmother instead of the bear; which lost me the favour of that indulgent relation, though Heaven knows I was as innocent of the intention as the child unborn.

"The disgust my grandmother conceived against her likeness with the ragged staff, gave me incredible uneasiness, and as she was a good customer to the landlord, and much respected in the place, he was induced to return the bear upon my hands. I am now thinking to what use I can turn him, and as it occurs to me, that by throwing a little more authority into his features, and gilding his chain, he might very possibly hit the likeness of some lord mayor of London in his fur gown and gold-chain, and make a respectable figure in some city hall, I am willing to dispose of him to any such at an easy price. "As I have also preserved a sketch of my famous orang-outang, a thought has struck me, that with a few finishing touches he might easily be converted into a Caliban for the Tempest, and, when that is done, I shall not totally despair of his obtaining a niche in the Shakspeare Gallery.

"It has been common with the great masters, Rubens, Vandyke, Sir Joshua Reynolds, and others, when they paint a warrior, or other great personage, on horseback, to throw a dwarf, or some such contrasted figure, into the background. Should any artist be in want of such a thing, I can very readily supply him with my hair-lipped boy; if otherwise, I am not totally without hopes that he may suit some Spanish grandee, when any such shall visit this country, upon his travels, or in the character of ambassador from that illustrious court.

"Before I conclude I shall beg leave to observe, that I have a complete set of ready-made devils, that would do honour to Saint Antony, or any other person who may be in want of such accompaniments to set off the self-denying virtues of his character. I have also a fine parcel of murdered innocents, which I meant to have filled up with the story of Herod ;

but if any gentleman thinks fit to lay the scene in Ghent, and make a modern composition of it, I am bold to say my pretty babes will not disgrace the pathos of the subject, nor violate the Costuma. I took a notable sketch of a man hanging, and seized him just in the dying twitches, before the last stretch gave a stiffness and rigidity unfavourable to the human figure; this I would willingly accommodate to the wishes of any lady who is desirous of preserving a portrait of her lover, friend, or husband, in that interesting attitude.

"These cum multis aliis, are part of my stock on hand, and I hope, upon my arrival at my lodgings in Blood-bowl-alley, to exhibit them with much credit to myself, and to the entire satisfaction of such of my neighbours in that quarter, as may incline to patronize the fine arts, and restore the credit of this drooping country.





Ouncti adsint, meritaque exspectent præmia palmæ !

VIRG. ÆN. 5, 70.

A CURIOUS Greek fragment has been lately discovered by an ingenious traveller at Constantinople, which is supposed to have been saved out of the famous Alexandrian Library, when set on fire by command of the Caliph. There is nothing but conjecture to guide us to the author. Some learned men,

who have examined it, give it to Pausanias, others to Elian; some contend for Suidas, others for Libanius; but most agree in ascribing it to some one of the Greek sophists, so that it is not to be disguised that just doubts are to be entertained of its veracity in point of fact. There may be much ingenuity in these discussions, but we are not to expect conviction; therefore, I shall pass to the subject-matter, and not concern myself with any previous argumentation on a question that is never likely to be settled.

This fragment says, "that some time after the death of the great dramatic poet, Eschylus, there was a certain citizen of Athens named Philoteuchus, who, by his industry and fair character in trade, had acquired a plentiful fortune, and came in time to be actually chosen one of the Areopagites; this man, in an advanced period of his life, engaged in a very splendid undertaking for collecting a series of pictures to be composed from scenes in the tragedies of the great poet above mentioned, and to be executed by the Athenian artists, who were then both numerous and eminent.

"The old Areopagite, with a spirit that would have done honour to Pisistratus or Pericles, constructed a spacious lyceum for the reception of these pictures, which he laid open to the resort both of citizens and strangers, and the success of the work reflected equal credit upon the undertaker, and the artists whom he employed."

The chain of the narration is here broken by a loss of a part of the fragment, which, however, is fortunately resumed in that place, where the writer gives some account of the masters, who painted for this collection, and of the scenes they made choice of for their several pictures.

"He tells us that Apelles was then living and in the vigour of his genius, though advanced in years; he describes the scene chosen for his composition minutely, and it appears to have been taken from that suite of dramas, which we know Eschylus composed from the story of the Atridæ, and of which we have still such valuable remains. He represents Ægisthus, after the murder of Agamemnon by the instigation of Clytemnestra, in the act of consulting certain Sibyls, who, by their magical spells and incantations, have raised the ghost of Agamemnon, which is attended by a train of phantoms, emblematic of eight successive kings of Argos, his immediate descendants. The spectre is made pointing to his posterity, and at the same time looking on his murderer with a smile, in which Apelles contrived to give the several expressions of contempt, exultation, and revenge, with such a character of ghastly pain and horror, as to make the beholders shrink. Amongst these Sibyls he introduces the person of Cassandra, the prophetess, whom Agamemnon brought captive from the destruction of Troy. The light, he says, proceeds only from a flaming cauldron, in which the Sibyls have been making their libations to the infernal deities or furies, and he speaks of the reflected, ruddy tints, which, by this management of the artist, were cast upon the figures, as producing a wonderful effect, and giving an amazing horror and magnificence to the group. Upon the whole, he states it as the most capital performance of the master, and that he got such universal honour thereby, that he was afterwards employed to paint for the Persian monarch, and had a commission even from the queen of Scythia, a country then emerging from barbarity.

"Parrhasius, though born in the colony of Mile

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