Page 73, last line. "Strange images of death." Ross. He finds thee in the stout Norweyan ranks, Macbeth," Act I., Scene 3, lines 95-97. Page 73. Footnote. Footnote. The late Mr. Hope's. Henry Hope, the banker, who died in 1811, famous as a collector. 66 Page 74, line 21. Tarquin and Lucrece." Stanza 204 of Shakespeare's "Rape of Lucrece.' Page 75, line 16. Ugolino and dying Beaufort. See plates opposite pages 442 and 444, illustrating notes to Lamb's criticism of the Reynolds' Gallery, on page 149. For "last plate but one of the 'Rake's Progress"" see plate opposite page 406. Count Ugolino della Gherardesca, of Pisa, who was starved to death by his infuriated subjects. His fate was immortalised by Dante. For the death of Beaufort see "II. Henry VI.," Act III., Scene 3. Mr. Craig suggests that Lamb is confusing his death with that of Humphrey of Gloucester, ibid., Act III., Scene 2, lines 160-176. In Page 75. Footnote. For "second plate in the Marriage à la Mode see opposite page 412. Page 76, line 5. The "Boys under Demoniacal Possession." Raphael's "Transfiguration," in the foreground, are figures answering to this description. Lamb half suggests that Raphael (1483-1520) and Domenichino (1581-1641) collaborated in a picture; but this is of course impossible—as their dates show. Lamb was probably thinking of Domenichino's picture of "St. Nil delivering the Son of Polyeucte of a Devil." Page 76. First Footnote. Somewhere in his [Reynolds'] lectures. The passage is in the fourteenth of the Discourses on Painting—on Gainsborough :— After this admirable artist [Hogarth] had spent the greater part of his life in an active, busy, and, we may add, successful attention to the ridicule of life; after he had invented a new species of dramatic painting, in which probably he will never be equalled, and had stored his mind with infinite materials to explain and illustrate the domestic and familiar scenes of common life, which were generally, and ought to have been always, the subject of his pencil; he very imprudently, or rather presumptuously, attempted the great historical style, for which his previous habits had by no means prepared him: he was indeed so entirely unacquainted with the principles of this style, that he was not even aware that any artificial preparation was at all necessary. It is to be regretted, that any part of the life of such a genius should be fruitlessly employed. Let his failure teach us not to indulge ourselves in the vain imagination, that by a momentary resolution we can give either dexterity to the hand, or a new habit to the mind. I For Hogarth's "Child Moses before Pharaoh's Daughter" see plate opposite page 416; for Reynolds' "Repose in Egypt" (usually called "The Holy Family") see plate opposite page 418. Macklin's Bible was published in 1790. Page 76. Second Footnote. "The Honest Whore." By Thomas Dekker. Lamb quotes this passage in his Specimens, 1808. Page 77, line 16. Page 77, line 17. see Act II., Scene 2. "Venice Preserved." By Thomas Otway. Page 77, line 35. Bunbury. Henry William Bunbury (17501811), caricaturist and painter, who married, in 1771, Miss Catherine Horneck (Goldsmith's "Little Comedy "). Bunbury did not, as Barry suggests on page 80, "relinquish" his vein of humour. On the contrary he drew caricatures to the end, but between 1780 and 1808 varied them with landscapes. Page 78, line 14. "Enraged Musician." See plate opposite page 421. Page 78. First Footnote. Lord Orford. Horace Walpole (afterwards Lord Orford) said of the "Strolling Players" in his Anecdotes of Painting-" which for wit and imagination, without any other end, I think the best of all his works." Page 78. Second Footnote. "The Friend." Coleridge's Friend ran from August, 1809, to March, 1810. Lamb once remarked that it contained Coleridge's best talk. "The Harlot's Page 79, line, 14. "The March to Finchley" Funeral." See plates opposite pages 422 and 424. Page 79, line 23. The late Mr. Barry. James Barry, R.A. (17411806), painter and professor of painting. Page 80, line 31. The Footes, the Kenricks. Samuel Foote (1720-1777), playwright, actor and wit; William Kenrick (1725 ?-1779), a quarrelsome satirist and playwright. Page 81, line 6. As Mr. Burke expresses it. "Mediocrity" is often used by Burke, to signify a middle state. Page 81, lines 24 and 30. Mr. Penny. Edward Penny (1714-1791), a painter of domestic drama. Benjamin West's " Death of Wolfe" was exhibited at the Royal Academy in 1771. Page 81, last line but one. Children's books. added, or the tale of Carlo the Dog." 66 The Reflector version At the annual meeting charity, or some cognate Page 82, line 3. The Literary Fund. of this benevolent society a copy of verses on subject, was regularly read. Henry James Pye, the Poet Laureate, wrote, for example, the verses for 1805. Page 82, line 31. "Distressed Poet" "Industry and Idleness" (plate V.). See plates opposite pages 426 and 428. Page 83, lines 32-37. Tom Jones . . . Parson Adams. Tom Jones and Blifil, in Fielding's Tom Jones. Strap and Random, in Smollett's Roderick Random. Parson Adams, in Fielding's Joseph Andrews. Page 83, fourth line from foot. "Scorn of vice." I do not trace this phrase. Page 83, second line from foot. "Lacrymæ rerum." From the Eneid, I., 462. The famous line in which these words occur is diversely rendered. Shipwrecked Eneas, reaching the spot where Dido's workmen were building Carthage, sees in a temple of Juno representations of the Trojan War. "En Priamus!" he says, Sunt hic etiam sua præmia laudi; Sunt lacrimæ rerum et mentem mortalia tangunt. Some translate : Here glory has its meet rewards; here are tears for human life, and mortal sorrows touch the mind. |