paid for it. This seems to have been the true drift of his observation. We cannot suppose it made with it made with any intention of depreciating the genius of Raffaelle, of whom he always spoke, as Condivi says, with the greatest respect. Though they were rivals, no such illiberality existed between them; and Raffaelle, on his part, entertained the greatest veneration for Michael Angelo, as appears from the speech which is recorded of him, that he congratulated himself, and thanked God, that he was born in the same age with that painter.

If the high esteem and veneration in which Michael Angelo has been held by all nations and in all ages, should be put to the account of prejudice, it must still be granted that those prejudices could not have been entertained without a cause: the ground of our prejudice then becomes the source of our admiration. But from whatever it proceeds, or whatever it is called, it will not, I hope, be thought presumptuous in me to appear in the train, I cannot say of his imitators, but of his admirers. I have taken another course, one more suited to my abilities, and to the taste of the times in which I live. Yet, however unequal I feel myself to that attempt, were I now to begin the world again, I would tread in the steps of that great master: to kiss the hem of his garment, to catch the slightest of his perfections, would be glory and distinction enough for an ambitious man.12

I feel a self-congratulation in knowing myself capable of such sensations as he intended to excite. I reflect, not without vanity, that these Discourses bear testimony of my admiration of that truly divine man; and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of Michael Angelo.*

Unfortunately for mankind, these were the last words pronounced by this great Painter from the Academical chair. He died about fourteen months after this Discourse was delivered. M.

12 Faith will do much, as it did on a more solemn occasion, which perhaps gave rise to the idea expressed in the Discourse; but to be able to admire the works of the great Florentine, or even to catch some of his perfections, is a glory that will lead to no profitable result, unless engrafted upon something more explicable to the multitude. Reynolds had recommended

ALLERIE

Barry and others to this study in the outset of his own successful career, and therefore at its close it was necessary, and also graceful to finish with a posthumous desire to have done that which he had excited others to do. In the few historical pictures Sir Joshua painted, he evidently thought of Michael Angelo; but what he took seldom amalgamated well with the adjoining figures: like idols of iron and clay, they can be easily separated; nevertheless his portraits may owe something of their dignity and grace to his constant contemplation of that grandeur which the works of Michael Angelo communicate; and perhaps in this way alone is his greatness of style likely to be beneficial, by ennobling inferior branches of the art by its influence. If, however, the student is ambitious and daring enough to enter the lists with the Homer of painting, he must make up his mind to exclaim with Milton, that he has fallen on "evil days and evil tongues,

In darkness and with dangers compass'd round;"

for though the Academy has done much to improve the taste of the country, especially by the annual Exhibitions, yet, as far as the higher branches of the art are concerned, the public still see as through a glass, darkly." He must also bear in mind, that the whole mechanism of painting is to be acquired and mastered in the first instance, before attempting the sublime poetry of the art otherwise, like Dædalus, instead of mounting he will descend; or, as in a drawing by Raffaelle of "Alexander and Roxana," where the Loves are sporting with the accoutrements of the hero, those who handle his sword, belt, or helmet, are able to keep upon their legs; while the little urchin who has had ambition to creep into the cuirass is obliged to crawl along the floor.

FINIS.

ASHMOLEAN

OXFORD

MUSEUM

C. Whittingham, Tooks Court, Chancery Lane.

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