137. Must own each Stonehouse meets in PITT.] Miss

Atkins, now Lady Rivers.

ibid. CHUDLEIGH,

of Bristol, and nominal Dutchess of Kingston.

ibid. JULIANA

-] Late Countess

] Lady Juliana Fermor,

-her dear Resemblance gone,] Lady Sophia

-] Miss Mary

since married to Mr. Penn.

ibid.

Fermor, Countess of Granville, died in 1745. 138. Two beauteous Nymphs

Evelyn.

Mrs. Boone.

EPISTLE XII.

Page 143. And on the Scraper's art rely, &c.] It may not, perhaps, be impertinent to observe, that this title is applied to that species of engravers, who prepare the plates for Metzotinto impressions.

145. Humanely thoughtful how to save

The starving thousands from the grave.] I shall not, by relating the whole of the transaction to which I allude, suppose any one ignorant of that splendid Act of Humanity which, during the last war in Canada, reflected so much honor upon Lord Amherst, and, through him, upon his Country and his nature.

159. And kindly bid the sorrowing Pair

To urge their steps and enter there.] While I was amusing myself with this Composition, I was asked who the Lady of Fashion might be, whom I had join'd

with Mr. F. in this penitential progress? It may therefore be proper, for the satisfaction of enquirers, to say something concerning her :

She is not a Lady of Fashion, for she seldom appears in public; and when she does, no one of the TON will own an acquaintance with her. She is of a very ancient family and high birth, and all the Monarchs in Europe, with their Ministers, Favorites, &c. acknowledge her in their closets. And I should be glad, for I am myself well acquainted with her salutary influence, to recommend her to the immediate intimacy of our Young Men and Women of Fashionthat she might be saved the disagreeable necessity of intruding herself upon them at some future period of their lives. The Lady's name is REPENTANCE.

152. Gives to a dragon's form, the wound

That lays the monster on the ground.] A Picture, painted by Sir Joshua Reynolds,

Page 153.

EPISTLE XIII.

"This noble and eminent Person, was the second son of the Lord Chancellor Hardwicke. He had been, for many years, in the first reputation at the bar; and, having passed through the offices of solicitor and attorney-general, was, himself, made lord chancellor in January 1770, but died soon after his appointment to that high dignity.-Luctuosum hoc suis; acerbum patriae; grave bonis omnibus. CIC."

154.

GIOTTO

-] The scholar of Cimabu,

and the first painter of any genius that appeared in Italy, worked at Florence; was the contemporary of Dante and Petrarch, whose pictures he drew, and with whom he lived in friendship. Y.

ibid. TITIAN-] This painter drew more portraits of kings and princes than any other that ever lived. Ariosto and Aretine were his friends and contemporaries, of whom he made pictures. Y.

155. ZEUXIS- -] Zeuxis, who studied Homer with particular attention, always read such parts of his poems as were best suited to the subject he had in hand, before he took up his pencil. Y.

ibid. JULIO] Julio Romano, the disciple and favorite of Raphael, was said to have a peculiar majesty in his composition. He was the best scholar of the modern painters, and a diligent reader of Virgil, and the greatest poets. Y.

ibid. CLOVIO- -] Julio Clovio lived 200 years after Dante. The portrait of Dante, here mentioned, represents him, as Mr. Duncombe hath observed, in a melancholy posture in the fore-ground, looking back on Florence; whence he was banished during the commotions of that state, in which he bore the highest offices. Clovio's great work is a book of drawings, in the Florentine gallery, the subjects of which are all taken from Dante's on Hell, Purgatory, and Heaven,

ibid. -BEATRICE- -] The mistress of Dante in his youth, who died many years before him, and of whom he speaks with great affection. She is repre

sented in the poem as the Guardian Angel who leads him through Heaven, as Virgil and Statius do their heroes through Hell and Purgatory. Y,

EPISTLE XIV.

Page 157. The Doric grave, where weight requires.] In ea aede cum voluissent columnas collocare, non habentes symmetrias earum, & quaerentes quibus rationibus efficere possent, ut et ad onus ferendum essent idoneae, et in aspectu probatam haberent venustatem : dimensi sunt virilis pedis vestigium, et cum invenissent pedem sextam partem esse altitudinis in homine, ita in columnam transtulerunt : et qua crassitudine fecerunt basin scapi, tantum eam sexies cum capitulo in altitudinem extulerunt. Ita Dorica columna virilis corporis proportionem, et firmitatem et venustatem in aedificiis praestare coepit. Vitruv. 1. 1v. c. I. p. 60,

ibid. The light Corinthian, &c.] Tertium vero, quod Corinthium dicitur, verginalis habet gracilitatis imitationem: quod virgines propter aetatis teneritatem gracilioribus membris figuratae, effectus recipiunt in ornatu venustiores. Ejus autem capituli prima inventio, &c. Ibid.

ibid. Between them see, &c.] Junoni, Dianae, Libero Patri, caeterisque Diis qui eadem sunt similitudine, si aedes Ionicae construerentur, habita erit ratio mediocritatis, quod et ab severo more Doricorum et a teneritate Corinthiorum, temperabitur earum institutio proprietatis. Ibid.

157. The Ionic, &c.] Item postea Dianae constituere aedem quaerentes, novi generis speciem, iisdem vestigiis ad muliebrem transtulerunt gracilitatem: et fecerunt primum columnae crassitudinem altitudinis octava parte: ut haberent speciem excelsiorem, basi spiram supposuerunt pro calceo, capitulo volutas, uti capillamento concrispatos cincinnos praependenteş dextra ac sinistra collocaverunt, et cymatiis et encarpis pro crinibus dispositis, frontes ornaverunt : truncoque toto strias, uti stolarum rugas, matronali more dimiserunt. Ibid.

158. From real or from seeming use,] quemadmodum mutuli cantheriorum projecturae ferunt imaginem, sic in Ionicis denticuli ex projecturis asserum habent imitationem. Itaque in Graecis operibus nemo sub mutulo denticulos constituit: non enim possunt subtus cantherios asseres esse. Quod ergo supra cantherios & templa in veritate debet essa collacatum, id in imaginibus, si infra constitutum fuerit, mendosam habebit operis rationem, &c. Ibid.

159. From truth, &c.] quod non potest in veritate fieri, id non putaverunt in imaginibus factum, posse certam rationem habere. Omnia enim certa proprietate, et a veris naturae deductis moribus, traduxerunt in operum perfectiones: et ea probaverunt, quorum explicationes in disputationibus rationem possunt habere veritatis. Vitruv. lib. IV. c. II. p. 67.

ibid. —and use, &c.] See the idea of beauty explained by the great Dr. Berkley in the Minute Philosopher, dial. 111. sect. v111, 1X.