Her precepts, best of teachers! give the powers, Whence art, by practice to perfection soars.

These useful rules from time and chance to

save,

775

In Latian strains, the studious FRESNOY gave:
On Tiber's peaceful banks the Poet lay,
What time the pride of Bourbon urg'd his way,
Thro' hostile camps, and crimson fields of slain,
To vindicate his race and vanquish Spain;
High on the Alps he took his warrior stand,
And thence, in ardent volley from his hand 780
His thunder darted; (so the Flatterer sings
In strains best suited to the ear of kings,)
And like ALCIDES, with vindictive tread,
Crush'd the Hispanian lion's gasping head.

Vim genii, ex illâque artem experientia complet. 540 Multa supersileo que commentaria dicent.

Hæc ego, dum memoror subitura volubilis ævi Cuncta vices, variisque olim peritura ruinis, Pauca sophismata sum graphica immortalibus ausus Credere pieriis, Romæ meditatus: ad Alpes, Dum super insanas moles, inimicaque castra Borbonidum decus et vindex Lodoicus avorum, Fulminat ardenti dextrâ, patriæque resurgens Gallicus Alcides premit Hispani ora leonis.

545

But mark the Proteus-policy of state :
Now, while his courtly numbers I translate,
The foes are friends, in social league they dare
On Britain to let slip the Dogs of War."
Vain efforts all, which in disgrace shall end,
If Britain, truly to herself a friend,

785

790

Thro' all her realms bids civil discord cease,
And heals her Empire's wounds by arts of Peace.
Rouse, then, fair Freedom! fan that holy flame,
From whence thy sons their dearest blessings claim;
Still bid them feel that scorn of lawless sway, 795
Which Interest cannot blind, nor Power dismay:
So shall the Throne, thou gav'st the BRUNSWICK
line,

Long by that race adorn'd, thy dread Paladium shine.

THE END.

NOTES

ON THE

ART OF PAINTING.

The few Notes which the Translator has inserted, and which are marked M, are merely critical, and relate only to the author's text or his own version.

NOTES

ON THE

ART OF PAINTING.

NOTE I. VERSE 1.

Two Sister Muses, with alternate fire, &c.

M. DU PILES

opens his annotations here, with much learned quotation from Tertullian, Cicero, Ovid, and Suidas, in order to show the

affinity between the two arts.

But it may

perhaps be more pertinent to substitute in the place of it all a single passage, by Plutarch ascribed to Simonides, and which our author, after having quoted Horace, has literally translated: Ζωγραφίαν είναι ΦΘΕΓΓΟΜΕΝΗΝ την Ποιησιν, ποιησιν δε ΣΙΓΩΣΑΝ την ζωγραφίαν. There is a Latin line somewhere to the same purpose, but I know not whether ancient or modern:

Poema

M.

Est Pictura loquens, mutum Pictura Poema.