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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A67158	Country conversations being an account of some discourses that happen'd in a visit to the country last summer, on divers subjects : chiefly of the modern comedies, of drinking, of translated verse, of painting and painters, of poets and poetry.	Wright, James, 1643-1713.	1694 (1694)	Wing W3693; ESTC R38767	29,396	96

that Guido a Disciple of Hannibal did afterwards imitate him with much success There are of his Pictures very Beautiful and well managed His ordinary residence was at Bologna and it was he that first taught his Nephew Hannibal to use the Crayon Annibal quickly out went his Master in all particulars He counterfeited Corregio Titian and Raphaels manner in different Pictures excepting that they want the Nobleness the Grace and the Delicacy of Raphael and that his Cantours are not so Pure and so Elegant For the rest he was very accomplisht and very Universal His manner of designing is great and excellent Expressing what he knew with an admirable Genius Augustin Brother of Annibal was also a good Painter and a most excellent Graver He had a Bastard Son Named Antonio who died at the Age of 23 or 24 years who as 't is thought would certainly have surpast his Uncle Annibal for it seem'd from what we see of his that he would have taken a greater Flight Guido imitated chiefly Lewis Carache and always retain'd the same fashion of Painting with Lawrence the Fleming his Master who dwelt at Bologna and was Contemporary and an Emulatour of the said Lewis Guido made use of Albert Durer as Virgil did of the Poet Ennius and this he turn'd into his own manner with such Grace and Beauty that he alone got more Money and obtain'd more Reputation in his time than his Masters and than all the Disciples of the School of the Caraches tho' more capable han the. His Heads are no ways inferior to those of Raphiel Sisto Badalocchi designed better than the other Disciples but he died young Albano was excellent in all the parts of Painting and was skill'd in the Belles Lettres or polite Learning Dominicano was a very skilful Painter and very painful being not otherwise advantaged by Nature He was very profound in all that depends on Painting however he seems to have less Majesty than all the other Disciples of the Caraches John Lanfranc was of great Spirit and Vivacity and continued long in an excellent Gust of Design and Colour but having no Foundation but the Practique he quickly became liable to Correction in such sort that we see many of his things very * Strain'd and extravagant Strapassées where there was no occasion for it For the rest of those Disciples after the Death of their Master they all grew worse and worse in every particular of Painting Viola begun to make Landskips when he was very Old Hannibal took a delight to instruct him and we may see several Pieces of his Work wonderfully handsom and well colour'd In Germany and the Low Countries Albert Durer Lucas Aldegrave Isbin and Holbin were all of the same time Among whom Albert and Holbin were very skilful and had been of the first Rank had they seen Italy for we can blame them for nothing but their Gothick Gust and chiefly Albert. As for Holbin he carried the Execution beyond Raphael and I have seen a Portrait of his that put down one of Titians Among the Flemings we have had Rubens a Man to whom his Birth gave a Lively Wit Free Sweet and Universal he had a Genius capable to raise him not only to the Rank of the Antient Painters but also to the greatest Imployments and accordingly he was made choice of to go on one of the most famous Embassies that has been in our Age. His Gust for design did Tast more of the natural Fleming than of the Beauty of the Antique for he had been but a little time at Rome Tho' we may observe in all his Works a Grandeur and Majesty yet one may say truly that generally speaking he did not design well but for the other parts of Painting he understood and possest as much as ever Painter did His principal Study was made in Lombardy and particularly after the Works of Titian Paul Veronese and Tintoret from all which as one may say he skim'd away the Cream to gether for his own use certain general Maxims and infallible Rules which he always observed and by which he performed his Works with more facility than Titian more Purity Truth and Science than Paul Veronese and more Majesty Repose and Moderation than Tintoret In fine his manner was so firm so skillful and so prompt that it seem'd as if his Rare Genius was sent on purpose from Heaven to teach Mankind the Art of Painting His School was fill'd with many good Disciples among whom Vandike best understood the Rules and Ge●eral Maxims of his Master and did even surpass him in the Delicacy of his Carnations or Flesh Colours and in his Cabinet Pieces but he had as ill a Gust as him in that Part which relates to Design SECT V. Of Poets and Poetry AFter Eugenius had thus finisht his or rather Monsieur Fresnoy's Discourse of the Famous Italian Painters the Company fell into familiar Chat such as produced nothing Remarkable till the approach of Night caused the Visitants to think of home Mitis made Eugenius a very gentile Complement at parting and Julio profest that tho' his Entertainment was in all particulars extream Noble and Obliging yet nothing had more surprised him with Delight than the Sight of his Excellent Collection of Pictures As they return'd Mitis began a Discourse which lasted all the way near two hours He said it may be a Question which is the most Delightsom Painting or Poetry Understand me where both are good and in perfection for the little common Dawbings are no more to be valued in one than the Street Ballads and dispicable Rhimes of the other Whichsoever occasions the greatest Pleasures said Julio I will not determine for that may arise chiefly from the apprehension or different Genius of the Party who views the Picture or reads the Poem But I am apt to believe that Poetry is more useful to humane Life by Reason of its Moral Precepts and Instructions such as cannot arise from a Dumb Painting As Dumb as the Painting is said Lisander Pictures are thought to be of great use even by the way of Direction and Information beyond Sea and therefore they are so frequently placed in Churches there to highten the Affections and advance Devotion 'T is true this has been thought Superstitious here in our Country and therefore Pictures have been with us Excommunicated or Expell'd the Church and certain Texts of Scripture Writ up and down on the Walls instead of them and yet some People think this to be of as little use and less Ornament than the other for say they in Country Churches where it is most Practised many if not most of the Parish cannot Read whereas every Body understands the meaning of a Picture which indeed speaks all Languages And for that Reason they have been not improperly called The Lay-mens Books But to wave this Comparison of Painting and Poetry which has been allow'd in all Ages since Old Horace said Pictoribus atque Poetis Quidlibet audendi semper fuit

not sufficiently Naturalized to appear in a serious Poem Besides I esteem it a kind of Burlesque word and unsutable to the Dignity of Horace There is an other word said Mitis which I cannot pass without a Remark and that is the Particle Nay which I know is of Common use in Prose to highten and aggravate the Subject of Discourse but I cannot think it graceful in Verse as a too familiar and slight way of speaking 'T is without all question there are some words which are allowable in Prose but not in a Poem such as the word Lad which the Great Cowley tells in the Notes on his Davideis is not proper to be Read in an Heroick Poem and therefore uses the Word Boy instead of it and yet the word Lad is prefer'd in the English Translation of the Scriptures from whence he takes the Argument and Foundation of his Work After this it came in Course to a Gentleman whose Name I have forgot to produce his Specimen he told the Company that he had lately happen'd upon a French Epigram of a New and surprising Turn the manner of the Poets expressing his Design in the Close pleas'd me so well said he that I cou'd not forbear trying how the Thought wou'd shew in English It is an Address to Cardinal Richelieu form'd in such an Air that in my mind it is the neatest or if you will the gentilest way of begging a great Man's favour not without something like Reproach for neglect that ever I met with The French is this Armand l'aage afioiblit mes yeux Et tout ma chaleur me quitte Je verray bien tost mes ayeux Sur le rivage du Cocyte Je seray bientost des suivans De ce bon Monarque de France Qui fut le Pere des scavans En un seicle pleine d'ignorance Lors que j'approcheray de luy Il voudra que Je lui raconte Tout ce que tu fais aujourduy Pour combler l'Espagne de honte Je contenteray son desir Et par le recit de ta vie Je charmeray le déplaisir Qu'il receut au Champ de Pavie Mais s'il demande en quel employ Tu m'as tenu dedans le monde Et quel bien j'ay receu de toy Que veux-tu que je luy reponde And my English this Old Age begins to call I soon must go To my last home in the Dark World below Where busie Souls will Crowd some News to know There I shall tell Armand of your Renown The Voice of every Country every Town What Wonders you have done to serve the Crown How Wise how Great in every god like Deed How bountiful you are to all that need But most where Learning speaks or Merits plead When they shall ask as ten to one some may What you have done for me tell me I pray Illustrious Sir what wou'd you have me say Believe me Sir said Lisander you have hansomly and well exprest the Authors Turn of Thought in the Conclusion but I must needs say you have so little observed the Authors Expressions in all that goes before that in my Opinion this cannot properly be called a Translation but rather some Verses writ in imitation of the French You have well Paraphrased the Author's meaning in the main but certainly as a good Translation ought not on the one hand to be Literal or Verbal without a due Liberty to the property of Expression in our Language so on the the other it must not be a meer Paraphrase on the Author 's General Design without any respect to his form of expression Julio added that he could wish the word what had not been twice used so close together in the two last Lines What you have and what wou'd you for besides that correct Writers forbear to repeat the same words near the place where they have been used already unless the Enargy of the sense does absolutely require it the word what is harsh and unpleasant in the English Tongue as the word Car in the French which Monsieur de Gomberville one of those Select Wits who composed the French Academy rejected as offensive and fitter for a Disputation than a Romance or Poem and brag'd that he had not at all made use of that word in composing the five Volumes of Polexander After this Mitis produced Mr. Cowleys Epitaph in Westminster Abby render'd by him into English Aurea dum uolitant latè tua scripta per orbem Et famâ aeternùm vivis divine Poeta Hic placidâ jaceas requie Custodiant urnam Cana fides vigilcntque perenni lampade Musae Sit sacer iste locus nec quis temerarius ausit Sacrilega turbare man● venerabile Bustum Intacti maneant maneant per secula dulcis Couleii ●ineres serventque immobile Saxum Immortal in his Fame which daily Flies About the Globe here Divine Cowley lies His Urne inviolate all Ages keep Here let the Muses ever Watch and Weep For ever Holy let this place remain Untrod by Sacrilegious and Prophane Eternal Peace Sweet Cowley guard and may His Name preserve this Marble from decay Belamy who had been silent a long while this dry Discourse being insipid to him cou'd not now forbear observing to Mitis his Old Antagonist that in his Opinion he has taken too great a Liberty in the beginning of his Version the Latine mentioning Cowley in the second Person which he has vary'd in the English to the third contrary as he thinks to the Rules of a True and Just Translation Julio said that his addition of the Word weep tho' i● does really improve the sense yet being placed unluckily at the end of the Line looks as if it was taken in only for the Rhime sake Lisander observed that the Conclusion of this Epitaph especially as Mitis has exprest it in English has much the like thought with that composed for Michael Drayton whose Monument is very little distant from Mr. Cowley's and that the sense of their Epitaphs in this particular is almost as near as their Graves for thus the Composer of Mr. Drayton's Epitaph is supposed to speak to the Marble that covers him And when thy Ruins shall disclaim To be the Treasury of his Name His Name that cannot dye shall be An Everlasting Monument to thee Here Julio was call'd upon to produce his Essay of Translation He said he had lately chopt upon some Latine Verses which he found written before a Burtons Melancholy the Author of which Book assumed the Name of Democritus Junior Heraclite fleas misero sic convenit Aevo Nil nisi triste vides nil nisi Turpe vides Tu ride quantumque lubet Democrite ride Non nisi vana vides non nisi stulta vides Is fletu hic risu modo gaudeant unus utrique Sit licet usque Labor sit licet usque Dolor Nunc opus est nam totus eheu jam desipit Orbis Mille Heraclitis milleque Democritis Nunc opus est tanta

aequa potestas There is one Point of Disparity between 'em in the true Cause of which I would gladly be satisfied And that is why Poetry and Poverty are counted inseperable Companions and that for a Man to have a Poetical Genius is thought fatal that he is thereby half Ruined and in the ready way to Beggary Whereas for a Painter to have an apt and ready Genius in his Science is counted a good Omen and assures us that in time he will be a grat Master and raise an Estate Julio after a little pause answer'd to this purpose 'T is very true that those who addict themselves to Poetry especially such who make it their whole business have been generally observed to be little beholding to Fortune or in plain English poor and indigent one Reason may be that they are Men of Generous Souls above their Fortunes and live according to the Ideas and Notions they Read and Write of which tho' commendable in Poems and Romances yet are not practicable here without a plentiful Revenue and almost Inexhaustible Fund Besides they Love quiet as most agreeable to their Studies while those who Raise Estates are your Intreaguers Men of Business and such as live in a continual Hurry Add to this that being Men of Witty and Delightsom Conversation their Company is desired by almost all and those of Fortunes and Expences greater than they in Prudence can Cope with which insensibly decays that little Estate which they have An other Reason may be that they aspire no higher than a handsom subsistance for the present and leave the future to Providence that disposes all things in which particular they are better Christians and Philosophers than Husbands and Parents After all perhaps this Character of Poverty is not only applyable to Poets but in some if not equal Degree to all other Scholars who being Masters of Little or nothing besides their Learning they are compell'd after the Example of all Ages to apply themselves to Great Men some of whom whose Estates have overgrown their Wit and Humanity think themselves importuned with their Addresses and therefore speak more disgracefully of them than they deserve These are the Reverse of a M●cenas they have have his Riches but Souls below a Plebeian They look upon a Poet or Poor Scholar with a Present or Dedication as a kind of Robber for tho' He does not take their Purse like your Highwayman yet he forces their Will and they part with what Custom obliges them to return if they make any meerly to avoid the Dishonour as unwillingly and with as ill a Face as if they heard Stand and Deliver For this Reason said Mitis I wou'd have if possible no Poets but such only who have Estates of Inheritance Large and sufficient to guard them both from the Insults of the World and Cares of subsisting 'T is true there have been several among the Romans and in our Age who have been as Eminent for their Excellent Genius this way as for their Quality But for the most part the Great Men and the Poets are not to be United for they are Born Rich and these are born Poets But where some of those to raise their Estates which are already made to their hands they might perhaps live as poor as these There is certainly more requir'd to getting Riches than Learning and Science There is much of Luck and something of Trick the Citizens call it Mystery that are necessary Concomitants What else makes the Hypocrite more plausible than the Good Christian an Empirick Richer than a Learned Doctor And I have heard of a Fellow in the Country who cou'd not Write nor hardly read and yet got a great Estate by pretending to the Law In these Lucky pretences these Tricks and Mysteries or what ever you call 'em it seems the Poets are Ignorant There is still one other Reason for a Poets Poverty those who addict themselves to other Studies find great incouragement from publick Provisions The Divine has his Livings Promotions and Dignities Those of the Law have abundance of Offices of mighty profit and the Physitians settled Salaries from Hospitals and other endowments But the Poet as such hath no Office or Place of Preferment belonging to his Profession that I know of except one and that too consist● chiefly in Reputation and a Pipe o● Canary This starts an other occasion of their impoverishment they have been generally devoted to the Bottle they fancy inspiration from Wine and I never heard of any who raised an Estate but thousands who consumed it by Drinking You have given Reasons more than enough said Lisander to justifie the common Notion of Poets I perceive that Verses and Poems are pretty Toys to play with but the worst Tools for a Trade that ever were invented 'T is well some of our Poets have other ways of subsisting else I know not how they wou'd do to live in this World unless they could Restore the Golden Age their beloved Theme in which bountiful Nature supply'd all things to every one and none wanted any thing And among other Arts which have interfered with Poesie I have observed in a more especial manner that of Painting to be one as if the two Sister Sciences delighted to live together in the same Person You seldom knew a Poet but he was a Lover of Pictures nor a Painter who had not the like Affection for Poems and Musick which is really an inarticulate Poesie Some persons have attain'd to a great perfection in both these Arts such was Leonardo da Vinci I cou'd Name other Italians and several of our own Nation But 't is sufficient to instance only in one A young Lady of Eminent Virtue and Beauty was when she lived which was not many years since incomparable for her performances both with the Pen and Pensil I mean Mrs. Ann Killegrew whose Picture drawn by her self is Printed before her Book of Poems publisht soon after her Death A Gentleman of our Acquaintance tho' he had never seen her when living fell really in love with her Memory and on the first view of her Picture and Poems composed some Verses which I think I can still remember Often have I Conquer'd been With the Beauties I have seen Often have uncommon Faces Pleas'd and Wounded with their Graces But till this Hour I never found That the Fair Sex unseen can Wound Till now I never was a Slave To Charms and Beauties in a Grave Nor time can cure nor Hope can ease my Care At once I see Love and dispair Ah sweet Remains of that Lamented Maid Ah Lovely Shadow of a Shade Where 's now the Hand which this fair Image drew Where 's that we miss even when we view Where is that Noble Fancy cou'd design A Face and Verse both so Divine Where is that Face that did all Art defie That Art that Nature did outvy Where in the Sex shall we her Virtue find And where her Wit in all Mankind Absurd Inquiries Can such Beauty dye Such Wit be subject to Mortality Can such Accomplishments as hers create Less than a Miracle and Conquer Fate See prophane Infidel see here and find In this Eternal Monument inshrined Her very self her Wit her Face and Mind This seems indeed to be Writ with as great Affection as Encomium and more Love than Art But you know Philaster he is the Author I did imagine said Mitis it must be he He is himself a pretender to both these Arts And that with as much Success as he desires since he never made either of them his Business but Diversion With this and such like Discourse the Way and the Time past off when they found themselves arrived at their Journeys End and that the Day-Light had determined and the Sun Resigned his Office to his Sister almost an hour before which they never minded FINIS