his Lazar House, in the 11th book of Paradise Lost.

'THE Crede of Pierce Ploughman,' an anonymous, and nearly contemporaneous poem, written in the same alliterative metre, without rhyme, formed the concluding part of the lecture. The first edition of this curious production was said to be printed by Wolfe in 1553, but to have almost the scarcity of a MS: the second edition was printed in 1561, along with the 4th edition of The Visions'.

British Gallery.

THIS Institution will be opened to the Public on Monday the 16th February, with the addition of the Models of the several Candidates for executing the National Monuments, which are to be placed in the Gallery, for the decision of the Committee of Taste, appointed to examine them.

92

POSTSCRIPT.

'FLY-FLAP PRESENTED TO THE DIRECTOR.'

As the present is a season of the year when fly-flappers are necessarily out of use, the appearance of a work, under the above title, did not a little surprise me. The writer seems to possess a considerable portion of goodnature, not unmixed with a propensity to indulge himself in a few sly person

alities.

HE attacks the title of my paper, and thinks it dictatorial: but has he attended to my illustration of it*, and is his own title more seasonable? To be sure there are always insects buzzing about in the regions of literature, and probably it was his wish to furnish me with a fly-flap to be guarded against the fatal effects of their stings. If so, he has my thanks: but had he no intention, at the same time, of secreting one of these mischievous little insects in his fly-flap?

WITH the assistance of D'Alembert, who fills eight out of his 26 pages, he talks very learnedly on the fine arts, and abuses the

* See page 7 of No. I, of The Director.

British Institution: adding, that it affords not proper encouragement to painting. On the contrary, the fact is known that it has afforded very general encouragement. The hope of remuneration is the strongest incentive to successful labour. An artist, like all other professional, and unprofessional, men, must have 'du quoi manger'-This he will get by portrait painting, it is true; but here the fly-flapper knocks him down with his machine, and says, 'You must be an historical painter, and content yourself with the annual admiration of a passing multitude from May to July, if you wish to attain to excellence in your art.' Let the painter make the experiment! Is my opponent aware that the British Institution has already disposed of historical and other pictures, to the amount of £. 5000 and up-. wards? Is this no encouragement to the fine arts?

THE fly-flapper appears to triumph at the introduction of the names of all the masters and misses who copied the pictures.' But the insertion of their names was a mere matter of business and necessary detail; while it gave notoriety, it excited emulation.

WE are amused at page 23 with a long ac

count of a letter's miscarrying, addressed to the fly-flapper from a friend; at Rome; and, what is very important, we are told that this letter was dated on the 6th June, 1806. In this epistle, a great deal, I dare say, was inserted about the famous Canova, of Rome; who, I am ready to admit, deserves every commendation; and who the fly-flapper, in order that loyalty, heroism, and common sense may have a more ostensible share in the refinement of the arts, is desirous of bringing over here, to erect Nelson's monument, because the talents of our countrymen, Flaxman, Nollekens, Westmacott, and Bacon are inadequate to the task!

I FIND the author of The Fly-flap has a strong propensity to become acquainted with my person, and to tell the world what I have done, and, also, what I have not done. Addison's remark, in the first Number of The Spectator, is particularly applicable on this

occasion.

'I HAVE observed (says he) that a reader seldom peruses a book with pleasure, till he knows whether the writer of it be a black or a fair man, of a mild or choleric disposition, married or a bachelor, with other particulars of the like nature, that conduce very much to the right understanding of an author.'

In his conjecture about the identity of my person and character, I can assure him he is completely mistaken. I have never had the honour of making foundlings useful to society'. My domestic situation is best described in the concluding sentence of Gil Blas, with the alteration of one word only. comble de satisfaction, le ciel a daigné m'accorder quatre enfans, dont l' education va devenir l'amusement de mes vieux jours.'

Pour

I shall attend to the suggestion of an anonymous Correspondent relating to the names of the Artists who gained the Prizes at the Royal Academy.

William Savage, Printer, Bedford Bury.