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Yet still how faint by precept is exprest
The living image in the painter's breast?
Thence endless ftreams of fair Ideas flow,
Strike in the sketch, or in the picture glow;
Thence Beauty, waking all her forms, fupplies
An Angel's sweetness, or Bridgewater's eyes.
Mufe! at that Name thy facred forrows fhed,
Those tears eternal, that embalm the dead;
Call round her Tomb each object of defire,
Each purer frame inform'd with purer fire :
Bid her be all that cheers or foftens life,
The tender fifter, daughter, friend, and wife:
Bid her be all that makes mankind adore ;
Then view this Marble, and be vain no more!
Yet still her charms in breathing paint engage; 55
Her modeft cheek fhall warm a future age.
Beauty, frail flow'r, that ev'ry season fears,
Blooms in thy colours for a thoufand years.

NOTES.

50

Thus

preferved, has in this one point fucceeded very ill. His figures are often engaged in fubjects that required great expreffion; yet his Judith and Holofernes, the daughter of Herodias, with the Bap tift's Head; the Andromeda, and even the Mothers of the Innocents, have little more expreffion than his Venus attired by the Graces." WARTON.

VER. 40. the work of years!] Frefnoy employed above twenty years in finishing his poem. POPE.

VER. 43. Strike in the fketch,] Gray, in his verfes to Mr. Bentley, has beautifully expreffed and deferibed the perfon and defign:

"See, in their course, each tranfitory thought,

Fix'd by his touch a lafting effence take;
Each dream, in fancy's airy colouring wrought,
To local fymmetry and life awake."

Works, 4to.

WARTON.

Thus Churchill's race fhall other hearts furprize,
And other Beauties envy Worfley's eyes;
Each pleasing Blount shall endless smiles bestow,
And foft Belinda's blufh for ever glow.

Oh lasting as thofe Colours may they fhine, Free as thy ftroke, yet faultless as thy line; New graces yearly like thy works display, Soft without weakness, without glaring gay; Led by fome rule, that guides, but not constrains; And finish'd more through happiness than pains. The kindred Arts fhall in their praise conspire, One dip the pencil, and one string the lyre.

NOTES.

бо

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70

Yet

VER. 59. Thus Churchill's race] Churchill's race were the four beautiful daughters of John the great Duke of Marlborough: Henrietta, Countefs of Godolphin, afterwards Dutchess of Marlborough; Anne, Countefs of Sunderland; Elizabeth, Countess of Bridgewater; and Mary, Dutchefs of Montagu. Their portraits are at Blenheim. Lady Bridgewater, whom Jervas affected to be in love with, and who amused herself at his expence, was the most beautiful of the four fifters. She died, March 1713-14, aged 27. In 1720, her husband was created Duke of Bridgewater

VER. 60. Worley's eyes;] This was Frances Lady Worfley, Wife of Sir Robert Worsley, Bart. of Appuldercombe, in the Isle of Wight; Mother of Lady Carteret, Wife of John Lord Carterct, afterwards Earl Granville. There is an excellent letter of this Lady to Dr. Swift in his Letters, p. 77. WARTON.

VER. 61. Each pleafing Blount] These were the two fifters, Terefa and Martha Blount. See note on the Epiftle "To a Lady leaving the Town," in this volume.

VER. 70. One dip the pencil,] The great Michael Angelo Buanoriti did both. See his Poems, printed at Florence, in 4to, 1623; fome of which are very elegant, and nearly equal to Petrarch.

WARTON.

Yet fhould the Graces all thy figures place,
And breathe an air divine on ev'ry face;
Yet fhould the Mufes bid my numbers roll
Strong as their charms, and gentle as their foul;
With Zeuxis' Helen thy Bridgewater vie,
And these be sung till Granville's Myra die:
Alas! how little from the grave we claim !
Thou but preferv'st a Face, and I a Name.

NOTES.

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VER. 78. Thou but preferv'ft a Face, &c.] The laft line of this Poem is unworthy Pope. The idea is trite, that notwithstanding all our accomplishments we muft both die; and the antithefis, "that one preferves a face, and the other a name," puerile.

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in the Collection of Michael Blount Esq. at Maple Durham.

Published by Cadell & Danes. Strand, and the other Proprietors, May 1.1807.

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