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ther's house. He entered, and was received, thoughy not unkindly, yet without any excess of fondness or exclamations of rapture. His father had, in his absence, suffered many losses, and Gelaleddin was considered as an additional burthen to a falling family.

When he recovered from his surprise, he began to display his acquisitions, and practised all the arts of narration and disquisition: but the poor have no leisure to be pleased with eloquence; they heard his arguments without reflexion, and his pleasantries without a smile. He then applied himself singly to his brothers and sisters; but found them all chained down by invariable attention to their own fortunes, and insensible of any other excellence than that which could bring some remedy for indigence.

It was now known in the neighbourhood, that Gelaleddin was returned; and he sat for some days in expectation that the learned would visit him for consultation, or the great for entertainment. But who will be pleased or instructed in the mansions of poverty? He then frequented places of public resort, and endeavoured to attract notice by the copiousness of his talk. The sprightly were silenced, and went away to censure, in some other place, his arrogance and his pedantry; and the dull listened quietly for a while, and then wondered why any man should take pains to obtain so much knowledge which would never do him good.

He next solicited the visiers for employment, not doubting but his service would be eagerly accepted. He was told by one, that there was no vacancy in his office; by another, that his merit was above any patronage but that of the emperor; by a third, that he would not forget him; and by the chief visier, that he did not think literature of any great use in public business.

He was sometimes admitted to their tables, where he exerted his wit, and diffused his knowledge; but he observed, that where, by endeavour or accident, he had remarkably excelled, he was seldom invited a second time.

He now returned to Bassora, wearied and disgusted, but confident of resuming his former rank, and revelling again in satiety of praise. But he who had been neglected at Tauris was not much regarded at Bassora; he was considered as a fugitive, who returned only because he could live in no other place; his companions found that they had formerly over-rated his abilities, and he lived long without notice or esteem.

No. 76. SATURDAY, SEPTEMBER 29, 1759.

TO THE IDLER.

SIR,

I WAS much pleased with your ridicule of those shallow criticks, whose judgment, though often right as far as it goes, yet reaches only to inferior beauties; and who, unable to comprehend the whole, judge only by parts, and from thence determine the merit of extensive works. But there is another kind of critick still worse, who judges by narrow rules, and those too often false, and which, though they should be true, and founded on nature, will lead him but a very little way toward the just estimation of the sublime beauties in works of genius; for whatever part of an art can

be executed or criticised by rules, that part is no longer the work of genius, which implies excellence out of the reach of rules. For my own part I profess myself an Idler, and love to give my judgment, such as it is, from my immediate perceptions, without much fatigue of thinking; and I am of opinion that, if a man has not those perceptions right, it will be vain for him to endeavour to supply their place by rules, which may enable him to talk more learnedly, but not to distinguish more acutely. Another reason which has lessened my affection for the study of criticism is, that criticks, so far as I have observed, debar themselves from receiving any pleasure from the polite arts, at the same time that they profess to love and admire them: for these rules, being always uppermost, give them such a propensity to criticise, that, instead of giving up the reins of their imagination into their author's hands, their frigid minds are employed in examining whether the performance be according to the rules of art.

To those who are resolved to be criticks in spite of nature, and at the same time have no great disposition to much reading and study, I would recommend to them to assume the character of connoiseur, which may be purchased at a much cheaper rate than that of a critick in poetry. The remembrance of a few names of painters, with their general characters, with a few rules of the academy, which they may pick up among the painters, will go a great way towards making a very notable connoisseur.

With a gentleman of this cast, I visited last week the Cartoons at Hampton-court; he was just returned from Italy, a connoiseur of course, and of course his - mouth full of nothing but the grace of Raffaelle, the

purity of Domenichino, the learning of Poussin, the air of Guido, the greatness of taste of the Charaches, and the sublimity and grand contorno of Michael Angelo; with all the rest of the cant of criticism, which he emitted with that volubility which generally those orators have who annex no ideas to their words.

As we were passing through the rooms, in our way to the gallery, I made him observe a whole length of Charles the First by Vandyke, as a perfect representation of the character as well as the figure of the man. He agreed it was very fine, but it wanted spirit and contrast, and had not the flowing line, without which a figure could not possibly be graceful. When we entered the gallery, I thought I could perceive him recollecting his rules by which he was to criticise Raffaele. I shall pass over his observation of the boats being too little, and other criticisms of that kind till we arrive at St. Paul preaching. "This," says he, "is esteemed the most excellent of all the cartoons: what nobleness, what dignity, there is in that figure of St. Paul! and yet what an addition to that nobleness could Raffaelle have given, had the art of contrast been known in his time! but, above all, the flowing line which constitutes grace and beauty! You would not have then seen an upright figure standing equally on both legs, and both hands stretched forward in the same direction, and his drapery, to all appearance, without the least art. or disposition." The following picture is the Charge to Peter. "Here," says he, "are twelve upright figures; what a pity it is that Raffaelle was not acquainted with the pyramidal principle! He wonld then have contrived the figures in the middle to have been on higher ground, or the figures at the extremities stooping or lying; which would

not only have formed the group into the shape of a pyramid, but likewise contrasted the standing figures. Indeed," added he, "I have often lamented that so great a genius as Raffaelle had not lived in this enlightened age, since the art has been reduced to principles, and had had his education in one of the modern academies; what glorious works might we then have expected from his divine pencil!"

I shall trouble you no longer with my friend's observations, which, I suppose, you are now able to continue by yourself. It is curious to observe, that, at the same time that great admiration is prétended for a name of fixed reputation, objections are raised against those very qualities by which that great name was acquired.

Those criticks are continually lamenting that Raffaelle had not the colouring and harmony of Rubens, or the light and shadow of Rembrant, without considering how much the gay harmony of the former, and affectation of the latter, would take from the dignity of Raffaelle; and yet Rubens had great harmony, and Rembrant understood light and shadow: but what may be an excellence in a lower class of painting, becomes a blemish in a higher; as the quick, sprightly turn, which is the life and beauty of epigrammatick compositions, would but ill suit with the majesty of heroick poetry.

To conclude: I would not be thought to infer, from any thing that has been said, that rules are absolutely unnecessary; but to censure scrupulosity, a servile attention to minute exactness, which is sometimes inconsistent with higher excellency, and is lost in the blaze of expanded genius.

I do not know whether you will think painting a

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