resemblance of the Farm-yard. The next day he re turned to the house, and again in the evening resumed his task at home. In this manner, in the course of a few days, by the force of memory only, he transmitted to his own canvas a very tolerable copy of the picture.

Nearly by the same methods, he copied a picture of several figures hunting, which he saw in the window of a house-painter. In his copy, however, he had, in compliance with the costume of his neighbourhood, placed a huntress upon a pad instead of a side-saddle, and being laughed at for this mistake, he some time afterwards de stroyed his copy.

The love of Painting had thus so thoroughly established its dominion over his whole mind, that nothing could now divert him from engaging in it as a profession: his father, however, still treated his attempts with great severity, and used his utmost endeavours to check a pursuit, which he considered as likely to prove injurious to his son's future prosperity; but the aspiring views of the young artist met with a zealous supporter in another part of his family; his father's brother, a man of strong understanding, and moreover an excellent arithmetician, continued to view his progress with pleasure, and encouraged him in his desire of learning, by jocularly complimenting him with the name of the little Sir Isaac, in consideration of the knowledge he displayed in mathematics.

He therefore followed his new studies with ardour, and had already attained a competent skill in portrait painting, and had hung his father's house with the pic tures of his family, and of his youthful companions, when he became accidentally known to Dr. Walcot, then residing at Truro, (and since so celebrated underthe title of Peter Pindar) who having himself some skill in painting, a sound judgment, and a few tolerable pictures, was well fitted to afford instruction, and various advantages, to the young scholar.

Thus assisted and recomiended, his fame found its way through the country, and so rapid was his progress, that he now commenced professed portrait-painter, and went to many of the neighbouring towns, with letters of introduction to all the considerable families resident in them,

One of these expeditions was to Padstow, whither he set forward, dressed, as usual, in a boy's plain short jacket, and carrying with him all proper apparatus for portrait-painting. Here, amongst others, he painted the whole household of the ancient and respectable family of Prideaux, even to the dogs and cats of the family. He remained so long absent from home, that some uneasiness began to arise on his account, but it wss dissipated by his returning dressed in a handsome coat, with very long skirts, laced ruffles, and silk stockings. On seeing his mother, he ran to her, and, taking out of his pocket twenty guineas, which he had earned by his pencil, he desired her to keep them; adding, that, in future, he should maintain himself.

The first efforts of his pencil, though void of that grace which can only be derived from an intimate knowledge of the art, were true to nature, and in a style far superior to any thing in general produced by country artists. He painted at that time with smaller pencils, and finished more highly than he afterwards did when his hand had attained a broader and more masterly execution: but several of his early portraits would not have disgraced even the high name he has since attained. Towards the end of the year 1777, when he was sixteen years of age, he brought to Penryn a head he had painted of himself for the late Lord Bateman, who was then at that place with his regiment (the Hereford Militia), and who was an early patron of Mr. Opie, employing him to paint pictures of old men, beggars, &c. in subjects of which kind he was principally engaged, and which he treated with surprising force, and truth of represen

tation.

At length, still under the auspices of Dr. Walcot, he came to London, where his reception, and his continued progress, are the fit objects of the biographer. It is the purpose of this paper to delineate solely his character, as a man, a scholar, and an Artist.

Mr. Opie's ruling passion was ambition, but ambition tending to the use and delight of mankind. It impelled him to eminence in his art, and it displayed itself in a resolution always decided, sometimes impetuous, to obtain every distinction which his path in life laid open to him. Accustomed in childhood to prove himself superior to his companions, the desire of com

petition became unextinguishable. Wherever eminence appeared, he felt and eagerly shewed himself its rival. He was forward to claim the honours which he was still more diligent to deserve. He regarded every honourable acquisition as a victory, and expressed with openness the delight he experienced in success. On the professorship of painting in the Royal Academy becoming vacant by Mr. Barry's dismissal, he offered himself a candidate: and being told that he had a competitor, whose learning and talents pre-eminently entitled him to that office, he replied, that he abstained from further interference, but that the person who had been proposed was the only one in whose favour he would willingly resign his pretensions: consistently with his declaration, on Mr. Fuzeli's appointment to the office of keeper, he renewed his claim, and was elected.

Examples of a mind more open to the reception of knowledge, more undaunted by difficulty, more unweared in attainment, are rarely to be found. Conducted to London, by the hand of one who discerned his yet unveiled merit, he approached the centre of an exalted country with the liveliest hopes he met its flatteries with trembling; and he viewed its unfeeling caprice with the sensitive emotions of genius, but with the unconquerable force of sense and judgment. An intellect, naturally philosophic, soon discovered to him that he was not born to depend on the frivolous conceit of crowds, but command the respect of the great and wise. He bent his powers to the formation of his own mind he applied himself to reading: he sought the society of the learned: ardent in his researches, boldly investigating truth, pertinacious (though not overbearing) in argument, while he elicited light from his opponent, and steady to principles which he found could not be shaken by controversy: in this manner, while an unremitting perseverance, superior to the neglect of the multitude, maintained the cunning of his hand, he became a scholar and a painter.

The Life of Reynolds, published in Dr. Walcot's Edition of Pilkington's Dictionary, was the first specimen of his literary ability. In this he displayed a profound knowledge of the subject, a quick and powerful perception of distinctive character, and a mastery of lan

guage little to be expected from a youth, who was supposed to have been destitute of learning.

He next published a letter in the Morning Chronicle, (since republished in "An Inquiry into the requisite cultivation of the Arts of Design in England,") in which de proposed a distinct plan for the formation of a National Gallery, tending at once to exalt the arts of his country, and immortalize its glories.

His lectures at the Royal Institution followed ;These were a spirited attempt to display the depths of his professional knowledge, amidst a circle assembled for entertainment and fashionable delight. His lectures impressed respect on his audience: they were full of instructive materials; they taught the principles of painting, and presented an accumulation of maxims founded on history and observation. But to whatever praise they might vindicate a claim, they never satisfied their author; and he declined the continuance of them. His election to the professorship of painting at the Royal Academy happening nearly at this time, he resolved to perfect what he had perceived defective; and he read at Somerset House four lectures, which, avoiding any collision with the brilliant specimens of erudition and imagination which had immediately preceded him in that place, appeared to have been unequalled in their kind.

In his former lectures at the Royal Institution, he was abrupt, crowded, and frequently unmethodical ; rather rushing forward himself, than leading his auditors, to the subject. In the latter lectures, he was more regular, progressive, distinct, instructive; and delivered a mixture of humorous and impassioned sentiment in a strain of clear, natural and flowing eloquence. Here he found his genius roused, and his whole faculties adequately excited; and he shone more as professor at the Academy, than as lecturer at the Institution, because he was more formed by nature and application to address the studious and philosophic, than the light and gay. He possessed no superficial graces, either in his conversatiou or professional practice. Every thing in him was manly, resolute, energetic; yielding little to fashion, nothing to caprice; less addressed even to fancy than to judgment; in no measure adapted to catch a careless glance, but fitted to awaken thought, and gratify reflection.

P. H.

THE PLEASURES OF A NEWSPAPER.

MR. CONDUCTOR,

EVERY man, when he awakes in the morning, finds that the reflections suggested by the preceding day have been, if not wholly obliterated, at least suspended by sleep; that new topics of conversation are wanting, and that surprise is on tip-toe for new calls; he is unwilling to recur to the business of the preceding day, because it has been exhausted; or ashamed to recollect it, because it has disappointed him. A family thus met together, would drink the tea of Lethe, and eat the toast of taciturnity, were they not happily relieved from torpor of thought, and immobility of tongue, by the entrance of a Newspaper.

It is possible, indeed, that the weather might furnish a brief subject of debate, but the wind must blow a hurricane, and the rain descend in torrents, to be worth more than a moment's conversation. When the Newspaper appears, however, all Europe is united to refresh the languid memory, to quicken the dull thoughts, and give expedition to the communicative tongue-even the breakfast-table is indebted to the presence of this lively guest. The tea acquires a inore odoriferous flavour, the toast is handed about with a quicker velocity, and the sugar and butter, though less white and sweet than could be wished, escape without censure, in the multiplicity of reflections which the Newspaper suggests.

No publication surely was ever so fertile in sources of reflection to those who chose to think, or of conversation to those who prefer the humbler, though more noisy, business of talking. First, a long list of extensive amusements presents itself, fraught with every tempting inducement. Here it is important to observe how a play is cast, what great performers are concerned, and what farce or entertainment is to follow; if a concert, what pieces are to be performed, and by whom; if an opera, whether the divine Signora bears a part. From amusements there is a transition to works of charity, to subscription of names and sums of money for benevolent purposes: whether the arrangement here be judicious, or whether these ought not to precede amusements, I shall not stop to inquire. Perhaps the Editor

VOL. I.