of Kneller. In the Memoirs, again, Walpole sneers at the Prince of Wales, afterwards George the Third, for presenting a collection of books to one of the American colleges during the Seven Years' War, and says that, instead of books, his Royal Highness ought to have sent arms and ammunition; as if a war ought to suspend all study and all education; or as if it were the business of the Prince of Wales to supply the colonies with military stores out of his own pocket. We have perhaps dwelt too long on these passages; but we have done so because they are specimens of Walpole's manner. Every body who reads his works with attention will find that they swarm with loose and foolish observations like those which we have cited; observations which might pass in conversation or in a hasty letter, but which are unpardonable in books deliberately written and repeatedly corrected.

He appears to have thought that he saw very far into men; but we are under the necessity of altogether dissenting from his opinion. We do not conceive that he had any power of discerning the finer shades of character. He practised an art, however, which, though easy and even vulgar, obtains for those who practise it the reputation of discernment with ninetynine people out of a hundred. He sneered at every body, put on every action the worst construction which it would bear, "spelt every man backward," to borrow the Lady Hero's phrase,

"Turned every man the wrong side out, And never gave to truth and virtue that

Which simpleness and merit purchaseth."

In this way any man may, with little sagacity and little trouble, be considered by those whose good opinion is not worth having as a great judge of character.

It is said that the hasty and rapacious Kneller used to send away the ladies who sate to him as soon as he had sketched their faces, and to paint the figure and

hands from his housemaid. It was in much the same way that Walpole portrayed the minds of others. He copied from the life only those glaring and obvious peculiarities which could not escape the most superficial observation. The rest of the canvass he filled up, in a careless dashing way, with knave and fool, mixed in such proportions as pleased Heaven. What a difference between these daubs and the masterly portraits of Clarendon !

There are contradictions without end in the sketches of character which abound in Walpole's works. But if we were to form our opinion of his eminent contemporaries from a general survey of what he has written concerning them, we should say that Pitt was a strutting, ranting, mouthing actor, Charles Townshend an impudent and voluble jack-pudding, Murray a demure, cold-blooded, cowardly hypocrite, Hardwicke an insolent upstart, with the understanding of a pettifogger and the heart of a hangman, Temple an impertinent poltroon, Egmont a solemn coxcomb, Lyttelton a poor creature whose only wish was to go to heaven in a coronet, Onslow a pompous proser, Washington a braggart, Lord Camden sullen, Lord Townshend malevolent, Secker an atheist who had shammed Christian for a mitre, Whitefield an impostor who swindled his converts out of their watches. The Walpoles fare little better than their neighbours. Old Horace is constantly represented as a coarse, brutal, niggardly buffoon, and his son as worthy of such a father. In short, if we are to trust this discerning judge of human nature, England in his time contained little sense and no virtue, except what was distributed between himself, Lord Waldgrave, and Marshal Conway.

Of such a writer it is scarcely necessary to say, that his works are destitute of every charm which is derived from elevation or from tenderness of senti

ment. When he chose to be humane and magnanimous, for he sometimes, by way of variety, tried this affectation, he overdid his part most ludicrously. None of his many disguises sat so awkwardly upon him. For example, he tells us that he did not choose to be intimate with Mr. Pitt. And why? Because Mr. Pitt had been among the persecutors of his father? Or because, as he repeatedly assures us, Mr. Pitt was a disagreeable man in private life? Not at all; but because Mr. Pitt was too fond of war, and was great with too little reluctance. Strange that a habitual scoffer like Walpole should imagine that this cant could impose on the dullest reader! If Molière had put such a speech into the mouth of Tartuffe, we should have said that the fiction was unskilful, and that Orgon could not have been such a fool as to be taken in by it. Of the twenty-six years during which Walpole sat in Parliament, thirteen were years of war. Yet he did not, during all those thirteen years, utter a single word or give a single vote tending to peace. His most intimate friend, the only friend, indeed, to whom he appears to have been sincerely attached, Conway, was a soldier, was fond of his profession, and was perpetually entreating Mr. Pitt to give him employment. In this Walpole saw nothing but what was admirable. Conway was a hero for soliciting the command of expeditions which Mr. Pitt was a monster for sending out.

What then is the charm, the irresistible charm, of Walpole's writings? It consists, we think, in the art of amusing without exciting. He never convinces the reason, or fills the imagination, or touches the heart; but he keeps the mind of the reader constantly attentive, and constantly entertained. He had a strange ingenuity peculiarly his own, an ingenuity which appeared in all that he did, in his building, in his gardening, in his upholstery, in the matter and in

the manner of his writings. If we were to adopt the classification, not a very accurate classification, which Akenside has given of the pleasures of the imagination, we should say that with the Sublime and the Beautiful Walpole had nothing to do, but that the third province, the Odd, was his peculiar domain. The motto which he prefixed to his Catalogue of Royal and Noble Authors might have been inscribed with perfect propriety over the door of every room in his house, and on the titlepage of every one of his books; "Dove diavolo, Messer Ludovico, avete pigliate tante coglionerie ?" In his villa, every apartment is a museum; every piece of furniture is a curiosity; there is something strange in the form of the shovel; there is a long story belonging to the bell-rope. We wander among a profusion of rarities, of trifling intrinsic value, but so quaint in fashion, or connected with such remarkable names and events, that they may well detain our attention for a moment. A moment is enough. Some new relic, some new unique, some new carved work, some new enamel, is forthcoming in an instant. One cabinet of trinkets is no sooner closed than another is opened. It is the same with Walpole's writings. It is not in their utility, it is not in their beauty, that their attraction lies. They are to the works of great historians and poets, what Strawberry Hill is to the Museum of Sir Hans Sloane or to the Gallery of Florence. Walpole is constantly showing us things, not of very great value indeed, yet things which we are pleased to see, and which we can see nowhere else. They are baubles; but they are made curiosities either by his grotesque workmanship or by some association belonging to them. His style is one of those peculiar styles by which every body is attracted, and which nobody can safely venture to imitate. He is a mannerist whose manner has become perfectly easy to

him. His affectation is so habitual and so universal that it can hardly be called affectation. The affectation is the essence of the man. It pervades all his thoughts and all his expressions. If it were taken away, nothing would be left. He coins new words, distorts the senses of old words, and twists sentences into forms which make grammarians stare. But all this he does, not only with an air of ease, but as if he could not help doing it. His wit was, in its essential properties, of the same kind with that of Cowley and Donne. Like theirs, it consisted in an exquisite perception of points of analogy and points of contrast too subtile for common observation. Like them, Walpole perpetually startles us by the ease with which he yokes together ideas between which there would seem, at first sight, to be no connexion. But he did not, like them, affect the gravity of a lecture, and draw his illustrations from the laboratory and from the schools. His tone was light and fleering; his topics were the topics of the club and the ball-room; and therefore his strange combinations and far-fetched allusions, though very closely resembling those which tire us to death in the poems of the time of Charles the First, are read with pleasure constantly new.

No man who has written so much is so seldom tiresome. In his books there are scarcely any of those passages which, in our school days, we used to call skip. Yet he often wrote on subjects which are generally considered as dull, on subjects which men of great talents have in vain endeavoured to render popular. When we compare the Historic Doubts about Richard the Third with Whitaker's and Chaliners's books on a far more interesting question, the character of Mary Queen of Scots; when we compare the Anecdotes of Painting with the works of Anthony Wood, of Nichols, of Granger, we at once see Walpole's superiority, not in industry, not in learning, not in ac