by distinguished foreigners who visited England, even nobles and ambassadors; especially by Cosmo de' Medici, then Prince, afterwards Duke of Tuscany, who offered him ample proofs of his esteem; and there were many among his own compatriots who received his opinions with respect, if not with favour.

During the long period of his declining life, Hobbes is related to have pursued with most assiduity his studies in natural philosophy; but the publications of his old age (if we except the Decameron Physiologicum, published in 1676), rather indicate a return to his earliest tastes, which inclined, we are told, to history and poetry. At the age of about 80 he wrote, in English, the Behemoth, or History of the Civil Wars between Charles and the Parliament; besides a long Latin poem on the origin and increase of the pontifical power. At about 86, he translated the Odyssey into English verse, and the Iliad at 87: and he persevered for the four following years, which were his last, in the same peaceful course of literary recreation. A list of his works, forty-two in number, is given in Chalmers' Biographical Dictionary:' the great majority of them are forgotten.

He died towards the end of the year 1679, and was buried at Hault-Bucknall, close by the grave of his faithful patroness, the Countess of Devonshire. Respecting his personal character and conversation it is recorded, that he was agreeable and courteous in his familiar intercourse with all, those 'alone excepted who approached him for the mere purpose of disputation; and these he treated with more severity than was necessary. Above all things, he detested theological controversy, and always strove to turn his hearers away from it to the exercise of piety and the practice of Christian morality. His favourite authors were Homer, Virgil, Thucydides, and Euclid: but his reading was not extensive; as he thought the careful me

ditation on a few good works more profitable to the understanding than a more abundant draught of indiscriminate learning; and was fond of saying upon this subject, that if he read as much as others he should be as ignorant as they were. He persisted in a life of celibacy, that he might be able to pursue his studies with the less interruption. In his disposition he was generous and charitable; but his means were scanty; for even at the end of his life he had little else but two small pensions, the one from the family of Devonshire, the other from the king.

CLAUDE GELÉE, commonly called Claude Lorraine, was born in 1600, at the village of Chamagne in Lorraine, of very indigent parents. He was apprenticed to a painter of eatables*; but at the end of his term of service, whether from disgust at his employment, desire of change, or perhaps influenced by the love of art, he engaged himself as a domestic to some young painters who were going to Italy. On arriving at Rome he was employed as a colour-grinder by Agostino Tassi, an artist then in high repute, whose landscapes are spirited and free, and particularly distinguished by the taste displayed in the architectural accompaniments. Tassi first induced him to try his abilities in painting. His earliest essays were implicit imitations of his master's manner, and evinced no symptom of original genius; perhaps even in his matured style some indications of Tassi's influence may be traced. He

*Sandraat, a contemporary, who wrote the life of Claude in Latin, says-'à parentibus suis in disciplinam tradebatur, pictori cuidam artocreatum.' It has been, however, almost uniformly stated that Claude was apprenticed to a pastrycook.

continued, as opportunity occurred, to exercise his pencil, obtaining little notice and still less reward. By degrees however he succeeded sufficiently to venture on giving up his menial employment; and having acquired from Tassi a tolerable expertness in the mechanical part of his profession, he appears from thenceforth to have given little attention to the works of other painters, relying on his own discernment and diligent observation of nature. Many years elapsed, however, before the talents of Claude reached their full maturity, whence his biographers have inferred that he owed his excellence rather to industry than genius; as if such excellence were within the reach of mere application.

He drew with indefatigable diligence, both from antique sculpture and from the living model, but to little purpose; and he was so conscious of his incapacity, that he used to observe," I sell the landscapes and throw the figures into the bargain:" and sometimes he employed Filippo Lauri and Courtois to insert them. But his figures, however faulty in themselves, are always well adapted to promote the harmony of the whole composition; being judiciously placed, and shaded, illuminated, sharpened out, or rendered indistinct, with nearly as much skill as is shown in the other parts of the picture. And not unfrequently, however feebly drawn, they partake of that classical and poetic air, which Claude, beyond every other landscape painter, has diffused over his works.

It is said, and the circumstances of his early life render it probable, that he was very deficient in general acquirements. Assuredly he had no opportunities of becoming a profound scholar, nor in relation to his art was it necessary that he should; why should he have sought through the medium of books that imagery which lay before him in reality? Rome, and its environs, the banks of the Tiber, and the broad Campagna, supplied his imagination with the best

food, and his pencil with inexhaustible materials. He was accustomed to spend whole days in the open air, not only studying Nature in her permanent aspects, but making memorandums of every accidental and fleeting effect which presented itself to his observation. Sandrart, who sometimes accompanied Claude in his excursions, relates that he was accustomed to discourse on the visible phenomena of nature with the intelligence of a philosopher; not only noting effects, but explaining their causes with precision and correctness, whether produced by reflection or refraction of light, by dew, vapour, or other agencies of the atmosphere. Broad as is his style, he entered minutely into detail, and made drawings of trees, shrubs, and herbage, marking all their peculiarities of shape, growth, and foliage. By this practice he was enabled to represent those objects with undeviating accuracy, and to express, by a few decided touches, their general cha

racter.

Amidst the splendour of his general effects, the distinguishing qualities of objects are never neglected; fidelity is never merged in manner; and hence it is, that the longer we look at his pictures, the more vivid is the illusion, the more strongly is the reality of the represented scene impressed upon us. Combining with his fine imagination the results of observation thus long and intensely exercised, he accomplished in his works that union of poetic feeling with accurate representation of nature, which forms the highest excellence of art, and in which, as a landscape painter, he stands unrivalled.

Claude found in Rome and its neighbourhood the materials of his scenery, but the combination of them was his own he selected and copied portions, but he seldom or never painted individual views from nature. His favourite effects are those of sunrise and sunset, the periods at which Nature puts on her most gorgeous