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154. -GIOTTO- -] The scholar of Cimabu, and the first painter of any genius that appeared in Italy, worked at Florence; was the contemporary of Dante and Petrarch, whose pictures he drew, and with whom he lived in friendship. Y.

ibid. TITIAN- -] This painter drew more portraits of kings and princes than any other that ever lived. Ariosto and Aretine were his friends and contemporaries, of whom he made pictures. Y. 155. ZEUXIS- -] Zeuxis, who studied Homer with particular attention, always read such parts of his poems as were best suited to the subject he had in hand, before he took up his pencil. Y.


ibid. JULIO-] Julio Romano, the disciple and favorite of Raphael, was said to have a peculiar majesty in his composition. He was the best scholar of the modern painters, and a diligent reader of Virgil, and the greatest poets. Y.

ibid. CLOVIO- -] Julio Clovio lived 200 years after Dante. The portrait of Dante, here mentioned, represents him, as Mr. Duncombe hath observed, in a melancholy posture in the fore-ground, looking back on Florence; whence he was banished during the commotions of that state, in which he bore the highest offices. Clovio's great work is a book of drawings, in the Florentine gallery, the subjects of which are all taken from Dante's on Hell, Purgatory, and Heaven. ibid. -BEATRICE- -] The mistress of Dante in his youth, who died many years before him, and of whom he speaks with great affection. She is repre

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sented in the poem as the Guardian Angel who leads him through Heaven, as Virgil and Statius do their heroes through Hell and Purgatory. Y.


Page 157. The Doric grave, where weight requires.], In ea aede cum voluissent columnas collocare, non habentes symmetrias earum, & quaerentes quibus rationibus efficere possent, ut et ad onus ferendum essent idoneae, et in aspectu probatam haberent venustatem: dimensi sunt virilis pedis vestigium, et cum invenissent pedem sextam partem esse altitudinis in homine, ita in columnam transtulerunt: et qua crassitudine fecerunt basin scapi, tantum eam sexies cum capitulo in altitudinem extulerunt. Ita Dorica columna virilis corporis proportionem, et firmitatem et venustatem in aedificiis praestare coepit. Vitruv. 1. IV. c. I. p. 60.

ibid. The light Corinthian, &c.] Tertium vero, quod Corinthium dicitur, verginalis habet gracilitatis imitationem: quod virgines propter aetatis teneritatem gracilioribus membris figuratae, effectus recipiunt in ornatu venustiores. Ejus autem capituli prima inventio, &c. Ibid.

ibid. Between them see, &c.] Junoni, Dianae, Libero Patri, caeterisque Diis qui eadem sunt similitudine, si aedes Ionicae construerentur, habita erit ratio medioeritatis, quod et ab severo more Doricorum et a teneritate Corinthiorum, temperabitur earum institutio proprietatis. Ibid.1.

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157. The lonic, &c.] Item postea Dianae constituere aedem quaerentes, novi generis speciem, iisdem vestigiis ad muliebrem transtulerunt gracilitatem; et fecerunt primum columnae crassitudinem altitudinis octava parte: ut haberent speciem excelsiorem, basi spiram supposuerunt pro calceo, capitulo volutas, uti capillamento concrispatos cincinnos praependentes dextra ac sinistra collocaverunt, et cymatiis et encarpis pro crinibus dispositis, frontes ornaverunt : truncoque toto strias, uti stolarum rugas, matronali more dimiserunt. Ibid.

158. From real or from seeming use,] —quemadmodum mutuli cantheriorum projecturae ferunt imaginem, sic in Ionicis denticuli ex projecturis asserum habent imitationem. Itaque in Graecis operibus nemo sub mutulo denticulos constituit: non enim possunt subtus cantherios asseres esse. Quod ergo supra cantherios & templa in veritate debet essa collacatum, id in imaginibus, si infra constitutum fuerit, mendosam habebit operis rationem, &c. lbid.

159. From truth, &c.] —quod non potest in veritate fieri, id non putaverunt in imaginibus factum, posse certam rationem habere. Omnia enim certa proprietate, et a veris naturae deductis moribus, traduxerunt in operum perfectiones: et ea probaverunt, quorum explicationes in disputationibus rationem possunt habere veritatis. Vitruv. lib. IV. c. II. p. 67.

ibid. —and use, &c.] See the idea of beauty ex, plained by the great Dr. Berkley in the Minute Philosopher, dial. 11. sect. vII, IX.


Page 160. This Epistle being ethical, critical, and descriptive, the Editor was in some doubt how to dispose of it. If any of its Readers should consider it misplaced here, others perhaps, may think differently. Though not without merit of its own, its principal value appears to arise from the circumstance, of having suggested to Goldsmith the idea of his Traveller.

Mr. Spence was educated at Winchester School, and was afterward a Fellow of New College. Having taken his Master of Arts degree in 1727, and acquired reputation by his Essay on the Odyssey of Pope, he was elected Poetry Professor, and held that office for the space of ten years. With the Earl of Lincoln (now Duke of Newcastle) he travelled into Italy, and there collected materials for his Polymetis. Succeeding in 1742, to the rectory of Great Horwood, a college living in Buckinghamshire, he vacated his fellowship; but was appointed professor of modern History at Oxford in the same year, and in 1754 a prebendary of Durham. He was found dead on the 20th of August, 1768, with his face in water, which as it was too shallow to cover his head, his death was ascribed to a fit. He appears to have been an elegant scholar and an amiable man.

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