1709-1742.] DRFOE. 445 Robinson Crusoe is very good. Defoe wrote a vast many things; and none bad, though none excellent, except this. There is something good in all he has written." Of the " vast many things," all of which contain "something good," there are works of fiction which are as striking as Robinson Crusoe, although in their reality,-in their naked delineations of actual life, but always with the view to make vice hideous-they can scarcely be recommended for general perusal. Defoe's ruling principle in his broad pictures of the manners of the highest and the lowest ranks, is thus stated by him, in the Preface to his "Life of Colonel Jack: ""The various turns of his fortune, in different scenes of life, make a delightful field for the reader to wander in; a garden where he may gather wholesome and medicinal fruits, none noxious or poisonous; where he will see virtue and the ways of wisdom everywhere applauded, honoured, encouraged, and rewarded; vice and extravagance attended with sorrow and every kind of infelicity; and at last, sin and shame going together, the offender meeting with reproach and contempt, and the crimes with detestation and punishment." This was the principle upon which Hogarth also worked. But as Hogarth's prints cannot all be hung up in a modern drawing-room, so Defoe's novels of familiar life are not for universal reading-however journalism may now expatiate o'er scenes where fiction dare not tread. Spence's "Anecdotes," p. 196. Gulliver. View of the State of the Arts from the Revolution of 1688 to the Accession of the House of Brunswick-Architecture-Wren --Rebuilding of London-St. Paul's-Wren's Parish Churches-Wren's Miscellaneous Buildings-Vanbrugh-Character as an ArchitectHawksmoor and Gibbs Burlington Sculpture Gibbons - Cibber Roubiliac Painting-Portrait Painting in England-Kneller-Jervas-Verrio and LaguerreThornhill-Other Painters-Hogarth. DURING the period which has passed under review in the preceding chapters of this volume, the Arts were, with one exception, in a very depressed condition. For a brief space it had seemed as though Art would have taken firm root in this country: it was now a sickly exotic. Charles I., although his taste and influence in art-matters may perhaps have been overrated, did undoubtedly labour strenuously during his troubled reign to add to the splendour of his court by the liberal patronage of art and artists. Partly it may have been done in rivalry, partly in imitation of the monarch who then sat on the throne of France. But whatever was the cause the effect was the He attracted to his court either as visitors or residents some of the most famous painters of the day; he obtained at a cost his necessities could ill afford a collection of paintings far surpassing anything of the kind which same. Some curious particulars illustrating the difficulties experienced by Charles in raising money for the full payment of his commissions and purchases will be found in Mr. Sainsbury's admirably edited "Original Papers relating to Rubens," (8vo. 1859). It was more than two years after Rubens had finished his paintings for the ceiling of Whitehall before Charles was able to pay the last £500 of the £3000 which Rubens was to receive for them-though Gerbier, the king's agent at Brussels, writes urgent letters to the king himself, as well as to his ministers, stating how "Spaniards, French, and other nations talk" of the royal pictures lying there "as if for want of money." But the royal jewels were also at this time lying "at pawn there," and the parties who had advanced their money on them were threatening the envoy "by public notary" that if they were not redeemed by a certain day "they would put the jewels up to real and public sale for their satisfaction." (Sainsbury, p. 185 and note). Even more trouble was experienced and caused by the king's inability to provide the purchase money for the famous Mantuan collection. (Ibid., Appendix H.) |