of whom he treasured up the smallest memorial, of whom he loved to hear the most trifling anecdote, and for whose likenesses he would have given any price. Of the great French writers of his own time, Montesquieu is the only one of whom he speaks with enthusiasm. And even of Montesquieu he speaks with less enthusiasm than of that abject thing, Crébillon the younger, a scribbler as licentious as Louvet and as dull as Rapin. A man must be strangely constituted who can take interest in pedantic journals of the blockades laid by the Duke of A. to the hearts of the Marquise de B. and the Comtesse de C. This trash Walpole extols in language sufficiently high for the merits of Don Quixote. He wished to possess a likeness of Crébillon; and Liotard, the first painter of miniatures then living, was employed to preserve the features of the profligate dunce. The admirer of the Sopha and of the Lettres Athéniennes had little respect to spare for the men who were then at the head of French literature. He kept carefully out of their way. He tried to keep other people from paying them any attention. He could not deny that Voltaire and Rousseau were clever men; but he took every opportunity of depreciating them. Of D'Alembert he spoke with a contempt which, when the intellectual powers of the two men are compared, seems exquisitely ridiculous. D'Alembert complained that he was accused of having written Walpole's squib against Rousseau. "I hope," says Walpole, "that nobody will attribute D'Alembert's works to me." He was in little danger.

It is impossible to deny, however, that Walpole's writings have real merit, and merit of a very rare, though not of a very high kind. Sir Joshua Reynolds used to say that, though nobody would for a moment compare Claude to Raphael, there would be another Raphael before there was another Claude. And we own that we expect to see fresh Humes and fresh Burkes before we again fall in with that peculiar combination of moral and intellectual qualities to which the writings of Walpole owe their extraordinary popularity.

It is easy to describe him by negatives. He had not a creative imagination. He had not a pure taste. He was not a great reasoner. There is indeed scarcely any writer in whose works it would be possible to find so many contradictory judgments, so many sentences of extravagant nonNor was it only in his familiar correspondence that he wrote in this flighty and inconsistent manner, but in long

sense.

and elaborate books, in books repeatedly transcribed and intended for the public eye. We will give an instance or two; for, without instances, readers not very familiar with his works will scarcely understand our meaning. In the Anecdotes of Painting, he states, very truly, that the art declined after the commencement of the civil wars. He proceeds to inquire why this happened. The explanation, we should have thought, would have been easily found. He might have mentioned the loss of a king who was the most munificent and judicious patron that the fine arts have ever had in England, the troubled state of the country, the distressed condition of many of the aristocracy, perhaps also the austerity of the victorious party. These circumstances, we conceive, fully account for the phænomenon. But this solution was not odd enough to satisfy Walpole. He discovers another cause for the decline of the art, the want of models. Nothing worth painting, it seems, was left to paint. "How picturesque," he exclaims, "was the figure of an Anabaptist!" -as if puritanism had put out the sun and withered the trees; as if the civil wars had blotted out the expression of character and passion from the human lip and brow; as if many of the men whom Vandyke painted had not been living in the time of the Commonwealth, with faces little the worse for wear; as if many of the beauties afterwards portrayed by Lely were not in their prime before the Restoration; as if the garb or the features of Cromwell and Milton were less picturesque than those of the round-faced peers, as like each other as eggs to eggs, who look out from the middle of the periwigs 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 ninety-nine 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 sentiment. 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 twentysix 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 rareties, 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 no where 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