Puslapio vaizdai

yet Lady Millar (who fo lately vifited Italy) in her account of Verona, makes no mention of their tomb: and I think fhe would not have overlooked it, had it been then in exiftence. Had their tomb or statue been raised in pure gold: we fhould not have wondered had it been no longer in existence. There is no mention made of it by Madame de Bocage, in her Letters on England, Holland, and Italy-nor by Miffon-LaffelCochin-Keyfler-Addison-Wright-Smollet-Sharp-Brown, in his Travels through France and Italy-Drummond-Northall-BarettiMoore-nor in the long but entertaining account of Verona, in the Travels


all the pomp of Romish rites. The funeral obfequies of Juliet, fhould have the fame effect on the mind, as those had which were paid to the lately deceased Sacchini-" I never in my life (fays a gen❝tleman in a letter from Paris) was affected in such a manner, as at the performance of a funeral fer"vice, or mafs for the dead, at which I was lately prefent-It was the requiem of the celebrated "Sacchini, performed in the Capuchin's church, rue St. Honoré. The opening of the ceremony was "inconceivably awful!-The moment the priests presented themselves to the altar, muffled drums, "kettle-drums, and other instruments, emitted tones that affected the heart with deep forrow, inter"mingled with terror.-In this part, an Abbé of the cathedral was heard with peculiar "delight, whofe melodious tones recalled to the rapt foul, Sacchini's magic powers."-Juliet's proceffion (in her beft robes uncover'd on the bier) fhould exhibit that painting, which the real interment of Cibber gave rife to, in the poem of Mr. Keate:

I turn, and while my eye the cloister roves,
The flaring taper pour upon my fight;
Solemn and flow the black proceffion moves,
And darts a terror thro' the gloom of night.

Sorrowing, I fee the holy rites begin;
Refign'd, the fad fepulchral office hear:
A thoufand foft ideas ftir within,

And afk once more, the tributary tear.

From the last scene of this tragedy, as altered by Mr. Garrick, have been taken the three following prints.

1. The last print of Walker's fet. I have before mentioned (in a note to the fcenes recommended for page 152) all that can be worth looking at in this print, for our prefent purpose.

2. Mr.

Travels of Blainville.* But I have lately met with the following traces of this tomb, in Captain Breval's Remarks on feveral parts of Europe, which work was first published in the year 1726: "As I was surveying (fays Captain Breval) the churches and other religious places in Verona, my guide, (or as the Italians call him my Cicerone) made me take notice of an old building which had been formerly a nunnery, but was converted into an house for orphans, about an hundred years fince. The fubftance of what I could gather from the long ftory he told me concerning it, was this, that at the time when that alteration was making, in the pulling down of a wall, the workmen happened to break down an old tomb, in which there were found two coffins, which by the inscription

2. Mr. Garrick and Mifs Bellamy, in the characters of Romeo and Juliet: Engraved by Ravenet, from after B. Wilfon. The original was painted for Mr. Hoare. In the engraving of this print, the countenance of Juliet, is by no means what it fliould be—it more resembles Juliet's mother than herself. The countenance of Mr. Garrick is finely expreffed, and his attitude is well drawn; and the light from the lamp, the landscape, and moon-light fcenery, are worth referring to.

3. Mr. Holman and Mifs Brunton, in the characters of Romeo and Juliet. Painted by Brown, and published in 1787. A large metzotinto. The figure and countenance of Holman, exhibit a fine and interesting idea of the youthful Romeo. His countenance is more characteristically expreffed than is that of Juliet.

*The following works are not unlikely to furnish fome particulars.-Torelli Saraynae Veronenfis, de origine et amplitudine civitatis Veronæ.-Veron. 1540-Defcrittione di tutta Italià di Leandro Alberti. Bolog. 1550-Ristretto de la Antichita de Verona, con novi ogionti da M. Zuane, pitore Veronenfc.-Veron. 1560-Girdamo de la Corte's History of Verona-Compendio dell' Iftorià di Verona-Antiquitates Veronenfes di Orniprius Pamunies-La Nobilita di Verona di Gio. Francefco Tinto nella quale tutte le Attioni, & Qualita di quella Citta fi defcrivono, onde di tempo in tempo le e derivata chiarezza, con l'Historie anneffe & dipendenti-Veron. 1592.-Cluverii Italiæ,-Siciliæ, &c. antiquae descriptio, 4 vol. cum fig. 1619-Dell' antica condizione di Verona, 1719-Verona Illuftrata,- Veron. 1732.-Voyage d' Italiè, Dalmatie, &c. par Spon. & Wheeler, 2 tom. avec fig. Amft. 1679.-Montfaucon's Travels through Italy, in the years 1698 and 1699, with cuts, 1725.Condamine's Tour to Italy-Burnet's Travels through Italy, 1724.-Stevens's Travels through France, Italy, &c.-Ray's Travels through Germany, Italy, &c.-Thompson's Travels through France, Italy, &c.

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fcription yet legible upon the ftone, appeared to contain the bodies of a young couple that had come by their death in a very tragical manner, about three centuries before; *

* * *

all the city flocked to fee what was left of two fuch extraordinary perfons: fince which time, what became either of the ftone-cheft, or the ashes that were in it, is what I never could learn.'

A list of fuch Paintings as have been taken from this play; and from which, no Engravings have as yet been made.

1. Romeo difmiffing his fervant Balthazar at Juliet's tomb. Painted by Ralph, No. 374 of the Exhibition at Somerfet-Houfe in 1782.

2. Romeo and Juliet. Act 5. Sc. 1. Painted by Ralph, No. 151 of the Exhibition at Somerset Houfe, in 1787.—I have not feen either of these paintings.

A Lift of fuch Prints as have been published from this play. Those I have not feen, are printed in Italics.

1. Bell's two editions.

2. Hanmer.

3. Theobald.

4. Rowe.

5. Lowndes.

6. A cut by Fourdrinier, in an edition, in 8 vols. 8vo. printed for Tonfon, 1735.

7. In 1754, came out, "Five fcenes in Romeo and Juliet, price three fhillings."

painted and engraved by Anthony Walker.

8. Romeo and Juliet. Engraved by Houston, from after Wilson.

9. Juliet. Defigned by Harding.

They are

10. Woodward in Mercutio. Published by W. Herbert at the Globe on London Bridge, 1753.
11. Romeo. Painted and engraved by P. Dawe.

12. Juliet. Painted and engraved by P. Dawe. There is some small merit in the look of Juliet.
13. Juliet. No painter or engraver mentioned, but faid to be published by G. T. Stubbs, in 1786.
14. "Romeo I come, this do I drink to thee." Painted by Singleton.
Bartolozzi, fculpfit.

15. Romeo and Juliet. W. Hamilton, pinxit. 16. General Magazine.

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Every man finds his mind more strongly seized by the Tragedies of Shakespeare than of any other writer; others please us by particular speeches; but he always makes us anxious for the event, and has perhaps excelled all but Homer in fecuring the first purpose of a writer, by exciting restless and unquenchable curiofity, and compelling. him that reads his work to read it through.


There was a time when the art of Jonson was fet above the divine inspiration of Shakespeare. The present age is well convinced of the mistake. And now the genius of Shakespeare is idolized in its turn. Happily for the public taste, it can fcarcly be too much fo.


Nature, her pencil to his hand commits,
And then in all her forms to this great mafter fits.


O, more than all in powerful genius bleft,

Come, take thine empire o'er my willing breast!



Many fanciful defigns for a Vignette, may be sketched from this play of Cymbeline: and they may partly have an allufion to the fequeftered life of Bellarius and of his princely foresters. The usual scenery of a forest may therefore be introduced, together


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