[60] "_Cleop._ Bear'st thou her face in mind? Is't long or round? "_Mess._ Round even to faultiness. "_Cleop._ For the most part, they are foolish that are so." [61] This truth is amply verified in the epistle above quoted: "Oh, lasting as thy colours may they shine, Free as thy stroke, yet faultless as thy line! New graces yearly like thy works display, Soft without weakness, without glaring gay; Led by some rule that guides but not constrains, And finish'd more through happiness than pains." In what light can we consider the character painted by the bard when we compare it with the pictures painted by the artist? It has been truly said, that "the poet has enshrined the feeble talents of the painter in the lucid amber of his glowing lines." The conclusion of his epitaph on Sir Godfrey Kneller affords another notable example:-- "Living, great Nature fear'd he might outvie Her works; and dying, fears herself may die." [62] Were the head of the "Satyr of the Wood" (No. 3) close shaved, and dignified with a clerical periwig, it would bear a strong resemblance to Sir Joshua Reynolds' portrait of the author of _Tristram Shandy_. [63] Which he is said to have caricatured in this plate. [64] "Sing--we will drink nothing but Lipari wine."--_Rehearsal._ [65] The last paragraph in his preface, p. 10, begins as follows:-- "That perspective is an essential requisite to a good painter, is attested by all our most eminent artists, and confirmed by almost every author who has wrote upon painting. Nay, the very term 'painting' implies perspective; for to draw a good picture is to draw the representation of nature as it appears to the eye; and to draw the perspective representation of any object, is to draw the representation of that object as it appears to the eye. Therefore the terms 'painting' and 'perspective' seem to be synonymous, though I know there is a critical difference between the words. I would not be understood to mean that a person is always to follow the rigid rules of perspective, for there are some cases in which it may be necessary to deviate from them; but then he must do it with modesty, and for some good reason, as we have shown in the course of this work. Nor would I be thought to desire the artist to make use of scale or compasses upon all occasions, and to draw out every line and point to a mathematical exactness, as the design of this work is quite the reverse: it is to teach the general rules of perspective, and to enforce the practice of it by easy and almost self-evident principles; to assist the judgment and to direct the hand, and not to perplex either by unnecessary lines or dry theorems." The publication of this drew forth Mr. Highmore, who, in the preface of a pamphlet with the following title, now become very scarce, gave his decided opposition to the system:--