One was a likeness of his father, of which he has written in eloquent and engaging terms; another, a _Wordsworth_, which he destroyed; a third, the picture of Elia, ‘as a Venetian senator,’ now in the National Portrait Gallery; yet another, the presentment of an Old Woman, which is likened to a Rembrandt. Having seen none of these things, all I can say about them is that Hazlitt seems to have been passionately interested in colour; that he loved a picture because it was a piece of painting; and, if he knew not always bad (or rather third and fourth rate) work when he saw it, was as contemptuous of it, when he realised its status, as Fuseli himself. Footnote 8: There is an immense, even an insuperable difference between the two sorts of sensualists. To take an immediate instance: Lamb loved Hogarth, and found emotions in him, because he (Hogarth) was a novelist in paint; while Titian’s _Bacchus and Ariadne_ touched his sense of letters, and, as Mr. Ainger has noted, suggested to him so much literature, or, at all events, so many literary possibilities, that Titian could not but be an arch-painter. Hazlitt felt his painter first, and thought not of the man-of-letters in his painter till his interest in his painter’s painting was—I won’t say extinguished but—allayed. Footnote 9: ‘The point in debate,’ he says, ‘the worth or the bad quality of the painting ... I am as well able to decide upon as any who ever brandished a pallette.’ I doubt not that he spoke the truth; yet the residuum of his criticisms of pictures, their after-taste, is mostly literary. And, as he was finally a man of letters, what else could one expect? Footnote 10: Leigh Hunt said that he was the best art critic that ever lived: that to read him was like seeing a picture through stained glass, and so forth. But Leigh Hunt knew not much more about pictures than Coleridge knew about the books he talked of, but had not read. Footnote 11: The house had been the abode of Milton; for certain months it had harboured the eminent James Mill; it belonged to the celebrated Jeremy Bentham: so that in the matter of associations Hazlitt, a thorough-paced dissenter, was as well off as he could hope to be. Footnote 12: Ten in number: on ‘The Rise and Progress of Modern Philosophy,’ as illustrated in the works of Hobbes, Locke and his followers, Hartley, Helvétius, and others. The lectures, Mr. Stephen says, were in part a reproduction of the _Principles of Human Action_. Footnote 13: Haydon says that Waterloo made him drunk for weeks. Then he pulled himself together, and for the rest of his life drank nothing but strong tea. He had, however, no sort of sympathy with those who held the ‘social glass’ to be Man’s safest introduction to the Pit. He only said that liquor did not agree with him, and looked on cheerfully while his friends—Lamb was as close as any—drank as they pleased. Footnote 14: