[Footnote 24: 'John Dryden:' this poem was written in 1699; the person to whom it is addressed was cousin-german to the poet, and a younger brother of the baronet. He repaid this poem by a 'noble present' to his kinsman.] [Footnote 25: 'Rebecca's heir:' he inherited his mother's fortune.] [Footnote 26: 'Gibbons:' Dr Gibbons, physician.] [Footnote 27: 'Maurus:' Sir Richard Blackmore.] [Footnote 28: 'Milbourn:' the foe of Dryden's 'Virgil,' and a clergyman.] [Footnote 29: 'Garth:' author of 'The Dispensary.'] [Footnote 30: 'Namur subdued:' in 1695, King William took Namur, after a siege of one month.] [Footnote 31: 'Treaty:' the treaty of Ryswick, concluded in September 1697.] * * * * * EPISTLE XIV.[32] TO SIR GODFREY KNELLER, PRINCIPAL PAINTER TO HIS MAJESTY. Once I beheld the fairest of her kind, And still the sweet idea charms my mind: True, she was dumb; for Nature gazed so long, Pleased with her work, that she forgot her tongue; But, smiling, said, She still shall gain the prize; I only have transferr'd it to her eyes. Such are thy pictures, Kneller: such thy skill, That Nature seems obedient to thy will; Comes out and meets thy pencil in the draught; Lives there, and wants but words to speak her thought. 10 At least thy pictures look a voice; and we Imagine sounds, deceived to that degree, We think 'tis somewhat more than just to see. Shadows are but privations of the light; Yet, when we walk, they shoot before the sight; With us approach, retire, arise, and fall; Nothing themselves, and yet expressing all. Such are thy pieces, imitating life So near, they almost conquer in the strife; And from their animated canvas came, 20 Demanding souls, and loosen'd from the frame. Prometheus, were he here, would cast away His Adam, and refuse a soul to clay; And either would thy noble work inspire, Or think it warm enough, without his fire. But vulgar hands may vulgar likeness raise; This is the least attendant on thy praise: From hence the rudiments of art began; A coal, or chalk, first imitated man: Perhaps the shadow, taken on a wall, 30 Gave outlines to the rude original; Ere canvas yet was strain'd, before the grace Of blended colours found their use and place, Or cypress tablets first received a face. By slow degrees the godlike art advanced; As man grew polish'd, picture was enhanced: Greece added posture, shade, and perspective; And then the mimic piece began to live. Yet pérspective was lame, no distance true, But all came forward in one common view: 40 No point of light was known, no bounds of art; When light was there, it knew not to depart, But glaring on remoter objects play'd; Not languish'd, and insensibly decay'd.