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sistance I formerly boasted in the preface and concluding leaf of my Tatlers.* I am indeed much more proud of his long continued friendship, than I should be of the fame of being thought the author of any writings which he himself is capable of producing. I remember, when I finished The Tender Husband, I told him there was nothing I so ardently wished, as that we might some time or other publish a work, written by us both, which should bear the name of The Monument, in memory of our friendship. I heartily wish what I have done here was as hondrary to that sacred name, as learning, wit, and humanity, render those pieces which I have taught the reader how to distinguish for his. When the play above mentioned was last acted, there were so many applauded strokes in it which I had from the same hand, that I thought very meanly of myself that I have never publicly acknowledged them. After I have put other friends upon importuning him to publish dramatic as well as other writings he has by him, I shall end what I think I am obliged to say on this head, by giving my reader this hint for the better judging of my productions-that the best comment upon them would be an account when the patron to The Tender Husband was in England or abroad.
The reader will also find some papers which are marked with the letter X, for which he is obliged to the ingenious gentleman who diverted the town with the epilogue to The Distressed Mother. I might have owned these several papers with the free consent of these gentlemen, who did not write them with a design of being known for the authors. But, as a candid and sin
cere behaviour ought to be preferred to all other considerations, I would not let my heart reproach me with a consciousnesss of having acquired a praise which is not my right.
The other assistances which I have had, have been conveyed by letter, sometimes by whole papers, and other times by short hints from unknown hands. I have not been able to trace favours of this kind with any certainty, but the following names, which I place in the order wherein I received the obligation, though the first I am going to name can hardly be mentioned in a list wherein he would not deserve the precedence. The persons to whom I am to make these acknowledgments are, Mr. Henry Martyn, Mr. Pope, Mr. Hughes, Mr. Carey of Newcollege in Oxford, Mr. Tickell of Queen's in the same university, Mr. Parnelle, and Mr. Eusden, of Trinity in Cambridge. Thus, to speak in the language of my late friend, Sir Andrew Freeport, I have balanced my accounts with all my creditors for wit and learning. But as these excellent performances would not have seen the light without the means of this paper, I may still arrogate to myself the merit of their being communicated to the public.
I have nothing more to add, but, having swelled this work to five hundred and fifty-five papers, they will be disposed into seven volumes, four of which are already published, and the three others in the press. It will not be demanded of me why I now leave off, though I must own myself obliged to give an account to the town of my time hereafter; since I retire when their partiality to me is so great, that an edition of the former volumes of Spectators, of above nine thousand each book, is already sold off, and the tax on
each half-sheet has brought into the stamp-office, one week with another, above 201. a week arising from the single paper, notwithstanding it at first reduced it to less than half the number that was usually printed before the tax was laid.
I humbly beseech the continuance of this inclination to favour what I may hereafter produce, and hope I have in my occurrences of life tasted so deeply of pain and sorrow, that I am proof against much more prosperous circumstances than any advantages to which my own industry can possibly exalt me.
My good-natured reader,
most obliged humble servant, RICHARD STEELE.
Vos valete et plaudite. Ter.
The following letter regards an ingenious set of gentlemen, who have done me the honour to make me one of their society.
• MR. SPECTATOR,
Dec. 4, 1712.
THE academy of painting, lately established in London, having done you and themselves the honour to choose you one of their directors; that noble and lively art, which before was entitled to your regard as a Spectator, has an additional claim to you, and you seem to be under a double obligation to take some care of her interests.
'The honour of our country is also concerned in the matter I am going to lay before you. We (and perhaps other nations as well as we) have a national false humility as well as a national vain glory; and, though we boast ourselves to excel
all the world in things wherein we are outdone abroad, in other things we attribute to others a This superiority which we ourselves possess. is what is done, particularly in the art of portrait or face-painting.
Painting is an art of a vast extent, too great by much for any mortal man to be in full possession of in all its parts; it is enough if any one succeed in painting faces, history, battles, landscapes, seapieces, fruit, flowers, or drolls, &c. Nay, no man ever was excellent in all the branches (though many in number), of these several arts, for a distinct art I take upon me to call every one of those several kinds of painting.
'And as one man may be a good landscape painter, but unable to paint a face or a history tolerably well, and so of the rest; one nation may excel in some kinds of painting, and other kinds may thrive better in other climates.
Italy may have the preference of all other nations for history painting; Holland for drolls, and a neat finished manner of working; France for gay, janty, fluttering pictures; and England for portraits; but to give the honour of every one of these kinds of painting to any one of those nations on account of their excellence in any of these parts of it, is like adjudging the prize of heroic, dramatic, lyric, or burlesque poetry to him who has done well in any one of them.
'Where there are the greatest geniuses, and most helps and encouragements, it is reasonable to suppose an art will arrive at the greatest perfection by this rule let us consider our own country with respect to face-painting. No nation in the world delights so much in having their own, or friends or relations' pictures; whether from their national good-nature, or having a love
to painting, and not being encouraged in the great article of religious pictures, which the purity of our worship refuses the free use of, or from whatever other cause. Our helps are not inferior to those of any other people, but rather they are greater; for what the antique statues and bas-reliefs which Italy enjoys are to the history-painters, the beautiful and noble faces with which England is confessed to abound are to face-painters; and, besides, we have the greatest number of the works of the best masters in that kind of any people, not without a competent number of those of the most excellent in every other part of painting. And for encouragement, the wealth and generosity of the English nation affords that in such a degree as artists have no reason to complain.
And accordingly, in fact, face-painting is no where so well performed as in England: I know not whether it has lain in your way to observe it, but I have, and pretend to be a tolerable judge. I have seen what is done abroad; and can assure you that the honour of that branch of painting is justly due to us. I appeal to the judicious observers for the truth of what I assert. If foreigners have oftentimes, or even for the most part, excelled our natives, it ought to be imputed to the advantages they have met with here, joined to their own ingenuity and industry; nor has any one nation distinguished themselves so as to raise an argument in favour of their country: but it is to be observed that neither French nor Italians, nor any one of either nation, notwithstanding all our prejudices in their favour, have, or ever had, for any considerable time, any character among us as face-painters.
This honour is due to our own country, and has been so for near an age: so that, instead of