And since that day no traveller has passed by, To what we see it. In this breathless calm, August, 1844. FAREWELL.-CROSSING THE JURA IN TIM BAD WEATHER. IME and space we have vanquished by motions That from climate to climate enticed us to fly; scenes By their magical richness bewildering the eye, And yet fain would I linger. What though I must be From henceforth passing rich in dear memory's hoard, More abundantly gifted than mortal is he Opportunities lost who has never deplored. May I not from this station, thou mist-shrouded sky, Glance a farewell to lake, mountain, river, and plain? No! Then thanks, gloomy Jura, for clouds that deny The one glance that might lure the weak will back again. I have heard, seen, and felt; my youth's favourite boast How the freshness of childhood, each perfect in you, And the justice and truth shall endure to the end; She shall speed us like light by land, ocean, and air. Now with clouds overhead whilst towards home we are rolled, We will muse on endearing realities there: But look! the clouds break with rims like burnished gold; In this region around us the prospect how fair! But our thoughts with the vine-slopes and woodlands of France Will not rest; they bound o'er the chalk cliff-o'er the tide; Thoughts that far off or near are still ready to dance Round the spot where the parent affections abide. Every sense grows impatient: neat spires village cocks The moist perfumes of autumn from crushed forest leaves Hazel hedgerows, and stubble-fields studded with shocks Of ripe grain-the dark back-ground of green that relieves The light smoke the red creeper-twined chimney that crowns Cottage children that play round the elm's knotty boleShadows coursing each other o'er cool breezy downsAll the vision of England comes back on my soul ! 12 September, 1844. OBSERVATIONS ON IMITATION, AND SUGGESTED BY WORKS OF ART AT HOME ARGUMENT. Parallel drawn between a Simile and a Statue-Abstract Qualities of Sculpture-Sculpture is of no Style-Derives its Expression from Form alone-Is, geometrically, of three Dimensions-Unity of Action requisite in a Statue-Sculpture not a popular Art-Painting is, geometrically, of two Dimensions-Unity of Action in Painting-Resources of the Painter —Venial Faults—Quotation from Sir Joshua Reynolds-The World of Painting removed from external Objects-Figures erroneously said to appear to come out of the Canvas-Anomalous Works of certain ancient Masters-Large Groups of Figures are admissible in Painting-But not in SculptureExamples-Cameos-Intaglios-Basso-rilievos -Alto-rilievos-The Laocoon-Single Figures more suitable to Sculpture than Groups-Examples of single Figures unsuitable to Sculpture-Sculpture degenerates when domesticated-Objects of three Dimensions mixed with those of two-Stage SceneryIts Misapplication-Palladio's Theatre at Vicenza-Performance of the Tempest in London-Quotation from the Rejected Addresses-Tableaux Vivans-The Winter's Tale-Statues |