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And since that day no traveller has passed by,
That has not cast a stone upon the place
To mark it. Thus the pyramid—and thus-
By imperceptible degrees has grown
To what we see it. In this breathless calm,
In this soft sunshine, let us pause, and think
On what our own tranquillity is based.
But now take up your havresack and staff;
For we must foot it with a right good will
To reach Chapuy ere nightfall. Come away!




TIME and space we have vanquished by motions

and means,

That from climate to climate enticed us to fly;
But the charm is wound up: the thick crowding of


By their magical richness bewildering the eye,
The large suns of the south-the volcano—the peak
Glacier-crested—the soul-breathing marvels of art-
May delay us no more; we have turned to reseek
Homeward themes, that sink deepest of all in the heart.

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
Is accomplished; my cup full as man may desire ;
I return by mischance and vexation uncrossed;
Love journeyed with me too unmingled to tire.
Dear companions ! Loved twain ! How the meekness


age, How the freshness of childhood, each perfect in

you, Have midst scenes of excitement abated the rage Of my overwrought spirit to a poise just and true.

And the justice and truth shall endure to the end;
And knowledge unbiassed her sceptre assume;
And thereafter shall rainbow-draped fancy befriend
Us the more, and her own rosy morning illume.
She shall build us a bark self-impelled o'er the sea;
She shall weave us a bridge than a sunbeam more rare;
She shall give the word—wings at our shoulders shall

play ; 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


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

cocksThe moist perfumes of autumn from crushed forest

leavesHazel 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


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.





Parallel drawn between a Simile and a Statue- Abstract Qua

lities 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

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