of action: to this end, he represented an ass feeding on its bank, beneath which was couched a crocodile, ready to spring upon his prey. A modera would have planted at one end a River God, with water issuing from seven urns and this, with no small conceit of his erudition. The same simplicity and happiness of invention are attributed, in general, to the paintings of Timanthes; in one of which he represented, in a little picture, a Cyclops sleeping; and to give an extraordinary idea of his size, near him were drawn some Satyrs, measuring his finger with a thyrus; on which occasion, Pliny makes this remark: "In all his works there is more understood than expressed; and though his execution be masterly, yet his ideas exceed it." WEBB. How faint by precept is exprest The living image in the painter's breast! POPE. Painting has seldom been employed to any bad purpose. I question if Raffaelle himself could have made one convert, though he had exhausted all the expression of his eloquent pencil on a series of Popish doctrines and miracles. Pictures cannot adapt themselves to the meanest capacities, as unhappily the tongue can. apprentice a Catholic or Nonsense may make an Methodist; but the ap prentice would see that a very bad picture of St. Francis was not like truth; and a very good picture would be above his feeling. Pictures may serve as helps to religion, but are only an appendix to idolatry; for people must be taught to believe in false gods, and in the power of saints, before they will learn to worship their images. WALPOLE. But chiefly pleas'd, the curious eye With fond maternal pleasures fed; Or lift their lucid eyes above, Where more is seen than holy love: COVENTRY. If the design were not too multifarious and extensive, I should wish that our painters would attempt the dissolution of the Parliament by* Cromwell. The point of time may be chosen when Cromwell, looking round the Pandemonium with contempt, ordered the bauble to be taken away, and Harrison laid hands on the Speaker to drag him from the chair. The various appearances which rage and terror, and astonishment and guilt might exhibit in the faces of that hateful assembly, of whom the principal persons may be faithfully drawn from portraits or prints; the irresolute repugnance of some, the hypocritical submission of others, the ferocious insolence of Cromwell, the rugged brutality of Harrison, and the general trepidation of fear and wickedness, would, if some proper disposition could be contrived, make a picture of unexampled variety and irresistible instruction. JOHN HAMILTON MORTIMER. JOHNSON. MORTIMER in his youth, was much attached to sublime and romantic scenery, which gave his genius a turn for the terrible; and the hordes of savage robbers which abounded on the coast, opened a fine field for his inventive pencil. Upon his arrival in London, he became a scholar of + The late President WEST painted this subject, which is one of his best pictures, and so like to this description that we doubt not but he followed it.-ED. Hudson, under whom he acquired but little addition to his natural talent. The Duke of Richmond's gallery afforded him the greatest improvement, being constantly open for the admission of all artists who wished to study from that nobleman's collection. Cipriani conduced in the kindest manner towards his improvements, and used every endeavour to gain the patronage of the duke, who invited Mortimer to become a member of his family. His historical picture of St. Paul converting the Britons procured him the premium of one hundred guineas, bestowed by the Society for the encouragement of Arts: Dr. Bates afterwards possessed that picture, and gave it to the Church of Chipping Wycombe in Buckinghamshire. Mortimer's fame being established, he augmented his reputation by his pictures of Magna Charta, the Battle of Agincourt; and Vortigern and Rowena. He became a member of the Society of Artists, when an exhibition established at the Lyceum in 1769, and without any application, was appointed Royal Academician, by order of his Majesty. He died in Norfolk-street, in the Strand, February 4th, 1779. JOHN RILEY. THIS eminent artist was born in the Parish of Bishopsgate, in London, in 1646, and was instructed in the art of painting by Fuller and Zoust. Lord Orford asserts that he was one of the best native painters that had flourished in England; and that there are draperies and hands painted by him which would do honour to Lely or Kneller; the portrait of the Lord Keeper North, at Wroxton, being in every respect a capital performance. After the death of Sir Peter Lely he advanced in the esteem of the public, and had the honour to paint the por trait of Charles II., who on looking at the picture said "Odd's fish! if it's like me, I am an ugly fellow." Riley was also in favour with James II., whose portrait as well as that of his Queen Mary of Modena, he painted. At the Revolution he was appointed state painter to William and Mary, whose portraits he also painted. He made nature his principal study, without adopting the manner of any master, and as far as he thought it prudent, he improved or embellished it in his pictures; but like many other men of parts, he seems to have been more respected by posterity than by the age in which he flourished. He was a humble modest man, of which he gave a proof by the diffidence he always expressed of his own powers, and with a quarter of Kneller's vanity, he might have persuaded the world that he was a great artist. He died of the gout in 1691, and was buried in Bishopsgate Church. SIR JOSHUA REYNOLDS'S OPINION OF RAFFAELLE. "IT has frequently happened," says he, "as I |