PREFACE. EVERY reader turns with pleasure to those pas fages of Horace, and Pope, and Boileau, which describe how they lived and where they dwelt ; and which, being interfperfed among their fatirical writings, derive a fecret and irresistible grace from the contrast, and are admirable examples of what in Painting is termed repose. We have admittance to Horace at all hours. We enjoy the company and converfation at his table; and his fuppers, like Plato's, non folum in præfentia, fed etiam poftero die jucundæ funt.' But, when we look round as we fit there, we find our felves in a Sabine farm, and not in a Roman villa. His windows have every charm of profpect; but his furniture might have descended from Cincinnatus; and gems, and pictures, and old marbles are mentioned by him more than once with a feeming indifference. His English Imitator thought and felt, perhaps, more correctly on the subject; and embellished his garden and grotto with great industry and success. But to these alone he folicits our notice. On the ornaments of his house he is filent; and appears to have reserved all the minuter touches of his pencil for the library, the chapel, and the banquettingroom of Timon. Nor could the Diable boiteux have laid them open with more ability. Le favoir de notre fiècle, fays Rouffeau, tend beaucoup plus à détruire qu'à èdifier. On cenfure d'un ton de maitre; pour proposer, il en faut prendre un autre. It is the defign of this Epiftle to illuftrate the virtue of True Tafte; and to fhew how little fhe requires to fecure, not only the comforts, but even the elegancies of life. True Tafte is an excellent Economist. She confines her choice to few objects, and delights in producing great effects by mall means while Falfe Tafte is for ever fighing after the new and the rare; and reminds us, in her works, of the Scholar of Apelles, who, not being able to paint his Helen beautiful, determined to make her fine. |