TWO:The new spring in poetry broke forth as brilliantly in this reign as that in prose. In the earlier portion of it, indeed, this was not so visible. The school of Pope seemed still to retain its influence. This school had produced a host of imitators, but little real genius since Pope's time. Almost the only exception to this mediocrity was Collins, whose odes were full of fire and genius. He died just before this period, and Gray,[182] Shenstone, and Goldsmith opened it with many of the exterior characteristics of that school. But, in truth, notwithstanding the mere fashion of their compositions, there were in them unmistakable evidences of new life. Shenstone was the least vigorous and original of the three, but his "Schoolmistress" possessed a natural charm that still gains it admirers. He belongs, however, rather to the past period than this, for he died but three years after the accession of George III., and had ceased to write some time before. Gray's "Elegy in a Country Churchyard" showed that he had deep feeling and a nice observation of nature; and his "Long Story" that he possessed real humoura quality abounding in his prose, but, except in this piece, little visible in his poetry. His odes are extremely vigorous, but somewhat formal. His "Bard," his "Ode on Eton College," and his "Fatal Sisters," are all full of beauty, but somewhat stilted. In the "Fatal Sisters" he introduced a subject from the "Scandinavian Edda" to the English reader, but in a most un-Scandinavian dress.Painting, like architecture, was at a very low ebb during this period, with one or two brilliant exceptions. Foreign artists were in demand, and there was no native talent, except that of Thornhill and Hogarth, which could claim to be unjustly overlooked in that preference. Sir Peter Lely was still living, but Sir Godfrey Kneller, another foreigner, was already taking his place. Kneller was a German, born at Lübeck, and educated under the best Flemish masters of the day. As he had chosen portrait-painting as his department, he hastened over to England after a visit to Rome and Venice, as the most profitable field for his practice, and being introduced to Charles II. by the Duke of Monmouth, he became at once the fashion. Kneller had talents of the highest order, and, had not his passion for money-making been still greater, he would have taken rank with the great masters; but, having painted a few truly fine pictures, he relied on them to secure his fame, and commenced an actual manufacture of portraits for the accumulation of money. Like Rubens, he sketched out the main figure, and painted the head and face, leaving his pupils to fill in all the rest. He worked with wonderful rapidity, and had figures often prepared beforehand, on which he fitted heads as they were commissioned. Sir John Medina, a Fleming, was the chief manufacturer of ready-made figures and postures for him, the rest filled in the draperies and backgrounds. Kneller had a bold, free, and vigorous hand, painting with wonderful rapidity, and much of the grace of Vandyck, but only a few of his works show what he was capable of. The beauties of the Court of William and Mary, which may be seen side by side with those of the Court of Charles II. by Lely at Hampton Court, are far inferior to Lely's.
