inution of the meaning; and
sometimes, after all his art and labour, one verse seems to be made for
the sake of another.]

[Footnote 265: He has a few double rhymes, but always, I think,
unsuccessfully, except one, in the Rape of the Lock.--"Life of Pope."

Mrs. Thrale, in a note on this passage, mentions the couplet Johnson
meant, for she asked him: it is

The meeting points the fatal lock dissever
From the fair head--for ever and for ever.

]

[Footnote 266: Lanzi, Storia Pittorica, v. 85.]

[Footnote 267: D'Argenville, Vies des Peintres, ii. 46.]

[Footnote 268: The curious reader of taste may refer to Fuseli's Second
Lecture for a _diatribe_ against what he calls "the Electic School;
which, by selecting the beauties, correcting the faults, supplying the
defects, and avoiding the extremes of the different styles, attempted to
form a perfect system." He acknowledges the greatness of the Caracci;
yet he laughs at the mere copying the manners of various painters into
one picture. But perhaps--I say it with all possible deference--our
animated critic forgot for a moment that it was no mechanical imitation
the Caracci inculcated: _nature_ and _art_ were to be equally studied,
and _secondo il nativo talento e la propria sua disposizione_. Barry
distinguishes with praise and warmth. "Whether," says he, "we may
content ourselves with adopting the _manly plan of art_ pursued by the
Caracci and their school at Bologna, in uniting the perfections of all
the other schools; or whether, which I rather hope, we look farther into
the style of design upon our own studies after nature; whichever of
these plans the nation might fix on," &c., ii. 518. Thus, three great
names, Du Fresnoy, Fuseli, and Barry, restricted their notions of the
Caracci plan to a mere imitation of the great masters; but Lanzi, in
unfolding Lodovico's project, lays down as his first principle the
observation of nature, and, secondly, the imitation of the great
masters; and all modified by the natural disposition of the artist.]

[Footnote 269: D'Argenville, Vies des Peintres, ii. 47-68.]

[Footnote 270: Bellori, Le Vite de Pittori, &c.]

[Footnote 271: Passeri, Vite de Pittori.]

[Footnote 272: D'Argenville, ii. 26.]

[Footnote 273: Fuseli describes the gallery of the Farnese palace as a
work of uniform vigour of execution, which nothing can equal but its
_imbecility and incongruity of conception_. This deficiency in Annibale
was always re