r so artfully colored, or thrown
into skillful lights and shades.

By your account of the German play, which I do not know whether I should
call tragedy or comedy, the only shining part of it (since I am in a way
of quibbling) seems to have been the fox's tail. I presume, too, that the
play has had the same fate with the squib, and has gone off no more. I
remember a squib much better applied, when it was made the device of the
colors of a French regiment of grenadiers; it was represented bursting,
with this motto under it: 'Peream dum luceam'.

I like the description of your PIC-NIC; where I take it for granted, that
your cards are only to break the formality of a circle, and your
SYMPOSION intended more to promote conversation than drinking. Such an
AMICABLE COLLISION, as Lord Shaftesbury very prettily calls it, rubs off
and smooths those rough corners which mere nature has given to the
smoothest of us. I hope some part, at least, of the conversation is in
German. 'A propos': tell me do you speak that language correctly, and do
you write it with ease? I have no doubt of your mastering the other
modern languages, which are much easier, and occur much oftener; for
which reason, I desire that you will apply most diligently to German,
while you are in Germany, that you may speak and write that language most
correctly.

I expect to meet Mr. Eliot in London, in about three weeks, after which
you will soon see him at Leipsig. Adieu.

LETTER LVI

LONDON, November 18, O. S. 1748.

DEAR BOY: Whatever I see or whatever I hear, my first consideration is,
whether it can in any way be useful to you. As a proof of this, I went
accidentally the other day into a print-shop, where, among many others, I
found one print from a famous design of Carlo Maratti, who died about
thirty years ago, and was the last eminent painter in Europe: the subject
is 'il Studio del Disegno'; or "The School of Drawing." An old man,
supposed to be the master, points to his scholars, who are variously
employed in perspective, geometry, and the observation of the statues of
antiquity. With regard to perspective, of which there are some little
specimens, he has wrote, 'Tanto che basti', that is, "As much as is
sufficient"; with regard to geometry, 'Tanto che basti' again; with
regard to the contemplation of the ancient statues, there is written,
'Non mai a bastanza',--"There never can be enough." But in the clouds, at
the top of the piece, are repre