for her piety but after spending five years there, she fell ill, and went to Paris to get advice for her health. She had written treatises "On short and easy modes of prayer," printed at Lyons with approbation of the public. Her conduct was virtuous and irreproachable; she made many converts at Lyons, who attached themselves to her Quietism.

But now persecution began. Her own confessor, Father De-la-Combe, accused her of perverting the minds of many. An order from the King commanded her to be shut up in the Convent Des Filles de la Visitation, in the street of St. Anthony, Paris. Here she was severely used for eight months, and examined again and again, by order of the Archbishop of Paris; but nothing against her innocence and virtue could be proved. Madame Miranion was the Superior of the Convent where Madam Guyon was kept confined. She went to Madam Maintenon, and represented the unjust treatment the unfortunate lady had suffered. The King was then fully informed of the whole, by Madame Maintenon, who speedily got Madome Guyon relieved and discharged. From that time Madame Maintenon became her faithful friend, as well as the Abbe Fenelon (afterwards Archbishop of Cambray) also, the Duchess of Betheune, the Dukes of Beauvilliers, and de Chevreuse, with several other persons of rank and talents at Paris. Yet these connexions could not screen this poor lady from the zeal of ecclesiastics, who made violent complaints of the Church

being in danger by her opinions. She was obliged to put all her papers into the hands of Bossuet, Bishop of Meaux, who became her friend and advocate. But the Church insisted on her books being examined; the Cardinal de Noailles, the Bishop of Chalons, Monsieur Tronson (the superior of the Society of Sulpice) and the Archbishop of Cambray, were commanded to examine the books and papers of Madame Guyon. At this time nothing else was talked of at Paris.

At the end of six months, thirty articles were drawn up against Madame Guyon: she signed them as proof that she submitted to the censure passed upon her. But she was again, on her return to Paris, persecuted, as uniting with the Archbishop of Cambray in teaching Quietism. She was thrown into the Bastile, and kept in prison there, as a criminal, till the General Assembly of the Clergy in 1700, when, after much disputation, she was finally discharged. She was permitted to retire to the Castle, which was the property of her children. Her life and her letters were all printed, and read with eagerness. Her own weakness and extravagant reveries were only equal to the absurd persecution she suffered. She lived twelve years in perfect retirement and quietness with her family.

GUIDO RENI.

THIS illustrious Italian painter was born at Bologna, in 1575. His talents were very distinguished. He learned the first rudiments of his art under Denis Calvert, a Dutch or Flemish painter of good reputation, who was settled at Bologna. But the Academy of the Carracci beginning to be talked of, Guido left his master, Calvert, and entered himself in that school, in order to be polished and refined in his art, which he greatly excelled in. He borrowed what pleased him from others, and by superior genius made it afterwards his own.

He made the same use of Albert Durer's pictures. He accommodated and united what was good in Albert's paintings to his own manner, and he succeeded admirably. He executed his pictures with so much gracefulness and beauty, that he alone got more money, and more high reputation as a great painter, than any of his masters.

He excelled all the scholars of the Carracci school, though they were of greater capacity than himself. He was charmed with Raphael's pictures: yet the heads of Guido are not at all inferior to those of Raphael.

Michael Angelo, moved probably with envy, had

spoken with contempt of Guido's pictures. But the latter had great self-command, and wisely avoided any dispute with the impetuous Angelo. Guido had also skill in music, by the instructions of his father, who was an eminent professor of that

art.

Guido Reni, thus accomplished by genius and industry, was received with great honour by Pope Paul the Fifth, and by all the Cardinals and Princes of Italy. Also by Louis the Thirteenth of France, and Philip the Fourth of Spain. He made a large fortune with high fame: his person was extremely handsome, his manners graceful, and his beauty in his youth was so distinguished, that his masters, in painting angels, used to take him for their model. In his behaviour, he was mild, modest, and very obliging. Having acquired great wealth, he lived in splendour, both at Bologna and Rome; superior to any other painter. With so much excellence, he had an unhappy love of gaming. This excitement, so fatal to many, had increased greatly in his latter years. He gave a

melancholy proof of the weakness of human nature, for he actually became very poor after great wealth. He was unable to finish pictures, notwithstanding his very eminent talents. He sunk at last into despondency, increased by remembrance of the éclat of his former high prosperity, in the society of Emperors and Kings. A slow and languishing distemper attacked him in the prime of life, and he died poor at Bologna, in 1648.

HOGARTH.

THIS great painter of life and manners was born in the parish of St. Martin's, Ludgate, London. His father and grandfather had possessed a small farm, fifteen miles north of Kendal. The latter had three sons. The eldest succeeded his father in the freehold farm the second son fixed in a village called Troutback, eight miles north of Kendal, and was remarkable for talents in composing provincial poetry; the third son, Richard, had got a superior education, and was a schoolmaster in the County of Westmoreland, but went away early to London, where he published a dictionary in Latin and English, for the use of schools, which remained in the hands of his son, in MS. He married in London, and kept a school in Ship court, in the Old Bailey. Our hero, and his two sisters, Mary and Anne, were born there. He was bound apprentice to a mean engraver, probably as it would lead him to gain some knowledge of drawing, for which he early discovered genius.

During his apprenticeship, Hogarth used to walk with two companions towards Highgate, on a Sunday. On one of those occasions they saw two men fighting; when one of the combatants struck