Mr. Dawe, Royal Associate, who plastered my face for me, says that he never saw so excellent a mask, and so unaffected by any expression of pain or uneasiness. On Tuesday, at the farthest, a cast will be finished, which I was vain enough to desire to be packed up and sent to Dunmow. With it you will find a chalk drawing of my face,[75] which I think far more like than any former attempt, excepting Allston's full-length portrait of me,[76] which, with all his casts, etc., two or three valuable works of the Venetian school, and his Jason--almost finished, and on which he had employed eighteen months without intermission--are lying at Leghorn, with no chance of procuring them. There will likewise be an epistolary essay for Lady Beaumont on the subject of religion in reference to my own faith; it was too long to send by the post.
Dawe is engaged on a picture (the figures about four feet) from my poem of LOVE.
She leaned beside the armed man, The statue of the armed knight; She stood and listened to my harp Amid the lingering light. His dying words--but when I reached, etc. All impulses of soul and sense, etc.
His sketch is very beautiful, and has more expression than I ever found in his former productions--excepting, indeed, his Imogen.
Allston is hard at work on a large Scripture piece--the dead man recalled to life by touching the bones of the Prophet. He models every figure. Dawe, who was delighted with the Cupid and Psyche, seemed quite astonished at the facility and exquisiteness with which Allston modelled. Canova at Rome expressed himself to me in very warm terms of admiration on the same subject. He means to exhibit but two or at the most three pictures, all poetical or history painting, in part by my advice. It seemed to me impolitic to appear to be _trying_ in half a dozen ways, as if his mind had not yet discovered its main current. The longer I live the more deeply am I convinced of the high importance, as a _symptom_, of the love of _beauty_ in a young painter. It is neither honourable to a young man's heart or head to attach himself year after year to old or deformed objects, comparatively too so easy, especially if bad drawing and worse colouring leaves the spectator's imagination at lawless liberty, and he cries out, "How very like!" just as he would at a coal in the centre of the fire, or at a frost-figure on a window pane. It is on this, added to his quiet unenvious spirit, to his lofty feelings concerning his art, and to the religious purity of his moral character, that I chiefly rest my hopes of Allston's future fame. His best productions seem to please him principally because he sees and has learnt something which enables him to promise himself, "I shall do better in my next."