ful moral lesson had subsisted from 1743, until the 19th October 1745, it pleased God to release the subject of these memoirs from this calamitous situation. He died upon that day without a single pang, so gently, indeed, that his attendants were scarce aware of the moment of his dissolution.

It was then that the gratitude of the Irish shewed itself in the full glow of national enthusiasm. The interval was forgotten, during which their great patriot had been dead to the world, and he was wept and mourned, as if he had been called away in the full career of his public services. Young and old of all ranks surrounded the house, to pay the last tribute of sorrow and of affection. Locks of his hair were so eagerly sought after, that Mr Sheridan happily applies to the enthusiasm of the citizens of Dublin, the lines of Shakespeare,

and, in about six minutes, repeated the same words two or three times.

In the year 1744, he now and then called his servant by his name, and once attempted to speak to him, but not being able to express his meaning, he shewed signs of much uneasiness, and at last said, "I am a fool." Once afterward, as his servant was taking away his watch, he said, "bring it here ;" and when the same servant was breaking a hard large coal, he said, blockhead."

"That is a stone, you

"From this time he was perfectly silent, till the latter end of October 1745; and then died without the least pang or convulsion, in the seventy-eighth year of his age.

Yea beg a hair of him for memory,

And dying mention it within their wills,
Bequeathing it as a rich legacy

Unto their issue.

SHAKESPEARE

The remains of Dean Swift were interred, agreeably to his directions, with privacy, in the great aisle of St Patrick's cathedral, where an inscription, composed by himself, records his exertions for liberty, and his detestation of oppres

sion.

HIC DEPOSITUM EST CORPUS
JONATHAN SWIFT, S. T. p.

HUJUS ECCLESIE CATHEDRALIS

DECANI:

UBI SEVA INDIGNATIO

ULTERIUS COR LACERARE NEQUIT
ABI, VIATOR,

ET IMITARE, SI POTERIS,

STRENUUM PRO VIRILI LIBERTATIS VINDICEM.

OBIIT ANNO (1745):

MENSIS (OCTOBRIS) DIE (19);

ETATIS ANNO (78).

CONCLUSION.

Person, Habits, and Private Character of Swift-His Conversation-His Reading-Apparent Inconsistencies in his Character-His Charity-His Talents for Criticism-Character of the Dean as a Poet-As a Prose Author.

SWIFT was in person tall, strong, and well made, of a dark complexion, but with blue eyes, black and bushy eyebrows, nose somewhat aquiline, and features which remarkably expressed the stern, haughty, and dauntless turn of his mind. He was never known to laugh, and his smiles are happily characterized by the well-known lines of Shakespeare. Indeed, the whole description of Cassius might be applied to Swift:

He reads much,

He is a great observer, and he looks
Quite through the deeds of men.—

Seldom he smiles, and smiles in such a sort,
As if he mocked himself, and scorned his spirit
That could be moved to smile at any thing.

The features of the Dean have been preserved

in several paintings, busts, and medals. * In youth, he was reckoned handsome, and in old

* There is an excellent portrait of Dean Swift at the Deanery House, Dublin, painted by Bindon. A genius appears in the piece displaying a scroll, containing a Latin inscription, partly undecypherable, but which refers to the Dean's exertions in procuring for the church the grant of the first-fruits and tenths. At the bottom of the canvas is the following inscription:

EFFIGIEM HUJS REV. ADMODUM VIRI JONATH. SWIFT, S. T. P. ECCLESIÆ CATH. S. PAT. DUB. DECANI. IN PERPETUUM HARUM ÆDIUM TOTIUS CLERI ET HUJUSCE PRÆCIPUE GENTIS DECUs, AMORIS ET OBSERVANTIÆ ERGO PINGI CURAVIT CAPITULUM SUUM.

PRÆSENTI TIBI MATUROS LARGIMUR HONORES,

NIL ORITURUM ALIAS, NIL ORTUM TALE FATENTES.

In the back distance, through the window, is seen in perspective the great western door of the cathedral of St Patrick's, leading immediately to that aisle in which the illustrious patriot is interred. The tower, or steeple, is pre-eminently conspicuous, however minute this part of the drawing be. It is to be observed, that at the period the original painting was taken, the spire, which now completes that fine Gothic structure, had not been erected.

The frame is of black Irish oak, curiously and tastefully carved with a variety of emblematical figures, having at the bottom the arms of the Deanery and of Swift quartered in one scutcheon. The unfortunate taste of one of his successors caused this frame to be gilded. This picture should not be mentioned without recording the patriotic disinterestedness of

age, his countenance conveyed an expression which, though severe, was noble and impressive.

Dean Cradoc, who, when a fire broke out at the Deanery house, commanded those who assisted to leave their exertions to save his own property and books, until they had secured the picture of his renowned predecessor.

Another portrait, supposed to be one of the best likenesses in existence, and also painted by Bindon, is the property of Dr Hill of Dublin. The expression of the features differs in some respects from the picture in the Deanery, being rather of a deep and melancholy cast, than of the stern, harsh, and imperative character.

There is a portrait of Dean Swift at Howth Castle. It is a full length, painted by Bindon. He is represented in the clerical costume. To the left of the figure is seen the Temple of Fame in the back-ground; on the Dean's right ap. pears the genius of Ireland, extending a laurel wreath as about to crown the patriot; in his left hand he holds forth a scroll, on which is written, "The fourth Drapier's Letter." At his feet, on the right of the picture, lies bound the famous patentee, Woods; he is depicted in agony. On a scroll is written, "Woods' patent."

A full-length painting of the Dean, in his clerical habit, is placed in the theatre, or examination-hall, of Trinity College, Dublin. The head and figure, with some variation of attitude, appear to be copied from the oil painting at the Deanery-house. He is here represented as standing between two pillars; in the space between, in the back-ground, is given a view of the steeple and spire of St Patrick's.

In the museum of Trinity College, Dublin, there is a dark plaster bust, or cast, of Dean Swift. It is an impression taken from the mask, applied to the face after death. The expression of countenance is most unequivocally maniacal, and one side of the mouth (the left,) horribly contorted downGg

VOL. I.