open, free, and plain: but Romney, like several other English artists, had neither of these important, and almost necessary assistants. True genius, and laudable enthusiasm, generally surmount difficulties, and acquire additional vigor by encountering obstacles. The young painter being settled at York, soon attracted the attention of Lawrence Sterne, whose warm approbation recommended him strongly to public notice and esteem. This excited jealousy in the master, and a parting ensued. Romney returned to Lancashire, and though deprived of the advantage of old pictures, he pursued his professional studies; and produced, in this obscure part of the island, several paintings; among which was one representing the story of the Death of David Rizzio. He also painted several scenes from Sterne's Tristram Shandy. It is incompatible with the brief nature of this work, to follow the progressive history of our artist: suffice it to say, that in the year 1762, he settled in the British metropolis: (the great focus of genius, taste, and science.) At first he experienced some difficulties; but after travelling to France, Italy, &c. he ultimately succeeded to great practice as a portrait-painter; and also executed a great number of historical and fancy pictures. Declining in years, and in health he retired to his native county, where he died on the 15th of November, 1802, and was interred at Dalton. As a private member of society, Romney was distinguished for numerous eccentricities of manners; but was honest, sincere, and warm in his selected friendship. As an artist he acquired very considerable eminence; and divided the tributes of fashion with Reynolds and Gainsborough. His painting rooms were thronged with noblemen, judges, the literati, and ladies; and of those he painted an immense number of portraits, and began many more, for he was naturally very industrious. It was a singular trait in his pro fessional character, that he commenced and proceeded to different stages, with several heads, at the same time many of which he at last left unfinished. Some of his finished portraits evince a considerable share of taste and talent, with an eye true to nature: and some of his fancy and historical pieces are designed and executed in a style a style of originality, dignity, and elegance. Fuseli remarks that Romney was made for the times, and the times for him. If he had not genius to lead, he had too much originality to follow; and whenever he chose, he was nearer to the first, than to the last of his competitors. Practice had given him rapidity of execution, and nature an eye sufficiently just for form, and not ungenial for colour*." Mr. Hayley paid a handsome compliment to his friend Romney, in addressing a poem to him, entitled, "A poetical epistle to an Eminent Painter, with notes;" wherein the artist is greeted with much poetical encomium, and hailed as one "Whom Art has chosen, with successful hand, Before Romney left London, Mr. Shee painted a fine and faithful portrait of him, which has been engraved by Mr. Bond for an Historical and Biographical work now preparing for the press t. FURNESS ABBEY.-The ruins of this once extensive and rich monastery, stand on the banks of a small rivulet, in a narrow and fertile vale, at the distance of one mile and a half south of Dalton. The following description, by Mrs. Radcliffe, will furnish the reader with a lively and impressive idea of the ruins, and of the surrounding scenery :- "The deep retirement of its situation, the venerable grandeur of its gothic arches, and the luxuriant, yet ancient trees, that shadow this forsaken spot, are circumstances of picturesque, and if the expression may be allowed, of sentimental beauty, which fill the mind with solemn, yet delightful emotion. This glen is called the vale of nightshade, or, more literally from its ancient title Bekansgill- the glen of deadly nightshade,' that plant being abun dantly found in the neighbourhood. Its romantic gloom, and sequestered privacy, particularly adapted it to the austerities of * Pilkington's "Dictionary of Painters," 4to. 1805. p. 465. + This will be published by Longman and Co. in the course of next year. monastic life; and in the most retired part of it, King Stephen, while Earl of Mortaign and Bulloign, founded, in the year 1127, the magnificent monastery of Furness, and endowed it with princely wealth, and almost princely authority, in which it was second only to Fountain's Abbey, in Yorkshire. The windings of the glen conceal these venerable ruins, till they are closely approached; and the bye-road that conducted us is margined with a few ancient oaks, which stretch their broad branches entirely across it, and are fine preparatory objects to the scene beyond. A sudden bend in this road brought us within view of the northern gate of the Abbey, a beautiful Gothic arch, one side of which is luxuriantly festooned with nightshade. A thick grove of plane trees, with some oak and beech, overshadow it on the right, and lead the eye onward to the ruins of the Abbey, seen through this dark arch in remote perspective, over rough but verdant ground. The principal features are the great northern window, and part of the eastern choir, with glimpses of shattered arches and stately walls beyond, caught between the gaping casements. On the left, the bank of the glen is broken into knolls, capped with oaks, which in some places, spread downwards to a stream that winds round the ruin, and darken it with their rich foliage. Through this gate is the entrance to the immediate precincts of the Abbey, an area said to contain 65 acres, now called the Deer-park. It is inclosed by a stone wall, on which the remains of many small buildings still appear; such as the porter's lodge, mills, granaries, ovens, and kilns, that once supplied the monastery; some of which, seen under the shade of the fine old trees that on every side adorn the broken steeps of this glen, have a very interesting effect. "The Abbey, which was formerly of such magnitude as nearly to fill up the breadth of the glen, is built of a pale red stone, dug from the neighbouring rocks, now changed by time and weather to a tint of dusky brown, which accords well with the hues of plants and shrubs that every where emboss the mouldering arches. The finest view of the ruin is on the east side, where, beyond the vast shattered frame that once contained a richly-painted window, |