skill in furnishing the most ample information that can how be procured.

The erudition of Caxton appears to be deserving of bet ter treatment than Bale and others have bestowed upon it. That he had a far greater claim to intellectual reputation than that of possessing the mere negative excellence of "not being downright stupid or slothful," (Bale's words,) must be allowed by the most fastidious reader of his numerous prologues and translations. That he was not a poet, however, must be conceded, for nothing can be more barbarous than the couplets for which he has been admitted, by Ritson, into the list of English poets. At the same time, whoever reads his criticism upon Chaucer, must not only allow that he was a better judge, than writer, of poetry; but that it will be difficult to find a criticism upon our venerable bard, in the whole compass of our language, which is more sober and just; more clearly and forcibly expressed. As to Caxton's knowledge of languages, that seems to have been extremely creditable to him; for he was, in all probability, a complete master of the Dutch, German, and French, and considering his long absence from England (in the prime of his life), he wrote his own language with fluency, simplicity, and occasional melody and force.

It will be difficult, however, to give Caxton praise for the general strength and soundness of his judgment; not so much from the selection of such pieces as he has printed (for these were published in conformity with the prevailing studies of the day), as from the promptitude and prodigality of his praises towards objects not always deserving of commendation. Nor can we admire him for his unqualified belief of all the marvellous stories recorded in Godfrey of Boulogne; although the admiration with which he speaks of, and his uniform attachment to, this kind of composition, may dispose us to forgive him for the plenitude of his faith. In a word, if Caxton does not enjoy the intellectual reputation of an Aldus, a Stephens, a Turnebus, a Plantin, or a Bowyer, it must be remembered with what a slender stock of materials, and in what an uncivilized period, he commenced his career; that our land was then: yet moist with the blood that had flowed in the civil wars of the houses of York and Lancaster; and that the education of youth, and the encouragement of what is called the belles lettres, were confined within the narrowest bounda ries, The most illustrious patrons of which our printer

could boast, were the earl Rivers and the earl of Worces ter; but even the rank and accomplishment of these noblemen, especially of the latter, were insufficient to protect them from insult, persecution, and a premature end.

Caxton, Mr. Warton observes, by translating, or procuring to be translated, a great number of books from the French, greatly contributed to promote the state of literature in England. It was only in this way that he could introduce his countrymen to the knowledge of many valuable publications, at a time when an acquaintance with the learned languages was confined to a few ecclesiastics. Ancient learning had as yet made too little progress among us, to encourage him to publish the Roman authors in their original tongue. Indeed, had not the French furnished Caxton with materials, it is not probable, that Virgil, Ovid, Cicero, and many other good writers, would by the means of his press have been circulated in the English language, so early as the close of the fifteenth century. It is remarkable, that from the time in which Caxton began to print, down to the year 1540, during which period the English press flourished greatly under the conduct of many industrious, ingenious, and even learned artists, only a few classics, some of which scarcely deserve that name, were printed in England. The university of Oxford, during this period, produced only the first book of "Tully's Epistles," at the expence of cardinal Wolsey, without date or printer's name. The university of Cambridge cannot boast, during the term specified, the honour of having printed a single classic. No Greek book, of any kind, had hitherto appeared from an English press. It is believed, that the first Greek characters used in any work printed in England, are in Linacer's translation of "Galen de Temperamentis," printed at Cambridge in 1521. In this book a few Greek words, and abbreviatures, are here and there introduced. In the same author's treatise, "De emendata Structura Latini Sermonis," printed by Pinson in 1522, many Greek characters are intermixed; and in the sixth book there are seven lines together in that language. But the printer apologises for his imperfections and unskilfulness in the Greek types. These, he says, were but recently cast, and not in a sufficient quantity for such a work. The same embarrassments appear to have happened with regard to Hebrew types, as might still more be expected, from that language's being much less

known. Doctor Robert Wakefield, chaplain to Henry the Eighth, published in 1522, his "Oratio de Laudibus & Utilitate trium Linguarum Arabicæ, Chaldaicæ, & Hebraica;" but he was obliged to omit his whole third part, because the printer, who was Wynkyn de Worde, had no Hebrew types. There are, however, some few Hebrew and Arabic characters introduced; but they are extremely rude, and evidently cut in wood. They are the first of the sort used in England. It was a circumstance favourable at least to English literature, that the illiteracy of the times obliged our first printers to employ themselves so little on books written in the learned languages. Most of the works printed by Caxton and his immediate successors were English. The multiplication of English copies multiplied English readers, and these again produced new vernacular writers; the existence of a press inducing many persons to turn authors, who were only qualified to write in their native tongue.

CAXES (EUGENIO), a Spanish artist, the son of Patrizio Caxes, of Arezzo, who settled in Spain, was born at Madrid in 1577, and learned the art of his father, with whom he was employed by Philip III. in the palace del Pardo. Their chief work in the queen's gallery there, was the story of "Joseph and Potiphar's wife," which perished with many other works of art in the fire which consumed that palace. The father died in 1625, before which his son had attained high favour and eminence. The excellence of his frescos in the Sala d' Udienza procured him the favour of Philip III. who appointed him painter to the court in 1612. He soon after painted one of the principal altar-pieces for the church de la Merced at Madrid; and in 1615, various pictures in company with Vinzenzio Caoducho in the cathedral of Toledo and elsewhere. Though his pencil, in common with his contemporaries, was chiefly devoted to church legends, he found means to paint the "History of Agamemnon" in the Alcázar at Madrid. His scholars were, Luis Fernandez of Madrid, who painted the life of S. Ramori in the cloisters of La Merced Calzada, a celebrated series; Juan de Arnau of Barcellona; and Don Pedro de Valpuesta of Burgo de Osma, a young man of education, who probably would have excelled his

1 Dibdin, ubi supra.-Oldys in Biog. Brit.-Lewis's Caxton.-Warton's Hist. of Poetry; see Index.

fellow-shcolars, had he not entered the church, in which he arrived at the dignity of licentiate. Caxes died in

1642.1

CAYET. See CAIET.

CAYLUS (ANNE CLAUDE PHILIP DE TUBIERE DE GRIMOARD DE PESTels de Levis, COUNT DE), a very celebrated amateur and patron of the arts, was born at Paris Oct. 31, 1692. He was the eldest of the two sons of John, count de Caylus, lieutenant-general of the armies of the king of France, and of the marchioness de Villette. His ancestors were particularly distinguished in the twelfth century; and his mother was a descendant of the celebrated D'Aubigné, who was the friend and historian of Henry IV. His parents were particularly attentive to the education of their son. The father instructed him in the profession of arms, and in athletic exercises, and his mother watched over and fostered the virtues of his mind, a delicate task, which she discharged with singular success. The countess was the niece of madame de Maiutenon, and was remarkable for the solidity of her understanding, and the charms of her

She was the author of a pleasant miscellany, entitled "Mes Souvenirs," a collection of anecdotes of the court of Louis XIV. which her son used to relate to her to amuse her during her illness. She was ever careful to inspire her son with the love of truth, justice, and generosity, and with the nicest sentiments of honour. The amiable qualities and talents of the mother appeared in the son, but they appeared with a bold and masculine air. In his natural temper he was gay and sprightly, had a taste for pleasure, a strong passion for independence, and an invincible aversion to the servile etiquette and constrained manners of a court.

The count was only twelve years of age when his father died at Brussels, in Nov. 1704. After finishing his exercises, he entered into the corps of the Mousquetaires; and in his first campaign in 1709, he distinguished himself by his valour in such a manner, that Louis XIV. commended him in the presence of all the court; and rewarded his merit. with an ensigncy in the gendarmerie. In 1711 he commanded a regiment of dragoons, which was called by his own name; and he signalized himself at the head of it in Catalonia. In 1713, he was at the siege of Fribourg,

1 Pilkington.-Cumberland's Anecdotes of Painters in Spain.

where he was exposed to imminent danger in the bloody attack of the covered way. Had he been disposed to enter into the views of his family, the favour of madame de Maintenon, and his own personal merit, could not fail to have raised him to the highest honours; but the peace of Rastade left him in a state of inactivity ill-suited to his natural, temper.

His inclination soon led him to travel into Italy, although without perhaps any higher object than to pass some part of his time in variety, but his curiosity became powerfully excited by the wonders of that country, where antiquity produces so many objects to improve taste and excite admiration. The eyes of the count were not yet learned, but they were struck with the sight of so many beauties, and soon became acquainted with them. After a year's absence, he returned to Paris, with so strong a passion for travelling, and for antiquities, as induced him to quit the army. Italy had enlightened his taste; and in that country of the arts he perceived that he was born to cultivate them.

About eight months after, he set out for the Levant. When he arrived at Smyrna, he availed himself of a few days delay, and visited the ruins of Ephesus. It was in vain that the dangers attending a journey of this kind were represented to him. The formidable Caracayali had put himself at the head of a troop of robbers, and spread consternation over all Natolia, but our adventurer was superior to fear, and saved himself by a stratagem. Having procured a mean garb, and taking nothing with him that could attract attention, or tempt any robber, he put himself under the protection of two of Caracayali's band, who had come from Smyrna. He made an agreement with them, but they were to have no money till they returned; and, as they had an interest in protecting and taking care of him, never were guides more faithful. They introduced him, with his interpreter, to their chief, who received him very graciously, and even assisted him in gratifying his curiosity. The chief informed him, that at no great distance, there were ruins worthy of being visited, and accommodated him with a pair of fine Arabian horses. The count soon found the ruins, which were those of Colophon. He was particularly struck with the remains of a theatre, the seats of which being scooped out of a hill that looks towards the sea, the spectator, beside the pleasure