He made so much haste to despatch his business that he neither gave himself time to clean his pencils nor mix his colours. The name of this expeditious workman was Avarice.
Not far from this artist I saw another of a quite different nature, who was dressed in the habit of a Dutchman, and known by the name of Industry. His figures were wonderfully laboured. If he drew the portraiture of a man, he did not omit a single hair in his face; if the figure of a ship, there was not a rope among the tackle that escaped him. He had likewise hung a great part of the wall with night-pieces, that seemed to show themselves by the candles which were lighted up in several parts of them; and were so inflamed by the sunshine which accidentally fell upon them, that at first sight I could scarce forbear crying out "Fire!"The five foregoing artists were the most considerable on this side the gallery; there were indeed several others whom I had not time to look into. One of them, however, I could not forbear observing, who was very busy in retouching the finest pieces, though he produced no originals of his own. His pencil aggravated every feature that was before overcharged, loaded every defect, and poisoned every colour it touched. Though this workman did so much mischief on the side of the living, he never turned his eye towards that of the dead. His name was Envy.
Having taken a cursory view of one side of the gallery, I turned myself to that which was filled by the works of those great masters that were dead; when immediately I fancied myself standing before a multitude of spectators, and thousands of eyes looking upon me at once: for all before me appeared so like men and women, that Ialmost forgot they were pictures. Raphael's pictures stood in one row, Titian's in another, Guido Rheni's in a third. One part of the wall was peopled by Hannabal Carrache, another by Correggio, and another by Rubens. To be short, there was not a great master among the dead who had not contributed to the embellishment of this side of the gallery. The persons that owed their being to these several masters appeared all of them to be real and alive, and differed among one another only in the variety of their shapes, complexions, and clothes; so that they looked like different nations of the same species.
Observing an old man, who was the same person I before mentioned, as the only artist that was at work on this side of the gallery, creeping up and down from one picture to another, and retouching all the fine pieces that stood before me, I could not but be very attentive to all his motions. I found his pencil was so very light that it worked imperceptibly, and after a thousand touches scarce produced any visible effect in the picture on which he was employed.
However, as he busied himself incessantly, and repeated touch after touch without rest or intermission, he wore off insensibly every little disagreeable gloss that hung upon a figure. He also added such a beautiful brown to the shades, and mellowness to the colours, that he made every picture appear more perfect than when it came fresh from the master's pencil. I could not forbear looking upon the face of this ancient workman, and immediately by the long lock of hair upon his forehead, discovered him to be Time.
Whether it were because the thread of my dream was at an end Icannot tell, but, upon my taking a survey of this imaginary old man, my sleep left me.
