Letters to His Son on the Art of Becoming a Man of the World and a Gentleman (Письма к сыну – полный вариант)

I like the description of your PIC-NIC; where I take it for granted, that your cards are only to break the formality of a circle, and your SYMPOSION intended more to promote conversation than drinking. Such an AMICABLE COLLISION, as Lord Shaftesbury very prettily calls it, rubs off and smooths those rough corners which mere nature has given to the smoothest of us. I hope some part, at least, of the conversation is in German. 'A propos': tell me do you speak that language correctly, and do you write it with ease? I have no doubt of your mastering the other modern languages, which are much easier, and occur much oftener; for which reason, I desire that you will apply most diligently to German, while you are in Germany, that you may speak and write that language most correctly.

I expect to meet Mr. Eliot in London, in about three weeks, after which you will soon see him at Leipsig. Adieu.

LETTER LVI

LONDON, November 18, O. S. 1748.

DEAR BOY: Whatever I see or whatever I hear, my first consideration is, whether it can in any way be useful to you. As a proof of this, I went accidentally the other day into a print-shop, where, among many others, I found one print from a famous design of Carlo Maratti, who died about thirty years ago, and was the last eminent painter in Europe: the subject is 'il Studio del Disegno'; or "The School of Drawing." An old man, supposed to be the master, points to his scholars, who are variously employed in perspective, geometry, and the observation of the statues of antiquity. With regard to perspective, of which there are some little specimens, he has wrote, 'Tanto che basti', that is, "As much as is sufficient"; with regard to geometry, 'Tanto che basti' again; with regard to the contemplation of the ancient statues, there is written, 'Non mai a bastanza',-"There never can be enough." But in the clouds, at the top of the piece, are represented the three Graces, with this just sentence written over them, 'Senza di noi ogni fatica e vana', that is, "Without us, all labor is vain." This everybody allows to be true in painting; but all people do not seem to consider, as I hope you will, that this truth is full as applicable to every other art or science; indeed to everything that is to be said or done. I will send you the print itself by Mr. Eliot, when he returns; and I will advise you to make the same use of it that the Roman Catholics say they do of the pictures and images of their saints, which is, only to remind them of those; for the adoration they disclaim. Nay, I will go further, as the transition from Popery to Paganism is short and easy, I will classically end poetically advise you to invoke, and sacrifice to them every day, and all the day. It must be owned, that the Graces do not seem to be natives of Great Britain; and, I doubt, the best of us here have more of rough than polished diamond.

Since barbarism drove them out of Greece and Rome, they seem to have taken refuge in France, where their temples are numerous, and their worship the established one. Examine yourself seriously, why such and such people please and engage you, more than such and such others, of equal merit; and you will always find that it is because the former have the Graces and the latter not. I have known many a woman with an exact shape, and a symmetrical assemblage of beautiful features, please nobody; while others, with very moderate shapes and features, have charmed everybody. Why? because Venus will not charm so much, without her attendant Graces, as they will without her. Among men, how often have I seen the most solid merit and knowledge neglected, unwelcome, or even rejected, for want of them! While flimsy parts, little knowledge, and less merit, introduced by the Graces, have been received, cherished, and admired. Even virtue, which is moral beauty, wants some of its charms if unaccompanied by them.