paintings, Tischbein's idea is deserving of approbation, that poets and painters should work together from the very first in order to secure a perfect unity. The difficulty would assuredly be greatly lessened, if it were applied to little pieces, such as that the whole design would easily admit of being taken in at once by the mind, and worked out consistently with the original plan.
Tischbein has suggested for such common labours some very delightful idyllic thoughts; and it is really singular, that those he wishes to see executed in this way are really such as neither poetry nor painting alone could ever adequately describe. During our walks together he has talked to me about them, in the hopes of gaining me over to his views, and getting me to enter upon the plan. The frontispiece for such a joint work is already designed; and, did I not fear to enter upon any new tasks at present, I might perhaps be tempted.
Rome, Nov. 22, 1786.
The Feast of St. Cecilia.The morning of this happy day I must endeavour to perpetuate by a few lines, and, at least by description, to impart to others what I have myself enjoyed. The weather has been beautiful and calm, quite a bright sky, and a warm sun. Accompanied by Tischbein, I set off for the Piazza of St. Peter's, where we went about, first of all, from one part to another; when it became too hot for that, walked up and down in the shade of the great obelisk (which is full wide enough for two abreast), and eating grapes which we purchased in the neighbourhood. Then we entered the Sistine Chapel, which we found bright and cheerful, and with a good light for the pictures. The Last Judgment divided our admiration with the paintings on the roof by Michael Angelo. I could only see and wonder. The mental confidence and boldness of the master, and his gran-
