[Footnote A:  “Calamities of Authors.”  I printed, in 1812, extracts from Walpole’s correspondence with Cole.  Some have considered that there was a severity of delineation in my character of Horace Walpole.  I was the first, in my impartial view of his literary character, to proclaim to the world what it has now fully sanctioned, that “His most pleasing, if not his great talent, lay in letter-writing; here he was without a rival.  His correspondence abounded with literature, criticism, and wit of the most original and brilliant composition.”  This was published several years before the recent collection of his letters.]

Who was the dignified character, Lord Chesterfield or Samuel Johnson, when the great author, proud of his protracted and vast labour, rejected his lordship’s tardy and trivial patronage?[A] “I value myself,” says Swift, “upon making the ministry desire to be acquainted with PARNELL, and not Parnell with the ministry.”  PIRON would not suffer the literary character to be lowered in his presence.  Entering the apartment of a nobleman, who was conducting another peer to the stairs-head, the latter stopped to make way for Piron:  “Pass on, my lord,” said the noble master; “pass, he is only a poet.”  PIRON replied, “Since our qualities are declared, I shall take my rank,” and placed himself before the lord.  Nor is this pride, the true source of elevated character, refused to the great artist as well as the great author.  MICHAEL ANGELO, invited by Julius II. to the court of Rome, found that intrigue had indisposed his holiness towards him, and more than once the great artist was suffered to linger in attendance in the antechamber.  One day the indignant man of genius exclaimed, “Tell his holiness, if he wants me, he must look for me elsewhere.”  He flew back to his beloved Florence, to proceed with that celebrated cartoon which afterwards became a favourite study with all artists.  Thrice the Pope wrote for his return, and at length menaced the little State of Tuscany with war, if Michael Angelo prolonged his absence.  He returned.  The sublime artist knelt at the foot of the Father of the Church, turning aside his troubled countenance in silence.  An intermeddling bishop offered himself as a mediator, apologising for our artist by observing, “Of this proud humour are these painters made!” Julius turned to this pitiable mediator, and, as Vasari tells, used a switch on this occasion, observing, “You speak injuriously of him, while I am silent.  It is you who are ignorant.”  Raising Michael Angelo, Julius II. embraced the man of genius.

[Footnote A:  Johnson had originally submitted the plan of his “Dictionary” to Lord Chesterfield, but received no mark of interest or sympathy during its weary progress; when the moment of publication approached, his lordship, perhaps in the hope of earning a dedication, published in The World two letters commending Johnson and his labours.  It was this notice that produced Johnson’s celebrated letter, in which he asks,—­“Is not a patron, my lord, one who looks with unconcern on a man struggling for life in the water, and when he has reached ground encumbers him with help?  The notice you have been pleased to take of my labours, had it been early had been kind, but it has been delayed till I am indifferent and cannot enjoy it; till I am solitary, and cannot impart it; till I am known, and do not want it.”—­ED.]