and,
which left his pictures so unfinished that the beauty in the picture,
which was designed to continue as a monument of it to posterity, faded
sooner than in the person after whom it was drawn. 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 I almost 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 th