arrest and detain the eye by intricate imitation, yet that it was massive and manly, and that its tendency was to elevate and refine. It is difficult to call to mind a single work by Mr. Finch that did not suggest happy and beautiful lands, where the poet would love to muse: the moonlit glade, the pastoral slope, the rocky stream, the stately terrace, and mouldering villas or casements opening on the foam—
'Of perilous seas in fairy lands forlorn.'
How the Society estimated his works was shown by their occupying some of the most conspicuous places on the walls.
He had imagination, that inner sense which receives impressions of beauty as simply and surely as we smell the sweetness of the rose and woodbine. When a boy he chanced to light on the poetry of Keats, and a plaster-figure maker, seeing him hang with longing eye over a cast of the poet's head which lay in his shop, made him a present of it, and he bore it home in triumph. At this time Keats was known to the public only by the ridicule of a critique.
Those who were intimate with Mr. Finch will find it difficult to name a man more evenly and usefully accomplished. Besides modern languages and scientific acquisitions, he had large general knowledge. His conversation was never obtrusive, and it never flagged: it was solemn, playful or instructive, always at the right time and in the right place. An eminent friend, a sagacious observer of men, said that he never thought a friendly dinner-party complete unless Finch were at the table: 'It was like forgetting the bread.'
He had read much, and was familiar with the great poets and satirists; knew the philosophy of the mind, and had observed men and manners. Of those departments of knowledge which lay apart, his good sense enabled him to take, at least, the relative dimensions. Knowledge apprehends things in themselves; wisdom sees them in their relations. He taught his young friends that goodness was better even
