"Paint Me As I Am, Warts And All"--Cromwell.

Brave soul, 'twere well if all the same would say,
And artists aim their patron's wish t'obey.
What signifies a wart, or e'en a scar?
Leave both, skilled hand, and paint us as we are.
The crowfeet paint, the wrinkles on the brow,
The hollow cheek, the form inclined to bow,
The tear-dim'd eye, the hair well streaked with gray,
The hardened hand, begrim'd with soot and clay,
And if you use the seer's revealing glass,
Remember this, "All flesh is as the grass."

Joseph Horatio Chant

Joseph Horatio Chant was a Canadian poet known for his religious and nature-inspired verse. He worked as a farmer and later became an ordained Methodist minister, which influenced his poetry. Chant's work gained modest recognition for its sincere exploration of faith and the Canadian landscape, contributing to the country's early literary heritage. He lived and wrote during the late 19th and early 20th centuries.

Joseph Horatio Chant

It Was My Fault[1]

Joseph Horatio Chant, Simple Poetry

Ashamed, But Not Afraid

Joseph Horatio Chant, Simple Poetry

The Real

Joseph Horatio Chant, Simple Poetry

England's Brave Sons

Joseph Horatio Chant, Simple Poetry

English

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Hide Their Scars!

A painter, high in worldy fame,
Was sought to reproduce by art
A likeness of the man whose name
Sent darts of anguish through the heart
Of mighty monarchs in his day;
For he by arms subdued the world.
Kingdoms and empires owned his sway
And bowed beneath his flag unfurled.

But Alexander bore a scar,
Deep marked upon his royal brow;
To paint him thus would greatly mar
The monarch's beauty; as a slough
Would mar the beauty of a lawn,
Where queenly feet are wont to tread;
Or like the cloud at early dawn,
Which hides some glory 'neath its spread.

To leave it out would not be true,
For Alexander bore the scar;
The painter this resolved to do,
Which would be true, yet would not mar:
To paint the monarch's head reclined,
With his ...

Joseph Horatio Chant

An Artist Of The Beautiful

George Fuller

Haunted of Beauty, like the marvellous youth
Who sang Saint Agnes' Eve! How passing fair
Her shapes took color in thy homestead air!
How on thy canvas even her dreams were truth!
Magician! who from commonest elements
Called up divine ideals, clothed upon
By mystic lights soft blending into one
Womanly grace and child-like innocence.
Teacher I thy lesson was not given in vain.
Beauty is goodness; ugliness is sin;
Art's place is sacred: nothing foul therein
May crawl or tread with bestial feet profane.
If rightly choosing is the painter's test,
Thy choice, O master, ever was the best

John Greenleaf Whittier

To A Painter

All praise the Likeness by thy skill portrayed;
But 'tis a fruitless task to paint for me,
Who, yielding not to changes Time has made,
By the habitual light of memory see
Eyes unbedimmed, see bloom that cannot fade,
And smiles that from their birth-place ne'er shall flee
Into the land where ghosts and phantoms be;
And, seeing this, own nothing in its stead.
Couldst thou go back into far-distant years,
Or share with me, fond thought! that inward eye,
Then, and then only, Painter! could thy Art
The visual powers of Nature satisfy,
Which hold, whate'er to common sight appears,
Their sovereign empire in a faithful heart.

William Wordsworth

The Progress Of Art.

Oh happy time! - Art's early days!
When o'er each deed, with sweet self-praise,
Narcissus-like I hung!
When great Rembrandt but little seemed,
And such Old Masters all were deemed
As nothing to the young!

Some scratchy strokes - abrupt and few,
So easily and swift I drew,
Sufficed for my design;
My sketchy, superficial hand
Drew solids at a dash - and spanned
A surface with a line.

Not long my eye was thus content,
But grew more critical - my bent
Essayed a higher walk;
I copied leaden eyes in lead -
Rheumatic hands in white and red,
And gouty feet - in chalk.

Anon my studious art for days
Kept making faces - happy phrase,
For faces such as mine!
Accomplished in the details then,
I left the minor parts of men,

Thomas Hood

The Copy

Looking o'er this written page,
Many blurs and blots are seen;
Crooked strokes, at every stage--
Oh, that it again were clean,
As at first I found it, when
I defiled it with my pen!

Gladly would I all erase;
But along the lines of blue
You could still the failure trace
In the paper's darkened hue;
Though the words could not be seen,
You could trace where they had been.

I will try to do my best,
Though my ideal be not gained;
On the Master's scrip shall rest
Eager eyes, till is attained
Some resemblance to His hand;
If no more I can command.

Like my life, this written sheet,
So unlike the pattern given;
Crooked strokes, I oft repeat;
Oh, that from it could be riven
All the blurs and blots of sin;
All the self...

Joseph Horatio Chant

To George Cruikshank, Esq.

Artist, whose hand, with horror wingd, hath torn
From the rank life of towns this leaf: and flung
The prodigy of full-blown crime among
Valleys and men to middle fortune born,
Not innocent, indeed, yet not forlorn:
Say, what shall calm us, when such guests intrude,
Like comets on the heavenly solitude?
Shall breathless glades, cheerd by shy Dians horn.
Cold-bubbling springs, or caves? Not so! The Soul
Breasts her own griefs: and, urgd too fiercely, says:
Why tremble? True, the nobleness of man
May be by man effacd: man can control
To pain, to death, the bent of his own days.
Know thou the worst. So much, not more, he can.

Matthew Arnold