m-^. > nnnnnono nnatTnn'fnireTlBnnn ^t]rl[l n a n i> n r. ^t^i m^.^^wjm ^w/im^^'mwM i ^ r ^ ' ) f r > r ROMNE Y LAWRENCE v^^j^j^i^jBTjifjiitiBitina^jBUBiiBiitaiBnsiiiv^ji BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF 1S9X ASIili 44z/£^ Cornell University Library arV18145 Romney and Lawrence / 3 1924 031 260 072 olin.anx ILLUSTRATED BIOGRAPHIES OF THE GREAT ARTISTS. The following volumes, each illustrated with from 14 to 20 Engravings, are nou ready, price 3s. 6d. Those marked with an asterisk are 2S. td. SIR JOSHUA REYNOLDS. By F. S. Pulling, M.A. WILLIAM HOGARTH. By Austin Dobson. GAINSBOROUGH and CONSTABLE. , By G. Brock-Arnold, M.A. LAWRENCE and ROMNEY.* By Lord Ronald Goweb, F.S.A. TURNER. By CosMO MoNKHOUSE. SIR DAVID WILKIE. By J. W. Mollett, B. A. SIR EDWIN LANDSEER. By F. G. Stephens. GIOTTO. By Harry Quilter, M.A. FRA ANGELICO and BOTTICELLI. By C. M. Phillimore. FRA BARTOLOMMEO and ANDREA DEL SARTO. By Leader ScoiT. MANTEGNA and FRANCIA. By Julia Cartwright. GHIBERTI and DONATELLO.* By Leader Scott. LUCA DELLA ROBBIA and CELLINI.* By Leader Scott. LEONARDO DA VINCI. By Dr. J. Paul Richter. MICHEI,ANGELO BUONARROTL By Charles Clement. RAPHAEL. By N. D'Anvers. TltlAN. By R. F. Heath, M.A. TINTORETTO. By W. R. Osler. CORREGGIO.* By M. Co.mpton Heaton. VELAZQUEZ. By E. Stowe, M.A, MURILLO.* By Ellen E. Minor. ALBRECHT DURER. By R. F. Heath, M.A. THE LITTLE MASTERS of GERMANY. By W. B. ScOTT HANS HOLBEIN. By Joseph Cundall. OVERBECK. By J. Bbavington Atkinson. REMBRANDT. By J. W. Mollett, B.A. RUBENS. By C. W. Kett, M.A. VAN DYCK AND HALS. By P. R. Head, B.A. FIGURE PAINTERS OF HOLLAND. By Lord Ronald Gowbr, F.S.A. CLAUDE LORRAIN. By Owen J. Dullea. WATTEAU. By J. W. MoLLETT, B.A. VERNET and DELAROCHE. By J. RuUTZ Rees. MEISSONIER.* By J. W. Mollett, B.A. Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031260072 " The whole world without Art would be one great wilderness " R O M N E Y AND LAWRENCE By lord RONALD GOWER, F.S.A. A TRUSTEE OF THE NATIONAL PORTRAIT GALLERY LONDON SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, Ltd Si §unstan's ^oust Feti'er Lane, Fleet Street, E.G. 1892 {All rights reserved.) Ricfuird Clay '£ Sons, Limited, London & Bungajf, PEEFACE. I HAVE been asked to ■write a preface to these short Memoirs of two very original but unequal portrait painters, Eomney and Lawrence. This enables me to g^ve a line of thanks to a gentle- man whose labour in the following pages has caused this book to be of real value to art lovers and historians of the English school of painting. In the admirable catalogue inserted at the close of the work, Mr. Algernon Graves, the son of the well-known art dealer of Pall Mall, has compUed what will be of lasting value in the history of English art ; it will also give a better idea than can , the account of his life of the astonishing prodigality and energy of Sir Thomas Lawrence, whose fault it certainly was to paint too great a number of portraits. , Lawrence, in fact, made his art into a trade, and there can be no doubt that, had he contented himself with painting one-half the people he did, his name would have stood higher in the records of the great artists. The fact is that for about the last twenty years of his life he painted but little more than the face of his sitter, the rest of the picture being done by his pupils, or rather his assistants ; this practice has, of course, much lessened the value of his j)ortraits, and individually I should prefer Vlll PREFACE. such a work as the portrait of "A Countess," a mere sketch in oil of a head, now in the National Gallery, or one of his beautifully drawn pencil studies, to any of the full-length portraits of his Majesty, George IV., in his Garter Eohes, to be met with in haM-a-dozen of our palaces, and 'in som& of our great country houses. Lawrence's stumbling-block was his ruling passion for being the leading portrait painter of his day. In order to keep that position he salerificed care and finish. Let his example be a warning to others, especially to the young portrait painters, on whom it would be weU to enforce the precept that one single soliSly and carefully painted portrait is worth a gallery fuE of hastily limned likenesses of people, however popular the painter may be. None of the truly great portrait painters hurried over their work — neither Holbein nor Titian, Eaphatel nor Velazquez ; and the decline in Van Dyck's work becomes marked only after his second visit to England, when Charles and his Court patronised him, and when, in order to kefep up with the ever-increasing number of sitters, he " scamped " his work and employed pupils and assistants to finish his portraits. Luckily, I think, among the rising portrait painters who are now coming to the front, such as Herkomer, Dicksee, and Holl, we have men who emulate in care and com- pleteness even those five great artists that I have named above. iJoNAUD GOWEK. April, 1882. CONTENTS. KOMNEY. CHAPTER I. 1734—1774. PAOS Uirlh— parentage — early struggles and success — removal to Lon- don — -journey to Paris in 1764 ; and to Rome in 1773— extracts from his diary — return to London .... 3 CHAPTEE n. 1775—1802. Nfoik in London — portraits — ambition to illustrate Shatespeare and Milton — Lady Hamilton — second visit to Paris— great projects of his later days — failing health — return home and death ...... ■••..la LA WHENCE. CHAPTER I. 1769—1798. Birth — parentage — precocity of genius in earlj- life — removal to London and studies under Sir Joshua Keynolds — Royal patronage — success . and early, election to the Academy — work in London — Satan and FusoU — coutemporary criti- cisms — death of his father 27 CHAPTER IL 1798—1813. Cootnmes of the period — work in London — portraits of Mrs. Siddons, Kemhle, Curran, Erskine, Pitt — social amusements — contributions to the Royal Academy Exliihitions h X CONTENTS. CHAPTER III. 1814—1830. rAGn Work in London — financial embarrassments — visit to Paris — the Louvre — ^Napoleon — historic portraits for the King — foreign honours — visit to Aix-la-Chapelle, Vienna, and liome — the Sovereign and Leaders of the period — the Pope and Cai-dinal Gonsalvi — studies at Rome— annual contributions to tlie Academy — portraits of children — sudden death — conclusion 56 wokks by eomney . . 79 Works hy Lawrence 94 Index . .... ... 123 LIST OF ILLTJSTKATIONS. ROMNEY. George Eomxey 2 Miss Sneyd as "Serena" 8 The Parson's Daughter, .... . . 17 Lord Derby and his Sister 23 LA WHENCE. Lady Peel Frontispiece Sib Thomas Lawrence 25 The CoujiTESs Gowee and Lady Elizabeth Gowee {at Stafford Hoiise) .S3 Nature 35 Master Lambton 45 George IV. in the Robes of the Ohder of the Garter . 59 Lady Dover and Child 71 Sir Walter Scott 75 GEORGE ROMNEY. GEORGE ROMNEY. From the Portrait painted by Sir Martin Archer Shee in 1799. CHAPTEE I. BIETir PAEENTAGE — EAELT STEtJGGLES AND SUCCESS EE- MOTAL TO LONDON JOUENEY TO PAEIS IN 1764; AND TO EOME IN 1773 EXTEACTS EEOM HIS DIAEY EETUEN TO LONDON. A.D. 1734 TO A.D. 1774. ROMNEY and Stottard are the most poetic painters of the English School of the eighteenth century. Both loved to represent forms and scenes from the pages of our greatest poets ; hoth had that rarest gift which the artistic temperament can possess, next to that of genius, poetic imagination — a true and intense charm. Had Eomney never painted a portrait (and some of his portraits are second only to those by Reynolds and Gains- borough), his name would even then stand very high among the artists of Britain, for some of his poetic and dramatic compositions are replete with great imaginative power. Eomney was to his fingers' ends a true artist, and his faults, those of a want of care and ignorance of anatomy, are amply compensated for by the glory of his colour, by his exquisite sense of beauty, and by an origin'ality that places his name in the front rank of the great painters of his country. 4 GEORGE UOMNEY. George Eomney was born at Beokside, near Dalton, iii Oumberland, on the 15th of December, 1734. His father, John Eomney, was a carpenter, joiner, and cabinet-maker His mother was Ann Simpson, of Sladebank, in Cumber- land. George was one of a family of nine sons and one daughter.* He seems to have been only for a short time at school, and, before he could have been taught much, was kept at home in order to help his father in his pro- fessional work. He early gave proof of the bent of his character by carving small figures in wood ; he showed, too, some proficiency in music, and constructed a violin, on which he played tolerably well, and this violin, in aiter- years, he used to show to his friends with much pride ; he was also while a lad passionately fond of mechanics. According to Cumberland, the first thing that turned young Eomney's mind to graphic art was the sight of some wood- cuts in a magazine, and a copy of Da Vinci's " Treatise on Painting" containing illustrations. A young painter named Steele, discovering the lad's capacity, engaged the boy cabinet-maker to assist him in his studio, and George Eomney agreed to work for four years for Steele, who was to receive a premium of £20. However, the contract was not kept; Steele soon after eloped with an heiress to Gretna Green, and later went to Ireland, where he disap- peared. Eomney soon followed his employer's example, and in 1766, in a rash moment, won the affection and the hand of a young woman, named Mary Abbott, of Kir Hand, who seems to have had good looks, and who was endowed with a most amiable and forgiving disposition, of which, as * Cunningham's " Lives of the British Painters," new edition, by Mrs. Heaton. ARRIVES IN I,0J3I)CN. O the future conduct of her husband will show, she had great need ; for never did a husband wear lighter the fetters of iks) married state than did Eomney. At the age of three- and-twenty he, refusing to accompany Steele to Ireland, began in earnest his career of paiiter. His first commis- sion was to paint a sign-board for a post-office window at Kendal, the subject a hand holding a letter; but better commissions than this soon followed, and Eomney got faces as well as hands to paint. The gentry of Westmoreland, flocked round the young artist, and in a few years he had collected enough capital to enable him to carry out the darling ambition of his soul, namely, to practise his art in London. Before leaving Kendal he had attempted to paint some scenes from Shakespeare and other compositions, pictures which he sold by lottery after exhibiting them in the Town Hall in that place. The mere attempt to illustrate the works of the great poet by a youth who had only been educated for a short season, and in a country grammar school of. that period, shows that Eomney was no ordinary young devotee of art, and that even in these early days he dreamt of attaining fame in the highest walks of his profession. He had amassed the sum of £100, partly by the sale of his lottery pictures, partly by his portraits, although his por- traits, when life size, only commanded two guineas per head, and small full-lengths six ; out of these £100 he • retained thir,ty, giving the rest to his wife for the support of herself and his two children. Eomney, now in his twenty-seventh year, started at length for London full of high endeavour, courage, and what is still better, faith in himself. A young man thus equipped, although with only £30 in his pocku^, is not to 6 GEORGE EOMNEY. be pitied. It took our artist a week to get from Kendal to the metropolis, which he reached on the 21st of March, 1762. There he found a lodging near the Mansion House, and, having had some of his pictures sent to him by his wife from Kendal, he invited purchasers to inspect and b uy . " The Death of Wolfe " was a very favourite subject with artists at that time, and, in the year following his arrival in Lon- don, Eomney carried off the second prize of fifty guineas for a painting of that subject at the Society of Arts. This award created discontent amongst some who considered that Mortimer's " Edward the Confessor seizing the Treasures of his Mother " should have had the prize ; and to Mortimer the fifty guineas were ultimately given, and poor Eomney received but twenty-five guineas as a present. It was on this occasion that he is supposed to have con- sidered himself sHghted by Sir Joshua Eeynolds, who gave his preference to Mortimer ; be this as it may, Eeynolds and he were enemies for the rest of their lives.* Eomney's prospects brightened; sitters increased, and, leaving the city for a more fashionable situation, he took up his quarters near Charing Cross, not far from where Eeynolds and Hogarth were working. He could now ask five guineas for a head ; and he soon made enough money to go on an artistic visit (in 1764) to Paris. Claude Joseph Vernet, the marine painter (grandfather of Horace, and the sire of a family of artists), received the young English painter with kindness, and did him the honours of the * Sir Joshua, indeed, disliked Eomney so much that he would not even allude to him by name, but in after-years, when he had to refer to him, epoke of him as " the man in Cavendish Square." RISING FAME. ' art treasures of the Frencli capital. Eomney was most struck hj the superb ?eries of Eubens's paintings then in the Luxembourg Palace, and the progress he made in his art on his return to England proved how valuable his study of the great Flemish painter's works had been to him. His fame spread rapidly in London ; and he seems to have been especially popular among the gentlemen of the Long Eobe, whose portraits he painted in profusion. He now again changed his quarters, this time placing his easel ia Gfreat Newport Street, hard by the President's own dwelling. A group he there painted, of the family of Sir George Warren, created quite a sensation, and soon all London began to flock to Great Newport Street, and, rapidly as he worked, his list of engagements to paint portraits was larger than he could carry out. He was now the fashion, and even Eeynolds felt that the tide had turned and that he must look to his laurels. The f eiid between the painters only increased with the increasing popularity of the younger artist, and Eomney showed his resentment by never send- ing any of his pictures to the exhibitions of the Academy ; but he exhibited his portraits in a house in Spring Gar- dens. Two parties had been formed in society; two "fac- tions," as Lord Thurlow called them; the Chancellor was loud in his praise of Eomney, and openly declared that he for one was of the Eomney faction. Nor was the painter ungrateful to the Chancellor, for Thurlow's portrait — a splendid full-length, now at Trentham ia Staffordshire — is as fine a presentment of the Chancellor as even Eeynolds himself could have produced. Eomney was now gaining a clear income of twelve hun- dred a year; a sum which would now be equivalent to mores GEORGE EOJJNEY. than twice that amount ; and the wish to see the great works of foreign cities again was strong within him. Rome was now his goal. Furnished with a letter to the Pope from the Duke of Eiehmond, and accompanied MISS SNEYn AS " SEUEN.\. by the miniature painter, Ozias Humphrey, he started in March, 1773, for the city of the Seven Hills. The Diary of this journey to Home — which he kept for his friend, Thomas Greene — very much contre ccnir, as his son informs us, for he hated every occasion of writing — contains interesting illustrations of the manners ON THE RHONE. a and costumes which, immediately preceded the French Revolution. Of the dress of the men in Paris he writes that the principal difference he has observed from that of England is, that "the men, from the prince to the valet de chambre, wear muiis of an enormous size, slung round their waists, and always chapeau Iras, though the weather is very cold. I have not seen a woman's hat on in any order of people. It is a part of dress which gives much softness to the face, by throwing it into half-shadow of any colour that the wearer chooses." From Paris Eomney travelled, by diligence, in a day and a half, to Lyons, and was confined there for a week with a cold ; and thence by a boat, which was chartered for his party, down the Ehone to Avignon ; " but, on the second day, it blew very hard; and obliged us to stop at St. Esprit." His description of the journey is worth transcribing : — " The Ehone is a. rapid river, and the prospecta from it are in general very beautiful. The latter part of the first day we saw a range of very grand mountains, covered with snow, called the Grenohle Mountains. The river, likewise, affords several grand and pictureBque views ; some of the towns are particularly so, and group well with the hills and rocks. . On the way from St. Esprit to Nismes, and ahout twelve miles from the latter place, is a Roman aqueduct, perhaps the most beautiful specimen of that kind of architecture in the world. " Kismes is situated facing the south-east, with a range of hills forming the quarter of a circle to the nortli-west; the plains before it are very extensive, beautiful, and fertile ; they are covered with olive-trees, and the ground between each tree is sown with some kind of grain, or planted with vines, &o." The whole description of Nismes, Avignon, and the incidents of the further journey, especially of that bej'ond Marseilles, along the shores of the Mediterranean, is 10 GEORGE ROMNEY. written with, a freshness and simplicity, and at the same time an artist's appreciation of the natural beauties of the scenery, and poetic element of the social incidents, which it is very pleasant to read. He disapproves of the con- ventual system : — "The convent of St. Pont, for women, is atout a quarter of a mile from this ; it is a, very large and beautiful building, with a church situate on a little eminence by the side of the river. It is very extraordinary that the policy of so many different nations should suffer so large a proportion of both sexes to be secluded from the world as useless members of society ; one may suppose that, upon an average, every twentieth woman, and every fortieth man, are shut up for life, to spend their time in idleness and sloth." "The Nissard women," he says, "are very ordinary- looking ; they are remarkably brown and rather masculine ; not- withstanding, they are exceedingly pleasing in the dances." At Lyons ho had written also of the women of the place. " The women are of a middle size, with all their forms round and full-grown ; full-chested and with necks as round as the Venus de Medici ; their faces not very beauti- ful, and browner than at Paris." From Nice, on the 25th of May, the friends sailed " with a fair wind " to Mentone within an hour and a half, which is fifteen miles. Here they were taken to 'the house of a Mr. Albans, " a great merchant and polite gentleman, " where they stayed till the 27th, when — " At 10 o'clock in the morning, having a fair wind, we set sail for Genoa, which is 145 miles distant. We had a very fine prospect of the coast all the way, which consists of lofty mountains of every form and shape; but in general very steep to the shore . . . After the most delightful voyage imaginable, with H, wind that carried us sometimes 14 miles an hour, we reached Genoa about twelve o'clock at night, and continued in the boat in the harbour till three, the time when the gates wt-re opened The Genoese women are in general elegant in AT GEXOA. 11 their figure, have great ease in their action, and walk extremely well. They axe of a good size, are fair, but very pale, -which is occasioned by the dress they wear. It is a loose robe of calico or thick muslin, which goes over their heads like a veil, and over their shoulders and arms like a capuchin. They let it fall over the forehead as low as the eyebrows, and twist it under the chin ; they generally have one hand up almost to the chin, hold- ing the veil with their fingers, beautifully disposed among the folds, and the other across the breast. They are short-waisted, and have very long trains, which produce the most elegant flow- ing lines imaginable ; so that with the beautiful folds of the veil or cloak, they are, when they move, the finest figures that can be conceived. When the veil is off, you see the most picturesque and elegant hair; it is braided up the back of the head and twisted round several times, and beautifully varied ; it is pinned with a long silver pin ; where it is not braided, it is flat to the head, with some loose hair round the face." This close and conscientious observation of the details of costume is characteristic of the portrait painter. After encountering a tremendous storm between Genoa and Leghorn, and a hasty glance at Morence, they arrived at Eome on the 18th of June ; and here Eoniiney's filial biographer is at great pains to invent escuses and apolo- gies for has father's very natural withdrawal from society. " Such," says Hayley,* " was the cautious reserve of Eom- ney, which his singular mental infirmity and a perpetual dread of enemies inspired, that he avoided all further intercourse with his fellow-traveller and with all tlie other artists of his country who were then studying at Eome." Eomney's son, however, asserts that the only enemies whom Eomney was shy towards were naturally the friends of Sir Joshua Reynolds, when they came about him — "know- ing well that they were so attached to his rival from ♦ " Life of George Komr.ey," by William Hayley. 12 GEORGE KOMXEY. personal motives, that he had little chance of candour from them." It -was at Home, however, that Eomney first became acquainted with " Wright, of Derby, Harrison the architect, and Marchant, the sculptor in gems ; all men highly distinguished for professional talent and private worth." Among the paintings which he executed at Rome was a remarkable one which he himself called Providence Irooding over Chaos. " It i-epreseijted a venerable old man borne upon the clouds. He fronted the spectator, and had his arms outspread ; his hair was parted on liis forehead, and his beard flowing. There was a mild expression in his countenance, and he seemed rapt in the performance of some gieat operation. The lower part of the picture exhibited a chaotic mass of obscurity and darkness. This picture remained in his gallery in Cavendish Square for some years. It was placed over the copy of the ' Transfiguration,' opposite to the entrance. At the time of Lord George Gordon's riots, in 1780, it excited great alarm in the mind of Mr. Romney, lest it should attract the notice of the rioters, and be regarded as an object of Roman Catholic idolatry, and thus lead to the destruction of his house. It was therefore immediately removed to a back apartment." His son, however, who regarded this picture, in respect of its subject, " rather as an object of censure than of praise," when he made out the catalogue for the sale of his father's pictures after his death, called it Jupiter Plwcius ; "borrowing the idea from a representation of that pagan divinity on the column of Marcus Aurelius, to which the figure in Mr. Eomney's picture bore some resemblance." But his principal work at Eome was the copy of a group from Raphael's " Transfiguration," which was then pre- KETURNS HOME. 13 served in. the church of San Pietro in Montorio. The Eev. John Eomney records that, after the refusal of an offer of one hundred guineas for this work from the Duke of Eichmond, it was sold at the auction of his pictures for six guineas. At Eome, Eomney studied hard for a year and a half, copying the frescoes- and cartoons of Michel- angelo and of Eaphael. The ceilings of the Sistine Chapel and the haUs of the Vatican were his academies, and much they taught him ; but he also worked from nature, and made many studies of the beautiful living models of which Eome is so prolific. The feelings with which Eomney left Eome are those of many fiiodem travellers, expressed in the language of a hundred years ago. '• After a good night's rest (at the Monte Eossi), the hurry of departing being over, my affections hfegan to revive, and some- thing hungahout my heart that felt like sorrow, which continued to increase till I reached the summit of Mount Viterho. I arrived there about half an. hour before the vetturino ; indeed I had hastened to do so, as well knowing it would he the last time I should see Eome. I looked with an eager eye to discover that divine place. It was enveloped in a bright vapour, as if tlie rays of Apollo shone there with greate;- lustre than at any other spot upon, this terrestrial globe. My mind visited every place, and thought of everything that had given it pleasure; and I continued some time in that state, with a thousand tender sensations playing about my heart, till I was almost lost in sor- row — think, think, my dear Carter, where you are, and do not let the sweets of that divine place escape you; do not leave a stone unturned that is classical ; do not leave a form unsought out that is beautiful ; nor even a line of the great Michel Angelo." The letter is dated from Venice, where Eomney was studying Titian. He says, "Upon the whole I am very 14 GEORGE E0:MNEY. glad I did not make any studies from Ms -works in Rome or Florence, being thoroughly convinced that a just idea of Titian can never be formed out of Venice. His great works are of a much higher order, and of a very different character from those in Eome." Eomney returned by land to Paris, where he arrived penniless ; and thence, after borrowing the necessary funds, to London, which he reached on the 1st of June, 1775 — where he found awaiting him "A Poetical Epistle to an Eminent Painter," begianiug : — " Blest be the hour, when fav'ring gales restore The travell'd artist to his native shore ! " and continuing five hundred lines of eulogy in a similar strain. CHAPTEE II. ■WORK IN LONDON POSTEAITS — AMBITION TO ILLUSTRATE SHAKESPEARE AND MILTON — LADY HAMILTON SECOND VISIT TO PARIS — GREAT PROJECTS OP HIS LATER DAYS — FAILING HEALTH — RETURN HOME AND DEATH. A.D. 1776 TO A.D. 1802. ON Hs arrival he took a large house in Cavendish Square, in which Francis Cotes, E.A., had resided till his death in 1770, and which after Eomney's death was occupied by Sir Martin Shee, P.E.A. ; and here for the next twenty years his career was one of enduring and com- plete success. The only blot — but it is a serious blot — in that weU-spent life of. the painter, was, that in aU. these prosperous years he almost entirely neglected his wife and children,; only twice did he visit them, and only when broken in health and crushed in spirit did he retifrn home, then only to die. This is indeed, as Allan Cunningham says, "a sore blemish" in the character of the great artist. There was much unmeant flattery inEeynolds's jealousy of Eomney's success, and this "the man in Cavendish Square " must have felt ; but it detracts not a little from -our esteem for Sir Joshua that the two rivals he had to 16 GEORGE EOMXEY. fear, Gainsborough, and Eoniney, were for many years neither of them on speaking terms with the President. It was ahout this time that Eomney painted a series of portraits, now at Trentham, of the Gower family ; the largest of them is that group of dancing children, that made so brilliant a show at the Winter Exhibition of ■works by the "Old Masters" at the Eoyal Academy in 1875 ; a painting that Allan Cunningham has commended as being " masterly and graceful." It is only within the last score of years that Eomney's paintings (which appear but raxely in sale-rooms) have fetched great prices ; but now a fine example by him commands as high a price as corre- spondingly good works of Eeynolds and Gainsborough. Not a few of Eomney's portraits have a charm beyond those of his greater rivals. No artist could impart more voluptuous grace and loveliness to his female portraits, when his model was as passing beautiful as Emma, Lady Hamilton, than did George Eomney. Although he had become the second most successfu portrait painter in London — gaiuingthe immense sum (for those days) of nearly £4,000 a year — Eomney would not give up Shakespeare and his creations for the more lucrative, but less noble, art of portrait painting. The works of the great dramatist inspired the painter's imagination, now that he was at the height of his renown, as they had done when he was an artist unknown to fame, painting portraits for two guineas a head at Kendal. It was at this time that he produced those fine mythological pictures which have reference to the youth or infancy of the bard — of these. The Infant Shakespeare nursed hj Tragedy and Comedy, now at Petworth ; and its companion, The Infant THE parson's dauohter. By Eomney. In the National Gallery. 18 GEORGE EO.MNEY. Shakespeare attended ly the Passions, and Alope, an unfinished but fine ■work, were all painted about tbis period. As to bis manner of working at tbis time, "be mostly," says tbe artist's son, " painted a gentleman's tbree-quarters portrait in tbree or four sittings ; especially if no bands were introduced^ . . . During tbe spring m.ontb8 be fre- quently bad five sitters a day, and occasionally even six. Tbe only time be bad for fancy subjects was in tbe intervals between tbe sitters, or wben tbey disappointed bim ; and havipg a canvas at band, be often regarded sucb a disap- pointment as a seboolboy would a boliday. He often wrougbt tbirteen bours a day, commencing at eigbt, or earlier, and, except wben engaged out, wbicb was not frequently, prolonging bis application tiU eleven at night." Alderman Boydell's Jfheme of forming a gallery, the subjects to be taken from Shakespeare's poems and plays, was entered into warmly by our painter, and met bis fancy for illustrating the matchless creations of tbe poet ; but fond as be was of Shakespeare, his ardour soon cooled on learning that while for bis picture for tbe gallery, a scene from The Tempest, only six hundred guineas was paid, Eeynolds and West each received one thousand for theirs. No artist was ever more influenced by beauty than George Eomney : it was bis fate to meet and be intimate with one of the most extraordinarily attractive women that even England has ever seen. I refer, of course, to Emma, Lady Hainilton, maid of all work, model, mistress, ambassa- dress, and pauper. Imagine a perfect form, and a face as frosb and as divinely fair as Hebe's, — eyes that could express tbe deepest passion, and melt in tbe softest languor — a mouth like a rosebud, the clear white brow framed ^y LADY HAMILTON. ID a profusion of deep auburn hair, on which the sun seemed continually to shine. Her form and limhs, till they lost their contour from too much adipose tissue, served as well as her matchless face for the painter's or the sculptor's art ; and she loved to represent some well-known figure of a goddess, or to throw her graceful form into an attitude which recalled the inspired fancies of the Inost voluptuous creations of the pencil or the chisel. If Eomney painted that superh creature once, he certainly did scores of times — and in how many different attitudes, and in what a variety of characters — as Hebe, and as a Bacchante ; as a Sibyl, and as Joan of Arc ; as Sensibility, and as St. Cecilia ; as Cassandra, and as Iphigenia ; as Constance, and as Calypso ; as Circe, and as Mary Magdalen ; and in many of thes( characters not only once, but frequently. No wonder the poor wife in the North was forgotten while "the divine lady," as Romney fondly called Lady Hamilton, was inspiring him with so many forms of loveli- ness in Cavendish Square. In 1790 Eomney made another expedition to Paris. It was the eve of the great Revolution, but the storm was only then rumbling onwards from the south, and Paris was still unstained with blood. Hayley (a forgotten poetaster, now only remembered through his pompous life of the artist), in his "Life of Eomney," mentions that the Marquis of Stafford, the father of our then Ambassador in Paris, " had ever shown a particular regard for Eomney, and as his son, the Ambassador, expressed a similar disposition," he was invited to accom- pany Lord Gower's chaplain. Dr. Warner, to Paris, Eomney's biographer, Hayley, and the Eev. Carwardine, 20 GEORGE EO.MXEY. were of the party. They lodged in Paris at the Hotel Modene, and found in my grandparents, Lord Gower — (Sutherland as he was then called) — and his Scotch wife, an artist herself of no mean skiU, excellent hosts to do them the honours of the galleries and studios of the French capital. The Orleans Gallery (then the finest private collection of paintings in the world, so soon to be dispersed by its infamous owner, Egalite d'Orleans, who' had inherited those priceless art treasures) was the first visited : here the future King of the French, Louis Philippe, accompanied the party over his father's palace, and his governess, Madame de Genlis (whose clever face even Eomney's brush failed to make attractive), was of the company. The two artists then in Paris, whose works Eomney most admired, were David, the future regicide, and leader of the classical school of painting, and Greuze ; both of these painters he met at dinner at the Ambassador's table. They visited with David the galleries of the Luxembourg, where Eomney had, a second time, an opportunity of admiring the superb paintings it contained — and that stately allegory of a queen's life by Eubens, which is now in the Louvre. On returning to London, Eomney was possessed of what afterwards proved an unfortunate ambition : he longed to surround himself, in some vaster building than his house in Cavendish Square, with the mouldings of the finest fragments of antiquity. For this purpose he commenced building a large house at Hampstead, and wrote to Eome to his friend Flaxman to send him a vast number of casts taken from the finest statues in the galleries of the Vatican. Of these schemes he writes, in 1794, to Hayley, "I had HIS NEW HOUSE. 21 formed a plan, of painting ' The Seven Ages,' and also 'The Visions of Adam with the Angel,' to bring in ' The Flood,' and ' The Opening of the Ark,' which would make six large pictures. Indeed, to teU you the truth, I have made designs for all the pictures, and very grand subjects they are. My plan is, if I live and retain my senses and sight, to paint six other subjects from Milton — three where Satan is the hero, and three from Adam and Eve ; — perhaps six of each. I have ideas of fhem all, and I may make sketches ; but, alas ! I cannot begin them for a year or two, and if my name was mentioned, I should have nothing but abuse, and that I cannot bear. Fear has always been my enemy : my nerves are too weak for supporting anything in public." A sad letter, and full of dim forebodings, too soon to be fulfilled. Eomney's friends fell fast around him, struck down in the midst of the battle of life ; Gibbon the historian was the first to die, and then Cowper went out of his mind, and sunk into a state of hopeless insanity. Eomney himself became terribly melancholy ; he lost nerve power, and although he -tried what visits to the seg, at the Isle of Wight could do for him, no good came to him until Flaxman appeared on the scene and cheered the poor sufferer by his kind thoughtf ulness and warm sympathetic nature. Eomney became calmer in spirit, but the power of his painting was gone for ever. It was in 1797 that he bade Cavendish Square a lasting farewell, for now the new house which he had planned and built, and in which he looked forward to pass many years of leisure, if not of work, was nearly completed. He was now sixty-three, not an old man as to years, but it was rather late in life to 22 GEORGE ROMNET. hope to start a new house, or to attempt a fresh career of artistic labour. His imagination was still fuU of poetic schemes and subjects, and many of his ideas he sketched, hoping that the time might come, when in his new house and large studio surrounded by the casts that Plaxman had sent him, he would be able to carry out his ambitious designs from Milton and Shakespeare. But it was not fated that any of those wishes should be realised ; the end was nearer at hand than Eomney or his friends imagiaed. ' ' I found Eomney," writes Hayley at this time, "much de- jected in his mansion on the hill at Hampstead, for want of occupation and society." In April, 1799, he again writes of his ' ' grief of foreseeing that Eomney's increasing weak- ness of body and mind afforded only a gloomy prospect for the residue of his life." "Sunt lacrymae rerum, et mentem mortalia tangunt." Then at last, when feeling unable to do more than gaze wistf ullj^ on the " cart loads " of unfinished paintings in his room, did the poor dying- artist bethink him of the deserted wife who stiU waited so patiently for him down in the Northland of his children, children to whom he had been all his life a father but in name. To these he returned in the summer of 1799, like a wearied child ; and at Kendal, soothed and tended by these long-neglected relations, he gradually sank into a state of unconsciousness; life flickered on, however, till the 1 5th November, 1802. He had lived nearly sixty-eight years. Eomnej' rests iu the place of his birth, Dalton. A man of intense sympathy, he wanted strength both in his character and in his art ; kind to all but to those to whom kindness was essentially due, he cannot be considered more than a man of great gifts without the highest, that of the LOKD DERBY AND HIS SISTER. By Eonmey, In the possession cf the Earl of Derby, 24 GEORGE ROMNEY. sense ofv duty. But his own forgave him, and it is not for others to cast a stone on the memory of an erring brother. As an artist Eomney ranks among the greatest of our painters, both as a portraitist and painter of imaginary subjects, and his fame ■will endure as long as the charming creations of his brush last. The greatest of our sculptors, Tlaxman, has said of Eomney, in words that are better than an epitaph carved in marble or in bronze, " I always remember Mr. Eom- ney' s notice of my boyish years and productions with gratitude; his original and striking conversation, his masterly, grand, and feeling compositions are continually before me ; and I still feel the benefits of his acquaintance and recommendations." In fig^e Eomney was broadly buUt, rathfer below the middle height ; his face was rather more intelligent than handsome, but his eyes, like those of most eminent painters, were remarkable for their penetration ; it is to be regretted that he left no good portrait of himself, nor did he sit for any, but when comparatively an old man, to Sir Martin Shoe. Contemporary engravings after Eomney's works are rare. J. E. Smith made a fine mezzotint after the group of the children of Lord Gower at Trentham, and W. Dickinson a few. In Hayley's life of the painter are some good steel plates after a few of his works, engraved by Caroline Watson ; and both Blake and Bartolozzi engraved some of his pictures. One of Eomney's chief merits being his transparent and briUiant colouring, no engraving can give a fair impression of his style, as in the case oi Eeynolds and of Lawrence. SIR THOMAS LAWRENCE, P.R.A. SIR THOMAS LAWRENCE. From a drawing by himself. CHAPTEE I. BIETH, PAEENTAGE, PRECOCITY OF GENIUS IN EAELY LIFE EEMOVAL TO LONDON AND STUDIES UNDER SIR JOSHUA REYNOLDS — ROYAL PATRONAGE — SUCCESS AND EARLY ELECTION TO THE ACADEMY — '^ORK IN LONDON — SATAN AND FUSELI — CONTEMPORARY CRITICISMS — DEATH OF HIS FATHER. A.D. 1769 TO A.D. 17S8. WHAT Holbein was to the court of Henry VIII., and Van Dyek to that of Charles I., such was Lawrence to the court of the Regent and King, George IV. On the canvas of L awrence the features of the high est, brightest, a nd most beautiful women of the close of the eighte enth and the first t hirt y years of this centurv .haTe been handed down to us ; and although he was essentially a pai nter of wom anly ch arms, some of his men's portraits, such, for instance, as those of Pius V H., Cardinal Gons aivi. and Ben] amin West, might, without detriment to themselves, be placed by the sid e of any portrait bv Titian or VanTP yck. TEbmas Lawrence first fiawt^ii_Ji ght on th » '^'>^ "f May, 1769, at Bristol, Tn"TEe~White Hart Inn, of whieh^his father was the landlord. This father, th-e"56h"of a clergy- rnanT" appears to~iiaTe been what the Scotch call a "feckless'' man, and from being a lawyer, had declined 28 SIR THOMAS LAWRENCE. in the social scale to keeping an inn. Lawrence's parents, soon after his birth, left Bristol and moved to Devizes, where, at the sign of the Black Bear, young " Tommy," who must have been a very precocious child, was made use of by his father ; for when visitors appeared, his father would place the little wonder— ;-the ehildbeing only five years old — before them on a table, where he used to recite odes by Collins and spout passages from Milton and _ Shake- speare. But Tommy could do more, he could draw ; and the proud father would invite his guests to have their portraits taken in pencil or chalks by this distinctly precious paragon. There is a pleasant story told by Allan Cunningham, of Garrick once stopping at the Black Bear at Devizes; and after listening to the child's declama- tion of a passage in Shakespeare, patting him on the head and saying, "Bravely done. Tommy; whether will ye be, a painter or a player, eh ? " "What was the boy's answer to this question tradition saith not ; but that young Lawrence wished to be an actor was only natural with his facility for reciting, and after having won the applause both of Garrick and the great Siddons. It j s said he final l y decided to become _a painter, when y et only nine years old, from having seen a collection of pi ctures at Corsham House, where he was found gazin g with tear s in his eyes on a paintin g by Kubens : "I shall never be able to paint like that," he sobbed. Years passed. The feck- less father removed fro m Devizes to OxfOTd, and again from Oxford to Bath, following the seasons at those~then fashionable towns in orSer to get as many'sitters as could be found to sit for th eir portraits to Tommy. At this period young Lawrence employed oinyclraite, and made HIS PATIENCE AND PERSEVERA^'CE. 29 the^j&gg^^is^ly -peftdar"pastel portraits, half life^ize heads in an oval form . One of these drawings in colou£ etl cnalks, prohahly done at this time, is the portrait of the lovely Qs oi ' ffia na, Dmhess of Bevomh i r o , w hi c h, s t ill h angs at Chiswick House in the room in w hich Charles Fox died. This is doubly interesting, not only from being^ very early work by the future President of the Eoyal Academy and the likeness of a celebrity, but it proves t hat in these e arly days Lawrence did not flatter his sit ters, even when they were d uchesse s a juA prnfftssinna.l b eanitifis tn hnnt. That the clever artist lad was not spoilt and his handsome young head turned by all the praise andT flatter y he now obtained shows that he must have had more than an ordi- ~iiary sEare of common sense and manliness in his character, which is not generally the case with such youthful geniuses. He now set to work in earnest as a portrait painter, and met with a success that may well encourage vou tfiful would- be painters in the ir early efforts ; a success, how- ever, only gained by steady and continuous labour and hard toil, and when he commenced to study at the Academy, Mr. (afterwards Sir Martin) Shee writes of him that his patience and perseverance were something quite out of the common ; in fact, from the age of ten up to the day of his death, half a century later, Lawrence worked with- out a pause. Nature had endowed him with extraordinary facility in seizing on a likeness, and with rare skill of hand; and, although he lacked genius, he possessed artistic talent of nearly the highest order. He knew his own deficiencies, and was not contented with his measure of success, but studied, even when he was President of the Epyal Academy and member of half-a-dozen foreign 30 SIR THOMAS LAWRENCE. academies, as laboriously as he had. worked when he first arrived in London, and began portrait painting there under the eye of the great Sir Joshua. It was in t7g 7 that Lawren c e first visited London ; he lodged close by Bgynolds jn Leicester Pields, and from the kind old President, who was t hen near the end of EisTpIendid career, he received_muQ h . valuable advice. Lawrence was now in his eighteenth year, and is described as being extremely handsome in person, with fine and regular features, lighted by eyes full of brilliancy, and long chestnut-coloured hair falling in ciu-ls on his shoulders. Later in life these locks were sadly thinned, and one recalls his face as that of a handsome aristocratic-looking middle- aged gentleman,, with a bald and finely shaped dome-like brow, not unlike his contemporary George Canning. " Study Na ture " was Reynolds's often-re peated advice to Lawrence when first the young painter called on the great Pre sident ; andj f Lawrence had followed tt ds advice more than he did, and had studied nature more and fashion lesS;^e would have a higher niche in the Te mple of 'Pgnrv o, f i Tifl g Tirigh t"'^ rATinwn among the great English painters, than he has. _ In the first years that he spent in LonSpll hn attempte d to illustrate high or classical at 't. In 1788 Mr. Eichard Payne "Knight commissioned hipi to paint Homer r eciting lits vutimi) tjr the~€hrBehs ', thitj-pajn ting^ — like lEefew- (and luckily he attempted but a few) imafflnaafy-pieccs~tfaait-Jig_t ried his hand upon — ^proved a failure . It was exhibited in 1791. T lie pamtmg that appears to ha ve given the impetus to his marvellously successful career as a p ortrait painter in London wa s' the full-length portrait of the beautiful Miss Farren, the EARhY SUCCESS IN LONDON. 31 a ctress, who becaiae Lady Derb y, fl ^his work was painted in or about 1790. " She was represented in what was then called a white John cloak and a muff, and the painting had the good fortune of axciting among the critics of the day very many and not unfavourable comparisons between it and Sir Joshua's admired portrait of Mrs. Billington as St. Cecilia. This portrait placed him above all competitors except Hoppner, who, although always second in the race, vigorously contested the palm with him till his death in 1810." — Williams. ■tn. t his picture thers is a. s tranp;'?) anaclironism ; the l ady is attired in furs, but all around blooms a summer's ■landscape. It is said that the young painter was so struck by the graceful manner in which Miss Farren unfastened her sable-trimmed cloak as she entered the painting-room, . that he begged her to remain in that attitude. Wb^tejeiJaaJiajaultsor the mer its of th is picture, it was the portra it of the year, and made young jjawrence at a step ttie most tasJiionable painter of , the_iaaai. The moment for him was p ropitious, for the greatest of the pe3?fepait--painl££§.had recen tly died or rejti red fro m the arena of their profession. Gainsborniiff h, was dfi arl ^ and E eynolds was almost blind a nd had given up his vic- tnrioT is contest, ppd Bomney hadbut a faction. Lawrence now raised the pnce of his portraits from ten to thirty guinea| _f or th e head, from thirty guineas to sixty for the half length, and for a full lengthTle wa s now paid one h undred and twenty. " He was now induced to sjieculate upon a more expensive style of living ; and the patronage he received, and the influx of business, BO steadily progressive, fully authorized him to incur these in- creased charges, notwitatanding the claims upon him which have 32 SIB THOMAS LAWRENCE. been already noticed. He this year resigned his apartments in Jermyn Street to Mr. Shee, and took a house, No. 24, Old Bond Street, in which he aimed at a more showy style of life." — Williamt, The King had already patronised the young painter; his Majesty had sat to him, as had also the Queen and the Princess Amelia.* Ho nest old TCiTi gGeorge had evidently taken a liking to the handsome young portrait painter,' and inferested himself almost as mucli in ins -welfare as his son and successor "■diT]~stmis"iMrty~years after. •George IHr wefflfsoTar in his patronage that, in spite of vented an artist f rom becoming an Associa te of the Eoyal Academy untilhe was twenty-four years of age, he insisted upon Lawrence being made ^ an extra-associate when he was onlj-Qn&T.an d-twentY. The Gip sy, painted i n 1794 (representing a roman tic a nd far too elegant girl, very deeolletee, stealing a fowl ; a background of a wood, with gipsies, now the property of the Eoyal ^Academy), was the presentation picture of Lawrence on becoming an Academician. His election gave riseto one of Peter Pindar's poems, published in 1791, called the "Eights of Kings!" It is great nonsense, of which the following is an extract : — * The portrait of the Princess Amelia, then a child of seven, was exhibited in 1790, together with that of the Queen and ten others, including Miss Farren (under the title — 171, An Actress). Princess Amelia's portrait became, by some means, the property of a broker near Soho Square, fi'om whom it was purchased by Lawrence a few years before his death. It formed part of his property at his decease. THE COUNTESS GOWEK AND LADY ELIZABETH GOWEll {at Stafford House). M SIR THOMAS LAWRENCE. " Refuse a monarch's mighty orders ! It smells of treason, on rebellion borders. 'Sdeath Sirs ! it was the Queen's fond wish as well That Master Lawrence should come in. Against a Queen so gentle to rebel, This is another crying sin. * * * * * 1 own I've said (and glory in th' advice), ' Be not, King, as usual over nice. ' Dread sire (to take a phrase from Caliban), ' Bite 'em ; ' To pour a heavier vengeance on the clan, ' Kniff/a 'em ! ' " The official record states: — "In NovemlDer 1791, (No- vember 10), lie (Mr. Thomas Lawrence) was elected an Associate of the Eoyal Academy at an earlier age than any artist before or since; and in 1794, (February 10), an Academician." But George III. liked having his own royal way, and pro- bably cared very little for what the Eoyal Academy thought of this mark of his regard for Lawrence. Anii_this_was_ not a U, for in the followin g year the King, Beynolds haYi"S died, B^pm.Tif.ad. ■LawrfiTififl in fhft nflRfjp pf fajntfir i" O-i^l- nary f" 't'i" iM'jj^ijpf.f^y f-i^^r.T^ an appointment bestowed on so young an artist must have created a considerable stir in the artistic world. "What! appoint a young fellow of only two-and-twenty to the iighest post but one in the country, when such veteran portrait painters as Eomney, Opie, and Hoppnet are passed over and ignored ! " i:;2§pt here again the excellent good sense and tact of Lawrence now, as when he was but a child, the wonder of ^ffiS"dDn8 of Oxford and the fine ladies of Bath, seem to have disarmed envy ar d stilled the tongues of the mal iSous. And " about the same date also;" Mrs. Heaton, in her NATiKE. By Sir Thomas Lawrence, The Children of C. B. CalmmJiJ, Esq- 3d SIK THOMAS LAWRENCE. notes to Cunningham's life of Lawrence, tells us, " he was elected a member of the Dilettanti Society, and for his sake this aristocratic society rescinded its rule that no per- son was admissible as a member who had not crossed the , Alps. He entered also upon the office of painter to the Society which Sir Joshua's death had left vacant." In July, 1792, Lawrence was commissioned to paint their Britannic Maj esties as a p r^sentforthe Emperor oT China, and Lord Macartney took these portraits with him to the flowery land. The young courtier painter now felt he might make a greater display in the world of fashion ; and as soon as he had become settled in the rooms he had taken in the then all "a la mode" Old Bond Street, he became in other ways extravagant, and from this time commenced the financial embarrassments that harassed all his after-career, successful as that career was. For, in spite of being the most run-after and sat-to portrait painte r that London had known since the days when King Charles lounged and chatted in Yan Dyck '.i ptiidin fit l-^igplrfm^i-va) Lawrence f rom th is time till the p ;ra.v p. ninsed over him wa,3 always shor t of money, and the melancholy that brooded over hi s later years must be ascribed to that greatest of worldl y ann oyances — a want of conve nient and ready cash. "I began life wrongly," he confessed to a friend in after- years. The patronage of princes is not an unalloyed boon for artists ; few indeed do not suffer in their talents from such an honour, generally very dearly bought. The patronage of princes is often the grave of artistic efPort. Why it is that the limner of royal features should generally be an inferior artist (Titian, Holbein, Hubens, and Van Dyek are, of OPIE AXD HOrPNER. 37 course, brilliant exceptions) to others of the craft, would be difficult to account for or explain. Perhaps, to put it shortly, their royal sitters do not give the artist a fair chance of painting them well, and the painter favoured by royalty does not care to bestow much pains on sitters who are not Eoyal Highnesses, Serenities, or Transparencies. Excepting some of the very greatest of court painters, Velazquez for instance, how few have been anything more than spoilt painters — spoilt both in the artistic and the social sense ! Eejraolds, for- tunately for his fame, after a brief time was not greatly favoured by our Court, and certainly Gainsborough's early works are generally better than those of his later years now at Windsor Castle and Buckingham Palace. I n 1792 the young Associate exhibited ten portraits, of whic h the most remarka. ]bla,3igas-that-»f-the-JCiag — It-\»as hung next to West's historical painting of Edward, III. passing the Sonime, and divided the public attention with that picture. Mr. Williams mentions Opie and Hoppner as rivals to Lawrence in his own branch, at this time, of a most formidable character. Of the former he adds : — ""Without depreciating the very extraordinary talents of this eminent man, it may be justifiable to remark, that imagination could scarcely con ceive a stronger difference, than his style of thick colouring and heavy touch, and the brilliant colouring, vigour, and grace which Mr. Lawrence infused into all his portraits. Many of Mr. Opie's productions speak forcibly to the feelings, and must ever be invaluable to men of taste ; but his portraits were identity seen through an unpleasant medium, whilst Lawrence, with equal truth to the original, cast over it the graces and serene cheerfulness of his own mind." But Hoppner, under the patronage of the Prince of Wales, was a n}ost formidable rival, for the Prince's in- 38 SIR THOMAS LAWRENCE. fluence as "the glass of fashion and the mould of form — the positive arhiter elegantiarum from whose decision none had the temerity to appeal " — was much greater than that of his royal father. In this year Sir Joshua Eeynolds died, and "West was elected to the office of President in his place. The election, which was made the occasion of a great display of party feehng, called up, WiUiams says, " a host of acute and acrimonious writers, by whom every eminent man in the profession was ridiculed or otherwise attacked, in a manner which the good taste of the present age could not tolerate or sanction." Lawrence, however, we are told, either escaped censure or received praise in these writings, " although one of the belligerent writers, the saturnine and malignant Anthony Pasquin (his real name was WiUiams), two years afterwards selected him as an object of his virulent acumen." In 1793 Lawren ce exhibited nine pictureg^_Jnc1iidiTiK P rospero raising a Storm, and eight portra its. In 17a4jT ft flppea.TH JTi t.hft ra.talngiia ab E.A. elect, an d Prjficipal Painter in Ordinary to his M ajesty ; and exhibits eight portraits, including one of Br. Moore, Archhshop of Canterlwry, of which Ji'asqum said: — "It conveys a full ideir of""th6 florid, well-fed visage of this fortunate arch- prelate, and a monk better appointed never sighed before the tomb of Becket." A portrait of Lori Awhland was more severely criticized : — " This heterogeneoua nobleman ia so fantastically enveloped in drapery, that I cannot ascertain what is meant for his coat, and what for the curtain ; they are all of the same strength and importance. This is destroying the subordination of objeots " FASQUINAUES." 39 most completely. Perhaps hia lordship is portrayed in the very act of writing his glorious manifesto at the Hague, as he appears to think so intensely on the theme, that his eye-halls seem hursting from their spheres." "This latter remark," as Mr. Williams says, "is curi- ous, for scarcely can ancient or modem art produce a tetter painter of eyes than Lawrence." Sir Joshua Beynolds laid it dow n as a fixed principle that to create the beautiful, the eyes ought to be always in mezzotint . Lawrence never p ursued this rule, ioi his eyes ' had scarcely any tint at all, or were tinted above the ■ ,11 i l.l l . Ml l ^ l ^ I f ^ ■■■I. J i M .1.11 .1 ||. u ,«„:^ „ , , ^^^ mezzo. In his painting-room in Russell Square the light was Jiigii, but in that at 57, Greek Street it was higher than artists usually paint from, for it was introduced from the second story by the removal of a floor. Of the picture of Zady Emily Hoba/rt in the eharacter of Juno, Pasquin said: — "The face is chalky and sickly; the robe is so white and so unencumbered with shadow that it might pass for an habiliment of porcelain texture. While I viewed it I was betrayed from a recollection of the surrounding objects, and I momentarily imagined that, if I cast a stone at the vestment, I should shiver it to pieces." In consequence, as Williams supposes, of this criticism, the family refused to accept the portrait, and Lawrence never painted anything for the lady's family afterwards. Of the portrait of Mr. Knight the critic said : — " It is repulsive in the attitude. It fills one with the idea of an irascible pedagogue explaining Euclid to a dunce. Mr. Lawrence began his professional career upon a false and delusive principle. His portraits were delicate, but not true and attractive — not admirable ; and, because he met the approbation of a few fashion- able spinsters (which, it must be admitted, is a sort of enticement 40 SIE THOMAS LAWRENCE. very intoxicating to a young mind), vainly imagined tliat hia labours were perfect ; his fertile mind is overrun with weeds ; appearing to do well to a few may operate to our advantage in morals, but will not he applicable to the exertion of professional talents. Many have caught a transitory fame from the ravings of idiotism, but none have retained celebrity hut those who have passed through the fiery ordeal of general judgment. There appears to be a total revolution in all the accustomed obligations of our being. Men can do as well and be as much respected now, after the forfeiture of character, as before; and artists seem to think that they can paint as well and be as much encouraged without a knowledge of the common elements as with them. This surely is the saturnalia of vice and insig- nificance." The criticism was sharpened no doubt to Lawrence ty the fact that Hoppner was spoken of in terms of praise. In the year 1794 LaAvrence removed from Old Bond Street, and took a house in Piccadilly, overlooking the Green Park. " This," Mr. Williams says, "he furnished in good style, and, though his habits and disposition for moderate pleasures and calm enjoyments precluded his being what, in the language of the world, is termed a Jwspitabh man, he lived with a repute for liberality." Of nine portraits exhibited by Lawrence in 1795, the most in teresting is that " of~tfaB~poet-6Wi9 fl r ) with w jieaa- ^ had been intimate for many years. Mr. Williams has insyrtyd Iil his biugraphy an affectionately worded letter from the poet, containing a pressing invitation to Lawrence to come down to Weston and give him " a drawing of the old oak." Anthony Pasquin remarked of his portraits of this year that they were among " the very best of the good ! " ^-AboutJitte-time Lttwrenee-igltit again incumbent upon him to attempt a work^^igLim-agiSSSH; uud af tui- a gioul SATAX. 4i C(£Eort lie spoilt a huge canvas on ■^•liicli lie had tried to represent tne great enemy of man ; but his^Satan-yas only Kemble'in a carnival habit, and to quote the scurrilous critic, "Belial looked like~X[^i3~^ga;r-baker dancing naked in the conflagration of Jiis-owjistreacle." Warned hyJiii^ colossal |ailu3:e,„Xawrenoe .returned to his sitters and their portraits. _ Ti; ^79Q }\r n Trhibit|nd -eight portraite. Th p Satan calling his Legions was exhibited •wiihJohn Kemble, Mrs. Siddons, and other portraits, in 1797. The critics were by no means unanimous upon its merits. Pasquin abused it more suo as above ; others thought the subject " ably and nobly conceived," — "the countenance, though terrible, still retains part of its former lustre and beauty, and he appears, altogether, no less than angel fallen." Puseli was disappointed with it. He said the Satan was the "Lubber Piend," and not the "Master Fiend," of Milton. Cunningham gives a very amusing conversation that he had on the subject with Lawrence, who said : — " "When lie (Faseli) first saw my Satan, he was nettled, and said, 'You borrowed the idea from me.' — 'In truth, I did take the idea from you,' I said, ' but it was from your person, not from your paintings. When we were together at Stackpole Court in I'em- brokeshire, you may remember how you stood on yon high rock which overlooks the bay of Bristol, and gazed down upon the sea which rolled so magnificently below. You were in raptures ; and while you were crying, ' How grand ! how terrific ! ' &c. , you put yourself in a wild posture ; I thought on the Devil looking into the abyss, and took a slight sketch of you at the moment : here it is. My Satan's posture now, was yours then ' " The Satan is now the property of the Eoyal Academy, and hangs in Burlington House. Of John Kemble's portrait it was said, " There is a black 42 SIR THOMAS LAWKENCE. air of defiance in it, ■which does not argue a mind at peace either with himseK or with mankind." Mrs. Siddons, being in fact of mature age, was represented extremely youthful, and the naturally stern expression of her face was altogether changed. ^Arfevtxait^oi Lord Exeter and his. Family was also of this year. Lawrence had removed in this year to a new residence in Greek Street, Soho, and here he had his father and mother staying with him. In May, however, his mother expired there. Lawrence writes with great feeling of the expres- sion of her face in death. "You can have no notion of the grand serenity it has assumed. I think I cannot but persuade myself since the fatal stroke, it seems as if the soul, at the moment of departure, darted its purest emana- tions into the features, as traces of its happier state. Have you seen death often? It cannot be a common effect." In the following October his father, to whom he was strongly attached, died suddenly. " Lawrence was engaged at his house, in Piccadilly, when a messenger burst into the room and announced that his father was dying. Lawrence, in the intensity of his feelings, ran out of the hoiise and proceeded through the streets without his hat ; but, notwithstanding the rapidity of his pace, he did not arrive until after his father had expired." This account which Williams gives us would lead one to believe that the father was residing in London. But Cunningham says that he died at Eugby CHAPTEE II. COSTUMES or THE PERIOD — WOEK IN LONDOIf — POETRAITS OF MBS. SIDDOSrS, KEMBLE, CUEEAN, EKSKINE, PITT, &C. — SOCIAL AMUSEMEKTS CONTEIBUTIONS TO THE ROYAL ACADEMY EXHIBITIONS. A.D. 1798 TO A.D. 1813. THE great French Revolution, that was then mating the monarchies of Europe tremble, had among vaster changes obliterated, the fashion of wearing powder on the heads of the weU-dressed world. The age of hair powder was at an end, except for Jeames de la Pluche ; but it was succeeded by that of pomatum. Lawrence was essentially fitted to reproduce in his portraits the new fashion. Gentle- men wore pyramidically shaped coats and collars; with numerous waistcoats overlapping each other, of as many hues as Joseph's coat; hessian boots, and velvet coats lined with furs and frogs ; ladies appeared in voluminous turbans with birds of Paradise in them; and had their waists immediately under their bare arms, up which gloves were loosely drawn till they reached the shoulders, from which puffed-out sleeves, graphically described as shoulders of mutton, stood ; and covered their brows and eyes with their hair in glossy curls. These monstrosities of fashion 44 SIR THOMAS LAWRENCE. had superseded, in the early years of tliis century, the superbly satin-coated and he- ruffled dandies, the pro- digiously tall dressed-out hair of the dames of the end of the last century, and aU the picturesque pomp and splendour of the " old regime." The Brighton Pavilion and the " first gehtleman in Europe " had stepped into the place of Versailles and Marie Antoinette. Por the' next,^irty years Lawrence worked assiduously at paintiiljT t huHti tJl'ttpOHtouusly auuuutl'ed men and women, and seems to have revelle d in the very ugliness of _the fashion — aAltftwu^^imple in his own attire and always wearing a black coat/there is hardly a pictur4-ijy h^a-ia-'wh.-iGh -Ms-sittCTs— arg''S ot, even the men, in rea or green, or blue or purple. Lawrence, oJ! (JUUiisU, could not be expected to alter the fashion of the dress of his day, but he certainly did not seem to see the ludicrousness of it. He painted every one that was celebrated or beautiful, 'in'fa^ any on e who paid to be pamted, and t lie conseciuences"of this plethora of portrait painting vere that he Ipstjauch individuality^^ getting mtoa groove, and giving little character "to his portraits ["^HdTeven Eemble-ar^andet, as EoUa, as Cato, or as Coriolanus, is always Lawrence plus Kemble. His portrait of Siddons herself, whom he almost idolized, and whose daughter's heart he is said — but I believe this is untrue — to have broken, lacks the grandeur that Gains- borough and the sublimity that Eeynolds gave to her majestic face; and the heavy-browed Thurlow has little of the almost terrific majesty of judicial wisdom that Eomney transferred to his canvas, ^( jiawrence lacke d geni us ; he iiTiPfl t f > pipnsp in bis port raiture, and no painter MASTER LAMBTOX. By Sir Thomas Lawrence. In the possession of the Earl of Durham, 46 SIR THOMAS LAWRENCE. 'Vas more successful in his undertaking. His was the art which was certain to succeed among priaees and fine ladies, high dignitaries and grands seigneurs ; but contrast, for instance, Eeynolds's portrait of Heathfield (in the National Gallery), with that of Wellington hy Lawrence, at "Windsor Castle : how feeble the latter appears ! And yet surely the hero of "Waterloo was a better subject to paiat than he of Gibraltar. / Lawrence's method ofjrork-was aaJoUctiFS : — ^he always painted standing ; on one ocoasion he worked all through one day, through that night, the next day, and all through the night following. At the first sitting he carefully drew in the outline of his sitter's face in pencil on the canvas. At the second he commenced to colour, but he always carefully painted in the head before even sketching more than the shoulders of the figure — as any art-stuilent may see in his unfinished portrait of Wilherforce in the Nationa Portrait Gallery, or the brilliant sketch of a woman's head in the National Gallery. Often he kept his sitters for three hours at a stretch, and sometimes required as many as eight or nine sittings. All this proves how hard and how conscientiously he worked. ^' Some of his more ra pid p ortraits are better thag , his more finished and coloured ones. That now at Stafford House, a kit-cat portrait ofthe preseilt Ladi/ Westminster (when Countess Grosvenor), C. E. Leslie said was painted at one sitting, "begun and finished off hand;" as was also, writes the same good authority, "the best male head he ever painted, his first portrait of Mr. "West ; not the whole length in the National Gallery, in which he much exaggerated the stature of the original ; " not an PORTRAITS AT THE ACADEMY. 47 uncommon fault with, this flattering portrait painter, who made all his men look brave, and aU his women beautiful. In 1798 he exhibited six portraits, of which that of Kemhle as Coriolanus was the most import ant ; of the rest, r-eron Williams describes the portrait of Lord Seaforth as an ' ' absolute caricature ; " " the savage dress of the Highlands is mixed with the modern military dress of England in its worst taste. The red uniform coat, with yellow facings, buttons merely over the chest, leaving the abdomen pro- , tuberant in a white kerseymere waistcoat, &c." Coriolanus ' was bought by Sir Eichard "Worsley, and came into the possession of Lord Yarborough. ^ In 1799 Lawrence ex- hibited six portraits (his rivals Hoppner and vjpi'e being repjssfiated by ei^ht"atid"'nin'ej«^^tiveljj ; and mi 800 seven, includin g Curran. A good ste el engraving of this portrait, John PMlpot flmiri^fl,^ ia in f>ip T.awranna (7n|lRnt|i""ri " A WOnSerful head — ^full of power.^ and an expr essioii of trouble and anxi ous ' tEought^standing out prominently in the open centre of a ^backgroiiiiS of rolling clouds of smoke. Williams gives tiie tdllowing anecdo,te oi ixk 'cdmjpletion : — " The first portrait perplexed, and even distressed Lawrence, and it was a total failure. Shortly after the painting was finished Lawrence dined casually with Mr. Curran, and saw him in all the glory of his animation. Lawrence could not help exclaim- ing to him, ' I have not painted your portrait at aU— I never saw your proper character before. Come to-morrow and give me another sitting.' Mr. Curran was leaving England the next day, but he deferred his journey, and gave Lawrence one sitting, in which he finished the most extraordinary likeness of the most extraordinary face within the memory of man." The portrait of Mrs. Angerstein, of this year, repre- senting " a beautiful female wandering over a desolate 48 SIK THOJIAS LAWREXCE. and unfrequented island, without hat or shawl," sug- gested a good many criticisms of Lawrence's usually inappropriate backgrounds. To the Eolla it was objected that the dimensions of his stature were gigantic, and the action extravagantly melodramatic. "But in one point this portrait eminently shows the cast of thought of Sir Thomas Lawrence. All theatrical portraits of that period were unnatural, extravagant, and ranting ; and the artist who had carried these errors to the height was Mr. Hamilton, Lawrence's friend, from whom he imbibed many erroneous practices in art." In fact it was not Kemble, but Jackson the pugilist who stood for the figure. Lawrence painted this portrait upon the canvas on which he had painted Prospero calling tip the Storm (in 1793). Solla is the property of Sir Eobert Peel. In the o-vliiVn-HoTi f>f \ 8pi Lawre nce had six portraits, the most important of which was John Kemble as liamlei* which WaageiT considefg"" most attractive in power of effect and in the careful and marrowy paintini^, but too theatrical in motive and expression." " The figure of Hamlet is full of dignity : calm, noble, and unobtrusive ; while the countenance is expressive of lucid thought and solemn musing. The expression of the features had per- haps derived value from a greater degree of determina- tion. The ' inky suit ' and the dark background admirably sustain the gravity of the subject, which is not disturbed by the light that falls priucipally on the features." • Jo/in Kemble as Samlet (holding the skull of Yorick in Lis hand), on canvas, 10 feet high, 6 feet 6 inches wide ; presented to the National Gallery by King William IV. Exhibited in 1801. Engraved by S Reynolds, , PRIVATE THEATRICALS. 49 A sketch of the same subject is mentioned in a sale of Sir Thomas Baring's Collection, 1848, where it was sold for 50 guineas. Lawrence was very intimate with Kemble. In a letter to Mr. Lysons of about this date he says, "This being Fast Day" (for the invasion panic), " I am going to eat heefsteaks with Eemble at Jemmy Curtis's brewhouse." Lawrence wrote at this time (to Mrs. Bouoherette), "I am very glad that, after the 'Two Friends,' you like my 'Hamlet,' which, except my 'Satan,' I think my best work. I must now try, though, to give a something much better ; for I begin to be really uneasy at finding myseK so harnessed and shackled into this dry miU-horse business, which yet I must get through with steady industry, well knowing that this is the very season of my life when it is most necessary." The exhibition of 1802 contained nine portraits by Lawrence, of wEiS!~the most important is that of JSrsMne, wtesiT" "^^v^'SrTemarEaBly expressive of liis eiier^'y ~oi character, and the fire and spirit of his countenance seemed to give animation to his body." In January, 1803, he writes from Greek Street a very interesting letter to his sister, describing some amateur theatricals on a grand scale, in which he took a leading part, at the Marquis of Abercorn's. " It was projected by a woman of great cleverness and beauty, Lady Caher— very young and full of talent, with Lady Abercom, and the rest of the female party ; and, of course, it was acceded to by Lord Abercom, who, whatever character of pride the world may have given him, is just as pleasant and kind and gentle- manly with his friends as a man can be. . . . The Prince, the Duke and Duchess of Devonshire, Lord and Lady Melbourne (their 80TT■ Q^.gfcTnQ aB4 ^ashi on. twitters multiplied with the prices, and money flowedT" into Lawrence's studio, only, however, to flow out again in some unaccountable manner — for he kept no establishment, nor did he, like Eeynolds, entertain ; his only expensive taste was that for buying drawings by the Old Masters ; but even in the midst of his unrivalled success he was doomed to be, and to remain till all worldly things concerned him no longer, a prey to duns. ^JJifiuaaest" favour able construRtin ri that can be put on this circumsta nce is that he wasjoo lavis h, with his gifte, t oo handsome with his charities I'n llfp T^>.1r]Qep npnn Vinniln^noc^fj^jf^ ^^fh-a^ o-a-^cfc who had madB-shi pwreck. and \yJio would have su nk into utter destifa4l2£_^''^'^j25"'W*^'^^ssse. In 1814 Lawrence for the first time visited the continent. The events of 1814 enabled English artists again to study the marvels of art collected in the wide galleries of the Louvre, and WilHams quotes an interesting letter to Miss Crofts, in which Lawrence says that this gallery, "the noblest assemblage of human genius that was ever pre- sented to the world," very much surpassed his expecta- tions, " and particularly in its most celebrated pictures." " The Transfig^ation," he says, "is still the best. A few days will see the whole taken away ; and, much as we ought 58 SIR THOMAS LAWRENCE. to reprobate the injusticety -which the greater part of them was obtaiiied, it is impossible to witness their departure with- out regret — at least I know not how to check this feeling." Of Napoleon he says, " No one can see France or Paris without bowing to the greatness and extent of this man's conceptions. I use a phrase that is forced upon me, I speak of him as present, and everywhere he is ; and it is as impossible that he can ever be separated from the past greatness of his country, as for human efforts to blot put the sun." But Lawrence was soon recalled from Paris by the command of the Prince Regent to paint the portraits of the aUied sovereigns, their statesmen and generals. These commenced that series of princes and great captains, states- men and diplomatists, that fill the Waterloo Chamber at Windsor Castle. Among others who sat to Lawrence at York (now Stafford) House * were the Prussian Bluoher and Russian Platoff, Metternich and Humboldt ; but the series of portraits he then painted was inferior to that which he made after his return from Italy in 1 8 1 9. On fltfi-S and April of the f ollow - ing year — ^the ye ar of Waterl oo — Lawrence waskiiLigltte449y the Eeggn±4_£ampbeIL, the poet, whose portrait Lawrence painted about this period, says of his own portrait what applies to many others of the painter's, that his subjects " seem to have got into a drawing-room in the mansions * York House, a branch of St. James's Palace, was pulled down, and Stafford House erected on its site, originally intended for the Duke of York. t Williams says : " More titles of dignity, from that of Knight to Marquis and Duke, were conferred in the years 1814 and 1815, than at any period of our history. It is understood that the Emperor of Russia was the first to suggest to the Prince Regent the propriety of knighting Mr. Lawrence." OLOEC-JS IV. IN THE K0BE8 OF THE OEDEB OP THE GARTER. In Windsor CusUe. 60 SIR THOMAS LAWRENCE. of the blessed, and to be looking at themselves in the mirrors." This is prettily expressed, and is appropriate for the presentment of some fair beauty ; but ■when the men who overcame Napoleon had to have their features por- trayed, one regrets that they had not a more masculine painter to hand them down on his canvas ; some one less modelled in the type of the Prince Eegent. His pictures in the E.^chibition of 1815were — Mrs. Wolfe; th Prince Regent; Metternich ; the Duke of Wellington; BlucTier ; the Hetman Vlatoff; and Mr. Sort Davis. The last is highly praised by the critics. " It ia really a surprising portrait, with very little more of light than Titian ia his Venetian Senators has used, when he has merely given a hright gleam to the upper part of the face, with a slight reflection upon the lower part as if from the hlack drapery in which everything else is ohscured. . . . Even the hair and the fur of the robe round the open neck are managed with very great skill, and show the painter's nice discrimination, making all subordinate objects harmonize to one principle." In 1816 he exhibited eight portraits, amongst which that of Mr. Angerstein (whose collection forms the basis of the National Gallery) was presented to the National Gallery by King "William IV. "Waagen considers this portrait to be "very animatedly conceived, and carried out in a clear and true colouring." It was in this year, 1816, that the American Academy of Fine Arts was established; and its first exhibition was h^d in 1817. One of its first cares was the election of ' honorary members, and Sir Thomas Lawrence was ap- pfointed by a diploma bearing date January 20th, 1818. He presented to the Academy in return a full-length /portrait of West, the President of the English Eoyal FOREIGN ACADEMIES. 61 Academy, wlio was an American by birth. Canova, West, "Wilkie, and Eaeburn were also honorary members of the American Academy. In 1 8 1 6 Canova had requested Lawrence' s portrait for the Academy of St. Luke at Eome, and he writes in reply : — "I have never painted myself, and, except when a boy, have never been painted by others. I could wish, indeed, to defer the task till age had given my countenance some lines of meaning, and my hair, scanty and grey as it is, some silvery hues, like those of our venerable president, Mr. West." Sir Thomas Lawr ence was appointed to the Academy of St. iaika..bya iliplnriTgjTf ,TiiTig^7qirh^H»ri?pif. the instance of fin.-nnva.j wKn !Sr^a^RS\:^p. jjmR-yt'n'nffrSj similar ionou5Ffw^3Eisftli-aftd-JElax]aan. He was elected t o the Academy of Florence on January 8th, 1820. Sir Joshua Eeynolds hacT acknowledged a similar compliment by sending to the Academy his own portrait painted by himself. "It is to be regretted," says Williams, "that Sir Thomas Lawrence did not follow this example, in order that the Florentine Academy might have possessed the two finest records of English genius." The Venetian Academy electedLawrence May 11th, 1823, and was fctigsaipiir' Mar^n~182^jrr^be-*'HatoKd;eimiar-PDH^ Fine I ^ at Bologn a. TKe''3rploma of "tEfeT^ain^" Academy is ^^i^ec^ifeiBttriaiBusri"S23;^"isa^^g2E^^5arthe 22ndofTaSrStt71'8'2tr' The"King oT'TranceTin 1825, sent liim tha=T°h'iKB i-tt-Ll I fl-^ik ^^— pf-Bono ur, and a set ot~ Sevres china, «J propos. to which WOliamSl'tilijites' Tttlliiii,'8" hon mot when he received a similar present of eighteen pieces with Louis XVIII. marked on each piece. "Eh! mon Dieu, je voudrais que ce fut Louis vingt-huit." 62 SIR THOMAS LAWREXCE. The Annals of the Fine Arts, a contemporary journal, says of the Exhibition of 1817 : — " Sir T. Lawrence does not by any means make his usual splendid show, but has enough to show how well-grounded is his high re- putation as a portrait painter ; yet a little more care in the finish of his pictures would give them a value but little conceived. Ho has eight portiiaits : — No. 24, portrait of Lieutenant-General the Marquis of Angleiea, a -fine and characteristic picture, &c. ; 150, Miss Arbuthnot, a sweet, simple, and unaffected head." In 1817 Lawrence was much at Claremont House, painting a portrait of Prince Leopold and one of the Princess Charlotte. The last was finished very shortly after the death of the Princess, and his account of his subsequent interview with Prince Leopold, when he took it to Clare- mont House, has much historical interest. In 1818 he contributed his customary number of eight portraits to the Exhibition ; including one of the Duke of "Wellington, in the dress that he wore and on the horse that he rode at the Battle of Waterloo. During the Congress that met in 1 81 8 at Aix-la-ChapeUe, after "Waterloo, Lawrence was commissioned by the Prince Eegent to paint its principal heads for the gallery he was forming of these potentates. Prom his letters written at this time, he seems to have been quite dazzled by the stars and decorations that flashed before him. Love of tinsel was very strongly developed in Sir ThonTas, ' Ivho" - was never happier thanwhCT.-,painting. a JKnight of the Garter in his robes, or aMSd-Maf^wJjirfull uniform. The following is ^rPSXtracTTrom a letter to his niece, dated Aix-la-OhapeUe, 26 November, 1818 : — " There has been but little of that gaiety that you might . have expected here from the meeting of so many illustrious persor ages. AT AIX-LA-CHAPELLE. 63 A few concerts (at whioh Catalani sung more miraculously than ever) and I think but two balls. The first was over before my arrival ; the other I saw, in which the three sovereigns danced the Polonaise, or rather walked it, with several ladies, beginning with either Lady Castlereagh or the Princess of Tour and Taxis (sister of the late Queen of Prussia). There were an infinite abundance of stars and diamonds, and a deficiency of beauty. Lord Castlereagh was by jnuch the handsomest man in the room, although there is great nobleness in the upper part of the coun- tenance of the Emperor of Russia. The Emperor Francis has a face, when speaking, of benevolence itself, and that expression I have been happy enough to catch. The King of Prussia is taUer than either, but with more reserve of manner. He has good features, and is of a sincere and generous nature. The Princess of Tour and Taxis has a very fine figure and manner ■" The Emperor (of Russia) has commanded me to paint a copy of it (his portrait) for the Empress dowager ; a copy of the Emperor Francis, of the King of Prussia, of the Prince Regent, and, in the Garter robes, of the Duke of "Wellington. The King of Prussia has commanded a copy of his own portrait for Berlin, and of the two Emperors, and of the Prince Regent, in military dress. The ministers, in whose portraits I have equally suc- ceeded, all request copies of them — Prince Hardenberg, Prince Metternich, Count Nesselxode and the Due de Richelieu My professional intercourse with the Emperor Francis is not ter- minated. I have again to paint him, and am just setting off to Vienna for that purpose, and (to complete the general plan of the Prince Regent) to paint the portrait of Prince Schwartzen- burgh, who, as you know, was generalissimo of the armies in the last campaign against France. ..." Of t.TtT^RCTifiH--of— pm-traits he fiY f»nnt.prl at. t}]^p. pprii^fl, that of the wSair^faaad F^f^rnr nf /ijatna — j^nw—iTi the Water loo Gallery — i s the most successful ; but not as successful as those T>ainted~a ^ew years later alt er his-^Yes had been opened by the wonders of art in Borne. This makes one re gret t hat Lawrence had not, like Eomney, made that expediH9B3o3Eal^5gMl'rire;wiis-Stffl^^ ■with his life before him ; for he was fift^j^iiea-iBTiBtumed _S4 SIR THOMAS LAWKENCE. from Eome, and although the pictures he executed hetween 1820 and 1830 have a vigour that his earlier ones lack, it was then too late for him to change his style, which re- mained till the end somewhat mechanical and artificial ; and he went on, as Opie said of him, making coxcombs of his sitters, and allowing his sitters to make a coxcomb of Jlim. Prom Aix-la-Chapelle Lawrence proceeded, at the clo^e of the Congress, to Vienna, and -hoth-fae aiid his biographer dwell uponthe circumstance that he was there admitted in Ihe most aristocratio-gociety of the place. "Yet in the first circle only did I pass my hours of relaxation, unless when tempted by such invitations as could not be resisted without offence to my own nature and my sense of right," he says. He had, meantime, received instructions from the Prince Eegent, as a completion of the general plan, to proceed to Eome to paint the Pope and Cardinal Gonsalvi. Lawrence says iu his letter that he had a great desire to visit Eome, but he wished to postpone his visit another year. Of his journey in general he expresses himself as follows : — " Greatly as it has lowered my estimation of my own talents, I am thankful that I have seen the fine works which this journey has presented to me, though, till my safe return and knowledge of the continued health of my heloved friends whose truth and affection are my rock and support, I dare not be thankful for the journey. When I have seen, in all their splendour, Ilichael Angelo and Raphaels, the world of art will have been unfolded to me, and all repinings he at an end, that professional views can have excited. That I have not done more thetn I have, that Ix may not do infinitely more, will have been my own fault. " Fortune and friendship have done everything for me, and the love of the good, and the accomplished, and wise, has re- warded me above all poeaible desert," IN ROME. 65 HerisffTienna on the 3rd of May, lbi.9 ; andTonraeyed rapidly and impatiently to Eome, sleeping in his carriage every "night except one, wlien he arrived at J^oiogna at two in the mfiTTiiTi™ nnrl nftrr {^nin^ tf ? hfii till sfive-n, rns e and inspect ed the works at the Acade my ; particularly those of Domeniehino, and the Carraeci and Guido. He wrote that he first caught the distant view of the dome of St. Peter's on a very fine morning between six and seven o'clock, and that his pleasure at approaching the city increased every fifty yards, until he entered at the Porto del Popolo, when his delusion vanished and he " found Eome small." Soon afterwards he confesses that he was subsequently " over- powered with its immensity and grandeur." When in Eome, Lawrence seems to have had a touch of the celestial art spirit that yet lingers among the ruins of the Eternal City, that still haunts the Galleries of the Vatican. In the portraits that he then painted of the old Pope, and/ of the grand old Cardinal Gonsalvi, for a brief space he appeared endowed with a breath of genius, and these portraits, as I have already said, may well bear comparison with similar productions of the very greatest of portra: t painters. In a very interesting letter (of 19th May, 1819) to Joseph Farington, he gives expression to some of ths enthusiasm that the art treasures of the Vatican excited ii i him.l j "Teeterday, I dined at half -past one, that I might remain till night in the Sestine Chapel and the Vatican, or rather in the chambers of Raphaele, for, as yju know, the former is part or the immense building. " It often happens that first impressions are the truest — we change, and change, and then return to them again. I try to bring my 66 SIR THOMAS LAWRENX-E. mind in all the humility of truth, when est'mating to myself the powers of Michael Angelo and Eaphaele, and again and again, tho fonner 'besrs down upon it,' to borrow a strong expression, 'with the compacted form of lightning.' The diffusion of truth and elegance, and often grandeur, cannot support itself against the compression of the sublime. There is something in that lofty abstraction ; in those deities of in- tellect that people the Sestine Chapel, that converts the noblest personages of Baphaele's drama into the audience of Michael Angelo, before whom you know that, equally with yourself, they would stand silent and awestruck. Eaphaele never pro- duced figures equal to the Adam and Eve of Michael Angelo — the latter is miserably given in Gavin Hamilton's print — all its fine proportions lost — though it is Milton's Eve, it is more the mother of all mankind, and yet nothing is coarse or masculine, but all is elegant, as lines of the finest flower. You seem to for- sake humanity in surrendering Eaphaele, but God gave the command to increase and multiply before the fall, and Michael Angelo's is the race that would then have been." There is an interesting description in the same letter of his interview with the Pope, Pius VII. (Gregorio Barnaba Chiaramonti, b. 1742, d. 1823) :— " I was introduced into a small closet, in which the Pope sat, behind the opening of the door, and after bending the knee was left alone ^vith him. He has a fine countenauce — stoops a little — with firm yet sweet-toned voice, and, as I believe, is within a year or two of eighty, and through all the storms of the past, he retains the jet black of his hair. I remained with him, I think, between seven and ten minutes, during which time he held my hand with a gentle pressure, from which I did not think it respectful to withdraw it. "With a phrase or two of French, (which he does not like to speak) and the rest in Italian, he spoke his sense of the Prince Regent's attention to him, and his glad- ness to gratify his wish, accompanying it with compliments to me. 1 then defectively expressed my gratitude and reverence, bent to kiss his hand, and retired." Of Cardinal Gonmlvi he says, "The Cardinal is one of the finest subjects for a picture that I have ever had — a IN ROME. 6? countenance of powerful intellect and great sympathy." A seated figure ; he holds his hat and some documents in his right hand. His left hand open on the table is a remarkable study. Lawrence had written in an early letter, " The hands are not painted from him, though they shall he." There is a fixed, staring expression in the eyes, hut great sweetness in the curl of the mouth, and intellect in the brow. The architectural accessories and background of stormy sky are impressive. In Rome, also, Lawrence painted another portrait — that of "the sculptor L'anov a — ^which calted~fa rth-high eulogiums from alTwho saw it, and was considered a marvellous likeness: — A w ri t er Mays u£ this picture - (in a let-^cr dated Eome, 2'9th January, 1820) :— r-" It is the head oi Canova which he did in London entirely repainted. Its animation is beyond aU praise. ' Per Baccho, che uomo e questo ! ' I heard Canova cry out when it was mentioned. Crimson velvet and damask, and gold, and precious marble and fur are the materials which he has worked up to astonishing brilliancy, without violating good taste or the truth of nature. This painting is a present to His Holiness, and a noble one it is." Leaving Eome on 22nd December, 1819, Sjr_IJhflmas retiirneg~i nThe'''fbllowingyear, on 30th March, to Londo n, to find himself the elected President of the E oyal Acadeniy. He accepted the honour with modest y. A better ch oice the Academicians could not_ have, jrngdp, for, a.lt.lmngTi the President — except in thg_case jQLJEeynolds==^ha8 never been since 6ir Jusfaua^ -dai y^he— beat- o r greatest^ artist among the forty, the_£ostrequires a man of accomplish- ment more than a man of grenius, 68 SIR THOMAS LAWRENCE. good presence, and of gentleman like manners^ ^nd ■ «] ] these requirements Sir Thomas most essentially possessed. placed round"tfte neck ot tlie neTC JPr es i d ent a golden chains eaiing_flie likeness of the donor. (-"■froffiTwhich Irangjj iHTEeTExhibition catalogue of 1820, to which he sent five portraits, Lawrence is designated, " Principal Painter in Ordinary to his Majesty, Member of the Roman Academy of St. Luke's, of the Academy of Pine Arts at Florence, and of the Pine Arts at New York." In 1818, his brother, Major Lawrence, died at Ports- mouth, and a characteristic anecdote is told of Sir Thomas . Lawrence on the occasion of his going down to the funeral; that he befriended a poor family whose hut had been washed into the sea by a storm; and, presenting them with a sufficient fund to build a better cottage, refused to divulge who he was. In 1821 Sir Thomas again went to Portsmouth to attend the funeral of another brother, the Eev. Andrew Lawrence, when he took an opportunity to call on this family, whom he found in a state of comfort, and by whom he was received with the greatest manifesta- tions of gratitude. He had eight extr emely interesting paintings .i iu-^Jie Academy of 1821 . and in this year initiated his efforts which resulted J3B—-^fe^~^^taIili^ment "•f tllP BTRctT*"*"— Acadenry of Pine Arts in Dublin. In 1822 he sent eight paintings to the Academy. ~-iBr-this year also, on the occasion of the death of the ill-used Queen Caroline, Lawrence braved the displeasure of his royal patron by ordering the schools and the library of the Boyal Academy to be closed until her remaias had been removed from PORTRAIT OF LAUY GKOSVENOR. 69 Urandenturg House for interment in lier native country. As Williams points out, this occurred " at a time -when an impression prevailed and was acted upon by persons in ojBB.ce and at Court tliat any sympathy evinced for this unhappy lady ^ras fatal to f uttire patronage or countenance from the King." It 'vgas about this t ime that the portrait of Lady Grosvenor, ■wliich Leslie-TanliS as- the loveliest of his female h eads, was e xecuted^. Jt is interesting to hear frornjhat lady herself her impressions of the painter. Although more than sixty years have elapsed since Lady West- minster sat to Lawrence, her recollections of him are as fresh as the unfaded colours of her portrait. "I do not think," she writes,* "heever beguiled the time by repeating P^try — it would have been more amusing. His manners were what is called extremely ' polished ' (not the fault of the present times). He wore a large cravat, and had a tinge about him of the time of George IV., pervading his general demeanor. He was very like Mr. Canning in appearance. I should not say he was amusing, but what struck me most during my two hours' sittings in Baissell Square, was the perfection of the drawing of his portraits before any colour was put on — the drawing itself was so perfectly beautiful that it Eesmed almost a sin to add any colour. He had a large room fall of unfinished portraits, of which the heads alone were completed, as he always began by that, before putting in any accessories. I should suppose many of these were never completed. I have been told that he was very extravagant iu materials, and never used the same brush twice." * Written in 1S81. 70 SIR THOMAS LAWRENCE. The years passed on, and still Sir Thomas worked away as hard as of yore, although hia friends thought him changed in spirits, grown sad and pale, and that his once lustrous eye had lost much of its fire. In one of Lawrence's letters of 1823 he describes, his method of spending his Sundays in the Dilettanti Society, — "leaving homilies and Tigils at the risque of their perishable souls and immortal bodies ; to listen to sQuallimes ancj^wits, love songs and comic songs, on Sun- day evenings." " But, notwithstanding his fund of good spirits, ' ' says Williams, ' ' and his almost perpetual serenity, Sir Thomas would have the exhaustion of his mind from the excess of toil and the recurrence of vexations." He se qt to the Academy in 1823 seven, and in 18 24 eight, pnT^TraiiHT-wtaLHrliTigr ihji^.CiaMiim.-nJ lUr t:n,lm.nAy* which is, generally" ""Tia;^ja.oi3_4li.o fi-ppst ft^ his works of tlas^fiA-. — Williams, however, criticizes it as follows :— " The whole piece is too painted and fine — all positive and no neutral colours ; even the shadows of the neck and arms are of purple, as if reflected from jewelry or painted glass. The deep hluish shade in the neck of the youngest child, the red in the right-hand corner, and the purple reflections upon the infant's legs, are all proofs of a meretricious taste." It is mentioned that the blue or amethyst spots were often the reflections of shade from the painter's metal palette. Mrs. Cahnady has supplied the biographer with a minutely detailed story of the incidents of the "sittings" of the children for this picture, from which the amiable feature of Lawrence's real liking and sympathy for chil- dren is brought to light. The children, we are told, * See page 36. PORTRAITS OF CHILDREX. 71 played with him as with la bonne wmrrice, and the little eheruh of the fat rosj' cheeks relieved her onnid by telling LADY DOVER AND CHILD. By Sir Thomas Latprenoe. At Doner House, London. him the now forgotten histories of " Dame Wiggins '' and " Field Mice and Easpberry Cream." 72 SIK THOMAS LAWRENCE. It was betwfe^_1825_aHd^&« year of his-de&th that some of the firk^t_rf^s wpiks.. jsrere painted and exhiMtiS^gnd-. none ar e morytreaintifed-thaai' his groups of mothers wim their children-;;^3l^^*-*Q©fehe3cs.a.iid tteir i'airei- children seem,jBd««d,.Jobreathe from ou±^£3^^^~~Among these, those of the two sisters with their eldest^ -born are. L . think, without dispute the finest : one of these is at Stafford House, the, full-length portrait s'cTadmirahly engraT eci. by Cousens, of -Ehfe t h6ii' Lady"UmJoer, with her little child Elizabjth ojuJi©*— lap-,* (see paye 35)"7'tlit ) oO Lur ia at Dover House, and represents the„late-,.2ia^ ^_j^OTer wit h her eldest_ scm,^ the ,Jate Lord Clifden, in her arms. The engravings of these justly popular and lovely paintings have appeared in every capital in Europe, and often under such titles as L^ Amour Maternelle. Mrs. Jameson records in her work on the Private Collections of London, that not only throughout Europe and America the portrait at Stafford House of the beautiful mother and child is well known from the numerous engravings and copies of it, but that even in China, a painting taken from the print and coloured from -faTuvy i^ftn 'haan -pipt with TTia-jportrait pai'jitBd-at"tEis"t jme and ex hibited in 1827 of Lady Peel by HiT"''t*l1fiwn-fT- T i i iprr h nponm r r "t hJH~ skill__J*-was'Tl5§igEBd"^ra--«^-C£iffiganion to the celebrated Chapeau de T'^'Jnt Tg.^^^pna ^«oo f«.fmf^\^ Next -tCUeynolds no English portrait painter^M^ happier in portraying ihti bbaut eliildren thalriarwrg; lovely The circularjpMffltiag.of tho two- TngMibiTdrMi, the.XjiriTnadys, kirnnrH- all nvor tk o-- world from prints and copies, is a proof o f th in , ii n i iiii liln i * The late Duchess of Sutherland and the late Duchess of Argyll. FCKTItAlTS. 73 children introduced into por traits -with their mothers, such -s» the two alr e ady - r eferrBd-H;e-.--~-Aaefee?^^^e^— pegitha' — . child portrait by Lawrence, that of the short-lived son of LQrd-Durh amjJajJj^QHgh-fiome.y-hafc. thea-faacal _aiid~afEected — - in attitude, is also a superlatively fine painting of child- hood, a portrait of the deeply lameritefl and "beautiful boy, whose f eatures will live tor ever m the well-^OTrn pict^e by Lawrence." It figured' mtheeShibition of 1825 as the Son of J. G. Lambton, Usq.'^ In this year Lawrence made his last journey to France, md received tne aecoriJ- tion oi tJie -LgFip T} Vit J} " nour already men tioned. Williams enumerates a remarkable catalogue of presents that he had by this time received from foreign princes. In 1826 we are told that he confined himself so much to "his professional labours in his atelier,''^ that his social intercourse with his friends was very slight. He exhibited his usual number of eight portraits in this year, of which the most remarkable was that of The Honou rable Mrs. Save "as an oriental Eatima, in a, Durban splendidly embroidered with gold, and a gown of a rich glowing red, ornamented gor- geously with jewels." His pictures of the following year are regarded by WiUiams as ' ' eight of the finest speci- mens of his genius," and an evidence of his anxious care to sustain his reputation now that he had lost, in the deaths of Hoppner and Owen, the stimulus of rivalry. The portrait of Richard Clarke, the Chamberlain of London, IS described as " one of the finest representations of extreme old age without its infirmities or senility. It is hung in the council chamber of the city of London, in juxtaposition to a portrait of a Mr. Pindar, by Opie, and," * See page 45. 74 SIR THOMAS LAWRENCE. says Williams, "it would be impossible to find a more decided specimen of different styles than they exhibit." His portrait of Sir Walter Scott -was much prm aed. It was at this time that the incident occurred of the dinner at Dr Hughes's, where Cunningham met Lawrence and Sir Walter Scott. Lawrence, we are told, said little, and seemed anxious to listen to Sir Walter Scott. He had been objecting, in a most gentle way, to persons criticizing works of art who were not themselves artists. "Nay," said the poet, " consider. Art professes but to be a better sort of Nature ; and, as such, appeals to the taste of the world ; surely, therefore, a wise man of the world may judge its worth, and feel its sentiment, though he cannot produce it. He may not know how it is produced ; yet I see not but that he may estimate its beauty." Sir Thomas smiled and said, " Certainly." He produced these pictures in the midst of " much perplexity of affairs," and great anxieties intensified by the failing health of his favourite sister. His letters of this period are full of the subject. " Everything depends on my loved sister keeping her mind quiet, and suspending that activity for others which (unconsciously to herself) would make it otherwise- She has no ria-ht to think, speak, or move, except to read the idlest novel. . . . Oh ! that I may hear of your still increasing recovery, the greatest happiness that can now happen to your affectionate brother." The exhibitioiu-ef-4S25eontained eight porteaJiS-iK^* the pencil of Sir Thomas Lawrencej_of_HJiich_perhaps the finest was *hsiir.c^ thol-^iffi|ii1 flHiig||t.Ar .qf^lVfl, P(i|iT^ which a critic said " almost rivals hi's justly famous picture SIK WALTER SCOTT. iO SIK -WALTER SCOTT. By Sir Thomas Lawiente. In the iiossession of the Queen at Windsor dutle. of Lord Durham's child." Lawrence was at this time in close correspondence with Peel, from whom ' ' Sir Thomas 7(5 SIR THOMAS LAWEENCE. received more commissions than from any person what- ever, his late Majesty excepted." In the spring of 1829 Lawrence received the freedom of his native city of Bristol, which he characterized in his reply as " the very highest honour (the protection of Majesty excepted) that could have rewarded his profes- sional exertions." The expression is severely criticized hy his biographer. At the exhibition of 1829 — the last to whic h he was destine(t to contribute Thtring hiB ^tfe^—"^ eight of the most splendid paintings were from his pencil." "It is difficult," says Williams, "to image a more undeviating excellence, an infallible accuracy of likeness, with an elevation of art, below which it seemed impossible for him to descend." Once again, Lawrence himself characterizes his pictures o£_the year— in this case taa jtwo-wftDte-jiiigths of the Bucliess of Bichmond and the Marchioness of Salislnry — as tEeljest th^t he hag-CTer (j amtedr;;;; -- '' I niav I'aiiona Uv." he adds, " be proud of succeeding this year, since it is in- disputably the best exhibition we have had ; and it is uni- versally considered so. Wilkie exhibits in great strength — Turner, PickersgiU, OaUcott, Newton — aU seem to have exerted themselves, and generally with success." It appears from his correspondence that he was working harder during this last year of his life than at any time before. On the morning of the 7th January, 183Q,.- with bu L, little warning of the approach oideath, Lawrence expired suddenly from ossification of the heart. It is strange tA note that his last words were almost the same as those used a few months later by his royal patron George IV. — "This DEATH. 77 is djdng." His last words in public, dffiivered at the dinner of th.e Artist's Fund in 1829, were as follows: — "I am now advanced in Hfe," he said, " and the time of decay is coming ; but, come when it will, I hope to have the good sense not to prolong the contest for fame with younger, and perhaps abler, men. No self-love shall prevent me from retiring, and that cheerfully, to privacy ; and I con- sider I shall do but an act of justice to others as well as mercy to myself." "0 si sic omnia! " Sir Thomas Lawrence was interred in St. Paul's Cathe- ^al with much pomp and many honours, where ne res^sljy ' the "adF oFhis great pred e cessor Sir Joshua Eeynolds. Mthough there was much to admire in "SirTl'lTomas Lawrence, both as a man and as an aitist, there is much also to criticize. His personal character, however, in spite of some idle gossip to the contrary, stood high. I have intentionally not alluded in this sketch to the pitiable scandals that his contemporaries raked up about his attentions and flirtations with ladies, merely mentioning in its place that affecting the much-abused and more sinned-against than sinning wife of the Eegent, which was the cause of a judicial investigation. Matters in which the affections are involved do not, to me at least, appear to be those which it is necessary to enlarge on in sketching the career of an artist. It is not i?i;^gus t,h3iti,,S'"'- 'T'>'"-^"'SM.Law- ren^ewas generous to a fault in succouring the unfortunate and the struggling artists who appeSed' to hlsever-presei)*' proach of having been a spendthrift in matters concerning economy. The collectirrrritce-hftdr-f^Qsmed-oiL^Qld Masters' 78 SIR THOMAS LAWRENCE. drawings lie valued, in his will, at £20,000, and it is sup- posed that lie liad spent nearly double that sum in amass- ing these treasures;* besides, many have the misfortune of knowing how even £xed and handsome fortunes can fade away without anything very tangible to show for the un- accounted expenditure; and probably Sir Thomas Law- rence was one of those people, not an uncommon class, who give when they are asked, and who, sooner than disappoint a friend, encumber themselves. As to his art, it was his misfortune to be led by a society and a taste the most conventional and affected that have exi&ted in this country ; he waS' not original enough to raise himselfTb©¥&-thejevelof this affectation and conven- tionally^^ — ^ tain\and column" fashion of portr ait painting; and in spit e of ah the beautyof_ta8jijawiQg-anit^the"bnffiaH5yT5f~lii8" colouring, he, unfortunately, gave the fas hion and tone to a shoal of portraitpainters, who emasculated their art until a gr§ai^ than Lawrence arose — one by whose supremely mariyafidTvigorouB style of work tne unhealthy influence of the " curtain and column " school of portraiture has, it is to be hoped, for ever disappeared ; one who has revived in the noblest manner that most difficiilt form of art, the portrayal of the character and expression of the sitter; one whose works are the pride and the glory of the English School — John Everett Millais. * The gieater part of the drawings by Raphael and Michelangelo, coUccted liy Sir Thomas Lawrence, are now in the University Galleries, Oxioid. A CATALOGUE OF THE EXHIBITED WORKS OF GEOKGE ROMNEY. COMPILED BY ALGERNON GEAVES. I. EXHIBITED BY EOMNEY. At thb Free Society or Akiisis. J/>. George Sumnet/, living at Charing Cross. Date. Gat. No. 1763. 183. The Death of General "Wolfe. N.B. To this picture was adjudged a bounty (25 guineas) this present year. 184. A Scene in King Lear, as written hy Shakespeare. Living at Jdmes Street, Coveiit Garden. 1764. 147. A Young Lady. 148. Samson and Delilah, not finished. Living at 5, Coney Court, Gray's Inn. 1765. 157*. A Lady's Head in the Cha- racter of a Saint, three- quarter length. Date. Cat. No. 1765. 158. A Gentleman, three-quarter length. 1766. 144. A Conversation. 145. A Gentleman, three-quarter length. 1767. 230*. Two Sisters, half length. Living at the " Golden Sead," Great New- port Street, Long Acre. 1768. 180. A large Family Piece. 181. A Gentleman. 182. A Gentleman. 1769. 182. A Family Piece. 183. A Lady, wh,ole length. 184. A Lady, whole length 80 GKORGE ROMNEY. At the Society of Artists, Spmno Gardens. Date. Cat; No. 1770. 112. Melanclioly. 113. Mirth. 1771. 139. Mrs. Yates as the Tragic Muse {whole length). 140. An Officer oonversing with a Brahmin, whole length. 141. Lady and Child, three quarter length. Date. Cat. No. 1771. 142. Gentleman, three-quarter length. 141*. A Portrait. 142*. A Beggar Man. Me was made a Fellow in 1772 {F.S.A.), 1772. 272. An Artist, three-quarter length. 273*. An Old Man, three-quarter length. II. EXHIBITED AT LOAN" EXHIBITIONS. At the British Institdtion. Date. Cat. No. Subject. Owner. 1817. 38. St. Cecilia Montague Burgoyne, Esq. 96. Forest of Arden. Jacques and the Stag. Painted by Hodges, Eomney, > and Gilpin Sir 0. BurreU, Bart. 106. Infant Shakespeare nursed by Tragedy and Comedy Francis Newbery, Esq. [Fnff. hy Benjamin Smith in 1803 for Boydell'a " Shalce- speare." The pieture was sold at Alderman BoydelVs sale in 1805 for 62 guineas to Mr. BryaH.) 1824. 165. The Nursing of Shakespeare . . Earl of Egremont. 1843. 157. Hayley, Flaxman, Eomney, and T. Hayley Thomas Greene, Esq., M.P. 1844. 116. The Forest of Arden. {See above.) . Sir C. M. Burrell, Bart. M.P. 1845. 127. Lady Olive, widow of Sir E. Clive . E. B. Clive, Esq. 162. Newton Showing the Effect of the Prism T. Chamberlayno. (SoldatBomney'ssale,\mi,for£.i1.) 1S46. 26. Samuel Foote, copied from Eeyuolds Earl Amherst. LTST OF WORKS. 81 Date. Cat. No. Subject. 1846. 45. Lord Chancellor Thurlow. {Enq. by W. Dickinson in 1800.) 1848. 118. Infant Shakespeare surrounded by the Passions [Eng. by Benjamin Smith in 1799 for BoydelVs " Shakespeare.") 160. Cassandra le.'i. Lady Hamilton .... 168. Lady Hamilton as Cassandra (Eng. by F. Legat in 1795 for BoydeWs "Shakespeare," and the head only hy Caroline Watson i»1809. A study for this picture was sold at BoydelVs sale m 1 805 for £53 10s. to Mr. Seguier, at J, N. Sughes's sale in 1848 to Mr. King for £90 6s., and finally at Lord C. Townshend's sale in 1854 to Mr. Labouehere for £189. It is now in the possession of Lady Taunton. Another sketch loassoldat JRomney's sale in 1807 for 8 guineas.) A Study A Child Owner. Dulie of Sutherland, K.6. Thomas Chamberlayne, Esq. Thomas Chamberlayne, Esq. J. H. Anderdoii, Esq. Lord C. Townshend. 171. 172. 1850. 98. Sketch of Lady Hamilton 1852. 112. The late Sir Henry Russell, when a boy, with his mother (Fng. by B. B. Parkes in 1878.) 1854. 143. Lady Hamilton .... 1855. 160. Lady Coote 1856. 132. Lady Edward Bentinck . . . {Eng. as Miss Elizabeth Cumber- land, by J. Ri Smith, in 1779.) 143. Lady Hanulton 165. Sir Henry Lushington, when a boy - 1857. 97. Hayley, his Son, Flaxman, & Eomney 148. "William Long, Esq ISl. A Family Portrait .... a J. 11. Anderdon, Esq. J. H. Anderdon, Esq. Sir C. M. Burrell, Bart., M.P. Henry EusseU, Esq. Lord North wick. Eyre Coote, Esq. Yen. Archdeacon Bentinck. Sir E. "W. Antrobus, Bart. Sir H. Lushington, Bart. Thomas Greene, Esq. Thomas Greene, Esq. E. Morier, Esq. 82 * GEOKGE ROMNET. Date. Cat. No. Subject. Owner. 1858. 110. Mrs. Fitzlierl)ert .... Hon. P. S. Pierrepont. 111. Lady Middleton . . . Duke of Newcastle. 117. Sir Francis Vincent, Bart. . . H. W. Vincent, Esq. 121. Head of Lady Hamilton . . . Walter Long, Esq. 143. Hayley Walter Long, Esq. 148. A Lady .... . J. H. Anderdon, Esq. 1860. 122. Miranda . . . .. . . J. H. Anderdon, Esq: {JSng. by J. W. Slater and Caro- line Watsort.) 193. Lady Hamilton as Joan of Arc . . J. H. Anderdon, Esq. 1861. 201. Bomney and his Father . . Eaxl of Warwick. 1862. 151. Sirs. Inchhald Eev. John Eomney. 154. Lady Russell and Sir Henry . . Sir Charles Russell, Bart. 158. Penitence Major W. S. Rawlinson. 166. Mrs. Tickell, a sketch . . . Rev. John Bomney. {Sold at Eomney' a sale in 1807/o>" 4 guineas to Mr. Treshum.) 172. A Nun's Head . . . . Mrs. Rawlinson. 176. A Lady ... . . J. H. Anderdon, Esq. 181. Sir Henry Russell .... Sir Charles Russell, Bart. 189. Head of a Boy . . • . . J. H. Anderdon, Esq. 192. Countess of Warwick and Children . Earl of Warwick. 193. Himself Rev. John Romney. 199. H. Russell, Esq Sir Charles Russell, Bart. 1863. 104. Harriet, Lady Horton, sister of the EarlofDerhy .... Earl of Derby, K.G. 109. Serena Rev. Chancellor Thurlow. (Ung. by John Jones in 1790.) 111. A Lady J. H. Anderdon, Esq. 114. Lady Hamilton . . . . SirPeruy Burrell,Bart.,M.P. 116. Lady Hamilton, a fancy sketch . . Lord de Tahley. 137. Mrs. French Rev. Francis French. 145. Madame de Genlis . . . . J. H. Anderdon, Esq. 153. Lady Hamilton ... . Lord de Tahley. 160. A Lady as Hebe .... Earl of Warwick. 161. Child at play with a Dog . . . \V.PoleThomhilVEsq.,M.P. 163. A Lady Lieut.-Col. Crichton Stuart. 165. Mrs. Townley Ward . . . . H. H. Gibbs, Esq. 167. Mrs. Thomhill .... W. Pole Thornhill, Esq., M.P. 173. A Lady Sir M.W.Ridley, Bart., 5LP. I.IST OF WORKS. 83 P*i*e. Cat. No. Subject. 1803. 176. Admiral Sir Francis Geary 180. Lord Stanley and Sister . 182. Infant Shakespeare surrounded by the Passions 183. Wortley Montague in Turkish Dress 186. Newton Showing the EflFects of the Prism ...... 187. Lastitia, wife of W. P. A' Court, Esq. 191. A Lady . 1864. 97. Lady Broughton 100. John Thornhill, when a hoy 126. Mrs. Henry Bankes 130. Miranda, a sketch 131. A Eoman Bravo 141. A Lady . 164. Lady Hamilton 182. Head of a Homan Dwarf 1865. 137. Children of late Charles Boone, Esq. 141. Lady Hamilton as St. Cecilia . {Eng. hy George Keating in 1789. The picture belonged to G. Gouldsinith, mid was bought pt his salein 1860/o)- £472 10.«., by Mr. J. C. Grundy, of Man- chester.) Child Caressing a Pomeranian Dog . Study for a Picture of Titania . Lady, Susan Douglas Head of Mrs. Crouch L'AUegro {Eng. by Mobert DunJcarton in 1771.) A Lady Reading .... Sir John Milnes .... II Penseroso ..... [Eng. by li. Eunkarton in 1771.) 166. Richard Cumberland 167. Susan J'ouenne 171. Mrs. Badcock Owner. Francis Geary, Esq. Earl of Derby, K.G. T. Chambcrlayne, Esq. Earl of Warwick. T. Chambcrlayne, Esq. Loid Heytesbury. J. H. Anderdon, Esq. Sir P. de Malpas Grey Eger- ton, Bart., M.P. Charles Lane, Esq. H. .r. P. Bankes, Esq. iicv. J. Romney. Rev. J. Romney. Lord Templemore. F. H. Fawkes, Esq. Rev. J. Romney. T. Colleton Garih, Esq. J. Marshall Brooks, Esq. 145, 146, ■ 174. 1866. 132. 140, 149, 151. 154. Miss Romney. J. H. Anderdon, Esq. Rt. Hon. J. W. Fitzpatrick. J. H. Anderdon, Esq. Lord Bolton. John Bentley, Esq. Lord Houghton. Lord Bolton. E. Clough Taylor, Esq. Lord Hood. E. Clough Taylor, Esq, 84 GEORGE ROMNEY. At the Society of British Aktists. Date. Cat. No. Subject. Owner. 1832. 207. Henderson, the Actor . . . J. P. Knight, Esq. (jEm^. by John Jones in 1787. The picture was sold at Homney's sale in 1807/oJ' 3 guineas.) 1833. 186. llr. Coke Mr. Clarke. 1834. 159. A Lady W. Niool, Esq. 191. Lady Hanulton J. H. Anderdon, Esq. At the Manchester Art Treasures Exhibition. 1857. 77. Lady Broughton 83. Lady Hamilton as Bacchante . 100. Serena 125. Lord Stanley and Sister . 244. Cartoon, Birth of Shakespeare . 245. Cartoon, Lifancy of Shakespeaie 246. Cartoon, Psyche with a Vase 254. E. Wortley Montague, half-length 631. Lady Hamilton as Bacchante . Sir P. M. de Grrey Egerton. Lord de Tahley. Eev. Chancellor Thurlow. Earl of Derhy. Liverpool Eoyal Institution. Liverpool Eoyal Institution. Liverpool Eoyal Institution. Earl of Warwick. Lord de Tabley. At the International Exhibition. . Greenwich Hospital. 1862. 100. Admiral Sir C. Hardy {Eng. by W. Dickinson in 1781.) At the Nationai Poktrait Exhibitions at South Kensington. 1867. 528. George Eomney .... 572. Oziah Humphrey .... {Snf. by V. Green, A.Z.A., in 1772, and by Caroline Wat son.) 589. Eichard Cumberland (Eng. by Valentine Ch-een, A.R.A., in 1771.) 591. Lady Elizabeth Dundas . 600. Major-Gen. T. Dundas (Eng. by W. Nutter in 1800.) Eev. John Eomney. Countess Delawarr. E. Clough Taylor, Esq. J. Dundas, Esq. J. Dundas, Esq. LIST OF WOEKS. 85 Date. Cat. No. Subject. Owner. 1867. 633. Aune; Mrs. Crouch . . . . J. H. Anderdon, Esq. (£nj. by F. Sartoloz:i, Xt.A., in 1788. The picture was sold at Momnsy's sale in 1807 for 5J guineas to Dr. Westrop.) 668. Edward Gibbon Henry Willett, Esq. 682. Mrs. Inchbald Eev. John Eomney. 699. Lord Stanley and Sister . . . Earl of Derby. (JEnc/. by J. S. Smith in 1779.) 709. Henrietta, Lady Horton . . . Earl of Derby. 726. Adml. Hon. John Forbes . . . Lords of the Admiralty. (Eiig. by C. Townley and Page.) loo. Countess Fortescue and Sister . . Hon. G. M. Fortescue. 762. E. B. Sheridan and Mrs. Eobinson . Mrs. Bedford. 774. .Mrs. Trench Eev. F. Trench. 775. James Macpherson . . . .J. Maxtoue Graham, Esq. 785. Charles, Earl of Liverpool . . John Cotes, Esq. 818. Sir R. Shore Milnes .... Lord Houghton. 819. Lady Milnes Lord Houghton. 841. Henry, Lord Melville . . . Eobert Dundas, Esq. 865. Granville, 2nd Earl Gower . . Duke of Sutherland, K.G. 1868. 22. Mrs. Eobinson J. H. Anderdon, Esq. 26. Lady Hamilton National Gallery. {Sng. by 0. Koll. The picture was bequeathed to the nation by Robert Vernon, Esq.) 81. Mrs. Siddons Mrs. Philip Martineau. 113. Lady Hamilton Mrs. Calvert. 7(7. William Cowper .... H.E.Viiughan Johnson, Esi), 779. Charlotte Turner, Mrs. Smith . . Miss Luoena Smith. 785. F. M. Shudholme Hodgson (crayon) Gen. J. S. Hodgson. ■815. Henrietta, Countess of Warwioli, and Children Earl of Warwiot. 831. Eev. Eobert Potter .... Miss Conway Griffiths. 833. "WilliamPaley, Archdeacon of Carlisle Earl of EUenborough. (Eng. by J. Jones in 1792.) 846. Admiral Keppel .... Eev. W. A. Keppel. (Eng. by W. Diekinson in 1779.) 853. George Eomney and his Father . Earl of "Warwick. 86 GEOKGE EOMNETf. Date. Cat. No. Subjeot. Ownci. 1S68. 834. Countess of Mansfield . . . Earl Cathcart. (Eng. by J. B. Smith in 17S0.) 859. William Hay ley, Esq. . . . W. H. Mason, Esq. {Eng. by Johann Jacobe in 1779, and by Caroline Watson.) 870. Eev. John Wesley .... Eev. G. Stringer Howe. {Eng. by J. Spilsbury in 1789.) 879. Edmund Law, Bishop of Carlisle . Earl of Ellenborough. (^Eng. by W. Dickinson in 1777.) At the Leeds Aet Tkeasuhes Exhibition. 1808. 1030. Lord Eeversham 1036. Hannah Milnes 1042. Lady Feversham 1054. First Lord Bolton ^ 1077. Hon. Mrs. Damer . 1088. Countess of Sutherland 1100. Lady Milnes . 1105. Mrs. Trimmer 1110. Lady Hamilton as Cassandra [bust) 1272. Master Manby, with a dog Earl of Dartmouth. Lord Houghton. Earl of Dartmouth. Lord Bolton. Duke of Eichmond. Duke of Sutherland. Lord Houghton. J. H. Anderdon, Esq. Lord Taunton. Bliss Eomney. 1872. 19. Mrs. Eohinson {Eng. by J. E. Smith in 1781. This picture was sold at Eomney s sale in 1810/or 20 guineas to the Marquis of Mertford. It was etched while in Paris. ) At Bethnal Gkeen Museum. . Sir E. Wallace, Bart., M P At the Exhibition of the Woeks of the EoYAL Academy. 1871. 137. Lady Eussell and Child 1872. 135. Miss Linley 139. Mrs. Tanderguoht . 1873. 6. Head of Miranda 15. Mrs. Drummond Smith ' Old Masters " at the Sir C. Eussell, Bart. J. H. Anderdon, Esq. Brodie A. WiUoox, Esq. J. H. Auderdon, Esq. Marchioness of Northampton. LIST OF WOEKS. 87 Date. Cat. N 1873. 26. 49. 54. 101. 108. 1875. 26. 29. 76. 206. 213. 2.59. 26+. 1S76. 1. 46. 68. 70. 71. 246. and 1877 196. 212. 215. 222. 234. 235. 0. Subject. Henrietta, Countess of Warwick, and Children .... Mrs. Carmichael Smith Mrs. Trimmer . First Earl of Harrowty . Anne, Countess of Albemarle, Son A Lady .... Mrs. Wells The Haughty Dame . The Parson's Daughter . (Now in the National Gallei-y. Funhased at the Anierdon sale in 1879.) Misa Harriet Milles .... Mr. Jeremiah Milles Mrs. Milles Elizabeth, Duchess of Sutherland Jemima Yorke, Mrs. Carew Second Marquis of Stafford Five Children of Earl of Sutherland . (Eng. by J. R. Smith in 1781.) Countess of Carlisle .... (Bng. hy James Walker in 1781.) Lady Hamilton at Spinning Wheel . (Eng. by T. Cheesman in 1789, and by G. S. Jeens in 1876. The picture was sold at Christie's in 1875 /or £808 10*. to Lord Nor- manton.) Thayeadanegea, the Mohawk Chief, known as Joseph Brandt (Bng. hy J. R. Smith in 1779.) Madame de Grenlis . Lady Hamilton as Joan of Arc . Mr. Hayley's Son as Puck Lady Hamilton reading paper Lady Hamilton as Cassandra Elizabeth, Margravine of Anspach Margrave of Anspach Owner. Earl of Warwick. Sir James Carmichael, Bart. J. H. Anderdon, Esq. Earl of Harrowby. Earl of Albemarle. Lord Carlingford. Eight Hon. E. P. Bouverie. J. H. Anderdon, Esq. J. H. Anderdon, Esq. F. B. Alston, Esq. F. B. Alston, Esq. F. B. Alston, Esq. Duke of Sutherland. W. H. Pole Carew, Esq, Duke of Sutherland. Duke of Sutherland. Duke of Sutherland. Earl of Normanton. Mrs. Unwin. J. H. Anderdon, Esq J. H. Anderdon, Esq. Capt. G. Godfrey. Capt. G. Godfrey. Capt. G. Godfrey. Fishmongers' Company. Fishmongers' Company 88 GEOKGE ROMKEY. Date. Cat, No. Sutject. 1878. 83. Lady Heimilton, Ariadne . {&ig. by Charles Brome.) 92. Lady Hamilton, Ariadne . Ill, Mrs. Davenport {ling, by John Jones in 1784. 116. -Eobert Palmer, Esq. 322. Sir BeUingham Graham, Bart. 136. Mrs. Eotinson as Perdita 137. Mary, Lady Beaiichamp , 269. William Pitt, when a boy 1879. 9. Mary, Lady Sullivan 20. Mrs. Lee Acton ?i. Lady Hamilton as Euphrosyne 37. George O'Brien Wyndham, Earl of Egremont 41.. Nathaniel Lee Acton 42. Mrs. Lee Acton, 1791 250. Mrs. Jelf Powys . . 1880. 29. Miss Lucy Vernon as a seamstress . {&iff. by T. Ciieesman in 1787, and by W. M. Mote in 1876.) t31. Lady Hamilton .... 37. Lady Hamilton as "Wood Nymph 1881. 11. Thomas Grove, Esq. 23. Mrs. Grove 33. Hon. Mrs. Lane Fox 36. Lady Hamilton 174. ^ir George B. Prescott, Bart. 175. Mrs. Bankes of Kingston Lacy 1882. 4. General Sir Archibald Campbell 9. Annie, Marchioness Townshend 13. Mrs. Montague Burgoyne 22. Lady Lemon .... 38. Mrs. Moody .... 44. Jane, Duchess of Gordon . 50. George, First Marquis Townshend 169. Mrs. Morris and Child Owner. Sir John Neeld, Bart. Baron L. de Eothschild. W. Bromley Davenport, Esq., M.P. Sir E. P. Beauchamp, Bart. Sir. E. Graham, Bart. J. H. Anderdon, Esq. Sir E. P. Beauchamp, B irt. Sir Coutts Lindsay, Bart. Sir Edward Sullivan, BaM. Miss Broke. Jeffery Whitehead, Esq. Sir E. Sullivan, Batt. Miss Broke. Miss Broke. Earl of Denbigh. F. W. P. Vernon -Went- worth, Esq. Earl of Cawdor. F. W. P. Vemon-Went- worth, Esq. Sir Thomas F. Grove, Bart. Sir Thomas F. Grove, Bart. Gen. Pitt Eivers. Mrs. Harvey. Henry Spicer, Esq. Walter Ealph Bankes, Esq. Gen. J. S. Brownrigg. Sir G. Montgomery, Bart. Madame de Quaire. Col. Tremayue. W. Stirling Crawfurd, Esq. Sir H. E. Maxwell,Bart., M.P. Sir Graham Montgomery, Bart. Gen. C. Morris. LIST OF WORKS. 89 Date. Cat. No. Subject. Owner. 1882. 170. Catherine, Lady Rouse-Broughton . Sir C. H. Eouse-Broughton, Bart. 171. Miss Forbes "WiUiam Lee, Esq. 247. Lady Hamilton as the Comic Muse . Kev. Canon Phillpotts. [Belonged to the Marquis of Bert- ford. Sold at Christie's in 1875 for £S26 to Messrs. Agnew S; Sons.) 251. A Boy G. E. Briscoe Eyre, Esq. 257. Sir WiUiam Lemon, Bart. . . Col. Tremayne. At the Gkosvenoh Gallery. 1878. 371. Hayley, the Poet . . . .Dr. Crompton. 1011. A little Girl Professor Sidney Colvin. 1012. Sketch for a Portrait . . . Professor Sidney Colvin. 1879. 777. Mrs. Bosanquet and Children . . William Eussell, Esq. III.— PORTRAITS 2S^0T MENTIONED IN THE ABOVE LISTS. Adair, James, Recorder of London. [Eng. by C. S. Sodges in 1789.) Allen, Joseph, M.D., Master of Dulwich College {Bug. by C. Townley.) Anspaoh, Margravine of. A second ■whole-length of this belongs to , Craven, Esq. Anspach, Margravine of (when iady Elizabeth Berkeley, Lady Craven), head size. (Now the property of S. R. Grenfell, Esq.) Barrington, Shute, Bishop of Salisbury. (Eng. by J. Jones in 1786.) Beresford, Hon. Mrs. {Eny. by John Jones in 1792.) Billington, Mrs., half-length. [The property of Miss Romney.) Bosanquet, Samuel. [Eng. by C. Turner in 1806.) Braddyll, Col., ■whole-length, with horse. [The property of Edmund Foster, Esq., of Clure.) Braddyll, Mrs., ■whole-length. ( The property of Sir Senry Mai/sey Thompson, Sart. ) Bro'wne, Harrietta, ■wife of Isaac Ha^wkins. [The property of the Earl of Kinnoul.) Brownlow, Lord. (Eng. by L. Schiamnetti.) Buckley, Lady Georgina, half-length. [Belongs to A. Buehley, Esq.) Burges, Tnyr. [Eng. by J. Jones in 1785.) Burke, Edmund. [Eng. by J. Janes in 1790.) Burton, Mrs. [Sold at Christie's in 1875 /or £273.) Camelford, Thomas, Lord. [Exhibited at Exeter in 1873 by Son. G. M. Fortescue.') Cardiff, John, Lord, whole-length. [Eng. by F. Bartolozii, R.A., in 1790.) Cardiff, Charlotte, Ladj', whole-length. [Eng. by F. Bartolozzi, R.A., in 1790.) — . Cardigan, James, Earl of. [Eng. by J. Grozer in 1792.) 90 GEOllGE ROMNEY. Carlisle, Frederick, Earl of. {Painted in 1780, and engraved by T. SoUoway and by J. K. Sherwin in 1782.) Carpenter, Lady Aliueria. (Sold at Romney's sale in 1807 to Mr. Whiteford for IJ guineas.) Oarwardine, Ann, wife of Eev. Thomas C. {Eng. by J. S. Smith.) Gathcart, Charles Allan. (Eng. by William Sharpe in 1791.) Chamberlaine, Edward,. (Eng. by Johann Jacobe in 1780.) Clavering, Thomas and Catherine. (Eng. by J. R. Smith in 1779.) Cleaver, Euseby, Bishop of Cork, 1789. (Tlie property of Christ Church College, Oxford.) C'osway, Mrs. (Belonged to Sir Joseph Haioley, Bart., in 1873.) Cumberland, Eichard. (In the National Portrait Gallery. Formerly in the pos- session- of Lady Albinia Cumberland.) Dawes. John. (Eng. by Slann.) De.awarr. Lord, half-lengfth. (Belongs to A. Buckley, Esq.) Derby, Countess of. (Eng. by John Sean in 1780.) Duff, Colonel Patrick. (Eng. hy C. JS. Sodges in 1791.) Dundas, Eight Hon. Henry, whole-length. (Eng. by John Young in 1798.) Dunlop of Carmj le. Provost of Glasgow. ( The picture belongs to Mr. Senry Graves.) Farmer, Eichard. I Eng. by J. Jotus in 1785, and by Beading.) Fitzgerald, Lady Edward, and her Children. (Sold at Christie's in 1848 at Mr. Bate's sale. ) Flaxman, John, E.A., half-length. (In the National Portrait Gallery.) Flaxman, John, E.A. (In the possession of Thomas Green, Esq., to whom the painter bequeathed it. Similar to above, but full-length^ Forbes, Captain. (The picture belongs to Senry Graves and Co.) P'owler, Eobert, Archbishop of Dublin. (Exhibited at Dublin in 1872 by Bobert Fowler, Esq.) Gairiek, David. (Painted for Sir B. Sullivan. Sold at his sale at Christie's in 1859 /or £115 to Mr. Farrer.) Garrow, Eev. David. (Eng. by G. S. Sodges in 1787.) Germaine, Lord George. (Eng. by Johann Jacobe in 1780.) Glencaim, Isabella, Countess of. (Eng. by W. Walker.) Gloucester, H.E.H. Prince William of. (Eng. by J. Jones in 1793.) Grantham, Thomas, Lord. (Eng. by William Dickinson in 1783.) Greville, Charles Francis. (Eng. by S. Meyer in 1810.) Grifiath, E. (Exhibited at Dublin in 1872 by Sir Richard Griffiths, Bart.) Griffith, Mrs. C. (Exhibited at Dublin m 1872 by Sir Bichard Griffiths, Bart.) Hiimilton, Lady, as a Bacchante leading a goat. (Eng. by Charles Knight in 1797. The picture first belonged to Sir William Samilton and afterwards to Zord Leamfield.) LIST OF WORKS. 01 Hamilton, Lady, as the Seamstress. {Eng. by Thomas Chessman in 1787.) See " Miss Lucy Vernon," page 88. Hamilton, Lady, as Sensibility. (Bng. by Michard Marlom m 1789, and the Sead only by Caroline Watson in 1809. The picture originally belonged ti, William Hayley, Ssq.) Hamilton, Lady, as Alope. {Ung. by Sichard Marlom in 1787.) Hamilton, Lady, as Emma. {Eng. by John Jones in 1785, and also by G. Zobel.) Hamilton, Lady, holding a dog. {Eng. by Scnry Meyer in 1782. The picture originally belonged to T, L. Parker, Esq.) Hamilton, Lady, a portrait. (Exhibitedat WrexhaminlSTdby J. Fairfax Jesse, Esq.) Hamilton, Lady, as Diana. {Sold at Son. C. E. Greville's sale at Christie's iti 1810 to Mr. Chamberlayne for £136 10s.) Hamilton, Lady, as the -Tragic Muse, oHong. {Formerly the property of tlie Marquis of Hertford, and was sold at Christie's in 1875. It now belongs to W. Stirling Crawford, Esq.) Hamilton, Lady, as the Comic Muse. {This picture was formerly the property of the Marquis of Hertford, andwassoldat Christie's in 1875 /or £325 to Messrs. Agnew. This picture is the companion to the last, and was in the " Old Masters' " Exhibition, 1882.) Hamilton, Lady, as a Bacchante, 1791. {Sold at Christie's in 1875. Now belongs to Miss Somney, who lent it with the "Mrs. Billington" in 1881 to the Liver- pool Art Club for exhibition.) Hamilton, Lady, as Euphrosyne, a head. {Eng. by G. S. Shury in 1878. Sold at Christie's in 1877 for 64 guineas to Mrs. Noseda.) Hamilton, Lady, reading a Gazette. {Eng. by Francis Holl in 1877.) Hamilton, Lady Isabella. {Eng. by James Walker in 1782.) Harris, James. {In the National Portrait Gallery, to which it was presented in 1865 by his descendant, the Earl of Malmesbury. Eng. by Bartolozzi in 1776, and in stipple by Ridley for the " European Magazine " in 1802. It is a copy after Sir Joshua Reynolds.) Hanmer, Lady Margaret. {Exhibitedat Wrexhamin\87&bythe Son. GeorgeKenyon.) Hartley, David, M.P. {Eng. by J. Walker.) Hawkesbury, Charles, Lord. {Eng. hy John Murphy in 1788.) Henniker, John. {Eng. by Henry Hudson in 1786.) Hodgson, General. {Eng. by Bond in 1796.) Irwin, Edward. {Eng. by Thornthwaite and W. Walker.) Irwin, Eyles, traveller. {Eng. by J. Walker in 1780.) Jordan, Mrs. {Eng. by John Ogborne in 1788.) Kenyon, Lord. {Eng. by William Holl in 1804. Exhibited, at Wrexham in 1876 by the Hon. George Kenyon.) Kenyon, Lady Mary. {Exhibited at Wrexham in 1876 by the Hon. George Kenyon.) 92 GEORGE KOMMEY. Law, Edmund. (£«^. hy W. Diciwscn.) Legge, Lady Charlotte. (£ng. by Joaiah Grozer in 1799.) Macdonald, Archibald, Lord Chief Baron, 1793. {The property of Christ Church College, Oxford.) Markhum, William, Archbishop of York. {Eng. hy James Ward in ISOO. A por- trait of him was sold at Eomney's sale in 1S07 for i\ guineas to Mr. Hdriclge.) Slarlborough, George, Duke of, whole-length. {JEng. by John Jones in 1786.) Marlborough, Duchess of. (JEng. by John Jones in 1793.) Martindale, Miss. {£ng. by Richard Josey in 1878. Koto the property of John Chaworth Musters, £sq.) Mingay, James. (Eng. by Charles S. Hodges in 1791.) Moore, John, Archbishop of Canterbury. [Mng. by John Jones in 1792.) Mountstuart, Lord, afterwards Earl of Bute. {^Eng. by F. Bartolozsi, It. A., in 1790.) Mountstuart, Lady, whole-length. {Eitg. by Jh'. Bartolozzi, R.A., in 1790.) Musters, Mrs. [Eng. by James Walher in 1780.) Newland, Abraham. {Btig. by J. Grozer in 1795.) North, Mrs., wife of the Bishop of "Winchester. {Eng. by J. S. Smith in 1782.) Orde, Eight Hon. Thomas. {Eng. by John Jones in 1786.) Paine, Master, as Eomulua. {The property of Miss Eomney.) Paine, John Thomas, when a boy. {Eng. by J. Dean in 17S0.) Parker, Sir Hyde, whole-length. {Eng. by J. Walker in 1780.) Parr, Miss Ann. {Eng. by Dean.) Parr, Eev. Samuel. {Eng. by J. Jones in 1788.) Parry, Miss Ann. {Eng. by John Dean in 1778.) Peckham, Harry. {Eng. by J. K. Skerwin in 1778.) Petre, Lord. {Eng. by A. Freschi in 1803.) Pitt, fiight Hon. William. {Eng. by John Jones in 1789.) Powell, Miss. {Formerly belonged to Thomas Conolhj, Esq.) Powys, Mrs. {In the possession of Earl Denbigh.) Powlett, Countess. {Belonged to Allan Swinton, Esq., and teas put up at Christie's in 1872, and bought in for £162 15s.) Eaikes, Thomas. (Eng. by C. II. Hodges in 1787.) Bamus, Miss, afterwards Lady Day. (Eng. by William DicJcinson.) Eeed, Isaac. (Eng. by W. Dickinson in 1790.) Eichmond, Charles, Duke of. (Eng. by James Watson in 1778.) Eutland, Duchess of, whole-length. (A portrait of her was sold at Christie's (Butcher's sale) in 1843 to Mr. Clossfor £13 2s. &d.) Scott, David, M.P., whole-length. (Eng. by J. Young in 1798.) Seward, Miss. (Eng. by W. Ridley in 1797.) Sneyd, Miss. See " Serena," in List IV, Stables, Mrs., and Children, 1778. (Eng. by J. R. Smith in 1781.) LIST OF WORKS. 93 Stamford, Earl of (? Baron Grey). {Sitff. by G. Keating.) Stamford, Cuuutess of. (^Eng. by G. Keating.) Stewart, General Charles. {Eng. by J. Grozer in 1794.) Stewart, General James. (JSng. by C. S. Hodges in 1789.) Stormont, David Murray, Viscount. {The property of Christ Church College, Oxford.) Stormont, Louisa Cathcart, Lady. {Enj. by J. S. Smith in 1780.) See "Mans- field," page 86. Thornhill, Mrs. (The property of Thomcs Thornhill, Esq., M.P.) Thornhill, Master, with a Pomeranian dog. (Eng. by James Scott in 1882. The property of Mrs. Thornhill, Senr.) Tempest. Master Walter. {Eng. by James Walker in 1781.) Thyer, Robert. (Eng. by Worthington.) Tighe, Mrs. Henry. (Exhibited at Dublin in 1872 by Lady Laura Grattan.) Todd, Anthony. (Eng. by J. Jones.) Walker, Thomas, i^g. by William Sharp in 1794.) Warren, Mrs., daughter of Wm. Powell, actor. {Eng. by 0. S. Hodges in 1787.) Warwick, Countess of. (Eng. by J. Raphael Smith in 1780.) Watson, Richard, Bishop of Llandaff. (Eng. by H. Meyer in 1809 .) Westmoreland, Earl of. {Eng. by John Jones in 1792.) Wilson, Dr., Bishop of Bristol. (Eng. by John Jones in 1788.) Wilson, Sir John, Judge. {Eng. by J. Micrphy in 1792.) Woodley, Miss. (Eng. by James Walker in 1789.) Wright, Sir Sampson. {The property of E. S. Litchfield, Esq.) Wright, Lady. (The property of E. S. Litchfield, Esq.) yates, Mrs., as Melpomene, whole-length. (Eng. by Valentine Green, A. S. A., in 1772. ) Yorke, Mrs. {Exhibited at Dublin in 1872 by Sir S. Griffith, Bart.) IV.— FANCY SUBJECTS NOT MEXTZONED IN' THE ABOVE LISTS. L' Allegro and II Penseroso. {Eng. by George Keating in 1798.) Nurse in Distress, Group of Children in a Boat. {The picture was sold at the artist's sale in 1807 /<"• 4 J guineas to Mr. Hoppner.) Prospero and Miranda. {Sold at Alderman Boydell's sale in 1805 to Mr. Green for 50 guineas. It was again sold at Mr. Green's sale at Christie's, in 1830, /or 50 guineas to Mr. Watts. Eng. by Benjamin Smith for Boydell's " Shakespeare.") Serena, oval, with a candle on the table, Girl in profile. (Miss Sneyd.) {Eng. by J. E. Smith in 1782.) Sisters, The. (Eng. by Eoberf Dunkarton in 1770.) Titania, The Changeling, and Puck on the seashore. {Sold at the artist's sale in 1807 for 65 guineas. Sold again at Lord de Tabley's sale in 1827 for lb5 guineas to J. Watts Sussell Esq., and at his sale in 1875 for 230 guineas.) A CATALOGUE OF THE EXHIBITED "WORKS OF SIE THOMAS LAWEENCE, P.E.A. COMPILED BY ALGERNON GBAVES* I.— EXHIBITED BY SIE THOMAS LAWRENCE. At the Eoyal Academy. Living at 4, Leicester Square. Date. Cat. No. 1787. 181. Mad Girl. 207. Lady. 229. ToungLady. 231' Jjdiiy {Miss Harrinffton). 234. Mrs. Esten as Belvidera. 255. Vestal Virgin. 268. Young Lady. 1788. Living at 41, Jermyn Street. 60. Lady. 61. Gentleman {? Senry Bimbury). {Eng. by Ryder in 1789, and by Cook.) 110. Gentleman. 112. Lady (Miss Madden). Date. Cat. No. 1788. 113. Lady. 147. Gentleman {Mr. Dance). 1789. 61. GenUeman {Mr. Williams). 100. Lady of QuaUty {Lady Ore- mome). 122. Lady (crayons). 128. Lady (Mrs. Hamilton). 130. Gentleman {Mr. Sunler). 171. Gentleman {Mr. Linley). 194. Lady of Quality. 232. Lady of Quality {Lady Aps- ley, late Miss Lennox). 469. Head from Nature {Master Samilton looking like Mr. Kemble). 528. Lady {Mrs. Hamilton). * The names printed in italic are not to be found in the catalogues, but have been since identified from various sources. LIST OF WORKS. 95 Date. Cat. No. 17S9. 536. Gentleman. 554. H.E.H. the Duke of York. 555. Gentleman. 1790. 19. Gentleman [Mr. Loch). 26. H.R.H. the Princess Amelia. 100. Her Majesty. 103. General Officer {General Fa- terson). 145. Ladjy (Mrs. Carter). 151. Nobleman's Sons (Lord Ducie'a). 171. An Actress [Miss Farren). (Eng. by F. Bartolozzi, S.A., in 1803. A re- plica of this picture belonged to Mr. Grant, and was sold at Christie's, June 27, 1863, to Mr. Smith for 79 guineas.) 202. Nobleman's Children. 219. Young Nobleman [Lord Abercorn's Son), 260. Clergyman {Mr. Lawrence). 268. An Officer [Mr. Tasker). 275. Young Lady of Quality {Lord Abercorn's Daughter). Living at 24, Old Bond Street. 1791. 76. Lady of Quality {Lady Theo- dosia Vyner). 97. Gentleman {Mr. Beresford, M.F.) 122. Jjaiy {Miss Day, of Norwich). 140. Gentleman {Mr. Locke, jun.) . 180. Homer reciting his Poems. 2oo. Lady {Son. Mrs. Berkeley). 37S. Gentleman {Dr. Moore). {Fug. by G. Keating in 1794.) Date. Cat. No. 1791. 385. Gentleman (Sw-(?.ffeaa(!0(«). 394. Gentleman (?Sev. Septimus Hodson. Fng. by W. Skel- ton in 1792). 429. Gentleman. 516. Child {Master C. Malton). Made an A.EA, 1792. 1. Lady of Fashion as La Pen serosa {Lady Samilton). 25. Gentleman and his Lady (A/r. amd Mrs. Angersteim). 65. His Majesty. 109. Nobleman {Lord Barrington). {Fng. by C. Knight in 1800.) 150. Lady of Quality {Ladj/ Apsley. Fng. by F. Bar- tolozzi, 'R.A.,in 1793.) 183. Gentleman {Mr. Silvester Douglas) . 209. An Etonian {Mr. Atherley). 225. Lady of Quality {Lady Char- lotte Bentinck). 366. Naval Officer {Gapt. Moore). 513. Nobleman's Children (Lord Melbourne's). 1793. 7. Gentleman {Mr. Whitbread, jun. ). 15. Gentleman {Sir George Beau. mont). {This picture belongs to Mr. Senry Graves.) 63. H.R.H. The Duke of Cla- rence. 80. UtohleBisca. {Lord Abercom). 191. Prospero raising the Storm {Shakespeare, Tempest) . 231. Gentleman {Son. Mr. Robin- son). 96 SIR THOMAS LAWRENCE. Dat f. Cat .No. 1793. 235. Lady {Mrs. Finch). 545. Lady of Quality {Zadi/ H. SarhorcC). 614. Gentleman (Jfr. CAaj-feSjS/ifer- wards Lord, Grey) . [Eng. by W. Dickinson in 1794:) Was made R.A. 1794. 78. Gentleman (Sir Gilbert BUiott). 115. Arohtistop {Br. John Moore, of Canterbury). 131. Nobleman {Lord Auckland). {JEng. by W. Dickinson.) 160. Lady {Lady Manners or Lady Milner). 168. Lady {Mrs. Wood). 173. Lady of Quality {Lady Emily Hobart), 181. Gentleman {Mr. Michard Fayne Knight). {Eng. by W. Evans and E. Scriven in 1811.) 199. Boy {Master Ainslie). Lived in Piccadilly. 1795. 65. Gentleman. 75. Young Lady {Miss Barrett). 86. Nobleman {Late Lord Moimt- stuart). 131. Officer {Sir Charles Grey). {Eng. by J. Collyer, A.E.A., in 1797.) 168. Gentleman {Mr. Rose). 175. Lady of Quality [Lady Inchi- {Eng. by W. Bond.) 191. Lady of Quality (itti^ XoKisa Gordon). {A Date. Cat. No. 1795. 596. William Cowper, Esq, drawing.) {Eng. by F. Bartolozii, E.A.) 602. Family IMr. and Mrs. An- gerstein's). {A drawing.) 1796. 102. Lady of Quality {Lady Jane Long), 103. Nobleman (Francis, Duke of (Eng. by S. M. Meadows in 1792.) 116. Lady (Miss Ogilvie). 147. Bishop (Son. Shuts Barring- ton, Bishop of Durham). 163. TSoiHeTDSin. {Marquis of Bath). (Eng. by J. Heath.) X6i. Artist (/. Farington, B.A.). 183. Gentleman (Sergeant Shepp- herd). 202. Officer {Lnte Col. Markham). 1797. 74. A Nobleman's Family (Lord Exeter's). 148. Nobleman {Lord Inchiquin). 166. Lady (Mrs. Siddons). 170. Satan calling his Legions {First book of Milton), {This large gallery picture re- mained in the artist's pos- session until his death, and was sold at his sale, June 18, 1831, Lot 151, for £504.) 188. Gentleman (Mr. Kemble). (Eng. by T. Chessman.) 237. Lady (Mrs. Charles Locke). Lived in Greek Street, Soho. 1798. 30. Mrs. AUnutt. 51. Lord Seaforth. LIST OF WOKKS. 97 .Date. Cat. No. 1798. 184. Mr. BeU. 225. Mr. Kemble as Coriolanus at the Hearth of Tullus An- BiduB. {Eng. by W. 0. Burgm.) 253. Mr. Thompson. 257. Mrs. Ifeave. 1799. 5. Mr. AHnutt. 76. The Duke of Norfolk. 137. Mr. Samuel Lysons. {^Eng. by S. W. Rey- nolds in 1804.) 223. Miss Jennings. 234. General Paoli. 294. M. Uvedale Price. two. 28. Mr. Bouoherette's Children. 54. Mr. Curran. lEng. by J. R. Smith, ISOl. and by Md. Melnnesfor the Lawrence work in 1842.) 178. Mrs. J. Angerstein. 193. Holla {J. F. Eemble). (Eng. by S. W. Reynolds in 1803.) 213. Eev. Mr. Pennioott. The picture was painted for the Eev. T. Streatfield. (Eng. by S. W. Reynolds.) 24.3. Lord Eldon. (Eng. by J. R. Smith in 1800, and by Einden.) 626. Mrs. Twiss. 62. General James Stuart. (Eng. by Geo. Clint in 1802.) 32. Mrs. G. Byng. Date. Cat. No. 1801. 173. Hon. Sophia TTpton. 190. Hon. Caroline Upton. 197. Hamlet (/. P. Kemble). (Eng, by S. W. Reynolds and Egan in 1838, /o> the Lawrence work.) 207. Mr. Edmund Antrobus, after- wards Sir. (Eng. by G. Clint.) 1802. 5. Lady Templetown. 17. The Marchioness of Exeter. (Eng. by S. W. Reynolds in 1803, and by W. C. Wass.) 56. Earl Cowppr. 72. The Princess of Wales and the Princess Charlotte. 176. Lady Cunningham. 184. Hon. T. Erskine. 421. G. Stonestreet, Esq., painted for the Phoenix Assurance Company. 422. Master in Chancery. 621. Sir "W. Grant, Master of the Bolls. (Eng. by R. Golding and by E. Mclnnes m 1842 for the Lawrence work.) 1803. 21. Rt. Hon. Lord Thurlow. 64. Lady C. Hamilton. 105. Rt. Hon. W. Wyndham. {Eng. by Fry and Alais.) 127. Hon. Miss Lamhe. 182. Lady C. Camphell. 1804. 17. Mrs. C. TheUuson and Child. 25. Mrs. Williams. HO. J. P. Kemble, Esq. (Efig. by W. Say in 1826.) 98 SIK THOMAS LAWRENCE. Date. Cat. No. 1804. 121. J. Curtis, Esq. 157. Sir J. Madrintosh. 193. Mrs. Siddons. {Hiy. by W. Say in 1810.) 1805. 96. Hon. C. Grey. 156. Lord Amlierst. {Eng. by W. Freeman.) 157.. H. Hoare, Esq. {Eng. by B. Meyer.) 195. Lady E. Foster. 219. The Bishop of Grloucester ( George Isaac Sunt inffford) . (Eng. by S. Meyer in 1813.) 1806. 35. Lord Ellenborough. (Eng. by R. W. Sievier in 1819.) 72. Sir J. Banks. (Eng. by W. Evans in 1810, and by A. Car- den in 1810.) 91. Fancy Group. 125. The Earl of Malmeshury. (Img. by W. Ward in 1807.) 137. W. Baker, Esq., M.P. 176. Mrs. EiddeU. 1807. 17. Hon. B. Paget. 210. Sir F. Baring, Bart., J, ■Baring, Esq., and — Wall, Esq. (Eng. by Cliarles Turner and Ed. Melnnes in 1842.) 1808. 74. Earl of Aherd>.>on. (Enq. by C. Turner in 18U9.) Date. Cat. No. 1808. 95. Rt. Hon. WiUiam Pitt (a posthumous portrait). (Eng. by S. W. Seymldt in 1837, and also by C. Turner, A.S.A., in 1837.) 133. Hon. Lady Hood. 134. J. Farington, Esq., E.A. (Eng. by S. Meyer t« 1814.) 175. ChUdreu of J. Angerstein, Esq. 1810. 61. Lord CasUereagh. (Engt by C. Turner w 1814, and by J. £. Jackson in 1843 for the Zawrence work.) 67. Et. Hon. G. Canning. (Eng.- iy Wm. Say in 1813.) 159. A group of portraits consist- ing of Mrs. "Wall and her Brother, T. Baring, Esq., of their Sons, and of the late Lady Baring. 171. Lord MelviQe. (Eng. by C. Turner in ■ 1810, and by Ed. Me- lnnes in 1843 for the Laujrence work.) 1811. 13. Hon. C. A. Cooper. 69. Mrs. Stratton. (Eng. by C. Turner in 1813.) 88. Major - General the Hon. Charles Stewart. 113. Benjamin "West, Esq., K.A. (Eng. hy Ohdrles Molls.) LIST OF WORKS. 99 Date. Cat. No. 1811. (A half-length of Benjamm West in Hark and white chalk, was sold at'the artisfs sale, June IS, 1S31, to Mr, Woodiurn, for a guineas.) 170. The sons of — Latouchere, Esq. {Eng. by 0. W. Wass.) 194. Warren Hustings, Esq. 1812. 19. The Earl of Lonsdale. {Eng. by Henry Meyer.) 20. Miss W. Pole. 57. Mr. Kemhle as Addison's Cato. [Eng. by W. Ward.) 68. Lord Mountjoy. 88. Mrs. May. 103. Sir W. Curtis, Bart. {Bng. by Win. Sharp in 1814.} 108. Earl and Countess of Charle- mont and their Child. 228. T. Taylor, Esq. {Translator of Flato, Aristotle, ^c.). 1813. 7. Lieut.-Gen. Sir T. Graham, E.B. {Eng. by Senry Meyer.) 28. Sir H. Englefield, Bart. 63. Miss Thayer. 139. Countess Grey. {Eng. by S. Cousins, R.A., in 1831.) 158. Lady Ellenhoroiigh. 159. Lieut.-Gen. the Hon. Sir Charles Stuart. 208. The Marquis Wellesley. lEng. by C. Turner in 1815.) Date. Cat. No. 1813. 222. James Watt, Esq. {Eng. by 0. Turner and by G. A. Tomkins.) Lived at 65, Russell Square, 1814. 23. Viscount Castlereagh (Eng, by G. Turner.) 56. Lady Leicester {with a quota- tion from Spenser' s " Fairy Queen "). {Eng. by Senry Meyer in 1823, and by Ed, Mclnnes in 1841 for the Lawrence work.) 64. H.R.H. the Duke of York. {Eng. by C. Turner in 1821.) 138. Lady Grantham. 146. The Marquis of Ahercom. 237. The Et. Hon. J. McMahon. {Eng.^ by C. Turner in 1815.) 271. Lady Emily Cowper, after- ■ -wards Lady Ashley. {Eng, as the "Rosebud" by J. M. Jackson in 1844 for the Lawrence work.) 277. Master William Lock. {Eng. by W. Humphreys in 1839 for the Law- rence work.) 1815. 28. Mrs. Wolff. {Eng. by S, Cousins, R.A., in 1831.) 65, H.E.H. the Prince Eegent. 100 SIR THOMAS LAWKEjrCE. Date. Cat. No. 1815. 76. His Highness Prince Metter- nich "Winneljoiirg, Achsen- hansen. {Unff. by S. Cousins in 1829, and ty C. Zewis in 1842 for the Law- rence work.) 109. Field-Marshal the Duke of Wellington holding the Sword of State on the last day of Puhlio Thanks- giving at St. Paul's. {£ng. by Win. Sromley, A.B.A., in 1816.) 1S6. Field - Marshal Prince Blu- cher. {Eng. by C. B. Wagstaff in 1839 for the Law- rence work.) 163. Hetman Prince PlatofF. 276. E. Hart Davis, Esq., M.P. (.S»?. by W. Sharp in 1816.) 1816. 12. J. J. Angerstein, Esq. {JEng. by Fry and Scriven.) 25. The Bishop of London {Wil- liam Sou-ley). {Eng. by C. Turner in 1817, and by J. E. Jackson in 1845 /or the Lawrence work.) 47. The Bishop of Dvirham {Hon. Shute Harrington). {Eng. by Charles Turner in 1817.) 48. The Marchioness of Stafford. Date. Cat. No. 1816. 61. Field-Marshal H.R.H. the Diibe of York. 107. Lady Wigram. {Eng. by 0. Turner in 1817.) 161. Major-Gen. Sir H. Torrens, K.C.B. (Eng. by C. Turner in 1817.) 1S4. Canova. 1817. 24. Lieut.,Gen. the Marquis of Anglesea. {Eng, by C. Turner, by Freeman, and by J. S. Jackson in 1845/o)- (he Lawrence work.) 44. Sons of — Patterson, Esq. {Eng. as " Sural Amuse- ments " by John Srom- ley in 1831.) 68. Lieut. -Gen. Lord Lynedoch. ( Eng. by S. W. Reynolds.) 72. H.R.H. the Duchess of Glou- cester. 150. Mrs. Arbuthnot. {Eng. by Gilley.) loo. Mrs. Cuthbert. 190. Lady Maria Oglander. 346. J. JekyU, Esq. {Eng. by W. Say.) Me became Member of the Soman Acadfmy of St. Luke's, and s of Shaftesbury when a child 229. Sir W. Curtis .... Her Majesty. Royal Society. Her Majesty. V. P. Calmady, Esq. R. H. Davis, Esq. Duke of Devonshire. Earl Grey. Her Majesty. R. Tait, Esq. Viscountess Palmerston. Her Majesty. At the National Portrait Exiheitioxs at South Kensington. IS67. 673. Edward, 13th Earl of Derby . 757. Charles, Earl Grey .... 761. John Philpot Curran . . 778. First Marquis of Bath 780. William, 3rd Duke of Portland, K.G. I Earl of Derby, K.G. Earl Grey, K.G. Earl Grey, K.G. Marquis of Bath. Corporation of Brisloi 114 SIR THOMAS I^WREXCE. Date. Cat. No. Subject. 1867. 805. James Watt, LL.D. 850. Warren Hastings .... 853. Frances, Lady Crewe (Eng. hy W. Say.) 836. John, First Lord Crewe . {£ng. by W. Sny.) 858. Eliza Farren, Countess of Derby {^Engraved by F. Eartoloszi, R.A., in 180S.) 860. Charles, 2nd Earl Grey. 862. Henry, 10th Earl of Exeter, Countess, and Daughter .... 863. William, 1st Lord Auoklacd 864. Eight ' [on. William Windham, M.P. i868. 11. C. M. Sutton, Archbishop of Canter- bury .... 17. Benjamin West, P.11.A. . 44. Matthew Baillie, M.D. 46. Lord Erskine {E«g. by G. Clint in 1803.) 49. Lord Ellenborough . 60. Sir Samuel Eomilly . (Eng. by S. W. Reynolds.) SI. Lord Eldon, 1798 . 58. Lord Exmouth . 65. First Marquis of Hastings 68. Sir Gilbert Heathcote, Boirt. 70. Earl Whitworth 77. General Sir John Moore, K.B. (Eng. by W. 0. Eurgess in 1844 for the Lawrence work.) 78. Admiral Sir Graham Moore, G.C.B. 124. Sixteenth Lord Saltoun (1809) . {Eng. by 6. Zobel in 1854.) 133. Allan, 2nd Lord Gardner . 136. Charlotte, Lady Stanley . 138. Sir Francis Burdett, picture finished by fi. Evans 139. Brownlow, 2nd Marquis of Exeter, his Brother and Sister . Owner. M. P. W. Boulton, Esq J. P. Fearon, Esq. Lord Houghton. Lord Houghton. Earl of Wilton. Earl Grey, E.G. Marquis of Exeter. Christ Church, Oxford. UniTersity College, Oxford. Lord Canterbury. J. H. Anderdon, Esq. College of Physicians. Lady Moore. Earl of Ellenborough. Charles Eomilly, Esq. Earl of Eldon. H. E. PeUew, Esq. Lady Edith Abney Hastings. Lord Aveland. Countess Delawarr. Lady Moore. Lady Moore. United Service Club. Lord Gardner. Earl of Derby, E.G. Miss Burdett Coutts. Marquis of Exeter. LIST OF WORKS. 115 Date. Cat. No. Subject. 1S68. 142. Lady Burdett, picture finished by E. Evans (1831) 144. Lady Charlotte Hornby . 151. Sir "William Grant . . . . 155. Charles Bumey, D.D. (JSng. by W. Sharp.) 164. William Sotheby .... 170. Eev. Daniel Lysons .... 173. Samuel Lysons 174. Eobert, 4th Earl of Buckinghamshire [Eng. by E. Dtmkarton in 1808, and by J. Grozer.) 184. William, 6th Duke of Devonshire 187. Duchess of Wellington (1814) . 190. Eobert, 2nd Earl of Liverpool . 198. Thomas Graham, Lord Lyndoch [Eng. by Thos. SocU/etts ia 1829.) 199. Duke of Wellington 202. Keld-Marshiil Lord Beresford . 205. Field-Marshal the Marquis of Anglesea ..... 206. Lord Castlereagh .... 209. Marchioness Wellesley 210. Sir William Curtis, Bart., M.P. 213. Henry, 3rd Earl Bathurst 216. Sir Astley Cooper, Bart 218. Sir Henry Alford, Bart., M.D. 220. Sir Jeffrey WyatviUe, E.A. 221. Gen. the Hon. SirLowry Cole, G.C.B. {Eng. by C. I'ieart in 1816.) 225. Queen Caroline and Princess Char- lotte .... 227. Rt. Hon. Sir J. Mackintosh 230. John Abernethy( 1820) . 232. Frederick, 1st Earl of Eipon 2-^3. Sir Humphry Davy, Bart. "237. Et. Hon. George Canning 242. Master Lamblou Owner Miss Burdett Coutts. Earl of Derby, K.G. Master of the EoUs. Uev. C. Bumey. Col. Sotheby. Eev. Samuel Lysons. Rev. Samuel Lysons. Earl de Grey and Eipon. Adm. Sir A. W. G. Clifford, Bart. Duke of Wellington, K.G. Her Majesty. Duke of Wellington, K.G. Duke of WeUington, K.G. A. J. B. Beresford Hope, Esq., M.P. Duke of WelUngton, K.G. I^er Majesty. Duke of Wellington, K.G. Her Majesty. Duke of Wellington, K.G. Eoyal CoUege of Surgeons. Sir Henry Alford, Bart. Her Majesty. Countess Cowper. Her Majesty. National Portrait Gallery. St. Bartholomew's Hospit il Earl de Grey and Eipon. Eoyal Society. Corporation of Liverpool. Earl of Durham. 116 SIR THOMAS LAWRENCE. Date. Cat. No. Subject. 1868. 279. Caroline Pry, Mrs. Wilson 284. Thomas Campbell .... 286. Tan Mildert, Bishop of Durham (Eng. by Thomas Lupton in 1831.) 292. Thomas Moore 310. Charles, 2nd Earl Grey . 312. Samuel Rogers (crayon) . [Mtg. by F. C. Lewis.) 315. Lord Melbourne .... {Eng. by E. Melnnes in 1838 for the Lawrence work.) 325. John, 1st Earl of Durham 333. Admiral Sir E. Codringtou 329, 342. 352. 353. 386. 397. 460. 812. 825, 841, 867, 942. 943, 944, Marquis of Lansdowne Mary, Countess Grey Mary, Countess Grey, aad Children . Sir Thomas Lawrence Sir Robert Peel, Bart. The Et. Hon. J. W. Croker, M.P. . First Earl Granville .... William Falconer, M.D. Crayon. {Drawn by the Artist at the age 0/16). . . . Princess Amelia Mrs. Jordan Beau Brummel . Richard Payne Knight, Esq. Sir Henry Englefield, Sart. Thomas, 1st Lord Dundas (Eng. by C. Turner in 1822.) Owner. William Wilson, Esq. National Portrait Gallery. Bishop of Durham. John Murray, Esq. Earl Grey, K.G. Miss Rogers. Lady Palmerston. Earl of Durham. Gen. Sir W. J. Codrington, G.C.B. Marquis of Lansdowne. Earl Grey, K.G. Earl Grey, K.G. Royal Academy. Rev. W. B. Hawkins. Mrs. Croker. Earl Granville, K.G. James Roebuck, Esq., M.P. Her Majesty. Rev. Joseph Thackeray. E. V. Kenealy, Esq. Dilettanti Society. Dilettanti Society. Dilettanti Society. At the Leeds Art Treasukes Exhibition. 1868. 1039. Admiral J. Markham . 1074. Col. David Markham 1076. Countess of Wilton 1113. Countess of Derby 2770. Head of a Boy. Drawing Col. Markham. Col. Markham. Earl of Wilton. Earl of WUton. James T. Knowles. Esq LIST OF WORKS. iir Date. Cat. No. 1872. 6. Lady Blessington 22. A Lady . At Bethnal Green Museum, Subject. Owner. Sir E. "Wallace, Bart., M.P. Sir E. Wallace, Bart., M.P. At the Exhibition op Works op the " Old Masters." 1870. 76. 235. 1871. 33. 1872. 26. 1873. 9. 21. 275. 276. 1876. 143. 146. 223. 1S77. 7. 248. 253. 1879. 3. 378. 388. 1830. 27. 1881. 26. 28. 32. 39. 1882. 182. John, Earl of Suffolk Sir Thoma:3 Lawrence, P.R.A. . Hart Davis, Esq Calmady Children .... Frederick II. Hemming, Esq. . Mrs. Hemming .... John, Lord Mountstuart . Sir Astley Cooper, Bart. . Marquis of Bath .... The Baring Family .... Col. David Markham John Abemethy, F.R.S. Admiral Sir John Markham Benjamin West .... Mrs. Horsley Palmer (1810) Jlrs. Wolfe and Son. Drawing (ISIS) Lady Georgiana Gordon , {Drawing. Eng. by F. C. Lncis.) Elizabeth, Countess of Cawdor . Fifth Earl Cowper .... Georgiana, Countess Bathurst . (Lithographed ly B. J. Lane, A.B.A., in 1832.) Mrs. Lushington .... Mrs. Locke ..... Dr. Charles Burney .... Earl of Suffolk. Royal Academy. Vaughan Davis, Esq. Vincent P. Calmady, Esq. F. H. Hemming, Esq. P. H. Hemming, Esq. Col. Crichton Stuart, M.P. Royal College of Physicians. Marquis of Bath. Lord Northbrook. Col. Markham. St. Bartholomew's Hospital. Col. Markham. J. H. Anderdon, Esq. Edwd. Howley Palmer, Esq. Mrs. Keightley. Jeffrey Whitehead, Esq. Earl of Cuwdor. Earl Cowper, K.G. Earl Bathurst. E. Kay, Esq. William Angersteln, Esq. The Ven. Archdeacon Burney At the Gkosvenor Galleky- 1878. 376. Study of a head . 379. Lord Loughborough 1082. Portrait head . . . . . Earl of Warwick. 1093. Mrs. Matthews . . . . W. Doherty, Esq. 1879. 764. A Lady WilUam Russell, Esq. -Winter Exhibitions. . Earl of Warwick. . William Russell, Esq. 1 1 8 SIR THOMAS LAWRENCE. III.— POETEAITS NOT MENTIONED IN THE ABOVE LISTS. Adams, John. (Eng. by C. Turner in 1829.) Adams, Miss, drawing. {Eng. by F. C. Lewis.) Albemarle, William Charles, Earl of. (Eng. by Freentan.) Amherst, Lord, full length. {Fainted for the British f actory at Canton. Sng. bf C. Turner in 1824.) Antrobus, Masters. {Eng. by G. Clint in 1802.) Antrobus, Philip. (Eng. by G. Clint.) Arbuthnot, Masters, drawing. {Eng. by F. C. Zewis^ Arbutbnot, Mrs. Hnrriet. (Eng. by Ensom and W. Giller.) Ashburton, Lord. {Eng. by C. E. Wagstaffin 1837 /or the Lawrence worh.) Ashley, Hon. Mrs. {Eng. by Cochran and by G. S. Fhillips.) Bagot, Lady Mary, and Sisters, drawing. {Eng. by J. Thomsmi.) Bamaid, Andrew. {Eng. by C. Turner in 1809.) Barton, Mrs., and Child. {Formerly a full length, it has now been cut down to an oial. It belongs to Mr. Henry Graves.) Bath, Thomai, Marquis of. {Eng. by J. Heath.) B^l, Charles "W. {Eng. by W. W. Barney in 1806.) Bentinck, General Lord W. C. {Eng. by S. M. Cook in 1813, and lithographed by E. J. Lane, A.S.A., in 1827.) Beresford, Lady. {Fing. by Thos. Modgetts.) Berri, Countess de. {Lithographed.) Bern, Caroline, Duchess of. (-©1.9. by Thomson.) Bissett, Dr. William, Bishop of Baphoe. {Eng. by 0. Turner in 1830.) Bleamire, William. {Eng. by J. Young in 1803.) Bloxham, Miss, niece of the painter, drawing. {Eng. by F. C. Lewis in 1830.) Boucherett, Misa, drawing. {Eng. by F. C. Lewis.) Browning, Lidy. {Eng. by William Ward.) Brownrigg, Lady Sophia. {I&tgraved.) Burdett, Sir Francis. {Eng. by Walker.) Burgherst, Lord, drawing. {Eng. by J. Bull in 1838.) Bury, Lady Charlotte. {Eng. by Wright, and lithographed by B. J. Lane.) Bute, John, Marquis of. {Eng. by Caroline Watson. ) Calmady Children, sketch. {Eng. by F. C. Lewis in 1825.) Campbell, Adelaide. {Eng. by Sharp.) CimpbeU, Thomas. {Eng. by Henry and Samuel Cousins in 1834, by T. Blood m 1815, and by John Burnet, F.R.S., in 1828. It was also engraved small by Finden, Freeman, and J. H. Watt.) Canning, George, a drawing in the collection of the Marquis of Lansdowne, {Eng. by F. C. Lewis in 1839.) LIST OF WOEKS. 11^ Carington, Lady Anne. {Eng. hy C. Soils.) Charlotto, Princess, when young, with a bird. (Enit. by T. Garner for the "Royal Gallery.") Clive, Lady Harriet. {Eng. hy S. Cousins m 1840, and lithographed by R. J. Lane, A.R.A., in 1832.) Coke, Thomas 'Williain, afterwards Earl of Leicester, full length. {Eng. by C. Turner in 1818.) Coke, Thomas "William, afterwards Earl of Leicester, half length. {Eng. by C. Turner in 1814.) Coko, Thomas "William, afterwards Earl of Leicester. {Eng. by Ed. Smith in 1843.) Cooper, E. B. {Eng. by W. T. Fry in 1820.) Cotton, Joseph. {Eng. by C. Turner in 1818.) Cotton, Mxs. {Eng. by C. Turner in 1825.) Craddock, General Sir John. {Eng. by J. Godby in 1809.) Dottin, Abel Rous, M.P. {Eng. by S. B. Sail.) Dottin, Mrs. Dorothy. {Lithographed by Sharp.) Douglas, Marquis of, and Sisbr, drawing. {Eng. by F. 0. Lewis.) Dover, Lady Georgiana. {Eng. by C. Heath.) Downe, Viscount. {Eng. by Thomas Lupton, and lithographed by W. Sharp.') Dundas, L^dy Margaret. {Eng. by G. Clint.) Durham, Countess of. {Eng. by Thomson.) Elphinstone, Baron. {E/ig. by C. Turner.) Fairlie, Mrs., drawing. {Eng. by F. C. Lewis.) Fitzgerald, Mrs. Mary Frances. {Eng. by G. R. Ward.) Fitzgerald, Mrs., sketch. (Eng. by F. C. Lewis.) Fuseli, Henry. {Eng. by S. Meyer.) George IV., 1814, drawing. {Lithographed in two sizes by E. J. Lane, A.R A., in 1829.) Gloucester, Mary, Duches? of. {Eng. by J. E. Coombes.) Greenwood, Charles. {Eng. by 0. Turner, A.R.A., in 1828.) Grosvenor, Lady. {Eng. by C. Turner in 1833.) Grosvenor, Elizabeth, Countess. {Eng. by Samuel Cousins, E.A., in 1844, fot- the Lawrence worlc.) Guildford, Earl of. {Eng. by C. Turner in 1820.) Halford, Sr Henry. {Eng. by 0. Turner in 1830.) Hammer, Joseph Van. {Eng. by Benedetti.) Hammond, Sir A. S. {Eng. by G. H. Phillips in 1830.) Harvey, Charles. {Eng. by C. Turner in 1820.) Hawkeshury, Lord. {Eng. by J. Young in 1801.) Hill, Lord Arthur Marcus C. {Eng. by W. Skelton.) Hobart, Lord. {Eng. by J. Grozer in 1796.) 120 SIR THOMAS LAWRENCE. Hope, General Sir Alexander. {Enff. by Wm. Walker in 1810.) Hope, Hon. Mrs. (Eng. by Scriven.) HusHsson, William, M.P. (^Mng. by Finden.) Jebl), Joshua, Bishop of Limerick. [Fug. by T. Zupion.) Kemble, J. P., head. {^Eng. by C. Turner in 1825.) Kemhle, J. P., whole length. {Erig. by B. M. Meadows.) Kemble, Mrs. Charles. {Lithographed by S. J. Lane, A.R.A.) Kempe, Thomas Bead, M.P., founder of Kempe Town. {Eng. by Illman.) Lawrence, Mrs., mother of the painter (1797), drawing. {Eng. by F. 0. Lewis in 1801.) Lawrence, Miss, niece of the painter (1813), drawing. {Eng. by F. C. Lewis in 1831.) Lawrence, Miss Lucy, sketch. {Eng. by F. C. Lewis in 1831.) Le Breton, Sir Thomas. {Eng. by C. Turner in 1827, and by W. Soil.) Leman, Eohert. {Eng. by W. Ltaniell.) Levens, Lady, and Child. {Eng. by Longhi.) Lieven, Prince? s. The drawing is now in St. Petersburg. {Eng. by Win. Sromley in 1823 : sold at the Artist's sale in 1831 for 11 guineas to Mr. Feacock. ) Lock, William. (Lawrence modelled a bust of this gentleman, his only essay in this class of art.) Londonderry, Ainelin, Marchioness of. {Eng. by J. Thomson.) L >ndonderry, Charles, Marquis of, when Sir Charles Stuart. {Eng. by C. Turner and W. H. Simmons.) Londonderry, Earl of, half length. {Engraved.) Lovelace, Ada, Countess of, daughter ot Lord Byron. {Eng. by Lean.) Lynedoch, Lord, whole length. {Eng. by S. W. Reynolds in 1831.) Lysons, Bev. Samuel (1796). {Eng. by Laniell.) Lysons, Samuel, F.S.A. {Eng. by 8. W. Reynolds and H. Mobinson.) Mackenzie, Sir Alexander. {Eng. by Westermayer andF. Conde.) Mackintosh, Sir James. {Eng. by Wilkin, E. Smith, and Cochran.) MacLeay, Alexander. {Eng. by Charles Fox.) Martin, Admiral Sir George. {Eng. by F. C. Lewis in 183-5.) Mayon, Mayon Wynell. {Eng. by W. Sharp.) Mii'za Abu Taleb Kahn, Persian Ambassador. {Eng. by John Lucas in IP38 for the Lawrence work.) Morant, George. {Eng. by W. Say.) Mountjoy, Lord. {Sold at Foster's in 1877 : it now belongs to Mr. Menry Graces Mulgrave, Lord Henry. {Eng. by C. Turner in 1808.) Murray, General Sir George. {Eng. by Henry Meyer.) KTewcastle, Duchess of. {Eng. by S. W. Reynolds in 1822.^ Kewdigate, Mrs., drawing. {Eng. by F. C. Lewis.) LIST OF WORKS. 121 Nortliumuirland, Duchees of. {Ung. by W, 0. Burgess in 1845 for the Laurence work.) Nonaille, P. {^Eng. hy Blood.) Nugent, Lady Anne Lucy. [Lithographed by S. J. Lane, A.li.A.) Nugent, Lord, whole length. {Ung. by TFm. Ward, A.S.A., in 1823.) Oiford, Rohert Walpole, Earl of. [Eng. by Evans.) Orford, Horatio Walpole, Earl of. {Eng. by S. Meyer.) Peel, Sir Robert, sen. [Eng. by B. Bobinson.) Peel, Sir Robert, jun. {Eng. by S. T. Eyalt and Coofiran.) Plumer, Sir Thomas. {Eng. by S. Bobinson.) Porter, John, Bishop of Clogher. [Eng. ty C. Turner in 1825.) Piatt, Samuel Jackson. {Eng. by Caroline Wotson in 1805.) Rcdesdale, Lord. {Eng. by G. Clint in 1804.) Reichstadt, Duke of. {Eng. by Wm. Bromley, A.E.A., in 1830 ) Eipon, Sarab, Countess of. {Eng. by W. J. Edtca'ds.) Robinson, Hon. Frederick John. {Eng. by C. I'urner in 1824.) Shaftesbury, Earl of. {Eng. by C. Turner iii 1812.) Shepherd, Sir Samuel. {Eng. by J. B. Jackson in 1846 /or the Lawrence work.) Siddons, Miss. {Eng. by J. Thomson.) Siddons, Mrs., whole length, in the National Gallery. {Eng. by W. Say in 1810. The picture was then in the possession of William Fitzhugh, Esq., M.B.) SiddonH, Mrs. {Eng. by J. B. Smith.) {An engraved portrait of Mrs. Siddons belonged to Elhanan Bieknell, Esq., and wa. sold at his sale, April 17, 1863, for £147, to Mr. Wells.) Sinclair, Sir John. {Eng. by W. Skelton and D. Lizars.) Sotheby, William. {Eng. by F. C. Lewis.) Sotberon, Admiral. {Eng. by C. Turner in 1839.) Standish, Master. {Formerly in the Slingsby Collection. It now belongs to W. B. Beaumont, Esq., M.B.) Stanley, Lord. {Eng. by F. C. Lewis.) Stewart, Lord, drawing. {Eng. by F. C. Lewis.) Strange, Sir Thomas. {Eng. by C. Turner in 1820.) Sutherbind, George, Duke oC, e irlj'. {Eng. by F. Lignon in 1824.) Sutherland, George, Duke of. {Eng. by S. W. Beynolds in 1839.) Taylor, John. {Eng. by G. Turner in 1831.) Tritton, Mr. {Eng. by W. Say.) Vaughan, Hon. Charles B. {Eng. by 8. Cou''ins, B.A.) Ward, Robert PUimer, whole length. {Belonged to Mr. Graves in 1867, and was sold to C. W. Wass, Esq., in 1872. Eng. by G. Turner, A.B.A.) Wellesley, Marquis, three-quaiter length. {Eng. by S. Cousins, B.A., in 1842.) Wellington, Duke of. {Large life-sized head. Eng. in chalk by F. C. Liwis.) 122 SIR THOMAS LAWKENCE. Whitworth, Charles, Earl. {Ilnff. by C. Ttirner in 1814. I'urchased in 1870 by Mr. H. Graves for £10, and sold at once to Mr. Saclcville Bale Jot £20. It was sold in 1881, at his sale, to the French Govermnent for £367 10s. It is now in the Louvre. Wigram, Sir E. [^Eng. by J. S. Watt in 1833.) VTilliam IV. (Bug. by J. E. Coombs in 1836 /or tlie Lawrence work.) ■William IV. when Prince "William Henry. (Eng. by Edmund Scott in 1788.) Williams, Thomas. {Eng. by Atkinson.) Wills, Eev. Thomas. {Eng. by T. Holloway in 1790.) Wilson, Thomas, Bishop of Sodor and Man. (Eng. by J. E. 0. Sherwin in 1782. )| Wool, Eev. John, Master of Eugby School. (Eng. by C. Turner in 1813.) Woolaston, William Hyde, M.D. (Eng. by F. C. Lewis in 1830.) Woronzo, Coun'ess, drawing. (Eng. by F. C. Lewis.) Wyalt, Edward. (Eng. by James Godby in 1810.) Wyattville, Sir Jeffrey. (Eng. by B. Robinson.) York, Frederict, Duke of. (Eng. by Edmund Scott in 1789.) York, Vernon Harcourb, Archbishop of, full length. (Eng. by G. K. PhilUpi in 1836 /or the Lawrence work.) York, Whittel. (Eng. by C. Tamer in 1814.) IV.— FANCY SUBJECTS NOT MENTIONED IN THE ABOVE LISTS. The Fair Forester. (Eng. by G. T. Boo, S.A., in 1835.) Regard, drawing. (Eng. by J. Thomson in 1826.) Faithful Friends. (Eng. by Wm. GiUer in 1842 /oc the Lawrince work.) Child on a Bank. (Eng. by W. Bond in 1794.) St. Cecilia. (Only partly painted by Lawrence. Picture belonged to J. Williams, Efg. Lithographed by S. J. Lane, A.R.A., in 1831.) Two Boys, whole length. (Eng. by George Clint in 1802.) The Proffered Kiss. {Eng. by G. T. Doo, R.A.) INDEX. TO ROMNEY. Abbott, Mary Alope . . Boydell Gallery, The Cotes, Francis, B.A. Gunningbam, Allan . David, Jacques Louis Death of Wolfe, The . Diary, Eomney's . . Engravings after Eomney Flaxman, John . . . Gpulis, Madame de - . . Gower Family, Portraits the Greene, Thomas . . Greuze, Jean Baptists Hamilton, Lady Emma Harrison, Architect . Hayley's " Life of Eomney Jupiter Pluviua . . . Lord Derby and his Sister Xouis Philippe, King . Marchant, Gem Engraver . Michelangelo, Eomney's copies from ...... PAGE . 4 . 18 . 18 . 15 1.5, 16 . 20 . 6 . 8 . 24 20,24 . 20 of 16, 24 . 20 16, 18 . 12 19, 24 Orleans Gallery, The 12 22 20 12 13 20 PAGS Parson's Daughter, The ... 17 Providence brooding over Chaos . 12 Eaphael, Eomney's copies from 1 2 Reynolds, Sir Joshua . . 6, 15 Eomney, George — 1734. Bom at Dalton, Cumber- land 1766. Married Maiy Abbott, of Kirkland ... 4 His first Commission . 5 1762. Bemoved to London . 6 Dislike to Sic Josbua Eeynolds ... 6 1764. Visited Paris ... 6 1773. Journeyed to Eome 1775. Beturned to London Acquaintance with Lady Hamilton . 1790. Eevisited Paris 1797. lUness and melancholy 1802. Died at Kendal Eomney, John .... Eomney, Eev. John ... Shakespeare nursed by Tragedy , , attended by the Pas- sions Shee, Sir Martin, P.R.A. . ] Simpson, Ann ... . Steele, Eomney's Apprentice' ship to Tempest, Scene from the . . Thurlow, Lord Chancellor . Vernet, Claude Joseph . . Wright of Derby .... 18 19 21 2i 4 13 16 18 0,24 4 18 7 12 TO LAWRENCE. Abercorn, Marquis of ... 49 Aix-la-Chapelle, Congress at . 63 Amelia, The Princess ... 32 Angerstein, Mr 60 Angerstein, Mrs 47 Auckland, Lord 38 Baring Family,. The . Blucher, Field-Marshal . 52 58, 60 Calmady Children, The ... 70 Canova 61, 67 Caroline, Funeral of Queen . 68 124 IXDEX. Clarkei. Siehard 73 Cowper, William 40 Cwrran, John Philpot ... 47 Pans, Mr. Sart 60 Devonshire, Georgiana, Duchess of 29 Dilettanti Society, Lawrence a Member of the . . . . 36 Dover, Lady, and tier Son . . 72 Exeter, Lord, and his family . 42 Farreh, Miss 30 Garriok, David 28 George III 32, 34 Gipsy, The 32 Gonsalvi, Cardinal .... 67 Gower, Lady, and Child ... 72 Graham, Sir Thomas ... 55 Rnstings, Warren . , . . 64 Hibernian Academy, The . . 68 Hobart, Lady, as Juno . . . 39 Homer reciting his Foems . . 30 Hope, The Hon. Mrs. . . . 73 Hoppner, John . . . . 37, 64 Humboldt, Saron von . . . 68 Kemble, John — As Coriolanus , , . 41 AlSoUa .... 48 As Hamlet .... 48 As Oate .... 64 Knight, Mr . 39 Lambton, Master .... . 73 Ijawrence, Rev. Andrew . . 68 Lawrence, Major . . . . 68 Lawrence, Sir Thomas — 1769. Bom at Bristol, May 4 27 Early talent . 28 1787. Went to London . 30 Patronised by George HI 32 1791. Elected A.B.A. . 34 1792. Appointed Painter in Ordinary 84 1794. Became E.A. and Princi pal Painter in Ordioary 38 Friendship with Cowper 40 Death of his 5)areats 42 Method of painting 46 Sooiallife . . 49 1814. Visited Paris . 57 PJGB Lawrence, Sir Thomas [continued) — 1815. Knighted by the Prince Regent . . • , . 1 5S Foreign honours ; ■" . ^ 60 1818-1819. At Aix-la Chapelle, Vienna, and Borne. . 63 1820. Elected President of the Boyal Academy .• . 68 1825. Rpceived the Cross ol the Legion of Honour . 73 1829. Freedom of the City of Bristol . . . ■ 76 1830. Died, Jannary 7 ; buried in St Paul's Cathedral 77 Metternich, Prince . . .' 58, 60 Moore, Dr., Archbishop of Can- terbury > 38 Opie, John 37, 53 Paget, Hon. Berlceley .... 62 Feel, Lady 33, 72 Pitt, William 63 Pins Vir., Pope 66 Platoff, The Hetman . . .58, 60 Prospero raising a Storm . . 38 Kaebum, Henry 61 Reynolds, Sir Joshua . . i.0, 34 Richmond, Duchess of . ... 76 Salisbury, Marchioness of , -,. 76 Satan calling his Legions , , 41 Scott, Sir Walter . . . ... 74 Seaforth, Lord 47 Shee, Sir Martin 29 Siddons, Mrs 41, 44 Thurlow, Lord Chancellor . , 61 Wales, The Princess of . . 61 Waterloo Chamber, Windsor, The ....... J. 68 Wellington,_ Duke of .' . .60, 62 West, Benjamin 37 „ „ Portrait of . 60 Westminster, Lady, Personal Recollections of Lawreno0 . 69 Wilberforce, JJnJvnished Portrait 0/^ .......... 46 Wilkie, David 61 Wolfe, Mrs 60 Udianl Clmj Je Sons, Zvmited,' Zoiidon * Bungay. wmsmsm ■■MIHMMaiWiiHanMUHW iin n I TiiirniiiW ■'liiffiiiMiai iB' i S' i Si i rH ii mi iii iiTnigiunn