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 UNIVERSITY 
 
 LIBRARY 
 
 BOUGHT WITH THE INCOME 
 OF THE SAGE ENDOWMENT 
 FUND GIVEN IN 1891 BY 
 
 HENRY WILLIAMS SAGE 
 
.._ .. Cornell University Library 
 ND 497.R76G19 
 
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 http://www.archive.org/details/cu31924008752770 
 
j^r? 
 
 Toni cLfiictiirc fLoint^ f^ hMnjcA. 
 
GEOEGE EOMNEY 
 
 AND HIS ART 
 
 BY 
 
 HILDA GAMLIN 
 
 AUTHOR OF "EMMA, LADY HAMILTON " 
 
 WITH EIGHTEEN ILLUSTRATIONS 
 AND A FACSIMILE LETTEE 
 
 LONDON 
 
 SWAN SONNENSCHBIN & CO. 
 
 NEW YOBK: MACMILLAN & CO. 
 
 1894 
 
a-/ J 
 
 A. 3^25 23 
 
 ABERDEEN DNIVERSITY PRESS. 
 
PEEFACE. 
 
 " Oft seeing the old painter's art, 
 We find the tear unbidden start, 
 And feel our full hearts closer grow 
 To the far days of long ago." 
 
 — Lewis Morris. 
 
 So little is known by the community at large of 
 the record of the life of the great artist George 
 Romney, that the general amount of information 
 relative to his career could for the most part be 
 condensed into one paragraph chiefly composed 
 of a slander. Directly after his death in 1802, 
 two of his friends wrote brief and regretful 
 memoirs of him ; while a third evaporated a 
 biography on a larger scale, in style so rigmarole 
 as to prove wearisome reading ; but as it con- 
 tained a reflection on the dead artist's domestic 
 relations, his son a few years later defended his 
 father by writing his life himself. 
 
iv Preface. 
 
 As the pictures of George Eomney were un- 
 known to the majority of persons, the interest 
 in him declined, aiid after his death his name was 
 gradually clouded in obscurity, save in his imme- 
 diate circle of acquaintance. He had not sent 
 his works to any of the thirty-three Royal 
 Academy Exhibitions that had taken place during 
 his lifetime, for reasons that will be disclosed 
 as the story of his life is told ; and when he had 
 passed away the art world remained inert until 
 1817, when the British Institution borrowed 
 three specimens of his paintings, one of which 
 was his 8t. Cecilia; so that from 1772, when he 
 last sent to a public exhibition, until 1817; the 
 outside world had had no opportunity of viewing 
 his pictures ; and even at this latter show they 
 were not accessible to everybody. 
 
 Then a long period elapsed before he was 
 heard of again; for it was not until 1832 that 
 
Preface. v 
 
 another solitary subject appeared among the 
 winter exhibits at the Society of British Artists. 
 Though he had painted the great, the learned, 
 and the beautiful of the laud for two genera- 
 tions, his productions were practically unknown. 
 Private galleries contained his matchless works, 
 and their owners prized them ; but this was not 
 fame as it should have been. His name was 
 enshrouded in partial oblivion until the gift to 
 the nation of the Vernon Collection in 1 847 
 brought forward his rare conceptions. The 
 painters who had been familiar with the creations 
 of his genius had made no effort to keep his 
 memory green ; but when the Vernon gift was 
 national property, the praises of his sweet 
 portraits resounded on all sides. Not until 1871 
 did any works of his hang upon the walls of the 
 Royal Academy ; Lady Russell and her child 
 being the first. The pleasure derived from the 
 
vi Preface. 
 
 inspection of these solitary specimens caused 
 others to be included in metropolitan winter! 
 exhibitions, until, arriving at the present year, 
 we find that Romney's popularity has attained 
 its acme through the medium of the refined and 
 noble women of English society, who, in| 
 thorough appreciation of the simple grace of 
 the old master, congregated upon the walls of 
 the gratifying exhibition at the Grafton Gallery 
 of portraits of fair women (which was collected 
 by ladies) no less than twenty-one portraits by 
 Romney of their illustrious grandmothers in 
 the heyday of their beauty, against nineteen by 
 Sir Joshua Reynolds, P.R.A. Again, as in their 
 own day, the town is divided as to rival merits ;*" 
 the scales of popularity being pretty evenly 
 balanced. 
 
 What wonder is it that, after being in the 
 possession of one or two perhaps uninterestedl 
 
Preface. vii 
 
 generations, works come forward misnamed, or 
 that the history of the origin of fancy subjects 
 be lost in the flight of passing years ? 
 
 In several instances the causes which called 
 
 into existence some of his most popular paintings 
 
 were of peculiar interest ; but owing to the 
 
 obscurity into which they had fallen, the links 
 
 were broken. The object of the writing of this 
 
 , new life of a charming painter is to try and 
 
 ; reunite the severed chain of his poetical con- 
 
 . ceptions. It is a matter of extreme regret that 
 
 several pictures which their owners gave consent 
 
 to reproduce for this book have had to be 
 
 crowded out ; but the favour remains the same. 
 
 For permission to copy Eomney's pictures, and 
 
 the literary assistance of those who so courteously 
 
 and kindly have helped me to beautify my 
 
 ; labour of love, I desire to devote these closing 
 
 lines to acknowledging my obligation and ex- 
 
viii Preface. 
 
 pressing grateful thanks ; and I beg to make 
 special mention of his Excellency Lord Houghtoa,| 
 her Grace the Duchess of Sutherland, the Eight 
 Hon. the Earl of Carlisle, and the Earl of Dart- 
 mouth, Lord de Tabley, the Dowager Lady 
 Castletown, Sir Frederick Milner, Captain the 
 Hon. John Manners Yorke, Henrj' Hucks Gibbs, 
 Esq., M.P., Herbert C. Gibbs, Esq., Alfred 
 Morrison, Esq., H. L. BischoflFsheim, Esq., Miss 
 Mary Holtby, Mrs. Tobin, Eastham House, J. 
 Hargreaves, Esq., Rock Ferry, H. P. Home, 
 Esq., T. L. Rutley, Esq., of the Reynolds Gal- 
 lery, W. May, Esq., Birkenhead, E. F. J. Deprez, 
 Esq., A. E. Whitehouse, Esq., of the Hyde Park 
 Gallery Fine Art Co. 
 
 HILDA GAMLIN. 
 
 Camden Lawn, 
 Birkenhead. 
 
CONTENTS. 
 
 I. Parentage— The Cumberland Fells— Youth — Apprentice- 
 ship — Marriage — George Romney starts in Business 
 for Himself and has a Lottery of his Pictures — 
 Hogarth satirises his Mean Patron — Mrs. Romney's 
 Portrait 1 
 
 II. He seeks Fortune iu London — Wins a, Premium from 
 the Society of Arts — Visits Paris — His Brother Peter's 
 Satire on the Critics — Richard Cumberland interests 
 Himself — Garrick visits the Studio — Cumberland's 
 Ode 28 
 
 III. Exhibition Pictures — " Mirth " and " Melancholy" — Mrs. 
 
 Yates and Mrs. Siddons as " The Tragic Muse " — The 
 Visit to Italy— "The Wood Nymph "—" The Trans- 
 figuration," and its Pate 46 
 
 IV. He meets Edward Wortley Montague at Venice, and 
 
 paints his Portrait — Peter Romney tells his Troubles — 
 Death of Francis Cotes, R.A. — Portraits of the Miss 
 Gunnings — Romney resides in Cavendish Square — 
 Wishing to study Garrick, he is brought to Death's Door 61 
 V. Humorous Verses sung at the Opening Dinner of the 
 Royal Academy — Reynolds and Ronmey — Their Rival 
 Merits — Paintings for Boydell's Shakespeare Gallery — 
 Unfinished Pictures — Fashionable Ladies fail to keep 
 Appointments — The Countess of Derby — Child 
 Portraits 
 
Contents. 
 
 CHAPTEB PAGE 
 
 VI. High-bred Beauties — The Translator of the " Lusiad " 
 ofiers Suggestions for Subjects to paint — The Crown- 
 ing of the Skeleton of the Beautiful Inez as Queen of 
 Portugal — Henderson as Macbeth — Daily Life — His 
 Classical Cartoons — The Liverpool Royal Institution — 
 
 Emily Potts 300 
 
 VII. The Hon. C. Greville takes Mrs. Hart to sit for her 
 Portrait — Present-day Errors concerning Titles of 
 Pictures — Hayley's Poem, " The Triumphs of Temper " 
 — Eomuey's " Serena " not Miss Sneyd — Miss Seward 
 explains — Hayley suggests to Romney that he paint 
 
 the Classical Figure " Sensibility " from his Poem 
 
 The good Influence of the Poem 137 
 
 VIII. Eomney's "Circe"— Mr. Long's Foresight— GreviUe's 
 Tight Hand destroys a Slander— Fancy Pictures of 
 
 Lady Hamilton— Miss Seward at Eartham 161 
 
 IX. More Portraits— " L'Allegro " and "II Penseroso "— 
 Romney's Note-books— GrevOle's Letter — Romney's 
 Kindness to other Artists— Cumberland's Classical 
 Sketches of Reynolds, West, and Romney — The Trip 
 
 to Paris— Mdme. Sillery's Ruse to enter La Trappe 182 
 
 X. The Marriage of Mrs. Hart— Romney's Fits of Depres- 
 sion—Lady Hamilton's Letter from Naples— Romney's 
 Reply — Mrs. Hayley's Infirmity — Tom Hayley as 
 " Robin Goodfellow "—Cowper at Eartham— Romney 
 paints Pictures from Cowper's Poem " The Task " 217 
 
 XI. Romney writes to his Sou describing Life at Eartham 
 —He paints more Pictures— How St. Paul's lost its 
 Golden Opportunity -Grand Designs never carried 
 out-He devises Scenes from Milton— The Picture 
 of Lord Egremont's Family 248 
 
Contents. xi 
 
 OHAPTEB PAGE 
 
 XII. He has a Building Mania — Tom Hayley painta a Sign for 
 the Village Alehouse — Romaey paints the Lady in the 
 Greenhouse — Tom Hayloy's Illness — Romney's Failing 
 Energies — Tobit and Tobias — The New House at 
 Haiupstead 271 
 
 XIII. Romney becomes morbid — He goes Home to be nursed — 
 
 The Last Recognition — His Death — Plaxmau regrets 
 him — The Monument to his Memory refused a Space 
 in Dalton Church by the Lay Rector —Romney's Son 
 pays his Last Respects to his Father's Memory 290 
 
 XIV. Hayley's Honour —William Blake collects Material for 
 
 Hayley's " Life of Romney "—His Interesting Visits to 
 the old Gentleman who had known Romney from Youth 
 — Adam Walker gives his Reminiscences — The Sale at 
 Christie's — Mr. Caleb Whitfoord's Collection of Pictures 
 —Last Thoughts 312 
 
GEORGE EOMNEY AND HIS PICTURES. 
 
 CHAPTBE I. 
 
 Parentage — The Cumberland Fells — Yo2ith — Apprentice- 
 ship — Marriage — George Romney starts in Business 
 for Himself and has a Lottery of his Pictures — Mrs. 
 Bomney's Portrait. 
 
 How seldom it is that men steer to fortune in the 
 course designed for them by hopeful progenitors ! 
 The shaping of a man's career is, after all, in his 
 own hands ; and the submitting to the will of 
 another against a natural bent in the choice of 
 livehhood has as often marred as made a fortune : 
 and one of those who have wandered from the 
 pathway in life selected by parental authority was 
 the subject of these memoirs, — George Romney. 
 Destined by birth to take his place in the ranks of 
 trade, his genius budded and blossomed amid rustic 
 
2 George Romney and His Pictures. 
 
 surroundings where no opportunity was available 
 to acquire instruction in his inborn art. Onward 
 he went, following his selected profession, until 
 by incessant application he reached the goal in 
 the race for fame, and his name was placed high 
 on the list of our great English painters. 
 
 The father of the youth who was to bring 
 renown into the family was "Honest John 
 Eomney"! of Furness, so titled by his neigh- 
 bours; he was of comparatively humble circum- 
 stances, by trade a combination of the joiner and 
 cabinetmaker, and he also farmed a small patri- 
 monial freehold in the district of Dalton. A 
 worthy man in every sense of the word, with an 
 ingenious turn of mind of no mean limit, for ever 
 experimenting, his capabilities extending from the 
 construction of a fiddle, or a plough to go by 
 steam, to the conversion of a chest of drawers 
 
 ' The correct spelling of the family name was Bumney, 
 which John Eumney, the cabinetmaker, always signed in 
 round schoolboy style. 
 
His Parents. 
 
 out of a sailor's chest that was made of mahogany 
 brought from the West Indies, and which was the 
 first piece of mahogany furniture manufactured in 
 that district, for up to that time walnut or cherry 
 wood had been in general use. He was likewise 
 the first to convert sea shells into manure, which 
 he introduced with beneficial results upon his farm 
 land. 
 
 Though he spent most of the years of his life 
 on a small inherited farm at Dalton, following 
 the threefold occupation of merchant, cabinet- 
 maker, and farmer, yet he does not appear to 
 have acquired riches from the joint profits of all. 
 
 His wife (formerly Anne Simpson of Sladebank, 
 in Cumberland) was a good motherly soul, a 
 thrifty housewife, such as is often met with, 
 dividing her duties between helping her husband 
 in his business, and looking after the needs of her 
 numerous little ones. Her son George was born 
 at Beckside, near Dalton, on December 15, 1734. 
 He passed the earliest years of his life in a situa- 
 
4 George Romney and His Pictures. 
 
 tion every way calculated to impress an observant 
 mind with the varied phases and beauties of nature. 
 Each morning as he arose it was to survey the 
 boundless ocean with its picturesque surroundings ; 
 for the site of his father's house was on a kind of 
 terrace commanding an extensive view of the Irish 
 Sea, while from the hill behind it the prospect 
 was a perfect panorama ; the high grounds on 
 the Cumberland side being well cultivated and 
 studded with white farmhouses, while mansions 
 of gentry enlivened the scene, and Blach Comb 
 rose majestically and sombre with its summit 
 enveloped in grey mist in unsettled weather. In 
 the distance could be seen the points of Scaw Fell 
 and contiguous mountains. The thunderstorms in 
 this romantic region supplied his impressionable 
 intellect with a fine conception of the sublime. 
 He would note the storm approach across the 
 sea on a dark evening from the distant streak 
 which marked the horizon till the ocean became 
 a vast sheet of light. 
 
School-days. 
 
 When old enough he was sent to school at Dendron, 
 distant about four miles from his home, where the 
 master, the Eev. Mr. Fell, taught his pupils for the 
 modest remuneration of jive shillings a quarter. It 
 was too far for him to return home mid-day, so he 
 was boarded with a Mr. Gardner of the same place 
 for £4 10s. per annum, within a trifle of 3d. per day. 
 His progress at school was so slow that his father 
 thought it waste of money to continue the expense 
 of his studies ; so he placed the boy in his own 
 workshop, his age being then eleven years. Slow 
 he might have been ; but by his steady attention to 
 his trade he soon became of material service. In 
 the early part of his career his diligent application 
 was most praiseworthy. As soon as he could 
 handle the tools he began to carve fiddles for his 
 rustic companions. A gift of one of these to a 
 pupil at Mr. Fell's named Greene started a friend- 
 ship that lasted to the end of their lives. He 
 made a very elaborate one for himself, the tone of 
 which was extremely good ; there was some light 
 
6 George Romney and His Pictures. 
 
 carved work that spread from the setting in of the 
 neck over part of the back that vs^as very curiously 
 executed.^ He kept this instrument until the day 
 of his death, and in after-life he sometimes treated 
 his few intimate friends to a composition of his 
 own in a room hung round with pictures of his 
 own creation, — a singular combination of artistic 
 talent in the one person. 
 
 The opportunities of seeing pictures in that 
 then remote district were rare indeed,— the most 
 attractive being the sign of the Eed Lion at Dal- 
 ton. As no man in the locality had ever seen a 
 lion, red or otherwise, its claim to be king of 
 the beasts was never disputed. One of Mr. Eomney's 
 workmen, who boarded with him, by name Sam 
 Knight, took a monthly illustrated magazine, 
 which he usually gave to his master's son when 
 he had finished with it himself. The lad copied 
 
 1 Experts consider the carving to be not English but Italian, 
 both in design and workmanship. This Romney may have 
 bought, and then made the violin. 
 
Apprenticed to an Artist. 
 
 the engravings from the serial with such fideHty 
 that Sam Kuight encouraged his efforts as far as 
 his own limited knowledge went. Some of these 
 drawings came under the notice of a Mr. Lewth- 
 waite, of Millom, in Cumberland, who urged his 
 father to yield to and educate his evident talent 
 for drawing; and just in the nick of time an inci- 
 dent furthered the proposition. A Mrs. Gardner, 
 related to the party with whom he had boarded 
 at Dendron, noticing how apt he was with his 
 pencil, asked him to take her portrait. The result 
 pleased her so much that she added her persua- 
 sions to those of Mr. Lewthwaite, and the father 
 dispensed with his services at the bench, and 
 bound him as apprentice^ to an itinerant painter 
 named Steele, who happened just then to be 
 wandering in the district, and was located for 
 the time being at Kirkby Kendal. This artist, 
 
 ' His indentures were signed Rumuey, as also were some 
 of his early letters ; the change from Bumney to Eomney 
 occurred a few years later. 
 
8 George Romney and His Pictures. 
 
 Christopher Steele, was nicknamed Count Steele 
 from his having acquired showy French manners 
 and adopted a French style of dress, contracted 
 during a brief residence in Paris, where he had 
 the advantage of studying under Carlo Van Loo, 
 a painter of great repute. Steele's pictures were 
 executed in a broad manner, and his lace caps 
 and aprons were the best possible to do. At 
 first the new pupil was treated more in a menial 
 capacity, and allowed but little time wherein to 
 improve himself; his chief occupation was grinding 
 colours. Perhaps in the main this drudgery 
 was beneficial to him : it initiated him into perfect 
 knowledge of the mixing of colours ; for in his 
 earliest productions there is singular clearness 
 and sweetness of tone, far beyond what might 
 be expected from an artist of so little experience. 
 "While articled to Steele he became attached to a 
 young woman of about his own age, named 
 Mary Abbot. Her mother had been left a widow 
 with two little girls, and by her own industry she 
 
Youthful Marriage. 
 
 had respectably reared them. Mary was in a situa- 
 tion in humble life as domestic servant when young 
 Eomney fell ill of a fever, resulting from the excite- 
 ment brought on by assisting his master to elope 
 to Gretna Green with one of his pupils. During 
 his illness he was tended by Mary Abbot, and the 
 two young people fell in love with each other. 
 
 Steele, who was for ever on the ramble, sent 
 word that he was about to reside in York, and 
 Eomney must prepare to follow him. The lovers 
 keenly felt the impending separation, and resolved 
 to get married, which they did on October 14, 
 1756. 
 
 His precipitate marriage sorely vexed his parents 
 at the time, as he was only an apprentice without 
 means of subsistence ; and to their remonstrance 
 he made answer that he now had an incentive 
 to diligence, as he would have no leisure for 
 youthful follies when he had another depending 
 on him. Soon after his improvident marriage he 
 joined Steele at York, and as he had no income 
 
lo George Roinney and His Pictures. 
 
 of his own his young wife had perforce to remain 
 at Kendal. Indeed, she seems to have had more 
 to spare than he had ; for on more than one occa- 
 sion she enclosed half a guinea in a letter to him, 
 her own savings. He worked assiduously, and 
 sent her a portrait of himself in oils, the first he 
 ever did — a crude performance, but highly valued 
 by the recipient. 
 
 From indolent habits Steele proved a most 
 unsatisfactory master; indeed, a discreditable one; 
 constantly flitting from town to town, leaving 
 behind him uncancelled debts, while his pupils 
 had to face his angry creditors. Finding that 
 he was meditating a move to Ireland, Eomney 
 was anxious to sever his connection with him, 
 for this unsettled life was most distasteful ; be 
 therefore suggested to Steele that, instead of 
 returning ten pounds which he, Eomney, had 
 lent him, the indentures should be annulled. 
 This Steele agreed to, for he had the decency 
 to know that his example was a drawback to 
 
He Starts in Business. 1 1 
 
 his pupil; and, in relinquishing his engagement, 
 he remarked that he did so that he might not 
 retard the progress of one whom he was sure 
 would do wonders. 
 
 Upon gaining his freedom, George Eomney 
 returned to Kendal, and commenced business as 
 a portrait painter on his own account, and was 
 at once in demand, though he had only studied 
 a little over two years. His younger brother, 
 Peter, was showing great promise also as an 
 artist, though only sixteen years old; to help 
 the youth George took him to teach him the 
 preparatory science of mixing colours. 
 
 George's initial production on starting for 
 himself was a sign for the Post Office in 
 Kendal, a hand holding a letter, which re- 
 mained there many a year. The two first 
 portraits of importance with which he was 
 favoured were half-lengths of Mr. Walter Strick- 
 land of Sizergh and his lady. This gentleman 
 proved a kind and considerate patron ; and he 
 
1 2 George Roniney and His Pictures. 
 
 allowed Eomney to copy some of his valuable 
 family pieces, works of eminent men, which 
 thoughtful act on the part of Mr. Strickland 
 greatly improved the young man's style. Then 
 Mr. Charles Strickland sat to him ; he was 
 brother to Mr. Walter, and he was taken 
 sitting, with a fishing-rod in his hand, the 
 background being a waterfall called the Force 
 in the Kent, near Sizergh. 
 
 Two similar pictures executed at this time 
 were remarkable for the perfect drawing of the 
 dogs that were introduced, faithful to nature in 
 every respect. 
 
 One was Mr. Jacob Morland of Capplethwaite 
 in his shooting dress, with his favourite pointer. 
 The other was Colonel George Wilson of Abbot 
 Hall, Kendal, leaning against a rock, attended 
 by three spaniels. This picture went to Dallam 
 Tower, where followed, in 1767, the Eev. Daniel 
 Wilson of Lancaster in his clerical dress; and, 
 later still, a three-quarters portrait of Mrs. 
 
Early Patrons. 
 
 Wilson, very pleasing and sweetly coloured. 
 He also did kit-cats of Mrs. Charles Strickland 
 and the Eev. William Strickland, which were 
 hung at Sizergh. 
 
 The wife of the Eev. Dr. Simonds, Vicar of 
 Kendal, was very desirous of having her husband's 
 likeness ; but he could not be induced to sit, so 
 in order to gratify the lady Eomney sketched his 
 face while doing duty in church, with most 
 satisfactory results. 
 
 Among his patrons at this time was the Eev. 
 Dr. Bateman, the learned master of Sedbergh 
 School, who evaded the modest demand of the 
 artist that he should remit him two guineas as 
 the price of the commission until a letter from 
 an attorney opened his purse. 
 
 While in York, Eomney had bought prints 
 after Dutch masters that had taken his fancy, 
 and in leisure moments in Kendal he copied them 
 in oils, and composed scenes of kindred styles. 
 When he had sufficient to form a little collection 
 
14 George Romney and His Pictures. 
 
 he rafiSed them in Kendal Town Hall for ten 
 and sixpence a ticket. When eighty-two tickets 
 were sold the pictures were exhibited for a week 
 in the public building, and then were raffled. 
 Subjoined is the list ; those marked (*) were his 
 own conceptions, the rest were from designs of 
 eminent masters. 
 
 Ft. In. Ft. In. £ s. 
 
 *1. King Lear awakened by his Daughter 
 
 Cordelia, . . ; . .44x36 88 
 ='•2. King Lear in " The Tempest " Tear- 
 ing off his Bobes, . . .44x36 88 
 ='■3. A Landscape with Figures, . .42x28 40 
 
 *4. A Quarrel, 2 11 x 2 3 3 10 
 
 ^S. A Shandean Piece, . . . .26x22 30 
 
 *6. A Droll Scene in an Alehouse, . .22x21 2 10 
 
 7. A Landscape after Poussin, . . 2 11 x 2 3 2 10 
 
 8. Harvest : A Landscape, . . .26x20 15 
 
 9. St. Cecilia, 21x19 15 
 
 10. Holy Family, 2 2x19 15 
 
 -*11. A Group of Heads by Candlelight, .20x14 15 
 
 12. A Piece of Books 2 6x19 10 
 
 13. A Magdalene, 20x17 10 
 
 14. Colebrook Dale : A Landscape, .20x15 15 
 
 15. A Landscape from Wouverman, .20x16 15 
 
 16. A Landscape with Figures Fishing, 14x11 10 
 
Pictures Raffled by Lottery. 15 
 
 Ft. III. Ft. 111. a s. 
 17. A Batch House with Figures, . .14x011 10 
 
 -*18. A Tooth Drawing by Candlelight, . 1 x 10 10 
 
 19. A Landscape from Berghem, . .16x12 10 
 
 20. A Landscape with a Group of Houses, 14x010 05 
 
 Mrs. Eotnney, his young wife, was his model for 
 ■Cordeha in King hear awakened hy his Daughter 
 Cordelia. This prize was drawn by a Mr. 
 Richardson of Cartmel, whose son afterwards 
 removed to the south, and most likely took it 
 with him, which would account for its reaching 
 & broker's shop in Kensington some years later, 
 where by a curious coincidence it attracted the 
 observation of a son of Adam Walker, a dis- 
 tinguished lecturer in philosophy, who drew his 
 father's attention to it. Mr. Walker at once re- 
 cognised it as Eomney's, for he himself was the 
 original of King Lear. He acquired it for a paltry 
 five shillings ; whether a frame was included in the 
 bargain, history sayeth not. King Lear in " The 
 Tempest" Tearing off his Bohes was won by Mrs. 
 Eobinson, housekeeper to Captain Wilson of Bard- 
 
1 6 George Romney and His Pictures. 
 
 sea Hall, a torchlight subject which eventually 
 became the property of Mr. Braddyll of Conishead 
 Priory. Strange to say, the first and last attempts i 
 of Bomney were from this scene. 
 
 No. 3, ^ Landscape with Figures, was lost sight 
 of after the lottery until 1798, when Eomney and 
 his son were looking at a house at Barfield in the 
 north, which they thought of purchasing. The 
 little picture of two timid ladies in a boat on a 
 lake with three gentlemen attracted the notice of 
 the younger Eomney ; and he inquired the name of 
 the painter. To his surprise he received as answer 
 " The great Mr. Eomney," for the owner knew 
 not the visitors. 
 
 The son ultimately bought the picture ; for be 
 had heard his mother speak of an excursion to 
 Bowness and the island on Lake Windermere, and 
 he concluded that his father sketched the landscape 
 as a reminiscence of the day's pleasure trip ; for 
 two of the figures were undoubtedly himself and { 
 IMrs. Eomney, while the gentleman standing up in 
 
CATHERINE MARY AND THOMAS JOHN CLAVERING. 
 {From the painting by George Rouney.) 
 
Pictures from " Tristram Shandy". 17 
 
 the boat was Adam Walker.^ At the raffle it had 
 fallen to a Miss Gibson of Lancaster, who gave it 
 to her relative, in whose possession it was found. 
 
 The person who won the Shandean Piece gave it 
 to Sir Alan Chambre, Knight. It represented Dr. 
 Slop splashed and dirt-daubed ushered into the 
 parlour of Obadiah, where Walter Shandy and 
 Toby were discoursing; but their attention was 
 arrested by the woeful and grotesque appearance 
 of the doctor. From the same author Bomney com- 
 menced another picture, The Death of Le Fevre; 
 although unfinished when he left Kendal, and 
 most probably never completed, still it was de- 
 scribed by Adam Walker as most affecting. 
 
 The figures were about eighteen inches long, and 
 full of expression, the dying lieutenant looking at 
 Uncle Toby, who sat mute at the foot of the bed, 
 and by a movement of his hand recommended his 
 son to his care, while the boy kneeling by the 
 bedside pathetically turns from the dying man, 
 
 > Sold at Messrs. Christie's on May 25, 1894, for £23 10s. 
 
 2 
 
1 8 George Romney and His Pictures. 
 
 craving protection from the living father. Trim 
 stood in his usual attitude, at a distance, full of 
 grief. 
 
 While serving his apprenticeship to Steele at 
 York, some of George Eomney's drawings had 
 been shown to Lawrence Sterne, who was then 
 Vicar of Stretton. He immediately pronounced 
 in their favour, and took the young artist under 
 his protection. The praise of Sterne was a pass- 
 port that lifted him into celebrity at once. The 
 pictures which Eomney painted from his patron's 
 works added considerably to his fame, they were 
 conceived with such comic force. Tradition in 
 York said that Dr. Slop was a burlesque on 
 a well-known accoucheur and antiquarian in the 
 district, by name Dr. Burton, upon whom the good 
 people of York pinned their faith ; a quaint figure, 
 somewhat deformed, with a very large head, whom 
 they were accustomed to see mud-spattered sitting 
 astride his diminutive pony, hurrying through the 
 Yorkshire lanes to a professional emergency case. 
 
Dr. Slop, a Life Sketch. 19 
 
 Romney must have been perfectly familiar with 
 the local celebrity ; and when Tristram Shandy was 
 published he would be cognisant of Sterne's satire 
 on the medical gentleman, so the comical figure 
 in Eomney's sketch may reasonably be assumed to 
 be a likeness, albeit when the book appeared Dr. 
 Burton declined to trace any affinity between him- 
 self and Dr. Slop. 
 
 Where the rest of the lottery prizes went to is 
 at present unknown : some day they may be re- 
 cognised. The Tooth Drawing by Candlelight is a 
 subject so uncommon that it should be traceable 
 if in existence. The patient, with a combined 
 expression of fear and pain, is placed in the 
 centre of the picture ; a man bends over him from 
 behind, holding his head with both hands; while 
 the operator, with prolonged and anxious visage, 
 extracts the tooth. On the left is a woman in 
 shadow, who, from the powerful effect of light 
 upon the other figures, is evidently holding a 
 ■candle, though invisible to the spectator. 
 
20 George Rontney and His Pictures. 
 
 Peter Eomney, the artist's younger brother, 
 took a copy of it in oils when a boy, but it 
 would naturally be much inferior to the original. 
 Eomney would most likely get his design from 
 one of the Dutch prints picked up in York. 
 Gerard Douw did a very similar scene. 
 
 George Eomney particularly excelled in candle- 
 Hght effects. He painted his brother James when 
 sixteen years old holding a candle with one hand, 
 and intercepting the light with the other, as if 
 to screen it from the action of the air; the effect 
 is gained by the illumination of the face. ^ He 
 used to paint at night, so as faithfully to copy 
 the true shades cast upon subjects by lamps, and 
 he once devised a scheme for illuminating theatres 
 from above, by which the actors would be seen 
 more distinctly, while the glare was less offensive 
 to the audience. 
 
 Two small studies in oil, of the heads of Lear 
 
 1 This picture was disposed of by Messrs. Christie for i'22 
 Is. on May 25, 1894. 
 
A Mean Patron. 21 
 
 and Cordelia, Romney was about to burn as 
 valueless, when a Mr. Matthew Whittaker, of 
 Kendal, begged them from him. These he 
 greatly prized, and had them glazed and framed 
 to preserve them, rejecting the offer of a friend 
 to purchase them for ten guineas. 
 
 About this time Eomney painted the portrait 
 of a gentleman, for which he was to receive two 
 guineas, his average price for a three-quarters, and 
 six guineas was the figure he asked for a whole 
 length on a kit-cat. The gentleman withdraw 
 from his bargain on the plea that he was not 
 present when the finishing touches were put 
 on ; and it was left by Eomney with a Mr. 
 Collinson of Lancaster. 
 
 But when his reputation was acknowledged, 
 and he won the premium for a large work sent 
 to the London Exhibition for competition, the 
 original of the rejected portrait thought he would 
 be wise if he secured it, so he called on Mr.- 
 Collinson and claimed it. When the latter gentle- 
 
2 2 George Romney and His Pictures. 
 
 man handed the cash to Mrs. Eomney he jocosely 
 proved prophetic, saying that Eomney's pictures 
 improved by keeping — a statement which time has 
 shown to he a literal fact, for his colours have 
 mellowed and ripened. 
 
 It was and is no uncommon occurrence for a 
 patron to alter his mind between the giving of 
 an order and its execution ; and just about the 
 same time that George Eomney was calmly sub- 
 mitting to the whim of his chent, William 
 Hogarth was undergoing a similar ordeal: but 
 Hogarth was made of different humour, and was 
 quite a match for his man ; and in reply to an 
 epistle from a friend who had remarked on the 
 
 return of the picture ordered by Sir E Gr 
 
 Hogarth emitted the following satire : — 
 
 To your charge the other day 
 About my picture and my pay, 
 In metre I've a mind to try 
 One word by way of a reply. 
 To risque, you'll own it was absurd, 
 Such labour on a rich man's word; 
 
Hogarth's Satire. 23 
 
 To lose at least an hundred days 
 
 Of certain gain for doubtful praise, 
 
 Since living artists ne'er were paid. \ 
 
 But then, you know, it was agreed, > 
 
 I should be deemed an artist dead, / 
 
 Like Raphael, Rubens, Guide Reni ; 
 
 This promise drew me fairly in, 
 
 And having laid my pencil bj", 
 
 What painter was more dead than I ? ' 
 
 But dead as Gtiido let me be. 
 
 Then judge, my friend, 'twixt him and me ; 
 
 If merit crowns ahke the piece,^ 
 
 \\'hat treason to be alike in price. 
 
 Because no copied line you trace, 
 
 Xo copied colouring, copied grace. 
 
 The picture can't be right, you're sure. 
 
 But say, my critic connoisseur. 
 
 Moves it the heart as much, or more, 
 
 Than picture ever did before ? 
 
 This is the painter's truest test. 
 
 And this Sir R d's self confest; 
 
 Nay, 'tis so moving that the knight 
 Can't even bear it in his sight ; 
 Then who would tears so dearly buy 
 
 1 Hogarth had abandoned painting when he undertook 
 this commission. 
 
 ^ The same picture was sold for four hundred pounds later 
 at a sale. 
 
24 George Romney and His Pictures. 
 
 As give four hundred pounds to cry? 
 I own he chose the prudent part 
 Eather to break his wori than heart; 
 And yet methinks 'tis ticklish dealing 
 With one so delicate — in feeling ! 
 However, let the picture rust, 
 Perhaps Time's price-enhancing dust, 
 As statues moulder into earth, 
 When I'm no more may mark its worth ; ' 
 And future connoisseurs may rise 
 Honest as ours, and full as wise. 
 To puff the piece, and painter too, 
 And make me then what Guide's now. 
 
 Eomney, realising that his native element con- 
 tained but limited scope for bringing in adequate 
 remuneration, turned his thoughts and desires to- 
 wards the metropolis as a field for his labour. 
 His worldly wealth was too reduced to warrant 
 the removal of his family until he had tested his 
 reception in London art circles. After talking 
 over the matter with his wife, a very sensible 
 woman, who felt that she ought to sacrifice her 
 
 ' And authors too, like paintings and coins, are valued 
 more when their works are scarred with the rust of Time ! 
 
Departure for London. 25 
 
 husband's companionship if by his absence he 
 could better their position, and sharing with her 
 their savings qf one hundred pounds, taking fifty 
 himself, and bidding adieu to wife, son, and daugh- 
 ter, he set off alone to seek fortune in London. 
 The little daughter was only two years old when 
 he went, and she died the next year. The be- 
 reaved mother then abode with her husband's 
 father, Mr. John Eomney. It was no premedi- 
 tated act, as some have asserted, to abandon his 
 family ; for he left his little ones with the earnest 
 hope of improving their prospects, wishing to do 
 his best for them. 
 
 To save sufficient to enable him to reach the 
 capital he had laboured incessantly at his pictures, 
 disposing of them all by lottery, taking no relaxa- 
 tion whatever save a brief practice on the violin 
 with Adam Walker, with whom he kept in har- 
 mony all his life. 
 
 The letters which Eomney wrote to his wife 
 after his arrival are of affectionate tendency. 
 
26 George Romney and His Pictures. 
 
 They commence " Dear wife," and end " My 
 dear, affectionately thine, George Eomney ". In 
 the second letter he wrote he desires her to roll 
 up and send him the pictures of King Lear and 
 Elfrida, and tells her that he has seen Adam 
 Walker and other friends whom he names. After 
 messages to acquaintances in the north, he says 
 that his brother John, who had gone up with 
 him, had got work, and he thinks he will keep 
 his promise this time and stick to it. 
 
 In a later letter to his father, of date June 20, 
 1773, Eomney writes to reassure him regarding 
 his prospects; for the old man was anxious and 
 fearful that his son would not get on. Eomney 
 is very hopeful, and begs his father to be good 
 to Molly (his wife) and John (his son). He was 
 still struggling to succeed eleven years after he 
 left home to seek his fortune. 
 
 A portrait which Eomney painted of his wife 
 before he quitted the north shows a genteel young 
 woman, who might have been a parlour maid, not 
 
Mrs. Romncys Portait. 27 
 
 an inferior. Her age seems about twenty-five years. 
 She is fair, with bhie grey eyes and brown hair, 
 the expression of countenance dissatisfied, ahnost 
 sulky. The dress a pink and cream, cut low and 
 square in front, white tucker, narrow black velvet 
 round the neck. A plaid bronze silk handker- 
 chief drapes the back of the head. It seems a 
 faithful portrait, but conveys the idea only of 
 what was homely. 
 
CHAPTEE II. 
 
 He seeks Fortune in London— Wins a Premium from 
 the Society of Arts — Visits Paris — His Brother 
 Peter's Satire on the Critics — Richard Cumberland 
 interests Himself — Gar rick visits the Studio — 
 Cumberland's Ode. 
 
 His keen industry having realised a sum sufficient, 
 
 though small, to enable him to put his project to 
 
 trial , he set out for the metropolis with no letter 
 
 of introduction, knowing only two persons in the 
 
 great city — Mr. Braithwaite of the Post Office, and 
 
 Mr. Greene (Mr. Fell's late piipil), who was now 
 
 practising as an attorney at Gray's Inn. Mr. 
 
 Braithwaite kindly interested himself, and procured 
 
 apartments for the north countryman. He arrived 
 
 in London in 1762, and took rooms in Dove Court, 
 
 near the Mansion House. He then set about 
 
 making the best of his humble painting-room, 
 
 (28) 
 
His First Exhibition Picture. 29 
 
 sending to Kendal for some pictures which he had 
 left wherewith to decorate it. And here he painted 
 a very large picture, The Heath of Bizzio. Its 
 magnitude became an encumbrance, and he sacri- 
 ficed it by cutting it into two pieces. Those who 
 saw it described it as very fine, particularly the 
 head of the queen protecting Eizzio from the 
 assassins, representing fright and terror. 
 
 Next he moved to Mr. Hautree's in Bearbinder's 
 Lane, where he executed the work which drew 
 upon him the regard of the artistic fraternity 
 ; — The Death of General Wolfe, which he sent for 
 competition for the premiums offered by the Society 
 of Arts in 1763. ^ He was awarded the second 
 prize ; but as some of the adjudicators demurred, 
 the decision was revoked in favour of Mortimer, 
 who thereby received the prize of fifty guineas for 
 
 ' The society this year also gave a premium of 100 guineas 
 to a Mr. Stansfield of Bingley for the model of a mill that 
 worked either by wind or water, which demonstrates the im- 
 portance of the invention in the absence of steam-power. 
 
30 George Romney and His Pictures. 
 
 his Edward the Confessor Seizing the Treasures of 
 his Mother. The dissentient ones had erred in 
 attributing The Death of General Wolfe to an old 
 member who had retired into the country for some 
 years, and they resisted what they deemed an 
 attempt to impose upon them. And some argu- 
 ment took place as to whether the picture could 
 strictly be considered to come under the historical 
 category, as it had not then been recorded in 
 history ; the incident having only occurred a year 
 or two prior to the painting of it. Others ridiculed 
 the officers and soldiers, who were not all in proper 
 regimentals, whilst Wolfe himself had on a pair of 
 silk stockings against the costume of a general in 
 the battlefield.^ Have not other great masters made 
 equally glaring mistakes ? Has not Eubens painted 
 in his Dead Abel a dog wearing a very fancy dog 
 
 1 The same subject. The Death of General Wolfe, was a bone 
 of contention among artists when West painted it. Hitherto 
 it had been customary to depict all soldiers in either Eoman or 
 Greek dress; but West garbed them in their right costume, and 
 so caused a revolution in art. 
 
Errors by Great Masters. 31 
 
 collar, while his late master's best clothes are the 
 skin of an animal ? Has not Dance decorated 
 Eichard the Third with the Ster of the Order of 
 the Garter, which was not introduced until the reign 
 of Charles I. ? What would a fishmonger say if he 
 came across Paul Veronese's red lobsters listening to 
 the preaching of St. Anthony of Padua? Of the 
 Presidents of the E,oyal Academy, did not Sir Joshua 
 Eeynolds have a sitter who objected to the hat being 
 under his arm, as the artist had painted it, and said, 
 ■"Put it on my head, where it ought to be worn"? 
 Sir Joshua painted in the new hat, but forgot to 
 take out the old one, and for some time the pic- 
 ture was exhibited with two hats. And Benjamin 
 West erred flagrantly in classical lore when he 
 ■drew Paris in Roman instead of Phrygian attire. 
 
 For the reasons already specified the decision 
 was reversed against the friendless and unknown 
 artist. But all the judges were not satisfied, and 
 inquiry proved that it was not done by the retired 
 member whom they had suspected ; so a second 
 
32 George Romney and His Pictures. 
 
 council was convened, when it was decided to give 
 a second prize of twenty- five guineas on the merit 
 of the work. The picture was at once purchased 
 by the friend and countryman of Bomney, Bowland 
 Stephenson, the banker, who presented it to Gover- 
 nor Varelst ; and this gentleman placed it in the 
 Council Chamber at Calcutta. The prize of one 
 hundred guineas was awarded to Canute Beproving- 
 his Flattering Courtiers} The life-long animus 
 which existed between Eeynolds and Eomney ^ 
 said to date' from this exhibition, as Eomney felt 
 that Eeynolds had much to do with reversing the 
 decision against him, a fact which his sensitive 
 nature could never obliterate. 
 
 His great ambition now was to study the works 
 of foreign artists in their own country ; and though 
 he ardently longed to visit Italy, his surplus funds 
 
 1 Other historical subjects against which he competed were 
 Edward the Black Prince Introducing his Prisoner the French King- 
 to his Father, Edward III. ; Caractacus before the Roman Emperor 
 Glaudian, etc. 
 
MRS. STABLES AND DAUGHTERS. 
 {From the fainthig by George Romney.) 
 
To Paris for Improvement. ^yl) 
 
 would not reach to the requisite outlay, so he was 
 
 obliged to content himself with a trip to Paris, Mr. 
 
 Greene accompanying him. In the French capital 
 
 he had the good fortune to be introduced to Vernet, 
 
 the celebrated painter of sea-pieces and landscapes, 
 
 who was then executing a commission for Louis XV. 
 
 to paint the seaports of France, and who was 
 
 lodged in the Louvre. He gave Eomney a cordial 
 
 welcome, and obtained for him access to the 
 
 Orleans Gallery, where he spent most of the six 
 
 weeks of his excursion. He also visited the 
 
 Luxembourg, Versailles, Marly, St. Cloud, and 
 
 such churches where the works of great masters 
 
 could be seen. 
 
 On his return to London he took rooms in Gray's 
 
 Inn, to be near his late travelling companion. 
 
 Here Mr. Braithwaite obtained for him a sitting 
 
 from Sir Joseph Yates, one of the Judges of the 
 
 Court of King's Bench, which pleased so far that 
 
 he was followed by several other gentlemen of the 
 
 law. 
 
 3 
 
34 George Romney and His Pictures. 
 
 In these chambers he painted his Death of King 
 Edmund, for which he obtained the premium of 
 fifty guineas from the Society for the Encourage- 
 ment of Art in the next year, 1765.^ It is not 
 known what became of it. He also sent two other 
 pictures to this exhibition, The Portrait of a Gentle- 
 man, and The Head of a Lady in the Character of a 
 Saint. Mr. Hamilton took the first prize of sixty 
 guineas for his Boadicea going to be Scourged by 
 the Bomans, while her two daughters are forced 
 from her. 
 
 In 1767 he revisited Kendal and Lancaster, 
 where he executed many paintings ; and when he 
 returned to the south he took with him his 
 brother Peter, as he was wishful to give him the 
 chance of improving himself. But Peter was far 
 from steady, and entirely without means of main- 
 tenance, so he had to be sent back home. He 
 
 1 In this year the Mayor of Liverpool wrote to the Society 
 of Arts in London that the corporation over which he had the 
 honour to preside had ordered one hundred pounds to be paid 
 towards assisting the general views of the society. 
 
Peter Romney Criticises the Critics. 35 
 
 had picked up in London some prints after 
 Veruet and Berghem ; these he copied and disposed 
 of by lottery, after his brother's example ; and 
 thus he raised funds to take him to Manchester, 
 where he commenced his short career as a por- 
 trait painter. 
 
 Though only twenty-three years of age when 
 he wrote the letter from which the subjoined 
 extract is taken, it will afford amusement as a 
 criticism on the critics who inspected his pictures. 
 " The first sort that presents itself," he wrote, 
 "are those who, having perhaps read some flimsy 
 French authors on taste, heard of Hogarth's line 
 of beauty, and seen a few of Eeynolds' prints, 
 condemn all pictures that are not twisted, loose, 
 and careless. The next are those who, having 
 gathered their ideas from dancing masters, board- 
 ing schools, and some of Cranke's^ or Hudson's 
 pictures, admire only such as are neat, formal, 
 
 ' Cranke was a respectable provincial painter, little in- 
 ferior to Hudson. 
 
J 
 
 6 George Roinney and His Pictures. 
 
 upright, and are at some stiff sort of employment. 
 A third, who have perhaps been in Italy, and 
 seen a number of very old brown paintings, think 
 none valuable that are not half obscured by smoke 
 and dust. These, again, are contrasted by a set 
 whose criterion of judging is derived from the 
 Chinese figures with carmine cheeks, and from 
 painted actresses ; and condemn all as looking 
 dirty which are not uniformly fair and bright as 
 a tulip. A fifth sort, having seen some of 
 Vandyke's faded pictures, are quite offended if a 
 painting has any shadow on it ; whilst an advocate 
 of Eembrandt admires no picture but what is 
 too dark to distinguish what it represents ; " and 
 so he rattled on in his truthful category, not 
 forgetting " such as are always enamoured of 
 little minute pieces and parts of things, such as 
 buttons, button-holes, lace, finger-nails, fretted 
 sleeves, and knots of ribands, and who imme- 
 diately dislike the picture in which they cannot 
 discover these beauties". 
 
Peter Romney Waits for Sitters. 2)7 
 
 In the next extract from another of his clever 
 letters will be detected an underlying sense of 
 the humorous : it follows a complaint of want of 
 patrons, and demonstrates how he tried to coax 
 them to sit to him. "What should I do?" 
 wrote he. "I had recourse to other methods, 
 and am justly punished for my attempts ; though 
 they were always made upon people who had 
 more money than they had wisdom to make 
 good use of it, which I thought would in some 
 measure palliate the meanness of the stratagems 
 I practised upon them to draw them into my 
 sitting chair. The first I fixed upon for this 
 purpose was a lady of wit, beauty, and distinction 
 — all of which I did not fail to let her know, 
 though it was unnecessary, as she knew them 
 already. . . . But I dwelt chiefly on her 
 beauty (which in truth was very extraordinary 
 for her age), in hopes of inspiring her with a 
 desire of transmitting it to posterity, which at 
 length she declared was her intention when she 
 
58 George Romney and His Pictures. 
 
 went to London, adding that when it was done 
 it should be by the first painter in the kingdom." 
 On one after another he tried his persuasive 
 powers, and in each instance his prey evaded 
 him by some misinterpretation of his flatteries. 
 One lady said her only objection to sit was the 
 colour of her hair ; and while she hesitated, Peter 
 Eomney, in the hope of prevailing on her, told 
 her that the greatest painters had always given 
 their Madonnas red hair, which was a proof that 
 they regarded it as the most beautiful. "Well," 
 she said, with an affected laugh, " and so you call 
 my hair red, do you ? I am much obliged to 
 you for the title you give it ; but it is not red, nor 
 shall you ever make it so." Foiled again, and 
 by his own indiscretion ! But traly he was sorely 
 tried by the Manchester people : a giddy, thought- 
 less young man or an old bookworm would pro- 
 mise to sit, but no appointment would be kept ; 
 the one would sail down the Duke's Canal in gay 
 company, and the other had found an old parchment 
 
Portraits of his Brothers. 39 
 
 which interested him more than the anxiously ex- 
 pectant and disappointed young artist. In the 
 excess of his aggravation he denounced the Man- 
 chester folk as old women in everything except 
 trade and manufactures.' 
 
 In 1766 George Eomney had sent for exhibition 
 a family piece, which he called A Conversation. 
 It was his erratic brother Peter sitting at his 
 easel demonstrating a problem in Euclid to an- 
 other brother, James, who was standing near him, 
 resting his arm on the chair back. The figures 
 were two feet and a half high.^ 
 
 He now removed to Great Newport Street,* 
 
 ' A very similar expression of opinion was emitted by an old 
 actor named Samuel William Eyley, surnamed "The Itinerant,'' 
 who, in a fit of disappointment, pronounced the people of 
 Manchester as " cotton-headed, cotton-hearted cotton manu- 
 facturers ". 
 
 ' This picture sold at Messrs. Christie's rooms on May 25, 
 1894, lor i'73 10s. 
 
 ' Mr. Eeynolds (as he then was) had only recently vacated 
 his residence in Great Newport Street when Romney lodged 
 in the same street. About a century ago a gentleman 
 named Eutley, a fine art dealer, took the house which 
 
40 George Romney and His Pictures. 
 
 where Kichard Cumberland, son of the Bishop 
 of Clonfert, and author of several literary and 
 dramatic works, was one of his first patrons. 
 He found Eomney but poorly lodged, asking only 
 eight guineas for a three-quarter portrait. Cum- 
 berland sat to him, and to encourage him to 
 raise his price he voluntarily gave him ten guineas 
 for this commission. Furthermore, he took Gar- 
 rick to see it before it was finished, hoping to 
 enlist the interest of the great actor. 
 
 Garrick, however, was decidedly of the Eeynolds 
 faction, and favoured the eminent painter with 
 many sittings for different subjects; he therefore felt 
 little inclination to give his patronage to a rising 
 artist, who might encroach upon the territory of 
 his favourite. When the picture was shown to 
 Garrick he exclaimed: "That is very like my 
 
 Reynolds had occupied; he covered over the garden, and 
 converted it into a gallery for pictures, where his grandson, 
 Mr. T. L. Rutley, stiU carries on the business founded by 
 his grandfather at the Eeynolds Galleries, 5 Great Newport 
 
 Street. 
 
What Cumberland TkotiQ/it. 41 
 
 friend ; and that blue coat with a red cape is very 
 like the coat he has on : but you must give him 
 something to do — put a pen in his hand, a paper on 
 his table, and make him a poet ; if you can once set 
 him down well to his writing, who knows but in 
 time he may write something in your praise ? " And 
 so it came to pass, for, stimulated no doubt by this re- 
 mark of Garrick, Cumberland composed some classical 
 odes to which he attached the name of Romney 
 in the dedication ; and after the death of Romney 
 Cumberland wrote a short account of him, which 
 appeared in the European Magazine. Of the men 
 who eventually wrote memoirs of Romney, Richard 
 Cumberland seems to have read his character in the 
 most consistent light. Writing of him at this time 
 Cumberland says : " Romney, shy, private, studious, 
 and contemplative, conscious of all the disadvan- 
 tages of a stinted education, of a habit naturally 
 hypochondriac, with aspen nerves that every breath 
 could ruffle, was at once in art the rival and in 
 nature the very contrast of Sir Joshua. A man of 
 
42 George Romney and His Pictures. 
 
 few wants, strict economy, and with no dislike to 
 money, he had opportunities enough to enrich him 
 even to satiety ; but he was at once so eager to 
 begin and so slow to finish his portraits that he 
 was for ever disappointed of receiving payments for 
 them by the casualties and revolutions m the 
 families they were designed for : so many of his 
 sitters were hilled off, so many favourite ladies 
 were dismissed, so many fond wives divorced before 
 he conld bestow half an hour's pains upon their 
 petticoats, that his unsaleable stock was immense ; 
 whilst with a little more regularity and decision 
 he would have more than doubled his fortune, and 
 escaped an infinity of petty troubles that disturbed 
 the temper." 
 
 The poems which Cumberland dedicated to the 
 talents of Eomney considerably enhanced his re- 
 putation. Dr. Johnson told Eeynolds that these 
 odes would have run very well by themselves, but 
 by attaching Eomney's name to them he made 
 them carry double. In the first part he gives an 
 
Citniberlaud's Odes. 43 
 
 account of the origin of portrait painting, founded 
 on the story of the Maid of Corinth (transmitted 
 by PHny), who traced the Hnes of her lover's face 
 from his shadow on the wall by candlelight, which 
 her father, a potter, filled up with clay and formed 
 a bust. Then he remarks on the superiority of 
 historical painting ; and gives a brief eulogy of the 
 Greeks, who excelled in it, passing on to the 
 Italian, Dutch, Flemish, and French masters. In 
 part ii. he endeavours to account for the neglect of 
 painting in England from the time of Henry VIII., 
 Elizabeth, etc., but makes honourable mention of 
 the Duke of Eichmond's gallery for artists,^ and 
 the succeeding Eoyal Academy and its talented 
 Enghsh painters. He adds a wish to see his 
 friend Eomney among the first of his profession, 
 giving his reasons for hoping it. He observes that 
 the reputation of a painter in some degree is owing 
 to a happy choice of subjects ; he recommends 
 
 ' The Duke of Richmond opened his gallery of models and 
 antiques to students of painting. 
 
44 George Romney and His Pictures. 
 
 national events, and suggests Sir Philip Sidney 
 
 "in his hour of death," giving, like Cato, an un- 
 
 tasted cup to a dying soldier; and Sir Thomas 
 
 More's heroic daughter Margaret Eoper summoned 
 
 before the council for burying her martyred father's 
 
 head ; the witches and fairies of Shakespeare ; St. 
 
 Michael and the fallen Satan of Milton. No doubt 
 
 it is due to the ideas of Cumberland that Eomney 
 
 originally gave his attention to Milton. The ode 
 
 closes with wishes for long life and prosperity to 
 
 the painter, thus : — 
 
 May thy just country, while thy bold design 
 Recalls the heroes of her ancient line, 
 Gaze on the martial group with dear delight ; 
 May youth and valour, kindling at the sight, 
 O'er the bright tints with admiration lean, 
 And catch new virtues from the moral scene I 
 May Time himself a fond reluctance feel. 
 Nor from thy aged hand the pencil steal ! 
 But grant it still to gain increasing praise 
 In the late period of thy lengthen'd days, 
 While fairest fortune thy long life endears 
 With Raphael's glory joined to Titian's years.' 
 
 ' Titian lived to be ninety-nine years of age. 
 
Satire on Sir Joshua Reynolds. 4 5 
 
 Poetic friendship ! Vandyke had his Waller, 
 Kneller his Dryden, Jarvis his Pope, and Eomney 
 his Cumberland, and Eeynolds too received a poet's 
 attention, which the illustrious painter could afford 
 to ignore. In the year following the publication of 
 Cumberland's ode there issued from the press the 
 first part of Warley, a satire addressed to the first 
 artist in Europe. Swift and Anstey seemed to be 
 the author's models, and he hobbled after them in 
 very unequal paces, wherein only their nastiness 
 could be traced ; and the press critic said, " A 
 second part is promised, but we hope to see no 
 more of it," — a wish which Eeynolds no doubt 
 endorsed. 
 
CHAPTEE III. 
 
 Exhibition Pictures — "Mirth " and "Melancholy" — Mrs. 
 Yates and Mrs. Siddons as "The Tragic Muse"— 
 The Visit to Italy— " The Wood Nymph"— '' The 
 Transfiguration" and its Fate. 
 
 In 1768 Eomney's great exhibition picture was 
 a large piece of Mr. Leigh, a proctor of Doctors' 
 Commons, his wife, and six children; a picture 
 well praised by the critics. He had great facility 
 in eliciting expression in a sitter ; but upon one 
 occasion he found himself almost incapable of 
 inducing any vitality into the countenance of a 
 country attorney ; for though his profession de- 
 mands intelligence, there was no external sign 
 of any. To remove the settled dulness that 
 pervaded his features, Eomney started every 
 popular theme of conversation; all in vain, — no 
 
 life, no interest. 
 
 (46) 
 
Exhibition Pictures. 47 
 
 By some good chance hunting was broached, 
 at the sound of which animation sparkled in the 
 sitter's eyes, and he expatiated with spirit until 
 Mr. Eomney had caught the required expression. 
 
 Sisters Contemplating on Mortality was also 
 painted in 1768. Dunkarton engraved it in 1770. 
 A melancholy subject, though well carried out, 
 showing two profile portraits of females looking 
 at a headless statue at their feet ; while the elder 
 points with her right hand to a ruined archway 
 in the background, denoting nature's decay. Two 
 critics of that day have commented upon this 
 work — one as very fine, but the colouring too 
 cold; the other thought it a fine picture in the 
 style of Mr. Eeynolds. 
 
 In 1769 he sent another Family Piece, portraits 
 of Sir George Warren, his wife and daughter; 
 Lady Warren seated in a graceful attitude, with 
 her left elbow resting on a pedestal ; the hand 
 •over her daughter's shoulder, a girl of seven 
 years, who stands beside her with little hands 
 
48 George Ro7nney and His Pichtres. 
 
 lightly crossed on her bosom as she caresses a 
 bird. Sir George, dressed in picturesque costume, 
 directs their attention to something in the dis- 
 tance with outstretched hand. This picture went 
 to Pointon Hall, Cheshire. 
 
 Up to this date Eomney had sent his works to 
 the Free Society of Artists ; but as its position 
 seemed to dwindle he seceded in 1770, and joined 
 the Chartered Society in Spring Gardens, where 
 he contributed two pictures of females, in the 
 characters of Melancholy and Mirth, borrowed 
 from Milton's L'Allegro and II Penseroso. 
 
 Before despatching them he received the follow- 
 ing letter from Richard Cumberland, March 30, 
 1770, relative to their titles : — 
 
 " Sib, — Since I waited upon you this morning 
 my mind has been wholly occupied with reflecting 
 upon your fine compositions, which you are pre- 
 paring for public exhibition. You will receive 
 it only as a mark of ignorance which means to 
 be friendly, when I suggest to you a doubt of 
 
Cumberland Advises. 49 
 
 the titles which I understand you intend to give 
 to your characters. If they are to be described 
 under the terms of L' Allegro and Penseroso, I 
 think your dramatis persona will be liable to the 
 following objections. In the first place, the titles 
 are not classical ; they are modern, barbarous, and 
 affected. West is now transcribing an ode to 
 Horace upon canvas, and has flagrantly failed. I 
 fancy he did not take The Death of General Wolfe 
 from ye paltry poem called Quebec or ye Co7iquest 
 of Canada. No, sir; let the poets wait upon you 
 and give your figures their natural titles in their 
 own language, or in established classical terms. 
 The solemn figure is strictly that of the muse 
 Melpomene, and Mr. Reynolds^ has led ye way 
 in calling ye other Euphrosytie. I think I 
 should render those into English by the titles of 
 Meditation and Mirth, etc., etc." 
 
 ' Eeynolds was knighted in 1769. Cumberland had evi- 
 dently not become accustomed to the newly acquired title 
 when he wrote of him in 1770 as Mr. Eeynolds. 
 
 4 
 
50 George Roinney and His Pictures. 
 
 The Melancholy of this beautiful pair, for such 
 it was eventually called, was shown facing, stand- 
 ing looking upwards. The right elbow rested on 
 a pedestal to the left, on which was a frieze 
 with a wounded man held up by an attendant; 
 before him stood a female full of grief, supported 
 by others. Her face leant against one hand, 
 while the other (the left) hung helplessly beside 
 her. The drapery of Melancholy was particularly 
 fine, and the whole conception grand. Some 
 years afterwards Benjamin West compared it to 
 productions of Baffaelle. It was said to be a 
 portrait of Mrs. Yates. 
 
 The companion picture. Mirth, was a dancing 
 figure looking to front, the hands holding a 
 tambourine above the head. On the left, in the 
 background, were four females, one standing playing 
 a triangle, one sitting playing a guitar, another 
 kneeling with a lyre. The background formed by 
 trees. Engraved by Dunkarton in 1771. It was 
 thought to be a portrait of Mrs. Jordan. 
 
Mrs. Yates as " The Tragic Muse". 51 
 
 Eeynolds executed a very similar subject, only 
 containing more figures; he called it Ti' Allegro, 
 and the principal figure was M.rs. Hah. 
 
 Eomney did many fancy pictures for want of 
 sitters. One, an innocent-looking young girl, 
 seated under a tree with an open book on her 
 Imee, was engraved as The Young Moralist, 
 with the lines beneath — 
 
 So lovely, young, and yet so good. 
 
 How blest those parents are 
 To see the seeds of virtue bud 
 
 "Which they had planted there. 
 
 In 1771 Eomney exhibited a portrait of Mrs. 
 Yates as The Tragic Muse, which preceded and 
 was ecHpsed by Eeynolds' Mrs. Siddons in the 
 same study. Mrs. Yates was shown in front view, 
 looking upwards to right, in Eoman dress and 
 sandals, the right hand holding a dagger, the 
 left pouring incense on a tripod. 
 
 Eeynolds was fortunate in having so Minerva- 
 like a model, whose attitude he copied from 
 
52 George Romney and His Pictures. 
 
 Michael Angelo's figure of the prophet Joel in 
 the Cappella Sistina, but in which Miss Anna 
 Seward, the poetess, rightly saw some incon- 
 sistencies, such as a heavy theatrical chair of 
 state in the clouds, gold lace and pearls, plaited 
 hair, and the imperial tiara upon an allegorical 
 figure, which sorrow and high resolve would in- 
 capacitate for the studied labours of the toilet. 
 Truly they were misconceptions of even classical 
 probabilities. Under Sheridan's management Mrs. 
 Siddons was drawn in state as The Muse of 
 Tragedy in a play called The Jubilee ; the 
 make up designed from Reynolds' great picture. 
 Eomney once began a portrait of Mrs. Siddons ; 
 and on Flaxman, the sculptor, telling him how 
 greatly it was admired, and thought to be 
 superior to Reynolds', Eomney's honest reply 
 was, " The people know nothing about it, for it 
 is not ". Nor was it. 
 
 The other pictures of importance shown in 1771 
 were Major Pearson, of the Hon. East India Com- 
 
Journey to Italy Postponed. 53 
 
 pany's service, in conversation with a Brahmin 
 under a pahn tree, a black servant listening to 
 their discourse. And A Lady and a Child, after an 
 Italian Madonna e Bambino, and A Beggar Man. 
 In the next year he sent a portrait of Ozias Hum- 
 phrey and another of an old man to an exhibition 
 near Exeter Change, and this is the last of Bom- 
 ney's exhibition pictures, for he sent no more as 
 long as he lived. 
 
 In the autumn of 1772 his long-desired hope 
 of seeing Italy seemed about to be realised : he 
 had made arrangements to go with Ozias Hum- 
 phrey, the miniature painter, who had brokexi 
 up his house consequent upon the girl of his 
 heart taking another for a husband in preference 
 to himself. But Eomney was very ill of a fever ; 
 and the projected journey had to be postponed 
 for a few months. 
 
 Eichard Cumberland and his family were stay- 
 ing with Lord Warwick, from whence he wrote 
 to Romney to thank him for a picture of Sappho, 
 
54 George Romney and His Pictures. 
 
 of which Eomney had made him a present. It 
 was written August 10, 1772, and contained the 
 following allusion to the projected journey to 
 Eome, which, however, had to be abandoned 
 until the next year on account of his illness : 
 " When I received your letter I was in the middle 
 of your friends, and am charged by Lord War- 
 wick to assure you of his cordial wishes. Mr. 
 Grreville is now writing to you, and enclosing a 
 letter to Sir William Hamilton to prepare you 
 a reception equal to your merits when you arrive 
 at Naples." When he did go abroad, he altered 
 his plans, and did not reach Naples. 
 
 The Duke of Richmond supplied him with a 
 note of recommendation to the Pope, which obtained 
 for him a rare opportunity for improvement. 
 Though at this time he was earning twelve hundred 
 a year, he was conscious of a want of style ; and 
 so earnest was he in his endeavour to become 
 perfect in his profession that he resolved to relin- 
 quish his remunerative business for a period, and 
 
HENRIETTA, COUNTESS OF WARWICK. 
 (From the painting by George Romney.) 
 
Diliociit Sfiidv in Rome. 55 
 
 cultivate his taste by seeing the great models of 
 antiquity, and studying the Italian masters. After 
 defraying the expenses of his late illness, and 
 placing a hundred pounds at his banker's, he, in 
 company with Ozias Humphrey, set off for Rome 
 on March 20, 1773. They passed the first night 
 at Sevenoaks for the sake of looking at the 
 many interesting possessions of the Duke of 
 Dorset at Knole. His Grace, being at Knole, 
 gave them a most hospitable reception. He was 
 a patron of the miniature painter, whose portrait 
 by Eomney is still at Knole. 
 
 After being nearly lost in the Gulf of Pisa, 
 they reached Eome on June 18. Naturally shy, 
 Eomney associated with few even of his country- 
 men in the Eternal City ; but he led a studious 
 life in accordance with the object of his visit, to 
 improve himself by industriously copying many 
 noble examples of art. 
 
 His journey to Italy proved of the greatest 
 advantage to him : as new scenes disclosed them- 
 
56 George Romney and His Pictures. 
 
 selves, his views of art expanded, and the works 
 of fancy that he created on his return home 
 testify to the use he had made of his time. The 
 purity and perfection of ancient sculpture appear 
 to have made the deepest impression on his miud ; 
 and he afterwards cherished the taste imbibed by 
 collecting casts from the best models of antiquity, 
 which he would sit and contemplate, examining 
 their appearances under all changes of light, with 
 lamps prepared on purpose. Grandeur and sim- 
 plicity became the aim of his ambition. To 
 present his figure — to tell the story with simple, 
 undisturbed effect, rejecting all unnecessary minu- 
 tim, was the point he aimed at — and obtained. 
 
 In Rome he studied the nude from a young 
 female who supported herself and her mother by 
 acting as a model to artists, but she was always 
 accompanied by her mother. The only picture 
 painted from her he called 'A Wood Nymph : it was 
 a full-length nude, lying on the ground with tlie 
 back to the spectator, the fore-part of the body 
 
The Wood Ny^nph" a Roman Study. 57 
 
 raised, restino; on her right arm and elbow, as she 
 contemplated the reflection of her beautiful profile 
 face in a brook; the hair in two plaits coronet- 
 wise round the head. Her robe was pink, and she 
 lay upon a drapery of white Hnen. Wild forest as 
 a background. 
 
 Mr. Keate, a surgeon, had commissioned Komney 
 to take his wife's portrait for forty guineas, which 
 he paid ; but from some cause it was never 
 finished. Finding that he was likely to come off 
 worst in the bargain, Mr. Keate proposed to the- 
 dilatory artist that he should give him The Wood 
 Nymph instead of the portrait of Mrs. Eeate, by 
 which exchange he became the possessor of a pic- 
 ture of much more value than if the original order 
 had been executed. 
 
 A curious incident occurred relative to another 
 picture painted in Rome, Providence Brooding over 
 Chaos, representing a venerable old man borne 
 upon the clouds, with arms outstretched, fronting 
 the spectator, the hair parted on the forehead, and 
 
58 George Romney and His Pictures. 
 
 beard flowing, as with mild expression he seemed 
 absorbed in the performance of some great opera- 
 tion. The lower part was obscurity and darkness. 
 This picture remained for some time at his house 
 in Cavendish Square, where he lived on his return 
 to London. It hung opposite the entrance, over 
 a copy of The Transfiguration of Eaffaelle. 
 
 At the time of Lord George Gordon's riots in 
 1780 Eomney became alarmed that this picture 
 might be regarded as conveying Eoman Catholic 
 tendencies, and thereby lead to the destruction of 
 his house. It was, therefore, removed to a back 
 apartment, where it would not attract attention. 
 When his son made out the list of his pictures 
 for sale after his vdeath, the name was altered to 
 Jupiter Pluvius, the idea taken from a figure of 
 that pagan divinity on a column of Marcus Aurelius 
 to which Eomney's subject bore some af&nity. 
 
 The Transfiguration just referred to was upon a 
 scale of magnitude equal to the original, painted 
 in oil and umber on single sheets, which he after- 
 
Raffaelles ""Transfiguration". 59 
 
 wards united in one large canvas. The whole 
 was an accurate copy in entirety of the last work 
 and masterpiece of Kaffaelle : it included the lower 
 and most attractive part, which represents a youth 
 tormented with an evil spirit, surrounded by a 
 group of sympathising and terrified spectators, 
 among whom are the disciples of Christ, and the 
 relations, male and female, of the demoniac. To 
 accomplish this great work he had a scaffold erected 
 in the Church of San Pietro in Montorio, where 
 the original was the altar-piece. Here he laboured 
 on his great undertaking, while at intervals religious 
 service was conducted beneath him by the monks 
 without interruption on either side. What inspir- 
 ing influence must not such surroundings have 
 conveyed to him as his task proceeded on the very 
 spot where the illustrious author had been borne 
 to rest in the solemn pomp and dignity of that 
 refined era ! But what was the recompense lor 
 this great effort? The answer will be regarded 
 with incredulity. On its arrival in England the 
 
6o George Roniney and His Pictures. 
 
 Duke of Eichmond of that date offered one hundred 
 guineas for it ; but, conscious of all the cost and 
 labour he had bestowed upon it, Eomney refused 
 the offer, reserving it for worse fate, for at the 
 auction of his pictures this copy of a masterpiece 
 by a master hand realised only six guineas ! Oh 
 world of art, where was your discernment of merit ? 
 There were then but two copies — one at Dulwich 
 Gallery, said to be by Guilio Eomano, the other at 
 Wynstay, by Parry ; while the original had passed 
 to the Napoleon Museum at Paris, and was inacces- 
 sible to British subjects. Yet this treasure changed 
 hands for a paltry six guineas ! Where is it now? 
 
CHAPTEll IV. 
 
 He meets Edward Wortlci/ Montague at Venice, and 
 ■paints his Portrait — Peter Romney tells his 
 'Troubles — Death of Francis Coles, E.A. — Portraits 
 of the Miss Gunnings. — Romney takes his House in 
 Cavendish Square — Wishing to study Garrick, he 
 is brought to Death's Door. 
 
 EoMNEY took Venice on his way home, and 
 there made the acquaintance of the illustrious 
 traveller, Edward Wortley Montague, ^ for whom 
 he conceived a great affection ; and in excess of 
 friendship Montague imparted to him a receipt 
 for making coffee, of which Eomney often made 
 use. He executed a most pleasing picture of this 
 new friend in the handsome Turkish costume 
 which he usually adopted. It was a three- 
 quarter length, life size, mace in right hand, left 
 
 ' The erratic son of Lady Mary Wortley Montague, to 
 
 whom she bequeathed one shilling. In Italy he became a 
 
 Catholic ; in Egypt, a follower of Mahomet. He died in 1776. 
 
 (6i) 
 
62 George Romney and His Pictures. 
 
 on his hip; battle scene as background. Out of 
 comphment to the city through which he was 
 passing, Eomney coloured and finished it in the 
 style of the great Venetian masters, with sur- 
 prising success. It is considered one of the finest 
 of his portraits of men. On its arrival in England 
 it was immediately purchased by the Earl of 
 Warwick for fifty guineas, but the artist stipu- 
 lated that he should be allowed to take a copy 
 prior to delivering it. 
 
 The second remained on hand for some years, 
 and was then bought for forty guineas by Mr. 
 John Milns of Wakefield in 1788. A crayon 
 sketch of this head was begged from Eomney by 
 the wife of William Hayley, the poet. Eomney 
 had made the acquaintance of Hayley in 1772, 
 introduced by Meyer, the most exquisite miniature 
 painter of the age. Meyer spoke of him to the 
 poet as a rising star, of whose talents he had 
 the highest opinion. Hayley considerably added 
 to his artistic treasures by the economical method 
 
Haylcys Rapacity., 63 
 
 of askiiij; for them. Whenever Eomney's son 
 missed a picture and inquired for it, he would 
 be told that Hayley had asked for it. One gem 
 so acquired was a female head, of heavenly 
 sweetness, with upturned eyes, her long hair 
 flowing loosely over her shoulders, her head 
 encircled with a small blue fillet, and her soft 
 blue eyes all contributing to sanctify the character. 
 The model for this head was the daughter of 
 Dr. William Guy, the Hayley family medical 
 adviser at Chichester. Hayley bequeathed it to 
 one of his friends, but after his death most of 
 his pictures acquired by gift went to the hammer. 
 Eomney brought home with him some notable 
 and uncommon pictures, painted from subjects 
 that had taken his fancy in Rome. One of 
 Baiocco, a savage dwarf, so nick-named by English 
 visitors from his begging a coin of that name. 
 Another was An Assassin, ^ one of those villains 
 
 1 Baiocco and the Assassin were sold in one lot at Messrs. 
 Christie's on May a.*), 1894, for £'o 15s. 6d. 
 
64 George Roinney and His Pictures. 
 
 who, for hire, would avenge personal grievances ; 
 a handsome, fierce face, with black curling hair. 
 A third, An Old Jew, with bald head and grey 
 locks and beard. He painted a duplicate head 
 from this model for Moses, which was sold un- 
 finished at the auction of his works. 
 
 On his return to England, vid Paris, after two 
 years' absence, he found himself greatly impo- 
 verished, from one cause and another ; indeed, he 
 had to borrow funds for homeward expenses, 
 while his annoyances were magnified by the 
 troubles that had befallen his clever younger 
 brother Peter. The following letter will speak 
 for itself, that there was a foundation of good in 
 poor Peter, overtaken by business misfortunes ; 
 he wrote from Cambridge, where he had settled 
 after shaking the dust of Ipswich off his feet. 
 It is dated June 10, 1774. " All my endeavours, 
 together with the encouragement I met with at 
 Ipswich, were not sufficient to secure me from 
 being arrested and cast into prison by Messrs. 
 
Peter Romney Arrested for Debt. 65 
 
 Allwood and Murray.^ ... To distress me at 
 a time and in a place where I had, not with- 
 out some pains and expense, established a very 
 extensive reputation, not only as a painter, but as 
 a man, and had above twelve months' business 
 bespoke, which I had no more to do than finish 
 with all expedition. When I might have had 
 the first recommendations to whatever place I 
 pleased. But this was not to be, especially in 
 the manner I had planned it. My arrest was so 
 public that it was known by everybody directly, 
 and greatly astonished some, but grieved and 
 afflicted, I believe, all the ladies and gentlemen 
 who had employed me. They would have got 
 me bail ; but as that would have increased ex- 
 penses without gaining me any real advantage, 
 I refused the offer, and went to limbo. When at 
 length I was released by the generous contri- 
 butions of the ladies and gentlemen in and about 
 Ipswich, who had with much to do persuaded my 
 
 ' Picture frame makers. 
 5 
 
66 George Romney and His Pictures. 
 
 plaintiffs to come to some compromise. 
 Though my imprisonment has lost me the opinion 
 of a few people not worth having, it has in- 
 terested several in my behalf who would not 
 otherwise have taken any real pains about me ; 
 and these happen to be of the first distinction, 
 both ladies and gentlemen, and some noblemen. 
 I am sensible I have drawn the eyes of the world 
 upon me ; and it behoves me, both out of regard 
 to myself and in gratitude to my patrons for their 
 generosity, to exert myself with all my powers, 
 and to observe my conduct with the greatest 
 prudence. I only lay in the heads, that I may 
 have fall employment in the vacation, which will 
 soon commence. I have no fear of not having 
 plenty to do when the young fellows return, 
 because they will not only be less busy, but less 
 poor." 
 
 Among the nobility who favoured him were 
 Lord John Clinton, Lord Pelham, Lord Hyde, 
 Lord and Lady Montford. Poor Peter was always 
 
Death of Francis Cotes, R.A. 67 
 
 entangled in some unhealthy love affair or other ; 
 and the severance of ties either by the death or 
 desertion of his af&anced sent him into fits of de- 
 pression ; and to dispel these he imbibed strong 
 liquors, which only made matters worse, and busi- 
 ness left him. These were the straits in which his 
 brother found him on his return to England ; and, 
 httle as he could spare it, George Eomney paid his 
 debts, and sent him to Stockport, supplied with cash 
 and recommendations. He was doing well, but the 
 faihng he had contracted gained upon him and 
 carried him off. He died in May, 1777, aged thirty- 
 four. He had made crayons his speciality, so as not 
 to clash with his brother ; he was so advanced that 
 he was well qualified to cope with Francis Cotes, 
 E.A., who died about the time that George Eomney 
 returned from Eome, greatly esteemed by his con- 
 freres. The pen of Miss Mary Moser wrote the 
 following testimony to his worth : "Sir Joshua a 
 few days ago entertained the council and visitors 
 with callipash and callipee, except poor Cotes, 
 
68 George Romney and His Pictures. 
 
 who last week fell a sacrifice to the corroding 
 power of soap lees, which he hoped would have 
 cured him of the stone ; many a tear will dr-op on 
 his grave, as he is not more lamented as an artist 
 than a Mend to the distressed ". 
 
 Cotes is best known by his pictures of the three 
 Miss Gunnings, whom he painted separately and 
 in a group of three — the engravings of which con- 
 vey no idea of the beauty which must have existed 
 in both the originals themselves and the prototypes 
 by Cotes.^ An appreciative admirer of his picture 
 of Maria addressed the following lines to it: — ^ 
 
 ' The pictures which convey an excellent idea of the varied 
 styles of the two elder ladies are the portraits of Elizabeth, 
 Duchess of Hamilton, by Allan Bamsay, and that of Maria, 
 Countess of Coventry, with a httle dog under her arm, by 
 Quinten La Tour, executed when she visited Paris as a bride in 
 1752. The Earl of Coventry, in giving permission for his wife 
 to sit, remarked that "he did not know who would put on 
 most paint, the countess or the artist " ; alluding to the well- 
 known failing of the lady which eventually cost her her life. 
 
 ''■ Gentleman's Magazine, September, 1750, p. 423. 
 
Cotei Portrait of Miss Gunning. 69 
 
 TO CBLIA'S PICTURE. 
 
 On thee, sweet picture, I can gaze, 
 
 Unawed by shame or fear ; 
 And view with rapture and amaze 
 
 That angel form you wear. 
 
 Tho' Artist Coies, with fancy warm 
 
 And praise deserving strife, 
 Has borrow'd Delia's looks to charm 
 
 And call thee into life : 
 
 Scarce half the lustre of that maid 
 
 To thee, alas ! is given ; 
 And yet what transports are oonvey'd 
 
 From that bright glimpse of heaven I 
 
 Thy eyes such heav'nly rays dispense, 
 
 I almost bend the knee ; 
 And with unwilling crime commence 
 
 Idolater to thee. 
 
 If in my breast a warmth so great 
 
 From a dead copy rise ; 
 Say, shepherds, what wiU be my fate 
 
 From Uving Gelia's eyes 1 
 
 On February 10, 177.5, the Incorporated Society 
 of Artists wrote to ask Eomney to contribute to 
 their exhibition ; and though the letter contained 
 
70 George Romney and His Pictures. 
 
 the signatures of P. Wheatley, J. Mortimer, W. 
 Marlow, J. S. Gilpin, and others, he did not avail 
 himself of the invitation. 
 
 While Eomney was troubled about his own 
 affairs, and revolving what was best to do, he 
 received a very interesting letter from Adam 
 "Walker, dated September, 1775. He was resident 
 in York, where he says he shows the Minster, 
 Castle, etc., to visitors. He wrote from an inn 
 at Market Weighton, where he was staying the 
 night on his way from Hull, which place he has 
 been to see ; but he says nothing of the im- 
 pression Hull made upon him. Knowing that 
 Bomney was uncertain as to his future, Mr. 
 Walker adds : " If you should ever condescend 
 to try provincial practice, York is not beneath 
 your notice ; or should you have a little time to 
 trifle away, perhaps we could find you something 
 even in your own way that you would not 
 despise ". 
 
 Then he describes the work of a Mrs. Morrit, 
 
Resides in Cavendish Square. 71 
 
 of York, who has copied some of the best 
 paintings in the country with threads of worsted 
 sewn into canvas. He thinks her copies equal 
 to the Titians, and other great masters whom she 
 has copied. 
 
 Finding that the house of Mr. Cotes (recently- 
 deceased), No. 32 Cavendish Square, was to be 
 let, Eomney, after a little hesitation, entered it 
 as a tenant at Christmas, 1775.i At first this 
 venture threatened disaster, and tended to prove 
 the accuracy of the adage which says that a 
 rolhng stone gathers no moss. For some weeks 
 he was without employment, and ruin seemed 
 inevitable, when his former patron, the Duke of 
 Eichmond, looked in upon him, and sat for his 
 portrait, a three-quarter profile, reading from an 
 
 ' When Bomney took the house in Cavendish Square, at 
 a rental of a hundred guineas a year, the square was 
 enclosed by a low brick wall, surmounted by a heavy 
 wooden railing. The present tenant of the residence, made 
 famous as the abode of the successive artists, Cotes, Eomney, 
 and Shee, is Dr. Mapother. 
 
72 George Romney and His Pictures. 
 
 open book held in both hands. The duke, as 
 President of the Society of Arts, had previously 
 interested himself on behalf of Eomney. 
 
 The sequel to this commission was a flow of 
 orders, copies of the duke's portrait being in 
 demand for his grace's special friends ; while for 
 the duke himself he painted the portraits of 
 Admiral Keppel (copied from a picture in • the 
 duke's possession), Mr. Burke, the Hon. Mrs. 
 Darner, Lord George Lennox, Lord John Caven- 
 dish, etc. The duke would seem to have given 
 Komney orders for portraits of the dead as well 
 as the living. In the exhibition of pictures at 
 the New Gallery, Eegent Street, in 1891, of 
 persons who had lived during the rule of the 
 House of Guelph, there v/as "George, Lord Anson, 
 in possession of the present Duke of Bichmond 
 and Gordon ". The admiral died at Moor Park, 
 in Hertfordshire, on June 6, 1762, a date only con- 
 temporary with Eomney's settlement in London. 
 It must, therefore, have been a copy of an existing 
 
Oztas Humphrey. TZ 
 
 work, for in that year Eomney had no lords for 
 patrons. It was quite the custom for men of wealth 
 to employ artists of repute to copy pictures. In a 
 similar way the Duke of Dorset engaged Ozias 
 Humphrey to make replicas of family portraits from 
 his original progenitor up to the then present time. 
 Many were very large and full of work, and the task 
 proved too much for his sight ; he had nearly com- 
 pleted the number, and while painting a half-length 
 of Lionel, first Duke of Dorset, in the robes of the 
 Order of the Garter from the picture by Sir J. 
 Eeynolds, his eyesight gave way. After a year's 
 rest he was able to resume painting, but on the 
 larger scale only ; and as he was taking portraits of 
 the Prince and Princess of Orange he suddenly went 
 totally blind and painted no more. 
 
 It was at this time, when Eomney was mentally 
 concerned about his prospects and finances, that 
 Eeynolds is credited with having satirically alluded 
 to his rival as "the man in Cavendish Square". 
 It was not the sneer of the man of assured 
 
74 George Rontney and His Pictures. 
 
 position against an intrusive new comer of 
 whom he might casually have heard ; but, prior 
 to its utterance, Bomney had found favour that 
 at one time almost equalled his own as regards 
 patrons. The few years during which he had 
 absented himself from England had certainly 
 scattered his business connection, but the craft 
 of his brush had not deteriorated; on the con- 
 trary, he had gained much. For thirteen years 
 the name of Romney must have been familiar to 
 Beynolds when he feigned to forget his name, 
 — a remarkable want of courtesy in this generally 
 urbane man, and it can only be considered a 
 studied insult. Enmity he must have felt, ere he 
 would have in sarcasm alluded to the inoffensive 
 brother-painter in terms that would be hurtful 
 to any self-respecting man, and particularly so 
 to the extra-sensitive Romney. Fuseli, too, cast 
 his sneers at Eomney ; but he, who had such 
 distorted conceptions of the artistic, could scarcely 
 be a reliable critic. Southey writes that one of 
 
MRS. I'OWYS OF UERWTCK HOUSE, NEAR SHREWSBURY. 
 (From the picture by George Romnry.) 
 
Prospects Brighten. 75 
 
 Eomney's charcoal sketches in the Fitzwilliam 
 Museum, Cambridge, was worth all Fuseli's 
 finished drawings. But with the patronage of 
 the Duke of Eichmond business revived. Mr. 
 Orde, afterwards Lord Bolton, wishing to present 
 an altar-piece to the Society of King's College, 
 Cambridge, where he had been educated, gave 
 Eomney instructions to paint a Mater Dolm-osa, 
 and when it was well advanced the gift was 
 anticipated by one from the Earl of Carlisle, an 
 old work, said to be by Daniele de Volterra; and 
 as the Mater Dolorosa would not be required, 
 Mr. Orde revoked his order, whereby Eomney 
 lost both his valuable time and hundred guineas, 
 and the picture was never finished. 
 
 Now in the zenith of his success, it was not 
 beneath David Garrick to promise to sit to him; 
 and, for the purpose of studying the great 
 actor, Eomney endeavoured to avail himself of 
 the final appearance of Garrick on the stage on 
 June 10, 1776, and presented himself at Drury 
 
76 George Romney and His Pictures. 
 
 Lane for that purpose. But seeing from the 
 great throng that had assembled that it would 
 be futile to try and obtain entrance, he crossed 
 over to Covent Garden to witness the play there. 
 While waiting for the doors to open a slight 
 shower of rain fell, which damped his clothes, 
 and sitting afterwards in the heated theatre he 
 contracted a fever which nearly ended his days, 
 but for a timely visit from his faithful friend 
 Cumberland, who at once sent for Sir Eichard 
 Jebb, who instantly ordered him to drink a bottle 
 of Madeira wine. He afterwards told Cumberland 
 that a further delay of half an hour in seeking 
 advice would have placed the patient beyond 
 human aid. From this date Sir Eichard Jebb 
 became his medical adviser; but, with a liberality 
 by no means a stranger to his character, he 
 would never receive a fee. The only return 
 that he could ever be prevailed upon to 
 accept was a small tinted drawing of their 
 common friend, Lord Chancellor Thurlow, copied 
 
Illness Prevents Garrick Sitting. 1'] 
 
 from the large picture in possession of Lord 
 Gower. 
 
 Sir Eichard himself sat to humour Eomney, 
 who wished to possess a portrait of his generous 
 benefactor. It was a half-length, never finished, 
 and ultimately became the property of a nephew 
 of Sir Eichard in Ireland. Owing to this illness, 
 the arrangement of Garrick to sit fell through ; 
 and the opportunity never occurred again. 
 
 Eomney had attained a position of eminence 
 which even the foreigner recognised ; for in 1777 
 Johann Jacobe, an engraver of Vienna, visited 
 England, and reproduced the works of Eeynolds 
 and Eomney in mezzotint. 
 
CHAPTEE V. 
 
 Humorous Verses sung at the Opening Dinner of the 
 Royal Academy — Beynolds and Romney— Their 
 Rival Merits — Paintings for Boydell's Shake- 
 speare Gallery — Unfinished Pictures — Fashionable 
 Ladies fail to keep Appointments — The Countess 
 of Derly — Child Portraits. 
 
 At so low an ebb was the appreciation of the 
 English artist against that of the foreigner that 
 an exhibition of pictures by native artists was 
 advocated to bring into prominence the merits 
 of English talent. 
 
 This was the foundation of the Royal Academy, 
 of which Bir Joshua Reynolds became the first 
 president, and the Rev. Dr. Eranklin was chosen 
 chaplain to the new society. For the inaugural 
 dinner, to commemorate the origin of the move- 
 ment, Dr. Franklin wrote some verses, which 
 
 (78) 
 
Two of a Trade Never Agree. 79 
 
 were set to music, and sung by Mr. Beard dur- 
 ing the repast. 
 
 When good Mr. Christie tricks out his fine show, 
 All is not gold which there glitters, we know ; 
 But with pompous fine titles he humbugs the town, 
 If the names are but foreign the trash will go down. 
 
 For this purpose some shrewd picture merchants, they say, 
 Keep many a good Eaphael and Kubens in pay ; 
 And half the Poussins and Correggios you meet 
 Were daub'd in a garret in Aldersgate Street. 
 
 There with pencils and brushes they drive a snug trade ; 
 There ancients are form'd and originals made ; 
 New trifles are shelter'd beneath an old name ; 
 And pictures, like bacon, are smoked into fame. 
 
 Such arts we disclaim and such tricks we despise, 
 On their own little pinions our eaglets shall rise ; 
 And, upheld by your praises, perchance they may soar 
 To the summit of fame which they ne'er reached before. 
 
 When strong prepossession no longer shall blind, 
 Nor the shackles of prejudice fetter the mind ; 
 The beauties of Truth then old Time shaU unveil, 
 And merit o'er folly and fashion prevail. 
 
 Mr. Meyer, one of the earliest and most active 
 members of the Eoyal Academy, and a valued 
 
8o George Romney and His Pictures. 
 
 friend both of Hayley and Bomney, strongly urged 
 Eomney in his own interest to send his works for 
 exhibition at the new institution, so that he could 
 be elected a member ; but at that time the town 
 was divided as to the greater merit of the president 
 or himself, and by the advice of Hayley he per- 
 sistently refused. Never during his lifetime did he 
 send any of his paintings to the Eoyal Academy, 
 and not until sixty-nine years after his death did 
 one of his pictures hang on its walls. And now, 
 as if by an irony of fate, no exhibition of old 
 masters is complete without some specimen from 
 the hand of him who ignored it in life. 
 
 In the following lines how accurately do Cum- 
 berland's words paint the character of the retiring 
 artist, and how strangely prophetic does the last 
 line sound in view of the praise bestowed in present 
 time upon each work of Eomney as it appears from 
 seclusion. 
 
 No wild ambition swells his temperate heart, 
 Himself as pure and patient as his art ; 
 
Reynolds and Romney. 8i 
 
 A blushing backward candidate for fame, 
 At once his country's honour and her shame, 
 Roused then at length with honest pride inspired, 
 Eomney, advance ! be known and be admired. 
 
 Consideriiig the written opinions of contemporary 
 
 artists of note regarding the merits of the rivals, 
 
 Eomney was in general fortunate in the choice of 
 
 historical subjects, and in this respect had very 
 
 far the advantage of Eeynolds, if only by the power 
 
 of expression which he scarcely ever failed to obtain. 
 
 Sir Joshua, save in a few instances, was not so 
 
 happy : he gave beauty and grace to the figure ; 
 
 Eomney imparted soul. Sir Joshua delights the 
 
 eye with harmony, rich colour, and beautiful effect ; 
 
 while Eomney thrills and gratifies with truth and 
 
 force of expression in action and countenance, 
 
 wrought with more simplicity but less art. He 
 
 strained not after colour and effect ; and no artist 
 
 is so independent of attire in his -sitters as Eomney, 
 
 consequently no one could have painted such really 
 
 beautiful women. To-day his pictures remain in- 
 
 6 
 
82 George Romney and His Pictures. 
 
 tact, with no sign of fading, as is a regrettable fact 
 in those of both Gainsborough and Beynolds. 
 
 As evidence that the works of Sir Joshua were 
 not accepted with universal admiration, a visit to 
 his studio by Horace Walpole may be quoted. 
 The president was absent at Ampthill in Septem- 
 ber, 1787, when Walpole called to inspect his 
 Infant Hercules for the Empress of Russia. After 
 satisfying himself he. despatched his criticism to one 
 of his lady correspondents, the Countess of Ossory ; 
 and who is there who will speak his mind as he 
 thinks but will be in unison with him who wrote : 
 " I did not at all admire it ; the principal babe put 
 me in mind of what I read so often, but have not 
 seen, the monstrous craws. Master Hercules's 
 knees are as large as, I presume, the late Lady 
 Gruildford's. Blind Tiresias is staring with horror 
 at the terrible spectacle. If Sir Joshua is satisfied 
 with his own departed picture, it is more than the 
 possessors or posterity will be. I think he ought 
 to be paid in annuities only for so long as his 
 
Horace Walpole gives " Quid pro Quo ". 83 
 
 pictures last; one should not grudge him the first 
 fruits " ? 
 
 Sir Joshua had displeased Horace Walpole by 
 making adverse comments on a picture of Henry 
 the Seventh, which the great art connoisseur had 
 purchased. But the sarcastic wit was equal to 
 the occasion, and retorted that Sir Joshua was 
 not likely to admire any picture in which the 
 colours had stood. 
 
 Hayley, addressing Sir Joshua Eeynolds in his 
 poetical essay on painting, sajang, " Teach but thy 
 transient tints no more to fly," alludes to the 
 defect in colouring, where the finer tints were 
 so managed for the sake of immediate and short- 
 lived brilliancy that they sank very soon into 
 no colour at all. The true cause of the defect 
 was the indiscriminate blending of the colours, 
 and the not using pure, simple, and imcom- 
 pounded tints. Blake, the artist, indulged in a 
 couplet relative to the death of Sir Joshua, as 
 follows : — 
 
84 George Romney and His Pictures. 
 
 The king dropped a tear into the queen's ear, 
 And all his colours faded. 
 
 Another critic, a minor light perchance, but 
 nevertheless figurative of the saying that it is 
 impossible to please all men, Sir Gilbert Elliott, 
 writing to his wife, May 9, 1789, says : " I saw the 
 exhibition yesterday for the first time. It is so bad 
 I don't think I shall return there. Sir Joshua has 
 many pictures, but I don't admire them much. His 
 principal one is Cymon and Iphigenia." Sir Gilbert 
 must have been eminently dissatisfied when he 
 made up his mind so early after the opening of the 
 show that he could not visit it again. Cymon and 
 Iphigenia has found royal favour since Sir Gilbert 
 pronounced against it, for it is now in the royal 
 collection. 
 
 In portraiture the president stood alone, Eom- 
 ney was not able to cope with him. In the 
 composition of his figures Eomney exhibited the 
 taste he had acquired by the study of the antique, 
 and he admirably varied the characters of his 
 
Romneys Style. 85 
 
 heads. The arrangement of the drapery which 
 he adopted partook largely of the same style, and, 
 being well understood, it was painted with dex- 
 terity, though, it must be confessed, in a form 
 better suited to sculpture than painting. His 
 colouring was broad and simple, and his flesh 
 tints very successful. By his refusal to exhibit 
 at the Eoyal Academy he lost the patronage of 
 the Court, and instead of using this means to 
 make his best works known to the public, and 
 thus fixing a record of their existence, most of 
 them are now hidden in obscurity ; and as he 
 seldom put any signature or sign upon any of his 
 pictures by which they might be traced to his 
 brush, many valuable productions lie unrecognised, 
 and perhaps uncared for, by their present owners. 
 Eomney's generous nature was taken advantage 
 of, and he was much imposed upon by the very 
 people who dared not have treated the president 
 as they did him. Reynolds exacted as much cash 
 down as he could extract before he began a com- 
 
86 George Romney and His Pictures. 
 
 mission ; and in consequence fared the better. 
 Comparison may be made in considering pictures 
 painted by these two great artists for Boydell's 
 Shakespeare Gallery. Eeynolds received one thou- 
 sand guineas for his Macbeth, five hundred paid 
 down before he would put a brush upon it ; 
 whereas Eomney asked only six hundred for The 
 Tempest, and generously gave the Boydells The 
 Infant Shahespeare attended by the Passions. 
 Yet he was not paid his fee for many years 
 afterwards, and in the time that it took him to 
 execute the picture he could have earned two 
 thousand guineas by portraiture. Easy-going, 
 unbusiness-like Eomney ! When West accepted 
 his commission, King Lear for the Shakespeare 
 Gallery, his terms were one thousand guineas, 
 and his own choice of an engraver, — a most im- 
 portant point, which Eomney neglected, and which 
 eventually proved far from beneficial to his re- 
 putation. As few of his works were prominently 
 before the public, but had disappeared into 
 
Good Nature Imposed upon. 87 
 
 private collectious, his compositions could only 
 be judged through the medium of the engravings, 
 which were mostly unsatisfactory, and conveyed 
 the idea that the originals were not worth look- 
 ing at. 
 
 So great had been the interest that he had taken 
 in the venture of the Boydells that he contributed 
 much to its fame by the fanciful illustrations that 
 he suggested ; but on finding that West and 
 Eeynolds had been paid one thousand guineas 
 apiece, while he waited for his six hundred, his 
 ardour abated, as might naturally be expected. 
 
 In the allegorical composition which he bestowed 
 upon the artistic speculators. The Infant Shake- 
 speare attended by the Passions, Nature is repre- 
 sented as having withdrawn the veil from her 
 countenance, in complaisance to her gifted child, 
 who is seated near her, between Joy and Sorroiv. 
 On the right of Nature are seen Love, Hatred, 
 Jealousy; and on the left, Anger, Envy, Fear. 
 
 Another very similar subject conceived from the 
 
88 George Rontney and His Pictures. 
 
 great undertaking was Shakespeare nursed by 
 Tragedy and Comedy. The Infant Author is de- 
 picted as a favourite child of Poesy, between the 
 Tragic and Comic Muses, who emulously watch 
 over his nurture, and share the pleasure of his 
 instruction. 
 
 "While painting these two fine conceptions, and 
 also Alope (Cercyon's daughter), in all of which 
 there is a nude infant, he used as model the child 
 of a soldier in the Guards, which died before he 
 had completed the pictures, and they were never 
 touched afterwards; and from the same cause a 
 boat drifted out to sea with a group of children 
 in it, while the nurse anxiously looked after the 
 little ones being carried away, though unconscious 
 of their danger, remained unfinished. Hoppner 
 bought this last at the sale of pictures in 1807 for 
 the miserably low figure of £4 14s. 6d. 
 
 In all his fancy subjects his preparatory sketches 
 were perfectly nude, yet thoroughly well drawn 
 and painted in. 
 
The Boydell Gallery. 89 
 
 A few words in reference to the famous Boydell 
 Gallery may not be amiss. When the elder Boydell 
 (afterwards alderman) first began business as an 
 engraver the whole commerce in prints in this 
 country consisted of foreign importations, mostly 
 from France. Impressed with the idea that the 
 genius of our own countrymen, if properly encour- 
 aged, was equal to that of foreigners, be established 
 a school of engraving, with so much success that 
 things were reversed, and the foreign market was 
 supphed by prints from England. His nephew, 
 Josiah Boydell, ably assisted him for forty years ; 
 and the large sums of money these engravers re- 
 ceived from continental buyers encouraged them 
 to attempt an English School of Historical Paint- 
 ing, for which no subject could be more appropriate 
 for a national work than England's inspired poet 
 and painter of nature, Shakespeare. It was left to 
 each artist to conceive and carry out his own design 
 of excellence. In promoting the commerce of Fine 
 Arts in this country, Alderman Boydell outlaid 
 
90 George Romney and His Pictures. 
 
 above three hundred and fifty thousand pounds, 
 and he hoped to leave his grand Shakespearian 
 Gallery of paintings to the nation ; but a convulsion 
 that disjointed the whole Continent of Europe, 
 the unhappy French Eevolution, cut off his foreign 
 revenues, and impoverished him to so great an 
 extent that at the beginning of the present century 
 he petitioned the House of Commons for leave to 
 dispose of his Shakespeare Gallery by lottery, 
 and so it was dispersed. 
 
 Some other subjects commenced and left un- 
 finished by Romney were A Shepherd Boy Asleep 
 watched hy his Dog at the Approach of a Thunder- 
 storm. The model was his servant boy, who 
 was dismissed, and the picture remained as it 
 was. 
 
 A Young Girl Sorrowing over a Fawn just killed 
 bij Lightning was left incomplete from want of 
 a fawn to paint from. This he made a gift to 
 Hayley. It has been said that, unlike Reynolds and 
 Gainsborough, he employed no drapery men; but 
 
Rapid Execution. 9^ 
 
 financially considered it would have proved more 
 remunerative, and have cleared his galleries of 
 growing stock if he had deputed the unimportant 
 part of his pictures to his most able pupils, some 
 of whom attained rank in the profession. 
 
 One of the earliest fancy pictures painted by 
 Eomney on his return from Italy was the head 
 of a Sibyl on a three-quarters canvas, a profile 
 with spiral ringlets. This he used to lend as a 
 copy until it was not returned, and to whom lent 
 was forgotten. 
 
 He usually painted a three-quarters of a gentle- 
 man in three or four sittings, if no hands were 
 introduced. The first, about three-quarters of an 
 hour; the other two, a couple of hours or so; and 
 the last, three-quarters of an hour for finishing 
 touches. Sometimes he had five or six sitters a day. 
 As the only time in which he could draw fancy 
 subjects was between the visits of his sitters, he 
 frequently commenced what inspired him, to the 
 neglect of the ordered portrait ; and by this 
 
92 George Romney and His Pictures. 
 
 postponement more pictures accumulated un- 
 finished than it is possible to record. 
 
 Canvases in every stage blocked the passages 
 to his gallery; some, which might have gone to 
 other homes, remained on hand because funds 
 were not forthcoming from those who ordered 
 them, which would have been obviated had he 
 insisted invariably on part payment in advance 
 when he found himself so often victimised. Many 
 of his patrons did pay half down, but the re- 
 mainder was frequently a bad debt. 
 
 Valuable time was wasted by ladies of high 
 degree, who, after sitting once or twice, preferred 
 the allurements of fashionable life, and disappointed 
 the artist. " She cometh not," he said ; and then 
 the canvas went to increase the block in passages, 
 while another was placed on the easel to follow 
 it to ignominy in due course. 
 
 Among the great ladies who contributed to 
 swell the spoiled works may be mentioned 
 Georgina, the notedly fascinating Duchess of 
 
Neglectful Patronesses. 93 
 
 Devonshire, of whom Gibbon said, "She was 
 meant for something better than a duchess ". 
 She sat to him three times, after long intervals ; 
 upon each occasion a new sketch was made. She 
 had every desire to assist in the completion of 
 the pictures, for she was a liberal patroness both 
 of literature and art ; but the calls of her exalted 
 position prohibited her sparing the time to bestow 
 it upon unlucky Eomney. 
 
 Another great lady who failed to keep her 
 appointments was Isabella, Duchess of Eutland, 
 whose portrait in half-length was ordered by the 
 Duchess of Beaufort. She was represented sitting 
 upon the ground, dressed in black silk, looking 
 upwards. It remained half done for eight or 
 ten years; when she called and asked the artist 
 to complete it, but to alter the face to what she 
 was then hke. After one sitting she came no more, 
 and the picture went the way of most of his efforts. 
 
 Among the chief portraits painted in the 
 fashionable residence he rented in Cavendish 
 
94 George Romney and His Pictures. 
 
 Square may be enumerated that of a daughter 
 of the celebrated Elizabeth Gunning, Duchess of 
 Hamilton ; the Lady Betty Hamilton, whose 
 simple grace and beauty Boswell so much ad- 
 mired, had become by marriage Countess of 
 Derby, and as such she sat to Bomney, who 
 has left a most charming picture of her girlish 
 figure. She is represented sitting, looking rather 
 upwards, the hair done high ; her dress a plain 
 robe over a flowered brocaded skirt, her left arm 
 crossing her lap behind the right elbow, which 
 rests on her knee, the forefinger touching the 
 chin. The type of the design semi-Greek, in 
 accordance with Eomney's taste. A woody land- 
 scape for background. 
 
 So eminently successful was he in painting child 
 life that his studio was enlivened by many a 
 romping lad and smiUng lass brought by the high- 
 born parents, who had faith in his power to do 
 justice to their little ones. Many a child portrait 
 has Eomney left us, — ^boys in happy youth with 
 
THE COUNTESS OF DERBY (LADY BETTY HAMILTON). 
 iPahiied by George Romney.) 
 
Child Portraits. 95 
 
 arm encircling some pet dog, and girls with broad- 
 brimmed hats shading their pretty faces. Among 
 such may be mentioned the masterly performance 
 of the children of George, first Marquis of 
 Stafford, three girls and a boy, with hands 
 joined dancing in a circle, while an elder lady, 
 their step-sister, plays the tambourine. 
 
 The Head of a Child now in the Liverpool 
 Walker Art Gallery. 
 
 The Beaumont Family, a large picture of four 
 boys and a girl, looking at the portrait of a 
 deceased brother. 
 
 Miss and Master Clavering : the young lady 
 caressing a little dog upon her bosom, the young 
 gentleman holding in two spaniels with a string, 
 one of which is trying to reach the young one 
 in the arms of the girl. 
 
 Little Lord Burghersh,i in yellow suit, with 
 lace frills, holding out his hand to a dog. 
 
 ' Lord Burghersh was model as an infant to Reynolds 
 lEor the young Hercules strangling the serpents. 
 
96 George Romney and His Pictures. 
 
 And the famous group from Warwick Castle, 
 where the little girl leans against her mother's 
 face, and the boy bowls his hoop on the terrace 
 behind them. 
 
 Another picture of these children he did, the 
 boy and the girl going trustfully forward to 
 green pastures. Such figures prove Eomney to 
 have been the equal of Eeynolds in painting 
 child hfe ; his little people were demure to quaint- 
 ness. 
 
 To a portrait of Lady Warwick by Eomney, 
 Hayley addressed some neat verses, called " Venus 
 to Lady Warwick," commencing : — 
 
 Sweet model of my chaster power, 
 Simplicity and grace thy dower, 
 Behol,d thy finished portrait stand. 
 The masterpiece of Eomney's hand. 
 
 Master Thornhill, aged about four years, look- 
 ing so good and bonny, is a full-length repre- 
 sentation, seated with loosely clasped hands. He 
 is fair, with blue eyes, and wears a white frock 
 
Mothers and Children. 97 
 
 with black sash, red shoes and buckles ; he has 
 a Pomeranian dog at his side. The expression 
 on the face remarkably sweet and thoughtful. 
 Landscape background. 
 
 Mrs. Charles Hawkins and children. 
 
 Mrs. Morris and her son. 
 
 The Duchess of Gordon and her son, the 
 Marquis of Huntly. 
 
 The Countess of Albemarle and her son. Lord 
 Albemarle, with dogs. 
 
 Lord Elcho's children. 
 
 Master and Miss Conway. 
 
 Mrs. Blair and child ; half length. 
 
 Mrs. Hartley and children. 
 
 Mrs. Crespigny and children ; an oval. 
 
 Mrs. Corbet and child ; whole length. 
 
 Lord Stanley and Lady Charlotte, children of 
 Lord Derby. 
 
 Mrs. Bracebridge and child ; recumbent, whole 
 length. 
 
 The two Misses Hill ; half length. 
 
 7 
 
98 George Romney and His Pictures. 
 
 Master and Miss Cornwall, children of Sir 
 George Cornwall, Bart. 
 
 Mrs. Prescot and three children. 
 
 Master and Miss Boone. 
 
 Master Tempest, with a horse ; whole length. 
 
 A hoy at the age of thirteen, who eventually 
 became Admiral Sir Joseph Sidney Yorke, is 
 shown as a midshipman on Eodney's flagship, 
 the Formidable, a sweet full face, steady brown 
 eyes and bright fresh lips, the long light hair falling 
 in curls on the shoulders of the naval uniform ; the 
 left hand rests on the hilt of a sword, the right 
 partly concealed in the bosom of his vest ; heavy 
 clouds above; sea fight below. This is one of his 
 anost perfect specimens of excellent preservation after 
 lapse of time. The whole picture is as fresh as if it 
 had just received the last touch of the artist's brush. 
 
 Mrs. Stables and her two children, painted for 
 Mr. John Stables, a member of the Supreme 
 Court of Calcutta. This picture was sent to the 
 "Winter Exhibition at the Eoyal Academy in 1890, 
 
Mrs. Carwardinc and Child. 99 
 
 and when asked to fix the amount for insurance 
 the owner gave the limit as about fifty pounds ; 
 but ere the exhibition closed, the picture, which 
 was coveted by collectors on both sides of the 
 Atlantic, was bought for a figure in thousands. 
 
 And there was pretty Miss F. Sage, looking so 
 simple in the pure white dress that Romney so 
 often adopted. And the Boy in Brown Dress 
 was the perfect little gentleman, as were all 
 Eomney's boys. 
 
 And John Fane as an innocent infant, with 
 all the delicate softness of babyhood. 
 
 Mrs. Carwardine and Child ^ was one of the finest 
 examples of its kind, its pure Italian style due 
 to his recent studies in Italy. The mother, in 
 Pamela cap, a muslin kerchief crossed over the 
 bosom, bends her head in a caressing, Madonna- 
 like manner against the hair of her child, whom 
 she encircles with both arms and clasped hands 
 as it sits upon her knee. 
 
 ' Engraved by J. R. Smith, titled Mother and Child. 
 
CHAPTBE VI. 
 
 High-bred Beauties — The Translator of the " Lusiad " 
 offers Suggestions for Subjects to paint — Tlie 
 Crowning of the Skeleton of the Beautiful Inez 
 as Queen of Portugal — Henderson as Macbeth — 
 Daily Life — Classical Cartoons — The Liverpool 
 Royal Institution — Umily Potts. 
 
 At no time did Bomney ever realise more than 
 120 guineas for a whole-length figure ; yet in a 
 recent year Earl Cathcart refused 12,000 guineas 
 for a picture painted by Eomney at this date in 
 his career. The gem in question was the Hon. 
 Louisa Cathcart, afterwards Countess of Mans- 
 field.^ The present condition of this picture is 
 deliciously mellow. The lady is seated on a bank, 
 the knees are crossed, and arms folded high, one 
 
 ^ Messrs. Colnaghi, of Pall Mall, have published a beautiful 
 
 engraving by Appleton from this picture. 
 
 (loo) 
 
Lady Charlotte Clive. loi 
 
 over the other. The dress is olive tint, falling 
 low at the shoulder, where it is fastened with a 
 jewel. She is almost in profile, the face wearing 
 the same haughty expression as her lovely sister, 
 the Hon. Mrs. Graham, whose beauty Gains- 
 borough has immortalised. The attitude copied 
 from an antique gem; piquant, yet dignified. 
 The eyes are brown, and the auburn hair worn 
 high, with a few curls on the nape of the neck; 
 thick leaves from the trees form the background. 
 
 No style of countenance came amiss to his 
 facile brush. Mrs. Davenport, the actress, charmed 
 vdth pert insouciance ; while the Hon. Charlotte 
 Clive (daughter of the great proconsul) became 
 a sumptuous beauty with dark eyebrows, chestnut 
 hair raised over a cushion, and strong searching 
 eyes. Her robes of primrose colour and pure 
 white, and broad forget-me-not blue sash, con- 
 trasted the rosy brunette to perfection, and her 
 easy pose, seated under autumnal-leaved trees, 
 was the classic grace which he, as the student 
 
I02 George Romney and His Pictures. 
 
 of the antique, so readily adopted for high-bred 
 beauties of the imposing type. The original 
 belongs to Earl Powis. One of the most in- 
 teresting subjects upon which he was engaged 
 at this period was Miss Cumberland, the eldest 
 daughter of his good patron and well-wisher. A 
 bright and graceful girl, Sir Joshua never painted 
 so sweet a face, with its tender eyes smihng 
 under her white calico sun hat, with dainty blue 
 ribbons tied under the chin, — a splendid specimen 
 of the artist's power to delineate with swiftness 
 and truth. The mouth and nostrils in this study 
 are alone worthy of attention. It was engraved 
 in 1779 by J. E. Smith. George Eichmond, 
 E.A., has made an excellent copy of this picture. 
 
 This same sweet creature, in the prime of her 
 beauty, at the age of 22, married Lord Edward 
 Cavendish-Bentinck,^ causing a great sensation in 
 the world of fashion. Old Mrs. Delaney feared 
 
 ^ Youngest son of the second Duke of Portland ; the mar- 
 riage took place in 1782. 
 
Bridal Present from a Duchess. 103 
 
 that by the shock the Duchess of Portland would 
 suffer materially ; and so concerned was the good 
 diarist herself that she declared she " needed 
 much to mend her spirits". 
 
 But the duchess made the best of the in- 
 evitable, and "sent afterwards a trunk of plain 
 household linen to mend the commencement of 
 Lady Edward Bentinck's housekeeping". Let us 
 fancy the young bride receiving that trunk, which 
 was doubtless accompanied by a letter of old- 
 world sensible advice. Like enough, Bomney was 
 paid in units of guineas for his picture of the 
 bride prospective, and also for one he did of her 
 sister Albinia. Messrs. Colnaghi have published 
 a charming engraving of the latter. Bomney 
 made an exquisite sketch of Miss Sophia Schutz, 
 "daughter of Miss Madden that was," so said 
 Mrs. Delaney, and one of the four maids of 
 honour to the Princess of Orange. 
 
 His portrait of Harriott Mellon was full of char- 
 acter, the laughter-loving eyes brimming over with 
 
I04 George Romney and His Pictures. 
 
 fun, just as she was before she became the wife of 
 her elderly lover, Mr. Coutts, and startled him with 
 her pranks. She wears a boa thrown over her right 
 shoulder and brought under the left. Six months 
 after the death of Mr. Coutts she married William 
 Aubrey, ninth Duke of St. Albans. Lady Morgan, 
 after visiting her one forenoon, wrote : " Her gown 
 much too fine for a morning, all ridiculously be- 
 spattered with large jewels, and duke's coronets all 
 over the footstools ". 
 
 Mrs. Battray} wife of James Eattray, Esq., of 
 Atherston, an old lady, half length ; seated in the 
 centre, the head turned to right ; her black bodice is 
 trimmed with gold buttons. She wears white skirt 
 and kerchief, and a mass of curled and powdered 
 hair, with a scarf round it. Sky background. 
 
 Mrs. Thornhill, a half length, in three-quarters to 
 
 ' This lady was mother-in-law to Admiral Sir Joseph Yorke, 
 and grandmother to the present Captain the Hon. John 
 Manners Yorke, E.N., who owns the picture and also two of 
 the admiral, one already described as a boy of thirteen years 
 and the other aged twenty- three. 
 
Mrs. Thornhill and Lady Milnes. 105 
 
 left, bears a fair resemblance to the well-known 
 spinstress in face, without the chestnut tint of hair, 
 which in Mrs. Thornhill's picture is pale fawn grey. 
 She wears a white dress, and her tan-coloured Leg- 
 horn hat has a salmon-hued ribbon placed plainly 
 round the crown. Landscape background, with 
 crimson in the tree stem behind her ; faint colour- 
 ings in foreground. 
 
 Lady Milnes, which is the property of his Excel- 
 lency Lord Houghton, is a very good and equal 
 work. It represents her moving listlessly in a 
 garden, her attention evidently arrested by some- 
 thing unseen, as she pauses with the tips of the 
 left hand touching the plinth of a pedestal. She 
 is tall and slim ; the expression of her face proud. 
 She looks somewhat isolated, and wears a smoke- 
 coloured dress, with white cambric sleeves and 
 tucker, mouse-coloured silk stockings and satin 
 shoes. On her powdered head a large black hat 
 with white plumes ; she holds in her right hand 
 a white handkerchief to relieve the picture. The 
 
io6 George Romney and His Pictures. 
 
 lady, while perfectly pleasant in expression, looks 
 more handsome than winsome. It is a capital 
 specimen of his simplest manner. And what a sweet 
 portrait he painted of the cast-off love of George, 
 Prince of Wales, Perdita, with her powdered hair 
 dressed high, surmounted by a cap, the strings tied 
 beneath the chin, a dark cape on the shoulders, and 
 her hands in a muff ! Poor Perdita ! who just about 
 this time drove about in a carriage painted light 
 blue ; and upon the centre of each panel a basket of 
 flowers was so artfully painted that as she drove 
 along it was mistaken for a coronet. 
 
 Mrs. Trimmer made a first-rate picture, unusually 
 soft in tone, the kind expression of her good face in 
 profile belying her somewhat martial cap, fashioned 
 like "a Eoman helmet; her white dress showing 
 upon a red background. 
 
 The number of portraits executed by this most 
 industrious artist are almost incredible; one sitter 
 followed another, and the list seemed never ending, 
 and included the cream of fashionable society. 
 
Sitters of Rank. 107 
 
 It will be interesting to continue to enumerate 
 some of his patrons : — 
 
 Lady Caroline Price, wife of Sir Uvedale of The 
 Picturesque. 
 
 Mrs. Blanshard. 
 
 Mr. and Mrs. Lindow, of Lancaster (now in the 
 National Gallery). Mr. Lindow seated wears a 
 reddish coat, his wife stands behind him holding up 
 her blue dress with her right hand. The other 
 hand rests on the chair of her husband. In her 
 hair she wears a lilac gauze scarf with a heliotrope 
 ribbon entwined in it. A black mantilla covers her 
 shoulders, and triple elbow ruffles of silk blond lace, 
 which would be a new material at the period, finish 
 the sleeves. This couple lived at Lancaster. The 
 gentleman died in 1786, the lady in 1791. 
 
 Lady de Clifford. 
 
 Viscountess Clifden. 
 
 Lady E. Spencer, afterwards Countess of Pem- 
 broke ; she was considered one of the most beautiful 
 women of her time. Walpole, writing to Montague, 
 
io8 George Romney and His Pictures. 
 
 says : " Lady Pembroke alone at the head of the 
 countesses was the picture of majestic modesty ". 
 
 Lady Elizabeth Compton, afterwards Lady George 
 Cavendish. 
 
 Admiral Sir Charles Hardy. 
 
 Lady Craven, three-quarters : two copies, the 
 one for General Smith, the other, an oval, for 
 Horace Walpole, who hung it in his favourite 
 Blue Eoom — sold at the sale at Strawberry Hill 
 in 1842 for £32 lis. 
 
 Colonel Johnes and his friends, in which Mrs. 
 Johnes was represented as a fortune teller. This 
 work was thought to have been consumed in a 
 fire at Hafod. 
 
 The Misses C. and Hester Greville (Mrs. 
 Neville and Countess Fortescue), daughters of 
 the Hon. Mr. Greville, one pouring liquid out 
 of an elegant ewer into a dish held by the other ; 
 a most elegant conception. 
 
 Tayadaneega, the celebrated Sachem of the 
 Mohawks, in head dress of feathers, gorget. 
 
More Portraits. 109 
 
 hunting dress, and carrying a hatchet in the 
 right hand, the left rests on the waist. 
 
 Benedetta Eamus (afterwards Lady Day), with 
 front view, the hair worn high, hands and chin 
 leaning on a large upright volume on the table, 
 lettered Johnson's Shakespeare. She was the 
 daughter of a page of the back stairs at St. 
 James's, who was in great favour with the family 
 of George the Third. 
 
 Sir Hyde Parker ; a very fine whole length, 
 the extended hand pointing to a sinking ship. 
 
 Sir James Harris ; three-quarters, and three 
 copies. 
 
 Lady Harris and Miss Harris, half length. 
 
 Lady Harris, half length. 
 
 Mention may be made of E. B. Sheridan, whom 
 he paiuted more than once. 
 
 Kitty Bannister, with her elbow on a table, 
 the hand supporting her face three-quarters to 
 left, appears as a brunette, of about thirty years 
 of age, with good brown eyes and a rather large 
 
no George Romney and His Pictures. 
 
 nose, pearls festooned in dark hajr worn high, 
 and a blue covering thrown over the top ; pear- 
 shaped ear-drops. The dress, blue green trimmed 
 with darker blue, and a rose at the bosom. On 
 the arm is a black velvet bracelet, with a large 
 pebble brooch in it. The expression of her face 
 has no brightness, nor does she seem capable of 
 saying smart speeches, as do so many of Eomney's 
 ladies. 
 
 Marh Smithson, Esq., of Aldborough Lodge, 
 Yorkshire, a half-length portrait of a gentleman, 
 who looks healthy, wealthy, and wise ; though 
 not very lovable, yet all that is honourable and 
 true. He has a fair complexion, blue eyes, and 
 white wig; he wears a rich brown coat, and red 
 vest, gold laced. 
 
 Mrs. Smithson, whose portrait is said to have 
 been finished by one of Eomney's pupils, is a 
 good-looking woman, with compressed lips, charm- 
 ing complexion, and dark hair, the head turned 
 to the left, wearing a white cap and amber dress 
 
Sir John Fleming Leicester. 1 1 1 
 
 -trimmed with pale blue, a black fichu, and ruffles 
 of good white lace. 
 
 On his way north to see his relatives, which, 
 as a matter of fact, was much oftener than is 
 generally supposed, Eomney was occasionally the 
 guest of Sir John Fleming Leicester (afterwards 
 Lord de Tabley), at Tabley House, Cheshire. 
 This gentleman was a munificent patron of art, 
 who took a prominent part in the foundation 
 of the British Institution, the Irish Academy, etc. 
 He frequently entertained great painters at his 
 country residence, among whom, besides Eomney, 
 were Northcote, Opie, Morland, Ward, Turner, 
 and Eichard Wilson. Eomney had other patrons 
 in the neighbourhood in Lord Kenyon, whose 
 portrait he did, as well as that of his wife, 
 Lady Kenyon, and her mother, Lady Hanmer, 
 ■wife of Sir Thomas Hanmer. 
 
 Lady Hanmer is seen seated half length ; she 
 has long, delicately formed features, brown hair, 
 and pleasant expression ; a white muslin scarf is 
 
112 George RoTuney and His Pictures. 
 
 thrown over the back of the head. She wears a 
 deep pink carnation coloured dress, crossed over 
 the bosom edge with a musHn tucker ; a green 
 sash is tied round the waist. 
 
 Lady Kenyon has a dress length of the same 
 pink material as her mother ; she too is seated, 
 leaning her elbow on the corner of a table, her 
 hand supporting her chin. She wears her auburn 
 hair naturally. A green and gold oriental scarf 
 is worn as a sash, and a piece of the same in 
 the hair. The tight sleeves are edged with white 
 frills. The eyes are dark, and the chin slightly 
 projects. 
 
 In York, in 1779, he painted a portrait of Mrs. 
 Frances Graham. The lady was daughter of Sir 
 Reginald Graham, third Bart, of Norton Conyers. 
 She married, in 1753, her second cousin, the Bev. 
 Robert Graham of Netherby, and she was grand- 
 mother of the well-known statesman. She died in 
 1801, and was buried in York Minster. Romney's 
 portrait shows her as a sensible-looking motherly 
 
MISS CUMBERLAND (LADY EDWARD CAVENDISH BENTINCK). 
 (From the fainting by George Romney.) 
 
PF. J. Mickle Suggests Historical Subjects. 1 1 3 
 
 lady of about fifty, dressed in black, with a white 
 kerchief and a little black lace. She wears a 
 powdered wig and large muslin cap. The expression 
 is very truthful, with no aim at making the sitter 
 other than she was, a great point with Bomney, 
 and one he never overlooked — to be true to nature. 
 The picture is in an excellent state of preserva- 
 tion and belongs to Mrs. Tobin, Eastham House, 
 Cheshire. 
 
 In his desire to shape effective scenes, Romney 
 courted the suggestions of his literary friends, 
 among whom was W. J. Mickle, the translator of 
 the Lusiad of Gamoens, who, in responsive ardour, 
 favoured him with the following ideas for his 
 consideration. " I have often thought," he says, 
 " that the death of David Eizzio in the presence 
 of Mary Queen of Scots, who was then about 
 twenty-two, was an excellent subject for a painter 
 who could blend the tender and the terrific ; and 
 great expression might be thrown into the figures 
 of Darnley and the other assassins. 
 
T 1 4 George Romney and His Pictures. 
 
 " YoTi have been so good as to talk of attempting 
 the apparition by the Cape of Good Hope. You 
 know much better how to group the story than 
 I can suggest ; but there can be no harm in 
 offering my ideas. It is a night scene — I would 
 have the hindcastle of Gama's ship near, with a 
 shortened view of the side, the other two ships 
 at a little distance. Around the stern of Gama's 
 ship the breaking of the waves gives some light, 
 which is nature. Between the ships and the 
 rocky cape I would place the apparition, as if 
 coming from the rock, hovering in the clouded 
 air. The poem says there were neither moon 
 nor stars; but there must be some light. I have 
 seen the breaking of the waves in a dark night 
 look fiery, red, and ghmmering. This I have 
 already hinted; and I think the pale gleam of 
 some of those streaks called the Northern Lights 
 would add to the terrific solemnity of the whole. 
 - . . Gama on the hind deck, however small, 
 ought to express horror and intrepidity. 
 
Inez de Castro. \ 1 5 
 
 " The other picture from the Lusiad, which, I 
 think you said, was recommended to you by Lord 
 Hardwicke and the Poet Laureate, was the crown- 
 ing of the skeleton of the beautiful Inez.^ At 
 first I own I did not like the subject ; but on 
 better thoughts I think the pencil of Eomney 
 would overcome every difficulty. But, were I to 
 offer a hint, I would by no means have any more 
 of the skeleton to appear than the hands. Under 
 a sheet properly disposed the emaciated body 
 might appear, and the face have double effect ; 
 the crown on such a reclining body, the sceptre 
 as if dropping from her dead hand, the nobility 
 kissing the bones of the other hand — the exquisite 
 grief, yet firm look, of the king, her husband, in 
 fulfilling this vow that she should be crowned 
 Queen of Portugal, and the solemn horror of the 
 nobility in going through this ceremony, are 
 
 ' Inez de Castro (wife of Pedro, King of Portugal) assas- 
 sinated January 7, 1355. 
 
ii6 George Romney and His Pictures. 
 
 circumstances to which you will do justice, 
 and which will also give scope to your exer- 
 tions." 
 
 This was truly an effective situation, worthy 
 even of the consideration of a great artist of to-day. 
 The subject is comprehensive, and capable of 
 grand results. Eomney was, indeed, well adapted 
 to represent a vigorous piece, as he was a perfect 
 master in the knowledge of effects which violent 
 emotions produce upon the features ; so that he 
 could impart to the eye a language almost as 
 expressive as that of the tongue. 
 
 To hear a poem was sufficient to set his active 
 pencil tracing original designs of any sentimental 
 situation that had presented itself to his refined 
 taste. There was no limit to his powers of 
 imagination, where sweetness and grace in design 
 reigned supreme. 
 
 If Eomney failed at all it was in his back- 
 grounds; for he sometimes missed the delicate 
 touches which express distance. How often does 
 
Henderson the Actor. 117 
 
 it happen that an otherwise good picture is spoilt 
 by an undue attention to sky or landscape ! 
 
 Although Eomney had little leisure, and still 
 less inclination, for general society representing 
 fashion, yet he was occasionally to be found 
 among the wits, who formed themselves into a 
 club, upon the foundation of which rose a later 
 and more important one called " The Unincreas- 
 ables ". At this reunion Romney met Henderson 
 the actor, with whom he became very intimate, 
 and whose portrait he painted in the rdle of 
 Macbeth accosting the three witches in the heath 
 scene. One decrepit hag, with forefinger raised, 
 is speaking ; the others have their forefingers on 
 their lips. In the distance a procession crosses 
 the plain. Henderson was a most accomplished 
 actor, and had a fine conception of humour ; but 
 his person had defects that no art could conceal, 
 but which in Falstaff rather aided the character. 
 The picture was painted at the time when Sheri- 
 dan and Henderson were giving public readings ; 
 
1 1 8 George Romney and His Pictures. 
 
 and at one of these recitations, at which Romney 
 was present, he was so forcibly struck with the 
 countenance of a man who was staring at Sheri- 
 dan in intense attention, that he studied the face 
 carefully, and afterwards introduced it as one of 
 the witches in Henderson's picture. Some years 
 later eight members of the Unincreasables, in- 
 cluding Eomney himself, subscribed ten guineas 
 apiece, and raffled the picture. The prize was 
 drawn by Mr. Long, a surgeon, who attended 
 Hayley's son, Thomas Alphonso, during a pain- 
 ful illness, which will be detailed later. Mr. 
 Long was somewhat of an artist himself, and 
 became possessed of some of Eomney's most in- 
 teresting fancy pieces. 
 
 Few men of public profession have devoted so 
 many hours to soHtary meditation as did Eom- 
 ney. The only club to which he belonged was 
 the afore-mentioned, where its few members dined 
 together once a fortnight near Gray's Inn. The 
 benevolent Isaac Eeed was its perpetual president ; 
 
Unpretentious Life, 119 
 
 and the attraction to Romney, which made him 
 attend regularly, was that his intimate friends, 
 Messrs. Green and Long, were members. 
 
 His daily habits were simple : he would rise 
 between seven and eight, and breakfast ; he drew 
 while his servant dressed his hair, continuing so 
 to amuse himself until ten, when his sitters would 
 begin to arrive, — these would vary daily from 
 three to five ; at noon he partook of a bowl of 
 broth or coffee ; and dined sparingly at four, after 
 which he would take a quiet stroll in the country, 
 either drinking tea at Kilburn Wells in spring, 
 or, on longer days, dining at the Long Room, 
 Hampstead. When he returned home he opened 
 his portfolio, and drew until midnight. Such was 
 bis ordinary routine with little deviation, unless 
 it rained. On his rambles he was always accom- 
 panied by his sketch book, to which he would 
 commit any picturesque group of playing chil- 
 dren, a peculiar countenance, an effect of sky, or 
 a plant for a foreground. He took great pleasure 
 
I20 George Romney and His Ptchires. 
 
 in studying evening and twilight scenes for the 
 purpose of illustrating ghosts and fairies. Many 
 of his out-door sketches had great merit ; he had 
 an idea of having some of them engraved. 
 
 In July, 1779, Eomney must have thought of 
 going, or gone to Keswick ; for a letter from Mr. 
 Bichard Potter, the translator of ^iEschylus, bear- 
 ing that date, says : ' I shall be glad to hear that 
 you are studying glens and crags and pendant 
 woods at Keswick, not only because I think the 
 scenes there would delight you, but because I am 
 certain that the excursion would give you health 
 and spirits ''. Mr. Potter sent Eomney several 
 suggestions from the classics at various times. 
 Eomney presented him with his portrait, which 
 arrived on August 14, 1779. Mr. Potter, at the 
 time of his writing, had a grown-up family, and 
 he was in business with a Turkey merchant; but 
 he left that gentleman, and entered the Church. 
 The Bishop of Norwich gave him a living. 
 
 The whole tone of Eomney's letters shows that 
 
Hayley Writes His Best Poem. 121 
 
 he was an unassuming, yet thoroughly self-re- 
 specting, man — a thorough gentleman. In uo 
 letter which he received does any one patronise 
 him offensively. Sometimes he has had to wait 
 for money, but the noble creditors write as if to 
 an equal. 
 
 Eomney's family must have been in the best 
 middle-class society in Kendal ; for the friends 
 whom he had known there, who remained staunch 
 to "the end of his life, were of great respectability, 
 and held important posts in London. 
 
 In 1779 Hayley took lodgings in Castle Street, 
 Cavendish Square, to be near Bomney ; and in 
 the fall of the year Bomney accompanied him 
 to his own home, where he occupied himself in 
 the composition of The Triumphs of. Temper, a 
 poem which retained its popularity for more than 
 twenty years, being a favourite gift book from 
 parents to children, and it was therefore in 
 constant demand. It may be questioned whether 
 among all those by which it has been super- 
 
122 George Romney and His Pictures. 
 
 seded there has been any likely to produce so 
 good an effect upon the opening mind of young 
 readers, by stimulating to walk in the path of 
 virtue. The poem reflected so much celebrity 
 upon Hayley that upon the death of Wharton the 
 laureateship was offered to him ; but in verse to 
 Mr. Pitt, Hayley declined the honour. 
 
 Eartham, where Hayley resided, was about six 
 miles from Chichester and five from Arundel, a little 
 to the left of the road. In 1743 his father had pur- 
 chased it and the ruins of a mansion which had been 
 owned by a Sir Eobert Fagg, once celebrated in local 
 song for having stood for the county and polled two 
 votes. The ruins were removed, and a small villa 
 was built on the higher ground, where the children of 
 Mr. Hayley, senior, were sent from their residence 
 in Chichester for the benefit of country air. The 
 father died five years after acquiring the estate; 
 and for some years the house was untenanted, 
 and suffered considerably in consequence, but 
 in other respects the mother of William Hayley 
 
Flaxman at Eartham. 123 
 
 carefully husbanded his patrimony during his 
 minority. 
 
 On October 23, 1769, the young man married Miss 
 Eliza Ball, daughter of the then Dean of Chichester, 
 Hayley himself being grandson to the preceding 
 dean. In 1774 he went to reside in the villa, 
 enlarging and decorating it with the intention of 
 abiding there for the rest of his life, hoping that 
 his writings would recoup him the outlay. 
 
 For about twenty-two years Eomney visited 
 Hayley at Eartham in the autumn. He generally 
 arrived in a very exhausted state of health, requiring 
 the refreshing stimulus of the society of sympathetic 
 friends, but was soon restored by the bracing air of 
 the healthy village. 
 
 In 1780 Hayley, finding that his books suffered 
 from damp, enlarged his house by the addition of a 
 capacious library, 30 feet by 24 feet, built over an 
 arcade. He engaged Flaxman to decorate the in- 
 terior, and Eomney to paint it, — a happy combina- 
 tion of talent ; for artist and sculptor were friends, 
 
124 George Roinney and His Pictures. 
 
 — indeed, Eomney had been the first to encourage 
 young Flaxman's early promise of talent. He used 
 to purchase his plaster casts from the elder Flaxman ; 
 and seeing his son at a very tender age trying to 
 model, he would stand for a considerable time to 
 watch his efforts, and stimulate him with judicious 
 praise. As the youth grew up, Romney fairly 
 idolised him, assisting him by allowing him to model 
 from his pictures, a concession rigidly denied to an 
 equally clever sculptor, Nollekens, whom Eomney 
 cordially hated. On returning to London, after 
 working on the new library, Flaxman wrote to his 
 late host and patron : " I had the happiness of living 
 such a fortnight at Eartham as many thousands of 
 my fellow-creatures go out of the world without 
 enjoying ". 
 
 In 1781 Lord Chancellor Thurlow (of whom a 
 wit had said that no man could be as wise as 
 Lord Thurlow looked) sat for a full-length, hfe- 
 sized, standing, three-quarter view portrait in his 
 robes, in which no owl ever looked so knowing. The 
 
ADMIRAL SIR JOSEPH SIDNEY YORKE AT THE AGE OF THIRTEEN YEARS. 
 
 {From the painting by George Romney.) 
 
 By the kind permission of Captain the Hon. John Manners Yorke, R.N 
 
Lord Thu7'lows Classical Story. 125 
 
 attire, dark bluish grey trimmed with gold braid; the 
 head surmounted with the judicial wig. In the back- 
 ground, the spires of Lichfield Cathedral, with trees 
 in the' middle distance. This picture belongs to his 
 Grace the Duke of Sutherland, and is at Trentham. 
 To while away the time and tedium of sitting, 
 Lord Thurlow conversed upon a favourite theme of 
 his, Orpheus and Eurydice, and inspired Eomney 
 to make designs from the story, imbuing him 
 with his own enthusiasm, and actually making a 
 translation of the classical subject with his own 
 hand for the guidance of Eomney. He had openly 
 avowed his preference for Eomney when the town 
 was divided as to the premier merits of him or 
 Eeynolds. The inspiration thus inculcated by 
 Lord Thurlow produced several charcoal cartoons 
 of Orpheus and Eurydice. After the death of Eom- 
 ney, his son, the Eev. John Eomney, presented 
 three to the Fitzwilliam Museum, Cambridge, and 
 others to the Eoyal Institution, Liverpool. The 
 latter, though badly damaged, probably from want 
 
126 George Romney and His Pictures. 
 
 of care by Eomney himself, show the touch of a 
 master hand. One depicts Eurydice, with terrorised 
 expression, flying from the enamoured Aristseus, 
 unconscious of the serpent to which she advances, 
 and which classical lore tells us bit her foot, and 
 she died of the poisonous wound inflicted ; another 
 represents Orpheus carr5dng off Eurydice ; and 
 in a third she vanishes as through a mist. The 
 Boyal Institution, Liverpool, contains eighteen 
 charcoal drawings, all of which are very interest- 
 ing. Of Cupid and Psyche there are several; 
 the best finished of which is a full-length re- 
 clining figure of Psyche, clothed partially in a 
 transparent material, through which the entire 
 form is seen. The half -raised body rests upon 
 the right elbow, the hand withdraws the veil 
 from her fine face. The other arm is extended 
 carelessly down the side, the hand touching the 
 hip. The whole figure very elegantly drawn, and 
 in the purest conception. She is unconscious of 
 the regard of Cupid, whose head and shoulders 
 
Charcoal Cartoons. 127 
 
 appear from behind a cloud. The scenery in the 
 background is a glade, with distant river. 
 
 This and the two following cartoons were 
 selected to illustrate Eomney's works in the Man- 
 chester Exhibition of Art Treasures, The Birth 
 of Shakespeare and The Infant Shakespeare. The 
 former, an infant lying in a berceamiette, from 
 ■which an upright figure at the head has raised a 
 sheet ; a second kneels, and raises a veil from the 
 face of the babe, while a third looks on with 
 hands outstretched, as if blessing the child. 
 
 The latter cartoon shows females playing with 
 the infant, seated on a pedestal. One head in 
 this drawing has the unmistakable arch expres- 
 sion of Emma, Lady Hamilton, in the eyes ; but 
 the other features are scarcely pleasing. ' 
 
 Among the remainder is The Death of Cordelia; 
 The Dream of Atossa contrasts the death-like 
 ■sleep of the queen with the Bacchanalian fury 
 ■of the Genius of Greece; The Ghost of Darius, 
 with the Persians prostrate before him, is awful 
 
128 George Romney and His Pictures. 
 
 in its grandeur, as of a spirit raised by in- 
 cantation. 
 
 And yet another of soldier-like form, controlling 
 a rearing horse at the mouth of an abyss of 
 intense blackness, at the entrance of which, out 
 of the darkness, looms a sphinx. This is a 
 powerful representation of The Descent of Odin. 
 
 According to Scandinavian mythology, Baldur, 
 son of Odii], had been troubled with bad dreams, 
 which boded personal ill, and affected him much. 
 To avert any mischance, the mother of Baldur, 
 by name Frigg, exacted an oath from fire, water, 
 all metals, stone, earth, trees, beasts, and venomous 
 reptiles, that they would not injure her son. Odin 
 himself determined to get reliable information 
 relative to the fate which threatened his son; and 
 saddled his eight-legged horse, Sleipner, to visit 
 the nether world ; for the beast had magic power 
 to carry him over land or sea, regardless of any 
 obstacle whatsoever. And away rode Odin to the 
 subterranean realms of bliss; for the Scandinavian 
 
" The Descent of Odin." 129 
 
 belief held that the good as well as the bad were 
 admitted to the lower regions. His object was 
 to consult a dead Vala, whom he invoked from 
 her grave ; and from her he learnt that the gilded 
 couches and benches that he saw being prepared 
 were in honour of Baldur, — a sure prognostication 
 of coming doom to his son. In his irritation, 
 Odin personally insulted the Vala on account of 
 her having given birth to three giants. Mean- 
 while, after the precautions taken by Frigg, the 
 gods considered Baldur impervious to harm ; and at 
 their sports he stood to be shot at with bows, or 
 struck with stones, for he was protected on oath 
 from hurt. But through the machinations of Loki, 
 an evil genius, the mistletoe, which, owing to its 
 insignificance, had been overlooked at the swearing 
 in, was converted into the weapon of his destruction 
 in the form of a wand aimed by the hand of one 
 blind, guided by Loki, which pierced Baldur through 
 and through. 
 
 Besides the cartoons that are in the Liverpool 
 9 
 
130 George Romney and His Pictures. 
 
 Eoyal Institution, he did many others equally 
 forcible. One, a Lapland witch standing on a head- 
 land revelling at the distress of mariners struggling 
 in a storm of her own creation. Here, again, ex- 
 pression, Eomney's strong pojnt, is evident ; for, 
 though the beauty of the face is laaintained, 
 malignity reigns supreme. 
 
 Eomney must have been fully conversant with 
 the classical to even select such subjects as 
 those of the cartoons. They were invaluable 
 specimens of the artist, and were a desirable 
 acquisition to an institution seeking to lay the 
 foundation of good taste and to cultivate talent 
 until it ripened to perfection. The Liverpool 
 Exhibition for Promoting Painting and Design 
 opened in 1783. At the initiative show it is in- 
 teresting to find that the illustrious President of 
 the Eoyal Academy favoured the new movement by 
 sending his portrait of Colonel Tarleton, and a land- 
 scape view of the Thames from Eichmond. Thomas 
 Stothard contributed two studies of Old Eobin 
 
The Liverpool Royal Institution. 131 
 
 Gray ; Angelica Kauffman (whose name appears in 
 the catalogue Angelica Zucchi) sent Patience from 
 Mason's Elfrida. From Paul and Thomas Sandby, 
 views, including Chatsworth, Westcombe, Went- 
 worth House, and Picton Castle. 
 
 Again, in 1787, Sir Joshua Reynolds honoured the 
 rising institution by sending his Death of Dido. 
 
 Thrice Dido try'd to raise her drooping head, 
 Thrice ope'd her heavy eyes and sought the hght, 
 But having found it, sicken'd at the sight. 
 And closed her eyes at last in endless night. 
 
 Sir W. Beechy, Fuseli, Gainsborough, W. Hamilton, 
 Wheatley, the Eev. W. Peters, W. Tomkins, Paul 
 Sandby, Angelica Zucchi, Wright of Derby, and 
 others of similar standing, contributed. How highly 
 the Eoyal Institution of Liverpool must have been 
 considered is apparent when the difficulties of the 
 old modes of transit are reflected upon, — the cumber- 
 some waggon, with its valuable freight — lumbering 
 over heavy roads — and the roads outside Liverpool 
 were bad indeed. At that epoch it took waggons 
 
132 George Romney and His Pichtres. 
 
 ten days to journey between Liverpool and the 
 metropolis. In those days an appreciative con- 
 course of devotees of art peopled the rooms of the 
 institute, but in present time it seems to prefigure 
 life's changes, for its very existence is unknown to 
 many local residents. Liverpool was second only 
 to the metropolis as a picture mart ; for, owing to 
 the large amount of money realised by privateering, 
 and the immense fortunes acquired by merchants 
 exchanging manufactures for slaves, gold-dust, or 
 elephants' tusks on the coast of Africa, or for rum 
 and sugar in the West Indies, the finances of the 
 town were in a most flourishing condition. 
 
 In 1781 George Romney painted a three-quarters 
 portrait of the beautiful Emily Bertie for Mr. Potts, 
 who took her to India with him, where they both 
 died. He commenced another, but never got further 
 than the head, and in its incomplete state he be- 
 stowed it upon his pupil, Isaac Pocock. This would 
 seem to be the same female who, under the name of 
 Miss Emily Potts (an actress by profession), was in- 
 
Emily Potts as " Thais". 133 
 
 troduced by Eeynolds into his great picture of the 
 MackHi) family as The Gleaners, the centre figure 
 with the sheaf of corn on her head being Emily 
 Potts, of whom he also commenced a full-length, 
 after receiving from her seventy-five guineas, half 
 the stipulated sum ; but she relinquished the picture, 
 probably not seeing her way to pay the balance. It 
 remained unfinished in his gallery for some years, 
 when Mr. Charles Greville, second son of the Earl 
 of Warwick, saw and fancied it, and for whom it 
 was completed as Thais rushing abroad with a blaz- 
 ing flambeau in one hand, exciting with the other 
 to the destruction of Persepolis, which is seen in 
 flames. For this picture left on hand Mr. G-reville 
 paid Eeynolds one hundred guineas ; and having 
 already received from the lady seventy-five and one 
 sitting, whereby he was put in possession of a mar- 
 ketable face, he certainly showed more business 
 abihty than did Eomney. 
 
 This same year our artist sketched a portrait of 
 Hayley for Miss Seward, the poetess.. The inti- 
 
1,34 George Romney and His Pictures. 
 
 mate friends of Eomney were without exception 
 people of culture, among whom may be enumerated 
 Mrs. Charlotte Smith and the poet Cowper. He 
 was shy and retiring, and though he painted the 
 great he did not visit them. The only noble with 
 whom he was at all intimate was Lord Thurlow, 
 who combined plain and unaffected manners with a 
 grand mind, and the lion and the lamb enjoyed each 
 other's company. Though defective in education, 
 Eomney at times relapsed into reverie ; and then he, 
 would, as one inspired, with great earnestness of 
 voice and gesture, pour out rhapsodies on art, or its 
 rival poetry, which were always original and often 
 sublime. One of his brilliant lady associates at 
 Eartham said : " I love to meet Mr. Eomney, be- 
 cause I am sure of hearing from him such remarks 
 as we hear from no other mortal ". As a companion 
 he was uncommonly entertaining from the origi- 
 nality of his ideas ; keenly sensitive, a noble senti- 
 ment uttered in his presence would cause the tear 
 of sympathy to fill his kind eyes. 
 
MRS. ANNE CARWARDINE AND CHILD. 
 {From the picture by George Romney, in the possession o/Lord Hillingdon.) 
 
Pictures at Trentham Hall. 135 
 
 In 1781 Dr. Porteus, the learned and pious 
 Bishop of Chester, sat to him ; and the next year 
 his works included half-lengths of Lady Augusta 
 Murray, Captain Pfere Williams, E.N., and Eliza- 
 beth, Duchess-Countess of Sutherland, a slim, 
 supple figure, three-quarters to left, in simple 
 grey-white dress, slightly embroidered with gold, 
 a grejdsh ribbon twisted in her fawn-coloured 
 hair; the eyes a rich brown, a lovely riant face, 
 with very slight tinting ; sky, trees and foliage for 
 background. The picture is at Trentham, the resi- 
 dence of the Duke of Sutherland. Watts, E.A., has 
 made an exquisite copy of this painting, which is 
 at Eaton Hall, the seat of the Duke of West- 
 minster. 
 
 Earl Gower was a kind patron to Romney, and 
 among orders executed and now hanging at Trent- 
 bam are George Granville, Marquis of Stafford, life- 
 size standing figure. The hair grey. Brownish 
 yellow coat, with crimson cloak over the shoulder, a 
 lace collar round the neck. Granville, Marquis of 
 
1^6 George Romney and His Pictures. 
 
 Stafford, life-size standing; dress white, blue cloak 
 and white wig ; sky background. Caroline, Countess 
 of Carlisle, life-size three-quarter sitting figure, in 
 pale pink dress ; sky and foliage as background. 
 
CHAPTEE VII. 
 
 The Hon. C. Crreville takes Mrs. Hart to sit for her 
 Portrait — Present-day Errors concerning Titles 
 of Pictures — Hayley's Poem, " The Triumphs of 
 Temper" — Romney's "Serena" not Miss Sneyd — 
 Miss Seward explains — Hayley suggests to Bomney 
 that he paint the classical Figiire "Sensibility" 
 from his Poem — The good Influence of the Poem. 
 
 Wb have now arrived at a very eventful era 
 
 in the life of Eomney ; for in the summer of 1782 
 
 there was brought to him by Mr. Charles Greville 
 
 the beautiful Mistress Hart, more faniiliarly known 
 
 as Lady Hamilton, which title she acquired by 
 
 her marriage to the English Ambassador at 
 
 Naples some years later. 
 
 Letters written in the early part of this year 
 
 show that this young girl, whose real name was 
 
 Amy Lyon, but commonly called Emma, was 
 
 (137) 
 
1 38 George Romney and His Pictures. 
 
 then under the care of Mr. Charles Greville, who 
 was the first to introduce her to Eomney, in July, 
 1782, at which time he was sitting to the artist 
 for his own portrait. 
 
 The number of works by Eomney with her 
 name attached to them annually increases ; and 
 it would be well if art patrons did not too readily 
 accept the story for market that is attached to 
 some of Eomney's pictures when a purchaser is 
 solicited. Eomney had more pretty faces for 
 models than that of Mistress Hart ; but naturally 
 her notable career raises the value of a picture 
 with her name as title. 
 
 A few of these may be considered. Take, for 
 instance, liady Hamilton as St. Cecilia. The 
 artist's only son, who wrote a memoir of his 
 talented father, tells us that in 1785 his father 
 painted a charming picture of a Mrs. Smith in 
 the character of A Wood Nymph, to the order 
 of a Sir Simeon Stuart. The lady six years after 
 (then called Mrs. Selby) paid the balance due, 
 
Pictures Inaccurately Titled. 139 
 
 and received the picture. She was represented 
 sitting on the ground playing on a flageolet, her 
 hair hung beautifully over her forehead in spiral 
 ringlets ; and her drapery was of a pink colour, 
 simple and elegant, after the Grecian style. He 
 was minute in his description, in the hope that 
 some day it might be traced and identified. It 
 was engraved by George Keating in 1789. 
 
 It seems to compare with one now inaccurately 
 known as Lady Hamilton as St. Cecilia ^ — that 
 for which she really sat was, in the opinion of 
 Flaxman, the most laboured of all Romney's com- 
 positions. It showed a full-length seated figure, 
 the toes of the right foot seen from beneath the 
 white robe. She has an open book on her knees, 
 her finger tips touching as if in prayer. The 
 Cassandra-like face nearly full,' eyes raised, the 
 
 '■ The flageolet with which the female is occupying herself 
 is certainly more symbolic of the woods than of the higher 
 musical accomplishments of the patroness of music. The 
 titling, therefore, is obviously inaccurate. 
 
140 George Romney mid His Pictures. 
 
 hair down. Organ pipes to the right, a lute 
 leaning against the organ, a stream of light 
 coming down on the left. Fabulous histories 
 have been attached to some pictures, such as that 
 Eomney first saw the future Lady Hamilton as 
 a domestic servant in a family where he was 
 painting a portrait ; and, struck by her unusual 
 beauty, he requested and received permission to 
 execute the work to which her titled name as 
 Miranda is now affixed. When Mr. Greville first 
 took her to Bomney in 1782, he had never seen 
 her before, and her days of service were a thing 
 of the past. 
 
 At a recent loan exhibition one of the pictures 
 was titled Lady Hamilton as a Nun; but it would 
 be curious to know to which religious order she 
 is supposed to belong. The hahit is a white 
 dress, with an olive sash, the sleeves short to 
 the elbow, revealing bare arms, — an offence against 
 propriety which no novice could commit with 
 impunity ! The elbows rest on a draped table, 
 
More I )iac curacies. 141 
 
 and the hands support the lower part of the face, 
 which looks intently into an upright open book 
 on the table. Certainly, the attire is not that of 
 a nun, not even the arrangement of the veil on 
 the head. 
 
 Another, which carries the title of Lady Hamilton 
 as a Saint, bears no resemblance either as regards 
 portraiture or character. The seated figure is 
 clothed in a white dress, cut in a low circle and 
 gathered into a band at the neck ; she wears a 
 narrow blue sash. Over the head and one arm 
 a white veil is thrown. The hands are raised, 
 with the tips touching each other as if in prayer. 
 The ecstatic gaze of the upturned eyes denote to 
 perfection an intensely devout frame of mind. 
 
 Another discrepancy will demonstrate that errors 
 are manufactured to attract the moneyed buyer. 
 Lady Hamilton reading in the "Gazette" the 
 News of a Victory by Nelson. When Lady 
 Hamilton last saw Eomney in 1791, she had 
 never seen Nelson, and took no interest in him, 
 
142 George Romney and His Pictures. 
 
 while the picture itself was in the possession of 
 Hayley's poor afflicted son on December 1, 1798, 
 two years before Lady Hamilton returned to 
 England, and certainly previous to the likelihood 
 of any news reaching Eomney that the acquaint- 
 ance of her ladyship and Nelson was such as to 
 warrant even the coupling of their names to- 
 gether. It must be remembered that Nelson did 
 not correspond with Lady Hamilton until after 
 the Battle of the Nile, August, 1798, which drew 
 them intimately together. For the same reason 
 another picture, in which she is said to be wear- 
 ing a watch given to her by Nelson, must be 
 questioned, — so far, at least, as the personal adorn- 
 ment is concerned. When events had proceeded 
 so far that Nelson would give her a watch, 
 Eomney was past painting one. His hands were 
 numb, and sight defective. This change came on 
 in the autumn of 1798, and he painted nothing 
 satisfactory afterwards. 
 
 Tom Hayley wrote on December 1, 1798, to tell 
 
The Growth of Slander. 143 
 
 his father that Eomney had given him the picture (an 
 unfinished sketch), which he called Serena Beading 
 the Newspaper, illustrating an episode in a poem, pre- 
 viously referred to, by WilHam Hay ley, long since 
 forgotten, though in its day it reached its thirteenth 
 edition at least. The book in question was The 
 Triumphs of Temper, and the sketch depicts the 
 heroine, the fair Serena, reading in the newspaper 
 some scandal about herself,^ the coining of which 
 is graphically described in the poem thus : — 
 
 Tho' Sheridan, with shafts of comic wit, 
 Pierc'd and expos'd her to the laughing pit, 
 Th' immortal hag still wears her paper crown, 
 The dreaded empress of the idle town. 
 
 To nightly labour from their dark abodes 
 The demons of the groaning press she goads. 
 And smiles to see their rapid art supply 
 Ten thousand wings to every infant lie. 
 
 ' See Stothard's illustration of the same subject in IVie 
 Triumphs of Temper, in which the heroine is reading the 
 rscandaJ in The Ganette. 
 
[44 George Romney and His Pictures. 
 
 The press, whose ready gripe the charge receives, 
 Stamps it successive on ten thousand leaves. 
 Which, piled in heaps, impatient seem to lie ; 
 They only wait the dawn of day to fly. 
 
 The heroine, Serena, in all innocence was up be- 
 times, unconscious of the shock in store for her : — 
 
 No smoke arises from the silver urn, 
 
 And the blank tea board, where no viands lay, 
 
 Only supplied the paper of the day. 
 
 Yet while she saunters idle and alone. 
 Her careless eyes are on the paper thrown. 
 
 She reads, then almost doubts that she has read, 
 And thinks some vision hovers round her head. 
 Now her fixt eye some striking words confine, 
 And now she darts it thrice thro' every line. 
 
 Then her father, the good old knight, descends, the 
 gout still tingling in his tender toe : — 
 
 And now, paternal salutations past. 
 His eyes he keenly on the paper cast. 
 
 As the sarcastic sentence caught his view. 
 Back from the board his elbow-ohair he drew. 
 
" Serena Reading the Newspaper." 145 
 
 And ah I those angry threats he deign'd to speak 
 
 Had sounds, alas 1 fur differing from Greek. 
 
 Bage from his lips in legal language broke, 
 
 Of juries and of damages he spoke. 
 
 And on the printer's law-devoted head 
 
 He threaten'd deep revenge in terms most dread. 
 
 The picture of Serena Beading the Newspaper, which 
 Romney gave to his young friend in unfinished con- 
 dition, has, hke so many other of his works, been 
 completed by another hand. It shows Serena in a 
 white hooded sort of turban, the head raised and lips 
 parted as in his Cassandra. Her dress is a perfectly 
 plain white morning gown, with long sleeves. In 
 her hand she holds a folded paper, such as The 
 Times of that day might be. The poem was written 
 with great rapidity, deriving advantages from several 
 incidents propitious to the fancy of its author, par- 
 ticularly a long and pleasant visit from Bomney in 
 the autumn, which gave birth to this fashionable 
 poem in 1780. Eonmey at once became interested, 
 and set his active pencil to design his ideas of the 
 heroine Serena, some of which were afterwards 
 
146 George Romney and His Pictures. 
 
 worked out by T. Stothard when the book was 
 illustrated, which was not until about the sixth 
 edition. On its appearance in its improved form, 
 Hayley recognised his obligation thus to Eomney : 
 " In recollecting the zeal and kindness with which 
 the colours of my friend embellished and gave 
 celebrity to the most successful offspring of my 
 muse, 1 may be allowed to exclaim". Then fol- 
 lowed a sonnet, commencing — 
 
 Let not her social love in silence hide 
 The just emotions of her grateful pride, 
 When his quick pencU pour'd upon her sight 
 Her own creation in a fairer light, etc., etc. 
 
 In spite of the numerous calls upon his time, Rom- 
 ney contrived to paint four candlelight Serenas ^ 
 within four years of the first publication of The 
 Triumphs of Temper, which were bought by Lord 
 Gower. Lord Chancellor Thurlow, and Mr. Christian 
 Curwen of Workington Hall, acquired the remaining 
 two of these works, all of which Flaxman described 
 
 ^ These are the embellishments which Hayley considers were 
 the attraction to his poem, which they unquestionably were. 
 
''Serena in the Boat of Apathy T 147 
 
 as beautiful and striking in situation. The, Beadimj 
 Serenas, and Serena in the Boat of Apathy, painted 
 by Eomney and drawn by Stothard, are so much 
 alike in conception that there can be no question 
 after Hayley's acknowledgment that the designs 
 were Eomney's originally. They are like a beautiful 
 bas-relief by Flaxman. 
 
 Serena in the Boat of Apathy ^ was conceived 
 from the following extract from the Dante-like 
 effusion, The Triumphs of Temper : — 
 
 A boat now issued to Serena's sight, 
 An empty boat, that slowly to the shore 
 Advanced without the aid of sail or oar ; 
 Self-moved it seem'd, but soon the nymph beheld 
 A grizzly figure who the stem impell'd. 
 
 . . . Th' obedient maid 
 Her form along the narrow vessel laid. 
 But, oh ! what terrors shake her tender soul 
 As from the shore the bark begias to roll, 
 And sever'd from her friend, her eyes discern 
 The steering spectre wading at the stern. 
 
 ' This picture was exhibited at one of the Winter Exhibi- 
 tions in London a, few years ago as Miranda in a Boat 
 Propelled by Galiban. 
 
148 George Romney and His Pictures. 
 
 The first of the series of Serenas which 
 emanated from Eomney's facile brush was the 
 profile reading one now at South Kensington. 
 There is a curious error in regard to this picture, 
 the engravings from which are called Miss Honora 
 Sneyd as Serena. As a matter of fact, Miss Sneyd 
 had become Mrs. Edgeworth, and passed out of 
 this life before Eomney painted the picture. He 
 never saw her. The titling of the engraving came 
 about this way. When young she lost her mother, 
 and was received into the family of the Sewards 
 of Lichfield, where she became the cherished 
 friend of Miss Anna Seward, of poetical fame, 
 who loved her with sisterly affection. On reach- 
 ing the age of seventeen, her father recalled her 
 to his own home, as she was showing symptoms 
 of the decline which ultimately closed her young 
 life. He took her to Bath, to try the effect of 
 the waters ; and there the young girl was the 
 most admired in all the gay city. She must have 
 possessed unusual attractions, for Major Andr^, 
 
Miss Seward Tells the Story. 149 
 
 a man for -whom the whole British army went 
 into mourning after his execution in America on 
 April 2, 1780, lived a single life for the sake of 
 her to whom he had once been affianced. Eela- 
 tives had intervened, and the lovers parted until 
 the financial position of the would-be husband 
 was assured. But in his absence another more 
 fortunate wooer presented himself, and carried 
 off the prize. Major Andr(5 had painted a minia- 
 ture of his lost love, and this was the only 
 portion of his effects saved after his first capture 
 by the Americans in 1775. He preserved it by 
 secreting it in his mouth. After his death Miss 
 Seward wrote a poem upon him ; and this was 
 published in conjunction with a few of his letters, 
 and greatly interested the celebrated oddities of 
 Llangollen, Lady Eleanor Butler and Miss Pon- 
 sonby. These eccentric recluses had made the 
 acquaintance of Miss Seward when visiting her 
 friend, Mrs. Price of Emral. Hearing Miss Seward 
 say that she had a perfect image of Honora in 
 
150 George Romney and His Pictures. 
 
 the print of Eomney's Serena, they were ex- 
 tremely anxious to obtain one of the impressions, 
 — a matter of great difficulty, for they had found so 
 much favour that they were all bought up. Miss 
 Seward, however, was fortunate in having a copy 
 given to her ; this she had glazed and framed, 
 with the entablature over the figure thus inscribed, 
 "Such was Honora Sneyd"; and it was forwarded 
 to the quaint old ladies, who were immensely 
 gratified by its receipt. The gift was acknow- 
 ledged, and extracts from the next letter to Lady 
 Eleanor Butler clearly show that the resemblance 
 to Miss Sneyd was merely accidental ; the tithng 
 was the outcome of Miss Seward's infatuation 
 for her dead friend. "June 4, 1798. — I am 
 excessively gratified that you think dear Honora 
 lovely ; that you honour her with a situation so 
 distinguished. Every line in that engraving bears 
 her stamp and image, except those which, in a 
 luckless moment, combined to attach the foot of 
 a ploughboy to a form in every other way so 
 
An Accidental Resemblance. 151 
 
 beautiful. Honora Sneyd, after she became Mrs. 
 Edgeworth, sat to Smart, at that time a celebrated 
 miniature painter. He totally missed the likeness 
 which Major Andre had, from his inexperience in 
 the art so faintly, and with so little justice to her 
 beauty, caught. Bomney accidentally, and without 
 having ever beheld her, produced it completely. 
 Yes ; he drew to represent the Serena of The 
 Triumphs of Temper^, his own abstract idea of 
 perfect loveliness, and the form and the face 
 of Honora Sneyd rose beneath his pencil. Few 
 circumstances have proved so fortunate for the 
 indulgence of my heart as this accidental resem- 
 blance." This concise exposition, from one so 
 competent to pronounce, proves that Honora 
 Sneyd was not the original of Serena. 
 
 Although almost the same figure as Bomney's 
 painting is the small drawing by Stothard, the 
 latter is by far the more graceful, as he has al- 
 tered the really unnatural pose of the foot alluded 
 to by Miss Seward. Other letters of this lady 
 
152 George Romney and His Pictures. 
 
 refer to the accidental likeness ; one only will 
 suf&ce to note, written in the next year, 1799, to 
 a Mrs. Powys : "I have shown you the tinted 
 print from Eomney's picture of Serena in The 
 Triumphs of Temper, and which hears such per- 
 fect though accidental resemblance to Honora when 
 she was in the glory of her virgin graces. It is 
 the very picture in which she often sat reading 
 before she went to rest, so used she to fold her 
 night robe around her lovely limbs." Honora 
 Sneyd was married to Mr. Eichard Lovell Edge- 
 worth on July 17, 1773, about ten years before 
 Eomney painted any Serenas. The picture just 
 referred to is a profile. The same female is 
 shown fronting seated on a low stool, the 
 attire in both being white dressing-gown and 
 cap. The latter picture was painted for Lord 
 Gower, and the lady who sat for it was Lady 
 Margaret Beauclerk, as Serena ; and there can 
 be no doubt but that she was the original of 
 both the full and profile reading Serenas. Lord 
 
"Sensibility:' i53 
 
 Gower's still remains in the family, and is at 
 Treutham. 
 
 The hnes which gave rise to the reading Serenas 
 are : — 
 
 Posses't by sympathy's enchanting sway, 
 She reads unconscious of the dawning day. 
 
 The book which Eomney has placed in her 
 hand is Miss Burney's Evelina. By a curious 
 coincidence the father of Miss Sneyd had in years 
 gone by, at the opening of the Vicar's Hall at 
 Lichfield, danced in the same set with the three 
 women who succeeded each other as the partners 
 of his destiny, and he then had not a thought of 
 any of them. 
 
 One of the best known of Eomney's pictures, 
 Sensibility, another of the characters from the 
 same poem, owed its existence to a suggestion by 
 Hayley, who, when visiting an old college friend 
 named Clifford, at Lincoln's Inn Fields, in May, 
 1787, called on Eomney to inquire after the 
 
154 George Romney and His Pictures. 
 
 artist's son, who had been dangerously ill, caus- 
 ing him great anxiety. We learn that the in- 
 disposition had subsided, in a letter from Hayley 
 to his wife. " The young man is better, and 
 Eomney so much revived that he met me yester- 
 day morning at the cell of our pleasant and poUte 
 divine. Dr. Warner (in Barnard's Inn), who makes 
 breakfast for me and our beloved painter every 
 morning between six and seven, which is particu- 
 larly convenient and agreeable, as the common 
 breakfast hour of Clifford's is nine." Entering 
 the studio of Eomney, he found him busied on 
 a lovely head, which he had just commenced. 
 Hayley enthusiastically praised it, offering a sug- 
 gestion that would tend to his own aggrandise- 
 ment, well knowing that his too pliable friend 
 would yield to his flattering promptings. He 
 advocated that the same head should be drawn 
 on a larger canvas, with the figure extending its 
 hand to [the sensitive plant, to illustrate the lines 
 in his poem, The Triumphs of Temper. 
 
Lines Descriptive of '' Setisibility." 155 
 
 The bending snowdrop ^ and the briar rose 
 
 The simple circle of her crown compose, 
 
 Roses of every hue her robe adorn, 
 
 Except th' insipid rose \vithout a thorn ; 
 
 Through her thin vest her heightened beauties shine, 
 
 For earthly gauze was never half so fine. 
 
 Of that enchantmg age her figure seems, 
 
 When smiling nature with the vital beams 
 
 Of vivid youth, and pleasure's purpled flame 
 
 Gilds her accomplish'd work, the female frame. 
 
 With rich luxuriance, tender, sweetly wild, 
 
 And just between the woman and the child. 
 
 Her fair left arm around a base she flings. 
 
 From which the tender plant mimosa springs, 
 
 Towards its leaves, o'er which she fondly bends, 
 
 The youthful fair her vacant hand extends 
 
 With gentle motion, anxious to survey 
 
 How far the feeling fibres own her sway ; 
 
 The leaves, as conscious of their queen's command. 
 
 Successive fall at her approaching hand, 
 
 AVhUe her soft breast with pity seems to pant. 
 
 And shrinks at every shrinking of the plant. 
 
 Eomney eagerly accepted the idea ; and while he 
 set about arranging a new canvas, Hayley, accom- 
 panied by his hostess, Mrs. Clifford, and her niece, 
 
 ^ The coloured engraving by Earlom distinctly shows the 
 snowdrops. 
 
156 George Romney and His Pictures. 
 
 went io Hammersmith to seek for the shrub mimosa 
 for Eomney to copy. This they found in the domain 
 of Mr. Lee, a noted botanist, who courteously de- 
 clined to accept any pay for it. 
 
 Hayley anxiously watched the progress of the fine 
 picture, which would in years to come prevent his 
 name from sinking into oblivion, and on its comple- 
 tion he yearned to own it. Circumstances furthered 
 his views. A gentleman, whose estate lay contigu- 
 ous to his own, took a fancy to a farm of Hayley's, 
 and wished to buy it. " If you will pay a fair 
 market price for the land, and purchase and present 
 me with the Sensibility of Bomney besides, the land 
 shall be yours." The gentleman was agreeable, 
 Hayley banked the money for his farm and hung his 
 picture. The price the gentleman paid for it was 
 one hundred guineas. On March 29, 1890, this 
 same splendid work was offered for sale at Messrs. 
 Christie's, and was bought by Mr. Henson for 
 £3045.1 
 
 ' It is now the property of Lord Burton, who bought it from 
 Mr. Henson. 
 
Hay ley Stimulates. 157 
 
 The painter's merit had asserted itself, was re- 
 cognised in the world of art ; but how many in that 
 concourse of educated people knew a single line 
 from the poem that called tlie great picture into 
 life? 
 
 It is as well to remark here that though it is 
 invariably called Tiady Hamilton as Sensibility, she 
 could not have actually sat for the picture, which 
 was commenced about May, 1787. She was then in 
 Italy, and had been for twelve months. Eomney 
 would be working on one of his many unfinished 
 heads when Hayley suggested his converting it into 
 a large subject. What a favourite has the snow- 
 drop-crowned graceful figure become ! 
 
 Hayley highly appreciated every design of Eom- 
 ney's, saying that his happiest portraits were just, 
 forcible, and tender. The playfulness of his own 
 fancy was a useful stimulus to the painter's despond- 
 ing mind. When Eomney had thought out his sub- 
 ject so that he distinctly saw it in his mental vision, 
 he had a happy facility of rapidly transferring his 
 
158 George Romney and His Pictures. 
 
 idea to canvas. He never made any finished draw- 
 ings for his pictures, only outHning the general con- 
 ception, sketching his figures anatomically, clothing 
 them afterwards, and filling in the minor details 
 when he worked on the picture itself. 
 
 Blake illustrated the thirteenth edition of The, 
 Triumphs of Temper from drawings by Maria Flax- 
 man, sister to the sculptor. Hayley certainly was 
 the popular poet of the period ; ^ but after the ap- 
 pearance of one of his plays Horace Walpole (no 
 mean authority) said he wduld not give 6d. a ream 
 for what Hayley and all such copyists wrote. And 
 having received a wreath of laurel from his fair cor- 
 respondent, the Countess of Ossory, he sent her a 
 thousand thanks, and continued in his characteristic 
 style: "I tried it on immediately, but it certainly 
 was never made for me, it was a vast deal too big, 
 
 ^ At the exhibition of pictures at the Liverpool Royal Insti- 
 tution in 1787, S. Harding, of London, sent a pair illustrative of 
 The Triumphs of Temper, Sir Gilbert and Serena, and Falkland and 
 Serena. 
 
Horace Walpole Declines Laurel Wreath. 159 
 
 and did not fit me at all. . . . Besides, as I never 
 wear so much as a hat, how it would make my head 
 ache ! And then too, as nobody in the village has 
 worn a sprig of laurel since Mr. Pope's death, good 
 Lord ! how my neighbours would stare if I should 
 appear with such a chaplet ! " And the merry old 
 scribe begged leave to pass it on to Mr. Hayley or 
 Mr. Cumberland, whom he felt sure would write an 
 ode upon her. 
 
 Hayley's observation of the various effects of 
 spleen on the female character induced him to 
 believe that he might render an important service 
 to social life if his poetry could influence his 
 young and fair readers to cultivate the gentle 
 quahties of the heart, and maintain a constant 
 flow of good humour. With this view he com- 
 posed his Triunvphs of Temrper ; and its success 
 seems to have been equal to his most sanguine 
 hopes. He was heard to declare that the sweetest 
 reward he ever received as an author was a cor- 
 dial declaration by a good and sensible mother 
 
to George Rofnney and His Pictures. 
 
 a large family that she was greatly indebted 
 
 the work in question for an absolute and de- 
 htful reformation in the conduct and character 
 
 her eldest daughter, who, from perverse and 
 -tempered, became docile and tractable, by am- 
 ;ion to emulate Hayley's model Serena. 
 In later years a young bride thus addressed the 
 et : "I will introduce myself to you, and tell 
 u that I have loved you ever since I was ten 
 ars old; for then a copy of The Triumphs of 
 nvper was first put into my hand, and I have 
 er since longed to call the author my friend ". 
 lis incident brought the tears to Hayley's eyes. 
 And one greater than these acknowledged the 
 neficial result of the perusal of the poem, 
 irectly after her marriage Lady Hamilton, in a 
 ;ter to Eomney, which will be inserted later, 
 med that all her good fortune was due to the 
 iprovement in her character following her study 
 
 the same Serena. 
 
CHAPTBE VIII. 
 
 Bomncy's ''Circe" — Mr. Long's Foresight — Greville's 
 Tight Hand destroys a Slander — Fancy Pictures 
 of Lady Hamilton — Miss Seward at Eartham. 
 
 In 1782 Eomney painted the life-size picture 
 of Circe, for which sat the lovely girl who be- 
 came Lady Hamilton, but then known as Mistress 
 Hart. To avoid confusion it will be as well to 
 adhere to her better known name, and call her 
 Lady Hamilton in these pages, though, as a matter 
 of fact, she could not lay claim to the title until 
 some years later. She was Mistress Hart when 
 he painted most of the famous pictures that were 
 inspired by her genius. 
 
 In 1787 Miss Seward visited the studio of 
 Eomney with a clever Quaker lady named 
 Knowles, the wife of an eminent London phy- 
 sician ; she was an expert with her needle, and 
 (i6i) II 
 
1 62 George Romney and His Pictures. 
 
 had worked an extremely well-executed portrait 
 of George the Third in worsted and canvas. 
 When Mrs. Knowles saw the Circe she ex- 
 claimed : " What a number of bad, indifferent, 
 moderate, good, and very good pictures must 
 the hand paint ere it attains the sublimity of 
 that figure ! " 
 
 Who that saw that same sweet Circe in the 
 Loan Collection of 1892 at the London G-uildhall 
 can ever forget the impression created by the 
 advancing girlish figure with commanding up- 
 lifted left hand, lightly holding a wand in the 
 right, while the arm is dropped at her side, and 
 she looks out from the canvas with a smiling know- 
 ledge of her powers of fascination? Her auburn 
 hair is bound with a fillet of blue, and a veil of 
 a darker shade floats behind her. A pale red 
 robe drapes her lithe form, falling low on the 
 right shoulder, being caught at the waist by a 
 band or sash of the same tint. Arms and feet 
 are bare; the left foot, on which she is for the 
 
from the picture in possession of Herbert C.Gibbs.Esq. 
 Painted by Georg'e Rornne^ in If 82. 
 
Lady Hamilton as ''Circe". 163 
 
 instant poised, coming prominently forward. Dark 
 rocks, with a glimpse of the sea on the left, com- 
 pose the background. The picture was never 
 completed in the lifetime of Eomney, as he could 
 not spare time to absent himself while he sketched 
 from life the wild animals, her metamorphosed 
 lovers ; Gilpin was to have done them, but he 
 failed to execute them. 
 
 When friends of Hayley described the picture 
 and the spell the bewitching form cast over them, 
 they mentioned no brutes. At the sale, or sacrifice, 
 of Bomney's works in 1807, it was acquired by 
 Mr. Long, the surgeon, who, being a trifle skilled 
 in the use of the brush as well as the knife, 
 put finishing touches, and introduced some wolves 
 to the right hand, and a leopard to the left. 
 Since the exhibition at the Guildhall in 1892 
 the owner, Mr. Herbert C. Gibbs, has had the 
 leopard painted out, so that now the eye rests 
 with pleasure upon the figure of Circe, unattracted 
 by a defectively worked up animal, which would 
 
164 George Romney and His Pictures. 
 
 have gained for Bomney the reputation of being 
 a bad painter of animals. Mr. Long bought the 
 picture for £15 4s. 6d. ; but while on view at the 
 Guildhall Messrs. Grundy, of Manchester, offered 
 three thousand guineas for it, which sum its for- 
 tunate proprietor refused to take. The medical 
 artist also, from false delicacy, painted drapery on 
 a Cupid and Psyche that Eomney gave him. 
 
 Mr. Long had keen foresight in regard to the 
 future value of art works of his own time, and 
 he acquired such as his educated taste told him 
 would prove a remunerative speculation. The 
 son of Hayley showing great promise as an artist, 
 although a pupil in sculpture to Flaxman, the lad 
 was asked by Mr. Long (who also medically 
 attended him) to copy for him two of his original 
 drawings that had taken his fancy. Flaxman 
 advised him to do so, as Mr. Long had always 
 been very kind. On the receipt of them next day 
 Mr. Long thanked the youth, and surprised him 
 by giving him five guineas, asking him to accept 
 
Emma Hart's Introdtution to Romney. 165 
 
 them, adding in a joking way that he would put 
 on the back of each what they were, that posterity 
 might set a value on them, and that some years 
 hence they would bring some hundred pounds to 
 his heirs, being known to be the first works of 
 so great a master. And Mr. Long meant what 
 he said. Time has proved him right, and that 
 his money was well invested when he bought 
 Romney's pictures with his eye on the future. 
 
 Romney numbered the Hon. Charles Greville 
 among his intimates,^ limited as they were ; and 
 wishful to do a service to the artist, he took 
 Emma Hart (for whom he was at that time pro- 
 viding, and also educating her sharp intellects) 
 to have her portrait painted as Nature, with 
 the little dog already mentioned. Other sittings 
 followed, with Greville's permission. Her great 
 failing was vanity ; and what could pander more 
 to it than to sit to an artist of repute? This 
 
 ' Komney wrote more than one letter to Mr. C. Greville 
 during his visit to Venice in 1775. 
 
1 66 George Romney and His Picttires. 
 
 was the only indulgence permitted to her ; for 
 Greville held the reins with a tight hand, exacting 
 the utmost propriety of conduct. She had no 
 acquaintance ; and her only amusements were 
 reading and music at home, and going once or 
 twice a week to have her portrait painted. The 
 artist's son, a respected clergyman, is authority 
 for stating that she invariably came and went 
 in a hackney coach, and never appeared in the 
 streets without her mother as companion. Her 
 attire was the most simple, so unwishful was 
 she to attract admiring eyes. She dearly loved 
 Greville, and was submissive in every respect ; 
 yet this is the epoch where her traducers have 
 named her as the mistress of Eomney. Greville 
 was very severe, any act of indiscretion would 
 have severed his connection with her. It is quite 
 a mistaken idea that she betrayed any levity of 
 manner at this era; her whole affection was 
 centred in Greville, her every wish to please and 
 serve him. 
 
Emma Hart Writes from Parkgate. 167 
 
 In July, 1782, when Greville took her to sit to 
 Eomney, he paid the painter twenty-five guineas 
 for his own portrait, as shown by Eomney's 
 account book. In the month of June, in the 
 year 1784, just at the very time when it is the 
 modern conviction that Emma Hart had cap- 
 tured the heart of the great painter, she, at the 
 expense of Mr. Greville, went for some months' 
 residence to Parkgate, in Cheshire, for sea bath- 
 ing, at that then fashionable, though economical, 
 watering-place. From thence she penned several 
 letters to Greville, a few extracts from which will 
 unquestionably demonstrate that this girl of nine- 
 teen years wished only to reign in the heart of 
 one man — and that one was Greville. Eomney 
 neither received nor wrote letters to her during 
 her absence. On June 15 she says : — 
 
 "Pray, my dear Greville, do let me come home as 
 soon as you can, for I am all most broken-hearted 
 being from you, endead I have no pleasure nor 
 happiness. I wish I could not think on you, but 
 
1 68 George Romney and His Pictures. 
 
 if I was the greatest laidy in the world I should 
 not be happy from you, so dont let me stay 
 long. . . . Indead my dear Greville you don't know 
 how much I love you, and your behaviour to me 
 even when we parted was so kind. Greville I 
 dont know what to do, but I will make you 
 a mends by my kind behaviour to you, for I have 
 grattitude, and will show it you all as I can, 
 so dont think of my faults Greville, think of 
 all my good and Blot out all my Bad, for it is all 
 gone and berried never to come again. So good 
 by, my dear Greville, think of nobody but me, 
 for I have not a thought but of you ; and praying 
 for you and for ous to meet again. God bless 
 you, and believe me yours truly and affection- 
 ately, Emma H t."i 
 
 Another amusingly illiterate, but genuinely affec- 
 tionate letter, was written on June 22, 1784: — 
 
 " My ever dear Greville, — How teadious does the 
 time pass a whay till I hear from you ; I think it 
 1 The Morrison MSS. 
 
Emma Hart Tries to be Good. 169 
 
 ages since I saw you, and years since I heard from 
 you ; indead I should be miserable if I did not re- 
 collect on what happy terms we parted, parted but 
 to meet again with tenfold happiness. Oh Greville, 
 when I think of your goodness, your tender kindness 
 my heart is full of grattutude that I want words to 
 express it. But I have one happiness in view which 
 I am determined to practise and that is evenness of 
 temper and steadiness of mind, for endead I have 
 thought so much of your aimable goodness when 
 you have been tried to the utmost, that I will, in- 
 dead I will, manige myself and try to be like Gre- 
 ville. Endead I can never be like him, but I will do 
 all I can towards it, and I am sure you will not 
 desire more. I think if the time would come over 
 again I would be different. But it does not matter 
 there is nothing like Bying expearance ; I may be 
 happyer for it hereafter, and I will think of the time 
 coming and not of the time past except to make 
 comprapasons to show you what alteration there is 
 for the best, so my dearest Greville dont think on 
 
170 George Romney and His Pictures. 
 
 my past follies, think of my good, little as it has 
 been, and I will make you amends by my kind 
 behaviour."^ 
 
 In 1785 Greville was wishful to sever his connec- 
 tion with Emma, his finances being so limited that 
 he felt he must meditate a wealthy marriage. In 
 order to rid himself of the girl he wrote to his uncle, 
 Sir William Hamilton, at Naples, asking him to 
 invite her to Italy, under pretence that he would 
 follow when he had settled his affairs — though he 
 had no intention of doing so. Scheming letters 
 passed between the two men to entice the girl 
 abroad, for which there would have been no neces- 
 sity had there been truth in the statement that 
 Eomney loved her. He was at hand, and in good 
 monetary circumstances, and could have relieved 
 Greville of his encumbrance if he had any infatua- 
 tion, but none existed, hence the scheme concocted 
 by Greville to close his acquaintance with her. He, 
 who must have been cognisant of misconduct had 
 ^ The Morrison MSS. 
 
Greville's Testimony of Emma's Conduct. 1 7 1 
 
 it existed between Eomney and Emma, wrote of her 
 to his uncle preparatory to her departure : " She 
 never has wished for one improper acquaintance. 
 She has dropt every one she thought I could take 
 exception against, and those of her own choice have 
 been in a line of prudence and plainness which, 
 though I might have wished for, I could not have 
 proposed to confine her. If you can find only one 
 or two acquaintances, and let her learn music and 
 drawing, or anything to keep in order, she will be 
 as happy as if you gave her every change of dissipa- 
 tion." 1 And on November 11, 1785, another letter 
 demonstrates all that need be said. " You know 
 that from giddiness and dissipation she is prudent 
 and quiet, and that, surrounded with temptations, 
 I have not any the least reason to complain of her. 
 My attentions do not lead me to make a parade of 
 her, or a sacrifice of my amusements or business. 
 The secret is simple — she has pride and vanity. I 
 have for some years directed them for her happi- 
 ^ The Morrison MSS. 
 
172 George Romney and His Pictures. 
 
 ness." This alludes to the visits to the studio. He 
 continues : " She does not wish for much society, 
 but to retain two or three quiet, creditable acquaint- 
 ances in the neighbourhood. She has avoided every 
 appearance of giddiness, and prides herself on the 
 neatness of her person and the good order of her 
 house." No further comment seems requisite, save 
 that her own letters to Greville most undeniably 
 show how dearly she loved him — and him only. 
 
 Under these conditions how, then, can it be 
 credited that there were culpable relations between 
 painter and model ? Such an accusation is palpably 
 a libel on both, considering her unquestionably true 
 regard for Greville. The numerous sketches Eom- 
 ney made from her face have too readily been made 
 the foundation of slander. Many subjects did he 
 work upon while the animated face grasped the 
 requisite expression and inspired him. When he 
 had constantly to appeal to his friends to supply 
 him with ideas or design material for his brush to 
 portray, how truly acceptable to him must have 
 
The Story of A lope and Cercyon. 173 
 
 been the advent of this young girl, so capable of 
 interpreting any character ! 
 
 The best known pictures in which the portraits 
 of Lady Hamilton may be traced, other than those 
 already mentioned, are the dual Tragedy and 
 Comedy mursing the Infant Shakespeare. 
 
 Iphigenia, with a yellow veil, sold at Christie's in 
 1807 for £12 Is. 6d. 
 
 Alope loith Her Child in the Woods; bought 
 by Admiral Vernon for sixty guineas. Alope was 
 the daughter of Cercyon, a famous robber of At- 
 tica, in Greece. He possessed such bodily strength 
 that he could bend and fasten together the strongest 
 trees (so says classical lore). His daughter Alope 
 had a son by Neptune called Hippothoon, at which 
 Cercyon was so enraged that he exposed the child 
 to wild beasts in the woods. This great robber 
 was at last conquered and put to death by Theseus 
 in a wrestling match at iEleusis. Eomney shows 
 Alope reclining in a forest protecting her infant 
 from approaching lions, from which a slight stream 
 
174 George Romney and His Pictures. 
 
 divides them. The drapery for this picture was 
 painted in one hour from a living model. The 
 lions are from the brush of Gilpin. 
 
 The Spinstress^ originally bought by Mr. Cur- 
 wen for 150 guineas, had been ordered by Mr. 
 Greville, but the state of his finances prohibited 
 his appropriating it. Mr. Curwen wished to buy 
 it ; this Bomney wrote to Greville, at the same 
 time stating that if he still desired to purchase it, 
 he would reserve it for him, and payment could 
 be made to suit his convenience. Considerate as 
 XTSual, regardless of his own interests ! Foreseeing 
 that his means were not likely to allow his ac- 
 quiring it, Mr. Greville resigned in favour of the 
 wealthy Mr. Curwen, but stipulated that in the 
 event of his seeing his way to purchase it, would 
 Mr. Curwen make it over to him? To this Mr. 
 Curwen acceded, making terms also that Eomney 
 
 ^ Now the property of Lord Iveagh — canvas 68 x 50 in. 
 Messrs. P. & D. Colnaghi have published engravings of this 
 and several other of Komney's pictures. 
 
" The Spinstress" and "Cassandra". 175 
 
 should hold in readiness some other suitable 
 picture to replace The Spinstress in case he was 
 called upon to give it up. After these prelimi- 
 naries were arranged, the picture was transferred 
 to him. The idea of the attitude was originally- 
 culled from seeing a cobbler's wife sitting in her 
 stall. Eomney's observation of the graceful caused 
 him to sketch the pose of figure, which ultimately 
 was transferred into the well-known picture. The 
 fashionable ladies of the epoch wore very high 
 head dresses and long stiff bodices, a most ungrace- 
 ful attire that spoilt the cast of any picture. The 
 elegance of the semi-Grecian costume of Cassandra 
 proved so attractive in its simplicity that the 
 liideous garb of the long-waisted dresses disap- 
 peared from the world of fashion. 
 
 Cassandra vnelding the battle-axe, striking the 
 Trojan horse, a full-length, painted for the Boydell 
 Gallery. 
 
 Cry, Trojans, cry, lend me ten thousand eyes. 
 And I will fiU them with prophetic tears. 
 
176 George Romney and His Pictures. 
 
 There are also heads only of this subject in 
 different positions. 
 
 One of the sweetest pictures of Lady Hamilton 
 that Eomney has left us is the modest-looking girl 
 in the straw hat called Emma, bought by a Mr. 
 Crawford. 
 
 A half-length sent to Naples in a black gown 
 and pink petticoat, and another commission that 
 he received from Sir William Hamilton, called A 
 Bacchante, was lost at sea by an accident to the 
 vessel which carried such of his treasures that he 
 had been able to save during the revolutionary 
 troubles at Naples. It was said to surpass all 
 Eomney' s other works. 
 
 Lord de Tabley owns two Bacchantes, which 
 were purchased from Eomney by his ancestor. 
 Sir John Leicester. One half-figure just emerg- 
 ing from girlhood, the expression tearful and 
 melancholy, more like a saint than a Bacchante.. 
 The profuse hair is crowned with a wreath of 
 vine leaves, which will account for the title, aa 
 
THE SEMPSTRESS. 
 
 (From the painting by George Romney.) 
 
Portraits of Lady Hamilton. 177 
 
 the name was given it after the purchase was 
 made. It is highly finished, and esteemed a very 
 favourable specimen of the artist. 
 
 The other is less pleasing, crude and coarse, 
 the crouching figure sitting on the ground beside 
 a rock, nursing a Bacchanalian ewer. 
 
 A three-quarters given by Lady Hamilton to 
 "the Eev. Louis Dutens,^ one of the witnesses to 
 her marriage. 
 
 A sitting portrait, given by Eomney to her 
 mother, painted when she came to England with 
 Sir William Hamilton to be married to him. She 
 wears his profile likeness in her belt. This was 
 the last portrait he took of her. 
 
 On the occasion of this important visit to 
 England, George, Prince of Wales, gave Eomney 
 a commission to paint two pictures of her, for 
 which he gave Eomney (in debentures) one 
 
 ' A French Protestant clergyman, who had been attached 
 to the embassy at Turin, and author of several works. He 
 was historiographer to George III. 
 
178 George Romney and His Pictures. 
 
 hundred pounds each. One was Calypso, the 
 other a Magdalen, crouched on the floor in a 
 heap on her knees, just as a pretty emotional 
 village girl would rock herself when under the 
 influence of any deep religious feeling or grief, 
 not as a self-respecting, well-bred woman would 
 kneel. Her chestnut hair sweeps the ground in 
 her abandonment. Her gown is slatey black, and 
 sleeveless. She wears a white under garment 
 with long sleeves. An open book and hour-glass 
 are on a table. 
 
 He also commenced at this time a Joan of 
 Arc ; A Pythian Priestess, with the tripod ; and 
 another Cassandra, none of which did he ever 
 finish. 
 
 Many other pictures did he paint from her ani- 
 mated face, such as The Bacchante in the National 
 Gallery, The Sibyl in the National Portrait Gallery, 
 etc. ; but they are so well known that it is unneces- 
 sary to enlarge upon them. 
 
 J. T. Smith, in describing an interview he had 
 
How Romncys Portrait was Bought. 1 79 
 
 with Lady Hamilton in later life, adds: "And 
 believe me, reader, her mouth was equal to 
 any production of Greek sculpture I have yet 
 seen". 
 
 Eomney left numerous heads of this beautiful 
 model merely sketched in for future carrying out ; 
 and having narrated so much of the reliable por- 
 traits of Lady Hamilton, the painting of which 
 extended over several years, the thread of the story 
 of Eomney's life will be resumed. 
 
 During his visit to Bartham in 1782, Eomney 
 commenced his own portrait for Hayley,^ at which 
 
 ^ The manner in which this portrait was acquired for the 
 nation at the sale of Miss Komney's (of Whitestock Hall) 
 pictures and autographs relative to her gifted ancestor, at 
 Messrs. Christie's, in May, 1894, is of interest. "When the 
 lot was put up, the auctioneer looked at three gentlemen 
 who were advancing to the front, and he said he hoped it 
 would be bought for the National Gallery, as it was so de- 
 ficient in specimens of Bomney's 'work at different periods. 
 The three gentlemen turned to one another, and the eldest 
 slightly bowed. Then the bidding commenced, and went 
 up by leaps and bounds. It was finally bought by the 
 
i8o George 'Romney and His Pictures. 
 
 time he was forty-eight years of age, but as soon 
 as the head was done the poet carried it off, so 
 fearful was he that anything would escape him. 
 Well was he aware of the treasures he was ac- 
 cumulating ; yet how often was Eomney's sole 
 recompense a set of meaningless verses in his 
 honour ! In this year Miss Seward visited Hayley 
 at Eartham ; the high colloquial as well as the 
 professional talents of Romney formed no incon- 
 siderable part of Miss Seward's entertainment. 
 He painted her portrait for Hayley, who placed 
 it between the busts of Pope and Newton in his 
 library. 
 
 In acknowledging so great an honour, she 
 wrote to Hayley that the garlands of Swift's 
 Stella and Prior's Chloe would fade before the 
 
 trio for 420 guineas ; and they desired the auctioneer to 
 declare that it was purchased for the nation, which he did, 
 and they retired amid a hearty round of applause. The 
 picture, as far as it is finished, is a very fine work, mosi 
 beautifully painted. It is intended for the National Portrait 
 Gallery. 
 
A//ss Seward's Portrait. i8i 
 
 testimonies of poetical gallantry to herself. ^ A few 
 years later Eomney sent Miss Seward a portrait 
 of herself as a present, for he had heard her 
 express a wish to have one for her father. The 
 valuable gift was acknowledged in verse by the 
 poetess. It was a half-length, life-sized ; the hair 
 powdered, a white dress, lace scarf, and sky 
 background. On its receipt she placed it by the 
 bedside of her father to surprise him when he 
 awoke. In wi'iting to a friend she described it 
 as a most expressive portrait, which some thought 
 like her, while others saw no resemblance.* 
 
 ^ Other people thought differently. Horace Walpole wrote 
 to Mrs. Hannah More that he was not at all charmed by 
 Hayley and Miss Seward piping to one another. 
 
 ' Wright of Derby also painted a portrait of Miss Seward's 
 father, and was rewarded m fulsome verse by the daughter. 
 
CHAPTEE IX. 
 
 More Portraits — " L' Allegro" and "II Fenseroso" — 
 Bomney's Note-boohs — Greville's Letter — Romney's 
 Kindness to other Artists — Richard Cumberland's 
 Classical Sketches of Reynolds, West, and Romney 
 — The Trip to Paris — Mdme. Sillery's Ruse to 
 enter La Trappe — Interesting Portraits — Errors in 
 Pictures for want of Distinguishing Marks. 
 
 In 1783 Eomney worked upon portraits of the 
 
 two Miss Thurlows, in white caps trimmed with 
 
 ribbons, playing the harpsichord; Lady Brownlow 
 
 and Master Gust; Lady Georgina Smith and 
 
 child; Sir Charles Kent's two daughters; the Earl 
 
 of Derby on horseback, for a Mr. Stevenson; and 
 
 a half-length of Gibbon, the historian, for Hayley, 
 
 with the finger pointing as if in conversation. 
 
 Gibbon and Eomney greatly esteemed one another ; 
 
 they were introduced to each other by Hayley 
 
 (182) 
 
Pitt and David Hartley. 183 
 
 at this time. Of Hay ley, Gibbon wrote : "His 
 place, though small, is elegant as his mind, which 
 I value much more highly". 
 
 In 1784 Eomney received an order from Lord 
 Chatham's tutor for a portrait of his lordship, 
 and commenced one of Mr. Pitt, kit-cat size, but 
 never got any further than the head, — one of the 
 finest ever taken from Pitt ; a nearly front face, more 
 pleasing than the angular profile of which the cari- 
 caturists made so much sport. It ultimately realised 
 fifty guineas, after remaining on hand several years. 
 A very indifferent mezzotint of Pitt, half-length, 
 in his robes as Chancellor of the Exchequer, was 
 taken from this head by Jones, a bad engraver 
 patronised by George Steevens, the Shakespeare 
 editor, with whom Eomney did not like to fall 
 out ; so he submitted to his own disadvantage. 
 
 David Hartley, minister plenipotentiary for set- 
 tling terms of peace with America, also sat ; a front 
 view, looking through his spectacles, a sitting 
 figure. 
 
184 George Romney and His Pictures. 
 
 Then came the pretty conception of Mrs. Henry 
 Eussell with her child, whom she held on a 
 tahle to see the reflection of its face in a 
 mirror. 
 
 And the Hon. and Eight Eev. Shute Barrinoton, 
 Lord Bishop of Salisbury, in his wig, episcopal 
 robes, collar and badge of the Garter, paper in 
 right hand, holding a purse in the left, pillar and 
 curtain as background. 
 
 And Dr. Farmer, Master of Emmanuel College, 
 Cambridge, took life-like reproduction from the 
 brush of this eminent artist. 
 
 In 178-5 he realised £3635 by his profession, his 
 prices being then eighty guineas for a whole-length, 
 forty for a half-length, and twenty for a head. This 
 year brought forth Edmund Burke ; a whole-length 
 of Mrs. Broughton Eouse and child ; a kit-cat of 
 Lady and Master Belgony ; half-length of Mrs. 
 Ford and child, for General Johnstone ; and half- 
 lengths of Mrs. and Miss Beresford, and Mrs. 
 Thomas Eaikes and child. 
 
Mrs. Jordan. 185 
 
 The Se}npstress, a fancy subject,^ called Mrs. 
 Smith Seiuing in the catalogue of his sale of 
 pictures, became the property of Admiral Vernon ; 
 and Penitence and Absence, another pair of ideals, 
 afterwards belonged to the Eev. John Eomney, 
 of St. John's College, Cambridge. 
 
 In 1786 his brush was busy. In this and the 
 next year his patrons were of a high standing, 
 both in Church and Stage. The most notable 
 personages who favoured him were Dr. Law, 
 Bishop of Carlisle, half-length : two of Mrs. Jor- 
 dan for the Duke of Clarence, who paid for them 
 the day they went home — one as Peggy in The 
 Country Girl; the other a small, seated three- 
 quarter figure, deep grey eyes, full red lips, the 
 brown hair worn unkempt ; long tan gloves on 
 the hands, the dress body short, with black waist 
 belt. He commenced another of Mrs. Jordan, which 
 
 ^ This simple figure is seated on a homely rush chair, a 
 not unfrequent attitude selected by Bomney, the unaffected 
 grace of which may have been intended as a sarcasm on 
 the rival master, who enthroned his beauties. 
 
i86 George Romney and His Pictures. 
 
 he left unfinished — the right foot resting on nothing. 
 Sold in 1884 for £735. 
 
 A charming picture of Mrs. Billington as St. 
 Cecilia, half-length, on a red-covered seat, fronting 
 the spectator. The left hand and head are raised 
 as though saying " Listen ! " the elbow rests on a 
 spinet — the right hand down by the side, holding 
 a roll of music. She wears a white dress and 
 salmon-coloured sash. Background a red curtain, 
 marble pillar, and blue sky. Sold at Messrs. 
 Christie's, on June 25, 1894, for £945. 
 
 The learned and great flocked to his studio. 
 Dr. Moore, Archbishop of Canterbury ; Bishop 
 Watson, the Rev. Dr. Parr, in his doctor's gown. 
 A half-length of the Duchess of Cumberland, the 
 Ladies Caroline and Elizabeth Spencer, daughters 
 of the Duke of Marlborough ; Mrs. Ainslie and 
 child ; Mrs. Smith and child, sent to Carolina ; the 
 two sons of Mr. Wilbraham Bootle ; Sir George 
 Winn's sons ; Mrs. Arden and child ; the three 
 sons of Mr. Gosling, in one piece. Two of his 
 
'' L Allegro e Peiiscroso." 187 
 
 pictures in 1788 went to Ireland : one of the 
 celebrated preacher, the Eev. John Wesley, for an 
 Irish lady named Tighe ; and a portrait of Mrs. 
 Clements went to Dublin. The reverend element 
 was also represented by Dr. Fowler, Archbishop 
 of Dublin ; and Dr. Markham, Archbishop of 
 York ; while Mrs. Bonner and child, and Mr. 
 and Mrs. Drux Grosvenor and child in an oval, 
 sustained his reputation in high degree. At the 
 request of the Duchess of Eichmond, wife of his 
 patron, he did her little spaniel dog. 
 
 His fancy picture for this year he called Mirth 
 and Melancholy, or L' Allegro e Penseroso. It must 
 be noted that this is a different composition from 
 a pair of pictures previously painted bearing the 
 same titles. The subject now referred to was one 
 of the dual portraits that he was so fond of, — two 
 portraits of the same person in the same picture 
 with different expressions, — as, for example. Lady 
 Hamilton as Tragedy and Comedy in the Shake- 
 spearian picture already alluded to, and Miss Cum- 
 
1 88 George Romney ami His Pictures. 
 
 berland as Gelia and 'Rosalind. In this instance 
 a celebrated actress, Miss Wallis,^ sat for the dual 
 characters, designed to show her equal excellence 
 in either walk of the drama. Melancholy, near 
 the entrance to a gloomy cave, was being urged 
 gently by Mirth to join in a gleeful party dancing 
 round a maypole on a distant hill. It was sold 
 at the sale which scattered so manj' treasures 
 into oblivion — for fifty guineas. 
 
 In 1788 there are traces of his having been in 
 the north ; among his papers after death were 
 found three playbills for the Manchester and 
 Kendal theatres for that year, the principal at- 
 traction at which was Mrs. Siddons as Hamlet. 
 
 The capacity for business in Romney was of the 
 most meagre limit. The entries of his cash remit- 
 
 ' Some of the classical subjects of Eomney bear the imprint 
 of this lady's face, a heavy style of beauty which disappears 
 from his works from the date when he copied expression from 
 the face of Mrs. Hart (Lady Hamilton). The mouth of Miss 
 Wallis was large, and in laughing she showed a row of even 
 teeth, which in the other lady were irregular though white. 
 
Romneys Note-books. 189 
 
 tances from sitters were made in note-books, varying 
 iu size, some were pocket-books, others about 10 
 inches by 9 inches. The moneys received were 
 jumbled up in the most heterogeneous fashion, in- 
 comprehensible to any one but himself, and tiresome 
 to investigate. In one book he would note the re- 
 ceipt of money on account on the day when it was 
 paid to him — then in another book it would appear 
 some weeks later, probably when the picture was 
 commenced ; and finally, another payment would be 
 entered when the work had been sent home. In most 
 cases half was paid when giving the order, and the 
 remainder when the picture was delivered. The price 
 of frame, box, packing, and the like were added if need- 
 ful. He charged less for a replica than for an original. 
 These note-books, which extended over several 
 years, are most interesting, because of their close 
 association with the master and his life work — 
 because of the vividness with which they bring 
 before the mind's eye of the person handling them 
 the master and his sitters — the flower of English 
 
190 George Roniney and His Pictures. 
 
 society at a most charming period of life and 
 fashion. The subtle charm of those books would 
 evaporate in transmission to modern print and 
 paper ; for that charm lies in their delicate old-world 
 feeling and aroma — in the sprawling writing of his 
 memorandum books, and the tidy commercial hand 
 of his bank account books, in faded ink, old water- 
 marked paper and calf bindings. The contents in 
 the memorandum books are not of general interest, 
 but are of monotonous and business-like brevity 
 throughout, with no autograph comments on his 
 sitters, such as would be delightful in a painter to 
 make. Eomney's disinclination to write caused him 
 to leave no record of conversations held or impres- 
 sions made. 
 
 However, a few extracts from the books will show 
 the style in which they were kept, and be of interest 
 as far as prices are concerned : — 
 
 1782.— July 28. Rec. of Hon. Mr. Greville 25 gs. for his picture. 
 Oct. 18. Eec. of Lady Middleton in part for Lord Middle- 
 ton's copy — frame not paid for . £89 
 
How He Kept His Acamnts. 191 
 
 1782.— Nov. 27. Eec. Capt. Robinson for his portrait £21 
 Eec. Major Robinson half price for 
 
 himself half length . . . 21 
 1784. — May Rec. of Mr. Ker half price for Mrs. 
 
 Ker's portrait . . . 15 15 0' 
 
 Pec. 10. Rec. of Admiral Vernon for a 
 picture of a Lady copied from a 
 miniature, £'21 0. Sundries . 3 16 
 Captain Dalton's picture sent to 
 
 Homingford . . . 21 
 
 Two men sending; case . .200 
 
 1785.— Sept. 1. Rec. of Miss Charlotte Chve for 
 
 her H. L., £42 0. Frame . 6 8 
 1786. — Jan. 12. Eec. of Major Robinson for his 
 
 lady's half length . . 42 
 
 Feb. 7. Rec. of Mr. Houlby for Mr. David 
 
 Houlby's portrait H. L. . . 42 
 May 29. Rec. of Sir G. Robinson the remain- 
 der for his picture and his lady 31 10 0^ 
 Aug. 1. Rec. of Sir Robert Gunning for two 
 
 Miss Gunnings three-quarters . 42 
 1787. — June 12. Rec. of Lady Wray for her three- 
 quarters portrait . . 20 4 
 1788.— Feb. Rec. of Lady Wombwell for her 
 
 son's portrait . . . 26 5 
 
 Sept. Rec. of Hon. C. Greville for Sir 
 
 William Hamilton . . . 100 
 
 ' Now in the National Gallery of Scotland. 
 
 - He had paid JIO 10s. on account on Jan. 6, 1786. 
 
192 George Romney and His Pictures. 
 
 52 10 
 
 
 
 31 10 
 
 
 
 150 
 
 
 
 52 10 
 
 
 
 84 
 
 
 
 21 
 
 
 
 1789.— Jan. 17. Heo. of Mr. D. Stevenson for his 
 
 mother's portrait . . i26 5 
 
 March, Reo. of Mr. Sneyd for Mrs. 
 
 Clement's portrait H. L. . 
 Nov. Eec. of Mrs. Best for her portrait 
 
 three-quarters .... 
 Deo. Eec. of Mr. Curwen for the picture 
 
 of Th& Spinstress .... 
 1790. — July 14. Eeo. of Mr. Cartwright for two 
 three-quarters of him 
 April 13. Lady Milner's portrait W. L. 
 1791.— July 16. Eec. of Oapt. Dalton, Sen., for his 
 own portrait three-quarters 
 
 When Sir William Hamilton visited England in 
 1784 Eomney painted his portrait, and received from 
 him other commissions to execute ; and the following 
 letter vs^ritten to him by Mr. C. Greville in the 
 summer of 1788 is an exemplification of the dilatory 
 manner in which Eomney looked after accounts 
 owing : — 
 
 My Dear Sir, — I have been desired to inquire 
 if you have had any payment for the pictures 
 sent to Naples. I am sure it is high time there 
 should be some. If you will be so good as to 
 
Greville Asks more than one Favour. 193 
 
 send me a memorandum of what is due to you, 
 I will make Sir William Hamilton's agent pay 
 you, and I will also discharge my share. Sir 
 William made me a present of his portrait, and 
 I gave him mine, which is now at Naples, and 
 I have kept only the head with a straw hat from 
 Emma. You will, therefore, include in Sir 
 William's note his portrait and all the pictures 
 sent to Naples, except my portrait, which, with 
 the straw hat, you will charge to me. I wish 
 I could have completed all my plans, I should 
 not restrict myself to two of your works, and 
 as I have speculated deeply to be the proprietor 
 of a house and cannot look to the occupation of 
 it above a year, after which I shall be obliged to 
 let it, I shall beg to have Sir William's picture 
 to hang up. I shall be happy to see you in my 
 new habitation, which I hope to clear of work- 
 men in a fortnight. I shall send my servant, 
 with your leave, to prove the deep cellar in 
 
 which you kindly let me deposit some wine from 
 
 13 
 
194 George Romney and His Pictures. 
 
 Portman Square. If I am not more lucky than 
 in my other cellar I shall begin housekeeping 
 with a very reduced stock, as very little has proved 
 good, probably owing to the uneven temperature 
 of the year, from which, I think, your cellar is safe. 
 
 " I heard last week from Mrs. Hart ; she de- 
 sired me to tell you that she desired to captivate 
 you by her voice next spring, and that few things 
 interest her more than the remembrance which 
 you and Mr. Hayley honour her with. Beheve 
 me, dear sir, with real esteem, your obliged and 
 faithful servant, C. F. Geeville." 
 
 Is the tone of this letter that which the writer 
 would have used to the painter if, as has been 
 asserted. Mistress Hart had held undue influence over 
 the artist at the same period when she was his own 
 particular property, which Greville, as an essentially 
 selfish man, would have shared with no one? He 
 was, in fact, a rigid disciplinarian, and any deviation 
 from his rules would have entailed dismissal. 
 
 An excellent feature in the character of Eomney 
 
He Assists Strugglmg Artists. 195 
 
 was his generosity to poor artists. In 1788 he 
 ordered portraits of Hayley merely to give help 
 to those who needed encouragement, as we find 
 in a letter from the poet to Mrs. Hayley. 
 "First," he writes, "I am sitting for him to a 
 young female genius in miniature (Miss Foldson, 
 afterwards the celebrated Mrs. Mee), who, at the 
 age of seventeen, will, I trust, under his patronage, 
 most comfortably raise and support by her wonder- 
 ful talent a drooping family, consisting of a mother 
 and six brothers and sisters. She is the child of 
 an inferior painter, who suffered a palsy three 
 years and lately died. Heaven seems to have 
 inspired his child for the preservation of her 
 relatives. She is a pretty, modest, and sensible 
 girl. I carried the good Carwardine to see her 
 yesterday; he has the kindness to give her some 
 instructions concerning the management of ivory, 
 and the candour to own that she paints a hundred 
 times better than himself." The miniature was 
 pronounced to be a strong resemblance. The 
 
196 George Romney and His Pictures. 
 
 Eev. Thomas Carwardine, of Earl's Colne, Essex, 
 was himself originally a miniature painter. Hayley 
 taught two of his sons. Horace Walpole, in 1791, 
 wrote to the Misses Berry that Miss Foldson 
 was painting portraits of all our princesses to be 
 sent to all the princes upon earth. 
 
 The other commission was to Marchant, the 
 elegant sculptor in gems, for a portrait of Hayley 
 in cameo ; but he marred its success by giving the 
 sculptor instructions from his own pencil, instead 
 of leaving him to work out his own ideas. 
 Eomney had formed his acquaintance in Italy.^ 
 This onyx cameo head of Hayley by Marchant, set 
 as a brooch, sold at Messrs. Christie's on May 24, 
 1894, for eighteen shillings. 
 
 An interesting pair of full-length pictures which 
 
 1 When at Naples in 1787, Marchant cut a head of Lady 
 Hamilton (that was to be) as Medusa, which was inserted into 
 the lid of an agate snuff box for Sir William Hamilton ; profile 
 portrait, young face, lips parted, the profuse hair bound with 
 ribbon, serpents entwined round the head. It is dated, and a 
 fine piece of workmanship. 
 
More P or Ira lis. 197 
 
 he did about this time were Mr. and Mrs. John 
 Christian Curwen, a young English gentleman, 
 leaning against his horse in an attitude suggestive 
 of true dignity and high breeding, and the figure 
 of a lady clothed in graceful white drapery, with 
 a \'ivacious countenance. 
 
 The next pictures which occupied his attention 
 were a Mrs. Hodges in the act of tying her shoe 
 string, for Walkier, the Brussels banker ; and 
 two of Mrs. Fitzherbert.^ During the progress of 
 these George, Prince of Wales, came to his studio 
 to inspect them, and promised to sit himself on 
 his return from Brighton. Then followed Mrs. 
 Crouch, of whom Bartolozzi made a beautiful en- 
 graving in stipple ; Edward Law (Lord Ellen- 
 borough) ; Mr. Adye's children in one piece ; and 
 a whole-length of the Rev. Dr. Paley, who was 
 taken in a meditative mood with his fishing rod 
 in hand. He was a man with little regard for 
 
 1 George, Prince of Wales, paid for these pictures in de- 
 bentures. 
 
198 George Romney and His Pictures. 
 
 externals, and when he first presented himself to 
 sit for his portrait his attire was most unsuitable 
 for a picture : he was therefore prevailed upon to 
 put on the bishop's hat, and, the story used to 
 say, his coat also. Alderman Beckford, who had 
 been a great and popular Lord Mayor of London, 
 was a patron also ; a leading feature in his term 
 of office was the gorgeous processional pageant on 
 Lord Mayor's Day which he initiated. The picture 
 of the alderman was sent to Fonthill, in Wiltshire, 
 the residence of his son, the clever and eccentric 
 WiUiam Beckford, for whom the portraits of his 
 two beautiful daughters, Susan (prospective Duchess 
 of Hamilton) and Mary, were taken. 
 
 Mr. William Beckford purchased from Eomney 
 a scene from the Midsummer Night's Dream, in 
 which the most prominent figure was Mistress 
 Hart (afterwards Lady Hamilton) in the character 
 of Queen Mab, with a happy expression of arch- 
 ness on her countenance. This pleasing picture 
 was sold at the sale of Beckford's grand collection 
 
Lady Mary Sullivan. 199 
 
 in August, 1801, when it hung over the chimney- 
 piece in the morning room at Fonthill. The fact 
 that a connoisseur of so high repute having the 
 work in that prominent position is guarantee for 
 its perfection, and as such it should not be lost 
 sight of. It is not the same picture of similar 
 title that Sir J. Fleming Leicester bought at the 
 sale of Eomney's own pictures in 1807. 
 
 The Earl of Westmoreland sat for his portrait 
 for Emmanuel College, Cambridge. The countess 
 was taken full length, leaning upon a pedestal, upon 
 which an ermine mantle is thrown. 
 
 Eomney was at the acme of his popularity 
 about this period ; and some of the pictures of 
 ladies which he produced are worthy of descrip- 
 tion. Lady Mary Sullivan, wife of Sir Eichard 
 Sullivan, Bart., seated beneath a tree, reclining 
 backwards, three-quarters of the face turned to 
 the right, the elbow resting on a red mantle, one 
 hand laid over the other. The eyes brown, and 
 hair light, carelessly turned up in Eomney's usual 
 
200 George Romney and His Pictures. 
 
 style, through which a white ribbon runs, tied on 
 the top on one side in a bow. The open white 
 dress crosses over in front, one edge finished with 
 large pearls from the shoulder to the waist, the 
 sleeves long, with golden armlets, the cuffs edged 
 with narrow white ruching, twisted gold and 
 forget-me-not blue in its centre. One arm passes 
 across the bodice, a light blue sash is shown 
 under the arm. The background hills of volcanic 
 appearance. 
 
 Charlotte Townshend, wife of George, sixth 
 Duke of Leeds, half-length, a young full face, 
 the light hair worn low on the forehead in 
 stiffish curls, falling in long loose ringlets on the 
 shoulders, a broad lavender blue scarf across the 
 head ; the severely plain short- waisted dress of 
 dark blue green open to a point at the bosom, the 
 sleeves short, slight muslin tucker; very little is 
 seen of the arms, which hang on either side. 
 
 Ehzabeth, Lady Forbes, wife of Sir WilHam 
 Forbes, Bart., of Pitshgo, half-length, seated, 
 
Diana, Lady Milner. 201 
 
 resting on one elbow, white dress made as a fichu, 
 with broad pleated frills on either side ; the 
 sleeves long and plain, the hands seen only in 
 part. She wears an immense hat lined with 
 black, edged with white muslin quilling round the 
 brim, the light brown hair worn wig-wise, full 
 at the ears. She reclines on a red material. 
 
 Diana, Lady Milner, wife of Sir William Milner, 
 Bart., a full-length life-size, seated in a glade on 
 a slight chair inlaid with small pink flowers and 
 green leaves. The fine face looks full to the 
 spectator, with an almost defiant expression; the 
 light hair in dainty curls on the forehead, falling 
 in a loose natural manner on the shoulders, and 
 a broad white scarf across the head. One hand 
 crosses over the other arm as she rests them on 
 her lap. The legs are apparently crossed also, 
 and the tip of each slipper is seen beneath the 
 two flounces which finish the front of the white 
 muslin dress, a short train of the same material 
 at the back. A landscape background, and cascade 
 
202 George Romney and His Pictures. 
 
 of water at her feet. Eomney received ^84 for 
 this picture. 
 
 Lady Susan Murray, afterwards Lady Susan 
 Douglas, is a beautiful three-quarter standing figure, 
 the right arm resting on the balustrade of a stair- 
 case leading to the garden, the other hand holding 
 up her dress. She wears a large black hat looped 
 up with two ostrich feathers. Eound her neck 
 hangs a medallion, and the waist-belt is fastened 
 with cameo clasps. 
 
 Lady Susan Murray was daughter of the Earl of 
 Dunmore ; she was mother of the present Dowager 
 Lady Castletown, who owns the picture, which has 
 been most of its time in France, and is therefore 
 little known. 
 
 Charlotte Legge, wife of Charles Duncombe, 
 first Lord Feversham, seated in a park as if about 
 to sketch, holding a large sheet of paper and 
 pencil. The light brown hair in ringlets on the 
 forehead, a white scarf worn as a turban raised 
 high at the back of the head. The bodice, which 
 
DIANA, LADY MILNEK. 
 {From the painting by George Romney.) 
 -^-^*— — ~ — — — J- g;. ■UT,„T.^^^rv MiT.Nrn. Bart. 
 
4nnc Montgomery. 203 
 
 is cut circular, is gathered in three rows across 
 the front; plain sleeves to the elbow. The head 
 looks over the shoulder as if addressing some one. 
 
 Anne Montgomery, Marchioness of Townsheud, 
 one of the three beautiful daughters of Sir 
 William Montgomery, who are represented as a 
 group of the Graces in a picture by Eeynolds 
 in the National Gallery. She married George, 
 Marquess of Townshend, in 1773, and became a 
 distinguished leader of fashion. Eomney has 
 painted her half-length in a high crimped wig, 
 powdered and full at ears, with two long curls 
 on either side of the neck; full dark grey eyes 
 look to the side; the slightly long nose is retrousse 
 and broad at base; the full lips smile with a 
 sweet matronly expression. The dress, old gold 
 satin, with white frills as tucker, black waist-band 
 and .buckle worn at side. She sat to numerous 
 artists, was well known in her day, and is men- 
 tioned by several familiar diary writers. 
 
 Mrs. Moody, seated under a tree with a little 
 
204 George Romney and His Pictures. 
 
 dog under her arm ; the figure stiff, dress white, 
 and broad pink sash, background landscape. 
 
 A Mrs. Willett, now the property of Earl de Grey, 
 he painted seated, wearing a light brown cloak edged 
 with black fur over a white dress, wide straw hat 
 surrounded with pink ribbon, and a large veil thrown 
 over her back. 
 
 The Hon. Mrs. North, from his brush, became a 
 good motherly soul, seated with her arms folded. 
 
 In Miss Henrietta Shore he produced an ad- 
 mirable life-sized specimen of his best work ; the 
 figure half-length seated, wearing the white cap 
 and blue sash that he affected so much. The 
 colouring of this picture was warmer in tone than 
 was habitual to him ; and far surpassed one of 
 Miss Pitt, likewise seated, in white dress and 
 pink sash, holding a shuttle in her right hand. 
 
 The portrait of Mrs. Van der Gucht ^ was that 
 
 1 This lady's husband, Benjamin Van der Gucht, was an 
 engraver and picture restorer. He painted many of the actors 
 of his day, including David Garrick. He was the thirty-second 
 chUd of his father. 
 
RoDiiuy's Poetical Request. 205 
 
 of a fair buxom matron in her prime, with bright 
 rosy complexion and fresh hps and eyes, resting 
 easily on her left elbow, wearing a large black 
 hat and white riding coat, contrasting well with 
 the deep blue sky. She holds a whip in her 
 hands. He finished this subject with more than 
 his usual care. The same cannot be said of his 
 portrait of Mrs. Tickell (Miss Linley), whom he 
 has left quite unfinished, but very lovely never- 
 theless. The bust portrait is pale and lady-like, 
 the hair chestnut, and dress white. Sold at 
 Christie's on May 25, 1894, for the high sum of 
 £1202 12s. Mrs. Inchbald, who had retired from 
 the stage and entered upon a Hterary career, also 
 sat to him in white dress and cap, blue sash, 
 and powdered hair. 
 
 Surrounded as was Eomney by the poetic 
 element, it is no matter of surprise that he 
 attempted verse himself, though his compositions 
 were for the most part poor. One which he sent 
 to a Mrs. Trevor will exemplify his capacity. 
 
2o6 George Romney and His Pictures. 
 
 Eomney's respects to Mrs. Trevor, 
 He is her humble slave for ever, 
 If she vi'ill once more feast his eye 
 With the designs of Lady Di, 
 For which with trembling Hope he sends 
 To satisfy some eager friends. 
 Who, their own wishes to content, 
 Have made him thus impertinent, 
 Because, Dear Madam, they assure him. 
 From all his tremors to secure him. 
 That his presumption can't be greater 
 Than the extent of your good nature. 
 
 This was to solicit the loan of some of the 
 sketches of Lady Diana Beauclerk, an artist of 
 no mean merit, whose works found favour with 
 Horace Walpole. 
 
 Eomney painted in uniform his brother James, 
 who, throughout his military career, was much be- 
 holden to his artist relative, without whose constant 
 pecuniary assistance he could not have risen in his 
 profession until he became colonel of his regiment in 
 the East India Company service. Towards all his 
 family he evinced great attachment and generosity. 
 
 At this time, when the Shakespeare Gallery was 
 
A Fragment by Cttmberland. 207 
 
 the subject of general interest, Eichard Cumber- 
 land was engaged in writing his Observer ; and 
 falling in with the sympathies of the public, he 
 introduced into the ninety-ninth number of the 
 work a supposed translation of an imaginary 
 Greek fragment recounting a similar scheme to 
 honour the great dramatist iEschylus, in which 
 he described three pictures by Reynolds, West, 
 and Eomney, whom he titled Apelles, Parrhasius, 
 and Timanthes. The peculiar traits of character 
 given to Timanthes were considered by Romney's 
 son to be so truthfully drawn that their insertion 
 will convey a comprehensive idea of Romney's 
 amiable and diffident nature, and demonstrate 
 that his very being was centred in his profession, 
 after which all else to him became subservient. 
 
 Says Cumberland, in introducing Timanthes, 
 alias Eomney : " This modest painter, though 
 residing in the capital of Attica, lived in such re- 
 tirement from society, and was so absolutely de- 
 voted to his art, that even his person was scarce 
 
2o8 George Romney and His Pictures, 
 
 known to his competitors. Envy never drew a 
 word from his lips to the disparagement of a 
 contemporary, and emulation could hardly provoke 
 his diffidence into a contest for fame, which so 
 many bolder rivals were prepared to dispute." 
 
 In the autumn of 1790 Eomney, in company 
 with Hayley and the Eev. Thomas Carwardine, 
 paid a brief visit to Paris. While there he wrote 
 an account of his trip to his son, who was a con- 
 stant visitor at his house in London, great affection 
 existing between the two ; the concluding lines of 
 the letter will show how sincerely he wished well 
 to his only son : " I am always pleased to hear 
 that you pursue your studies with vigour, and you 
 may be assured that it will awaken additional feel- 
 ings of tenderness and satisfaction in your affec- 
 tionate father". 
 
 Great attention was shown the tourists by the 
 English ambassador at Paris, Lord Gower ; and 
 either he, or his wife, Lady Sutherland, personally 
 conducted them to the houses of foreign artists. 
 
A Visit to La Trappe. 209 
 
 They dined several times at the Embassy, and 
 
 their reception was in every way most gratifying. 
 
 Madame Sillery (De G-enhs) also exerted herself 
 
 com'teously to entertain them. She was at that 
 
 time governess to the children of the Duke of 
 
 Orleans. Twice the travellers dined with her ; 
 
 and once she took them a country excursion of 
 
 twelve miles to Eancy, the seat of the Duke of 
 
 Orleans, laid out in English style. Another time 
 
 she and her pupils accompanied them to the 
 
 celebrated monastery of La Trappe, from whence, 
 
 as is well known, women are excluded. The 
 
 princesses of the blood had, in right of their 
 
 birth and in quality of descendants of St. Louis, 
 
 the right of entering all monasteries of men, even 
 
 the most austere, but up to this time they had 
 
 always been in company of either husbands or 
 
 fathers when they had used their privilege ; so 
 
 that, up to Madame Sillery's application to inspect 
 
 the celebrated institution, no private lady had ever 
 
 been admitted to La Trappe. Madame Sillery, 
 
 14 
 
2IO George Romney and His Pictures. 
 
 however, effected an entrance by representing that 
 a governess was inseparable from her pupil, unless 
 she gave her up to the hands of her mother ; and 
 as the Princesse d'Orleans was alone she could 
 not give her up, nor could the monks refuse the 
 princess admission. In this dilemma a chapter 
 assembled to consider the question ; she was 
 allowed to enter, and treated with the greatest 
 politeness. The lady's royal pupils afterwards 
 dined with her English guests. 
 
 And so poet, painter, and priest spent a most 
 enjoyable holiday in elevated company, casting 
 aside professional cares, visiting renowned studios 
 and art galleries, returning with refreshed energies 
 to their usual avocations. Hayley borrowed £100 
 from Eomney during this visit, and never re- 
 paid it. 
 
 Eomney's chief works in 1791 were The Infant 
 Shakespeare nursed by Tragedy and Comedy, 
 which Mr. Newbery bought for one hundred and 
 sixty-five guineas, and The Infant Shakespeare 
 
Various Pictures. 2 1 1 
 
 attended by the Passions for the Boydells. To 
 these reference has already been made, though 
 this was the year that produced them, as also 
 the Dancing Bacchante,^ sold to Mr. Christian 
 Curwen ; and whole-length portraits of Mrs. St. 
 George, or Trench, and child, and half whole- 
 length of Mrs. Morton Pitt and child. He did 
 another of Mrs. Trench sitting alone, the sweetest 
 thing possible. An engraving of it is used as 
 frontispiece to The Bemains of Mrs. Trench. 
 
 In 1791, Lady Betty Foster sat for her portrait, 
 on kit-cat size, which Mr. Crawfurd paid for. 
 Eomney's son set high price on this lovely face ; 
 and he dreaded that it would in the dim future 
 be credited to the rival, Sir Joshua Eeynolds, 
 among the treasures of Devonshire House. 
 
 More improbable things have come to pass, in 
 /ionsequence of the omission of artists to put 
 a distinguishing mark on their pictures when 
 finished to their satisfaction. 
 
 ' Realised J360 at Messrs. Christie's, on June 25, 1894. 
 
212 George Romney and His Pictures. 
 
 Instances have been known of unsigned works 
 of importance being assigned to Sir Joshua Rey- 
 nolds which it would be an utter impossibility 
 to trace to his brush, if the writings of his con- 
 temporary biographers are to be relied upon. We 
 find a George the Third in the G-uildhall, Worcester, 
 and a Queen Charlotte in the Queen's College, 
 Oxford, accredited to his execution ; whereas it 
 is well known that these royal personages with- 
 held their countenance from the President of the 
 Eoyal Academy, sitting to him for the pair of por- 
 traits which hang in the Council Chamber of that 
 institution merely in deference to the wishes of 
 the academicians, who desired to have their royal 
 pictures as decorations for their new rooms. This 
 was the only occasion upon which their Majesties 
 favoured him. One other picture did he paint of 
 the royal gentleman, but it was prior to his coro- 
 nation.^ For want of distinguishing marks on 
 
 'Dr. Hurd, Bishop of Worcester, wrote : "In October, 1790, 
 I had the honour to receive from the king the present of two 
 
Reynolds Credited with Romneys Work. 2 1 3 
 
 the Worcester and Oxford portraits some good 
 painters are going down to posterity deprived of 
 the credit of their work, while the akeady over- 
 burdened president bears their honours. 
 
 W. P. Frith, E.A., in his interesting Beminis- 
 cences, tells of his finding the name of Keynolds 
 attached to a palpable Eomney. He was looking 
 up pictures for one of the Winter Exhibitions, when 
 he heard of a fine work of the great president, and 
 journeyed into Wales to see it. The lady of the 
 house, showing the picture, remarked : " My hus- 
 band's great-grandmother, by Sir Joshua Eeynolds, 
 considered by connoisseurs as his finest work". 
 This evoked from Mr. Frith the assurance that 
 it was a very fine picture indeed ; but not by Eey- 
 nolds, as it was a Eomney. The owner eventually 
 
 fine full-length pictures of his Majesty and the queen, copied 
 from those at the Queen's House, St. James's Park, painted by 
 the late Mr. Gainsborough '' It is unlikely that the king would 
 send an ox-iginal portrait to the citizens of "Worcester, and on 
 the same date the copy of an existing work or works to Dr. 
 Hurd, of whom he thoug)it most highly. 
 
214 George Romney and His Pictures. 
 
 allowed its inspection at Burlington House, but 
 he informed the council that unless it could 
 be on view with the name of Eeyuolds attached 
 he prohibited its exhibition. It was impossible 
 for the council to credit Eeynolds with what 
 they unanimously agreed to have emanated from 
 Eomney ; and though most anxious to secure it 
 for exhibition, they had no alternative but to 
 advise the owner that it must appear as a Eomney 
 or not at all. Lord gave way to the ex- 
 perienced opinion of the artists ; and the lovely 
 
 young creature, Lord 's great-grandmother, 
 
 proved, as Mr. Frith writes, "one of the most 
 attractive pictures in the Winter Exhibition of 
 1881 ". 
 
 In one of his tours of inspection on behalf of 
 the Eoyal Academy, he found two very fine 
 half-length portraits of a husband and wife; the 
 lady all that was charming, the gentleman of a 
 strongly marked individuality, the expression con- 
 veying the idea of bad temper. Mr. Frith was 
 
Lady Betty Foster. 215 
 
 told that in that case the face was an index to 
 the mind ; for he whom it represented had been 
 in the habit of yielding to such fits of fury that 
 all who offended fled from his angered presence. 
 Eomney was essentially true to nature. 
 
 To return to the beautiful Lady Foster, daughter 
 of the erratic Earl of Bristol and Bishop of Derry. 
 She married, first, John Thomas Foster, and after- 
 wards she became Duchess of Devonshire by her 
 union with William, fifth duke, whose first wife 
 had been the celebrated Georgiana. The fame of 
 both ladies was on a par for powers of fascination, 
 which, in the case of Lady Betty Foster, was 
 thus recorded by Madame D'Arblay in her in- 
 teresting Memoirs: "Lady Betty Foster has the 
 character of being so alluring that Mrs. Wilroys 
 told me it was the opinion of Mr. Gibbon no 
 man could withstand her ; and that, if she 
 chose to beckon the Lord Chancellor from his 
 woolsack in full light of the world, he could 
 not resist obedience". After the death of her 
 
2 1 6 George Romiiey and His Pictures. 
 
 husband, the Duke of Devonshire, in 1811, the 
 duchess resided mostly at Borne, where she took 
 a great interest in the excavations which were 
 being carried on in that city between 1815 and 
 1819, and which were remarkable for the un- 
 covering of the column of Phocos in 1816, an 
 event commemorated by the casting of medals 
 bearing the bust of the duchess. 
 
CHAPTEE X. 
 
 The Marriage of Mistress Hart — Eomney's Fits of De- 
 pression — Lady Hamilton's Letter from Naples — 
 Bomnei/'s Reply — Mrs. Hayley's Lnfirmity — Pamela, 
 Lady Edward Fitzgerald — Tom Hayley as " Robin 
 Goodfellow " — Cou'per at Eartham — Romney paints 
 Pictures from Cowper's Poem ''The Task". 
 
 In 1791 there came to England Mistress Hart 
 
 as the affianced bride of the English ambassador 
 
 at Naples, Sir William Hamilton, the wedding 
 
 ceremony to take place in this country. As had 
 
 been the case abroad, artist vied with artist 
 
 for the honour of portraying her popular face. 
 
 Lawrence, then only twenty-two years old, was 
 
 a favoured one. He drew a chalk drawing profile, 
 
 with the head surmounted by a scarf twisted as 
 
 a turban ; and also an important picture in oils, 
 
 sitting in an arbour looking upwards, which he 
 (217) 
 
2i8 George Romney and His Pictiires. 
 
 called La Penserosa. It is now in the possession 
 of his Grace the Duke of Abercorn at Hampden 
 House, London. 
 
 At the first interview with the prospective am- 
 bassadress, Eomney fancied he detected coolness 
 in her reception of him; his sensitive nature was 
 wounded, and it acted on his nerves to such a 
 degree that he became fretful and irritable, con- 
 fiding in Hayley his imaginary grievance, for 
 such it proved to be. Upon the lady's next visit 
 she was so affable that all his good humour 
 returned. 
 
 Great stress has been laid upon this incident 
 by writers who would infer that Eomney fretted 
 for loss of love ; but this was only one of several 
 similar episodes that upset his mental equilibrium 
 and sent hira into the depths of depression cause- 
 lessly. It was part of the ailment which was 
 creeping upon him, the beginning of the gloom 
 which darkened the latter days of the painter. 
 The non-arrival of a letter from Hayley sent him 
 
Fancied Slights. 2 1 9 
 
 into the sulks, and in a fit of melancholy he 
 vowed he would work no more. In an hour or 
 two the letter came to hand, his brain cleared, 
 and he was soon busy with his brush. It was 
 constitutional depression. An unexpected visit to 
 his studio from the bride-elect, his dejection van- 
 ished, and he set to design new subjects, — ^but, 
 alas ! few were ever finished. 
 
 Two were to be pictures of Joan of Arc (Joan 
 la Pucelle), one making her incantation, the 
 other on the walls of Eoueu with a torch in her 
 hand. They were never fully carried out. He 
 also commenced a picture of his beautiful model 
 of yore for her mother, and she sat for Cassandra. 
 He planned a Constance for the Shakespeare 
 Gallery, but never began it. 
 
 During Lady Hamilton's stay in England, 
 Eomney was present at the performance of some 
 of her celebrated "attitudes" at the house of a 
 person of position. So charmed was he with 
 these tableaux vivants that he wrote to Hayley 
 
2 20 George Romney and His Pichires. 
 
 an account of the pleasure he had had in seeing 
 "the divine lady," as he called her, and said he 
 had thought of hastening to Eartham to bring 
 him to share his gratification. That one note of 
 admiration — a note that all society was sounding — 
 has been seized by his traducers to stigmatise 
 and defame him. The remark was most natural 
 in a devotee of Grecian art, of which Lady Hamil- 
 ton was a finished exponent. Fresh from the 
 graceful display, writing of one whom all privileged 
 beholders intensely admired, why is it expected 
 that George Eomney should limit his admiration, 
 write in stilted form, or ignore the talents of the 
 greatly gifted woman ? 
 
 The marriage ceremony was performed at Mary- 
 lebone Church, and the newly- wedded couple 
 departed for Naples. The old painter was not 
 forgotten in the distant city ; and the following 
 letters, which passed between Lady Hamilton and 
 Bomney, fail to disclose ought but propriety, and 
 that his interest in her in bygone days was merely 
 
Lady Hamilton s Lettei- to Rontney. 221 
 
 the outcome of kindness of heart, wishing well to 
 his useful young model. As a matter of fact, 
 Eomney zealously guarded the morals of his pupils 
 who were confided to him, and gave them the 
 kindest admonition. So Hayley tells us ; and none 
 knew him better. It may here be stated that, 
 in all pictures taken from Lady Hamilton, she 
 only sat for the head and face, the remainder was 
 always sketched from the lay figure or a living 
 model ; and for this reason many of his works 
 were never completed after doing the upper part, 
 no suitable subjects presenting themselves as 
 models. 
 
 The letter from Lady Hamilton to Eomney ^ is 
 worded thus : — 
 
 "My Dear Friend, — I have the pleasure to 
 inform you that we arrived safe at Naples. I 
 have been received with open arms by all the 
 Neapolitans of both sexes, by all foreigners of dis- 
 tinction. I have been presented to the Queen of 
 ' The Morrison MSS. 
 
222 George Romney and His Pictures. 
 
 Naples by her own desire. She as shown me all 
 sorts of kind and affectionate attentions. In short, 
 I am the happiest woman in the world. Sir 
 William is fonder of me every day ; and I hope he 
 will have no cause to repent of what he has done, 
 for I feel so grateful to him that I think I shall 
 never be able to make amends for his goodness to 
 me. But why do I tell you this ? You know me 
 enough. You was the first friend I opened my 
 heart to ; you ought to know me, for you have 
 seen and discoursed with me in my poverty and 
 prosperity, and I had no occasion to have liv'd 
 for years in poverty and distress if I had not 
 have felt something of virtue in my mind. Oh, 
 my friend, for a time I own through distress my 
 virtue was vanquished, but my sense of virtue was 
 not overcome. How gratefull now then do I feel 
 to my dear, dear husband, that as restored peace 
 to my mind, that as given honer, rank, and 
 what is more — innocence and happiness. Eejoice 
 with me, my dear sir, my friend, my more than 
 
Grateful Acknowledgments. 223 
 
 father. Believe me I am still that same Emma 
 you knew me. If I could forget for a moment 
 what I was, I ought to suffer. Command me in 
 anything I can do for you here. Believe me, I 
 shall have real pleasure. Come to Naples, and 
 I will be your model — anything to induce you to 
 come, that I may take the opportunity to show 
 my gratitude to you. Take care of your health 
 for all our sakes. How does the pictures go on ? 
 Has the Prince been to you ? Write to me. I 
 am interested in all that concerns you. God bless 
 you, my dear Friend. 1 spoke to Lady South- 
 ampton about you ; she loves you dearly. Give 
 my love to Hayley. Tell him I shall be glad 
 to see him at Naples. As you was so good 
 as to say you would give me the little picture 
 with the black hat, I wish you would unfrill it 
 and give it to Mr. Dutens. I have a great regard 
 for him, he took a great deal of pains and trouble 
 for me, and I could not do him a greater favour 
 than to give him my picture. Do, my dear Friend, 
 
2 24 George Romney and His Pictures. 
 
 do me that pleasure, and if there is anything from 
 Naples, command me. We have a many English 
 at Naples — Ladys Malmesbury, Maiden, Plymouth, 
 Carneigee, Wright, etc. They are very kind and 
 attentive to me. They all make it a point to be 
 remarkably civil to me. You will be happy at 
 this, for you know what prudes our Ladys are. 
 Tell Hayley I am always reading his Triumphs of 
 Temper. It was that made me Lady Hamilton ; 
 for God knows I had for 5 years enugh to try 
 my temper, and I am affraid if it had not been for 
 the example Serena taught me, my girdle would 
 have burst ;^ and if it had, I had been undone, for 
 Sir William more minds temper than beauty. He 
 therefore wishes Mr. Hayley would come that he 
 might thank him for his sweet tempered wife. I 
 swear to you I have never been once out of humour 
 since the 6th of September last.^ God bless you. 
 Yours, B. Hamilton." 
 
 ^ A figurative allusion to the plot of the poem. 
 ■^ Her wedding day. 
 
Romncys Reply. 225 
 
 A frank, easy, and natural letter, expressive of 
 gratitude for mental training, received evidently 
 in the companionship of poet and painter. 
 
 Eomney's reply is equally devoid of the familiar- 
 ity so groundlessly attributed to him. He says : — ' 
 
 " My dbae Lady, — "What must you thinke of my 
 neglect of answering your kind letter? Do not 
 accuse me of ingratitud. I vyish I could express 
 myself as I felt at the perusal of it, to find your 
 happyness so compleat. May God grant it may 
 remane so till the end of your days. You may 
 be assured that I have the same anxiety that 
 Sir William and yourself should continue to think 
 well of me, and the same desire to do everything 
 in my power that may merit your esteem. I 
 have waited till I could give you some account 
 of the picter of Cassandra, and some other of the 
 pictures you were so kind to sit to me for. The 
 Cassandra is at last gone to the Shakespeare 
 Gallery — it suits. 
 
 ' The Morrison MSS. 
 IS 
 
2 26 George Romney and His Pictures. 
 
 " The King and Eoyal Family saw it. I have 
 never heard from the Prince of Wales, till a few 
 days ago Mr. West called, and said the Prince 
 desired him to look at the Picture for his Eoyal 
 Hiness. They are near finished. The lively one 
 I have made to suit Calipso. I am anxious to 
 know what you wish me to do with the picture 
 with a Bonnet, as you have not mentioned it in 
 your letter. Mr. Crawfurd has expressed a great 
 desire of possessing it in prefference to the other. 
 I shall wait for your instructions. I sent as your 
 ladyship required the picter in Black to du Ton 
 (the Eev. Mr. Deutens). I was led into a thing 
 that has given me some uneasyness, I was soli- 
 cited so very strongly for a letter of recommenda- 
 tion to your Ladyship that I was not able to get 
 off. The person was then in Italy, but was not 
 informed who he was. I hope your Ladyship will 
 forgive me for taking such a liberty, and that 
 nothing unpleasant happened." 
 
■fl 
 
 1 ° 
 
 02 
 02 
 
 « .2 
 
 
 s 
 
 o .a 
 
 <s 
 
 J 
 
 f^ 
 
 (227) 
 
2 28 George Romney and His Pictures. 
 
 This is not the letter of an absolutely illiterate 
 man, though the writing is indifferent, and some- 
 times hard to decipher ; considering the standard 
 of education at the period it is a fair production. 
 In the genuine letter he has made an erasure, 
 and inserted another phrase, merely to avoid tau- 
 tology. 
 
 Not one of the personal acquaintances who 
 shaped the biography of Eomney makes even the 
 slightest allusion to any levity of conduct in the 
 girl model. She could in no way have been re- 
 sponsible for the divided household of Eomney, 
 insomuch as it had existed for twenty years before 
 she was introduced to the painter by Greville, 
 How inaccurate, then, are the fables which say 
 that under her fascinations he deserted wife and 
 home ! He did not know her until she was well 
 under control ; and certainly it was due to no in- 
 fluence of hers that his home ties were neglected. 
 Hayley said she regarded Eomney with fiHal 
 affection, her letter just recorded warrants that 
 
Roinney and His Wife. 229 
 
 assertion. Komney's own family resented the as- 
 persions cast by Hayley in reference to his neglect 
 of his wife, who perfectly understood her situation, 
 and was contented. We know she had been serv- 
 ing maid iu humble life; and the thoroughly 
 worthy woman cared not to leave her own coun- 
 try for a sphere where she could not feel at ease. 
 In the first instance professional ambition neces- 
 sitated the wife's absence, so that his movements 
 could be free, and his expenses lessened ; and 
 after his genius was recognised, and his social 
 position materially improved, he felt an awkward 
 pride about introducing her to his friends. Cor- 
 respondence was kept up, and an ample allow- 
 ance remitted to both wife and son, who resided 
 together at Kendal, suitably to their require- 
 ments. 
 
 According to Eomney's banking account with 
 Mr. Greene, he sent the following sums home, 
 which are copied from Eomney's banking account 
 book. 
 
230 George Romney and His Pictures. 
 
 1788.— Nov. 25. To your son's draft . . • ^21 
 1789. — Aug. 22. To cash paid your son's draft, and 
 
 a letter from Kendal . . 10 6 
 
 Upon the date of the 29th is entered the pay- 
 ment of one hundred pounds, followed by another 
 for forty, and another for twenty pounds. No 
 name is mentioned, but in each instance three 
 dashes are put under the words "for your son" 
 of the previous line. 
 
 1790.- 
 
 -Mar. 19. Draft by Mr. John 
 
 £10 
 
 
 
 
 
 
 April 23. Gave your son, 17th April, draft for 
 
 52 
 
 10 
 
 
 
 
 May 5. Draft by your son 
 
 20 
 
 
 
 
 
 
 Oct. 13. Sent bank note to Mrs. Eomney . 
 
 20 
 
 
 
 
 
 1791.- 
 
 — AprU 7. Sent Mrs. Eomney 
 
 20 
 
 
 
 
 
 
 July 12. Mr. Eomney . . . . 
 
 20 
 
 
 
 
 
 
 Nov. 17. Tour son's draft from Kendal 
 
 20 
 
 
 
 
 
 1792.- 
 
 — (no date) — — — . 
 
 24 
 
 
 
 0- 
 
 
 Mar. 81. Bank note to Mrs. Eomney . 
 
 20 
 
 
 
 
 
 
 Aug. 10. Paid your son's draft . 
 
 20 
 
 
 
 
 
 
 Cash sent Mrs. Eomney, 1st June 
 
 20 
 
 
 
 
 
 
 Dec. 30. Paid draft to Mrs. Eomney 
 
 20 
 
 
 
 
 
 1793. 
 
 —April 10. Mrs. Eomney .... 
 
 20 
 
 
 
 
 
 
 May 2. Gave your son 
 
 20 
 
 
 
 
 
 
 Aug. 10. John Eomney's draft . 
 
 30 
 
 
 
 
 
 
 Oct. 21. Paid John Eomney's draft . 
 
 20 
 
 
 
 
 
 
 Dec. 15. Paid Mrs. Eomney 
 
 20 
 
 
 
 
 
i20 
 
 
 
 
 
 20 
 
 
 
 
 
 20 
 
 
 
 
 
 20 
 
 
 
 
 
 25 
 
 
 
 6 
 
 25 
 
 
 
 
 
 25 
 
 
 
 
 
 25 
 
 
 
 
 
 25 
 
 
 
 
 
 Romneys Account with Mr. Greene. 231 
 
 1794.— April 21. Paid John Bomney'a draft . 
 
 June 19. Paid John Eomney's draft 
 
 Oct. 16. Paid your sister Barrow, according 
 to your letter . £30 
 
 Oct. 17. Paid your son .... 
 
 Dec. 1. Paid draft to your son . 
 1795. — April 80. John Romney's draft and postage 
 
 July 11. Paid your son's draft . 
 
 Oct. 16. Paid your son's draft 
 1796. — April 18. Paid your son's draft . 
 
 May 11. Paid your son's draft 
 
 The banking account with Mr. Greene extends 
 over several years ; but with the exception of drafts 
 cashed many times for Major Eomney, his brother, 
 the lines extracted are all in which wife, son, or 
 relative is mentioned. 
 
 Mr. Greene as a friend aiidited and arranged 
 Eomney's accounts for him ; he seems to have 
 acted as negotiator in monetary payments on 
 behalf of Eomney, and at the end of three or 
 four years he supplied the artist with a full state- 
 ment of money in hand, paid or invested. Mr. 
 Greene must have been a thorough friend to 
 unbusiness-like Eomney, for he took much trouble 
 
232 George Romney and His Pictures. 
 
 over his affairs ; and it is evidence of the regard 
 the attorney entertained for him, that although 
 their friendship had existed from boyhood, yet 
 the letters of Mr. Greene were invariably couched 
 in most respectful terms. 
 
 Though a hospitable entertainer of Eomney, 
 the poet Hayley must be burdened with the sus- 
 picion of being the evil genius of his artist guest 
 to a certain extent. He was the first to besmear 
 the reputation of his old friend after death by 
 declaiming against his absenting himself so long 
 from his wife. But what example did Hayley 
 himself set his too pliable guest, and how did 
 he treat his own wife? The mother of Mrs. 
 Hayley had been mentally deranged from the 
 time of her daughter's birth ; and previous to the 
 young lady's marriage to William Hayley, his 
 own mother, fearful that a similar misfortune 
 might develop in the daughter, admonished the 
 son of the probabilities, to which he made answer 
 that if such a mischance should happen he should 
 
Mr. and Mrs. Hay ley. 233 
 
 thank God for having given him the courage to 
 make himself the legal guardian of the most amiable 
 and most pitiable woman on earth. But the wolf 
 in the forest is a different condition of affairs 
 to the wolf in the house ; and when the morbid 
 tendency which Mrs. Hayley inherited manifested 
 itself in irritability (her intellect was never affected) 
 her husband found her custody beyond his desires. 
 They separated on amicable terms, Mrs. Hayley 
 going to reside at Derby, where she had many 
 friends (proof that she was not utterly unbearable 
 if properly managed, or her company desired). 
 She continued to correspond with her husband, 
 whom she addressed as Hotspur. It is curious 
 that Hayley could show himself so sympathetic 
 with confirmed and aged invalids, such as Cowper, 
 Mrs. Unwin, Eomney, etc., and yet transfer his 
 anxieties to others when his own partner in life 
 was afflicted. But she was merely the wife of 
 his bosom, while his attentions to illustrious poets 
 and painters would naturally reflect renown upon 
 
234 George Romney and His Pictures. 
 
 himself, — a fact that Hayley never lost sight 
 of! 
 
 It will easily be inferred that the man who 
 could write so heartless a letter as the following 
 to the wife from whom he was about to separate 
 for ever, would not be a good adviser to a yielding 
 nature like that of Eomney. The lines to his 
 afflicted wife were : " When two persons have 
 failed so entirely in a long endeavour to make 
 each other happy in living together, it is assuredly 
 best for hoth parties to contrive, from motives of 
 delicacy and tenderness, not to see each other. 
 We shall meet, I believe and hope, in a happier 
 world, and clearly perceive why our respective 
 virtues were unable to form (as we vainly ex- 
 pected) our reciprocal happiness on earth." But 
 so long as she lived he spoke of her as his "dear 
 Eliza"; and when he heard she was dead, at a 
 distance, he wrote her epitaph ! Unpleasant 
 teUing, but he said as much of the dead man 
 who had so much trust in him, and whom he 
 
Madame Silleryi Visits England. 235 
 
 could have so easily guided to do the right thing. 
 Eomney's only living child, a son, was well 
 educated and more presentable, therefore he was 
 no stranger to his father's London residence ; he 
 often abode there. This son, grown to man's 
 estate, a respected clergyman, would certainly 
 have resented the blandishments of any one who 
 would divert his father's affection from loyalty to 
 his mother. He perfectly understood the position 
 of affairs, and has left us a satisfactory explana- 
 tion, and, indeed, a testimonial to the staid 
 conduct of Emma. 
 
 In 1792 Madame Sillery (De Genlis) visited 
 London with Mdlle. D'Orleans, and her own 
 daughter Pamela, afterwards Lady Edward Fitz- 
 gerald. Eomney commenced two portraits of the 
 latter lady, intending to give Madame Sillery her 
 choice of one of them, but he never entirely 
 finislied them. One he gave to Hayley, and the 
 other was bought some years afterwards for a 
 Mrs. Conolly by Lord Dunlo. 
 
236 George Romney and His Pictures. 
 
 One of these was a three-quarter side view of 
 the figure, the left shoulder in the centre of the 
 picture, over which the slightly inclined head is 
 turned, looking at the spectator. The piquante 
 young face has dark eyes and eyebrows, a sharp 
 straight nose, and fresh full lips. The profuse 
 hair is powdered and loosely curled. A pink band 
 crosses the top, tied in a double loop on the 
 neck, falling on the hood of a grey cloak, which 
 has slipped down, disclosing a white dress made 
 as a fichu, with a deep frill lying from the neck 
 downwards. She wears a pink sash, and holds 
 the fichu at the bosom. 
 
 Mdlle. Pamela Sims, as her mother designated 
 her when passing as her adopted daughter, was really 
 the child of herself and the Duke d'Orleans (Egalit^). 
 Almost directly after the ladies returned to France, 
 Lord Edward Fitzgerald presented himself as a 
 suitor for the hand of Mdlle. Pamela, to whom he 
 was married at Tournai, in presence of the Duke 
 d'Orleans ; and M. de Chartres, afterwards King of 
 
-^^^^SHJi^^^miflHiw 
 
 
 ^^^^^^^^^^^^^^^^^^ 
 
 
 
 
 
 Y . • ■'"" 
 
 
 JK 
 
 r^ 
 
 '"• _j^ 
 
 Jw 
 
 
 1 
 
 
 ^^^•.^ 
 
 '*■, 
 
 
 ^ 
 
 ••^T^ . i'-"*^ 
 
 Bp' 's^ 
 
 
 
 
 
 i?' 
 
 
 ^M- 
 
 f 
 
 ■ ^•■^" 
 
 A^H 
 
 'l 
 
 .Mi 
 
 
 ^ 
 
 ''■■■'■ v^^a^Km 
 
 4 
 
 PAMELA, LADY EDWARD FITZGERALD. 
 
 {From the fainting by George Romney.) 
 
 By the kind permission of H. L. Bischoffscheim, Esq. 
 
''Robin Goodfellow." 237 
 
 France, was one of the witnesses of the marriage 
 contract. After the death of Lord Edward Fitz- 
 gerald, his widow became the wife of Mr. Pitcairn, 
 the American consul at Hamburg, from whom she 
 soon separated. She died in 1831, almost in want 
 of the common necessaries of life. 
 
 Hayley and his son, Thomas Alphonso, were in 
 London in the summer of 1792 ; and Eomney painted 
 the boy (who was eleven years of age, and a 
 youth of great promise and amiable manners) 
 as a fairy, the Bobin Goodfellow of Shakespeare 
 flying on a cloud crowned with a chaplet of the 
 flowers that Oberon had commissioned him to 
 find. This was sent to Mrs. Hayley^ as a present 
 from the lad, who, in reply to her letter of 
 acknowledgment, wrote the following, which was 
 very precocious for his years ; but he had lived 
 in the element of poetry : " We are much 
 diverted with the observations of the lady who 
 
 1 Mrs. Hayley was not the mother of the youth. Though 
 Hay ley's son, he had no legal right to his father's name. 
 
238 George Romney and His Pictures. 
 
 took the clouds in the picture for a muff. The 
 fairy is represented as flying triumphantly through 
 the air, having executed the commission of his 
 King Oberon to fetch 
 
 A little western flower, 
 
 Before milk white, now purple with Love's wound. 
 
 Our dear painter was in doubt when he left 
 London whether he should introduce his purple 
 flower in the hand or tied as a little garland round 
 the head of the flying fairy ; perhaps he forgot 
 to introduce it, and this omission might have 
 occasioned your not immediately comprehending 
 the design of the picture." 
 
 The separation of Mr. and Mrs. Hayley did 
 not happen until a year or two later. 
 
 In the same year, 1792, Eomney did the two 
 children of Mr. Fifczackley, and a portrait of 
 Thomas Paine for Cooper of Manchester ; but 
 the laborious and incessant application to his 
 profession began to tell upon his health, to rein- 
 
Cowper at Earthani. 239 
 
 state which he went to pay his annual visit to 
 Hayley in August. 
 
 This reposeful change was all the more enjoy- 
 able insomuch that he made the acquaintance of 
 the poet Cowper, who was fulfilling a long-pro- 
 mised visit to Eartham. It had for some time 
 been the wish of the literary and hospitable host 
 to bring together two men whose talents he so 
 highly estimated as the poet Cowper and the 
 painter Eomney. 
 
 The feelings of pleasure which Cowper felt at 
 the first sight of the home of his brother-poet 
 we find expressed in a letter to the Eev. Mr. 
 Greathed, announcing his arrival, on August 6, 
 1792 : " Here we are in the most elegant mansion 
 that I have ever inhabited, and surrounded by 
 the most delightful pleasure grounds that I have 
 ever seen. ... It shall suffice me to say 
 that they occupy three sides of a hill, which in 
 Buckinghamshire might well pass for a mountain, 
 and from the summit of which is beheld a most 
 
240 George Romney and His Pictures. 
 
 magnificent landscape, bounded by the sea, and 
 in one part by the Isle of Wight, which may 
 also be seen plainly from the window of the 
 library, in which I am writing. ... It is almost 
 a paradise in which we dwell." 
 
 In a letter to a lady friend, Cowper said that 
 Hayley's home was as elegant as his scenes were 
 charming. Cowper himself had been far from 
 well; and while he sat in the library keeping to- 
 gether his correspondence, Eomney, Hayley, and 
 his son would walk nine miles to bathe in the 
 sea, taking with them the stay-at-home poet's 
 little dog Beau. Eomney was held in the 
 highest esteem by Cowper, who truly loved Hay- 
 ley, saying that he was very proud of Hayley 
 as of a conquest made in his old age. His stay 
 at Eartham was of six weeks' duration. Mrs. 
 Unwin,' his aged friend, who resided with him, 
 
 1 In early life Cowper had boarded and lodged with the Rev. 
 Mr. and Mrs. Unwm. One Sunday morning in July, 1767, as 
 the reverend gentleman was proceeding to duty in his church, 
 
A Self-educated Youth. 241 
 
 accompanied him to Eartham ; she was recover- 
 ing from a shght stroke of paralysis, and when 
 tired of walking she got into a little chair on four 
 wheels, which, as Cowper wrote, "was drawn by 
 Sockett and little Hayley, and pushed either by 
 me or my cousin Johnson ". 
 
 This young Sockett was the son of an unfor- 
 tunate man of genius at Weston, where Cowper 
 lived. He had attracted Cowper's notice by in- 
 vesting his pocket money in a Latin grammar, 
 and when solicited by the young man to recom- 
 mend him as clerk to a London man of business, 
 Cowper advised Hayley to engage him as pre- 
 ceptor and companion for his son Thomas, an 
 arrangement with which all parties were satisfied. 
 
 Hayley made a most hospitable entertainer, full 
 of amiable thought for his guests. His energetic 
 
 he was thrown from his horse and killed. From that date 
 
 Cowper undertook to be as a son to the lady, who had ever been 
 
 as a mother to him. How conscientiously he discharged his 
 
 voluntary responsibility is well known. 
 
 16 
 
242 George Romney and Mis Pictures. 
 
 efforts obtained from Lord Thurlow for Cowper 
 a pension that eased the poet's troubled last years 
 of life. In a degree Hayley was eccentric, having 
 little regard to man's opinion. Who but he 
 would have the courage to ride on horseback, 
 holding over him an umbrella to screen the sun's 
 rays, in days when the umbrella was a novelty? 
 This he did; and more than once it suddenly col- 
 lapsed, and the shock caused him to lose his 
 seat. 
 
 The interest in Cowper's works imbued into 
 Eomney during his pleasant visit was just what 
 Hayley had anticipated, and his own poetic im- 
 agination led him to portray one of the characters 
 in The Task, to which he gave the title 'Twas 
 when the Seas were Soaring. It shows a despon- 
 dent female, of the Lady Hamilton type, with 
 hands clasped on knees, seated on a rock in a 
 cave, overpowered with grief; in the distance is the 
 sea with a ship sailing, a gleam of light is thrown 
 upon the arms and bosom with richest effect. 
 
A Picture from Cowper's ''Task". 243 
 
 The extract from the poem tells the girl's sad 
 story : — 
 
 A serving maid was she, and fell in love 
 With one who left her, went to sea and died ; 
 Her fancy followed him through foaming waves 
 To distant shores, and she would sit and weep 
 At what a sailor suffers ; fancy too, 
 Delusive most where warmest wishes are, 
 Would oft anticipate his glad return. 
 And dream of transports she was not to know. 
 She heard the doleful tidings of his death 
 And never smiled again. And now she roams 
 The dreary waste ; there spends the live-long day, 
 And there, unless when charity forbids. 
 The live-long night. 
 
 This picture realised twenty-nine guineas at the 
 sale at Christie's in 1807, when it was titled The 
 Dying Damsel, in the ballad, 'Twas when the 
 Seas [were Boaring. Though the engraving from 
 it by Bromie is lettered Kate, which is the name of 
 Cowper's love-distraught maiden, and has a verse of 
 Cowper's poem beneath it, and it was sold in 1807 
 as from The Task, yet the oil painting appears at 
 exhibitions as Ariadne. 
 
244 George Romney and His Pictures. 
 
 Another member of the literary community was 
 a guest at Eartham, Mrs. Charlotte Smith. Eom- 
 ney took both her and Cowper's portraits in coloured 
 crayons. The latter wrote to his cousin, Lady 
 Hesketh : " Eomney has drawn me in crayons, and, 
 in the opinion of all here, with his best hand, 
 and with the most exact resemblance''. The post- 
 script of the same letter says : " Hayley, whose 
 love for me seems to be truly that of a brother, 
 has given me his picture drawn by Eomney about 
 fifteen years ago, an admirable Ukeness ". 
 
 From Eartham, on September 10, 1792, Cowper 
 wrote a lady friend that he wished to requite 
 Eomney in rhyme for his well-drawn copy of him- 
 self, and had more than once attempted it ; but 
 he found, like the man in the fable, that he could 
 leap only at Ehodes, or, in other words, that verse 
 was impossible to him except in his own retired 
 home at Weston. He was anxious to reach his 
 own' fireside before the bleak wintry weather 
 would set in; accordingly he and Mrs. Unwin 
 
Cowpers Sonnet to Romney. 245 
 
 took leave of Hayley and Eomney on September 
 18. From the Sun, at Kingston, he wrote : " I 
 left you with a heavy heart, and with a heavy 
 heart took leave of our dear Tom at the bottom 
 of the chalk hill. But soon after this last 
 separation, my troubles gushed from my eyes, and 
 then I was better.'' 
 
 On October 13, 1792, he again wrote to Hay- 
 ley : " The name of a man whom I esteem as I 
 do Eomney ought not to be unmusical in my 
 ears ; but his name will be so till I shall have 
 paid him a debt justly due to him, by doing such 
 poetical honours to it as I intend. Heaven knows 
 when that intention will be executed, for the muse 
 is still as obdurate and coy as ever." 
 
 At last, after considering for two months, the 
 sonnet that had troubled him so much to com- 
 pose was sent on November 28 to Hayley, asking 
 him to forward it to Eomney, with the remark 
 attached : " I must premise that I intended nothing 
 less than a sonnet when I began. I know not 
 
246 George Romney and His Pictures. 
 
 why I said to myself, ' It shall not be a sonnet ' ; 
 accordingly I attempted it in one sort of measure, 
 and then in a second, then in a third, till. I had 
 made the trial in half a dozen different kinds of 
 shorter verse, and behold it is a sonnet at last. 
 The fates would have it so." 
 Cowper's sonnet to George Eomney, Esq. : — 
 
 Eomney, expert infallibly to trace 
 On chart or canvas not the form alone, 
 And semblance, but however faintly shown 
 The mind's im.pression, too, on every face — 
 With strokes that time ought never to erase. 
 Thou hast so penoill'd mine, that though I own 
 The subject worthless, I have never known 
 The artist shining with superior grace, 
 But this I mark — that symptoms none of woe 
 In thy incomparable work appear ; 
 Well I am satisfied that it should be so. 
 Since, on maturer thought, the cause is clear. 
 For in my looks what sorrow could'st thou see, 
 When I was Hayley's guest and sat to thee ? 
 
 — Wm. Cowper. 
 
 From a full heart wrote the elegant poet, for 
 those days at Eartham had been very, very happy. 
 
From Hay ley to Romney. 247 
 
 In forwarding the sonnet to Eomney, Hayley 
 hurriedly appended the following note : " This 
 graceful and charming compliment to your talents 
 arrived last night, with a request that if I thought 
 it would please you I should transmit it to your 
 hand. Your little fairy, Tom, hoped to have 
 had the pleasure of writing to you a sprightly 
 letter this morning as secretary to our dear bard 
 of Weston ; ^ but, alas ! the poor little fellow is 
 at this moment tormented with pains in the face 
 that render him unable to hold a pen. I will 
 not, however, detain from you, even for a single 
 post, a delightful tribute to your genius from a 
 poet so dear to us both. Excuse this brief scrawl, 
 as all my nerves are aching with sympathetic 
 anguish, while my poor child is leaning against 
 my bosom. God bless you. — Ever your affec- 
 tionate W. H." 
 ^ Cowper. 
 
CHAPTBE XI. 
 
 Romney writes to his Son describi'ng Life at Eartham — 
 He paints more Pictures — How St. Paul's lost its 
 Golden Opportunity — Grand Designs never carried 
 out — He devises Scenes from Milton — The Picture 
 of Lord Egrenwnt's Family. 
 
 EoMNBY, on his return to London with health 
 recruited and mind refreshed with the companion- 
 ship so suited to his refined disposition, sent an 
 account of his visit to his son. The letter will 
 be perused with pleasure, for it gives an insight 
 into the daily life of the talented coterie : — 
 
 " London, 10th October, 1792 ". 
 
 "Mt deae John, 
 
 " I have not been able until very lately to say 
 
 much in favour of my health ; but, thank God, I am 
 
 now well recovered from a very unhealthy and 
 
 uncomfortable summer. I was near a month at 
 
 (248) 
 
Romney Writes about Eartham. 249 
 
 Mr. Hayley's, where I met Mr. Cowper and Mrs. 
 Smith; and yet, in spite of such good company 
 and bathing, my health continued very poorly. 
 Mr. Cowper is a most excellent man ; he has 
 translated Milton's Latin poems, and I suppose 
 very well. Hayley is writing the life of Milton, 
 so you may imagine that we were deep in that 
 poet ; everything belonging to him was collected 
 together, and some part of his works read every 
 day. Mrs. Smith is writing another novel, ^ which 
 as far as it is advanced is, I think, very good. 
 She began it while I was there, and finished one 
 volume. She wrote a chapter every day, which 
 was read at night without requiring any correcting. 
 I think her a woman of astonishing powers. She 
 has two daughters grown to womanhood, a son in 
 the East Indies, and another at Winchester School, 
 and she supports them almost wholly by her 
 writing. She and the two poets were employed 
 every morning from eight to twelve in writing, 
 1 The Old Manor Home. 
 
250 George Roinney and His Pictttres. 
 
 when they had a luncheon and walked an hour; 
 they then wrote again till they dressed for dinner. 
 After dinner they (Hayley and Cowper) were 
 employed in translating an Italian play on the 
 subject of Satan ; about twenty lines was the 
 number every day. After that they walked or 
 played at Coits ; then tea, and after that they 
 read till supper time. This was their general plan 
 of each day. I mention this as an example of 
 the most rational employment of time and of 
 the greatest industry." 
 
 The unrestrained style of this correspondence 
 from father to son is distinct evidence of very 
 friendly relation between the painter and his family, 
 who very likely cared little for London life. We 
 can appreciate the position of the sensitive artist 
 if he had introduced his homely wife among the 
 learned conclave. We can imagine Miss Seward 
 testing the lady's education with the classics, and 
 sending her opinion in the next clever letter 
 she wrote to an intimate friend. 
 
Portrait of Mrs. Poivys. 251 
 
 Mrs. Romney was happier in her Cumberland 
 home than if she had presided over the mansion 
 in Cavendish Square. The country people of long- 
 standing acquaintance would be truer friends than 
 any she would have made in her husband's set. 
 Her presence, homely, no doubt, would have 
 proved a determent to some who opened wide their 
 doors to the artist who came alone. It was a 
 casual case, which was not resented by his family, 
 who indignantly rejected outside sympathy. If 
 they were content what have we to do with it? 
 
 While on his last visit to Eartham, Eomney 
 had taken a sketch in water colours of the family 
 nurse in Hayley's house, who was much respected, 
 and a very clever person — Mrs. Sarah Betts. 
 
 When he set to work in London, he was en- 
 gaged upon a most winning creature, Mrs. Powys, 
 wife of Thomas Jelf Powys, of Berwick House, 
 near Shrewsbury. The pose so true to life, seated 
 on a common rush-bottom chair ^ under a tree, 
 
 ^ The Sempstress sits on a similar rush-bottom chair. 
 
252 George Romney and His Pictures. 
 
 leaning rather forward ; one hand, holding a small 
 book, passes under the elbow of the other arm, 
 which rests evidently on crossed knee, while the 
 upraised hand touches the chin. The whole sug- 
 gests an attitude of thought. The white dress 
 has two flounces round the edge, and a muslin 
 veil is thrown over the back of the head, showing 
 the ruffled dark hair. A lovely and perfect face, 
 with drooping eyelids ; a rarely natural figure. 
 
 A delightful picture, Milton and his Two 
 Daughters, owed its origin to the study of that 
 poet during his temporary relaxation at Eartham, 
 though it was not put in hand imtil the next 
 year. Acting on the advice of Charles Fox, it 
 was purchased by Mr. Whitbread for two hundred 
 guineas. The Boydells gave Eomney fifty guineas 
 for permission to take a print from it. 
 
 In 1793 he executed for the University of Dun- 
 dee a large whole-length of the Eight Hon. 
 Henry Dundas, two whole-lengths of the Margrave 
 of Anspach and his erratic Margravine (previously 
 
MRS. ELEANOR TOWNLEY WARD. 
 
 (From the picture by George Romney.) 
 
 By the kind permission of Henry Hucks Gibbs, Esq. 
 
Mrs. Townley Ward. 253 
 
 Lady Elizabeth Craven), who is shown in life 
 size, her dress white satin, her cap trimmed with 
 gold. She walks in architectural and landscape 
 surroundings. This was the lady who heard of 
 her lord's death on Friday, went into weeds on 
 Saturday, and into white satin and diamonds on 
 Sunday when she married the Margrave of Ans- 
 pach. It is now the property of the Fishmonger's 
 Company. 
 
 A very similar conception we see in the grace- 
 ful full-length figure of Mrs. Eleanor Townley 
 Ward, her left arm resting on a stone pedestal, 
 with the hand raised lightly to the face, which 
 looks to the left, the other arm falls languidly 
 at her side. The white gown and train are 
 admirably drawn. A twisted violet-coloured girdle 
 encircles her figure, falling on the outline of her 
 robe. A jewel is worn on the bodice, and small 
 jewels hold the sleeve drapings. Her left foot 
 rests carelessly on the pedestal step ; the land- 
 scape is richly painted. Few of Eomney's works 
 
2 54 George Romney and His Pictures. 
 
 convey so great a sense of beauty : throughout he 
 is at his best. This fine piece is in the possession 
 of Henry Hucks Gibbs, Esq., M.P., who has 
 courteously permitted its reproduction in this vol- 
 ume. 
 
 The year 1793 brought forth a half-length of 
 Mrs. George Horsley and children; while William 
 Beckford, the eccentric connoisseur, gave him 
 three hundred guineas for his Indian Woman 
 contemplating a ship at sea, and imitating the 
 action of the sails as distended by the wind. The 
 character, scenery, and execution of this work are 
 admirable. 
 
 He then commenced Ophelia sitting on the 
 branch of a tree, the breaking of which threat- 
 ened her destruction in the stream below, whilst 
 the melancholy distraction visible in her lovely 
 face accounts for her apparent insensibihty to 
 danger. Euined buildings and romantic scenery 
 form the background. It was sold unfinished 
 after his death for eighteen guineas. 
 
Grand Ideas. 255 
 
 His original subjects were universally admired 
 for their novelty and sentiment ; many were of the 
 delicate class, and displayed great diversity of 
 character. He had in contemplation two pictures, 
 never, however, begun. One was Lord Bacon, 
 the philosopher, collecting snow for an experi- 
 ment ; and the other. Sir Christopher Wren, the 
 architect, carried by his servant in his old age, 
 according to his annual custom, into the centre 
 of St. Paul's, and raising himself on his litter, 
 taking a thoughtful survey of the temple he had 
 built. What justice would not the master brush 
 of Eomney have done to this grand conception ! 
 which was most likely due to a suggestion that 
 had been made a few years previously by several 
 great painters to decorate the interior of the 
 cathedral ; and the following is the account of 
 how the opportunity was lost. 
 
 In 1773 Sir Joshua Eeynolds made a represen- 
 tation to Bishop Newton, on behalf of the Koyal 
 Academy of Painters, showing that, notwithstand- 
 
256 George Romney and His Pictures. 
 
 ing the encouragement then given to art in 
 England, it would never grow to maturity unless 
 it were introduced into churches as in foreign 
 countries, individuals being for the most part 
 fonder of their own portraits and those of their 
 families than of historical subjects. That to 
 make a beginning the Eoyal Academy had 
 selected six members, — Sir J. Eeynolds, Mr. "West, 
 Angelica Kauffman, Cipriani, Barry, and Dance, — 
 who offered their services each to paint a picture 
 to decorate the interior of St. Paul's with Scripture 
 histories. That these pictures should be seen, 
 examined, and approved by the Academy before 
 they were offered to the dean and chapter, who 
 might then give directions for amendments or 
 alterations, and receive or refuse them as they 
 might think them worthy or unworthy for the 
 place for which they were designed. They would 
 be put up at the expense of the Academy, without 
 any charge to the members of the church. St. 
 Paul's wanted such adornments; for, rich and 
 
Si. Paul's Cathedral. 257 
 
 beautiful as it is without, it is plain and cold 
 within. 
 
 Sir James Thornhill had painted the History 
 of St. Paul in the cupola, in the very worst 
 part of the church, exposed to all changes of 
 weather, whether damp or heat. The eight 
 original sketches made by Sir James were higher 
 finished than usual, in order to be carried and 
 shown to Queen Anne ; these were purchased by 
 his family in 1779, and hung in the great room 
 in the chapter house. In the cupola the pictures 
 were too high to be conveniently seen. There 
 are compartments below that were originally in- 
 tended for bas-reliefs and the like ; but it is said 
 that the Parliament had taken some of the fabric 
 money and applied it to King William's wars. 
 Sir Christopher Wren complained that his wings 
 were clipped, and the church deprived of decora- 
 tions. Now, then, was a fair opportunity of re- 
 trieving the loss. The dean and chapter were 
 
 well pleased ; and the dean, in the fulness of his 
 
 17 
 
258 George Romney and His Pictures. 
 
 heart, went and communicated the scheme to 
 King George the Third, and obtained his ready 
 consent. But the trustees of the fabric, the 
 Archbishop of Canterbury and the Bishop of 
 London, had also to be consulted; and they dis- 
 approved. Bishop Terrick strenuously opposed it : 
 whether or not he took it amiss that the proposal 
 was not first made to him, and by him been laid 
 before his Majesty ; or whether, as he said, he 
 was afraid there would be a clamour against it 
 as an artful introduction of Popery, — and it must 
 be acknowledged there were seriously minded 
 persons who objected to the putting up of pictures 
 in sacred edifices. Many other churches were 
 adopting this measure, such as Eochester, Win- 
 chester, Salisbury, etc., and several colleges and 
 universities. The House of Commons had given 
 a rich painted window to their Church of St. 
 Margaret, Westminster. Bishop Terrick approved, 
 if not contributed to, the setting up of a picture 
 of the Annunciation by Cipriani in the chapel of 
 
Designs to Decorate St. Paul's. 259 
 
 his own college, Clare Hall, Cambridge ; and it 
 is curious that he denied such ornaments to the 
 capital church of the kingdom. The dean, rather 
 than the offer should fall through, suggested that 
 a trial might be given. He observed that most 
 chapels had decorations about the communion 
 table ; and even at that time it V7as not unusual 
 to see in the country — 
 
 Moses and Aaron, upon a church wall, 
 
 Holding up the commandments for fear they should fall. 
 
 It was, therefore, proposed by the dean that 
 Sir Joshua and Mr. West should paint two 
 pictures illustrative of the Liaw and the Gospel ; 
 Mr. West taking for subject the giving of the two 
 tables to Moses from a cloud of glory, the people 
 all standing beneath; and Sir Joshua's design 
 being the Infant Jesus lying in a manger, with 
 the shepherds surrounding, and the light flowing 
 all from the Child, as in the famous 'Notte of 
 Correggio. Nothing savoured of idolatry in these 
 two ideas ; but the one obstinate power overruled, 
 
26o George Romney and His Pictures. 
 
 and the scheme was defeated. Sir Joshua wrought 
 up his design into a noble picture, with which 
 we are famihar, The Nativity. Mr. West ex- 
 hibited his at one of the pubhc exhibitions ; and 
 Mr. Barry published an etching of his intention, 
 The Fall of the Angels,— all masterly productions. 
 And so the generous donation of the leading 
 academicians was rejected. 
 
 When people began to think differently, and it 
 was acknowledged that Sir Christopher Wren had 
 designed recesses, especially under the windows, 
 for the reception of monuments, as could be seen 
 from a print that hung in the inner section of 
 the Church of St. Paul's, and Westminster was 
 literally encrusted with them, then the difficulty 
 presented itself of finding a suitable person to begin 
 with,— of eminence and dignity sufficient to take 
 the first place, and warrant the continuation of 
 such erections. 
 
 Several persons were desirous of opening a 
 subscription for a monument to Mr. Pope, and to 
 
Affection for Children. 261 
 
 place it in St. Paul's, as had been done to Shake- 
 speare's in Westminster Abbey ; but Mr. Pope's 
 religion was an objection to this proposition. 
 It was a better thought to erect the first monu- 
 ment to a Church divine ; and the honour was 
 voted to Bishop Sherlock, whose father had been 
 dean, and himself Bishop of London. But the 
 bigotry of one man, Bishop Terrick, lost to St. 
 Paul's a golden opportunity of holding in its good 
 keep many masterpieces of England's greatest 
 artists. 
 
 In July, 1793, there was a change in Eomney's 
 daily routine of life ; he, for 7s. 6d. a week, rented 
 a room in a humble but pleasant habitation out of 
 town, where he went to take breakfast. In telling 
 Hayley, he wrote : " I have eight children to wait 
 on me, and fine ones. I begin to feel the neces- 
 sity of having these innocent little spirits about 
 one ; they give more soft delight to the mind than 
 I can describe to soften the steps down declining 
 life." Who but a simple, good man could write 
 
262 George Romney and His Pictures. 
 
 such loving thoughts of childhood? One morning, 
 on arriving for breakfast, he found the children 
 crying, and the father overwhelmed by the pros- 
 pect of being turned out of his house and losing 
 comfortable labour unless he could raise £200 to 
 meet accumulated debts caused by various mis- 
 haps. Eomney instantly relieved the embarrass- 
 ments of the humble family. His genuine charity 
 was often distributed with the greatest privacy. 
 
 His busy brain led him to design sketches for 
 the Seven Ages of Man; his idea of Infancy was 
 a babe on the bosom of its mother, whose couch 
 was surrounded by several attendants, and among 
 them her florid young husband, garbed as a hunter 
 fresh from the chase, seeming eager to kiss his 
 wife and child. Like so many others, it was 
 never finished, but it teemed with exquisite ex- 
 pression. 
 
 Hayley wrote that if he had employed his 
 talents entirely on sacred subjects he would have 
 resembled a great Italian painter who never took 
 
Designs from Milton. 263 
 
 his pencil without a prayer, and had his eyes 
 filled with tears whenever he depicted the suffer- 
 ings of Christ. 
 
 In 1794 he had attained his sixtieth year; and 
 though the infirmities of age rapidly came upon 
 his sensitive frame, he did not realise that his 
 powers would decline, but designed still loftier 
 subjects, craving only the retirement from active 
 life that would enable him to give undivided at- 
 tention to the great scheme he had devised. He 
 had divulged it to no man but Hayley, probably 
 fearing piracy of his idea ; but from the works 
 which occupied him at this period, it is not im- 
 probable that he was planning a Milton Gallery 
 as rival to the Shakespeare one. This device he 
 would contract from his late companionship with 
 Hayley and Cowper : and in his own copy of 
 Milton all the most striking and picturesque 
 situations were underlined or marked by himself, 
 betokening that he had considered them as 
 capable of representing powerful artistic situa- 
 
264 George Romney and His Pictures. 
 
 tions. Indeed, the four last sketches he ever 
 made were illustrative of Milton. A few lines 
 from a letter sent to Hayley bear out these as- 
 sertions. " 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 them all, and I may say sketches ; but, 
 alas ! I cannot give time for a year or two ; and if 
 my name was mentioned I should hear nothing 
 but abuse ; and that I cannot bear. Pear has 
 always been my enemy; my nerves are too weak 
 for supporting anything in public." That nervous 
 dread of adverse criticism which marred his career, 
 artistic and domestic. 
 
 This year, 1794, found Eomney hard at work 
 upon the portraits of the Duke of Portland, the 
 Earl of Euston, and a half-length of Abraham 
 Newland, for the Bank of England, where he was 
 cashier ; he was shown in plain dress, powdered 
 hair, left hand on table, on which lay a bank 
 
Ill-health. 265 
 
 note, addressed letter, and inkstand ; and with 
 somewhat similar surroundings did he paint Mr. 
 Thomas Raikes, Governor of the Bank of Eng- 
 land. 
 
 At this time his son and a young friend came 
 to stay with him, when he took a portrait of the 
 former, who was greatly concerned about the 
 state of nervous depression from which he found 
 his father to be suffering ; and he prevailed upon 
 him to make with him a brief excursion to the 
 Isle of Wight, which Eomney enjoyed. The 
 change and cessation from work did to some ex- 
 tent repair his shattered nerves ; but as soon as 
 he was home again he painted with all dili- 
 gence. His son's portrait was executed with 
 wonderful rapidity, producing an excellent result 
 after two sittings of three hours each. In this 
 year his fancy picture was Newton making Ex- 
 periments with the Prism, while two girls look 
 on with the expression of ignorant delight. 
 The figures were life size, the features of the 
 
266 George Romney and His Pictures. 
 
 philosopher copied from the original mask taken 
 from his face. 
 
 On he worked with unflagging energy^ and 1795 
 brought full-lengths of the Duke of Eichmond 
 and Earl of Westmoreland, a picture of Mrs. 
 Bosanquet and her five children, and General 
 Hastings ; and in the latter part of the year he 
 executed a group of Flaxman, in a brown cloak, 
 modelhng the bust of Hayley, attended by his 
 pupil, Tom Hayley, while Eomney himself looked 
 on from behind. This picture is now in our 
 National Portrait Gallery. Flaxman had been 
 studying at Eome ; and on his return to England 
 in the previous year he took a temporary lodging 
 at 6 Buckingham Street, Fitzroy Square, as he 
 himself wrote, "in the neighbourhood of our dear 
 Eomney ". 
 
 A year or two previously, a neighbour of Hay- 
 ley's, Lord Egremont of Petworth, having lost 
 a young child, to whom he had asked the poet 
 to stand godfather, was anxious to remove his 
 
Lady Egreviout and Children. 267 
 
 wife from the scene of their recent trouble, and 
 as Eartham was at that time free from guests 
 his lordship asked him to receive him and his 
 afSicted lady. Ever ready to sympathise, Hayley 
 made the visit as agreeable as possible. He had 
 long been anxious to obtain for Romney the honour 
 of painting the family of this nobleman, which 
 favour was extended when the artist paid his 
 autumnal visit in 1795. He commenced a large 
 picture of the lady as Titania, with her children 
 as fairies, shooting at bats with bows and arrows. 
 The mother and children, who form the group in 
 this splendid work, indulged Eomney so far as 
 to sit to him in his favourite painting room at 
 Eartham, an apartment excellently suited to its 
 purpose. It was formed at one end of a long 
 riding house that Hayley had built on the side of 
 his sea-commanding hill, in a year when he had 
 suffered from inflammation of the eyes, and was 
 unable to ride out of doors. Eomney commenced 
 the picture in September; and he proposed to 
 
268 George Romney and His Pictures. 
 
 return to Eartham and finish it at Christmas, if 
 his delicate health permitted it. In December he 
 accordingly revisited Hayley, and went on with 
 the work, until one of the children became indis- 
 posed, and Lady Egremont was not able to attend 
 the studio. So Bomney went over the hills daily 
 to Petworth instead ; and the prolonged exercise 
 benefited him greatly in mind and body. 
 
 Tom Hayley, who was taking lessons in sculpture 
 from Flaxman in London, hearing of this change 
 of programme from his father, wrote back the 
 following humorous allusion to poor Eomney's 
 constitutional weakness : " I rejoice to hear the 
 great picture is going on so happily. The painter 
 must be, I think, in high good humour, and all 
 his blue companions must have taken flight. I 
 wonder that the circumstance of the lady's not 
 being able to come to Earthafaa did not conjure 
 them all up, and produce a very bitter easterly blast." 
 
 Young Tom had this j'ear executed a medallion 
 of his father, a small full face, for which (according to 
 
Maria Fagniani. 269 
 
 an entry in his memoranda of his works of art) " Mr. 
 Eomney did me the honour to give me five guineas". 
 
 When Eomney returned to London he sketched 
 a portrait of himself, which he bestowed upon Isaac 
 Reed, the editor of Shakespeare, and for many years 
 the owner and editor of the European Magazine ; 
 and he in return presented Bomney with a quid pro 
 quo in the shape of a set of his own Shakespeare, 
 very handsomely bound in fifteen volumes. 
 
 About this time a very interesting picture came 
 into existence, figuratively speaking ; for the sunny 
 look and amorous eyes of George Selwyn's 
 adopted daughter, Maria Fagniani, lived on 
 Romney's canvas. This portrait shows the bonny 
 face surmounted by a broad-brimmed hat, bent 
 down at the sides, trimmed with pink ribbon, the 
 dress white, and sash pink. The pretty subject, 
 who was as a child called by Selwyn and his 
 friends by the endearing term, "Mie Mie," eventu- 
 ally married the Earl of Yarmouth, who, in 1822, 
 succeeded his father as third Marquis of Hertford. 
 
270 George Romney and His Pictures. 
 
 Eomhey, as did Sir Joshua Eeynolds, frequently 
 followed his profession on the Sabbath. " I have 
 three requests to make to you," said Samuel 
 Johnson the day before he died, to the president, 
 "and I beg you will attend to them, Sir Joshua; 
 forgive me thirty pounds which I borrowed from 
 you — read the Scriptures — and abstain from using 
 your pencil on the Sabbath day." Eeynolds pro- 
 mised, and kept his promise. 
 
 Eomney received a similar admonition from 
 the Eev. Samuel Greathed, who, in two pious 
 letters, begged him to refrain from desecrating 
 the day of the Lord. In May, 1795, he asks 
 him, '' What shall it profit a man if he gain the 
 whole world and lose his own soul ? " To this 
 Eomney replied promptly, pleasantly, and peni- 
 tently ; and on June 4 Mr. Greathed wrote from 
 Newport Pagnell, and begged Eomney " not to 
 employ another Sabbath in opposition to God's 
 merciful commandment, and to your own ever- 
 lasting interest ". 
 
THE, MARCHIONESS OF HERTFORD (MARIA FAGNIANl). 
 
 (Fi-am the picture by George Romney.) 
 
 By the kind permission of the Right Hon. the Eari. of_ Carlisle. 
 
CHAPTEE XII. 
 
 He has a Building Mlania — Tom Hayley paints a 
 Sign for the Village Alehouse — Romney paints 
 the Lady in the Greenhouse — Tom Hayley's Ill- 
 ness — Romney' s Failing Energies — Tohit and 
 Toliias — The New House at Hampstead. 
 
 Until the germs of mental disease developed, 
 Eomney had been of a placid, easy-going tempera- 
 ment, but as his indisposition increased he became 
 morbid and irritable. Instead of courting retire- 
 ment, as had been his wont, he began to devise 
 expensive schemes that only added to his worries. 
 When his son visited him in 1796, he found him 
 occupied in making plans of fantastic buildings, 
 instead of studies of pictures as heretofore. He 
 was just on the point of signing a contract for 
 four acres of ground on the Edgeware Boad, at 
 
 a rental of forty pounds per annum for life, with 
 (271) 
 
272 George Roinney and His Pictures. 
 
 a stipulation that he should build a house upon 
 it under certain restrictions, and which would 
 have involved him in more expense than his 
 income could have met. His son's opportune 
 arrival prevented this error, and Bomney allowed 
 himself to be talked out of this unwise design, 
 and he authorised his son to interview the owner 
 of the land he was negotiating to purchase, and 
 ask him to permit him to withdraw from the 
 compact. This was accordingly done ; and when 
 circumstances were explained by the emissary to 
 Sir James Graham, the proprietor, he most gene- 
 rously consented that Mr. Bomney should revoke 
 his intentions, and with rare kindness refused to 
 accept any remuneration for the trouble and ex- 
 pense to which he had been put, though the deeds 
 were drawn up, and ready for signature. The 
 Eev. John Bomney used to refer to this trans- 
 action with pleasure, as he said " out of gratitude 
 to the memory of that esteemed gentleman, and 
 also because having myself experienced much evil 
 
The Hampstead House. 273 
 
 from attorneys, I am happy in being able to pro- 
 duce one instance of redeeming worth in that 
 dangerous profession ". 
 
 As Eomney had made up his mind to vacate 
 Cavendish Square, deeming his accommodation 
 there too Hmited for his overflowing stock of 
 unsold and unclaimed pictures, his son advised 
 him to buy a ready-built house, instead of harass- 
 ing himself with the construction of a new 
 one. Accordingly, when a bargain was in the 
 market, he availed himself of it ; and for the sum 
 of about seven hundred pounds he bought a house 
 at Holly Bush Hill, Hampstead, his favourite 
 retreat, where, by the outlay of an additional five 
 hundred pounds, he could have added a gallery 
 that would have answered all purposes. Having 
 arrived at the right moment, and extricated his 
 father from a ruinous project, the son returned 
 home. But as soon as the better influence had 
 departed the wdld ideas again took possession of 
 
 Eomney' s mind. The house was a very good 
 
 18 
 
2 74 George Romney and His Pictures. 
 
 one, convenient, and pleasantly situated, with a 
 large garden, aiid an excellent stable, coach-house, 
 etc., above the garden, on the top of the hill. 
 Before the next two years were passed, he had 
 pulled down the stable, and erected a new one on 
 some adjoining land which he subsequently pur- 
 chased ; and upon the site of the dismantled 
 offices he raised a whimsical structure, consisting 
 chiefly of a picture and sculpture gallery, but with 
 few domestic conveniences ; though one grateful 
 remembrance of his bygone sociable club suppers 
 caused him to build bis dining-room close to his 
 kitchen, with a buttery hatch opening into it, so 
 that he and his friends might enjoy beef-steaks 
 hot, upon the same plan as the members of the 
 Beef-steak Club were supplied at their room in 
 the Lyceum. To the new house he joiued half 
 the garden, in which he put up a wooden arcade 
 for a riding-house. 
 
 The August of 1796 found Eomney as usual 
 taking his relaxation with his friend at Eartham^ 
 
Tom Hay ley's Illness. 275 
 
 but being eager to have a personal consultation 
 with the architect who was making his alterations 
 at Hampstead, he and Hayley set out together 
 for London at two o'clock in the morning. 
 Hayley for some time had been very anxious 
 about his son, wlio was with Flaxman. As a 
 lad he had had a fall from a horse, and injured 
 his hip joint ; the pains which ensued were treated 
 as trivial rheumatic affections, and under medical 
 treatment they had abated. But when his father 
 saw the change in the young man on the occasion 
 of his visit with Eomney, he was so alarmed 
 about his son's health that he at once took him 
 in a coach to Eartham, purchasing some medicine 
 for him on the way. The invalid revived in a 
 few days ; meanwhile Bomney saw his architect 
 and returned to Eartham, where he commenced 
 to paint Tom Hayley in a picture Sacred to 
 Friendship, or, to use Hayley's own description, 
 "It contains four portraits, the paternal hermit, 
 and the friendly painter himself (with Tully de 
 
276 George Romney and His Pictures. 
 
 Amicitid before them), to recommend friendship 
 to two ingenious youths, commonly called Thomas 
 Hayley and William Meyer ". The latter was a 
 son of the great miniature painter ; and he is 
 represented in cap and gown of Trinity College, 
 while young Hayley held in his hand a statuette 
 of Minerva,' which he had shaped to decorate his 
 father's library table. Eomney introduced it to 
 denote the youth's profession as a sculptor. In 
 the engraving of this picture by Caroline Watson 
 Eomney is omitted on account of its imperfect 
 resemblance : he had taken so little pains with 
 his own portrait that it was more of a carica- 
 ture. 
 
 During the rest advised by Dr. Guy of Chichester, 
 Tom Hayley tried his hand at painting in oils. 
 As the St. George who sat on horseback at mine 
 hostess' door at the little public-house at Eartham 
 was nearly obliterated by the showers of many 
 years, Tom put his spaniel dog Fido, as large as 
 life, on a strong panel of wood; and then it dis- 
 
Visit to Stonc/wngc. 277 
 
 placed the old champion, greatly to the admiration 
 of the villagers. 
 
 When making his professional visit to poor 
 Tom, whose days were soon to end in great 
 suffering. Dr. Guy sat to Eomney for his portrait 
 for Hayley. Eomney greatly admired the surgeon ; 
 he said that he had never seen a more manly face 
 that he would sooner model if he were a sculptor 
 than that of Dr. Guy, nor one better suited to 
 represent the compassionate benignity of the 
 SaAdour. 
 
 In September the great family picture was 
 finished and hung at Petworth. It had long been 
 the wish of Eomney that one of his works should 
 hang in that fine mansion. 
 
 On October 2, Eomney, Hayley, and his son, 
 whose health was improving, went to Wilton to 
 inspect the works of art, and indulge with a view 
 of the grand scenery of Stonehenge. They found 
 the few days spent in the district was insufficient 
 time in which to survey its many beauties, and 
 
278 George Romney and His Pictures. 
 
 they planned to revisit it next year and give a 
 naonth to it, — a pleasant prospect that never came 
 to pass. 
 
 Young Hayley gained so much strength that he 
 was able to resume his lessons with Flaxman, 
 and Eomney returned to London. One morning 
 in this same year, 1796, Hayley surprised him 
 with an unexpected visit, and found him painting a 
 full-length portrait of a lovely lady, whom the poet 
 persuaded Eomney to represent in a picturesque 
 greenhouse, with some rare and magnificent 
 flower in her hand. To find a flower exactly 
 suited to the design, Hayley induced him to 
 accompany him on his return home as far as 
 Kew, where Mr. Alton, the royal gardener, 
 supplied them with the rare flower. 
 
 The tropical prize withered a good deal on its 
 travels, but revived in water, and was copied into 
 the picture, where it suited the character admir- 
 ably. 
 
 Mrs. Charlotte Smith, who was living at Chi- 
 
Mrs. Charlotte Smith. 279 
 
 Chester, not very far from Hayley, was very 
 anxious to have a copy of her portrait, which 
 Eomney had taken when the combined talent 
 had been Hayley's guests. Her son in India had 
 latterly provided her with the means of subsist- 
 ence. From one misfortune and another her 
 husband suffered many monetary reverses, which 
 excited the sympathy of the kind poet, who 
 therefore wrote to ask his son or Eomney to do 
 her the favour, and " use their talents in the 
 service of genius and adversity ". The amiable 
 youth wrote to his father that if Eomney could 
 not do it, he, with Flaxman's permission, would 
 paint it. 
 
 The sweet disposition of this afflicted youth is 
 shown in the annexed extract from a letter to his 
 father; it conveys the feeling that his sincere 
 sympathy must have greatly endeared him. to the 
 failing old painter: "Jan. 8, 1797.— But there 
 is one great house and really great man whom 
 it delights me to visit at any time ; I mean our 
 
28o George Romney and His Pictures. 
 
 old and kind friend, Mr. Eomney. Not only 
 because he is old and very kind to me, but be- 
 cause I am certain, in the course of his con- 
 versation, of hearing some excellent sentiments 
 and remarks, and of seeing some fine works of 
 art, either ancient or modern : he is so much 
 alone, and sometimes so low-spirited, that he 
 takes it as a kindness in me to call and sit with 
 him an hour, or two ; therefore I have a double 
 pleasure in visiting him." 
 
 The suffering of this promising young man 
 increasing, his anxious father had an examination 
 made, when his medical attendants found that 
 they had been mistaken in the seat of his disease, 
 and that it lay between his shoulders, and was 
 of a most serious character. Still his lively spirits 
 would not allow him to break down, and his love 
 of his profession kept him from giving it up. Mr. 
 Long, the surgeon, who attended him in London, 
 gave him a commission, which Tom wrote his 
 father " would take Job's patience to execute 
 
" The Temptation of Christ." 281 
 
 well"; for Mr. Long had- a piece of Stouehenge 
 that he wanted carving into a Druid's head in 
 bas-relief. The stone was as hard as granite, 
 and, as the young sculptor said, two strokes 
 would take the edge off their carving tools, still 
 he hoped to hit the fancy of Mr. Long, for he 
 meant to try, as Mr. Long had been very good 
 to him. 
 
 Eomney meanwhile was labouring diligently on 
 an immense work, which he called The Temptation 
 of Christ; if ever he had completed it he would 
 have ranked among the greatest masters of paint- 
 ing. On a large canvas, about sixteen feet by 
 twelve, on a dark brown ground, the figures were 
 drawn in white chalk complete. Looking at the 
 figure of Christ, silent passiveness was the idea 
 which presented itself to the mind of the spectator ; 
 but on regarding the fiends that assailed the Saviour, 
 boisterous noise and taunting insult emanated 
 from the canvas. The visionary beings were the 
 personifications of human passions. To aid the 
 
282 George Romney and His Pictures. 
 
 scene, the ghosts of Adam and Eve were called 
 forth ; and the Arch-fiend himself viewed from the 
 upper comer, with malignant pleasure, the ready 
 obedience of his imps. It was all ready for 
 painting, the head of Christ nearly finished, and 
 that of Satan begun. When this large piece was 
 ultimately sent to Christie's Auction Rooms it was 
 not included in the sale, but was merely placed in- 
 the collection so as to give the public an oppor- 
 tunity of seeing it ; the attendance, however, was 
 so meagre, and the financial result so dishearten- 
 ing, that the canvas was not unrolled. 
 
 In 1797 Eomney complained of weakness of 
 mind, produced by excessive application to his 
 profession. He was full of the design to form 
 for himself a little academy, wherein he would 
 improve a few select young friends and disciples, 
 but he was now too unnerved to carry out any 
 such intent. 
 
 As was always the case under the thoughtful 
 care of Hayley, our artist took a new lease of life; 
 
Tobit and Tobias. 283 
 
 instead of being in a troubled and tremulous state 
 of nervousness, not knowing what to do, his health 
 and spirits revived, and he set about two historical 
 pictures, illustrative of Tobit and Tobias, the two 
 figures being portraits of Hayley and his son 
 Tom.^ In the first the son prepares to heal the 
 blindness of his father; this picture was consider- 
 ably advanced, and Komney took it back with 
 him to London, intending to finish it at once, 
 but never again touched it. The second sketch, 
 where Tobias looks with tender joy on the restored 
 eyes of the old man, was but the brief work of 
 half an hour; nevertheless, it bore a sweet and 
 perfect resemblance of the youth who stood for 
 Tobias, and it was sacredly regarded after his sad 
 early death. Hayley preserved this sketch with 
 great care, as at the time he valued it as the 
 singular production of Eomney under a sudden 
 warm burst of joy and gratitude towards Hayley, 
 
 ' Sketches of this subject are now miscalled portraits of 
 Eomney and his father. 
 
284 George Rontney and His Pictures. 
 
 who had got the promise from the Marchioness 
 of Donegal that a debt long owing to Romney by 
 her husband should be dischai-ged. 
 
 Into his new house at Hampstead he now re- 
 moved, before the walls were dry ; and the old 
 house adjoining he let for a rent which paid good 
 interest on the purchase money. The removal 
 of his vast collection of pictures was effected at 
 considerable expense ; and for want of room they 
 were crammed into every vacant space, or arranged 
 along the damp walls of the new arcade, where, 
 being exposed in the open air to the alternate 
 action of frost and moisture, they were almost 
 entirely destroyed in the course of the winter. 
 From their unprotected position many were stolen. 
 After dining with Eomney at Hampstead, Flax- 
 man wrote to Tom Hayley that he was "grieved 
 to see so noble a collection in a state so confused, 
 so mangled and prepared he feared for worse, not 
 better ". 
 
 Eomney was so completely under the influence 
 
Hay ley Dictates. 285 
 
 of Hayley that others were powerless to check 
 his extravagance if Hayley dictated ; in fact, Hay- 
 ley was under considerable monetary obligation to 
 Romney, and it might have been detrimental to his 
 own interest if closer supervision of Eomney's cash 
 transactions were permitted by near relatives. So 
 determined was Hayley that no opportunity should 
 be offered to Mrs. Romney of presiding at her 
 husband's establishment that he proposed to the 
 weak and easily led man to take into his house 
 the family whose room he had rented for his 
 breakfasts after morning walks ; and how dictatorial 
 he was can be traced in the following letter, of 
 January 31, 1798: " Carissimo Pittore, — Many 
 thanks to you for your kind and comfortable 
 account of the dear juvenile Songster.^ I am still 
 very anxious about him, though my anxiety is 
 greatly relieved. I rejoice in the good Tidings He 
 has given me of your walking with vigour, 'perse- 
 verance, and imprormig health up your Hampstead 
 ^ His son Tom. 
 
286 George Romney and His Pictures. 
 
 Hill. Apropos of Hampstead, the post of yesterday 
 brought me the sentiments of our Friend Greene 
 on what you thought of doing for the Family 
 you wish to settle there. He roundly called it 
 an Act of Folly, to which I say to him in a letter 
 to travel by the next Post, that what He calls 
 Folly was partly my advice, and so far I am ready 
 to vindicate to Him, to your Son, or to all the 
 World, that I gave you this advice in the persuasion 
 of your feeling most truly anxious that their past 
 services to you have amply merited such a compen- 
 sation, and that their forming part of your 
 establishment here was essential to your future 
 comfort. Now, my very dear Friend, there are 
 points of Feehng in which no one can be so able 
 to judge for you as you are for yourself. You 
 have not only a very good Heart, but you have 
 a very keen and energetic understanding, if you 
 allow it full and fair Exertion. Do not, there- 
 fore, implicitly follow either my opinion or Greene's 
 opinion, but consult your own Heart, your oimi 
 
Romney Easily Misguided, 287 
 
 Conscience, your own Spirit, and be not afraid to 
 judge and act with that independence of mind 
 which ought to be the characteristic of Man, and 
 particularly a Man of Genius and Virtue. I 
 have said to Greene that the subject is copious, 
 and I should be glad to argue it with Him at 
 full length in your presence, for I am never afraid 
 to avow and maintain whatever advice I give to 
 a Friend, nor will I retract for any authority an 
 opinion that I believe to be founded on Justice 
 and Eectitude." No stronger- evidence is required 
 than this letter supplies to demonstrate the arbitrary 
 •sway held by poet over painter. The craft with 
 which he first dictates what he intends to be done, 
 and then transposes his wording so that the pliant 
 friend can act as if of his own free will, shows how 
 •completely subservient was the weaker mind. 
 
 The Eev. John Eomney complained that Hayley 
 too often misdirected his father. The Hampstead 
 house originated with Hayley, and proved a ruinous 
 trouble. 
 
288 George Romney and His Pictures. 
 
 The cost of this whim in the erection of new 
 buildings amounted to two thousand seven hun- 
 dred and thirty-three pounds, besides many inci- 
 dental expenses, of which no account was kept. 
 Yet when this structure and belongings were 
 disposed of by auction they realised only three 
 hundred and fifty-seven pounds ; while the old 
 house, curtailed of the stables and a large part 
 of the garden, brought a price equal to the 
 original purchase money. 
 
 The lease of his house in Cavendish Square 
 he sold to Mr. Martin Archer Shee, just rising into 
 fame, having only recently been elected Associate 
 of the Boyal Academy. It was therefore an advan- 
 tage to succeed a painter of established reputation — 
 though Romney had found none in following Cotes. 
 Mr. Shee lived in Cavendish Square for the rest of 
 his life. Eomney gave the new tenant his counte- 
 nance by sitting to him for his portrait, and 
 including the goodwill he personally had acquired 
 during his own residence at No. 32. 
 
Mr. Shee's Portrait. 289 
 
 But the features portrayed by Mr. Shea were 
 not those of Eomney in his prime. A sad change 
 was taking place; the hght of genius departing 
 from the once keen, penetrating eye, he was op- 
 pressed with languor, while his faculties were a 
 mental ruin. 
 
 19 
 
CHAPTEE XIII. 
 
 Boniney becomes morbid — He goes Home to he 
 nursed — The Last Recognition — His Death — 
 Flaxman regrets him — The Monument to his 
 Memory refused a Space in Dalton Chiirch by 
 the Lay Hector — Romney's Son pays his Last 
 Respects to his Father's Memory. 
 
 In the summer of 1798 he went north, where 
 he was joined by his son, who did his best to 
 rouse and interest his failing father. He accom- 
 panied him through the scenes of his youth, 
 hoping that they would recall the days of happi- 
 ness before he turned his back upon them for 
 the larger London world. A tour to the Lakes 
 afforded no gratification to him who had been so 
 ardent an admirer of nature ; the flickering intel- 
 lect heeded not the views that once had filled him 
 
 with rapturous vitality. 
 
 (290) 
 
THE RIGHT HON. EDMUND BURKE. 
 {From the picture by George Romney.) 
 
Romney Deplores Cowpers Fate. 291 
 
 How sad to reflect on the moving terms in 
 which he deplored the darkened days of his friend 
 the poet Cowper, when overtaken by the affliction 
 that was to be his own portion in days to come ! 
 Was there a dim foreboding that made him write ? — 
 " If there is a situation more deplorable than any 
 other in nature it is the horrible decline of reason 
 and the derangement of that power we have been 
 blessed with. How hard it is for a man with a 
 feeling mind to preserve that balance in his un- 
 derstanding that carries him well through life ! 
 Bless all those who dedicate their time to the 
 weakness of the human mind ! " The same 
 sad fate overtook the sympathiser as he neared 
 his own end; and Eichard Cumberland drew a 
 parallel between the genius that had inspired 
 them in their brightest days, expressing the hope 
 that when the life of Eomney appeared, upon 
 which Hayley was engaged, he would say that 
 Eomney was as good a painter as Cowper was a 
 poet. 
 
292 George Romney and His Pictures. 
 
 Bomney returned to London in a deplorable 
 state of health, complaining of a swimming in 
 his head that affected his sight, and he could no 
 longer see with precision ; he felt a numbness in 
 the back of his hand, and constantly rubbed it 
 to try and restore the feeling of life into it ; this 
 want of animation caused his hand to shake, and 
 he could no longer guide his brush. Indeed, he 
 had a slight stroke of paralysis, of which he 
 did not inform either wife or son. His 
 nervous system was always more upset in rainy 
 weather. 
 
 He was suffering much froni despondency when 
 he went to Eartham in 1799, which required the 
 combined efforts of Hayley, his amiable crippled 
 son (for that was now his confirmed condition, 
 and there was no hope that it would ever be 
 otherwise), and Eomney's pupil, Isaac Pocock, 
 to dispel. Their thoughtful attentions did resus- 
 citate him temporarily, and he resumed his 
 painting ; he made several sketches of the Hay- 
 
Tom Hay ley Caricaitires Romney. 293 
 leys, and an original one from a scene of Mac- 
 
 In September he painted a portrait of Miss Le 
 Clerc for the Duke of Richmond , which his in- 
 disposition at first prompted him to decline ; but 
 the young lady went frequently and sat to him in 
 the riding-house at Eartham. 
 
 This visit of Eomney's enlivened the whole 
 party, for depression of spirits was the portion 
 of each when he arrived. Hayley had his anxieties 
 about his son, who heroically underwent great 
 bodily pain ; but his bright disposition kept the 
 party in good humour. He drew a grotesque figure 
 of the respectable old painter as a fencer in his 
 spectacles, which so amused Flaxman when he 
 saw it that he laughed as if it were a whole 
 puppet show. When Eomney worked he used 
 spectacles divided in the centre, — the upper half 
 
 ^ After his death several large studies ia charcoal from 
 Macbeth were found, including one of Lady Macbeth. 
 
294 George Romney and His Pictures. 
 
 for objects at a distance, through which he judged 
 effects, and the lower for things close to. 
 
 When the time came for leave-taking that 
 September, the parting to Hayley was most sad, 
 for he had monetary troubles that necessitated 
 retrenchment, and it was his intention to give 
 up Eartham at the beginning of the next year. 
 For the purpose of assisting his relative, Captain 
 Godfrey, and also to meet his own needs, he had 
 engaged a friend to accommodate him vsdth a 
 considerable sum of money in the Funds, which 
 he undertook to replace. Funds were affected, 
 and in making good the stock of his friend he 
 seriously diminished his own income. 
 
 With what sadness of heart did he witness the 
 preparations for his old friend Eomney's depar- 
 ture ! It had required all his fortitude to enable 
 him to bear up in daily sight of the sufferings 
 of his son, and the increasing infirmities of his 
 annual visitor for so many years. 
 
 Feeling that a great change was close at hand, 
 
Farewell to Eariham. 295 
 
 he opened his diary, and entered his troubled 
 thoughts. " Eomney preparing for his departure 
 to-morrow. I close the month in paying my last 
 attentions to my old, infirm friend ; as after 
 cherishing him on this favourite spot for twenty- 
 two years every autumn, I must now consign him 
 to more opulent protectors. Having through life 
 been highly attentive to the interest of my friends, 
 and rather too careless of my own, I must try 
 to correct my error to preserve the evening of 
 my day from indigence." 
 
 We can but pity Hayley writing out of the fulness 
 of his heart, realising that the friend whom he had 
 welcomed for so many years was aged and broken- 
 down, and could never be his guest again. All who 
 frequented his house were of amiable type, and the 
 social gatherings were singularly free from jealousies 
 and dissensions, while kind feeling and sympathy 
 reigned predominant. We find in many writers the 
 grateful acknowledgment of the happy hours they 
 spent at Eartham. 
 
296 George Romney and His Pictures. 
 
 In Bomney's youth he had at Dalton been the 
 associate of one WiUiamson, a great dreamer, who 
 set up a furnace and crucibles, expending much time, 
 money, and labour in experiments that were to 
 end in a golden shower. He seemed on the eve 
 of success : the fire, which had been kept burning 
 nine months, showed bright promise of flame, and 
 the contents of the crucibles were assuming the 
 golden tone. The wife of the alchemist enticed 
 him to join some friends, and during the time 
 that his attention was diverted, the furnace and 
 all it contained blew up. 
 
 The morbid mind of the old artist reverted to 
 this long past occurrence, and he designed a series 
 of sketches to represent it ; but he now realised 
 that his work was done, his day ended, and that 
 he needed the loving care of those allied to him 
 by natural ties. Home, then, he went, to be 
 nursed by the wife whom he had known so little. 
 No resentment did she ever show at his seeming 
 neglect of marital duties, but there was always 
 
Adam Walkers Letter. 297 
 
 a welcome when he sought her company. So the 
 invalid left Hampstead for her tender care. It 
 had long been the wish of his friends (with the 
 exception of Hayley) that he should be re-united 
 to his wife. Mr. and Mrs. Flaxman, so happy 
 in their own married life, had frequently urged 
 it upon him, — but their influence was over-ruled 
 by one greater. How much his sincere life-long 
 companion, Adam Walker, rejoiced in the re-union 
 is seen in a letter written by him on January 27, 
 1802 ; he was then living in Conduit Street. " My 
 dear old Friend, — I have reproached myself these 
 several months past for not writing to you, and 
 particularly to thank you for your last most agree- 
 able present, my family picture. I have got the 
 draperies painted,' and a handsome frame, so it 
 is the great lion of my parlour. The next to it 
 is King Lear and Ms Daughter, which, now it is 
 
 ^ Like so many of his works, he had merely finished the 
 heads, and left the rest incomplete, until the hand lost its 
 ^ding power. 
 
298 George Romney and His Pictures. 
 
 cleaned, looks almost as fresh as when I sat to 
 you, with a gown on for its drapery, forty years 
 since ! I was very glad to hear by our friend 
 Greene that you were in much better health than 
 when you left London, and I hope you continue 
 so. As to myself, I am as well as I have any 
 right to expect in my seventieth year, and after 
 the loss of one of the best of wives, a loss which 
 I must lament to the last hour of my life, tho' I 
 did everything to save her that change of air or 
 place, advice, or money could do. Alas ! in vain 
 — and I feel even yet as if I wanted one of my 
 arms, and I miss her wherever I go, or whatever 
 I do ! Tho' I have lost a good wife, I rejoice, my 
 dear friend, that you have regained a good one, 
 and long may you be happy together." Adam 
 Walker had known them in their young married 
 life, and had never approved of her absence from 
 her husband. Another letter written by him, and 
 probably the last of all, says : " If Kendal and its 
 environs do not associate many pleasing retro- 
 
Hay ley Removes to Felpham. 299 
 
 spects, they will at least afford you some laugh- 
 able ones ". He begs to hear of liomney 
 through his son, as he has given up letter- 
 writing. 
 
 Hayley had removed to Felpham to retrench ; 
 for his lavish hospitalities had made serious in- 
 roads into his inheritance, and also for the benefit 
 of the sea air in the hope of strengthening his 
 idolised son. He had built a marine cottage, and 
 thither he removed his most valued treasures, 
 his well-stocked library, his busts by Flaxman, 
 his pictures by Eomney. He was occupied in 
 watching the last days of the dying youth. Al- 
 most the last sketches the sufferer made were 
 those of Mrs. Hayley and Nurse Betts, both of 
 whom were dead ; each had her epitaph on the 
 back, and they were hung as the Lares of the 
 poet's library. After enduring acute agony, the 
 life of so much promise closed. He was buried 
 at Eartham ; and Flaxman put lip a monument in 
 the church to the memory of his late pupil, the 
 
300 George Romney and His Pictures. 
 
 prose upon it from his own pen, the poetry from 
 that of the bereaved father. 
 
 On the return of Lady Hamilton to England 
 at the close of the year 1800, Hayley, who hap- 
 pened to be in London, called upon her; and in 
 return for her courteous reception, he conceived 
 the idea of discharging her civilities by begging 
 Eomney to give her mother one of her portraits. 
 The letter in which he made the request is a 
 good specimen of the plausible way in which he 
 led the old painter into the path in which he 
 intended he should walk. 
 
 " Carissimo Pittore, — I receive infinite pleasure 
 in finding from various reports of you that you 
 seem to enjoy ever rosy Health, and I thank you 
 for a kind letter in the hand of your friendly Sec- 
 retary ; ^ — it found me in London, where I have 
 been pleased beyond Expression in receiving from 
 our friend Lady Hamilton every mark of kind 
 remembrance and cordial Friendship. She has 
 ' Mr. John Bomney. 
 
Romney Discharges Hay ley's Obligations. 301 
 
 charmed me, not only in singing to me in the 
 kindest manner at different Times, but also in 
 ever speaking of you in such terms of sincere Ee- 
 gard as would affect every Fibre of your Frame 
 with tender Delight. She is, I think, more beau- 
 tiful and more astonishing in Talent than ever. I 
 have promised to remember her most Kindly to 
 you, and I am persuaded you will thank me for 
 telling you how you may gratify her in the highest 
 Degree — by devoting to her Mother the Portrait 
 of herself in a blue Hat, which I believe you 
 have in your Hampstead Collection. I called at 
 your Hampstead Door some Days ago to show a 
 young Lady (whom I call my Daughter) that in- 
 teresting scene of art, but unluckily the servant 
 was abroad, and of course we could gain no ad- 
 mission. 
 
 " I send you a ballad, which I have recently 
 written for a charitable purpose, with decorations 
 by our good enthusiastic Blake, who is happily 
 settled in that cottage on Felpham which you 
 
302 George Romney and His Pictures. 
 
 used to admire. Flaxman is as energetic as ever, 
 and has now literally found a sweet Monument 
 for our beloved Tom — whose loss I must ever 
 feel with a mixture of awful exultation in a con- 
 viction of his present Beatitude. May we all 
 meet happily in Heaven — such is the prayer of 
 your affectionate Friend. — London, Dec. 4. — Write 
 me directly, as your Secretary is with you, and 
 commission me, if you please, to find, and present 
 in your name, the picture I have mentioned, to 
 Lady Hamilton's mother, who is with her in 
 London. 
 
 " Direct to me at Samuel Eose's, Esq., Chancery 
 Lane." 
 
 In accordance with what Hayley had dictated, 
 the feeble old man wrote : " The pleasure I 
 should receive from the sight of the amiable 
 Lady Hamilton would be as salutary as great, yet 
 I fear, except I should enjoy more health and 
 better spirits, I shall never be able to see London 
 again. I feel every day greater need of care and 
 
The Painting Ends. 303 
 
 attention, and here I experience them in the 
 highest degree." He told Hayley that he thought 
 the picture was among his effects at Hampstead ; 
 and he begged him to find it if possible, and send 
 it to Lady Hamilton's mother. This commission 
 Hayley undertook ; he found the picture, and for- 
 warded it as requested, and, in so doing, relieved 
 himself of obligation to Lady Hamilton for hos- 
 pitalities personally received ! 
 
 Eomney's professional career was now ended ; 
 increasing weakness caused him to have little in- 
 terest in anything ; but he looked forward with 
 pleasure to the arrival from India of his brother, 
 Lieutenant-Colonel James Eomney, who was on 
 his homeward way. This brother, when the world 
 was all before him, had to thank him for his 
 outfit to India, which had taken all Eomney's 
 savings at his own time of life when it was ex- 
 pedient for him to lay by for himself, for he had 
 reached the age of forty -two years when he contri- 
 buted six hundred pounds to this fraternal service. 
 
304 George Romney and His Pictures. 
 
 The brothers met ; the colonel, shocked to find 
 the weakened mind could not recognise him, thus 
 addressed him : " Brother, do you not know me ? " 
 George Eomney eagerly scanned the questioner's 
 face ; was there a momentary light of intelligence ? 
 did he realise that the wished-for brother had come? 
 The bitter tears flowed ; was he conscious of his 
 affliction ? He tried to articulate words, maybe of 
 recognition, the last he was ever capable of giving to 
 living creature, for he sank back in a state of hope- 
 less imbecility. 
 
 A sad, sad end, too painful for lingerings. The 
 loving wife watched and tended when he could make 
 her no response, until he peacefully and painlessly 
 passed away, on November 15, 1802, aged sixty-eight 
 years. 
 
 In appearance, Eomney was tall, his hair dark, 
 features broad and strong, his eyes indicated vigour 
 and acuteness, and his lips had a sensitive twitch. 
 Indefatigable in the pursuit of art, a conscientious 
 master, whose pupils in turn became men of repute. 
 
A Pupil's Recollections. 305 
 
 among whom were Isaac Pocock, Lonsdale and 
 Stewardsou, and another named Robinson, in giving 
 to Hayley his recollections of his late master, said : 
 " His pencil was uncommonly rapid, and to see 
 him introduce the background into one of his large 
 pictures was something like enchantment. He 
 was very anxious concerning the preparation of his 
 colours; the arrangement of his flesh palette was 
 very curious and simple, and in some of his figures, 
 particularly in the arms, it is easy to trace the differ- 
 ent gradations of tints as they stood on the palette. 
 This may be observed in the arms of a Bacchante 
 with a dog, sent to Sir William Hamilton at Naples ; 
 in his Serena in a boat ; in the left arm of Mr. Hen- 
 derson in the character of ilfac&e^/i— this last was the 
 most finished of all his flesh colour, and he told me 
 he could go no further." 
 
 Amiable and placid, until disease commenced its 
 fell work, he died sincerely regretted by the refined 
 coterie who had been his boon companions. Flax- 
 man wrote a brief memoir of his dead friend, in 
 
3o6 George Romney and His Pictures. 
 
 which he thus alluded to his own feelings : "In my 
 long attachment to Eomney I have felt the very 
 powerful charm that attaches a reader of feeling to 
 the Hamlet of Shakespeare. I had high admiration 
 and esteem for the rare endowments of my friend, 
 united to great pity for his melancholy excess of sen- 
 sibility." He said that " he could not look round his 
 house without being reminded most agreeably that 
 he had many reasons to love his memory, and he 
 would be happy if his record of his life had endeared 
 the name of Eomney to every reader ". Which of 
 Sir Joshua Eeynolds' daily associates, whom he so 
 bountifully entertained, said or wrote as much of 
 him ? Flaxman subsequently regretted that he 
 could not spare time to assist his old friend's son in 
 the biography of his father ; for he said it would have 
 given him much pleasure to retrace the virtues and 
 talents of his honoured friend, whose sole ambition 
 had been to excel in his art. Eomney had never 
 valued nor aspired for distinctions ; his whole life 
 was simple and unostentatious, and while his com- 
 
His Humble Resting-place. 307 
 
 peers were hououred with public funerals, slept their 
 last sleep in great cathedrals, and had their talents 
 immortahsed by statues or monuments erected to 
 commemorate their fame, he, their equal in talent 
 and genius, was laid to rest in the quiet churchyard 
 of the place of his birth, Dalton. 
 
 What a great career had been worked out by the 
 boy whose youthful days were spent in that village ! 
 Oat into the world of art he ventured alone, where, 
 by his persevering application, he rose to be one of 
 its most admired masters, out into foreign countries 
 seeking self-improvement by studying the chef 
 d'ceuvres of distant geniuses, welcomed and respected 
 by high social powers and the learned of tbe land — 
 lying at last unparaded in his native village, under 
 the portion of common humanity — the sod. So in 
 accord with his unassuming life. He needs no 
 monument, his works will keep his memory green. 
 
 His only son, who, throughout life and in death, 
 evinced the most exemplary filial devotion to his 
 father, ordered a simple monument, recording the 
 
3o8 George Romney and His Pictures. 
 
 dates of his birth and death, with a brief eulogy on 
 his genius. This he intended to place in Dalton 
 Church, — a fitting receptacle for a memento of a child 
 of the district who had gone forth to achieve a world- 
 renowned reputation. The vicar's permission was 
 given ; and whilst instructing the mason regarding 
 the fixing of it, the local steward of Lord George 
 Cavendish informed him that the wall against which 
 he had designed to attach it was the property of his 
 lordship. 
 
 To him, therefore, the Eev. Mr. Eomney applied 
 for the requisite permission, thinking that it was 
 merely a matter of formality ; but to his amazement- 
 he received for reply a refusal without assigning any 
 reason, and a reproof for not being better versed in 
 his lordship's rights, legal or assumed, for they were 
 based upon this : The chancel belonged to his lord- 
 ship as lay rector, and when the church was re-roofed 
 the former Lord George Cavendish had repaired his 
 portion at the same time ; but as the timber did not 
 correspond to the division, he carried the roof as far 
 
The Lay Rector Asserts His Rights. 309 
 
 as the next rafters, the line of which divided the pier 
 where it was desired to place the monument. It 
 was at most a divided right with the parish ; but the 
 pigmy felt that it would be useless to contend 
 against the giant, and so the monument was taken 
 back to Kendal, where Romney had breathed his last, 
 and it was put in a more suitable situation in the 
 church as a cenotaph. Though Romney had been 
 an absentee, he had always shown much affection 
 for his family connections, freely assisting his 
 brothers from his purse when he could well have 
 done with its contents himself. Knowing this, his 
 son hoped he was carrying out what would have 
 been his father's wish had he been capable of ex- 
 pressing himself when on his death-bed, and took 
 liis remains to Dalton, burying him beside his 
 relatives. 
 
 Some years later the Rev. Mr. Romney visited 
 Dalton Church for the purpose of inspecting the 
 registers : he was much surprised to find in the place 
 that was refused for a memorial to George Romney 
 
3IO George Romney and His Pictures. 
 
 a showy monument erected to the lately deceased 
 local steward of Lord George Gavendish. At this 
 day, when genuine merit iu art has placed the name 
 of Bomney in the foremost ranks, and as each suc- 
 cessive work comes up out of obscurity to be one 
 of the most admired in whatsoever collection it 
 may be shown, it may be asked which would be the 
 greater trophy for the church in Dalton to hold,— 
 the showy monument to departed wealth, or the 
 humble testimonial to one of the sweetest painters 
 of his era? 
 
 And now we have come to the closing lines in the 
 memoir of George Bomney. The aim has been to 
 tell the story of his life as he lived it ; and though 
 we miss the homely figure of the north-country wife 
 from the scenes where poets reigned, there is no in- 
 cident that proves that it was other than agreeable 
 to her. She may never have desired to join him in 
 London. To do so in those days meant the sever- 
 ance of accustomed friendships dearer than any 
 attraction that could be offered from an untried 
 
Mrs. Romfiey Content. 3 1 1 
 
 world. She is said to have been a woman of great 
 good sense, and no doubt had an instinctive dread 
 that she would be out of her sphere in the element 
 of learning that surrounded her husband. She and 
 their only living child were well provided for by him, 
 and the link of affection was unbroken, though they 
 lived so far apart. 
 
CHAPTBE XIV. 
 
 Hayley's Honour — William Blake collects Material for 
 Hayley's " Life of Bomney " — His interesting Visits 
 to the old Gentleman wlio h-ad Jcnown Bomney from 
 Youth — Adam Walker gives his Beminiscences — 
 The Sale at Christie's — Mr. Caleb Whitfoord's 
 Collection of Pictures^Last Thoughts. 
 
 The last will which Eomney left was not acted 
 upon : most probably it was of an eccentric nature, 
 made when the intellect was flickering, and un- 
 worthy of the man Vvho was wishful to be just to all 
 before a high Power deprived him of his reasoning 
 faculties. The executors to the will which was used 
 were Mr. Greene and Adam Walker. Hayley seems 
 to have given the Eev. John Eomney much trouble. 
 Eomney on several occasions lent money to Hayley ; 
 and the son claimed £300 from Hayley under a 
 former will of his father. In a letter from the Eev. 
 John Eomney to Mr. Greene, the solicitor, dated 
 
 August 22, 1803, he says Mr. Hayley will not allow 
 
 (312) 
 
Hay ley Shows His True Colours. 313 
 
 him to remain in quietness, and that he ought to 
 call personally and pay him the £100 he owed his 
 father ever since the excursion to Paris. It was 
 thought Hayley would have offered to deduct this 
 from the legacy which Eonjney left him ; but he did 
 no such thing. So the reverend gentleman said it 
 was a debt of honour, and that he should always con- 
 sider Hayley a debtor to that amount. Then £15 
 was allowed by the executors to Hayley — money 
 which he had paid to Eomney for some other person, 
 and which had not been refunded to him seemingly. 
 Seeing so much greed on the part of Hayley, the son 
 of the dead man in the same letter to Mr. Greene 
 says in indignation : " But Mr. Hayley insults my 
 father's memory by saying it is no more than a just 
 return for his signal services. What signal services ? 
 for leading him by his bad example and evil counsels 
 into those fatal errors which marked with misfortune 
 and calamity the latter period of his life."^ Happy 
 
 ' The fatal errors to which the son alludes were the enor- 
 mcus wasteful expenses of alterations to the Hampstead house, 
 all of which Hayley suggested. 
 
314 George Roinney and His Pictures. 
 
 would he have been had he never known Mr. 
 Hayley. His merits were above Mr. Hayley's. 
 These are my sentiments, which I beg you will 
 communicate to Mr. Rose, and when the legacy 
 becomes due you will of course pay it to the full 
 amount." A most serious reflection on the poet : 
 " Happy would he have been if he had never known 
 Mr. Hayley ". 
 
 To divert his mind from his own overwhelm- 
 ing trouble, Hayley commenced a biography of 
 Cowper, who also had passed away. He was like- 
 vs^ise interesting himself about Blake, the artist, 
 whom he regarded very favourably ; and with a 
 desire to assist him, he suggested that Blake 
 should take an adjoining cottage at Felpham, 
 which could be had at the moderate rental of 
 £20 per annum. In this pretty whitewashed 
 one-storied cottage, with its thatched roof and 
 curious thatched verandah, Blake did take up his 
 abode, and there he spent the very happiest years 
 of his life, Hayley never losing an opportunity of 
 
Blake Helps Hay ley. 3 1 5 
 
 finding him a patron, or giving him a commission 
 himself. 
 
 When, therefore, he designed to write the life 
 of their mutual friend Eomney, he consulted 
 Blake, and requested him to collect material as 
 far as possible, and look up the scattered pictures 
 of the deceased artist. In his efforts to glean in- 
 formation, he mentioned some of the pictures in 
 his correspondence with Hayley. A few of the ex- 
 tracts will be read with interest. " I have been 
 with Mr. Sanders,^ who has now in his posses- 
 sion all Mr. Bomney's pictures that remained 
 after the sale at Hampstead ; I saw Milton and 
 his Daughters, and 'Twas ichen the Seas were 
 Roaring, and a beautiful Female Head. He has 
 promised to write a list of all that he has in his 
 possession, and of all that he remembers of Mr. 
 Eomney's paintings, with notices where they now 
 are, as far as his recollection will serve. The 
 
 ^ Mr. Sanders, or Saunders, was the picture-frame maker 
 with whom Romnev dealt. 
 
3i6 George Romney and His Pictures. 
 
 picture of Christ in the Desert he supposes to be 
 one of those which he has rolled on large rollers. 
 He will take them down and unroll them, but 
 cannot do it easily, as they are so large as to 
 occupy the whole length of his workshop, and 
 are laid across beams at the top." An imperfect 
 copy of the head of Christ, etched from this 
 large picture, was made for the Life of Bomney, 
 and since that the work has been lost sight 
 of. Mr. Sanders sent the unsold pictures up to 
 Kendal. Blake had his heart in his commission, 
 and he called on Mr. Adam Walker, and endeav- 
 oured to trace Lady Hamilton, in order to obtain 
 their co-operation. He next wrote to Hay ley : " I 
 called yesterday on Mr. Braithwaite,' as you de- 
 
 ^ Mr. Braithwaite was the friend in the Post OfBce who 
 had welcomed Eomney on his first arrival in London. He 
 seems to have been the respected friend of artists, as he 
 was one of the trustees of the marriage settlement of An- 
 gelica Kanffman upon her union with Antonius Zuoohi, and 
 also one of the executors of her will. She bequeathed him 
 one hundred pounds. And Boswell wrote of him as "that 
 
I'tst^ to Mr. Braithwaite. 317 
 
 sired, and found him quite as cheerful as you 
 describe him, and by his appearance should not 
 have supposed him to be near sixty, notwith- 
 standing he was shaded by a green shade over 
 his eyes. He gives a very spirited assurance of 
 Mr. John Eomney's interesting himself in the 
 great object of his father's fame, and thinks he 
 must be proud of such a work in such hands. As 
 to the picture from Sterne which you desired him 
 to procure for you, he has not yet found where 
 it is ; he supposes that it may be in the north, 
 and that he may learn from Mr. Eomney, who 
 will be in town soon. Mr. B. desires I will pre- 
 sent his compliments to you, and write you that 
 he has spoken with Mr. Reed concerning the hife 
 of Bomney. He interests himself in it, and pro- 
 mised to procure dates of premiums, pictures, 
 etc., Mr. Eeed having a number of articles re- 
 amiable and friendly man, who, with modest and unassum- 
 ing manners, had associated with many of the wits of the 
 
3i8 George Romney and His Pictures. 
 
 lating to Eomney, either written or printed, which 
 he promises to copy out for your use, as also the 
 catalogue of Hampstead sale.^ He showed me a 
 very fine portrait of Mrs. Siddons, by Eomney, 
 as The Tragic Muse, half-length, that is head 
 and hands, and in his best style. He also desires 
 me to express to you his wish that you would 
 give the public an engraving of that medallion 
 by your son's matchless hand, which is placed 
 over his chimney-piece between two pretty pic- 
 tures, correct and enlarged copies from antique 
 gems, of which the centre ornament is worthy. 
 He says it is by far, in his opinion, the most 
 exact resemblance of Eomney he ever saw. 
 . . . Neither Mr. Flaxman nor Mr. Edwards 
 knows Lady Hamilton's address ; the house which 
 Sir William Hamilton had in Piccadilly she left 
 some time ago." The medallion of Eomney by 
 
 ' There were two sales of Eomney's pictures, — one at 
 Hampstead in 1801, when in broken health he had gone to 
 reside permanently in the north, and another at Christie's in 
 1807, after his death. 
 
Adam Walkers Reminiscences. 319 
 
 young Hayley was, according to the suggestion 
 of Mr. Braithwaite, inserted in the memoir, from 
 a sketch by Flaxman's sister-in-law, Maria Den- 
 man ; it was engraved by Caroline Watson. Flax- 
 man urged that if The Witch by Eomney could 
 not be traced for the embellishment of the pub- 
 hcation, it should be replaced by Hecate, the figure 
 with the torch and snake, which he thought one 
 of the finest. 
 
 After calling upon Romney's early friend, Mr 
 Adam "Walker, several times, and failing to find 
 him at home, he eventually succeeded in seeing 
 him. The old philosopher showed him Romney's 
 first effort at oil painting, which he had religiously 
 preserved. It was a copy from a Dutch picture 
 of Boers smoking. On the back was written, 
 " This is the first attempt at oil painting by G. 
 Romney". Blake himself shall continue the ac- 
 count of his interesting visit. He says in a letter 
 to Hayley : " He shew'd me also the last perform- 
 ance of Romney ; it is of Mr. Walker and 
 
320 George Romney and His Pictures. 
 
 family, the draperies put in by somebody else. It 
 is a very excellent picture, but unfinished. The 
 figures as large as life, half-length ; Mr. W., three 
 sons, and, I believe, two daughters, with maps, 
 instruments, etc. Mr. W. shew'd me a portrait 
 of himself, whole-length, on a canvas about two 
 feet by one and a half; it is the first portrait 
 Eomney ever painted. But, above all, a picture 
 of hear and, Cordelia, when he awakes and knows 
 her, an incomparable production, which Mr. W. 
 bought for five shillings at a broker's shop. It is 
 about five feet by four, and exquisite for expres- 
 sion, — indeed, it is most pathetic ; the heads of 
 L/ear and Cordelia can never be surpassed ; and 
 Kent and the other attendant are admirable ; the 
 picture is very highly finished. Other things I 
 saw of Eomney's first works, two copies, perhaps 
 from Bursognone, of battles ; and Mr. Walker 
 promises to collect all he can of information for 
 you. I much admired his mild and gentle bene- 
 volent manners. It seems as if all Eomney's 
 
Alderman Boy dell. 321 
 
 intimate friends were truly amiable and feeling — 
 like himself. 
 
 " I have also seen Alderman Boydell, who has 
 promised to get the number and prices of all 
 Eomney's prints as you desired. He has sent a 
 catalogue of all his collection, and a scheme of 
 his lottery ; desires his compliments to you, says 
 he laments your absence from London, as your 
 advice would be acceptable at all times, but es- 
 pecially at the present. He is very thin and 
 decay'd, and but the shadow of what he was ; so 
 he is now a shadow's shadow, but how can we 
 expect a very stout man at eighty-five, which age 
 he tells me he has now reached ? You would have 
 been pleased to see his eyes light up at the mention 
 of your name. Mr. Flaxman agrees with me that 
 somewhat more than outline is necessary to the 
 execution of Romney's designs, because his merit 
 is eminent in the art of massing lights and 
 shades. ... I mentioned the pictures from 
 Sterne to Mr. Walker ; he says that there were 
 
32 2 George Romney and His Pictures. 
 
 several — one a garden scene, with Uncle Toby 
 and Obadiah planting in the garden ; but that of 
 Lefevre's Death he speaks of as incomparable, 
 but cannot tell where it is now, as they were 
 scattered abroad, being -disposed of by means of 
 a rafSe. He supposes it is in Westmoreland ; pro- 
 mises to make every enquiry about it." 
 
 Blake proposed that a plate should be engraved 
 of Tohit and Tobias, which hung in Hayley's bed- 
 room ; he referred to them as " truly pathetic 
 heads ". Flaxman was most anxious that Hayley 
 should insert nothing relative to the separation of 
 Eomney and his wife, and wrote : " Say only of 
 the dead that which is good ". But Hayley was 
 not the man to be guided when he willed other- 
 wise, and was at variance with the dead man's son. 
 
 The work that had been under the considera- 
 tion of so many eminent artists and literary 
 writers attracted but little notice on its appear- 
 ance. Hayley was not at his best in its compila- 
 tion ; his intimate acquaintance with his subject 
 
The Unfortunate Sale of His Works. 323 
 
 should have furnished him with abundant matter 
 of interest, where he only raved vapid wander- 
 ings.^ 
 
 In April, 1807, many of the deceased artist's 
 pictures, finished or unfinished, were disposed of 
 by auction at the rooms of Mr. Christie, who, on 
 the sale catalogue, gave him a dignity at which 
 he had never aimed nor desired in his lifetime. 
 
 The e£fects were announced as the works of the 
 late George Eomney, Esq., B.A. Owing to the 
 altered date of sale, and the sudden dissolution of 
 Parliament on the previous day, the auction did 
 not receive the patronage its merits warranted. 
 It is almost beyond belief that the portraits of 
 notable persons emanating from so great a master 
 hand realised sums so paltry as some here quoted. 
 
 S. D. 
 
 Mrs. Robinson (Perdita) . .16 
 Lady Charlotte Campbell . .15 
 Mrs. Gunning . . . . 10 6 
 
 ' Hayley died at Felpham, November 12, 1820. His 
 cousin, Captain Godfrey, succeeded to his property. 
 
324 George Romney and His Pictures. 
 
 The latter was bought by Mr. Whitfoord, who 
 also acquired Liady Almeria Carpenter for one 
 and a half guineas. 
 
 £ S. D. 
 Tiokell, the poet, brought only . 7 
 
 Henderson, as Macbeth, . . .330 
 Large Study of Joan of Arc . . 2 12 6 
 Mrs. Siddons . . . .460 
 
 Henry Tresham, the artist, bought Mrs. Sid- 
 dons and two of Lady Hamilton, for which he 
 paid respectively eight and ten guineas ; the for- 
 raer was a head as Cassandra. 
 
 Beligion, designed for King's College, Cam- 
 bridge, £1 Is. 
 
 Cartoons of the Birth of Shakespeare, differently 
 treated, brought only 16s. and 21s. 
 
 Two girls, and a she-goat overturning a milk- 
 pail on seeing her young ones, was sold for ten 
 guineas. This had never been completed for want 
 of a shaggy she-goat from which to sketch. 
 
 One of the most beautiful subjects offered was 
 purchased by Sir John Fleming Leicester, after- 
 
"^4 Midsummer Night's Dream." 325 
 
 wards Lord de Tabley. It was Titania, Puck, 
 and the Changeling. Though not painted to por- 
 tray any single scene in A Midsummer Night's 
 Dream, it was rather the result of a consideration 
 of the whole play, and was an assemblage of 
 those images that he could produce with the 
 happiest effect. Kobin Goodfellow is shown play- 
 fully attaching a flowery fetter to the 
 
 . . . lovely boy, stolen from an Indian king. 
 
 She never had so sweet a changeling. 
 
 And jealous Oberon would have the child 
 
 Knight of his train, to trace the forests wild ; 
 
 But she, perforce, withholds the loved boy. 
 
 Crowns him with flowers, and makes him all her joy. 
 
 Among the elves which disport upon the many- 
 coloured beams of the rainbow is a female, bear- 
 ing away an infant, thus illustrating a main in- 
 cident upon which the drama was founded. The 
 price given for the picture was sixty-five guineas ; 
 it has been re-sold more than once, rising in value 
 each time. 
 
326 George Romney and His Pictures. 
 
 Romney left several hundred sketches from the 
 Midsummer Night's Dream. 
 
 Sir John Leicester also owned A Nun from 
 Eomney's brush, a half-length in a religious habit 
 and hood, the arms folded, one hand holding a 
 set of rosary beads ; a crucifix suspended on the 
 wall, and a small image on a bracket. 
 
 Other objects of interest which were disposed 
 of at this sale have been completely lost sight of; 
 but how gladly would their re-appearance be wel- 
 comed in the world of art ! Christ Bestoring a 
 Young Woman to Life, a knight, and a group of 
 dancing figures from Chaucer, and a spirited study 
 of Canidia and her assistants stripping the youth 
 previous to her incantation. 
 
 One of his firelight effects, v/hich he left un- 
 finished, was an oil sketch on a very dark blue 
 ground, representing the burning of a city by 
 night. The light from the conflagration illumined 
 an interesting group of old men and children. 
 
 The pictures reahsing such low figures enabled 
 
Caleb IVhiifoord's Collection. 2>'^'j 
 
 a well-known connoisseur, Mr. Caleb Whitfoord,^ 
 to purchase several. Though his income was by 
 no means large, he had one of the most beautiful 
 collections of art treasures ever selected in this 
 or any other country by a man of fortune so 
 moderate — so much so that his accumulation was 
 called " The Triumph of Taste over Eiches ". Beauty 
 and merit were the criterions by which he guided 
 his judgment. Most of his life he had associated 
 with the best literary and artistic professors, and 
 he had long employed himself in promoting fine 
 arts in this country. 
 
 He married late in life, and at his decease he 
 left a young family and small income, which 
 necessitated the dispersion of his unrivalled col- 
 lection by auction. The collecting of books, coins, 
 pictures, or kindred tastes is like heaps of sand 
 
 ' VVilkie introduced the portrait of Caleb Whitfoord into 
 his Letter of Introduction as the dubious looking elder gentle- 
 man. He was the discoverer of " cross readings " in news- 
 papers. 
 
328 George Romney and His Pictures. 
 
 brought together by the stream of life, and thrown 
 upon distant shores by the tide of death. Every- 
 thing of interest seems to reach auction at last. 
 Twenty years after Hay ley's death, Felpham 
 passed by sa.le from the possession of his heir 
 and cousin, Captain Godfrey, to strangers. The 
 place was dismantled, and the treasured memen- 
 toes of happy days and dead friends were scattered 
 broadcast. 
 
 None of Eomney's classical or historical pieces 
 have ever been offered for public inspection and 
 criticism ; but the wide range of his powers of con- 
 ception may be shown in the very titles of subjects 
 commenced though left wanting final touches. The 
 following will exemplify : — 
 
 Venus and Adonis. 
 
 Jupiter. 
 
 King Lear awake. 
 
 King Lear asleep. 
 
 Ceyx and Alcyone. 
 
 The Cumean Sibyl foretelling the destiny of ^neas. 
 
Classical Sketches. 329 
 
 Electra and Orestes at the Tomb of Agamemnon, 
 Thetis supplicating Jupiter. 
 Hebe. 
 Una. 
 
 Thetis comforting Achilles. 
 Celadon and Amelia. 
 Damon and Musidora. 
 The Dying Mother. 
 Homer reciting his Verses. 
 David and Saul. 
 Macbeth and Banquo. 
 The Weird Sisters. 
 Fortune Telling. 
 
 Sir Eoger de Coverley and the Gipsies. 
 The Ghost of Clytemnestra. 
 
 Harpahce ; a Thraciau Princess defending her 
 wounded father. 
 Paris found dying by Moimtain Nymphs. 
 Gil Morris. 
 
 Eesuscitation by force of Magic. 
 Doll Tearsheet. 
 
^^o "George Romney and His Pictures. 
 
 The portraits whicli he executed were numberless, 
 and from his own careless method of keeping lists of 
 his works it would be utterly impossible to arrive at 
 a complete summary of his productions. People of 
 position, other than already mentioned, who sat to 
 him were : The Duke of Marlborough ; Eyles 
 Irwin ; two Eecorders of London, James Mingay, 
 Esq., and James A.dair, Esq. ; Lord Hawkesbury ; 
 Lord George Germaine ; Lady Edward Fitzgerald 
 and children ; the Earl and Countess of Stamford ; 
 the Hon. John Forbes; Major-General Stuart; Harry 
 Peckham,Esq.; John Henniker, Esq.; General Hodg- 
 son ; Sir WiUiam Yates ; John Walters Tempest ; 
 Prince WilKam of Gloucester ; Mrs. Anne Warren; 
 Mrs. Musters ; Lady Isabella Hamilton ; the Eight 
 Hon. Thomas Orde ; Miss Frances Woodley; Colonel 
 Patrick Duff; the Earl of Cardigan; the Eev. S. 
 Parr; Lady Wombwell; Lord and Lady Bute ; John 
 Warren, Bishop of Bangor ; Mrs. Bankes (Miss 
 Woodley, a noted beauty); the Hon. Mrs. Beres- 
 ford ; Miss Beresford ; Christopher Wilson, Bishop 
 
of Bristol ; Colonel Butler ; Frederick, Earl o: 
 Carlisle ; Charles Allan Cathcart ; John Dawes 
 David Garrow, etc., etc. 
 
 Of the genius of Eomney, Flaxman wrote tha 
 it hore a strong resemblance to the scenes ir 
 which he was born : like them it partook of th( 
 grand and beautiful ; and like them also th( 
 bright sunshine and enchanting prospects of hii 
 fancy were occasionally overspread with mist anc 
 gloom. 
 
 In reviewing the life of Eomney we see onl; 
 the career of one wedded to his art, devoted t( 
 it so far that all else became subservient, paint 
 ing assiduously from dawn till eventide ; a con 
 scientious artist, who refrained from palming oi 
 as his own the minor details that others of hi 
 profession deputed to their pupils. No life c 
 pleasure beckoned him to desert his family, simpl 
 fare and retirement sufKiced him — his friend shi; 
 was sought and prized by men of learning. Ever 
 lover of art who truly appreciates what is mos 
 
332 George Roinney and His Pictures. 
 
 valuable in painting will hold the name of Eom- 
 ney in increasing estimation the more frequently 
 and impartially he examines his works. To have 
 had the esteem of Cowper, Cumberland, Flaxman, 
 Adam Walker, Hayley, and other men of genius 
 bespeaks his character, for they all loved him; 
 and no words could be more fitting wherewith 
 to close this record of his life than those uttered 
 by the poet friend Hayley, when he heard his old 
 companion was dead — 
 
 " Peace to his ashes, to his memory fame ". 
 
BY THE SAME AUTHOR. 
 
 "THE MEMOIRS OF EMMA, LADY HAMILTON." 
 
 With Portraits and Facsimiles. 4to. 63s. 
 
 " This volume is sumptuous in type, form and illustration, and 
 its author marshals her evidence with great pains and skill." — 
 Times, 10th Dec, 1891. 
 
 " Mrs. Gamlin writes avowedly as a partisan. She holds a brief 
 for Lady Hamilton, and argues her case with much ability, tact, 
 and delicacy." — Athenceum, 9th Jan., 1892. 
 
 " Even in the face of growing stock of Lady Hamilton litera- 
 ture, all who are wishful of having a reliable account of a most 
 important epoch in the nation's history will be glad to possess this 
 work." — Liverpool Merctiry, 16th Sept., 1891. 
 
 " Mrs. Gamlin's book on Emma, Lady Hamilton, is a handsome 
 volume, adorned with portraits and facsimiles, and written with 
 enthusiasm and good taste." — Anmial Regisler, 1891. 
 
 " Whether or not Mrs. Gamlin succeeds in her pious intent, it 
 is evident she spared no pains to get at what she conceives to be the 
 truth. Lady Hamilton's career is traced from the start, and no 
 incident or trait is omitted that would in any way help to give her 
 a place in the affections of the people of this country. It is a 
 picturesque record for the most part, and in the end a tragic one. 
 It is a, romance of real life, more wonderful than the majority of 
 tales that spring from the romancer's imagination, and shows what 
 beauty, luck, and audacity may do for the daughter of a smith." — 
 Publishers' Circular, Christmas No., 1891. 
 
 EDWAED HOWELL, LIVERPOOL. 
 
i