iMBER, 1904 
 
 COPLEY 
 
 PRICE, 15 CENTS 
 
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 1 
 
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 COPLEY 
 
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 •VOLUME 5 
 
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MASTERS IN ART 
 
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MASTERS IN ART PLATK I 
 
 PHOTOGRAPH BY BALDWIN COOtlOGE 
 
 [465] 
 
 335738 
 
 COP LET 
 
 POHTKAIT OF MRS. DANIEL DF.NISON RtlGEKS 
 
 OW.N'EU BY MISS A. P. KOG EMS, BOSTON 
 
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 a to 
 
 r. ~ < 
 
 % * « 
 
 ft y y. 
 
 6*3 
 
 3. o 
 
MASTEKS IN AHT PL.ATE III 
 
 PHOTOGRAPH BY H. G. SMITH 
 
 L469] 
 
 COl'LKV 
 
 PORTEAIT OK MKS. DANIEL HUHBAH1) 
 
 OW.NE1J HV MISS H. II. WIIITWELL, BOSTON 
 

 3 o 
 
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 £ *t 
 
MASTERS 
 
 PMOTOGRAP 
 
 .V AKT PLATE V 
 
 BY THE SOULE ART CO. 
 
 I 47.3] 
 
 COPLET 
 
 POKTKAIT OF MKS. THOMAS BOYLSTOJJ 
 
 MEMOKUL HALL. HAKVAHD UXIVEKSITY, CAMBHIDGE. "ASS. 
 
- 6 
 
 si 2 H 
 
MASTERS IN AKT 
 
 PHOTOGRAPH BY H. I 
 [477] 
 
 PLATE VI t 
 
 COPLEY 
 POKTH.UT OF GUI.O.NEL EPES SARGENT 
 OWSEll i: V MRS. <:. II. CLEMENTS, FLUSHING, X. 
 
MASTERS IN AKT PLATE VIII 
 
 COPYRIGHT, 1904, BY THOMAS E. MARR 
 
 [47<j] 
 
 COPLKY 
 
 POKTHAIT OF MISS SUSAXXA HAKDOLPH 
 
 OWNED BY MBS. C. F. SPKAGUK, BBOOKLIJiE, MASS. 
 
MASTERS I IV ART PLATE IX 
 
 PHOTOGRAPH BY WURTS BROTHERS 
 
 [-Ml ] 
 
 COPLKT 
 
 JPOKTRA1T OF LADY WENTWOHTH 
 
 LEXOX LIBBAKY, NEW YOK1C 
 
SfASTKKS I A" AKT PLATE X 
 
 MOTOGRAPH BY 
 
 [480] 
 
 COPLEY 
 POKTKAIT OF THE EAR I, OK MANSFIELD 
 
 NATIONAL I'OHTHAITGALLEKV, LONDON 
 
PORTRAIT OF COPLEY BY. lilMSKLF 
 Copley was a fine looking man, courtly in manner .md elegant in his dress. The 
 portrait given above shows him with a powdered wig and wearing a red coat and 
 white muslin stock. The original painting, a -ketch in oils, in which the head is 
 lire-sized, is owned by Gardiner Greene Hammond, Esq., of Boston, by whose per- 
 mission it is here reproduced. 
 
 [404] 
 
MASTERS IN ART 
 
 3Joiw &in$ltton €oplt$ 
 
 BORN 1737: DIED 1815 
 AMERICAN SCHOOL 
 
 JOHN SINGLETON COPLEY, the first great American portrait- 
 painter, was born in Boston, Massachusetts, on July 3, 17 37. Both his 
 parents, although of English origin, were Irish by birth. His father, Rich- 
 ard Copley, was a native of Limerick; his mother, Mary Singleton, was 
 the daughter of John Singleton, Esq., of Quinville Abbey, County Clare. 
 Married in 17 36, Richard Copley and his young bride determined to seek 
 a new home for themselves in America, the story current in the Copley 
 family being "that Mr. Richard Copley, although endowed with a good 
 name and a handsome person, was not wealthv, and that Squire Singleton 
 perhaps could not, and certainly did not, so largely endow his daughter 
 as to allow her husband and herself to continue to reside in County Clare 
 in the style to which she at least had been accustomed." Accordingly they 
 emigrated to the new world, and forthwith settled in the town of Boston, 
 where, in the following year, their only son, the future painter, was born. 
 At about the time of his son's birth Richard Copley died in the West Indies, 
 where he had gone for his health, and about ten years later his widow, who 
 after the death of her husband had carried on the tobacco business, in which 
 he had been engaged, married Peter Pelham, a widower with three sons; 
 one son only, Henry Pelham, was born of this second marriage. 
 
 Unfortunately, but little is known of Copley's childhood and early youth. 
 When very young he is said to have shown a decided taste for drawing, 
 even, according to family tradition, covering the walls of his nursery with 
 childish sketches, and frequently incurring the displeasure of his teachers by 
 the drawings with which he ornamented his school-books. He was by nature 
 quiet and shy, and when his companions were engaged in play or in study 
 would often steal away, pencil in hand, "to muse over his own fancies and 
 to pursue undisturbed his favorite employment." 
 
 "The marriage of Copley's mother to Mr. Pelham," writes Mr. Augustus 
 T. Perkins, "was probably of the utmost advantage to the future artist. Be- 
 sides being a man of unusually good education for the time — a land-surveyor 
 and a mathematician — Mr. Pelham was certainly a passable painter of por- 
 
 [485] 
 
24 MASTERS IN ART 
 
 traits, and a mezzotint engraver of more than ordinary merit. He preceded 
 Smvbert, the painter, and Harrison, the architect, who came to this countrv 
 in the train of Bishop Berkeley, by at least three years. Whitmore, speaking 
 of him in connection with his painting and engraving, says, 'He was the 
 founder, indeed, of these arts in New England.' . . . Pelham most probably 
 taught his stepson, Copley, the rudiments of his art, whilst his example must 
 have been of timely service in fostering such tastes as the child mav have 
 shown. The household of Peter Pelham was, perhaps, the only place in New 
 England where painting and engraving were the predominant pursuits." 
 
 Bevond the instruction received from his stepfather, however, Copley 
 seems to have been self-taught; although it is difficult to accept the statement 
 made in after years by Copley's son, Lord Lyndhurst, that his father "was 
 entirelv self-taught and never saw a decent picture, with the exception of his 
 own, until he was nearly thirtv years of age," when there were in Boston at 
 that time numerous portraits by the Scotch painter John Smybert, and by 
 Jonathan B. Blackburn, who succeeded Smybert in that town as "the painter 
 of the qualitv," to sav nothing of a few good pictures brought from Europe 
 by the wealthiest among the colonists. 
 
 In 1751, when Copley was fourteen years old, his stepfather died. He 
 and his mother and brothers continued to live in the small house which they 
 had been occupving in Boston, near the Quaker meeting-house in Lindel's 
 Row, not far from the upper end of King Street, as State Street was then 
 called. In the following year the young artist painted a portrait of his step- 
 brother, Charles Pelham, which, although faulty in many respects, gave prom- 
 ise of what the boy of fifteen was to accomplish in after years. In 17 53, 
 when sixteen, he painted and engraved a head of the Rev. William Welsteed, 
 of Boston, and also executed in oils a portrait of Dr. De Mountfort, then a 
 child. 1 
 
 The next few years passed quietly and uneventfully. The young painter 
 worked diligently at his profession, improving constantly both as a draftsman 
 and a colorist, and being in receipt of an ever-increasing number of commis- 
 sions for portraits in oils and in crayons. 
 
 In 1769, when he was thirty-two years old, Copley married Susannah 
 Farnum, daughter of Mr. Richard Clarke, a wealthy and distinguished mer- 
 chant of Boston, and agent for the East India Company, whose name was 
 later to become famous as the consignee of the cargoes of tea which were 
 thrown into Boston harbor by way of protest against the tax imposed by 
 England upon that commodity. The marriage was an eminently happy one. 
 Mrs. Copley has been described as a woman of unusual beauty of character, 
 and of such high mental attainments that her companionship was a never- 
 failing inspiration to her husband. Copley frequently introduced her portrait 
 into his subject-pictures, and from a crayon sketch which he made of her, 
 
 'The frequently repeated statement that when Washington visited Boston in 1755 Copley painted 
 his portrait in miniature has been proved to be without foundation. The so-called Copley miniature of 
 Washington, now in the Metropolitan Museum, New York, was painted by C. W. Peale in 177". See 
 • Life Portraits of George Washington ' by Charles Henry Hart, • McClure's Magazine,' February, 1897. 
 
 [486] 
 
COPLEY 25 
 
 but still more from her likeness in the celebrated 'Family Group' (plate vi), 
 it is evident that she possessed much personal beauty. 
 
 At the time of his marriage Copley had as many commissions for portraits 
 as he could execute, and although his prices were not high, ranging from five 
 to fourteen guineas, he was in receipt of a comfortable income. Two years 
 later we hear of him as living in a beautiful house on Beacon Hill, Boston, 
 "fronting on a fine open common;" and it was not long after this that he 
 became the owner of all the land which lies between Charles, Beacon, Wal- 
 nut, and Mt. Vernon Streets, Louisburg Square, and Pinckney Street — a 
 tract of about eleven acres. Upon this estate — his "farm" he used to call 
 it — Copley's early married life was spent. There four of his six children 
 were born; there he practised his art with unremitting diligence, painting 
 those many portraits of courtly gentlemen in broadcloth or in satin coats 
 and powdered wigs, and of stately ladies in gowns of rich silks and stiff" bro- 
 cades, which have made his name famous. 
 
 The population of Boston at this time was about eighteen thousand. Fine 
 colonial mansions standing in spacious gardens embellished the town, com- 
 manding unobstructed views of the adjacent country with its hills and for- 
 ests, and of the harbor, alive with sailing-vessels from all parts of the world. 
 Even in those early days Boston was noted as the center of a learned and 
 cultivated society, and among the distinguished men and women, the emi- 
 nent statesmen, merchants, and divines, Copley counted patrons and friends, 
 "his courtly manner and genial disposition making him a general favorite." 
 
 In 1771, Colonel Trumbull, then a young man at Harvard College, relates 
 that he visited the painter in his home on Beacon Hill, and was greatly 
 struck by the richness of Copley's dress and elegance of his appearance, de- 
 scribing him as being attired in a suit of crimson velvet with gold buttons, 
 and as having everything about him in very handsome style. 
 
 In 17 74 an important step in Copley's career was taken. Sometime be- 
 fore — probably in 1766 — he had sent to his countryman the painter Ben- 
 jamin West, then resident in London, a picture of a boy seated at a table, 
 holding in his hand a chain to which a squirrel is attached. This painting, a 
 portrait of the artist's half-brother, Henry Pelham, was unsigned, and the 
 letter which should have accompanied it having been delayed, the picture 
 reached its destination without an explanatory word. West, however, sur- 
 mised that it was the work of an American painter from the pine wood of the 
 frame on which the canvas was stretched, and also because the flying squir- 
 rel introduced was an animal peculiar to America, and the painting bore so 
 plainly the evidence of a master-hand that he was loud in his praise, enthu- 
 siastically pronouncing the coloring to be worthy of Titian. The rule ex- 
 cluding from the exhibition of the Society of Incorporated Artists — the fore- 
 runner of the Royal Academy — all anonymous works, indeed all works not 
 painted by members of the Society, was waived, and Copley's 'Boy with the 
 Squirrel' was given a place in the exhibition. 
 
 His reputation in England was at once established, and he was urged to 
 go to London; but although stronglv tempted to try his fate in competition 
 
 [487] 
 
26 MASTERS IN ART 
 
 with the artists of his day in a way from which he was debarred in his home 
 across the sea, the serious risks which such a step involved caused him to hes- 
 itate. "I make as much hen-," he wrote to a friend in 17 67, "as if I were 
 a Raphael or a Correggio; and three hundred guineas a year, my present in- 
 come, is equal to nine hundred a year in London. With regard to reputa- 
 tion, you are sensible that fame cannot be durable where pictures are con- 
 fined to sitting-rooms and regarded only for the resemblance they bear to their 
 originals. Were I sure of doing as well in Europe as here, I would not hes- 
 itate a moment in my choice; but I might in the experiment waste a thou- 
 sand pounds and two years of my time, and have to return baffled to Amer- 
 ica. 
 
 His marriage, the family cares which followed, and the necessity of earn- 
 ing an income sufficient not only for the expenses of his travels, but for the 
 support of his wife and children during his absence, postponed all thought 
 of Europe for the time, however, and it was not until 17 74, when relations 
 with the mother-country were becoming strained, and he may have felt that 
 his income was in danger of being curtailed, that Copley concluded to cross 
 the Atlantic, in order to improve his style by the study of the old masters in 
 the galleries of Italy and other continental countries, and possibly to try his 
 fortune in England, where he had already established a name for himself. 
 Accordingly, in June of that year, leaving his wife and children to follow 
 later if it should seem best to transfer the home from Boston to London, 
 Copley left his native country, to which, as it turned out, he never returned. 
 
 A cordial welcome awaited him in England, where he landed after a four- 
 weeks' voyage. West took him to see all that was best in art in London 
 and showed him every attention. In a letter to his wife, written soon after 
 his arrival, Copley says, "I have just returned from Mr. West's house, where 
 I took tea. He accompanied me to the queen's palace, where I beheld the 
 finest collection of paintings, I believe, in England. ... I have had a visit 
 from Sir Joshua Reynolds, and from Mr. Strange, the celebrated engraver. 
 Lord Gage is out of town; I have not, therefore, seen him or Lord Dart- 
 mouth, but shall be introduced to the latter next week by Governor Hutch- 
 inson. ... I dine out every day." 
 
 In addition to his social engagements Copley found ample opportunity for 
 the exercise of his profession; but he was anxious to begin his art studies as 
 soon as possible, and in August he left England for Italy, and passing through 
 Lyons, Marseilles, Genoa, Pisa, and Florence, reached Rome in October. 
 His letters to his wife written at this period of his career give the best and 
 most vivid account of his travels. Everywhere his interest was aroused by the 
 novelty and beauty of the scenery, and by the great works of art which he saw. 
 From Genoa he writes: "I am impatient to get to work, and to try if my hand 
 and my head cannot do something like what others have done, by which they 
 have astonished the world and immortalized themselves. Genoa is a lovely 
 city. ... If I should be suddenly transported to Boston I should think it 
 only a collection of wren-boxes; it is on so small a scale compared to the 
 cities of Europe." 
 
 [488] 
 
COPLEY 27 
 
 In a letter from Rome, after expressing his relief upon hearing from Mrs. 
 Copley that hostilities between the colonies and Great Britain were not so 
 openly declared as he had feared from the accounts in the London papers, 
 he says: "It is truly astonishing to see the works of art in this city — paint- 
 ing, sculpture, and architecture in such quantity, beauty, and magnificence as 
 exceed description. I shall always enjoy satisfaction from this tour. . . . 
 I know the extent of the arts, to what length they have been carried, and I 
 feel more confidence in what I do myself than I did before I came." 
 
 "Everywhere I go," he writes later, "I find some persons to whom I am 
 known, or am introduced to. . . . When I arrived in Naples I waited on 
 Sir William Hamilton, to deliver a letter from Mr. Palmer, of Boston. I 
 was introduced into a room where there was a concert and company. I in- 
 quired of the servant which was Sir William, and delivered my letter. Mr. 
 Izard stepped forward and presented me. Sir William read the letter, and po- 
 litely said: 'Mr. Copley needs no introduction; his name is sufficient any- 
 where.' I cannot but say I have been surprised to find myself known in 
 places so distant; I am happy, at the same time, in being less a stranger in 
 the world than I thought, and have found in every place persons desirous of 
 rendering such kind offices as a stranger stands in need of." 
 
 But with all his enjoyment of foreign travel and keen delight in the works 
 of art about him, Copley was filled with anxiety regarding the disturbed con- 
 dition of his country, the welfare of his family, and the uncertainty which 
 attended their future and his own career. His main idea was to complete as 
 speedily as could be the studies he had laid out for himself, so that the sep- 
 aration from his wife and children should be of the shortest possible duration, 
 "for till we are together," he wrote to Mrs. Copley, "I have as little hap- 
 piness as yourself. As soon as possible you shall know what my prospects 
 are in England, and then you will be able to determine whether it is best for 
 you to go there or for me to return to America." 
 
 This question was soon decided by the outbreak of the Revolutionary 
 War. Copley was in Parma at the time, where he had been commissioned 
 by Lord Grosvenor to make a copy of Correggio's 'Madonna with St. Je- 
 rome,' a commission which he successfully carried out, although according 
 to his own acknowledgment his anxiety almost rendered him incapable of 
 proceeding with it. 
 
 In a letter to his wife written at this time he says: "I am informed by a 
 letter from London that what I greatly feared has at last taken place, and 
 the war has begun, and, if I am not mistaken, the country which was once 
 the happiest on the globe will be deluged with blood for many years to come. 
 I cannot think that the power of Great Britain will subdue the country, if 
 the people are united, as they appear to be at present. I know it may appear 
 strange to some men of strong understanding that I should hold such an 
 opinion, but it is very evident to me that America will have the power of 
 resistance till grown strong enough to conquer, and that victory and inde- 
 pendence will go hand in hand. I tremble for you, my dear, my children and 
 friends." 
 
 [480] 
 
28 MASTERS IN ART 
 
 Dread of the long separation from her husband which would be enforced 
 by war, and the knowledge that there would be no employment for an art- 
 ist in a country impoverished by its ravages, decided Mrs. Copley to follow 
 her husband without waiting to hear of his return to England, and leaving 
 in the care of Mrs. Pelham, Copley's mother, her youngest child, which was 
 too delicate to bear the long sea voyage, and which shortly afterwards died, 
 she set sail with her two young daughters and son on the last ship which left 
 New England under the British flag. Upon their arrival on the other side 
 of the water thev were cared for by Mrs. Copley's brother-in-law, Mr. Brom- 
 field, then in London, until such time as Copley could join them. 
 
 The news that his wife and children had left America reached the painter 
 while he was in Parma, and before manv months the family were reunited 
 in London, which thenceforth became their home. Their first residence there 
 was in Leicester Eields, but at the end of a vear or two they removed to 25 
 George Street, Hanover Square, where Mr. Clarke, Mrs. Copley's father, 
 lived with them. The house was commodious, and admirably adapted in its 
 arrangements to the requirements of a painter, and there the remainder of 
 Copley's life was spent. 
 
 Copley was already well known in London. It was not long before he 
 became the fashion, and commissions for portraits of the nobility and of peo- 
 ple of note kept him busily employed. Not only was he engaged in painting 
 portraits, but, fired by the example of West, he attempted, in accordance 
 with the taste of the dav, the composition of large historical scenes. The 
 first of his subject-pictures was 'A Youth Rescued from a Shark,' depicting 
 an experience in the early life of Mr. Brook Watson, whom Copley had met 
 on the voyage to England, and whose vivid description of the incident had 
 made a deep impression on his mind. Of the two versions which he painted 
 of this subject one is now in Christ's Hospital School, London; the other is 
 in the Museum of Fine Arts, Boston. 
 
 Upon West's recommendation Copley was intrusted with the painting of 
 a picture of the three young daughters of King George III. in the garden at 
 Windsor. Mrs. Amory has told us how the artist, in his anxiety to do justice 
 to this group and to his own genius as well, so wearied the patience of the 
 little princesses that their attendants appealed to the queen to request Mr. 
 Copley to shorten the time he exacted for their sittings. The queen, how- 
 ever, deemed it best not to interfere, and in the end the success of the pic- 
 ture amply compensated for all trials which the children had undergone. 
 
 Copley was, indeed, notorious for his slow method of procedure in paint- 
 ing. On one occasion Gilbert Stuart happening to call at his studio, Copley 
 asked if he would stand for him while he painted a bit of the cambric 
 shirt-ruffle that decorated his bosom. Thinking that it would occupy but a 
 few minutes, Stuart complied, but after standing a long time he became im- 
 patient, and Copley apologized for the delay. "No consequence at all," 
 said Stuart, "I beg you would finish — do all you can to it now, for I assure 
 you this is the last time you ever get me into such a scrape." 
 
 Another story, of more than doubtful authenticity it must be said, is told 
 
 [400] 
 
COPLEY 29 
 
 of his undertaking to paint a family group which progressed so slowly that 
 the wife of the gentleman who ordered it died and he married again. At his 
 request a portrait of his first wife was introduced as an angel, while her suc- 
 cessor occupied her place on earth. But before the picture was completed 
 the second wife died, and was placed in the clouds above, being in her turn 
 succeeded by a third, who claimed the central position in the group. As 
 the price of this picture was in proportion to the artist's labor, it was dis- 
 puted by the gentleman, who claimed that the painting should have been 
 completed before his domestic changes had necessitated the alterations. It 
 is further said that Copley went to law about it, and won his suit. 
 
 Copley's celebrated canvas, 'The Death of the Earl of Chatham,' now in 
 the National Gallery, London, established his reputation as a historical 
 painter. 'The Death of Major Pierson,' painted some time afterwards, and 
 now in the same gallery, is of greater artistic value, and added materially 
 to his fame, as did his large canvas, now in the trustees' room of the Boston 
 Public Library, of 'Charles I. Demanding in the House of Commons the 
 Five Impeached Members.' 
 
 In 177 9 Copley was elected a member of the Royal Academy, of which 
 body he had previously been chosen an associate. Soon after this he was 
 commissioned by the city of London to paint a large picture of 'The Siesje 
 and Relief of Gibraltar,' now in the Guildhall of London, and, accom- 
 panied by his wife and eldest daughter, went to Hanover, Germany, to paint 
 the portraits of four Hanoverian generals who were to figure in the compo- 
 sition. A letter from the English king, George in., was presented to the 
 painter, and insured a hospitable reception for him and his family. 
 
 With the exception of this trip to Germany, the remainder of Copley's 
 life was passed in England. "A more congenial sphere for a man of genius," 
 writes Mrs. Amory, "can scarcely be imagined than his London home. It 
 was the favorite resort of his countrymen in England, of every shade of po- 
 litical opinion, and of all that were distinguished in the aristocratic circles 
 of the colonial court, as well as men of art and letters." 
 
 But notwithstanding Copley's success in his profession and happiness in 
 his home, his thoughts constantly reverted to that earlier home in America, 
 and in his heart he cherished the hope of returning to it. His property in 
 Boston, which since his departure for England had greatly increased in 
 value, had been sold by his agent at a sacrifice, and Copley, desiring to 
 annul the bargain, sent his son to America in 1795 to regain, if possible, 
 "the farm" on Beacon Hill. To his lasting sorrow, however, this attempt 
 met with no satisfactory result, and there was no alternative but to accept 
 of a compromise of all Coplev's claims. "Thus," writes Mrs. Amory, "the 
 dream of his life since he left America vanished, and his last aspiration of 
 returning to close his eyes among the scenes of his youth ended in disap- 
 pointment." 
 
 The last years of Copley's life were saddened by pecuniary embarrass- 
 ments. "Picture after picture was finished," we are told, "exhibited, and 
 admired, but not sold; so that his self-love was wounded and his spirits de- 
 
 [491] 
 
30 MASTERS IN ART 
 
 pressed." The disturbed political condition of England occasioned by the long 
 continued continental wars, which crippled her financial resources and ren- 
 dered the times unfavorable to art, was in a measure accountable for this; 
 but there was in addition the fact that new methods in painting were replac- 
 ing the old, and that what had been acceptable to the generation to which 
 Copley belonged was not in accordance with the taste of the generation which 
 followed. But in spite of discouragements he worked on diligently to the last, 
 always able to interest himself so absorbingly in his painting that with his 
 brush in hand every other subject was forgotten. 
 
 in the spring of 1815 Mrs. Copley wrote to her daughter, Mrs. Gardiner 
 Greene, then living in Boston, "I have the happiness to say that we are in 
 health, and this is much when I bring your recollection to the period of life 
 to which your father has attained. In your absence of fifteen years you would 
 contemplate a great change; he grows feeble in his limbs, and goes out very 
 seldom, for walking fatigues him; but his health is good, and he pursues his 
 profession with pleasure." 
 
 In the following August Copley had a stroke of paralysis, and on the ninth 
 of September of that year, 1815, he died, at the age of seventy-eight, from 
 the effects of a second stroke. He was buried in the Church of St. John the 
 Baptist at Croydon, not far from London. 
 
 His wife survived him many years, as did three children, — Mrs. Gardiner 
 Greene, already mentioned, who, after her marriage, lived in Boston, Mas- 
 sachusetts; Miss Marv Copley, who remained in London; and one son, 
 Lord Lvndhurst, the distinguished British jurist and statesman, who was three 
 times appointed lord chancellor of England. 
 
 The foregoing biographical sketch is largely based upon Mrs. Amory's ' Life of Copley ' and upon the 
 memoir of the painter by Mr. Augustus Thorndike Perkins. 
 
 Ci)e art of Coplfp 
 
 SAMUEL ISHAM «A HISTORY OF AMERICAN PAINTINC' 
 
 COPLEY'S painting separates itself into two pretty sharply marked divi- 
 sions, according to whether it was done before or after he left Boston. 
 The latter half is far more skilled and complete technically, but it is the earlier 
 work, the long series of portraits of our colonial dignitaries, divines, judges, 
 and merchants, with their womankind, which is most interesting and char- 
 acteristic and which gives him his peculiar importance. They are the only 
 pre-revolutionary relics on which we can depend to put before our eyes the 
 very age and body of the time. The very lack of facile skill makes their ve- 
 racity more convincing than that of the canvases of Gainsborough or Rey- 
 nolds, where temperament or training idealized or Italianized the sitters into 
 
 'In preparation for the Macmillan Co. 
 
 [492] 
 
COPLEY 31 
 
 something rather different from what their contemporaries saw in daily in- 
 tercourse. Gainsborough was a poet, Reynolds an eclectic, wise in all the 
 traditions of the craft, who could at will see with the eye and work with the 
 hand of Van Dyck or Titian — or come pretty near to it. Copley had no 
 such temperament or training; the sitters themselves, in the cold, clear light 
 of New England, were what he tried to put on the canvases, unmodified by 
 any golden mist of Venice or facile brushwork of the Netherlands. 
 
 This is not to make him the equal, much less the superior, of the men 
 just named. His surroundings forced upon him a greater sincerity, which 
 seems also to have corresponded with his temperament. He began under the 
 influence of his stepfather, Pelham,and though the latter died when Copley 
 was a boy of fourteen, yet his influence shows through much of the painter's 
 early work. The engraving, in mezzotint, of Welsteed, made when Copley 
 was sixteen, much resembles the average work of Pelham, and is more like 
 the production of a mediocre craftsman than the early effort of a boy of ex- 
 ceptional talent. He very soon gave up engraving and seems never to have 
 returned to it in any form, but his early works show its influence in a black- 
 ness of shadow and a hardness of style; they were in addition stiff and un- 
 graceful, and in the faces there was a sincerity of plainness which must have 
 been trying to the sitters. Even Smybert, whose work resembles that of 
 Copley at this period, and whose colonial dames are rigid and unbending 
 enough, yet manages to put into their faces a comeliness and charm unknown 
 to the youthful Copley, still struggling uncompromisingly with the difficul- 
 ties of drawing. His improvement was steady, but it took him long to mas- 
 ter certain details like the rendering of eyes, which Smybert never became 
 entirely sure of. At first they were little better than dark slits, and in his 
 best colonial work the lids are often unnaturally prominent. He learned 
 nothing by heart, acquired no ready formulas for execution. He had to see 
 every detail in front of him and put it down exactly as it was. He worked 
 laboriously, mixing each tint with his palette-knife, holding it up and match- 
 ing it to his sitter's face before he placed it on the canvas. This made him a 
 slow executant, and there are many stories of the tedium of sitting for him; 
 sixteen sittings of a whole day each were not considered too much for a 
 head alone. . . . 
 
 The pictures thus produced were without beauty of tone or richness of 
 color. Something must be allowed for the fading of the flesh-tones, prob- 
 ably put in with carmine, but the effect must always have been crude and 
 harsh. The high lights are chalky white, the shadows black or brickish brown ; 
 a cold, raw blue (like Prussian blue) is often painfully prominent, and there 
 is no attempt to soften the opposing tints nor to blend them. The paint is 
 laid on heavily and worked smooth until there are no brush-marks visible. 
 There is no attempt to keep the shadows transparent, nor much glazing or 
 working over. It resembles more, in a way, the contemporary French work 
 than the English, where the traditions of Van Dyck were being revived. 
 Nevertheless, in spite of these faults, or possibly on account of them, the 
 portraits have remarkable qualities. The figures are well placed on the can- 
 
 [493] 
 
32 MASTERS IN ART 
 
 vas in good, it rather rigid, poses, and the backgrounds, especially in the full- 
 length portraits, are sufficiently furnished with curtains, tables, and Turkey 
 rugs; but over and above all else is the thorough, unwearied sincerity of the 
 work. Copley knew his sitters, knew their position in the community, their 
 dignity, their character, their wealth. He was in sympathy with them, and 
 judged by their own standard those airs and graces which to a European 
 might seem prov incial and uncouth. Holmes has well called his portraits the 
 titles of nobility of the Bostonians of his day. 
 
 He painted them as they were, serious, self-reliant, capable, sometimes 
 rather pompous in their heavy velvet coats, but men to be depended on in 
 an emergency ; the women fit mates for the men, their faces stamped with 
 that character which left its impress on every child of the ample families of 
 the time. At times there is a difficulty in reconciling his portraits with the 
 reputation of the sitters for grace and beautv handed down in the old diaries 
 and letters, but in time his sincerity triumphed even here, and while the por- 
 trait remained crude, hard, and without charm, yet we recognize that it is the 
 portrait of a charming woman. This lack of charm tells terribly against them 
 when hung in a gallery with other pictures, but when seen in the places for 
 which they were destined, the halls or rooms of old colonial houses of Bos- 
 ton or other of the New England cities, or brought together in official groups 
 as in the Harvard Memorial Hall, their inherent strength makes itself felt. 
 I hey take their places as the true genii loci as nothing else could do. Ev en 
 their faults strengthen the impression. . . . The velvet coats and embroidered 
 waistcoats of the men, the satin robes and laces of the women, are of un- 
 doubted genuineness. Even if the satin looks like tin we know that it is 
 satin, and if a colonial worthy goes to the expense of silk stockings not even 
 the most casual observer could mistake them for wool. 
 
 In time this unremitting labor began to have its result. During the last 
 ten years or so of his Boston life Copley was master of his trade and could 
 produce what he tried to. That his portraits still remained dry and hard, with- 
 out atmosphere, was because he had not seen enough good work to recog- 
 nize what he lacked. But he was now in a position to benefit at once from 
 increased knowledge. He was no sooner abroad than his stvle gained in ease 
 and simplicity. His portrait of Ralph Izard and his wife, painted when he 
 was in Rome, shows still something of the old stiffness of attitude, the over- 
 filling with detail, but the work is smoother, more graceful, though mi- 
 nutely finished in all its parts in a way more characteristic of the continental 
 work of the time than of the English, where the example of Reynolds had 
 produced a broader, more effective handling. With his London life Copley's 
 work took on more and more of the English manner. His 'Family Group' 
 of himself, his wife, his father-in-law, and his four young children, painted 
 a few years after his arrival, shows this alteration, but retains also the finer 
 qualities of his colonial period and is one of his very best works. The 
 composition is not in perfect unity and the tone is cold, with much of a 
 sort of claret color and his old unpleasant blue, but they are softened and 
 harmonized with skill, and the shadows and blacks are soft, rich, and deep. 
 
 [494] 
 
COPLEY 33 
 
 The painting of the heads is superb, drawn impeccably, full of character, 
 and with only a touch of the old rigidity; the children especially are most 
 happy in attitude and expression. . . . 
 
 The 'Family Group' was preceded by the 'Youth Rescued from a Shark,' 
 and followed by the series of his historical pictures, inspired doubtless by 
 West's; but, surpassing their prototypes, they remain to-day masterpieces 
 of the kind. . . . 
 
 These compositions, however, were but incidents in his work. Portrait 
 painting was the business of his life from beginning to end. Probably his latter 
 work should be called better than his earlier. It certainly had fewer glaring 
 faults, but it also had less personality. His earlier work is unmistakable any- 
 where; his latter often approaches so closely to that of the brilliant circle of 
 contemporary portrait-painters in England that it is practically indistinguish- 
 able from it. A little extra firmness and solidity of drawing persists till the 
 end, but the poses, the dark backgrounds, the rich color, the glazings, are 
 all of the school. 
 
 Like Reynolds, Copley sought for "the Venetian," the marvelous medium 
 supposed to have been used by Titian, which like the philosopher's stone 
 would by its own virtue transform the leaden tones of mediocre painters into 
 gold. He even thought a few years before his death that he had found it, 
 but he was then only one of many who could paint glowing canvases. 
 Patronage fell off; almost his last important work, an equestrian portrait of 
 the prince regent, from which he hoped great things, remained unsold; his 
 health declined and his life did not long outlast his popularity. 
 
 HENRY T. TUCKERMAN 'BOOK OF THE ARTISTS' 
 
 COPLEY'S portraits are among the (ew significant art-memorials of the 
 past encountered in this country; and, as they are characteristic to a 
 high degree, they possess the interest which is ever attached to such relics. 
 He was the only native painter of real skill which the new world could boast 
 prior to the Revolution. 
 
 It cannot be doubted that his knowledge was acquired under considerable 
 discouragement, and that the excellence of his drawing was the result of per- 
 severing study. The want of early advantages appears chiefly in his color- 
 ing. The dryness of tone and formality of manner in his pictures is, in a 
 great degree, attributable to the unpropitious influences under which he ac- 
 quired the rudiments of his art. 
 
 Associated as his portraits chiefly are with the colonial or revolutionary 
 period of our history, there lingers around them the charm of a bygone era, 
 which endears even their palpable defects. The want of ease and nature in 
 these time-hallowed portraits is, indeed, as authentic as their costume. They 
 are generally dignified, elaborate, and more or less ostentatious and somewhat 
 mechanical, but we recognize in these very traits the best evidence of their 
 correctness. They illustrate the men and women of a day when pride, de- 
 corum, and an elegance sometimes ungraceful but always impressive marked 
 the dress and air of the higher classes. The faces are rarely insipid, and the 
 
 [495] 
 
s 
 
 34 MASTERSINART 
 
 hands almost invariably fair and delicately molded. A rich brocade dressing- 
 gown and velvet skullcap, a high-backed and daintily carved chair, or showy 
 curtain in the background, are frequently introduced. "Sir" and "Madam" 
 are the epithets which instinctively rise to our lips in apostrophizing these 
 "counterfeit presentments." There is that about them which precludes the 
 very idea of taking a liberty. They look like incarnations of self-respect — 
 people born to command — men whose families were regulated with the re- 
 serve of state policy, and women who were models of virtue and propriety. 
 In reading of John Hancock or Airs. Boylston, we think of them as painted 
 by Copley. Large ruffles, heavy silks, silver buckles, gold-embroidered vests, 
 and powdered wigs are blended in our imaginations with the memory of pa- 
 triotic zeal and matronly influence. The hardness of the outlines and the 
 semi-official aspect of the figures correspond with the spirit of those times. 
 Like all genuine portrait-painters, Copley unconsciously embodied the pe- 
 culiarities of his age. Pride of birth had not then been superseded by pride 
 of wealth. The distinction of gentle blood was cherished. Equality had only 
 begun to assert itself as a political axiom; as a social principle it had not 
 dawned upon the most ultra reformers. The patrician element still carried 
 honorable sway in the new world, and ere its external signs were lost in re- 
 publican sameness of bearing and costume, the pencil of Copley snatched 
 them from oblivion, by a faithful transfer to canvas. 
 
 RUFUS ROCKWELL WILSON 'NEW ENGLAND M A C A ZI N E ' 1908 
 
 IT was Copley's own belief that his best work as a painter was done in 
 America, and in this opinion the thoughtful student of his portraits can- 
 not fail to concur. They are never commonplace and the handling is always 
 unmistakable. A calm, deliberate, and methodical workman, he never hurried 
 and never neglected any part of his task. " He painted," as Gilbert Stuart said 
 in after years, "the whole man." Self-taught, Copley's merits and faults are 
 his own. Superior as a colorist to a majority of his contemporaries, he de- 
 lighted in the brilliant and massive uniforms, the brocades and embroidered 
 velvets, the rich laces and scarfs of his day, and painted them, and the mas- 
 terful men and stately women which they garbed, with sure and loving hand. 
 He modeled a head with as much care as did Clouet, and he was especially 
 felicitous in catching the expression of the eye, while his skill in rendering 
 the individuality and character of the hand has seldom been excelled. 
 
 Copley's faults as a painter are an occasional tendency to dryness, to hard- 
 ness of outline, and to stiffness in his figures. However, distinction is never 
 lacking in his work, and in his best portraits the faults I have mentioned are 
 hardly apparent. Indeed, their truth, simplicity, repose, and refinement would 
 have done credit to any artist of any time; and painted as they were by a 
 young man who never had a teacher, and who saw few, if any, good pic- 
 tures save his own until he was nearly forty years of age, they are bound to 
 remain the marvels of our pioneer art. 
 
 Copley was essentially a portrait-painter, and his historical and religious 
 pictures, though showing no mean ability, are wanting in imagination, and, 
 
 [496] 
 
COPLEY 35 
 
 at their best, are little more than groups of carefully executed portraits. Still, 
 considered solely as a portrait-painter, his fame is secure. No painter, not 
 even Holbein or Velasquez, ever lived in closer sympathy with the spirit of 
 his time than did he. 
 
 C|)e Woxbx of Copies 
 
 DESCRIPTIONS OF THE PLATES 
 •PORTRAIT OF MRS. DANIEL DENISON ROGERS' PLATE I 
 
 ONE of Copley's most charming works is this portrait of Abigail Brom- 
 field, first wife of Mr. Daniel Denison Rogers of Boston. It was painted 
 in England, and in its composition and technical qualities exemplifies the 
 change which had taken place in Copley's style since leaving America, the 
 influence of the English school being here clearly marked. 
 
 Mrs. Rogers is dressed in white satin with lace ruffles in the neck and 
 sleeves and a white muslin scarf about her shoulders. Her hair, which is ar- 
 ranged in the fashion of the day, is slightly powdered, and she wears a large 
 hat with a soft muslin crown trimmed with plum-colored ribbons and sur- 
 mounted by white ostrich plumes, while around the edge of the brim is a del- 
 icately painted fall of lace. She stands in an open landscape, her skirt, scarf, 
 and ribbons blowing in the breeze. Behind her is a tree, and to the left a 
 brilliant sunset sky, changing in color from pale greenish-blue with white 
 clouds above into a glow of red and gold at the horizon. 
 
 The picture measures about three feet four inches wide by a little over 
 four feet high. It is owned by Miss Annette P. Rogers, of Boston, Massa- 
 chusetts, by whose permission it is here reproduced. 
 
 'MR. AND MRS. RALPH IZARD' PLATE II 
 
 WHILE in Rome in 17 74-5, Copley painted this picture of Mr. and 
 Mrs. Ralph Izard, whose acquaintance he had made on the journey 
 to Italy, and of whom he saw much during his sojourn there. Mr. Izard was 
 a wealthy planter of South Carolina, who had been educated in England, and, 
 since 1771, had resided in London. His wife was, before her marriage, Miss 
 Alice Delancey of West Chester County, New York, niece of James De- 
 lancey, lieutenant-governor of that State. 
 
 Copley's double portrait of Mr. and Mrs. Izard, the only original work 
 which he is known to have undertaken while on his European travels, is one 
 of his most important achievements. The canvas measures seven feet four 
 inches wide by five feet nine inches high. Mr. and Mrs. Izard are repre- 
 sented at opposite ends of an elaborately carved table with red porphyry top. 
 The ladv, in a dress of blue taffeta with white gauzy muslin at neck and 
 
 [497] 
 
36 MASTERS IN ART 
 
 sleeves, a white gauze scarf, and muslin cap surmounting her brown hair, is 
 seated on a sofa upholstered in rose-colored damask with a heavy curtain of 
 the same color draped behind her. The figure of Mrs. Izard is excellently 
 rendered, but that of Mr. Izard is less happv, the wooden qualities which 
 characterize many of Copley's early work being here manifest. The colors, 
 however, are admirable, the close-fitting suit of brownish-gray cloth, light 
 gray stockings, white sleeve-ruffles and stock, contrasting harmoniously with 
 the rose-colored damask of the chair on which he is seated. 
 
 In the middle distance is a marble group of which Mrs. Izard has appar- 
 ently just finished a sketch which she hands across the table for her husband's 
 inspection. Various objects in the background are suggestive of their foreign 
 surroundings — a column and a parapet on which stands a Greek vase, and, 
 in the distance, the Roman Colosseum. 
 
 This picture was to have been delivered to Mr. Izard in London, but the 
 outbreak of the American Revolution, and his appointment by the Conti- 
 nental Congress as commissioner to Tuscany, prevented his return to Eng- 
 land, and after the war his income was so reduced that he no longer felt able 
 to pay the price agreed upon of two hundred guineas. The picture accord- 
 ingly remained in Copley's studio until, in 1825, ten years after the death 
 of the painter, a grandson of Mr. Izard, Mr. Charles Manigault, purchased 
 it in London from Mrs. Copley for the original price. It remained in the 
 possession of the family for which it had been in the first place painted un- 
 til 1903, when it was acquired by the Museum of Fine Arts, Boston, where 
 it now hangs. 
 
 ♦ PORTRAIT OF MRS. DANIEL HUBBARD' PLATE III 
 
 THIS portrait of Mrs. Daniel Hubbard is, as a recent critic has said, "a 
 typical Copley, the work representative of the artist's happiest and most 
 refined vein." There is a decided charm about the picture, not only because 
 of the beauty and distinction of the subject, which are here admirably ex- 
 pressed, but because of the skill shown bv the painter in the pose and draw- 
 ing of the figure, the careful modeling of the face and hands, the rich fall of 
 the draperv, and the harmony of the colors. 
 
 Mrs. Hubbard is standing by a small table covered with papers, on which 
 one arm rests. She wears a gown of golden brown satin, greenish in tone, 
 cut low in the neck and finished at both neck and sleeves with muslin ruf- 
 fles deeply trimmed with lace. Around her throat is a muslin ruff" fastened 
 with a bow behind. Her dark hair is combed back from her forehead over a 
 cushion and ornamented with pearls. A column, partly hidden by a dark 
 green curtain, is at the left, and in the distance is a gray cloudy sky. 
 
 Mrs. Hubbard, who before her marriage was Mary Greene, was born in 
 Boston in 17 34. She married Daniel Hubbard, the son by a previous mar- 
 riage of the lady whom her father married for his second wife, and who, in 
 1776, was one of the list of proscribed Tories obliged to leave Boston when 
 the town surrendered to Washington. 
 
 [498] 
 
COPLEY 37 
 
 Copley's portrait of Mrs. Hubbard was probably painted about 1764. The 
 canvas measures three feet four inches wide by four feet two inches high. 
 It is owned by Miss Mary H. Whitwell, of Boston, Massachusetts, by whose 
 permission it is here reproduced. 
 
 'THE DEATH OF MAJOR P1ERSON' PLATE IV 
 
 THE incident which Copley has here portrayed occurred during the in- 
 vasion of the Island of Jersey by the French in the year 1781. At the 
 storming of St. Helier, the capital of the island, the lieutenant-governor was 
 taken prisoner, and compelled by the enemy to sign a document command- 
 ing the English garrison within the castle to remain quiescent. This com- 
 mand was treated with contempt, the garrison declaring that they would hold 
 the castle at all cost, and Major Pierson, a young English officer only twenty- 
 four years old, having quickly collected a few companies of the Jersey mili- 
 tia, courageously charged the invaders, closing with them in a hand-to-hand 
 conflict, and at the moment of victory was killed by a ball fired at him by a 
 French officer, who was himself immediately shot down by Major Pierson's 
 negro servant. 
 
 In the center of the picture the body of Major Pierson is being borne from 
 the fight. At the immediate left is the negro servant in the act of firing up- 
 on the French officer by whom his master was killed, and whom we see in 
 the background dying in the arms of a companion. The fact that the figures 
 of the principal groups were all portraits of British officers who participated 
 in the engagement added to the interest which the picture aroused. 
 
 Of all Copley's historical paintings 'The Death of Major Pierson' is con- 
 sidered his best. The composition is well ordered, the scene full of action, 
 and the colors harmonious. It was painted in 1783 for Alderman Boydell, 
 who had engaged a number of Royal Academicians, Copley among them, to 
 contribute towards the formation of a gallery of English paintings of histor- 
 ical subjects. Later it passed into the possession of the Copley family, and 
 at the sale of Lord Lyndhurst's pictures in 1864 was purchased for the Na- 
 tional Gallery, London, where it now hangs. 
 
 The canvas measures about eight feet high by twelve feet wide. 
 
 'PORTRAIT OF MRS. THOMAS BOYLSTON' PLATE V 
 
 THE portrait of Mrs. Thomas Boylston is justly considered one of Cop- 
 ley's finest works. "His fame," writes Mr. William Howe Downes in 
 the 'Atlantic Monthly,' "may rest secure upon this portrait, which recalls 
 the work of the great masters by its simplicity, repose, penetrating truth, and 
 refinement. It is executed with the easy skill of a master-workman and has 
 no weak spots. Mrs. Boylston is seated in a handsome arm-chair which is 
 covered with faded yellow brocade fastened with brass-headed nails. Her 
 gown is of a light olive-brown silk, and she wears a white cap and broad 
 white muslin collar, or cape, covered with black lace, wide white ruffled 
 
 [499] 
 
38 MASTERS IN ART 
 
 wristbands, and silk mitts. There is a curtain in the background. The face, 
 which is of a very intelligent and interesting cast, is described with perfect 
 taste, and, it may be presumed, with perfect accuracv ; the lady's hands, which 
 lie crossed upon her lap, are characterized with equal force. In its pretty, 
 old-fashioned frame, this portrait, so quiet, so well-bred, so complete, utterly 
 refutes the superficial judgment that Copley could paint nothing so well as 
 his sitters' clothes." 
 
 Mrs. Bovlston was the mother of Nicholas Boylston, one of the benefac- 
 tors of Harvard University, who founded a professorship there of rhetoric and 
 oratory, and of Thomas Boylston, who bequeathed part of his fortune to the 
 citv of Boston. She died in 17 74, the year of Copley's departure for Eng- 
 land. His portrait of her, and those which he painted of her two sons, hang 
 in Memorial Hall, Harvard University, Cambridge, Massachusetts. 
 
 'THE COPI.EV KAMILV CROUP' PLATE VI 
 
 ONE of the most interesting of Copley's works is this celebrated 'Family 
 Group,' painted soon after he was established in his English home, and 
 representing himself and his wife, four of his children, and his father-in-law, 
 Mr. Richard Clarke. 
 
 Mrs. Coplev, in a bright blue dress and with a white head-dress worn up- 
 on her dark hair, is seated upon a sofa of rose-colored damask. At her side, 
 her childish form thrown across a round cushion, is her little daughter Mary, 
 dressed in white with a golden brown sash. The child at his mother's knee, 
 whom Mrs Copley bends forward to caress as he looks up lovingly into her 
 face, is John Singleton Copley, Jr., the future lord chancellor of England. 
 He is dressed in pale yellow with a gray sash. The little girl in front, stand- 
 ing demurely with crossed hands, and suggestive of one of the young chil- 
 dren of King Charles I. painted by Van Dyck, is Elizabeth, Copley's oldest 
 child, who in after life married Mr. Gardiner Greene, of Boston. Her quaintly 
 fashioned dress is of white striped muslin, the skirt showing pink underneath, 
 and around her waist is a pink gauze sash which falls like a train behind. 
 Her cap of frilled muslin is finished in front with a tiny pink rosebud. Be- 
 hind her, to the left, sits Mrs. Copley's father, Mr. Clarke, with gray pow- 
 dered wig, holding on his knee the year-old Jonathan, who died while still a 
 child. A long pink ribbon attached to a rattle in the little boy's hand, his 
 yellow hair, and white dress are offset by the black of Mr. Clarke's costume. 
 Copley himself, in very dark blue and with a gray powdered wig, stands be- 
 hind, leaning on a parapet, with papers in his hand. 
 
 This picture, which is about eight feet wide by six feet high, hung for 
 nearly a century over the fireplace in the dining-room of Copley's house in 
 London. Upon the death of his son, Lord Lyndhurst, it was purchased by 
 Charles S. Amory, Esq., the husband of a granddaughter of Copley, and 
 brought to the United States. It is now in the possession of Edward Linzee 
 Amory, Esq., who has loaned it to the Boston Museum of Fine Arts, where 
 it now hangs, and bv his permission it is here reproduced. 
 
 [500] 
 
COPLEY 39 
 
 'PORTRAIT OF COLONEL E PES SARGENT' PLATE VII 
 
 THIS portrait offers a remarkably fine example of Copley's style at a 
 period prior to his departure for England, when some of his most vig- 
 orous and characteristic work was produced. It is undated, but was prob- 
 ably painted before 17 60. 
 
 Colonel Epes Sargent is represented standing with his right elbow upon 
 the base of a column. One hand is in the pocket of his coat; the other is 
 outspread upon his chest, and is painted so strongly and realistically that 
 Gilbert Stuart used to say of it that art could go no further. "Prick that 
 hand," were his words, "and blood will spurt out." Colonel Sargent wears 
 a long, loosely fitting coat of drab broadcloth buttoned to the throat. White 
 lawn ruffles are in the sleeves, which are finished with deep cuffs. A touch 
 of color is given to the costume by the strip of gold lace which trims an 
 inner vest. His face is round and full, his eyes small, blue, and laughing, 
 his straight nose and thin lips are admirably modeled, as is the broad fore- 
 head offset by the light curling wig, from which some of the powder has 
 fallen upon his shoulder. The background of the picture is a shadowy land- 
 scape. The canvas measures a little over four feet high by three feet three 
 inches wide. 
 
 Colonel Epes Sargent, whose colonel's commission was held under King 
 George II., was born in Gloucester, Massachusetts, in 1690, but the latter 
 part of his life was passed in Salem, where he died in 1 762. His portrait by 
 Copley is in the possession of Mrs. George Henry Clements, of Flushing, 
 New York, by whose permission it is here reproduced. 
 
 'PORTRAIT OF MISS SUSANNA RANDOLPH' PLATE VIII 
 
 THIS portrait, painted in England, is a fine example of Copley's late 
 manner, and is strikingly reminiscent of Gainsborough, whose influence 
 is felt in the pose of the figure, arrangement of the accessories, and some- 
 what in the scheme of color. 
 
 Susanna Randolph was the daughter of the first Brett Randolph of "Ches- 
 ter," Powhatan County, Virginia. Most of her life was passed in England, 
 where, in 1783, she married Dr. Charles Douglass, heir presumptive of the 
 Earl of Morton. 
 
 In Copley's picture she is represented standing in a park-like landscape, 
 resting one elbow on a parapet on which lies a spray of jasmine. She wears 
 a gown of sky-blue silk with undersleeves of soft white muslin, and in one 
 hand holds the end of a white gauze scarf striped with gold, which is thrown 
 across her shoulder and encircles her waist. Her brown hair is dressed with 
 pearls and blue ribbons, and a touch of blue is given in the rosette which 
 decorates her white slipper. Her eyes are brown, her complexion clear, and 
 the flesh-tones of face, neck, and arms are delicately rendered. The figure, 
 which is life-size, is relieved against a background of dark foliage, brownish- 
 green — almost olive — in tone. To the left are glimpses of blue sky, and at 
 the horizon a golden sunset light. 
 
 [501] 
 
40 MASTERSINART 
 
 The picture measures a little over six and a half feet high by four and a 
 half feet wide. It is owned by Airs. Charles F. Sprague, of Brookline, Massa- 
 chusetts, by whose permission it is here reproduced. 
 
 t PORTRAIT OP LADY WENT WORTH' PLATE IX 
 
 THIS portrait was painted in 1765, when Lady Wentworth, then Mrs. 
 Theodore Atkinson, was nineteen years old. She is dressed in a gown of 
 silvery gray satin finished at the neck with lace, and with lace ruffles in the 
 sleeves. A light brown gauze sash threaded with gold crosses the bodice di- 
 agonally, and fastened from her shoulders is a deep blue cloak falling in folds 
 behind. A string of pearls, held togetherwith a bow of white ribbon, is around 
 her throat, and pearls are also worn in her dark hair. Both hands rest upon 
 a table before which she is seated, and in one of them she holds a chain to 
 which a flying squirrel is attached — a favorite motive with Copley. Lady 
 Wentworth's figure is relieved against a curtain of rich dark red, revealing 
 at the right a column and a glimpse beyond of blue sky and white clouds. 
 
 Lady Fiances Deering Wentworth was the daughter of Samuel Went- 
 worth, of Boston. She was born in 1746, and in early life became engaged 
 to her cousin John Wentworth, the last royal governor of New Hampshire; 
 but in an absence of her lover's, too prolonged to be agreeable to her, she 
 accepted the hand of another suitor and cousin, Theodore Atkinson, whom 
 she married before John Wentworth's return. Before many years, however, 
 her husband died, and without delav — within a fortnight, indeed, of the day 
 of his funeral — she married her first love. Upon the outbreak of revolu- 
 tionary troubles in America, Wentworth and his wife went to England, 
 where he received the appointment of lieutenant-governor of Nova Scotia. 
 In 17 95 he was created a baronet, and three years later, Lady Wentworth, 
 who was greatly admired for her beauty, graceful manners, and ready wit, 
 was made lady in waiting to Oueen Charlotte, wife of George ill., at a 
 yearly salary of five hundred pounds, with the privilege of residing abroad 
 at her pleasure. She died in England in 1813. 
 
 Copley's portrait of Lady Wentworth, which was held to be as excellent 
 a likeness as it is a beautiful example of his art, passed, after many vicissi- 
 tudes, into the possession of James Lenox, Esq., of New York, and was 
 bequeathed by him to the Lenox Library of that city, where it now hangs. 
 Fhe canvas measures about four feet high by three feet four inches wide. 
 
 'PORTRAIT OF THE EARL OP MANSFIELD' PLATE X 
 
 WILLIAM MURRAY, first Earl of Mansfield, the distinguished Brit- 
 ish jurist and statesman, who has been called "the founder of English 
 commercial law," was born at Scone Abbey, Scotland, in 17 05. Appointed 
 solicitor-general in 1742, he was afterwards elected to a seat in the House 
 of Commons, where his eloquence and his profound legal knowledge ren- 
 dered him a leader and a powerful adversary of William Pitt, who headed 
 the opposite party. In 17 54 Murray was made attorney-general, and two 
 
 [502] 
 
COPLEY - . 4 1 
 
 years later became chief justice of the King's Bench, being at the same time 
 raised to the peerage by the title of the Earl of Mansfield. Celebrated for 
 his learning and his brilliant accomplishments, it was said of him that he 
 possessed "a courtesy which was seldom ruffled, and an eloquence which 
 never failed." He died in 17 93, at the age of eighty -eight, and was buried 
 in Westminster Abbev, London. 
 
 The life-sized portrait of the Earl of Mansfield which is here reproduced 
 was painted by Copley in London in 1783, when the earl was seventy- 
 eight years old. He is represented in the robes of a peer of Great Britain. 
 A full gown of brilliant red, trimmed with bands of white fur and of gold 
 embroidery, falls in voluminous folds about his figure, which is clad in 
 a close-fitting suit of black. His face is enframed by a light gray full- 
 bottomed wig. The table beside him is covered with a variegated cloth and 
 piled with legal books and with documents upon which he rests one hand, 
 while in the other he holds a brief. The background is of a neutral tone 
 well calculated to throw into relief the figure with its contrasting colors of 
 rich red, black, gray, white, and gold. 
 
 The picture measures seven feet four inches high by about four feet nine 
 inches wide. It is in the National Portrait Gallery, London. 
 
 A LIST OK THE PRINCIPAL PAINTINGS BY COPLEY 
 IN PUBLIC COLLECTIONS 
 
 FOR a more complete list of Copley's works than is here given the reader is referred to 
 Mr. Augustus Thorndike Perkins's 'Sketch of the Life and a List of some of the 
 Works of John Singleton Copley,' with supplements. The following list includes only 
 such of his pictures as are in collections which are accessible to the public. 
 
 ENGLAND. London, Christ's Hospital School: A Youth rescued from a Shark 
 — London, Guildhall: The Siege and Relief of Gibraltar — London, National 
 Gallery: The Death of the Earl of Chatham; The Death of Major Pierson (Plate iv); 
 The Siege and Relief of Gibraltar (Study); Study in Monochrome for 'The Death of the 
 Earl of Chatham' — London, National Portrait Gallery: Portrait of the Earl of 
 Mansfield (Plate x); Portrait of Lord Heathfield — UNITED STATES. Boston, 
 Massachusetts Historical Society: Portrait of James Allen; Portrait of Rev. William 
 Welsteed; Two portraits of Samuel Cooper; Portrait of Samuel Danforth; Portrait of John 
 Rogers; Portrait of Thomas Hutchinson — Boston, Museum of Fine Arts: The Copley 
 Family Group (loaned) (Plate vi); Mr. and Mrs. Ralph Izard (Plate n); A Youth rescued 
 from a Shark; Portrait of John Hancock (loaned by the city of Boston); Portrait of Samuel 
 Adams (loaned by the city of Boston); Portrait of John Quincy Adams (loaned); Colonel 
 Fitch and his Sisters (loaned); Portraits of Mr. and Mrs. Jeremiah Lee (loaned); Portraits of 
 Mr. and Mrs. Benjamin Pickman (loaned); Portrait of Dorothy Quincy (loaned); Portrait of 
 Mrs. Daniel Sargent (loaned); Mrs. Richard Derby as St. Cecilia (loaned); Portrait of Gen- 
 eral Joseph Warren; Portrait of Mrs. Joseph Warren; Portrait of Colonel Sparhawk (loaned); 
 Portrait of John Scollay (loaned); Portrait of Mrs. Skinner (loaned); Sketch of Mrs. Startin 
 (loaned); Unfinished sketch for 'The Death of the Earl of Chatham' (loaned) — Boston, 
 Public Library, Trustee's Room: King Charles i. demanding in the House of Com- 
 mons the Five Impeached Members — Brunswick, Maine, Bowdoin College, Walker 
 Art Building: Portrait of Governor Bowdoin; Portrait of Thomas Flucker, Esq. — 
 Cambridge, Mass., Harvard University [Memorial Hall] : Portrait of John Adams; 
 Portrait of Samuel Adams; Portrait of Thomas Hancock; Portrait of Edward Holyoke; 
 
 [503] 
 
4 > MASTERS IN ART 
 
 Portrait of Mrs. Thonuu Boylston (Plate v)j Portrait of Nicholas Boylston; Portrait of 
 Thomas Boylston; Portrait of Thomas Hubbard; Portrait of Nathaniel Appleton; Portrait 
 of Mrs. Nathaniel Appleton; Portrait of Samuel Cooper; [University Hall] Portrait 
 of Professor John Winthrop — Niw York, LENOX Library:- Portrait of Lady Went- 
 uorth (Plate ix); Portrait of Mrs. Robert Hooper — Niw York, New York Historical 
 SOCIETY! Portrait of Copley — Salem, Mass., ESSEX [hSTITUTE: Portraits of Mr. and 
 
 Mrs. Timothy Fitch — Worcester, Mass., American Antiquarian Society: Portrait 
 of Charles Paxton. 
 
 A 
 
 Copley Btbltograpljp 
 
 A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES 
 DEALING WITH COPLEY 
 
 THE principal sources of information abovit Copley are 'The Domestic and Artistic 
 Life of John Singleton Copley, R.A.,' by his granddaughter, Martha Babcock Amory 
 (Boston, 1882), and «A Sketch of the Life and a List of some of the Works of John Sin- 
 gleton Copley,' by Augustus Thorndike Perkins (Privately Printed, 1873). 
 
 MORY, M. B. The Domestic and Artistic Life of John Singleton Copley, R.A. 
 _ _C Boston, 1882 — Benjamin, S. G. W. Art in America. New York, 1880 — 
 Buxton, H. J. W. English Painters; with a Chapter on American Painters by 
 S. R. Koehler. New York, 1883 — Cook, C. Art and Artists of OurTime. New York 
 ("1888] — Copley's picture of King Charles the First demanding in the House of Com- 
 mons the Five Impeached Members. Boston, 1859 — Cunningham, A. Lives of the 
 Most Eminent British Painters and Sculptors. London, 1846 — Dun lap, W, History 
 of the Rise and Progress of the Arts of Design in the United States. New York, 1834 
 
 Feuillet de Conches, F. S. Histoire de l'ecole anglaise de peinture. Paris, 1882 — 
 
 Isham, S. A. History of American Painting (in preparation for the Macmillan Co.) — 
 Martin, SirT. John Singleton Copley (in Dictionary of National Biography). London, 
 
 1897 Martin, SirT. A Life of Lord Lyndhurst. London, 1883 — Muther, R. 
 
 Geschichte der englischen Malerei. Berlin, 1903 — Perkins, A.T. A Sketch of the Life 
 and a List of some of the Works of John Singleton Copley. Boston, 1873 — Redgrave, 
 R. and S. A Century of Painters of the English School. London, 1866 — Sandby, W. 
 History of the Royal Academy of Arts. London, 1862 — Tuckerman, H. T. Book 
 <»f the Artists. New York, 1867 — Whitmore, W. H. Notes concerning Peter Pelham 
 and his Successors prior to the Revolution. Cambridge, 1867 — Winsor, J., Editor. 
 Memorial History of Boston. Boston, 1S81. 
 
 MAGAZINE ARTICLES 
 
 AMERICAN ARCHITECT, 1882: C. H. Hart; John Singleton Copley (Review of 
 l. Mrs. Amory's Life of Copley) — Atlantic Monthly, 1888: W. H. Downes; 
 Boston Painters and Paintings. 1893: P. L. Ford; Some Pelham-Copley Letters — 
 Mr, -('lure's Magazine, 1903: W. H. Low; A Century of Painting in America — 
 Nation, 1873: Review of Perkins's Memoir and Works of Copley. 1882: W. H. 
 Whitmore; The Painter Copley (Review of Mrs. Amory's Life of Copley) — New Eng- 
 land Magazine, 1902: R. R. Wilson; America's First Painters — Scribner's Month- 
 ly, 1881: M. B. Amory; John Singleton Copley, R.A. 
 
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 — CORREGGIO 
 nting 
 
 VOL. 3. 
 
 PHIDIAS 
 PKRUG1NO 
 
 ■ HOLBKIN f 
 
 -TINTORETTO 
 
 Part 
 Part 
 Part 
 Part 
 
 PIETER in HOOCH Part 
 ■NATTIER Part 
 
 3 Drawings 
 
 51— PALI. POTTER 
 32.— GIOTTO 
 33.— PRAXITELES 
 34— HOGAR TH 
 jj.— TURNER 
 36.— LU1NI 
 
 VOL. 4. 
 
 Part 37, 
 Part 38, 
 Part 39, 
 Part 40, 
 Part 41, 
 Part 42, 
 Pah 1 4!, 
 Part 44, 
 Part 45, 
 Part 46, 
 Part 47, 
 Part 48, 
 
 Part 49, 
 Part 50, 
 Part 51, 
 Part 51, 
 Part 531 
 Part 54, 
 Part ;;, 
 Part 56, 
 Part 57, 
 Part 58, 
 Part 59, 
 Part 60, 
 
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