,illustration3 ,,sir ,,joshua ,,reynolds
                                        
,masterpieces of ,art                   
,,sir ,,joshua ,,reynolds               
,a ,,collection ,,of ,,fifteen          
,,pictures                      ,,and ,a
 ,,portrait ,,of ,,the ,,painter        
,,with ,,introduction ,,and             
,,interpretation                        
,,by                                    
,,estelle ,m4 ,,hurll                   
,,boston ,,and ,,new ,,york             
,,houghton ,,mifflin ,,company          
,the ,riverside ,press ,cambridge       
,,copyright1 #aijj1 ,,by ,,houghton1    
,,mifflin  ,,co4         99       99    
99       99       99     ,,preface      
,this selection of pictures from        
,reynolds's works is intended to show   
him at his best in the various classes  
of subjects which he painted4 ,johnson  
and ,lord ,heathfield are among his     
finest male portraits1 ,miss ,bowles and
 ,master ,bunbury are unsurpassed among 
his pictures of children1 and the       

,strawberry ,girl was the painter's own 
favorite fancy picture4 ,penelope       
,boothby and ,angels' ,heads are popular
 favorites which could not be omitted   
from any collection4 ,in ,lady ,cockburn
 and ,her ,children1 ,the ,duchess of   
,devonshire and ,her ,child1 and        
,pickaback we have typical groups of    
mothers and children4 ,mrs4 ,siddons    
stands apart as one of his most unique  
and remarkable productions4 ,the other  
pictures add as much as possible to the 
variety of the collection1 and show     
something of the range of ,reynolds's   
art4  ,,estelle ,m4 ,,hurll4  ,,new     
,,bedford1 ,,mass4  ,september1 #aijj4  
99       99       99       99       99  
,,contents ,,and ,,list ,,of ,,pictures 
,,portrait ,,of ,,reynolds4 ,painted by 
himself4 7,frontispiece7 ,from a ,carbon
 ,print by ,braun1 ,clement  ,co4       
,,introduction  ,i4 ,,on ,,the ,,art    
,,of ,,reynolds  ,,ii4 ,,on ,,books ,,of
 ,,reference  ,,iii4 ,,historical       
,,directory ,,of ,,the ,,pictures ,,of  

,,this ,,collection  ,,iv4 ,,outline    
,,table ,,of ,,the ,,principal ,,events 
,,in ,,reynolds',s ,,life  ,v4          
,,contemporaries  ,i4 ,,penelope        
,,boothby ,picture from a ,photograph by
 ,mansell  ,,ii4 ,,master ,,crewe ,,as  
,,henry ,,viii ,picture from an         
,engraving by ,s4 ,w4 ,reynolds  ,,iii4 
,,lady ,,cockburn ,,and ,,her ,,children
 ,picture from a ,photograph by ,franz  
,hanfstaengl  ,,iv4 ,,miss ,,bowles     
,picture from a ,photograph by ,mansell 
,v4 ,,master ,,bunbury ,picture from an 
,engraving by ,s4 ,w4 ,reynolds  ,,vi4  
,,mrs4 ,,siddons ,,as ,,the ,,tragic    
,,muse ,picture from a ,photograph by   
,w4 ,m4 ,spooner  ,co41 ,london4  ,,vii4
 ,,angels' ,,heads ,picture from a      
,carbon ,print by ,braun1 ,clement  ,co4
  ,,viii4 ,,the ,,duchess ,,of          
,,devonshire ,,and ,,her ,,child        
,picture from a ,carbon ,print by       
,braun1 ,clement  ,co4  ,,ix4 ,,hope    
,picture from a ,photograph by the      
,london ,autotype ,co4  ,x4 ,,lord      

,,heathfield ,picture from a ,photograph
 by ,franz ,hanfstaengl  ,,xi4 ,,mrs4   
,,payne-,,galloway ,,and ,,her          
,,child--,,pickaback ,picture from a    
,photograph by the ,london ,autotype    
,co4  ,,xii4 ,,cupid ,,as ,,love ,,boy  
,picture from an ,engraving by ,s4 ,w4  
,reynolds  ,,xiii4 ,,the ,,hon4 ,,anne  
,,bingham ,picture from an ,engraving by
 ,bartolozzi  ,,xiv4 ,,the ,,strawberry 
,,girl ,picture from a ,photograph by   
,mansell  ,,xv4 ,,dr4 ,,samuel ,,johnson
 ,picture from a ,carbon ,print by      
,braun1 ,clement  ,co4  ,,xvi4 ,,the    
,,portrait ,,of ,,reynolds         99   
99       99       99       99           
,,introduction  ,i4 ,,on ,,the ,,art    
,,of ,,reynolds   ,the name of ,sir     
,joshua ,reynolds holds a place of honor
 among the world's great portrait       
painters4 ,to appreciate fully his      
originative power one must understand   
the disadvantages under which he worked4
 ,his technical training was of the     
meagrest kind1 and all his life he was  

hampered by ignorance of anatomy4 ,but  
on the other hand he combined all those 
peculiar qualities of the artist without
 which no amount of technical skill can 
produce great portrait work4  ,he had1  
in the first place1 that indefinable    
quality of taste1 which means so much in
 portraiture4 ,his was an unerring      
instinct for poise1 drapery1 color1 and 
composition4 ,each of his figures seems 
to assume naturally an attitude of      
perfect grace2 the draperies fall of    
their own accord in beautiful lines4    
,reynolds knew1 too1 the secret of      
imparting an air of distinction to his  
sitters4 ,the meanest subject was       
elevated by his art to a position of    
dignity4 ,his magic touch made every    
child charming1 every woman graceful1   
and every man dignified4  ,finally1 he  
possessed in no small degree1 though    
curiously enough entirely disclaiming   
the quality1 the gift of presenting the 
essential personality of the sitter1    
that which a critic has called the power

 of realizing an individuality4 ,this is
 seen most clearly in his portraits of  
men1 and naturally in the portraits of  
the men he knew best1 as ,johnson4  ,it 
is a matter of constant amazement in    
studying the works of ,reynolds to      
observe his inexhaustible inventiveness 
in pose and attitude4 ,for each new     
picture he seemed always to have ready  
some new compositional motive4 ,claude  
,phillips goes so far as to say that in 
the whole range of art ,rembrandt alone 
is his equal in this respect4 ,this     
versatility was due in a measure to his 
story-telling instinct4 ,his imagination
 seemed to weave some story about each  
sitter which the picture was intended1  
as it were1 to illustrate4 ,from ,lord  
,heathfield1 refusing to yield the keys 
of ,gibraltar1 to little ,miss ,bowles1 
dropping on the ground in the midst of  
her romp1 through the long range of     
mothers playing with their children1    
there seems no end to the variety of    
lively incident which he could invent4  

,the pose of the sitter suggests some   
dramatic moment in the imaginary        
episode4 ,often the attitude is full of 
action1 as in the ,miss ,bowles1 and at 
times there is a striking impression of 
motion1 as in ,pickaback4 ,so strong is 
the dramatic effect conveyed by these   
pictures that the figures seem actually 
taken unaware in the very act of        
performance1 as by a snapshot in modern 
photography4 ,this quality of           
momentariness1 as ,phillips calls it1 so
 dangerous in the hands of a commonplace
 painter1 lends a peculiar fascination  
to many of ,reynolds's pictures4 ,that  
he also appreciated the beauty of repose
 we see in such portraits as ,penelope  
,boothby and ,anne ,bingham4            
,reynolds's inventiveness was so        
overtaxed by his enormous number of     
sitters that it is scarcely to be       
wondered at that it sometimes failed    
him4 ,occasionally he resorted to such  
artificial devices as were common among 
his contemporaries4 ,such fresh         

inspirations as the ,strawberry ,girl   
and ,master ,bunbury could come but     
rarely in a lifetime4 ,the spontaneity  
of ,miss ,bowles is perhaps unexcelled  
in all his works4  ,reynolds's          
compositional schemes are of an academic
 elegance reminiscent of ,raphael4 ,he  
knew well how to accomplish the flow of 
line1 the balance of masses1 the        
symmetry of outline1 which produce a    
harmonious effect4 ,a variety of designs
 were at his command1 from the well-worn
 but always effective pyramidal form    
illustrated in many single figures1 to  
those more novel forms he invented for  
groups such as ,lady ,cockburn and the  
,duchess of ,devonshire4  ,reynolds was 
frankly a borrower from many sources4   
,in the ,roman1 the ,bolognese1 the     
,venetian1 ,flemish1 and ,dutch schools1
 he found something to appropriate and  
make his own4 ,from ,rembrandt he took  
suggestions of lighting1 and such sombre
 color harmonies as are seen in the     
portrait of ,mrs4 ,siddons4 ,something  

of bloom and splendor he caught from the
 florid ,rubens2 something of the       
decorative effectiveness of such        
pictures as ,lady ,cockburn may be      
traced to the influence of ,titian and  
the ,venetians4 ,yet to all that he     
borrowed1 ,reynolds added his own       
individual touch4 ,as a critic has said1
 he was always ,reynolds from first to  
last4  ,much has been written of the    
evanescence of ,reynolds's colors4 ,his 
passion for color experiments amounted  
to a mania1 and cost the world many     
beautiful pictures4 ,precisely what was 
the nature of these experiments1 and    
what combination of pigments ruined his 
pictures1 is of interest only to the    
expert4 ,fortunately1 enough pictures   
escaped to show us the original glory of
 those which have faded4 ,among the best
 preserved canvases1 those in which his 
power and brilliancy appear least       
impaired1 those in which the typical    
,sir ,joshua still most unmistakably    
shines forth1 are ,lady ,cockburn and   

her ,children1 ,miss ,bowles1 ,mrs4     
,siddons1 and ,angels' ,heads4  ,the    
range of ,reynolds's art is much wider  
than is commonly supposed4 ,a very      
imperfect appreciation of his gifts is  
gained by those who know only his       
portraits of women and children4 ,these 
indeed show a peculiar insight into     
childhood1 and a rare delicacy in the   
interpretation of womanhood4 ,but       
,reynolds is at his strongest in the    
portrayal of men4 ,it is by such        
portraits as the ,johnson and           
,heathfield that he is worthy a place   
among the immortals4  ,,ii4 ,,on ,,books
 ,,of ,,reference  ,,the original       
biographical material on the subject of 
,reynolds was supplied by his own       
contemporaries4 ,his friend ,malone     
wrote a valuable ,memoir 7#ahjd71 and   
his pupil ,northcote furnished the first
 biography of the painter1 the ,life of 
,reynolds in two volumes published in   
#ahac4 ,a half century later 7#ahfe7 was
 published the most comprehensive work  

on ,reynolds in two large volumes by ,c4
 ,r4 ,leslie and ,t4 ,taylor4 ,at about 
the same time 7#ahff7 appeared a book by
 ,f4 ,g4 ,stephens1 ,english ,children  
as painted by ,sir ,joshua ,reynolds4   
,all these books have been long out of  
print1 and there are now but two books  
of reference generally available4 ,sir  
,joshua ,reynolds1 by ,claude ,phillips 
7#ahid71 is a small volume1 but it gives
 a fairly complete summary of the       
painter's works1 with valuable critical 
comments4 ,sir ,walter ,armstrong's     
large and richly illustrated work ,sir  
,joshua ,reynolds 7#aijj7 treats the    
subject exhaustively1 and contains a    
complete descriptive catalogue and      
directory of ,reynolds's                
works--portraits and subject            
pictures--arranged in alphabetical      
order4  ,there is an immense            
bibliography of memoirs of the period of
 ,george ,,iii41 and such books throw an
 interesting light upon the lives of    
many of ,reynolds's sitters4 ,some of   

the most valuable are ,horace ,walpole's
 ,letters1 ,fanny ,burney's ,diary1     
,mrs4 ,piozzi's ,memoirs1 and ,wraxall's
 ,memoirs4  ,in addition to these1      
,boswell's incomparable ,life of        
,johnson presents a series of vivid     
pictures of the life of the period1 and 
contains many anecdotes of the          
friendship between ,reynolds and the    
great lexicographer4  ,reynolds's       
lectures and writings fill two volumes  
of the ,bohn ,library4 ,of these the    
twelve discourses delivered before the  
,royal ,academy are the most valuable1  
and have been reprinted in various      
editions4 ,the most recent is that of   
#ahia1 with notes and a biographical    
introduction by ,e4 ,g4 ,johnson4       
,intended as means of instruction to    
beginners in painting1 these lectures   
deal with general principles rather than
 with practical technique1 and are not  
to be taken as expository in any measure
 of ,reynolds's own art4  ,,iii4        
,,historical ,,directory ,,of ,,the     

,,pictures ,,of ,,this ,,collection     
,portrait frontispiece4 ,painted in     
#aggf for the ,imperial ,academy in     
,florence1 and now in the ,uffizi       
,gallery1 ,florence4  #a4 ,penelope     
,boothby4 ,painted in ,july1 #aghh4 ,in 
the possession of ,mrs4 ,thwaites4  #b4 
,master ,crewe as ,henry ,,viii4        
,painted in #agge for ,john ,crewe1     
,esq41 and exhibited at the ,royal      
,academy1 #aggf4 ,size3 #d ft4 #h in4 by
 #c ft4 #i in4 ,in the possession of the
 ,earl of ,crewe4  #c4 ,lady ,cockburn  
and her ,children4 ,reynolds began the  
picture in #aggc and upon its completion
 in #aggd received #ahc #aes4 in        
payment4 ,it was exhibited at the ,royal
 ,academy in #aggd1 after which it was  
dated #agge4 ,passed into the possession
 of ,lady ,hamilton1 daughter of ,sir   
,james ,cockburn 7#gth baronet71 and by 
her bequeathed to the ,english ,national
 ,gallery1 where it hung1 #ahib-aijj1   
when it was learned that ,lady ,hamilton
 had no power to dispose of the picture4

 ,it was then sold at auction to ,mr4   
,beit1 ,park ,lane1 ,london4 ,size3 #d  
ft4 #f in4 by #c ft4 #g-a_/b in4  #d4   
,miss ,bowles4 ,painted in #agge4 ,now  
in the ,wallace ,collection1 ,hertford  
,house1 ,london4 ,size3 #b ft4 #aa-a_/b 
in4 by #b ft4 #c-c_/d in4  #e4 ,master  
,bunbury4 ,exhibited at the ,royal      
,academy1 #agha2 bequeathed by ,reynolds
 to ,mrs4 ,bunbury4 ,in the possession  
of ,sir ,henry ,bunbury4 ,size3 #b ft4  
#e in4 by #b ft4  #f4 ,mrs4 ,siddons as 
the ,tragic ,muse4 ,painted in #aghc and
 exhibited at the ,royal ,academy in    
#aghd4 ,the original work was bought by 
,m4 de ,calonne for #hjj guineas1 and   
finally came into the possession of the 
,marquis of ,westminster1 in whose      
family it has since remained4 ,it is in 
the gallery of ,grosvenor ,house1       
,london4  #g4 ,angels' ,heads4 ,painted 
for ,lord ,william ,gordon 7#ajj        
guineas7 and exhibited at the ,royal    
,academy1 #aghg4 ,presented by ,lady    
,gordon to the ,national ,gallery1      

,london1 #ahda4 ,size3 #b ft4 #f in4 by 
#b ft4 #a in4  #h4 ,the ,duchess of     
,devonshire and her ,child4 ,exhibited  
at the ,royal ,academy in #aghf4 ,the   
original is at ,chatsworth ,house1 and  
there is a copy at ,windsor ,castle1    
from which our reproduction is made4    
#i4 ,hope4 ,one of the figures of the   
window design1 ,new ,college ,chapel1   
,oxford4 ,the original design was       
painted in oil in #aggh1 and was        
purchased by the ,earl of ,normanton4   
#aj4 ,lord ,heathfield4 ,begun ,august  
#bg1 #aghg1 and exhibited at the ,royal 
,academy in #aghh4 ,originally painted  
for ,alderman ,boydell1 and purchased by
 ,parliament in #ahbd4 ,now in the      
,national ,gallery1 ,london4 ,size3 #d  
ft4 #h in4 by #c ft4 #h in4  #aa4 ,mrs4 
,payne-,gallwey and ,child 7,pickaback74
 ,painted #aggi4 ,as late as #ahhf it   
was in the possession of ,lord ,monson1 
and is now owned by ,j4 ,pierpont       
,morgan1 ,esq4  #ab4 ,cupid as ,link    
,boy4 ,the date is not certainly fixed1 

but it is known that ,reynolds was at   
work in the spring of #agga upon some   
subjects of this class1 several of which
 were engraved in the period #agga-aggg4
 ,in the possession of ,alexander       
,henderson1 ,esq4 ,size3 #b ft4 #e in4  
by #b ft4  #ac4 ,hon4 ,anne ,bingham4   
,painted in #aghf4 ,in the possession of
 ,earl ,spencer4 ,size3 #b ft4 #e-a_/b  
in4 by #b ft4 #a_/b in4  #ad4 ,the      
,strawberry ,girl4 ,painted for the     
,earl of ,carysfort 7#ej guineas7 and   
exhibited at the ,royal ,academy1 #aggc4
 ,as ,reynolds repeated the subject it  
is difficult to trace the history of the
 original picture4 ,the painting now in 
the ,wallace ,collection1 ,hertford     
,house1 came from the ,samuel ,rogers   
,collection4 ,size3 #b ft4 #e-c_/d in4  
by #b ft4 #c_/d in4  #ae4 ,samuel       
,johnson4 ,painted for ,mr4 ,thrale for 
the ,streatham ,gallery1 #aggb4 ,now in 
the ,national ,gallery1 ,london4 ,size3 
#b ft4 #e-a_/b in4 by #b ft4 #a in4     
,,iv4 ,,outline ,,table ,,of ,,the      

,,principal ,,events ,,in ,,reynolds',s 
,,life  #agbc4 ,reynolds born at        
,plympton1 ,devonshire1 ,england1 ,july 
#af4  #agda-agdc4 ,apprenticeship with  
the painter ,thomas ,hudson1 ,london4   
#agdc-agdf4 ,residence in ,devonshire4  
#agdf4 ,portrait of ,captain ,hamilton  
first to attract attention4  ,death of  
,reynolds's father4  #agdf-agdi4        
,residence in ,plymouth ,docks4         
#agdi-ageb4 ,voyage in ,centurion with  
,commodore ,keppel2 studies in ,italy2  
and return1 via ,paris1 to ,london4     
#ageb4 ,establishment of ,reynolds in   
,london as a portrait painter1 with     
apartments in ,st4 ,martin's ,lane1     
,leicester ,fields4  #agec4 ,removal to 
,great ,newport ,st4  ,whole length     
portrait of ,commodore ,keppel by the   
,seashore1 an epoch-making picture in   
,reynolds's career4  #aged-agfj4 ,rapid 
advance of ,reynolds to the foremost    
place as portrait painter4  #agef4      
,portrait of ,horace ,walpole2 portrait 
of ,samuel ,johnson4  #ageh4 ,pocket    

,book gives list of #aej sitters4       
#agei4 ,two papers contributed to the   
,idler4  ,pocket ,book gives #adj       
sitters4  #agfj4 ,removal to handsome   
house1 #dg ,leicester ,fields4  ,first  
exhibition of pictures by living        
artists1 in room of ,society for        
,encouragement of ,arts1 ,manufactures1 
and ,commerce4 ,reynolds's              
contributions1 ,elizabeth ,duchess of   
,hamilton1 ,lady ,elizabeth ,keppel1 and
 two male portraits4  ,names of #abj    
sitters recorded in ,reynolds's ,pocket 
,book4  #agfa4 ,exhibition of pictures  
at ,society of ,artists' rooms in       
,spring ,gardens4 ,some of ,reynolds's  
contributions3 ,captain ,orme leaning on
 his ,horse1 ,portrait of ,laurence     
,sterne1 and ,countess ,waldegrave4     
#agfb4 ,visit to ,devonshire with ,dr4  
,samuel ,johnson4  ,exhibition in       
,spring ,gardens4 ,some of ,reynolds's  
contributions3 ,lady ,elizabeth ,keppel 
as ,bridesmaid1 ,countess ,waldegrave   
and ,child1 and ,garrick between        

,tragedy and ,comedy4  #agfc4 ,four     
portraits sent to ,spring ,gardens      
,exhibition1 including ,nelly ,o',brien4
  #agfd4 ,two portraits sent to ,spring 
,gardens ,exhibition4  ,severe illness4 
#agfd4 ,founding of ,literary ,club4    
#agfe4 ,lady ,sarah ,bunbury sacrificing
 to the ,graces1 sent to ,spring        
,gardens ,exhibition4  #agff4 ,four     
pictures contributed to the ,spring     
,gardens ,exhibition4  ,election to     
membership in the ,dilettanti ,society4 
#agfh4 ,foundation of the ,royal        
,academy with ,reynolds as president1   
and honor of knighthood conferred4 ,four
 pictures contributed to ,spring        
,gardens ,exhibition1 ,september4  ,trip
 to ,paris1 ,september-,october4  #agfi4
 ,first ,discourse as ,president        
delivered before the ,academy1 ,january4
  ,first ,academy ,exhibition opened in 
,pall ,mall1 ,april #bf1 with several   
contributions from ,reynolds4  ,second  
,discourse delivered before the         
,academy1 ,december #aa4  #aggj4 ,royal 

,academy ,exhibition in ,april1 with    
several contributions from ,reynolds1   
including the ,children in the ,wood4   
,visit in ,devonshire1                  
,september-,october4  ,third ,discourse 
delivered1 ,december #ad4  #agga4       
,several pictures contributed to        
,academy ,exhibition4  ,northcote       
apprenticed to ,reynolds4  ,visit to    
,paris1 ,august-,september4  ,fourth    
,discourse delivered1 ,december #aj4    
#aggb4 ,several pictures contributed to 
the ,academy ,exhibition1 including     
,mrs4 ,crewe as ,st4 ,genevieve4        
,election of ,reynolds as ,alderman of  
,plympton1 ,september4  ,fifth          
,discourse delivered1 ,december #aj4    
#aggc4 ,twelve pictures contributed to  
,royal ,academy ,exhibition1 including  
the ,strawberry ,girl1 the portrait of  
,joseph ,banks1 and ,ugolino4  #aggc4   
,honorary degree of ,d4 ,c4 ,l4         
conferred by ,oxford1 ,july4  #aggd4    
,thirteen pictures contributed to ,royal
 ,academy ,exhibition1 including ,lady  

,cockburn and her ,children1 ,three     
,ladies adorning a ,term of ,hymen1 and 
the ,baby ,princess ,sophia1 ,duchess of
 ,gloucester4  ,sixth ,discourse        
delivered1 ,december #aj4  #agge4       
,william ,doughty received as pupil into
 ,reynolds's home4  ,twelve pictures    
contributed to the ,royal ,academy      
,exhibition1 including ,mrs4 ,sheridan  
as ,st4 ,cecilia and a half-length      
portrait of ,dr4 ,robinson1 primate of  
,ireland4  #aggf4 ,twelve pictures      
contributed to ,royal ,academy          
,exhibition1 including ,georgiana1      
,duchess of ,devonshire1 and ,master    
,crewe as ,henry ,,viii4  ,termination  
of ,northcote's services4  ,election to 
membership in ,florentine ,academy1 and 
portrait painted for the ,uffizi        
,gallery4  ,seventh ,discourse          
delivered1 ,december #aj4  #aggg4       
,thirteen pictures contributed to ,royal
 ,academy ,exhibition1 including ,lady  
,caroline ,montagu 7,winter74           
#aggg-aggi4 ,two portrait groups for    

,dilettanti ,society4  #aggh4           
,marlborough ,family portrait exhibited 
at ,royal ,academy4  ,eighth ,discourse1
 ,december #aj4  #aggi4 ,designs for    
windows of ,new ,college ,chapel1       
,oxford1 executed and exhibited at      
,royal ,academy2 also portraits of ,lady
 ,louisa ,manners and ,viscountess      
,crosbie4  #aghj4 ,removal of ,royal    
,academy to ,somerset ,house and        
exhibition of ,reynolds's portrait of   
,gibbon4  #aghj4 ,ninth ,discourse      
delivered1 ,october #af4  ,tenth        
,discourse delivered1 ,december #aa4    
#agha4 ,fourteen pictures exhibited at  
,royal ,academy1 including ,master      
,bunbury1 the ,duchess of ,rutland1 and 
the design of ,temperance for ,oxford   
window4  ,journey to ,holland and       
,flanders1 ,july4  #aghb4 ,fifteen      
pictures exhibited at ,royal ,academy4  
,second paralytic attack1 and visit to  
,bath4  ,eleventh ,discourse delivered1 
,december #aj4  #aghc4 ,ten pictures    
exhibited at ,royal ,academy4  ,visit to

 ,antwerp and ,brussels4  #aghc4        
,sixteen pictures exhibited at ,royal   
,academy1 including portrait of ,mrs4   
,siddons as ,tragic ,muse1 ,prince of   
,wales with ,horse1 ,charles ,james     
,fox4  ,appointment as ,court ,painter4 
,twelfth ,discourse delivered1 ,december
 #aj4  #aghe4 ,sixteen pictures         
exhibited at ,royal ,academy4  ,visit to
 ,flanders to purchase pictures4        
,commission from ,empress ,catherine of 
,russia for historical picture4  #aghf4 
,thirteen pictures exhibited at ,royal  
,academy1 including the ,duke of        
,orleans1 ,john ,hunter1 the ,duchess of
 ,devonshire and ,child4  ,thirteenth   
,discourse delivered1 ,december #aj4    
#aghg4 ,three illustrations contributed 
to ,boydell's ,shakespeare ,gallery4    
,thirteen pictures exhibited at ,royal  
,academy1 including ,angel ,heads and   
,master ,philip ,york4  #aghh4 ,eighteen
 pictures sent to ,royal ,academy       
,exhibition1 including ,lord ,heathfield
 and the ,infant ,hercules4  ,fourteenth

 ,discourse1 with ,eulogy on            
,gainesborough4  #aghi4 ,portrait of    
,richard ,brinsley ,sheridan1 and       
,simplicity4  #aghi4 ,loss of sight in  
left eye 7gutta serena7 and abandonment 
of painting4  #agij4 ,resignation from  
presidency of ,royal ,academy and from  
seat as ,academician4  ,mrs4 ,billington
 as ,st4 ,cecilia sent with other       
pictures to ,academy ,exhibition4       
,fifteenth and ,farewell ,discourse     
delivered ,december #aj4  #agib4 ,death 
of ,reynolds1 ,february #bc4  ,v4       
,,contemporaries  ,,noted ,,painters3   
,thomas ,hudson 7#agja-aggi74 ,richard  
,wilson 7#agad-aghb74 ,john ,opie       
7#agfa-ahjg74 ,george ,romney           
7#agcd-ahjb74 ,allan ,ramsay            
7#agac-aghd74 ,thomas ,gainesborough    
7#agbg-aghh74 ,sir ,william ,beechey    
7#agec-ahci74 ,james ,barry             
7#agda-ahjf74 ,francis ,cotes           
7#agbe-aggj74  ,pupils and ,assistants3 
,peter ,toms4 ,giuseppe ,marchi4 ,thomas
 ,beach or ,beech4 ,hugh ,barron4       

,berridge4 ,parry4 ,james ,northcote4   
,score4  ,,list ,,of ,,original         
,,members ,,of ,,royal ,,academy3#a     
,william ,chambers4 ,george ,michael    
,moser4 ,francis ,milner ,newton4       
,edward ,penny4 ,thomas ,sandby4 ,samuel
 ,wade4 ,william ,hunter4 99,francis    
,hayman4 ,george ,barrett4 ,francesco   
,bartolozzi4 ,edward ,burch4 99,agostino
 ,carlini4 99,charles ,catton4 ,mason   
,chamberlin4 99,j4 ,baptist ,cipriani4  
,richard ,cosway4 ,john ,gwynn4 ,william
 ,hoare4 ,nathaniel ,hone4 ,mrs4        
,angelica ,kauffmann4 ,jeremiah ,meyer4 
,mrs4 ,mary ,moser4 ,joseph ,nollekens4 
,john ,richards4 ,paul ,sandby4         
,domenick ,serres4 99,peter ,toms4      
,william ,tyler4 99,benjamin ,west4     
99,richard ,wilson4 ,joseph ,wilton4    
,richard ,yeo4 ,john ,zoffanii4         
99,francesco ,zuccarelli4  ,footnote #a3
 ,the names starred were the artists who
 formed the first staff of visiting     
critics4  ,,friends ,,and               
,,acquaintances ,,at ,,the ,,dilettanti 

,,society3  ,earl of ,holderness4 ,lord 
,gowran4 ,sir ,everard ,fawkener4 ,the  
,marquis of ,granby4 ,lord ,eglinton4   
,lord ,anson4 ,stuart1 the painter4 ,sir
 ,charles ,bunbury4 ,lord ,euston4 ,the 
,marquis of ,hartington4 ,dick          
,edgcumbe4 ,captain ,george ,edgcumbe4  
,,literary ,,club3 ,,first ,,twelve     
,,members3#b  ,reynolds4 ,johnson4      
,goldsmith4 ,dr4 ,nugent4 ,dr4 ,percy1  
afterwards ,bishop of ,dromore4 ,sir    
,robert ,chambers4 ,sir ,john ,hawkins4 
,burke4 ,bennet ,langton4 ,chamier4     
,dyer4 ,hon4 ,topham ,beauclerk4        
,footnote #b3 ,the membership was       
afterwards successively increased to    
thirty-five and forty4     ,i           
,,penelope ,,boothby   ,somewhat over a 
century ago1 at the time when our       
,american colonies were struggling for  
liberty1 lived the great ,english       
portrait painter1 ,sir ,joshua          
,reynolds4 ,in those days photography   
had not been invented1 and portrait     
painting was a profession patronized by 

all classes of people4 ,there were many 
portrait studios in ,london1 but none   
were so fashionable as that of          
,reynolds4  ,it is said that in his long
 life he painted as many as three       
thousand portraits4 ,there was scarcely 
a distinguished man or beautiful woman  
in the kingdom who did not sit to him1  
and many were the children whose        
portraits he painted4 ,if all his works 
could be brought together they would    
form a complete historical gallery of   
the reign of ,george ,,iii4 ,here we    
should see princes1 statesmen1 and      
warriors1 actors and poets1 court       
beauties and blue stockings1 the petted 
children of the rich1 and the           
picturesque waifs of the ,london        
streets4 ,among the faces we should find
 those1 like ,fox and ,burke1 whose     
lives were intimately connected with the
 destinies of our own nation1 and those1
 like ,goldsmith and ,johnson1 whose    
names are familiar in our schools and   
homes4 ,there is something about these  

portraits which makes them seem alive1  
something too which gives to the        
plainest person a certain dignity and   
interest4  ,with all the variety of     
subjects which ,reynolds treated he was 
never happier than when painting        
children4 ,he loved them dearly1        
delighted to play with them1 and seemed 
to understand them as few grown people  
do4 ,in his great octagonal painting    
room were many things to amuse his      
little friends1 and a portrait sitting  
there usually meant a frolic4  ,penelope
 ,boothby is the name of the little girl
 in our illustration1 and the           
old-fashioned name is precisely suited  
to the quaint figure in cap and mitts4  
,we are reminded of that ,penelope of   
the old ,greek poem1 the ,odyssey1 who  
waited so faithfully through the years  
for the return of her husband ,odysseus 
from the ,trojan war4 ,the story runs   
that1 believing ,odysseus to be dead1   
many suitors begged her hand1 but she   
always replied that before marrying she 

must first complete the shroud she was  
making for her aged father-in-law4      
,every day she busied herself with the  
task1 but when night came she secretly  
undid all that she had wrought through  
the day1 so that it might never reach   
completion4 ,thus she prolonged the time
 of waiting until at last ,odysseus     
returned to claim his wife4  ,whether or
 not the little ,penelope of our picture
 knew this story we cannot say1 but it  
was the fashion of the times to revive  
the names and legends of mythology1 and 
,penelope was a name which had come to  
stand for all the domestic virtues4     
,illustration3 ,,penelope ,,boothby  ,as
 we look at the picture for the first   
time the quaint costume of the little   
girl suggests the idea that she is      
dressed for a tableau4 ,children the    
world over love to don the clothes of a 
past generation and play at men and     
women4 ,miss ,penelope1 we fancy1 has   
been ransacking some old chest of faded 
finery1 and has arrayed herself in the  

character of ,martha ,washington1 as    
painted by ,gilbert ,stuart4 ,the snowy 
kerchief folded across her bosom and the
 big mob cap on her head are precisely  
like those in the portraits of the      
colonial lady4 ,the child purses her    
lips together primly and folds her hands
 in a demure attitude in her lap1 as if 
to play her part well1 but she is far   
too shy to look us directly in the face1
 and glances aside with downcast eyes4  
,all this illusion is dispelled when we 
come to study the customs of the period4
 ,it appears that children then1 both in
 ,england and ,america1 dressed         
precisely like their elders1 and        
,penelope's costume here is doubtless   
such as she wore every day4 ,a little   
,boston girl1 ,anna ,green ,winslow1    
wrote in her diary in #agga of wearing a
 cap and black mitts which we fancy were
 not unlike these4 ,there are portraits1
 too1 of other little girls of the time1
 wearing the same huge headdress1 as we 
may see in the family group of the      

,copleys in the ,boston ,art ,museum4   
,penelope was the only child of ,sir    
,brooke ,boothby1 and1 as we may well   
believe from her winsome face1 the      
darling of the household4 ,her home was 
a fine mansion buried among trees in the
 beautiful ,english country4 ,she was1  
we fancy1 a quiet little girl1          
preferring a corner with her dolls to   
any boisterous romp1 but not without a  
bit of fun in her nature4 ,she was an   
affectionate little creature1 and very  
fond of her father1 watching at the gate
 for his return home1 and sitting on his
 knee in the evening4 ,on ,sunday       
mornings she went to the quaint old     
church of ,ashbourne and knelt beside   
her mother in the service4  ,all this   
and much more we learn from a book      
written by her father which bears the   
pathetic title of ,sorrows4 ,for little 
,penelope died at the age of seven1 and 
the stricken parent solaced himself in  
his loneliness by writing the memories  
of his darling4  ,the portrait by       

,reynolds was made when the child was   
four years old4 ,after her death1       
,fuseli painted a picture representing  
her borne to heaven by an angel4 ,there 
is also a lovely marble monument to     
,penelope1 by ,banks1 in the ,ashbourne 
church4#c  ,footnote #c3 ,see ,mrs4     
,rebecca ,harding ,davis's article in   
,st4 ,nicholas1 ,november1 #ahge1 ,about
 the ,painter of ,little ,penelope4     
,,ii  ,,master ,,crewe ,,as ,,henry     
,,viii   ,there was once on the throne  
of ,england a king named ,henry ,,viii4 
,he was a man of extraordinary          
character1 with qualities both good and 
bad4 ,his conduct was sometimes         
unscrupulous and tyrannical1 and he let 
nothing interfere with his own pleasure4
 ,nevertheless his reign brought many   
benefits to ,england1 and his memory is 
respected by ,english people4  ,in his  
early manhood1 ,henry was accounted the 
handsomest prince of his time1 but      
allowance must be made for the flattery 
of his subjects4 ,he was a big1 rather  

coarse-looking man1 with small eyes1 and
 a large face and double chin4 ,for his 
noisy ways and rough manners he has been
 familiarly called ,bluff ,king ,hal and
 ,burly ,king ,harry4 ,he was fond of   
the hunt and the tournament and all     
kinds of manly exercise4 ,he was also   
much given to show and display1 and     
loved rich dresses4  ,he employed as his
 court painter the celebrated ,dutch    
artist ,holbein1 who made various       
portraits of the members of the royal   
family4 ,there was one particularly fine
 group which was unfortunately destroyed
 by fire1 but as a copy had previously  
been made we still know what the picture
 was like4  ,henry ,,viii4 had been dead
 some two hundred years before the      
,master ,crewe of our picture was born1 
but ,english kings are not allowed to be
 forgotten4 ,successive generations of  
children were shown ,holbein's portraits
 of the bluff old ruler1 and were taught
 something about his reign4  ,it        
happened one time that the children of  

,master ,crewe's acquaintance had a     
fancy dress party4 ,the ,crewes were    
people of fashion who entered constantly
 into social affairs4 ,naturally there  
was much discussion over their son's    
part and costume4 ,it was a happy       
thought which fixed upon the character  
of ,henry ,,viii41 for the boy's round  
face1 square shoulders1 and sturdy frame
 were well fitted for the rle4          
,evidently no pains were spared to make 
the costume historically correct4       
,holbein's portrait was the costumer's  
model1 and every detail was faithfully  
followed4 ,the boy is dressed in the    
fashion of the sixteenth century in     
doublet and hose4 ,this consists first  
of a richly embroidered waistcoat1 the  
most effective part of the dress4 ,the  
sleeves are made of the same material   
and are gathered at the wrists in a     
ruffle4 ,the lower part of the doublet  
is a skirt falling just above the knees4
  ,illustration3 ,,master ,,crewe ,,as  
,,henry ,,viii4  ,over all is flung a   

handsome mantle2 but this is drawn apart
 in front to display the smart waistcoat
 to full advantage4 ,a broad-brimmed hat
 set jauntily on one side1 and trimmed  
with a long feather1 completes the      
costume4 ,by way of ornament is worn a  
big jewelled collar and a long chain    
with locket4 ,a short sword swings from 
the girdle1 and on the left leg is the  
garter1 which is the badge of membership
 in the ancient ,order of the ,garter1  
of which ,henry ,,viii4 was the tenth   
sovereign member4 ,this is of dark blue 
ribbon edged with gold1 and bearing in  
gold letters the motto ,honi soit qui   
mal y pense4#d  ,footnote #d3 ,evil to  
him who evil thinks4  ,it is one thing  
to have a perfect costume1 and another  
to understand the rle4 ,master ,crewe   
not only looks his part1 but he acts it 
as well4 ,he has not failed to take in  
all the points of the portrait1 and     
imitates the pompous attitude to        
perfection4 ,he stands with feet wide   
apart1 grasping his gloves in the right 

hand and supporting the other on the    
sash4  ,he is a bright boy1 who enters  
into the spirit of the game1 and it     
tickles him hugely to play the part of a
 despot4 ,but while he is ,henry ,,viii4
 in miniature1 he is ,henry ,,viii4     
without the king's coarseness1 and in   
the place is a child's innocent         
pleasure4 ,it was no wonder that his    
parents1 delighted with the success of  
the costume1 wished to have a portrait  
made4  ,the boy is painted as he        
appeared when posing for his admiring   
friends4 ,in his effort to assume a     
lordly air his boyish glee gets the     
better of him1 and he belies the        
character by a broad grin4 ,perhaps he  
has caught the twinkle in his father's  
eye1 or his mother's suppressed smile1  
and he can keep serious no longer4      
,bravo6 cries the audience1 and he      
smiles in innocent delight at his       
success4  ,his pet dogs are in the room1
 and one of them is rather suspicious of
 this strange young prince4 ,he sniffs  

cautiously at his legs1 for though his  
eyes deceive him1 his sense of smell    
cannot be mistaken4  ,through a window  
in the rear we get a glimpse of the park
 beyond1 which adds much to the beauty  
of the picture4 ,as we shall see in     
other pictures of this collection#e an  
interior gives a sense of imprisonment  
unless it contains some opening4 ,the   
mass of bright color which the landscape
 makes in the upper right corner is     
balanced in the lower left corner by a  
cloak thrown over a chair4  ,footnote   
#e3 ,see ,lady ,cockburn and her        
,children1 and the ,duchess of          
,devonshire and her ,child4  ,reynolds  
painted so many fine portraits of boys  
that it is hard to say that this or that
 one is best1 though some have preferred
 ,master ,crewe to all others4#f ,we    
shall see by-and-by in ,master ,bunbury1
 and the ,cupid1 that the painter       
understood boy nature pretty thoroughly4
 ,this rollicking ,master ,crewe is not 
so serious as ,master ,bunbury1 nor so  

sly as the ,cupid boy2 he is in fact a  
typical ,english lad1 sturdy1 masterful1
 frank1 and good-natured4  ,footnote #f3
 ,leslie and ,taylor say that none of   
his many admirable boy pictures is so   
consummate4     ,,iii  ,,lady ,,cockburn
 ,,and ,,her ,,children   ,a pretty     
story is told of a ,roman matron named  
,cornelia1 who was one day entertaining 
a visitor1 when the conversation led to 
the subject of jewels4 ,these are my    
jewels1 said the hostess1 and turned to 
show the stranger her beautiful         
children4 ,the story comes readily to   
mind as one looks at this portrait of   
,lady ,cockburn and her ,children4      
,indeed1 the picture was once engraved#g
 under the fanciful title of ,cornelia  
and her ,children4 ,like the ,roman     
matron of old1 the ,english mother      
gathers her children about her as the   
choicest jewels of her possession4 ,her 
stately beauty is of the classic sort1  
and the children are as charming as     
,english children are reputed to be4    

,footnote #g3 ,by ,tomkins1 in #agib4   
,all three are boys4 ,the eldest is     
,james1 who kneels on his mother's lap1 
playfully grasping the mantle about her 
neck1 and supported in his precarious   
position by her hand placed firmly on   
his back4 ,he has the sweet expression  
which betokens a sunny nature1 and his  
well-cut features are such as make a    
handsome man4 ,he was his father's heir 
and namesake1 succeeding him as the     
seventh baronet4  ,the rogue peeping    
over his mother's shoulder is ,george4  
,though his features are less regular   
than his elder brother's1 he is none the
 less attractive1 for he is a jolly     
little fellow4 ,when he grew to manhood 
he entered the navy and became an       
admiral4 ,it was on his ship1 the       
,northumberland1 that ,napoleon was     
conveyed to the island of ,st4 ,helena  
to end his days in exile4 ,in the course
 of time ,admiral ,cockburn became the  
eighth baronet of the name4  ,the baby  
lying on the mother's lap is ,william4  

,in after years he entered the ministry1
 married a daughter of ,sir ,robert     
,peel1 and became ,dean of ,york4 ,it   
was fitting that one of ,lady           
,cockburn's sons should enter the       
,church1 as her father1 ,dr4 ,ayscough1 
had been ,dean of ,bristol4 ,upon the   
death of his elder brother1 the ,dean of
 ,york became the ninth baronet4  ,the  
picture shows the three children in a   
game of hide-and-seek4 ,george1 who is  
evidently the leader of the fun1 dodges 
up and down behind his mother1 throwing 
little ,william into an ecstasy of      
delight4 ,as the round face appears     
again over the shoulder1 the baby       
reaches up his fat little hand to clutch
 his brother's arm1 fairly doubling     
himself up in his pleasure1 and grasping
 one foot in his other hand4  ,james    
enjoys the play more quietly4 ,it is    
quite likely that he has been hiding his
 face in his mother's mantle1 but now he
 pauses to watch his little brother's   
amusement1 his lips parted in a smile1  

his finger directing the baby where to  
look4  ,illustration3 ,,lady ,,cockburn 
,,and ,,her ,,children  ,the mother     
turns her face towards that of her      
eldest son1 scanning it closely4  ,the  
action in the picture is so delightfully
 natural that we do not at first realize
 how difficult a problem is solved in   
the arrangement of the four figures4 ,an
 amateur photographer places his sitters
 in a stiff row and directs them all to 
look towards a single point4 ,the master
 artist conceives of some action which  
shall engage the attention of all1 and  
form a natural connection between them4 
,thus1 in our picture1 the interest of  
the game binds the figures together4    
,the baby lifts his face to that of the 
mother and brother2 the mother turns to 
the child at her right1 and the latter  
looks down at the baby1 thus completing 
the circle4  ,the lines of the          
composition are also so disposed as to  
bring the figures together in a close   
unity4 ,follow the outer edge of the    

figure of ,james at the left2 trace     
across the mother's lap the line made by
 the border of her mantle1 and continued
 along the baby's body4 ,from the       
mother's elbow move the pencil past the 
baby's head and along his out-stretched 
arm till the line ends at the top of    
,george's head1 and from this point     
carry a somewhat irregular line across  
to the head of ,james4 ,we have thus    
traced the parallelogram which incloses 
the group4  ,the centre of the group is 
somewhat at the left of the centre of   
the canvas1 and the picture would seem  
one-sided were it not for the details of
 the background at the right4 ,here the 
painter has represented a parapet       
supporting a marble pillar1 at the base 
of which a large macaw perches4 ,beyond 
is seen a beautiful landscape4 ,this    
spot of color brings the composition    
into perfect balance4 ,more than this1  
the view thus opened relieves the       
crowded effect of the compact grouping4 
,the surrounding space would not seem   

large enough for the four figures were  
it not for this added depth of space1   
which gives the eye a long distance to  
traverse4  ,the composition is as fine  
in color as it is in lines and masses4  
,it is a splendid tawny color harmony1  
formed by the red of the curtain1 the   
warm flesh tints1 the rich orange yellow
 of the outer robe of satin bordered    
with white fur1 and the gaudy plumage of
 the macaw4#h  ,footnote #h3 ,claude    
,phillips4  ,with so many great artistic
 qualities1 it is no wonder that the    
portrait has always been admired4 ,upon 
its completion in #aggd it was sent to  
the ,royal ,academy to be exhibited1 and
 when it was first brought into the     
room1 all the painters present1 struck  
with admiration1 burst into a tumult of 
applause and handclapping4 ,even after  
this the painstaking painter probably   
added some finishing touches and        
inscribed his name and the date1 #agge1 
upon the ornamental border of the lady's
 mantle4     ,,iv  ,,miss ,,bowles   ,a 

little girl and her dog are playing     
together in a wooded park4 ,the place is
 a fine playground1 with its soft1      
grassy carpet1 and noble old trees4 ,it 
is the sort of park which adjoins       
country houses of wealthy old ,english  
families1 where years of training have  
brought to perfection the trees planted 
by previous generations4 ,here and      
there1 through spaces among the         
branches1 shafts of sunlight illumine   
the shady spot4  ,the child herself     
seems like some woodland sprite4 ,she is
 bubbling over with fun1 and is scarcely
 still a minute4 ,her spaniel is a gay  
playfellow1--a beautiful creature1 with 
long silky hair and drooping ears4 ,he  
is intelligent1 too1 and devoted to his 
mistress4  ,she leads him a merry chase1
 darting in and out among the big trees 
which hide her from him4 ,he bounds     
after her1 loses her a moment1 and then1
 as she reappears1 leaps upon her with  
delight4  ,in the midst of the frolic   
the child's attention is attracted by a 

group of boys who have entered the park1
 all unobserved1 and have begun a game  
of cricket4 ,on the instant she drops on
 her knees on the grass1 seizes the dog1
 and1 lest he should interrupt the      
sport1 clasps her arms tight around his 
neck1 to hold him fast4 ,the poor       
spaniel is nearly choked1 but patiently 
yields to the caprice of his young      
mistress while she watches the game with
 dancing eyes4 ,from her gleeful        
expression one would fancy that the     
winner was her favorite4  ,some such    
simple incident as this ,sir ,joshua    
,reynolds must have had in mind when    
painting the portrait of ,miss ,bowles2 
for every picture of his seems to carry 
a story with it1 each one thought out to
 fit the circumstances and character of 
the sitter4 ,the lively ,miss ,bowles1  
as we see1 is totally unlike the demure 
,miss ,boothby4 ,they are both charming 
children2 but1 while ,penelope would    
love to nestle in her mother's arms1    
,miss ,bowles would dance coyly away4   

,while ,penelope would sit in doors by  
the hour1 contented with her sewing1    
,miss ,bowles would be skipping about   
the park like a little hoyden4 ,the     
picture of ,miss ,bowles is1 therefore1 
full of action2 both child and dog pause
 only an instant1 caught1 as it were1 in
 the midst of their play4 ,the attitude 
of ,penelope ,boothby1 on the other     
hand1 is one of repose1 as suits the    
tranquil nature of the little girl4 ,the
 background of each picture is likewise 
perfectly appropriate4 ,miss ,penelope's
 placid figure is seen against a leafy  
screen which nearly closes in the       
picture2 but ,miss ,bowles needs plenty 
of space for her romps1 and has a whole 
park to herself4  ,the painter's        
acquaintance with little ,miss ,bowles  
began very pleasantly4 ,her parents1    
proud of their lovely daughter1 were    
planning to have her portrait made1 and 
had chosen ,romney for the painter4 ,a  
friend of theirs--,sir ,george          
,beaumont--induced them to change their 

minds and engage ,reynolds4 ,even if the
 portrait faded in time1 as they were   
afraid it might1 ,sir ,joshua's pictures
 sometimes having that fault1 it would  
still be more beautiful than if painted 
by any other hand4  ,illustration3      
,,miss ,,bowles  ,at ,sir ,george's     
suggestion the painter was first invited
 to dinner1 that he might see the child4
 ,she appeared at dessert1 and was      
placed beside the stranger at the table4
 ,it did not take long for the two to   
become acquainted1 for the painter      
immediately began to amuse the little   
girl with stories and all sorts of      
tricks4 ,calling her attention to some  
object on the other side of the room1 he
 would steal her plate while she was    
looking away1 and pretend to be greatly 
surprised at its disappearance4 ,they   
would then try to find it1 but in vain1 
until1 when she was again off her guard1
 he would slip it into place1 and there 
would be a great sensation over its     
discovery4 ,was there ever a jollier man

 for a little girl to dine with6  ,the  
next day it was proposed that ,miss     
,bowles should be taken to visit her new
 friend1 and she was of course delighted
 to go4 ,when the party reached the     
studio1 the child's face was shining    
with expectancy as she greeted the      
painter4 ,it was this expression which  
,reynolds has caught so perfectly on his
 canvas1 and which makes the little     
girl's face seem actually smiling into  
ours4  ,he was equally successful in    
catching a natural pose1 watching her   
closely as she danced about the room4   
,it was a theory of his that the        
unconscious movements of a child are    
always graceful1 and we may be sure that
 ,miss ,bowles's position here is one of
 her own invention4 ,her skirt is spread
 out a little at one side1 balancing1 as
 it were1 the figure of the dog         
opposite4 ,the lines inclosing the      
entire group form a pyramid4  ,the      
original painting is still beautiful in 
color1 being among the best preserved of

 ,reynolds's works4 ,critics have       
pronounced it a matchless work that     
would have immortalized ,reynolds had he
 never painted anything else4     ,v    
,,master ,,bunbury   ,by a pleasant     
coincidence the year #agfh brought to   
,reynolds's studio for portrait sittings
 two young people who began an          
acquaintance at this time which had a   
romantic ending4 ,they were ,miss       
,catherine ,horneck and ,henry ,william 
,bunbury1 who were married a few years  
later1 and were the parents of the      
little boy in our picture4  ,miss       
,horneck was one of two pretty sisters  
who1 upon their father's death1 had     
become wards of ,sir ,joshua1 the family
 being old ,devonshire acquaintances of 
his4 ,they were now living in ,london   
with their mother1 and were great pets  
in society4 ,goldsmith1 who knew them   
well1 playfully named ,miss ,catherine  
,little ,comedy from the resemblance    
between her face and that of the        
allegorical figure of ,comedy in one of 

,reynolds's portraits of ,garrick4  ,mr4
 ,bunbury was a gentleman of family and 
fortune1 who had unusual artistic       
talent4 ,his special forte was in       
humorous subjects and caricatures1 and  
his works were sought and praised by    
connoisseurs4  ,reynolds must have      
followed with affectionate interest the 
lives of these young friends whose      
attachment had been fostered in his     
studio4 ,he always felt a fatherly      
regard for ,mrs4 ,bunbury and a generous
 admiration for her husband's artistic  
work4 ,their elder son1 the boy of our  
picture1 was born in #aggb1 and was     
named ,charles ,john4 ,the painter      
visiting his friends saw the child grow 
out of baby-hood and become a sturdy    
boy4 ,he was a beautiful child1 with    
large eyes set wide apart in his round  
face4 ,his expression was delightfully  
frank and honest4 ,when he was nine     
years old the portrait was painted which
 is reproduced in our illustration4     
,the boy sits under a tree in a pleasant

 landscape looking intently before him  
at some object4 ,though he seems to have
 been carefully dressed for some special
 occasion he has been enjoying himself  
in boy fashion in spite of that4 ,his   
ringletted hair is blown about by the   
wind1 and the coat is unbuttoned at the 
throat1 as he drops down to rest1 hot   
and panting from some vigorous exercise4
  ,his chubby hands rest on his knees1  
and his eyes are fixed on something     
directly in front of him4 ,he does not  
seem to be a boy given to day-dreaming1 
and he is much too active to sit still a
 long time4 ,it must be something very  
interesting which awakens his curiosity4
 ,perhaps a bumble-bee1 buzzing in and  
out the bell-shaped blossoms of some    
sweet wild flower1 catches his eye1 and 
he almost holds his breath and watches  
it4  ,illustration3 ,,master ,,bunbury  
,the boy's dress looks very quaint to   
our modern eyes4 ,the trousers and      
waistcoat are made in one piece1 and the
 velvet coat1 with its wide skirt1 seems

 a garment made for a middle-aged man4  
,as we have already seen1 the children  
of this time dressed as miniature copies
 of their elders4 ,but while fashions in
 dress have changed1 the child's nature 
is about the same in every country and  
period4 ,the eighteenth-century boy1 in 
spite of his grown-up clothes1 was fond 
of all sorts of out-of-door games4      
,master ,bunbury could doubtless match a
 boy of his age to-day at marbles1 tops1
 kites1 battledore1 and hop-scotch1 and 
teach him besides many now-forgotten    
sports1 as bally-cally1 chucks1 sinks1  
and the like4  ,the modern ,american    
schoolboy1 studying the history of our  
own country1 may be interested to know  
that this portrait of an ,english boy1  
who was a subject of ,george ,,iii41 was
 painted five years after the signing of
 the ,declaration of ,independence4 ,one
 of the signers had a son who was of    
nearly the same age as ,master ,bunbury1
 a boy named ,william ,henry ,harrison1 
who afterwards became the president of  

our republic4 ,if we possessed a        
portrait of ,harrison at the age of     
nine1 it would be interesting to compare
 the two boyish contemporaries of the   
old and the new country4 ,master        
,bunbury1 as the son of an ,english     
aristocrat1 must needs have regarded our
 colonists as troublesome rebels1 while 
on his part young ,harrison looked upon 
the ,english as tyrants4  ,bunbury      
finally entered the ,english army and   
became a general officer4 ,he was sent  
to the ,cape of ,good ,hope while the   
,british were holding possession there  
in behalf of the ,dutch1 and there he   
died in the fullness of his early       
manhood in #agih4  ,the portrait of     
,master ,bunbury was painted a few years
 after that of ,miss ,bowles1 and       
,reynolds here repeated the same        
arrangement which had been so successful
 before4 ,it differs only in that the   
entire figure of ,master ,bunbury is not
 seen1 being cut off in what is called  
three quarters length1 just below the   

knees4 ,in both pictures the lines of   
the composition follow the same         
pyramidal form1 and in both also the    
park-like surroundings extend into an   
indefinite distance1 so that the eye may
 follow with pleasure the long vista4   
,both pictures suggest the same idea of 
a child pausing in play to look directly
 out of the canvas at some distant      
object4 ,yet the painter has shown a    
perfect understanding of the difference 
in the temperament of the two children1 
the girl1 graceful1 quick1 mischievous1 
the boy1 sturdy1 rather serious1 and    
with a mind eager for information4  ,the
 portrait of ,master ,bunbury was       
evidently painted by ,reynolds for his  
own pleasure1 and retained by him during
 his lifetime1 after which it passed by 
bequest to the boy's mother4     ,,vi   
,,mrs4 ,,siddons ,,as ,,the ,,tragic    
,,muse   ,the name of ,mrs4 ,siddons is 
one of the most distinguished in the    
history of ,english dramatic art4 ,for  
thirty years she was unsurpassed in her 

impersonation of the tragic heroines of 
,shakespeare4 ,her first great success  
was in the season of #aghb1 when she    
appeared for the second time on the     
,london stage4 ,she was then about      
twenty-seven years of age1 and had      
devoted years of arduous study to her   
profession4 ,though gifted by nature    
with strong dramatic instincts inherited
 from generations of players1 her powers
 developed slowly4 ,the rles which she  
acted were of the more serious sort1    
which required maturity and experience  
for interpretation4 ,her personal       
appearance was eminently fitted for     
tragic parts4 ,she had a queenly        
presence1 a countenance moulded in noble
 lines1 a deep-toned measured voice1 and
 an impressive enunciation4 ,in private 
as well as in public she commanded the  
highest admiration4 ,though all ,london 
was at her feet flattery could not spoil
 her4 ,her children adored her1 her     
friends found her the soul of sincerity1
 and all the world honored her noble    

womanhood4  ,it was while she was still 
on the threshold of her great career    
that ,reynolds painted her portrait as  
the ,tragic ,muse4  ,in the old ,greek  
mythology every art had a corresponding 
goddess or muse who inspired the        
artistic instincts in human hearts4     
,there was1 for instance1 a muse of     
tragedy1 called ,melpomene1 a muse of   
the dance1 ,terpsichore1 and so on      
through the nine arts4 ,the great       
sculptors used to make statues of these 
muses1 trying to express in each the    
highest ideal of the particular art     
represented4  ,it was in imitation of   
this old custom that ,reynolds conceived
 the idea that ,mrs4 ,siddons1 as the   
greatest of tragediennes1 would         
appropriately impersonate the muse of   
tragedy4#i ,the story is related that   
when she came to his studio for the     
first sitting the painter took her by   
the hand and led her to the chair1      
saying in his courtly way3 ,ascend your 
undisputed throne2 bestow on me some    

idea of the tragic muse4 ,whereupon she 
instantly assumed the attitude in which 
she was painted4 ,among ,michelangelo's 
frescoes in the ,sistine ,chapel there  
is a figure of the prophet ,isaiah1     
whose pose is quite similar1 and may    
have suggested both to painter and      
sitter the idea of the ,tragic ,muse4   
,in any case the attitude which ,mrs4   
,siddons assumes is entirely            
characteristic4  ,footnote #i3 ,russell 
had already celebrated ,mrs4 ,siddons as
 the ,tragic ,muse in his ,history of   
,modern ,europe1 and ,romney had        
previously painted ,mrs4 ,yates in the  
same character4  ,illustration3 ,,mrs4  
,,siddons ,,as ,,the ,,tragic ,,muse    
,the expression of her face shows the   
stress of strong emotion--the struggle  
of a noble soul in a conflict of forces 
which must end in tragedy4 ,her hair is 
brushed back from the face and          
ornamented with a tiara like a royal    
diadem4 ,a rich rope of pearls falls    
across her beautiful neck and is        

gathered in a knot on her bodice4 ,a    
mantle lies across her lap draped       
somewhat like that in the portrait of   
,lady ,cockburn1 and1 like it1 inscribed
 with the name of the painter1 who      
gallantly said that he could not resist 
the opportunity of going down to        
posterity on the hem of her garment4#aj 
,footnote #aj3 ,the compliment has      
sometimes been referred to the portrait 
of ,lady ,cockburn1 but the incident is 
related by ,northcote as told him by    
,mrs4 ,siddons herself in regard to her 
own portrait4  ,behind her chair are two
 allegorical figures representing ,crime
 and ,remorse1 the two primary causes of
 tragedy4 ,in the full face of the one  
at her left we can trace the features of
 ,sir ,joshua himself1 distorted though 
they are into the expression of a       
criminal4  ,the color of the original   
painting has a sombre magnificence which
 is in keeping with the seriousness of  
the subject4 ,the painting of the head  
and bust places it among the finest     

works of ,reynolds4  ,the portrait shows
 a remarkable insight on the part of the
 painter into the character of ,mrs4    
,siddons4 ,she had not at that time     
played any of her great ,shakespearean  
rles1 but ,reynolds seemed to anticipate
 her power4 ,he followed her career with
 unfailing interest and always made a   
point of attending her first appearances
 and benefits1 sitting among the        
musicians in the orchestra4 ,when she   
prepared for the character of ,lady     
,macbeth he helped her plan the costumes
 and sat rapt and breathless during her 
first performance4 ,this was generally  
considered her grandest effort1 and she 
used herself to say that after playing  
it thirty years she never read over the 
part without discovering in it something
 new4 ,in this character she bade       
farewell to her profession ,june #bi1   
#ahab4 ,it was said by a contemporary   
critic that there was not a height of   
grandeur to which she could not soar1   
nor a darkness of misery to which she   

could not descend2 not a chord of       
feeling from the sternest to the most   
delicate which she could not cause to   
vibrate at her will4     ,,vii          
,,angels' ,,heads   ,our thoughts of    
angels are naturally connected with     
thoughts of children4 ,jesus once spoke 
of the little ones as those whose angels
 always behold the face of the heavenly 
,father4 ,their innocence is the best   
type we have on earth of the purity of  
beings of a higher sphere4 ,often when  
we try to describe the beauty of some   
little child1 we use the word angelic4  
,this explains why ,sir ,joshua         
,reynolds when called to paint the      
portrait of a little girl conceived the 
pretty fancy of the picture of ,angels' 
,heads4#aa ,the child's fair face       
suggested that of an angel4 ,she had    
golden hair and blue eyes1 and a very   
sweet little mouth4 ,it was a face which
 was so charming from every point of    
view that he painted it in five         
positions4 ,grouping the heads in a     

circle1 he added wings after the manner 
of the cherubs of the old ,italian      
masters1 surrounded them with clouds1   
and lighted the composition with a broad
 ray of light streaming diagonally      
across the canvas4  ,footnote #aa3      
,originally called ,a ,cherub ,head in  
,different ,views4  ,the child's hair   
falls about the face in straight        
dishevelled locks1 and it is not easy to
 tell at once whether it is a boy or a  
girl4 ,in reality the original was      
little ,miss ,frances ,isabella ,ker    
,gordon1 only child of ,lord ,william   
,gordon and his wife ,frances4  ,in each
 position of the five heads the         
expression varies1 and looking from one 
to another1 we may trace through the    
series the child's changing moods4 ,let 
each face tell its own story1 and       
perhaps we may learn something of the   
workings of the mind behind it4  ,here  
at the lower left side the child        
suddenly sees some new object1 a strange
 bird or flower1 and fixes her eyes upon

 it4 ,she has a wide awake1 inquiring   
mind1 quick to notice all that life has 
to offer1 and she is now in an observing
 mood4 ,the expression of the face just 
above is very thoughtful and perhaps a  
little puzzled4 ,life brings many hard  
questions to the serious child1 and this
 is one of the little girl's pensive    
moods4 ,the two upper faces at the right
 show quite another expression4 ,the    
lips of both are parted1 and they seem  
to be singing4 ,one is reminded of the  
rapturous faces sometimes seen among    
choir boys when the music lifts them out
 of their surroundings4 ,all childish   
troubles and questions are forgotten1 as
 the two faces1 flooded with light1 seem
 to look into the glory of heaven4  ,and
 now the head is turned and the child   
gazes directly out of the picture with  
far-seeing eyes4 ,the expression is of  
perfect contentment4 ,it will be noticed
 that the position of the last head is  
precisely like that of ,master ,bunbury1
 and there are points of resemblance    

between the two faces4 ,the mood and    
expression are1 however1 quite unlike in
 the two children4 ,the boy's eyes are  
directed towards some actual object1 but
 the eyes of the child here are those of
 a dreamer fixed upon some vision of the
 imagination4  ,illustration3 ,,angels' 
,,heads  ,a portrait study like the     
,angels' ,heads combines in a novel way 
the many-sided character of the child4  
,the mother watching a little daughter  
from day to day feels that she has half 
a dozen little girls in one4 ,a romp1 a 
chatterbox1 a living question mark1 a   
philosopher1 a dreamer1 a veritable     
angel1 all these and many more change   
places rapidly in the child's mood4 ,she
 is taken to the photographer's for her 
portrait1 and the negative shows only a 
sober little face intently anxious to   
look pleasant4 ,a more fortunate        
photographer may perhaps catch her      
expression of eager interest as some    
curious new toy is shown her4 ,but that 
innocent smile of happiness that comes  

into her face when singing1 or that     
far-away look of the dreamer which she  
wears in the quiet twilight1 is quite   
beyond the photographer's skill4        
,reynolds knew the secret of            
representing these rarer and more       
delicate expressions4 ,he was by nature 
a true lover of children1 and many years
 of experience had taught him to        
understand their ways4 ,lady ,gordon    
must have felt rich indeed to have      
instead of one commonplace picture five 
of the dearest faces her little girl    
could show1 preserved on a single       
canvas4  ,it is true that something of  
the child's individuality is lost by the
 sacrifice of the figure4 ,when we look 
at the other child portraits of our     
collection we notice how much is        
expressed in the attitude and gesture of
 which we here have no indication4 ,yet 
the picture shows how truly the face is 
a mirror of the soul1 and as an         
interpretation of the child's mind it is
 unique among ,reynolds's works4  ,the  

original picture is painted in very     
delicate colors1 and is one of the best 
preserved of ,reynolds's canvases4 ,miss
 ,frances died unmarried in #ahca1 and  
ten years later her mother presented the
 picture to the ,english ,national      
,gallery4     ,,viii  ,,the ,,duchess   
,,of ,,devonshire ,,and ,,her ,,child   
,georgiana1 the ,duchess of ,devonshire1
 was one of the most celebrated beauties
 of her time4 ,she was the daughter of  
the ,earl of ,spencer1 and was          
married#ab at the age of seventeen to   
,william1 ,duke of ,devonshire1 the     
first match in ,england4  ,footnote #ab3
 ,march #bh1 #aggd4  ,the young duchess 
was as clever as she was beautiful4 ,she
 was fond of history1 music and drawing1
 and she wrote verses both in ,french   
and ,english4#ac ,she was an ardent     
admirer of the great ,johnson1 and in a 
circle of his listeners hung with       
breathless interest upon his            
conversation4 ,her charming manners1 her
 wit1 wealth1 and rank drew a host of   

admirers about her1 and she became the  
leader of ,english society4 ,whatever   
the ,duchess of ,devonshire did1 or     
whatever the ,duchess of ,devonshire    
wore1 at once became the fashion4 ,she  
opened the fashionable balls1 she was a 
leading spirit in the ,ladies' ,club1   
and she set the standard for the height 
of headdresses and the length of        
feathers6  ,footnote #ac3 ,a long poem  
by the ,duchess was ,the ,passage over  
,mt4 ,gothard1 celebrated in            
,coleridge's ,ode to ,georgiana4  ,she  
was not content with merely social      
triumphs1 but her influence reached even
 into politics4 ,her most remarkable    
political exploit was to secure the     
relection of ,charles ,james ,fox to    
,parliament 7#aghd7 from the borough of 
,westminster4 ,for this she has         
sometimes been called ,fox's ,duchess1  
but she is usually known as the         
beautiful ,duchess4  ,sir ,joshua       
,reynolds was among the fortunate number
 upon whom the beautiful ,duchess       

bestowed her smiles4 ,he had first      
painted her portrait in her girlhood and
 again as a young wife but two years    
married 7#aggf74 ,he was afterwards     
often honored with invitations to her   
house and enjoyed the hospitality of her
 brilliant entertainments4  ,at length  
7,june1 #aghd7 a daughter was born to   
the ,duke and ,duchess of ,devonshire1  
whom they christened ,georgiana         
,dorothy4 ,the parents were so happy in 
their baby that the mother founded a    
charitable school in her honor4 ,the    
child was a winning little creature1    
round and rosy and full of spirits4     
,when she was about two years old the   
,duchess again called her former        
portrait painter's services into use1   
desiring a picture of herself and       
daughter4  ,by this time1 the girlish   
beauty of the ,duchess had faded1 and   
her slender figure had become somewhat  
stout4 ,but the new grace of motherhood 
was now added to her other charms4 ,as  
she had been the model of fashion for   

all the ladies of ,england in matter of 
dress1 she now became a model of        
motherhood for their imitation4         
,fashionable women usually gave over the
 care and nourishment of their children 
to nurses1 but the ,duchess of          
,devonshire took upon herself these     
tender maternal duties4 ,thus mother and
 child were constantly together and     
became boon companions4 ,the ,duchess   
had a very lively nature1 and a child   
could not wish a gayer playmate4        
,illustration3 ,,the ,,duchess ,,of     
,,devonshire ,,and ,,her ,,child  ,it is
 in one of their merry romps together   
that the painter has represented them4  
,the mother is sitting on a sofa with   
the child on her knee1 and the two are  
playing the old game of ,ride a ,cock   
,horse to ,banbury ,cross4 ,to and fro  
on her imaginary steed swings the little
 rider1 supported by the encircling arm 
of the mother4 ,it is rare sport1 and   
the child kicks her bare feet and throws
 up her chubby arms gleefully4 ,we can  

fancy we hear the baby voice gurgling   
with delight1 and the mother smiles at  
the child's pleasure4  ,some years      
afterward1 the poet ,coleridge1 writing 
an ode to the beautiful ,duchess1 pays a
 tribute to her motherhood which forms a
 fitting comment on our picture3--      
,you were a mother6 at your bosom fed   
,the babes that loved you4     ,you1    
with laughing eyes1     ,each twilight  
thought1     ,each nascent feeling read 
,which you yourself created4  ,it is    
interesting to compare the picture with 
that of ,lady ,cockburn and her         
,children which we have already studied4
 ,the lighting is managed in the same   
way1 a curtain being drawn aside at the 
right1 that we may look beyond the      
parapet into the open4  ,it is an       
important principle in art that in      
representing any inclosed space like the
 interior of a room1 there should be    
some device for increasing the length of
 the perspective4 ,the imagination      
delights in distance1 and feels         

imprisoned where there is no opening in 
an inclosure4  ,the principal lines of  
this composition run diagonally from    
corner to corner1 intersecting in the   
centre4 ,some of these are so clearly   
defined that we can easily trace them4  
,one extends from the uplifted right    
hand of the ,duchess across the slanting
 line of her bodice and along the lower 
edge of the child's frock4 ,the lines of
 her left arm run parallel with this4   
,in the other direction the uplifted    
arms of the baby1 as well as the edge of
 the curtain1 indicate the lines which  
cross these4     ,,ix  ,,hope   ,we have
 naturally come to think of ,reynolds as
 chiefly a portrait painter4 ,it was1   
indeed1 by his work in portraiture that 
his name ranks among the great masters4 
,yet he made various interesting        
excursions into other fields4 ,we may   
see what charming fancy pictures he     
sometimes painted in ,cupid as ,link    
,boy and ,the ,strawberry ,girl4        
,historical pictures he also attempted1 

but not so successfully4 ,religious and 
allegorical subjects he tried           
occasionally1 and it is to illustrate   
his work of this kind that our picture  
of ,hope is chosen4  ,the figure is a   
part of a large decorative scheme for a 
stained window4 ,the central compartment
 is devoted to the subject of the       
,nativity1 and shows a group of the     
,virgin mother with the ,christ child in
 the manger1 ,joseph and the angels4 ,in
 imitation of ,correggio's famous       
painting of the same subject1 called the
 ,notte1 the light of the picture       
proceeds from the ,babe4 ,two smaller   
compartments on either side are filled  
with shepherds coming to worship4 ,below
 is a series of seven panels1 containing
 the figures of ,faith1 ,hope1 and      
,charity1 and the four cardinal         
virtues--,temperance1 ,justice1         
,fortitude1 and ,prudence4  ,this plan  
of subjects was made by ,reynolds early 
in #aggh1 to meet an order from ,new    
,college1 ,oxford1 for a window design  

to be executed for their chapel4 ,hope  
was one of the first figures that he    
painted1 and in #aggi he was ready to   
exhibit1 at the ,royal ,academy1 the    
,nativity1 with ,faith1 ,hope1 and      
,charity4  ,the three fundamental       
elements of ,christian character have   
been associated together ever since the 
fifteenth chapter of first ,corinthians 
was written4 ,artists and poets have had
 a fashion of personifying them as      
allegorical figures4 ,certain symbols   
have even been invented to correspond to
 each--the cross for faith1 the anchor  
for hope1 and the heart for charity4    
,thus the imagination has been called to
 the aid of religion in impressing      
,christian teaching4  ,reynolds tried to
 put into this figure the various       
qualities which make up our thought of  
hope4 ,a pretty young woman steps forth 
from a region of clouds and lifts her   
face and hands towards the light4       
,through an opening in the sky a broad  
beam of sunshine falls upon her4        

,following its direction1 she seems to  
be looking through the opening into some
 glad vision beyond4 ,like the figure of
 ,hope in ,swinburne's sonnet1 she      
,looks ,godward1 past the shades where  
blind men grope     ,round the dark door
 that prayers nor dreams can ope1       
,and makes for joy the very darkness    
dear4  ,in the lower left-hand corner we
 may barely make out the portion of an  
anchor4 ,the meaning of the old symbol  
is that hope keeps the soul firm1 as an 
anchor holds the ship4 ,the face of     
which we have a glimpse is girlish and  
innocent2 the figure is full of         
buoyancy4 ,the left arm and the uplifted
 hands are very delicately modelled4    
,illustration3 ,,hope  ,in a painting of
 this kind the artist is free to follow 
his own bent in the matter of dress1 no 
longer hampered1 as in his portraits1 by
 the follies of fashion4 ,it is         
delightful to see here the exquisite    
simplicity of the gown falling in long1 
beautiful lines4 ,the only adornment is 

a gauzy scarf1 twisted about the bodice 
and falling on each side in spiral      
folds4 ,one is reminded of the swirling 
scarfs in our ,american ,vedder's       
designs1 having1 as here1 a purely      
decorative purpose in the scheme4 ,the  
hair is gathered up on the head in a    
loose knot1 from which the end escapes  
in a curl4  ,we are not looking here for
 any strong delineation of character1 as
 in a portrait1 and the painter did not 
even think it worth while to show much  
of ,hope's face4 ,the panel is to be    
studied as a work of decorative art1 and
 its beauty lies in its scheme of color1
 the contrast of light and shade1 and   
the graceful patterns traced by the     
lines4 ,these are drawn in long flowing 
curves4 ,the strongest are those which  
run from the upper left to the lower    
right corner1 to emphasize the motion of
 the figure towards the left4 ,the      
outline of the cloud billows which      
separate the light from the darkness are
 counter curves cutting across          

diagonally4  ,we could appreciate the   
lines of the panel even better if we    
could see it in its relation to the     
entire plan4 ,each figure is drawn with 
reference to its place in the great     
design4 ,though there are so many       
component parts1 they unite to form a   
coherent whole1 the main lines flowing  
together in a harmonious unity4         
,reynolds's design was executed by the  
glass painter ,jervas2 but when the     
window was set in place it was a great  
disappointment4 ,the colors are opaque1 
and can properly be seen only in a      
darkened room2 with the light falling   
through them they are at a great        
disadvantage4 ,nevertheless the window  
is a matter of great pride to the       
fortunate college which possesses it4   
,the original designs1 instead of being 
black and white cartoons1 as another    
artist might have made them1 are        
finished paintings in oil4     ,x       
,,lord ,,heathfield   ,lord ,heathfield1
 the original of this portrait by       

,reynolds1 is famous in ,english history
 as the hero of the siege of ,gibraltar4
 ,gibraltar1 as is well known1 is that  
great rock on the coast of ,spain1      
overlooking the narrow strait which     
forms the passage between the ,atlantic 
,ocean and the ,mediterranean ,sea4 ,in 
the affairs of nations this rock        
occupies a position of great importance1
 forming1 as it were1 a key to the      
,mediterranean4 ,the ,strait of         
,gibraltar is the gateway through which 
all ships must pass to gain the ports of
 southern ,europe1 and it is therefore a
 matter of moment to all the civilized  
world what nation holds possession      
there4 ,nature has made the rock a      
fortress1 and military inventions have  
been added1 through the centuries1 to   
strengthen its defences4 ,it has been   
the scene of some fearful conflicts4    
,gibraltar once belonged to ,spain2 but1
 by the fortunes of war1 it fell into   
the possession of the ,english early in 
the eighteenth century4 ,various        

attempts were made to recover it1 but   
the most determined was that of #aggi1  
when the combined land and sea forces of
 ,france and ,spain were brought to bear
 upon it4 ,the struggle lasted over     
three years2 but1 in the end1 the       
,english were victorious1 and they have 
retained the fortress to this day4  ,the
 governor in command at that time was   
,general ,elliott1 who was afterwards   
rewarded for his services here by being 
raised to the peerage as ,lord          
,heathfield4 ,general ,elliott was      
already well known as a gallant officer4
 ,he had served in the war of ,austrian 
succession1 holding a colonel's         
commission at ,dettingen1 where the     
,english defeated the ,french in #agdc4 
,in the ,seven ,years' ,war he had      
raised and disciplined a splendid corps 
of cavalry1 known as the ,light ,horse4 
,he was now over sixty years old1 and   
his long military career fitted him     
admirably for the command at ,gibraltar4
 ,he showed his calibre in the beginning

 of the siege1 in refusing the keys of  
the fortress1 which were demanded of    
him4 ,with tremendous odds against him1 
his conduct has not inappropriately been
 likened to that of the ,greek hero     
,leonidas1 at ,thermopyl1 when ordered  
by the ,persian king to lay down his    
arms4 ,throughout the defence his       
intrepidity1 resource1 and generalship1 
proved him a man of remarkable military 
genius4  ,the crisis in the siege was   
reached in ,september1 #aghb1 when a    
fleet of ten enormous floating batteries
 opened fire on the fortress1 each one  
manned by a picked crew1 and carrying   
from ten to eighteen guns4 ,these       
batteries were the invention of the most
 skilled ,french engineers1 and were    
believed to be impenetrable to shot4    
,the cannonading began in the morning   
and continued all day4 ,soon after      
midnight nine ships were on fire1 and   
the hostile fleet was doomed4           
,illustration3 ,,lord ,,heathfield      
,general ,elliott showed himself a      

generous victor1 and the men saved from 
the enemy's ships owed their lives to   
him4 ,five years later the returned     
hero1 now become ,lord ,heathfield1 sat 
to ,reynolds for his portrait1 ordered  
by a wealthy admirer--the               
public-spirited ,alderman ,boydell4 ,the
 picture shows the brave old soldier as 
he took his stand in command of         
,gibraltar4 ,some one has said that it  
tells the whole story of the siege4     
,the general grasps firmly the key of   
the fortress1 the chain wound twice     
about his hand1 to emphasize the        
determination of the man to hold it     
against all odds4 ,his sword swings at  
his side1 ready for instant use2 a      
cannon in the rear is pointed downward  
towards the hostile fleet1 and the smoke
 of battle rolls in clouds behind him4  
,far away on the horizon a glimmer of   
light shines on the distant sea4  ,the  
veteran stands as immovable as a        
,stonewall ,jackson4 ,his face is set in
 determined lines1 the lips firmly      

closed1 the head thrown back a little1  
and the eyes steadily fixed on the      
battle4 ,yet the face is not altogether 
stern2 there is much that is kindly and 
noble in the expression4 ,one can fancy 
it in another moment softening into an  
expression of gentleness4  ,it was a    
remarkable feature of his success during
 these terrible months of siege1 that he
 was able to hold the love and loyalty  
of his men4 ,when the spirits of the    
little garrison flagged1 under the      
combined influence of disease and       
impending famine1 his genial presence   
animated them with fresh hope4 ,his     
chivalry was as unfailing as his        
bravery4 ,it is said that his military  
skill and moral courage place him among 
the best soldiers and noblest men       
,europe produced in the eighteenth      
century4  ,the portrait painter makes us
 feel all this in his picture4 ,the     
attitude is so dignified1 the gesture so
 forcible1 the countenance so           
expressive1 that we are impressed at    

once with the dignity of his character4 
,even if we knew nothing of his history 
we should still be sure that this is a  
great man4  ,the last days of the hero  
of ,gibraltar were spent at his home1   
,kalkofen1 near ,aix-la-,chapelle1 where
 he died1 ,july #f1 #agij1 in the       
seventy-third year of his age4     ,,xi 
,,mrs4 ,,payne-,,gallwey ,,and ,,her    
,,child 7,,pickaback7   ,pickaback is   
one of the old1 old games which no one  
is so foolish as to try to trace to its 
origin4 ,we may well believe that there 
was never a time when mothers did not   
trot their children on their knees and  
carry them on their backs4 ,the very    
names we give these childish games were 
used in ,england more than a century    
ago4  ,the picture of ,mrs4             
,payne-,gallwey and her child has long  
been known as ,pickaback1 and will      
always be so called by many who would   
not be at the pains to remember the     
lady's name4 ,it is one of those        
portraits in which the painter1         

impatient of the stiff conventional     
attitudes which were in vogue in his    
day1 drew his inspiration from a simple 
homely theme of daily life4  ,what an   
ingenious painter ,reynolds was1 we     
learn more and more as we examine one   
picture after another and compare them  
with those of his predecessors4 ,he     
liked to have his pictures tell stories1
 and often1 when he had a mother and    
child to paint1 he represented them as  
playing together just as they might have
 done every day in their own nursery or 
garden4#ad ,the ,duchess of ,devonshire 
is seen in her boudoir trotting her baby
 to ,banbury ,cross1 and the ,cockburn  
children are surprised in a game of     
hide-and-seek on their mother's lap4    
,footnote #ad3 ,claude ,phillips refers 
to ,pickaback as one of the most popular
 and representative of this class4      
,mrs4 ,payne-,gallwey seems to have just
 caught her little girl up on her back  
and to be starting off to give her a    
ride4 ,her body is bent slightly forward

 in the attitude of one walking with a  
burden1 and we almost seem to see her   
move4 ,it is as if in another moment    
they would pass across the canvas and   
out of our sight4  ,the incident is so  
precisely like something which happens  
every day that we might think the       
picture was painted yesterday instead of
 in #aggi1 were it not for the few signs
 which indicate its date4 ,for one      
thing1 the lady's hair is arranged over 
a high cushion in the peculiar style    
affected at this period in fashionable  
circles4 ,the style was carried to      
absurd extremes1 ladies vying with one  
another in the height of the coiffure   
until in some cases it actually towered 
a foot and a half in height4 ,over this 
structure were worn nodding plumes of   
feathers1 increasing the fantastic      
effect4  ,we may imagine how these      
unsightly erections vexed the artistic  
soul of ,sir ,joshua ,reynolds4 ,he was1
 however1 enough of an autocrat to take 
liberties with the fashions4 ,when      

obliged to paint the portrait of a lady 
with a head 7for so the coiffure was    
called7 he always managed to modify its 
height and make its outlines harmonize  
with his composition4  ,illustration3   
,,mrs4 ,,payne-,,gallwey ,,and ,,her    
,,child ,,pickaback  ,a side view was of
 course much less objectionable than the
 full front1 in which the face was      
elongated to such strange proportions4  
,in this case the face is turned in     
profile1 and its delicacy is enhanced   
rather than injured by the masses of    
hair which frame it4 ,the hair1 instead 
of being drawn tightly back from the    
forehead in the ordinary way1 waves in  
graceful curves1 which are quite beyond 
the art of any hairdresser4 ,finally1   
the massive effect of the hair is broken
 by the narrow scarf bound about it and 
tied under the chin4 ,the curve of this 
scarf meets the curve of the profile to 
form a beautiful oval4  ,the quaintest  
touch in the picture is the child's big 
hat4 ,the same shape is worn to-day by  

men1 and one might fancy that the baby  
had borrowed her papa's hat for the     
frolic4 ,it is a curious change in      
fashions which transfers any part of a  
little girl's wardrobe to that of a     
grown man4  ,we may feel a little better
 acquainted with the mother and daughter
 to know their names4 ,mrs4             
,payne-,gallwey was ,philadelphia1 the  
daughter of ,general ,de ,lancey1       
,lieutenant ,governor of ,new ,york4    
,the child was ,charlotte1 who          
afterwards married ,john ,moseley4 ,mrs4
 ,gallwey's beauty is of a very fragile 
type1 and her eyes have a languor       
hinting of invalidism4 ,only a few years
 later she died1 while still in her     
young motherhood4 ,little ,charlotte has
 a round healthy face1 but it is a      
little sober4 ,indeed1 both mother and  
child seem to be of a rather dreamy1    
poetic temperament4 ,their mood is      
hardly merry enough for such a game1 but
 they enjoy it in their own way with    
quiet contentment4 ,it is an idealized  

version of the ordinary romping game of 
,pickaback4  ,the composition is based  
on lines which cut the canvas           
diagonally4 ,in one direction is the    
line running the length of the profile  
and continued along the bodice4         
,crossing this at right angles is the   
shorter line made by the two arms4 ,it  
is the first of these which gives       
character to the picture and produces   
the impression of motion which is so    
striking4 ,it is almost as if a modern  
photographer had taken a snap shot of a 
figure in the act of walking4 ,but in no
 such photograph1 it is safe to say1    
would the lines chance to flow in such  
perfect rhythm4     ,,xii  ,,cupid ,,as 
,,link ,,boy   ,a familiar figure in    
classic mythology was that of the little
 god of love1 ,cupid4 ,he was the son of
 ,venus1 and1 like her1 was concerned in
 the affairs of the heart4 ,ancient art 
represented him as a beautiful naked boy
 with wings1 carrying a bow and quiver  
of arrows1 and sometimes a burning      

torch4 ,the torch was to kindle the     
flame of love1 and the arrows were to   
pierce the heart with the tender        
passion4 ,these missiles were made at   
the forge of ,vulcan1 where ,venus first
 imbued them with honey1 after which    
,cupid1 the mischievous fellow1 tinged  
them with gall4 ,thus it was that the   
wounds they inflicted were at once sweet
 and painful4#ae  ,footnote #ae3        
,anacreon's ,ode ,,xxxiii4 in ,moore's  
translation4  ,now ,cupid was always    
bent upon some of his naughty pranks4   
,he was afraid of nothing1 and we read  
of his riding on the backs of lions and 
sporting with the monsters of the deep4 
,he played all sorts of tricks on the   
gods1 stealing the arms of ,hercules1   
and even breaking the thunderbolts of   
,jove4 ,his bow and arrows were a source
 of great amusement to him4 ,he         
delighted in taking aim at unsuspecting 
mortals1 and his random shots often     
wrought sad havoc4  ,one of ,anacreon's 
odes relates how the poet was awakened  

on a rainy midnight by the cry of a     
child begging shelter4 ,the little waif 
proved to be ,cupid in disguise4 ,after 
being warmed and dried by the fire1 the 
boy artfully craved permission to try   
his bow1 to see if the rain had injured 
its elasticity4 ,the arrow flew straight
 at the poet's heart with a sweet pain1 
and away flew ,cupid laughing gayly at  
his exploit4#af  ,footnote #af3         
,anacreon's ,ode ,,xxviii4 in ,moore's  
translation4  ,cupid was naturally a    
very popular god1 yet his tricksy ways  
caused him to be looked upon with       
suspicion4 ,every one was anxious to    
stand well with him4 ,in some of the    
cities of ancient ,greece1 as ,sparta   
and ,athens1 he was worshipped with     
great solemnity1 and every five years   
festivals were held in his honor4  ,in  
our picture the painter has represented 
the little torch-bearing god disguised  
as a link boy4 ,he is dressed in the    
clothes of a ,london street urchin1 and 
behind him are the warehouses of the    

great city4  ,the link bearer's         
occupation was abandoned so long ago    
that it needs a word of explanation4 ,in
 the old times1 before there were       
stationary street lights of any kind1   
men and boys used to run about by night1
 carrying torches or links1 as they were
 called1 to lighten the way for         
passers-by4  ,they were like the        
newsboys of to-day1 running up to each  
wayfarer to offer their services1 and   
always glad to pick up a few pennies4   
,they accompanied parties home from the 
clubs1 the theatres1 and all sorts of   
entertainments1 running beside          
carriages1 as well as foot passengers4  
,nor was their occupation solely by     
night4 ,there sometimes came suddenly in
 ,london a thick fog1 shutting out the  
sunlight as completely as if it had been
 night4 ,people caught in the streets at
 such times soon lost their way1 and the
 services of the link boy were then very
 useful4  ,illustration3 ,,cupid ,,as   
,,link ,,boy  ,we may now understand    

what a capital chance for fun ,cupid    
would have1 playing the part of a link  
boy4 ,the strangers whom he guided on   
their way would little suspect that the 
link boy's torch was kindling the flame 
of love within them4 ,he might lead them
 whither he pleased1 and finally1       
disclosing his true identity1 would draw
 his bow upon them and leave them to    
their fate4  ,it is perhaps after some  
such escapade as this that we see him in
 the picture1 link in hand1 pausing to  
look back with a smile of suppressed    
amusement at some of his victims4 ,it   
seems very odd to find ,cupid in such   
surroundings1 and especially to see the 
little god hampered by the clumsy       
garments of mortals4 ,they are old and  
ragged1 the cast-off finery such as is  
picked up by street gamins4 ,the child's
 hair is tossed about his head in       
unkempt locks1 and altogether he looks  
the part to perfection4  ,yet there are 
unmistakable signs of his identity in   
the wings spread from his shoulders4 ,if

 you look closely1 too1 you can see     
through the rip in his sleeve the quiver
 of arrows which the sly fellow thought 
to hide under his coat4 ,the face and   
expression could belong alone to ,cupid4
 ,the mouth is shaped in a genuine      
,cupid's bow1 and the pointed chin shows
 his astuteness4 ,mischief lurks in the 
corners of the eyes and in the curve of 
his mouth4  ,the ,cupid as ,link ,boy is
 one of a number of fancy pictures which
 ,sir ,joshua ,reynolds painted for his 
own pleasure4 ,his portrait orders were 
nearly all from the wealthy and         
aristocratic classes1 and the artist    
would not have been content without a   
greater variety of subjects than this   
work afforded4 ,he had a fertile        
imagination for ideal or fancy subjects1
 particularly for those of a humorous   
nature4 ,often when he chanced to be    
driving through the streets his         
attention would be attracted by some    
little waif1 and he would take the child
 back to his studio for a model4 ,our   

picture is from one of these mischievous
 ,london street boys1 whose face        
reappears in several other works4       
,,xiii  ,,the ,,hon4 ,,anne ,,bingham   
,miss ,anne ,bingham was one of the many
 aristocratic ladies whose portraits    
,reynolds painted1 and one of the most  
interesting of this class of sitters4   
,her vivacious face looking into ours   
wins us at once1 and we should be glad  
to know more of the charming original4  
,anne ,bingham was the youngest daughter
 of ,sir ,charles ,bingham1 who in #aggf
 was created ,baron ,lucan4 ,her mother1
 ,lady ,lucan1 was a remarkably talented
 woman1 trying her hand with success at 
modelling1 painting1 and poetry4 ,she   
was ambitious to be an intellectual     
leader1 and like several other ladies of
 the time entertained after the fashion 
of the ,french salons1 inviting people  
of wit and learning to meet in her      
drawing-room for discussion4 ,her       
artistic work was really remarkable4    
,encouraged by the advice and help of   

,horace ,walpole1 she became a skilful  
copyist1 and it is said imitated the    
works of some earlier painters with a   
genius that fairly depreciated the      
originals6  ,it was thus in             
exceptionally artistic and intellectual 
surroundings that ,anne grew out of     
girlhood4 ,her oldest sister1 ,lavinia1 
who afterwards became ,countess         
,spencer1 inherited the mother's        
artistic tastes1 and was likewise a     
favorite with ,horace ,walpole4  ,the   
two daughters were both charming in     
appearance1 and there was a certain     
sisterly resemblance between them4 ,if  
,lavinia's eyes were a bit more         
sparkling1 judged by the portraits1     
,anne's mouth was smaller and more      
daintily modelled4 ,as a frequent guest 
in their mother's drawing-room1 ,sir    
,joshua must have known both the young  
ladies4 ,of the elder he painted several
 portraits2 of the younger1 but this    
one1 executed in #aghf4  ,it was a      
natural and appropriate idea that ,miss 

,anne's portrait should be made in a    
style similar to one of her sister1 as a
 companion picture4 ,both were          
represented in half-length figure1      
wearing white kerchiefs and             
broad-brimmed hats4  ,those must have   
been pleasant sittings which gave the   
veteran portrait painter ,miss ,anne for
 a subject4#ag ,plainly there was a     
perfect sympathy between sitter and     
painter4 ,the smile the lady turns      
towards the easel is as nave as that of 
,miss ,bowles herself4 ,she watches his 
clever work with an artist's delight1   
and with the simple spirit of a child4  
,footnote #ag3 ,when her father was     
created an earl in #agie1 she became    
,lady ,anne4  ,nothing could be more    
distasteful to such a character than the
 affected pose of a woman of fashion4   
,she has dropped into a chair with a    
careless grace all her own1 and tells   
the painter she is ready4 ,he takes up  
his brush1 and lo1 the very essence of  
her smile is transferred to his canvas4 

,illustration3 ,,the ,,hon4 ,,anne      
,,bingham  ,we praise the delicate      
rendering of the gauzy kerchief veiling 
her neck1 but it is far less wonderful  
than the delicate interpretation of her 
expression4 ,the fine sensitiveness of  
her nature1 her lively fancy and sense  
of humor1 her playfulness1 her coquetry1
 her impulsiveness1 her volatile        
temperament--all this we read in the    
shining eyes and the smiling mouth1     
though no one can say how they were made
 to tell so much4 ,the signs of her     
birth and breeding are in every line1   
yet she is something of a ,bohemian too4
 ,there is a delightful sense of        
camaraderie in her smile4  ,there is a  
certain portrait by ,leonardo da ,vinci 
known as the ,mona ,lisa1 and famous for
 its baffling smile4 ,there is a        
tantalizing quality about it which makes
 one forever wonder what the lady is    
thinking about and why she is smiling4  
,nothing could be more in contrast than 
this smile of ,miss ,bingham4 ,there is 

no mystery in it1 but rather it takes us
 into her confidence in the most winning
 way4  ,the costume interests us not    
only as a reminder of bygone fashions1  
but for its picturesqueness4 ,the bodice
 is ornamented only by the big buttons  
by which it is laced4 ,a narrow belt    
finishes it at the waist1 with a small  
buckle in front4  ,the hair is frizzed  
in puffy masses about the face1 escaping
 in a few curls which fall over the     
shoulders4 ,this was evidently the      
favorite coiffure in the year #aghf1 as 
the portrait of the ,duchess of         
,devonshire with her ,child1 painted in 
the same year1 shows precisely the same 
style4 ,both ladies also wear low-cut   
bodices with kerchiefs arranged in the  
same manner4 ,the finishing touch of    
,miss ,bingham's costume is the big     
straw hat worn aslant on the back of the
 head4  ,it has been a favorite device  
of great portrait painters to dress     
their sitters in all sorts of fanciful  
headwear4 ,rembrandt's portraits show an

 endless variety of caps1 turbans1 and  
hats4 ,rubens was fond of painting      
broad-brimmed hats shading the face1 one
 of his celebrated pictures being a     
study of this kind called ,le ,chapeau  
de ,paille 7,the ,straw ,hat74  ,now    
,reynolds was to some extent an imitator
 of these two men1 and it may be he     
learned something from their pictures   
about hats4 ,however that may be1 we see
 how the hat here proves very effective 
in bringing the head into harmonious    
relation with the whole composition4    
,the brim describes a diagonal line     
parallel with the line made by the      
kerchief over the left shoulder4 ,the   
kerchief on the right shoulder falls in 
a line parallel with the left arm4  ,a  
composition based on short diagonal     
lines like these is as different as     
possible in character from one of long  
flowing curves like ,hope4 ,each one is 
appropriate to its own subject4         
,,xiv  ,,the ,,strawberry ,,girl        
,village life in ,england before the    

time of railroads had a picturesque     
charm which it has since lost except in 
remote districts4 ,we learn something   
about it in ,miss ,mitford's sketches of
 ,our ,village and in ,miss ,edgeworth's
 ,tales4 ,from such books it is         
delightful to reconstruct in imagination
 some of these rural scenes2 the wide   
meadows where the cowslips grow1 the    
brooks running beneath the hawthorns and
 alders1 the lanes winding between      
hedgerows1 the green common where the   
cricketers play1 the low cottages       
covered to the roof with vines1 and the 
trim gardens gay with pinks and         
larkspur4 ,these villages are connected 
with the outside world only by the      
postcart and chapman4 ,here modest      
little girls like ,miss ,mitford's      
,hannah and ,miss ,edgeworth's ,simple  
,susan move about their daily tasks and 
run on their errands of mercy4  ,now    
,sir ,joshua ,reynolds was a native of  
,devonshire1 a beautiful ,english       
district which all born ,devons love    

with peculiar devotion1 as we may see   
from ,charles ,kingsley's descriptions  
in ,water-babies4 ,from time to time in 
his busy life the painter returned to   
his home for a breath of country air4   
,on one of these visits he brought back 
to ,london with him his young niece     
,theophila ,palmer1 whose father had    
just died4 ,offy1 as she was called1    
soon became the pet of her bachelor     
uncle's household1 of which she long    
remained a member4 ,as she flitted about
 the house the little country-bred girl 
with her fresh healthy beauty was a     
constant reminder to the painter of the 
woods and fields4 ,perhaps one day as he
 was looking at her with special        
pleasure the picture suddenly flashed   
upon his fancy of ,offy in the character
 of a village maid4 ,the idea developed 
into the ,strawberry ,girl1 for which   
,offy sat as model4  ,a little girl has 
been sent on an errand along a lonely   
road leading out of the village4 ,it may
 be that like little ,red ,riding ,hood 

in the nursery tale she is carrying some
 dainties to her grandmother4 ,a basket 
of strawberries hangs on her arm1 and   
her apron also seems to be filled with  
something1 for it is gathered up in     
front like a bag1 the corners dropping  
over the arm4  ,twilight begins to fall 
as she comes to a turn of the road      
overshadowed by a high rock4 ,there are 
all sorts of queer noises and shadows   
here1 and she steals timidly past the   
eerie place1 peering forward with big   
eyes4  ,illustration3 ,,the ,,strawberry
 ,,girl  ,yet she is a womanly child1   
who will not easily be turned back4 ,she
 feels the importance of her errand1 and
 is worthy of the trust4 ,the simple    
low-cut gown is that of a village maid4 
,an odd cap1 something like a turban1   
covers her head and adds a trifle to her
 height and dignity4 ,her round face and
 chubby neck would be the envy of the   
puny city child who knows not the luxury
 of big porringers of bread and milk4   
,if her hands are rather too delicately 

moulded for those of a country child we 
must remember again that ,reynolds was  
painting from his own little niece4  ,in
 imagination we follow the little maid  
about the simple round of her childish  
pursuits4 ,every morning she goes       
demurely to school to fix her thoughts  
on button holes and spelling books4     
,perhaps it is a dame school like that  
in ,water ,babies1 with a shining clean 
stone floor and curious old prints on   
the wall and a cuckoo clock in the      
corner1 ,here some dozen children sit on
 benches gabbling ,chris-cross1 while a 
nice old woman in a red petticoat and   
white cap hears them from the chimney   
corner4  ,our little girl has duties at 
home as well1 and is sometimes seen1 a  
pitcher in one hand and a mop in the    
other1 making the house tidy4 ,she can  
boil potatoes1 shell the beans1 feed the
 hens1 and make herself useful in many  
ways4  ,on rare occasions she has a     
holiday in the fields1 and then what joy
 it is in spring and early summer to    

find the haunts of the wild flowers     
which grow in such abundance in the     
,english country4 ,miss ,mitford writes 
of a wonderful field where bloomed in   
season1 primroses1 yellow1 purple1 and  
white1 violets of either hue1 cowslips1 
oxlips1 arums1 orchises1 wild hyacinths1
 ground ivy1 pansies1 strawberries1 and 
heart's ease1 covering the sunny open   
slope under a weeping birch4  ,a        
favorite game is making cowslip balls4  
,the tufts of golden flowerets are first
 nipped off with short stems1 until a   
quantity are gathered4 ,then the ribbon 
is held ready and the clusters are      
nicely balanced across it until a long  
garland is made1 when they are pressed  
closely together and tied into a sweet  
golden ball4  ,when we remember that the
 little ,offy1 who was the original     
,strawberry ,girl1 was transplanted from
 her ,devonshire home to the great city 
of ,london1 we are interested to know   
something of her after life4 ,she grew  
to be as dear as a daughter to her      

uncle4 ,in the dreary days when he could
 not use his eyes she was his reader and
 amanuensis4 ,the many distinguished    
guests who enjoyed his hospitality were 
charmed with her sweet manners4 ,in the 
course of time she married ,richard     
,lovell ,gwatkin1 a ,cornish gentleman  
in every way worthy of her4 ,her        
happiness was as great as her uncle     
could wish4 ,she lived to be ninety1 to 
see her children's children1 and1       
intelligent1 cheerful1 and affectionate 
to the last1 vividly remembered her     
happy girlhood under her uncle's roof1  
and the brilliant society that found a  
centre there4     ,,xv  ,,dr4 ,,samuel  
,,johnson   ,the eccentric figure of    
,dr4 ,samuel ,johnson was one of the    
familiar sights of ,london during the   
middle of the eighteenth century4 ,he   
was a man of great learning1 a          
voluminous writer1 and an even more     
remarkable talker4 ,he was born in      
#agji1 and1 the son of a poor           
bookseller1 he struggled against poverty

 for many years4 ,literary work was ill 
paid in those days1 and ,johnson gained 
his reputation but slowly4 ,he          
contributed articles to the magazines1  
and twice he conducted short-lived      
periodicals of his own--the ,rambler and
 the ,idler4 ,he wrote1 besides1 a      
drama1 ,irene2 a tale1 ,rasselas2 a book
 of travel1 a ,journey to the ,hebrides2
 and many biographies1 including the    
,lives of the ,poets4 ,his largest      
undertaking was an ,english dictionary1 
upon which he spent eight years of      
labor4  ,at length his pecuniary        
troubles came to an end when1 in #agfb1 
the government awarded him a pension of 
#cjj a year4 ,by this time his great    
intellectual gifts had begun to be      
appreciated1 and he was the first man of
 letters in ,england4 ,in ,thackeray's  
phrase1 he was revered as a sort of     
oracle4  ,johnson was now too old to    
acquire the graces of polite society1   
even had he wished them4 ,his huge1     
uncouth figure and rolling walk1 his    

countenance disfigured by scrofula1 his 
blinking eyes1 his convulsive movements1
 his slovenly dress and boorish manners 
made him a strange figure in the circles
 which entertained him4  ,his appetite  
was enormous1 and he ate like a famished
 wolf1 the veins swelling on his        
forehead1 and the perspiration running  
down his cheeks4 ,he usually declined   
wine1 but his capacity for tea was      
unlimited4 ,many funny stories are told 
of the number of cups poured for him by 
obliging hostesses1 for1 oddly enough1  
he was a great favorite with the ladies1
 and knew how to turn a pretty          
compliment4 ,his temper was at times    
very irritable and morbid1 and he       
occasionally had violent fits of rage4  
,yet1 with all these peculiarities1 he  
had a kind heart and was sincerely      
religious4 ,his devotion to his wife and
 his aged mother#ah was very touching1  
and the poor and infirm knew his        
charities4 ,in his own lodgings he      
provided a home for an oddly assorted   

family of dependents1 consisting of an  
old man1 a blind woman1 a negro boy1 and
 a cat4 ,all the details of his daily   
life and habits are minutely described  
in a biography written by his admiring  
friend1 ,boswell1 who was intimately    
associated with him for many years4 ,the
 book he wrote after ,johnson's death   
tells us not only all about the learned 
doctor1 but much also about his friends4
  ,footnote #ah3 ,his wife died in      
#ageb1 and his mother in #agei at the   
age of ninety4  ,illustration3 ,,dr4    
,,samuel ,,johnson  ,reynolds was one of
 his warm friends1 and the two          
understood each other well4 ,often when 
they were together in company1 the      
painter's tact and courtesy smoothed    
over some breach of etiquette on the    
part of his companion4 ,at ,reynolds's  
suggestion1 the two founded together a  
small club of congenial spirits1 called 
the ,literary ,club4  ,some other good  
friends of ,johnson's were the ,thrales4
 ,mr4 ,thrale was a rich brewer1 and a  

man of parts1 and his wife was one of   
the brightest women of her day4 ,johnson
 was a constant visitor at their house1 
and became at last1 practically1 a      
member of the family4 ,the ,thrales's   
drawing-room at their ,streatham villa  
was the scene of many brilliant         
gatherings1 where intellectual people   
met for conversation and discussion4    
,johnson was the autocrat of this       
circle4 ,he was often rude1 even        
insolent1 in expressing his opinion1 and
 wounded many by his sarcasm4 ,but his  
vast stores of information1 his keen    
mind and ready wit1 made his            
conversation an intellectual feast4  ,it
 was an ambition of ,mr4 ,thrale to     
ornament his house with a gallery of    
portraits of contemporary celebrities1  
and it was for this collection that     
,reynolds painted the portrait of       
,johnson1 reproduced in our             
illustration4 ,it was really a          
repetition of a portrait he had         
previously painted for their common     

friend and club-fellow1 ,bennet         
,langton4  ,here we see the sage at the 
age of sixty odd years1 precisely as he 
appeared among his friends at           
,streatham4 ,the painter has            
straightened the wig1 which was usually 
worn awry1 but otherwise it is the very 
,dr4 ,johnson of whom we read so much1  
with his shabby brown coat1 his big     
shambling shoulders1 and coarse         
features4  ,a remarkable thing about the
 portrait is that ,reynolds succeeded so
 well in showing us the man himself     
under this rough exterior4 ,the inferior
 artist paints only the outside of a    
face just as it looks to a stranger who 
knows nothing of the character of the   
sitter4 ,the master paints the face as  
it looks to a friend who knows the soul 
within4 ,now1 ,reynolds was not only a  
master1 but he was1 in this case1       
painting a friend4 ,so he put on the    
canvas1 not merely the eccentric face of
 ,dr4 ,johnson as a stranger might see  
it1 but he painted in it that expression

 of intellectual power which the great  
man showed among his congenial friends4 
,something1 too1 is suggested in the    
portrait of that sternly upright spirit 
which hated a lie4  ,it is a portrait of
 ,johnson the scholar1 the thinker1 and 
the conversationalist4 ,he seems to be  
engaged in some argument1 and is        
delivering his opinion with             
characteristic authoritativeness4 ,the  
heavy features are lighted by his       
thought4 ,one may fancy that the talk   
turns upon patriotism1 when ,johnson1   
roused to indignation by the false      
pretences of many would-be patriots1    
exclaims1 ,sir1 patriotism is the last  
refuge of a scoundrel4     ,,xvi  ,,the 
,,portrait ,,of ,,reynolds   ,in the    
city of ,florence1 ,italy1 there is a   
famous gallery of portraits unlike any  
other collection of pictures in the     
world4 ,it consists of the portraits of 
artists1 painted by their own hands1 and
 includes the most celebrated painters  
of all nations1 from the fifteenth      

century to the present time4 ,here may  
be seen the portraits of ,velasquez1    
,titian1 ,tintoretto1 ,rembrandt1--the  
world's greatest portrait painters1--and
 in the same splendid company hangs the 
portrait of ,reynolds1 reproduced in our
 frontispiece4 ,he painted it in #aggf  
for the special purpose of sending it to
 ,florence at the request of the        
,imperial ,academy of that city1 of     
which he had just been elected a member4
  ,as we have seen in our study of the  
,angels' ,heads1 a single portrait can  
show us only one side of the sitter's   
character4 ,this portrait of ,reynolds1 
painted as a condition of membership in 
a society of artists1 and for a gallery 
of artists' portraits1 was intended     
chiefly to show the artistic side of his
 nature4 ,the pose itself at once       
suggests the artist4 ,the expression of 
the mobile face is that of a painter    
engaged at his easel1 turning a         
searching glance upon the object he is  
painting4 ,in short1 it is a sort of    

official portrait1 introducing the new  
member to his associates in the         
,imperial ,academy4  ,the artist wears  
the ,oxford cap and gown1 to which he is
 entitled1 by virtue of the honorary    
degree of ,d4 ,c4 ,l41 conferred upon   
him by the ,university of ,oxford4 ,in  
his hand he carries a roll of           
manuscript1 presumably one of his       
lectures before the ,royal ,academy4    
,both the roll and the costume are1 as  
it were1 insignia of his ,english       
honors4 ,a ,latin inscription on the    
back of the portrait1 written by the    
painter's own hand1 enumerates the      
several distinctions which are his4     
,reynolds might1 indeed1 be pardoned the
 pride with which he reviewed his       
career4 ,from somewhat humble beginnings
 he had now made his way to the foremost
 place in his profession4 ,he was born  
at a time when art was in a very low    
state in ,england1 and there were no    
advantages for the study of painting4   
,his only instruction was under an      

inferior portrait painter named ,hudson1
 with whom he served as apprentice about
 two years4  ,his real art training was 
during three years of travel in ,italy4 
,there he examined and studied the works
 of the greatest masters of the past1   
and returned to ,england with altogether
 new ideals4 ,setting up a studio in    
,london1 he soon gained an immense      
popularity4 ,when the ,royal ,academy   
was founded1 in #agfh1 he became the    
first president1 and at the same time   
the honor of knighthood was conferred   
upon him4 ,other artists now rose to    
prominence1 but he still held the       
supremacy4  ,the painter's popularity   
depended by no means on his artistic    
talents alone2 his opinions were worth  
hearing on many subjects4 ,he was fond  
of books and literary discussions1 and  
his friendship was valued by such men of
 intellect as ,johnson1 ,goldsmith1     
,burke1 and others of that charmed      
circle making the ,literary ,club4 ,he  
had a genial1 kindly nature1 and his    

manners were exquisitely courteous4     
,thackeray once wrote that of all the   
polite men of that age1 ,joshua         
,reynolds was the finest gentleman4 ,he 
was a member of several clubs1 was fond 
of society1 and was a welcome guest in  
many of the best houses in ,london4 ,he 
himself entertained with generous       
hospitality1 and gathered about his     
table some of the brightest people of   
his time4  ,his intimate friend1 ,edmund
 ,malone1 described him as a man rather 
under the middle size1 of a florid      
complexion1 and a lively and pleasing   
aspect2 well made1 and extremely active4
 ,his appearance at first sight         
impressed the spectator with the idea of
 a well-born and well-bred ,english     
gentleman4 ,with an uncommon equability 
of temper1 which1 however1 never        
degenerated into insipidity or apathy1  
he possessed a constant flow of spirits 
which rendered him at all times a most  
pleasing companion4444 ,he appeared to  
me the happiest man ,i have ever known4 

,through many years ,reynolds was very  
deaf1 and was obliged to use an ear     
trumpet to aid him in general           
conversation4 ,in later years he also   
wore spectacles1 so that we always      
picture him in his advancing life with  
trumpet and glasses4 ,his habit of      
taking great quantities of snuff was one
 which gave occasion to many jokes among
 his friends4  ,numerous poetic tributes
 were written by his admirers1          
describing more or less rhetorically his
 qualities as a man and an artist4      
,there is one bit of verse by ,goldsmith
 7#aggj71 in a comic vein1 and in the   
form of an epitaph1 which delineates    
very cleverly the real character of the 
man3--      ,here ,reynolds is laid1 and
 to tell you my mind1     ,he has not   
left a better or wiser behind2     ,his 
pencil was striking1 resistless and     
grand1     ,his manners were gentle1    
complying1 and bland2     ,still born to
 improve us in every part1     ,his     
pencil1 our faces1 his manners1 our     

heart3     ,to coxcombs averse1 yet most
 civilly steering1     ,when they judged
 without skill1 he was still hard of    
hearing2     ,when they talked of their 
,raffaelles1 ,correggios1 and stuff1    
,he shifted his trumpet1 and only took  
snuff6         99       99       99     
99       99