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" 1771.
Jan. 3. To clothes' scouring and mending and press-
ing.

£0 4 6
3. To pair of best silk stocking breeches . 2 5 6
24. To suit of clothes, lined with silk, gold but.
tons, etc..

9 17 6 Feb. 8. To best silk breeches

2 5 6 April 11. To frock suit, lined with (illegible) half trimmed with gold sprig buttons

8 13 5 17. To Queen's blue-dress suit .

11 17 0 Oct. 3. To suit, plain .

5 13 0 Dec. 5. To silk breeches

2 2 9 To jobs, mending, etc.

0 5 0 1772. Jan. 4. To half-trimmed frock suit.

5 15 0 31. To suit of mourning .

5 12 0 March 18. To fine ratteen surtout, in grain

3 5 6 April 28. To Princess stuff breeches .

1 7 0 May 1. To superfine cloth ditto

1 3 0 2. To suit of livery

4 10 6 5. To ditto frock and waistcoat

2 12 6 To jacket . .

1 1 0 21. To your blue velvet suit.

21 10 9 To crimson collar for man

0 2 6 June 8. To altering two coats .

0 3 0 19. To velvet suit new-colored .

1 1 0 July 18. To mending, etc. .

0 2 6 Nov. 13. To making velvet waistcoat

1 1 0 Dec. 17. To jobs, etc. .

1 5 8 1773. March 4. To Princess stuff breeches.

1 7 6 March 11. To suit

10 0 0 April 12. To mending, etc.

0 1 6 May 7. To velvet waistcoat, cleaning, etc.

0 15 9 10. To altering suit, and for serge de soy for waistcoat and shirts, etc. .

.

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0 12 6 13. To rich straw silk tamboured waistcoat 4 4 0 June 2. Tamboured waistcoat cleaned

0 1 6 To green half-trimmed frock and breeches, lined with silk, etc.

6 0 0 To silver gray silk tamboured waistcoat 4 0 0 17. To fine brown cambric waistcoat, tamboured 2 1 6 Mr. Hodson's bill per order.

35 3 0

Bill delivered

£158 4 4

(of this, £50 was paid the 5th April, and £60 the 14th September, 1773, leaving a balance against Goldsmith of £48 48. 4d.)”

X1–12

CHAPTER VI

DINNERS AND TALK

1770

IN Goldsmith's letter to his brother Maurice it will have been observed that the writer's friends over the Shannon were told shortly to expect some mezzotinto prints of himself, and of such friends of his as Burke, Johnson, Reynolds, and Colman. The fact thus indicated has its proper biographical significance. The head of the author of the Traveller now figured in the print-shops. Reynolds had painted his portrait. “In poetry we may be said to have nothing new," says a letter-writer of the day;' “but we have the mezzotinto print of the new poet, Dr. Goldsmith, in the print-shop windows. It is in profile from a painting of Reynolds, and resembles him greatly.” The engraving was an admirable one, having been executed, under the eye of the great painter himself, by Giuseppe Marchi, his first pupil. The original, which Reynolds intended for himself, passed into the possession of the Duke of Dorset, and remains still at Knowle; but a copy also painted by Reynolds, and the only other portrait of Goldsmith known to have been touched by his pencil, was taken afterwards for Thrale, and ultimately placed in the diningroom at Streatham, by the side of Johnson, Burke, Garrick, and others of his famous friends. The life of his celeb

i To Smollett.

• Madame d’Arblay, in the Memoirs of her father (ii. 80-81), thus describes the Streatham portrait gallery : “Mrs. Thrale and her eldest daughter were in one piece, over the fireplace, at full length. The rest of the pictures were all three-quarters. Mr. Thrale was over the door leading

rity is thus, as it were, beginning; and from no kinder, no worthier hand than that of Reynolds could it receive inauguration. The great painter's restless and fidgety sister, who used herself to paint portraits with such exact imitation of her brother's defects and avoidance of his beauties that, according to Northcote,' they made himself

cry

and

to his study. The general collection then began by Lord Sandys and Lord Westcote, two early noble friends of Mr. Thrale. Then followed Dr. Johnson, Mr. Burke, Dr. Goldsmith, Mr. Murphy, Mr. Garrick, Mr. Baretti, Sir Robert Chambers, and Sir Joshua Reynolds himself. All painted in the highest style of the great master, who much delighted in this his Streatham Gallery. There was place left but for one more frame, when the acquaintance with Dr. Burney began at Streatham.” The whole of this gallery of portraits by Reynolds was sold by auction in May, 1816. At the time when they were executed the painter's price for portraits of that size was thirty-five guineas; the following were the prices realized at the sale fifty-four years ago. They are taken from Mrs. Piozzi's marked catalogue in Piozziana, 51. See also Anecdotes, 295.

THE STREATHAM PORTRAITS

LORD SANDYS

£36 15 Lady Downshire; his heir. LORD LYTTELTON [Lord Westcote). 431 Mr. Lyttelton; his son. MRS. Piozzi [and her daughter) . . 81 18 8. Boddington, Esq. a rich

merchant. GOLDSMITH (duplicate of the original] 133 Duke of Bedford. SIR J. REYNOLDS

1282 R. Sharp, Esq. M.P. SIR R. CHAMBERS.

84 0 Lady Chambers; his widow. DAVID GARRICK

183 15 Dr. Charles Burney, Green

wich. BARETTI

31 10 Stewart, Esq. I know not

who. DR. BURNEY.

84 0 Dr. C. Burney of Green

wich, his son EDMUND BURKE

252 0 R. Sharp, Esq. M.P. DR. JOHNSON

378 0 Watson Taylor, Esq. by

whom for .... . . MR. MURPHY, was offered · 102 18 but I bought it in."

· Conversations, 167. Admirably is the old painter made to say: "It is that which makes every one dread a mimic. Your self-love is alarmed, without being so easily reassured. You know there is a difference, but it is not great enough to make you feel quite at ease. The line of demarcation between the true and the spurious is not sufficiently broad and palpable. The copy you see is vile or indifferent; and the original, you suspect (but for your partiality to yourself), is not perhaps much better.” That is Hazlitt all over. Let me add that Madame d'Arblay gives a capital sketch

everybody else laugh, thought it marvellous that so much dignity could have been given to the poet's face and yet so strong a likeness be conveyed; for “Dr. Goldsmith's cast of countenance,” she proceeds to inform us, “and indeed his whole figure from head to foot, impressed every one at first sight with an idea of his being a low mechanic; particularly, I believe, a journeyman tailor.” And in proof the lively lady relates that Goldsmith came in one day, at a party at her brother's, very indignant at an insult he had received from some one in a coffee-house; and on explaining it as “the fellow took me for a tailor," all the party present either laughed aloud or showed they suppressed a laugh.'

of Miss Reynolds's fidgets in the Memoirs of her father, i. 331-332; and a very laughable one of Boswell, ii. 190–197; iii. 113–115.

Recollections in Croker's Boswell, 831. It would appear also that the Rev. Mr. Percival Stockdale, a commonplace hanger-on of the booksellers in those days, who wisely relinquished literature for the church, and wrote a querulous book of Memoirs complaining of his non-appreciation by everybody, appears to have fallen in with the "tailor” notion marvellously. “Soon after," he says, “my friend Davies had published my translation of Tasso's Aminta, I called on him one forenoon, and was with him in his parlor when Dr. Goldsmith entered, and conversed with us for about an hour. I had dined with Davies a day or two before, and Goldsmith was one of the company. He had a beautiful mind, but he was a man of a very mean aspect, person, and manner. On the mornivg to which I allude, just before we were joined by Goldsmith, Davies asked me what I thought of him? I replied that I held his genius in due estimation, but that I never saw a man who looked more like a tailor. Before he left us, he desired Davies to let him have my translation of the Aminta. As he put it into his pocket, he turned to me, and said: “Mr. Slockdale, I shall soon take measure of you.' I answered that 'I hoped he would not pinch me.' From what had passed before he came in, and afterwards, Davies and I, as soon as he had left the house, gave a full indulgence to our risible facul. ties. The odd coincidence of Goldsmith's metaphor and of my compari. son, perhaps makes this interview worthy of being related.” Such is the story, which I quote from Memoirs of the Life and Writings of Percival Stockdale (1809), ii. 136–137. Precisely the same story in the same words will be found in the Life of Goldsmith by Mr. Prior (ii. 237-239), who introduces it with the remark that Mr. Stockdale's published autobiography “furnishes scarcely an allusion to Goldsmith. His papers, however, supply an anecdote communicated by a lady eminent for her writings,” etc. And then, totidem verbis, we have the story. But the habit is so frequent with Mr. Prior of quoting published statements as original com

It is a pity they were not more polite, were it only for their host's sake; since it is certain that these gibes were never countenanced by Reynolds. He knew Goldsmith better; and as he knew, he had painted him. A great artist does not measure a face tailor-fashion; it is by seizing and showing the higher aspects of character that he puts upon his work the stamp of history. It is the distinction between truth and a caricature of it, and expresses all the measureless distance between a Reynolds and a Miss Reynolds, or between such character painting as Hogarth’s and such caricaturing as Bunbury's.

No man had seen earlier than Reynolds into Goldsmith's better qualities; no man so loved or honored him to the last; and no man so steadily protected him, with calm, equable, kindly temper, against Johnson's careless sallies. “ It is amazing,” said the latter more than once, with that too emphatic habit of overcharging' the characteristics of his friends which all agreed in attributing to him, “it is amazing how little Goldsmith knows; he seldom comes where he is not more ignorant than any one else”; and on Reynolds quietly interposing, “Yet there is no man whose company is more liked,” the other, fully conceding this, would explain it by the gratification people felt to find a man of “the most distinguished abilities as a writer” inferior in other respects to themselves. But Reynolds had another explanation. He thought that much of Goldsmith's nonsense, as the nonsense of a man of undoubted wit and understanding, had the essence of conviv

munications that I need hardly have paused to meetion it in this instance.

* See post, chap. x. ' I have always regretted that the excellent writer, Crabbe, should have invented an illustration of Goldsmith's vanity so opposed to all the known records of his intercourse with Reynolds as that which these terse and happily-expressed lines convey :

“Poets have sicken'd at a dancer's praise ;
And one, the happiest writer of his time,
Grew pale at hearing Reynolds was sublime ;
That Rutland's duchess wore a heavenly smile-
* And I,' said he, 'neglected all the while !!!

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