Obs. on the Last Supper,' of Tintoret. The table-cloth, as usual, the principal light, but divided by a dark figure, so as to make a secondary light; then comes a dark figure which covers entirely the end of the table. Then comes a figure in white satin. At the other end of the table there is likewise another light (on) one of the figures, in this manner (a sketch), and a light figure on each end of the picture. On the steps, a dog sitting on his tail, as begging. Obs. on Washing the Feet.'-The ground and back white; a dark colonnade, with banisters, runs across the picture. Corpus Domini. 'St. Domenico throwing the Book in the Fire.' A good picture of Seb. Ricci. S. Marcilian. In the sacristy is an admirable picture, by Titian, well preserved, only too yellow, of Tobias and the Angel.' The heads are remarkably fine. A print by Lovisa. S. Eustacio. The Flagellation of Christ,' by Giorgione. After so long an absence Reynolds, no doubt, longed to be at home again. Northcote tells us, as on Sir Joshua's own authority, in illustration of his yearning for England, that while at Venice, being at the opera with some other English gentlemen, a ballad was played or sung which had been popular in London when he was last there, and that it brought tears into his eyes and the eyes of his companions. [On the 16th of August he left Venice, and the same day arrived at Padua; on the 19th he slept at Torre Confini; on the 20th he passed Peschiera and Lago di Garda, slept at Osteria del Papa, and on the 21st arrived at Brescia; on the 22nd at Bergamo; on the 23rd at Milan; and on the 27th he left Milan on his journey home. No remarks on any of the pictures in these places are to be found in his note-books. ] Between Turin and the foot of the Alps he met his old master Hudson, who, in company with Roubiliac, was hurrying to Rome merely to say he had been there. Hudson travelled, indeed, so rapidly, that he met Reynolds again in Paris, and they returned to England together. Reynolds seems never to have entirely lost his early admiration of Hudson; and, indeed, the feeling of a modest mind towards its first instructor is not to be eradicated. We know with what respect Raphael, when commissioned by the Pope to cover the entire walls of the Vatican with his works, treated those of Perugino, a man with whose sordid nature his own. had nothing in common; and we know, also, that Hogarth always spoke in much higher terms than we should confirm of Sir James Thornhill, notwithstanding the harsh treatment he received from him when he did Sir James the honour to marry his daughter.' That Reynolds and Hudson should have travelled from Paris to London together, could scarcely have been a matter of necessity; and we may, therefore, suppose they found it agreeable to do so. Many years later, when Reynolds had built a house on Richmond Hill, and Hudson occupied one on the opposite side of the Thames, the latter made some remark on the cir 1 The reader may perhaps smile at finding Hogarth classed with modest painters. But I am not inclined to retract the classification, of which I shall have something to say in a future page. cumstance, and Sir Joshua replied, "I never expected that I should look down on you, Sir." At Rome Reynolds had taken under his care a young Italian, Giuseppe Marchi, his first pupil. In his future career Marchi did not succeed as a painter, but he became a very good engraver. He was a man of sense and integrity, of an excellent temper, and great simplicity of character. On reaching Lyons, Reynolds found his purse nearly empty. He had only six louis left, two of which he gave to Marchi with orders to proceed as he could and meet him in Paris. When he had been eight days there, Marchi joined him, having walked from Lyons. Reynolds saw everything most remarkable in Paris, and found time also to paint portraits of Mr. Gauthier," and of Mrs. Chambers, whom he met there with her husband, the distinguished architect, afterwards Sir William Chambers. She was a beautiful woman, and he made a beautiful picture of her. He painted her in a straw hat shading the upper part of her face. He did not form a high opinion of the existing state of the French school. Watteau had been dead more than thirty years, and all that was excellent in French art, indeed in the art of the whole Continent, had died with him. He observed of French art,-" The French cannot boast of above one painter3 of a truly just and correct This was evidently only a temporary embarrassment. He had probably no letter of credit on Lyons, and was unable to replenish his purse till he reached Paris. Besides Reynolds's own Devonport savings, he had been assisted with loans by his old 2 taste, free of any mixture of affectation or bombast, and he was always proud to own from what models he had formed his style-to wit, Raffaelle and the Antique ; but all the others of that nation seem to have taken their ideas of grandeur from romances, instead of the Roman or Grecian histories. Thus their heroes are decked out so nice and fine, that they look like knightserrant just entering the lists at a tournament, in gilt armour, and loaded most unmercifully with silk, satin, velvet, gold, jewels, &c., and hold up their heads, and carry themselves with an air like a petit-maître with his dancing-master at his elbow; thus corrupting the true taste, and leading it astray from the pure, the simple, and grand style, by a mock majesty and false magnificence. Even the rude uncultivated manner of Caravaggio is still a better extreme than those affected turns of the head, fluttering draperies, contrasts of attitude, and distortions of passion." These remarks are just as true of French sculpture : Roubiliac, who was a thoroughly honest man, told Reynolds, that when he went to look at his own works in Westminster Abbey, on his return from Rome, "By God! my own work looked to me meagre and starved, as if made of nothing but tobacco-pipes." After spending a month in Paris, Reynolds arrived in London October 16, 1752. - CHAPTER III. 1753-1764. ÆTAT. 30-41. The health of Reynolds impaired - He spends three months in Devonshire - Dr. John Mudge Return of Reynolds to London-Takes apartments in St. Martin's Lane - The first drawing academy after Sir J. Thornhill's His sister Frances - Her character Sketch of the times -Reynolds paints a portrait of Marchi - Hudson's observation on it — Portrait painters of the time-He removes to Newport Street - His prices - His great industry-Lord Edgcumbe obtains much employment for Reynolds- His whole-length of Keppel — Liotard — Mason's description of Reynolds's mode of painting-The author's remarks on his drawing and colouring, and on his use of nostrums - Account by Reynolds of his own practice-He becomes acquainted with Johnson-Introduction of Roubiliac to Johnson-Johnson's fondness for tea and Miss ReynoldsPublic events from 1754 to 1760-His circle in 1755-Negotiations with the Dilettanti for the establishment of an Academy of Arts — His practice in 1755-Sitters for 1755-(1756): First portrait of Johnson— Portrait of young Mudge- Events of 1756 and 1757 - Byng's execution - Popularity of Italian and neglect of English art by patrons — Sitters for 1757- Increasing practice-His visiting list-Events and engagements in 1758-Sitters for 1758-The Duke of Richmond's statue gallery opened for the use of art students - Reynolds paints the Prince of Wales, afterwards George III. He paints Kitty FisherPortraits of Woodward, Barry, and Garrick-Of Horace Walpole — Contributions to the Idler - Entries in pocket-book for 1759Mason's account of Reynolds painting his Venus - Sitters for 1759 -Exhibition of pictures at the Foundling Hospital - First Exhibition in the Strand, 1760-Reynolds removes to Leicester Square — His carriage Events of the year-Accession of George III.-Sitters for 1760 Portraits of Lord Ligonier and of Sterne-The coronation and marriage of the King, and its beauties painted by Reynolds -Literary acquaintances; Goldsmith, M'Pherson Entries in the pocket-book for 1761-Sitters for 1761-Exhibition of 1762- His portraits of Lady Elizabeth Keppel, and of Garrick between Tragedy and Comedy-Capture of the Havannah The glories of the Keppels — Reynolds's dining-houses at this time - Ramsay appointed Court painter -The King of the Cherokees - Reynolds visits Devonshire in company with Johnson - Northcote, for the first time, sees Reynolds-1763: Boswell's introduction to Johnson - Portrait of Lord Bute Wilkes's committal to the Tower Fire at Lady Molesworth's Exhibition of the year1764: Political agitations of the time — Reynolds's studio a neutral ground |