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PARKER.

painted for him, i, 260. His bet with Sir Joshua, 368. Their close intimacy, ii, II. Raised to the peerage, 440. Parker, Master and Miss [1773 May. 1778. 1779 Feb]

Parker, Miss [1768 June. 1787 May] Parker, Mr Montague [1768 May] i, 368

note.

Parker, Mrs Theresa, wife of John Parker of Saltram [1770 April. 1772 Feb. 1773 April] character of the portraits, i, 9. ii, 12. Her death: Sir Joshua's obituary notice of her, 144.

Parr, Dr Samuel, his letters on Johnson's epitaph, ii, 616-620.

Parry, William, Reynolds's pupil, exhibiting, i, 262. 281. ii, 182. Elected A.R.A, ii, 169. See 371.

Pars, W, elected A.R.A, i, 369. Exhibit

ing, 404. Sent to Rome, ii, 91. 112.
Parsons, Nancy, alias Mrs Horton or
Haughton [1773 Jan] mistress to the
Duke of Grafton. i, 278. 430. Bewitch-
ing a peer into marriage, ii, 41.
Partheridge, Mr and Mrs [1758 Feb]
Partridge, Mr [1762 Dec]
Pasquier, French artist, i, 446.

Paterson the book auctioneer, and his son
Samuel, art student, ii, 168.
Paterson, Mr [1776 June]

Paulet, Lady Catherine [1777 April. 1778]

Paulet, Miss [1758 Feb]

Paulet, Mr [1761 April. 1762 March]
Paunceford, Mr [1759 May]
Payler, Mrs [1771 May]

Payne, Master [1760 Jan]

Payne, Miss [1758 March]

Payne, Mr [1764 Jan]

Pearson, Colonel [1755 August]

Peel, Sir Robert, i, 307.

Pelham, Henry, Minister of Stato, i, 96.

Dead, 123.

Pelham, Lady Catherine [1781 May]

Pelham, Master [1759 Feb]

Pelham, Miss [1757 March. April] Pelham, Mrs [1757 Jan.

1759 Jan.

1770 July. 1771 May] Pelham, Thomas, afterwards Earl of Chichester [1757 Jan. 1766 March. 1771 April] i, 155 note. 265 note. Pembroke, Lady [1757 Feb. 1761 March. 1764 Jan. 1772 May] characterised by Walpole, i, 197 note. Character of her portrait, 206, 207. See 285. 388. Pembroke, Lord [1757 March. 1762 Jan. 1765 June. 1767 Jan. 1768 Jan. 1783 June] his singular elopement, i, 206. Walpole's comments, 207. Re-united with his wife, 222. His intercourse with Sir Joshua, i, 215. 367. 380. ii, 6. 216. VOL. I.

PLYMOUTH.

Penn, Lady Juliana [1755 Jan. 1764 Feb. 1767 Feb]

Penn, Master and Miss [1764 Feb] Penny, Edward, painter, pictures exhibited by him, i, 321. ii, 75. See i, 180 note. 251. 296. ii, 6. 58. Pennyman, Miss [1760 May] Pennyman, Mr [1762 Oct] Pepys, Sir Lucas, a great light among the "Blues," ii. 527.

Percy, Dr Thomas, Bishop of Dromore [1773 May] bringing Reynolds and Goldsmith together, i, 198. See i, 277. 333. ii, 80. 116. 209.

Perugino, Raphael's treatment of, i, 85. Peters, William, historical painter, i, 436. ii, 371. 534.

Peter's Court School of Art, i, 90. 109. Petersham, Lady Caroline, a reigning beauty. i, 94. 109 note.

Philips, Captain [1758 March]
Philips, Colonel [1762 Feb]
Phillips, Miss [1771 Oct]
Phillips, Mr [1757 April]

Phillips, Mrs [1757 March.

1768 Aug]

Phipps, Lady [1758 Feb, May. 1759
April]

Phipps, Master [1757 June]
Phipps, Miss [1764 March]

Phipps, Mr [1759 May. 1760 Feb. 1764
March]

Picture copying, its advantage to the painter copied from, ii, 214.

Pigott, Mr [1758 Jan. 1761 March] almost a centenarian: wager-litigation concerning him, i, 201, note 5. Pindar, Peter. See Wolcot.

Pine, John, engraver, i, 135.

Pine, Robert Edge, painter, i, 97. 178 note. 262. Premium awarded, 185. Piozzi, Mrs. See Thrale, Mrs.

Pitcairn, Dr [1777 Nov]

Pitt, Mr [1764 Jan]
Pitt, Mrs [1758 Feb]

Pitt, William, afterwards Earl of Chatham, i, 96. System resisted by him, 123. His rivalry with Henry Fox, 142. Dismissed from office, 151. Recalled, 152. Effect of his counsels, 159. Joke put upon him by the King, 164 note. Satirized by Hogarth, 211. Commending Burke, 254, 255. His death, ii,

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REYNOLDS.

ship of his day, 95. On the style of portraiture then in vogue, 100. Removal to Newport-street, 101.

His

great industry, 102. Striving after perfection, 103, 104.

His full-length of Keppel, 104-106. Sitters brought by it, 109.

His estimate of his rival Liotard, 108. His way of setting to work, drawing, arrangement of colours, &c., at successive periods, 109-114. 122 note. 142, 143. 276 note. 310 note. 375-377 notes. ii, 97, 98. 146 note. 172, 173. 227. His remarks on his own practice, i, 114-117.

Anecdote of his portrait of Lord Drogheda, i, III note.

His belief in the Venetian secret, 112. His reason for buying pictures by the old masters, 115.

Reply as to the unpicturesqueness of

the costume of his time, 117, 118. First meeting with Johnson, 118-120. His portrait of his sister, 122. Proper literary accompaniments to a collection of his pictures, 125. Political leanings of his friends: his association with John Wilkes, 125, 126, 127. 198. 210. 250. 380. ii, 161. [See Wilkes]

His aristocratic friends: Mrs Bonfoy's portrait, i, 128. His Dilettanti friends, 130, 131. [See Dilettanti Club] His paper advocating an Academy of Art, 131-134.

At Slaughter's, 137. 141.

His intimacy with Bower, Armstrong,

and "Athenian Stuart," 137-139. His fondness for cards, 139. His heterodoxy at whist, ii, 586.

His first and subsequent portraits of
Johnson, i, 147, 148. 357. 412. ii,
143. 223. Imaginary portrait of
Johnson as an infant, i, 147 note.
His portrait of young Mudge, and re-
mark on gift-portraits, 148.
Commissions brought by Sir W.
Lowther's death, 149.

Busiest year of his life, 157.
Effect of war on his work and on the

aspect of his pictures, 159, 160. Accession of royal sitters, 160, 161. His seven portraits of Kitty Fisher, 163. 165.

Portraits of actors: Woodward and Barry, 165, 166.

Pre-eminence of his Garrick portraits, 166-168. Revolution effected by him and Garrick in their respective arts, 169. Painting Walpole: Walpole's compari

REYNOLDS.

son between him and Ramsay, 16, 170. His portraits of Lady Waldegrave afterwards Duchess of Gloucester 173. 188. 227. 393. 453, 454Helping Johnson: papers contributed by him to the Idler,' 171. 185 mote Dinners and social engagements, 1*2

199. 210-213. 237, 238. 250, 251. 25265. 275, 276, 277. 290, 291. 325-32* 386. 461, 462. ii, 51-53. 279-27 287. 322, 323. 429. 432 note. 42". 489-492. 506.526. 549.

His first Venus:' story of its execstion, i, 173-175.

Pictures exhibited at the Society
Arts, 181.

Removal to Leicester-square, 182. Festival on the occasion, 183.

His easel, chair, palettes, pencils, &". 182 note. 183. His grand chariot and alleged motive in parading a 183, 184.

Remarks on his portrait of Lord Ligonier, 191, 192 note.

His head of Sterne: vagaries of s sitter, 192, 193. Complimentary gift to Sterne, 193 note. Painting court beauties and other notables at coronation and marriage of George III, 195-197.

His Garrick between Tragedy and Comedy,' 205. Garrick group ourtemplated by him, 206.

Scandal attaching to one of his sitters, 206-208.

War triumphs in which he was specially interested, 208-110. Kitty Fisher and Nelly O'Brien's frequent visits to him, 213. 227.

To Devonshire with Johnson: haltingplaces on the road, 214, 215. A parallel to his own glance at Pope, 217. Portraits of Lord Bute and Lady

Bolingbroke, 221, 222.

His studio neutral ground, 225, 226. Liking for, and pictures of, Mrs Abing

ton, 226, 227. 240 note. 392. 40-. 429. ii, 41. 114, 115. 379- 437-490His object in founding the Literary Club, i, 228, 229.

Dangerous illness: Johnson's cheering letter, 229.

His only reference to Hogarth, 210 note. Their relative position, alleged jealousies, &c, 230-232.

Why esteemed by literary men, 233. Excellences of his portrait of Count Lippe-Schaumbourg, 235, 236. Neglected by George III, 236, Pro

REYNOLDS,

bable cause of his unacceptability to the King, 273, 274. At Blenheim: his great picture, 237. Coldly received there, ii, 28 note. History of the picture, 196-199. 213,

214.

Testing the judgment of self-styled connoisseurs, 238. ii, 488 note. Loses a royal patron, i, 243. Friendship between himself and Burke, 244. 254. 268. [See Burke] Barry introduced to him, 243, 244. Shakspearian and other fragments from his pen, 245, 246.

His allegorical portrait of Lady Sarah Bunbury, 247. Weak points in his mythological pictures, 248. 261. His "drapery-men," 249. Death of one of them, ii, 201.

Rockingham Administration sitters, 253. 269.

At tea and cards with Kitty Clive, 256.
Portraits of Col. Barré, 257, 258.
His intercourse with Angelica Kauff-
mann, 259, 260. 326.

Introduced to the Thrales, 260.
His portraits of Sir Jeffery Amherst
and Lord Granby, 261, 262.
His wards the Miss Hornecks, 263.
Painting Attorney Hickey, 264.
Why interested in the opposition to
Lord Chatham's Government, 267.
Sad end of a noble sitter and his wife,
269, 270.

Political leaders in his studio, 270, 271. Bringing Garrick and Goldsmith together, 271.

A butterfly apparition" in his studio,

271, 272.

His Thursday Club sitters and associates, 272, 273.

Elected into the Dilettanti Club, 273. Paints Barrister Bott, Speaker Cust, and Sam. Foote, 275, 276. Relations towards Court-painter Ramsay, 276. ii, 208.

His love for the Mudge family, and head of Dr Mudge, i, 279. Chantrey on the latter, 280.

Why absent from the 1767 Artists' Exhibition, 280.

Comforting Goldsmith on his first comedy, 283.

Last picture sent to Spring Gardens, 284.

Trip to Paris with Richard Burke: Note-book entries, 285-290.

Burke's remark on his fitness for knighthood, 293.

Why not a petitioner for Crown sanction

to the Royal-Academy scheme, 294,

REYNOLDS.

295. His share in subsequent preliminary proceedings, 296, 297. 309, 310. 310 note. 315.

His elocutionary defects and their causes, 320. Knighted, 321. His allegorical picture of Mrs Crewe and Mrs Bouverie, 324, 325. At masquerades: Vauxhall, the Pantheon, Almack's, the Opera, &c, 327. 354. 389. 391. 427 note. 431. 433, 434. ii, 25. 176. 272. 322. 508. Lion's provider to Johnson, i, 334. Kind offices towards Baretti, 335, 336. Saves a man from hanging, 342, 343. Art advice thrown away on Barry, 343346. 346 note.

Preponderance of Opposition partizans among his sitters, 351.

His notion as to the authorship of Junius,' 351, 352.

At work upon his 'Ugolino,' 353.

Model for the chief figure, 385. 400. History of the picture, ii, 20, 21. Editorial comments, 21 note. 387. Deaths of patrons and friends, i, 353, 354. ii. 325.

His Children in the Wood,' i. 358. Generous conduct towards Zoffany, 359. Excellences of his portrait of Goldsmith, 360, 361. Goldsmith's dedication to him, 362. Mutual affection between the two; their joint ramblings, &c, 362-366. ii, 65. 70. 72.

Conditions on which he became R.A. president, i, 366. 380. 380 note. Rusticating in Yorkshire and Devon

shire, 366-369.

Positions in his Third Discourse controverted by Mr Ruskin, 373.

Effect of his friendship with Oppositionists on his relations with the Court, 380.

Evidences of the kindliness of his nature, 381.

His "irregular convivial table" described by an eyewitness, 383, 384. His studio habits: class from which he took his models, 385. ii, 4. Tea-table reprimand by Johnson, i, 387.

His fondness for clubs: why anxious to join Almack's, 388, 389. New portraits of famous ladies, 392394. His letter on Polly Kennedy's portrait, 398.

Presiding at the first R.A. dinner, 398. A follower in the road pointed out by him, 401. What was needed to realize his ideal of a painter, 402. His judgment on West's Death of Wolfe,' 404.

REYNOLDS.

His reception of Northcote and treatment of pupils, 408-412. 418. ii, 201. At Installations of Knights of the Garter, i, 412, 413. 448. Fate of his hat and watch at one of them, 413. Another trip to Paris and his probable experiences there, 414, 415.

A painting-room catastrophe, 417. His eagle and use made of it, 427 note. 445. ii, 77, 78.

His intercourse with Sir Joseph Banks, i, 427, 428. Secret of the mastery of his portrait of Banks and of his portraits generally, 428, 429. How steeled against beauty, 430. Painting Garrick and wife: character

of the picture, 436, 437. 471. Notable sitters in 1772, 438-441. At" Blue-stocking" gatherings, 450. ii, 108. 487. His portrait of their

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Queen," i, 452.

His interest in the Royal Marriage and India bills, 453, 454.

At Streatham with the Thrales, 456. Why he became a Plympton alderman: his letter of thanks, 458-460.

With Johnson and Goldsmith at the Fantoccini, 460.

His sister's remonstrances, 461. Memoranda from his commonplace

book: his early reading, 467-470. Etat 50: settled routine of his life, ii, I. Falling off of sitters: fancysubject pictures, 2-4. Allegorical picture of the Misses Montgomery, 5. 28, 29. 76, 77.

A week's engagements: sitters, Academy lectures; club, "Blue-stocking," and home gatherings, 5-15. Helping forward Goldsmith's new comedy and comforting its author, 17-19.

Trip to the Isle of Wight, 25-27. His diary, 27 note.

Honour conferred on him by Oxford University, 27.

His gift-portrait of Beattie: criticisms on its allegorical accompaniments, 29-30. 78, 79. Beattie's memoranda of its progress, 31, 32. 56. Writing to Beattie thereon, 57, 58. Elected Mayor of Plympton: presents his portrait to the town, 33-36. His proposal for the decoration of St. Paul's, and address to the King thereon, 37-40. Further on same subject, 57. Portraits painted in 1773: adventures of some of his sitters, 41-47. Progress of pictures for Thrale's Gallery, 48. Istimates of his character: by Mrs

REYNOLDS.

Thrale, 49. by Dr Barnard, so be Johnson, 52. 345. by Gold-n.i^n. ·· note. Dining in a brewer's copper 5. Goldsmith's death, how marked it

him, 71. His delight at hearing Goldsmith praised, 72. 210. Becomes acquainted with Hannah M

introduces her to Johnson, 79, 80. His macaw, its antipathies, 8c note. Pictures of the Duchess of Devotsh 82. 101.

Disagreements with Gainsborong". their estimate of each other, 83. Almost angry with Garrick: matta explanations, 85-87.

Giving Northcote a character, 88.
At a Plympton election, 88, 9c.

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Our Knight" at Beaconsfield. gr. Direction of his sympathies in the Nort American struggle, 98-100. 1yc, Iy His philo-American wager, 138. Picture of Mrs Sheridan as St. Cecia, 101-103. 121. 128. 128 note. His portrait of Omiah, 106. Defending his wine-drinking hab

106, 107. Presenting students at the Dilettanti Club, 111.

Hone's pictorial libel on him, 122, 123. Wolcot's eulogium on him, 129, 132. Rivalry with Romney, 132. Aprq-s anecdotes, 133.

Put to the question by Northcote, 137His picture of Miss Bowles, 134Notice to quit from, and parting enu

sel to, Northcote, 135, 136. His view of his own efforts, 137. D-paraging comments thereen and a his habits, 137 note. 142.

His enthusiasm for Titian. 139. 01 masters restored by him, 139, 140. His portraits of himself: for Thre and the Dilettanti, 143. For Flores Academy, 165.

Deaths of old friends: his eulogy on

one, 143-145.

Amenities to Hannah More, 14", 14

192, 193. His Samuel and 'S: John,' 148. Dinners to Garrick. Burke, and other celebrities at RLmond, 151. 161. 375-377

His early portrait of the Duchess of Kingston, 152.

First sight of Mrs Siddons, 157. Advising her on points of costume, je; 384. His picture of her as the Tragic Muse,' 421-424. 436. 4** Present possessors of the original and replicas, 424 note. Her reculiex tien of her sittings to him, 646, His criticism on Cumberland s ode, 158. Northcote on his equanimity, 159

REYNOLDS.

His character as an art-teacher, 160.
A scolding letter from Johnson, 162.
His Italian letter on the reception of
his portrait by the Grand Duke of
Florence, 165-167. Translation of
his first Discourses into Italian, 168.
With Warton, his Irish friends, and
Gibbon, 175-178.

At Sheridan's new plays, 178, 179.
Criticisms on his fancy picture of the
Bedford family, 183-185.

His portrait groups of the Dilettanti, 186-189. 284.

Trying the "Delineator," 199, 200. His design for New College Chapel window: Criticisms thereon, &c, 200. 225. 228. 261-266. Price realized in 1821 for the paintings, 264 note. Same executed in glass; Walpole's comments and his own confession, 411, 412.

Miss Burney's liking for and anecdotes of him, 204, 205. 320. 381, 382. 384, 385. Talk of a marriage between them, 224. 239. Figure made by him in conversation: holding his own against Johnson, 206, 207. 210-213. A camp visit to Bennet Langton, 218. Publishes his seven Discourses: excellence of his dedication, 222, 223. His sympathy with, and joy on the acquittal of Keppel, 220-222. 229233. His Keppel spoons and tablecloths, 234. His Keppel portraits, 235. 235 note. 283.

Conversations at his house and elsewhere: Miss Burney reporter, 239

245.

At Garrick's funeral, 246. Length of their intimacy, 247. Influence of each on his art, 248. His Johnsonian dialogues on Garrick, 249-257. Hannah More thereon, 259, 260. Death of his old master, 260. A bedside visit to Boswell, 271. His intimacy with Gibbon, 273. Letter to and intercourse with Lord Ossory, 275, 276.

An Irish ex-commissary's appraisement of him, 276, 277.

A pen and ink pendant to his portrait
of Miss Monckton, 278.
Increasing excellence of his work, 279.
Painting a green sky, 280 note.

His Belvoir pictures: their fate, 283.
His ceiling-paintings at Somerset
House, 288.

His group portraits of Horace Walpole's nieces: Walpole's criticisms, 294-296. 328. Work on his hands in seventeen-eighty, 297. 302, 303.

REYNOLDS.

Letter of advice to a young marinepainter, 298. His conduct towards students, 299, 300.

Among his Devonshire friends again, 305, 306.

Walpole's eulogium on him, 308, 309. His address on Art as essential to national dignity, 309, 310.

His portrait of Dr Burney: result of his conviction that whatever he had in hand would be the best of its kind, 313-315.

Advice to his nephew in India, 316. Marriage of his niece "Offy," 317. Letters to her, 317 note. 318. Controversy as to the original of his Thais,' 321, 322. 325 note.

Remi

His Death of Dido,' 326. niscences of and criticism on same, 326, 327. 327 note. Model who sat for it, 343 note 3.

Diary of his tour in Flanders and Holland, 329-334. His letter to Burke thereon, 645. His description of the Hague and Amsterdam, 334-337. On the Dusseldof Collection, 338. On appreciation of art by painters and non-painters, 339.

Artist preferred by him before Rembrandt, 340.

Effect of his criticisms on Vanderwerf,

341. Befriending a poor Antwerp artist, ibid.

Seeing Opie and frightening Northcote, 342.

Variety of life he came into contact with, and position commanded by him, 344, 345. Noted sitters in 1782: "Perdita," 345, 346. An incipient beau, 347. Col. Tarleton, 347, 348. Beckford the second, 348-350. "The Fair Greek," 350.

Rejoicing in the accession of his friends to power, 353-355.

Samples of his notes on Du Fresnoy's 'Art of Painting,' 355-360. His alleged jealousy of Gainsborough, and "malignity" towards Wilson, 363, 364. 369, 370.

Wolcot's verses on him and his imitators, 367. 370. 473. His own feelings with regard to the latter, 370, 371. Warton's verses on his Oxford window,

and his thanks therefor, 372, 373. An interrupted sitting to Gainsborough, 380. Paralytic attack and recovery: congratulatory letter from Johnson,

ibid.

His practice and his theory, 3 His obituary notice of Mos keeper, 388-390.

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