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REYNOLDS.

A complimentary letter from Erskine, and a characteristic one from Johnson, 390-392.

Device on his seal, 392.

Introduction to and intercourse with

Crabbe, 393-395.

Fears he hates Barry, 399. Barry's attacks upon him and subsequent amende, 399-407.

His attacks of palsy, 414. Miss Burney's allusion thereto, ibid. note. Division among political friends, 415. Visits to Belvoir, Nuneham, and Port Eliot, 416-418. Crayon-portrait of

himself at Nuneham, 417 note. Query as to his alleged 1783 visit to the Low Countries, 419 note. Silencing Engraver Green, 425. Letter to Astle with an etymological P.S, 428.

His portrait of Fox: inscriptions insisted on by Fox, 429, 430. Occasion for thankfulness, 430. Voting for Fox, 433.

Acquiring a Milton relic, and defending its authenticity, 440, 441. Interceding for means to send Johnson to Italy, 445, 446.

Appointed Royal Painter, 448. Its pecuniary value, 449 note. Contemplated resignation of the R.A. Presidency, 448. Beechey's defence of him to the king, 449.

An illnatured fling at him, 451 note. Loses Johnson: foundation of their friendship: Johnson's dying counsel to him, 452, 453. His character of Johnson, 454-462.

Sitting to an American painter, 468 note. Helping Warton in the laureateship vacancy, 471.

Two of his best portraits, 474-476.
His portrait of Boswell: Boswell's pro-
posal, 477. 506.

A little tiff with Walpole, 478.
His portrait of the Duke of Orleans,

479. 484. 486. Its fate, 485. At Brussels picture-buying, 480. His power at its acme, 481.

His Infant Hercules, 483, 484. 500. 516. Walpole's criticism, 511.

At theatrical benefits of his favourites,

489, 490. 507-515.530. His interest in the Warren Hastings case, 490, 491. 509. 513. Letters to Lord Ossory on picture topics, 493-495. Letter to Malone, 498. Superiority of his groups of actual personages to his imaginative pictures, 500. His pictures in Boydell's Gallery, their subjects

Sh.

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REYNOLDS.

and character: original of the Puck. 501-504.

Painting Lord Heathfield, 510. 516. Constable's eulogium 517.

His portrait of Rodney, 518.

His address on Gainsborough's death, 519. Direction in which the latter excelled him, 520.

Impending rupture with the Academy, 521. 532. Official duties on the King's restoration to sanity, 531, 532 Kindness to Dayes, 531 note. His Macbeth: Fuseli's criticism, 535Pictures at St. Petersburg, 538 note. Loses the sight of an eye: Ozias Humphrey's thoughtful kindness, 539, 540. Cause of the infirmity: the lost canary, 541.

Beaconsfield visits and Sussex excursions, 542, 543.546.

His view of the French Revolution and Paris experiences, 544, 545.

Busy about Johnson's monument, 54′′. 603. 609. His paper on the propriety of the Academy subscribing to it, 610-615. Dr. Parr's letters to him on the inscription for it, 617-620. "Failures" and "Remainders," 551. His letter on the 'St. Cecilia,' 552. His quarrel and subsequent reconciliation with the Academy, 553-5-5His last male portrait, ibid. Last pictures exhibited, 588.

At an execution, 588, 589. Burke's apt quotation at the close of his Farewell Discourse, 594Acknowledging a peeress's gift and invitation, 596, 597.

A misunderstanding with Northcote: correctives of Northcote's suspicions, 597-602.

Exhibiting his collection of old masters: his object, &c, 603, 604. His letter on the beautiful and the picturesque; consideration on same subject, 604-608.

Last portrait for which he sat; its occasion, 615, 616.

Doing duty by deputy, 621, 622.
Break-up of his health, 621, 624, 625.

Last illness and death, 626-628. Obituary notice by Burke, 629, 630. Honours paid by the Academy: the funeral, 630-635. His will and legatees, 635, 636. Sum realized by sale of his collection, 635 note. His epitaph, 637 note. Burke's observations on his character, 638-640 notes. Concluding remarks: Northcote's eriticism: characteristics of his works, 641-644.

REYNOLDS.

His Discourses to the Royal Academy The First: Introductory, i, 317-319. Second: Course of study, 337. Third: Grand style and right imitation of nature, 370-374. Fourth: Generalization, 419-426. Fifth: Qualifying some of his earlier injunctions, 462-464. Sixth: Pictorial imitation plea for catholicity of study, ii, 91-96. Seventh: Standard of taste, 169-172. Eighth: Principles of art, whence originating, 225-227. Ninth: Opening the schools in new Somerset House, 309, 310. Tenth: Sculpture, 310-312. Eleventh: Pictorial genius, 386. Twelfth: Education of the artist, 463-467. Thirteenth: Art, nature, and imagination, 497-498. Fourteenth Character of Gainsborough, 522-525. Fifteenth: Object of an Academy, 589-594.

Pictures sent to the several Royal Academy Exhibitions, viz.

1769, i, 323, 324, four pictures.-1770, i, 357, eight,-1771, 399, 400, six.— 1772, i, 444, six.-1773, ii, 19, 20, twelve.-1774, ii, 75, 76, thirteen. -1775, ii, 127, 128, twelve.-1776, ii, 155, 156, twelve.-1777, ii, 182, 183, thirteen.-1778, ii, 213, four.1779, ii, 261, 262, eleven.-1780, ii, 293, 294, seven.—1781, ii, 325, 326, fourteen.-1782, ii, 361, 362, fifteen. -1783, ii, 407, 408, ten.-1784, ii, 435, 436, sixteen.-1785, ii, 472, sixteen.-1786, ii, 484, 485, thirteen.1787, ii. 505, thirteen.-1788, ii, 516, seventeen.-1789, ii, 535, 536, twelve. -1799, ii, 588, six.

Lists of Sitters from Sir Joshua's pocket-books

1755, i, 144-147.-1756, no list.-1757, i, 155-157.-1758, i, 161, 162.-1759, i, 176-178.-1760, i, 186-189.-1761, i, 200-202.-1762, i, 218, 219.-1763, no list.-1764, i, 239-241.-1765, i, 252, 253.-1766, i, 265-267.-1767, i, 281-283.-1768, i, 311, 312.-1769, i, 346-349. 1770, i, 375.-1771, i, 426.-1772, i, 465.-1773, ii, 54, 55. 1774, ii, 96 (imperfect).-1775, ii, 146 (price-book).—1776, ii, 173, 174 (price-book).-1777, ii, 202, 203.1778, ii, 228, 229-1779, ii, 280, 281. -1780, ii, 312, 313.-1781, ii, 342, 343.-1782, ii, 387, 388.-1783, ii, 426, 427 (price-book).-1784, ii, 467, 468.-1785, ii, 480, 481 (price-book). -1786, ii, 499.-1787, ii, 512.1788, ii, 525-1789, ii, 550.

ROBINSON.

Reynolds, Samuel, father of Sir Joshua, his occupation, marriage, &c, i, 2. His prototype in a famous novel, income, &c, 3, 4. List of his children, 4 note. His simplicity of character, studies, astrological fancies, 5, 6. His letters on the placing out and progress of his son, 15-24. 26, 27, 28. His death, 31. Poetic portrait applicable to him, 363. Further specimen of his letters, 470, 471.

Rice, Mrs [1762 Feb]

Rich, co-founder of the Beef-steak Club, i, 210.

Richards, John, appointed Sec. R.A, ii, 522. See 549. 559. Richardson, Jonathan, his treatise on art, and its alleged influence on Reynolds, i, 9-12. 302. 353. Contrast between his theory and his practice, 98. Sale of his drawings, 192 note. See i, 20. 31. 419.

Richardson, Mrs [1771 July]
Richardson, Samuel, novelist, helping
Johnson, i, 141. See i, 99. 452. ii, 81.
203.
Richmond, Charles third Duke of [1758
April, Oct] his Art Academy scheme
and its upshot, i, 154. 158. What be-
came of his casts, 316. Sitting to Rey-
nolds, 158. 172. Barry's letter to him,
ii, 59. Patronising Romney, 134. His
theatre, 507. See 495 note.
Richmond, Mary Duchess of [1758 April.
1759 May. 1760 Feb. 1764 Nov. 1765
Jan. 1766 March. 1767 June] sitting
to Sir Joshua, i, 225. Her masquerade
character, 433.

Richmond, Miss [1764 Aug]
Ridge, Goldsmith's friend, ii, 67.
Ridge, Miss [1773 Dec]

Rigaud, J. F, A.R.A, his singularly entitled picture, ii, 24. His style pithily characterised, 225. Elected R.A, 433. See 534.583.

Rigby, the jovial, picture painted for, ii, 183. See also 183 note. Rigby, Mrs [1788 July] Robberies. See Highwaymen. Roberts, Miss [1760 May. 1761 March. 1789 Feb]

Robertson, Dr, historian, portrait exhibited, i. 444. 445. His charge relative to Johnson, ii, 212.

Robinson, Colonel [1760 March] Robinson, Dr, Primate of Ireland, afterwards Lord Rokeby [1767 Jan. 1771 May. 1772 June. 1775. 1779 Feb] merits of Sir Joshua's two portraits of Archbishop of Armagh, and him, ii, 128, 129. 279 note 2.

saw no vulgarity in the head of Goldsmith; and we may be sure he did not agree with many of his friends. in considering him "very like a journeyman tailor,” or with Miss Reynolds, in thinking him "the ugliest of men." An inferior painter might have easily succeeded in giving a vulgar look to Goldsmith, by dressing him in his plum-coloured coat, and hiding his honest, open forehead under a well-powdered wig. So painted, the portrait might have seemed to the acquaintances of Goldsmith more like than that of Reynolds. But Sir Joshua meant to paint the author of the 'Vicar of Wakefield' and of the Deserted Village,' and not the Goldy who was laughed at by Boswell and Hawkins, and quizzed by Burke. It may be noticed that the ideal drapery of this portrait and the view of the face almost exactly correspond to the painter's treatment of his very early portrait of his own father.

This head of Goldsmith is to me the most pathetic picture Reynolds ever painted: not only because, in looking at it, I think of the Deserted Village,' but far more because the sufferings of a whole life and of the tenderest of hearts are written in it. The Ugolino of Reynolds is agonizing; but the portrait of Oliver Goldsmith displays a gentler, yet a rarer power, was required to delineate the sufferings of the dying family in the terrible Tower.

than

[The portrait of Goldsmith must have been an object of special attraction in the Exhibition just before its doors were closed.

On May 26th, after many postponements and premature advertisements, had appeared his poem of 'The Deserted Village,' with a dedication to Sir Joshua.

"I can have no expectations," writes the poet, "in an address of this kind, either to add to your reputation or to establish my own. You can gain nothing from my admiration, as I am ignorant of the art in which you are said to excel, and I may lose much by the severity of your judgment, as few have a juster taste in poetry than you. Setting interest, therefore, asideto which I never paid much attention-I must be indulged at present in following my affections. The only dedication I ever made was to my brother, because I loved him better than most other men. He is since dead. Permit me to inscribe this poem to you." The poem attained wide and immediate popularity, and before the end of August reached a fifth edition.

Whatever Reynolds might think of the political economy of Goldsmith's exquisite Idyll-which the Doctor maintained to be his own honest deduction from observation-he deserved the honour of this dedication by his fellow-feeling for the subject, as well as his thorough appreciation of the poet. In every loving reminiscence of a humble country birthplace; in every touch descriptive of village character, sports, and enjoyments; in every trait of that unrivalled picture of the good pastor "passing rich with forty pounds a year," the painter's heart must have gone along with the poet's.

In none of the great men of the Club could Goldsmith have found a stronger, stancher, more enduring attachment to the scenes and associations of his youth than in Reynolds, who loved, he used to say, every stone in Plympton; who valued the mayoralty of his little

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borough beyond all the distinctions that his

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