i julyT UC-NRLF B M Sfl7 5,5 OLDS PRICE, 25 CENTS •'t REYNOLDS | PART 7 VOLUME I A'/ v^ '^ 33n689 MASTKHS IJf AHT. PLATE J. PHOTOGRAPH BY BRAUN, CLEMENT * CIE JiKYA'OLUS TlIK Ac;K of IA'XOCENCK AATIOXAL GAl.LtaiY, LOXIXKV MASTflHS IX AKT. PI>ATF II PHOTOGRAPH BY VALENTINt MHS. SIl>UONS AS TUK TRAGIC MUSE GKUSVENOU HOUSK, IXJXUOK HASTEHS XN ABT. PliATK LII. PHOTOGRAPH BY HANFSTAENGL KKY.VOI.DS POHTHAIT OF liOKl) HHATHFIEJL,D NATIOXAI. CiAUl^KltY, L.ON IJOaf MASTERS IN AUT. PLiATK XV PHOTOGRAPH BY HANFSTAENGL KKVXOI.DS LADY CtK.KHlKN A .\ 1) IlKK CIIILUKKW NATIONAL (;ai.i.i-;uv, I,0N1)()N I "^ Si 8. at MASTEIRS IN ART. PLATE VI. PHOTOGRAPH BY BRAUN, CLEMENT &. CIE. HKYXDI.nS PDKlUAlTrt OK TWO UKXTLEMfUf KATIONAL UAM.KKY. lAtXDOS MASTKHS IN AJiT. 1'I.ATK VTT. MEZZOTINT BY SAMUEL COUSINS. R.A. HKY.MlI.nS COl'.NTl'^S SI'KXrKK A.\l> H F.H CHIU) OWXKI) IIV KAJM. Sl'K.VrEM MASTKRS IKf AKT. PLATK Vm. PHOTOGRAPH BY VALENTINE KKY.VDl.ltS iioitrHAir oy vi.-kxjl'xtkssi CHOSHtic OWXKK HV SIH t;iIAHI.h->4 TKNANT MASTERS IN ART. PIRATE IX PHOTOGRAPH BY HAMFSTAENGL HKY.\; J a, s « 2 5! POKTHAIT OK SlilJUSllUA KKY.XOl.DS liV IllMSKLr. f KKIZI, KI,OJ{KXCK In 1775 Reynolds was elected a member of the Imperial Academy of Florence, and in compliance with its regulations, which |)rovide that a newly elected member shall present his portrait, ])ainted bv his own hand, to the Academy, he sent this likeness, showing him at the age of fiftv-two, and in the dre.^-s of his Oxford Uni- versity honors. MASTERS IX ART Jfctr 3Josf)tta l^t^mita^ BORN 1723: DIED 17 'J 2 ENGLISH SCHOOL E. G. JOHNSON INTRODUCTION TO "REYNOLDS' DISCOURSES" SIR JOSHUA REYNOLDS was born on July i6, 1723, at Plympton, Devon- shire, where his father, the Reverend Samuel Reynolds, rector of the Plvmpton Grammar School, initiated him into those classical studies which, later, contributed to the refinement and grace of his pencil. He early discovered an inclination for his art — to the dissatisfaction ot his father, who would have made him an apothccarv — bv dili- gently copying the prints that fell in his way, and by mastering and applying, while in his eighth year, the "Jesuits' Rules of Perspective," and, afterwards, Richardson's "Theory of Painting. " Overborne bv the advice of friends, the senior Revnolds was, in 1740, induced to yield to his son's preference of the palette and brush over the mor- tar and pestle; and Joshua was sent to London and placed under the tuition of Hudson, a portrait-painter of more vogue and pretension than merit. Under this barren source of instruction, however, he rapidly overtook his master, who soon contrived to make things so unpleasant for the too promising pupil that he remained in the studio but two of the four years for which he was bound, returning in 1743 to Devonshire, and setting up for himself as a portrait-painter. He settled at Plymouth, where he met with prompt and unexpected success, painting some thirtv portraits, and finding patrons whose good offices secured his future success. . . . While at Plymouth, Commodore Keppel, to whom he had been recommended bv Lord Edgcumbe, his Hfe-long fi-iend and patron, being appointed to the Mediterranean Station, invited the young painter to accompany him; and he accordingly sailed from Plvmouth earlv in 1749, and on his arrival at Leghorn proceeded to Rome, whence he reported, " I am now at the height of my wishes, in the midst of the greatest works of art that the world has produced." Revnolds' practice and habit of study during his two years in Rome were regulated by the soundest judgment. Seeking truth, taste, and beauty at the fountain-head, he dili- gently copied, sketched, and mcntallv analvzcd such portions ot the works ot Raphael, Michelangelo, and other masters as seemed to him to bear most directly upon his chosen branch. [He paid for this diligence dearly, for from a cold caught in the corridors ot the Vatican the deafness from which he suffered throughout his life was contracted.] On leaving Rome he visited other Italian cities: Parma, where he fell under Cor- reggio's influence; Florence; and Venice, where he remained six weeks studying the great colorists upon whose works his own style was chiefly founded. He had now been absent from England about three years, when he began to think of returning. He arrived in London in 1752, and took rooms in St. Martin's Lane, '2 2 a^ajtftcrsin^rt afterwards removing to the large house on Newport Street where he remained until his final removal to Leicester Square (where his house, number 47, may still be seen, nearly opposite to the site of Hogarth's). English art, as a national art, had already begun under Hogarth; and it remained for the genius of Reynolds to mature and elevate it, — his influence extending more dircctlv, of course, to his peculiar branch. That Sir Joshua, with his leaning toward what he called "the grand style," chose portraiture as his profession was due partly to his con- sciousness of an ignorance of anatoni}' which made it impossible for him at any period of his life to draw the nude figure accurate!)-, and partly to the fact that portrait-paint- ing was then in England the only path to substantial success. He speedily became the vogue, and his studio was thronged, says Northcote, " with women who wished to be transmitted as angels, and men who wished to appear as heroes and philosophers." Reynolds' life, during a period of upwards of thirty years, was one of unbroken suc- cess. Other painters rose fi-om time to time to share his popularity, — Gainsborough, Romney, Opic, Hoppner, — but not to contest his supremacy. Not to be painted by Reynolds was, for a person of note, almost a breach of duty; and in his canvases we see mirrored the men and women who contributed, in whatever department, to the emi- nence of the period, — Garrick, Siddons, Burke, Johnson, Goldsmith, Sterne, Fox, Bos- well, Erskine, Gibbon. Philosophers, statesmen, actors, soldiers, — all are there, snatched, as it were, fi-om the midst of life, the expression and action of the moment caught and held in suspension by the genius of the painter. . . . /^ The saddest defect in his portraits is their evanescence. Sir Joshua's " flying colors," / so exquisite when newly laid, were partly due, no doubt, to his lack of thorough ele- J mentary training, and in part to a fondness for dabbling in experimental mixtures. A J firm believer in the "Venetian secret," he spent a great portion of his life in exploring S. arcana, the key to which might endow his canvases with the richness of Titian and the \ flowery hues ot Veronese; and to such a length did he carry experiment that he utterly J destroyed several fine paintings of the Venetian school to trace the process of laying on, / and to analy/e the chemical mixture of the tints. . . . \. Sir Joshua's career was, as has been stated, one of unbroken success, and it is in the ascending scale of his prices that his rising reputation is most readily traced. His origi- nal price for a head was five guineas; in 1755 he raised it to twelve; five years later it was twenty-five, ten years later thirty-five, while in his later years it was fifty. His industry may be judged from the fact that at the time when his price was twentv-five guineas, he told Dr. Johnson that he was making ^'6,000 a year. He received six sitters a day, and calculated upon finishing a portrait in four hours. One of the speed- iest ot painters. Sir Joshua boasted that he had covered more canvas than any preceding artist in the three generations which he portrayed. ^ Taylor thinks that his authenticated pictures numbered about three thousand; and Hamilton's catalogue states that there are two thousand that can be placed. - Sir Joshua's life was not without external honors. In 1768, when the Royal Acad- emy was founded, he was elected president by acclamation, and was knighted by the King (George III.), — an honor that has ever since been bestowed upon the holder of the office. In 1773 ^^ '^^'^^ chosen ma)or of his native town, Plympton, — a distinc- tion, he told the King, which gave him more pleasure than any he had ever received, "except," he politely added, "that which your Majesty so graciously conferred upon me." The Academy dinners were started by him, and his celebrated Discourses were delivered before the students at the annual prize-giving. In 1789, when he was in his sixty-sixth year, his left eye became suddenly darkened while he was painting a portrait. Within ten weeks its sight was totally gone, and he ^ i r 3 ^ I) u a ^ c p n o I b ^ 23 was thenceforth compelled to practically relinquish his profession, taking up the pencil only occasionally to re-touch the many portraits which had been left on his hands. ' ' There is now an end of the pursuit, " he said to Sheridan ; "the race is over, whether it is won or lost." His final Discourse was delivered on December lo, 1790; he was afterwards seized with a hver complaint, and after a long illness, borne with a mild and cheerful for- titude, died on February 23, 1792. He was buried in St. Paul's Cathedral, the resting- place of Sir Christopher Wren and the great Van Dyck. J.^MES NORTHCOTE "LIFE OF SIR JOSHUA REYXOLDS" IN his Stature Sir Joshua Reynolds was rather under the middle size, of a florid com- plexion, roundish blunt features, and a lively aspect; not corpulent, though some- Iwhat inclined to it, but extremely active; with manners uncommonlv polished and [agreeable. X, EDMOND M ALONE "LIFE AND WRITINGS OF SIR JOSHUA REYNOLDS" WITH an uncommon equability of temper, which, however, never degenerated into insipidity or apathy. Sir Joshua possessed a constant flow of spirits, which rendered him at all times a most pleasing companion; always cheerful, and ready to be amused with whatever was going forward, and from an ardent thirst of knowledge anx- ious to obtain information on every subject that was presented to his mind. In conver- sation, his manner was perfectly natural, simple, and unassuming. Finding how little time he could spare from his profession for the purpose of acquiring general knowledge from books, he very earlv and wisely resolved to partake as much as possible of the society of all the ingenious and learned men of his own time; in consequence of which, and of his cheerful and convivial habits, his table for above thirty years exhibited an assemblage of all the talents of Great Britain and Ireland; there being during that period scarce a person in the three kingdoms distinguished for his attainments in literature or the arts, or for his exertions at the bar, in the senate, or the field, who was not occasionally found there. In the fifteen years during which I had the pleasure of living with Sir Joshua on terms of great intimacy and friendship, he appeared to me the happiest man I have ever known. Indeed, he acknowledged to a friend in his last illness that he had been fortunate and happv bevond the common lot of humanity. . . . While engaged in his painting- room he had the pleasure of seeing and conversing with all the beautiful, accomplished, and illustrious characters of his time; and when not employed in his art, his hours were generally passed in the most pleasing and enlightening society that London could pro- duce. Though from the time of his returning from Italy he was very deaf, he con- trived by the aid of an ear-trumpet to partake of the conversation of his friends with great facihty and address; and such was the serenity of his temper, that what he did not hear he never troubled those with whom he conversed to repeat. COSMO MONK HOUSE "DICTIONARY OK NATIONAL BIOGRAPHY" HIS literary work consists mainly of his Discourses, which probably received some polish from Johnson, Burke, Malone, and others before they were published, but were essentially his own, both in style and thought. ("Sir Joshua," said Johnson, " would as soon get me to paint for him as to write for him.") They were the results \ less of reading than experience, and are distinguished by that broad and happy general- ) ization which was the characteristic also of his art. They contain advice to students which is of permanent value, expressed in language 24 a^ a s t e r ? X n ^ r t which could scarcely be improved. If we make some allowance for the time at which he wrote, most of his judgments on pictures and artists may be accepted now. His ideas are generally sound, and if there sometimes seems a discrepancy between his prac- tice and his theory, it is greatly due to the fact that he was a portrait-painter, while his addresses dealt with ideal art. Cf^c art of Hepnollis LESLIE AND TAYLOR "LIFE AND TIMES OF SIR JOSHUA REYNOLDS" TT is as a portrait-painter that Sir Joshua Reynolds won his fame and will keep it. \ X In his subject-pictures the defects of his technical knowledge are too great to be mas- ; tered by any countervailing power he could bring to such work. He was as little in earnest about it as was compatible with his honest nature. He is best in it when he comes closest to portraiture. Apart from their charms of grace, beauty, and character, and looking at their purely technical qualities, his pictures are to be praised with great reservation. Fine sentiment of color and happy disposition of light and shadow can rarely be denied them even in second-rate examples. On the other hand, his work is often deficient in solidity, show- ing flat-tinted surfaces instead of the true effects of graduated color on salient or retiring forms. His earlier works (before 1770) are, as a rule, better in point of modelling, though not of effect, than his later ones. That charm of indistinct outline, which North- cote selected for praise — " waning and retiring, now losing and then recovering itself again," — is almost unfailing, at least in pictures or parts of pictures from his own hand, and not the draperyman's. But his imperfect knowledge of the chemistry of color, and his somewhat reckless ventures after effect through combinations of pigments and media, have played havoc with hundreds of his pictures, and branded them with the stigma of "evanescence" even more widely than they deserve. The cleaner, in many of these cases, has, I believe, far more to answer for than the experimentalist. But Reynolds must be admitted ignorant of much that to painters under happier conditions was rudi- mentary knowledge. And we can only excuse his recklessness in experimenting bv the intense craving for force and truth of effect that lay at the bottom of it. He felt deeply and almost impatiently the gulf between the technical merits of his pictures and those of the great Venetians or Rembrandt, whom at different epochs he worshipped with equal reverence. I have no doubt his inferiority to these men in power, in mastery of mate- rials, and in certainty of method, was just as apparent to Sir Joshua as it is to any un- biased judge who now compares his pictures with those of Titian, Rembrandt, or Velasquez. His drawing, too, of limbs and the trunk was always slight; it never goes beyond suggestion, it fi-equently suggests imperfectly, and is often quite wrong. But he could draw faces admirably with the brush; his attitudes and hands have generally great character; and even in bodies and limbs it is astonishing how much the charm of his sentiment and color blinds us to careless or wrong drawing. We should never forget, in estimating Reynolds, that no painter's work includes a wider range of various merit between the best and worst examples. He painted such a vast mass of portraits — I am still afraid to fix their total — and employed draperymen and journeymen so much in repetitions and in draperies and backgrounds, that it is very difficult to say what pictures or parts of pictures are the actual handiwork of the master, even when the evidence of their having come from the Leicester Fields studio, or nest of studios, is quite satisfactory. .^ir 3^0^1)11 a lllepnold^ 25 Estimating Reynolds at his best, he stands high among the great portrait-painters of the world, and has achieved as distinct a place for himself in their ranks as Titian or Tintoret, Velasquez or Rembrandt. No English painter has a place beside him in this noble army of artists except Gainsborough, who in many technical points may be pro- nounced his superior, though his range of power is far narrower. JAMES NORTHCOTE "LIFE OF SIR JOSHUA REYNOLDS" TO sum up the whole of Sir Joshua's character as a professional man, it may be observed that when we contemplate him as a painter we are to recollect that after the death of Kneller the arts of England fell to the lowest state of barbarism, and each professor either followed that painter's steps, or else wandered in utter darkness, till Reynolds, like the sun, dispelled the mist, and threw an unprecedented splendor on the department of portraiture. Hence the English school is, in a great degree, the growth of his admirable example. Delighted with the picturesque beauties of Rubens, he was the first that attempted a bright and gay background to portraits; and defying the dull and ignorant rules ot his master at a very early period of life, emancipated his art from the shackles with which it had been encumbered in the school of Hudson. His pictures in general possess a degree of merit superior to mere portraits; they as- sume the rank of history. His portraits of men are distinguished by a certain air of dig- nity, and those of women and children by a grace, a beauty, and simplicitv which have seldom been equalled, and never surpassed. No painter ever gave so completely as him- self that momentary fascinating expression, that irresistible charm, which accompanies and denotes "the Cvnthia of the minute." In his attempts to give character where it did not exist, he has sometimes lost likeness; but the deficiencies of the portrait were often compensated by the beauty of the picture. The attitudes of his figures are gener- ally full of grace, ease, and propriety; he could throw them into the boldest variations, and he often ventures on postures which inferior painters could not execute; or which, if attempted, would inevitably destroy their credit. His chief aim, however, was color and effect ; and these he always varied as the subject required. Whatever deficiencies there may be in the design of this great master, no one at any period better understood the principles of coloring; nor can it be doubted that he carried this branch of his art to a very high degree of excellence. The opinion he has given ot Raphael mav, with equal justice, be applied to himself: *' His materials were generally borrowed, but the noble structure was his own." No one ever appropriated the ideas of others to his own purpose with more skill than Sir Joshua. Perhaps there is no painter that ever went before him from whom he has not derived some advantage, and appropriated certain excellencies with judicious selection and consummate taste. Yet after all that can be alleged against him as a borrower of forms from other masters, it must be allowed that he engrafted on them beauties pecu- liarly his own. The severest critics, indeed, must admit that his manner is truly orig- inal, bold, and free. Freedom is certainly one of his principal characteristics; and to this he seems often to have sacrificed everv other consideration. ANNA B. JAMESON "PRIVATE GALLERIES OF ART IN LONnON" HE was the first English painter who ventured to give light, gay landscape back- grounds to his portraits ; and the first who enlivened them by momentary action or expression. Yet he had some faults, or rather some deficiencies, which must ever be regretted. The most charming of colorists, he wanted some consistent principle ot coloring; he tampered with his palette, and tried experiments with vegetable colors, which in many 26 a^ a ^ t c r ^ in 31 r t cases tailed, particularly where the inipasto was thick: his thinlv painted pictures have stood much better. He never, through life, could draw firmly and correctly. He con- fessed and lamented, with characteristic modesty, his deficiencies in this respect. He endeavored, as far as possible, to hide them by the charms of expression and sentiment, and the splendor and fascination of his color; he partly succeeded, not wholly — and never, in his historical pictures. In fact, he did not paint history well, and in every pic- ture of that class which he attempted, his faults of design, and his want of severity of style, are apparent. . . . But his fancy pictures are enchanting; they are so many bits of lyric poetry, full of novel and graceful ideas, fiiU of amenity and sweetness; his parodies and adaptations of certain old pictures are exquisitely felicitous. His portraits of illustrious men have the dignitv and authority of historv; his portraits of beautiful women, all the charm of po- etrv; his picture of *' Mrs. Siddons as the Tragic Muse " combined both. ... As yet, in the English school of art, Revnolds remains unequalled, in the union of felicitous in- vention and variety in the treatment of his subject with fidelity to general nature; and in a certain characteristic grace and simplicity, more allied to mental and moral refine- ment than to mere conventional elegance. JAMES SMETHAM "ESSAY ON SIR JOSHUA REYNOLDS" THE men we see apart from the framings and contrivances, and limitations of art, are puzzlingly little. Seen against the great backgrounds of nature, man is nothing. The generalissimo ruling among thunder-clouds, and making the mountains bow on the canvas of Revnolds, is but a speck out of doors. Man has to dignity himself, and to the great painter who can do it for him, as Reynolds could, he will willingly accord "cere- monies of bravery even in the infamy of his nature." This vast desire of man Reynolds was able to gratify. He rendered with equal perception and ease the politician in his robes of office; the mighty noble in velvet and ermine; the wit, with his jest simmer- ing on his features; the student poring over his book, or looking afar with contemplative serenitv; the country gentleman with his favorite dog, enjoying the repose of a rustic seat in the shade of his ancestral beech-tree, in the gray afternoon; the dilettante finger- ing his gem or his gem-like glass of wine; the man of pleasure taking it with easy grace; the fashionable beauty pillowed in state, with her gray towers of curl and plaster and plume, or tripping under narrow trees that bend to make her bending more graceful; the actress in tragic state, in saucy surprises, or in the mere lazy luxury of living; or, sweetest of all, the little children! It is in these that Reynolds reaches farthest into the heart. There is a throng of little ones peering at us from canvas to canvas, call- ing us back to our childhood with winning smiles and \\ondcring e\es. On the force, and dignity, and life, and naturalness of his portraits, there was, as his most peculiar distinction, the crown of grace. He was, as Ruskin happily calls him, ♦•lily-sceptred." Taken by itself, and apart from science, we might almost say that Raphael himself had no higher sense of grace. We pardon even his incorrectness in the bewitching fluency of this element in his female portraits. It reached to the disposition of a curl and the flow of a fold. That, and the sense of life and motion which pervades his pictures carry us away, and do not even suffer us long to weary of his works. x'\nd it was just that exquisitely balanced mixture of outward practical sense and spirit with the amenity of a graceful soul that made him so beloved in society, so able to please, without flattery or loss of independence. . . . Burke says that Reynolds seemed to descend to portraiture from a higher sphere. It was from the mount of philosophy that he descended, and not fi-om "the highest heaven of invention." There was one thing he had not, —the perception of the unseen, of the something beyond. " Great and graceful as he paints," he is "a man of the earth," seeing, it is true, all that is noblest and best on this visible diurnal sphere, but never quitting it. In one instance — the portrait of Mrs. Siddons — we just feel the inflation of the balloon. It strains, and rocks, but it does not leave the ground. It was Mrs. Siddons more than Sir Joshua \vho gave the spiritual element to it. Whatever he could reach by vision and taste he could do, but the gates of imagination were closed and sealed to him. It was his calling to portray, and the allowance of his gifts was large enough. . . . Reynolds' methods of painting were chiefly useful in the wav of warning. Many of his finest pictures are already blurred and blighted beyond hope of recoverw His aims as to color and texture were not always satisfactory. It was his practice to lay in the likeness in what is called "dead color," with little more than black and \vhite; over this, \\'hen dry, he passed transparent varnishes and mixtures charged with the tints required to complete the color. These colors — carmines, lakes, and other vegetable hues — were often fleeting. They "sparkled and exhaled" under the power ot sunshine. [Horace Walpole suggested that his portraits be paid for by annui- ties, — so long as they lasted!] Sometimes the varnish \vould turn brown or green, and ruin the complexion. Sometimes a thick-headed cleaner would fetch it all off, and find the caput mortuum below. A still more fatal practice was to lay one coat on another, with materials that had no blood relationship, and then there were constant feuds and insurrections among the pigments, and the picture was rent asunder. " Oh, heavens! Murder! Murder!" says the ranting Haydon, as he spells out the comical occult recipes, partly broken English and partly Italian, in which Sir Joshua recorded these experiments. " Murder! — it would crack under the brush! " His pictures have often a very special charm, arising from ^vhat Haydon calls "his glorious- gemmy sur- face." This was in part owing to the reflex influence of his want of facility. There were ten pictures under the "Infant Hercules;" and many of his best pictures, before he had done with them, had been so loaded with coat on coat of rich pigment, rough and intermingled with all the tints of the palette, that they were ready for the final and magical " surface " that enchanted Haydon. When the full idea was seized, then came the "lily-sceptred " hand, and the light brush, in its graceful sweeps catching the upper surfaces of the many-colored granules, permits the eye to see, through the liberated airv stroke, the sparkle of the buried wealth beneath. s G. JOHNSON INTRODUCTION TO ''REYNOLDS' DISCOURSES" IR JOSHUA REYNOLDS is the painter of English gentlemen, and English ladies, and English children, painting these to perfection and painting Httle else — save charming bits of English landscape to set them in. This is his range; but within that range how various he is! He is the courtliest, the most graceful, of his craft. His portraits stir no profound thoughts, challenge no inquiry. He rarclv meddles with the deeper moods and passions; and in his world one finds none of those sombre, solemn- thoughted people of Italian portraiture, faces with an under-glow of smouldering passion or hidden import, like that of Leonardo's " Mona Lisa," — a sphvnx-face, with its veiled eyes and enigmatic smile. " The style is the man. ' ' From the profusion of nature the painter selects the facts most congenial to his temperament, sequesters them, and fixes them upon the canvas. Sir Joshua was all gentleness and afilibilitv, one of the most gracious of recorded characters, in the best sense a courtier; his lines had fallen in pleas- ant places, and he reflected the world as he saw it, — a trim, well-kept English world of park and woodland and cheerftil vista, of smooth-rolling greensward chequered with flickering lights and shadows, peopled with the stateliest of gentlemen, the loveliest of 28 sr^a^tersin^rt ladies, the most artless of children. The grace of Reynolds has passed into a proverb; and in this quality, within certain limits, he is equal to any of the Italians. As a painter of children he stands pre-eminent, — thanks, perhaps, in part to his models, for no children are so charming as English children, with their unspoiled naturalness and daintv freshness and purity of color. There was something in the kindly nature of the painter keenly responsive to the humors of the little ones, to whom he never failed to endear himself; and, oddly enough, no one has rendered so lovingly and accurately, and in such manifold phases, the special charm ot childhood as the childless Revnolds. His greatness stopped with portraiture. Admirable and various as he was within his scope, his scope itself was strangely limited, petty, even, when one recalls the mag- nificent universality of a Raphael, whose genius swept the field of pictorial achievement, taking all art for its province. . . . Reynolds' attempts at ideal and historical com- positions are failures, — at the best, pale reflections; sometimes, it must be confessed, mere caricatures. When he touches the tragical and supernatural he is at his worst. Compare the grotesque goblins, the paltrv pantomime terrors of his ** Macbeth and the Witches," or the vapid symbolical figures that debase his superb portrait ot Mrs. Sid- dons, with the terrific forms that rose at the beck of Michelangelo, and his feebleness becomes apparent. But sublime as Michelangelo was, and, in his province and degree, incomparably great, there are few of us, I think, who do not turn with heartfelt if shamefaced pleasure from his chilling intellectual sublimity to the gentler graces, the •sweet humanity, and familiar charm of Sir Joshua Reynolds. COSMOMONKHOUSE "THEACADE M Y " : VOL. 25 NO particular advantage is gained by attempting the impossible and invidious task of measuring the exact height of Sir Joshua as compared with the greatest of the old masters; but it is pleasant and safe to assert that he belonged to that small and choice group of ardsts of all time who have done something to enlarge the scope of their particular branch of art — who are not only masters, but initiators. He was born at a time when an artist of ambition had practically no choice but to become a portrait- painter, or to waste his life in vain rivalry with the greatest artists of Greece and Italy — to wreck himself, in short, on the ill-surveved shores of ** high art." Sir Joshua was the first of English artists to comprehend thoroughly how largely the charm ot the masterpieces of pictorial imagination was dependent on the knowledge of principles com- mon to all pictures without distinction of subject, and to perceive how greatly the artistic pleasure of which portraits are capable could be enlarged by distinction and vivacity ot design, by careful schemes of color, and by effective distribution of light and shade. He had the wit to perceive that even a born painter like himself might find ample room for the exercise of his special faculty, and yet render the principal, if not the only, service which his contemporaries required of an artist by the record of the faces and figures of themselves and their friends. When he went to Italy he studied the old masters intently; he examined with the greatest care their methods and the sources of the effects which he admired; but he made few copies. Probably no artist ever learned more from the old masters, but all his knowledge went to nourish his own individual artistic faculty. He gathered knowl- edge from Hudson and Michelangelo, but he was Reynolds from first to last. He painted more fully than any other artist the world he lived in, which besides be- ing a world of fashion was a world of much taste and refinement, a world of much culture and manliness, of much wit and wisdom, and of not a little genius. That he should have been able to reflect every part of this world, and one part as well as an- other, with no small portion of its life and movement, is the crown of Sir Joshua, not only as an artist, but as a man of intellect and a cultivated gentleman. C|)e Cngltsf) ^ci)ool of fainting FROM 17 00 THE English school of painting is the latest national school that has risen in Europe, for the modern schools of Germany and Belgium, though of still more recent date, should properly be classed rather as revivals. There had been, it is true, English miniature painters of some celebrity in the reign of Elizabeth and under the Commonwealth; but in the main, English art had depended upon such foreigners as Mabuse, Holbein, Rubens, Van Dyck, Lely, and Kneller, who were, from time to time, employed at her court, until the beginning of the eighteenth century. English art has excelled in portraiture and landscape, not in works of the imaginative and creative type. Moreover, the English mind has never possessed the pictorial sense in a high degree; and English love of beauty has found its outlet rather in poetry and literature than in line and color. It is natural, therefore, that the national art, develop- ing so late, should follow the already formed literary bent, and content itself with ex- pressing in its painting things that might equally be expressed in poetry, romance, or history, — content itself with a story-telling, an illustrative art, rather than attempt to controvert a settled national habit of mind, and force imaginative expression into a new mould, as it were, and become creative art in the larger sense. The first native name of note in British art history is that of Hogarth (1697— 1764), one of the most vigorous and original geniuses of any age, who, unrivalled as a moral caricaturist, and essentially an impassioned satirist, was also great as a painter. His influence on the art of his time was, however, slight; and the honor of inspiring the modern Enghsh school properly belongs to Sir Joshua Reynolds (1723—1792), the subject of the present monograph. His eminent contemporary and rival, Thomas Gainsborough (1727— 1788), was a portraitist, endowed with much originality, grace, and poetry, and a high color-sense. Gainsborough was, moreover, the first of the illus- trious line of English landscape painters, — a branch to which, on the whole, the greatest glory of the school belongs. Among other painters who flourished during the latter half of the last century were Richard Wilson ( 1 713— 1782), wJio, though rather pseudo-classic than Enghsh in feeling, may be considered the founder of the EngUsh landscape school; and the portrait and historical painters, George Romney (1734-; 1802), graceful, vivacious, and charming in color, whose best works are bust portraits; James Barry (l 741-1806); John Opie (i 761-1807); James Northcote (1746- 1831), the favorite pupil of Reynolds; Henry Fuseli (1741-1825 ); John Singleton Copley (1737— I 81 5), and Benjamin West (1738— 1820), though the last two were natives of America. William Blake (1757— 1827) occupies a unique position among English artists; hardly to be classed as a painter, he was an imaginative artist of remark- able but unequal power, who lived and died with very inadequate recognition. The influence of Reynolds upon the succeeding generation of painters was shown in a strong bias for color, which now forms one of the chief characteristics of the school. In the first quarter of the present century flourished the portraitists. Sir Thomas Law- rence (1769— 1830), not a very strong painter but highly popular from his brilliant and picturesque though somewhat meretricious methods; John Hoppner (1759— 18 10); William Beechey (1753— 1839); and Henry Raeburn (1756— 1823), whose portrait heads rank intrinsically higher but are less popular than the portraits of Lawrence. Contemporaneously, there was developed under the leadership of John Crome of Norwich (1769— I 821), known as "Old" Crome, an influential school of landscape painters, which was called the Norwich school. Crome, a keen student of nature. 3 21^ a £? t c r s i n .H r t painted English scener\' with simplicit\- and power, though his rendering was dry and mannered. John Cotman (i 782—1 842) was his most notable follower in the Norwich school. About the same period flourished David \\"ilkie ( 1 785—1841 j, who, though some- what Dutch in choice of subject and constrained in method, was, next to Hogarth, the best painter of low life that England has produced; B. R. Haydon (1786— 1846), an historical painter of genius in spite of marked mannerisms; William Etty ( i 787— i 849 ); J. M. W. Turner (1775-1851), the most original and imaginative of landscape painters, who for wide range of subject and power of atmospheric effect stands alone, but who, especially in his later years, grew distorted and extravagant in his work; John Constable (1776-1837), a man of wide influence, whose grasp, sincerity, and sensidveness rendered him perhaps the most capable and rounded of English landscapists; Augustus Callcott (1779-1844); William Collins (1788-1847); George Morland ( 1 763-1 804), who painted realistic subjects of English country life, and moralities in the manner of Hogarth; R. P. Bonington (1 801-1828); John Martin (1789-1854), and many others. Historical and genre painting were cultivated during the same time bv Edward Bird (1762-1819); Robert Smirke ( I 752-1 845 ) ; Thomas Stothard (1755-1834), and others; and their work was continued by G. S. Newton (1794— 1835); ^'' ^' Leslie (1794-18 59); William Mulready (i 786-1 863), a fine draughtsman, but weak colorist, whose pictures of village boys, etc., are still popular; Daniel Maclise (1811 — 1870); Charles Eastlake (1793—1865), whose services to English art were, how- ever, greater as a writer than as a painter; and others, some of whom also painted landscapes and portraits with success. Sir Edwin Landseer (i 802-1 873) holds a peculiar and prominent position as a painter of animals; but, though his subjects were highly popular, his treatment of them was over-sentimental and commonplace in motive. The English school of water-color painting, which, especially in the department of landscapes, is perhaps the best in the world, was originally founded by John Cozens (1752-1799) and Thomas Girtin (1775—1802), but only rose into prominence at the beginning of the present centurv. Among its chief artists were J. M. W, Turner, before mentioned; Samuel Prout (1783— 1852), celebrated for his studies of architec- tural subjects; Copley Fielding (1787-1849); David Roberts (1796-1864); Peter Devvint (i 784-1 849); William Hunt (i 790-1 864); John F. Lewis (i 805-1 876); George Cattermole (1800— 1868), and David Cox (1783— 1859). About 1847 occurred, under the name of •' Pre-Raphaelitism," the most recent movement in English art. Its leaders were ardsts who, ^^sociadng themselves with sculptors and poets to the number of seven in all, founded the " Pre-Raphaelite Broth- erhood," the object of which was, as stated bv its most earnest advocate, fohn Ruskin, to oppose the modern system of teaching, and paint nature as it was around them, \\ith the help of modern science, and ''with the earnestness and scrupulous exactness in truth of the men of the thirteenth and fourteenth centuries" — whence the name. The painters of the Brotherhood were, primarily, Dante Gabriel Rossetti (1828- 1882), one of the most notable for his strong mystical and poetical imagination, and the richness of his coloring; Holman Hunt (born 1827), who carried the pre- Raphaclite love for detail so far as to entirely sacrifice truth of ensemble; and Sir John Millais ( 1829—1896), who, however, soon fell away from the Brotherhood and be- came more conventional in his methods. Maddox Brown ( 1821-1893), though never a member of the band, followed many of its doctrines. Edward Burne-Jones (1833—1898), the most notable exponent of the pre-Raphaelite teaching, was a painter of great poetical, imaginative, and decorative qualities; Albert Moore (1840- 1893) was a graceful follower of the Burne-joncs tvpc. The movement as a whole \ left a powerful impression on English art. Among recent English artists of eminence we may mention Sir Frederick Leighton (i 830-1 896), a fine academic draughtsman but deficient as a colorist. %f)t Wovk^ of 3^e^noltrs; DESCRIPTIONS OF THE PLATES "THE AGE OF INNOCENCE" NATIONAL GALLERY: LONDON IT is rather singular that though the "Age of Innocence " is one of Sir Joshua's most familiar works, little or nothing seems to be known respecting it, — even the date of its execution is uncertain, but as many pictures of the class to which it belongs have been assigned to the year 1773, and the following ones, it has been supposed to belong to this period. "If it were only for his love of children," writes J. Comyns Carr, " and his power of interpreting the fascination of childish beauty, Reynolds would still amply deserve the fame that he has won. In a certain sense he may be said to rank as the inventor of this particular department of portraiture. Others indeed, and amongst them men more highly gifted than he, had painted the likenesses of children, but not with his peculiar appreciation of their charm." And another writer, F. G. Stephens, has said, •* Reynolds of all artists painted children best, knew most of child- hood, depicted its appearances in the truest and happiest spirit of comedv, entered into its changeful soul with the tenderest, heartiest svmpathv, plaved with the plavful, sighed with the sorrowful, and mastered all the craft of infancy." <«MRS. SIDDONS AS THE TRAGIC MUSE" GROSVENOR HOUSE: LONDON "TTTHEN Mrs. Siddons sat for this portrait in 1784," writes Mrs. Jameson, VV "this unequalled actress, and in every way admirable woman, was in her thirtieth year, in the prime of her glorious beauty, and in the full blaze of her pop- ularitv, honored in her profession, and honoring it by the union of moral and per- sonal dignity — of genius and virtue. Of her. Dr. Johnson, the sternest of moralists, had said, that neither praise nor money, those corrupters of mankind, had corrupted her. Of her, George the Fourth, the most fastidious judge of manners, had said, 'She is the only real queen — all others are counterfeits ! ' " It has been said that when Mrs. Siddons went to sit to Sir Joshua for this picture, the attitude first sketched was different; that as he paused in his work, she turned round to gaze upon a picture which hung opposite, and placed herself in the attitude we see be- fore us; and that Sir Joshua instantly seized the felicitous and characteristic action and look, and fixed them on his canvas. "Mrs. Siddons' own account is somewhat different. She savs, 'When I attended him for the first sitting, after more gratifying encomiums than I can now repeat, he took me by the hand, saying, "Ascend your undisputed throne, and graciously bestow upon me some idea of the Tragic Muse." I walked up the steps, and instantlv seated myself in the attitude in which the Tragic Muse now appears. This idea satisfied him so well that without one moment's hesitation he determined not to alter it. When I attended him for the last sitting, he seemed afraid of touching the picture, and after pausingly contemplating his work, he said, "No; I will merelv add a little more color to the face." I then begged him to pardon my presumption in hoping that he would not heighten that tone of complexion so accordant with the chillv and concen- trated musings of pale melancholy.' Sir Joshua complied with this request, and added the assurance that the colors would remain unfadcd as long as the canvas would keep 32 !ai^a^tcrj5inart them together; and this has apparently been the case. The tone of color is a little pale and sombre, as suited the subject, but rich, mellow, and in perfect harmony. . . . " Sir Joshua has painted his name on the gold border of the drapery (as some of the old painters painted theirs on the garment of the Madonna). Mrs. Siddons, on exam- ining the picture near, perceived it, and made the remark to Sir Joshua. He replied, with a sort ot poetical courtesy, * I could not lose the honor this opportunity afforded me of going down to posterity on the hem of your garment! ' " It has frequently been said that the general idea of this work was borrowed from Michelangelo's "Isaiah." The two attendant figures variously described as " Pitv and Terror," " Pity and Remorse," and with more probability as "Crime and Remorse," also suggest that Reynolds had in mind the Sistine Chapel. There is a replica of this famous picture in the Dulwich Gallery, another at Langley Park, Stowe, and vet an- other in the gallery of Lord Normanton. '< PORTRAIT OF LORD HEATHFIELD" NATIONAL GALLERY: LONDON " TT was as Lieu tenant-General Elliot," writes Frederick Wedmore, "that Lord XHeathfield was known, when, from 1779 to 1783, he was the hero and the or- ganizer of the defence of Gibraltar, which had, as its result, the retention of the rock in English hands unto this very day. Lieutenant-General Elliot was a man of years even at the beginning of the siege. He Vv'as sixty-two at that time. Arrayed against him then — and for four successive winters — were the fleets of France and Spain — some fifty ships — and an army of forty thousand men. In 1783 the siege was raised. In 1787 this portrait of its hero was painted by Sir Joshua. And, on July 6, 1790, Lord Heathfield died at his seat at Kalkofen, near Aix-la-Chapelle." "It is in all respects one of the finest and most characteristic portraits Sir Joshua ever painted," writes F. E. Pulling. " The htad is full of animation, the figure finely drawn, especially the left hand, which is foreshortened with consummate skill; and the whole is painted with the greatest possible breadth of manner and vigor of coloring. The back- ground is sublimel)- conceived, and serves to throw out the figure with surprising force of effect. Volumes of smoke obscure the atmosphere, and we almost hear the roar of artillery; a cannon behind him, pointed perpendicularly downwards, shows the immense elevation of the spot on which he stands. The circumstance, and the keys grasped firmlv in his hand, give to the picture something beyond mere portraiture; almost an historic interest and significance." ««LADY COCKBURN AND HER CHILDREN" NATIONAL CALLERY: LONDON^ *' TN the year 1775," says Northcote, "Sir Joshua finished the picture of Lady A. Cockburn with her three children in one group, and sent it to the Roval Acad- emy. When it was first brought into the room, in order to its being exhibited, all the painters then present were so struck with its extraordinary splendor and excellence that they testified their approbation of it by suddenly clapping with their hands. ... I observed that at the commencement of this picture, the whole group of figures was so placed on the canvas as to throw all the principal light too much on one side of the composition, which gave it a very awkward appearance, and created a great difficulty, as it required much consideration to overcome the defect. After many trials Sir Joshua at last, with true judicious management, illumined the vacant space in the canvas be- hind the figures by an opening of most exquisitely colored landscape in the background." This picture and that of "Mrs. Siddons as the Tragic Muse" are, according to Leslie and Taylor, the only ones on which Sir Joshua inscribed his signature at length. In both he has put his name on the hem of the lady's garment — "a seal of his own approval of his work," 'Since this account was printed the picture has been sold to Mr. Beit of London for ^"22,000. ^ir 2r ^ I) u a JH e p n o I ti jef 33 "Technically," writes Claude Phillips, "the canvas may be selected as showing Reynolds the eclectic in art, but also the master who indicates his right to borrow where he chooses, since he can assimilate and completely make his own what he takes. The lighting of the picture, and its splendid tawny color-harmony, formed by the red of the curtain, the warm flesh-tints, the rich orange-yellow of the outer robe of satin bordered with white fur, the gaudy plumage of the macaw, are Rembrandtesque with a differ- ence — with a more diffused light and a greater variety in harmony. The red quality of the reflected light in the shadows and half-lights recalls Rubens and the Antwerp school; while the largeness of composition, the decorative conception of the whole, suggest the Venetians of the great period. ' ' <«THREE LADIES ADORNING A TERM OF HYMEN" NATIONAL GALLERY: LONDON PAINTED in 1773, this large portrait group represents the three beautiful daughters of Sir William Montgomery — the Marchioness of Townsend, the Hon. Mrs. Gardiner, and the Hon. Mrs. Beresford — adorning with a garland of flowers a ter- minal figure of the marriage god. Claude Phillips writes: "Here we have Reynolds' peculiar charm and his defi- ciencies balancing each other. His art is not equal — and no one was more fully aware of this than himself — to the correct and adequate rendering of these figures in rhyth- mical movement; but the heads are among the best modelled that Sir Joshua has pro- duced, and the naively revealed consciousness of youth, grace, beauty, in no wise detracts from the peculiar charm that has been aimed at and achieved. The picture has quite recently been cleaned, and very successflilly on the whole, so far as the heads and landscape background go. The looped garland of flowers, which was never, it may be assumed, from Sir Joshua's own brush, though he may have heightened it with some masterly touches and brilliant glazes, has now, unfortunately, emerged too garish and crude from the superimposed varnishes, and wrongs the beautiful faces with which it is brought in contact. " The great canvas was a commission from the Hon. Luke Gardiner (afterwards Earl of Blessington), who had himself given sittings to Sir Joshua when he was in London to arrange the details of his marriage with one of the sisters. We find the master writ- ing to Mr. Gardiner: * I have every inducement to exert myself on this occasion, both from the confidence you have placed in me, and from the subjects you have presented to me, which are such as I am never likely to meet with again as long as I live; and I flatter myself that, however inferior the picture may be to what I wish it, or what it ought, it will be the best picture I ever painted.' " "PORTRAITS OF TWO GENTLEMEN" NATIONAL GALLERY: LONDON THIS picture represents the Rev. George Huddesford, who in early life was a painter and a pupil of Sir Joshua's, as well as a satirist and lampooner of the time, and his friend Mr. John Codrington Warwick Banipfylde, a writer of sonnets. It was painted in 1778—79. "COUNTESS SPENCER AND HER CHILD" OWNED BY EARL SPENCER PAINTED in 1784, this picture of Lavinia, Countess Spencer, with her son. Vis- count Althorp, is one of Sir Joshua's "most gracious and popular realizations of his favorite type, — the beauty presented in her maternal aspect." "There must have been something of the heart of a child," writes J. Comyns Carr, "in one who could so win upon children as to wrest from them the secret of their un- conscious grace and beauty; something also of the tenderness of a woman in a painter 34 a^a^tcr^tfiu^rt who could induce the mothers of children to confide to him those unconstrained and ex- quisite images of maternal fondness that are the peculiar property of his art. We must go back to the time when this one human relationship was deeply and constantly studied under the influence of religious impulse and tradition, to find a match for the sentiment that inspires these designs of Reynolds." "PORTRAIT OF VISCOUNTESS CROSBIE" OWNED BY SIR CHARLES TENANT IN the year i 779 Sir Joshua painted this portrait of Diana, daughter of Lord George Sackville. The picture was until recently in possession of the Crosbic family of Ard- fert Abbey, Kerry. In describing the work, Claude Phillips says: "The picture — glowing with color, though not with colors — shows this vivacious lady dressed in the painter's favorite vel- lowish white, with a gold scarf round her waist. She literallv seems to sweep athwart the canvas, so that a kind of uneasiness, lest the view given of her fascinating presence should be onlv momentary, oppresses the spectator. The attitude and the suggested movement are as audacious as anything the modernity of this end of the nineteenth cen- turv has produced. " It may well be argued, and it would be difficult to gainsav such an argument, that here is an example of all that it is most dangerous to attempt in portraiture; that to erect into a principle what is here a fascinating exception would be to import into that art which, of all others, should busy itself with the permanent in aspect and characteriza- tion, rather than with the ephemeral in movement and gesture, a disturbing, a detesta- ble, element. Yet such is the force of genius that when, as here, the tour de force is successfully performed the effect is irresistible, and the critic, reasoning from unanswer- able principles, is reduced to silence." "PORTRAIT OF DR. SAMUEL JOHNSON" NATIONAL GALLERY: LONDON ONE of the two portraits of the great lexicographer painted bv Sir Joshua at the re- quest of Mr. Thrale, this picture formerly hung in the gallerv at Streatham. Dr. Johnson had his portrait taken many times, condemning anv reluctance to sit for a pic- ture as the *< antractuositv of the human mind." The portrait here reproduced is de- scribed by Claude Phillips as " that impressive likeness, so characteristicallv ponderous and argumentative in aspect, and, with all its realistic heaviness, so wonderfully full of vital- ity." And he says flirther: " Sir Joshua has permitted himself here no embellishment nor idealization, save that, perhaps, he has put the Doctor's wig on rather straighter than it was worn by the original, and has not shown the shabbv brown suit quite as unbrushed as it was. This is the very type of Johnson, the argumentative, the irrepressible, the overwhelming, from the Boswellian point of view — showing the Jupiter Tonansof the set, at whose nod all but the stoutest, even of the Titans, must quake." "DUCHESS OF DEVONSHIRE AND HER CHILD" ROYAL GALLERY: WINDSOR GEORGIANA, Duchess of Devonshire, — "the beautiful Duchess," as she was called, — was the eldest daughter of the Earl of Spencer, and was celebrated not only for her beaut v, but for her gracious manners and great personal charm. Sir Joshua painted her as a cfiild standing at her mother's side, again as a bride, and now as a young mother engaged in plav with her little daughter, Gcorgiana Dorothy, afterwards Countess of Carlisle. The original of this picture, first exhibited in 1786, and one of the most celebrated of Reynolds' works, is in the possession of the Duke of Devonshire at Chatsworth House. It is from the copy at Windsor that our reproduction has been made. J» i r -J ^ I) u a it c p n o I ti> ? i '^si- THE PRINCIPAL PAINTINGS OF REYNOLDS, WITH THEIR PRESENT LOCATIONS REYNOLDS painted about three thousand pictures. The great majority of them were family portraits, which are now in private collections, and many of these ha\e never been publicly exhibited or catalogued, or photographed. It is impossible, therefore, to claim for such a list as is subjoined either fulness or absolute accuracy. It has, however, been based upon the latest and most trustworthy information obtainable. Boston, Art Museum: Mrs. Palk; Lady Louisa Manners; Lady Louisa Connelly; Banished Lord — Chantillv: Countess Waldegrave with her Child Chatsworth House: Duchess of Devonshire and her Child (Copy at Windsor. Plate x) Dublin- National Gallery: Lord Mount Edgcumbe — Edinburgh, National Gallery': Edmund Burke; Sir David Lindsay — Florence, Uffizi Gallery: Sir Joshua Reynolds (Page 20) — Glasgow, Corporation Galleries: Death of Cleopatra; Miss Linley (unfinished sketch) — Hampton Court: Princess Sophia of Gloucester as a Child Lon- don, National Gallery: Three Ladies Decorating a Term of Hymen (Plate v); The Banished Lord; Angels' Heads; Age of Innocence (Plate l); Infant Samuel; Anne, Count- ess of Albemarle; James Boswell; George IV. as Prince of Wales; Lord Ligonier; Dr. Samuel Johnson (Plate ix); Sir Joshua Reynolds (his); Sir Abraham Hume; Admiral Keppel; Lady Cockburn and her Children (Plate iv); Mrs. Musters and her Son; Cap- tain Orme; Snake in the Grass; Robinetta; Lord Heathfield (Plate in); Man's Head; Two Gentlemen (Plate vi) — London, Grafton Galleries: Portraits of Dilettanti So- ciety — London, National Portrait Gallery: Lord Ashburton; Earl of Bath; Sir William Blackstone; Hon. Edward Boscavven; Hon. Edmund Burke; Sir William Cham- bers; Sir William Hamilton; Admiral Keppel; Marquis of Lansdowne; Edmond Malone; Sir Joshua Reynolds; Right Hon. William Windham — London, Royal Academy: Sir Joshua Reynolds; Giuseppe Marchi — London, Royal College of Surgeons: John Hunter — London, Buckingham Pal.ace: Death of Dido; Cymon and Iphigenia Lon- don, Devonshire House: Georglana, Duchess of Devonshire; Lord Richard Cavendish; Duke of Cumberland; Margaret Georglana, Countess Spencer; Lady Betty Foster; Group' of Satirical Portraits — London, Grosvenor House: Mrs. Siddons as the Tragic Muse (Plate II); Mother and Child — London, Holland House: First Lord Holland; First Lady Holland; Two Portraits of Charles James Fox; "Muscipula;" Lord George Len- nox; Right Hon. Thomas Conolly; Duchess of Richmond; Hon. Caroline Fox; Joseph Baretti; Lady Sarah Lennox, Mr. Fox, and Lady Susan Strangways; Mary, Lady Hol- land; Earl of Digby — London, Hertford House: Nelly O'Brien; Strawberry Girl; Miss Bowles; Mrs. Robinson ("Perdita"); Mrs. Braddyl — London, Stafford House' " Hope Nursing Love;" Sleeping Girl; Laurence Sterne — Sir Charles Tenant's Col- lection: Viscountess Crosbie (Plate viii); The Young Fortune-Tellers — Mrs. Buchanan RiDDELL's Collection: "Crossing the Brook" — Sir Charles Mills' Collection: Mrs. Abington as "Miss Prue" — Lord Rothschild's Collection: Garrlck between Tragedy and Comedy — Duke of Hamilton's Collection: Elizabeth Gunning, Duch- ess of Hamilton — Lord Crewe's Collection: Kitty Fisher with a Dove" Mrs. Thwaite's Collection: The Ladies Waldegrave — Earl of Sheffield's Collection: Portrait of Gibbon — Earl Spencer's Collection: Countess Spencer and her Child (Plate vii); Lord Ahhorp at the Age of Four; Richard Burke; Lady Anne Bingham; Lavmia Bingham; Lady Spencer and her Daughter; Georglana, Duchess of Devonshire Dowager Lady Castletown's Collection: "Colllna" — Earl of Yarborough's Collection: Mrs. Pelham Feeding Chickens — Lord Mount-Temple's Collection: "Infant Academy " — Lord Fevkrsham's Collection : Girl with Kitten — Baron F. de Rothschild's Collection: "Simplicity;" Mrs. Sheridan as St. Cecilia — New York, Lenox Library: Mrs. Billlngton as St. Cecilia — Ni:w York, Metropolitan Museum: Hon. Henry Fane and his Guardians, Inigo Jones and Ciiarles Blair; Lady Carew; Duke of Cumberland; Mrs. Angelo; Sir Edward Hughes — Salisbury, Longford Castle: Master J.ac()b Bouverie; Mrs. Bouverle with her Ciiild; Viscountess Folkestone; Countess 3^: •:•..• .' 91^ a ^ t c r ^ in SI r t of Shaftsbury and lier Husband; Ladv Catherine Pelham-Clinton Feeding Chickens — Sevenoaks, Knole: Samuel Foote; Dr. Oliver Goldsmith; Mrs. Abington as the Comic Muse; Boy with Cabbage-Nets — St. Petersburg, Hermitage Gallery: Infant Her- cules — Windsor, Royal Gallery: Garrick as Kitely. A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE A R i" I C L E S DEALING WITH SIR JOSHUA REYNOLDS AND HIS SCHOOL BEECHY, H.W. Literary Works of Sir Joshua Reynolds. (London, 1852) — Blanc,C Histoire des Peintres de toutes les Ecoles. (Paris, 1868) — -BoswELL, J. Life of Sam- uel Johnson. (London, 1851) — Carr, J. C. Papers on Art. (London, 1885) — -Ches- NEAU, E. La Pcinture Anglaise. (Paris, 1882) — Chesneau, E. Sir Joshua Reynolds. (Paris, 1887) — Conway, W. M. Artistic Development of Reynolds and Gainsborough. (London, 1886) — Cotton, W. Sir Joshua Reynolds and His Works. (London, 1856) — Cunningham, A. British Artists. (London, 1829) — D'Arblay. Diary and Letters. (London, 1854) — Edwards, E. Anecdotes of Royal Academicians. (London, 1808) — FaringtoNjJ. Memoir of Sir Joshua Reynolds. (London, i 819) — Jameson, A. B. Galler- ies of Art in London. (London, 1844) — Johnson, E.G. Reynolds' Discourses, with notes. (Chicago, 1 891) — Leslie, R. C, and Taylor, T. Life and Times of Sir Joshua Rey- nolds. (London, 1865) — Malone, E. The Works of Sir Joshua Reynolds. (London, 1809) — NoRTHCOTE, J. Life of Sir Joshua Reynolds. (London, 1813) — Phillips, C. Sir Joshua Reynolds. (London, i 894) — Pulling, F. E. Sir Joshua Reynolds. (London, 1880) — Redgrave, R. and S. A Century of Painters. (London, 1890) — Ruskin, J. Art of England. (London, 1876) — Sandby; W. History of the Royal Academy. (London, 1862) — Smetham, W. Essay on Sir Joshua Reynolds. (London, 1893) — Stephens, F. G. English Children as Painted by Sir Joshua Reynolds. (London, 1866) — Sweetser, M. F. Sir Joshua Reynolds. (Boston, 1878) — Wedmore, F. Studies in English Art. (London, 1876). magazine articles ACADEMY, VOL. 25 : Sir Joshua at the Grosvenor (C. Monkhouse) — All the Year, VOL. 13: Sir Joshua Reynolds ^ — -Art Journal, vol. 6: Sir Joshua Reynolds and His Birthplace, vol. 17: Leslie and Tayhjr's Life of Sir Joshua Reynolds, vol. 41: The Royal Academy in the Last Century (J. E. Hodgson and F. A. Eaton). VOL. 44: Sir Joshua Reynolds and His Models (F. A. Gerard), vol. 49: Pictures at Longford ( astle (C. Phillips) — Blackwood's Magazine, vol. 8: Farington's Memoirs, vol. 102: Sir Joshua Reynolds — Century Magazine, vol. 54: Old English Masters (J. C. Van Dyke) — Cornhill Magazine, vol. i: Sir Joshua and Holbein (J. Ruskin) — Eclectic Re- view, vol. 10: Northcote's Memoirs of Sir Joshua Reynolds — Edinburgh Review, vol. 23: Northcote's Life of Reynolds, vol. 34: Farington's Life of Sir Joshua Reynolds — Education, vol. 6: Sir Joshua Reynolds (F. C. Sparhawk) — Fine Arts Quarterly, vol. I, N.s. : Sir Joshua Reynolds (W. B. Donne) — Gazette des Beaux-Arts, 1866: Joshua Reynolds (J. Desrosiers). 1893: Reynolds en Italic (L. Dimier) — Independent, VOL. 50: A Painter Man of the World (S. A. Walker) — Leisure Hour, vol. 33: Sir Joshua Reynolds — Magazine of Art, vol. 15: The Reynolds Centenary (R. J. S.) — Month, vol. 3 : Sir Joshua Reynolds and Dr. Johnson, vol. 16: Sir Joshua Reynolds and his Studio — Munsey's Magazine, vol. 16: Famous Portrait-Painters — Portfolio, vol. 4: From Rigaud to Reynolds (S. Colvin). vol. 6: Technical Note on Sir Joshua Rey- nolds (P. G. Hamerton) — Quarterly Review, vol. 120: Life of Sir Joshua Reynolds — Scribner's Magazine, vol. 15: Sir Joshua Reynolds (F. Keppel) — Spectator, vol. 57: Discoursesof Sir Joshua Reynolds. VOL. 57: Sir Joshua Reynolds at the Grosvenor Gallery — Temple Bar, vol. 5: Englisli Art from a French Point of View (T. Gautier). UNIVERSITY OF CALIFORNIA LIBRARY BERKELEY RETURN CIRCULATION DEPARTMENT TO— ^ 202 Main Library LOAN PERIOD 1 HOME USE 2 3 4 5 b ALL BOOKS MAY BE RECALLED AFTER 7 DAYS Renewals and Recharges may be made 4 days prior to the due date. Books may be Renewed by calling 642-3405 DUE AS STAMPED BELOW FORM NO. DD6 UNIVERSITY OF CALIFORNIA, BERKELEY BERKELEY, CA 94720 ^0 3c62i U C BERKELEY LIBRARIES CDSbDbfiDfib •M UNIVERSITY OF CAUFORNIA LIBRARY A GLOSSARY OF IMPORTAl^T SYMBOLS In Their Hebrew, Pagan, and Christian Foiins By ADELAIDE S. HALL All colors and most minerals are emblematic, as are many numbers, geometrical forms, astro- nomical bodies, trees, plants, flowers, animals, fish, birds, insects, and mythical creatures. The significance of these objects is arranged according to country and bound as a manual. THIS BOOK IS OF USE TO: THE READER If he enjoys ancient history, travels, or poetry, a knowledge of the s}rmbol8 with which these divisions of literature are replete becomes a necessity, else the most interesting as well as subtle meaning is lost. The Bible contains the largest number of emblems of any history ever published — many of these are unfamiliar, while their bearing on the subject-matter is definite. Every ancient cult was taught to the unlearned by means of S3rmbol8 which are as common in Asia to-day as in the fifth century B. C. These Pagan symbols have migrated through the ages, and exist now in Christian art with varied interpretations. THE TRAVELER In order to comprehend the significance of architecture in ancient or mediaeval buildings, sculp- tures, and paintings, he must be able to read the meaning of their form and color, as well as the devices used in connection with them. THE DESIGNER. CRAFTER, OR ILLUSTRATOR Ignorance of symbols has often led the artist to make a ridiculous design when his intention has been to be serious. If a theme or story is mysterious or conservative in its character, symbolic illustrations (which by their vary nature suggest rather than explain) are often of the highest value. THE COLLECTOR Whether a person be a connoisseur or a novice, he must read his Oriental porcelains, metal work, or paintings as much by the symbolic forms with which they are decorated as by the material or color. _^____— __^_ The author, Adelaide S. Hall — better known as Mrs. Herman J. Hall — is an experienced and ex- tensive traveler and an indefatigable worker, who has pursued the study of symbols for years. Her own understanding and enjoyment of all forms of art have been magnified a thousand-fold by the interpretation of emblems, and it was h - own need of a more complete and simplified glossary which led her to prepare one for others. Mrs. Hall is a club woman of national reputation, the author of " T- vo Travelers in Europe," as well as magazine articles, and a well-known art expert, teacher, and lecturer. Price. Bound in Cloth. Gold Die. Post.p&id. $1.00 BATES & GUILD COMPANY 144 CONGRESS ST., BOSTON, MASS.