diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 17:54:16 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 17:54:16 -0800 |
| commit | 5f0bdb67733d9a4c67abfbd4498b56f0ab358c7d (patch) | |
| tree | 194e74d194dfacd6d750b2d5524da4f91b87b543 | |
| parent | 9de0a09835dd665e2ac0bd2235c98c06f11d2687 (diff) | |
47 files changed, 17 insertions, 25054 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..e1eddec --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #66201 (https://www.gutenberg.org/ebooks/66201) diff --git a/old/66201-0.txt b/old/66201-0.txt deleted file mode 100644 index c062c63..0000000 --- a/old/66201-0.txt +++ /dev/null @@ -1,8689 +0,0 @@ -The Project Gutenberg eBook of The Life and Works of Joseph Wright, A.R.A, -commonly called "Wright of Derby", by William Bemrose - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Life and Works of Joseph Wright, A.R.A, commonly called - "Wright of Derby" - -Author: William Bemrose - -Illustrator: F. Seymour Haden - -Contributor: Cosmo Monkhouse - -Release Date: September 1, 2021 [eBook #66201] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Karin Spence, Tim Lindell and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK THE LIFE AND WORKS OF JOSEPH -WRIGHT, A.R.A, COMMONLY CALLED "WRIGHT OF DERBY" *** - - - - - THE LIFE AND WORKS - - OF - - JOSEPH WRIGHT, A.R.A., - - COMMONLY CALLED - - “WRIGHT OF DERBY.” - - _No._ 292 - - [Illustration: signature] - - - [Illustration: PORTRAIT OF JOSEPH WRIGHT. - - _Original picture in the possession of the Hon. Mrs. Griffiths._ - - _The Vignette of Joseph Wright on the Title Page is reproduced from - the Original Picture in the National Portrait Gallery._] - - - - - THE - - LIFE AND WORKS - - OF - - JOSEPH WRIGHT, A.R.A., - - COMMONLY CALLED - - “WRIGHT OF DERBY.” - - [Illustration] - - BY WILLIAM BEMROSE, - - AUTHOR OF “A MANUAL OF WOOD CARVING,” ETC. - - WITH A PREFACE BY COSMO MONKHOUSE. - - _ILLUSTRATED WITH TWO ETCHINGS BY MR. F. SEYMOUR HADEN, AND OTHER - PLATES AND WOODCUTS._ - - London: - - BEMROSE & SONS, 23, OLD BAILEY; - - AND DERBY. - - 1885. - - - - - PREFACE. - - -The name of Joseph Wright, of Derby, once of high repute among English -Artists, has, during the last half-century and more, sunk, altogether -undeservedly, into a state of semi-oblivion. The Exhibition at Derby -in 1883 did, indeed, something to restore its fame, and it is to be -hoped that the present work may do yet more. Both book and exhibition -owe their existence mainly to the exertions of Mr. Bemrose, who in this -matter may be said to have been moved by a triple love--the love of -art, the love of family, and the love of locality. By his kindness I -am allowed here to aid in doing justice to an artist of whom not only -Derby, but England, should be proud. - -Even if such a feat were possible, I should have no wish to compare -accurately the merits of Wright with those of his forerunners and -contemporaries. It will, however, be generally acknowledged that -between such names as Hogarth, Reynolds, Gainsborough, and Wilson, and -such as West, Northcote, Barry, and Hamilton, there is a gap--sensibly -to be felt. In this gap, but nearer to the greater than to the lesser -men, a place has of late years been found for Romney. It is but a -modest claim for Wright that the same distinction should be accorded to -him. - -As a painter, his method, in relation to that of Reynolds and -Gainsborough, may be said to have been old-fashioned. His pure, precise -touches, his level surface, and clear enamelled colours, have not, -indeed, the variety of texture or the inspired freedom of a Franz -Hals. His practice was nearer to that of Van der Helst, and a host of -other illustrious artists to whom clear, clean, work was dear. Through -Kneller, and Hogarth, and Hudson, it came to him from Holland; and if -he did not reform it, he mastered it, and left his mark upon it. As a -colourist, he was scarcely an innovator; but he was still less of a -copyist. In this and most other respects a “naturalist,” he did not -allow a preference for certain harmonies to dominate his work; but -though his colour missed the charm of inspiration, it never failed in -harmony. He had the colour sense, and a command of the whole scale. -In his candle-light pieces the prevailing hues were determined by his -subject; but the way in which he united the blazing reds and yellows -of the central glare to the rich browns of his transparent shadows, -warmed and cooled these shadows with gleams of red coat and glimmers -of blue sash and white dress, and from the ruddy glow of the chamber -to the cool night outside, led the eye, untired, showed rare taste, -as well as skill. If we take his portraits by ordinary light, we find -the same fine power. The group of Mr. Newton’s children, with its blue -boy, its olive-green boy, and its girl in white and gold, set off with -rich green foliage and clusters of ripe cherries, is a masterpiece -of colour. In these daylight portraits, all the favourite colours -of the dress of the period are introduced and reconciled. The hues -and textures of the buff waistcoat, the “nankeen” breeches, the puce -slip, the cinnamon coat, and the pink shoes, are imitated with the -same sure skill, the same artistic impartiality. Only in regard to one -colour do we find a decided preference, and this is neither the blue -of Gainsborough nor the red of Reynolds, but what may be called the -green of Wright. Probably no other artist has treated this colour with -such variety. It tinges those bladders of which he was so fond; we -find it lightly in the stone-coloured coat of Mr. Cheslyn, and deeply -in the arm of his chair; in pale cucumber the artist robed his pitiful -“Maria”; and from that fine picture of himself in the National Portrait -Gallery we learn that it was green that he elected to wear in his youth -when he wished to look particularly spruce. - -Of his effects of artificial light there is the less need to speak, -since what reputation he now preserves is founded upon them. The -engravings after Wright by Earlom, J. R. Smith, Val. Green, Pether, -and others, are still sought after, and the “Air Pump” is in the -National Gallery for all who wish to see. It may, however, be doubted -whether due recognition has, as yet, been given to the largeness of -design and the dignified simplicity of pose and gesture which lend an -almost classic style to such pictures as “The Orrery,” “The Air Pump,” -and “The Gladiator.” The Exhibition of 1883, while it confirmed -the reputation of such pictures, showed also that his rank as a -portrait painter was much higher than was supposed. In this branch of -art we find him submitting himself to his subject, and seeking rather -to express than to adorn it. He brings you, as few artists do, into -the presence of his sitters. As if alone and at ease, unconscious of -observation, they, whether men, women, or children, are all engaged -with their own thoughts and employments, just as they might have been -seen any day in library or garden. Many men of celebrity, not only -local, he painted--Arkwright and Whitehurst, Darwin and Strutt; but -the charm of his portraits does not depend on the fame of the sitter, -but on the power of the artist to seize a distinct individuality, -and to make each likeness for ever interesting as an authentic image -of a fellow-man. Unsophisticated by fashion or affectation, Wright’s -portraits are history in its simplest and truest form. - -Of the pure charm of his children, some of the illustrations to this -volume, especially Mr. Seymour Haden’s painter-like etching of the -“Twins,” will speak. Sir Joshua painted children with more spirit and -with a livelier eye for fleeting charms of expression; but no artist -has painted them more freshly and truly than Wright. Another admirably -suggestive etching by Mr. Haden shows us the elegance of mien and -grace of sentiment which he could infuse into his more poetical -designs. His versatility was remarkable; but his culture, partly, -perhaps, on account of his secluded life, partly from his ill-health, -left many of his faculties undeveloped, and his imagination was crossed -by a vein of ingenuity which made him delight rather in resolving -problems than in indulging fancy. Nevertheless, the “Minstrel” and the -“Maria” are as good reflections as exist of that somewhat thin but -elegant strain of poetic sentiment which was in vogue in his day. He -has in these pictures preserved its gentleness and grace without its -falseness. A deeper note of pathos (and pathos unstrained) is touched -in the once famous “Dead Soldier.” In his “Death and the Woodman” we -find extreme terror depicted with all the force of the most modern -realist; and if he did not--(who did?)--prove himself equal to the -interpretation of Shakespeare, there is in Boydell’s Gallery no finer -head than that of his “Prospero.” - -It will seem strange to many that Wright should in his day have ranked -even higher as a landscape painter than as a painter of men, but his -fireworks and conflagration effects were a novelty, and were executed -with a skill which must have then seemed astonishing. Now, perhaps, -even if they were done with the superior genius of a Turner, we should -not care overmuch for them. His more ordinary scenes from nature were -sometimes almost as good as Wilson’s, but generally wanted the warmth -and the air of that fine artist, and his composition was apt to be too -palpably ingenious. - -Nevertheless, all abatement made, he was an original and able landscape -painter, and when we add this to his other claims, and remember how -thoroughly sincere his art was, how distinct his personality, it seems -hard that the latest History of English Art should not even mention -his name. True, it was written by a foreigner; and it is probable that -if M. Chesneau had visited Derby two years ago he would have awarded -Wright an honourable place among those artists whom he calls the Old -Masters of England. - - COSMO MONKHOUSE. - - - - - CONTENTS. - - - CHAPTER I. - - PAGE - - THE FAMILY OF WRIGHT 1 - - - CHAPTER II. - - EARLY LIFE.--MECHANICAL PURSUITS.--ASPIRATIONS AFTER ART.--LOVE - OF MUSIC AND SOCIETY.--STUDIES UNDER HUDSON.--RETURNS TO - DERBY.--AGAIN STUDIES UNDER HUDSON 6 - - - CHAPTER III. - - CANDLE-LIGHT SUBJECTS.--“THE GLADIATOR” PICTURE.--COMMENCES TO - PAINT LANDSCAPES IN 1772.--LIST OF PICTURES EXHIBITED AT THE - SOCIETY OF ARTISTS’ ROOMS.--LIST OF PICTURES EXHIBITED AT THE - ROYAL ACADEMY.--WRIGHT HOLDS AN EXHIBITION IN 1785, OF HIS OWN - WORKS, IN LONDON.--HIS GENEROSITY IN GIVING PICTURES TO HIS - FRIENDS.--IS A PIONEER IN WATER-COLOUR PAINTING 11 - - - CHAPTER IV. - - WRIGHT MARRIES AND VISITS ITALY.--LETTERS.--EXTRACTS FROM - DIARY.--BIRTH OF HIS DAUGHTER, ANNA ROMANA, IN ROME.--INFLUENCE - OF THE OLD MASTERS 27 - - - CHAPTER V. - - THE BISHOP AND THE PAINTER.--SETTLES AT BATH.--LETTER TO HIS - SISTER “NANCY.”--PRICES OF PORTRAITS.--WRIGHT’S METHOD OF - MAKING UP HIS PALETTE.--RETURNS TO DERBY.--LODGES WITH THE - ELEYS.--REMOVES TO ST. HELEN’S.--WILSON AND WRIGHT.--ANECDOTES 43 - - - CHAPTER VI. - - WRIGHT’S SECESSION FROM THE ROYAL ACADEMY.--J. L. PHILIPS.--THE - MESSRS. REDGRAVE’S CRITICISMS ON THE SECESSION AND UPON WRIGHT’S - WORKS.--HAYLEY’S POEM.--ANTHONY PASQUIN.--LETTERS FROM WRIGHT TO - J. L. PHILIPS.--THE “AIR-PUMP” PICTURE 57 - - - CHAPTER VII. - - MENTION OF SOME IMPORTANT PICTURES.--THE CUSTOM HOUSE - AUTHORITIES AND “THE CAPTIVE” PICTURE.--THE “DEAD SOLDIER” AND - HEATH THE ENGRAVER.--“DESTRUCTION OF THE FLOATING BATTERIES OFF - GIBRALTAR.”--“THE ORRERY.”--EARL FERRERS AS A - PATRON.--MORTIMER.--PETER PINDAR.--DR. DARWIN.--ANNA - SEWARD.--WEDGWOOD.--BENTLEY.--“THE ALCHYMIST” PICTURE.--HAYLEY - THE POET.--THOS. A. HAYLEY THE SCULPTOR 69 - - - CHAPTER VIII. - - CORRESPONDENCE OF WRIGHT WITH MR. DAULBY AND MR. J. L. - PHILIPS.--THE SHAKESPEARE GALLERY PICTURES.--DISPUTE ABOUT - PRICES 85 - - - CHAPTER IX. - - DEATH OF MRS. WRIGHT.--HE REMOVES TO QUEEN STREET, DERBY.--HIS - LAST ILLNESS AND DEATH.--MR. J. LEIGH PHILIPS ON THE CHARACTER - OF WRIGHT.--SALE OF HIS PICTURES IN LONDON AND DERBY.--LETTERS - FROM J. HOLLAND AND REV. THOS. GISBORNE 102 - - - APPENDIX. - - - - - LIST OF PLATES. - - - PORTRAIT OF JOSEPH WRIGHT. _Reproduced by Messrs. A. & W. - Dawson’s Positive Etching process_ FRONTISPIECE - - TO FACE PAGE - - “THE TWINS.” ANN HADEN, AFTERWARDS MRS. BOOT; AND SARAH - HADEN, AFTERWARDS MRS. JAMES OAKES, OF THE RIDDINGS, - DERBYSHIRE.--_Etched by Mr. F. Seymour Haden_ 12 - - “MARIA.”--_From Sterne’s “Sentimental Journey.” Reproduced - by Messrs. A. & W. Dawson’s Positive Etching process_ 26 - - CONVERSATION PIECE. THREE CHILDREN OF RICHARD ARKWRIGHT, - ELIZABETH (AFTERWARDS MARRIED TO FRANCIS HURT), JOHN, AND - JOSEPH. _Reproduced by Messrs. A. & W. Dawson’s Positive - Etching process_ 42 - - JOSEPH AND HARRIET, TWO OF WRIGHT’S CHILDREN 56 - - “EDWIN.” MR. THOMAS HADEN, OF DERBY, SAT FOR THIS - PICTURE.--_From Dr. Beattie’s “Minstrel.” Etched by Mr. F. - Seymour Haden_ 68 - - CONVERSATION PIECE. THREE CHILDREN, RICHARD, ROBERT, AND - PETER (SONS OF RICHARD ARKWRIGHT). _Reproduced by Messrs. - A. & W. Dawson’s Positive Etching process_ 84 - - - - - CHAPTER I. - - THE FAMILY OF WRIGHT. - - -Joseph Wright, like his famous contemporaries, Reynolds and Wilson, -belonged to the great middle-class, as may be seen from the pedigree -appended to this chapter. Wright could reckon amongst his progenitors -men of some consideration in the three professions of Law, Physic, -and Divinity. The family appears to have settled at Seighford, Co. -Stafford, in 1662, and from thence to have migrated, about the year -1673, to Longford in Derbyshire. The earliest ancestor of Wright whom -I have been able to trace is the great-grandfather of the painter, and -I am indebted to the Rev. J. Charles Cox, LL.D., the present Rector -of Enville, Stourbridge, for the following interesting information -respecting him. - -On February 17th, 1662, in the Rectory House of S. Andrew, Holborn, -Bishop Hacket (of Coventry and Lichfield) instituted “Johannes Wright, -clericus,” into the vicarage of Seighford, Staff., vacant through death -of last incumbent, on presentation of the King.[1] - -On the 5th of the same month, at an ordination held in the Parish -Church of S. Andrew, Holborn, by the same Bishop Hacket, “Johēs Wright, -e Colleg, Dublin, in Regno Hiberiæ,” was ordained priest. - -On September 12th, 1671, Bishop Wood instituted Jno. Nash to the -vicarage of Seighford, on the resignation of John Wright. - -On leaving Seighford, the Rev. John Wright became Rector of Longford, -Co. Derby, where he died in 1681. His death is thus recorded in the -Parish Register, “1681. John Wright, rector of Longford, an orthodox -and worthy son. Buried January 10th.” - -This exemplary clergyman left a widow and eight children. The maiden -name of the former I have not been able to discover, but her Christian -name was Elizabeth, and those of his surviving children (he had lost -one, Sarah, during her childhood) are written on the back of the -inventory of his goods, thus-- - - Richard. - John. - Thomas. - Jonathan. - Matthewe. - Elizabeth. - Mary. - Bridget. - -Letters of Administration were taken out on the 28th June, 1682, and -some of the items of the inventory are so interesting as to be worth -transcribing. It is to be remarked, in the first place, that his goods -were valued at the low total sum of £205, and that the largest item was -for “corn, wheat, pease, and oates, £44,” from which, and from other -entries, it may be inferred that he farmed his own glebe. Among the -latter may be quoted-- - - Hay £25 6 8 - 2 mares, 1 nagg 18 0 0 - 2 heifers, 4 calves, 6 cows in calf, 3 bullocks 27 13 4 - 19 sheep and 4 swine 6 19 4 - -Of the modest establishment and simple habits of this country parson -of the 17th century this document affords evidence. His “plate” was -estimated at £5 only, and the same sum was considered sufficient to -represent the value of his “purse and apparell,” while the worth of the -whole furniture of his “parlour,” consisting of “15 chairs, 2 tables, -1 carpet,” is set down at £3. That he was studious, as well as simple, -is attested by the comparatively large valuation of the contents of his -“studdy.” These were “one desk and lock, and shelves and books,” which -were assessed at £30 4s.--a sum exceeding the supposed equivalent in -money of the entire furniture of the Rectory. This assertion I must -ask my readers to take upon trust, as the inventory of the contents of -the kitchen, dairy, brewhouse, and five upper chambers is scarcely of -sufficient interest to print _in extenso_. - -Of the nine children of the Rev. John Wright, of Seighford and -Longford, some information is given in the pedigree; but here we need -concern ourselves only with his sons, Richard and John, from whom -sprang two distinct branches of the family. It is from John that the -subject of our biography is descended, but Richard claims precedence by -right of seniority. - -Of this eldest son, Richard, little is known, except that he was born -at Loaden Hall, (or Leadenhall), Pentridge, Staffordshire, in 1662, -and that he was the father of Richard Wright, M.D., of Derby. This, -the second Richard of this branch, was born in 1702, and was twice -married--firstly, to Dorothy Gell, of Wirksworth, who died childless; -and, secondly, to Frances Wilcockson, of the same place, by whom he -had issue one son and two daughters. One of the daughters, Elizabeth, -died unmarried in 1766, and Mary, the other, became the wife of Captain -John Wilson, R.N., of Tamworth, and died in 1805. The son was named -Richard, after his father, and followed the same profession. The third -Richard in this branch was, like Joseph Wright the painter, the great -grandson of the Rector of Longford, and must not be confounded with -another Dr. Richard Wright, his second cousin, and brother of the -artist. For the sake of distinction he may be called Dr. Richard Wright -of London, where he settled and became distinguished. He was one of the -physicians to S. George’s Hospital, and being a man of high scientific -attainments, and a scholar of some eminence, he was elected a Fellow -of the Royal Society. He married Caroline, only surviving daughter of -Sir James Gray, by whom he had no issue. He collected one of the first -Libraries of his time, which, after his death, was sold by Messrs. T. -and J. Egerton, on Monday, April 23rd, 1787, and eleven following days. -This Library (which numbered 2,824 lots at the sale) consisted of an -elegant and extensive collection of books in every branch of learning; -it was particularly rich in works on History, Physic, Criticism, and -Divinity, and in Greek and Latin Classics. It also included many of the -scarcest editions of the old English Poets, novels, and romances, and a -remarkably singular assemblage of Theatrical literature, including the -rarest productions of the English drama. The dramatic works occupied -two days of the sale, and amongst other rarities were copies of the -first, second, third, and fourth editions of Shakespeare’s works. The -catalogue, a demy 8vo. of 102 pp., forms a good text book for the book -buyer of to-day. Dr. Wright died at his house, in Charles Street, -Grosvenor Square, London, on Saturday the 14th day of October, 1786. -His remains were brought to Derby, and interred in the family vault at -S. Michael’s Church. - -It is now time to turn to the younger branch of the family to which our -artist belonged. - -John, the second son of the Vicar of Seighford, and Rector of Longford, -was born at the former place in the year 1664. He became an attorney, -and established a reputation for integrity which descended to his son. -There is still in the possession of the family a letter, addressed to -him by “the great Lord Chesterfield,” dated April 13, 1704, in which -his Lordship says, “I am much satisfied to find that Mr. Thacker and my -daughter Wotton have employed in their affairs a character from whom -everybody may expect fair dealing.” - -He married Anne Daykene in 1649, and had issue Jane, John, and -Elizabeth. John, the second, was born Jan. 16, 1697, and, like his -father, became an attorney of good repute. From his upright conduct -upon all occasions, he was known by the flattering name of “Equity -Wright.” It is said that when applied to respecting any case which -he thought only required explanation, it was his wont to reconcile -the parties as a friend, without making fee or charge. An attorney of -Derby, speaking of “Equity Wright,” some years after his death, said, -“he might have died very rich, had he acted like the generality of -his profession.” There can be no doubt that he was a thoroughly good -lawyer, for on more than one occasion, when he waited on the celebrated -Sir Eardley Wilmot, of Osmaston, for an opinion, Sir Eardley said to -him, “You are come to throw away a guinea with me, Mr. Wright, for you -know the law as well as I do.” He filled the office of Town Clerk of -Derby, from 1756 to 1765. - -The sisters of “Equity Wright” died unmarried, but he, on September -26, 1728, took to wife a lady named Hannah Brookes, by whom he had -issue three sons and two daughters. John, the eldest, and third of this -name, was born August 29, 1729, and, like his father and grandfather, -became an attorney. He died March 22, 1798. Richard Wright, M.D., the -second son, already mentioned in the account of the elder branch of the -family, was born November 17, 1730, and attained some eminence as a -Physician in his native town, Derby. An old MS. has the following lines -relating to this Richard-- - - “Cease, wonders, cease, from this or that, - Since Dr. Wright has changed his hat; - Corners three and wig profound, - He now salutes his friends all round.” - -He married Sarah Wallis, of Derby, by whom he had two daughters, Hannah -and Anne. The latter married James Holworthy, an eminent artist, a -member of the old Society of Painters in Colours, and an intimate -friend of the late J. M. W. Turner, R.A. Mr. Holworthy purchased the -Brookfield Estate near Hathersage, and built Brookfield House. Hannah -died May 13, 1867, unmarried. - - [Illustration: BIRTH-PLACE OF “WRIGHT OF DERBY.”] - -Joseph, the third son of “Equity Wright,” is the subject of this -biography. His sisters, Hannah, the third child, and Anne Elizabeth, or -“Nancy,” the youngest of the family, died unmarried in the years 1810 -and 1815, respectively. - -Joseph Wright, the painter, commonly called Wright of Derby, to -distinguish him from another painter of the same surname,[3] was born -at Derby on the 3rd of September, 1734, in the house No. 28, Irongate, -and was educated at the Grammar School of that town, under the Rev. Mr. -Almond. - - - PEDIGREE - - OF - - THE FAMILY OF WRIGHT, OF DERBYSHIRE AND STAFFORDSHIRE, &c., &c. - - COMPILED FROM PARISH REGISTERS, FAMILY PAPERS, &C. - - [Illustration: ARMS.--_Gules_, on a chevron engrailed, - _argent_, between three unicorns’-heads of the second, three - spear-heads, _azure_. - - CREST.--An Agnus Dei, _argent_, bearing a banner, charged with - a cross, _gules_.] - - 1661. - (Rev.) John Wright, ordained Feb. = Elizabeth. - 5, 1662; Vicar of Seighford (or | - Syford), 1662; Rector of Longford, | - 1671; bur. Jan. 10, 1681, at | - Longford (nr. Derby). | - | - +--------------+----------------+-----+-----------+-+-+-------+-+-+ - | | 1694. | | | | | | | - Richard = John = Anne Thomas = Jonathan Mary - Wright, | Wright, | Dakeyne, Wright, b. | Wright, b. Wright, b. - born Feb. | Attorney, | born 1658, Jan. 7, | Aug. 24, Sep. 5, - 9, 1662, at | born Jan. | died at 1666, at | 1668, at 1673, at - Loadenhall, | 5, 1664, at| Parwich, Syford. | Syford. Longford, - in the | Syford, | bur. S. | Derbyshire. - Parish of | Stafford- | Alkmund’s, | Matt. - Pentridge, | shire, d. | May 18, | Wright, b. Bridget - Stafford- | Sept. 16, | 1745. | Sept. 25, Wright, b. - shire. | 1725, bur. | +------------+ 1669, at Nov. 21, - | at S. | |Oct. 18, 1731. Syford. 1675, at - | Alkmund’s, | Thomas = Mary Allin. Longford. - | Sept. 18th.| Wright, Elizabeth - | | born 1705, Wright, b. Sarah - | | made a Jan. 26, Wright, b. - | | Deacon, 1671, at Mar. 21, - | | Sept. 19, Syford. 1677, at - | | 1731. Longford. - | | - +-----+ +-------------------------------------------------+ - July 10, 1728.| | - Dorothy Gell, = Richard Wright, M.D., born = Frances Wilcockson, of | - of Wirksworth.|1702, at Derby, died Dec. 1,|Wirksworth, born 1711, died | - |1770, bur. at S. Michael’s, |May 6, 1772, bur. S. | - | Derby, Dec. 5. |Michael’s, Derby, May 9. | - No Issue. | | - +------------------------------+--------+-----+ | - | | | | - Richard Wright, = Caroline Elizabeth Mary Wright, = Capt. John | - M.D., F.R.S., of |Gray, only Wright, born b. May 3, | Wilson, R.N., | - Hanover Square, |surviving Feb. 22, 1743, bap. S.| of Tamworth, | - London, born at |dau. of the 1740, bap. at Michael’s, | born | - Derby, 1739, bap.|late Sir S. Michael’s, May 4, 1743, | died Sep. 1st,| - at S. Michael’s, |James Gray. Feb. 25, d. Apr. 9, | 1795, | - Nov. 28, 1739, | 1740, died 1805. | Lieut. under | - died Oct. 14, | Jan. 4, 1766. | Lord Howe | - 1786, bur. at S. | +---------------+ when he was a | - Michael’s, Derby.| | Captain. | - | Frances Wilson, | - No Issue. born Sept. 9. 1777, | - at Tamworth, died | - Dec. 15, 1799. | - | - +---------------------+----------------------------------+---------------+ - | | Sept. 26, 1728. | - Jane Wright, born John Wright, = Hannah Brookes, Elizabeth Wright, - Jan. 3, 1695, in Attorney-at-Law, | born 1700, born Apr. 24, - S. Alkmund’s Derby (“Equity | died Nov. 20, May 5, 1703, - Parish, bur. S. Wright,”) born Jan. | 1764, bur. at bap. S. Alkmund’s, - Alkmund’s, Sept. 16, 1697, died Nov. | Alkmund’s, 1703. - 16, 1741. 1, 1767, bur. S. | Nov. 24. - Alkmund’s, Nov. 6; | - Town Clerk of Derby,| - from 1756 to 1765. | - | - +------------------------+----------+------------------------+---------+ - | |Nov. 19, 1774, at S. Alkmund’s. | | - John Wright, = Anne. Richard = Sarah Wallis, [2]Hannah | - Jun., | Wright, M.D., | born Wright, born | - Attorney-at-Law,| born Nov. 8, | died March 2, Sept. 24, 1732, | - born Aug. 29, | 1730, died Feb. | 1820, bur. at bap. S. | - 1729, bap. same | 2, 1814, bur. | S. Alkmund’s, Michael’s, Oct. | - day at All | at S. Alkmund’s,| March 9. 18, 1732, died | - Saints’, died | Feb. 9. | Nov. 6, 1810, | - March 22, 1798. | | bur. at S. | - | | Alkmund’s. | - | | | - | +---------------------------------+| - +-------------++---------+------------+------------+---------+ || - | | | | | | || - Hannah Anne John Elizabeth Richard Jane Hannah Anne || - Wright, Wright, Wright, Wright, Wright, Wright, born || - bap. S. bap. same born 1755, born June born Sep. 1759, bap. || - Alkmund’s, time, at S. bap. Nov. 3, 1757, 19, 1758, Oct. 8, 1759, || - Ap. 14, Alkmund’s, 9, 1753, bap. July bap. S. bur. All || - 1754, bur. April 14, died Apr. 7, 1757, Alkmund’s, Saints’, Feb. || - at S. 1754, bur. 29, 1775, died Aug. Oct. 19, 15, 1769. || - Alkmund’s, All bur. S. 18, 1789, 1758. || - Aug. 14, Saints’, Alkmund’s. bur. S. || - 1759. Jan. 27, Alkmund’s, || - 1790. Aug. 21. || - || - All died young, unmarried. || - || - +----------------------+------------------------------------------+| - | | 15 Oct. 1821, at Hastings. | - Hannah Wright, of Anne Wright, born = James Holworthy, | - Brookfield, born Aug. Aug. 14, 1777, bap. S.|J.P., Artist, born Ap. | - 29, 1775, bap. S. Michael’s, Aug. 15, |10, 1781, died June | - Michael’s same day, 1777, died Nov. 28, | 10, 1841, bur. at | - died May 13, 1867, 1842, at Brookfield, |Kensall Green, London, | - buried at Hathersage, bur. at S. Alkmund’s, |June 19. | - May 21, aged 93 years. Dec. 6. | | - No Issue. | - | - +---------------------------------------------+---------------------+ - | July 28, 1773. | - JOSEPH WRIGHT, = Hannah or Anne Swift, Anne Eliz^{th} Wright, - “Painter,” born Sep. 3, | born “Nancy,” born April 6, - 1734, bap. S. Michael’s,| 1749, died 1739, bap. S. - Sep. 5, 1734, died Aug. | Aug. 17, 1790, bur. at Michael’s, Apr. 7, - 29, 1797, bur. at S. | S. Alkmund’s, Aug. 21. 1739, died May 8, 1813, - Alkmund’s, Sep. 1. | bur. at S.Alkmund’s, - | May 14, 1815. - Whithead = Miss Antill. +--------------------------------------------------+ - | | - +------+ | - | | - Miss Whithead. = Rev. John Cade, Vicar = Mary Osborne. | - |of Spondon, Derbyshire.| | - | | | - | +----+ | - | | | - | John Cade, died at Derby, 18?? | - | | - +-----------+--+ +----------------+--------------+----------+ - | |Ap. 20, 1795.| | | | - Mary Cade, James Cade, = Anna Romana Joseph Wright, Harriet | - died in Surgeon, of |Wright, born born July 14, Wright, | - infancy. Spondon, born|June 24, 1774, 1776, bap. S. born May 12, | - 1772, died |at Rome, bap. Michael’s, 1778, died | - Jan. 15, |at S. Michael’s, July 14, 1776, July 8, 1860,| - 1840, bur. at|Sep. 26, 1775, bur. at in Australia | - Spondon, Jan.|died Aug. 12, S. Alkmund’s, (River | - 22. |1837, bur. at Dec. 5, 1778. Plenty). | - |Spondon, | - |August 18, | - |1837. | - | | - | | - Issue. | - | - +-------------+---------------------------------+-----------------------+ - | | | Oct. 2, 1823, - | | Feb. 15, 1803. | S. John’s, N.B. - John Wright, Maria Wright, = Graham Joseph = Anne Crosby - born Feb. 8, born June 2, |Chappell, born Wright, Rev.,| Wiggins, of - 1781, bap. 1783, bap. |about 1773, a Missionary,| New Brunswick - Mar. 29, 1781, June 5, 1783, |bap. born Nov. 1, | (S. John’s). - died Mar. 22, at S. |died 1786, bap. | - 1798, aged 17, Alkmund’s, |bur. at Nov. 2, 1786,| - bur. at S. died Sep. 6th,|Spondon, April died 1830, at| - Alkmund’s, bur. Sep. 11, |29, 1834. Hamilton, | - March 27. 1819, at | Bermuda, bur.| - Arnold Church,| January 3. | - Notts. | | - Issue. Issue. - -Perhaps the ordinary affix to Wright’s name has to some extent -interfered with his reputation, but the localisation of his fame is -also due to the fact that a great number of his paintings have always -remained in his native county, and in the possession of the families -for which they were painted. - -He was truly “Wright _of Derby_.” For there he was born and educated, -and with the exception of three and a half years under Hudson, in -London, two years in Italy, and a similar period at Bath, we find -him located at Derby throughout his life. He was, however, well -patronised--perhaps, with the exception of Sir Joshua Reynolds, as much -so as any of his contemporaries, for seldom, if ever, did a painting -of his go into the hands of a dealer, or remain unsold. Respected -and honoured by his townsmen, and enjoying the close intimacy and -friendship of men eminent by their position and distinguished by their -talents in literature and art, he passed his days in the midst of those -he loved, industriously labouring at his profession, although at times -suffering from long periods of nervous depression until his death in -1797. - -Wright’s friend and pupil, Mr. Jno. Moss Tate, of Liverpool, told -a gentleman who called upon him early in this century to see some -paintings by Wright in his possession, that “he was always pleased to -see a Derbyshire man, for that county had produced three most eminent -men in the sister arts--Chantrey, the sculptor, Wright, the painter, -and John Harrison, the singer.” - -It is seldom that a better opportunity is found of obtaining a clear -insight into the working and every-day life of an artist, than that -afforded by the material collected for the present volume. This -consists principally of letters written, and memoranda made, long years -ago, and numerous notes by the artist himself. Most of the last are -contained in a book in which he carefully recorded the pictures he -painted, the prices he obtained for them, and the names of his patrons; -in it he was also wont to jot down memoranda (now full of interest) -relating to his family and private concerns. Personal and other relics, -religiously preserved by relatives, and handed down to the present day, -have also assisted in bringing before the writer a vivid picture of the -man and his doings. - - - - - CHAPTER II. - - EARLY LIFE.--MECHANICAL PURSUITS.--ASPIRATIONS AFTER ART.--LOVE - OF MUSIC AND SOCIETY.--STUDIES UNDER HUDSON.--RETURNS TO - DERBY.--AGAIN STUDIES UNDER HUDSON. - - -Young Wright early manifested a taste for mechanics. His brother, -Richard, writing to a friend some years afterwards, thus alludes to -his leisure employments. “At an early time in life he showed great -propensity to knowledge in several mechanical branches; and being of -an active mind, would frequently spend his vacant time from school in -going to different shops to see the men work. When he returned home -he would imitate their works, and compleat them in a masterly manner, -such as joiner’s goods, chests of drawers, clocks, spinning wheels, -guns, etc. His genius afterwards turned to drawing and painting; if he -saw a person once he would draw the outlines of his face so strong as -to be known at sight; making great progress in those branches, he was -determined to pursue those studies for his profession; accordingly his -father, an Attorney-at-Law, enquired of his agents in London, who were -the most eminent masters, and upon enquiry he was recommended to Mr. -Hudson.” - -Having seen a “raree show” at a fair, he considered attentively upon -what principle it could be formed, and having discovered the manner of -placing the glasses, completed a show about three feet high; having -done this, Wright went to the showman and told him he had made a show -like his. The man would not at first believe him, but upon enquiring -how he had made it, and finding it was quite correct, he earnestly -begged that the boy would not tell any one by what means he had -effected it. This show, exhibiting some Italian views, was afterwards -the delight of his children and nieces. - -When the Scotch army, under Prince Charles Edward, came to Derby, in -December, 1745, the elder Mr. Wright, father of the painter, took his -wife, two daughters, and Joe, as he was generally called, to Repton, -thinking that the rebels could not cross the Trent, as there was no -bridge there at that time. During the preceding July his two eldest -sons, John and Richard, had been placed at Repton School, under the -Rev. Mr. Ashley. Much to the surprise of the Wrights, three officers -and forty men were quartered in their house at Derby. During the -soldiers’ stay they saw a small gun, with which they were so much -struck as to make enquiries respecting it, and upon being told that -it was made by Master Joseph, “they wished they could see the little -gentleman, they would take him with them, for they were sure he must be -an ingenious boy to make that gun.” - -At Repton, young Wright saw a “Christmas-Piece” which belonged to one -of the boys. For a long time this piece so engrossed his mind that he -could think of nothing else, and he dwelt upon it until he determined -to try to draw. Thus at eleven years of age he took to art, and -gradually left off his mechanical pursuits. This love for mechanics -showed itself later in life, by the introduction of an air pump and an -orrery into two of his principal pictures. He likewise invented a pair -of proportional compasses. These were made of two strips of wood, with -an opening down the middle of each, placed upon each other and united -by a screw, which, moving up and down, fixed the point of the compasses -at any place that was desired. By this instrument Wright was enabled to -accurately enlarge or diminish any drawing. - -His father being averse to his devoting so much time to drawing, -thinking it would never be of use to him, and might withdraw his -attention from more necessary pursuits, young Wright used to draw, -unknown to his friends, in an attic, where he spent much of his spare -time. Having nothing from which to study, he copied the public-house -signs in the town, which at that time exhibited more “pictures” than at -the present day, and it is related of him, that when he had completed -his copy of the sign of “Robin Hood and Little John,” near his father’s -residence, he was highly delighted, as he was likewise when he had -finished the “Buck in the Park.” The “Buck in the Park”--a sign by -which an inn in the town is still known at the present day--means the -arms of the Borough of Derby, which are _azure_, a buck couchant, -enclosed in park-palings, all _proper_. His method was, after looking -long and earnestly at the sign, to go home and draw as much as he could -remember of it. When at a loss, he returned and examined the sign, -and then ran back as rapidly as possible, so that he might not lose -the impression produced on his mind, and thus he continued until the -drawing was finished. His mother, noticing his conduct, and wishing -to know why he spent so much time in the attic spoken of, entered it -and discovered his employment. The boy-artist earnestly begged that -she would not tell his father, and this request, fortunately for the -world, was granted. His predilection for art is well illustrated by a -life-size head of Counsellor Noel, in my possession, drawn upon blue -paper in black and white crayons; on the back, in Wright’s handwriting, -“Jos Wright, fecit September 3rd, 1751, Ætat 17. Counsellor Noell. The -head being unfinished I was obliged to leave it so.” There is little -doubt he was in the habit of attending the Courts of Assize with his -father, who was engaged there professionally, and had amused himself by -sketching the counsellor in his wig, but from some cause had not time -to finish it. - -The sketches of his early boyhood show considerable skill and power in -light and shade, and the treatment of drapery, and are thus prophetic -of that command of _chiar-oscuro_ which distinguished the pictures of -his maturity. - -His delight in strong lights and shadows was very conspicuous -throughout his life. He could never pass a blacksmith’s shop, or any -striking lights in the streets, without staying to study them; and the -influence of this early passion of his is seen in a large number of his -paintings, where remarkable fire, candle-light, and atmospheric effects -are rendered with singular power and truth. - -At length his father, finding his decided turn for painting, determined -upon placing him with the most eminent artist of the time; and in 1751, -when Joseph was seventeen years of age, he, after careful enquiry -amongst his friends in London, placed him with Hudson,[4] the portrait -painter, with whom he remained as a student for two years. Wright, -however, appears to have soon become dissatisfied with the subjects -which Hudson gave him to copy, which, if we may judge from the studies -of this period still existing--stiff, formal portraits in black and -white chalk upon blue paper--was not to be wondered at; amongst them is -a spirited resemblance of himself, and it is thought probable that the -artist, tired of such copying, amused himself by studying from nature. - -Young Wright, like most young men, was fond of a frolic, but the effect -of a practical joke which he played at Hudson’s effectually cured him -of these mischievous propensities. It appears that the lay-figure at -Hudson’s was upon low wheels, and having tied a piece of string to it, -which he conveyed under the door, Wright, the next morning, whilst the -servant-maid was cleaning the grate, stationed himself at the door, -which was a little open, to amuse himself with her surprise at seeing -it move. Having waited his opportunity, he gently pulled the string, -and when the girl turned to look, suddenly stopped. She took no further -notice of it until he drew it more decidedly steadily forward. She -then earnestly watched its progress, and at last, being convinced that -it was moving, threw down her brush and rushed out of the room, and -would, in her fright, have precipitated herself over the rails of the -stairs, if he had not caught her. He was so much alarmed when he saw -how greatly she was agitated, and thought what would have been the -probable consequence of such a fall, that he determined never again to -indulge in practical jokes, a resolution which he seems never to have -forgotten. This circumstance made such an impression upon his mind, -that he could not hear with patience of any attempt to frighten people, -as “there was no knowing to what consequences it might lead.” - -Upon the expiration of the period for which he had been placed with -Hudson, Wright, at the age of nineteen, returned to Derby, and soon -afterwards painted the portraits of his father and mother, his two -sisters, his brother, and himself. These were probably the first -portraits he painted, as, when they sat to him, he had only--it must -be remembered--been two years at his profession. At this time he also -painted the portraits of many of his friends, and of members of the -principal families in the neighbourhood. Being, however, dissatisfied -with his progress, he returned to London, in 1756, to study under -Hudson for the second time, and remained with him for fifteen months, -often lamenting during that period that he could not obtain better -instruction, there being no master of eminence in England at that time. - -Painting was not Wright’s only pursuit. He was a real lover of music, -and was considered by those able to judge to be a first-rate amateur -performer upon the flute, which he was taught by Tacet. Mr. Denby,[5] -the organist at All Saints’ Church, at this time had weekly concerts at -his house, at which Wright played the flute, Burdett (who published a -Map of Derbyshire in 1767) the violoncello, the Rev. Mr. Hope “thorough -bass on the harpsichord,” and the Rev. Mr. Blackwall and Mr. Charles -Denby first and second violins. These were cheerful evenings, and -Wright took a prominent part in the mirth, for, though naturally shy -and retiring, he was of a social and lively disposition. He is said -to have been the life of the party. He also attended the balls and -assemblies[6] in Derby, Newark, Chesterfield, and other places, and -from his handsome person and pleasant manners was a general favourite. -An old inhabitant of Derby, Mr. Haden, used to relate that Wright -once asked him whether he should teach him to draw, or to play on the -flute, and that he foolishly chose the latter. Wright, he said, was -a very pleasant master, who held the agreeable theory that Madeira -was the best medicine for the flute, and never gave him a lesson -without ordering in a bottle of it. Mrs. Cade (Wright’s daughter) has -related that he used to play upon the flute in the evening, after he -had prepared his palette for the next day; and that the Rev. Thomas -Gisborne (who then resided in St. Helen’s House, at the top of Bridge -Gate, and afterwards at Yoxall Lodge, Needwood Forest) was in the habit -of drawing with him in the morning, and playing upon the flute with him -in the evening. She also recollected going with him to Darley Grove, -adjoining St. Helen’s, where he delighted to hear the echoes to his -flute. - -After Wright’s death, there was found a large box containing music for -the flute, written very neatly by himself, which at last came to the -ignominious fate of being used by the servants for lighting the fires. - -An early memorandum of Wright’s states:--“My Father paid Sandys the -colourman for me Mch 1759, £15. 17. 0. In March 1762 paid ditto £20. -14. 0. Lent me a guinea to send W^{ri.} Paid for cloth for shirts when -I was in London £4. 4. 0. For a German Flute £3. 3. 0.” - -Having soon attained some local celebrity, Wright was allowed a room -at the Town Hall when he wished to exhibit his pictures, and could -not show them to advantage at his father’s. It was in this room that -he painted the portraits of the members of the Derby Hunt, which now -hang in Markeaton Hall, where they were placed by Francis Noel Clarke -Mundy, the poet. This gentleman, from an elegy written by him in 1765, -appears to have been “The life, the leader of the hunter train,” and -in Wright’s MS. book occurs the following memorandum in connection -with a portrait of one of the Mundy family: “The letter in Mr. Mundy’s -picture to be dated from Amberley, in Sussex. It must conclude with -‘your friend Harry Deckham,’ not Henry. The case upon the letter table, -directed to Francis Mundy, Esq., at Markeaton, near Derby.” Amongst -the portraits known to have been exhibited at the Town Hall may be -mentioned that of “Old John,” head waiter at the King’s Head Inn, which -was raffled for ten guineas, and won by Danl. Parker Coke, Esq. This -picture, which represents “Old John,” with roses in the button-hole -of his coat, and a smiling and intelligent face under his wig, is now -in the possession of Lord Belper. Another local character similarly -distinguished, was Thomas Oliver, beadle at All Saints’ Church, -whose attentive attitude, whilst Mr. Winter or his curate, Mr. Hope, -preached, had caught the artist’s eye. The interest thus excited led -the artist to obtain a sitting from the beadle, and the picture which -resulted was exhibited at the Town Hall. Wright made a crayon drawing -of this portrait, and gave it to Mr. Denby. - - [Illustration: “THE TWINS.” - - ETCHED BY MR. F. SEYMOUR HADEN. - - ANN HADEN, AFTERWARDS MRS. BOOT; AND SARAH HADEN, AFTERWARDS MRS. - JAMES OAKES, OF THE RIDDINGS, DERBYSHIRE. - - _Original picture in the possession of Mr. James Oakes._ - - _The Plate of “The Twins” was especially etched for this work, and - presented to the Author by Mr. F. Seymour Haden._] - - - - - CHAPTER III. - - CANDLE-LIGHT SUBJECTS.--“THE GLADIATOR” - PICTURE.--COMMENCES TO PAINT LANDSCAPES IN 1772.--LIST OF - PICTURES EXHIBITED AT THE SOCIETY OF ARTISTS’ ROOMS.--LIST - OF PICTURES EXHIBITED AT THE ROYAL ACADEMY.--WRIGHT HOLDS AN - EXHIBITION IN 1785, OF HIS OWN WORKS, IN LONDON.--WRIGHT’S - GENEROSITY IN GIVING PICTURES TO HIS FRIENDS.--WRIGHT, A - PIONEER IN WATER-COLOUR PAINTING. - - -It is interesting to note in the life of an artist who showed such -varied talents, at what periods he entered on the different walks of -art, which he trod with such success. We know that Wright painted -portraits only whilst under Hudson’s tuition; and even for several -years after his second period of study under that master, which was -during the year 1756, he seems to have attempted nothing else. We are -also able to all but fix the dates of many of his early candle-light -and historical subjects, because they were exhibited at the rooms of -the Society of Artists.[7] The first of these appeared in 1765, and was -called “Three Persons Viewing the Gladiator[8] by Candle-light.” In the -same way we can fix approximately the date of his first landscape as -1772. - -From such records we may also conclude with some certainty that it was -Wright’s own innate genius that impelled him to study those effects of -artificial light with which his name is so strongly associated, for -hitherto no English painter had attempted them, and he did not leave -England till 1773. - -His visit to Italy, in 1774-5, where he saw a grand Eruption of -Vesuvius, merely turned his natural predilection for strange effects of -light into a new channel. This eruption may be said to have been the -father of his numerous landscapes of volcanoes and conflagrations. Of -the eruption alone he painted about eighteen pictures, each of which -was treated in a manner differing more or less from the rest. In his -striking pictures of sun and moonlight, which also began about this -time, we see the same love for unusual and powerful effects of light. - -From a letter in the possession of Lord Lansdowne, the owner of “The -Gladiator,” which, by the courtesy of his lordship, I am able to -transcribe, we learn that this picture was not sold until the year -1772. In Wright’s MS. book the price named is £40. and Dr. Bates is -entered as the purchaser. This price must be an error, or only a part -payment, as will be seen from the letter, which is from Wright to Dr. -Bates, and was sold with the picture. There is little doubt that this -was the picture mentioned in the letter, although it is not referred to -by name. - - “Derby, 12th September, 1772. - - “DEAR SIR, - - “Last night I received a letter from our friend Burdett, - whereby I understood you consent to give me £130 for the - picture. I must let it go at that price, as I am under a - necessity of immediately raising £1,200 on a mortgage, and - have only £1,000 by me, it was on this account I offered it to - you at 125 guineas. I shall say no more on the subject, only - desire for my interest, you will never mention what you gave - for it, as it might much injure me in the future sale of my - pictures, and when I send you a receipt for the money I shall - acknowledge a greater sum. - - “I wish it may be convenient for you to remit me the money - immediately, as Michaelmas is the time fixed for the payment - of the money, and though I have lent more money than I now - want, upon the person’s bare note, and without interest, - I know not a man that would lend me a hundred pounds - without high interest and good security. You see how I am - circumstanced, and have no doubt but you’ll immediately assist - me with the money if you can. I think myself much obliged to - you for offering me the assistance any of your pictures can - give me. - - “I am, with compliments to Mrs. Bates, though not known, - - “Dear sir, - - “Your affectionate friend, - - “JO. WRIGHT.” - -Upon examining the following list of his pictures exhibited at the -Rooms of the Society of Artists, it will be noticed that for ten years, -from 1765 to 1775, only one landscape is mentioned; but on his return -from Italy, in 1776, he exhibited his first picture of Vesuvius, and -from this date he evidently paid much more attention to landscape, and -almost ceased to paint candle-light effects, which, up to that date, -had, with portraiture, almost entirely engrossed his pencil. - -Whilst in Italy he made many landscape sketches from nature, which -supplied him on his return to England with the greater part of the -material for the landscapes he produced from 1775 to within a few -years of his death, although these were interspersed with scenes from -Scotland, Derbyshire, and the Lake District. - -Wright was at an early period elected a member of the Society of -Artists, to whose exhibitions in the Spring Gardens he contributed -many years, as will be seen from the following lists extracted from -the catalogues. It is to be regretted that at this date it was not -the custom to mention in catalogues the names of the persons whose -portraits were exhibited, and in consequence of the lapse of time, it -is now often impossible to identify them. - - - PICTURES EXHIBITED BY JOSEPH WRIGHT AT THE EXHIBITIONS OF THE - SOCIETY OF ARTISTS OF GREAT BRITAIN. - - 1765. - - No. 163. Three Persons Viewing the Gladiator by Candle-light. - „ 164. A Conversation Piece. - - 1766. - - „ 195. A Philosopher giving that lecture on the Orrery, in which - a lamp is put in the place of the sun. - „ 196. A Portrait of a Lady, whole length. - „ 197. Head of a Gentleman. - - 1767. - - „ 188. Portrait of a Gentleman, whole length. - „ 189. A Small Candle-light. - „ 190. Ditto, its Companion. - - 1768. - - „ 193. An Experiment on a Bird in the Air Pump. - „ 194. Two Candle-lights. - - 1769. - - „ 196. A Philosopher by Candle-light. - „ 197. An Academy by Candle-light. - „ 198. A Lady. - „ 199. A Conversation. - - 1770. - - „ 154. Portrait of a Gentleman, Painted by an Artificial Light. - „ 155. A Conversation of Girls. - „ 303. Child with a Dog. - - 1771. - - „ 200. A Lady and Child, whole length. - „ 201. A Blacksmith’s Shop. - „ 202. A Small Ditto, viewed from without. - „ 203. A Small Conversation. - „ 204. Portrait of an Officer. - „ 205. A Young Lady Undressing by Candle-light. - „ 206. An Old Woman Knitting by Candle-light. - „ 209. The Alchymist, in Search of the Philosopher’s Stone, - discovers Phosphorus, and prays for the successful - conclusion of his operation, as was the custom of the - Ancient Chymical Astrologers. - - 1772. - - „ 369. A Portrait of an Officer, small, whole length. - „ 370. A Portrait of an Officer, small, whole length. - „ 371. A Landscape. - „ 372. A Blacksmith’s Shop. - „ 373. An Iron Forge. - „ 417. A Moonlight. - - 1773. - - „ 370. A Captive King. - „ 371. An Iron Forge, viewed from without. - „ 372. An Earth Stopper on the Banks of the Derwent. - - 1774. - - „ 321. The Old Man and Death. - - 1775. - - „ 223. A Smith’s Forge, altered from his first design. - - 1776. - - „ 147. An Eruption of Mount Vesuvius. - „ 148. The Annual Girandola, at the Castle of St. Angelo, at Rome. - - 1791. - - „ 291. Antigonus in the Storm. (From the “Winter’s Tale.”) - „ 220. Romeo[9] and Juliet. The Tomb Scene. “Noise again! - then I’ll be brief.” - - N.B.--The above Pictures were exhibited last year in the - Academy; but having been placed in an unfortunate position, - owing (as Mr. Wright supposes) to their having arrived too - late in London, and have since received alterations, he is - desirous they should again meet the public eye. - - „ 221. Inside an Italian Stable. - „ 222. Part of the Colosseum. - „ 223. Moonlight, View on the Lake Albano, Italy, Monte Jora in - the distance. - - TOTAL, 43 PICTURES. - - - PICTURES EXHIBITED BY JOSEPH WRIGHT AT THE EXHIBITION OF THE FREE - SOCIETY OF ARTISTS. - - 1783. - - No. 4. Moonlight. - „ 89. Boy Blowing a Bladder. - - TOTAL, 2 PICTURES. - -In 1777, Wright does not appear to have exhibited at all, but in -the next year he commenced to send pictures to the Royal Academy, a -practice he continued with some interruptions until 1794. - - - PICTURES EXHIBITED BY JOSEPH WRIGHT AT THE EXHIBITIONS OF THE ROYAL - ACADEMY. - - 1778. - - No. 357. An Eruption of Mount Vesuvius, with the Procession of St. - Januarius’s Head. - „ 358. A Grotto by the Sea-side, in the Kingdom of Naples, with - Banditti; a Sunset. - „ 359. Edwin, from Dr. Beattie’s Minstrel. - „ 360. Sterne’s Captive. - „ 361. The Girandola, a grand firework exhibited at the Castle of - St. Angelo, in Rome. - „ 411. Neptune’s Grotto at Tivoli. - - 1779. - - „ 358. The Girandola, or Grand Firework at the Castle of St. - Angelo, in Rome; Companion to the Vesuvius he painted - last year. - „ 359. Virgil’s Tomb, with the Figure of Scilius Italicus, who - bought an estate enriched with this very tomb. He was - frequent in his visits to this monument of his master. - „ 360. Neptune’s Grotto at Tivoli. - „ 361. Two Boys, whole length. - - 1780. - - „ 158. Eruption of Mount Vesuvius. - „ 203. A Cavern, with the Figure of Julia, banished thither by - her grandfather, Augustus. - - 1781. - - „ 23. A Philosopher by Lamplight. - „ 61. Cavern in the Gulf of Salernum, Sunset. - „ 100. Maria, from Sterne, a companion to the Picture of Edwin, - exhibited three years ago. - „ 112. Cavern in the Gulf of Salernum, Moonlight. - „ 181. Portraits of Three Children. - „ 224. Virgil’s Tomb by Moonlight. - „ 245. Portrait of a Gentleman. - - 1782. - - „ 165. Two Young Gentlemen in the Character of Archers. - „ 231. Old Man’s Head, in the character of an Apostle. - - 1788. - - „ 81. Mæcena’s Villa at Tivoli. - „ 83. Cicero’s Villa, near Salerno. - „ 96. View near Mare Chiare, on the shore of Paussillipo. - „ 98. The Convent of St. Cosimato, near Vicobaro, and Remains of - the Claudian Aqueduct, on the River Arno. - „ 234. View in the Alps, on the side next Italy, in the Duchy of - Milan. - - 1789. - - „ 9. A Moonlight. - „ 26. Cicero’s Villa, an Evening. - „ 67. The Prison of the Capitol. - „ 74. Ruins of the Colloseo, in Rome. - „ 87. A Boy and Girl Engaged with a Bladder. - „ 107. Ruins of the Colloseo, in Rome, with Banditti. - „ 137. View of Cromford, near Matlock. - „ 153. A Girl Blowing a Charcoal Stick. - „ 236. A Dead Soldier, his Wife and Child, vide Langhorne’s Poems. - - 1790. - - „ 1. Romeo and Juliet, Act V., Scene last. - „ 221. Scene from the “Winter’s Tale,” Act iii., latter end of the - sixth scene. - - 1794. - - „ 107. An Eruption of Vesuvius. - „ 232. A Lake at Dunkeld, in Scotland, Evening. - „ 233. A Village on Fire. - - TOTAL, 40 PICTURES. - -From the foregoing list of Wright’s contributions to Exhibitions of the -Royal Academy, it will be noticed that he did not send any between the -years 1782 and 1788. This abstention was caused by his resentment at -the conduct of the Academy, in consequence of which he refused the full -diploma which the Royal Academy offered to him in 1784. - -From the following extract from the _Athenæum_ of January 31st, 1885, -it appears that Wright was not the only artist of distinction who at -that period had to complain of the treatment of the Council of the -Royal Academy. - -“In the archives of the Royal Academy is a letter which has special -interest. It is a complaint addressed by Gainsborough to the Council of -the Academy, about the manner in which his most important contribution -to the gathering of 1784 had been treated, being placed in a position, -he says, unbecoming its character as a group of Royal portraits, and -unjust to himself as a R.A. In the end, with several other works -the artist left at the Hanging Committee’s discretion, the picture -was withdrawn, so that the Academy gathering of 1784 comprised no -Gainsborough. - -“The artist abandoned the Academy altogether, and during the four -remaining years of his life, he sent no more pictures.” - -The doors of the Academy being thus practically closed to Wright, he -determined on another plan for bringing his works under public notice. -In 1785 he opened an exhibition, composed of twenty-five of his own -pictures, at Mr. Robins’s Rooms, Covent Garden, London. This is an -early instance of those exhibitions devoted to the compositions of a -single artist which have of late become so frequent. In the catalogue -of it which we are enabled to reprint, it will be noticed that fifteen -out of the twenty-five works exhibited were not for sale. - - - A - CATALOGUE - OF - PICTURES, - - Painted by J. WRIGHT, of Derby, - - And EXHIBITED at - - Mr. ROBINS’S Rooms, (late Langford’s) No. 9, - under the _Great Piazza, Covent Garden_. - - All have their brilliant moments, when alone - They paint, as if some star propitious shone; - Yet then, e’en then the hand but ill conveys - The bolder grace, that in the fancy plays. - Hence, candid critics, this sad truth confest, - Accept what least is bad, and deem it best; - Lament the soul in error’s thraldom held, - Compare life’s span with art’s extensive field; - Know that ere perfect taste matures the mind, - Or perfect practice to that taste be join’d, - Comes age, comes sickness, comes contracting pain, - And chills the warmth of youth in every vein. - MASON’S Translation of Du Fresnoy’s Poem on Painting, - verse 695, &c. - - - 1785. - - Printed by J. BARKER, Russell-Court, Drury-Lane. - - - - - A CATALOGUE. - - N. B. _Such pictures as are marked with an asterisk (*) are to be - disposed of._ - - - No. I. - - The Lady in Milton’s Comus, verse 221. - - Was I deceiv’d, or did a sable cloud - Turn forth her silver lining on the night? - I did not err, there does a sable cloud - Turn forth her silver lining on the night, - And casts a gleam over this tufted grove. - - - No. II. * - - A Companion to the preceding picture. The Widow of an Indian - Chief watching the arms of her deceased husband. - - This picture is founded on a custom which prevails among some - of the savage tribes in America, where the widow of an eminent - warrior is used to sit the whole day, during the first moon - after his death, under a rude kind of trophy, formed by a - tree lopped and painted; on which the weapons and martial - habiliments of the dead are suspended. She remains in this - situation without shelter, and perseveres in her mournful duty - at the hazard of her own life from the inclemencies of weather. - - - No. III. * - - William and Margaret. From the celebrated ballad in Pierce’s - Reliques of Ancient English Poetry, vol. 3. xvi. - - ’Twas at the silent solemn hour - When night and morning meet, - In glided Margaret’s grimly ghost, - And stood at William’s feet. - - - No. IV. * - - View of the Cascade of Turni in Italy. - - - No. V. - - Virgil’s Tomb by moonlight. - - - No. VI. - - The Lake of Nemi. A sunset. - - - No. VII. * - - Julia, the daughter of Augustus, and supposed mistress of - Ovid, deploring her exile, by moonlight, in a cavern of the - island to which she was banished. - - - No. VIII. * - - The happy meeting of Hero and Leander, after his swimming - across the Hellespont in a tranquil night. - - - No. IX. * - - A Companion to the preceding picture. The Storm in which - Leander was drowned. - - - No. X. - - A Landscape. Morning. - - - No. XI. - - A Sea Shore. Evening. - - - No. XII. - - Matlock High Tor. Moonlight. - - - No. XIII. - - The Maid of Corinth. From Mr. Hayley’s essay on painting, - verse 126, &c. - - O, Love! it was thy glory to impart - Its infant being to this magic art; - Inspir’d by thee, the soft Corinthian maid - Her graceful lover’s sleeping form portray’d; - Her boading heart his near departure knew, - Yet long’d to keep his image in her view; - Pleas’d she beheld the steady shadow fall - By the clear lamp upon the even wall; - The line she trac’d with fond precision true, - And drawing, doated on the form she drew. - - - No. XIV. * - - A Companion to the preceding picture. Penelope unravelling her - web, by lamp-light. From Pope’s Homer, the second book of the - Odyssey, verse 99, &c. - - Elusive of the bridal day, she gives - Fond hopes to all, and all with hopes deceives. - Did not the sun thro’ heaven’s wide azure roll’d - For three long years the royal fraud behold, - While she, laborious in delusion, spread - The spacious loom, and mix’d the various thread? - Where, as to life, the wondrous figures rise. - Thus spoke the inventive queen, with artful sighs: - “Tho’ cold in death Ulysses breathes no more, - “Cease yet awhile to urge the bridal hour; - “Cease, till to great Laertes I bequeath - “A talk of grief, his ornaments of death; - “Lest when the Fates his royal ashes claim, - “The Grecian matrons taint my spotless name, - “When he, whom living mighty realms obey’d, - “Shall want in death, a shroud to grace his shade.” - Thus she: at once the generous train complies, - Nor fraud mistrusts in virtue’s fair disguise: - The work she ply’d; but, studious of delay, - By night revers’d the labours of the day; - While thrice the sun his annual journey made, - The conscious lamp the midnight fraud survey’d. - - - No. XV. - - A distant View of Vesuvius from the shore of Posilipo. - - - No. XVI. * - - The Companion, in the gulf of Salerno. - - - No. XVII. * - - A Landscape. Moonlight. - - - No XVIII. - - A View in Dovedale. Morning. - - - No. XIX. - - Ditto, its Companion. Evening. - - - No. XX. - - Portrait of an Artist. - - - No. XXI. * - - Guy de Lusignan in Prison. - - - No. XXII. - - Portraits of three (of Mr. Newton’s) Children. - - - No. XXIII. - - A Wood Scene. Moonlight. - - - No. XXIV. * - - A View of Gibraltar during the destruction of the Spanish - Floating Batteries, on the 13th of September, 1782. - - It may be proper to inform the spectator, that the painter’s - original plan was to execute two pictures, as companions to - each other, on this event so glorious to our country. In the - first (which is now exhibited) he has endeavoured to represent - an extensive view of the scenery combined with the action. In - the second (which he hopes to finish hereafter) he proposes - to make the action his principal object, and delineate the - particulars of it more distinctly. - - - No. XXV. - - Portrait of a Gentleman. - - - F I N I S. - -Wright so far forgave the injury he considered the Royal Academy had -inflicted upon him, as to contribute to their exhibitions in the years -1788, 1789, 1790, and 1794; though from the correspondence printed in -Chapter VI., it will be seen that his paintings were not treated with -much consideration. - -One characteristic worthy of notice in Wright’s portraiture, is -the life-like and liquid look that pervades the eyes; he was also -particularly happy in his treatment of the hands of his sitters, which -are very different to the misshapen forms that often do duty for hands -in paintings by popular artists. - -An exhibition, in which his pictures were an important feature, appears -to have been held in his native town some two years afterwards, for -the _Derby Mercury_, of October 3, 1787, contains the following -advertisement:-- - - EXHIBITION. - - From the numerous and genteel company who have visited this - _Exhibition_, the Inventor will continue the same - - FOR ONE WEEK LONGER, - - And to the effects already shown will add various others - - FROM SOME OF THE - - JUSTLY MUCH ADMIRED PAINTINGS OF - - MR. WRIGHT, OF DERBY, - - The effects of which beggar all description, and for - which purpose - Mr. Wright has politely sent the Inventor his Paintings. - - It is hoped none will miss the present and only opportunity of - gratifying their curiosity. - - Admittance from Ten in the morning till One, and from Four - till Eight in the evening, at Mr. Wood’s, Confectioner, in the - Corn Market, at One Shilling ea. - - -While, however, Wright appears to have had a proper sense of his own -merits as a painter, and not to have lost sight of the advantages of -keeping them before the public, and though on certain occasions he -held out for his price, he was neither conceited nor ungenerous. Of -his liberality sufficient proof is afforded by his numerous gifts -of valuable pictures to individuals among his private friends, and -to persons to whom he thought himself under obligation. In various -instances, these gifts were manifestly disinterested; and that they -were often, and probably always, conferred in a very pleasing manner, -which declined rather than sought the expression of gratitude, the -following records will sufficiently vouch. - - “Mr. Hayley to Mrs. Hayley. - - ... “As I love to make you a sharer in every pleasing - occurrence of my life, I cannot let a post depart without - dispatching to you an account of a circumstance which has - given me no little delight. Beridge last night committed a - box to my care, declaring it contained something for me, but - requesting that I would not open it till he arrived here - to-day. After spending an agreeable morning at Hampstead, I - met the dear Physician in Cavendish Square; and while I was - dressing, he displayed his skill as a carpenter in opening - the packing-case. When I came from my dressing-room to the - dining-room, he surprised me with an exquisite picture of - Virgil’s Tomb, by Wright, putting into my hand a letter from - that amiable artist, requesting my acceptance of this poetical - scene, and added, that the splendid frame which contained it - was the gift of Dr. Beridge.” - -The following is part of a letter written on the margin of a pencil and -wash sketch of St. Peter’s at Rome, with the Bridge and Tower of St. -Angelo, to someone in Derby, in the year 1774, when Wright was at Rome-- - - “The collour’d drawing I will do for you must be upon a - larger scale, and sent by a friend, as I don’t wish to do - them as letters, but I presume the enclos’d sort as sketches - of observation, or possibly to remove any doubt in regard to - particular objects, as I take them as faithfully as I can, and - shall do the others also. In the meantime I beg you will make - no scruple in mentioning any particular objects that you wish, - as I have justly every reason to have the greatest esteem for - you, and having experienced your sincerity and friendship, I - beg you will mention no more about the prices.” - -In the Exhibition of Wright’s works, held in the Art Gallery, at Derby, -in 1883, was the latest portrait[10] of the artist. This picture was -also a gift, and was painted at Yoxall Lodge, the residence of his -intimate friend, the Rev. T. Gisborne, when Wright was there on a -visit. On the back of the picture, in Wright’s handwriting, is the -following:-- - - “JOSEPHUS WRIGHT, - An. Dom. 1793 - Ætat 59 - Manu propria - Tabulam hanc - Amico suo T. G. - Dono dedit - Pictor.” - -At Ogston Hall another inscription of the same class is to be seen, in -Wright’s handwriting, on the back of a portrait of John Holland, who -was a very intimate friend, viz.: - -“John Holland, painted by his friend, Joseph Wright, A.D., 1787. - - “‘However odd the phyz pourtrayed, - What artist has a better made.’” - -Again, on the back of a landscape, now in the possession of Godfrey -Wedgwood, Esq., is written the following:-- - - “The gift of Joseph Wright to his friend Jos. Wedgwood, Esq., - the patron and encourager of living artists, 1787.” - -In the Appendix, amongst the list of pictures, will be found many more -instances of such gifts. Thus: “Given to my friend Tate.” “For Mr. -Hayley. Mem. not paid.” etc. - -As a Water-colour painter of the English school, Wright must be ranked -as one of the earliest. Whilst he largely used chalk, pencil, and -oils in his sketches, he also used Water-colours in not a few of his -Italian sketches taken in 1774. He evidently little thought then, that -Water-colour painting would advance and take the high position as an -art that it occupies to-day, when he, as a pioneer, made those early -Water-colour sketches; for he, in his correspondence, remarks, “1795. -I am glad to hear my friend, Tate, succeeded so well in Water-colours. -I daresay when the application of them is well understood it is -pleasant work.” “1793. I am sorry I cannot fulfil my engagement with -Mr. Moreland, Mr. Gisborne does not think himself at liberty to divulge -Smith’s mode of washing with Water-colours.” - -In 1795 he writes, “I am glad to hear my good friend (Tate) has laid -hold of his brushes again. Paper and camel hair pencils are better -adapted to the amusement of ladies than the pursuit of an artist.” - -The Messrs. Redgrave, in their “Century of Painters,” say, “We have -heard of, but not seen, works in this medium by Wright, of Derby.” It -is gratifying to know that there are in existence some interesting -landscape sketches and portraits in Water-colours by Wright, that tend -to show that Wright could use the new medium with great effect and -brilliancy. - - [Illustration: “MARIA.” - - FROM STERNE’S “SENTIMENTAL JOURNEY.” - - _Original picture in the possession of Mr. W. Bemrose._] - - - - - CHAPTER IV. - - WRIGHT MARRIES AND VISITS ITALY.--LETTERS.--EXTRACTS - FROM DIARY.--BIRTH OF HIS DAUGHTER, ANNA ROMANA, IN - ROME.--INFLUENCE OF THE OLD MASTERS. - - -In July, 1773, Wright married Miss Ann Swift, and in November set sail -in the “Jupiter” for Italy, with his wife and Mr. Hurleston.[11] - -Before leaving England he wrote the following letter to his brother, -Richard Wright:-- - - “1773. - “Dear Brother, - - “By the waggon yesterday I sent you in a box four pillar - Candlesticks called Tooth & Egg, to be cleaned as silver. - They _are_ what they _seem_ to be, w^{ch} if I mistake not - your temper, will be more pleasing to you than a refined - outside, with a Base inside. They are such at least as best - suit my Taste & pocket, & I sincerely hope you’ll receive - them as a pledge of the Love I bear you. I shall be glad to - hear you have got ’em safe. Thursday last I got on board the - Jupiter all our Baggage, and a Case with the two pictures of - the Alchymist and Captive King, for so my Friends advised - me. The ship is sailed for Exeter, when she will arrive is - as uncertain as the Winds that blow her. However, I hope the - Cap^{t.} will soon send us a summons to embark. The winter - approaches fast, and will, I fear, blast those Joys I promised - myself at a more agreeable time of the year; however, I - flatter myself _matrimony_ has improved my Constitution, and I - am better able to bear the rude winds than heretofore. - - “Last week my Sister Nancy and this family went on board the - ‘Jupiter,’ afterwards we were conducted by the Cap^{t.} to - his house, where we dined with the rest of the passengers; a - good thought this of the Cap^{t.} that we might not when we - met on board wear the awkward faces of strangers. I shall be - very happy to hear again from you ere we leave English ground, - and if you write on Saturday night it will I think get here - in time. Tell M^{r.} Greenwood the Drawings will be ready - whenever he sends for them. I rec’d the Ruffles safe. Make my - affectionate Comp^{ts.} to M^{rs.} Fox & M^{rs.} Shelton; I - dreamt she was got so well as to visit her Friends, would she - was really so. - - “I am, with Love to my Sister & affectionate Comp^{ts.} where - due, your Loving Brother, - - “JO. WRIGHT. - - “P.S.--I hope Dick’s[12] heart failed him not } - at his Departure. } Tuesday night, - “M^{r.} Hurleston’s Comp^{ts.} to you & Sister. } London.” - -He evidently proved a bad sailor, for in his first letter home, written -from Nice, he says, “The continual agitation of the ship soon rendered -us very sick, and we not only lost sight of land, but of everything -save our cabin, and the vessel into which we discharged the contents of -our sickly stomachs.” He spent many months in Rome, studying especially -the works of Michael Angelo, in the Capella Sestina of the Vatican. He -here made faithful drawings, upon a larger scale than had generally -been attempted, as he considered those subjects but ill-adapted for -pocket-book sketches. “These Treasures of Art[13] have hitherto -remained, in a great degree, lost to the world, having scarcely been -seen except by Mr. Wright’s particular friends, to whom he showed -them, when his imagination was warmed with a description of the divine -originals.”[14] In Hayley’s Life of Romney we read, “In 1773, Romney -went to Italy, where he acquainted himself with all the artists of -his country, for I recollect his having repeatedly lamented that our -amiable friend, Wright, the painter of Derby, had laid the foundation -of those cruel nervous sufferings which afflicted his later years, by -excess of application during his residence in Rome.” - -His letters from Italy are very interesting, especially for his -opinions on various celebrated Works of Art. A few extracts must -suffice. - - “ ... And on Sunday, 5th Dec. (1773), came into port at Nice - amidst thousands of spectators of all ranks, who were placed - on steps, their heads rising one above another had a very - pleasing effect, like the crowded galleries of a theatre. - It was on the ‘Jupiter’s’ account this large assembly were - gathered together, she being the largest vessel that has - sailed into this port, and I fancy I may add the best, she - weathered without any material injury many storms.” - - Rome, Feb^y 4th, 1774. - - “As I know my Dear Brother & Sister will be better pleased to - have a speedy account of our safe arrival here, from an hasty - & irregular Letter, than from a more accurate one with delay, - I embrace the first minute to tell you we got here last night - in tolerable Sp^{ts} considering the tedious Journey we had - from Leghorn, w^{ch} is not 200 miles. We were advised as the - best mode of travelling for those who speak not the language - of the Country to engage with a man to take us to Rome for so - much money & to accommodate us with every necessary on the - Road. The Carriages have only two wheels, like our one horse - chairs, drawn by the same pair of horses all the way, w^{ch} - travel about as fast as our Stage waggons; we were obliged - to rise by three in the morning to go betwixt 20 & 30 miles - a day, to arrive at night at a poor house, with large cold - rooms, & bad accommodation, very unpleasing to the English - traveller. By the advice of M^{r.} Cesar, M^{r.} Heathcote’s - friend at Pisa, I provided myself with a large Cloak, such - as the Italians use; w^{ch} kept me tolerably comfortable by - day & night, in w^{ch} I lay, for I durst not undress, the - Beds being seldom lain in. Cap^{t.} Difting’s delay threw us - into the Winter which has been attended with much cost & many - inconveniences.” - - - “Rome, Feb. 12, 1774. - “MY DEAR BROTHER, - - “I fully intended sending this Letter according to the first - date, but was prevented by the visits of the English; and many - other occurrences has since happened to prolong my silence - beyond my wish, as I know you will be anxious to have a second - Letter; tho’ I wrote to M^{r.} Coltman from Genoa, who wou’d, - I hope, inform you I was well. I am (_entre nous_) surprized - he shou’d think of quitting the Close till he has it brought - into as good condition as he found it. If he leaves it so - he must have gained much by it. If M^{r.} Brentnall has it, - who, according to your account, I have no objection to, care - should be taken that he does nothing to the disadvantage of - my Close to benefit his own. I am sorry poor Dick has been so - unfortunate at his first setting out, it was enough to give - him an insurmountable prejudice, for the sea is terrible in - stormy weather. I am sorry he is still likely to be expensive - to us, only because I can’t now so well afford it as formerly. - This Tour has & will cost me much more than I expected. My - wife has been but indifferent, the storms by sea, and the - violent shaking by land (for some parts of the road is very - stony) have been too much for her. I called in a Doctor who - said it was necessary she should loose blood, accordingly the - next morning was appointed for the operation. The D^{r.} & - his Surgeon came, never did I see such parade, they talked of - Galen & Hypocrates & abundance of stuff, to conceal, I fear, - their Ignorance. However, M^{rs.} Wright is better, they are - against purging and have ordered her to drink a small liquor - which they call Sherbett, to thin her blood. I have not wrote - to M^{r.} Shackleford, I did not think it necessary, & his - behaviour to me required it not I am sure, for whatever he - may say of generosity & Gratitude, I never saw the least - shadow of it. I was very fortunate in getting both yours & - Nancy’s Letters; my wife has not heard from her friends, - nor has Hurleston, nor Downman[15] who came with us received - any Letters. I shall be glad to hear from you as soon as - your business will permit. The air here is not so cold as in - England, but it is very thin & searching. Nancy tells me she - has heard the Empress of Russia[16] has taken ye picture of - the Iron Forge, but does not like the Hermit. I hope by this - time you have heard from Burdett & to some purpose. Make my - affectionate Comp^{ts.} to Coltmans, Hopes, Denby, &c., &c., - &c. - - “I am sorry to hear you have been indisposed, and that my - Sister is no better. Give my love to her. Make my Comp^{ts.} - to Col. Heathcote, his Lady, &c., tell them I have seen - Cap^{t.} Heathcote--he’s well. When I write again I hope we - shall be settled, when you shall hear more particularly from - me. It is now Carnival time at Rome, the Romans are all mad. - M^{r.} Coke, our member’s son, has done me the honor of a - visit. M^{rs.} Flint’s death alarmed me much, tho’ I thought - before I left Derby she declined fast. M^{rs.} Clayton’s - indisposition surprised me. What great alterations does a - little time make in a small circle of acquaintance. Pray how - does M^{rs.} Shelton, our good friend M^{rs.} Fox, I hope - for their mutual happiness they both are well. Pray has Miss - Fowler received the colours she gave me a commission for, my - respects attend the family. Adieu. God be with all. - - “I am with sincerity, - “Your loving Brother, - “J. WRIGHT.” - - - “Rome, 13th Ap, /74. - - “FOR MISS NANCY WRIGHT, at Mr. Hurleston’s in Cary Street, - Lincoln’s Inn Fields, London, England. - - “What havock, my dear Nancy, does a little time make in the - small circle of one’s acquaintance, and how weak and tottering - is the basis on which human happiness is founded. Poor M^{rs.} - Van! I left her a happy wife, smiling amidst a joyous family, - but now, by one fatal stroke, suddenly involved in bitter - calamity, in deep affliction, a sad disconsolate widow. I - hope to God M^{r.} Van has left her so circumstanced that she - will feel no additional sorrow on that consideration. He was - a good man, and has no doubt done what he could for his dear - family. When you see them or write to them, give my love to - them, and say I let fall many a sympathetic tear. While I am - in this gloomy scene, let me enquire after the afflicted. Pray - how does M^{rs.} Shelton, I fear from your expression she’s - relapsed into her old malady. Our good friend, M^{rs.} Fox, - amidst y^{e} calamities of this world, with her usual good - sense & fortitude, I hope keeps up her spirits & is tolerably - happy. How does our friends do at Chester, and to go a little - farther, how is M^r and M^{rs.} Clayton, is he got well of - his indisposition? Remember me to all my friends in terms - agreeable to the esteem you know I hold them in. - - “In your first letter you mention _something_ of my Brother’s - indisposition, nor is my Brother more particular about it, - from which I judged it was slight; but a letter from Tate, - and yours, wh^{ch} now lies before me, sadly convince me - to the contrary. My suspicions made me uneasy, & the proof - has made but little abatement in it; however, as it is now - only the effect of his illness, I hope he will make daily - advancements to health. I am pleased to hear Mr. Meynell has - behaved so well to my Bro., and that Mr. Greasley--to whom - our comp^{ts.}--is so ready to assist him & is kind. Tate - will have a letter from Hurleston while in Town, but as he - was not so civil as to ask me if I had any commands, or give - me an opportunity of writing a word or two, I must desire - you to tell him I shall be glad if he would look after the - picture of the Hermit, see whether any accident has happened - to it, and deliver it safe to Sotheby to keep till I return to - England. M^{r.} Hurleston, to whose family give our respectful - compliments, will inform Tate concerning the picture. I should - write to Tate, but he must excuse me at present, for I have - so much employment for my eyes (w^{ch} by the by are not so - good as they have been) in the art I am in search of that I - cannot afford to use ’em otherwise; hence the reason I have - never wrote to my good friends Pether, Rawson, Capt. French, - R. Tate, Turner, &c. - - “We are now fixed in very good apartments in the most - healthful part of this city. The house stands upon the highest - ground, and we have 109 stairs to ascend to them, which I fear - will be very inconvenient in hot weather. Here are upwards of - 40 English students, and many cavaliers, w^{ch} makes Rome a - much dearer place than I expected. - - “Rome answered my expectations at first, but my love & - admiration of it increase daily. ’Tis a noble place to study - in, and if so many years had not passed over my head I shou’d - be tempted to stay longer. - - “Tell Tate to take notice whether my picture[17] is hung - advantageously in the Exhibition, and it may be sold in the - catalogue, and whether mention is made that I am at Rome. I - have set 80 guineas upon it, but I would take 70 rather than - not sell it.” - - [Illustration: THE CONVENT OF ST. COSIMATO, NEAR VICOBARO, AND - REMAINS OF THE CLAUDIAN AQUEDUCT, ON THE RIVER ARNO. - - NOTE.--_The writer is indebted to the proprietors of the “Art Journal” - for the above, and several other illustrations in this work._] - - - Rome, May 22, /74. - “DEAR SISTER, - - “After waiting many a post-day with great impatience and - anxiety, I at last rec^d a letter from my dear brother; - from my sister and Coltman’s letters, I had reason to have - expected one much sooner, w^{ch} made the delay intolerable, - and filled me with many a doubt and many a fear, lest he - should have relapsed into his grievous illness. I have felt - much on y^e occasion, and the account he has given me of it - (tho’ the danger I hope to God is over), is even now very - alarming, from the reflection of what might have happened. - You, my dear sister, being witness to the malady, must have - suffered much: I sincerely wish him a speedy and perfect - re-establishment of his health. Ill health is one of the - greatest evils that can befall man in my opinion, the truth - of w^{ch} both you and myself have had woeful experience, and - I am sorry to hear you still labour under the affliction. - Mine, thank God, is much better. This climate is certainly - very salutary, and would, I think, perfectly restore me, was - not my attention and application continually engaged with the - amazing and stupendous remains of antiquity; and so numerous - are they, that one can scarce move a foot but the relics of - some stupendous works present themselves. When I consider the - immense size of the whole, and the beauty of the parts, I - cannot help reflecting how trifling and insignificant are the - present operations of mankind; we are no better than infants, - and ought to wear daiding strings. I have no time to enter - into a particular detail of the fine things this country - abounds with; let it suffice to tell you at present, that the - artist finds here whatever may facilitate and improve his - studies. The Antique remains of Art, as I said before, are - wonderful. The natural scenes are beautiful and uncommon, with - an atmosphere so pure and clear, that objects twenty miles - distant seem not half the way. - - “The women are in general handsome, they walk admirably, and - have a gentility and ease about them peculiar to themselves. - ’Tis not in the costliness of their habits that they outdo - the English, but in the form and manner of wearing them. Vast - quantity of fine hair, elegantly disposed of, with sometimes a - very small cap, with jewels, &c., are the ornaments of their - head; and when they go out, instead of putting on a hat, - they wear black gauze, w^{ch} is gathered behind, and hangs - from the upper and back part of the head over the face: of a - beautiful woman or rather face, one sees so much as to make - one wish to see more; of a plain one, it partly conceals the - defects. They all wear long trains to their gowns, however - ordinary the stuff, w^{ch} has a grand effect. The common - people dress in the same manner, tho’ with worse materials, - and from the mutual intercourse one with another--for in - the summer months they sit in the streets and pursue their - occupations--they have an easiness of deportment that is - amazing; their dress, too, which is perfectly easy and - picturesque, contributes much to it. - - “J. WRIGHT.” - - - “Rome, Aug. 10th, /74. - “MY DEAR BROTHER, - - “ ... The thermometers are now at 97 degrees. My wife received - the letter you mention, and has answered it by post. As Tate - has left Manchester for the present, desire he will write to - his brother to wait upon Burdett for the pen-and-ink drawing - he has of mine, which Mortimer gave me, & w^{ch} I would not - lose on any account. I suppose I shall suffer much by him.” - - “ ... We have had but little society here--none with the - Italians--for the want of language cuts off all intercourse. - Learning a new language at my time of life is a very arduous - task, and would take up more of my time than I can spare. It - is astonishing how little I have got of it; and yet, when I - consider my time is entirely spent amongst the antique statues - and paintings, the wonder ceases, for they speak not the - language.” - - “ ... Since we came here we have seen St. Peter’s & the - Villa de Medicis, of w^{ch} I can say nothing; they beggar - all description. They abound with objects for the artist’s - contemplation. It is now Carnival time; the Romans seem to - me all going mad. The gent^{ln} & ladies parade in their - carriages up & down a long street whimsically dressed in - masques, the most beautiful of w^{ch} was young Mr. Coke, our - Member’s son. You know he is very handsome, and his dress, - w^{ch} was chiefly white, made him appear charming indeed. The - lower class walk up & down the streets practising their wit - one upon another, consistently with the character they put on. - - “J. WRIGHT.” - - - “Rome, Aug. 11. - “TO MISS N. WRIGHT. - - “ ... A post or two ago I wrote to my Bro., by which letter - you will learn my dear Nancy was safely delivered of a fine - little wench, who is now seven weeks old, hearty and bonny. - I watch with infinite pleasure its infant state, and slow - advances to sensibility. I pray God it may prosper, it will - make me happy--our mode of dressing it is so different to - the Italian, it raises their admiration; for instead of the - loose, light, and easy dress we have, they swaddle their - children from head to foot, like so many Egyptian mummies, - and have neither use of their hands nor feet; in hot weather - it is filthy and intolerable, and I observe when the little - creatures are let out of prison at night they discover a - pleasure, which condemns the practice. - - “J. WRIGHT.” - - - “Rome, August 14, /74. - “TO MISS N. WRIGHT. - - “I am heartily sorry, my dear Nancy, so many uncouth - circumstances have happen’d to embitter your life, and ruffle - that bosom which I know is so well formed for peace and sweet - repose. The world, you know, is made up of good and ill, and - would exist not but for contrarieties; every individual that - helps to compose the whole has his portion, and happy it is - for him whose scale of good fortune makes light the adverse - one. Minds there are, my Nancy, so fraught with fortitude, - patience, and philosophy, as blunt the edge of ills, and bear - sharp fortune with a degree of composure as is astonishing, - but this, my love, is a power, a faculty of mind few can boast - of; yet, I flatter not, when I say you possess these virtues - in a desirable degree, and now (sorry I am for the occasion) - call them forth, and soothe as much as may be, your troubled - breast. Well I know how grievous the indisposition of your - lover must be to you, yet consider a little time may make a - great change in him; he’s young, and has naturally a good - constitution, w^{ch} doubtless will soon overcome the present - malady. May I prove a good prognosticator, and may you both be - happy. - - “My pictures are in great estimation here. I am shortly to be - introduced to the Pope; it is thought he will honour me with - his medal.... - - “J. WRIGHT.” - - - “TO RICHARD WRIGHT. “Rome 11th Nov. /74. - - “MY DEAR BROTHER, - - “I am just returned from an Excursion to Naples w^{ch} I made - partly to satisfy my curiosity for seeing one of the most - wonderful parts of the world, and partly to improve my health - impaired by the intense heats and too close application to - study. There has not been known at Rome so hot a summer as - the last these many years past. In the month of August the - thermometer in the sun was 120 degrees, in y^e shade 96. - At Florence the heat was so great as to affect many with a - kind of delirium, and others it proved fatal to. I never - before experienced such intolerable heat, so great was the - perspiration occasioned by it, notwithstanding we have one of - the most airy situations here, as made it necessary to sit - still and constantly wipe off the sweat as it distilled, this - relaxed the mind and body so much as to render them unfit for - study and application. I am surprised Sir W^{m.} Meredith is - not punctual in his payment, if he has not paid when you write - to me again, tell me so, and I will write to him about it. I - am glad my tenants like their closes, I hope their pains and - expenses will be rewarded; give my comp^{ts.} to them. The - 19^{th} Nov., the day you intend to celebrate your Nuptial, - now draws very nigh--may health, long life, and every joyous - circumstance of the marriage state attend you and yours is y^e - sincere wish of yours, &c. - - “Mrs. Wright begs to be remembered to you and your intended - lady, with every good wish for your felicity. She is, thank - God, well, and the little Roman is very bonny, and the - admiration of all that see her. - - “A day or two before the time appointed for my introduction - to the Pope, he was taken with an indisposition, which in a - short time robb’d him of his life and me of my honours.... - Remember me with respect to all my friends; when you see - Whitehurst,[18] tell him I wished for his company when on - Mount Vesuvius, his thoughts would have center’d in the bowels - of the mountain, mine skimmed over the surface only; there was - a very considerable eruption at the time, of which I am going - to make a picture. ’Tis the most wonderful sight in nature. - - “Adieu, God be with you and my friends, to whom remember me - with most cordial love, - - “I am, - “Your Affectionate Brother, - “JO. WRIGHT.” - - - “Rome, May 4, /75. - “For MISS WRIGHT, at Mr. Wright’s, Surgeon, Derby. - - “DEAR SISTER, - - “I thought I should have dated this letter from Florence, but - I am like all other artists that come here, who much outstay - their intended time, and at last leave the noble and renowned - city (Rome) with reluctance. Notwithstanding, I have been very - industrious, more so perhaps than has been consistent with my - health, yet shall I leave undone many things that I covet much - to have. I have staid a month longer than I intended, to have - an answer from Mr. Baxter, the Russian Consul, concerning the - picture I have painted of Mount Vesuvius in a great eruption, - ’tis the grandest effect I ever painted. If the Empress is to - have it, it must be shipped from Leghorn to St. Petersburg, - and I must wait here to see it off. I wish she may take it, a - 100 guineas will not be unacceptable, for it is not so cheap - living abroad as generally represented; we pay for a floor - consisting of 6 rooms at the rate of £40 a year. The tour of - Italy is now become so fashionable, and the English cavaliers - so profuse with their money, that the artists suffer for their - prodigality. - - “I should have finished this letter according to the date, but - have again had inflamed eyes, and have been much indisposed - with sore throats and colds. The weather this spring has been - very awkward, always varying from hot to cold--sometimes - harsh, dry winds, at other times violent rains; in short, - the air of Rome is by no means good; and when I consider my - health only, & the many indispositions I have had here, I am - not sorry we are to leave on Sunday, 10th June. We go from - hence to Florence, where I suppose we shall stay a month or - six weeks, & then to Parma, where the most famous picture of - Corregio is. If the picture answers to its character, I shall - make a copy of it, it will improve me; and if I choose to sell - it, it will be advantageous. When I have finished at Parma, - we shall go to Venice to study Titian’s colouring. These - engagements will detain me in Italy the hot weather, and to - return to England in the cold will not be advisable for me. If - I can get over the Alps before the snow falls, and pass the - winter advantageously at Bordeaux, in the south of France, it - will, I believe, be the best scheme for my health. It has been - said, if I chose to paint portraits at Bordeaux I might be - employed all the winter. - - “Give my comp^{ts.} to my good friend Coltman (to whom I wrote - some 7 or 8 weeks ago), and tell him of my intention. But I - should not choose to go there on an uncertainty, as it is not - a place of art. Perhaps he will write to some of his friends - there to know what encouragement I might meet with there for - a couple of months. Make comp^{ts.} to Mrs. Fowler & to her - most ingenuous & agreeable daughter--in a word, to all friends - whom I have in my heart, but cannot particularize. - - “Dear little Nancy is a fine little wench. An Italian gent^n - who saw her in the street sometime ago said, what a fine girl - she was, but was absurd enough to say at the same time, it was - a pity the English shou’d have fine children, they used’em so - cruelly, mine goes almost naked. The Italians load theirs with - dress. - - “Y^{r.} affectionate Bro., - “J. WRIGHT.” - - - “Parma, July 24th, 1775. - “DEAR SIR, - - “In conformity to your request I am sat down to give you my - opinion of the famous picture of Correggio, of which how shall - I dare speak, but in the current terms of exalted praise. You - know the world’s opinion of it, & if mine does not exactly - coincide with it, it is not from any affectation of being - singular in my opinion, but the result of such judgment as - I have, divested of every thing that has been said, for or - against it. - - “As to the composition & light & shadow, you are as well - acquainted as myself from y^e copies you have seen. The - picture is beautifully coloured, has surprising brilliancy, - without whiteness, and is very harmonious. The parts are - very round and forcibly painted, but is laboured as to beget - tameness--I had almost said woodenness in many parts. The - faces are wonderfully soft, but they want those beautiful - turns & spirited touches we see in nature, & which keeps - high-finished pictures from looking heavy. The flesh is finely - coloured, is very clear, and has a sanguine appearance that - is very pleasing, but withal not so true as Titian’s Venus. - The draperies are neither very finely set nor painted, nor had - Correggio the finest eye for shapes; yet after all the whole - together is wonderfully sweet, & one cannot help being charmed - with the effect. Romney only painted the Magdalen’s head, the - picture answered not his expectations; and Mr. Parry left his - quite unfinished, as the picture did not appear so fine to him - a second time as it did the first. Mr. Copley has been hard at - it five weeks, & says he will spend twice that time more over - it, but he will get it like the original. It is with infinite - labour he produces what he does, but that is _entre nous_. I - have left my outline, with two English three-quarter cloths, - which you seemed to admire, with the Custodio of the academy, - directed for you. - - “I am quite tired of seeing pictures, the general run of them - are so indifferent--even Venice answered not my expectation. - Titian’s works are so changed and damaged, & when Mr. Romney - said he was not to be seen out of Venice, he meant in grand - composition & expression. - - “In the Sacristy of the Salute are three ceilings, the one - of David & Goliath, Abraham offering his son, & the third I - don’t know y^e subject; these are finely painted & designed - in a Mic’ Angelo like style. Romney did not copy the St. - John; a disaster happened which you will hear of at Venice, & - which I have not now time to relate; he painted a half-length - of Montague and two or three heads, which he will finish in - England. Mr. Jenkins was so obliging to ship my cases for me. - I had desired poor Mr. Stevens to pay Mr. Jenkins any charge - there might be upon them; I wish you would be kind enough to - settle it for me, I will repay you when I have the pleasure - to see you in England. If you will indulge me with a line - directed to me at Germany--Girardot & Co., Bankers in Parma--I - shall be very happy to hear from you. - - “Mrs. Downman and Mrs. Wright send their best compliments to - you, as does little Pop her ‘Ta.’ - - “I am, D^r Sir, - “Your friend, - “J^{o.} WRIGHT.” - - “A Monsieur Humphrey[19] Pittore Anglois, - “a Mon^{sr} Varrini, - “Firenze, N.” - - - EXTRACTS FROM WRIGHT’S JOURNAL DURING HIS TRAVELS IN ITALY, IN - 1774-5. - -“Naples.--St. Martino Del Monte. In a Chapel belonging to the Castle of -St. Elmo is the famous picture of Spanioletto of a Dead Christ; this -picture is esteemed his best. Mr. Forrester bought one of the same -in Rome, which is now in the possession of----, and thought equally -good. ’Tis well painted and coloured, has great expression and force. -In the Church in compartments over the arches are single figures, -painted also by Spanioletto, some of them very fine, indeed. I admire -his manner, ’tis forcible and natural. This Church of St. Martino Del -Monte belongs to the order of Carthusians, which is the richest of -all orders, indeed, the riches of this Church prove it. Such elegant -things of gold and silver, set with all kinds of precious stones, -I never before beheld. In the King’s palace on Capo Del Monte is a -very large collection of Pictures, Medals, Cameos, and Intaglios. The -famous picture of Titian of Danaë in the shower of gold, is wonderfully -painted, but time and varnishes have robbed it of its beautiful -colouring, it is now too yellow and spotty. The action is fine and well -adapted to the subject, it is better drawn than any I have seen of him. - -“In the palace on Capo Del Monte is perhaps the largest piece of -Rock Crystal in the world, it is of an irregular shape, one way it -is upwards of a yard in diameter, the other about a yard, ’tis very -transparent. Here are a great number of Cameos, both single heads and -compositions wonderfully fine. Here also is the finest and largest -Cameo I ever saw, it is an oval figure, and upwards of 6 inches the -longest way. An Holy family by Raphael, small figures very highly -finished, the picture very capital. Lord Scarsdale has a copy of it. -That sweet little Magdalen lying along on the ground, by Corregio, is -here also, as are many others by the same Master. - -“In the King of Naples’ palace is a very capital picture of a Holy -family, by Raphael, it is finely composed, the Virgin is lovely, and -the expression of Jesus and St. John wonderful. It is in his best -manner and in good preservation, the Cartoon of it is at the King’s -palace on Capo Monte, the size of the picture. At the same place is a -very fine portrait of a Pope, by Titian, he is sitting in a chair. It -is charmingly painted, with a full pencil, and as far as I can judge -the effect is produced without glazing. - -“At the palace are two fine oval pictures of Sal. Rosa, the subjects, -Banditti, very highly finished, and painted with great force and -spirit. A picture of Boys, very good, by Poussin. - -“The City of Pompeio, 15 miles from Naples, which was overwhelmed by -the eruption of Vesuvius about fifteen hundred years ago (at which -Pliny, the elder, lost his life), and which was discovered 15 years -ago, seems to me to have been small, at least the houses, rooms, and -the street which remain indicate. They have, by the king’s order, dug -a good deal of the city, but much remains inveloped in a loose kind of -Lava. Parts of buildings intire, with the ornamental paintings on the -walls perfect, in style not much unlike some Chinese painting I have -seen, together with the Sculls & bones of those that perished there, -make a very interesting scene. There is to be seen in one of the rooms -in which is fixed a stone vessel for washing in, an intire skeleton of -a woman who perished at her work. Whatever is found here, curious or -valuable, is deposited in the King’s Museum. - -“Herculaneum is at the foot of Vesuvius on which Portici now stands, -is 6 miles from Naples, was destroyed probably by the same eruption as -Pompeio, the Lava which overwhelmned it is much more hard and compact -than that at Pompeio, owing perhaps to its vicinity to the Mountain. -The theatre is the only part which remains open, and that is partially -so, that one has but little idea of the construction of the whole. -They have dug much at Herculaneum and found many paintings & other -antiquities which are at the Museum. As Portici stands upon Herculaneum -they dug but little at a time, & when they got out the valuables filled -up the parts again, that the City of Portici might not be endangered. - -“The Museum is the most interesting place I have seen, as it is filled -with the ornamental and useful utensils of Herculaneum and Pompeio. -Glad I am to find from the observations I have made in these places, -that the present age is not so degenerated, either in size or morals -as some imagine. The sculls of the old Romans were the size of the -present, and from the Chirurgical instruments which are in the Museum, -they were liable to the same disorders, indeed there is no doubt but -Nature was always the same & will be so ad infinitum. But to return -to the contents of the Museum. There are many Bronze heads, one of -Seneca, very capital, the rest much inferior. The figures not of the -first-class. There is a Satyr lying on a skin of wine, snapping his -thumb & finger, the expression very good; also two wrestlers in very -fine actions. A sitting figure of a Mercury, sweet attitude. Sculpture -good.... - -“Left Rome the 10th of June, 1775, came to Florence on the 19th, by -the way of Narni, Terni, Perugio, &c., 180 miles; part of it a most -delightful and picturesque country, of which Claudio has availed -himself much. Florence is a pleasant City, the Arno with its Bridges -add greatly to its beauty. The one consisting of 3 arches only, is very -beautiful. There are a few fine things in Art. The Venus, the Boxers, -the little Apollo, the Dancing Faun & the Grinder. Titian’s Venus, -Florence, did not answer my expectation; when one has seen Rome, other -places suffer by the comparison. Left Florence 4th July, passed over -the Appenines, a very wild country, the surface of which is the most -broken and irregular I ever saw. Came to Bologna, which is 66 miles, -on the 6th. Bologna is a large & well-built City. Its piazzas are very -spacious & beautiful, and not less convenient at all times of the year. -In the winter it defends you from wet, in summer from heat, which is -very great here. At St Agnatis is a picture, by Domenichino, of the -_murder_ of that Saint, not good. The Expression weak, the lights of -bad shades & not well combined. At the Sampiere Palace is a picture -of Guido of St. Peter & St. Paul in his first manner, very forcibly -painted. St. Cæcilia, by Raphael, in St. Iovani in Monte, is much -damaged and not so fine as I expected to have found it, the figure -of St. Paul very fine. A large picture of Ludivico Caracci & one of -the woman taken in adultery, some parts of it very good. The birth -of St. John, by ditto, very indifferent. At the Carthusian Convent, -which is a very elegant one, is the famous picture of Lud. Car. of -St. John the Baptist, the character & expression of St. John’s head -seems to have been very fine, the other parts of the picture not very -good, the whole is much damaged. At the same Convent is a good picture -of Guercino. Left Bologna on the 9th and embarked for Venice, had a -very fatiguing passage thro’ the Canals, arrived at Venice the 12th, -was highly entertained with its first appearance, a City standing in -the sea. The chief works in painting are by Titian, Paul Veronese and -Tintoret. The large picture by Paul Ver. of the marriage in Canaan has -an ill effect altogether, it is a confused multitude. The personages -are chiefly portraits, and he has introduced Titian and other Artists -his friends as musicians in the centre of the picture; there are in it -some heads well painted. In St. Maria Maggiore is the famous picture -of St. John in the Wilderness, by Titian, this picture, like most of -Titian’s, is grown very brown & dark, it seems to have been finely -painted in a broad manner; the drawing is good, as is the action, & the -head has a good character. The picture by Do. of the martyrdom of St. -Peter, in St. Giovanni e paolo is much damaged, has been a very fine -picture, the actions & expressions very natural & spirited. Salute, -3 compartments in the ceiling, by Titian, of David & Goliah, Abraham -offering his Son Isaac, and another which I don’t know the subject; -all these are finely painted and designed in a Mic. Angelo like style. -Church of the Ferari, two Altar pieces by Titian, the one on wood, of -the assumption of the Virgin, finely painted, but the colouring is -become quite brown, ’tis composed in a sublime manner. St. Marciliano, -in the Sacristy Tobia & the Angel by Titian, has been a fine picture, -but is much damaged, the Angel fine character. School of St. Roch, on -the Stairs is a picture of the Annunciation, by Titian; sweet idea of -the Virgin. Jesuits Church, St. Laurence’s martyrdom, by Titian, the -figure of the Saint is very grand, the picture is become very dark, and -I believe never had the effect of fire. Saw in Venice many pictures of -Paul Veronese & Tintoret. Left Venice the 19th, embarked for Padua, had -a very agreeable passage by water, the country is well cultivated and -populous, along the sides of the Canals and river are a great number -of handsome houses, which for miles have the effect of one town. We -arrived at Padua, which is 27 miles from Venice, about 7 o’clock the -same evening. In the sacristy of the Duomo at Padua is a very fine -Madonna & Child, by Titian, sweetly painted, & in good preservation. -The head of the Virgin is lovely, & the child is beautifully coloured & -painted with more than usual care. Saw several Buildings by Palladio, -in very good taste. In the antique Gothic Church, anciently called -Maria Maggiore, now St. Antonio, here lies the body of the great Saint -in a very fine Altar, ’tis a fine Church with three or four Domes. The -great Saloon is a hundred & ten paces long, & eighty wide, the roof -is of wood of an Eliptical form. There are great numbers of Giotto’s -pictures here. The Room has a noble effect. Left Padua the 20th, at -Mezzo Giorno set off for Vicenza, arrived there at night, which is -eighteen miles, the next morning set off for Verona, which is 30 miles, -where we arrived at night. At Verona is an Amphitheatre, not comparable -to that of Rome, but more perfect, having the seats of such part of -the building as remains entire. In the center of it is erected a -wooden Theatre where they act by daylight. In the Church of St. George -is a picture of the martyrdom of that St., by Paulo Veronese, ’tis -in good condition, but slightly painted, & in other respects nothing -extraordinary. The next morning left Verona & arrived at Mantua at -night, which is 25 miles, there’s an Academy for Arts & Sciences lately -built, elegant & upon a good plan. Left Mantua on Sunday, 23rd, got -to Parma on Monday morning. Here is the famous picture of Correggio. -In St. Sepulchre is a Holy family, by Correggio, but so indifferent I -could scarce believe it his. The figure of Joseph is as poorly drawn -and the drapery as ill set as anything I ever saw, in short there’s -nothing good in the picture, nor do I like Correggio in his great -works; his figures are but ill drawn, the heads appear large and want -character. Left Parma on Thursday morning, got to Piacentia that night, -which is 36 miles, it was here that Hannibal, after having passed the -Alps for the first time engaged the Romans. Left Piacentia the next -morning. Got that night to Avougara, which is 32 miles. The next, 29th -July, dined at Allessandria. On the 30th at noon got to Turin. ’Tis -curious to be crying out with heat at the foot of the Alps, whose tops -are covered with snow. In the King’s palace at Turino is a very large -Collection of pictures, many of which are very fine. A man in armour -on horseback, as large as life, by Vandicke, very fine. The armour -is of dark rich colour, full of beautiful reflections, & the lights -most spiritedly touched. By Ditto is a smallish picture of a Madona -& Child, the heads very sweet, but the Body & legs of the Child, not -fine. A fine Head by Rembrant. Here are a great number of Gerard Dow, -very fine, among which is a composition of four or five figures of the -Doctor examining his patients. This picture is so wonderfully clear & -brilliantly coloured, so astonishingly finished, that it seems to me -to be perfection in that style of painting. Several charming pictures -of Da. Teniers of Boors, and one piece of witchcraft or Incantation, -all delightfully painted with such sober clearness and touched with -such truth and Spirit, that one’s pleased & surprized. I forgot to -mention Van Dick’s picture of King Charles’ 3 children, which is a -capital one, the youngest has great relief without shadow, and such a -sweet childish expression as I never before saw. The composition is -simple, unaffected, & fine, so is the light & shadow, but the keeping -is strong. The whole is very harmonious and has great effect. There -is a reddish brown dog wonderfully painted, position fine, & accords -charmingly with the fine red drapery of the Boy by whom he stands. -This drapery is finely painted the light lies on the body & hips, & -graduates very sensibly downwards. The white sattin of the middle girl -is much kept down, the little girl is in blue sattin, with gauze linen; -several Landscapes by Botts & Berghem, very fine. A small historical -picture, by Rembrant, an old head in it, of a most divine Character. -Comondear Genevi Genevos at Turin, has a very good Collection of -pictures, amongst which was a very fine half-length of a St., by Guido, -in his first manner, it is well finished, at the same time spiritedly -painted. The head has a fine character. Left Turin, which is one of -the most uniform & best built Cities I have ever been in, on the first -of August. Crossed the Alps in our way to Lyons, this country is truly -sublime. At the foot of Mount Sennis we left our Carriages and took -Mules to go over the mountain. Mrs. Wright with little Pop were carried -in a chair by six men. We were three hours & half or 4 ascending the -mountain, about two thirds of the way is pretty large plain, on which -is a Lake about two miles over, here the sight was tremendous, the -mountains still rising to an incredible height, hiding their lofty -heads in the Clouds, which the winds now & then dissipating shewed -partially their hoary towering craggy tops, here it was very cold, and -so it was all through Savoy. This Country is mountainous & some parts -picturesque. From thence to Lyons is a flat country.” - -There is no further account of Wright’s proceedings after crossing the -Alps on the 1st of August, 1775. Wright, his wife, and child, arrived -at his brother Richard’s, at Derby, on September 26th, 1775. - -The little Anna Romana[20] was, with her cousin[21] (who was a month -old on that day), christened at St. Michael’s Church, each brother -being godfather to the other’s child, and their two sisters being -godmothers to both. Little “Pop” was a lively, active child, and did -not approve of the proceedings, as she slapped the clergyman in the -face. - -My own opinion as to the effect of Wright’s visit to Italy is that it -increased his knowledge, widened his views of art, and enlarged his -style; but this is a very different one from that expressed by the -authors of “A Century of Painters.” As this book has a position of -considerable authority, I think it right to state my total disagreement -with what appears to me the unjust opinion contained in the following -extract from Messrs. Redgrave’s work:-- - -“In 1773 he married, and took that opportunity to visit Italy, where -he remained two years, studying, it is said, the works of the great -masters, especially those of Michael Angelo, from which he made many -copies on a large scale. But however much the works in the Sistine -Chapel may have impressed him at the time, they had little influence on -his subsequent practice.” - -The sketches here alluded to are thirty-six in number, bound in vellum, -with “Joseph Wright, Rome, 1774,” written on the side by himself. -The book measures 20 × 13 inches; the drawings are outlined by the -pen, and broad washes of Indian ink effect the light and shade of the -drapery. They are done in a bold and masterly manner, and convey a very -good impression of the grandeur of the originals. There is a family -tradition that Wright injured his health by over-work when in Rome, -and that, for greater ease when working these drawings, he lay upon -his back on the cold floor of the Sistine Chapel, and contracted an -affection of the liver, which, as years went on, caused him much pain, -and prevented him from following his profession for months at a time. -On comparing these sketches with various of his pictures, the influence -of Michael Angelo upon Wright, especially in design, is evident; and -in other respects--such as his choice of subjects, and method of -handling--his art changed very much after his return from Italy. - - [Illustration: A DRAWING ACADEMY.] - - [Illustration: CONVERSATION PIECE. - - THREE CHILDREN OF RICHARD ARKWRIGHT, ELIZABETH (AFTERWARDS MARRIED - TO FRANCIS HURT), JOHN, AND JOSEPH. - - _Original picture in possession of Mr. F. C. Arkwright, Willersley, - Cromford, Derbyshire._] - - - - - CHAPTER V. - - THE BISHOP AND THE PAINTER.--SETTLES AT BATH.--LETTER TO HIS - SISTER “NANCY.”--PRICES OF PORTRAITS.--WRIGHT’S METHOD OF - MAKING UP HIS PALETTE.--RETURNS TO DERBY.--LODGES WITH THE - ELEYS.--REMOVES TO ST. HELEN’S.--WILSON AND WRIGHT.--ANECDOTES. - - -Soon after Wright’s return from Italy, an Irish Bishop[22] bespoke a -large picture of Vesuvius, and on passing through Derby called at his -painting-rooms to look at it. The mountain and burning lava were nearly -finished, but the foreground being only laid in, there wanted the bold -dark parts to give effect to the brilliant lights. On seeing it, the -Bishop literally addressed him in the language used by Hayley in the -following lines, and in consequence Wright would not allow him to have -the picture, nor would he ever sell it. It hung in his dining-room -during his life-time, and is still in the possession of a member of his -family. In the MS. list of Wright’s paintings it is entered “Vesuvius -for Bp. Derry, £105,” but the indignant artist has dashed his pen -through the entry. - - - THE BISHOP AND THE PAINTER. - - A TRUE STORY. - - A Bishop who wished to be rank’d with a few - Who are cried up by fashion as men of vertu, - Most wisely conjectur’d ’twould aid his desire - To purchase from Wright a picture of fire; - But his spirit more mean than his gusto was nice, - Tried a singular trick for reducing the price. - And his bargain to make either cheaper or void, - He thus preach’d to the artist his pride had employed-- - “Indeed, Mr. Wright, you mistake or neglect - “The true tint of fire and its proper effect; - “I wonder you think of employing your hand - “On a branch of your art that you don’t understand.” - “Hold, meanness and pride, tho’ you’re mantled in lawn, - Ye shall meet due contempt, and your masque be withdrawn, - You never shall wound, unrepaid with disgrace, - A Genius so modest, with insult so base. - You black dilletante I hence learn to your shame, - No mortal can give more expression to flame! - If in flashes more brilliant your eyes wish to dwell, - Your Lordship must go for your picture to ----: - From the plan I propose, tho’ not much to your heart, - I think there might rise some advantage to art; - Your Lordship by going those flames to inspect, - Might learn more of fire and its proper effect, - And the devil, who often creates himself mirth - By caricaturing odd beings from earth, - Would find proper hints for his pencil to sketch - In a mitre bestow’d on so sordid a wretch.” - -Hayley intended these lines to be inserted in the newspapers, and sent -them to Wright for his approbation, who thought them so very severe -that he objected to their being published, and only showed them to -a few of his most intimate friends. The original copy is now in the -possession of the writer. - -Gainsborough having left Bath in 1774, it was thought by Wright that -there would be a good opening for a portrait painter in that city, and -accordingly in December of that year he left Derby with his family. At -Bath,[23] however, he met with but little patronage, as we learn from -the following extracts from letters:-- - - “Bath, Jan. 15, 1776. - - “Since I wrote the within, Lady Ferrers has brought the - Dutchess of Cumberland to see my pictures, w^{ch} her Highness - much approves of. Thro’ Lady Ferrers’ recommendation her - Highness will sit to me for a full-length; a good beginning - this, tho’ a late one, and I hope will prove successful. I am - glad the conclusion of my letter is better than the beginning. - - “JO. WRIGHT.” - - - “Bath, 9th February, 1776. - - “I have now past one season, the biggest of the two, without - any advantage. The Duchess of Cumberland is the only sitter I - have had, and her order for a full-length dwindled to a head - only, which has cost me so much anxiety, that I had rather - have been without it; the great people are so fantastical and - whining, they create a world of trouble, tho’ I have but the - same fate as S^r Jos. Reynolds, who has painted two pictures - of her Highness, and neither please. I am confident I have - some enemies in this place, who propagate a report that - I paint fire-pieces admirably, but they never heard of my - painting portraits; such a report as this was mentioned to her - Royal Highness, after she had given me the commission for a - full-length, as I was told by one of her domestics. - - “This is a scheme of some artists here (who, to our shame be - it said, seldom behave liberally to one another) to work me - out, and certainly it proves at present very injurious to me, - and I know not whether it will be worth my while (considering - how little business is done here, and has been done these - four or five years past) to stay to confute ’em. I have heard - from London, and by several gentlemen here, that the want - of business was the reason of Gainsborough’s leaving Bath. - Wou’d I had but known this sooner, for I much repent coming - here. The want of encouragement of the Arts, I fear, is not - only felt here but in Town also, and artists are become so - numerous that the share which falls to each is small. I wish I - had tried London first, and if it had not suited me, I would - then have retired to my native place, where, tho’ upon smaller - gains, I could have lived free from the strife and envy of - illiberal and mean-spirited artists. What I have seen since - I have been here has so wounded my feelings, so disturbed my - peace, as to injure my health, but I will endeavour to shake - it off. - - “JO. WRIGHT.” - - “Bath, Ap. 15th, 76. - “MY DEAR BROTHER, - - “I have sent my two pictures[24] to the Exhibition, where I - hope they will meet with as much approbation as they have - here, and better success with regard to the sale of them, - or I shall be run aground with this year’s expenses. I have - only painted 4 heads yet; the prejudice still runs high - against me. I am now painting a half-length of Dr. Wilson & - his adopted daughter, Miss Macauley; this is for reputation - only, but you must not say so. The Doctor is a very popular - man, and is fighting in my cause stoutly, for he thinks me - ill-treated; he wishes he had known of my being in Bath five - or six months ago, he could have been of use to me before now, - and I wonder my friend Coltman (if he knew) did not mention - him to me; indeed, if I stay I shall have need of all the - friends I can make. I know not what to think of it, sometimes - revenge spirits me up to stay and endeavour to triumph over - my enemies; at other times more peaceful reflections take - place, & I am for retiring to pursue my old walk of painting. - I have some intention of coming to Derby, with your leave, to - paint the sea engagement, at the time when Bath is deserted by - almost all, but will say more of this in my next. - - “JO. WRIGHT.” - - - “Bath, Ap. 30th, 1776. - - “TO MR. WRIGHT, SURGEON, DERBY. - - “ ... From the month of June till the latter end of September - there is no company in Bath. I intend to follow the fashion - this year and go to Derby, & it will give me an opportunity - (if the old room is disengaged) of painting the sea-piece, or - some blacksmith’s shop which will bring company to my rooms - next season, for there is some advantage arising from their - seeing only; there has been given at the doors £22 already, - w^{ch} more than pays a qrs. rent. - - “ ... Little Pop is well, talks a little English, a little - Italian, and a little French. - - “JO. WRIGHT.” - - - “Bath, May 8th, 1776. - “DR. BROTHER, - - “The season is almost over here, and there is but little - company in town, therefore have but little reason to expect - any more sitters. Have in hand a small full-length of Mr. - Miles, brother to Capt. Miles I painted at Derby some time - ago. He is now in Town, but will be here, I expect, in a day - or two to have his picture finished; a day will compleat - it, and if I have nothing more to do, shall leave Bath in a - fortnight or thereabout. I shall go round by London if the - Exhibitions are open at the time.... - - “There has been offered for my picture of the Girandolo a 100 - guineas, but the man who is appointed in the room for the - transacting the business knows neither his name, place of - abode, or anything about him, thro’ which carelessness I shall - in all probability lose the selling of my picture. If I do, I - will never exhibit with them more. - - “I am yours, - “JO. WRIGHT.” - - [Illustration: THE ANNUAL GIRANDOLO AT THE CASTLE OF ST. ANGELO, ROME. - (_From the Original Sketch._)] - - - “MR. WRIGHT, Surgeon, Derby. - “Bath, March 9th, 1777. - “DEAR BROTHER, - - “From the cast of that part of your letter w^{ch} relates to - these rascally watermen, I plainly perceive they do not intend - making me restitution. I think if M^{r.} Fallows would write - them a letter telling them that I should not trouble myself - any farther about the matter, but had desired him to inform - ’em of the damage done me, w^{ch} if they did not immediately - redress, to prosecute them, and advertize the affair in such - papers as may most affect them. The threatening them with a - prosecution, tho’ I don’t intend to throw away more money, - may be of use, but advertize them I certainly will. Give my - compliments to M^{r.} Fallows and tell him, as I spent a day - over his picture, he will, I doubt not, do me this favour. The - carrier that brought my things from Bristol is esteemed an - honest man, he was present when the goods were weighed, that - their weight was 3 cwt., what they were at other places he has - no account. I am confident the theft had been committed some - time ere the things were delivered, from this circumstance: I - had occasion to pack in the hamper a piece of armour, w^{ch} - I had some trouble with on account of the fulness of the - hamper, and could manage it no way but by putting it with the - concave side upwards down by the side of the hamper. This I - well remember, and M^{r.} Haden will too. When I unpacked the - hamper the armour was in the middle of it, with the concave - side upwards, and the hay where it lay fresh and green, an - appearance you must have observed when anything has lain - long and undisturbed upon hay. From hence, I doubt not, the - mischief was done in the beginning of the voyage. But it - matters not, I shall look to those people to whom the goods - were first committed, let them seek further, pray don’t trifle - with them, that the affair may be made public while recent. - The account of the things taken, w^{ch} upon proving the - bottles, I find very different to that I sent before. - - Eight bottles of old rum, at 13s. per gallon 1 6 0 - Four do. Brandy, do. 0 13 0 - Two of Shrub 0 7 6 - Ten bottles of wine 0 16 8 - Twenty-three bottles 0 4 9½ - A Cheese 17 lbs. weight, at 4d. per lb. 0 5 8 - Basket for ditto 0 0 4 - ---------- - 3 13 11½ - ========== - - “N.B.--One of my bottles was returned unto y^e hamper filled - with water. Sent from Derby 146 bottles, received at Bath 22 - bottles. - - “You have heard the melancholy account of my good friend - Hurleston’s death. ’Tis a loss indeed to me, he was ever ready - to serve me. I never heard his Asthmatic complaint was so bad - as to endanger his life, it used in the thick winter weather - to be troublesome; perhaps the fall he got last year, of - w^{ch} he complained at your house, hastened his end. Peace to - his soul. Since M^{r.} Ward is dead, we are happy Miss Ward - did not regard our importuning her to stay here, pray make - our compliments to her and all friends. My little boy and girl - are well. Jo is about his teeth and cross at times. We expect - to see his fourth every day. He has drove about his creed, - sometimes furiously, & can walk 4 or 5 yards with a slack - dade. He grows very strong & handsome. His nurse, to whom give - our service, would be proud to see him. Pop is an engaging - little girl, everybody that knows her loves her.... I have a - sitter, the first this year, but, thank heavens, I have other - employment w^{ch} I will tell you of in my next. - - “I am yours, - “JO. WRIGHT.” - - -There is no date or address to the following playful letter from Wright -to his sister Nancy, but judging from its contents, it was written from -Bath about 1775-6, as the second picture of the “Smith’s Shop” was -exhibited in the former year:-- - -“‘What can this lazy, idle, good-for-nothing brother of mine be about?’ -‘Why, writing to you, if you’ll only be civil, and not abuse me at this -rate. I am not idle, I assure you, nor lazy, nor good-for-nothing, tho’ -I am sorry to say it myself; but that is because here is no one to say -it for me, or I assure you, if I thought it worth convincing you, I -could find vouchers enough. Are you satisfied, Miss Nancy? am I good -for nothing or something?’ ‘Oh! quite satisfied my dear Bro’ that you -are good for something--nay, for that matter very good.’ ‘Well, now, -that is prettily said, and as becomes you; faith, you wou’d always -talk in that manner, if you knew what charms it diffused o’er your -countenance. I think that prettily said, too, & now I am even with -you. I hate compliments; but to dispel a lady’s frowns, & get out of -the gloom, I would swear, lie, compliment, or do anything. Now we have -shook hands, & are upon a good footing again, I must tell you I have -had very good health of late, & have made too much use of it; have -worked very hard, have finished my Smith’s Shop--’tis as good or better -than the last. Have upon the Stocks the young Nobleman, whose avarice -caused him to break open the Tomb of his ancestors, in hopes of finding -vast treasures, from an inscription there was upon it--“In this tomb -is a greater treasure than Crœsus possessed.” This, I think, will be a -favourite picture. Burdett’s tour to France proves highly advantageous -to him. He is to etch plates for Wedgewood & Bentley to be printed -upon their ware--an employ that in all probability will last him for -life--by which he will or may make four or six hundred a year. I know -your honest heart will make your pulse beat high at the news.’” - -Farrington tells us that while Reynolds resided in St. Martin’s Lane, -his prices for portraits were--three-quarters, ten guineas; half -length, twenty guineas; whole length, forty guineas. Those of his -master, Hudson, were rather higher, and were soon adopted by him. About -four or five years later, both raised their prices to fifteen, thirty, -and sixty guineas for the three classes of portraits respectively.[25] - -Wright’s prices in 1754, when he was twenty years of age, were for -three-quarters, six guineas; half-length, twelve guineas; and full -length, twenty-six guineas. In 1760 we find them raised respectively -to ten, twenty-one, forty, and sixty guineas. Later in life they were -still further advanced to 90 and 120 guineas for full-lengths. - -It has often been lamented that artists did not more frequently leave -behind them a record of their method of working, and the arrangement -of their palette, for the benefit of their brethren who follow them, -so that after a lapse of time the good results from their method of -working might be followed, and their failures, by the use of certain -pigments, be avoided. We are enabled to transcribe from Wright’s MS. -note-book the arrangement of his palette. As the present state of his -paintings, where they have not been “restored,” is generally very good, -after the lapse of a century, with the exception here and there of a -change of tone not intended by the artist, his “palette” may be worth -the attention of art students. - - The contents of y^e pallet:-- - - _First Row._ - - 1. Verm. teint Verm. & White. - 2. Verm. - 3. Carmine teint Lake & Verm. - 4. Carmine.* - 5. Lake.* - 6. Brown Pink.* - 7. Dark shade to flesh B^{r.} Oker, B^{t.} Lake, Terraceum Bl. - 8. Half Shade Dark shade Naples Yell^{w.} & a little - White. - - _Quarter Shade._ - - 9. Olive teint Half Shade Naples Yell^{w.} & blue - teint. - 10. Blue teint Ultramarine, Prussian, & White. - 11. Purple Lake azure. - 12. Dark shade Indian Red & Black. - 13. Burnt Umber. - 14. Black.* - - The colours marked thus * need not be laid y^e first painting. - - _Second Row._ - - 1. Rose teint y^e Carmine teint & white. - 2. Lake teint Lake & white. - 3. Indian Red teint Indian Red & white. - 4. Light Red. - 5. L. red teint L. red & white. - 6. Do. lighter do. - 7. Complexion teint Nap^{s.} yell^{w.} & white. - 8. High lights do. very light. - 9. Naples yellow. - 10. Light Oker. - -In the same MS. book, on the first page, is the following record of the -palette of another artist, and it is probable that Wright may have used -it in his early works:-- - - - “_Mr. Phelps’s way of making a Pallet._ - -“First lay on Naples yellow, light oker, brown oker, Roman oker, Indian -Red, lake, brown pink, Ivory black, & Prussian blue. - -“In the light part of the face use Naples yellow, light oker, white, -vermillion, and a very little lake. Obs^e that Naples yellow must be -tempered with an ivory pallet knife. For greenish shadows in the face, -use Naples yellow, Brown pink, lake, & a little black. - -“As blue black is a colour that will not stand, the following colours -are the same when mixt together:--Ivory black, Prussian blue, & a -little white. So for Coleus earth, use ivory black, Roman oker, brown -pink, & a little lake.” - -Wright often used a twilled canvas for his portraits, and sometimes for -his landscapes. He mostly painted very thinly, and it is perhaps partly -in consequence of this practice that his pictures have stood the test -of time better than those of many contemporary artists. He but seldom -signed his paintings; when he did, he generally gave the initials, “I. -W., pinxit,” and the dates. - -His early portraits partake very much of the hard handling and stiff -style of Hudson, his master; but as time elapsed and experience was -gained, he adopted more pleasing and original treatment. - -In the early part of this century, an artist, Rawlinson by name, who -resided at Matlock Bath, copied some of Wright’s pictures with some -success. - -On Oct. 6th, 1777, Wright and his family returned to Derby from Bath, -and went to lodge at Mr. Eley’s, which was opposite to his brother -Richard’s house, where he still continued to paint. There he lived very -happily and cheerfully, being constantly employed in the evening. When -not in the painting-rooms he would read, draw, play upon the flute, or -romp with his children; he was so pleasant and accommodating to all the -family, that though the Eleys were at first unwilling to receive him, -they quite lamented when he left. - -In the spring of 1779, Wright removed to St. Helen’s House. This house -was built by the Fitzherberts, upon the same plan, and apparently -by the same architect, as Somersal Hall, Staffordshire. Alleyne -Fitzherbert, who was created Baron St. Helen’s in 1801, was born in -this house, and from it took his title. The ground formerly belonged -to the Abbey of St. Helen, and on the old house being taken down, a -skeleton and numerous bones were found under the foundations, which -lead to the supposition that it was the burial ground of the Abbey; its -site is at the present time occupied by part of St. Helen’s Street, and -Messrs. Hall’s Marble Works. The present St. Helen’s, now the Grammar -School, is on the opposite side of King Street, and was built by---- -Gisborne, Esq. The comparatively retired situation of this old house -on the outskirts of the town, suited Wright. It had a large court -before it, and the sitting rooms looked into the gardens, which were -large. Wright always encouraged his children in the enjoyment of active -amusements, as being conducive to health. “The broad gravel walk, -the length of the largest garden,” writes his niece, “was a famous -place for playing at ball, baseball, &c., in which his nieces used to -join with delight, there being no fear of any injury being done. The -old house was well calculated for all sorts of games; from the rooms -opening into each other and into different passages, no place could -be better for hide and seek, and the large hall for blind-man’s-buff, -and games that required space. Swinging was likewise a great pleasure. -There was not any part of the house in which they might not play, and -they could even whip tops in the room where the pictures were arranged -all round, and upon the floor.” - - [Illustration: ST. HELEN’S HOUSE IN 1792.] - -Wright would allow them to play in his painting-room when he was not -employed, and his niece does not remember him being afraid of anything -being damaged, except when he was painting the portrait of Sir Richard -Arkwright, in which the machine he constructed for spinning cotton was -introduced; then he would not allow anyone to go near the table lest it -should be injured. - -The painting-rooms at St. Helen’s House were not so convenient as those -at his brother’s, Dr. Wright’s, in the Iron Gate, where one room opened -into the other, so that by darkening the one room he could introduce -the proper light and subject he intended to paint, and view them to -advantage from the other room. His mechanical genius, however, enabled -him to construct an apparatus for painting candle-light pieces and -effects of fire-light. It consisted of a framework of wood resembling -a large folding screen, which reached to the top of the room, the two -ends being placed against the wall, which formed two sides of the -enclosure. Each fold was divided into compartments, forming a framework -covered with black paper, and opening with hinges, so that when the -object he was painting from was placed within with the proper light, -the artist could view it from various points from without. - -In a note to a poem on the Chauntry House, Newark, by the Rev. H. N. -Bousfield, B.A., the following anecdote occurs:-- - -“The Banqueting, or Dining Room of the Chauntry, contains a strong, -but delicately handled, lengthened portrait of the late Joseph Sikes, -Esq., by the celebrated Mr. Wright, of St. Helen’s, in Derby, the -ancient residence of Mr. Sikes’s family, at an early period of whose -minority that venerable edifice was, to his deep regret, taken down, -and which contained, among other characteristics of “Olden Times,” a -compact Chapel, part of which had a curiously wrought cedar wainscot. A -remarkable proof of the success of the artist in giving to ‘canvas face -and figure,’ was afforded by a favourite little terrier dog of the late -Mr. Sikes’s unconsciously accompanying him into the apartment at St. -Helen’s, upon the _floor_ of which, in a very _unfinished_ state, were -arranged, with many others, this Portrait and that of his first Lady, -the delightful sagacity of that interesting class of animals quickly -displaying itself by an attentive survey of the picture, and by the -most lively emotions of gratification, to the extent even of actually -_licking_ the canvas. The alarm and astonishment, however, so naturally -felt by Mr. Sikes from this honest though uncourteous intruder, -was strongly reproved by Mr. Wright, as the most unprecedented and -unflattering respect he could have received; adding, that if the -_finish_ of the painting was as perfect as the compliment of the dog, -his highest ambition must be exceeded, and if anyone took the trouble -to write his life, that anecdote would necessarily form a prominent -place. It has been aptly observed, that it more than rivals the -celebrated and well-known story of Alexander and Apelles.” - -This dog was not singular in paying such an unintentional compliment -to the artist, as the following authenticated anecdote shows:--“In -October, 1782, Mr. Wright was engaged painting the portrait of a young -gentleman named Carleill, and to try the effect in a strong light, the -picture was placed on the floor, with its back resting against the -legs of a chair, when a favourite greyhound, belonging to the family, -coming into the room, bounded up to the picture and began to lick the -face. Hereupon Mrs. Carleill, who was present, apologised to the artist -for the animal’s misbehaviour, but Wright, shaking hands with her, -exclaimed, ‘Oh! Mrs. Carleill, I freely forgive the dog the injury -he has done to the painting for the compliment he has paid me.’” Nor -were human beings exempt from similar deceptions. It is related that -Mrs. Morewood, of Alfreton Hall, went with her friend, Mr. Holland, -of Ford House, to see some paintings at Wright’s rooms; when looking -at the portraits of the three children of Mr. Walter Synnott, grouped -in the act of letting a dove fly from a wickerwork birdcage which was -introduced in the foreground, she desired Mr. Holland would remove the -birdcage, as it obstructed her view of the lower part of the picture; -it is almost needless to add that the cage was painted and not of -wickerwork, and that Wright thanked the lady for the compliment she had -thus unconsciously paid him. At another time, a man who had occasion -to enter the painting-room when the picture of the Old Man and his Ass -(from Sterne) stood upon the floor, tried to kick away the saddle, so -as to obtain a better view of the picture. And on another occasion, -it is said, a gentleman on entering the room, bowed to the full-length -portrait of the late Mr. Charles Hurt, of Wirksworth, which was placed -near the fire to dry, thinking it was Mr. Hurt himself who was in the -room. - -With reference to his art-enemies alluded to in the early part of -this chapter, it is a pleasant task to record the following pleasing -anecdote of Wilson, to show that artists may be “great yet amicable -rivals”:-- - -“Wilson was liberal to his brother artists, and reverenced the -powers of Wright, of Derby, highly, with whom he was intimate. The -latter artist esteemed highly the abilities of Wilson, and when he -was in London, rarely failed to visit his great but amicable rival. -In conversing familiarly one day upon the subject of their art, -Wright proposed to exchange one of his pictures for one of Wilson’s; -the latter assented with the easy consciousness of his particular -excellence, as distinguished from the particular excellence of his -friend: ‘With all my heart, Wright; I’ll give you _air_, and you’ll -give me _fire_.’ It is known that in aerial effect Wilson considered -himself above every rival; and the proposal of Wright may be supposed -to imply, on his part, an ingenuous acknowledgment of Wilson’s -superiority in this particular. I have never heard that Wilson imitated -Wright, but we know that Wright avowedly imitated Wilson, and, in such -instances, reached his glow and aerial effect to admiration.”[26] - -Mr. Holland, an intimate friend of Wright, and afterwards one of his -executors, wrote the following intelligible but somewhat incoherent -note on the margin of a catalogue of Wright’s paintings exhibited in -London:-- - -“Richard Wilson is certainly the first in Landscape (1767). Joseph -Wright should not be called second, because in a procession I would -have them pair, and go hand-in-hand; and were there two right hand -sides, they should both, from their excellence, have them. But this -only in Landscape Procession. Wilson’s forte was only Landscape: look -forward to the variety of the latter, in all of which he excelled; -and in an academy he should have not only one of the foremost, but a -distinguished bench to himself.” - -Another brother artist who became a patron of Wright’s was Bacon the -Sculptor, who purchased a small Vesuvius, which was exhibited at the -Great Piazza, London, and afterwards engraved by Byrne. - -The following anecdotes and notes, though not relevant to Wright’s -remarkable imitative power, may as well find a place at the end of this -chapter. - -The Curator of the Derby Art Gallery tells a good tale of a north -Derbyshire farmer’s visit to the Gallery when the Wright Collection was -being exhibited in 1883. The farmer and his wife were standing before -the picture of a boy blowing a bladder; he was saying to his spouse in -the Derbyshire dialect, “Ah tell yer t’blither iz put behind t’picter, -that’ns a raal blither.” The wife replied that it was only a painted -bladder. He then turned round and appealed to the Curator, who had just -entered the gallery, who assured him that the bladder was painted upon -the canvas, whereupon the farmer became most indignant, and replied, -“Doan’t yer think I knows a blither when ah seez un?” - - [Illustration: BOY BLOWING A BLADDER.] - -On one occasion, Wright was vexed with a sitter so capricious and -unreasonable, that his patience and ingenuity were sorely taxed. She -came to her second sitting in a different dress to that she had worn -at the first, and desired the painter to represent her as she then -appeared. Wright altered the picture to suit her whim. To his surprise -and annoyance, when she next made her appearance, it was in a third -dress. Again the pliant artist obliged her. When, however, she appeared -in a fourth dress, Wright could stand it no longer, and flatly refused -to make any further alteration. The lady replied in a threat to leave -the portrait on his hands. “Madam,” retorted the painter, “I do not -wish you to have the painting, I shall put it into the first auction -sale, and it will fetch more than I was about to charge you.” This had -the desired result; the picture was taken, but the drapery was painted -over by another artist, named Barber, to suit the caprice of the lady. - -A lady who was about to sit to Mr. Wright, was told by her friends that -Mr. Wright would arrange her hair, &c. She, to enable him to carry this -into effect, spread out upon the table a large assortment of brushes, -combs, pomades, bandoline, &c., much to the astonishment and amusement -of the artist. - -A sitter, a lady, who, though possessed of a fine figure, and good -arms and ankles, had but an indifferent face, puzzled Mr. Wright as -to the position in which he should place her. After some thought he -chose to paint her extending her beautiful bare arm towards a branch -of a hawthorn tree. Showing only sufficient of the lady’s face to be -recognisable, he brought the full contour of her handsome figure into -view, with one pretty foot and ankle peeping out from under her dress, -and thus produced what was at once a good portrait and pleasing picture. - -From the foregoing description, it is most probable that the following -advertisement which appeared in the “Times” newspaper of July 25th, -1871, refers to the same picture, and that Mrs. Woodville was the -sitter. - - TO PICTURE DEALERS & OTHERS. - - FIFTY POUNDS REWARD. - - The above reward will be paid for the Portrait in Oil of the - late Mrs. Woodville, by Wright, of Derby. The size is about - 7 feet 6 inches by 4 feet 6 inches. She is attired in white, - and represented as climbing up a bank to gather hawthorne. Her - feet and ankles are displayed, and her shoes ornamented with - garnet buckles. The picture is believed never to have been - framed, and from being constantly rolled up to be considerably - cracked. - - --Apply to Messrs. SIMPSON & NORTH, - Solicitors, 1, Rumford Street, - Liverpool. - -Upon further enquiry I find that Major Orred, of Tranmere and Weston, -Cheshire, caused the reward to be offered, and succeeded in finding -the portrait at a Chemist’s, in Liverpool, but it was unfortunately -mutilated by being cut down from whole length to “Kit-cat.” - -In “Mozley’s Reminiscences,” p. 65, the following allusion is made to -Wright:-- - -“There are men who are interesting from their associations, but whom -no associations can redeem. Such was Joseph Pickford. I first became -acquainted with his figure and circumstances at Derby, in 1815. His -father had been an architect and builder, and the intimate friend of -Wright the painter, remarkable for his illustrations of the varieties -of light and their effects; and also of Whitehurst, a mechanician and -author of a ‘Theory of the Earth.’ It was a coterie contemporaneous and -on friendly terms with the Philosophical Society, founded by Erasmus -Darwin, but with a different caste, for philosophers are, socially, -as exclusive as other people. The father had built in the Friar Gate -a house of some architectural pretensions, his _chef-d’œuvre_, people -said. The sons had divided it. He occupied the smaller portion, entered -by a side door, much as it had come from the builder’s hands. The only -pretty thing in his sitting room was a charming picture by Wright, of -Pickford and his brother playing with a spaniel, of the date 1775, I -should think, and in the gay costume of that period. It passed into the -hands of a branch of the Curzon family. When I called on Pickford it -was a caution to see what a beautiful child might come to.” - -Woodward (G. W.), the Caricaturist (himself a Derbyshire man), says in -his “Eccentric Excursions,” “It would be unpardonable to leave Derby -without noticing the celebrated artist, Mr. Wright, who has resided -several years in a house[27] facing the New Inn, overgrown with ivy, -which, together with its high walls, proclaims an habitation sacred -to study and retirement. The result of his labours are always open to -the inspection of the stranger, an indulgence characteristic of this -gentleman’s well-known affability; and those who depart unpleased -after viewing his Moon and Candle-light pieces, and other inimitable -specimens of his pencil, must indeed be void of taste and judgment in -the imitative arts.” - -In Wright’s account-book is the following entry:--“An account of the -Trees in Windmill pit close in the year 1783, when eight trees on -Shaw’s side, six on the Normanton lane, and ten on the road side, in -all 24 trees.” From this entry we learn that the historical “Windmill -Pit”[28] close (where Joan Waste[29] was burnt at the stake in 1556) -at that time belonged to Wright, and that he planted the trees which -adorned that once pretty spot, but which have had to fall before the -march of the mason and bricklayer. The annual rent of the close at that -date was £20. - - [Illustration: JOSEPH AND HARRIET, TWO OF WRIGHT’S CHILDREN. - - _Original picture in the possession of Miss Cade._] - - - - - CHAPTER VI. - - WRIGHT’S SECESSION FROM THE ROYAL ACADEMY.--J. L. - PHILIPS.--THE MESSRS. REDGRAVE’S CRITICISMS ON THE - SECESSION AND UPON WRIGHT’S WORKS.--HAYLEY’S POEM.--ANTHONY - PASQUIN.--LETTERS FROM WRIGHT TO J. L. PHILIPS.--THE “AIR - PUMP” PICTURE. - - -I now propose to deal with the uncommon instance of an artist who, -after having accepted the Associateship, refused the full honours -of the Royal Academy. In November of 1781, Wright was elected an -Associate, and in February, 1784, a full member of the Academy, but for -some reason or other he declined to become an Academician. Much has -been written upon this subject, and very different conclusions have -been arrived at. - -One of his most intimate friends, J. Leigh Philips, who possessed -considerable artistic judgment, wrote in 1797--the year after Wright’s -death--the following account of Wright’s treatment by the Royal -Academy, and there is no doubt but that he was well acquainted with all -the circumstances of the case:-- - -“His portraits are mostly confined to the immediate neighbourhood -of Derby; this remark may likewise in a great degree extend to the -generality of his works, as but few of his late pictures have been -publicly exhibited, owing to their being frequently disposed of even -before finished, and to a repugnance which he felt at sending his works -to an exhibition where he had too much cause to complain of their -being improperly placed, and sometimes even upon the ground, that, if -possible, they might escape the public eye. As a proof of the truth -of this remark, the last pictures he exhibited were _placed upon the -ground_. In consequence of which they were so much injured by the feet -of the company, as to render it necessary to have the frames repaired -and re-gilded. This narrow jealousy, added to the circumstance of his -being rejected as an R.A. at the time Mr. Garvey was a successful -candidate, did not tend to increase his opinion of the liberality of -his brethren in the profession. The Academy, however, being afterwards -made aware of the impropriety of thus insulting a man of his abilities, -deputed their Secretary, Newton, to Derby, to solicit his acceptance -of a diploma, which he indignantly rejected, knowing how little the -institution could serve him, and feeling perhaps a satisfaction that -his friend Mortimer and himself were both deemed equally unqualified to -enjoy the honours attached to that Royal establishment.” - -The Messrs. Redgrave, in their “Century of Painters,” “take exception -to this account of the treatment of Wright by the Academy,” and say, -“We are inclined to discount the whole of the tale” upon the grounds -that “we have searched the records of the Academy to learn the facts -connected with Wright’s retirement.” It was a safe place to search for -what was sure not to be found, if Mr. Philips’ account were true. - -Against the authors of the “Century of Painters” are arrayed -the writers and poets of the day, who took up the case when the -circumstances were well known. If Wright felt aggrieved, he had a -perfect right to decline the honour; and it appears to me that the -story as told by Mr. Philips has more claim to credence than the -opinions of writers a century later, founded upon such purely negative -evidence. - -The Messrs. Redgrave also state that “he then (when offered the full -diploma) refused to comply with the law of the Academy, which requires -a member to present one of his works to the Academy before receiving -his diploma, and required his name to be removed from the list of -Associates.” As Wright declined the proffered honour, it was not -necessary for him to “comply with the law of the Academy, and present -one of his works.” The refusal was consequent upon his retirement, but -there is nothing to show that it caused it. - -Again, Mr. S. Redgrave, in his “Dictionary of Artists,” states--“On -the foundation of the Academy he had entered as a student, and in 1781 -he was elected an Associate; his election as a full member followed -in 1784. But we are told that, annoyed by another having been elected -before him, he retired altogether from the Academy. The facts, however, -do not bear out this statement, and it appears more probable that the -nervous, irritable, ailing painter, settled quietly so far from the -Metropolis, was afraid of the duties and responsibilities which his -membership would entail.” It will be seen that Mr. S. Redgrave omits to -state the “facts” to which he refers. - -The retirement of Wright from the Academy induced Hayley, the Poet, -to write the following Ode, with a view to “Guard him from meek -depression’s chill controul”:-- - - - ODE TO JOSEPH WRIGHT, ESQ., OF DERBY.[30] - - “Away! ye sweet, but trivial forms, - That from the placid pencil rise, - When playful Art the Landscape warms - With Italy’s unclouded skies! - Stay, vanity! nor yet demand - Thy portrait from the painter’s hand! - Nor ask thou, Indolence, to aid thy dream, - The soft illusion of the mimic stream, - That twinkles to thy sight with Cynthia’s[31] trembling beam! - - Be thine, my Friend, a nobler task! - Beside thy vacant Easel see - Guests, who, with claims superior, ask - New miracles of art from thee: - Valour, who mocks unequal strife, - And Clemency, whose smile is life! - ‘_Wright!_ let thy skill (this radiant pair exclaim) - Give to our view our favourite scene of Fame, - Where Britain’s genius blazed in glory’s brightest Flame.’ - - Cœlestial ministers! ye speak - To no dull agent sloth opprest; - Who coldly hears, in spirit weak, - Heroic Virtue’s high behest: - Behold, tho’ envy strives to foil - The Artist bent on public toil, - Behold! his Flames terrific lustre shed; - His naval Blaze mounts from his billowy bed; - And Calpe[32] proudly rears his war illumined head. - - In gorgeous Pomp for ever shine - Bright monument of Britain’s force! - Though doomed to feel her fame decline - In ill-starr’d war’s o’erwhelming course; - Though Europe’s envious realms unite - To crush her in unequal Fight, - Her Genius, deeply stung with generous shame, - On this exalting Rock arrayed in flame, - Equals her ancient feats, and vindicates her name. - - How fiercely British valour pours - The deluge of destructive Fire, - Which o’er that watery Babel roars, - Bidding the baffled Host retire, - And leave their fallen, to yield their breath - In different pangs of double death! - Ye shall not perish: No! ye hapless brave, - Reckless of peril thro’ the fiery wave. - See! British Mercy steers, each prostrate foe to save. - - Ye gallant chiefs whose deeds proclaim - The genuine Hero’s feeling soul, - Elliott[33] and Curtis,[34] with whose name - Honour enriched his radiant roll: - Blest is your fate! nor blest alone, - That rescued Foes your virtues own, - That Britain triumphs in your filial worth; - Blest in the period of your glory’s birth, - When Art can bid it live to decorate the Earth! - - Alas! what deeds, where virtue reign’d, - Have in oblivion’s darkness died, - When Painting, by the Goths enchain’d, - No life-securing tints supplied! - Of all thy powers, enchanting Art, - Thou deemest this the dearest part, - To guard the rights of valour, and afford - Surviving lustre to the Hero’s sword: - For this, heroic Greece thy martial charms adored. - - Rival of Greece, in arms, in arts, - Tho’ deemed in her declining days, - Britain yet boasts unnumbered Hearts, - Who keenly pant for public praise: - Her Battles yet are firmly fought - By Chiefs with Spartan courage fraught: - Her Artists, with Athenian zeal, unite - To trace the glories of the prosp’rous fight, - And gild th’ embattl’d scene with Art’s immortal light. - - Tho’ many a hand may well portray, - The rushing War’s infuriate shock, - Proud Calpe bids thee, WRIGHT, display - The Terrors of her blazing Rock; - The burning hulks of baffled Spain, - From thee she claims, nor claims in vain, - Thou mighty master of the mimic Flame, - Whose Peerless Pencil, with peculiar aim, - Has formed of lasting Fire the basis of thy Fame. - - Just is thy praise, thy Country’s voice - Loudly asserts thy signal power; - In this reward may’st thou rejoice, - In modest Labour’s silent hour, - Far from those seats, where envious leagues, - And dark cabals, and base intrigues - Exclude meek merit from its proper Home; - Where Art, whom _Royalty_ forbade to roam, - Against thy Talents closed her self-dishonour’d Dome. - - When partial pride, or mean neglect, - The nerves of injur’d Genius gall, - What kindly spells of keen effect - His energy of Heart recall? - Perchance there is no spell so strong - As friendship’s sympathetic song: - By fancy link’d in a fraternal band, - Artist and Bard in sweet alliance stand; - They suffer equal wounds, and mutual aid demand. - - Go then, to slighted worth devote - Thy willing verse, my fearless Muse; - Haply thy free and friendly note - Some joyous ardour may infuse - In fibres, that severely smart, - From potent envy’s poison’d dart; - Thro’ WRIGHT’S warm breast bid tides of vigour roll, - Guard him from meek depression’s chill controul, - And rouse him to exert each sinew of his Soul.” - -The first nine verses allude to Wright’s picture of the Siege of -Gibraltar. - -The last three refer to his having been rejected as an R.A. - -This “Ode” is referred to by Wright in the following interesting letter -to his friend Hayley; and from what we learn of Wright’s character from -those who knew him, it is very certain that he would not have accepted -as a “very ingenious and very friendly ode” a poem which contained such -severe animadversions upon the treatment he had been subjected to by -the Royal Academy, unless he had thought them justified by the facts:-- - - “Derby, Aug. 31st, 1783. - “MY DEAR SIR, - - “It is recommended to the painters who wish to become eminent, - to let no day pass without a line. How contrary, alas! has - been my practice; a series of ill-health for these sixteen - years past (the core of my life) has subjected me to many idle - days, and bowed down my attempts towards fame and fortune. - I have laboured under an annual malady some years, four and - five months at a time; under the influence of which I have - now dragged over four months, without feeling a wish to take - up my pencil, till roused by your very ingenious and very - friendly Ode, in which are many beautiful parts, and some - sublime. Perhaps, had I then been furnished with proper - materials for the action off Gibraltar, I should have begun my - fire; but for want of such instructions, I soon sunk into my - wonted torpor again, from which, as the weather grows cooler, - I hope to awaken. Mr. Wedgwood approves of your subject of - Penelope, as a companion to the Maid of Corinth. You mention - the boy Telemachus being pale and feverish; pray, is there any - authority in history for it? or have you mentioned it to give - more character and expression to his mother? When I know this - I shall make a sketch of it, and consult you further about it. - Some little time ago, I received one hundred copies of your - charming Ode (would I deserved what your warm friendship has - lavished on me), some of which I distributed among my friends; - but would it not be more advantageous to me to spread abroad - the rest when my picture is finished--especially if I make an - exhibition of it with some others? - - “I am, dear Sir, with the greatest esteem, - “Your much obliged Friend, - “J. WRIGHT.” - - -Another writer, Anthony Pasquin,[35] in his “The Royal Academicians: -A Farce, 1786,” gives this account of Wright’s secession from the -Academy, which he puts into the mouth of Truth:-- - -“The inimitable Wright, of Derby, once expressed an ardent desire -to be admitted a member of the Academy, but from what unaccountable -reason his wishes were frustrated remains as yet a secret to the -world; but the sagacious, or, rather, the envious brethren of the -brush thought proper to thrust so eminent an artist on one side to -make way for so contemptible an animal as Edmund Garbage (Garvey). -They had scarcely invested this insignificant mushroom with diplomatic -honours before they discovered that they had been committing a most -atrocious, diabolical, and bloody murder upon two gentlemen of great -respectability and character, ycleped Genius and Justice; and the -pangs of their wounded consciences became so very troublesome, that -it was resolved, in a full divan, instantly to despatch Secretary -Prig to Derby with the diploma, and force these august privileges -and distinctions upon the disappointed painter, that he had before -solicited in vain. But, alas! the expedition was inauspicious and -unfortunate; the diploma was rejected with the most evident marks of -contempt, and the Secretary kicked as a recompense for his presumption.” - -This account is, no doubt, a caricature of what actually took place, -but it to a certain extent corroborates both Mr. Philips’ statement and -the Poet Hayley’s allusions to the same event in his ode; and we must -remember that the poet was also one of Wright’s intimate friends. - -Mr. F. G. Stephens has kindly called my attention to the following -extract from “Number 1: A Liberal Critique on the Exhibition for 1794,” -by “Anthony Pasquin” (Williams), p. 15:-- - - J. WRIGHT, DERBY. - - No. 107, “_An Eruption of Vesuvius_.” - - No. 232, “_A Lake at Dunkeld, in Scotland, Evening_,” _by the - same Author_. - - No. 233, “_A Village on Fire_,” _by ditto_. - - “This truly celebrated Artist has honoured the Institution - by condescending to mingle his choice labours with the _Harp - Alley_[36] excellence of a majority of the Royal Academicians. - Feeling their importance so inordinately, it moves my wonder - that these uplifted gentlemen do not eagerly contribute, - by their own efforts, to the support of that order from - whence they derive such prodigious importance, and not give - the cavilling world occasion to remark that they have been - honoured without desert, and retain the mummeries of the - institution without gratitude. When I was in Paris, in 1787, - they managed those affairs much better; the Royal Academy of - Polite Arts there was conducted more nobly: every person was - admitted to view _gratis_, what was meant as a free display - of national genius, for national admiration. With us the - motive seems cupidity, and the end deception. With the richest - Monarch in Europe for their patron, the arts of England are - literally kept from destruction by the votive shillings of - a motley public, who pay the salaries of the professors, - and find _oil_ for the lamps in the _plaister_ and _living_ - schools, though the King arrogates the character of being the - high supporter of the system. But it is a provident assumption - of dignity, unaccompanied with either risk, anxiety, or - expense! He seems to possess the _furor_ of patronage as - highly as the tenth Leo, but I have as yet to learn that he is - equally munificent.” - -My own opinion is, that the facts as recorded by these writers were -in the main correct. There seems no reason to doubt that Wright’s -contributions to the annual Exhibitions at the Academy had been -systematically placed in bad positions, and that he felt his abilities -deserved recognition before those of Mr. E. Garvey, his competitor -at the time, whose works consisted principally of small pictures of -gentlemen’s seats. At this period, the Elections at the Royal Academy -were contested, and interest was all-powerful; and nothing would have -been more repugnant to the sensitive and honourable nature of Wright, -than having to pass through the ordeal of canvassing for an election, -where merit alone should have been the test. - -It is to be regretted that no letters or other memoranda are to be -found amongst Wright’s papers which throw any light upon his refusal of -the diploma in 1784. - -I am, however, able to give, in Wright’s own words, his version of his -treatment by the Royal Academy during the years 1790, 1791, and 1794. -From these letters we learn that Wright had again become an exhibitor -in the Academy, but that his pictures were badly hung. This treatment -calls forth these words from him:--“’Tis not the first instance of -their base conduct. I have been driven from their Exhibition before, -and must again withdraw myself, unless I could brook such abuse.” - -Again, in writing to Mr. Philips, in 1794, he says:--“Your picture -of Vesuvius and one at Dunkeld which would have been at Manchester -before now, had not the frames of the pictures which I exhibited been -materially damaged at the Academy. Mr. Milbourne has orders to put them -into good condition and send them to you when done.” - -This is alone sufficient to prove his retirement had some deeper ground -than a disinclination to present a diploma picture. - - “Derby, 11th June, 1790. - “TO JOHN LEIGH PHILIPS, - - “My good friend, for so I have reason to call you, is ever - prompt and eager to redress as much as may be my wrongs. I - have lately sustained a real injury from the _most illiberal_ - behaviour of the Royal Academicians, with which my dear friend - Tate has made you acquainted. ’Tis not the first instance of - their base conduct. I have been driven from their Exhibition - before, and must again withdraw myself--unless I could brook - such abuse--for it is better not to exhibit at all than under - such disadvantageous circumstances. To put my pictures in - places they could not be seen, and then to decry them is rank - villany, and what an artist should sink under the reflection - of. I wish the Town had held together longer; I should have - been very glad to have their behaviour publickly known, while - it is recent, that if I should exhibit no more with them, the - true reason may be known. I was prophet enough to foretell - what would happen to me. I think I communicated it to Tate, - indeed it required no divination, to know the miscreants and - their dependency on the Alderman,[37] was to know the result - of all. I am sorry the business is protracted from time to - time. The Editors stand much in awe of this great man. I heard - the other day from a Relation of the Alderman’s, that the - editor of the Morning Herald had a violent quarrel with him - for rejecting the performance of a relation of his as unworthy - of his gallery. There is an odd paragraph in the Leicester - papers. ‘The _Prince_ of pick-pockets has given instruction - to his attorney to prosecute a printer for a libel on his - _character_.’ Can you guess who it is? I wonder Vasari has - not yet come out with his statement of facts, sure he has not - plugged with gold the touch hole of his great guns. At present - I can but thank you for your very friendly services to me; I - feel the weight of such _solid obligations_. - - “My best remembrances to Mrs. Philips, my Friend Tate, Mrs. - Hardman, &c., &c., and believe me very sincerely and with much - esteem your Friend, - - “JO^{SH} WRIGHT. - - “P.S.--Tate says you have so high an opinion of my two - pictures that if I will join you, Heath shall be applied - to, to engrave them. I hardly know how to reply, unless I - knew something of the expense, and the likelihood of saving - ourselves in such an engagement. Independent of these - considerations I should like it of all things, as it would be - pushing the matter with the Alderman still further. Perhaps - you will indulge me with a line soon.” - - - “15th April, 1791. - “TO JOHN LEIGH PHILIPS, - - “MY DEAR SIR, - - “I have just received a letter from the Sect^y of the - incorporated Society of Artists, assuring me they will be - happy to receive any pictures from me, but they wish to - avoid inserting anything in the catalogue, that may appear - like altercation with the R Academy, and they conceive it - sufficient to mention in the catalogue, that the two pictures - from Shakespeare were exhibited last year at Somerset house, - timely notice not having been sent of the Exhibition of this - Society, but the subjects having received alterations, Mr. - Wright wishes them to be exhibited here. However in this - respect the Committee will be wholly guided by me. I think - nothing had better be said than the above. My wish was to have - had something mentioned in the catalogue expressive of the - slight & injustice shewn to my pictures last year by the R - Academy, by the obscure places they put them in, which I hope - will be an apology to the publick for their 2^{nd} appearance. - Pray suggest something proper if you and my friend Tate think - some observation of the kind should be made. - - “Heath & Martin will have an opportunity of seeing these - pictures; whether they will approve of them is uncertain, nor - do I know whether the two pictures of Romeo & Juliet and the - Storm are to be marked in the Catalogue to be sold. It would - gratify my pride and resentment to the Alderman to have ’em - engraved by Heath--as the Companion of the Storm would become - more universal. The Society wish to have any single picture - besides the two from Shakespeare, which would preclude any - unpleasant suggestions that might be started to the prejudice - of the Society. Pray give me your thoughts by return of post, - as I must write as soon as possible. - - “I am still unwell--no work going on. Adieu my good friend, - and believe me yours very sincerely, - - “JOS^H WRIGHT. - “St Ellens, - “15 Apl, 1791.” - - -The note in the catalogue of 1791, the last exhibition of the Society, -thus reads:--“N.B.--The above pictures were exhibited last year in the -Royal Academy; but having been placed in an unfortunate situation, -owing (as Mr. Wright supposes) to their having arrived too late in -London, and having since received alterations, he is desirous they -should again meet the public eye.” - - - “St Ellens, Apl 23^{rd} 1791. - “TO JOHN LEIGH PHILIPS, - - “MY DEAR SIR, - - “As I have a very high opinion of your judgment, integrity, - and friendship for me, I have the greatest satisfaction - in asking your advice & regulating my conduct by it. I - have implicitly followed your instructions relative to the - Incorporated Society, who I believe would do anything in - reason to accommodate me. They approve of the N.B., as it now - stands, it entirely removes every ground of cavil between them - and the R.A., yet for my own sake, they wish me to reconsider - it, as in their opinion it sets me in perhaps too pointed a - view of opposition to the R.A., but I don’t see that. They - have repeatedly used me ill, and the public ought to know - it, or my changing the place of exhibition might be deemed - whimsicalness. The terms it is couched in are delicate, and - the supposition of delay, being ye cause of the pictures being - disadvantageously placed, is a very sufficient apology for the - Academy, better indeed than my heart is inclined to make them. - - “I consider the Exhibition as my mart, and I have sent three - small pictures. I wish they may make good head against the - Royalists this year, against another I hope to be better - prepared. I like the Spring Gardens Room very much. I am glad - you like the addition to your Grotto, in my opinion ’tis much - improved by it; there is a better balance of light and shadow. - I would advise you to get it painted on the backside with a - greyish colour which will preserve it much. I mention grey - because the paint works thro’ like pin heads in any of the - porus parts. That tint will be the least seen and where they - are seen, our dear friend Tate will touch ’em with the point - of a pencil. The Moonlight is 30^{gs.} - - “I thank you very kindly for a quantity of most excellent - rags, you were resolved I should never want again. I do not - understand when you say, “if we can see ye 2^d No. of Boydell - we shall all be satisfied.” Pray is the 1^{st} out. I am glad - you are recovered. - - “JO^S WRIGHT.” - - - “20th May, 1791. - “TO JOHN LEIGH PHILIPS, - - “MY DEAR SIR, - - “Your Account of the base situation of my friend Tate’s - pictures in the R.A. hurts me much, tho’ from repeated - instances of this sort of behaviour both to myself and Pupil - I am not much surprised. ’Tis their duty to form the best - exhibition in their power, by giving every picture the - place its merit claims, but partiality pervades the whole, - and I have frequently seen pictures unworthy of public - exhibition possessing the most advantageous places. Who it is - that misconducts this matter, I know not, but I have heard - Farrington has much sway in the Academy. - - “As you have given up the concern which Tate mentioned to me - sometime ago, I must also give up the flattering idea which I - had entertained of having my picture engraved by Heath. Martin - & he wished again to see them. Have you heard anything from - Heath about them, because the time of closing will be drawing - nigh and I must determine what to do with ’em. I think they - will be the last pictures I shall exhibit. - - “I am happy you like your pictures, and am obliged to you for - the remittance of £31. 10. 0. I could have wished for the ease - of my own feelings to have excused the payment (for I stand - much indebted to you) but I durst not offer it you, for fear - of wounding yours at this time. However, anon, I will place a - center picture between the two, to show how sincerely I think - myself, - - “Dr Sir, your obliged Friend, - “JO^{SH} WRIGHT. - - “St Ellens, - “May 20, 1791.” - - -In a biography of Wright, I am compelled to notice the unwarrantable -attack made by the Messrs. Redgrave, in their “Century of Painters,” -upon the reputation of Wright as a painter. Whether this arose from -Wright’s seceding from the Academy, and so committing an unpardonable -offence in the eyes of the Messrs. Redgrave, or from the fact that they -judged Wright by unimportant works, as I shall presently show, or from -both combined, I must leave the reader to decide. - - -Messrs. Redgrave state:--“Having made a journey into the County -especially to see some of the works of this Derbyshire artist, we were -shown many, both portraits, landscapes, and figure subjects, reported -to be amongst his best, but always disappointing to our expectations.” -Soon after the publication of the “Century of Painters,” I was at the -trouble to make enquiries as to what pictures had been seen by the -Messrs. Redgrave on the occasion of this visit, and found that they had -not seen his best pictures at all, but only a few which were either -left unfinished at his death or had been tampered with by others, -together with some unimportant works. They did not see “The Orrery,” -“The Gladiator,” “The Alchymist,” nor any of his important portraits -or “conversation” pictures. The “Air Pump” picture was apparently not -seen by them until later, when a portion of their criticisms had been -written, and it then received encomium from them, which I now place -in juxtaposition with what they had written a few pages before. The -italics are mine. - - - MESSRS. REDGRAVE _v._ MESSRS. REDGRAVE. - - - JOS. WRIGHT, OF DERBY. - - “As a portrait painter, judged by his best works, he was - merely respectable. There is a painful solidity of execution, - _a want of quality and texture both in the flesh and - draperies_, so that when placed beside the works of Reynolds - or Gainsboro’ his portraits remind us of the labours of the - _house painter_; they show little variety of handling; _flesh, - drapery, sky, trees, all being executed in the same painty - manner_.”--“Century of Painters,” vol. 1, p. 258. - - - CRITICISMS ON THE PICTURE CALLED “AN EXPERIMENT WITH AN AIR PUMP.” - - “We certainly should have placed Wright of Derby _much lower - as an artist_ had we not seen this _very clever work_.... The - drawing and composition is satisfactory, and there is a great - contrast in the expression and the varied attitudes of the - several heads. _The flesh of the faces is good in colour, and - most carefully modelled_; indeed the young woman on the right, - in blue, and the lad drawing down a curtain to shut out the - moonlight on the left, are worth special observation for this - quality. _The draperies are all carefully painted from nature - (a merit apparent also in most of Wright’s portraits)_, and - are in this respect very different from the sloppy negligence - of some of the followers of Reynolds. There is a pretty - little incident rendered with feeling and true expression, - in the group of two young girls touched with childish sorrow - and dread of what they are told is to be the result of ‘the - experiment’--the death of the bird confined in the glass - receiver of the machine. - - “The colour of the whole is pleasant, the execution firm - and _solid_, and the brown shadows, although dark, are - sufficiently rich and luminous, the picture very agreeable in - general tone.”--“Century of Painters,” vol. 1, p. 264. - -Mr. R. Redgrave, R.A., in a letter to the writer, dated Nov. 30, 1861, -wrote:--“I have seen on my journey and since, _very many fine Wrights_, -and have reported to the Commissioners (International Exhibition) on -six or eight, which they intend to ask or have asked for.” It is a -difficult task to reconcile this statement with the “house painter” -theory. Yet the “Century of Painters” was not published until 1866. - -Of the picture of “An Experiment with an Air Pump,” which called -forth such praise from the Messrs. Redgrave, I am enabled, through -the courtesy of the Proprietors of the “Art Journal,” to give an -illustration. It was presented to the National Gallery, a few years -ago, by Mr. Walter Tyrrell. - - [Illustration: “AN EXPERIMENT WITH AN AIR PUMP.”] - - [Illustration: “EDWIN.” - - FROM DR. BEATTIE’S “MINSTREL.” ETCHED BY MR. F. SEYMOUR HADEN. - - MR. THOMAS HADEN, OF DERBY, SAT FOR THIS PICTURE. - - _Original picture in the possession of the Right Honourable Lord - Houghton._] - - - - - CHAPTER VII - - MENTION OF SOME IMPORTANT PICTURES.--THE CUSTOM HOUSE - AUTHORITIES AND “THE CAPTIVE” PICTURE.--THE “DEAD SOLDIER” - AND HEATH THE ENGRAVER.--“DESTRUCTION OF THE FLOATING - BATTERIES OFF GIBRALTAR.”--“THE ORRERY.”--EARL FERRERS AS - A PATRON.--MORTIMER.--PETER PINDAR.--DR. DARWIN.--ANNA - SEWARD.--WEDGWOOD.--BENTLEY.--“THE ALCHYMIST” PICTURE.--HAYLEY - THE POET.--THOS. A. HAYLEY THE SCULPTOR. - - -We have seen that Wright’s visit to Italy caused him to turn his -attention to landscape, and it is after his return from thence that we -find him entering upon the treatment of poetical subjects. “Edwin,” -from Beattie’s “Minstrel,” and “Maria,” from Sterne’s sentimental -journey, were exhibited at the Royal Academy in 1778 and 1781, and were -portraits of living persons, who were eminently fitted to represent -the ideal of the authors. Before Wright commenced to paint “Edwin -the Minstrel,” he wrote to Dr. Beattie to ask his opinion upon the -treatment of the subject. The Doctor wrote a very excellent letter in -reply, and concluded by saying, “Edwin from your pencil will be all my -pen vainly endeavoured to make him.” A Derby gentleman, Thos. Haden, -surgeon, who was considered to be one of the handsomest men in the town -at that date, sat for this picture. The lady who sat for “Maria” was a -Mrs. Bassano, of Derby. - -I am indebted to Mr. F. Seymour Haden for kindly allowing me to -embellish this volume with his admirable etching of “Edwin the -Minstrel.” - -We may well attribute these and some other pictures of a sentimental -character to the influence of Wright’s visit to Italy. Wright was -evidently indebted for the attitude of the figure in the picture of -“The Captive” to Michael Angelo’s “Adam” in the Capella Sistina. This -picture was painted in Rome, and sent to England. A very good tale is -told about it, which is here inserted from “The Universal Magazine” of -June, 1795:-- - -“When this celebrated painter (Wright, of Derby) was at Rome, he -painted that very fine figure, “The Captive,” from Sterne, and -consigned the picture to a friend in London, who having advice of its -being landed, and deposited in the Custom House, presented a petition -to the Board, stating that it was a portrait painted by an English -artist, and praying it might be delivered duty free. In answer to this -he received an order to attend on a given day, and was brought before -their honours. The picture was produced, and the first question asked -was, “Of whom is it the portrait?” The gentleman replied with truth, it -was the portrait of a Roman (for it was copied from a Roman beggar), -and the Board seemed inclined to let it pass; but an old gentleman, who -had long been a Commissioner, made a shrewd objection, and remarked -that this was such a portrait as he had never before seen in his life, -and taken in a manner that he did not believe either Roman, Greek, -Turk, Jew, or Infidel, would ever consent to ‘sit.’ ‘If,’ he added, -‘any gentleman at this Honourable Board chose to have his picture -drawn, would not he put on a clean shirt, and have his wig fresh -powdered, and be clean shaved; answer me that? To be sure he would. -Now, it is here pretended, that this fellow sat for his portrait, who -had hardly a rag to cover his nakedness; gentlemen, if he could have -afforded to have paid for painting his picture, he could have afforded -to buy himself a pair of breeches!’ He added by moving that the duty -might be paid; and the duty was paid accordingly.” - -Wright was more fortunate when he returned from Italy, as to payment of -Custom House duties, as the following extract from a letter from Bath, -dated 4th Dec., 1775, shows:--“Through the interest & application of my -friend Mr. Baxter, I have got my pictures, &c., duty free, a thing so -unusual the clerks cou’d scarce credit it. I believe it an indulgence -none have experienced but myself. Had I been charged with ye common -duty, I should have had near £30 to pay, an object this at any time, at -the present a very material one.” - -From the pictures of this character, we must not omit to mention that -of the “Dead Soldier,” from Langhorne’s poems, which has become so -familiar through the excellent line engraving by Heath. - -It is related that Wright said before he painted the “Dead Soldier,” -that he would depict the greatest possible sorrow, yet there should be -a smiling face in the picture. The following lines by William Sotheby, -F.R.S., bear testimony to the realisation of his intention:-- - - “I, to yon lonely tent by pity led, - View where the widow mourns her soldier, dead; - Turns from her babe, whose careless smiles impart - Strange woe, that harrows up the mother’s heart, - Hangs o’er the body, bleeding on the ground, - Clasps his cold hand, and faints upon the wound.” - -The picture of the “Dead Soldier” was bought from the easel by Heath -for £105, who afterwards sold it to J. L. Philips. It was sold in -Manchester, when the effects of that Patron of the Fine Arts came -to the hammer, by Winstanley and Taylor, in October, 1814, and then -realized £315. It is thus described in the Catalogue:--“Lot 33, Wright, -of Derby,--‘The Dead Soldier.’ This acknowledged _chef-d’œuvre_ of this -admired master, uniting great knowledge of grouping, excellent drawing, -& correct colouring, with a fine feeling of sentiment, decidedly -proves the assertion of Mr. Fuzeli, in his ‘Biographical Notice of Mr. -Wright,’ that ‘he once eminently succeeded in the pathetic.’” - -The line engraving by Heath appears, from the following correspondence, -to have been a great success. - -The following is a copy of the original circular issued by the -Engraver:-- - - London, July 25th, 1795. - - PROPOSALS - - For Publishing by Subscription - - A PRINT, - - To be Engraved by - - _JAMES HEATH_, - - Historical engraver to his Majesty, &c., - - from - - The celebrated picture - - of - - THE DEAD SOLDIER, - - Painted by - - WRIGHT, OF DERBY. - - - CONDITIONS: - - That the plate shall be the Size of the Plate of the DEATH - OF GENERAL WOLFE. The price of each print will be One - Guinea; Proofs, Two Guineas; Half to be paid at the time of - subscribing, and the remainder on the delivery of the Print. - - - Subscriptions are received by the Proprietor, _James Heath_, - at 42 Newman Street, where a proof of the plate may be seen. - - - _Received __________________ 179 of - the sum of ______________ being Half of the Subscription - for ______________ impression of the above-mentioned print, - which I promise to deliver according to the proposals._ - - -The following correspondence relating to the print is also of some -interest:-- - - “Oct. 17th, 1796. - - “TO J. L. PHILIPS. - - “I have sent a proof of the ‘Dead Soldier’ very near finished. - Pray let me have your opinion and remarks upon it as soon - as possible. I have sent one to Wright, and have asked him - to paint a companion to it; if he will not, who would you - recommend for that purpose? - - “I have hopes of a great sale from the number of subscribers I - already have, and the approbation the print has met with from - every one who has seen it. - - “J. HEATH.” - - - “1796. - “TO J. L. PHILIPS. - - “The prints you mention from Wright’s I dare say I shall be - able to pick up at the sales this winter. I have heard from - Mr. Wright, in which he says: ‘The effect of the picture is so - well preserved, and the parts which compose it so true, that - I have nothing to say but that I am well pleased with it.’ He - says that he began to paint again about a week ago, and that - he will (if his health returns) talk to me about a companion - picture. - - “J. HEATH.” - - - “Feby., 1797. - “TO J. L. PHILIPS. - - “I shewed him (Lord Lansdowne) a proof of the ‘Dead Soldier,’ - which he liked exceedingly, and subscribed for a couple. I - asked his permission to dedicate it to him, which seemed to - give him great pleasure. I expect him to call to see the - picture, and when he has seen it, I will immediately send it - on to you. - - “J. HEATH.” - - - “TO JOSEPH WRIGHT. - - “SIR, - - “As I am going to publish the ‘Dead Soldier,’ I wish to - announce the ‘Shipwrecked Sailor’ as a companion. I should - therefore be much obliged to you to inform me whether your - health will permit your painting it. An answer will much - oblige. - - “Your most obedt. Servt., - “JAS. HEATH. - “Mch. 14th, 1797. - “Newman St., London.” - - - “April, 1797. - “TO J. L. PHILIPS. - - “I have sent in a large tin case by to-night’s conveyance, - four Dozen of the very first impressions of the ‘Dead - Soldier,’ and one Dozen proofs. This number is more than you - have at different times ordered for yourself and friends, but - as I have raised the price to - - 2. 2. 0. - 1. 6. 0. - - and as they are choice impressions, I should suppose they will - not stick on hand. If they should, you can at any time return - them. A few of them have the same date of publication as the - proofs, and consequently in the earliest state. I have met - with more success than I had hoped for in such times as these. - It is universally talked of, and I have orders for between 2 & - 300 from the trade only. - - “J. HEATH.” - - - “Aug 20, 1797. - “TO J. L. PHILIPS. - - “A few days ago I sent an India proof of the ‘Dead Soldier.’ - I should have sent you one before, but as the India paper was - not good, I did not take above three impressions, the best - of which you have. I have sent by to-day’s coach seven ‘Dead - Soldiers.’ Respecting the two pictures of Wright’s, of ‘Hero’ - & ‘Leander,’ I mentioned it to L^{d.} Lansdowne, who has - promised to procure them for me if he can. Have you heard how - Wright is lately. If he is not dead, I shall think there are - hopes he may recover sufficiently to paint a companion for me.” - - - “1797. - “TO J. L. PHILIPS. - - “I received (1797) yours with the bill enclosed. I am very - sorry to hear of Wright’s death, as I do not know now who to - get to paint a companion to the ‘Dead Soldier.’ I wish you - would say who you think would do it best. I mean to get the - pictures of ‘Hero,’ &c., as soon as L^{d.} Lansdowne comes to - Town, and with respect to Sterne’s ‘Old Man and Ass,’ I think - it would be a good thing to engrave. Mr. Corbould would be the - man to put the back ground to it. - - “J. HEATH.” - - - “June 14^{th.} 1798. - “TO J. L. PHILIPS. - - “I wish you would get the two pictures of ‘Hero’ & ‘Leander’ - for me. I should like to engrave them very much. I have - mentioned them to L^d Lansdowne several times, but he seems to - hint that there is a family coolness which prevents him from - asking for them. - - “The ‘Dead Soldier’ continues to sell very well, indeed so - much so, that I am very desirous of going on publishing for - myself. - - “J. HEATH.” - - - “July 28, 1805. - “TO J. L. PHILIPS. - - “Mr. Corbould desires me to inform you that he has finished - Wright’s picture. I should think it would be worth while to - engrave it, and if, after you have seen it, you think so too, - and would go halves in the speculation, I should like to do it. - - “J. HEATH. - “Russell Place.” - - - “May 12, 1807. - “TO J. L. PHILIPS. - - “My next work will be a companion to the ‘Dead Soldier.’ - M^{r.} Smirke has nearly finished the picture. He had painted - one four years ago, but it did not quite please him, and he - has now succeeded more to his wishes. - - “J. HEATH.” - - - “Feby., 1810. - “TO J. L. PHILIPS. - - “I have often thought of mentioning to you the circumstance of - M^{r.} Morland’s having bought my Landscape of Wright’s for - 16 Guineas, and his never offering to pay for it, although - it is so long ago. I wish for your advice, as you know his - circumstances better than I do. - - “J. HEATH.” - - -It has been the custom to view Wright only as a painter of artificial -light, and for picture dealers and some others to attribute all unknown -pictures of fire in any form to “Wright of Derby.” We ourselves have -seen many so attributed, which would not add fame to any painter’s -name. The Exhibition of Wright’s Works in the Derby Corporation Art -Gallery, in 1883, tended to dispel this unfounded illusion as to the -limits of Wright’s art. Whilst the representation of fire-light in some -form or other was undoubtedly a speciality with Wright, this class of -subjects, after all, formed but a small proportion of the numerous -works then collected together. - -On reference being made to the appendix it will be noticed that there -were many other important works painted by Wright which were never -exhibited; and as he did not always sign his paintings, they may -possibly now be attributed to other artists, or to the great _unknown_. - -A picture that created considerable attention at the time it was -painted, was the “Destruction of the Spanish Floating Batteries off -Gibraltar,” on September 13th, 1782,[38] which was bought from the -easel by Mr. J. Milnes for £420, being the highest price Wright -obtained for a single picture. This was one of the works included in -the London Exhibition of Wright’s pictures in the year 1785, and -a notice of the Press of that date thus alludes to it:--“We shall, -however, at different periods lay before our readers a particular -account of these noble productions as they stand in the catalogue: -except that grand scene of the ‘Destruction of the Floating Batteries -off Gibraltar,’ which we cannot resist the present impulse of -mentioning out of its turn. In this picture, Mr. Wright has represented -a view of the extensive scenery, combined with the action on the 13th -Sept., 1782, in which his design is sublime, and his colouring natural -and brilliant beyond description. We never remember to have seen -shadows painted so little like substance as those in the foreground, -which gain great strength and richness from the prodigious brightness -of the grand explosion at a distance; but we feel ourselves inadequate -to the task of pointing out the various merits of this phenomenon -in the imitative arts, which proves the painter is unique in the -extraordinary line of the charming study he has so happily pursued.” - - [Illustration: MISS DUESBURY. - - _Original picture in the possession of Mr. George Dean, Derby._] - -The following lines were written by Hayley, “On Wright’s Picture of the -Siege of Gibraltar”-- - - - CALPE’S ADDRESS TO BRITANNIA. - - “With patriotic pride, and national delight, - Ye Britons view me in the tints of Wright! - My rock’s the proof, that British Minds and Hearts - Are honour’s darlings, both in Arms and Arts; - With double triumph here let Britons say - Britons alone could rule this fiery fray; - This miracle of Art a Briton wrought, - Painting as boldly as his country fought.” - - - EXTRACT FROM A LETTER FROM BUXTON WELLS, JANUARY 3, 1785. - -“Governor Elliot’s successful defence of Gibraltar has, among the many -essential advantages accruing from it, been productive of some of the -noblest works in the Fine Arts, especially among the painters. On -stopping at Derby a few days since, I was introduced by a friend to -view the productions of that great genius Wright, whose astonishing -power of expressing artificial lights on canvas, the world has long -been acquainted with. His new picture on the Siege of Gibraltar, for -composition, force, brilliancy, and prodigious effect of fire, exceeds, -in my opinion, all his former labours. To attempt a description of it -would be in vain; whoever sees the picture must have such an idea of -the action as no poetry can describe. Mr. Wright has not been in the -Exhibition (for reasons I cannot explain) for some time past, but that -he will not withhold this sublime piece from general inspection, I most -sincerely hope, as the attack on Gibraltar, with some other pieces on -interesting subjects, would form an Exhibition in every way worthy of -the countenance of the public.” - -The “Orrery” picture was exhibited at the Society of Artists’ Rooms, in -1766, so must have been painted when Wright was thirty years old. It -was purchased by, and probably painted for, the Earl Ferrers, for the -sum of two hundred guineas; fifty pounds of this was paid on account, -and the remainder secured by a bond, of which a copy is given on the -next page. - -The figures in the picture are all portraits, and various persons -have been mentioned as the probable originals who were thus honoured. -A copy of the print, once belonging to the artist, has certain names -written on the margin, with the date 1768, so that the following are -identified:--Jos. Wright, with his back towards the spectator, Mr. -Burdett taking notes, young Cantrell, Mr. A. Winterman, Mr. G. Snowden, -Mrs. Sale, and Mr. Denby as the philosopher. - -Mr. Burdett also figures in the “Gladiator” picture. The other boy -sitter was a son of Earl Ferrers, as the following extract from the -“Stemmata Shirleiana” shows:--“Lawrence Rowland, 2nd Son of Robert 6th -Earl of Ferrers, Bap. at St. Alkmund’s Derby, Nov. 3, 1757, d. Feb. 5, -1773. His portrait when very young is preserved in Wright’s celebrated -picture of the ‘Orrery,’ well known from the engraving.” - -The picture passed from the hands of the Ferrers family, and was sold -by Mr. Thos. Rought, of London, to the late Mr. Francis Wright, of -Osmaston Manor, by Ashbourne, for the sum of fifty guineas, in 1853. -In 1884, at the dispersion of Mr. John Osmaston’s collection, to whom -the picture then belonged, it was again in the market, and it is with -pleasure that we are able to record that, being purchased by a few of -Wright’s admirers, singularly, at the original price of two hundred -guineas, it was on September 4th presented to the Derby Corporation Art -Gallery as a memorial to the painter, where it will remain as a fitting -record of the admirable powers he possessed, and be admired by his -fellow-townsmen in years to come. - -The bond mentioned above was as follows:-- - - [Sidenote: STAMP 1/6] - - Know all men by these presents That we the Right Honourable - Washington Earl of Ferrers Peter Pery Burdett of Stanton - Harold in the County of Leicester Gentleman are held and - firmly bound to Joseph Wright of the Town of Derby Painter - in the sum of one hundred and sixty pounds of good & lawful - money of Great Britain To be paid to the said Joseph Wright or - his certain attorney Executors administrators or assigns for - which payment to be well & faithfully made We bind ourselves - and each of us by himself our & each of our Heirs Executors - & administrators firmly by these presents Sealed with our - seal Dated this Eleventh day of July in the third year of the - Reign of our Sovereign Lord George the Third by the grace of - God of Great Britain France and Ireland King Defender of the - Faith & so forth and in the year of our Lord One thousand and - seven hundred and sixty-three The condition of this obligation - is such That of the above Bounden Earl Ferrers & Peter Pery - Burdett or either of them their or either of their Heirs - Executors or Administrators do and shall and do well & truly - pay or cause to be paid unto the above named Joseph Wright - or his certain attorney Exors. Administrators or assigns the - full sums of Eighty Pounds of Good and lawful Money of Great - Britain with lawful interest for the same on the eleventh day - of July which will be in the year of our Lord one Thousand - seven hundred and sixty-four. Then their obligation to be void - or else to remain in full force - - Sealed & delivered being first duly stamped - in the presence of - - W. WOTY - - [Illustration: signatures Ferrers L.S. and P. P. Burdett L.S.] - -From the following extract of a letter written by Wright to his brother -Richard, dated Rome, 13^{th} Ap., 1774, we learn that Burdett’s -behaviour caused Wright some anxiety as to his fulfilment of the bond:-- - - “I have just received a letter from Mr. Tate of Liverpool, - where he tells me M^{r.} Burdett has sold up his goods and - is off. M^{rs.} Burdett and her dear Miss Fredried are gone - into lodgings, over head and ears in debt. I stand no chance - of being paid at present--well, if ever; wou’d therefore have - you write immediately to Lord Ferrers and tell him how things - stand between me and Burdett, that he has not paid a farthing - of principal or interest of the four score pounds his Lordship - was bound for, w^{ch} I lent him in the year ’60 or ’61, that - he takes no notice of the letters I have wrote him lately - concerning the debt, must therefore look to his Lordship - for it. When you write to his Lordship send the amount of - principal and interest, and desire him to pay it as soon as he - conveniently can. If it is not convenient for him to pay the - whole, perhaps it will be prudent to take the interest only, - as that will secure y^e debt, and prolong the limited time - for payment. M^{r.} Fallows will advise you, give my respects - to that family. Tell his Lordship I would not apply to him - at this time for y^e money was I not much distressed for it, - travelling is very expensive.” - -On the back of the bond, in Wright’s handwriting, is the following:-- - - “August the 23, 1776. - - “Memo. This day the Earl Ferrers accepted a bill - drawn by me for Eighty Pounds, which when paid will be in full - for the principal of this Bond.” - - [Illustration: Siganture Jos^{h.} Wright] - - - EXTRACT FROM “WINE AND WALNUTS.” BY PINE. - -“Wright was celebrated for scenes that represented the effects of -fire subjects, which he painted with more truth to nature than even -Schalken, so far-famed.” - - - SUPPER AT MORTIMER’S. - -“Upon my word, a delicate little hen turkey; what, a Christmas present -already! This turkey is from my old fellow-’prentice, Joe Wright,” -said Mortimer,[39] “who never forgets us at Christmas. Poor Joe, -the valetudinarian! I’d be sworn he procured one of the least in -all Derby out of sheer compassion to our evil habits. He knows we -always dress his Christmas turkey for supper, and he has generally a -hint by way of postscript to his letters, touching the prevalence of -apoplexy. Now Master Joe was one of your water-gruel disciples when -we were youngsters together at Hudson’s; and I would wager ten pounds -to a crown piece, he is just now sitting, Peter Grievous, over that -wishy-washy, tasteless, humdrum, drivelling dish, and calling to old -Nan Watkins--‘Nanny, have you any nice live coals? Do, pray, let me -have my bed warmed.’ Are you a supper eater, Mister Gibbon?”[40] “No, -Mister Mortimer; I am a single man, and a bit of a valetudinarian like -your friend Mister Wright.” “And a water-gruel eater, I presume?” said -Mortimer. “Yes, indeed,” said Gibbon, smiling; “though in truth, I do -not know that I am at all the better for these scrupulosities in diet.” - -This playfully overdrawn picture of Wright’s habits was probably -written before Wright went to Italy. Wright was of very temperate and -abstemious habits, which, unfortunately, cannot be said of Mortimer. - -Dr. Wolcott, as Peter Pindar, in one of his Poems, called Mr. Wright’s -moons silver sixpences; upon being remonstrated with, he said he had -not seen any of his moonlights, but supposed the moon must look like a -sixpence. Probably this was the passage that Mr. Holland disliked, when -he wrote the following lines, had them printed, and pasted them over -the passage in his volume of Peter Pindar’s Poems-- - - “Would’st thou paint _Landscape_, study Derby WRIGHT, - Where freedom, elegance, and truth unite. - _Rich sparkling tints_, grand shapes and masses show - How fine his pencil marks the Sunset’s glow; - Nor does his Master-hand less skillful seem, - When silver Cynthia quivers in the stream; - E’en Envy with approving smiles must own - In all WRIGHT paints, NATURE and WRIGHT are ONE.” - -Mr. Holland showed the book to a friend, who exclaimed, “Well done, -Peter, I did not think he would have done Wright so much justice.” - -The celebrated Dr. Darwin, who was on friendly terms with Wright, was -often consulted by him, respecting his “imaginary complaints,” as the -Doctor unjustly called them; and on one occasion told him, “he had but -one thing more to recommend, and that was what he would not give, but -he thought it would be to his advantage to be engaged in a vexatious -lawsuit.” The Poet Doctor alludes to Wright in his “Botanic Garden,” -Canto I., line 175, in the following lines-- - - “So Wright’s bold pencil from Vesuvius’ height, - Hurls his red lavas to the troubled night; - From Calpe starts the intolerable flash, - Skies burst in flames, and blazing oceans dash-- - On birds in sweet repose his shades recede, - Winds the still vale, and slopes the velvet mead, - On the pale stream expiring zephyrs sink, - And moonlight sleeps upon its hoary brink.” - - - FROM THE “MEMOIRS OF THE LIFE OF DR. DARWIN.” BY ANNA SEWARD. - -“In the course of the year 1770, Mr. Day stood for a full-length -picture[41] to Mr. Wright, of Derby. A strong likeness, and a dignified -portrait were the result. Drawn as in the open air, the surrounding -sky is tempestuous, lurid, and dark. He stands leaning his left arm -against a column inscribed to Hampden. Mr. Day looks upward as -enthusiastically meditating on the contents of a book, held in his -dropped right hand. The open leaf is the oration of that virtuous -patriot in the senate, against the grant of ship money demanded by King -Charles the First. A flash of lightning plays in Mr. Day’s hair, and -illuminates the contents of the volume. The poetic fancy and what were -_then_ the politics of the original, appear in the choice of subject -and attitude. Dr. Darwin sat to Mr. Wright about the same period. The -result was a simply contemplative portrait[42] of the most perfect -resemblance.” - -Miss Meteyard, in her life of Wedgwood, says in Vol. II., page -442:--“Wedgwood in the previous year (1778) had bespoken a picture of -Wright, of Derby, who, neglected by his countrymen ‘would,’ as Wedgwood -said, ‘starve as a painter if the Empress of Russia had not some taste -and sense to buy these pictures now, which we may wish the next century -to purchase again at treble the price she now pays for them.’ Soon -after this Wright tried enamel painting, and towards the close of 1779 -he promised to visit Etruria and ‘catch any help from its fires;’ but -it is not till subsequently that we hear of the fine picture he painted -for Wedgwood.” - -Again, on page 508, Miss Meteyard writes:--“In 1784 Wright, of Derby, -painted for Wedgwood his celebrated picture of the Maid of Corinth, as -also a portrait which was probably that of the very friend who had as -far as possible replaced Bentley in his heart, Erasmus Darwin. After -some critical remarks on female drapery, Wedgwood, in writing to the -painter, said of the Maid of Corinth:-- - -“I do not say I am _satisfied_ with the lover, but that I think it -excellent, I had almost said inimitable, & I should quake for any -future touch of your pencil there. It is unfortunate, in my _opinion_, -that the maid shows so much of her back; but I give my _opinion_ only, -with great diffidence and submission to your better judgment. In one -word, you have been so happy in your figure of the lover, that almost -any other must appear to disadvantage in so near a comparison. Make her -to please yourself, and I shall be perfectly satisfied.” - -“Six years previously Wright had painted for Mr. Wedgwood one of his -most celebrated pictures. Writing to Bentley the latter says:--‘I am -glad to hear that Mr. Wright is in the land of the living. I should -like to have a piece of this gentleman’s art, but think Debutades’ -daughter would be a more apropos subject for me than the Alchymist, -though my principal reason for having this subject would be a sin -against the costume. I mean the introduction of our vases into the -piece, for how could such fine things be supposed to exist in the -earliest infancy of the potter’s art? You know what I want, & when -you see Mr. Wright again, I wish you would consult with him upon the -subject. Mr. Wright once began a piece in which our vases might be -introduced with the greatest propriety. I mean the handwriting upon the -Wall in the Palace of Belshazzar.’--Wedgwood to Bentley, May 5, 1778.” - -Upon enquiry as to the present locality of the pictures Wright painted -for Wedgwood, we regret to learn that they were all lost to the family -early in the present century. It appears that they were sent to some -person in London for Exhibition, or for the purpose of being cleaned, -and whilst there were distrained for rent. The pictures were dispersed -and beyond recall before the Wedgwoods could interfere. - -One of these pictures, a “Portrait of Sir Richard Arkwright,” was some -years afterwards presented to the Manchester Royal Exchange by Edmund -Buckley, Esq., where it now hangs. - -On page 26, mention has been made of the friendship which existed -between Wedgwood and Wright, exemplified by Wright giving a painting -“to his friend Jos. Wedgwood, the patron and encourager of living -artists.” This friendship and generosity Wedgwood emulated upon the -occasion of the marriage of Wright’s daughter, Anna Romana, to Mr. -Cade, by the gift of a dinner service of 150 pieces. - -Mr. F. G. Stephens sends me the following interesting copy of an -autograph letter:-- - - “Derby, 12th October, 1788. - - “TO MISS SEWARD,[43] LICHFIELD. - - “MADAM, - - “I have repeatedly read your charming poem. The - subject you hold out for my pencil, as you have treated - it, is an excellent one; but how to paint a flaming sword - baffles my art. However, as soon as I find myself stout - enough, I intend to attack it. I admire the scenery. Would - it strengthen or weaken the character to lay it near the - sea, upon a rising ground, and through an opening among the - trees low in the picture to see the moon just rising above a - troubled sea? The point of time is when the sword is rising - out of the tomb, what kind of tomb should it be? To make it - a regular one would indicate Herver’s father had the usual - funeral rites performed, which the poem, I think, contradicts. - Your reflections upon this point will greatly oblige, - - “Madam, - “Your most obedient h^{ble} serv^{t,} - “JOS^{H} WRIGHT. - - “P.S.--Dr. Darwin, I hope, explained his mistake in returning - the poem before I had done with it.” - - - “May 5th, 1789. - MR. HAYLEY TO MRS. HAYLEY. - - “I shall beg you & Mrs. Beridge to call upon friend - Wright & tell him, from me, that I & all the lovers of - painting with whom I have conversed, since my return to town, - consider his pictures this year as the flower of the Royal - Exhibition. His ‘Dying Soldier’ made me literally shed tears, - his ‘Moonlight’ enchanted.” - -“Towards the end of August, 1776, Hayley and Mrs. Hayley went to Derby -for the pleasure of congratulating their friend Dr. Beridge on a -most seasonable marriage, that restored him from a state of perilous -discomfort to health and happiness. This visit was productive of -various delights. Hayley not only sympathised in the happiness of the -restored Physician, but in the weeks that he passed under his friend’s -roof he had the gratification of cultivating an intimacy with Wright, -the admirable painter of Derby, who, having injured his health by -too assiduous application to his art, had great comfort in the kind -attention he received from the friendly physician, & took a pleasure -in executing for Hayley two hasty portraits in chiaro-oscuro of Mrs. -Beridge & her husband, after painting for the Doctor the Poet of Sussex -and his ‘Eliza.’”[44] - -The following is extracted from the “Life of Wm. Hayley, Esq.” by -John Johnson, LL.D., Rector of Welborne, in Norfolk:--“Hayley went to -Cambridge in 1763. Here he formed an intimate friendship with Thornton, -Beridge, & Clyfford, whose custom it was to breakfast together in the -apartments of each other. Hayley devoted some months of the year 1772 -to his highly-valued friend Beridge, who had settled as a physician at -Derby. Hayley then copied in water-colours two bold sketches of scenery -near Matlock, lent to him by the very amiable artist Wright, of Derby, -with whom he began this year an intimacy that lasted to the death of -the painter, who frequently in his letters consulted his friend of -Sussex on the subjects of his pencil.” - -The following extract is from the _Quarterly Review_, “Memoirs, &c., of -Wm. Hayley”:-- - -“Hayley’s son (Thomas Alphonso, the sculptor), was then in his -thirteenth year.... It had been Hayley’s first intention to educate his -son for the profession of physic, but many circumstances combined to -give him a strong inclination for that of the arts. During a visit to -Mrs. Hayley, Wright, of Derby, perceived in him so much aptitude for -painting, that he took pains in instructing him; and upon the report -of his progress, Flaxman wrote to his father, saying, ‘If you have -not quite determined to make him a physician, and if you think he has -talents for the Fine Arts, show yourself my friend indeed, and accept -my offer as frankly as I make it.’” - -The offer was accepted, but this promising young artist died, after a -long illness, a few years later. - -Extract from a letter from T. A. Hayley to his father, the poet:-- - -“Your letter to Mr. Wright, I delivered to his daughter, who happened -to be with us when it arrived, and he has been since so good as to give -me a few instructions in drawing.” - -“A cordial friendship had long existed between Wright, the admirable -painter, of Derby, and the father of Alphonso; but the latter, in -writing to his friend, had only requested him to gratify the little -traveller with the permission of sometimes passing a leisure hour in -his painting-room, and with the indulgence of seeing him exercise his -pencil. The amiable artist, with that warm benevolence which formed -a striking part of his character, went beyond the request of his old -friend, and being more and more pleased with the intelligence, spirit, -and docility of his little visitor, spontaneously bestowed on him such -repeated instructions, as perfectly awakened in him a passion and a -genius for art, which, being afterwards inspirited by the affectionate -encouragement of his father, of Romney, and of Flaxman, ultimately -changed his very early professional destination from medicine to -sculpture.” - - - MR. HAYLEY TO MRS. HAYLEY. - - “I am infinitely pleased with the first-fruits of the little - man’s northern pencil, and charmed with the kindness of my - friend Wright, in condescending to instruct such an urchin.” - - - T. A. HAYLEY TO MR. HAYLEY. - - “I continue to draw, and you will be glad to hear with - the approbation of my great master. I shall have a great - collection of performances to show you when we meet. I hope it - will not be long before that happy moment arrives.” - - - MR. HAYLEY TO T. A. HAYLEY. - - “I did not, I believe, send your medallion of Romney to - our amiable friend Wright. I wish you to present him such - a becoming mark of your gratitude for the extreme kindness - that we have ever received from him. Would to heaven I could - send him a good portion of health and spirits to attend your - interesting offering to the very amiable invalid. From all - of him I collect from Meyer, I fear his pencil has been very - inactive for some time. I always grieve when men of talents - are condemned by ill-health to involuntary indolence; and I - doubly grieve when that misfortune falls upon a friend whose - works I have often surveyed with delight.” - -The following letter relates to the picture of the “Alchymist,” now -belonging to the Derby Corporation Art Gallery, having been presented -to that Town as a memorial to the painter, by a few of his admirers, in -1883:-- - - “DEAR WRIGHT, - - “Dr. Turner will in his letter be more particular than I - can possibly be on a subject to which I am a stranger. I - have conceived that the chemist should be sitting on this - side the table, & turning his head towards glass upon his - assistant exclaiming upon the first appearance of the luminous - exhalation from the Retort into receiver of the phenomenon. - The lamp is still under the influence of the blast of wind - remaining in the bellows below which the chemist has been - using in another process. Whether this idea of the flame will - in the least answer your purpose you alone can judge; you will - wonder when you are told that I am painting History without - figure, Landscape without trees, and Shipwreck without water. - Mrs. Burdett joins me in love, compliments, and everything - else to your Family. - - “Yrs sincerely, - “J. P. BURDETT. - “Liverpool, Feby. 4, 1771.” - -From a letter on page 27, it appears that Wright took this picture with -him to Rome in 1774, where it was much admired. - - [Illustration: GIRL WITH A BLADDER. - - _Original picture in the possession of Mr. F. C. Arkwright, Willersley, - Cromford, Derbyshire._] - - [Illustration: CONVERSATION PIECE. - - THREE CHILDREN, RICHARD, ROBERT, AND PETER (SONS OF RICHARD - ARKWRIGHT). - - _Original picture in possession of Mr. F. C. Arkwright, Willersley, - Cromford, Derbyshire._] - - - - - CHAPTER VIII. - - CORRESPONDENCE OF WRIGHT WITH MR. DAULBY AND MR. J. L. - PHILIPS.--THE SHAKESPEARE GALLERY PICTURES.--DISPUTE ABOUT - PRICES. - - - “Derby, December 31^{st} 1779. - “TO D. DAULBY. - - “The Empress of Russia has taken into Her capital collection - my two pictures of ‘Vesuvius’ & the ‘Girandolo,’ and given me - 500 g^s for them which is a good reward accompanied with high - honour--40 g^s to a friend is as little as I can take for the - picture you saw of the Fireworks, if you mean that, if not it - will depend upon ye size & finishing of any other.” - - - “4^{th} June 1780. - “TO D. DAULBY. - - “DEAR SIR, - - “If nothing material happens to prevent me, I intend sending - by Shawcross on Monday morning, directed for M^{r.} Tate - as you desire, the picture of the ‘Girandolo’ which I hope - will get safe to hand, and meet with your and your friend’s - approbation. It is one of the highest finished pictures I - have painted. Cost me upwards of six weeks study, and was put - into ye exhibition at 100^{gs.} As you are only to send me - forty (which I must beg you to keep secret) you must look upon - it partly as a compliment on M^{r.} Tate’s account, and in - some degree a compliment to yourself as a well-wisher to and - encourager of the arts. With respect to the payment, I would - wish you to suit your convenience; any time in the course of - the next year will be agreeable to me. - - “I have made no alteration in the picture, as I could not - with advantage, but most sincerely wish there had been such a - Rocket as you wish for. To add it now would destroy too much - ye unity of the picture.” - - - “TO D. DAULBY. “Derby, Nov 14^{th} 1785. - - “DEAR SIR, - - “The cavern with the figure of ‘Julia,’ which I exhibited in - the spring, is still in my possession. It was esteemed by the - artists the most sublime picture I ever painted, & so I think - myself. A rising moon always conveys to me great majesty. - - “I think myself much honoured by your society. Pray make my - best compt^s to all the members, and believe me your much - obliged friend, - - “JOS^{H.} WRIGHT.” - - - “I am going to have my picture of ‘Gibraltar’ raffled for by - eighty subscribers at five guineas a ticket. The subscription - is not yet opened publickly, though I have several names down. - - “Danl. Daulby, Jun., Esq., - “Liverpool.” - - - “MY DEAR SIR, - - “Many thanks are due to you for the trouble you have had in - negotiating the business between Mr. Hardman and myself, and - of which I shall retain a grateful remembrance, as I have - had repeated proofs of your attention to my best interest, & - even in your last letter have anticipated my wish of making - my intention of disposing of the picture of ‘Gibraltar’ by - subscription as much known as possible in the circle of - your acquaintance, for it is not lawful without an act of - parliament to advertise a Raffle. I must, therefore, be - obliged to my friends to declare my intention of having eighty - subscribers at five guineas. I hope your friend Mr. Hardman - will not mention the price he gives for the pair of caverns, - as I have always had fifty guineas a piece for them of that - size. - - “You say you hope I will excuse the free thoughts you have - intrusted me with respecting the large cavern with the figure - of ‘Julia.’ ’Tis the privilege of friends to be open to each - other, and if I knew what you really wished I would most - certainly accommodate myself to your inclinations. Will you - have the picture sent to you? If you approve of it keep it, - and pay me for it as shall best suit your conveniency. If you - do not like it return it, and we shall both be pleased, for as - it was esteemed by the artists the most sublime picture I ever - painted, I doubt not but I shall one day or other dispose of - it; and believe me, dear sir, with much esteem, - - “Yours sincerely, - “JOS^{H.} WRIGHT. - “Derby, Jan. 14, 1786. - “Danl. Daulby, Jun., Esq., - “Liverpool.” - - - “Derby, Feby. 7^{th} 1786. - “TO J. DAULBY, JUN. - - “DEAR SIR, - - “By the time this reaches you, I hope ‘Julia’ will be - near her journey’s end. I sincerely hope she will arrive in - good condition, and that ‘Abraham’ and ‘Isaac’ will not be - found to have lain too hard upon her. I did everything in my - power to keep her untouched and spotless. I should have sent - the picture off sooner, but the week the man who I trust to - pack my pictures was out, and the 2^{nd} Shawcross, after - promising me to take it, neglected it. ’Tis directed to Mr. - Tate, and to go by land carrier. - - “I am persuaded by my friends to take the fashionable tour - of the Lakes next Autumn. I sounded my dear friend Tate upon - the scheme, but have not heard from him since. If we go your - company will be a happy addition, but I would have the party - small, none engaged in it but draftsmen, for reasons too - obvious to need mentioning. - - “I am, - “Dear Sir, with much esteem, - “Yours very sincerely, - “JOS^{H.} WRIGHT. - “Dan^l Daulby, Jun., Esq^r - “Liverpool.” - - - “Derby, March 25^{th} 1786. - “DEAR SIR, - - “I was sorry to be informed by our friend Tate of your - indisposition, and that you are still, by your own accts. a - cripple. Dr. Darwin, a very eminent physician of this town, is - very much disposed to gout, and he told me while he continued - in the use of wine he was affected with it. He left it off, - and drank nothing but ale and small beer. Still he had fits of - it, but much weakened. He then disused ale, drank nothing but - small beer, still he had a little gout about him. He has for - some time past drank nothing but water, and now he has no gout - at all. If this practice does not coincide with your opinion, - I know your good sense will excuse me taking the liberty of - mentioning to you, as your well-being is the sole motive. - - “To Dan^l Daulby, Esq^r - “Liverpool.” - - - “Derby, Oct 5^{th} 1786. - “DEAR SIR, - - “Mr. Smith gives this discription, which I have just received, - of the parts of your little picture:--‘The view is on the - shore of Posilipo in particular. The houses nearest in - view form part of the village of Mare Chiare, a place much - frequented by the lower class of people in Naples to spend - the summer evenings. They generally go by water, and are - regaled with hard eggs & good Falernian wine (the usual repast - brought from the neighbourhood of Pozzouli). The other house - or palazzo on the Hill in the distance is called the pallace - of 9 windows, but is inhabited only by servants. When you see - my good friend Turner make my best regards to him, and say - how much I am obliged to him & his friend M^r Whiatt for his - accurate account of Shakespear’s scenes. I am, dear sir, with - much regards, - - “Yours, - “J. WRIGHT. - “To Danl. Daulby, Esqre.” - - - “Derby, Sep 4^{th} 1787. - “DEAR SIR, - - “How welcome are the good tidings of returning health to my - dear Tate, which you have so kindly communicated to me. May - heaven speedily restore him to his former health & vigour. No - disease more compleatly debilitates the frame than a nervous - or putrid fever; and, if I have observed right, there is none, - considering the state the body is reduced to, from which it - is sooner reinstated. His premeditated attack upon the cold - roast beef was, I think, a very favourable presage of the - above observation. I sincerely hope he made an excellent - repast, and feels the good effect of it. Make my love to him - with every good wish for his felicity, in which this family - most cordially joins with me, and hope to have the pleasure - of seeing him here when convenient to him. I am going for - ten days (if it agrees with me) to Matlock. The Baths served - me some time ago, but from a particular circumstance, being - obliged to ride four & twenty miles the day I left, which so - fatigued me, my complaints returned upon me, nor can I wear - them off. - - “’Tis now almost four months since I touched a pencil. Have no - particular complaint but general debility, which has reduced - me to so torpid a state I feel no inclination to pursue my art. - - “I am, Dear Sir, - “Your most obedient serv^t - “JOS^H WRIGHT. - “M^r Jn^o Leigh Philips, - “Manchester.” - - - “5 May, 1789. - “MY DEAR SIR, - - “I did not intend fixing a price upon my pictures in the - Exhibition till I got to Town, but having just received a - letter from M^{r.} Heath to know if the picture of the ‘Dead - Soldier’ was disengaged, and what value I set upon it, it - becomes necessary at once to fix the prices of those you - enquire after, and to have your answer by return of post, as - I must answer M^{r.} Heath’s letter. The picture of the ‘Dead - Soldier,’ framed, 100g^{s.} ‘Boy and Girl with a Bladder,’ - 50g^{s.} ‘Girl with a Charcoal Stick,’ 40g^{s.} - - “I am very happy it was in my power to afford you and your - friends rational entertainment while with me. The felicity was - mutual, believe me; and that I am very sincerely yours, - - “JOS^H WRIGHT. - “St. Ellens, - “5 May, 1789. - - “My best compliments attend the ‘Triumvirate,’ in which - M^{rs.} Wright begs to join.” - - - “Derby, Dec. 4, 1789. - “MY DEAR SIR, - - “Pray how is my friend Tate? He has given of late but a bad - account of himself; is obliged to live with great uniform - temperance, and deny himself that conviviality he is so well - calculated for. I wrote to him some little time ago, part of - which letter I make no doubt but you are acquainted with, - as it was my wish you should. You see I have enough of the - Devil in me to wish to retaliate upon the misguided Alderman - (Boydell), who I hear loses ground very fast, and will shortly - have none to work for him but his half-starved creatures. - - “I am engaged at present and shall be for some time with - portraits, so that my historical pictures are, I fear, very - distant. However, I do not lose sight of them, and as the - hour’s exercise I daily take on horseback seems to contribute - much to my health, I hope to be a tiptop by and by to attack - ’em. - - “However light my friend Smith made of the gout when you was - with him, it has proved a serious affair to him, subjecting - him to much pain and a long disuse of his pencil. Pity it is a - man’s industry should prove an evil to him, and his laudable - endeavours to provide for his tender offspring frustrate its - own intention. Adieu, my good friend, and believe me yours - very sincerely, - - “JOS^H WRIGHT.” - - - “St. Ellens, 24 June, 1791. - “MY DEAR SIR, - - “Yesterday I received a letter from the Sec^y of the Spring - Gardens Exhibition to know the price I had fixed upon the - picture of “Antigonus,” a gentleman having applied for it, and - desired him to write to me. Mr. Barrow, the Sec^y told him - the conditions which I meant to part with the large pictures, - namely, that they should be engraved from, by capital artists - (which was not strictly what I meant). To this he had no - objection, and assured him if he purchased the picture it - should be engraved by M^{r.} Middiman, or some artist of equal - reputation. It should seem from hence the person who is about - the picture buys it with an intent to have a plate made from - it, which will preclude my having it done by Heath, though - from what you said to me last on that head, there are little - grounds for hope of that ever taking place. Pray do you know - the character of Mr. Middiman as an engraver? - - “I should not have troubled my friend with this business (tho’ - I am at all times and all occasions happy to have his advice) - had not my friend Tate, when last here, asked the price of the - ‘Storm’ for your Brother, M^{r.} H. Philips, at which time - I did not give him a decisive answer. Therefore I think it - incumbent on me, before I treat with the Gentleman, to inform - you the price is 100g^{s.} and shall be glad of your answer by - return of post if convenient. - - “The extremely cold weather immediately succeeding very hot, - has diseased me very much. I have had for some time past a - nervous fever hanging about me, and am now much disturbed - with an inflammation on my liver. Art stands still. Adieu, my - good friend, and believe me, with much respect, - - “Yours very sincerely, - “JOS^H WRIGHT.” - - - “Derby, Sep. 24^{th} 1792. - “MY DEAR PHILIPS, - - “This morning I have sent off by Shawcross a case addressed to - you, containing the book of drawings after Mic. Angelo, and - a slight sketch of a wild scene which I painted some years - ago. I looked it up the other day, and if you think it worth a - place in your collection, please accept it with my esteem. - - “The picture of the ‘Ponte Salerno’ is in such a state I shall - not be able to finish it at present. I retouched the sky some - time ago & some other parts of the picture, & the colours are - changed in a most abominable manner. One never can depend upon - fresh colours laid on old. I hope the little picture I have - sent you will not share the same fate. I have finished the - ‘Storm’ except the figure of Antigonus. Your Brother Frank - seemed to like it much; indeed those who have seen it give it - the preference to the other. I have brought ye ship nearer, - which heightens the distress of the scene; and being much - larger, the masts go above the horizon, and make a ballance to - the other side of the picture. - - “I am going to begin a cottage on fire for a Gentleman at - Bristol. He has offered me 50g^{s.} to finish it highly. I - have also finished Tate’s ‘Moonlight,’ which is much admired. - I think I shall send it with the ‘Storm,’ not by way of - receiving the cash--for that I forbid--but to give you taste - and pleasure, for I flatter myself it will. Perhaps if he has - no place to hang it, you would give it house room till wanted. - - “When I have thought a little more about manufacturing - pictures, and have digested a plan for such business, I shall - like it much, if I can get a sale for them. I have got two - or three on the stocks. The one is finished, the other far - advanced. The finished one is on a pannel, which I had by me, - but the smooth surface is not calculated for expedition. The - subject is ‘The Lake of Albano,’ sunset. Being done from one - pallet, there is great unity and harmony in the colouring. - When you have received the case, pray give me a line, for I - shall wish to know Mic. Angelo is safe in your possession. - Adieu, my good friend. Give my respects to M^{rs.} Philips and - all my friends, in which comp^{l.} Romana wishes to unite. - - “I am, very sincerely yours, - “J. W. - “To J. L. Philips.” - - - “Nov. 29^{th} 1792. - “MY DEAR SIR, - - “To have read such flattering accounts of my picture from all - hands is highly satisfactory to me, and none more so than - the last. With respect to the payment, as you are so kind to - take my cash into your hands, I wish you would place it with - the rest, and in a few posts I will remit between 5 & £600 - to be added to the other sums. I thank you for your friendly - advice about the ‘Indian Widow,’ and tell our friend Tate, - who I suppose will communicate it to M^{r.} McNiven, that in - consideration of a little of his assistance to lay out my - property to advantage, I will deduct 10g^{s.} I sent it off by - Shawcross last Monday, and hope it will be safe in Manchester - ere this gets to hand. I have remembered the outline of - ‘Vesuvius’ for friend Tate, which I should think may be - enveloped in smoke, but no fire should appear, indeed the hot - Lava does not show itself by daylight. - - “I am glad to hear plates are in readiness for Mic. Angelo. I - fear I shall never do my part; my hand is too unsteady now for - lines. Adieu, my good friend. Romana wishes to join in best - remembrances to you & M^{rs.} Philips & your family, to our - dear friend Tate, Mr. Moreland, &c. - - “Dear Sir, - “Your much obliged friend, - “JOS^H WRIGHT. - “Derby, Nov. 29th 1792.” - - “Pray what is your opinion of the Stocks at this time? I have - a little property in, and have some thoughts of selling out. - I bought in about 76. The little picture on pannel is too - square; the right measure of ye frame at the end should cover - ⅛^{th} in., and ye top and bottom ½″, which will bring the - picture into better proportion.” - -The Plates for Mic. Angelo here alluded to evidently refer to the -reproduction on copper of some of Wright’s sketches from the “Sistine -Chapel,” for we find Wright sending the sketches to Philips on Sep. -24th, 1792. There is in existence an impression from copper of one -of them, partly in aquatint, but whether from the hand of Wright or -Philips it is now impossible to say. - - “Derby, 31^{st} Dec., /92. - “MY DEAR SIR, - - “Enclosed I send you Mess^{rs.} Crompton’s Draught on - Mess^{rs.} Ayton, Brassey, Lees, & Co., their Bankers, Lombard - Street, for £460, payable in fourteen days, which you will - be kind enough to acknowledge the receipt of as soon as you - can make it convenient. What you said in your last respecting - money matters makes an apology on this account unnecessary. - Nevertheless, I must say I feel the obligation very sensibly; - and now let me thank you for a Barrel of excellent oisters. - Your Brother H. spent part of a day with us. I was in a - working humour, so I did not let his visit stop the progress - of my pencil. He sat by me, and seemed pleased with the rapid - advance of my picture, for it was one of my playthings, or - sketches that I was engaged with, which, with six others, - I intend to send you next week for yours and my friends’ - inspection. ‘A Morning Effect of the Lake of Albano’ is a - companion to Wilson’s ‘Evening Effect,’ for my dear friend - Tate. I wish it may be found a meet one. I have just prepared - a canvas the size of Tate’s ‘Moonlight,’ for an evening - effect on another view on the River Tay at Dunkeld, which, - if care and study will accomplish it, I intend it to be the - best picture I ever painted. I know not how it is, tho’ I am - engaged in portraits and made a complete dead colour of a half - length yesterday, I find myself continually stealing off and - getting to Landscapes. - - “JOS^H WRIGHT.” - - - “Derby, 17^{th} January, 1793. - “MY DEAR FRIEND, - - “I am glad to find, by my friend Tate, the box of Sketches are - got safe to hand, and that you approve of them. They ought, - as my friend may see by the direction, to have been delivered - almost a week ago. I can’t help doing too much to them as - sketches, and if any other person than yourself was to have - the culling of them, I should certainly charge something more - for those that were selected. You are then indebted to me for - three 30g^s, and if Tate cannot get more for the remaining - four, they must go at that price. I am sorry your Brother Hy. - did not fix the price for ‘Antigonus,’ as he knew all the - circumstances. He was certainly the proper person to have - done it, but since it is left to me, I must observe, I have - no claim upon him for more than 100g^s, as I offered him the - other picture for that sum; but in justice to myself I must - say it deserves more, considering the pains I took with it, - and the charges of the frame, &c., amounting to near £13; but - whether he chooses to give me the advanced price, £12Og^{s.}, - must be at his option. - - “Very Sincerely, - “JOS^H WRIGHT. - - “I am sorry I cannot fulfil my engagement with M^{r.} - Moreland. M^{r.} Gisborne does not think himself at liberty to - divulge Smith’s mode of washing with water-colours. - - “To M^{r.} J. L. Philips.” - - - “Feby. 26, 1793. - “MY DEAR SIR, - - “M^{r.} W^{m.} Hardman called last night. I showed him the - pictures by candle-light, but I don’t think he could see them - well. They did not seem to reach his feelings, except a small - one of an effect of fire, seen through a dark group of trees, - with a large piece of water reflecting the objects about it. - Had he not in his possession the cottage, I believe he would - have purchased it. ’Tis a new subject, and rather a favourite - with me. If there should be an exhibition this year, - independent of ye Royal Academy, I perhaps may show it to the - public, as also the companion to the ‘Moonlight,’ in my friend - Tate’s hands, which, now being near finished, and if I flatter - not myself, will be a tolerable picture. ’Tis full of air, and - has depth, two necessary requisites for a Landscape. - - “I have a great inclination to send you this fire piece to - look at. I think it would give you pleasure. If Manchester was - nearer I certainly would. - - “How goes Mic. Angelo on? Can you give me _proof_ of your - abilities yet? - - “I often wish I lived with you, that my productions might - receive the benefit of your strictures ere they go out into - the world, & myself enjoy your friendly conversation; but my - lot is cast otherwise. Adieu, my dear friend, and whether near - or distant, believe me ever yours, - - “JOS^H WRIGHT. - “J. L. Philips.” - - - “King Street, Feby. 19, 1794. - “MY DEAR SIR, - - “The day after you left us I set to work upon the picture of - ‘Vesuvius,’ to remove the stiffness of the line of Lava made - across it (and which always dissatisfied me), by bringing - the trees more over it; but it would not do, for what proved - beneficial to the one was injurious to the other, by bringing - the groupe of trees & rock much in a line. I have therefore - illuminated the ground, over which the Lava is about to pass, - very strongly, set fire to the plants & raised a fresh smoke, - which here & there passes across the lava, & effectually - does the business. I have also increased the quantity & - brilliancy of the smoke which arises from the upper surface of - the lava, so that the centre of the picture is more lighted - up, & the general effect much improved. I have added the - forked lightning, which ever attends the dark smoke, & which - increases the horror of the subject without disturbing the - effect; and on Tuesday I intended putting in ye figures & the - finishing touches to your picture, when, alas! I was suddenly - seized with the sore throat & fever, a common complaint here. - My lungs (a weak part) have suffered much. I have a very bad - cough; my frame is much debilitated; the fever is abated. - Thank you for your attention (which is ever awake to serve - your friends) to ye exhibition business. As they have _long - ago thrown me on their shelf_, I do not feel inclined to sue - for protection, but perhaps when my nerves are more settled I - may see it in another light. - - “Yours most sincerely, - “J. W.” - - - “Your picture of ‘Vesuvius,’ and one at Dunkeld, would have - been at Manchester before now, had not the frames of the - pictures which I exhibited been materially damaged at the - Academy. M^{r.} Milbourne has orders to put them into good - condition, & send them to you when done. - - “Derby, June 29, 1794.” - - - “Derby, Dec. 27, 1794. - “MY DEAR SIR, - - “Your relation (Mr. N. Philips), to whom I some time ago sold - the picture of the ‘City of Florence,’ called upon me last - week, & engaged the picture with the ‘Rainbow,’ the ‘Cottage - on Fire,’ & the small ‘Sea Storm,’ which I find he intends - sending to America. I am sorry the two first leave the Kingdom. - - “He seems anxious that I should paint him the ‘Siege of - Toulon,’ for which he will not exceed 100^{gs.} The scenery - must be very complicated, & so many objects & incidents cannot - be painted for that sum. I sometime ago refused a like sum for - any sized picture I would paint of the ‘Siege of Gibraltar.’ - - “Did you not give me some hopes of seeing drawings by an - officer of the engagement at Toulon, or have I dreamt it? Pray - inform me soon, as I must satisfy Mr. Philips. - - “JO^S WRIGHT.” - - - “Your letter has poured balsam into my wound. I have heard - nothing but humiliating observations on my pictures, which - have tended much to the inactivity of my pencil for some time - past. What a mere machine am I become, depressed and rendered - useless by a little censure, & put into motion again by a - little flattery. I really believe my enemies might easily - persuade me I have no pretensions to paint. What a thing have - these weak nerves made of me.” - - - “Feby., 1795. - “TO J. L. PHILIPS, - - “I am sorry to learn from my friend Tate that he does - not acquit himself in the pictures of the Lakes to his - expectation. He is acquainted with my principles, such as - they are. I wonder he does not with more certainty avail - himself of them; but they are different subjects, and I have - sometime seen effects in ye country repugnant to common-sense - principles, and which I could by no means account for. I have - a picture in hand of the sort of Keswick Lake. - - “Did you pick up much painting knowledge in your late visit to - the Captain’s, or only the quackery of the art? Would I had as - much strength as the Captain, I flatter myself I would carry - the art a great way.” - - - “30 March, 1795. - “MY DEAR SIR, - - “I am sorry to find Heath still procrastinates. He was to have - begun on the ‘Dead Soldier’ in good earnest last Midsummer. - Another is approaching fast, & nothing more done to it. I - despair seeing it finished, & many of the subscribers to - my portion of the prints are dead. Well, patience, as the - Italians say, & you have as much need of it as I. - - “The very severe winter we have had has almost demolished me. - Just after Xmas I paid a visit to my friend Gisborne. It was a - young trick of me to sally forth at that time of the year, but - he tempted me with sending his carriage; and wrapping myself - up in Flannels, I thought myself invulnerable. Unfortunately - for me it proved otherwise. I have been dreadfully ill - ever since. I am now wounded at so many points. I despair - of ever being well again. I have had Darwin’s advice, and - about a fortnight ago he ordered me to have a hot bath - every night, from 94 to 96 degrees of heat, in which I stay - half-an-hour. It has certainly braced me, & removed some - disagreeable sensations, but I am still too much oppressed - to think of handling the pencil, & what is worse I feel not - ye least inclination to paint. I am glad to hear my friend - Tate succeeds so well in water colors. I dare say when the - application of them is well understood, it is pleasant work. - Make my best regards to him, to Mr. Philips, and to all my - friends, and believe me with much esteem yours most truly, - - “JOS^H WRIGHT.” - - - “May 29 /95. - - “I wish for my own sake--as well as for your feelings--for I - know you participate in the good or ill which attends your - friends that I could give a better account of myself. I have - now been five months without exercising my pencil, and without - a hope that I shall again resume it. I seem to have outlived - my art, a reflection, tho’ in no way favourable to the - restoration of my health, will continually obtrude itself upon - me. - - “I am glad to hear my good friend has laid hold of his brushes - again. Paper and camel hair pencils are better adapted to the - amusement of ladies than the pursuit of an artist. Give my - love to him, & tell him he should not avail himself of my long - silence, the effect only of ill-health. I wish to hear from - him. - - “I understand by your relation y^t you have built a steam - house, which is productive beyond credit, & that you are - over-run with cucumbers. If this is really the case, pray let - 2 or 3 run over to Derby. Am not I very impudent?” - - - “Derby Oct 2^{nd} 1795. - “MY DEAR SIR, - - “I take up my pen with much pleasure to communicate to my dear - friends at Manchester, ‘who participate in my welfare,’ that - a few days ago, after a truce to my pencil for ten _dreadful - months_, I felt the dawn of inclination to resume it, and on - Friday last made, with trembling hands, some feeble efforts. - Disuse and the loss of much strength has made the employment - rather vexatious, but facility will come in proportion to my - practice. - - “I thought I should never have had it in my power to finish - the pictures your relative engaged, but they are now within a - few hours of being compleated. - - “The picture of the little elegant bit of scenery at Rydall, - which my friend Holland mentioned to you, is not near being - finished. The water indeed is further advanced than ye rest of - ye picture, for I was keen to produce an effect which I had - never seen in painting of shewing the pebbles at the bottom - of the water with the broken reflections on its surface. - But I have not succeeded to my wish, & Holland, who sees - all my works thro’ the most partial medium, has colored his - description too highly. So highly finished is that little bit - of nature that to do it justice it should be painted upon ye - spot. - - “Your account of the Isle of Man makes me wish to see it. - We often see fine shaped rocks than fine coloured ones; the - patches of different colours are not large and distinct enough - to have effect at a distance. The different hues are produced - by small mosses rather than by original colours in the stones. - - “JOS^H WRIGHT.” - - - “Derby, Dec 18^{th} 1795. - “MY DEAR SIR, - - “I am at all times very happy to hear from you, and if at any - time there is the appearance of omission, the multiplicity of - your avocations make your apology. - - “I have had too many substantial proofs of your attention to - my interest to doubt ye sincerity of your friendship to me. I - should be highly to blame, without cause, to deprive myself of - so inestimable a blessing. - - “I have put the last touches to your little finished bit of - scenery of ‘Rydal Waterfall,’ which you have commissioned me - to send you, which I will do as soon as it is dry enough to - pack safely; but, that you may not take it upon the character - of my friends, who, as I said before are partial and sanguine, - you shall, if it meets not with your entire approbation, have - the power of returning it. Your feelings upon the occasion may - be different to theirs, and I would not have you buy a pig in - a poke. It is a very intricate subject, and I never wished - myself out of a wood so much in my life. - - “I shall continue to work a little almost every day, & if - the spasms upon my lungs keep off I hope to gain strength. I - cannot describe the pleasure I feel upon resuming the pencil - when I am tolerably well. - - “JOS^H WRIGHT.” - - “I have sent off to Nottingham your kinsman’s pictures, where - they are to remain sometime ’ere they are to be sent to - America.” - - - “Derby, 11 Apl., 1796. - - “Ill-luck ever attends my pursuits. A few days after you left - me, I was again visited with an asthmatic fit, which was in a - day or two succeeded by a second, whereby I was so debilitated - I could not employ my pencil at all for many days, & have not - since found my exertions equal to the great picture; have - therefore given up all thoughts of exhibiting it this year at - least, whatever I may be induced another, but, from abuses I - have received from the Academy, I never feel very anxious to - get among them. They are in general an illiberal set of men, & - the less one has to do with ’em the better. - - “JO^S WRIGHT.” - -Wright painted two pictures for Alderman Boydell’s Shakspeare Gallery, -viz:--“Prospero in his cell, showing a visionary spectacle to Ferdinand -& Miranda,” for which he received 300 guineas; and “The Storm in the -‘Winter’s Tale,’” for which 140 guineas was paid. - -Wright addressed the following letter to the Alderman respecting the -former picture:-- - - “Derby, 12^{th} March, 1789. - “SIR, - - “I should have sent you the dimensions of the picture by - return of post, but it was till to-day so folded up it could - not be measured with any accuracy. The exact size is 12ft. 0¼ - in. by 8ft. 6in., to hang horizontally. It will be necessary - to have a good straining frame, with the inner edge well - rounded off, for if left square it always makes a mark in the - picture. The reason I mention a fresh straining or wedging - frame is, the one the picture is on has been cut in so many - places to accommodate it to my painting-room; it is too weak - to use again but for the purpose of painting on, if I should - again have occasion for so large a one. - - “The picture is now finished, unless a fresh eye discover - anything in a few days to be corrected. I most heartily unite - with you in wishing I may make a conspicuous figure in your - exhibition. - - “The picture by the time you will want it, will, I hope, be - dry enough to roll upon a cylinder without damage, which I - think the safest way of sending it, for it is much too large - to go flat. - - “I am, Sir, - “Your very humble Serv^{t.} - JOSEPH WRIGHT. - - “Mr. Alderman Boydell, - “Cheapside, - “London.” - -Before Wright painted the Bear in the “Storm,” he wrote to Gilpin for -his opinion, who sent him some sketches of Bears (one of which was -introduced in the picture), with the following letter:--[45] - - “Knightsbridge, Wednesday. - “DEAR SIR, - - “I send you the enclosed sketch as soon as possible, that - I may have time to make a more finished one if it does not - answer your purpose. If it does not, please let me know by - return of post, and I will go a Bear hunting to the Tower, - or somewhere or other, and sketch one from nature, if - possible.... I think with you, that the pursuit is better than - the horrid act of tearing. - - “Your sincere Friend and Servant, - “S. GILPIN.” - -Hayley, in his life of Romney, thus alludes to Wright and his -engagement to paint for Boydell’s Shakspeare Gallery:--“Nov. 4^{th} -1786. Mr. Josiah Boydell entertained the little party of friends to -the projected Gallery whom he has named in his preface to Shakspeare. -I wrote nothing in its favour except a brief sketch, and a letter -to engage my friend Wright, of Derby, to paint for the Gallery. My -application to Wright was made at the earnest desire of the Alderman.” - -It appears that when the time for payment came, Wright was dissatisfied -with what Boydell offered to him for his picture of “Ferdinand and -Miranda.” Whether Hayley, the poet, who appears to have been the -go-between for the painter & Boydell, placed the matter before Wright -in such a light that Boydell did not afterwards approve of, it is now -impossible to say. Wright, however, wrote the following letter, which -drew forth a characteristic reply from Boydell, who adopts the usual -plan of “abusing the plaintiff.” - - “Derby, July 26^{th} 1789. - “TO ALDERMAN BOYDELL. - - “SIR, - - “I understood by my friend M^{r.} Hayley, that, forming a - Gallery of pictures from the works of Shakespeare was first - agitated in a private party, of which he was one; that the - artists were to be classed, ye first class to consist of Sir - Joshua, M^{r.} West, M^{r.} Romney, &c., and your humble - servant; that those in that class were to have 300g^{s.} a - picture, more or less, according to the size & work they - might have in them; and that he was extremely happy to find - the artists had entered upon this most laudable work with a - spirit & liberality that reflected the highest honour upon - them, resolving to sacrifice interest to fame. On these - grounds I began and finished my picture upon the largest size - then proposed. In the course of executing my picture, which, - through ill-health, was much protracted, I learnt from good - authority that ye original plan was quite deserted, that you - bought pictures of any size (and which were not designed for - the Gallery), and that the artists painted their subjects on - such sized canvasses as they thought proper, and made the best - terms they could with you. This, I have reason to believe, is - the case, from what I saw and heard when in Town last. Upon - your asking me when in the Gallery (together) what I expected - for my picture, I told you that, being very remote from the - scene of business, I was unacquainted with the prices you had - given; that I should leave myself to you, not doubting but - you would pay me as you had ye rest, upon which, pointing to - one of M^{r.} Northcote’s pictures, you answered, We give him - 25Og^{s.} And, pray, said I, what do you give to M^{r.} West - for his? Oh, replied you, was I to pay all ye artists as I - have done M^{r.} West, I might soon shut up the Gallery. I - felt much mortified at this unworthy treatment, for such I - cannot but think it, and left you. - - “Now, Sir, I knew at the time, and have been confirmed in it - since, that you gave Sir Joshua 5OOg^s for his small picture, - and a very considerable fee besides; also, that you gave - M^{r.} West 5OOg^s for his picture, and yet you were paving - the way to offer me a much less sum. Is not my picture as - large as M^{r.} West’s? Has it not equal, nay, more, work - in it? Is it not as highly finished? And has not the public - spoken as well of it? Then why should you attempt to make a - difference in our price? Till you can give me a satisfactory - reason why I should take less, I shall certainly expect the - same. Had the work been carried on by the artists, with that - generous and laudable spirit which my friend Hayley held out - to me, I would have scorned to have been behind the most - liberal of them; but for me alone to adhere to the first plan - would be the highest folly, as I should thereby not only lose - the pecuniary advantage, but endanger my reputation, a point - which I consider as of far greater moment. - - “I mentioned the circumstances to some of my friends in Town, - & to others since my return into the country, and they all - agree that I have strong reasons to complain of your treatment. - - “I am, Sir, - “Your Obedient - “JOS^H WRIGHT. - - “P.S.--I heard also when in Town from very respectable Artists - that you had agreed to give M^{r.} Copley 1000g^s for his - picture. If so, your conduct in this business is most strange.” - - - “Cheapside, Aug. 3 /89. - “SIR, - - “I sit down to answer the most extraordinary Letter I ever yet - received, wherein you inform me of a great many circumstances - that I never heard of concerning the conduct of a work that I - thought I was somewhat acquainted with. - - “You begin your letter by telling me that you understood that - I had classed the Painters according to their rank, and you - gave me a list of the first class, in which you place your - own name. Now, Sir, I never presumed to class the Painters. I - leave that to the public, to whose opinion and judgment I bow - with great reverence & respect. - - “At the same time I am free to confess that had I ever - presumed to have classed the historical painters of this - country, perhaps M^{r.} Wright’s name would not have stood - exactly where he has been pleased to place it himself. - - “In the line of landscape, I confess it would have been a - different consideration. - - “I find it would be too tedious to go through all the - ridiculous assertions that your very extraordinary Letter - contains. I shall therefore leave you to enjoy your notions, - however unfounded, and proceed immediately to business. I - never offered you any specific price for your picture. You - asked me what I had given for pictures of that size. I told - you the prices. You knew that 300 guineas was the utmost - stipulated sum, and, in one word, Sir, I will not give you any - more. - - “And this I offer, not so much for the merits of the picture, - as that you nor no man may have reason to complain of my - want of liberality. You are, indeed, the first that ever has - complained on this subject, with what justice I leave the - world to judge. When I look at the merits of the picture, it - deserves no such sum; for however excellent the landscape part - of it may be, the figures are very faulty, and so much out of - drawing, that it will give no little trouble to correct it for - the engravers. - - “As to whatever prices I have given, or may hereafter give - to any artist, in this or any other undertaking, I shall - certainly not consult Mr. Wright, and his attempting to dictate - to me on this subject is perfectly ridiculous. - - “I am, Sir, - “Your humble Servant, - “JOHN BOYDELL. - “Copy, J. R. Harrison.” - -Notwithstanding the Alderman’s disparaging remarks, Wright painted two -other Shaksperian subjects, viz.: “The Tomb Scene in Romeo & Juliet,” -and another of the “Storm,” with Antigonus pursued by a bear. The -former he never sold; the latter was purchased by Mr. Henry Philips. - -Reference to these two pictures will be found in the following -correspondence:-- - - “Derby, June 17^{th} 1790. - “MY DEAR FRIEND, - - “I cannot stomach the application you wish me to make to him, - to come forward in my defence. Nor if I could, do I think it - would be of any use. Long, who, our friend Tate knows, is his - most intimate friend, & whose judgment he holds in the first - rank, is intimately connected with the proprietors of the - work. Therefore, there is but little room to hope he would do - anything to serve me, that would in any wise injure a work - they themselves were the first planners of. - - “I am extremely obliged to you for the very flattering account - you have sent me. Things seem to work to our wishes, & the - Alderman’s conduct will, I hope, soon be completely dissected. - I much wonder that Vasari has not appeared again ere now. - Perhaps he is intimidated. There appeared an odd paragraph in - one of ye papers a few posts ago: ‘The Prince of Pick-pockets - has given instructions to his attorney to prosecute a printer - for a libel on his character.’ As yet nothing has appeared - that will come under that denomination, _I hope_. - - “I would most willingly write to M^{r.} Heath respecting - plates being made from the two pictures, but I hardly know - what to propose to him; & if, on account of the Picture of - ‘Romeo & Juliet,’ which has been so much decry’d, he should - have objections, it might embarrass him to decline it to - me. You have had so much trouble on my account, I really am - sorry to ask you to write a short letter to sound him in the - business; but he would be more explicit to you than me. - - “J. WRIGHT.” - - - “MY DEAR FRIEND, - - “The two pictures I exhibited last year in the R. Academy of - ‘Romeo & Juliet’ and Antigonus in the ‘Storm,’ were certainly - painted too dark, sad emblems of my then gloomy mind. I - have simplified the back ground of the former, enlarged the - parts, and thrown more light into the Tomb, so that Julia is - bright without being a spot; & the picture of the ‘Storm,’ I - have near gone over the whole; rendering the parts clear & - distinct, without weakening the character of Gloominess, and, - if a man may be allowed to judge & speak of his own works, - they are much improved indeed. I wish Heath was to see ’em - now. I think he would like them, & perhaps indulge us with - plates from them. I have a strange wish to see them well - engraved as they are, though unworthy of adding to Boydell’s - collection. I intended to have exhibited them at the Lyceum, - but they[46] have quarrelled amongst themselves and don’t - make one. Do you think Macklin would hang them in his room - a month or two, for I wish to have them better seen by the - publick than they have been. I communicate this to you to - judge of, because I well know you regard both my interests - & honour. I have heard nothing from Macklin respecting my - painting for him. Tom Tate some time ago told me that Rogers, - of Liverpool, who is concerned in the work, asked him if he - thought, upon proper application being made, I would undertake - any subjects, for it was much their wishes that I should be - concerned. Macklin used me querely in his first scheme, & his - application, if he does not wish to engage me, will now come - with an ill grace. - - “JO^S WRIGHT. - “St. Ellens, - “14^{th} Feby., /91.” - - - - - CHAPTER IX. - - DEATH OF MRS. WRIGHT.--REMOVES TO QUEEN STREET, - DERBY.--WRIGHT’S LAST ILLNESS AND DEATH.--MR. J. LEIGH PHILIPS - ON THE CHARACTER OF WRIGHT.--SALE OF WRIGHT’S PICTURES IN - LONDON AND DERBY.--LETTERS FROM J. HOLLAND AND REV. THOS. - GISBORNE. - - -On August 19^{th} 1790, Mrs. Wright died of consumption, aged 41. This -loss inflicted a crushing domestic blow to her husband, whose health -now began seriously to fail, and from his MS. Book we are enabled by -the following receipt to fix the time when Wright left St. Helen’s -house (which was soon after pulled down), and by the name of the owner -of the property, Mr. Bainbrigge, we are enabled to identify the house -in which Wright resided down to the time of his death. The receipt is -as follows:-- - -“May 1, 1793. Settled with M^r Wright for half a year’s rent (Twenty -pounds) due Lady Day last. - - “THOMAS BAINBRIGGE, Jun.” - -The house is No. 26, in Queen Street, and is the first house in the -Parish of St. Alkmund--St. Michael’s being the adjoining parish. The -Family Vault was in St. Michael’s Church, but we find the Painter’s -family are interred in the church of the parish in which they lived. -His niece, Miss Wright, says:--“He removed to a house in Queen -Street, near to St. Alkmund’s Ch.; there the windows all looked into -the street, or upon buildings at the back part. The gardens being -beyond them, it was a dull prospect for him.” The house was roomy and -substantial, with a large garden, which in Wright’s time would be open -to the Cherry Orchard, now Orchard Street. The premises now open into -Chapel Street. This house afterwards became the post office, until the -year 1840, and is now in the occupation of Mr. Allen. - -The buildings appear to be in much the same state now as they were -at that time. Some outbuildings obstruct the view of the garden, an -archway giving the only glimpse of what was then open country, and -this peep was obtained by looking through a very pretty wrought iron -gate, no doubt from the hammer and anvil of Bakewell, who has left many -examples of his art and skill in the town and neighbourhood. A drawing -of the gate is here given, as it is worthy of preservation. - -During the latter part of 1795 he became too ill to use his pencil, and -when his first grandchild was born in 1796, he talked of introducing -her in an unfinished portrait of her mother, in the place of a music -book, but the picture was left unaltered, as were the portraits of his -brother and his wife. He was so pleased with his brother’s portrait at -the first sitting, that he said “he should be afraid of touching it -again, lest the likeness should not be so good,” and so it remained. - - [Illustration: GARDEN ENTRANCE TO HOUSE IN QUEEN STREET, DERBY.] - -In the month of May, 1797, he took to his bed; about this time his nose -bled to such a degree as to prevent his lying down, and from the feeble -state he was in, he had not strength to hold up his head for long -together. A broad ribbon was therefore tied to each side of the head -of the bed, upon which he rested his chin, and this simple contrivance -afforded him great relief. His sufferings, from a complication of -diseases, were very great, and he gradually became weaker. His daughter -Harriet attended him night and day during this his last illness, and on -the afternoon of the 29th of August, 1797, he expressed his pleasure -at having those around him he had always loved. About two hours before -he died, his friend, Mr. Tate, of Liverpool, having come to Derby, was -anxious to see him, and was admitted. Wright seemed pleased to see his -old friend, though he could scarcely articulate, but he drew with his -fingers upon the sheet, as if expressive of the pleasure they formerly -enjoyed together in following that pursuit. He was buried on September -1st, 1797, in St. Alkmund’s Church, and the following inscription was -placed on a tablet[47] erected to his memory:-- - - IN THE MIDDLE ISLE, OPPOSITE TO THIS PILLAR, ARE DEPOSITED THE - - REMAINS OF JOSEPH WRIGHT, ESQ., - - PAINTER. - - HE DIED AUGUST 29TH, 1797, IN THE 63RD YEAR OF HIS AGE. - - His well earn’d Merit in his Works is shown, - Where Taste and Genius mark him for their own. - - [Illustration: MONUMENT IN ST. ALKMUND’S CHURCH, DERBY.] - -On an old paper, on which was written the above couplet, there was also -the following lines:-- - - His age & Death alone are here expressed, - All friends to Taste and Genius know the rest. - -Mr. Jno. Leigh Philips, who wrote an account[48] of Wright shortly -after his death, thus writes of him:-- - -“In his person he was rather above the middle size, and when young was -esteemed a very handsome man; his company was then much courted on -account of his pleasing vivacity and convivial habits; his eyes were -prominent and very expressive; in his manners he was mild, unassuming, -modest to an extreme, generous and full of sensibility, with the -perfect carriage of a gentleman; honourable and punctual in all his -transactions, he entertained the most utter contempt for everything -like meanness or illiberality; and his good heart felt but too -poignantly for the misconduct of others. - -“I may truly observe of him that he stedfastly acted on the principle -of always continuing to learn; from conversation, from examining -pictures, and, above all, from the study of nature, he was constantly -endeavouring to advance in the knowledge of his art; and to this -habit, as wise as it was modest, of considering himself through life -as a learner, no small share of his excellence may be ascribed. This -disposition was naturally attended with a candid readiness to adopt, -from the practice of other artists, new modes of proceeding, when they -appeared to him rational, and to make trial in studies on a small scale -of such as seemed in a tolerable degree promising. - -“We shall conclude our account of Mr. Wright, in his private capacity -as a man, with observing that he repeatedly evinced much liberality, -by giving valuable pictures to individuals among his private friends, -or to persons to whom he thought himself obliged. In various instances -these gifts were _manifestly_ disinterested; and they were always -conferred in a very pleasing manner, which declined rather than sought -the expression of gratitude. - -“In addition to the character which he merits for the executive part -of his art, it is pleasing to record, that in his works the attention -is ever directed to the cause of virtue: that his early historical -pictures consist of subjects either of rational or moral improvement, -and he has succeeded admirably in arresting the gentler feelings of -humanity, for what eye or heart ever remained unmoved at the sight -of ‘Maria,’ Sterne’s ‘Captive,’ or the ‘Dead Soldier.’ In his works -‘not one immoral, one corrupted thought’ occurs to wound the eye of -delicacy, or induce a wish that so exquisite a pencil had not found -employment on more worthy subjects. His pictures may be considered as -the reflexion of his own delicate mind, and will be ranked by posterity -as treasures worthy the imitation of succeeding generations.” - -The following letter from Mr. Philips to Dr. Wright is of interest:-- - - “Manchester, Nov. 18, 1797. - “DEAR SIR, - - “You will receive herewith a dozen copies of my account of - your late worthy Brother, which I have got printed more - carefully than was the case in the magazine, in which several - errors had escaped correction. Some few still remain as they - were printed in London, & I had no proof-sheet sent down. I - will thank you to present a copy to Mr. Holland when you have - an opportunity, with my respectful compliments. I have only - to lament my inability to do justice to the character of my - much-valued friend, as it requires abilities much beyond my - scope to point out the beauties of his works, which go far - beyond every modern effort of art, & I do not expect to live - to see them equalled. - - “Believe me, with great truth, - “Dear Sir, - “Your faithful, hble. servt, - “J. LEIGH PHILIPS. - - “P.S.--My friend Tate brought me a mourning ring, for which - accept my grateful thanks.” - - - “Derby, Irongate, 27 Nov., 1797. - “TO MR. PHILIPS. - - “DEAR SIR, - - “I was honored with the parcel last Monday containing the - copies of Memoirs of my late Bro^{’s} Life. I return you my - most grateful thanks for them, and think myself much obliged - for the very great attention you have shewn in publishing - the History of my Brother’s Life, wherein you have exhibited - with great judgment and accuracy everything needful to adorn - his character and abilities. The errors you have corrected in - the Magazine are considerable, and make the production more - valuable. - - “RICH^D WRIGHT.” - -Prefixed to this notice of Wright, by Mr. Philips, was an engraved -portrait of the artist by Blake. - - [Illustration: JOSEPH WRIGHT. _Etched by himself._] - -Amongst the effects of the late Mr. Geo. Cumberland, who was an -intimate friend of Blake’s, was found an etching, evidently the one -that served Blake as his copy, on which is written, “Wright, of Derby; -etched by himself.” This is the only instance known of Wright having -used the etching point. - -I am indebted to Mr. Wm. Edkins, not only for this information, but for -the unique etching itself, which is here reproduced. - -The following is a copy of the catalogue of the drawings and paintings -finished and unfinished that were sold by Christie, on May 6th, 1801, -with the prices realized and the names of the purchasers. This, with -the copy of Wright’s MS. book, to be found in the appendix, will form a -very complete list of his principal works:-- - - [Illustration: Catalogue] - - - A - Catalogue - OF - THE GENUINE COLLECTION - OF - PICTURES, - BEING - A Selection of the most Capital Performances of that esteemed Artist, - _Mr. Joseph Wright, of Derby_, - DECEASED: - - COMPRISING - A VIEW of ULLSWATER, several others in and near Rome, Naples, &c. - _The Old Man and Death_; _The Widow of an Indian Chief_; - AND - A CAPITAL VIEW OF AN ERUPTION OF VESUVIUS, - Besides many other interesting Subjects. - - - Which will be Sold by Auction, - BY MR. CHRISTIE, - AT HIS ROOM, - (N^o. 118, _late the Royal Academy_) _in Pall Mall_, - On WEDNESDAY, MAY the 6th, 1801, - AT TWELVE o’CLOCK. - - May be Viewed Two Days preceding the Sale, when Catalogues may be - had in Pall Mall. - - - - - [Illustration] - - A Catalogue, &c. - - WEDNESDAY, MAY the 6th, 1801. - - - _PICTURES._ - - £ s. d. - _Col. Denby._ 1 Ruins--small, unfinished, upright 10 6 - _Vernon._ 2 A View of the Lakes, Ditto 1 1 0 - _Jenings._ 3 Ditto 1 13 0 - _Borrow._ 4 A View with a Bridge, Ditto 2 3 0 - _in._ 5 A mountainous Landscape, Ditto 0 12 0 - _Rook._ 6 A Castle, by Moonlight, in dead - Colour 1 15 0 - _Marshall._ 7 A Fire in a Forest, by Moonlight 0 11 0 - in._ 8 A mountainous and woody Landscape, - Oval 2 2 0 - _Dorset._ 9 Ruins of a Roman Temple, by - Fire-light 1 9 0 - _Heath._ 10 A Boy with a Dog 0 15 0 - _Denby._ 11 A Landscape in the Stile of Artois 3 15 0 - _Maria Wright._ 12 A Hilly Landscape, with a slated Barn 7 0 0 - _Goulding._ 13 A small Mountainous Ditto 2 7 0 - _Vernon._ 14 A small pleasing View of a Harbour by - Moonlight, and an unfinished - Landscape the Companion 5 15 6 - _Jenings._ 15 A Lake Scene unfinished 5 10 0 - _Borrow._ 16 A warm mountainous Landscape, small - upright 5 5 0 - _Goulding._ 17 A View of Carnarvon Castle by Fire and - Moonlight, unfinished 5 15 6 - _Vernon._ 18 An Italian Landscape with Ruin 6 6 0 - _Rawlinson._ 19 A Landscape, a Rock Scene 6 0 0 - _Vernon._ 20 A View of the Ponte Nomentano, near - Rome, unfinished 3 0 0 - _Heath._ 21 The Dead Soldier, unfinished 5 0 0 - _H. Wright._ 22 A View of the Lake of Nemi, a warm - Evening Scene 12 12 0 - _Long._ 23 Lady and Beggar Boy, unfinished 1 7 0 - _Vernon._ 24 The Glass-House, a Sketch: the Fire - exceedingly well expressed 3 10 0 - _Shackman._ 25 A small View of an Eruption of Mount - Vesuvius by Moonlight 4 4 0 - _Brown._ 26 A Landscape unfinished 1 1 0 - _in._ 27 View of an Eruption of Mount Vesuvius - by Moonlight, with a View of the Bay - of Naples 18 18 0 - _Tate, in._ 28 A Landscape, and Figures with a tilted - Cart; a View of Matlock High Tor - in the Distance--very rich and - glowing Effect 51 9 0 - _Borrow._ 29 Portrait of a Beggarman 6 0 0 - _Mr. Cade, in._ 30 A Landscape with a Monumental Ruin by - Moonlight 14 3 6 - _Tate._ 31 A Landscape, Sunset 10 10 0 - _Mr. Cade, in._ 32 A pleasing View of a Lake by - Moonlight 9 19 6 - _Goulding._ 33 An Italian, rocky Landscape and - Figures 10 10 0 - _Borrow._ 34 An Eruption of Vesuvius by Moonlight, - viewed through the Fog--singularly - fine Effect 16 16 0 - _Heath._ 35 A View on the Lakes in Westmoreland 16 16 0 - _Maria Wright,_ - _in._ 36 A Ditto 15 15 0 - _Rawlinson._ 37 Virgil’s Tomb--a pleasing, high - finished picture 17 6 6 - _Mr. Cade, in._ 38 A mountainous and woody Landscape, a - View in the Neighbourhood of - Matlock 20 9 6 - _Jennings._ 39 A small Italian Landscape, after - Wilson 21 10 6 - _Jo. Wright, in._ 40 A Boy and Girl with a Blown Bladder: - the Countenances full of lively - Expression, and the Whole - delicately and highly finished 40 19 0 - _Borrow._ 41 A Landscape viewed through a Cavern - by Moonlight 26 5 0 - _Sters._ 42 A View of Ulleswater Lake and - Skiddaw 21 0 0 - _Vernon._ 43 An upright View in the Convent of the - Latomie at Syracuse 16 5 6 - _H. Wright._ 44 A Rocky Landscape, with a River by - Moonlight 47 5 0 - _Smith, M.P._ 45 A Mountainous Landscape in the - Neighbourhood of the Lakes 9 19 6 - _Tate, in._ 46 A Landscape with a Rainbow, View near - Chesterfield in Derbyshire 59 17 0 - _Borrow._ 47 The Cascade of Terni, near Tivoli 40 19 0 - _Poole & Tate._ 48 A Pair of elegant Views of the Lake - of Albano, with the Castel - Gandolfo, and the companion the - Lake of Nemi 63 0 0 - _in._ 49 Sterne’s Maria, an elegant Figure - delicately painted 38 17 0 - _Borrow._ 50 A Landscape, View of the Lake of - Albano, a beautiful warm Scene 53 11 0 - _in._ 51 Romeo and Juliet in the Sepulchre, a - spirited Composition; the Interest - considerably heightened by the - Shadow of Figures approaching the - Tomb, capital 47 5 0 - _Tate._ 52 View of a Cottage in Needwood Forest 63 0 0 - _in._ 53 William and Margaret, from the - popular Ballad, capital 39 18 0 - _Borrow._ 54 The Colosseo at Rome with Figures, a - highly finished View of this grand - and interesting Monument of - Antiquity 74 11 0 - _Borrow._ 55 A View of Ditto by Moonlight, with a - Figure of a Friar at his evening - Devotion to the Virgin 85 1 0 - _in._ 56 A philosopher in his Study by - Lamplight--a highly finished and - brilliant coloured Picture 19 19 0 - _Carr for 57 A large and romantic View of the Head - Arkwright._ of Ullswater Lake from Lyson’s - Tower in Graystoc Park, the Seat of - the Duke of Norfolk 315 0 0 - _in._ 58 The Allegory of the Old Man and - Death in a picturesque Landscape, - a River Scene with Gothic Ruins--a - very correct Knowledge of Anatomy - is displayed in the Figure of Death; - the Alarm of the old Peasant is - finely expressed, and the Lights are - throughout the Picture uncommonly - brilliant 51 9 0 - _in._ 59 Lusignan in prison--The interior - finely illumined, capital 60 18 0 - _Smith for 60 A small Prison Scene, with a single - Wakefield._ Figure 31 10 0 - _Borrow._ 61 A Ditto 17 17 0 - _in._ 62 The Alchymist in his Elaboratory with - Assistants. This admirable - Performance presents a happy Display - of the Artist’s Talents. The Effect - of Light issuing from the Sand-heat, - and reflected from the Retort and - surrounding Implements is contrived - with surprising Effect, amounting - to perfect Illusion--truly capital 80 17 0 - _Borrow._ 63 The Hermit, companion to the preceding, - capital 70 17 0 - _Borrow._ 64 THE INDIAN WIDOW. This elegant - painting is replete with poetical - Beauties: the Contest of the Day is - over, but the War is still waged - among the Elements, and a Volcano - on the Right adds to the Turbulence - of the Scene. The Apathy of - excessive Grief is conspicuous in - the distressed Female, who is thus - admirably contrasted with the - agitated Objects of the Back - Ground 73 10 0 - _in._ 65 A grand ERUPTION of VESUVIUS, seen - across the Bay by Moonlight-- - This magnificent Scene so often - attempted by the Pencils of various - Masters, has surely, never been - expressed with more Grandeur than in - this Effort of Mr. Wright--the Effect - is awful beyond Description--Earth, - Air and Water appear as but one - Element. It is thus that real Genius - can manage Nature at its Will; and the - Artist who transfers her to the Canvas - with so much Truth, kindles a Light, - which will ever be reflected with - Lustre upon his own Name 304 10 0 - ----------- - £2075 3 0 - - F I N I S. - - J. Smeeton, Printer, 148, St. Martin’s Lane. - -Mr. J. Holland, of Ford Hall, one of Wright’s executors, attended the -sale at Christie’s, and on his return wrote the following quaint letter -to Dr. Wright, the artist’s brother:-- - - “Ford, Aug^t 11^{th} 1801. - “DEAR SIR, - - “On the 14^{th} July & at 4 o’clock in the morning, M^{rs.} - Holland and myself passed through Derby on our return from - full ten weeks busling in noisy London. While the chaise was - preparing at Derby, I could not forbear viewing the outside - of your habitation, and wishing that the hour had been more - seasonable that I might have seen how you all would have - admired the Country Squire returned, and that you in your turn - might have had an opportunity to have discovered the vast - improvements I had made in Town manners, &c., &c. I had also - with me your Brother’s drawings from Michael Angelo, which I - wanted much to have left with you. They are, however, very - safe here. I was not able to forward the disposal of them, - tho’ I showed them to several artists, who commended them - very highly. They were all of opinion that they should have - been sold with the pictures. Do you remember Dr. Bates, who - many years ago lived in your Town, and removed from thence - to Aylesbury. Having been a long time in Rome, he knew the - subjects perfectly, and thought them very fine studies. I want - much to come to Derby, but cannot say when at present. I have - very fine impressions both of Sir Richd. Arkwright and the - ‘Tempest,’ which I trust to convey to those they are intended - for in due time. I can say with my whole heart, that there was - not a landscape in the Exhibition that could be compared to - what used to be the production of your Brother’s pencil. But - this I thought ill-manners to advance in London. The artists, - indeed, I must say, whom I conversed with, were by no means - niggardly in their commendations of M^{r.} Wright’s works. - There were at the Exhibition some fine coloured drawings, - particularly by Turner, who appears to be a very rising - genius. Sir W. Beechy, Hopner, & Lawrence seem all three - pretty near an equality. I shall leave all my rare anecdotes - till I meet the worthy circle, and then you shall be told the - wonders & no wonders that occurred to the Derbyshire man’s - visit to London after 33 years’ absence. My kind regards and - wishes to you and yours, and also at Spondon. The accounts, - &c., shall come, when the bearer will be yours sincerely, - - “J. HOLLAND.” - -It will be noticed that the pictures were nearly all bought by private -persons, and not by dealers; also that several pictures were “bought -in” at the sale at Christie’s in 1801, which were afterwards sold in -Derby, in 1810, at considerably enhanced prices. The following is a -copy of the catalogue, the original being in the Mayer Collection:-- - - NOTE.--I am greatly indebted to Mr. Mayer, of - Liverpool, for kindly allowing me the use of his collection of - letters relating to Wright. - - - - - [Illustration: catalogue] - - CATALOGUE OF - THE GENUINE COLLECTION OF - _PICTURES_, - - Being a Selection of the most CAPITAL PERFORMANCES, - of that esteemed Artist, - - Mr. JOSEPH WRIGHT, of DERBY, _deceased_. - - _COMPRISING_ - - The Alchymist;--The Old Man and Death;--A Philosopher - in his Study, by lamp-light;--and - - _A capital View of an Eruption of Vesuvius_: - - Besides several other interesting Subjects; - - _Which will be Sold by Auction_, - BY MR. SHAW, - AT THE TOWN HALL, IN DERBY, - _On THURSDAY the 11th day of October, 1810_, - (The Sale to commence immediately after the Morning’s Musical - Performance.)[49] - - May be viewed at the Town Hall, from Monday the 8th October, until - twelve - o’clock on Thursday the 11th of October. Admission, One Shilling, - to be given to the Infirmary. - - - Conditions of Sale. - -_The highest bidder to be the purchaser; should any dispute arise, the -lot to be put up again._ - -_The purchaser to pay immediately the auction duty, in addition to the -purchase money. The Pictures to be at the purchaser’s risk immediately -on the fall of the hammer, and taken away at his expence._ - -_Lastly.--In case of any purchasers neglecting to fulfil their -conditions, the lots to be resold, and the deficiency upon such resale -(should any arise,) and all expences thereon, to be borne and paid by -the defaulter of the present sale._ - - - THURSDAY 11th OCTOBER, 1810. - - PICTURES. - - PRICES SOLD - FOR - PURCHASERS. - £ s. d. _Lots._ - - -- 1 A Hilly Landscape, with a slated Barn; 1 foot - 8 by 1 foot 4 inches. Unsold. - - 23 2 0 2 View of an Eruption of Mount Vesuvius by Mr. Snowden, - Moon-light, with a view of the Bay of Spondon. - Naples; 2 feet 7 by 2 feet 1 inch. - - 43 1 0 3 A Philosopher in his Study by Lamp-light, Mr. Tate, - a highly finished and brilliant coloured Liverpool. - Picture; 4 feet 2 by 3 feet 4 inches, - (upright.) - - 105 0 0 4 Lusignan in Prison; the interior finely Mr. Chappell, - illumined; _capital_; 4 feet 2 by 3 Arnold. - feet 4 inches. - - 84 0 0 5 The Allegory of the Old Man and Death, in Sir R. Wilmot, - a picturesque Landscape; a River scene Chaddesden. - with Gothic Ruins.--A very correct - knowledge of Anatomy is displayed in the - Figure of Death; the Alarm of the old - Peasant is finely expressed, and the - Lights throughout the Picture are - uncommonly brilliant; 4 feet 2 by 3 feet - 4 inches. - - 105 0 0 6 William and Margaret, from the popular Miss Wright, - Ballad; _capital_; 4 feet 9 by 4 feet Spondon. - 1 inch. - - - -- 7 Romeo and Juliet in the Sepulchre, a Unsold. - spirited Composition; the interest - considerably heightened by the shadows - of Figures approaching the Tomb; _capital_; - 7 feet 11 by 5 feet 11 inches. - - 210 0 0 8 The Alchymist in his Elaboratory with Col. Wilson, - Assistance.--This admirable performance Wooton - presents a happy display of the Artist’s Lodge. - talents; the effect of Light issuing from - the sand heat, and reflected from the retort - and surrounding implements, is contrived with - surprising effect, amounting to perfect - illusion; _truly capital_, 4 feet 2 by 3 feet - 4 inches; (upright.) - - -- 9 A grand Eruption of Vesuvius, seen across the Unsold. - Bay of Naples, by Moon-light.--This - magnificent scene so often attempted by the - pencils of various Masters, has surely never - been expressed with more grandeur than in - this Effort of Mr. Wright.--The effect is - awful beyond description; Earth, Air and - Water appear as but one Element. It is thus - that real genius can manage Nature at its - will; and the Artist who transfers her to the - canvas with so much truth, kindles a light, - which will ever be reflected with lustre upon - his own Name; 5 feet 11 by 4 feet 1 inch. - - 15 15 0 10 Portrait of a Lady, (unclaimed.) Mr. Bateman, - Foston. - - 3 3 0 11 Ditto of a Gentleman, (unclaimed.) Mr. Sewell, - Leicester. - - _N. B. These Paintings have not been copied._ - -Catalogues may be had of Mr. Shaw, Mr. Mosley, and at the principal -Inns in Derby. - - (_J. Drewry, Printer, Derby._) - - - “Matlock Old Bath, Sep. 3^{rd} 1797. - - “TO MR. WRIGHT, SURGEON, IRONGATE, DERBY. - - “SIR, - - “On passing through Derby, on Thursday last, I was on the - point of sending a servant to your brother’s, for the purpose - of making enquiries concerning him (meaning to go afterwards - myself, if his health admitted), when I heard with much - concern of his death. I feel sincere regret for a friend whom - I had long known and valued highly. Mrs. Gisborne & myself, on - our return through Derby yesterday, would have been glad to - send our enquiries to Mr. Wright’s, but I was doubtful whether - it might not then be premature to do so. I will therefore - trouble you to express, at a proper opportunity, to Mrs. Cade - & the rest of the family, our concern for their loss, and our - sincere wishes for their health. - - “I am, Sir, - “Your faithful & obedient servant, - “THOS. GISBORNE.” - - -With these notices of the death of Wright, and the subsequent sale of -his pictures, my task is ended. - -As the materials at my command have enabled me, I have striven to -present a faithful record of his artistic and private life. As -an artist, his genius was recognised in his own day; and it is -satisfactory to know that his industrious pencil provided an ample -income, and enabled him to realise a very sufficient competence for the -years when age and infirmity grew upon him. But there were drawbacks -to his attainment of greater fame and honours. He was a man of great -sensitiveness, and of strong domestic feelings and habits. His retiring -disposition, and the depressing maladies from which he suffered during -many years of his life, indisposed him both mentally and physically -for a residence in London, where an active life would have opened -out to him more extended patronage and consequent advancement in his -profession. As a man, the perusal of much private correspondence in -addition to that here published, has led me to form a high estimate of -his character. Loving in his family relationships, he was a faithful -and generous friend, and of large sympathies. - -His private life reflects as great honour on his name, as do his works -on his artistic repute. The latter his own hand has imperishably handed -down to us, and his memory may well be cherished as one who has shed -undying lustre on his native town. - - - F I N I S. - - - - - APPENDIX. - - -The following interesting Memoranda are taken from Wright’s MS. Book:-- - - “Bessy Fritch, at the Green Dragon, a pretty little girl of - the delicate kind.” - - “Nancy Nudal, in the Full Street, a pretty little girl.” - - “Nancy Mellers, upon the Nun’s Green, against Haslam’s, a - pretty middle-sized girl.” - - “Jno. Fletcher, of Osmaston, an old bald-headed man.” - - It is very probable that Fletcher sat to Wright for the six - studies of an old man’s head which he painted, five of which - were exhibited in the Derby Art Gallery in 1883. - - “Paid for Lottery Ticket, No. 26,815, £13 19. 0, half of which - is for More, £6 19. 6--due to More on this account, £1. 0. 6. - The Lottery Ticket came up a prize of £20, for which I got - £19. 14. 0, half of which is More’s, £9. 17. 0.” - - “Paid for lottery ticket, No. 36,123. £15. 1. 0., half of - which is for More, £7. 10. 6.” - - - SUBJECTS FOR NIGHT PIECES. - - “A BLACKSMITH’S SHOP.--Two men forming a bar of iron - into a horse shoe, from whence the light must proceed. An - idle fellow may stand by the anvil in a time-killing posture, - his hands in his bosom, or yawning with his hands stretched - upwards, a little twisting of the body. Horse shoes hanging - upon ye walls, and other necessary things faintly seen, being - remote from the light. - - “Out of this room shall be seen another, in which a ffarrier - may be shoeing a horse by the light of a candle. The horse - must be sadled, and a traveller standing by. The servant - may appear with hys horse in his hand, on wh. may be a - portmanteau. This will be an indication of an accident having - happen’d, and shew some reason for shoeing the horse by - candle-light. The moon may appear, and illumine some part of - the horses, if necessary.” - - The size of a Kit-cat frame is 3ft. ¼″ × 2ft. 4″ - „ a ¾ is 2ft. 6″ × 2ft. 1″ - „ an half-length is 4ft. 2″ × 3ft. 4″ - - For a small whole length the frame should be cut 10 inches - from ye bottom. - - A full-length straining frame, 7ft. 10″ × 4ft. 10″ - A large full-length 8ft. -- × 5ft. -- - -From the same MS. book we learn that on one occasion Wright cleaned and -restored several paintings for Lord Harrington. The account runs thus:-- - - FOR LORD HARRINGTON. - - Went to Elvaston three times, one of wh. was there a whole - day-- - - Cleaning a full-length picture 2. 2. 0 - A new straining frame hung to the picture of King - Charles 2. 6 - Lining, cleaning, & repairing several damaged parts 1. 10. 0 - Cleaning & repairing 2 Landskips 12. 0 - Cleaning four small pictures, retouching them 10. 0 - Cleaning do. two pictures of Venus & Cupid 1. 10. 0 - Cleaning & retouching an historical picture of Paul - Veronese. 10. 0 - Four Large Historical Pictures clean’d, repaired & - varnish 2. 2. 0 - -Other interesting items are:-- - - Chairman 2/6 - Shoe buckles 10d. - Paid for letter 10½d. - „ 7½d. - „ 4½d. - -The following prices, etc., are copied from a priced catalogue of the -sale of the effects of John Leigh Philips, Esq., sold at Manchester in -October, 1814, and are useful in identifying sketches, etc., not named -in the List of Pictures:-- - - 41 Wright, of Derby.--Four studies, taken on the spot in £1 10 0 - Italy - - 42 „ Three: A study for the figure in - the picture of the Dead Ass, a - fragment in Indian ink, and a - (_Mr. Meynell._) ditto of Walls, in colours fine £2 7 0 - - 44 „ Six drawings from Antiques, made on - the spot, in outline pen £3 13 6 - - 45 „ Two: A Ruin and a Landscape, with - figures in Indian ink £2 0 0 - - 46 „ Three: Interior of a Cabin, Hero & - Leander, & Dog £1 1 0 - - 47 „ Two: Vesuvius and the Interior of a - Church £1 2 0 - - 48 „ Two: View of a Ruin in Rome, Indian - ink, and a ditto in colours; - capital £3 0 0 - - 49 „ Four: Three Studies by Wright, and - a Landscape with figures by - Wilson £3 10 0 - - 50 „ Two Cavern Scenes on the Shores of - Italy. Fine and highly-finished - drawings made on the spot, and - are the originals from which the - two celebrated pictures in the - collection of the late Wm. - (_Mr. Hardman._) Hardman, Esq., were painted £10 10 0 - - 51 „ One: Portrait of himself, in a - fancy dress; capital £4 4 0 - Wright’s Drawings, £32 17 6. - - - OIL PAINTINGS. - - 13 Wright, of Derby.--A Landscape with a Waterfall. A - spirited representation of a - (_Leeming._) stormy effect £26 15 6 - - 18 „ The Lake of Albano. Spirited - sketch £18 18 0 - - 19 „ The Old Peasant Bewailing the - (_Bateman._) Death of his Ass. From Sterne £34 13 0 - - 21 „ A Cavern Scene, upright £16 5 6 - - 25 „ Neptune’s Grotto, near Tivoli. A - very highly-finished and beautiful - picture of a favourite scene from - (_Mr. E. Flack._) nature £24 3 0 - - 26 „ An Eruption of Vesuvius, destroying - the vineyards. Presumed by Mr. - Wright to be the best picture he - (_H. & A. Wright._) painted of the subject £63 0 0 - - 27 „ The Lighthouse on Fire. A beautiful - and carefully-finished picture, - full of harmonious effect of the - (_Mr. Pares._) union of the moon and fire-light £36 15 0 - - 28 „ A View of the Bay of Naples, from - Pausilipo, with Vesuvius in the - distance. Comp. to last lot, of a - sweet sunny effect, and highly - (_Ablet._) finished £45 3 0 - - 29 „ Rocks and Trees. A very spirited and - (_H. & A. Wright._) clever study £30 9 0 - - 30 „ A Cavern Scene, with a Bridge. - Painted with all that close - delineation of the effects of - nature, for which this master is - (_H. & A. Wright._) so justly celebrated £42 0 0 - - 31 „ The Bridge and Waterfall at Rydal, in - Westmoreland. A charming scene - represented with great success. The - stones seen at the bottom of the - water give an effect to the picture - (_H. Wright_) at once curious and natural £48 6 0 - - 33 „ The Dead Soldier. This acknowledged - _chef-d’œuvre_ of this admired - master, uniting great knowledge of - grouping, excellent drawing, and - correct colouring, with a fine - feeling of sentiment, decidedly - proves the assertion of Mr. Fuzeli, - in his Biographical Notice of Mr. - Wright, that “he once eminently - (_Gould._) succeeded in the pathetic” £315 0 0 - - - Memd., 15th Sep., 1787.--Remains to be paid to me by Mr. - John Milnes, on account of the picture of Gibraltar, two - hundred guineas, and by right he ought to pay the Int. of that - money from the time he has withheld the commission from me - to replace two other pictures in the room of the two he has - of Vesuvius & the Girandolo, agreeable to his own letters. - He also owes me twenty pounds for my journey to Wakefield, - according to his own agreement. - - J. WRIGHT. - - - LIST OF PORTRAITS. - - - SITTERS AT NEWARK. - - Mr. Hall. - Mrs. Hall. - Miss Hall. - Mrs. Sikes. - Mrs. Gosbal. - Mrs. Rasdale. - Mr. Rasdale. - Mr. W. Rasdale. - Mrs. W. Rasdale. - Old Mrs. Rasdale. - Mr. Stow. - Mrs. Stow. - Mr. St. Stow. - Mrs. Hanway. - Miss Pockleton. - Mr. R. Pockleton. - Mr. J. Pockleton. - Ld. Robt. Sutton. - Mr. Darwin. - Miss Darwin. - - - SITTERS AT LINCOLN (1760). - - Miss Craycroft. - Miss Molly Craycroft. - Miss Chadwick. - Miss Peart. - Miss Molly Peart. - Miss Nancy Peart. - Miss Nelly Peart. - Mr. Wills. - Miss Bromhead. - Miss Monk. - Mr. Monk. - Mrs. Monk. - Governor Thompson. - Master Wilson. - Miss Wilson. - Mrs. Nevil. - Miss Nevil. - Miss Drewry. - Master Drewry. - - - SITTERS AT BOSTON. - - Captain Blunt. - Miss Hurst. - Mr. Thompson. - Mrs. Thompson. - Mr. Fydell. - Mrs. Fydell. - Mr. Lynton. - Mr. Willby. - Miss Ayre. - Mr. Ishmay. - - - SITTERS AT RETFORD (1760). - - Lynn Simpson, Esq. - Mrs. Simpson. - Miss Simpson. - Mr. Mason. - Mrs. Mason. - Mrs. G. Mason. - Capt. Kirk. - Mrs. Sutton. - Mrs. Absonor. - Mr. Judson. - Mr. Sutton. - Miss Inwood. - - - SITTERS AT DONCASTER (1760). - - Mr. Pigott. - Mrs. Pigott. - Mr. Brooks. - - - SITTERS AT THORN (1760). - - Mr. Ellison. - Mrs. Ellison. - Mr. & Mrs. Ellison. - Mr. Foster. - Mrs. Foster. - - - SITTERS AT ECKINGTON (1760). - - Mrs. Carver. - Miss Carver. - Miss B. Carver. - Mr. Carver. - Mr. Peachall. - - - SITTERS FROM FEB. 1, 1760. - - £ s. d. - Mr. & Mrs. Nowell, 3 qrs. 12 12 0 - Miss Clarke, 3 qrs. 6 6 0 - Master Simeon Harvey Wilmot 6 6 0 - Copy of Mrs. Lumb, sml 3 qrs. 2 2 0 - Mrs. Monk, ½ length 12 12 0 - Mr. Judson, 3 qrs. 6 6 0 - Mr. Sutton, kit-cat 7 7 0 - Mr. Pigott, ½ length 12 12 0 - 2 Master Rastall’s 16 16 0 - Mrs. Pigott, ½ length 12 12 0 - Mr. Brooks, ½ length 12 12 0 - Mr. Ellison, ½ length 12 12 0 - Mrs. Ellison, ½ length 12 12 0 - Master & Miss Ellison 6 6 0 - Mr. Foster, 3 qrs. 6 6 0 - Mrs. Foster, 3 qrs. 6 6 0 - Miss Inwood 6 6 0 - Mrs. Carver, ½ length } { 12 12 0 - Miss Carver, ½ length } For Dr. Griffith { 12 12 0 - Miss B. Carver, ½ length } { 12 12 0 - Mr. Carver, ½ length } { 12 12 0 - Mr. Peachall, 3 qrs. 6 6 0 - Master & Miss Drewry 14 14 0 - Miss Fenton, 3 qrs. 6 6 0 - Mrs. Chase, 3 qrs. 6 6 0 - Mr. C. Hope, 3 qrs. 6 6 0 - Mr. Nowel, ½ length 12 12 0 - Mrs. Fowler, 3 qrs. 6 6 0 - Mr. Bainbrigge, ½ length 12 12 0 - Mrs. Bainbrigge ditto 12 12 0 - Mrs. C. Hope, kit-cat 9 9 0 - Captn. Lushington, ½ length 12 12 0 - Mr. Chase, 3 qrs. 6 6 0 - Mrs. Heath, k. c. 9 9 0 - Mrs. Tead, k. c. 9 9 0 - Mr. Wilde, 3 qrs. 6 6 0 - Mrs. Wilde, 3 qrs. 6 6 0 - Mr. Wm. Chase & Mrs. Chase, a conversation 25 4 0 - Mr. Pickering, 3 qrs. 6 6 0 - Mr. Rolleston, ½ l. 12 12 0 - Copy of Needham 5 5 0 - A 3 qrs. of old Borao for Mr. Beresford 6 6 0 - Mr. Stenton, 3 qrs. 6 6 0 - Mrs. Stenton, 3 qrs. 6 6 0 - Mr. Tipson, 3 qrs. 6 6 0 - Mrs. Tipson, 3 qrs. 6 6 0 - Mrs. Lindigton, 3 qrs. 6 6 0 - Mr. Dixon, 3 qrs. 6 6 0 - Mrs. Dixon, 3 qrs. 6 6 0 - Copy of Mr. Millers 2 2 0 - Miss Swan, 3 qrs. 6 6 0 - Mr. Mundy, ½ length 12 12 0 - Family picture of Mr., Mrs., & Miss Shuttleworth 42 0 0 - Mr. Peckham, ½ length 12 12 0 - Mr. Heath, ½ l. 12 12 0 - Miss Warren, whole length 16 16 0 - Mr. Borrow, half l. 12 12 0 - Mrs. Borrow, half l. 12 12 0 - Mr. Gwin, half l. 12 12 0 - Mrs. Wilmot, ½ l. 12 12 0 - Mr. Bingham, 3 qrs. 6 6 0 - Mrs. Bennet, 3 qrs. 6 6 0 - Mr. Leacroft, ½ l. 12 12 0 - Mr. Barrow, ½ l. 12 12 0 - Mr. Burdett 12 12 0 - Mr. Boothby 6 6 0 - Mr. Beresford 6 6 0 - Mr. Gurney 6 6 0 - Full length of Master Fallows 16 16 0 - For painting a draper to a whole length picture - for Lord Vernon 10 10 0 - - - SITTERS AT MACCLESFIELD. - - £ s. d. - Mr. Stafford, Miss Stafford 10 10 0 - - - SITTERS AT DERBY. - - £ s. d. - Miss Bateman 3 3 0 - Mr. Bainbrigge 6 6 0 - Mrs. Bainbrigge 6 6 0 - Master Wilmot 3 3 0 - Miss Wilmot 3 3 0 - Master C. Wilmot 3 3 0 - Master R. Wilmot 3 3 0 - Master S. Wilmot 3 3 0 - Master Harvey Wilmot 3 3 0 - Mr. Fisher 6 6 0 - Miss Wollot 6 6 0 - Mr. Baker 6 6 0 - Mrs. Harpur 6 6 0 - Mr. Melland 6 6 0 - Master Mundy 6 6 0 - Miss Mundy 6 6 0 - Mr. Leacroft 6 6 0 - Mr. Balguy 6 6 0 - Mrs. Balguy 6 6 0 - Miss Crompton 6 6 0 - Mr. Copestake 6 6 0 - Miss Copestake 6 6 0 - Miss Taylor 6 6 0 - Miss F. Taylor 6 6 0 - Parson Allen 6 6 0 - Miss Clarke 6 6 0 - Mr. Nowel 6 6 0 - Mrs. Nowell 6 6 0 - E. Sales 2 2 0 - Miss Dalby 6 6 0 - Master Curzon 3 3 0 - Miss Curzon 3 3 0 - Master Penn Curzon 4 4 0 - Master P. Curzon 4 4 0 - Mr. A. Curzon 6 6 0 - Miss Hanmer 6 6 0 - Mrs. Hanmer 6 6 0 - Copy of Mr. Hamner 6 6 0 - The Parrot 3 3 0 - Master Challener 8 8 0 - Miss Challener 8 8 0 - Mrs. Degg 6 6 0 - Mr. Lyggon 6 6 0 - Mrs. Lyggon 6 6 0 - Master Lyggon 6 6 0 - Miss Lyggon 6 6 0 - Copy of Lady Curzon 6 6 0 - 2 of Sir Nat Curzon 12 12 0 - Capt. Bailey 6 6 0 - Capt. Heathcote 6 6 0 - Mr. Low 3 3 0 - Mr. Wright 6 6 0 - Mrs. Wright 6 6 0 - Capt. Sherring 6 6 0 - Miss Storer 4 4 0 - Copy of Mr. Lumb 2 2 0 - Miss Cockin 6 6 0 - Old Mr. Fox 3 3 0 - Mr. Nowell 12 12 0 - Miss Fenton 6 6 0 - Mrs. Chase 6 6 0 - Mr. C. Hope 9 9 0 - Mr. Bainbrigge 12 12 0 - Mrs. Bainbrigge 12 12 0 - Miss F. Broad 6 6 0 - Capt. Lushington 12 12 0 - Mrs. Hope 9 9 0 - Mr. Chase 6 6 0 - Mrs. Heath 9 9 0 - Mr. Tead 9 9 0 - Mr. Wilde 6 6 0 - Mrs. Wilde 6 6 0 - Mr. Chase 12 12 0 - Mrs. Chase 12 12 0 - Mr. Pickering 6 6 0 - Mrs. Ligdinton 6 6 0 - Mr. Dixon 6 6 0 - Mrs. Dixon 6 6 0 - Miss Swan 6 6 0 - Mr. Mundy 12 12 0 - Mr. Shuttleworth 12 12 0 - Mrs. Shuttleworth 12 12 0 - Miss Shuttleworth 12 12 0 - - - SITTERS AT LIVERPOOL, 1769. - - £ s. d. - Mr. Warfe 10 10 0 - Mr. Atherton 10 10 0 - Mr. & Mrs. Smythe 21 0 0 - Mr. & Mrs. Leigh 21 0 0 - Mrs. Hardman 10 10 0 - Two Miss Staffords 21 0 0 - Mr. & Mrs. Hisbeth 21 0 0 - Mrs. & Miss Parr 21 0 0 - Mr. & Mrs. Park 21 0 0 - Miss Leice 10 10 0 - Mr. & Miss Knight 42 0 0 - Master Ashton[50] 31 10 0 - Capt. & Mrs. Boyd 21 0 0 - Mr. Stannyforth 15 15 0 - Mr. & Mrs. Gore 21 0 0 - Mr. Chas. Coke 10 10 0 - Mr. Clarke 10 10 0 - Mr. Southward 10 10 0 - Copy of Mrs. Tarlton 8 8 0 - Mr. Stafford 10 10 0 - Mrs. B. Tatton 10 10 0 - Mrs. Lankford 10 10 0 - Mr. Sam Lankford 10 10 0 - Mr. Rowe 10 10 0 - Mr. Wm. Stafford 10 10 0 - - - SITTERS AT DERBY. - - £ s. d. - Mr. & Mrs. Gisborne 21 0 0 - Mr. & Mrs. Hurt 42 0 0 - Mr. Holding Shuttleworth 10 10 0 - Capt. French 10 10 0 - Miss Miller Mundy 10 10 0 - Mrs. Forrester 10 10 0 - Mr. Crompton 10 10 0 - Mrs. Crompton 10 10 0 - Mr. Bakewell 21 0 0 - Mr. & Mrs. Coltman--a conversation 63 0 0 - Mrs. Pole & Child 63 0 0 - Col. Pole 21 0 0 - Mr. Day, ½ length[51] 42 0 0 - Mr. Jno. Heath 21 0 0 - Capt. Bathurst 10 10 0 - Col. Heathcote--small full-length 31 10 0 - Capt. Milnes--small full-length 31 10 0 - Copy of Lady Rubens 12 12 0 - Copy of Mr. Boothby 12 12 0 - Copy of a Gentleman 6 6 0 - A 3 qrs. of Mr. Thos. Gisborne (1777) 12 12 0 - A small head of the Rev. Mr. Bakewell 9 9 0 - Ditto of Dr. Berridge 8 8 0 - A conversation piece of two of Mr. Pickford’s - children 63 0 0 - Master Charles Hope 8 8 0 - Miss Harriet Hope 8 8 0 - Miss Warren, small 10 10 0 - Mr. Latissiere 12 12 0 - Mrs. Berridge, small oval 8 8 0 - Capt. Coke of the Blues 12 12 0 - Parker Coke, Esq. - Mr. Sennet’s 3 children[52] 73 10 0 - A large head of Jno. Stovely 18 18 0 - A ¾ of Mrs. Hodges 12 12 0 - A ¾ of F. Brome, Esqre. 12 12 0 - Mr. Fletcher 12 12 0 - Mrs. Lander 12 12 0 - Old John at the King’s Head--Raffled for 12 12 0 - Dr. Harrison[52] 12 12 0 - A head of Mrs. Mortimer 12 12 0 - Mr. Ward 12 12 0 - A large picture of Mr. Boothby 50 8 0 - A small head of old Stovely 12 12 0 - A Conversation Picture of D. P. Coke. The Rev. - Mr. Dare Coke & his Lady 75 12 0 - A Kit-cat of old John Stovely for Mr. Holland 18 18 0 - Mrs. More 12 12 0 - Two Master Mundys, full-lengths 73 10 0 - Mr. Whitehurst, Kit-cat[53] 18 18 0 - Mr. Seward 12 12 0 - Miss Seward 15 15 0 - Mr. Inge 12 12 0 - A ¾ Girl, with Doves 15 15 0 - A copy of Mr. Bentley, Kit-cat 21 0 0 - A copy of the late Mr. Parker, half-length 25 4 0 - A half-length of Robt. Holding, Esq. 25 4 0 - Copy of Mr. Crompton. 3 qrs., with a hand 14 14 0 - A half-length of Miss Parker 25 4 0 - A 3 qrs. of Mrs. Morewood, with a hand 15 15 0 - Copy of Mrs. Crompton 12 12 0 - Copy of ditto 12 12 0 - Copy of Mr. Crompton 14 14 0 - Half length copy of Mr. Wetham 25 4 0 - A small oval of ditto 8 8 0 - Small full-length of Mrs. Morewood 36 15 0 - Ditto of Mr. Case 36 15 0 - A small oval of Mr. Carleill 8 8 0 - Two 3 qrs. copies of Dr. Berridge’s grandfather - and uncle 25 4 0 - A small copy of Mrs. Morewood 15 15 0 - Two 3 qrs. pictures of Mr. & Mrs. Fox 21 4 0 - A head of Mr. Buxton 12 12 0 - A copy of the late Mr. Pickering with a hand for - Mr. Thos. Gisborne 15 15 0 - A 3 qrs. with a hand of Mr. Balguy 15 15 0 - Ditto ditto 15 15 0 - Miss Stamford 8 8 0 - Miss L. Stamford 8 8 0 - Mr. Hancock, 3 qrs. 12 12 0 - Master Carver 8 8 0 - Rev. Mr. Berridge 25 4 0 - Mr. Chas. Denby 12 12 0 - A conversation of Mr. Leaper’s children 84 0 0 - A half-length of Mr. Jones 25 4 0 - Mr. Rastall 15 15 0 - Mr. Arkwright, ½ length 26 0 0 - A full-length of Mrs. C. Hurt & her child 81 18 0 - A full-length of Mr. Gell 52 10 0 - A full-length of Lady Wilmot & her child “as a - Madonna” 78 18 0 - A conversation picture of Mr. & Mrs. Gisborne 100 16 0 - A small picture of Mr. Caldwell 8 8 0 - A half-length of Mr. Strutt 25 4 0 - A 3 qrs. of my nephew Rd. Wright - A 3 qrs. of Mr. Salmon for Mr. Flint 12 12 0 - A 3 qrs. of Mr. Salmon for Sir Brooke Boothby 12 12 0 - A head of Ld. Richard Cavendish 12 12 0 - A head of Master C. Sales 10 10 0 - Ditto of Mr. R. Sales 10 10 0 - A 3 qrs. of Mrs. S. Crompton 12 12 0 - Two full-lengths in one picture of Master - Thornhills 73 10 0 - A 3 qrs. picture of Mr. Pole 12 12 0 - A 3 qrs. „ of Mr. Ashby 12 12 0 - A copy of Col. Hackart 12 12 0 - A half-length of Mr. Abney 25 4 0 - Ditto of Mrs. Abney 25 4 0 - A conversation picture of 3 of their children - Half length of Mr. Pares 25 4 0 - Ditto copy of Mr. Pares 25 4 0 - 3 qrs. of Mr. Jos. Crompton - A conversation of 3 of Mr. Wood’s children 84 0 0 - 3 qrs. of Mr. Wood 12 12 0 - Ditto of Mrs. Wood 12 12 0 - Mr. Burnham 12 12 0 - Mrs. Burnham 12 12 0 - Mrs. Holland 12 12 0 - A half-length of Mr. Chadwick 25 4 0 - A full-length of Sir R. Arkwright 52 10 0 - A full-length of Mr. C. Hurt 52 10 0 - A 3 qrs. copy of Sir R. Arkwright 12 12 0 - A half-length of Mr. Strutt 25 4 0 - A copy of Rosseau 12 12 0 - A conversation of Mr. & Mrs. Arkwright & their - little girl, full-lengths 126 0 0 - ½ length of Mr. Milnes - A conversation picture of 3 of Mr. Arkwright’s - children 94 10 0 - Ditto ditto 94 10 0 - A 3 qrs. of Dr. Darwin, with a hand 15 15 0 - A full-length of the late Mr. Oldknow 52 10 0 - Ditto of Mr. Samuel Oldknow 52 10 0 - A half-length copy of Mr. Pares 25 4 0 - A head of the late Dr. Lynn Beridge 12 12 0 - A copy of Col. Hackart 12 12 0 - A head of Mr. Greatorex 12 12 0 - Mrs. Greatorex, 3 qrs. 12 12 0 - Mrs. Richard Bateman, with a hand 15 15 0 - A full-length of Miss Sally Duesbury 31 10 0 - A full-length of Master Bateman 31 10 0 - A copy of Mr. Pares, ½ length 25 4 0 - A 3 qrs. of Mrs. Bateman 16 16 0 - Hugh Bateman, Esqre., 3 qrs., with a hand 16 16 0 - Shevl. Pole, Esqre., 3 qrs., with a hand - Mrs. Pole, 3 qrs., with hands - Mrs. Briscoe, 3 qrs., with a hand - A copy of Dr. Darwin for Sir Brooke Boothby 15 15 0 - A copy ditto Mr. Strutt 15 15 0 - A full-length of Mr. Barker, of Bakewell 52 10 0 - A copy of Mr. Strutt, with a hand 15 15 0 - A 3 qrs. of Mr. Alderson 12 12 0 - A copy of ditto 12 12 0 - A full-length of Miss Bentley 31 10 0 - For painting Mr. Cheslyn’s drapery 12 12 0 - Two 3 qrs. pictures of Mr. and Mrs. Fox 21 4 0 - - - _Brooke Boothby Junr. Esqre. Dr. to Joseph Wright Sep. 30th 1780._ - - £ s. d. - A view of the High Tor at Matlock, by Moonlight, - 3 qrs. 31 10 0 - Frame 2 2 0 - A full-length of himself 50 8 0 - Another view of Matlock Tor 31 10 0 - Case for ditto 4/9 Frame for ditto 2 2 0 - Altering Miss Boothby’s picture, and retouching - two small ones on pannel 2 2 0 - Lady Whitmore’s 15 15 0 - - - LIST OF LANDSCAPE, HISTORICAL, FIRE & MOONLIGHT PAINTINGS. - - SUBJECT. PURCHASER. PRICE. - £ s. d. - Two views of Matlock 63 0 0 - Two grottos by the sea side in the gulf - of Salerno Mr. Hodges 105 0 0 - Vesuvius, for the Bp. Derry crossed - through 105 0 0 - A view of Cromford Bridge, its companion - of Arkwright’s mills D. P. Coke 52 10 0 - A large Vesuvius 200 0 0 - A grotto in the gulf of Salernum, with the - figure of Julia (companion to that with - Banditti) Mr. Cockshutt 105 0 0 - Virgil’s Tomb Mr. Cockshutt 63 0 0 - A full-length of “Maria”[54] 84 0 0 - A 3 qrs. picture of Matlock High Tor by - moonlight Mr. Boothby 31 10 0 - Another of Matlock High Tor by moonlight ditto 31 10 0 - Part of the Colliseum--Sunshine 52 10 0 - Ditto, its companion--Moonlight 52 10 0 - Grotto in the Gulf of Salernum, moonlight, - ½ length Mr. Hardman, of - Manchester 84 0 0 - Ditto, its companion--Sunset Ditto 52 10 0 - A small picture of Carnarvon Castle, night 10 10 0 - A large grotto in the gulf of Salernum, - moon rising Mr. Daulby 84 0 0 - A small moonlight of a Lake Ditto 16 16 0 - The lake of Nemi, sunset, 3 qrs. Its - companion, moonlight 63 0 0 - Frames for ditto @ 2 gs. & ½ pr frame - A small oval of the Lake of Nemi, its - companion, with frames Dr. Beridge 23 2 0 - One of the above size of Vesuvius 10 10 0 - A small picture of the Girandolo Mr. Daulby 84 0 0 - A grotto with Banditti Mr. Cockshutt 175 10 0 - Sterne’s Captive[54] 105 0 0 - A large Mount Vesuvius Sold to the - Empress (of - Russia) 300 0 0 - The Minstrel (Edwin)[55] Mr. Milnes 84 0 0 - Two Views of Matlock Mr. Emes 63 0 0 - A large picture of the Girandolo--companion - to the Vesuvius which was sold to the - Empress of Russia 200 0 0 - Virgil’s Tomb 63 0 0 - Neptune’s Grotto Mr. Milnes 31 10 0 - - - CANDLE-LIGHT PICTURES. - - [_a_] The Orrery Ld. Ferrers 210 0 0 - Boys with a bladder and its compn. Ld. Exeter 105 0 0 - [_b_] The air pump Dr. Bates 200 0 0 - [_c_] The Gladiator Dr. Bates - (on account) 40 0 0 - [_d_] The Academy Lord Melbourne 105 0 0 - [_e_] The Hermit 105 0 0 - [_f_] The Blacksmith’s Shop Lord Melbourne 150 0 0 - [_g_] Small Blacksmith’s Shop E. Parker 42 0 0 - An old woman knitting, her husband - smoaking. Its companion, a girl - at her toilet Mr. Parker 31 10 0 - [_h_] The Chymist 105 0 0 - A Blacksmith’s shop Mr. Alexander 157 10 0 - [_i_] The young Nobleman in his ancester’s - Tomb[56] Mr. Milnes 105 0 0 - - 4 Candle-light pictures at 30 guineas ea Col. Pole 126 0 0 - Mem: Recd. 25th Oct. 1772 of Col. Pole - twenty guineas in part of payment for the - picture of the boys with the bladder. - The Picture of the Iron Forge Lord - Palmerston 210 0 0 - Mem: Not sent. Picture of a Captive King Prince of - Baaden 52 10 0 - Picture of an iron forge viewed from Empress of - without Russia 136 0 0 - Picture of Belshazzer at the feast when - the hand appeared writing on the wall - Picture of an earth stopper Lord ---- 52 10 0 - A sunset of the Lake of Nemi 52 10 0 - Virgil’s Tomb by moonlight 63 0 0 - A distant View of the High Tor at Matlock - The Cascade at Terni, 3 qr. Given to my - friend Tate 31 10 0 - A small picture of the Lake of Nemi, - sunset, and its companion, moonlight Robt. Holden, - Esqre 21 0 0 - A large picture of Hero and Leander crossed - through 63 0 0 - A large picture of Virgil’s Tomb 63 0 0 - A large ditto of the cascade of Terni 73 0 0 - A small picture of Virgil’s Tomb 21 0 0 - A candle-light piece pd Dr. Bates - Galen pd Ditto - A girl reading a letter by candle-light 12 12 0 - A small picture of a cottage on fire, - seen through a groupe of trees--sketch For my friend - Holland 10 10 0 - A small picture of a view at Valatii, very - warm evening - A ferry over the river Tay at Dunkield, in - Scotland, moonlight 36 15 0 - A Village on fire Mr. Lowe 36 15 0 - A Lighthouse on fire in the Mediterranean, - sketch G. L. Philips 10 10 0 - A small storm, sketch Ditto 10 10 0 - A sketch of Mount Vesuvius, evening Ditto 10 10 0 - An upright of a rocky scene wh a waterfall 10 10 0 - A view in Italy--a warm sunset 10 10 0 - A sketch of Vesuvius, morning 10 10 0 - A view at Dunkeld, evening--companion to - the moonlight wh Tate sold to Mr. Wakefield 73 10 0 - A small picture of a fire seen through a Rev. Holden - wood Shuttleworth 26 5 0 - A near view of Mount Vesuvius 63 0 0 - A view of the City of Florence--sun rising 52 10 0 - A view in Scotland, half-length, moonlight for my friend - Tate 63 0 0 - A storm--Antigonus pursued by a bear Mr. Henry - Philips 105 0 0 - Two sketches of the Lakes of Albano and - Nemi Mr. Nixon 21 0 0 - A small one on pannel of ye lake of Albano L. Philips 10 10 0 - A cottage on fire Mr. Court, - Bristol 42 0 0 - A cottage on fire Miss Linwood 15 15 0 - Sketch of a Lighthouse in the - Mediterranean 10 10 0 - The Spinster wh Collin singing her a ballad - (unfinished) - A Bridge seen thro’ a cavern on the coast of - Sorento--moonlight 31 10 0 - A View of the Ponti Salario, half-length 52 10 0 - A View in the Alps in the Dutchy of Milan, John Milnes, - half-length, noon Esqre 63 0 0 - The companion ditto, morning John Milnes, - Esqre 63 0 0 - A half-length landscape of a cottage scene - in Needwood Forest Mr. Milnes 63 0 0 - A view of the lake of Como, in Italy, warm - sunset, on pannel - William and Margaret, framed 63 0 0 - The cascade of Terni, framed 63 0 0 - A large picture of the Dead Soldier 105 0 0 - The old man and death 63 0 0 - Lusignan in prison 52 10 0 - A small prison 16 16 0 - A sea shore seen thro’ an arch in ye rocks, - sunset Holland 12 12 0 - Romeo & Juliet - The Storm in the Winter Tale 136 0 0 - A cottage on fire 31 15 0 - A view at the boat house near Matlock Town Mr. Denby 21 0 0 - A boy blowing a bladder 31 10 0 - A girl looking thro’ a bladder 31 10 0 - The Lake of Albano, sunset, ½ length Mr. Milnes 63 0 0 - Two girls, with a charcoal stick - Boy and girl, with a bladder - A small view at Almalfa 14 14 0 - A sea shore seen through an arch in the given to - rock L. Philips - A small picture of Vesuvius 21 10 0 - Its companion by the Lake of Geneva, - moonlight Ditto 21 10 0 - A bit of the Ruins of the Colloseo, sunshine 21 0 0 - A distant View of Vesuvius, from the shore - of Posilipo Mr. Walker 32 0 0 - Ditto ditto ditto Mr. Poploe Birch, - Curzon Street, - May Fair 42 0 0 - A boy and girl, with a bladder Mr. Hardman, - Manchester 52 10 0 - A girl blowing a charcoal stick Mr. Daulby 42 0 0 - A distant View of Vesuvius, from the Shore - of Posilipo, bigger than ½ length Mr. Edward - Mundy 84 0 0 - A View of Cromford - An internal View of a Prison 23 2 0 - A View of Vesuvius, from the Shore of - Posilipo Mr. Gisborne 42 0 0 - Cicero’s Villa, in the Bay of Naples Mr. Smith 36 15 0 - A large one of ditto--sun setting after - a shower Edward Mundy 84 0 0 - A small picture of the View of Cromford - Bridge, moonlight Mr. Gisborne - A bit of the Ruins of the Coloseo--sunshine Mr. Macklin 16 16 0 - A View of Vesuvius from the Shore of - Posilipo Mr. Macklin 42 0 0 - Moonlight on the Coast of Tuscany in the - Mediterranean, Companion to the large - picture of Cicero’s Villa Mr. Jno. Milnes 63 0 0 - A View of Cosimato, on pannel Honble. A. - Tompson 42 0 0 - A Cottage, on fire Mr. Hardman 36 15 0 - A picture of the Alps, on the side next Mr. Poploe - Italy, in the Duchy of Milan Birch 36 15 0 - A View of Warwick Castle, moonlight Mr. Cutler 36 15 0 - A distant View of Vesuvius, from the Shore - of Posilipo, the eruption Principal Mr. Arnold 31 10 0 - The inside of a stable, near Tivoli Jno. Henderson, - Esqre. 21 0 0 - A small picture of a Bridge, in Italy, - sunset, on pannel 31 10 0 - A large picture of Prospero in his cell, - showing a visionary spectacle to - Ferdinand & Miranda--12 ft. × - 8 ft. 6 Pd. 315 0 0 - A Circular picture, moonlight Mr. Birch 21 0 0 - A small picture of a distant View of - Vesuvius, from ye Shore of Posilipo Mr. Daulby 31 10 0 - A sepulchral monument at old - Capua--moonlight Lake of Nemi, sun rising 26 5 0 - A small picture of Chee Tor - A 3 qrs. of the Lake of Albano, with the - Monte Jove, seen through the arch of an - acqueduct - A small picture of Cosimato Given to my - friend Tate - A picture of a distant view of Vesuvius, - from the Shore of Posilipo, painted on Sir Robt. - pannel Wilmot 42 0 0 - Mecæna’s Villa, on ditto 42 0 0 - Cicero’s Villa, on pannel 42 0 0 - A Cottage on Fire Mr. Culter 36 15 0 - A Companion Moonlight Mr. Bird, - Liverpool 31 10 0 - A View of Borrow Dale, sunset 31 10 0 - A small picture of Neptune’s Grotto 14 14 0 - A small picture of the Lake of Albano, - sunset 26 5 0 - View of the Boathouse, Matlock - A View of Vesuvius from the Shore of Edwd. Wilmot, - Posilipo Esqre 42 0 0 - The close scene from Cozen’s Sir Robt. - Wilmot 31 10 0 - The Sea Shore, moonlight Mr. Harvey 31 10 0 - A small moonlight, without the moon - appearing Mr. Boothby 26 5 0 - A morning View of the Ponte Salona Mr. Boothby 36 15 0 - Its Companion, sunset of Tivoli - A View of Dovedale & its companion of - Cosimato Mr. Gisborne 36 15 0 - A view of the Ponte Mola Sir Brooke - Boothby 31 10 0 - Virgil’s Tomb, sun breaking thro’ a cloud. - Small picture 31 10 0 - A Sunset, a bold sea shore, 3 qrs., from - Cozens Mr. Boothby 31 10 0 - Two ovals of Dove Dale, with frames Mr. Boothby 42 0 0 - A close scene, morning, from Cozens B. Boothby 31 10 0 - A View in Dove Dale, morning ¾ qrs. E. Mundy, Esqre 31 10 0 - Companion, in do., moonlight Do. 31 10 0 - A small oval of Dovedale Mr. Parsons 14 14 0 - An eruption of Vesuvius, from the Shore of - Posilipo, on panel 42 0 0 - Two small pictures of the island of Caprea - Hero & Leander--Storm The Honble Thos. - Fitzmaurice 105 0 0 - Its companion, moonlight Do. 105 0 0 - Margaret & William 84 0 0 - The Siege of Gibraltar Mr. Jno. - Milnes 420 0 0 - An Indian Chief’s Widow 63 0 0 - A Moonlight from Comus 84 0 0 - A Wood Scene by moonlight, & frame Mr. Thompson 31 10 0 - The Corinthian Maid 105 0 0 - Penelope unravelling her web, candle-light Mr. Wedgwood 105 0 0 - June 7, 1783. Two small landskips 21 0 0 - A 3 qrs. picture of a Lake in Italy, moonlight 31 10 0 - A small ditto of ditto by moonlight 21 10 0 - Its companion, a Land Storm - A small moonlight on the coast of Naples - A 3qrs. of Neptune’s Grotto, with the Given to my friend - Sybil’s Temple, &c. Tate - A Moonlight, with an eruption of V., from - the shore of Posilipo Mr. Bacon 26 5 0 - The Companion, sunset in the Bay of Salerno Sold to my - friend - Holland 18 18 0 - A view of Amalfi, sunset 14 14 0 - A sunset from Cozens 31 10 0 - Recd. Sep. ’85 of Mr. Gisborne for two large - drawings of Moses 8 0 0 - A boy with a candle 4 4 0 - A boy blowing a bladder 4 4 0 - A small picture of Borrowdale T. Tate 12 12 0 - A village on fire 63 0 0 - The Convent of Cosimato. Mem. not paid For Mrs. Hayley 26 5 0 - Cottage on fire Mr. Cunningham 21 0 0 - Ditto Mr. N. Philips 52 10 0 - A small picture of Lodore 12 12 0 - The Lake of Nemi--on panel - A smallish picture of Ullswater, sunset Mr. Hardman 42 0 0 - A Ditto of Windermere with Langdale Pikes T. M. Tate 42 0 0 - A Large picture of Ullswater 42 0 0 - A smallish one of the little cascade at Sir - Mic-la-Flemings L. Philips 31 10 0 - Picture of a bridge with the effect of a - rainbow Mr. N. Philips 52 10 0 - Ditto ditto - Keswick lake wh Skiddaw in the distance - A view upon Ullswater, morning 36 15 0 - Ditto Keswick Lake, sunset Norris 36 15 0 - A small picture of a view by the sea side, Sold to my - sun rising friend Tate 12 12 0 - A cottage on fire Norris 42 0 0 - A View of the outlet of Whyburn Lake For my friend - Tate 42 0 0 - - - PICTURES KNOWN TO HAVE BEEN PAINTED BY WRIGHT BUT NOT - ENTERED IN THE MS. LIST. - - [57]Conversation piece. Three of Mr. Bradshaw’s - children with a pet lamb - Port. of Mr. Woodville full-length - „ Mrs. Woodville do. - „ Dr. Wilson half-length - „ Miss Macauley - - - A CATALOGUE OF PRINTS ENGRAVED AFTER PAINTINGS - BY JOSEPH WRIGHT, OF DERBY. - - SUBJECT. STYLE. ENGRAVER. - 1 Two Boys with a Bladder Aquatint. J. P. Burdett. - 2 Master Bradshaw and two Miss - Bradshaws with a Pet Lamb[58] Mezzotint. Valentine - Green. - 3 Count Miravan, a young nobleman of - Syria, who having extravagantly - lavished away his fortune, breaks - open the tomb of his ancestors, - expecting to find great treasure Ditto. Ditto. - 4 A philosopher giving a Lecture on the - the Orrery.[59] The following names - are copied from the margin of a - print of the Orrery, written in the - year 1768, and are believed to be - the persons represented:--J. Wright, - Mr. Burdett taking notes, young - Cantrell, A. Winterman, Mr. G. - Snowden, Mr. Denby as the - philosopher Ditto. Ditto. - 5 A Philosopher giving a Lecture on - the Air Pump, in which are - introduced portraits similar to - above[60] Ditto. Ditto. - 6 “The Gladiator.” Mr. Wright in this - picture has introduced himself in - profile, and he and the other two - figures (Burdett and old John - Wilson of the Devonshire - Almshouses), are comparing the - drawing he has made with the - Statue Ditto. W. Pether. - 7 Democritus found studying Anatomy Ditto. Ditto. - 8 An Alchymist[59] Ditto. Ditto. - 9 A Farrier’s Shop Ditto. Ditto. - 10 Master Ashton (with Dog) Ditto. Ditto. - 11 A Drawing Academy Ditto. Ditto. - 12 A Drawing Academy, 8vo. Outline. Normand. - 13 A Blacksmith’s Shop Mezzotint Richard - Earlom. - 14 An Iron Forge Ditto. Ditto. - 15 John Harrison, Esq., Surgeon, Derby Ditto. J. R. Smith. - 16 Edwin, the Minstrel (portrait of - Thomas Haden, Esq.) Ditto. Ditto. - 17 Ditto. Etching. F. Seymour - Haden. - 18 Three Children of Walter Synnott, - Esq. (with Birdcage) Mezzotint. J. R. Smith. - 19 William and Margaret, taken from an - Old Ballad Ditto. Ditto. - 20 The Indian Widow Ditto. Ditto. - 21 The Lady in Milton’s Comus Mezzotint. J. R. Smith. - 22 Dr. Darwin, with pen in right hand. - (“An alteration in the Face and - Wig from the Original, and for - the worse”) Ditto. Ditto. - 23 Ditto, with hands resting on a J. T. - polished table[61] Line. Wedgwood. - 24 “The Captive,” from Sterne’s - Sentimental Journey Dotted. Ryder. - 25 “The Captive,” from Sterne. Engraved - for Mr. Milnes, of Wakefield: who - destroyed the plate when twenty - impressions had been taken off Mezzotint. J. R. Smith. - 26 Distant View of Vesuvius, from shore - of Posilipo Line. Wm. Byrne. - 27 “The Dead Soldier” Line. J. Heath. - 28 Ditto, same size as above, but a - much inferior print Mezzotint. W. Dickinson. - 29 “The Dead Soldier,” small Line. Bovinet. - 30 Prospero entertaining Ferdinand and - Miranda with Spectacle. From the - “Tempest.” For Boydell’s Line & - Shakspeare Gallery Stipple. Thew. - 31 The Storm, Antigonus pursued by the - Bear. From the “Winter’s Tale.” - For Boydell’s Shakspeare Gallery Line. Middiman. - 32 John Whitehurst, F.R.S., of Derby, - “an elegant Engraving, and very - like.” 8vo. in oval (another in - oval on a pedestal) Line. J. Hall. - 33 Sir Richard Arkwright, Kt. Mezzotint. J. R. Smith. - 34 Sir Richard Arkwright, Kt., small - (various) Line. A. R. Meyer & - others. - 35 Dr. Wilson. (Drawn by T. Lawrence) J. & C. - Sherwin. - 36 Miss Kitty Dressing. Published - February, 1781 Mezzotint. J. Watson. - 37 Portrait of Himself, wearing a hat Ditto. Ward. - 38 Ditto, ditto Line. M. V. Sears. - 39 Jedediah Strutt, Esq. (various) Line & - Stipple. Meyer. - 40 Rev. Thomas Seward Line. Cromer. - 41 Fireworks from the Castle of St. - Angelo, Rome, 8vo. Line. Radcliffe. - 42 “Maria,” from Sterne’s “Sentimental - Journey” Mezzotint. John Raphael - Smith. - 43 Thos. Day Line & - Stipple. Meyer. - 44 Moonlight View in Italy. Size of Aquatint. Fras. Eginton, - plate 21 × 16½ 1781. - 45 The Twins (plate in this volume) Etching. F. Seymour - Haden. - 46 Miss Wrights. Two Girls with a Pet - Lamb Mezzotint. S. Paul. - -There are several other Minor Prints after him. Also two very fine -Mezzo Prints, scarce, 2 ft. 6½ in. × 2 ft. 2 in. of a Boy and a Girl -with a Bladder, and Two Girls with a Lighted Stick, with the name of W. -Tate, pinxit (a friend of Wright’s), which is evidently an error, as it -is known that Wright did paint these two pictures, and it is presumed -that Mr. Tate had them engraved, hence the error. - -A Portrait of the artist, engraved by Blake, was used as a frontispiece -to J. Leigh Philips’ article on Wright, in the “Monthly Magazine,” of -Sept. 1797. Blake engraved his plate from an etching by Wright himself, -and of which only one copy is now known to exist. - -NOTE.--The celebrated Engraving, “The Fishery,” engraved by -Woollett, often ascribed as after “Wright, of Derby,” was painted by a -Richard Wright, of Liverpool. - - It is interesting to know at what prices the fine Mezzotint - Prints were published, and the following list is copied from a - bill for Prints, receipted by W. Pether:-- - - £ s. d. - Gladiator 0 15 0 - Orrery 1 1 0 - Air Pump 0 15 0 - Academy 0 15 0 - Farrier’s Shop 0 10 6 - Master Ashton 0 6 0 - Miravin 0 10 6 - Blacksmith’s Shop 0 15 0 - Hermit 0 15 0 - Alchymist 1 1 0 - --------- - £7 4 0 - - “Rec^d May 1^{st} 1778, of John Milnes, Esqr., by M^{r.} - Wright, the above sum, in full of all demands.” - - By W^M PETHER. - £7 4 0. - - - - - INDEX OF PERSONS. - - - Allen, Mr., 102. - - Almond, Rev., 5. - - Angelo, Michael, 39, 41, 42, 69, 90, 91, 93, 111. - - Arkwright, Richard, 42, 51, 84. - - „ Elizabeth, 42. - - „ F. C., 42, 84. - - „ John, 42. - - „ Joseph, 42. - - „ Sir Richard, 51, 81, 111. - - Ashley, Rev., 7. - - Ayton, Brassey, Lee & Co., 91. - - - Bacon, Mr. (sculptor), 53. - - Bainbrigge, Thomas, jun., 102. - - Bakewell, Mr., 103. - - Barber (artist), 55. - - Barker, J., 17. - - Barrow, Mr., 89. - - Bassano, Mrs., 69. - - Bates, Dr., 12, 111. - - Baxter, Mr., 35, 70. - - Beattie, Dr., 68, 69. - - Beechy, Sir W., 111. - - Belper, Lord, 10, 79. - - Bemrose, W., 26. - - Bentley, Mr., 48, 69, 80. - - Berghem, 41. - - Beridge, Dr., 25, 82. - - „ Mrs., 81, 82. - - Blackwall, Rev., 9. - - Blake, Mr., 106. - - Bousfield, Rev. H. N., 52. - - Boot, Mrs., 10. - - Botts, 41. - - Boydell, Alderman, 63, 64, 97, 98, 100, 101. - - Brentnall, Mr., 29. - - Brookes, Hannah, 3. - - Buckley, Edmund, 81. - - Buckston, Rev. German, 82. - - Burdett, P. P., 9, 11, 12, 33, 48, 76, 77, 78, 84. - - „ Mrs., 78. - - - Cade, Mr., 81. - - „ Mrs., 9. - - „ Miss, 56. - - Carleill, Mr., 52. - - „ Mrs., 52. - - Cantrell, Mr., 76. - - Caracci, Ludivico, 39. - - Cesar, Mr., 29. - - Chantrey, Mr. (sculptor), 5. - - Chesterfield, Lord, 3. - - Christie, Mr., 106, 107, 111. - - Clayton, Mr. and Mrs., 30. - - Clyfford, Mr., 82. - - Coke, Daniel Parker, 10. - - „ Mr., jun., 30, 33. - - Coleman, Mr., 32, 35. - - Copley, Mr., 36, 99. - - Corbould, Mr., 73, 74. - - Correggio, 35, 36, 38, 40. - - Cox, Rev. Dr., 1. - - Cumberland, Duchess of, 44. - - „ George, 106. - - Curtis, Capt. R., 59. - - - Darwin, Erasmus, 56, 69, 79, 80, 87, 95. - - „ Reginald. D. D., 80. - - Daulby, Mr., 85, 86, 87, 88. - - Day, Mr., 79, 80. - - Daykene, Anne, 3. - - Dean, George, 75. - - Denby, Charles, 9. - - Denby, Mr. (organist), 9, 10, 76. - - Derry, Bishop of, 43. - - Domenichino, 39. - - Downman, Mr. (artist), 30. - - Downman, Mrs., 37. - - Drewry, J., 114. - - - Edkins, William, 106. - - Egerton, Messrs. T. and J., 3. - - Eley, Mr., 50. - - Elliott, General, 59, 76. - - - Fallows, Mr., 47, 78. - - Farrington, Mr., 48, 66. - - Ferrers, Lady, 44. - - „ Earl, 69, 76, 77, 78. - - Fitzherberts, The, 50. - - „ Alleyne, 51. - - Flaxman, 82. - - Flint, Mrs., 30. - - Forrester, Mr., 37. - - Fowler, Miss, 30. - - Fox, Mrs., 28, 30. - - French, Capt., 31. - - Fuzeli, Mr., 71. - - - Gainsborough, 16, 44, 45, 67. - - Garbage, Edmund, 61. - - Garvey, Mr., 57, 61, 62. - - Gell, Dorothy, 2. - - Gibbon, Mr., 78, 79. - - Gilpin, Mr., 97, 98. - - Giotto, 40. - - Girardot & Co., 37. - - Gisborne, Rev. Thos., 9, 25, 26, 92, 95, 102, 115. - - „ John, 51. - - Gray, Caroline, 3. - - Gray, Sir James, 3. - - Greasley, Mr., 31. - - Greenwood, Mr., 28. - - Griffith, Hon. Mrs., 25. - - - Hacket, Bishop, 1. - - Haden, Ann, 11. - - „ F. Seymour, 11, 68, 69. - - „ Mr., 9, 47, 68, 69. - - „ Sarah, 11. - - Hall, Messrs., 51. - - Hardman, Mr., 86, 92. - - „ Mrs., 64. - - Harrison, John (singer), 5. - - „ J. R., 100. - - Hayley, Mrs., 81, 82, 83. - - „ (Poet), 25, 26, 28, 43, 44, 57, 58, 61, 62, 69, 76, 81, 82, - 83, 98. - - „ T. A. (sculptor), 69, 82, 83. - - Heath, Mr., 64, 66, 69, 70, 71, 72, 73, 74, 88, 89, 94, 101. - - Heathcote, Mr., 29. - - Heathcote, Capt., 30. - - „ Col., 30. - - Heathfield, Lord, 59. - - Hogarth (artist), 11. - - Holland, Jno., 26, 53, 79, 96, 102. - - „ Mr., Ford House, 52, 111. - - Holworthy, James, 4. - - Hope, Rev., 9, 10. - - Hopner, Mr., 111. - - Houghton, Lord, 68. - - Humphrey, Osias, 37. - - Hudson (portrait painter), 5, 6, 8, 11, 48, 50. - - Hurleston, 27, 30, 31, 47. - - „ F. T., 27. - - Hurt, Charles, 53. - - „ Francis, 42. - - - Jenkins, Mr., 37. - - Johnson, Dr., 11. - - „ John, LL.D., 82. - - - Lansdowne, Lord, 12, 72, 73. - - Langhorne, Mr., 70. - - Lawrence, Mr., 111. - - Long, Mr., 100. - - - Macauley, Miss, 45. - - Macklin, Mr., 101. - - Martin, Mr., 64, 66. - - McNiven, Mr., 91. - - Meredith, Sir Wm., 34. - - Meteyard, Miss, 80. - - Meynell, Mr., 31. - - Mundy, F. N. C., 10. - - Montague, Mr., 37. - - Middiman, Mr., 89. - - Milbourne, Mr., 63, 93. - - Miles, Captain, 46. - - „ Mr., 46. - - Milnes, J., 74. - - Moreland, Mr., 26, 91, 92. - - Morewood, Mrs., 52. - - Moreland, Mr., 74. - - Mortimer (artist), 8, 33, 58, 69, 78, 79. - - Mosley, Mr., 114. - - - Nash, Jno., 1. - - Newton, Mr., 58. - - Noell, Counsellor, 7. - - Northcote, Mr., 99. - - - Oakes, James, 11. - - Oliver, Thomas, 10. - - Oxford, Lord, 8. - - Orred, Major, 55. - - Osmaston, John, 77. - - Overstone, Lord, 74. - - - Palladio, 40. - - Parry, Mr., 36. - - Pasquin, Anthony, 57, 61, 62. - - Pether, Mr., 31. - - Phelps, Mr., 50. - - Philips, H., 89, 91, 92, 100. - - „ J. L., 57, 58, 62, 63, 64, 65, 70, 72, 73, 74, 85, 88, 90, 91, - 92, 93, 94, 95, 102, 104, 105, 106. - - „ N., 94. - - Pickford, Joseph, 55, 56. - - Pindar, Peter, 69, 79. - - Pope, The, 34. - - Poussin, 38. - - Prig, Mr., 62. - - Prince Charles Edward, 7. - - - Raphael, 37, 38, 39. - - Rawlinson, Mr., 50. - - Rawson, Mr., 31. - - Redgrave, Messrs., 26, 41, 58, 66, 67, 68. - - „ R., 67. - - „ S., 58. - - Rembrant, 40. - - Reynolds, Sir Joshua, R.A., 1, 5, 8, 44, 48, 67, 98, 99. - - Robins, Mr., 16, 17. - - Rogers, Mr., 101. - - Romney, Mr., 28, 36, 37, 83, 98. - - Rought, Thos., 77. - - Russia, Catherine, Empress of, 30, 35, 80, 85. - - - Sale, Mrs., 76. - - Salmon, Captain, 40. - - Scarsdale, Lord, 37. - - Seward, Anna, 69, 79, 81. - - Shackleford, Mr., 29. - - Shaw, Mr., 112, 114. - - Shelton, Mrs., 28, 30. - - Sikes, Joseph, 52. - - Simpson and North, Messrs., 55. - - Smeeton, J., 110. - - Smith (artist), 26. - - „ Mr., 87, 89. - - Smirke, Mr., 74. - - Snowden, G., 76. - - Sotheby, William, 31, 70. - - Sproule, Mrs., 44. - - Stephens, F. G., 62, 81. - - Sterne, 26, 52, 69, 70. - - Stevens, Mr., 37. - - Swift, Ann, 27. - - Synnott, Walter, 52. - - - Tacet (musician), 9. - - Tate, Jno. Moss, 5. - - „ R., 31. - - „ Thomas, 26, 31, 32, 33, 63, 64, 65, 66, 77, 85, 87, 88, 89, 91, - 92, 93, 94, 95, 100, 101, 103. - - Teniers, 40. - - Thacker, Mr., 3. - - Thornton, Mr., 82. - - Tintoret, 39. - - Titian, 35, 36, 37, 38, 39, 40. - - Turner, J. M. W., R.A., 4, 31, 111. - - „ Dr., 83. - - Tyrrell, Walter, 68. - - - Van, Mr. and Mrs., 30. - - Vandicke, 40. - - Vasari, Mr., 63, 101. - - Veronese, Paul, 39, 40. - - - Wallis, Sarah, 4. - - Ward, Mr. and Miss, 47. - - Waste, Joan, 56. - - Watkins, Nan, 78. - - Wedgwood, Godfrey, 26, 61. - - „ Josiah, 26, 48, 69, 80, 83. - - West, Mr., 98, 99. - - Whiatt, Mr., 88. - - Whitehurst, Mr., 34. - - Wilcockson, Frances, 2. - - Williams, John, 61, 62. - - Wilmot, Sir Eardley, 3. - - Wilson, Capt. John, 2. - - „ Dr., 45. - - „ Old John, 11. - - „ Richard, 1, 53. - - Winter, Mr., 10. - - Winterman, A., 76. - - Winstanley and Taylor, Messrs., 71. - - Wolcott, Dr., 79. - - Wolfe, General, 71. - - Wollett, Mr. (engraver), 5. - - Wood, Bishop, 1. - - Wood, Mr., 24. - - Woodville, Mrs., 55. - - Woodward, G. W., 56. - - Woty, W., 77. - - Wright, Anne Elizabeth, or “Nancy,” 4, 28, 29, 30, 33, 34, 36, 48. - - „ Dr. Richard (of London), 3. - - „ “Equity Wright,” 3, 4. - - „ Francis, 77. - - „ Hannah, 4. - - „ Harriett, 103. - - „ John, 3. - - „ Joseph, 4. - - „ Rev. John, 1, 2. - - „ Richard (of Derby), 3, 6, 27, 34, 41, 51, 77, 105, 106, 111, - 115. - - „ Richard (marine painter), 5. - - - BEMROSE & SONS, PRINTERS, DERBY; AND 23, OLD BAILEY, LONDON. - - -FOOTNOTES: - -[1] From Episcopal Registers of the See of Lichfield. - -[2] “On Tuesday morning, at this place, aged 78, Mrs. Hannah Wright: -whose pious and amiable disposition endeared her to those friends, her -very delicate state of health, and long retirement had confined the -knowledge of her virtues, and the poor will have to lament the loss of -a kind benefactress. She was eldest sister to R.J. Wright, M.D., and to -the late eminent painter, Joseph Wright, Esqre.”--_Derby Mercury_, Nov. -7, 1810. - -[3] Richard Wright was a marine painter of Liverpool, born 1735, died -1775, who painted “The Fishery,” which was engraved by Wollett. - -[4] Sir Joshua Reynolds and Mortimer were also pupils under Hudson, -who, Lord Oxford tells us, pleased the country gentlemen “with his -honest similitudes, fair tied wigs, blue velvet coats, and white satin -waistcoats, which he bestowed liberally on his customers.” Hudson, -however, though an Artist of little imagination, was a sound painter -and probably a good master. - -[5] Denby published several music books, a collection of hymn tunes, -sonatinos and rondas for the harpsichord. - -[6] We here transcribe the Rules of the Derby Assembly of about this -period; they are interesting and curious-- - -RULES - -TO BE OBSERVED IN THE LADIES’ ASSEMBLY IN DERBY. - -1.--No Attorney’s Clerk shall be admitted. 2.--No Shopkeeper, or any of -his or her Family shall be admitted, except Mr. Franceys. 3.--No Lady -shall be allowed to Dance in a long white Apron. 4.--All young Ladies -in Mantuas shall pay 2s. 6d. 5.--No Miss in a Coat shall Dance without -Leave of the Lady of the Assembly. 6.--Whosoever shall transgress any -of these Rules, shall be turned out of the Assembly Room. - -Several of the above-mentioned _Rules_ having of late been broke -through, they are now Printed by our order, and signed by Us, the -present Ladies and Governors of the Assembly. - -ANNE BARNES. DOROTHY EVERY. ELISABETH EYRE. BRIDGET BAILEY. R. -FITZHERBERT. HESTER MUNDY. - - -[7] The first Exhibition was held in April, 1760. The Catalogue of -1761 has two satirical subjects after Hogarth, and that for 1762 has a -preface from the pen of Dr. Johnson. There were no Exhibitions in 1779, -81, and 82, nor were there any between 1783 and 1790. The last was in -1791. - -[8] The sitters in this picture were old John Wilson, an inmate of the -Devonshire almshouses, Mr. Burdett, and the artist himself. - -[9] Captain Salmon, who then lived at Breadsall Priory, near Derby, sat -to Wright as Romeo. - -[10] The Frontispiece Plate in this volume is taken from this painting, -now in the possession of the Honourable Mrs. Griffith, Yoxall Lodge, -Staffordshire. - -[11] “The Mr. Hurleston who went with Mr. Wright of Derby, to Italy in -1773, was my great uncle. He was a very promising young artist, but -immediately after his return to this country, was killed by lightning -while riding across Salisbury Plain in a storm. His name occurs in the -early catalogues of the Royal Academy.”--_Extract from a letter from F. -Y. Hurleston, President of the Incorporated Society of British Artists, -August, 1850._ - -[12] This has reference to the first voyage of his nephew, Richard -Wright, in the service of the East India Company; two other members of -the family were previously in that service. - -[13] Now in the possession of the writer, with many other sketches. - -[14] Simpson’s _History of Derby_. - -[15] There is little doubt that this is John Downman, R.A. - -[16] It is recorded that Catherine, Empress of Russia, purchased -pictures by the most eminent masters in every capital of Europe, -and when she died in 1796, she left at the Hermitage 1,383 valuable -paintings. Of these only eight belonged to the English school. - -[17] No. 321. The Old Man and Death.--Society of Artists’ Exhibition. - -[18] J. Whitehurst, a celebrated Machinist, and Author of the “Theory -of the Earth.” - -[19] Osias Humphrey, miniature painter and R.A., was in Italy about -this time with Romney. - -[20] Anna Romana Wright, daughter of Joseph and Anne Wright. - -[21] Hannah Wright, daughter of Richard and Sarah Wright. - -[22] The Bishop of Derry. - -[23] From a memo.:--“Entered Mrs. Sproule’s House 9th Nov., 1775. My -horse went to Ward’s Livery Stable 29th Dec., 1775.” - -[24] - -No. 147 in Catalogue of Society of Artists, 1776--“An Eruption of Mount -Vesuvius.” „ 148 „ „ „ „ “The Annual Girandolo at the Castle of St. -Angelo at Rome.” - - -[25] Redgrave’s Century of Painters. - -[26] Life of Richard Wilson. - -[27] St. Helen’s. - -[28] Hutton, in his “History of Derby,” says--“1601. A woman burnt in -Windmill Pit, for poisoning her husband.” From this it appears it was -the usual place of execution for criminals for many years. - -[29] Joan Waste, blind from her birth, the daughter of a poor barber, -in the parish of All Hallowes (All Saints’), was, at the age of 22, -burnt as a heretic in Windmill Pit, just outside the town. She was a -godly woman, learned in the Holy Scriptures, which she was diligent in -getting read to her, and condemned for denying transubstantiation, and -after being taken to All Saints’ Church to hear a sermon on herself, -she was burnt on the first of August, 1556. - -[30] Chichester: Printed by Dennett Jaques. 1783. - -[31] _Cynthia_--Same as Diana, who by some is supposed to have presided -over the moon. So called from her having been born at Cynthus. - -[32] _Calpe_, Mount--Synonymous with Gibraltar. - -[33] _Elliott_, General, was appointed to the command of Gibraltar in -1776, and defended it at the siege in 1783. In 1787 he was created Lord -Heathfield, Baron Gibraltar. - -[34] _Curtis_, Captain Rodger, of the Marine Brigade, afterwards -knighted for his gallant conduct in rescuing the enemy from the burning -ships, on September 14th, 1782, to which allusion is made in verses 5 -and 6. - -[35] John Williams. - -[36] “Harp Alley” Shoe Lane, London, was the market for house signs -before they were abolished. - -[37] Boydell. - -[38] In the possession of the late Lord Overstone at the time of his -decease. - -[39] The Painter. - -[40] Gibbon, the Historian of Rome. - -[41] Now in the possession of Lord Belper. - -[42] Now in the possession of Reginald Darwin, D. D. - -[43] Author of “Louisa, a Poetical Novel,” 1782, and “Original -Sonnets,” 1799. - -[44] These interesting portraits of Mr. and Mrs. Hayley are now in the -possession of the Rev. German Buckston. - -[45] Now in possession of the writer. - -[46] The Society of Arts, who built the Lyceum. - -[47] When St. Alkmund’s Church was re-built, the tablet was removed -from the pillar and affixed to the wall of the South Porch. - -[48] “Monthly Magazine,” October 17th, 1797. - -[49] For many years a “Grand Musical Festival” was held in Derby, in -October, and produced large sums in aid of the General Infirmary. -The best musical talent of the day was engaged. On this occasion, -the oratorios, “The Messiah,” “The Creation,” “Judas Maccabeus,” -and “Israel in Egypt,” and a selection from Handel, Boyce, etc., -were performed in All Saints’ Church, in which Madame Catalani, Miss -Travis, Mrs. Shepley, and Mrs. Bianchi, Mr. Harrison, Messrs. Goss, -Elliott, Whall, and Bartleman took part. The Chorus was supported by -the celebrated Female Singers from Lancashire; also by performers from -the Ancient and Vocal Concerts, London, and from various Cathedrals. -Messrs. Harrison and Greatorex conducted the orchestra of 150 -performers. A ball took place in the New Assembly Room, and two grand -concerts in the theatre. On the first day a sermon was preached by the -Archbishop of York, the offertory amounting to £354. - -INFIRMARY DONATIONS.--Messrs. Cade and Chappell, being monies received -at the Exhibition at the Town Hall of the late Mr. Wright’s pictures, -£7 13s. 0d.--(_Derby Mercury_, Dec. 4, 1810.) - -[50] Engraved in mezzotint. See list. - -[51] Engraved by Mayer. See list. - -[52] Engraved in mezzotint. See list. - -[53] Engraved in “line.” See list. - -[54] Engraved. See list of Engravings. - -[55] Engraved and also etched. - -[56] _a_ to _i_ engraved. See list of Engravings. - -[57] Engraved. See list. - -[58] This print is often miscalled the Family of Wright, of Derby. - -[59] The original painting is now in the Derby Art Gallery. - -[60] The original painting is now in the National Gallery. - -[61] Wedgwood’s Medallion of Dr. Darwin, with his arms resting upon -a table, is taken from Wright’s painting of the Doctor, now in the -possession of Reginald Darwin, Esq., The Fern, Buxton. - - -Transcriber’s Notes: - -1. Obvious printers’, spelling and punctuation errors have been -silently correct. - -2. Where appropriate, original spelling has been retained. - -3. Superscripts are represented using the caret character, e.g. D^r. - -*** END OF THE PROJECT GUTENBERG EBOOK THE LIFE AND WORKS OF JOSEPH WRIGHT, -A.R.A, COMMONLY CALLED "WRIGHT OF DERBY" *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/66201-0.zip b/old/66201-0.zip Binary files differdeleted file mode 100644 index d814397..0000000 --- a/old/66201-0.zip +++ /dev/null diff --git a/old/66201-h.zip b/old/66201-h.zip Binary files differdeleted file mode 100644 index d2b1c96..0000000 --- a/old/66201-h.zip +++ /dev/null diff --git a/old/66201-h/66201-h.htm b/old/66201-h/66201-h.htm deleted file mode 100644 index 3583ab6..0000000 --- a/old/66201-h/66201-h.htm +++ /dev/null @@ -1,16365 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Life and Works of Joseph Wright, A.R.A., by William Bemrose. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4 { - text-align: center; /* all headings centered */ - clear: both; - font-weight: normal;} - -h2 {font-size: 120%; } - -h3 {font-size: 100%; } - -h3.top {margin-top: 1.5em;} - -h4 {font-size: 80%; - margin-bottom: -.75em; } - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; - text-indent: 1.2em;} - -p.left3 { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; - text-indent: 4em;} - -.p-left {text-indent: 0em; } - -.p1minus {margin-top: -1em;} -.p0 {margin-top: 0em;} -.p1 {margin-top: 1em;} -.p1h {margin-top: 1.5em;} -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} -.p6 {margin-top: 6em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: auto; - margin-right: auto; - clear: both; -} - -hr.chap {width: 65%; margin-right: 17.5%; margin-left: 17.5%;} -hr.full {width: 95%; margin-right: 2.5%; margin-left: 2.5%;} -hr.full1 {width: 95%; margin-right: 2.5%; margin-left: 2.5%; - margin-top: 0em; margin-bottom: 0em;} - -hr.r5 {width: 5%; margin-right: 47.5%; margin-left: 47.5%; - margin-top: 0em; margin-bottom: 0em;} - -hr.r15 {width: 15%; margin-top: 1em; margin-bottom: 1em; - margin-right: 42.5%; margin-left: 42.5%;} - -hr.r25 {width: 25%; margin-top: 1em; margin-bottom: 1em; - margin-right: 37.5%; margin-left: 37.5%;} - -hr.style2 {width: 65%; margin-right: 17.5%; margin-left: 17.5%; - border-top: 3px double #8c8b8b; -} - -ul { list-style-type: none; } -li.i1 {text-indent: 1em;} - -div.parent { text-align: center; } -ul.left { display: inline-block; text-align: left; - list-style-type: none; } - -div.chapter { -page-break-before: always;} - -#half-title { text-align: center; - font-size: small; - line-height: 2em; } - -.family-tree { -display: block; -font-family: monospace; -white-space: pre; -margin: 1em 0; -} - -.hangingindent { - padding-left: 2em ; - text-indent: -2em ;} - -blockquote.narrow { - margin-left:20%; - margin-right:20%; } - - - -table { -margin: auto; -width:auto; -border: 0; -border-spacing: 0; -border-collapse: collapse; } - -table.pictures { -width: 30em; } - -table.pictures1 { -max-width: 50em; } - -table.pictures2 { -max-width: 60em; } - -td { -padding: .05em .2em .2em 2.5em; -border: .1em none white; -text-align: left; -text-indent: -2em; } - -th.chap { -font-weight: normal; -font-size: x-small; -text-align: left; -padding-left: 1em; } - -th.pag { -font-weight: normal; -font-size: x-small; -text-align: right; -padding-left: 1em; } - -td.cht { -text-align: left; -vertical-align: top; -padding-left: 1em; -text-indent: -1em;} - -td.paints { -text-align: left; -vertical-align: top; -padding-left: 1.4em; -text-indent: -1em;} - -td.paintstop { -text-align: left; -vertical-align: top; -padding-left: 1.4em; -padding-top: 1em; -text-indent: -1em;} - -td.cht1 { -text-align: left; -vertical-align: top; -padding-left: 1em; -padding-top: .75em; -text-indent: 1em;} - -td.cht2 { -text-align: left; -vertical-align: top; -padding-left: 1em; -padding-top: .75em; -text-indent: -1em;} - -td.cht3 { -text-align: left; -vertical-align: top; -padding-left: 1em; -padding-right: 0em; -text-indent: -1em;} - -td.cht4 { -text-align: left; -vertical-align: top; -padding-left: 0em; -text-indent: -3em;} - -td.cht5 { -text-align: left; -vertical-align: top; -padding-left: 3em;} - -td.cht6 { -text-align: left; -vertical-align: top; -padding-left: 1em; -padding-right: 1em; -text-indent: -1em;} - -td.cht7 { -text-align: left; -vertical-align: middle; -padding-left: 0em;} - -td.cht8 { -text-align: left; -vertical-align: top; -padding-left: 4em; -padding-right: 1em;} - -td.cht9 { -text-align: left; -vertical-align: top; -padding-left: 2.35em; -text-indent: -1.5em;} - -td.cht10 { -text-align: left; -vertical-align: top; -padding-left: 3em; -text-indent: -1em;} - -td.pag { -text-align: right; -vertical-align: bottom; -padding-left: 1em;} - -td.brckt { -text-align: center; -vertical-align: top; -padding-right: .2em; -padding-left: .2em; -width: .5em; } - - td.ctr { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: 1em; } - - td.ctr1 { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: 0em; - padding-right: 0em; } - - td.ctr2 { - text-align: center; - text-indent: 0em; - vertical-align: middle;} - - td.ctr3 { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: 1em; - padding-left: 0em; } - - td.ctr4 { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: 0em; - padding-right: .5em; - width: 1em; } - - td.ctr5 { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: 0em; - padding-left: 0em; } - - td.ctr1a { - text-align: center; - text-indent: 0em; - vertical-align: top; - padding-top: .75em; - padding-right: 0em; } - -td.right { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: .25em;} - -td.rightbb1 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: .25em; -border-bottom: .1em solid black; } - -td.rightbb2 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: .25em; -border-bottom: .3em double black; } - -td.right1 { -text-align: right; -vertical-align: top; -padding-left: 1.5em; -padding-right: .25em; -} - -td.right2 { -text-align: right; -vertical-align: top; -padding-left: 2em; -padding-right: .25em; -} - -td.right2a { -text-align: right; -vertical-align: top; -padding-left: 2em; -padding-top: .75em; -padding-right: .25em; -} - -td.right3 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: 1em; -} - -td.right4 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-top: 1em; -padding-right: .5em; -} - -td.right4a { -text-align: right; -vertical-align: top; -padding-left: 0em; -padding-top: 1em; -padding-right: .5em; -} - -td.right5 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-top: 1em;} - -td.right3bb1 { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: 1em; -border-bottom: .1em solid black; } - -td.righttop { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-top: 1em; -padding-right: .25em; -} - -td.rightbtop { -text-align: right; -vertical-align: top; -padding-left: 1em; -padding-right: .25em; -border-top: .1em solid black;} - -td.right6 { -text-align: right; -vertical-align: top; -padding-left: .5em; -padding-right: .25em; -} - -td.right6bb { -text-align: right; -vertical-align: top; -padding-left: .5em; -padding-right: .25em; -border-bottom: .1em solid black;} - -td.top { -padding: .75em .2em .2em 2.5em; -border: .1em none white; -text-align: left; -text-indent: -2em; } - -td.total { -padding: .75em .2em .2em .2em; -border: .1em none white; -text-align: right; -width: 48em; } - -@media handheld { -table { -width: 90%; -margin: auto 5%;} -} - -img.drop-cap -{ - float: left; - margin: 0 0.5em 0 0; -} - -p.drop-cap { - text-indent: 0em; } - -p.drop-cap:first-letter -{ - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -@media handheld -{ - img.drop-cap - { - display: none; - } - - p.drop-cap:first-letter - { - color: inherit; - visibility: visible; - margin-left: 0; - } -} - -p.drop-cap1 { -text-indent: 0em; } - -p.drop-cap1:first-letter -{ -float: left; -margin: 0.05em 0em 0em 0em; -font-size: 250%; -line-height:0.85em; -} -@media handheld -{ - p.drop-cap1:first-letter - { - float: none; - margin: 0; - font-size: 100%; - } -} - - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - -blockquote {font-size: 90%;} - -.center {text-align: center;} - -.right {text-align: right;} - -.r1 {text-align: right; - margin-right: 1em;} - -.r2 {text-align: right; - margin-right: 2em;} - -.r4 {text-align: right; - margin-right: 4em;} - -.left1 {text-align: left; - margin-left: 15%;} - -.left2 {text-align: left; - margin-left: 35%;} - -.left4 {text-align: left; - margin-left: 25%;} - -.left5 {text-align: left; - margin-left: 2em;} - -.left7 {text-align: left; - margin-left: 3em;} - -.left6 {text-align: left; - margin-left: 40%;} - -.smcap {font-variant: small-caps;} - -.left { text-align: left;} - -.xs { font-size: x-small;} - -.sm { font-size: small;} - -.lg { font-size: large;} - -.xl { font-size: x-large;} - -.xxl { font-size: xx-large;} - -.smaller {font-size: 90%; } - -.nobreak {page-break-before: avoid;} - -.nowrap {white-space: nowrap; } - -.gesperrt -{ - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -em.gesperrt -{ - font-style: normal; -} - -/* Images */ - -img {max-width: 100%; height: auto;} - -.figcenter { - margin: auto; - text-align: center; -} - -.figright { - float: right; - clear: right; - margin-left: 1em; - margin-bottom: - 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; -} - -.figleft { - float: left; - clear: left; - margin-left: 1em; - margin-bottom: - 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; -} - -/* Footnotes */ -.footnotes {border: dashed 1px;} - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -/* Poetry */ - -.poetry-container -{ -text-align: center; -font-size: 90%; -} - -.poetry -{ -display: inline-block; -text-align: left; -margin-left: 2.5em; -line-height: 100%; -} - -@media handheld -{ - .poetry - { - display: block; - margin-left: 1.5em; - } -} - -.poetry .stanza -{ -margin: 1em 0em 1em 1em; -} - -.poetry .ileft {margin-left: -.4em;} -.poetry .i1 {margin-left: 1em;} -.poetry .i4 {margin-left: 4em;} - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; } - -/* Add new CSS */ -.family-tree {white-space: pre; font-family: monospace;} - </style> - </head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Life and Works of Joseph Wright, A.R.A, commonly called "Wright of Derby", by William Bemrose</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Life and Works of Joseph Wright, A.R.A, commonly called "Wright of Derby"</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: William Bemrose</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Illustrator: F. Seymour Haden</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Contributor: Cosmo Monkhouse</div> - -<div style='display:block; margin:1em 0'>Release Date: September 1, 2021 [eBook #66201]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Karin Spence, Tim Lindell and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE LIFE AND WORKS OF JOSEPH WRIGHT, A.R.A, COMMONLY CALLED "WRIGHT OF DERBY" ***</div> - -<p id="half-title" class="p4 sm p-left">THE LIFE AND WORKS<br /> - -<span class="xs">OF</span><br /> - -<span class="lg">JOSEPH WRIGHT, A.R.A.,</span><br /> - -<span class="xs">COMMONLY CALLED</span><br /> - -<span class="sm">“WRIGHT OF DERBY.”</span></p> - - <div class="figright" id="i_001a" style="width: 7em;"> - <img - class="p0" - src="images/i_001a.jpg" - alt="" /> - </div> - -<p class="p1 left1"><i>No.</i> 292</p> - -<div class="chapter"> - -<p class="center p-left p6 sm">PORTRAIT OF JOSEPH WRIGHT.</p></div> - -<p class="center p-left sm"><i>Original picture in the possession of the Hon. Mrs. Griffiths.</i></p> - -<hr class="r15" /> - -<p class="center p-left sm"><i>The Vignette of Joseph Wright on the Title Page is reproduced from the -Original Picture in the National Portrait Gallery.</i>]</p> - -<div class="chapter"> - - <div class="figcenter" id="i_frontispiece"> - <img - class="p2" - src="images/i_frontispiece.jpg" - alt="" /> - </div> -</div> - -<div class="chapter"> - -<h1><span class="sm">THE</span><br /> - -<span class="lg">LIFE AND WORKS</span><br /> - -<span class="xs">OF</span><br /> - -<span class="smcap xxl">Joseph Wright, a.r.a.</span>,<br /> - -<span class="xs">COMMONLY CALLED</span><br /> - -<span class="xl">“WRIGHT OF DERBY.”</span></h1></div> - - <div class="figcenter" id="i_title" style="width: 7em;"> - <img - class="p0" - src="images/i_title.jpg" - alt="" /> - </div> - -<p class="smcap center p-left gesperrt p2">By WILLIAM BEMROSE,</p> - -<p class="center p-left xs p2">AUTHOR OF “A MANUAL OF WOOD CARVING,” ETC.</p> - -<p class="center p-left sm p2 gesperrt">WITH A PREFACE BY COSMO MONKHOUSE.</p> - -<p class="center p-left xs p2"><i>ILLUSTRATED WITH TWO ETCHINGS BY MR. F. SEYMOUR HADEN, AND OTHER -PLATES AND WOODCUTS.</i></p> - -<p class="center p-left sm p4"><b>London:</b><br /> - -BEMROSE & SONS, 23, OLD BAILEY;<br /> - -AND DERBY.<br /> - -1885.</p> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p></div> - - -<h2>PREFACE.</h2> - -<div> -<img class="drop-cap" src="images/drop-t.jpg" alt="" /> -</div> - -<p class="drop-cap">THE name of Joseph Wright, of Derby, once of high repute among English -Artists, has, during the last half-century and more, sunk, altogether -undeservedly, into a state of semi-oblivion. The Exhibition at Derby -in 1883 did, indeed, something to restore its fame, and it is to be -hoped that the present work may do yet more. Both book and exhibition -owe their existence mainly to the exertions of Mr. Bemrose, who in this -matter may be said to have been moved by a triple love—the love of -art, the love of family, and the love of locality. By his kindness I -am allowed here to aid in doing justice to an artist of whom not only -Derby, but England, should be proud.</p> - -<p>Even if such a feat were possible, I should have no wish to compare -accurately the merits of Wright with those of his forerunners and -contemporaries. It will, however, be generally acknowledged that -between such names as Hogarth, Reynolds, Gainsborough, and Wilson, and -such as West, Northcote, Barry, and Hamilton, there is a gap—sensibly -to be felt. In this gap, but nearer to the greater than to the lesser -men, a place has of late years been found for Romney. It is but a -modest claim for Wright that the same distinction should be accorded to -him.</p> - -<p>As a painter, his method, in relation to that of Reynolds and -Gainsborough, may be said to have been old-fashioned. His pure, precise -touches, his level surface, and clear enamelled colours, have not, -indeed, the variety of texture or the inspired freedom of a Franz -Hals. His practice was nearer to that of Van der Helst, and a host of -other illustrious artists to whom clear, clean, work was dear. Through -Kneller, and Hogarth, and Hudson, it came to him from Holland; and if -he did not reform it, he mastered it, and left his mark upon it. As a -colourist, he was scarcely an innovator; but he was still less of a -copyist. In this and most other respects a “naturalist,” he did not -allow a preference for certain harmonies to dominate his work; but -though his colour missed the charm of inspiration, it never failed in -harmony. He<span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span> had the colour sense, and a command of the whole scale. -In his candle-light pieces the prevailing hues were determined by his -subject; but the way in which he united the blazing reds and yellows -of the central glare to the rich browns of his transparent shadows, -warmed and cooled these shadows with gleams of red coat and glimmers -of blue sash and white dress, and from the ruddy glow of the chamber -to the cool night outside, led the eye, untired, showed rare taste, -as well as skill. If we take his portraits by ordinary light, we find -the same fine power. The group of Mr. Newton’s children, with its blue -boy, its olive-green boy, and its girl in white and gold, set off with -rich green foliage and clusters of ripe cherries, is a masterpiece -of colour. In these daylight portraits, all the favourite colours -of the dress of the period are introduced and reconciled. The hues -and textures of the buff waistcoat, the “nankeen” breeches, the puce -slip, the cinnamon coat, and the pink shoes, are imitated with the -same sure skill, the same artistic impartiality. Only in regard to one -colour do we find a decided preference, and this is neither the blue -of Gainsborough nor the red of Reynolds, but what may be called the -green of Wright. Probably no other artist has treated this colour with -such variety. It tinges those bladders of which he was so fond; we -find it lightly in the stone-coloured coat of Mr. Cheslyn, and deeply -in the arm of his chair; in pale cucumber the artist robed his pitiful -“Maria”; and from that fine picture of himself in the National Portrait -Gallery we learn that it was green that he elected to wear in his youth -when he wished to look particularly spruce.</p> - -<p>Of his effects of artificial light there is the less need to speak, -since what reputation he now preserves is founded upon them. The -engravings after Wright by Earlom, J. R. Smith, Val. Green, Pether, -and others, are still sought after, and the “Air Pump” is in the -National Gallery for all who wish to see. It may, however, be doubted -whether due recognition has, as yet, been given to the largeness of -design and the dignified simplicity of pose and gesture which lend an -almost classic style to such pictures as “The Orrery,” “The Air Pump,” -and “The Gladiator.” The Exhibition of 1883, while it confirmed -the reputation of such pictures, showed also that his rank as a -portrait painter was much higher than was supposed. In this branch of -art we find him submitting himself to his subject, and seeking rather -to express than to adorn it. He brings you, as few artists do, into -the presence of his sitters. As if alone and at ease, unconscious of -observation, they, whether men, women, or children, are all engaged -with their own thoughts and employments, just as they might have been -seen any day in library or garden. Many men of celebrity, not only -local, he painted—Arkwright and Whitehurst, Darwin and Strutt; but -the charm of his portraits does not depend on the fame of the sitter, -but on the power of the artist to seize a distinct individuality, -and to make each likeness for ever interesting as an authentic image -of a fellow-man. Unsophisticated by fashion or affectation, Wright’s -portraits are history in its simplest and truest form.</p> - -<p>Of the pure charm of his children, some of the illustrations to this -volume, especially Mr. Seymour Haden’s painter-like etching of the -“Twins,” will speak. Sir Joshua painted children with more spirit and -with a livelier eye for fleeting charms of expression; but no artist -has painted them more freshly and truly than Wright. Another admirably -suggestive<span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span> etching by Mr. Haden shows us the elegance of mien and -grace of sentiment which he could infuse into his more poetical -designs. His versatility was remarkable; but his culture, partly, -perhaps, on account of his secluded life, partly from his ill-health, -left many of his faculties undeveloped, and his imagination was crossed -by a vein of ingenuity which made him delight rather in resolving -problems than in indulging fancy. Nevertheless, the “Minstrel” and the -“Maria” are as good reflections as exist of that somewhat thin but -elegant strain of poetic sentiment which was in vogue in his day. He -has in these pictures preserved its gentleness and grace without its -falseness. A deeper note of pathos (and pathos unstrained) is touched -in the once famous “Dead Soldier.” In his “Death and the Woodman” we -find extreme terror depicted with all the force of the most modern -realist; and if he did not—(who did?)—prove himself equal to the -interpretation of Shakespeare, there is in Boydell’s Gallery no finer -head than that of his “Prospero.”</p> - -<p>It will seem strange to many that Wright should in his day have ranked -even higher as a landscape painter than as a painter of men, but his -fireworks and conflagration effects were a novelty, and were executed -with a skill which must have then seemed astonishing. Now, perhaps, -even if they were done with the superior genius of a Turner, we should -not care overmuch for them. His more ordinary scenes from nature were -sometimes almost as good as Wilson’s, but generally wanted the warmth -and the air of that fine artist, and his composition was apt to be too -palpably ingenious.</p> - -<p>Nevertheless, all abatement made, he was an original and able landscape -painter, and when we add this to his other claims, and remember how -thoroughly sincere his art was, how distinct his personality, it seems -hard that the latest History of English Art should not even mention -his name. True, it was written by a foreigner; and it is probable that -if M. Chesneau had visited Derby two years ago he would have awarded -Wright an honourable place among those artists whom he calls the Old -Masters of England.</p> - -<p class="r1">COSMO MONKHOUSE.</p> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p></div> - - -<h2><a name="CONTENTS" id="CONTENTS">CONTENTS.</a></h2> - -<table summary="contents" class="sm"> - <tr> - <th></th> - <th class="pag">PAGE</th> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER I.</td> - </tr> - - <tr> - <td class="smcap">The Family of Wright</td> - <td class="pag"><a href="#Page_1">1</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER II.</td> - </tr> - - <tr> - <td class="smcap">Early Life.—Mechanical Pursuits.—Aspirations after Art.—Love -of Music and Society.—Studies under Hudson.—Returns to -Derby.—Again Studies under Hudson</td> - <td class="pag"><a href="#Page_6">6</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER III.</td> - </tr> - - <tr> - <td class="smcap">Candle-Light Subjects.—“The Gladiator” Picture.—Commences to -Paint Landscapes in 1772.—List of Pictures Exhibited at the Society -of Artists’ Rooms.—List of Pictures Exhibited at the Royal -Academy.—Wright Holds an Exhibition in 1785, of his Own Works, in -London.—His Generosity in Giving Pictures to his Friends.—Is a -Pioneer in Water-Colour Painting</td> - <td class="pag"><a href="#Page_11">11</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER IV.</td> - </tr> - - <tr> - <td class="smcap">Wright Marries and Visits Italy.—Letters.—Extracts from -Diary.—Birth of his Daughter, Anna Romana, in Rome.—Influence of -the Old Masters</td> - <td class="pag"><a href="#Page_27">27</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER V.</td> - </tr> - - <tr> - <td class="smcap">The Bishop and the Painter.—Settles at Bath.—Letter to his -Sister “Nancy.”—Prices of Portraits.—Wright’s Method of Making up -his Palette.—Returns to Derby.—Lodges with the Eleys.—Removes to -St. Helen’s.—Wilson and Wright.—Anecdotes</td> - <td class="pag"><a href="#Page_43">43</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER VI.</td> - </tr> - - <tr> - <td class="smcap">Wright’s Secession from the Royal Academy.—J. L. Philips.—The -Messrs. Redgrave’s Criticisms on the Secession and upon Wright’s -Works.—Hayley’s Poem.—Anthony Pasquin.—Letters from Wright to -<span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span>J. L. Philips.—The “Air-Pump” Picture</td> - <td class="pag"><a href="#Page_57">57</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER VII.</td> - </tr> - - <tr> - <td class="smcap">Mention of some Important Pictures.—The Custom House -Authorities and “The Captive” Picture.—The “Dead Soldier” and Heath -the Engraver.—“Destruction of the Floating Batteries off -Gibraltar.”—“The Orrery.”—Earl Ferrers as a -Patron.—Mortimer.—Peter Pindar.—Dr. Darwin.—Anna -Seward.—Wedgwood.—Bentley.—“The Alchymist” Picture.—Hayley the -Poet.—Thos. A. Hayley the Sculptor</td> - <td class="pag"><a href="#Page_69">69</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER VIII.</td> - </tr> - - <tr> - <td class="smcap">Correspondence of Wright with Mr. Daulby and Mr. J. L. -Philips.—The Shakespeare Gallery Pictures.—Dispute About Prices</td> - <td class="pag"><a href="#Page_85">85</a></td> - </tr> - - <tr> - <td class="ctr" colspan="2">CHAPTER IX.</td> - </tr> - - <tr> - <td class="smcap">Death of Mrs. Wright.—He Removes to Queen Street, Derby.—His -Last Illness and Death.—Mr. J. Leigh Philips on the Character of -Wright.—Sale of his Pictures in London and Derby.—Letters from -J. Holland and Rev. Thos. Gisborne</td> - <td class="pag"><a href="#Page_102">102</a></td> - </tr> - - <tr> - <td class="ctr" colspan="1">APPENDIX.</td> - <td class="pag"><a href="#Page_116">116</a></td> - </tr> -</table> - -<hr class="chap" /> - -<div class="chapter"> - -<h2>LIST OF PLATES.</h2></div> - -<table summary="plates" class="sm"> - - <tr> - <td><span class="smcap">Portrait of Joseph Wright.</span> <i>Reproduced by Messrs. A. & W.</i> -<i>Dawson’s Positive Etching process</i></td> - <td class="pag smcap"><a href="#i_frontispiece">Frontispiece</a></td> - </tr> - - <tr> - <th></th> - <th class="pag">TO FACE PAGE</th> - </tr> - - <tr> - <td>“<span class="smcap">The Twins.</span>” <span class="smcap">Ann Haden, afterwards Mrs. Boot; and Sarah -Haden, afterwards Mrs. James Oakes, of the Riddings, -Derbyshire.</span>—<i>Etched by Mr. F. Seymour Haden</i></td> - <td class="pag"><a href="#i_010fp">12</a></td> - </tr> - - <tr> - <td>“<span class="smcap">Maria.</span>”—<i>From Sterne’s “Sentimental Journey.”</i> -<i>Reproduced by Messrs. A. & W. Dawson’s Positive Etching</i> -<i>process</i></td> - <td class="pag"><a href="#i_026fp">26</a></td> - </tr> - - <tr> - <td><span class="smcap">Conversation Piece. Three Children of Richard Arkwright, -Elizabeth (afterwards married to Francis Hurt), John, and Joseph.</span> -<i>Reproduced by Messrs. A. & W. Dawson’s Positive Etching -process</i></td> - <td class="pag"><a href="#i_042fp">42</a></td> - </tr> - - <tr> - <td><span class="smcap">Joseph and Harriet, Two of Wright’s Children</span></td> - <td class="pag"><a href="#i_056fp">56</a></td> - </tr> - - <tr> - <td>“<span class="smcap">Edwin.</span>” <span class="smcap">Mr. Thomas Haden, of Derby, sat for this -Picture.</span>—<i>From Dr. Beattie’s “Minstrel.” Etched by Mr. F.</i> -<i>Seymour Haden</i></td> - <td class="pag"><a href="#i_068fp">68</a></td> - </tr> - - <tr> - <td><span class="smcap">Conversation Piece. Three Children, Richard, Robert, and Peter -(Sons of Richard Arkwright).</span> <i>Reproduced by Messrs. A. & W.</i> -<i>Dawson’s Positive Etching process</i></td> - <td class="pag"><a href="#i_084fp">84</a></td> - </tr> -</table> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p></div> - - -<h2>CHAPTER I.</h2> - -<p class="smcap center p-left">The Family of Wright.</p> - -<div> -<img class="drop-cap" src="images/drop-j.jpg" alt="" /> -</div> - - -<p class="drop-cap">Joseph Wright, like his famous contemporaries, Reynolds and Wilson, -belonged to the great middle-class, as may be seen from the pedigree -appended to this chapter. Wright could reckon amongst his progenitors -men of some consideration in the three professions of Law, Physic, -and Divinity. The family appears to have settled at Seighford, Co. -Stafford, in 1662, and from thence to have migrated, about the year -1673, to Longford in Derbyshire. The earliest ancestor of Wright whom -I have been able to trace is the great-grandfather of the painter, and -I am indebted to the Rev. J. Charles Cox, LL.D., the present Rector -of Enville, Stourbridge, for the following interesting information -respecting him.</p> - -<p>On February 17th, 1662, in the Rectory House of S. Andrew, Holborn, -Bishop Hacket (of Coventry and Lichfield) instituted “Johannes Wright, -clericus,” into the vicarage of Seighford, Staff., vacant through death -of last incumbent, on presentation of the King.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p>On the 5th of the same month, at an ordination held in the Parish -Church of S. Andrew, Holborn, by the same Bishop Hacket, “Johēs Wright, -e Colleg, Dublin, in Regno Hiberiæ,” was ordained priest.</p> - -<p>On September 12th, 1671, Bishop Wood instituted Jno. Nash to the -vicarage of Seighford, on the resignation of John Wright.</p> - -<p>On leaving Seighford, the Rev. John Wright became Rector of Longford, -Co. Derby, where he died in 1681. His death is thus recorded in the -Parish Register, “1681. John Wright, rector of Longford, an orthodox -and worthy son. Buried January 10th.”</p> - -<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> - -<p>This exemplary clergyman left a widow and eight children. The maiden -name of the former I have not been able to discover, but her Christian -name was Elizabeth, and those of his surviving children (he had lost -one, Sarah, during her childhood) are written on the back of the -inventory of his goods, thus—</p> - -<ul> - <li>Richard.</li> - <li>John.</li> - <li>Thomas.</li> - <li>Jonathan.</li> - <li>Matthewe.</li> - <li>Elizabeth.</li> - <li>Mary.</li> - <li>Bridget.</li> -</ul> - -<p>Letters of Administration were taken out on the 28th June, 1682, and -some of the items of the inventory are so interesting as to be worth -transcribing. It is to be remarked, in the first place, that his goods -were valued at the low total sum of £205, and that the largest item was -for “corn, wheat, pease, and oates, £44,” from which, and from other -entries, it may be inferred that he farmed his own glebe. Among the -latter may be quoted—</p> - -<table summary="inventory" class="smaller"> - -<tr> - <td>Hay</td> - <td class="right1">£25</td> - <td class="right">6</td> - <td class="right">8</td> - </tr> - -<tr> - <td>2 mares, 1 nagg</td> - <td class="right1">18</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - -<tr> - <td>2 heifers, 4 calves, 6 cows in calf, 3 bullocks</td> - <td class="right1">27</td> - <td class="right">13</td> - <td class="right">4</td> - </tr> - -<tr> - <td>19 sheep and 4 swine</td> - <td class="right1">6</td> - <td class="right">19</td> - <td class="right">4</td> - </tr> -</table> - -<p>Of the modest establishment and simple habits of this country parson -of the 17th century this document affords evidence. His “plate” was -estimated at £5 only, and the same sum was considered sufficient to -represent the value of his “purse and apparell,” while the worth of the -whole furniture of his “parlour,” consisting of “15 chairs, 2 tables, -1 carpet,” is set down at £3. That he was studious, as well as simple, -is attested by the comparatively large valuation of the contents of his -“studdy.” These were “one desk and lock, and shelves and books,” which -were assessed at £30 4s.—a sum exceeding the supposed equivalent in -money of the entire furniture of the Rectory. This assertion I must -ask my readers to take upon trust, as the inventory of the contents of -the kitchen, dairy, brewhouse, and five upper chambers is scarcely of -sufficient interest to print <i>in extenso</i>.</p> - -<p>Of the nine children of the Rev. John Wright, of Seighford and -Longford, some information is given in the pedigree; but here we need -concern ourselves only with his sons, Richard and John, from whom -sprang two distinct branches of the family. It is from John that the -subject of our biography is descended, but Richard claims precedence by -right of seniority.</p> - -<p>Of this eldest son, Richard, little is known, except that he was born -at Loaden Hall, (or Leadenhall), Pentridge, Staffordshire, in 1662, -and that he was the father of Richard Wright, M.D., of Derby. This, -the second Richard of this branch, was born in 1702, and was twice -married—firstly, to Dorothy Gell, of Wirksworth, who died childless; -and, secondly, to Frances Wilcockson, of the same place, by whom he -had issue one son and two daughters. One of the daughters, Elizabeth, -died unmarried in 1766, and Mary, the other, became the wife of Captain -John Wilson, R.N., of Tamworth, and died in 1805. The son was named -Richard, after his father, and followed the same profession. The third -Richard in this branch was, like Joseph Wright the painter, the great -grandson of the Rector of Longford, and must not be confounded with -another Dr. Richard Wright, his second cousin, and brother of the<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> -artist. For the sake of distinction he may be called Dr. Richard Wright -of London, where he settled and became distinguished. He was one of the -physicians to S. George’s Hospital, and being a man of high scientific -attainments, and a scholar of some eminence, he was elected a Fellow -of the Royal Society. He married Caroline, only surviving daughter of -Sir James Gray, by whom he had no issue. He collected one of the first -Libraries of his time, which, after his death, was sold by Messrs. T. -and J. Egerton, on Monday, April 23rd, 1787, and eleven following days. -This Library (which numbered 2,824 lots at the sale) consisted of an -elegant and extensive collection of books in every branch of learning; -it was particularly rich in works on History, Physic, Criticism, and -Divinity, and in Greek and Latin Classics. It also included many of the -scarcest editions of the old English Poets, novels, and romances, and a -remarkably singular assemblage of Theatrical literature, including the -rarest productions of the English drama. The dramatic works occupied -two days of the sale, and amongst other rarities were copies of the -first, second, third, and fourth editions of Shakespeare’s works. The -catalogue, a demy 8vo. of 102 pp., forms a good text book for the book -buyer of to-day. Dr. Wright died at his house, in Charles Street, -Grosvenor Square, London, on Saturday the 14th day of October, 1786. -His remains were brought to Derby, and interred in the family vault at -S. Michael’s Church.</p> - -<p>It is now time to turn to the younger branch of the family to which our -artist belonged.</p> - -<p>John, the second son of the Vicar of Seighford, and Rector of Longford, -was born at the former place in the year 1664. He became an attorney, -and established a reputation for integrity which descended to his son. -There is still in the possession of the family a letter, addressed to -him by “the great Lord Chesterfield,” dated April 13, 1704, in which -his Lordship says, “I am much satisfied to find that Mr. Thacker and my -daughter Wotton have employed in their affairs a character from whom -everybody may expect fair dealing.”</p> - -<p>He married Anne Daykene in 1649, and had issue Jane, John, and -Elizabeth. John, the second, was born Jan. 16, 1697, and, like his -father, became an attorney of good repute. From his upright conduct -upon all occasions, he was known by the flattering name of “Equity -Wright.” It is said that when applied to respecting any case which -he thought only required explanation, it was his wont to reconcile -the parties as a friend, without making fee or charge. An attorney of -Derby, speaking of “Equity Wright,” some years after his death, said, -“he might have died very rich, had he acted like the generality of -his profession.” There can be no doubt that he was a thoroughly good -lawyer, for on more than one occasion, when he waited on the celebrated -Sir Eardley Wilmot, of Osmaston, for an opinion, Sir Eardley said to -him, “You are come to throw away a guinea with me, Mr. Wright, for you -know the law as well as I do.” He filled the office of Town Clerk of -Derby, from 1756 to 1765.</p> - -<p>The sisters of “Equity Wright” died unmarried, but he, on September -26, 1728, took to wife a lady named Hannah Brookes, by whom he had -issue three sons and two daughters. John, the eldest, and third of this -name, was born August 29, 1729, and, like his father and grandfather, -became an attorney. He died March 22, 1798. Richard Wright, M.D., the -second son, already mentioned in the account of the elder branch of the -family, was born November 17,<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> 1730, and attained some eminence as a -Physician in his native town, Derby. An old MS. has the following lines -relating to this Richard—</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“Cease, wonders, cease, from this or that,</div> - <div>Since Dr. Wright has changed his hat;</div> - <div>Corners three and wig profound,</div> - <div>He now salutes his friends all round.”</div> - </div> - </div> - </div> - -<p>He married Sarah Wallis, of Derby, by whom he had two daughters, Hannah -and Anne. The latter married James Holworthy, an eminent artist, a -member of the old Society of Painters in Colours, and an intimate -friend of the late J. M. W. Turner, R.A. Mr. Holworthy purchased the -Brookfield Estate near Hathersage, and built Brookfield House. Hannah -died May 13, 1867, unmarried.</p> - - <div class="figcenter" id="i_004" > - <img - class="p0" - src="images/i_004.jpg" - alt="" /> - <p class="p0 center p-left sm">BIRTH-PLACE OF “WRIGHT OF DERBY.”</p> - </div> - -<p class="p2">Joseph, the third son of “Equity Wright,” is the subject of this -biography. His sisters, Hannah, the third child, and Anne Elizabeth, or -“Nancy,” the youngest of the family, died unmarried in the years 1810 -and 1815, respectively.</p> - -<p class="transnote">Transcriber's Note: A plain text copy of the Family Tree can - be found <a href="#Family_Tree">here</a></p> - - <div class="figcenter" id="i_004fp" > - <img - class="p0" - src="images/i_004fp.jpg" - alt="" /> - <p class="center"><a href="images/i_004fp-large.jpg">See larger image</a></p> - <p><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - </div> - -<p>Joseph Wright, the painter, commonly called Wright of Derby, to -distinguish him from another painter of the same surname,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> was born -at Derby on the 3rd of September, 1734, in the house No. 28, Irongate, -and was educated at the Grammar School of that town, under the Rev. Mr. -Almond.</p> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> - -<p>Perhaps the ordinary affix to Wright’s name has to some extent -interfered with his reputation, but the localisation of his fame is -also due to the fact that a great number of his paintings have always -remained in his native county, and in the possession of the families -for which they were painted.</p> - -<p>He was truly “Wright <i>of Derby</i>.” For there he was born and educated, -and with the exception of three and a half years under Hudson, in -London, two years in Italy, and a similar period at Bath, we find -him located at Derby throughout his life. He was, however, well -patronised—perhaps, with the exception of Sir Joshua Reynolds, as much -so as any of his contemporaries, for seldom, if ever, did a painting -of his go into the hands of a dealer, or remain unsold. Respected -and honoured by his townsmen, and enjoying the close intimacy and -friendship of men eminent by their position and distinguished by their -talents in literature and art, he passed his days in the midst of those -he loved, industriously labouring at his profession, although at times -suffering from long periods of nervous depression until his death in -1797.</p> - -<p>Wright’s friend and pupil, Mr. Jno. Moss Tate, of Liverpool, told -a gentleman who called upon him early in this century to see some -paintings by Wright in his possession, that “he was always pleased to -see a Derbyshire man, for that county had produced three most eminent -men in the sister arts—Chantrey, the sculptor, Wright, the painter, -and John Harrison, the singer.”</p> - -<p>It is seldom that a better opportunity is found of obtaining a clear -insight into the working and every-day life of an artist, than that -afforded by the material collected for the present volume. This -consists principally of letters written, and memoranda made, long years -ago, and numerous notes by the artist himself. Most of the last are -contained in a book in which he carefully recorded the pictures he -painted, the prices he obtained for them, and the names of his patrons; -in it he was also wont to jot down memoranda (now full of interest) -relating to his family and private concerns. Personal and other relics, -religiously preserved by relatives, and handed down to the present day, -have also assisted in bringing before the writer a vivid picture of the -man and his doings.</p> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p></div> - - -<h2>CHAPTER II.</h2> - -<blockquote> -<p class="hangingindent"><span class="smcap">Early Life.—Mechanical Pursuits.—Aspirations -after Art.—Love of Music and Society.—Studies under -Hudson.—Returns to Derby.—Again Studies under Hudson.</span></p></blockquote> - -<div> -<img class="drop-cap" src="images/drop-y.jpg" alt="" /> -</div> - -<p class="drop-cap">Young Wright early manifested a taste for mechanics. His brother, -Richard, writing to a friend some years afterwards, thus alludes to -his leisure employments. “At an early time in life he showed great -propensity to knowledge in several mechanical branches; and being of -an active mind, would frequently spend his vacant time from school in -going to different shops to see the men work. When he returned home -he would imitate their works, and compleat them in a masterly manner, -such as joiner’s goods, chests of drawers, clocks, spinning wheels, -guns, etc. His genius afterwards turned to drawing and painting; if he -saw a person once he would draw the outlines of his face so strong as -to be known at sight; making great progress in those branches, he was -determined to pursue those studies for his profession; accordingly his -father, an Attorney-at-Law, enquired of his agents in London, who were -the most eminent masters, and upon enquiry he was recommended to Mr. -Hudson.”</p> - -<p>Having seen a “raree show” at a fair, he considered attentively upon -what principle it could be formed, and having discovered the manner of -placing the glasses, completed a show about three feet high; having -done this, Wright went to the showman and told him he had made a show -like his. The man would not at first believe him, but upon enquiring -how he had made it, and finding it was quite correct, he earnestly -begged that the boy would not tell any one by what means he had -effected it. This show, exhibiting some Italian views, was afterwards -the delight of his children and nieces.</p> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> - -<p>When the Scotch army, under Prince Charles Edward, came to Derby, in -December, 1745, the elder Mr. Wright, father of the painter, took his -wife, two daughters, and Joe, as he was generally called, to Repton, -thinking that the rebels could not cross the Trent, as there was no -bridge there at that time. During the preceding July his two eldest -sons, John and Richard, had been placed at Repton School, under the -Rev. Mr. Ashley. Much to the surprise of the Wrights, three officers -and forty men were quartered in their house at Derby. During the -soldiers’ stay they saw a small gun, with which they were so much -struck as to make enquiries respecting it, and upon being told that -it was made by Master Joseph, “they wished they could see the little -gentleman, they would take him with them, for they were sure he must be -an ingenious boy to make that gun.”</p> - -<p>At Repton, young Wright saw a “Christmas-Piece” which belonged to one -of the boys. For a long time this piece so engrossed his mind that he -could think of nothing else, and he dwelt upon it until he determined -to try to draw. Thus at eleven years of age he took to art, and -gradually left off his mechanical pursuits. This love for mechanics -showed itself later in life, by the introduction of an air pump and an -orrery into two of his principal pictures. He likewise invented a pair -of proportional compasses. These were made of two strips of wood, with -an opening down the middle of each, placed upon each other and united -by a screw, which, moving up and down, fixed the point of the compasses -at any place that was desired. By this instrument Wright was enabled to -accurately enlarge or diminish any drawing.</p> - -<p>His father being averse to his devoting so much time to drawing, -thinking it would never be of use to him, and might withdraw his -attention from more necessary pursuits, young Wright used to draw, -unknown to his friends, in an attic, where he spent much of his spare -time. Having nothing from which to study, he copied the public-house -signs in the town, which at that time exhibited more “pictures” than at -the present day, and it is related of him, that when he had completed -his copy of the sign of “Robin Hood and Little John,” near his father’s -residence, he was highly delighted, as he was likewise when he had -finished the “Buck in the Park.” The “Buck in the Park”—a sign by -which an inn in the town is still known at the present day—means the -arms of the Borough of Derby, which are <i>azure</i>, a buck couchant, -enclosed in park-palings, all <i>proper</i>. His method was, after looking -long and earnestly at the sign, to go home and draw as much as he could -remember of it. When at a loss, he returned and examined the sign, -and then ran back as rapidly as possible, so that he might not lose -the impression produced on his mind, and thus he continued until the -drawing was finished. His mother, noticing his conduct, and wishing -to know why he spent so much time in the attic spoken of, entered it -and discovered his employment. The boy-artist earnestly begged that -she would not tell his father, and this request, fortunately for the -world, was granted. His predilection for art is well illustrated by a -life-size head of Counsellor Noel, in my possession, drawn upon blue -paper in black and white crayons; on the back, in Wright’s handwriting, -“Jos Wright, fecit September 3rd, 1751, Ætat 17. Counsellor Noell. The -head being unfinished I was obliged to leave it so.” There is little -doubt he was in the habit of attending the Courts of Assize with his -father, who was engaged there professionally, and had amused himself by -sketching the counsellor in his wig, but from some cause had not time -to finish it.</p> - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span></p> - -<p>The sketches of his early boyhood show considerable skill and power in -light and shade, and the treatment of drapery, and are thus prophetic -of that command of <i>chiar-oscuro</i> which distinguished the pictures of -his maturity.</p> - -<p>His delight in strong lights and shadows was very conspicuous -throughout his life. He could never pass a blacksmith’s shop, or any -striking lights in the streets, without staying to study them; and the -influence of this early passion of his is seen in a large number of his -paintings, where remarkable fire, candle-light, and atmospheric effects -are rendered with singular power and truth.</p> - -<p>At length his father, finding his decided turn for painting, determined -upon placing him with the most eminent artist of the time; and in 1751, -when Joseph was seventeen years of age, he, after careful enquiry -amongst his friends in London, placed him with Hudson,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> the portrait -painter, with whom he remained as a student for two years. Wright, -however, appears to have soon become dissatisfied with the subjects -which Hudson gave him to copy, which, if we may judge from the studies -of this period still existing—stiff, formal portraits in black and -white chalk upon blue paper—was not to be wondered at; amongst them is -a spirited resemblance of himself, and it is thought probable that the -artist, tired of such copying, amused himself by studying from nature.</p> - -<p>Young Wright, like most young men, was fond of a frolic, but the effect -of a practical joke which he played at Hudson’s effectually cured him -of these mischievous propensities. It appears that the lay-figure at -Hudson’s was upon low wheels, and having tied a piece of string to it, -which he conveyed under the door, Wright, the next morning, whilst the -servant-maid was cleaning the grate, stationed himself at the door, -which was a little open, to amuse himself with her surprise at seeing -it move. Having waited his opportunity, he gently pulled the string, -and when the girl turned to look, suddenly stopped. She took no further -notice of it until he drew it more decidedly steadily forward. She -then earnestly watched its progress, and at last, being convinced that -it was moving, threw down her brush and rushed out of the room, and -would, in her fright, have precipitated herself over the rails of the -stairs, if he had not caught her. He was so much alarmed when he saw -how greatly she was agitated, and thought what would have been the -probable consequence of such a fall, that he determined never again to -indulge in practical jokes, a resolution which he seems never to have -forgotten. This circumstance made such an impression upon his mind, -that he could not hear with patience of any attempt to frighten people, -as “there was no knowing to what consequences it might lead.”</p> - -<p>Upon the expiration of the period for which he had been placed with -Hudson, Wright, at the age of nineteen, returned to Derby, and soon -afterwards painted the portraits of his father and mother, his two -sisters, his brother, and himself. These were probably the first -portraits he painted, as, when they sat to him, he had only—it must -be remembered—been two years at his profession. At this time he also -painted the portraits of many of his friends, and of<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> members of the -principal families in the neighbourhood. Being, however, dissatisfied -with his progress, he returned to London, in 1756, to study under -Hudson for the second time, and remained with him for fifteen months, -often lamenting during that period that he could not obtain better -instruction, there being no master of eminence in England at that time.</p> - -<p>Painting was not Wright’s only pursuit. He was a real lover of music, -and was considered by those able to judge to be a first-rate amateur -performer upon the flute, which he was taught by Tacet. Mr. Denby,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> -the organist at All Saints’ Church, at this time had weekly concerts at -his house, at which Wright played the flute, Burdett (who published a -Map of Derbyshire in 1767) the violoncello, the Rev. Mr. Hope “thorough -bass on the harpsichord,” and the Rev. Mr. Blackwall and Mr. Charles -Denby first and second violins. These were cheerful evenings, and -Wright took a prominent part in the mirth, for, though naturally shy -and retiring, he was of a social and lively disposition. He is said -to have been the life of the party. He also attended the balls and -assemblies<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> in Derby, Newark, Chesterfield, and other places, and -from his handsome person and pleasant manners was a general favourite. -An old inhabitant of Derby, Mr. Haden, used to relate that Wright -once asked him whether he should teach him to draw, or to play on the -flute, and that he foolishly chose the latter. Wright, he said, was -a very pleasant master, who held the agreeable theory that Madeira -was the best medicine for the flute, and never gave him a lesson -without ordering in a bottle of it. Mrs. Cade (Wright’s daughter) has -related that he used to play upon the flute in the evening, after he -had prepared his palette for the next day; and that the Rev. Thomas -Gisborne (who then resided in St. Helen’s House, at the top of Bridge -Gate, and afterwards at Yoxall Lodge, Needwood Forest) was in the habit -of drawing with him in the morning, and playing upon the flute with him -in the evening. She also recollected going with him to Darley Grove, -adjoining St. Helen’s, where he delighted to hear the echoes to his -flute.</p> - -<p>After Wright’s death, there was found a large box containing music for -the flute, written very neatly by himself, which at last came to the -ignominious fate of being used by the servants for lighting the fires.</p> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> - -<p>An early memorandum of Wright’s states:—“My Father paid Sandys the -colourman for me Mch 1759, £15. 17. 0. In March 1762 paid ditto £20. -14. 0. Lent me a guinea to send W<sup>ri.</sup> Paid for cloth for shirts when -I was in London £4. 4. 0. For a German Flute £3. 3. 0.”</p> - -<p>Having soon attained some local celebrity, Wright was allowed a room -at the Town Hall when he wished to exhibit his pictures, and could -not show them to advantage at his father’s. It was in this room that -he painted the portraits of the members of the Derby Hunt, which now -hang in Markeaton Hall, where they were placed by Francis Noel Clarke -Mundy, the poet. This gentleman, from an elegy written by him in 1765, -appears to have been “The life, the leader of the hunter train,” and -in Wright’s MS. book occurs the following memorandum in connection -with a portrait of one of the Mundy family: “The letter in Mr. Mundy’s -picture to be dated from Amberley, in Sussex. It must conclude with -‘your friend Harry Deckham,’ not Henry. The case upon the letter table, -directed to Francis Mundy, Esq., at Markeaton, near Derby.” Amongst -the portraits known to have been exhibited at the Town Hall may be -mentioned that of “Old John,” head waiter at the King’s Head Inn, which -was raffled for ten guineas, and won by Danl. Parker Coke, Esq. This -picture, which represents “Old John,” with roses in the button-hole -of his coat, and a smiling and intelligent face under his wig, is now -in the possession of Lord Belper. Another local character similarly -distinguished, was Thomas Oliver, beadle at All Saints’ Church, -whose attentive attitude, whilst Mr. Winter or his curate, Mr. Hope, -preached, had caught the artist’s eye. The interest thus excited led -the artist to obtain a sitting from the beadle, and the picture which -resulted was exhibited at the Town Hall. Wright made a crayon drawing -of this portrait, and gave it to Mr. Denby.</p> - -<div class="chapter"> - -<p class="center p-left p6 sm">“THE TWINS.”</p></div> - -<p class="smcap center p-left sm">Etched by Mr. F. Seymour Haden.</p> - -<p class="smcap center p-left sm">Ann Haden, afterwards Mrs. Boot; and Sarah Haden, afterwards Mrs. -James Oakes, of the Riddings, Derbyshire.</p> - -<p class="center p-left sm"><i>Original picture in the possession of Mr. James Oakes.</i></p> - -<p class="center p-left sm p6"><i>The Plate of “The Twins” was especially etched for this work, and -presented to the Author by Mr. F. Seymour Haden.</i></p> - -<div class="chapter"> - - <div class="figcenter" id="i_010fp" > - <img - class="p2" - src="images/i_010fp.jpg" - alt="" /> - </div> -</div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p></div> - - -<h2>CHAPTER III.</h2> - -<blockquote> - -<p class="smcap hangingindent">Candle-Light Subjects.—“The Gladiator” -Picture.—Commences to Paint Landscapes in 1772.—List of -Pictures Exhibited at the Society of Artists’ Rooms.—List -of Pictures Exhibited at the Royal Academy.—Wright holds an -Exhibition in 1785, of his Own Works, in London.—Wright’s -Generosity in Giving Pictures to his Friends.—Wright, a -Pioneer in Water-Colour Painting.</p></blockquote> - -<div> -<img class="drop-cap" src="images/drop-i.jpg" alt="" /> -</div> - -<p class="drop-cap">It is interesting to note in the life of an artist who showed such -varied talents, at what periods he entered on the different walks of -art, which he trod with such success. We know that Wright painted -portraits only whilst under Hudson’s tuition; and even for several -years after his second period of study under that master, which was -during the year 1756, he seems to have attempted nothing else. We are -also able to all but fix the dates of many of his early candle-light -and historical subjects, because they were exhibited at the rooms of -the Society of Artists.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> The first of these appeared in 1765, and was -called “Three Persons Viewing the Gladiator<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> by Candle-light.” In the -same way we can fix approximately the date of his first landscape as -1772.</p> - -<p>From such records we may also conclude with some certainty that it was -Wright’s own innate genius that impelled him to study those effects of -artificial light with which his name is so strongly associated, for -hitherto no English painter had attempted them, and he did not leave -England till 1773.</p> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> - -<p>His visit to Italy, in 1774–5, where he saw a grand Eruption of -Vesuvius, merely turned his natural predilection for strange effects of -light into a new channel. This eruption may be said to have been the -father of his numerous landscapes of volcanoes and conflagrations. Of -the eruption alone he painted about eighteen pictures, each of which -was treated in a manner differing more or less from the rest. In his -striking pictures of sun and moonlight, which also began about this -time, we see the same love for unusual and powerful effects of light.</p> - -<p>From a letter in the possession of Lord Lansdowne, the owner of “The -Gladiator,” which, by the courtesy of his lordship, I am able to -transcribe, we learn that this picture was not sold until the year -1772. In Wright’s MS. book the price named is £40. and Dr. Bates is -entered as the purchaser. This price must be an error, or only a part -payment, as will be seen from the letter, which is from Wright to Dr. -Bates, and was sold with the picture. There is little doubt that this -was the picture mentioned in the letter, although it is not referred to -by name.</p> - -<blockquote> - -<p class="r1">“Derby, 12th September, 1772.</p> - -<p class="smcap">“Dear Sir,</p> - -<p>“Last night I received a letter from our friend Burdett, -whereby I understood you consent to give me £130 for the -picture. I must let it go at that price, as I am under a -necessity of immediately raising £1,200 on a mortgage, and -have only £1,000 by me, it was on this account I offered it to -you at 125 guineas. I shall say no more on the subject, only -desire for my interest, you will never mention what you gave -for it, as it might much injure me in the future sale of my -pictures, and when I send you a receipt for the money I shall -acknowledge a greater sum.</p> - -<p>“I wish it may be convenient for you to remit me the money -immediately, as Michaelmas is the time fixed for the payment -of the money, and though I have lent more money than I now -want, upon the person’s bare note, and without interest, -I know not a man that would lend me a hundred pounds -without high interest and good security. You see how I am -circumstanced, and have no doubt but you’ll immediately assist -me with the money if you can. I think myself much obliged to -you for offering me the assistance any of your pictures can -give me.</p> - -<p>“I am, with compliments to Mrs. Bates, though not known,</p> - -<p class="left1">“Dear sir,</p> - -<p class="left2">“Your affectionate friend,</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<p>Upon examining the following list of his pictures exhibited at the -Rooms of the Society of Artists, it will be noticed that for ten years, -from 1765 to 1775, only one landscape is mentioned; but on his return -from Italy, in 1776, he exhibited his first picture of Vesuvius, and -from this date he evidently paid much more attention to landscape, and -almost ceased to paint candle-light effects, which, up to that date, -had, with portraiture, almost entirely engrossed his pencil.</p> - -<p>Whilst in Italy he made many landscape sketches from nature, which -supplied him on his return to England with the greater part of the -material for the landscapes he produced from 1775<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> to within a few -years of his death, although these were interspersed with scenes from -Scotland, Derbyshire, and the Lake District.</p> - -<p>Wright was at an early period elected a member of the Society of -Artists, to whose exhibitions in the Spring Gardens he contributed -many years, as will be seen from the following lists extracted from -the catalogues. It is to be regretted that at this date it was not -the custom to mention in catalogues the names of the persons whose -portraits were exhibited, and in consequence of the lapse of time, it -is now often impossible to identify them.</p> - - -<h3 class="smcap top">Pictures Exhibited by Joseph Wright at the Exhibitions of the -Society of Artists of Great Britain.</h3> - -<table summary="pictures" class="sm pictures"> - <tr> - <td class="ctr" colspan="3">1765.</td> - </tr> - - - <tr> - <td class="ctr1">No.</td> - <td class="right2">163.</td> - <td>Three Persons Viewing the Gladiator by Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">164.</td> - <td>A Conversation Piece.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1766.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">195.</td> - <td>A Philosopher giving that lecture on the Orrery, in which -a lamp is put in the place of the sun.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">196.</td> - <td>A Portrait of a Lady, whole length.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">197.</td> - <td>Head of a Gentleman.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1767.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">188.</td> - <td>Portrait of a Gentleman, whole length.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">189.</td> - <td>A Small Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">190.</td> - <td>Ditto, its Companion.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1768.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">193.</td> - <td>An Experiment on a Bird in the Air Pump.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">194.</td> - <td>Two Candle-lights.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1769.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">196.</td> - <td>A Philosopher by Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">197.</td> - <td>An Academy by Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">198.</td> - <td>A Lady.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">199.</td> - <td>A Conversation.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1770.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">154.</td> - <td>Portrait of a Gentleman, Painted by an Artificial Light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">155.</td> - <td>A Conversation of Girls.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">303.</td> - <td>Child with a Dog.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1771.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">200.</td> - <td>A Lady and Child, whole length.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">201.</td> - <td>A Blacksmith’s Shop.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">202.</td> - <td>A Small Ditto, viewed from without.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">203.</td> - <td>A Small Conversation.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">204.</td> - <td>Portrait of an Officer.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">205.</td> - <td>A Young Lady Undressing by Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">206.</td> - <td>An Old Woman Knitting by Candle-light.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">209.</td> - <td> The Alchymist, in Search of the Philosopher’s Stone, -discovers Phosphorus, and prays for the successful -conclusion of his operation, as was the custom of the -<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>Ancient Chymical Astrologers.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1772.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">369.</td> - <td>A Portrait of an Officer, small, whole length.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">370.</td> - <td>A Portrait of an Officer, small, whole length.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">371.</td> - <td>A Landscape.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">372.</td> - <td>A Blacksmith’s Shop.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">373.</td> - <td>An Iron Forge.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">417.</td> - <td>A Moonlight.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1773.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">370.</td> - <td>A Captive King.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">371.</td> - <td>An Iron Forge, viewed from without.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">372.</td> - <td>An Earth Stopper on the Banks of the Derwent.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1774.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">321.</td> - <td>The Old Man and Death.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1775.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">223.</td> - <td>A Smith’s Forge, altered from his first design.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1776.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">147.</td> - <td>An Eruption of Mount Vesuvius.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">148.</td> - <td>The Annual Girandola, at the Castle of St. Angelo, at Rome.</td> - </tr> - - <tr> - <td class="ctr" colspan="3">1791.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">291.</td> - <td>Antigonus in the Storm. (From the “Winter’s Tale.”)</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">220.</td> - <td>Romeo<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and Juliet. The Tomb Scene. “Noise again! -then I’ll be brief.”</td> - </tr> - - <tr> - <td class="ctr1"></td> - <td class="right2"></td> - <td class="cht1">N.B.—The above Pictures were exhibited last year in the -Academy; but having been placed in an unfortunate position, -owing (as Mr. Wright supposes) to their having arrived too -late in London, and have since received alterations, he is -desirous they should again meet the public eye.</td> - </tr> - - <tr> - <td class="ctr1a">„</td> - <td class="right2a">221.</td> - <td class="top">Inside an Italian Stable.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">222.</td> - <td>Part of the Colosseum.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">223.</td> - <td>Moonlight, View on the Lake Albano, Italy, Monte Jora in the distance.</td> - </tr> - - <tr> - <td class="ctr1"></td> - <td class="right2"></td> - <td class="right smcap sm">Total, 43 Pictures.</td> - </tr> -</table> - -<h3 class="smcap top">Pictures Exhibited by Joseph Wright at the Exhibition of the Free -Society of Artists.</h3> - -<table summary="pictures" class="sm pictures"> - - <tr> - <td class="ctr" colspan="3">1783.</td> - </tr> - - <tr> - <td class="ctr1">No.</td> - <td class="right2">4.</td> - <td>Moonlight.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">89.</td> - <td>Boy Blowing a Bladder.</td> - </tr> - - <tr> - <td class="ctr1"></td> - <td class="right2"></td> - <td class="total smcap">Total, 2 Pictures.</td> - </tr> - -</table> - -<p>In 1777, Wright does not appear to have exhibited at all, but in -the next year he commenced to send pictures to the Royal Academy, a -practice he continued with some interruptions until 1794.</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span></p> - - -<h3 class="smcap">Pictures Exhibited by Joseph Wright at the Exhibitions of the Royal -Academy.</h3> - -<table summary="pictures" class="sm pictures"> - -<tr> - <td class="ctr" colspan="3">1778.</td> - </tr> - - <tr> - <td class="ctr1">No.</td> - <td class="right2">357.</td> - <td>An Eruption of Mount Vesuvius, with the Procession of St. -Januarius’s Head.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">358.</td> - <td>A Grotto by the Sea-side, in the Kingdom of Naples, with -Banditti; a Sunset.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">359.</td> - <td>Edwin, from Dr. Beattie’s Minstrel.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">360.</td> - <td>Sterne’s Captive.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">361.</td> - <td>The Girandola, a grand firework exhibited at the Castle of -St. Angelo, in Rome.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">411.</td> - <td>Neptune’s Grotto at Tivoli.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1779.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">358.</td> - <td>The Girandola, or Grand Firework at the Castle of St. -Angelo, in Rome; Companion to the Vesuvius he painted last year.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">359.</td> - <td>Virgil’s Tomb, with the Figure of Scilius Italicus, who -bought an estate enriched with this very tomb. He was -frequent in his visits to this monument of his master.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">360.</td> - <td>Neptune’s Grotto at Tivoli.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">361.</td> - <td>Two Boys, whole length.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1780.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">158.</td> - <td>Eruption of Mount Vesuvius.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">203.</td> - <td>A Cavern, with the Figure of Julia, banished thither by -her grandfather, Augustus.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1781.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">23.</td> - <td>A Philosopher by Lamplight.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">61.</td> - <td>Cavern in the Gulf of Salernum, Sunset.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">100.</td> - <td>Maria, from Sterne, a companion to the Picture of Edwin, -exhibited three years ago.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">112.</td> - <td>Cavern in the Gulf of Salernum, Moonlight.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">181.</td> - <td>Portraits of Three Children.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">224.</td> - <td>Virgil’s Tomb by Moonlight.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">245.</td> - <td>Portrait of a Gentleman.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1782.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">165.</td> - <td>Two Young Gentlemen in the Character of Archers.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">231.</td> - <td>Old Man’s Head, in the character of an Apostle.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1788.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">81.</td> - <td>Mæcena’s Villa at Tivoli.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">83.</td> - <td>Cicero’s Villa, near Salerno.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">96.</td> - <td>View near Mare Chiare, on the shore of Paussillipo.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">98.</td> - <td>The Convent of St. Cosimato, near Vicobaro, and Remains of -the Claudian Aqueduct, on the River Arno.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">234.</td> - <td>View in the Alps, on the side next Italy, in the Duchy of Milan.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1789.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">9.</td> - <td>A Moonlight.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">26.</td> - <td>Cicero’s Villa, an Evening.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">67.</td> - <td>The Prison of the Capitol.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">74.</td> - <td>Ruins of the Colloseo, in Rome.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">87.</td> - <td>A Boy and Girl Engaged with a Bladder.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">107.</td> - <td>Ruins of the Colloseo, in Rome, with Banditti.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">137.</td> - <td>View of Cromford, near Matlock.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">153.</td> - <td>A Girl Blowing a Charcoal Stick.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">236.</td> - <td>A Dead Soldier, his Wife and Child, vide Langhorne’s Poems.<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></td> - </tr> - -<tr> - <td class="ctr" colspan="3">1790.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">1.</td> - <td>Romeo and Juliet, Act V., Scene last.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">221.</td> - <td>Scene from the “Winter’s Tale,” Act iii., latter end of the -sixth scene.</td> - </tr> - -<tr> - <td class="ctr" colspan="3">1794.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">107.</td> - <td>An Eruption of Vesuvius.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">232.</td> - <td>A Lake at Dunkeld, in Scotland, Evening.</td> - </tr> - - <tr> - <td class="ctr1">„</td> - <td class="right2">233.</td> - <td>A Village on Fire.</td> - </tr> - - <tr> - <td class="ctr1"></td> - <td class="right2"></td> - <td class="total smcap">Total, 40 Pictures.</td> - </tr> -</table> - -<p>From the foregoing list of Wright’s contributions to Exhibitions of the -Royal Academy, it will be noticed that he did not send any between the -years 1782 and 1788. This abstention was caused by his resentment at -the conduct of the Academy, in consequence of which he refused the full -diploma which the Royal Academy offered to him in 1784.</p> - -<p>From the following extract from the <i>Athenæum</i> of January 31st, 1885, -it appears that Wright was not the only artist of distinction who at -that period had to complain of the treatment of the Council of the -Royal Academy.</p> - -<p>“In the archives of the Royal Academy is a letter which has special -interest. It is a complaint addressed by Gainsborough to the Council of -the Academy, about the manner in which his most important contribution -to the gathering of 1784 had been treated, being placed in a position, -he says, unbecoming its character as a group of Royal portraits, and -unjust to himself as a R.A. In the end, with several other works -the artist left at the Hanging Committee’s discretion, the picture -was withdrawn, so that the Academy gathering of 1784 comprised no -Gainsborough.</p> - -<p>“The artist abandoned the Academy altogether, and during the four -remaining years of his life, he sent no more pictures.”</p> - -<p>The doors of the Academy being thus practically closed to Wright, he -determined on another plan for bringing his works under public notice. -In 1785 he opened an exhibition, composed of twenty-five of his own -pictures, at Mr. Robins’s Rooms, Covent Garden, London. This is an -early instance of those exhibitions devoted to the compositions of a -single artist which have of late become so frequent. In the catalogue -of it which we are enabled to reprint, it will be noticed that fifteen -out of the twenty-five works exhibited were not for sale.</p> - -<p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p> - - -<p class="center p-left sm">A</p> - -<p class="center p-left xl gesperrt">CATALOGUE</p> - -<p class="center p-left sm gesperrt">OF</p> - -<p class="center p-left xxl gesperrt"><b>PICTURES</b>,</p> - -<p class="center p-left xl">Painted by J. WRIGHT, of Derby,</p> - -<p class="center p-left sm">And <span class="gesperrt">EXHIBITED</span> at</p> - -<p class="center p-left">Mr. <span class="smcap">Robins’s</span> Rooms, (late Langford’s) No. 9, -under the <i>Great Piazza, Covent Garden</i>.</p> - -<hr class="full" /> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>All have their brilliant moments, when alone</div> - <div>They paint, as if some star propitious shone;</div> - <div>Yet then, e’en then the hand but ill conveys</div> - <div>The bolder grace, that in the fancy plays.</div> - <div>Hence, candid critics, this sad truth confest,</div> - <div>Accept what least is bad, and deem it best;</div> - <div>Lament the soul in error’s thraldom held,</div> - <div>Compare life’s span with art’s extensive field;</div> - <div>Know that ere perfect taste matures the mind,</div> - <div>Or perfect practice to that taste be join’d,</div> - <div>Comes age, comes sickness, comes contracting pain,</div> - <div>And chills the warmth of youth in every vein.</div> - <div class="i4"><span class="smcap">Mason’s</span> Translation of Du Fresnoy’s Poem on Painting, -verse 695, &c.</div> - </div> - </div> - </div> - -<hr class="full" /> - -<p class="center p-left lg">1785.</p> - -<p class="center p-left">Printed by <span class="gesperrt">J. BARKER</span>, Russell-Court, Drury-Lane.</p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span></p></div> - - -<p class="center p-left p4">A</p> - -<p class="center p-left lg gesperrt">CATALOGUE.</p> - -<hr class="full" /> - -<p>N. B. <i>Such pictures as are marked with an asterisk (*) are to be -disposed of.</i></p> - -<hr class="full" /> - -<blockquote> - -<p class="center p-left">No. I.</p> - -<p class="p-left">The Lady in Milton’s Comus, verse 221.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>Was I deceiv’d, or did a sable cloud</div> - <div>Turn forth her silver lining on the night?</div> - <div>I did not err, there does a sable cloud</div> - <div>Turn forth her silver lining on the night,</div> - <div>And casts a gleam over this tufted grove.</div> - </div> - </div> - </div> - -<p class="center p-left p2">No. II. *</p> - -<p class="hangingindent">A Companion to the preceding picture. The Widow of an Indian -Chief watching the arms of her deceased husband.</p> - -<p class="hangingindent">This picture is founded on a custom which prevails among some -of the savage tribes in America, where the widow of an eminent -warrior is used to sit the whole day, during the first moon -after his death, under a rude kind of trophy, formed by a -tree lopped<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> and painted; on which the weapons and martial -habiliments of the dead are suspended. She remains in this -situation without shelter, and perseveres in her mournful duty -at the hazard of her own life from the inclemencies of weather.</p> - - -<p class="center p-left p2">No. III. *</p> - -<p class="hangingindent">William and Margaret. From the celebrated ballad in Pierce’s -Reliques of Ancient English Poetry, vol. 3. xvi.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>’Twas at the silent solemn hour</div> - <div class="i1">When night and morning meet,</div> - <div>In glided Margaret’s grimly ghost,</div> - <div class="i1">And stood at William’s feet.</div> - </div> - </div> - </div> - - -<p class="center p-left p2">No. IV. *</p> - -<p class="center p-left">View of the Cascade of Turni in Italy.</p> - - -<p class="center p-left p2">No. V.</p> - -<p class="center p-left">Virgil’s Tomb by moonlight.</p> - - -<p class="center p-left p2">No. VI.</p> - -<p class="center p-left">The Lake of Nemi. A sunset.</p> - - -<p class="center p-left p2">No. VII. *</p> - -<p class="hangingindent">Julia, the daughter of Augustus, and supposed mistress of -Ovid, deploring her exile, by moonlight, in a cavern of the -island to which she was banished.</p> - -<p><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p> - - -<p class="center p-left p2">No. VIII. *</p> - -<p class="hangingindent">The happy meeting of Hero and Leander, after his swimming -across the Hellespont in a tranquil night.</p> - - -<p class="center p-left p2">No. IX. *</p> - -<p class="hangingindent">A Companion to the preceding picture. The Storm in which -Leander was drowned.</p> - - -<p class="center p-left p2">No. X.</p> - -<p class="center p-left">A Landscape. Morning.</p> - - -<p class="center p-left p2">No. XI.</p> - -<p class="center p-left">A Sea Shore. Evening.</p> - - -<p class="center p-left p2">No. XII.</p> - -<p class="center p-left">Matlock High Tor. Moonlight.</p> - - -<p class="center p-left p2">No. XIII.</p> - -<p class="hangingindent">The Maid of Corinth. From Mr. Hayley’s essay on painting, -verse 126, &c.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>O, Love! it was thy glory to impart</div> - <div>Its infant being to this magic art;</div> - <div>Inspir’d by thee, the soft Corinthian maid</div> - <div>Her graceful lover’s sleeping form portray’d;</div> - <div>Her boading heart his near departure knew,</div> - <div>Yet long’d to keep his image in her view;</div> - <div>Pleas’d she beheld the steady shadow fall</div> - <div>By the clear lamp upon the even wall;</div> - <div>The line she trac’d with fond precision true,</div> - <div>And drawing, doated on the form she drew.</div> - </div> - </div> - </div> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> - - -<p class="center p-left p2">No. XIV. *</p> - -<p class="hangingindent">A Companion to the preceding picture. Penelope unravelling her -web, by lamp-light. From Pope’s Homer, the second book of the -Odyssey, verse 99, &c.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>Elusive of the bridal day, she gives</div> - <div>Fond hopes to all, and all with hopes deceives.</div> - <div>Did not the sun thro’ heaven’s wide azure roll’d</div> - <div>For three long years the royal fraud behold,</div> - <div>While she, laborious in delusion, spread</div> - <div>The spacious loom, and mix’d the various thread?</div> - <div>Where, as to life, the wondrous figures rise.</div> - <div>Thus spoke the inventive queen, with artful sighs:</div> - <div>“Tho’ cold in death Ulysses breathes no more,</div> - <div>“Cease yet awhile to urge the bridal hour;</div> - <div>“Cease, till to great Laertes I bequeath</div> - <div>“A talk of grief, his ornaments of death;</div> - <div>“Lest when the Fates his royal ashes claim,</div> - <div>“The Grecian matrons taint my spotless name,</div> - <div>“When he, whom living mighty realms obey’d,</div> - <div>“Shall want in death, a shroud to grace his shade.”</div> - <div>Thus she: at once the generous train complies,</div> - <div>Nor fraud mistrusts in virtue’s fair disguise:</div> - <div>The work she ply’d; but, studious of delay,</div> - <div>By night revers’d the labours of the day;</div> - <div>While thrice the sun his annual journey made,</div> - <div>The conscious lamp the midnight fraud survey’d.</div> - </div> - </div> - </div> - - -<p class="center p-left p2">No. XV.</p> - -<p class="hangingindent">A distant View of Vesuvius from the shore of Posilipo.</p> - -<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> - - -<p class="center p-left p2">No. XVI. *</p> - -<p class="center p-left">The Companion, in the gulf of Salerno.</p> - - -<p class="center p-left p2">No. XVII. *</p> - -<p class="center p-left">A Landscape. Moonlight.</p> - - -<p class="center p-left p2">No XVIII.</p> - -<p class="center p-left">A View in Dovedale. Morning.</p> - - -<p class="center p-left p2">No. XIX.</p> - -<p class="center p-left">Ditto, its Companion. Evening.</p> - - -<p class="center p-left p2">No. XX.</p> - -<p class="center p-left">Portrait of an Artist.</p> - - -<p class="center p-left p2">No. XXI. *</p> - -<p class="center p-left">Guy de Lusignan in Prison.</p> - - -<p class="center p-left p2">No. XXII.</p> - -<p class="center p-left">Portraits of three (of Mr. Newton’s) Children.</p> - - -<p class="center p-left p2">No. XXIII.</p> - -<p class="center p-left">A Wood Scene. Moonlight.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - - -<p class="center p-left p2">No. XXIV. *</p> - -<p class="hangingindent">A View of Gibraltar during the destruction of the Spanish -Floating Batteries, on the 13th of September, 1782.</p> - -<p class="hangingindent">It may be proper to inform the spectator, that the painter’s -original plan was to execute two pictures, as companions to -each other, on this event so glorious to our country. In the -first (which is now exhibited) he has endeavoured to represent -an extensive view of the scenery combined with the action. In -the second (which he hopes to finish hereafter) he proposes -to make the action his principal object, and delineate the -particulars of it more distinctly.</p> - - -<p class="center p-left p2">No. XXV.</p> - -<p class="center p-left">Portrait of a Gentleman.</p> - - -<p class="center p-left p2 gesperrt">FINIS.</p></blockquote> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p></div> - -<p>Wright so far forgave the injury he considered the Royal Academy had -inflicted upon him, as to contribute to their exhibitions in the years -1788, 1789, 1790, and 1794; though from the correspondence printed in -Chapter VI., it will be seen that his paintings were not treated with -much consideration.</p> - -<p>One characteristic worthy of notice in Wright’s portraiture, is -the life-like and liquid look that pervades the eyes; he was also -particularly happy in his treatment of the hands of his sitters, which -are very different to the misshapen forms that often do duty for hands -in paintings by popular artists.</p> - -<p>An exhibition, in which his pictures were an important feature, appears -to have been held in his native town some two years afterwards, for -the <i>Derby Mercury</i>, of October 3, 1787, contains the following -advertisement:—</p> - -<blockquote> - -<p class="center p-left p2 xl gesperrt">EXHIBITION.</p> - -<p class="center p-left p1h">From the numerous and genteel company who have visited this -<i>Exhibition</i>, the Inventor will continue the same</p> - -<p class="center p-left p1h">FOR ONE WEEK LONGER,</p> - -<p class="center p-left p1h">And to the effects already shown will add various others</p> - -<p class="center p-left p1h sm">FROM SOME OF THE</p> - -<p class="center p-left p1h lg">JUSTLY MUCH ADMIRED PAINTINGS OF</p> - -<p class="center p-left xxl">MR. WRIGHT, OF DERBY,</p> - -<p class="center p-left p1h">The effects of which beggar all description, and for which -purpose Mr. Wright has politely sent the Inventor his -Paintings.</p> - -<p class="center p-left p1h">It is hoped none will miss the present and only opportunity of -gratifying their curiosity.</p> - -<p class="center p-left p1h">Admittance from Ten in the morning till One, and from Four -till Eight in the evening, at Mr. Wood’s, Confectioner, in the -Corn Market, at One Shilling ea.</p></blockquote> - -<p>While, however, Wright appears to have had a proper sense of his own -merits as a painter, and not to have lost sight of the advantages of -keeping them before the public, and though on certain occasions he -held out for his price, he was neither conceited nor ungenerous. Of -his liberality sufficient proof is afforded by his numerous gifts -of valuable pictures to individuals among<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> his private friends, and -to persons to whom he thought himself under obligation. In various -instances, these gifts were manifestly disinterested; and that they -were often, and probably always, conferred in a very pleasing manner, -which declined rather than sought the expression of gratitude, the -following records will sufficiently vouch.</p> - -<blockquote> - -<p>“Mr. Hayley to Mrs. Hayley.</p> - -<p class="left3">... “As I love to make you a sharer in every pleasing -occurrence of my life, I cannot let a post depart without -dispatching to you an account of a circumstance which has -given me no little delight. Beridge last night committed a -box to my care, declaring it contained something for me, but -requesting that I would not open it till he arrived here -to-day. After spending an agreeable morning at Hampstead, I -met the dear Physician in Cavendish Square; and while I was -dressing, he displayed his skill as a carpenter in opening -the packing-case. When I came from my dressing-room to the -dining-room, he surprised me with an exquisite picture of -Virgil’s Tomb, by Wright, putting into my hand a letter from -that amiable artist, requesting my acceptance of this poetical -scene, and added, that the splendid frame which contained it -was the gift of Dr. Beridge.”</p></blockquote> - -<p>The following is part of a letter written on the margin of a pencil and -wash sketch of St. Peter’s at Rome, with the Bridge and Tower of St. -Angelo, to someone in Derby, in the year 1774, when Wright was at Rome—</p> - -<p>“The collour’d drawing I will do for you must be upon a larger scale, -and sent by a friend, as I don’t wish to do them as letters, but I -presume the enclos’d sort as sketches of observation, or possibly to -remove any doubt in regard to particular objects, as I take them as -faithfully as I can, and shall do the others also. In the meantime I -beg you will make no scruple in mentioning any particular objects that -you wish, as I have justly every reason to have the greatest esteem for -you, and having experienced your sincerity and friendship, I beg you -will mention no more about the prices.”</p> - -<p>In the Exhibition of Wright’s works, held in the Art Gallery, at Derby, -in 1883, was the latest portrait<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> of the artist. This picture was -also a gift, and was painted at Yoxall Lodge, the residence of his -intimate friend, the Rev. T. Gisborne, when Wright was there on a -visit. On the back of the picture, in Wright’s handwriting, is the -following:—</p> - -<p class="center p-left">“JOSEPHUS WRIGHT,</p> - -<p class="center p-left">An. Dom. 1793</p> - -<p class="center p-left">Ætat 59</p> - -<p class="center p-left">Manu propria</p> - -<p class="center p-left">Tabulam hanc</p> - -<p class="center p-left">Amico suo T. G.</p> - -<p class="center p-left">Dono dedit</p> - -<p class="center p-left">Pictor.”</p> - -<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p> - -<p>At Ogston Hall another inscription of the same class is to be seen, in -Wright’s handwriting, on the back of a portrait of John Holland, who -was a very intimate friend, viz.:</p> - -<p>“John Holland, painted by his friend, Joseph Wright, <span class="smcap">A.D.</span>, -1787.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“‘However odd the phyz pourtrayed,</div> - <div>What artist has a better made.’”</div> - </div> - </div> - </div> - -<p>Again, on the back of a landscape, now in the possession of Godfrey -Wedgwood, Esq., is written the following:—</p> - -<p>“The gift of Joseph Wright to his friend Jos. Wedgwood, Esq., the -patron and encourager of living artists, 1787.”</p> - -<p>In the Appendix, amongst the list of pictures, will be found many more -instances of such gifts. Thus: “Given to my friend Tate.” “For Mr. -Hayley. Mem. not paid.” etc.</p> - -<p>As a Water-colour painter of the English school, Wright must be ranked -as one of the earliest. Whilst he largely used chalk, pencil, and -oils in his sketches, he also used Water-colours in not a few of his -Italian sketches taken in 1774. He evidently little thought then, that -Water-colour painting would advance and take the high position as an -art that it occupies to-day, when he, as a pioneer, made those early -Water-colour sketches; for he, in his correspondence, remarks, “1795. -I am glad to hear my friend, Tate, succeeded so well in Water-colours. -I daresay when the application of them is well understood it is -pleasant work.” “1793. I am sorry I cannot fulfil my engagement with -Mr. Moreland, Mr. Gisborne does not think himself at liberty to divulge -Smith’s mode of washing with Water-colours.”</p> - -<p>In 1795 he writes, “I am glad to hear my good friend (Tate) has laid -hold of his brushes again. Paper and camel hair pencils are better -adapted to the amusement of ladies than the pursuit of an artist.”</p> - -<p>The Messrs. Redgrave, in their “Century of Painters,” say, “We have -heard of, but not seen, works in this medium by Wright, of Derby.” It -is gratifying to know that there are in existence some interesting -landscape sketches and portraits in Water-colours by Wright, that tend -to show that Wright could use the new medium with great effect and -brilliancy.</p> - -<div class="chapter"> - -<p class="center p-left sm p6">“MARIA.”</p></div> - -<p class="smcap center p-left sm">From Sterne’s “Sentimental Journey.”</p> - -<p class="center p-left sm"><i>Original picture in the possession of Mr. W. Bemrose.</i></p> - -<div class="chapter"> - - <div class="figcenter" id="i_026fp" > - <img - class="p2" - src="images/i_026fp.jpg" - alt="" /> - </div> -</div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p></div> - - -<h2>CHAPTER IV.</h2> - -<p class="smcap">Wright Marries and Visits Italy.—Letters.—Extracts from -Diary.—Birth of his Daughter, Anna Romana, in Rome.—Influence of the -Old Masters.</p> - -<div> -<img class="drop-cap" src="images/drop-i.jpg" alt="" /> -</div> - -<p class="drop-cap p-left">In July, 1773, Wright married Miss Ann Swift, and in November set sail -in the “Jupiter” for Italy, with his wife and Mr. Hurleston.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p>Before leaving England he wrote the following letter to his brother, -Richard Wright:—</p> - -<blockquote> - -<p class="r1">“1773.</p> - -<p>“Dear Brother,</p> - -<p class="left3">“By the waggon yesterday I sent you in a box four pillar -Candlesticks called Tooth & Egg, to be cleaned as silver. -They <i>are</i> what they <i>seem</i> to be, w<sup>ch</sup> if I mistake not -your temper, will be more pleasing to you than a refined -outside, with a Base inside. They are such at least as best -suit my Taste & pocket, & I sincerely hope you’ll receive -them as a pledge of the Love I bear you. I shall be glad to -hear you have got ’em safe. Thursday last I got on board the -Jupiter all our Baggage, and a Case with the two pictures of -the Alchymist and Captive King, for so my Friends advised -me. The ship is sailed for Exeter, when she will arrive is -as uncertain as the Winds that blow her. However, I hope the -Cap<sup>t.</sup> will soon send us a summons to embark. The winter -approaches fast, and will, I fear, blast those Joys I promised -myself at a more agreeable time of the year; however, I -flatter myself <i>matrimony</i> has improved my Constitution, and I -am better able to bear the rude winds than heretofore.</p> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> - -<p>“Last week my Sister Nancy and this family went on board the -‘Jupiter,’ afterwards we were conducted by the Cap<sup>t.</sup> to -his house, where we dined with the rest of the passengers; a -good thought this of the Cap<sup>t.</sup> that we might not when we -met on board wear the awkward faces of strangers. I shall be -very happy to hear again from you ere we leave English ground, -and if you write on Saturday night it will I think get here -in time. Tell M<sup>r.</sup> Greenwood the Drawings will be ready -whenever he sends for them. I rec’d the Ruffles safe. Make my -affectionate Comp<sup>ts.</sup> to M<sup>rs.</sup> Fox & M<sup>rs.</sup> Shelton; I -dreamt she was got so well as to visit her Friends, would she -was really so.</p> - -<p>“I am, with Love to my Sister & affectionate Comp<sup>ts.</sup> where due, -your Loving Brother,</p> - -<p class="r1">“JO. WRIGHT.</p> - -<table summary="pictures"> - <tr> - <td class="cht2">“P.S.—I hope Dick’s<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> heart - failed him not at his Departure.</td> -<td class="brckt" rowspan="2"><img src="images/big_right_bracket.png" alt="big right bracket" - style="height:5em; padding:0 1em 0 2em;" /></td> - <td class="ctr2" rowspan="2">Tuesday night,<br />London.”</td> - </tr> - - <tr> - <td class="cht2">“M<sup>r.</sup> Hurleston’s Comp<sup>ts.</sup> to you & Sister.</td> - </tr> -</table> -</blockquote> - -<p>He evidently proved a bad sailor, for in his first letter home, written -from Nice, he says, “The continual agitation of the ship soon rendered -us very sick, and we not only lost sight of land, but of everything -save our cabin, and the vessel into which we discharged the contents of -our sickly stomachs.” He spent many months in Rome, studying especially -the works of Michael Angelo, in the Capella Sestina of the Vatican. He -here made faithful drawings, upon a larger scale than had generally -been attempted, as he considered those subjects but ill-adapted for -pocket-book sketches. “These Treasures of Art<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> have hitherto -remained, in a great degree, lost to the world, having scarcely been -seen except by Mr. Wright’s particular friends, to whom he showed -them, when his imagination was warmed with a description of the divine -originals.”<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> In Hayley’s Life of Romney we read, “In 1773, Romney -went to Italy, where he acquainted himself with all the artists of -his country, for I recollect his having repeatedly lamented that our -amiable friend, Wright, the painter of Derby, had laid the foundation -of those cruel nervous sufferings which afflicted his later years, by -excess of application during his residence in Rome.”</p> - -<p>His letters from Italy are very interesting, especially for his -opinions on various celebrated Works of Art. A few extracts must -suffice.</p> - -<blockquote> -<p class="left3">“ ... And on Sunday, 5th Dec. (1773), came into port at Nice amidst -thousands of spectators of all ranks, who were placed on steps, their -heads rising one above another had a very pleasing effect, like the -crowded galleries of a theatre. It was on the ‘Jupiter’s’ account this -large assembly were gathered together, she being the largest vessel -that has sailed into this port, and I fancy I may add the best, she -weathered without any material injury many storms.”</p></blockquote> - -<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> - -<blockquote> -<p class="r1">Rome, Feb<sup>y</sup> 4th, 1774.</p> - -<p>“As I know my Dear Brother & Sister will be better pleased to -have a speedy account of our safe arrival here, from an hasty -& irregular Letter, than from a more accurate one with delay, -I embrace the first minute to tell you we got here last night -in tolerable Sp<sup>ts</sup> considering the tedious Journey we had -from Leghorn, w<sup>ch</sup> is not 200 miles. We were advised as the -best mode of travelling for those who speak not the language -of the Country to engage with a man to take us to Rome for so -much money & to accommodate us with every necessary on the -Road. The Carriages have only two wheels, like our one horse -chairs, drawn by the same pair of horses all the way, w<sup>ch</sup> -travel about as fast as our Stage waggons; we were obliged -to rise by three in the morning to go betwixt 20 & 30 miles -a day, to arrive at night at a poor house, with large cold -rooms, & bad accommodation, very unpleasing to the English -traveller. By the advice of M<sup>r.</sup> Cesar, M<sup>r.</sup> Heathcote’s -friend at Pisa, I provided myself with a large Cloak, such -as the Italians use; w<sup>ch</sup> kept me tolerably comfortable by -day & night, in w<sup>ch</sup> I lay, for I durst not undress, the -Beds being seldom lain in. Cap<sup>t.</sup> Difting’s delay threw us -into the Winter which has been attended with much cost & many -inconveniences.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Rome, Feb. 12, 1774.</p> - -<p class="smcap">“My Dear Brother,</p> - -<p class="left3">“I fully intended sending this Letter according to the first -date, but was prevented by the visits of the English; and many -other occurrences has since happened to prolong my silence -beyond my wish, as I know you will be anxious to have a second -Letter; tho’ I wrote to M<sup>r.</sup> Coltman from Genoa, who wou’d, -I hope, inform you I was well. I am (<i>entre nous</i>) surprized -he shou’d think of quitting the Close till he has it brought -into as good condition as he found it. If he leaves it so -he must have gained much by it. If M<sup>r.</sup> Brentnall has it, -who, according to your account, I have no objection to, care -should be taken that he does nothing to the disadvantage of -my Close to benefit his own. I am sorry poor Dick has been so -unfortunate at his first setting out, it was enough to give -him an insurmountable prejudice, for the sea is terrible in -stormy weather. I am sorry he is still likely to be expensive -to us, only because I can’t now so well afford it as formerly. -This Tour has & will cost me much more than I expected. My -wife has been but indifferent, the storms by sea, and the -violent shaking by land (for some parts of the road is very -stony) have been too much for her. I called in a Doctor who -said it was necessary she should loose blood, accordingly the -next morning was appointed for the operation. The D<sup>r.</sup> & -his Surgeon came, never did I see such parade, they talked of -Galen & Hypocrates & abundance of stuff, to conceal, I fear, -their Ignorance. However, M<sup>rs.</sup> Wright is better, they are -against purging and have ordered her to drink a small liquor -which they call Sherbett, to thin her blood. I have not wrote -to M<sup>r.</sup> Shackleford, I did not think it necessary, & his -behaviour to me required it not I am sure, for whatever he -may say of generosity & Gratitude, I never saw the least -shadow of it. I was very fortunate in getting both yours & -Nancy’s Letters; my wife has not heard<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> from her friends, -nor has Hurleston, nor Downman<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> who came with us received -any Letters. I shall be glad to hear from you as soon as -your business will permit. The air here is not so cold as in -England, but it is very thin & searching. Nancy tells me she -has heard the Empress of Russia<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> has taken ye picture of -the Iron Forge, but does not like the Hermit. I hope by this -time you have heard from Burdett & to some purpose. Make my -affectionate Comp<sup>ts.</sup> to Coltmans, Hopes, Denby, &c., &c., -&c.</p> - -<p>“I am sorry to hear you have been indisposed, and that my -Sister is no better. Give my love to her. Make my Comp<sup>ts.</sup> -to Col. Heathcote, his Lady, &c., tell them I have seen -Cap<sup>t.</sup> Heathcote—he’s well. When I write again I hope we -shall be settled, when you shall hear more particularly from -me. It is now Carnival time at Rome, the Romans are all mad. -M<sup>r.</sup> Coke, our member’s son, has done me the honor of a -visit. M<sup>rs.</sup> Flint’s death alarmed me much, tho’ I thought -before I left Derby she declined fast. M<sup>rs.</sup> Clayton’s -indisposition surprised me. What great alterations does a -little time make in a small circle of acquaintance. Pray how -does M<sup>rs.</sup> Shelton, our good friend M<sup>rs.</sup> Fox, I hope -for their mutual happiness they both are well. Pray has Miss -Fowler received the colours she gave me a commission for, my -respects attend the family. Adieu. God be with all.</p> - -<p class="left1">“I am with sincerity,</p> - -<p class="left4">“Your loving Brother,</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> -<p class="r1">“Rome, 13th Ap, /74.</p> - -<p>“<span class="smcap">For Miss Nancy Wright</span>, at Mr. Hurleston’s in Cary Street, -Lincoln’s Inn Fields, London, -England.</p> - -<p class="left3">“What havock, my dear Nancy, does a little time make in the -small circle of one’s acquaintance, and how weak and tottering -is the basis on which human happiness is founded. Poor M<sup>rs.</sup> -Van! I left her a happy wife, smiling amidst a joyous family, -but now, by one fatal stroke, suddenly involved in bitter -calamity, in deep affliction, a sad disconsolate widow. I -hope to God M<sup>r.</sup> Van has left her so circumstanced that she -will feel no additional sorrow on that consideration. He was -a good man, and has no doubt done what he could for his dear -family. When you see them or write to them, give my love to -them, and say I let fall many a sympathetic tear. While I am -in this gloomy scene, let me enquire after the afflicted. Pray -how does M<sup>rs.</sup> Shelton, I fear from your expression she’s -relapsed into her old malady. Our good friend, M<sup>rs.</sup> Fox, -amidst y<sup>e</sup> calamities of this world, with her usual good -sense & fortitude, I hope keeps up her spirits & is tolerably -happy. How does our friends do at Chester, and to go a little -farther, how is M<sup>r</sup> and M<sup>rs.</sup> Clayton, is he got well of -his indisposition? Remember me to all my friends in terms -agreeable to the esteem you know I hold them in.</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>“In your first letter you mention <i>something</i> of my Brother’s -indisposition, nor is my Brother more particular about it, -from which I judged it was slight; but a letter from Tate, -and yours, wh<sup>ch</sup> now lies before me, sadly convince me -to the contrary. My suspicions made me uneasy, & the proof -has made but little abatement in it; however, as it is now -only the effect of his illness, I hope he will make daily -advancements to health. I am pleased to hear Mr. Meynell has -behaved so well to my Bro., and that Mr. Greasley—to whom -our comp<sup>ts.</sup>—is so ready to assist him & is kind. Tate -will have a letter from Hurleston while in Town, but as he -was not so civil as to ask me if I had any commands, or give -me an opportunity of writing a word or two, I must desire -you to tell him I shall be glad if he would look after the -picture of the Hermit, see whether any accident has happened -to it, and deliver it safe to Sotheby to keep till I return to -England. M<sup>r.</sup> Hurleston, to whose family give our respectful -compliments, will inform Tate concerning the picture. I should -write to Tate, but he must excuse me at present, for I have -so much employment for my eyes (w<sup>ch</sup> by the by are not so -good as they have been) in the art I am in search of that I -cannot afford to use ’em otherwise; hence the reason I have -never wrote to my good friends Pether, Rawson, Capt. French, -R. Tate, Turner, &c.</p> - - <div class="figcenter" id="i_031"> - <img - class="p2" - src="images/i_031.jpg" - alt="" /> - <p class="p0 center p-left sm">THE CONVENT OF ST. COSIMATO, NEAR VICOBARO, AND -REMAINS OF THE CLAUDIAN AQUEDUCT, ON THE RIVER ARNO.</p> - </div> - -<p class="center p-left"><span class="smcap">Note.</span>—<i>The writer is indebted to the proprietors -of the “Art Journal” for the above, and several other -illustrations in this work.</i>]</p> - - -<p class="p2">“We are now fixed in very good apartments in the most -healthful part of this city. The house stands upon the highest -ground, and we have 109 stairs to ascend to them, which I fear -will be very inconvenient in hot weather. Here are upwards of -40 English students, and many cavaliers, w<sup>ch</sup> makes Rome a -much dearer place than I expected.</p> - -<p>“Rome answered my expectations at first, but my love & -admiration of it increase daily. ’Tis a noble place to study -in, and if so many years had not passed over my head I shou’d -be tempted to stay longer.</p> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<p>“Tell Tate to take notice whether my picture<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> is hung -advantageously in the Exhibition, and it may be sold in the -catalogue, and whether mention is made that I am at Rome. I -have set 80 guineas upon it, but I would take 70 rather than -not sell it.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> -<p class="r1">“Rome, May 22, /74.</p> - -<p class="smcap">“Dear Sister,</p> - -<p class="left3">“After waiting many a post-day with great impatience and -anxiety, I at last rec<sup>d</sup> a letter from my dear brother; -from my sister and Coltman’s letters, I had reason to have -expected one much sooner, w<sup>ch</sup> made the delay intolerable, -and filled me with many a doubt and many a fear, lest he -should have relapsed into his grievous illness. I have felt -much on y<sup>e</sup> occasion, and the account he has given me of it -(tho’ the danger I hope to God is over), is even now very -alarming, from the reflection of what might have happened. -You, my dear sister, being witness to the malady, must have -suffered much: I sincerely wish him a speedy and perfect -re-establishment of his health. Ill health is one of the -greatest evils that can befall man in my opinion, the truth -of w<sup>ch</sup> both you and myself have had woeful experience, and -I am sorry to hear you still labour under the affliction. -Mine, thank God, is much better. This climate is certainly -very salutary, and would, I think, perfectly restore me, was -not my attention and application continually engaged with the -amazing and stupendous remains of antiquity; and so numerous -are they, that one can scarce move a foot but the relics of -some stupendous works present themselves. When I consider the -immense size of the whole, and the beauty of the parts, I -cannot help reflecting how trifling and insignificant are the -present operations of mankind; we are no better than infants, -and ought to wear daiding strings. I have no time to enter -into a particular detail of the fine things this country -abounds with; let it suffice to tell you at present, that the -artist finds here whatever may facilitate and improve his -studies. The Antique remains of Art, as I said before, are -wonderful. The natural scenes are beautiful and uncommon, with -an atmosphere so pure and clear, that objects twenty miles -distant seem not half the way.</p> - -<p>“The women are in general handsome, they walk admirably, and -have a gentility and ease about them peculiar to themselves. -’Tis not in the costliness of their habits that they outdo -the English, but in the form and manner of wearing them. Vast -quantity of fine hair, elegantly disposed of, with sometimes a -very small cap, with jewels, &c., are the ornaments of their -head; and when they go out, instead of putting on a hat, -they wear black gauze, w<sup>ch</sup> is gathered behind, and hangs -from the upper and back part of the head over the face: of a -beautiful woman or rather face, one sees so much as to make -one wish to see more; of a plain one, it partly conceals the -defects. They all wear long trains to their gowns, however -ordinary the stuff, w<sup>ch</sup> has a grand effect. The common -people dress in the same manner, tho’ with worse materials, -and from the mutual intercourse one with another—for in -the summer months they sit in the streets and pursue their -occupations—they have an easiness<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> of deportment that is -amazing; their dress, too, which is perfectly easy and -picturesque, contributes much to it.</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Rome, Aug. 10th, /74.</p> - -<p class="smcap">“My Dear Brother,</p> - -<p>“ ... The thermometers are now at 97 degrees. My wife received -the letter you mention, and has answered it by post. As Tate -has left Manchester for the present, desire he will write to -his brother to wait upon Burdett for the pen-and-ink drawing -he has of mine, which Mortimer gave me, & w<sup>ch</sup> I would not -lose on any account. I suppose I shall suffer much by him.”</p> - -<p>“ ... We have had but little society here—none with the -Italians—for the want of language cuts off all intercourse. -Learning a new language at my time of life is a very arduous -task, and would take up more of my time than I can spare. It -is astonishing how little I have got of it; and yet, when I -consider my time is entirely spent amongst the antique statues -and paintings, the wonder ceases, for they speak not the -language.”</p> - -<p>“ ... Since we came here we have seen St. Peter’s & the -Villa de Medicis, of w<sup>ch</sup> I can say nothing; they beggar -all description. They abound with objects for the artist’s -contemplation. It is now Carnival time; the Romans seem to -me all going mad. The gent<sup>ln</sup> & ladies parade in their -carriages up & down a long street whimsically dressed in -masques, the most beautiful of w<sup>ch</sup> was young Mr. Coke, our -Member’s son. You know he is very handsome, and his dress, -w<sup>ch</sup> was chiefly white, made him appear charming indeed. The -lower class walk up & down the streets practising their wit -one upon another, consistently with the character they put on.</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> -<p class="r1">“Rome, Aug. 11.</p> - -<p class="smcap">“To Miss N. Wright.</p> - -<p>“ ... A post or two ago I wrote to my Bro., by which letter -you will learn my dear Nancy was safely delivered of a fine -little wench, who is now seven weeks old, hearty and bonny. -I watch with infinite pleasure its infant state, and slow -advances to sensibility. I pray God it may prosper, it will -make me happy—our mode of dressing it is so different to -the Italian, it raises their admiration; for instead of the -loose, light, and easy dress we have, they swaddle their -children from head to foot, like so many Egyptian mummies, -and have neither use of their hands nor feet; in hot weather -it is filthy and intolerable, and I observe when the little -creatures are let out of prison at night they discover a -pleasure, which condemns the practice.</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Rome, August 14, /74.</p> - -<p class="smcap">“To Miss N. Wright.</p> - -<p class="left3">“I am heartily sorry, my dear Nancy, so many uncouth -circumstances have happen’d to embitter your life, and ruffle -that bosom which I know is so well formed for<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> peace and sweet -repose. The world, you know, is made up of good and ill, and -would exist not but for contrarieties; every individual that -helps to compose the whole has his portion, and happy it is -for him whose scale of good fortune makes light the adverse -one. Minds there are, my Nancy, so fraught with fortitude, -patience, and philosophy, as blunt the edge of ills, and bear -sharp fortune with a degree of composure as is astonishing, -but this, my love, is a power, a faculty of mind few can boast -of; yet, I flatter not, when I say you possess these virtues -in a desirable degree, and now (sorry I am for the occasion) -call them forth, and soothe as much as may be, your troubled -breast. Well I know how grievous the indisposition of your -lover must be to you, yet consider a little time may make a -great change in him; he’s young, and has naturally a good -constitution, w<sup>ch</sup> doubtless will soon overcome the present -malady. May I prove a good prognosticator, and may you both be -happy.</p> - -<p>“My pictures are in great estimation here. I am shortly to be -introduced to the Pope; it is thought he will honour me with -his medal....</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Rome 11th Nov. /74.</p> - -<p class="smcap p-left">“To Richard Wright.</p> - -<p class="smcap">“My Dear Brother,</p> - -<p class="left3">“I am just returned from an Excursion to Naples w<sup>ch</sup> I made -partly to satisfy my curiosity for seeing one of the most -wonderful parts of the world, and partly to improve my health -impaired by the intense heats and too close application to -study. There has not been known at Rome so hot a summer as -the last these many years past. In the month of August the -thermometer in the sun was 120 degrees, in y<sup>e</sup> shade 96. -At Florence the heat was so great as to affect many with a -kind of delirium, and others it proved fatal to. I never -before experienced such intolerable heat, so great was the -perspiration occasioned by it, notwithstanding we have one of -the most airy situations here, as made it necessary to sit -still and constantly wipe off the sweat as it distilled, this -relaxed the mind and body so much as to render them unfit for -study and application. I am surprised Sir W<sup>m.</sup> Meredith is -not punctual in his payment, if he has not paid when you write -to me again, tell me so, and I will write to him about it. I -am glad my tenants like their closes, I hope their pains and -expenses will be rewarded; give my comp<sup>ts.</sup> to them. The -19<sup>th</sup> Nov., the day you intend to celebrate your Nuptial, -now draws very nigh—may health, long life, and every joyous -circumstance of the marriage state attend you and yours is y<sup>e</sup> -sincere wish of yours, &c.</p> - -<p>“Mrs. Wright begs to be remembered to you and your intended -lady, with every good wish for your felicity. She is, thank -God, well, and the little Roman is very bonny, and the -admiration of all that see her.</p> - -<p>“A day or two before the time appointed for my introduction -to the Pope, he was taken with an indisposition, which in a -short time robb’d him of his life and me of my honours.... -Remember me with respect to all my friends; when you see -Whitehurst,<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> tell him<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> I wished for his company when on -Mount Vesuvius, his thoughts would have center’d in the bowels -of the mountain, mine skimmed over the surface only; there was -a very considerable eruption at the time, of which I am going -to make a picture. ’Tis the most wonderful sight in nature.</p> - -<p>“Adieu, God be with you and my friends, to whom remember me -with most cordial love,</p> - -<p class="left1">“I am,</p> - -<p class="left2">“Your Affectionate Brother,</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Rome, May 4, /75.</p> - -<p class="p-left">“For <span class="smcap">Miss Wright</span>, at Mr. Wright’s, Surgeon, Derby.</p> - -<p class="smcap">“Dear Sister,</p> - -<p class="left3">“I thought I should have dated this letter from Florence, but -I am like all other artists that come here, who much outstay -their intended time, and at last leave the noble and renowned -city (Rome) with reluctance. Notwithstanding, I have been very -industrious, more so perhaps than has been consistent with my -health, yet shall I leave undone many things that I covet much -to have. I have staid a month longer than I intended, to have -an answer from Mr. Baxter, the Russian Consul, concerning the -picture I have painted of Mount Vesuvius in a great eruption, -’tis the grandest effect I ever painted. If the Empress is to -have it, it must be shipped from Leghorn to St. Petersburg, -and I must wait here to see it off. I wish she may take it, a -100 guineas will not be unacceptable, for it is not so cheap -living abroad as generally represented; we pay for a floor -consisting of 6 rooms at the rate of £40 a year. The tour of -Italy is now become so fashionable, and the English cavaliers -so profuse with their money, that the artists suffer for their -prodigality.</p> - -<p>“I should have finished this letter according to the date, but -have again had inflamed eyes, and have been much indisposed -with sore throats and colds. The weather this spring has been -very awkward, always varying from hot to cold—sometimes -harsh, dry winds, at other times violent rains; in short, -the air of Rome is by no means good; and when I consider my -health only, & the many indispositions I have had here, I am -not sorry we are to leave on Sunday, 10th June. We go from -hence to Florence, where I suppose we shall stay a month or -six weeks, & then to Parma, where the most famous picture of -Corregio is. If the picture answers to its character, I shall -make a copy of it, it will improve me; and if I choose to sell -it, it will be advantageous. When I have finished at Parma, -we shall go to Venice to study Titian’s colouring. These -engagements will detain me in Italy the hot weather, and to -return to England in the cold will not be advisable for me. If -I can get over the Alps before the snow falls, and pass the -winter advantageously at Bordeaux, in the south of France, it -will, I believe, be the best scheme for my health. It has been -said, if I chose to paint portraits at Bordeaux I might be -employed all the winter.</p> - -<p>“Give my comp<sup>ts.</sup> to my good friend Coltman (to whom I wrote -some 7 or 8 weeks ago), and tell him of my intention. But I -should not choose to go there on an uncertainty, as it is not -a place of art. Perhaps he will write to some of his friends -there to know<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> what encouragement I might meet with there for -a couple of months. Make comp<sup>ts.</sup> to Mrs. Fowler & to her -most ingenuous & agreeable daughter—in a word, to all friends -whom I have in my heart, but cannot particularize.</p> - -<p>“Dear little Nancy is a fine little wench. An Italian gent<sup>n</sup> -who saw her in the street sometime ago said, what a fine girl -she was, but was absurd enough to say at the same time, it was -a pity the English shou’d have fine children, they used’em so -cruelly, mine goes almost naked. The Italians load theirs with -dress.</p> - -<p class="left2">“Y<sup>r.</sup> affectionate Bro.,</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Parma, July 24th, 1775.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“In conformity to your request I am sat down to give you my -opinion of the famous picture of Correggio, of which how shall -I dare speak, but in the current terms of exalted praise. You -know the world’s opinion of it, & if mine does not exactly -coincide with it, it is not from any affectation of being -singular in my opinion, but the result of such judgment as -I have, divested of every thing that has been said, for or -against it.</p> - -<p>“As to the composition & light & shadow, you are as well -acquainted as myself from y<sup>e</sup> copies you have seen. The -picture is beautifully coloured, has surprising brilliancy, -without whiteness, and is very harmonious. The parts are -very round and forcibly painted, but is laboured as to beget -tameness—I had almost said woodenness in many parts. The -faces are wonderfully soft, but they want those beautiful -turns & spirited touches we see in nature, & which keeps -high-finished pictures from looking heavy. The flesh is finely -coloured, is very clear, and has a sanguine appearance that -is very pleasing, but withal not so true as Titian’s Venus. -The draperies are neither very finely set nor painted, nor had -Correggio the finest eye for shapes; yet after all the whole -together is wonderfully sweet, & one cannot help being charmed -with the effect. Romney only painted the Magdalen’s head, the -picture answered not his expectations; and Mr. Parry left his -quite unfinished, as the picture did not appear so fine to him -a second time as it did the first. Mr. Copley has been hard at -it five weeks, & says he will spend twice that time more over -it, but he will get it like the original. It is with infinite -labour he produces what he does, but that is <i>entre nous</i>. I -have left my outline, with two English three-quarter cloths, -which you seemed to admire, with the Custodio of the academy, -directed for you.</p> - -<p>“I am quite tired of seeing pictures, the general run of them -are so indifferent—even Venice answered not my expectation. -Titian’s works are so changed and damaged, & when Mr. Romney -said he was not to be seen out of Venice, he meant in grand -composition & expression.</p> - -<p>“In the Sacristy of the Salute are three ceilings, the one -of David & Goliath, Abraham offering his son, & the third I -<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>don’t know y<sup>e</sup> subject; these are finely painted & designed -in a Mic’ Angelo like style. Romney did not copy the St. -John; a disaster happened which you will hear of at Venice, & -which I have not now time to relate; he painted a half-length -of Montague and two or three heads, which he will finish in -England. Mr. Jenkins was so obliging to ship my cases for me. -I had desired poor Mr. Stevens to pay Mr. Jenkins any charge -there might be upon them; I wish you would be kind enough to -settle it for me, I will repay you when I have the pleasure -to see you in England. If you will indulge me with a line -directed to me at Germany—Girardot & Co., Bankers in Parma—I -shall be very happy to hear from you.</p> - -<p>“Mrs. Downman and Mrs. Wright send their best compliments to -you, as does little Pop her ‘Ta.’</p> - -<p class="r4">“I am, D<sup>r</sup> Sir,</p> - -<p class="r2">“Your friend,</p> - -<p class="r1">“J<sup>o.</sup> WRIGHT.”</p> - -<p class="p-left">“A Monsieur Humphrey<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> Pittore Anglois,</p> - -<p class="left1">“a Mon<sup>sr</sup> Varrini,</p> - -<p class="left4">“Firenze, N.”</p> -</blockquote> - - -<h3 class="smcap top">Extracts from Wright’s Journal During His Travels in Italy, in -1774–5.</h3> - -<p>“Naples.—St. Martino Del Monte. In a Chapel belonging to the Castle of -St. Elmo is the famous picture of Spanioletto of a Dead Christ; this -picture is esteemed his best. Mr. Forrester bought one of the same -in Rome, which is now in the possession of——, and thought equally -good. ’Tis well painted and coloured, has great expression and force. -In the Church in compartments over the arches are single figures, -painted also by Spanioletto, some of them very fine, indeed. I admire -his manner, ’tis forcible and natural. This Church of St. Martino Del -Monte belongs to the order of Carthusians, which is the richest of -all orders, indeed, the riches of this Church prove it. Such elegant -things of gold and silver, set with all kinds of precious stones, -I never before beheld. In the King’s palace on Capo Del Monte is a -very large collection of Pictures, Medals, Cameos, and Intaglios. The -famous picture of Titian of Danaë in the shower of gold, is wonderfully -painted, but time and varnishes have robbed it of its beautiful -colouring, it is now too yellow and spotty. The action is fine and well -adapted to the subject, it is better drawn than any I have seen of him.</p> - -<p>“In the palace on Capo Del Monte is perhaps the largest piece of -Rock Crystal in the world, it is of an irregular shape, one way it -is upwards of a yard in diameter, the other about a yard, ’tis very -transparent. Here are a great number of Cameos, both single heads and -compositions wonderfully fine. Here also is the finest and largest -Cameo I ever saw, it is an oval figure, and upwards of 6 inches the -longest way. An Holy family by Raphael, small figures very highly -finished, the picture very capital. Lord Scarsdale has a copy of it.<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -That sweet little Magdalen lying along on the ground, by Corregio, is -here also, as are many others by the same Master.</p> - -<p>“In the King of Naples’ palace is a very capital picture of a Holy -family, by Raphael, it is finely composed, the Virgin is lovely, and -the expression of Jesus and St. John wonderful. It is in his best -manner and in good preservation, the Cartoon of it is at the King’s -palace on Capo Monte, the size of the picture. At the same place is a -very fine portrait of a Pope, by Titian, he is sitting in a chair. It -is charmingly painted, with a full pencil, and as far as I can judge -the effect is produced without glazing.</p> - -<p>“At the palace are two fine oval pictures of Sal. Rosa, the subjects, -Banditti, very highly finished, and painted with great force and -spirit. A picture of Boys, very good, by Poussin.</p> - -<p>“The City of Pompeio, 15 miles from Naples, which was overwhelmed by -the eruption of Vesuvius about fifteen hundred years ago (at which -Pliny, the elder, lost his life), and which was discovered 15 years -ago, seems to me to have been small, at least the houses, rooms, and -the street which remain indicate. They have, by the king’s order, dug -a good deal of the city, but much remains inveloped in a loose kind of -Lava. Parts of buildings intire, with the ornamental paintings on the -walls perfect, in style not much unlike some Chinese painting I have -seen, together with the Sculls & bones of those that perished there, -make a very interesting scene. There is to be seen in one of the rooms -in which is fixed a stone vessel for washing in, an intire skeleton of -a woman who perished at her work. Whatever is found here, curious or -valuable, is deposited in the King’s Museum.</p> - -<p>“Herculaneum is at the foot of Vesuvius on which Portici now stands, -is 6 miles from Naples, was destroyed probably by the same eruption as -Pompeio, the Lava which overwhelmned it is much more hard and compact -than that at Pompeio, owing perhaps to its vicinity to the Mountain. -The theatre is the only part which remains open, and that is partially -so, that one has but little idea of the construction of the whole. -They have dug much at Herculaneum and found many paintings & other -antiquities which are at the Museum. As Portici stands upon Herculaneum -they dug but little at a time, & when they got out the valuables filled -up the parts again, that the City of Portici might not be endangered.</p> - -<p>“The Museum is the most interesting place I have seen, as it is filled -with the ornamental and useful utensils of Herculaneum and Pompeio. -Glad I am to find from the observations I have made in these places, -that the present age is not so degenerated, either in size or morals -as some imagine. The sculls of the old Romans were the size of the -present, and from the Chirurgical instruments which are in the Museum, -they were liable to the same disorders, indeed there is no doubt but -Nature was always the same & will be so ad infinitum. But to return -to the contents of the Museum. There are many Bronze heads, one of -Seneca, very capital, the rest much inferior. The figures not of the -first-class. There is a Satyr lying on a skin of wine, snapping his -thumb & finger, the expression very good; also two wrestlers in very -fine actions. A sitting figure of a Mercury, sweet attitude. Sculpture -good....</p> - -<p>“Left Rome the 10th of June, 1775, came to Florence on the 19th, by -the way of Narni,<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> Terni, Perugio, &c., 180 miles; part of it a most -delightful and picturesque country, of which Claudio has availed -himself much. Florence is a pleasant City, the Arno with its Bridges -add greatly to its beauty. The one consisting of 3 arches only, is very -beautiful. There are a few fine things in Art. The Venus, the Boxers, -the little Apollo, the Dancing Faun & the Grinder. Titian’s Venus, -Florence, did not answer my expectation; when one has seen Rome, other -places suffer by the comparison. Left Florence 4th July, passed over -the Appenines, a very wild country, the surface of which is the most -broken and irregular I ever saw. Came to Bologna, which is 66 miles, -on the 6th. Bologna is a large & well-built City. Its piazzas are very -spacious & beautiful, and not less convenient at all times of the year. -In the winter it defends you from wet, in summer from heat, which is -very great here. At St Agnatis is a picture, by Domenichino, of the -<i>murder</i> of that Saint, not good. The Expression weak, the lights of -bad shades & not well combined. At the Sampiere Palace is a picture -of Guido of St. Peter & St. Paul in his first manner, very forcibly -painted. St. Cæcilia, by Raphael, in St. Iovani in Monte, is much -damaged and not so fine as I expected to have found it, the figure -of St. Paul very fine. A large picture of Ludivico Caracci & one of -the woman taken in adultery, some parts of it very good. The birth -of St. John, by ditto, very indifferent. At the Carthusian Convent, -which is a very elegant one, is the famous picture of Lud. Car. of -St. John the Baptist, the character & expression of St. John’s head -seems to have been very fine, the other parts of the picture not very -good, the whole is much damaged. At the same Convent is a good picture -of Guercino. Left Bologna on the 9th and embarked for Venice, had a -very fatiguing passage thro’ the Canals, arrived at Venice the 12th, -was highly entertained with its first appearance, a City standing in -the sea. The chief works in painting are by Titian, Paul Veronese and -Tintoret. The large picture by Paul Ver. of the marriage in Canaan has -an ill effect altogether, it is a confused multitude. The personages -are chiefly portraits, and he has introduced Titian and other Artists -his friends as musicians in the centre of the picture; there are in it -some heads well painted. In St. Maria Maggiore is the famous picture -of St. John in the Wilderness, by Titian, this picture, like most of -Titian’s, is grown very brown & dark, it seems to have been finely -painted in a broad manner; the drawing is good, as is the action, & the -head has a good character. The picture by Do. of the martyrdom of St. -Peter, in St. Giovanni e paolo is much damaged, has been a very fine -picture, the actions & expressions very natural & spirited. Salute, -3 compartments in the ceiling, by Titian, of David & Goliah, Abraham -offering his Son Isaac, and another which I don’t know the subject; -all these are finely painted and designed in a Mic. Angelo like style. -Church of the Ferari, two Altar pieces by Titian, the one on wood, of -the assumption of the Virgin, finely painted, but the colouring is -become quite brown, ’tis composed in a sublime manner. St. Marciliano, -in the Sacristy Tobia & the Angel by Titian, has been a fine picture, -but is much damaged, the Angel fine character. School of St. Roch, on -the Stairs is a picture of the Annunciation, by Titian; sweet idea of -the Virgin. Jesuits Church, St. Laurence’s martyrdom, by Titian, the -figure of the Saint is very grand, the picture is become very dark, and -I believe never had the effect of fire. Saw in Venice many pictures of -Paul Veronese & Tintoret. Left Venice the 19th, embarked for Padua, had -a very agreeable passage<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> by water, the country is well cultivated and -populous, along the sides of the Canals and river are a great number -of handsome houses, which for miles have the effect of one town. We -arrived at Padua, which is 27 miles from Venice, about 7 o’clock the -same evening. In the sacristy of the Duomo at Padua is a very fine -Madonna & Child, by Titian, sweetly painted, & in good preservation. -The head of the Virgin is lovely, & the child is beautifully coloured & -painted with more than usual care. Saw several Buildings by Palladio, -in very good taste. In the antique Gothic Church, anciently called -Maria Maggiore, now St. Antonio, here lies the body of the great Saint -in a very fine Altar, ’tis a fine Church with three or four Domes. The -great Saloon is a hundred & ten paces long, & eighty wide, the roof -is of wood of an Eliptical form. There are great numbers of Giotto’s -pictures here. The Room has a noble effect. Left Padua the 20th, at -Mezzo Giorno set off for Vicenza, arrived there at night, which is -eighteen miles, the next morning set off for Verona, which is 30 miles, -where we arrived at night. At Verona is an Amphitheatre, not comparable -to that of Rome, but more perfect, having the seats of such part of -the building as remains entire. In the center of it is erected a -wooden Theatre where they act by daylight. In the Church of St. George -is a picture of the martyrdom of that St., by Paulo Veronese, ’tis -in good condition, but slightly painted, & in other respects nothing -extraordinary. The next morning left Verona & arrived at Mantua at -night, which is 25 miles, there’s an Academy for Arts & Sciences lately -built, elegant & upon a good plan. Left Mantua on Sunday, 23rd, got -to Parma on Monday morning. Here is the famous picture of Correggio. -In St. Sepulchre is a Holy family, by Correggio, but so indifferent I -could scarce believe it his. The figure of Joseph is as poorly drawn -and the drapery as ill set as anything I ever saw, in short there’s -nothing good in the picture, nor do I like Correggio in his great -works; his figures are but ill drawn, the heads appear large and want -character. Left Parma on Thursday morning, got to Piacentia that night, -which is 36 miles, it was here that Hannibal, after having passed the -Alps for the first time engaged the Romans. Left Piacentia the next -morning. Got that night to Avougara, which is 32 miles. The next, 29th -July, dined at Allessandria. On the 30th at noon got to Turin. ’Tis -curious to be crying out with heat at the foot of the Alps, whose tops -are covered with snow. In the King’s palace at Turino is a very large -Collection of pictures, many of which are very fine. A man in armour -on horseback, as large as life, by Vandicke, very fine. The armour -is of dark rich colour, full of beautiful reflections, & the lights -most spiritedly touched. By Ditto is a smallish picture of a Madona -& Child, the heads very sweet, but the Body & legs of the Child, not -fine. A fine Head by Rembrant. Here are a great number of Gerard Dow, -very fine, among which is a composition of four or five figures of the -Doctor examining his patients. This picture is so wonderfully clear & -brilliantly coloured, so astonishingly finished, that it seems to me -to be perfection in that style of painting. Several charming pictures -of Da. Teniers of Boors, and one piece of witchcraft or Incantation, -all delightfully painted with such sober clearness and touched with -such truth and Spirit, that one’s pleased & surprized. I forgot to -mention Van Dick’s picture of King Charles’ 3 children, which is a -capital one, the youngest has great relief without shadow, and such a -sweet childish expression as I never before saw. The composition is -simple, unaffected, & fine, so is the light<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> & shadow, but the keeping -is strong. The whole is very harmonious and has great effect. There -is a reddish brown dog wonderfully painted, position fine, & accords -charmingly with the fine red drapery of the Boy by whom he stands. -This drapery is finely painted the light lies on the body & hips, & -graduates very sensibly downwards. The white sattin of the middle girl -is much kept down, the little girl is in blue sattin, with gauze linen; -several Landscapes by Botts & Berghem, very fine. A small historical -picture, by Rembrant, an old head in it, of a most divine Character. -Comondear Genevi Genevos at Turin, has a very good Collection of -pictures, amongst which was a very fine half-length of a St., by Guido, -in his first manner, it is well finished, at the same time spiritedly -painted. The head has a fine character. Left Turin, which is one of -the most uniform & best built Cities I have ever been in, on the first -of August. Crossed the Alps in our way to Lyons, this country is truly -sublime. At the foot of Mount Sennis we left our Carriages and took -Mules to go over the mountain. Mrs. Wright with little Pop were carried -in a chair by six men. We were three hours & half or 4 ascending the -mountain, about two thirds of the way is pretty large plain, on which -is a Lake about two miles over, here the sight was tremendous, the -mountains still rising to an incredible height, hiding their lofty -heads in the Clouds, which the winds now & then dissipating shewed -partially their hoary towering craggy tops, here it was very cold, and -so it was all through Savoy. This Country is mountainous & some parts -picturesque. From thence to Lyons is a flat country.”</p> - -<p>There is no further account of Wright’s proceedings after crossing the -Alps on the 1st of August, 1775. Wright, his wife, and child, arrived -at his brother Richard’s, at Derby, on September 26th, 1775.</p> - -<p>The little Anna Romana<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> was, with her cousin<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> (who was a month -old on that day), christened at St. Michael’s Church, each brother -being godfather to the other’s child, and their two sisters being -godmothers to both. Little “Pop” was a lively, active child, and did -not approve of the proceedings, as she slapped the clergyman in the -face.</p> - -<p>My own opinion as to the effect of Wright’s visit to Italy is that it -increased his knowledge, widened his views of art, and enlarged his -style; but this is a very different one from that expressed by the -authors of “A Century of Painters.” As this book has a position of -considerable authority, I think it right to state my total disagreement -with what appears to me the unjust opinion contained in the following -extract from Messrs. Redgrave’s work:—</p> - -<p>“In 1773 he married, and took that opportunity to visit Italy, where -he remained two years, studying, it is said, the works of the great -masters, especially those of Michael Angelo, from which he made many -copies on a large scale. But however much the works in the Sistine -Chapel may have impressed him at the time, they had little influence on -his subsequent practice.”</p> - -<p>The sketches here alluded to are thirty-six in number, bound in vellum, -with “Joseph Wright, Rome, 1774,” written on the side by himself. -The book measures 20 × 13 inches;<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> the drawings are outlined by the -pen, and broad washes of Indian ink effect the light and shade of the -drapery. They are done in a bold and masterly manner, and convey a very -good impression of the grandeur of the originals. There is a family -tradition that Wright injured his health by over-work when in Rome, -and that, for greater ease when working these drawings, he lay upon -his back on the cold floor of the Sistine Chapel, and contracted an -affection of the liver, which, as years went on, caused him much pain, -and prevented him from following his profession for months at a time. -On comparing these sketches with various of his pictures, the influence -of Michael Angelo upon Wright, especially in design, is evident; and -in other respects—such as his choice of subjects, and method of -handling—his art changed very much after his return from Italy.</p> - - <div class="figcenter" id="i_042"> - <img - class="p2" - src="images/i_042.jpg" - alt="" /> - <p class="p0 center p-left sm">A DRAWING ACADEMY.</p> - </div> - -<div class="chapter"> - -<p class="center p-left sm p6">CONVERSATION PIECE.</p></div> - -<p class="smcap center p-left sm p2">Three Children of Richard Arkwright, Elizabeth (afterwards married -to Francis Hurt), John, and Joseph.</p> - -<p class="center p-left sm p2"><i>Original picture in possession of Mr. F. C. Arkwright, Willersley, -Cromford, Derbyshire.</i></p> - -<div class="chapter"> - - <div class="figcenter" id="i_042fp" > - <img - class="p2" - src="images/i_042fp.jpg" - alt="" /> - </div> -</div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span></p></div> - - -<h2>CHAPTER V.</h2> - -<blockquote> -<p class="smcap">The Bishop and the Painter.—Settles at Bath.—Letter to his Sister -“Nancy.”—Prices of Portraits.—Wright’s Method of Making up his -Palette.—Returns to Derby.—Lodges with the Eleys.—Removes to St. -Helen’s.—Wilson and Wright.—Anecdotes.</p></blockquote> - -<div> -<img class="drop-cap" src="images/drop-s.jpg" alt="" /> -</div> - -<p class="drop-cap">Soon after Wright’s return from Italy, an Irish Bishop<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> bespoke a -large picture of Vesuvius, and on passing through Derby called at his -painting-rooms to look at it. The mountain and burning lava were nearly -finished, but the foreground being only laid in, there wanted the bold -dark parts to give effect to the brilliant lights. On seeing it, the -Bishop literally addressed him in the language used by Hayley in the -following lines, and in consequence Wright would not allow him to have -the picture, nor would he ever sell it. It hung in his dining-room -during his life-time, and is still in the possession of a member of his -family. In the MS. list of Wright’s paintings it is entered “Vesuvius -for Bp. Derry, £105,” but the indignant artist has dashed his pen -through the entry.</p> - - <div class="poetry-container"> -<h3>THE BISHOP AND THE PAINTER.</h3> -<h4>A TRUE STORY.</h4> - <div class="poetry"> - <div class="stanza"> - <div>A Bishop who wished to be rank’d with a few</div> - <div>Who are cried up by fashion as men of vertu,</div> - <div>Most wisely conjectur’d ’twould aid his desire</div> - <div>To purchase from Wright a picture of fire;</div> - <div>But his spirit more mean than his gusto was nice,</div> - <div>Tried a singular trick for reducing the price.<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></div> - <div>And his bargain to make either cheaper or void,</div> - <div>He thus preach’d to the artist his pride had employed—</div> - <div>“Indeed, Mr. Wright, you mistake or neglect</div> - <div>“The true tint of fire and its proper effect;</div> - <div>“I wonder you think of employing your hand</div> - <div>“On a branch of your art that you don’t understand.”</div> - <div class="i1">“Hold, meanness and pride, tho’ you’re mantled in lawn,</div> - <div>Ye shall meet due contempt, and your masque be withdrawn,</div> - <div>You never shall wound, unrepaid with disgrace,</div> - <div>A Genius so modest, with insult so base.</div> - <div>You black dilletante I hence learn to your shame,</div> - <div>No mortal can give more expression to flame!</div> - <div>If in flashes more brilliant your eyes wish to dwell,</div> - <div>Your Lordship must go for your picture to ——:</div> - <div>From the plan I propose, tho’ not much to your heart,</div> - <div>I think there might rise some advantage to art;</div> - <div>Your Lordship by going those flames to inspect,</div> - <div>Might learn more of fire and its proper effect,</div> - <div>And the devil, who often creates himself mirth</div> - <div>By caricaturing odd beings from earth,</div> - <div>Would find proper hints for his pencil to sketch</div> - <div>In a mitre bestow’d on so sordid a wretch.”</div> - </div> - </div> - </div> - -<p>Hayley intended these lines to be inserted in the newspapers, and sent -them to Wright for his approbation, who thought them so very severe -that he objected to their being published, and only showed them to -a few of his most intimate friends. The original copy is now in the -possession of the writer.</p> - -<p>Gainsborough having left Bath in 1774, it was thought by Wright that -there would be a good opening for a portrait painter in that city, and -accordingly in December of that year he left Derby with his family. At -Bath,<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> however, he met with but little patronage, as we learn from -the following extracts from letters:—</p> - -<blockquote> - -<p class="r1">“Bath, Jan. 15, 1776.</p> - -<p>“Since I wrote the within, Lady Ferrers has brought the -Dutchess of Cumberland to see my pictures, w<sup>ch</sup> her Highness -much approves of. Thro’ Lady Ferrers’ recommendation her -Highness will sit to me for a full-length; a good beginning -this, tho’ a late one, and I hope will prove successful. I am -glad the conclusion of my letter is better than the beginning.</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Bath, 9th February, 1776.</p> - -<p>“I have now past one season, the biggest of the two, without -any advantage. The Duchess of Cumberland is the only sitter I -have had, and her order for a full-length dwindled to a head -only, which has cost me so much anxiety, that I had rather -have been without it; the great people are so fantastical and -whining, they create a world of trouble, tho’ I have but the -same fate as S<sup>r</sup> Jos. Reynolds, who has painted two pictures -of her Highness, and neither please. I am confident I have -some enemies in this place, who<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> propagate a report that -I paint fire-pieces admirably, but they never heard of my -painting portraits; such a report as this was mentioned to her -Royal Highness, after she had given me the commission for a -full-length, as I was told by one of her domestics.</p> - -<p>“This is a scheme of some artists here (who, to our shame be -it said, seldom behave liberally to one another) to work me -out, and certainly it proves at present very injurious to me, -and I know not whether it will be worth my while (considering -how little business is done here, and has been done these -four or five years past) to stay to confute ’em. I have heard -from London, and by several gentlemen here, that the want -of business was the reason of Gainsborough’s leaving Bath. -Wou’d I had but known this sooner, for I much repent coming -here. The want of encouragement of the Arts, I fear, is not -only felt here but in Town also, and artists are become so -numerous that the share which falls to each is small. I wish I -had tried London first, and if it had not suited me, I would -then have retired to my native place, where, tho’ upon smaller -gains, I could have lived free from the strife and envy of -illiberal and mean-spirited artists. What I have seen since -I have been here has so wounded my feelings, so disturbed my -peace, as to injure my health, but I will endeavour to shake -it off.</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Bath, Ap. 15th, 76.</p> - -<p class="smcap">“My dear Brother,</p> - -<p class="left3">“I have sent my two pictures<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> to the Exhibition, where I -hope they will meet with as much approbation as they have -here, and better success with regard to the sale of them, -or I shall be run aground with this year’s expenses. I have -only painted 4 heads yet; the prejudice still runs high -against me. I am now painting a half-length of Dr. Wilson & -his adopted daughter, Miss Macauley; this is for reputation -only, but you must not say so. The Doctor is a very popular -man, and is fighting in my cause stoutly, for he thinks me -ill-treated; he wishes he had known of my being in Bath five -or six months ago, he could have been of use to me before now, -and I wonder my friend Coltman (if he knew) did not mention -him to me; indeed, if I stay I shall have need of all the -friends I can make. I know not what to think of it, sometimes -revenge spirits me up to stay and endeavour to triumph over -my enemies; at other times more peaceful reflections take -place, & I am for retiring to pursue my old walk of painting. -I have some intention of coming to Derby, with your leave, to -paint the sea engagement, at the time when Bath is deserted by -almost all, but will say more of this in my next.</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Bath, Ap. 30th, 1776.</p> - -<p class="smcap">“To Mr. Wright, Surgeon, Derby.</p> - -<p class="left3">“ ... From the month of June till the latter end of September -there is no company in Bath. I intend to follow the fashion -this year and go to Derby, & it will<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> give me an opportunity -(if the old room is disengaged) of painting the sea-piece, or -some blacksmith’s shop which will bring company to my rooms -next season, for there is some advantage arising from their -seeing only; there has been given at the doors £22 already, -w<sup>ch</sup> more than pays a qrs. rent.</p> - -<p>“ ... Little Pop is well, talks a little English, a little -Italian, and a little French.</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Bath, May 8th, 1776.</p> - -<p class="smcap">“Dr. Brother,</p> - -<p class="left3">“The season is almost over here, and there is but little -company in town, therefore have but little reason to expect -any more sitters. Have in hand a small full-length of Mr. -Miles, brother to Capt. Miles I painted at Derby some time -ago. He is now in Town, but will be here, I expect, in a day -or two to have his picture finished; a day will compleat -it, and if I have nothing more to do, shall leave Bath in a -fortnight or thereabout. I shall go round by London if the -Exhibitions are open at the time....</p> - - <div class="figcenter" id="i_046"> - <img - class="p2" - src="images/i_046.jpg" - alt="" /> - <p class="p0 center p-left smcap sm">THE ANNUAL GIRANDOLO AT THE CASTLE OF ST. -ANGELO, ROME.</p> - <p class="p0 center p-left sm">(<i>From the Original Sketch.</i>)</p> - </div> - -<p class="p2">“There has been offered for my picture of the Girandolo a 100 -guineas, but the man who is appointed in the room for the -transacting the business knows neither his name, place of -abode, or anything about him, thro’ which carelessness I shall -in all probability lose the selling of my picture. If I do, I -will never exhibit with them more.</p> - -<p class="r4">“I am yours,</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> - -<blockquote> - -<p class="smcap left5">“Mr. Wright, Surgeon, Derby.</p> - -<p class="r1">“Bath, March 9th, 1777.</p> - -<p class="smcap">“Dear Brother,</p> - -<p class="left3">“From the cast of that part of your letter w<sup>ch</sup> relates to -these rascally watermen, I plainly perceive they do not intend -making me restitution. I think if M<sup>r.</sup> Fallows would write -them a letter telling them that I should not trouble myself -any farther about the matter, but had desired him to inform -’em of the damage done me, w<sup>ch</sup> if they did not immediately -redress, to prosecute them, and advertize the affair in such -papers as may most affect them. The threatening them with a -prosecution, tho’ I don’t intend to throw away more money, -may be of use, but advertize them I certainly will. Give my -compliments to M<sup>r.</sup> Fallows and tell him, as I spent a day -over his picture, he will, I doubt not, do me this favour. The -carrier that brought my things from Bristol is esteemed an -honest man, he was present when the goods were weighed, that -their weight was 3 cwt., what they were at other places he has -no account. I am confident the theft had been committed some -time ere the things were delivered, from this circumstance: I -had occasion to pack in the hamper a piece of armour, w<sup>ch</sup> -I had some trouble with on account of the fulness of the -hamper, and could manage it no way but by putting it with the -concave side upwards down by the side of the hamper. This I -well remember, and M<sup>r.</sup> Haden will too. When I unpacked the -hamper the armour was in the middle of it, with the concave -side upwards, and the hay where it lay fresh and green, an -appearance you must have observed when anything has lain -long and undisturbed upon hay. From hence, I doubt not, the -mischief was done in the beginning of the voyage. But it -matters not, I shall look to those people to whom the goods -were first committed, let them seek further, pray don’t trifle -with them, that the affair may be made public while recent. -The account of the things taken, w<sup>ch</sup> upon proving the -bottles, I find very different to that I sent before.</p> - -<table summary="account" class="sm"> - <tr> - <td>Eight bottles of old rum, at 13s. per gallon</td> - <td class="right">1</td> - <td class="right">6</td> - <td class="right3">0</td> - </tr> - - <tr> - <td>Four do. Brandy, do.</td> - <td class="right">0</td> - <td class="right">13</td> - <td class="right3">0</td> - </tr> - - <tr> - <td>Two of Shrub</td> - <td class="right">0</td> - <td class="right">7</td> - <td class="right3">6</td> - </tr> - - <tr> - <td>Ten bottles of wine</td> - <td class="right">0</td> - <td class="right">16</td> - <td class="right3">8</td> - </tr> - - <tr> - <td>Twenty-three bottles</td> - <td class="right">0</td> - <td class="right">4</td> - <td class="right">9½</td> - </tr> - - <tr> - <td>A Cheese 17 lbs. weight, at 4d. per lb.</td> - <td class="right">0</td> - <td class="right">5</td> - <td class="right3">8</td> - </tr> - - <tr> - <td>Basket for ditto</td> - <td class="rightbb1">0</td> - <td class="rightbb1">0</td> - <td class="right3bb1">4</td> - </tr> - - <tr> - <td></td> - <td class="rightbb2">3</td> - <td class="rightbb2">13</td> - <td class="rightbb2">11½</td> - </tr> - -</table> - - -<p>“N.B.—One of my bottles was returned unto y<sup>e</sup> hamper filled -with water. Sent from Derby 146 bottles, received at Bath 22 -bottles.</p> - -<p>“You have heard the melancholy account of my good friend -Hurleston’s death. ’Tis a loss indeed to me, he was ever ready -to serve me. I never heard his Asthmatic complaint was so bad -as to endanger his life, it used in the thick winter weather -to be troublesome; perhaps the fall he got last year, of -w<sup>ch</sup> he complained at your house, hastened his end. Peace to -his soul. Since M<sup>r.</sup> Ward is dead, we are happy Miss Ward -did not regard our importuning her to stay<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> here, pray make -our compliments to her and all friends. My little boy and girl -are well. Jo is about his teeth and cross at times. We expect -to see his fourth every day. He has drove about his creed, -sometimes furiously, & can walk 4 or 5 yards with a slack -dade. He grows very strong & handsome. His nurse, to whom give -our service, would be proud to see him. Pop is an engaging -little girl, everybody that knows her loves her.... I have a -sitter, the first this year, but, thank heavens, I have other -employment w<sup>ch</sup> I will tell you of in my next.</p> - -<p class="left2">“I am yours,</p> - -<p class="r1">“JO. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<p>There is no date or address to the following playful letter from Wright -to his sister Nancy, but judging from its contents, it was written from -Bath about 1775–6, as the second picture of the “Smith’s Shop” was -exhibited in the former year:—</p> - -<p>“‘What can this lazy, idle, good-for-nothing brother of mine be about?’ -‘Why, writing to you, if you’ll only be civil, and not abuse me at this -rate. I am not idle, I assure you, nor lazy, nor good-for-nothing, tho’ -I am sorry to say it myself; but that is because here is no one to say -it for me, or I assure you, if I thought it worth convincing you, I -could find vouchers enough. Are you satisfied, Miss Nancy? am I good -for nothing or something?’ ‘Oh! quite satisfied my dear Bro’ that you -are good for something—nay, for that matter very good.’ ‘Well, now, -that is prettily said, and as becomes you; faith, you wou’d always -talk in that manner, if you knew what charms it diffused o’er your -countenance. I think that prettily said, too, & now I am even with -you. I hate compliments; but to dispel a lady’s frowns, & get out of -the gloom, I would swear, lie, compliment, or do anything. Now we have -shook hands, & are upon a good footing again, I must tell you I have -had very good health of late, & have made too much use of it; have -worked very hard, have finished my Smith’s Shop—’tis as good or better -than the last. Have upon the Stocks the young Nobleman, whose avarice -caused him to break open the Tomb of his ancestors, in hopes of finding -vast treasures, from an inscription there was upon it—“In this tomb -is a greater treasure than Crœsus possessed.” This, I think, will be a -favourite picture. Burdett’s tour to France proves highly advantageous -to him. He is to etch plates for Wedgewood & Bentley to be printed -upon their ware—an employ that in all probability will last him for -life—by which he will or may make four or six hundred a year. I know -your honest heart will make your pulse beat high at the news.’”</p> - -<p>Farrington tells us that while Reynolds resided in St. Martin’s Lane, -his prices for portraits were—three-quarters, ten guineas; half -length, twenty guineas; whole length, forty guineas. Those of his -master, Hudson, were rather higher, and were soon adopted by him. About -four or five years later, both raised their prices to fifteen, thirty, -and sixty guineas for the three classes of portraits respectively.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> - -<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> - -<p>Wright’s prices in 1754, when he was twenty years of age, were for -three-quarters, six guineas; half-length, twelve guineas; and full -length, twenty-six guineas. In 1760 we find them raised respectively -to ten, twenty-one, forty, and sixty guineas. Later in life they were -still further advanced to 90 and 120 guineas for full-lengths.</p> - -<p>It has often been lamented that artists did not more frequently leave -behind them a record of their method of working, and the arrangement -of their palette, for the benefit of their brethren who follow them, -so that after a lapse of time the good results from their method of -working might be followed, and their failures, by the use of certain -pigments, be avoided. We are enabled to transcribe from Wright’s MS. -note-book the arrangement of his palette. As the present state of his -paintings, where they have not been “restored,” is generally very good, -after the lapse of a century, with the exception here and there of a -change of tone not intended by the artist, his “palette” may be worth -the attention of art students.</p> - -<table summary="colours" class="sm"> - <tr> - <td class="ctr" colspan="3">The contents of y<sup>e</sup> pallet:—</td> - </tr> - - <tr> - <td class="right"></td> - <td class="ctr3"><i>First Row.</i></td> - <td class="paints"></td> - </tr> - - <tr> - <td class="righttop">1.</td> - <td class="paintstop">Verm. teint</td> - <td class="paintstop">Verm. & White.</td> - </tr> - - <tr> - <td class="right">2.</td> - <td class="paints">Verm.</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">3.</td> - <td class="paints">Carmine teint</td> - <td class="paints">Lake & Verm.</td> - </tr> - - <tr> - <td class="right">4.</td> - <td class="paints">Carmine.*</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">5.</td> - <td class="paints">Lake.*</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">6.</td> - <td class="paints">Brown Pink.*</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">7.</td> - <td class="paints">Dark shade to flesh</td> - <td class="paints">B<sup>r.</sup> Oker, B<sup>t.</sup> Lake, Terraceum Bl.</td> - </tr> - - <tr> - <td class="right">8.</td> - <td class="paints">Half Shade</td> - <td class="paints">Dark shade Naples Yell<sup>w.</sup> & a little White.</td> - </tr> - - <tr> - <td class="right"></td> - <td class="ctr3"><i>Quarter Shade.</i></td> - <td class="paints"></td> - </tr> - - <tr> - <td class="righttop">9.</td> - <td class="paintstop">Olive teint</td> - <td class="paintstop">Half Shade Naples Yell<sup>w.</sup> & blue teint.</td> - </tr> - - <tr> - <td class="right">10.</td> - <td class="paints">Blue teint</td> - <td class="paints">Ultramarine, Prussian, & White.</td> - </tr> - - <tr> - <td class="right">11.</td> - <td class="paints">Purple</td> - <td class="paints">Lake azure.</td> - </tr> - - <tr> - <td class="right">12.</td> - <td class="paints">Dark shade</td> - <td class="paints">Indian Red & Black.</td> - </tr> - - <tr> - <td class="right">13.</td> - <td class="paints">Burnt Umber.</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">14.</td> - <td class="paints">Black.*</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="ctr2" colspan="3">The colours marked thus * need not be laid y<sup>e</sup> first painting.</td> - </tr> - - <tr> - <td class="right"></td> - <td class="ctr3"><i>Second Row.</i></td> - <td class="paints"></td> - </tr> - - <tr> - <td class="righttop">1.</td> - <td class="paintstop">Rose teint</td> - <td class="paintstop">y<sup>e</sup> Carmine teint & white.</td> - </tr> - - <tr> - <td class="right">2.</td> - <td class="paints">Lake teint</td> - <td class="paints">Lake & white.</td> - </tr> - - <tr> - <td class="right">3.</td> - <td class="paints">Indian Red teint</td> - <td class="paints">Indian Red & white.</td> - </tr> - - <tr> - <td class="right">4.</td> - <td class="paints">Light Red.</td> - <td class="paints"><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></td> - </tr> - - <tr> - <td class="right">5.</td> - <td class="paints">L. red teint</td> - <td class="paints">L. red & white.</td> - </tr> - - <tr> - <td class="right">6.</td> - <td class="paints"> Do. lighter</td> - <td class="paints">  do.</td> - </tr> - - <tr> - <td class="right">7.</td> - <td class="paints">Complexion teint</td> - <td class="paints">Nap<sup>s.</sup> yell<sup>w.</sup> & white.</td> - </tr> - - <tr> - <td class="right">8.</td> - <td class="paints">High lights</td> - <td class="paints"> do. very light.</td> - </tr> - - <tr> - <td class="right">9.</td> - <td class="paints">Naples yellow.</td> - <td class="paints"></td> - </tr> - - <tr> - <td class="right">10.</td> - <td class="paints">Light Oker.</td> - <td class="paints"></td> - </tr> -</table> - -<p>In the same MS. book, on the first page, is the following record of the -palette of another artist, and it is probable that Wright may have used -it in his early works:—</p> - - -<p class="center p-left p1">“<i>Mr. Phelps’s way of making a Pallet.</i></p> - -<p>“First lay on Naples yellow, light oker, brown oker, Roman oker, Indian -Red, lake, brown pink, Ivory black, & Prussian blue.</p> - -<p>“In the light part of the face use Naples yellow, light oker, white, -vermillion, and a very little lake. Obs<sup>e</sup> that Naples yellow must be -tempered with an ivory pallet knife. For greenish shadows in the face, -use Naples yellow, Brown pink, lake, & a little black.</p> - -<p>“As blue black is a colour that will not stand, the following colours -are the same when mixt together:—Ivory black, Prussian blue, & a -little white. So for Coleus earth, use ivory black, Roman oker, brown -pink, & a little lake.”</p> - -<p>Wright often used a twilled canvas for his portraits, and sometimes for -his landscapes. He mostly painted very thinly, and it is perhaps partly -in consequence of this practice that his pictures have stood the test -of time better than those of many contemporary artists. He but seldom -signed his paintings; when he did, he generally gave the initials, “I. -W., pinxit,” and the dates.</p> - -<p>His early portraits partake very much of the hard handling and stiff -style of Hudson, his master; but as time elapsed and experience was -gained, he adopted more pleasing and original treatment.</p> - -<p>In the early part of this century, an artist, Rawlinson by name, who -resided at Matlock Bath, copied some of Wright’s pictures with some -success.</p> - -<p>On Oct. 6th, 1777, Wright and his family returned to Derby from Bath, -and went to lodge at Mr. Eley’s, which was opposite to his brother -Richard’s house, where he still continued to paint. There he lived very -happily and cheerfully, being constantly employed in the evening. When -not in the painting-rooms he would read, draw, play upon the flute, or -romp with his children; he was so pleasant and accommodating to all the -family, that though the Eleys were at first unwilling to receive him, -they quite lamented when he left.</p> - -<p>In the spring of 1779, Wright removed to St. Helen’s House. This house -was built by the Fitzherberts, upon the same plan, and apparently -by the same architect, as Somersal Hall,<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> Staffordshire. Alleyne -Fitzherbert, who was created Baron St. Helen’s in 1801, was born in -this house, and from it took his title. The ground formerly belonged -to the Abbey of St. Helen, and on the old house being taken down, a -skeleton and numerous bones were found under the foundations, which -lead to the supposition that it was the burial ground of the Abbey; its -site is at the present time occupied by part of St. Helen’s Street, and -Messrs. Hall’s Marble Works. The present St. Helen’s, now the Grammar -School, is on the opposite side of King Street, and was built by—— -Gisborne, Esq. The comparatively retired situation of this old house -on the outskirts of the town, suited Wright. It had a large court -before it, and the sitting rooms looked into the gardens, which were -large. Wright always encouraged his children in the enjoyment of active -amusements, as being conducive to health. “The broad gravel walk, -the length of the largest garden,” writes his niece, “was a famous -place for playing at ball, baseball, &c., in which his nieces used to -join with delight, there being no fear of any injury being done. The -old house was well calculated for all sorts of games; from the rooms -opening into each other and into different passages, no place could -be better for hide and seek, and the large hall for blind-man’s-buff, -and games that required space. Swinging was likewise a great pleasure. -There was not any part of the house in which they might not play, and -they could even whip tops in the room where the pictures were arranged -all round, and upon the floor.”</p> - - <div class="figcenter" id="i_051"> - <img - class="p2" - src="images/i_051.jpg" - alt="" /> - <p class="p0 center p-left sm">ST. HELEN’S HOUSE IN 1792.</p> - </div> - -<p class="p2">Wright would allow them to play in his painting-room when he was not -employed, and his niece does not remember him being afraid of anything -being damaged, except when he was painting the portrait of Sir Richard -Arkwright, in which the machine he constructed for spinning cotton was -introduced; then he would not allow anyone to go near the table lest it -should be injured.</p> - -<p>The painting-rooms at St. Helen’s House were not so convenient as those -at his brother’s, Dr. Wright’s, in the Iron Gate, where one room opened -into the other, so that by darkening the one room he could introduce -the proper light and subject he intended to paint, and view them to -advantage from the other room. His mechanical genius, however, enabled -him to construct an apparatus for painting candle-light pieces and -effects of fire-light. It consisted of a framework of wood resembling -a large folding screen, which reached to the top of the room, the two -ends being placed against the wall, which formed two sides of the -enclosure. Each fold was divided into compartments, forming a framework -covered with black paper, and opening with<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> hinges, so that when the -object he was painting from was placed within with the proper light, -the artist could view it from various points from without.</p> - -<p>In a note to a poem on the Chauntry House, Newark, by the Rev. H. N. -Bousfield, B.A., the following anecdote occurs:—</p> - -<p>“The Banqueting, or Dining Room of the Chauntry, contains a strong, -but delicately handled, lengthened portrait of the late Joseph Sikes, -Esq., by the celebrated Mr. Wright, of St. Helen’s, in Derby, the -ancient residence of Mr. Sikes’s family, at an early period of whose -minority that venerable edifice was, to his deep regret, taken down, -and which contained, among other characteristics of “Olden Times,” a -compact Chapel, part of which had a curiously wrought cedar wainscot. A -remarkable proof of the success of the artist in giving to ‘canvas face -and figure,’ was afforded by a favourite little terrier dog of the late -Mr. Sikes’s unconsciously accompanying him into the apartment at St. -Helen’s, upon the <i>floor</i> of which, in a very <i>unfinished</i> state, were -arranged, with many others, this Portrait and that of his first Lady, -the delightful sagacity of that interesting class of animals quickly -displaying itself by an attentive survey of the picture, and by the -most lively emotions of gratification, to the extent even of actually -<i>licking</i> the canvas. The alarm and astonishment, however, so naturally -felt by Mr. Sikes from this honest though uncourteous intruder, -was strongly reproved by Mr. Wright, as the most unprecedented and -unflattering respect he could have received; adding, that if the -<i>finish</i> of the painting was as perfect as the compliment of the dog, -his highest ambition must be exceeded, and if anyone took the trouble -to write his life, that anecdote would necessarily form a prominent -place. It has been aptly observed, that it more than rivals the -celebrated and well-known story of Alexander and Apelles.”</p> - -<p>This dog was not singular in paying such an unintentional compliment -to the artist, as the following authenticated anecdote shows:—“In -October, 1782, Mr. Wright was engaged painting the portrait of a young -gentleman named Carleill, and to try the effect in a strong light, the -picture was placed on the floor, with its back resting against the -legs of a chair, when a favourite greyhound, belonging to the family, -coming into the room, bounded up to the picture and began to lick the -face. Hereupon Mrs. Carleill, who was present, apologised to the artist -for the animal’s misbehaviour, but Wright, shaking hands with her, -exclaimed, ‘Oh! Mrs. Carleill, I freely forgive the dog the injury -he has done to the painting for the compliment he has paid me.’” Nor -were human beings exempt from similar deceptions. It is related that -Mrs. Morewood, of Alfreton Hall, went with her friend, Mr. Holland, -of Ford House, to see some paintings at Wright’s rooms; when looking -at the portraits of the three children of Mr. Walter Synnott, grouped -in the act of letting a dove fly from a wickerwork birdcage which was -introduced in the foreground, she desired Mr. Holland would remove the -birdcage, as it obstructed her view of the lower part of the picture; -it is almost needless to add that the cage was painted and not of -wickerwork, and that Wright thanked the lady for the compliment she had -thus unconsciously paid him. At another time, a man who had occasion -to enter the painting-room when the picture of the Old Man and his Ass -(from Sterne) stood upon the floor, tried to kick away the saddle, so -as to obtain a better view of the picture. And<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> on another occasion, -it is said, a gentleman on entering the room, bowed to the full-length -portrait of the late Mr. Charles Hurt, of Wirksworth, which was placed -near the fire to dry, thinking it was Mr. Hurt himself who was in the -room.</p> - -<p>With reference to his art-enemies alluded to in the early part of -this chapter, it is a pleasant task to record the following pleasing -anecdote of Wilson, to show that artists may be “great yet amicable -rivals”:—</p> - -<p>“Wilson was liberal to his brother artists, and reverenced the -powers of Wright, of Derby, highly, with whom he was intimate. The -latter artist esteemed highly the abilities of Wilson, and when he -was in London, rarely failed to visit his great but amicable rival. -In conversing familiarly one day upon the subject of their art, -Wright proposed to exchange one of his pictures for one of Wilson’s; -the latter assented with the easy consciousness of his particular -excellence, as distinguished from the particular excellence of his -friend: ‘With all my heart, Wright; I’ll give you <i>air</i>, and you’ll -give me <i>fire</i>.’ It is known that in aerial effect Wilson considered -himself above every rival; and the proposal of Wright may be supposed -to imply, on his part, an ingenuous acknowledgment of Wilson’s -superiority in this particular. I have never heard that Wilson imitated -Wright, but we know that Wright avowedly imitated Wilson, and, in such -instances, reached his glow and aerial effect to admiration.”<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p> - -<p>Mr. Holland, an intimate friend of Wright, and afterwards one of his -executors, wrote the following intelligible but somewhat incoherent -note on the margin of a catalogue of Wright’s paintings exhibited in -London:—</p> - -<p>“Richard Wilson is certainly the first in Landscape (1767). Joseph -Wright should not be called second, because in a procession I would -have them pair, and go hand-in-hand; and were there two right hand -sides, they should both, from their excellence, have them. But this -only in Landscape Procession. Wilson’s forte was only Landscape: look -forward to the variety of the latter, in all of which he excelled; -and in an academy he should have not only one of the foremost, but a -distinguished bench to himself.”</p> - -<p>Another brother artist who became a patron of Wright’s was Bacon the -Sculptor, who purchased a small Vesuvius, which was exhibited at the -Great Piazza, London, and afterwards engraved by Byrne.</p> - -<p>The following anecdotes and notes, though not relevant to Wright’s -remarkable imitative power, may as well find a place at the end of this -chapter.</p> - -<p>The Curator of the Derby Art Gallery tells a good tale of a north -Derbyshire farmer’s visit to the Gallery when the Wright Collection was -being exhibited in 1883. The farmer and his wife were standing before -the picture of a boy blowing a bladder; he was saying to his spouse in -the Derbyshire dialect, “Ah tell yer t’blither iz put behind t’picter, -that’ns a<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> raal blither.” The wife replied that it was only a painted -bladder. He then turned round and appealed to the Curator, who had just -entered the gallery, who assured him that the bladder was painted upon -the canvas, whereupon the farmer became most indignant, and replied, -“Doan’t yer think I knows a blither when ah seez un?”</p> - - <div class="figcenter" id="i_054"> - <img - class="p2" - src="images/i_054.jpg" - alt="" /> - <p class="p0 center p-left sm">BOY BLOWING A BLADDER.</p> - </div> - -<p class="p2">On one occasion, Wright was vexed with a sitter so capricious and -unreasonable, that his patience and ingenuity were sorely taxed. She -came to her second sitting in a different dress to that she had worn -at the first, and desired the painter to represent her as she then -appeared. Wright altered the picture to suit her whim. To his surprise -and annoyance, when she next made her appearance, it was in a third -dress. Again the pliant artist obliged her. When, however, she appeared -in a fourth dress, Wright could stand it no longer, and flatly refused -to make any further alteration. The lady replied in a threat to leave -the portrait on his hands. “Madam,” retorted the painter, “I do not -wish you to have the painting, I shall put it into the first auction -sale, and it will fetch more than I was about to charge you.” This had -the<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> desired result; the picture was taken, but the drapery was painted -over by another artist, named Barber, to suit the caprice of the lady.</p> - -<p>A lady who was about to sit to Mr. Wright, was told by her friends that -Mr. Wright would arrange her hair, &c. She, to enable him to carry this -into effect, spread out upon the table a large assortment of brushes, -combs, pomades, bandoline, &c., much to the astonishment and amusement -of the artist.</p> - -<p>A sitter, a lady, who, though possessed of a fine figure, and good -arms and ankles, had but an indifferent face, puzzled Mr. Wright as -to the position in which he should place her. After some thought he -chose to paint her extending her beautiful bare arm towards a branch -of a hawthorn tree. Showing only sufficient of the lady’s face to be -recognisable, he brought the full contour of her handsome figure into -view, with one pretty foot and ankle peeping out from under her dress, -and thus produced what was at once a good portrait and pleasing picture.</p> - -<p>From the foregoing description, it is most probable that the following -advertisement which appeared in the “Times” newspaper of July 25th, -1871, refers to the same picture, and that Mrs. Woodville was the -sitter.</p> - -<blockquote class="narrow sm"> - -<p class="center p-left p1h">TO PICTURE DEALERS & OTHERS.</p> - -<hr class="r5" /> - -<p class="center p-left">FIFTY POUNDS REWARD.</p> - -<hr class="r5" /> - -<p class="p-left">The above reward will be paid for the Portrait in Oil of the -late Mrs. Woodville, by Wright, of Derby. The size is about -7 feet 6 inches by 4 feet 6 inches. She is attired in white, -and represented as climbing up a bank to gather hawthorne. Her -feet and ankles are displayed, and her shoes ornamented with -garnet buckles. The picture is believed never to have been -framed, and from being constantly rolled up to be considerably -cracked.</p> - -<p>—Apply to Messrs. SIMPSON & NORTH,</p> - -<p class="left1">Solicitors, 1, Rumford Street,</p> - -<p class="left2">Liverpool.</p></blockquote> - -<p>Upon further enquiry I find that Major Orred, of Tranmere and Weston, -Cheshire, caused the reward to be offered, and succeeded in finding -the portrait at a Chemist’s, in Liverpool, but it was unfortunately -mutilated by being cut down from whole length to “Kit-cat.”</p> - -<p>In “Mozley’s Reminiscences,” p. 65, the following allusion is made to -Wright:—</p> - -<p>“There are men who are interesting from their associations, but whom -no associations can redeem. Such was Joseph Pickford. I first became -acquainted with his figure and circumstances at Derby, in 1815. His -father had been an architect and builder, and the intimate friend of -Wright the painter, remarkable for his illustrations of the varieties -of light and their effects; and also of<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> Whitehurst, a mechanician and -author of a ‘Theory of the Earth.’ It was a coterie contemporaneous and -on friendly terms with the Philosophical Society, founded by Erasmus -Darwin, but with a different caste, for philosophers are, socially, -as exclusive as other people. The father had built in the Friar Gate -a house of some architectural pretensions, his <i>chef-d’œuvre</i>, people -said. The sons had divided it. He occupied the smaller portion, entered -by a side door, much as it had come from the builder’s hands. The only -pretty thing in his sitting room was a charming picture by Wright, of -Pickford and his brother playing with a spaniel, of the date 1775, I -should think, and in the gay costume of that period. It passed into the -hands of a branch of the Curzon family. When I called on Pickford it -was a caution to see what a beautiful child might come to.”</p> - -<p>Woodward (G. W.), the Caricaturist (himself a Derbyshire man), says in -his “Eccentric Excursions,” “It would be unpardonable to leave Derby -without noticing the celebrated artist, Mr. Wright, who has resided -several years in a house<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> facing the New Inn, overgrown with ivy, -which, together with its high walls, proclaims an habitation sacred -to study and retirement. The result of his labours are always open to -the inspection of the stranger, an indulgence characteristic of this -gentleman’s well-known affability; and those who depart unpleased -after viewing his Moon and Candle-light pieces, and other inimitable -specimens of his pencil, must indeed be void of taste and judgment in -the imitative arts.”</p> - -<p>In Wright’s account-book is the following entry:—“An account of the -Trees in Windmill pit close in the year 1783, when eight trees on -Shaw’s side, six on the Normanton lane, and ten on the road side, in -all 24 trees.” From this entry we learn that the historical “Windmill -Pit”<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> close (where Joan Waste<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> was burnt at the stake in 1556) -at that time belonged to Wright, and that he planted the trees which -adorned that once pretty spot, but which have had to fall before the -march of the mason and bricklayer. The annual rent of the close at that -date was £20.</p> - - <div class="figcenter" id="i_056fp"> - <img - class="p2" - src="images/i_056fp.jpg" - alt="" /> - <p class="p2 center p-left sm">JOSEPH AND HARRIET, TWO OF WRIGHT’S CHILDREN.</p> - <p class="p2 center p-left sm"><i>Original picture in the possession of Miss Cade.</i></p> - </div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p></div> - - -<h2>CHAPTER VI.</h2> - -<blockquote> -<p class="smcap">Wright’s Secession from the Royal Academy.—J. L. Philips.—The -Messrs. Redgrave’s Criticisms on the Secession and upon Wright’s -Works.—Hayley’s Poem.—Anthony Pasquin.—Letters from Wright to J. L. -Philips.—The “Air Pump” Picture.</p></blockquote> - -<div> -<img class="drop-cap" src="images/drop-i.jpg" alt="" /> -</div> - -<p class="drop-cap">I now propose to deal with the uncommon instance of an artist who, -after having accepted the Associateship, refused the full honours -of the Royal Academy. In November of 1781, Wright was elected an -Associate, and in February, 1784, a full member of the Academy, but for -some reason or other he declined to become an Academician. Much has -been written upon this subject, and very different conclusions have -been arrived at.</p> - -<p>One of his most intimate friends, J. Leigh Philips, who possessed -considerable artistic judgment, wrote in 1797—the year after Wright’s -death—the following account of Wright’s treatment by the Royal -Academy, and there is no doubt but that he was well acquainted with all -the circumstances of the case:—</p> - -<p>“His portraits are mostly confined to the immediate neighbourhood -of Derby; this remark may likewise in a great degree extend to the -generality of his works, as but few of his late pictures have been -publicly exhibited, owing to their being frequently disposed of even -before finished, and to a repugnance which he felt at sending his works -to an exhibition where he had too much cause to complain of their -being improperly placed, and sometimes even upon the ground, that, if -possible, they might escape the public eye. As a proof of the truth -of this remark, the last pictures he exhibited were <i>placed upon the -ground</i>. In consequence of which they were so much injured by the feet -of the company, as to render it necessary to have the frames repaired -and re-gilded. This narrow jealousy, added to the circumstance of his -being rejected as an R.A. at the time Mr. Garvey was a successful -candidate, did not<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> tend to increase his opinion of the liberality of -his brethren in the profession. The Academy, however, being afterwards -made aware of the impropriety of thus insulting a man of his abilities, -deputed their Secretary, Newton, to Derby, to solicit his acceptance -of a diploma, which he indignantly rejected, knowing how little the -institution could serve him, and feeling perhaps a satisfaction that -his friend Mortimer and himself were both deemed equally unqualified to -enjoy the honours attached to that Royal establishment.”</p> - -<p>The Messrs. Redgrave, in their “Century of Painters,” “take exception -to this account of the treatment of Wright by the Academy,” and say, -“We are inclined to discount the whole of the tale” upon the grounds -that “we have searched the records of the Academy to learn the facts -connected with Wright’s retirement.” It was a safe place to search for -what was sure not to be found, if Mr. Philips’ account were true.</p> - -<p>Against the authors of the “Century of Painters” are arrayed -the writers and poets of the day, who took up the case when the -circumstances were well known. If Wright felt aggrieved, he had a -perfect right to decline the honour; and it appears to me that the -story as told by Mr. Philips has more claim to credence than the -opinions of writers a century later, founded upon such purely negative -evidence.</p> - -<p>The Messrs. Redgrave also state that “he then (when offered the full -diploma) refused to comply with the law of the Academy, which requires -a member to present one of his works to the Academy before receiving -his diploma, and required his name to be removed from the list of -Associates.” As Wright declined the proffered honour, it was not -necessary for him to “comply with the law of the Academy, and present -one of his works.” The refusal was consequent upon his retirement, but -there is nothing to show that it caused it.</p> - -<p>Again, Mr. S. Redgrave, in his “Dictionary of Artists,” states—“On -the foundation of the Academy he had entered as a student, and in 1781 -he was elected an Associate; his election as a full member followed -in 1784. But we are told that, annoyed by another having been elected -before him, he retired altogether from the Academy. The facts, however, -do not bear out this statement, and it appears more probable that the -nervous, irritable, ailing painter, settled quietly so far from the -Metropolis, was afraid of the duties and responsibilities which his -membership would entail.” It will be seen that Mr. S. Redgrave omits to -state the “facts” to which he refers.</p> - -<p>The retirement of Wright from the Academy induced Hayley, the Poet, -to write the following Ode, with a view to “Guard him from meek -depression’s chill controul”:—</p> - - <div class="poetry-container"> -<h3>ODE TO JOSEPH WRIGHT, ESQ., OF DERBY.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></h3> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“Away! ye sweet, but trivial forms,</div> - <div>That from the placid pencil rise,</div> - <div>When playful Art the Landscape warms</div> - <div>With Italy’s unclouded skies!<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span></div> - <div>Stay, vanity! nor yet demand</div> - <div>Thy portrait from the painter’s hand!</div> - <div>Nor ask thou, Indolence, to aid thy dream,</div> - <div>The soft illusion of the mimic stream,</div> - <div>That twinkles to thy sight with Cynthia’s<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> trembling beam!</div> - </div> - - <div class="stanza"> - <div>Be thine, my Friend, a nobler task!</div> - <div>Beside thy vacant Easel see</div> - <div>Guests, who, with claims superior, ask</div> - <div>New miracles of art from thee:</div> - <div>Valour, who mocks unequal strife,</div> - <div>And Clemency, whose smile is life!</div> - <div>‘<i>Wright!</i> let thy skill (this radiant pair exclaim)</div> - <div>Give to our view our favourite scene of Fame,</div> - <div>Where Britain’s genius blazed in glory’s brightest Flame.’</div> - </div> - - <div class="stanza"> - <div>Cœlestial ministers! ye speak</div> - <div>To no dull agent sloth opprest;</div> - <div>Who coldly hears, in spirit weak,</div> - <div>Heroic Virtue’s high behest:</div> - <div>Behold, tho’ envy strives to foil</div> - <div>The Artist bent on public toil,</div> - <div>Behold! his Flames terrific lustre shed;</div> - <div>His naval Blaze mounts from his billowy bed;</div> - <div>And Calpe<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> proudly rears his war illumined head.</div> - </div> - - <div class="stanza"> - <div>In gorgeous Pomp for ever shine</div> - <div>Bright monument of Britain’s force!</div> - <div>Though doomed to feel her fame decline</div> - <div>In ill-starr’d war’s o’erwhelming course;</div> - <div>Though Europe’s envious realms unite</div> - <div>To crush her in unequal Fight,</div> - <div>Her Genius, deeply stung with generous shame,</div> - <div>On this exalting Rock arrayed in flame,</div> - <div>Equals her ancient feats, and vindicates her name.</div> - </div> - - <div class="stanza"> - <div>How fiercely British valour pours</div> - <div>The deluge of destructive Fire,</div> - <div>Which o’er that watery Babel roars,</div> - <div>Bidding the baffled Host retire,</div> - <div>And leave their fallen, to yield their breath</div> - <div>In different pangs of double death!</div> - <div>Ye shall not perish: No! ye hapless brave,</div> - <div>Reckless of peril thro’ the fiery wave.</div> - <div>See! British Mercy steers, each prostrate foe to save.</div> - </div> - - <div class="stanza"> - <div>Ye gallant chiefs whose deeds proclaim</div> - <div>The genuine Hero’s feeling soul,</div> - <div>Elliott<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> and Curtis,<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> with whose name</div> - <div>Honour enriched his radiant roll:</div> - <div>Blest is your fate! nor blest alone,</div> - <div>That rescued Foes your virtues own,</div> - <div>That Britain triumphs in your filial worth;</div> - <div>Blest in the period of your glory’s birth,</div> - <div>When Art can bid it live to decorate the Earth!<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></div> - </div> - - <div class="stanza"> - <div>Alas! what deeds, where virtue reign’d,</div> - <div>Have in oblivion’s darkness died,</div> - <div>When Painting, by the Goths enchain’d,</div> - <div>No life-securing tints supplied!</div> - <div>Of all thy powers, enchanting Art,</div> - <div>Thou deemest this the dearest part,</div> - <div>To guard the rights of valour, and afford</div> - <div>Surviving lustre to the Hero’s sword:</div> - <div>For this, heroic Greece thy martial charms adored.</div> - </div> - - <div class="stanza"> - <div>Rival of Greece, in arms, in arts,</div> - <div>Tho’ deemed in her declining days,</div> - <div>Britain yet boasts unnumbered Hearts,</div> - <div>Who keenly pant for public praise:</div> - <div>Her Battles yet are firmly fought</div> - <div>By Chiefs with Spartan courage fraught:</div> - <div>Her Artists, with Athenian zeal, unite</div> - <div>To trace the glories of the prosp’rous fight,</div> - <div>And gild th’ embattl’d scene with Art’s immortal light.</div> - </div> - - <div class="stanza"> - <div>Tho’ many a hand may well portray,</div> - <div>The rushing War’s infuriate shock,</div> - <div>Proud Calpe bids thee, <span class="smcap">Wright</span>, display</div> - <div>The Terrors of her blazing Rock;</div> - <div>The burning hulks of baffled Spain,</div> - <div>From thee she claims, nor claims in vain,</div> - <div>Thou mighty master of the mimic Flame,</div> - <div>Whose Peerless Pencil, with peculiar aim,</div> - <div>Has formed of lasting Fire the basis of thy Fame.</div> - </div> - - <div class="stanza"> - <div>Just is thy praise, thy Country’s voice</div> - <div>Loudly asserts thy signal power;</div> - <div>In this reward may’st thou rejoice,</div> - <div>In modest Labour’s silent hour,</div> - <div>Far from those seats, where envious leagues,</div> - <div>And dark cabals, and base intrigues</div> - <div>Exclude meek merit from its proper Home;</div> - <div>Where Art, whom <i>Royalty</i> forbade to roam,</div> - <div>Against thy Talents closed her self-dishonour’d Dome.</div> - </div> - - <div class="stanza"> - <div>When partial pride, or mean neglect,</div> - <div>The nerves of injur’d Genius gall,</div> - <div>What kindly spells of keen effect</div> - <div>His energy of Heart recall?</div> - <div>Perchance there is no spell so strong</div> - <div>As friendship’s sympathetic song:</div> - <div>By fancy link’d in a fraternal band,</div> - <div>Artist and Bard in sweet alliance stand;</div> - <div>They suffer equal wounds, and mutual aid demand.</div> - </div> - - <div class="stanza"> - <div>Go then, to slighted worth devote</div> - <div>Thy willing verse, my fearless Muse;</div> - <div>Haply thy free and friendly note</div> - <div>Some joyous ardour may infuse</div> - <div>In fibres, that severely smart,</div> - <div>From potent envy’s poison’d dart;</div> - <div>Thro’ <span class="smcap">Wright’s</span> warm breast bid tides of vigour roll,</div> - <div>Guard him from meek depression’s chill controul,</div> - <div>And rouse him to exert each sinew of his Soul.”</div> - </div> - </div> - </div> - -<p>The first nine verses allude to Wright’s picture of the Siege of -Gibraltar.</p> - -<p>The last three refer to his having been rejected as an R.A.</p> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p> - -<p>This “Ode” is referred to by Wright in the following interesting letter -to his friend Hayley; and from what we learn of Wright’s character from -those who knew him, it is very certain that he would not have accepted -as a “very ingenious and very friendly ode” a poem which contained such -severe animadversions upon the treatment he had been subjected to by -the Royal Academy, unless he had thought them justified by the facts:—</p> - -<blockquote> - -<p class="r1">“Derby, Aug. 31st, 1783.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“It is recommended to the painters who wish to become eminent, -to let no day pass without a line. How contrary, alas! has -been my practice; a series of ill-health for these sixteen -years past (the core of my life) has subjected me to many idle -days, and bowed down my attempts towards fame and fortune. -I have laboured under an annual malady some years, four and -five months at a time; under the influence of which I have -now dragged over four months, without feeling a wish to take -up my pencil, till roused by your very ingenious and very -friendly Ode, in which are many beautiful parts, and some -sublime. Perhaps, had I then been furnished with proper -materials for the action off Gibraltar, I should have begun my -fire; but for want of such instructions, I soon sunk into my -wonted torpor again, from which, as the weather grows cooler, -I hope to awaken. Mr. Wedgwood approves of your subject of -Penelope, as a companion to the Maid of Corinth. You mention -the boy Telemachus being pale and feverish; pray, is there any -authority in history for it? or have you mentioned it to give -more character and expression to his mother? When I know this -I shall make a sketch of it, and consult you further about it. -Some little time ago, I received one hundred copies of your -charming Ode (would I deserved what your warm friendship has -lavished on me), some of which I distributed among my friends; -but would it not be more advantageous to me to spread abroad -the rest when my picture is finished—especially if I make an -exhibition of it with some others?</p> - -<p class="left1">“I am, dear Sir, with the greatest esteem,</p> - -<p class="left2">“Your much obliged Friend,</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - - -<p class="p1h">Another writer, Anthony Pasquin,<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> -in his “The Royal Academicians: A Farce, 1786,” gives this account of -Wright’s secession from the Academy, which he puts into the mouth of -Truth:—</p> - -<p>“The inimitable Wright, of Derby, once expressed an ardent desire -to be admitted a member of the Academy, but from what unaccountable -reason his wishes were frustrated remains as yet a secret to the -world; but the sagacious, or, rather, the envious brethren of the -brush thought proper to thrust so eminent an artist on one side to -make way for so contemptible an animal as Edmund Garbage (Garvey). -They had scarcely invested this insignificant mushroom with diplomatic -honours before they discovered that they had been committing a most -atrocious, diabolical, and bloody murder upon two gentlemen of great<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -respectability and character, ycleped Genius and Justice; and the -pangs of their wounded consciences became so very troublesome, that -it was resolved, in a full divan, instantly to despatch Secretary -Prig to Derby with the diploma, and force these august privileges -and distinctions upon the disappointed painter, that he had before -solicited in vain. But, alas! the expedition was inauspicious and -unfortunate; the diploma was rejected with the most evident marks of -contempt, and the Secretary kicked as a recompense for his presumption.”</p> - -<p>This account is, no doubt, a caricature of what actually took place, -but it to a certain extent corroborates both Mr. Philips’ statement and -the Poet Hayley’s allusions to the same event in his ode; and we must -remember that the poet was also one of Wright’s intimate friends.</p> - -<p>Mr. F. G. Stephens has kindly called my attention to the following -extract from “Number 1: A Liberal Critique on the Exhibition for 1794,” -by “Anthony Pasquin” (Williams), p. 15:—</p> - -<blockquote> - -<p class="center p-left">J. WRIGHT, DERBY.</p> - -<p class="center p-left">No. 107, “<i>An Eruption of Vesuvius</i>.”</p> - -<p class="center p-left">No. 232, “<i>A Lake at Dunkeld, in Scotland, Evening</i>,” <i>by the -same Author</i>.</p> - -<p class="center p-left">No. 233, “<i>A Village on Fire</i>,” <i>by ditto</i>.</p> - -<p class="p1h">“This truly celebrated Artist has honoured the Institution -by condescending to mingle his choice labours with the <i>Harp -Alley</i><a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> excellence of a majority of the Royal Academicians. -Feeling their importance so inordinately, it moves my wonder -that these uplifted gentlemen do not eagerly contribute, -by their own efforts, to the support of that order from -whence they derive such prodigious importance, and not give -the cavilling world occasion to remark that they have been -honoured without desert, and retain the mummeries of the -institution without gratitude. When I was in Paris, in 1787, -they managed those affairs much better; the Royal Academy of -Polite Arts there was conducted more nobly: every person was -admitted to view <i>gratis</i>, what was meant as a free display -of national genius, for national admiration. With us the -motive seems cupidity, and the end deception. With the richest -Monarch in Europe for their patron, the arts of England are -literally kept from destruction by the votive shillings of -a motley public, who pay the salaries of the professors, -and find <i>oil</i> for the lamps in the <i>plaister</i> and <i>living</i> -schools, though the King arrogates the character of being the -high supporter of the system. But it is a provident assumption -of dignity, unaccompanied with either risk, anxiety, or -expense! He seems to possess the <i>furor</i> of patronage as -highly as the tenth Leo, but I have as yet to learn that he is -equally munificent.”</p></blockquote> - -<p>My own opinion is, that the facts as recorded by these writers were -in the main correct. There seems no reason to doubt that Wright’s -contributions to the annual Exhibitions at the Academy had been -systematically placed in bad positions, and that he felt his abilities -deserved recognition before those of Mr. E. Garvey, his competitor -at the time, whose works consisted principally of small pictures of -gentlemen’s seats. At this period, the Elections at the Royal Academy -were contested, and interest was all-powerful; and nothing would have -been more repugnant to the sensitive and honourable nature of Wright, -than having to pass through the ordeal of canvassing for an election, -where merit alone should have been the test.</p> - -<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> - -<p>It is to be regretted that no letters or other memoranda are to be -found amongst Wright’s papers which throw any light upon his refusal of -the diploma in 1784.</p> - -<p>I am, however, able to give, in Wright’s own words, his version of his -treatment by the Royal Academy during the years 1790, 1791, and 1794. -From these letters we learn that Wright had again become an exhibitor -in the Academy, but that his pictures were badly hung. This treatment -calls forth these words from him:—“’Tis not the first instance of -their base conduct. I have been driven from their Exhibition before, -and must again withdraw myself, unless I could brook such abuse.”</p> - - -<p>Again, in writing to Mr. Philips, in 1794, he says:—“Your -picture of Vesuvius and one at Dunkeld which would have been at -Manchester before now, had not the frames of the pictures which I -exhibited been materially damaged at the Academy. Mr. Milbourne has -orders to put them into good condition and send them to you when -done.”</p> - -<p>This is alone sufficient to prove his retirement had some deeper ground -than a disinclination to present a diploma picture.</p> - -<blockquote> - -<p class="r1">“Derby, 11th June, 1790.</p> - -<p class="smcap">“To John Leigh Philips,</p> - -<p class="left3">“My good friend, for so I have reason to call you, is ever -prompt and eager to redress as much as may be my wrongs. I -have lately sustained a real injury from the <i>most illiberal</i> -behaviour of the Royal Academicians, with which my dear friend -Tate has made you acquainted. ’Tis not the first instance of -their base conduct. I have been driven from their Exhibition -before, and must again withdraw myself—unless I could brook -such abuse—for it is better not to exhibit at all than under -such disadvantageous circumstances. To put my pictures in -places they could not be seen, and then to decry them is rank -villany, and what an artist should sink under the reflection -of. I wish the Town had held together longer; I should have -been very glad to have their behaviour publickly known, while -it is recent, that if I should exhibit no more with them, the -true reason may be known. I was prophet enough to foretell -what would happen to me. I think I communicated it to Tate, -indeed it required no divination, to know the miscreants and -their dependency on the Alderman,<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> was to know the result -of all. I am sorry the business is protracted from time to -time. The Editors stand much in awe of this great man. I heard -the other day from a Relation of the Alderman’s, that the -editor of the Morning Herald had a violent quarrel with him -for rejecting the performance of a relation of his as unworthy -of his gallery. There is an odd paragraph in the Leicester -papers. ‘The <i>Prince</i> of pick-pockets has given instruction -to his attorney to prosecute a printer for a libel on his -<i>character</i>.’ Can you guess who it is? I wonder Vasari has -not yet come out with his statement of facts, sure he has not -plugged with gold the touch hole of his great guns. At present -I can but thank you for your very friendly services to me; I -feel the weight of such <i>solid obligations</i>.</p> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p> - -<p>“My best remembrances to Mrs. Philips, my Friend Tate, Mrs. -Hardman, &c., &c., and believe me very sincerely and with much -esteem your Friend,</p> - -<p class="r1">“JO<sup>SH</sup> WRIGHT.</p> - -<p>“P.S.—Tate says you have so high an opinion of my two -pictures that if I will join you, Heath shall be applied -to, to engrave them. I hardly know how to reply, unless I -knew something of the expense, and the likelihood of saving -ourselves in such an engagement. Independent of these -considerations I should like it of all things, as it would be -pushing the matter with the Alderman still further. Perhaps -you will indulge me with a line soon.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“15th April, 1791.</p> - -<p class="smcap left5">“To John Leigh Philips,</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“I have just received a letter from the Sect<sup>y</sup> of the -incorporated Society of Artists, assuring me they will be -happy to receive any pictures from me, but they wish to -avoid inserting anything in the catalogue, that may appear -like altercation with the R Academy, and they conceive it -sufficient to mention in the catalogue, that the two pictures -from Shakespeare were exhibited last year at Somerset house, -timely notice not having been sent of the Exhibition of this -Society, but the subjects having received alterations, Mr. -Wright wishes them to be exhibited here. However in this -respect the Committee will be wholly guided by me. I think -nothing had better be said than the above. My wish was to have -had something mentioned in the catalogue expressive of the -slight & injustice shewn to my pictures last year by the R -Academy, by the obscure places they put them in, which I hope -will be an apology to the publick for their 2<sup>nd</sup> appearance. -Pray suggest something proper if you and my friend Tate think -some observation of the kind should be made.</p> - -<p>“Heath & Martin will have an opportunity of seeing these -pictures; whether they will approve of them is uncertain, nor -do I know whether the two pictures of Romeo & Juliet and the -Storm are to be marked in the Catalogue to be sold. It would -gratify my pride and resentment to the Alderman to have ’em -engraved by Heath—as the Companion of the Storm would become -more universal. The Society wish to have any single picture -besides the two from Shakespeare, which would preclude any -unpleasant suggestions that might be started to the prejudice -of the Society. Pray give me your thoughts by return of post, -as I must write as soon as possible.</p> - -<p>“I am still unwell—no work going on. Adieu my good friend, -and believe me yours very sincerely,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p class="p-left">“St Ellens,</p> - -<p class="left5">“15 Apl, 1791.”</p></blockquote> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<p>The note in the catalogue of 1791, the last exhibition of the Society, -thus reads:—“N.B.—The above pictures were exhibited last year in the -Royal Academy; but having been placed in an unfortunate situation, -owing (as Mr. Wright supposes) to their having arrived too late in -London, and having since received alterations, he is desirous they -should again meet the public eye.”</p> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“St Ellens, Apl 23<sup>rd</sup> 1791.</p> - -<p class="left5">“<span class="smcap">To John Leigh Philips</span>,</p> - -<p>“<span class="smcap">My Dear Sir</span>,</p> - -<p class="left3">“As I have a very high opinion of your judgment, integrity, -and friendship for me, I have the greatest satisfaction -in asking your advice & regulating my conduct by it. I -have implicitly followed your instructions relative to the -Incorporated Society, who I believe would do anything in -reason to accommodate me. They approve of the N.B., as it now -stands, it entirely removes every ground of cavil between them -and the R.A., yet for my own sake, they wish me to reconsider -it, as in their opinion it sets me in perhaps too pointed a -view of opposition to the R.A., but I don’t see that. They -have repeatedly used me ill, and the public ought to know -it, or my changing the place of exhibition might be deemed -whimsicalness. The terms it is couched in are delicate, and -the supposition of delay, being ye cause of the pictures being -disadvantageously placed, is a very sufficient apology for the -Academy, better indeed than my heart is inclined to make them.</p> - -<p>“I consider the Exhibition as my mart, and I have sent three -small pictures. I wish they may make good head against the -Royalists this year, against another I hope to be better -prepared. I like the Spring Gardens Room very much. I am glad -you like the addition to your Grotto, in my opinion ’tis much -improved by it; there is a better balance of light and shadow. -I would advise you to get it painted on the backside with a -greyish colour which will preserve it much. I mention grey -because the paint works thro’ like pin heads in any of the -porus parts. That tint will be the least seen and where they -are seen, our dear friend Tate will touch ’em with the point -of a pencil. The Moonlight is 30<sup>gs.</sup></p> - -<p>“I thank you very kindly for a quantity of most excellent -rags, you were resolved I should never want again. I do not -understand when you say, “if we can see ye 2<sup>d</sup> No. of Boydell -we shall all be satisfied.” Pray is the 1<sup>st</sup> out. I am glad -you are recovered.</p> - -<p class="r1">“JO<sup>S</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“20th May, 1791.</p> - -<p class="smcap left5">“To John Leigh Philips,</p> - -<p class="smcap">“My Dear Sir,</p> - -<p>“Your Account of the base situation of my friend Tate’s -pictures in the R.A. hurts me much, tho’ from repeated -instances of this sort of behaviour both to myself and Pupil -I am not much surprised. ’Tis their duty to form the best -exhibition in their power,<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> by giving every picture the -place its merit claims, but partiality pervades the whole, -and I have frequently seen pictures unworthy of public -exhibition possessing the most advantageous places. Who it is -that misconducts this matter, I know not, but I have heard -Farrington has much sway in the Academy.</p> - -<p>“As you have given up the concern which Tate mentioned to me -sometime ago, I must also give up the flattering idea which I -had entertained of having my picture engraved by Heath. Martin -& he wished again to see them. Have you heard anything from -Heath about them, because the time of closing will be drawing -nigh and I must determine what to do with ’em. I think they -will be the last pictures I shall exhibit.</p> - -<p>“I am happy you like your pictures, and am obliged to you for -the remittance of £31. 10. 0. I could have wished for the ease -of my own feelings to have excused the payment (for I stand -much indebted to you) but I durst not offer it you, for fear -of wounding yours at this time. However, anon, I will place a -center picture between the two, to show how sincerely I think -myself,</p> - -<p class="left4">“Dr Sir, your obliged Friend,</p> - -<p class="r1">“JO<sup>SH</sup> WRIGHT.</p> - -<p class="p-left">“St Ellens,</p> - -<p class="left5">“May 20, 1791.”</p></blockquote> - -<hr class="r15" /> - -<p>In a biography of Wright, I am compelled to notice the unwarrantable -attack made by the Messrs. Redgrave, in their “Century of Painters,” -upon the reputation of Wright as a painter. Whether this arose from -Wright’s seceding from the Academy, and so committing an unpardonable -offence in the eyes of the Messrs. Redgrave, or from the fact that they -judged Wright by unimportant works, as I shall presently show, or from -both combined, I must leave the reader to decide.</p> - - -<p>Messrs. Redgrave state:—“Having made -a journey into the County especially to see some of the works of this -Derbyshire artist, we were shown many, both portraits, landscapes, -and figure subjects, reported to be amongst his best, but always -disappointing to our expectations.” Soon after the publication of the -“Century of Painters,” I was at the trouble to make enquiries as to -what pictures had been seen by the Messrs. Redgrave on the occasion -of this visit, and found that they had not seen his best pictures at -all, but only a few which were either left unfinished at his death -or had been tampered with by others, together with some unimportant -works. They did not see “The Orrery,” “The Gladiator,” “The Alchymist,” -nor any of his important portraits or “conversation” pictures. The -“Air Pump” picture was apparently not seen by them until later, when -a portion of their criticisms had been written, and it then received -encomium from them, which I now place in juxtaposition with what they -had written a few pages before. The italics are mine.</p> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<p class="center p-left"><span class="smcap">Messrs.</span> REDGRAVE <i>v.</i> <span class="smcap">Messrs.</span> REDGRAVE.</p> - -<blockquote> - -<p class="center p-left p1h">JOS. WRIGHT, OF DERBY.</p> - -<hr class="r15" /> - -<p>“As a portrait painter, judged by his best works, he was -merely respectable. There is a painful solidity of execution, -<i>a want of quality and texture both in the flesh and -draperies</i>, so that when placed beside the works of Reynolds -or Gainsboro’ his portraits remind us of the labours of the -<i>house painter</i>; they show little variety of handling; <i>flesh, -drapery, sky, trees, all being executed in the same painty -manner</i>.”—“Century of Painters,” vol. 1, p. 258.</p></blockquote> - -<blockquote> - -<p class="p1h">CRITICISMS ON THE PICTURE CALLED “AN EXPERIMENT WITH AN AIR PUMP.”</p> - -<hr class="r15" /> - -<p>“We certainly should have placed Wright of Derby <i>much lower -as an artist</i> had we not seen this <i>very clever work</i>.... The -drawing and composition is satisfactory, and there is a great -contrast in the expression and the varied attitudes of the -several heads. <i>The flesh of the faces is good in colour, and -most carefully modelled</i>; indeed the young woman on the right, -in blue, and the lad drawing down a curtain to shut out the -moonlight on the left, are worth special observation for this -quality. <i>The draperies are all carefully painted from nature -(a merit apparent also in most of Wright’s portraits)</i>, and -are in this respect very different from the sloppy negligence -of some of the followers of Reynolds. There is a pretty -little incident rendered with feeling and true expression, -in the group of two young girls touched with childish sorrow -and dread of what they are told is to be the result of ‘the -experiment’—the death of the bird confined in the glass -receiver of the machine.</p> - -<p>“The colour of the whole is pleasant, the execution firm -and <i>solid</i>, and the brown shadows, although dark, are -sufficiently rich and luminous, the picture very agreeable in -general tone.”—“Century of Painters,” vol. 1, p. 264.</p></blockquote> - -<p>Mr. R. Redgrave, R.A., in a letter to the writer, dated Nov. 30, 1861, -wrote:—“I have seen on my journey and since, <i>very many fine Wrights</i>, -and have reported to the Commissioners (International Exhibition) on -six or eight, which they intend to ask or have asked for.” It is a -difficult task to reconcile this statement with the “house painter” -theory. Yet the “Century of Painters” was not published until 1866.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> - -<p>Of the picture of “An Experiment with an Air Pump,” which called -forth such praise from the Messrs. Redgrave, I am enabled, through -the courtesy of the Proprietors of the “Art Journal,” to give an -illustration. It was presented to the National Gallery, a few years -ago, by Mr. Walter Tyrrell.</p> - - <div class="figcenter" id="i_068"> - <img - class="p2" - src="images/i_068.jpg" - alt="" /> - <p class="p0 center p-left sm">“AN EXPERIMENT WITH AN AIR PUMP.”</p> - </div> - -<div class="chapter"> - -<p class="center p-left sm p6">“EDWIN.”</p></div> - -<p class="p2 center p-left sm smcap">From Dr. Beattie’s “Minstrel.” Etched by Mr. F. Seymour Haden.</p> - -<p class="p2 center p-left sm smcap">Mr. Thomas Haden, of Derby, sat for this picture.</p> - -<p class="p2 center p-left sm"><i>Original picture in the possession of the Right Honourable Lord -Houghton.</i>]</p> - - <div class="figcenter" id="i_068fp"> - <img - class="p2" - src="images/i_068fp.jpg" - alt="" /> - </div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p></div> - - -<h2>CHAPTER VII</h2> - -<blockquote> - -<p class="smcap">Mention of some Important Pictures.—The Custom House Authorities -and “The Captive” Picture.—The “Dead Soldier” and Heath the -Engraver.—“Destruction of the Floating Batteries off Gibraltar.”—“The -Orrery.”—Earl Ferrers as a Patron.—Mortimer.—Peter Pindar.—Dr. -Darwin.—Anna Seward.—Wedgwood.—Bentley.—“The Alchymist” -Picture.—Hayley the Poet.—Thos. A. Hayley the Sculptor.</p> -</blockquote> - -<div> -<img class="drop-cap" src="images/drop-w.jpg" alt="" /> -</div> - -<p class="drop-cap">We have seen that Wright’s visit to Italy caused him to turn his -attention to landscape, and it is after his return from thence that we -find him entering upon the treatment of poetical subjects. “Edwin,” -from Beattie’s “Minstrel,” and “Maria,” from Sterne’s sentimental -journey, were exhibited at the Royal Academy in 1778 and 1781, and were -portraits of living persons, who were eminently fitted to represent -the ideal of the authors. Before Wright commenced to paint “Edwin -the Minstrel,” he wrote to Dr. Beattie to ask his opinion upon the -treatment of the subject. The Doctor wrote a very excellent letter in -reply, and concluded by saying, “Edwin from your pencil will be all my -pen vainly endeavoured to make him.” A Derby gentleman, Thos. Haden, -surgeon, who was considered to be one of the handsomest men in the town -at that date, sat for this picture. The lady who sat for “Maria” was a -Mrs. Bassano, of Derby.</p> - -<p>I am indebted to Mr. F. Seymour Haden for kindly allowing me to -embellish this volume with his admirable etching of “Edwin the -Minstrel.”</p> - -<p>We may well attribute these and some other pictures of a sentimental -character to the influence of Wright’s visit to Italy. Wright was -evidently indebted for the attitude of the figure in the picture of -“The Captive” to Michael Angelo’s “Adam” in the Capella Sistina.<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> This -picture was painted in Rome, and sent to England. A very good tale is -told about it, which is here inserted from “The Universal Magazine” of -June, 1795:—</p> - - -<p>“When this celebrated painter (Wright, of Derby) was at Rome, -he painted that very fine figure, “The Captive,” from Sterne, and -consigned the picture to a friend in London, who having advice of its -being landed, and deposited in the Custom House, presented a petition -to the Board, stating that it was a portrait painted by an English -artist, and praying it might be delivered duty free. In answer to this -he received an order to attend on a given day, and was brought before -their honours. The picture was produced, and the first question asked -was, “Of whom is it the portrait?” The gentleman replied with truth, it -was the portrait of a Roman (for it was copied from a Roman beggar), -and the Board seemed inclined to let it pass; but an old gentleman, who -had long been a Commissioner, made a shrewd objection, and remarked -that this was such a portrait as he had never before seen in his life, -and taken in a manner that he did not believe either Roman, Greek, -Turk, Jew, or Infidel, would ever consent to ‘sit.’ ‘If,’ he added, -‘any gentleman at this Honourable Board chose to have his picture -drawn, would not he put on a clean shirt, and have his wig fresh -powdered, and be clean shaved; answer me that? To be sure he would. -Now, it is here pretended, that this fellow sat for his portrait, who -had hardly a rag to cover his nakedness; gentlemen, if he could have -afforded to have paid for painting his picture, he could have afforded -to buy himself a pair of breeches!’ He added by moving that the duty -might be paid; and the duty was paid accordingly.”</p> - -<p>Wright was more fortunate when he returned from Italy, as to payment of -Custom House duties, as the following extract from a letter from Bath, -dated 4th Dec., 1775, shows:—“Through the interest & application of my -friend Mr. Baxter, I have got my pictures, &c., duty free, a thing so -unusual the clerks cou’d scarce credit it. I believe it an indulgence -none have experienced but myself. Had I been charged with ye common -duty, I should have had near £30 to pay, an object this at any time, at -the present a very material one.”</p> - -<p>From the pictures of this character, we must not omit to mention -that of the “Dead Soldier,” from Langhorne’s poems, which has become so -familiar through the excellent line engraving by Heath.</p> - -<p>It is related that Wright said before he painted the “Dead Soldier,” -that he would depict the greatest possible sorrow, yet there should be -a smiling face in the picture. The following lines by William Sotheby, -F.R.S., bear testimony to the realisation of his intention:—</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“I, to yon lonely tent by pity led,</div> - <div>View where the widow mourns her soldier, dead;</div> - <div>Turns from her babe, whose careless smiles impart</div> - <div>Strange woe, that harrows up the mother’s heart,</div> - <div>Hangs o’er the body, bleeding on the ground,</div> - <div>Clasps his cold hand, and faints upon the wound.”</div> - </div> - </div> - </div> - -<p>The picture of the “Dead Soldier” was bought from the easel by Heath -for £105, who afterwards sold it to J. L. Philips. It was sold in -Manchester, when the effects of that<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> Patron of the Fine Arts came -to the hammer, by Winstanley and Taylor, in October, 1814, and then -realized £315. It is thus described in the Catalogue:—“Lot 33, Wright, -of Derby,—‘The Dead Soldier.’ This acknowledged <i>chef-d’œuvre</i> of this -admired master, uniting great knowledge of grouping, excellent drawing, -& correct colouring, with a fine feeling of sentiment, decidedly -proves the assertion of Mr. Fuzeli, in his ‘Biographical Notice of Mr. -Wright,’ that ‘he once eminently succeeded in the pathetic.’”</p> - -<p>The line engraving by Heath appears, from the following correspondence, -to have been a great success.</p> - -<p>The following is a copy of the original circular issued by the -Engraver:—</p> - -<blockquote> - -<p class="r1">London, July 25th, 1795.</p> - -<p class="center p-left sm">PROPOSALS</p> - -<p class="center p-left sm">For Publishing by Subscription</p> - -<p class="center p-left xxl gesperrt">A PRINT,</p> - -<p class="center p-left sm">To be Engraved by</p> - -<p class="center p-left"><i>JAMES HEATH</i>,</p> - -<p class="center p-left sm">Historical engraver to his Majesty, &c.,</p> - -<p class="center p-left sm">from</p> - -<p class="center p-left sm">The celebrated picture</p> - -<p class="center p-left sm">of</p> - -<p class="center p-left xl gesperrt">THE DEAD SOLDIER,</p> - -<p class="center p-left sm">Painted by</p> - -<p class="center p-left lg">WRIGHT, OF DERBY.</p> - -<hr class="r15" /> - -<p class="center p-left">CONDITIONS:</p> - -<p>That the plate shall be the Size of the Plate of the <span class="smcap">Death -of General Wolfe</span>. The price of each print will be One -Guinea; Proofs, Two Guineas; Half to be paid at the time of -subscribing, and the remainder on the delivery of the Print.</p> - -<hr class="r15" /> - -<p>Subscriptions are received by the Proprietor, <i>James Heath</i>, at 42 -Newman Street, where a proof of the plate may be seen.</p> - -<hr class="r25" /> - -<p><i>Received ______________ 179 of -the sum of ______________ being Half of the -Subscription for ______ impression of the -above-mentioned print, which I promise to deliver according to -the proposals.</i></p></blockquote> - -<p><span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span></p> - -<p>The following correspondence relating to the print is also of some -interest:—</p> - -<blockquote> - -<p class="r1">“Oct. 17th, 1796.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I have sent a proof of the ‘Dead Soldier’ very near finished. -Pray let me have your opinion and remarks upon it as soon -as possible. I have sent one to Wright, and have asked him -to paint a companion to it; if he will not, who would you -recommend for that purpose?</p> - -<p>“I have hopes of a great sale from the number of subscribers I -already have, and the approbation the print has met with from -every one who has seen it.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“1796.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“The prints you mention from Wright’s I dare say I shall be -able to pick up at the sales this winter. I have heard from -Mr. Wright, in which he says: ‘The effect of the picture is so -well preserved, and the parts which compose it so true, that -I have nothing to say but that I am well pleased with it.’ He -says that he began to paint again about a week ago, and that -he will (if his health returns) talk to me about a companion -picture.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Feby., 1797.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I shewed him (Lord Lansdowne) a proof of the ‘Dead Soldier,’ -which he liked exceedingly, and subscribed for a couple. I -asked his permission to dedicate it to him, which seemed to -give him great pleasure. I expect him to call to see the -picture, and when he has seen it, I will immediately send it -on to you.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap left6">“To Joseph Wright.</p> - -<p class="smcap">“Sir,</p> - -<p class="left3">“As I am going to publish the ‘Dead Soldier,’ I wish to -announce the ‘Shipwrecked Sailor’ as a companion. I should -therefore be much obliged to you to inform me whether your -health will permit your painting it. An answer will much -oblige.</p> - -<p class="left4">“Your most obedt. Servt.,</p> - -<p class="r1">“JAS. HEATH.</p> - -<p class="p-left">“Mch. 14th, 1797.</p> - -<p class="left6">“Newman St., London.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p> - - -<blockquote> - -<p class="r1">“April, 1797.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I have sent in a large tin case by to-night’s conveyance, -four Dozen of the very first impressions of the ‘Dead -Soldier,’ and one Dozen proofs. This number is more than you -have at different times ordered for yourself and friends, but -as I have raised the price to<img src="images/i_107.jpg" alt="prices" -style="height:1.5em; padding:0 0em 0 0em;" /> -and as they are choice impressions, I should suppose they will -not stick on hand. If they should, you can at any time return -them. A few of them have the same date of publication as the -proofs, and consequently in the earliest state. I have met -with more success than I had hoped for in such times as these. -It is universally talked of, and I have orders for between 2 & -300 from the trade only.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Aug 20, 1797.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“A few days ago I sent an India proof of the ‘Dead Soldier.’ -I should have sent you one before, but as the India paper was -not good, I did not take above three impressions, the best -of which you have. I have sent by to-day’s coach seven ‘Dead -Soldiers.’ Respecting the two pictures of Wright’s, of ‘Hero’ -& ‘Leander,’ I mentioned it to L<sup>d.</sup> Lansdowne, who has -promised to procure them for me if he can. Have you heard how -Wright is lately. If he is not dead, I shall think there are -hopes he may recover sufficiently to paint a companion for me.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“1797.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I received (1797) yours with the bill enclosed. I am very -sorry to hear of Wright’s death, as I do not know now who to -get to paint a companion to the ‘Dead Soldier.’ I wish you -would say who you think would do it best. I mean to get the -pictures of ‘Hero,’ &c., as soon as L<sup>d.</sup> Lansdowne comes to -Town, and with respect to Sterne’s ‘Old Man and Ass,’ I think -it would be a good thing to engrave. Mr. Corbould would be the -man to put the back ground to it.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“June 14<sup>th.</sup> 1798.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I wish you would get the two pictures of ‘Hero’ & ‘Leander’ -for me. I should like to engrave them very much. I have -mentioned them to L<sup>d</sup> Lansdowne several times, but he seems to -hint that there is a family coolness which prevents him from -asking for them.</p> - -<p>“The ‘Dead Soldier’ continues to sell very well, indeed so -much so, that I am very desirous of going on publishing for -myself.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span></p> - -<blockquote> - -<p class="r1">“July 28, 1805.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“Mr. Corbould desires me to inform you that he has finished -Wright’s picture. I should think it would be worth while to -engrave it, and if, after you have seen it, you think so too, -and would go halves in the speculation, I should like to do it.</p> - -<p class="r1">“J. HEATH.</p> - -<p>“Russell Place.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“May 12, 1807.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“My next work will be a companion to the ‘Dead Soldier.’ -M<sup>r.</sup> Smirke has nearly finished the picture. He had painted -one four years ago, but it did not quite please him, and he -has now succeeded more to his wishes.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Feby., 1810.</p> - -<p class="smcap">“To J. L. Philips.</p> - -<p class="left3">“I have often thought of mentioning to you the circumstance of -M<sup>r.</sup> Moreland’s having bought my Landscape of Wright’s for -16 Guineas, and his never offering to pay for it, although -it is so long ago. I wish for your advice, as you know his -circumstances better than I do.</p> - -<p class="r1">“J. HEATH.”</p></blockquote> - - -<p class="p1h">It has been the custom to view Wright -only as a painter of artificial light, and for picture dealers and -some others to attribute all unknown pictures of fire in any form to -“Wright of Derby.” We ourselves have seen many so attributed, which -would not add fame to any painter’s name. The Exhibition of Wright’s -Works in the Derby Corporation Art Gallery, in 1883, tended to dispel -this unfounded illusion as to the limits of Wright’s art. Whilst the -representation of fire-light in some form or other was undoubtedly a -speciality with Wright, this class of subjects, after all, formed but a -small proportion of the numerous works then collected together.</p> - -<p>On reference being made to the appendix it will be noticed that there -were many other important works painted by Wright which were never -exhibited; and as he did not always sign his paintings, they may -possibly now be attributed to other artists, or to the great <i>unknown</i>.</p> - -<p>A picture that created considerable attention at the time it was -painted, was the “Destruction of the Spanish Floating Batteries off -Gibraltar,” on September 13th, 1782,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> which was bought from the -easel by Mr. J. Milnes for £420, being the highest price Wright -obtained for a single picture. This was one of the works included in -the London Exhibition of<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> Wright’s pictures in the year 1785, and -a notice of the Press of that date thus alludes to it:—“We shall, -however, at different periods lay before our readers a particular -account of these noble productions as they stand in the catalogue: -except that grand scene of the ‘Destruction of the Floating Batteries -off Gibraltar,’ which we cannot resist the present impulse of -mentioning out of its turn. In this picture, Mr. Wright has represented -a view of the extensive scenery, combined with the action on the 13th -Sept., 1782, in which his design is sublime, and his colouring natural -and brilliant beyond description. We never remember to have seen -shadows painted so little like substance as those in the foreground, -which gain great strength and richness from the prodigious brightness -of the grand explosion at a distance; but we feel ourselves inadequate -to the task of pointing out the various merits of this phenomenon -in the imitative arts, which proves the painter is unique in the -extraordinary line of the charming study he has so happily pursued.”</p> - - <div class="figcenter" id="i_075"> - <img - class="p2" - src="images/i_075.jpg" - alt="" /> - <p class="p0 center p-left sm">MISS DUESBURY.</p> - <p class="p0 center p-left sm"><i>Original picture in the possession of Mr. George Dean, Derby.</i></p> - </div> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p> - -<p class="p2">The following lines were written by Hayley, “On Wright’s Picture of the -Siege of Gibraltar”—</p> - - <div class="poetry-container"> -<h3>CALPE’S ADDRESS TO BRITANNIA.</h3> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“With patriotic pride, and national delight,</div> - <div>Ye Britons view me in the tints of Wright!</div> - <div>My rock’s the proof, that British Minds and Hearts</div> - <div>Are honour’s darlings, both in Arms and Arts;</div> - <div>With double triumph here let Britons say</div> - <div>Britons alone could rule this fiery fray;</div> - <div>This miracle of Art a Briton wrought,</div> - <div>Painting as boldly as his country fought.”</div> - </div> - </div> - </div> - - -<h3 class="smcap">Extract from a Letter from Buxton Wells, January 3, 1785.</h3> - -<p>“Governor Elliot’s successful defence of Gibraltar has, among the many -essential advantages accruing from it, been productive of some of the -noblest works in the Fine Arts, especially among the painters. On -stopping at Derby a few days since, I was introduced by a friend to -view the productions of that great genius Wright, whose astonishing -power of expressing artificial lights on canvas, the world has long -been acquainted with. His new picture on the Siege of Gibraltar, for -composition, force, brilliancy, and prodigious effect of fire, exceeds, -in my opinion, all his former labours. To attempt a description of it -would be in vain; whoever sees the picture must have such an idea of -the action as no poetry can describe. Mr. Wright has not been in the -Exhibition (for reasons I cannot explain) for some time past, but that -he will not withhold this sublime piece from general inspection, I most -sincerely hope, as the attack on Gibraltar, with some other pieces on -interesting subjects, would form an Exhibition in every way worthy of -the countenance of the public.”</p> - -<p>The “Orrery” picture was exhibited at the Society of Artists’ Rooms, -in 1766, so must have been painted when Wright was thirty years old. It -was purchased by, and probably painted for, the Earl Ferrers, for the -sum of two hundred guineas; fifty pounds of this was paid on account, -and the remainder secured by a bond, of which a copy is given on the -next page.</p> - -<p>The figures in the picture are all portraits, and various persons -have been mentioned as the probable originals who were thus honoured. -A copy of the print, once belonging to the artist, has certain names -written on the margin, with the date 1768, so that the following are -identified:—Jos. Wright, with his back towards the spectator, Mr. -Burdett taking notes, young Cantrell, Mr. A. Winterman, Mr. G. Snowden, -Mrs. Sale, and Mr. Denby as the philosopher.</p> - -<p>Mr. Burdett also figures in the “Gladiator” picture. The other boy -sitter was a son of Earl Ferrers, as the following extract from the -“Stemmata Shirleiana” shows:—“Lawrence Rowland, 2nd Son of Robert -6th Earl of Ferrers, Bap. at St. Alkmund’s Derby, Nov. 3, 1757, d. -Feb. 5, 1773. His portrait when very young is preserved in Wright’s -celebrated picture of the ‘Orrery,’ well known from the engraving.”</p> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p>The picture passed from the hands of the Ferrers family, and was sold -by Mr. Thos. Rought, of London, to the late Mr. Francis Wright, of -Osmaston Manor, by Ashbourne, for the sum of fifty guineas, in 1853. -In 1884, at the dispersion of Mr. John Osmaston’s collection, to whom -the picture then belonged, it was again in the market, and it is with -pleasure that we are able to record that, being purchased by a few of -Wright’s admirers, singularly, at the original price of two hundred -guineas, it was on September 4th presented to the Derby Corporation Art -Gallery as a memorial to the painter, where it will remain as a fitting -record of the admirable powers he possessed, and be admired by his -fellow-townsmen in years to come.</p> - -<p>The bond mentioned above was as follows:—</p> - -<blockquote> - - <div class="figleft" id="i_077a" style="width: 4em;"> - <img - class="p0" - src="images/i_077a.jpg" - alt="" /> - </div> - -<p class="drop-cap1 p-left">Know all men by these presents That we the Right Honourable -Washington Earl of Ferrers Peter Pery Burdett of Stanton -Harold in the County of Leicester Gentleman are held and -firmly bound to Joseph Wright of the Town of Derby Painter -in the sum of one hundred and sixty pounds of good & lawful -money of Great Britain To be paid to the said Joseph Wright or -his certain attorney Executors administrators or assigns for -which payment to be well & faithfully made We bind ourselves -and each of us by himself our & each of our Heirs Executors -& administrators firmly by these presents Sealed with our -seal Dated this Eleventh day of July in the third year of the -Reign of our Sovereign Lord George the Third by the grace of -God of Great Britain France and Ireland King Defender of the -Faith & so forth and in the year of our Lord One thousand and -seven hundred and sixty-three The condition of this obligation -is such That of the above Bounden Earl Ferrers & Peter Pery -Burdett or either of them their or either of their Heirs -Executors or Administrators do and shall and do well & truly -pay or cause to be paid unto the above named Joseph Wright -or his certain attorney Exors. Administrators or assigns the -full sums of Eighty Pounds of Good and lawful Money of Great -Britain with lawful interest for the same on the eleventh day -of July which will be in the year of our Lord one Thousand -seven hundred and sixty-four. Then their obligation to be void -or else to remain in full force</p> - - <div class="figright" id="i_077" style="width: 10em;"> - <img - class="p1minus" - src="images/i_077.jpg" - alt="" /> - - </div> - - -<p class="hangingindent p-left">Sealed & delivered being first duly stamped -in the presence of</p> - -<p class="r1">W. WOTY</p> - - - -</blockquote> - -<p style="clear: both;">From the following extract of a letter written by Wright to his brother -Richard, dated Rome, 13<sup>th</sup> Ap., 1774, we learn that Burdett’s -behaviour caused Wright some anxiety as to his fulfilment of the bond:—</p> - -<p>“I have just received a letter from Mr. Tate of Liverpool, where he -<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>tells me M<sup>r.</sup> Burdett has sold up his goods and is off. M<sup>rs.</sup> -Burdett and her dear Miss Fredried are gone into lodgings, over head -and ears in debt. I stand no chance of being paid at present—well, -if ever; wou’d therefore have you write immediately to Lord Ferrers -and tell him how things stand between me and Burdett, that he has not -paid a farthing of principal or interest of the four score pounds his -Lordship was bound for, w<sup>ch</sup> I lent him in the year ’60 or ’61, that -he takes no notice of the letters I have wrote him lately concerning -the debt, must therefore look to his Lordship for it. When you write to -his Lordship send the amount of principal and interest, and desire him -to pay it as soon as he conveniently can. If it is not convenient for -him to pay the whole, perhaps it will be prudent to take the interest -only, as that will secure y<sup>e</sup> debt, and prolong the limited time for -payment. M<sup>r.</sup> Fallows will advise you, give my respects to that -family. Tell his Lordship I would not apply to him at this time for y<sup>e</sup> -money was I not much distressed for it, travelling is very expensive.”</p> - -<p>On the back of the bond, in Wright’s handwriting, is the following:—</p> - -<blockquote> - -<p>“August the 23, 1776.</p> - -<p class="left3">“Memo. This day the Earl Ferrers accepted a -bill drawn by me for Eighty Pounds, which when paid will be in -full for the principal of this Bond.”</p></blockquote> - - <div class="figcenter" id="i_078" > - <img - class="p0" - src="images/i_078.jpg" - alt="" /> - </div> - -<h3 class="smcap">Extract From “Wine and Walnuts.” By Pine.</h3> - -<p>“Wright was celebrated for scenes that represented the effects of -fire subjects, which he painted with more truth to nature than even -Schalken, so far-famed.”</p> - - -<h3 class="smcap">Supper at Mortimer’s.</h3> - -<p>“Upon my word, a delicate little hen turkey; what, a Christmas present -already! This turkey is from my old fellow-’prentice, Joe Wright,” -said Mortimer,<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> “who never forgets us at Christmas. Poor Joe, -the valetudinarian! I’d be sworn he procured one of the least in -all Derby out of sheer compassion to our evil habits. He knows we -always dress his Christmas turkey for supper, and he has generally a -hint by way of postscript to his letters, touching the prevalence of -apoplexy. Now Master Joe was one of your water-gruel disciples when -we were youngsters together at Hudson’s; and I would wager ten pounds -to a crown piece, he is just now sitting, Peter Grievous, over that -wishy-washy, tasteless, humdrum, drivelling dish, and calling to old -Nan Watkins—‘Nanny, have you any nice live coals? Do, pray, let me -have my bed warmed.’ Are you a supper eater, Mister Gibbon?”<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> “No, -Mister Mortimer; I am a single<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span> man, and a bit of a valetudinarian like -your friend Mister Wright.” “And a water-gruel eater, I presume?” said -Mortimer. “Yes, indeed,” said Gibbon, smiling; “though in truth, I do -not know that I am at all the better for these scrupulosities in diet.”</p> - -<p>This playfully overdrawn picture of Wright’s habits was probably -written before Wright went to Italy. Wright was of very temperate and -abstemious habits, which, unfortunately, cannot be said of Mortimer.</p> - -<p>Dr. Wolcott, as Peter Pindar, in one of his Poems, called Mr. -Wright’s moons silver sixpences; upon being remonstrated with, he -said he had not seen any of his moonlights, but supposed the moon -must look like a sixpence. Probably this was the passage that Mr. -Holland disliked, when he wrote the following lines, had them printed, -and pasted them over the passage in his volume of Peter Pindar’s -Poems—</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“Would’st thou paint <i>Landscape</i>, study Derby <span class="smcap">Wright</span>,</div> - <div>Where freedom, elegance, and truth unite.</div> - <div><i>Rich sparkling tints</i>, grand shapes and masses show</div> - <div>How fine his pencil marks the Sunset’s glow;</div> - <div>Nor does his Master-hand less skillful seem,</div> - <div>When silver Cynthia quivers in the stream;</div> - <div>E’en Envy with approving smiles must own</div> - <div>In all <span class="smcap">Wright</span> paints, <span class="smcap">Nature</span> and <span class="smcap">Wright</span> are <span class="smcap">ONE</span>.”</div> - </div> - </div> - </div> - -<p>Mr. Holland showed the book to a friend, who exclaimed, “Well done, -Peter, I did not think he would have done Wright so much justice.”</p> - -<p>The celebrated Dr. Darwin, who was on friendly terms with Wright, -was often consulted by him, respecting his “imaginary complaints,” as -the Doctor unjustly called them; and on one occasion told him, “he -had but one thing more to recommend, and that was what he would not -give, but he thought it would be to his advantage to be engaged in a -vexatious lawsuit.” The Poet Doctor alludes to Wright in his “Botanic -Garden,” Canto I., line 175, in the following lines—</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div class="ileft">“So Wright’s bold pencil from Vesuvius’ height,</div> - <div>Hurls his red lavas to the troubled night;</div> - <div>From Calpe starts the intolerable flash,</div> - <div>Skies burst in flames, and blazing oceans dash—</div> - <div>On birds in sweet repose his shades recede,</div> - <div>Winds the still vale, and slopes the velvet mead,</div> - <div>On the pale stream expiring zephyrs sink,</div> - <div>And moonlight sleeps upon its hoary brink.”</div> - </div> - </div> - </div> - -<h3 class="smcap">From the “Memoirs of the life of Dr. Darwin.” By -Anna Seward.</h3> - -<p>“In the course of the year 1770, Mr. Day stood for a full-length -picture<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> to Mr. Wright, of Derby. A strong likeness, and a dignified -portrait were the result. Drawn as in the open air, the surrounding -sky is tempestuous, lurid, and dark. He stands leaning his left arm -against a<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> column inscribed to Hampden. Mr. Day looks upward as -enthusiastically meditating on the contents of a book, held in his -dropped right hand. The open leaf is the oration of that virtuous -patriot in the senate, against the grant of ship money demanded by King -Charles the First. A flash of lightning plays in Mr. Day’s hair, and -illuminates the contents of the volume. The poetic fancy and what were -<i>then</i> the politics of the original, appear in the choice of subject -and attitude. Dr. Darwin sat to Mr. Wright about the same period. The -result was a simply contemplative portrait<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> of the most perfect -resemblance.”</p> - -<p>Miss Meteyard, in her life of Wedgwood, says in Vol. II., page -442:—“Wedgwood in the previous year (1778) had bespoken a picture -of Wright, of Derby, who, neglected by his countrymen ‘would,’ as -Wedgwood said, ‘starve as a painter if the Empress of Russia had not -some taste and sense to buy these pictures now, which we may wish the -next century to purchase again at treble the price she now pays for -them.’ Soon after this Wright tried enamel painting, and towards the -close of 1779 he promised to visit Etruria and ‘catch any help from -its fires;’ but it is not till subsequently that we hear of the fine -picture he painted for Wedgwood.”</p> - -<p>Again, on page 508, Miss Meteyard writes:—“In 1784 Wright, -of Derby, painted for Wedgwood his celebrated picture of the Maid of -Corinth, as also a portrait which was probably that of the very friend -who had as far as possible replaced Bentley in his heart, Erasmus -Darwin. After some critical remarks on female drapery, Wedgwood, in -writing to the painter, said of the Maid of Corinth:—</p> - -<p>“I do not say I am <i>satisfied</i> with the lover, but that I think it -excellent, I had almost said inimitable, & I should quake for any -future touch of your pencil there. It is unfortunate, in my <i>opinion</i>, -that the maid shows so much of her back; but I give my <i>opinion</i> only, -with great diffidence and submission to your better judgment. In one -word, you have been so happy in your figure of the lover, that almost -any other must appear to disadvantage in so near a comparison. Make her -to please yourself, and I shall be perfectly satisfied.”</p> - -<p>“Six years previously Wright had painted for Mr. Wedgwood one of his -most celebrated pictures. Writing to Bentley the latter says:—‘I -am glad to hear that Mr. Wright is in the land of the living. I should -like to have a piece of this gentleman’s art, but think Debutades’ -daughter would be a more apropos subject for me than the Alchymist, -though my principal reason for having this subject would be a sin -against the costume. I mean the introduction of our vases into the -piece, for how could such fine things be supposed to exist in the -earliest infancy of the potter’s art? You know what I want, & when -you see Mr. Wright again, I wish you would consult with him upon the -subject. Mr. Wright once began a piece in which our vases might be -introduced with the greatest propriety. I mean the handwriting upon the -Wall in the Palace of Belshazzar.’—Wedgwood to Bentley, May 5, -1778.”</p> - -<p>Upon enquiry as to the present locality of the pictures Wright painted -for Wedgwood,<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> we regret to learn that they were all lost to the family -early in the present century. It appears that they were sent to some -person in London for Exhibition, or for the purpose of being cleaned, -and whilst there were distrained for rent. The pictures were dispersed -and beyond recall before the Wedgwoods could interfere.</p> - -<p>One of these pictures, a “Portrait of Sir Richard Arkwright,” was some -years afterwards presented to the Manchester Royal Exchange by Edmund -Buckley, Esq., where it now hangs.</p> - -<p>On page 26, mention has been made of the friendship which existed -between Wedgwood and Wright, exemplified by Wright giving a painting -“to his friend Jos. Wedgwood, the patron and encourager of living -artists.” This friendship and generosity Wedgwood emulated upon the -occasion of the marriage of Wright’s daughter, Anna Romana, to Mr. -Cade, by the gift of a dinner service of 150 pieces.</p> - -<p>Mr. F. G. Stephens sends me the following interesting copy of an -autograph letter:—</p> - -<blockquote> - -<p class="r1">“Derby, 12th October, 1788.</p> - -<p class="smcap left5">To Miss Seward,<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> Lichfield.</p> - -<p class="smcap">Madam,</p> - -<p class="left3">“I have repeatedly read your charming poem. -The subject you hold out for my pencil, as you have treated -it, is an excellent one; but how to paint a flaming sword -baffles my art. However, as soon as I find myself stout -enough, I intend to attack it. I admire the scenery. Would -it strengthen or weaken the character to lay it near the -sea, upon a rising ground, and through an opening among the -trees low in the picture to see the moon just rising above a -troubled sea? The point of time is when the sword is rising -out of the tomb, what kind of tomb should it be? To make it -a regular one would indicate Herver’s father had the usual -funeral rites performed, which the poem, I think, contradicts. -Your reflections upon this point will greatly oblige,</p> - -<p class="left2">“Madam,</p> - -<p class="r4">“Your most obedient h<sup>ble</sup> serv<sup>t,</sup></p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“P.S.—Dr. Darwin, I hope, explained his mistake in returning -the poem before I had done with it.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“May 5th, 1789.</p> - -<p class="smcap">Mr. Hayley to Mrs. Hayley.</p> - -<p class="left3">“I shall beg you & Mrs. Beridge to call upon -friend Wright & tell him, from me, that I & all the lovers of -painting with whom I have conversed, since my return to town, -consider his pictures this year as the flower of the Royal -Exhibition. His ‘Dying Soldier’ made me literally shed tears, -his ‘Moonlight’ enchanted.”</p></blockquote> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p> - -<p>“Towards the end of August, 1776, Hayley and Mrs. Hayley went to Derby -for the pleasure of congratulating their friend Dr. Beridge on a -most seasonable marriage, that restored him from a state of perilous -discomfort to health and happiness. This visit was productive of -various delights. Hayley not only sympathised in the happiness of the -restored Physician, but in the weeks that he passed under his friend’s -roof he had the gratification of cultivating an intimacy with Wright, -the admirable painter of Derby, who, having injured his health by -too assiduous application to his art, had great comfort in the kind -attention he received from the friendly physician, & took a pleasure -in executing for Hayley two hasty portraits in chiaro-oscuro of Mrs. -Beridge & her husband, after painting for the Doctor the Poet of Sussex -and his ‘Eliza.’”<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p> - -<p>The following is extracted from the “Life of Wm. Hayley, Esq.” by -John Johnson, LL.D., Rector of Welborne, in Norfolk:—“Hayley went to -Cambridge in 1763. Here he formed an intimate friendship with Thornton, -Beridge, & Clyfford, whose custom it was to breakfast together in the -apartments of each other. Hayley devoted some months of the year 1772 -to his highly-valued friend Beridge, who had settled as a physician at -Derby. Hayley then copied in water-colours two bold sketches of scenery -near Matlock, lent to him by the very amiable artist Wright, of Derby, -with whom he began this year an intimacy that lasted to the death of -the painter, who frequently in his letters consulted his friend of -Sussex on the subjects of his pencil.”</p> - -<p>The following extract is from the <i>Quarterly Review</i>, “Memoirs, &c., of -Wm. Hayley”:—</p> - -<p>“Hayley’s son (Thomas Alphonso, the sculptor), was then in his -thirteenth year.... It had been Hayley’s first intention to educate his -son for the profession of physic, but many circumstances combined to -give him a strong inclination for that of the arts. During a visit to -Mrs. Hayley, Wright, of Derby, perceived in him so much aptitude for -painting, that he took pains in instructing him; and upon the report -of his progress, Flaxman wrote to his father, saying, ‘If you have -not quite determined to make him a physician, and if you think he has -talents for the Fine Arts, show yourself my friend indeed, and accept -my offer as frankly as I make it.’”</p> - -<p>The offer was accepted, but this promising young artist died, after a -long illness, a few years later.</p> - -<p>Extract from a letter from T. A. Hayley to his father, the -poet:—</p> - -<p>“Your letter to Mr. Wright, I delivered to his daughter, who happened -to be with us when it arrived, and he has been since so good as to give -me a few instructions in drawing.”</p> - -<p>“A cordial friendship had long existed between Wright, the admirable -painter, of Derby, and the father of Alphonso; but the latter, in -writing to his friend, had only requested him to gratify the little -traveller with the permission of sometimes passing a leisure hour in -his<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> painting-room, and with the indulgence of seeing him exercise his -pencil. The amiable artist, with that warm benevolence which formed -a striking part of his character, went beyond the request of his old -friend, and being more and more pleased with the intelligence, spirit, -and docility of his little visitor, spontaneously bestowed on him such -repeated instructions, as perfectly awakened in him a passion and a -genius for art, which, being afterwards inspirited by the affectionate -encouragement of his father, of Romney, and of Flaxman, ultimately -changed his very early professional destination from medicine to -sculpture.”</p> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap">Mr. Hayley to Mrs. Hayley.</p> - -<p class="left3">“I am infinitely pleased with the first-fruits of the little -man’s northern pencil, and charmed with the kindness of my -friend Wright, in condescending to instruct such an urchin.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap">T. A. Hayley to Mr. Hayley.</p> - -<p class="left3">“I continue to draw, and you will be glad to hear with -the approbation of my great master. I shall have a great -collection of performances to show you when we meet. I hope it -will not be long before that happy moment arrives.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap">Mr. Hayley to T. A. Hayley.</p> - -<p class="left3">“I did not, I believe, send your medallion of Romney to -our amiable friend Wright. I wish you to present him such -a becoming mark of your gratitude for the extreme kindness -that we have ever received from him. Would to heaven I could -send him a good portion of health and spirits to attend your -interesting offering to the very amiable invalid. From all -of him I collect from Meyer, I fear his pencil has been very -inactive for some time. I always grieve when men of talents -are condemned by ill-health to involuntary indolence; and I -doubly grieve when that misfortune falls upon a friend whose -works I have often surveyed with delight.”</p></blockquote> - -<p>The following letter relates to the picture of the “Alchymist,” now -belonging to the Derby Corporation Art Gallery, having been presented -to that Town as a memorial to the painter, by a few of his admirers, in -1883:—</p> - -<blockquote> - -<p class="smcap">“Dear Wright,</p> - -<p class="left3">“Dr. Turner will in his letter be more particular than I -can possibly be on a subject to which I am a stranger. I -have conceived that the chemist should be sitting on<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> this -side the table, & turning his head towards glass upon his -assistant exclaiming upon the first appearance of the luminous -exhalation from the Retort into receiver of the phenomenon. -The lamp is still under the influence of the blast of wind -remaining in the bellows below which the chemist has been -using in another process. Whether this idea of the flame will -in the least answer your purpose you alone can judge; you will -wonder when you are told that I am painting History without -figure, Landscape without trees, and Shipwreck without water. -Mrs. Burdett joins me in love, compliments, and everything -else to your Family.</p> - -<p class="left4">“Yrs sincerely,</p> - -<p class="r1">“J. P. BURDETT.</p> - -<p>“Liverpool, Feby. 4, 1771.”</p></blockquote> - -<p>From a letter on page 27, it appears that Wright took this picture with -him to Rome in 1774, where it was much admired.</p> - - <div class="figcenter" id="i_084"> - <img - class="p2" - src="images/i_084.jpg" - alt="" /> - <p class="p0 center p-left sm">GIRL WITH A BLADDER.</p> - <p class="p0 center p-left sm"><i>Original picture in the possession of Mr. F. C. Arkwright, Willersley, -Cromford, Derbyshire.</i></p> - </div> - -<div class="chapter"> - -<p class="center p-left sm p6">CONVERSATION PIECE.</p></div> - -<p class="smcap center p-left sm p2">Three Children, Richard, Robert, and Peter (Sons of Richard -Arkwright).</p> - -<p class="center p-left sm p2"><i>Original picture in possession of Mr. F. C. Arkwright, Willersley, -Cromford, Derbyshire.</i></p> - -<div class="chapter"> - - <div class="figcenter" id="i_084fp"> - <img - class="p2" - src="images/i_084fp.jpg" - alt="" /> - </div> -</div> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p></div> - - -<h2>CHAPTER VIII.</h2> - -<blockquote> -<p class="smcap">Correspondence of Wright with Mr. Daulby and Mr. J. L. -Philips.—The Shakespeare Gallery Pictures.—Dispute about Prices.</p> -</blockquote> - -<blockquote> - -<p class="r1">“Derby, December 31<sup>st</sup> 1779.</p> - -<p class="smcap">“To D. Daulby.</p> - -<p class="left3">“The Empress of Russia has taken into Her capital collection -my two pictures of ‘Vesuvius’ & the ‘Girandolo,’ and given me -500 g<sup>s</sup> for them which is a good reward accompanied with high -honour—40 g<sup>s</sup> to a friend is as little as I can take for the -picture you saw of the Fireworks, if you mean that, if not it -will depend upon ye size & finishing of any other.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“4<sup>th</sup> June 1780.</p> - -<p class="smcap">“To D. Daulby.</p> - -<p class="smcap left5">“Dear Sir,</p> - -<p class="left3">“If nothing material happens to prevent me, I intend sending -by Shawcross on Monday morning, directed for M<sup>r.</sup> Tate -as you desire, the picture of the ‘Girandolo’ which I hope -will get safe to hand, and meet with your and your friend’s -approbation. It is one of the highest finished pictures I -have painted. Cost me upwards of six weeks study, and was put -into ye exhibition at 100<sup>gs.</sup> As you are only to send me -forty (which I must beg you to keep secret) you must look upon -it partly as a compliment on M<sup>r.</sup> Tate’s account, and in -some degree a compliment to yourself as a well-wisher to and -encourager of the arts. With respect to the payment, I would -wish you to suit your convenience; any time in the course of -the next year will be agreeable to me.</p> - -<p>“I have made no alteration in the picture, as I could not -with advantage, but most sincerely wish there had been such a -Rocket as you wish for. To add it now would destroy too much -ye unity of the picture.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span></p> - -<blockquote> - -<p class="r1">“Derby, Nov 14<sup>th</sup> 1785</p> - -<p class="smcap">“To D. Daulby.</p> - -<p class="smcap left5">“Dear Sir,</p> - -<p class="left3">“The cavern with the figure of ‘Julia,’ which I exhibited in -the spring, is still in my possession. It was esteemed by the -artists the most sublime picture I ever painted, & so I think -myself. A rising moon always conveys to me great majesty.</p> - -<p>“I think myself much honoured by your society. Pray make my -best compt<sup>s</sup> to all the members, and believe me your much -obliged friend,</p> - -<p class="r1">“JOS<sup>H.</sup> WRIGHT.”</p> - -<p>“I am going to have my picture of ‘Gibraltar’ raffled for by -eighty subscribers at five guineas a ticket. The subscription -is not yet opened publickly, though I have several names down.</p> - -<p>“Danl. Daulby, Jun., Esq.,</p> - -<p class="left1">“Liverpool.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“Many thanks are due to you for the trouble you have had in -negotiating the business between Mr. Hardman and myself, and -of which I shall retain a grateful remembrance, as I have -had repeated proofs of your attention to my best interest, & -even in your last letter have anticipated my wish of making -my intention of disposing of the picture of ‘Gibraltar’ by -subscription as much known as possible in the circle of -your acquaintance, for it is not lawful without an act of -parliament to advertise a Raffle. I must, therefore, be -obliged to my friends to declare my intention of having eighty -subscribers at five guineas. I hope your friend Mr. Hardman -will not mention the price he gives for the pair of caverns, -as I have always had fifty guineas a piece for them of that -size.</p> - -<p>“You say you hope I will excuse the free thoughts you have -intrusted me with respecting the large cavern with the figure -of ‘Julia.’ ’Tis the privilege of friends to be open to each -other, and if I knew what you really wished I would most -certainly accommodate myself to your inclinations. Will you -have the picture sent to you? If you approve of it keep it, -and pay me for it as shall best suit your conveniency. If you -do not like it return it, and we shall both be pleased, for as -it was esteemed by the artists the most sublime picture I ever -painted, I doubt not but I shall one day or other dispose of -it; and believe me, dear sir, with much esteem,</p> - -<p class="left4">“Yours sincerely,</p> - -<p class="r1">“JOS<sup>H.</sup> WRIGHT.</p> - -<p>“Derby, Jan. 14, 1786.</p> - -<p class="left5">“Danl. Daulby, Jun., Esq.,</p> - -<p class="left1">“Liverpool.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, Feby. 7<sup>th</sup> 1786.</p> - -<p class="smcap left5">To J. Daulby, Jun.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“By the time this reaches you, I hope ‘Julia’ will be near -her journey’s end. I sincerely hope she will arrive in good -condition, and that ‘Abraham’ and ‘Isaac’ will not be<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> found -to have lain too hard upon her. I did everything in my power -to keep her untouched and spotless. I should have sent the -picture off sooner, but the week the man who I trust to pack -my pictures was out, and the 2<sup>nd</sup> Shawcross, after promising -me to take it, neglected it. ’Tis directed to Mr. Tate, and to -go by land carrier.</p> - -<p>“I am persuaded by my friends to take the fashionable tour -of the Lakes next Autumn. I sounded my dear friend Tate upon -the scheme, but have not heard from him since. If we go your -company will be a happy addition, but I would have the party -small, none engaged in it but draftsmen, for reasons too -obvious to need mentioning.</p> - -<p class="left4">“I am,</p> - -<p class="left2">“Dear Sir, with much esteem,</p> - -<p class="r4">“Yours very sincerely,</p> - -<p class="r1">“JOS<sup>H.</sup> WRIGHT.</p> - -<p>“Dan<sup>l</sup> Daulby, Jun., Esq<sup>r</sup></p> - -<p class="left5">“Liverpool.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, March 25<sup>th</sup> 1786.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“I was sorry to be informed by our friend Tate of your -indisposition, and that you are still, by your own accts. a -cripple. Dr. Darwin, a very eminent physician of this town, is -very much disposed to gout, and he told me while he continued -in the use of wine he was affected with it. He left it off, -and drank nothing but ale and small beer. Still he had fits of -it, but much weakened. He then disused ale, drank nothing but -small beer, still he had a little gout about him. He has for -some time past drank nothing but water, and now he has no gout -at all. If this practice does not coincide with your opinion, -I know your good sense will excuse me taking the liberty of -mentioning to you, as your well-being is the sole motive.</p> - -<p>“To Dan<sup>l</sup> Daulby, Esq<sup>r</sup></p> - -<p class="left5">“Liverpool.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, Oct 5<sup>th</sup> 1786.</p> - -<p>“<span class="smcap">Dear Sir</span>,</p> - -<p class="left3">“Mr. Smith gives this discription, which I have just received, -of the parts of your little picture:—‘The view is on the -shore of Posilipo in particular. The houses nearest in -view form part of the village of Mare Chiare, a place much -frequented by the lower class of people in Naples to spend -the summer evenings. They generally go by water, and are -regaled with hard eggs & good Falernian wine (the usual repast -brought from the neighbourhood of Pozzouli). The other house -or palazzo on the Hill in the distance is called the pallace -of 9 windows, but is inhabited only by servants. When you see -my good friend Turner make my<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> best regards to him, and say -how much I am obliged to him & his friend M<sup>r</sup> Whiatt for his -accurate account of Shakespear’s scenes. I am, dear sir, with -much regards,</p> - -<p class="left6">“Yours,</p> - -<p class="r1">“J. WRIGHT.</p> - -<p>“To Danl. Daulby, Esqre.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, Sep 4<sup>th</sup> 1787.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“How welcome are the good tidings of returning health to my -dear Tate, which you have so kindly communicated to me. May -heaven speedily restore him to his former health & vigour. No -disease more compleatly debilitates the frame than a nervous -or putrid fever; and, if I have observed right, there is none, -considering the state the body is reduced to, from which it -is sooner reinstated. His premeditated attack upon the cold -roast beef was, I think, a very favourable presage of the -above observation. I sincerely hope he made an excellent -repast, and feels the good effect of it. Make my love to him -with every good wish for his felicity, in which this family -most cordially joins with me, and hope to have the pleasure -of seeing him here when convenient to him. I am going for -ten days (if it agrees with me) to Matlock. The Baths served -me some time ago, but from a particular circumstance, being -obliged to ride four & twenty miles the day I left, which so -fatigued me, my complaints returned upon me, nor can I wear -them off.</p> - -<p>“’Tis now almost four months since I touched a pencil. Have no -particular complaint but general debility, which has reduced -me to so torpid a state I feel no inclination to pursue my art.</p> - -<p class="left4">“I am, Dear Sir,</p> - -<p class="left2">“Your most obedient serv<sup>t</sup></p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“M<sup>r</sup> Jn<sup>o</sup> Leigh Philips,</p> - -<p class="left5">“Manchester.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“5 May, 1789.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“I did not intend fixing a price upon my pictures in the -Exhibition till I got to Town, but having just received a -letter from M<sup>r.</sup> Heath to know if the picture of the ‘Dead -Soldier’ was disengaged, and what value I set upon it, it -becomes necessary at once to fix the prices of those you -enquire after, and to have your answer by return of post, as -I must answer M<sup>r.</sup> Heath’s letter. The picture of the ‘Dead -Soldier,’ framed, 100g<sup>s.</sup> ‘Boy and Girl with a Bladder,’ -50g<sup>s.</sup> ‘Girl with a Charcoal Stick,’ 40g<sup>s.</sup></p> - -<p>“I am very happy it was in my power to afford you and your -friends rational entertainment while with me. The felicity was -mutual, believe me; and that I am very sincerely yours,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“St. Ellens,</p> - -<p class="left5">“5 May, 1789.</p> - -<p>“My best compliments attend the ‘Triumvirate,’ in which -M<sup>rs.</sup> Wright begs to join.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p> - -<blockquote> - -<p class="r1">“Derby, Dec. 4, 1789.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“Pray how is my friend Tate? He has given of late but a bad -account of himself; is obliged to live with great uniform -temperance, and deny himself that conviviality he is so well -calculated for. I wrote to him some little time ago, part of -which letter I make no doubt but you are acquainted with, -as it was my wish you should. You see I have enough of the -Devil in me to wish to retaliate upon the misguided Alderman -(Boydell), who I hear loses ground very fast, and will shortly -have none to work for him but his half-starved creatures.</p> - -<p>“I am engaged at present and shall be for some time with -portraits, so that my historical pictures are, I fear, very -distant. However, I do not lose sight of them, and as the -hour’s exercise I daily take on horseback seems to contribute -much to my health, I hope to be a tiptop by and by to attack -’em.</p> - -<p>“However light my friend Smith made of the gout when you was -with him, it has proved a serious affair to him, subjecting -him to much pain and a long disuse of his pencil. Pity it is a -man’s industry should prove an evil to him, and his laudable -endeavours to provide for his tender offspring frustrate its -own intention. Adieu, my good friend, and believe me yours -very sincerely,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“St. Ellens, 24 June, 1791.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“Yesterday I received a letter from the Sec<sup>y</sup> of the Spring -Gardens Exhibition to know the price I had fixed upon the -picture of “Antigonus,” a gentleman having applied for it, and -desired him to write to me. Mr. Barrow, the Sec<sup>y</sup> told him -the conditions which I meant to part with the large pictures, -namely, that they should be engraved from, by capital artists -(which was not strictly what I meant). To this he had no -objection, and assured him if he purchased the picture it -should be engraved by M<sup>r.</sup> Middiman, or some artist of equal -reputation. It should seem from hence the person who is about -the picture buys it with an intent to have a plate made from -it, which will preclude my having it done by Heath, though -from what you said to me last on that head, there are little -grounds for hope of that ever taking place. Pray do you know -the character of Mr. Middiman as an engraver?</p> - -<p>“I should not have troubled my friend with this business (tho’ -I am at all times and all occasions happy to have his advice) -had not my friend Tate, when last here, asked the price of the -‘Storm’ for your Brother, M<sup>r.</sup> H. Philips, at which time -I did not give him a decisive answer. Therefore I think it -incumbent on me, before I treat with the Gentleman, to inform -you the price is 100g<sup>s.</sup> and shall be glad of your answer by -return of post if convenient.</p> - -<p>“The extremely cold weather immediately succeeding very hot, -has diseased me very much. I have had for some time past a -nervous fever hanging about me, and am now much<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> disturbed -with an inflammation on my liver. Art stands still. Adieu, my -good friend, and believe me, with much respect,</p> - -<p class="left4">“Yours very sincerely,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, Sep. 24<sup>th</sup> 1792.</p> - -<p class="smcap">“My Dear Philips,</p> - -<p class="left3">“This morning I have sent off by Shawcross a case addressed to -you, containing the book of drawings after Mic. Angelo, and -a slight sketch of a wild scene which I painted some years -ago. I looked it up the other day, and if you think it worth a -place in your collection, please accept it with my esteem.</p> - -<p>“The picture of the ‘Ponte Salerno’ is in such a state I shall -not be able to finish it at present. I retouched the sky some -time ago & some other parts of the picture, & the colours are -changed in a most abominable manner. One never can depend upon -fresh colours laid on old. I hope the little picture I have -sent you will not share the same fate. I have finished the -‘Storm’ except the figure of Antigonus. Your Brother Frank -seemed to like it much; indeed those who have seen it give it -the preference to the other. I have brought ye ship nearer, -which heightens the distress of the scene; and being much -larger, the masts go above the horizon, and make a ballance to -the other side of the picture.</p> - -<p>“I am going to begin a cottage on fire for a Gentleman at -Bristol. He has offered me 50g<sup>s.</sup> to finish it highly. I -have also finished Tate’s ‘Moonlight,’ which is much admired. -I think I shall send it with the ‘Storm,’ not by way of -receiving the cash—for that I forbid—but to give you taste -and pleasure, for I flatter myself it will. Perhaps if he has -no place to hang it, you would give it house room till wanted.</p> - -<p>“When I have thought a little more about manufacturing -pictures, and have digested a plan for such business, I shall -like it much, if I can get a sale for them. I have got two -or three on the stocks. The one is finished, the other far -advanced. The finished one is on a pannel, which I had by me, -but the smooth surface is not calculated for expedition. The -subject is ‘The Lake of Albano,’ sunset. Being done from one -pallet, there is great unity and harmony in the colouring. -When you have received the case, pray give me a line, for I -shall wish to know Mic. Angelo is safe in your possession. -Adieu, my good friend. Give my respects to M<sup>rs.</sup> Philips and -all my friends, in which comp<sup>l.</sup> Romana wishes to unite.</p> - -<p class="left4">“I am, very sincerely yours,</p> - -<p class="r1">“J. W.</p> - -<p>“To J. L. Philips.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<blockquote> - -<p class="r1">“Nov. 29<sup>th</sup> 1792.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“To have read such flattering accounts of my picture from all -hands is highly satisfactory to me, and none more so than -the last. With respect to the payment, as you are so kind to -take my cash into your hands, I wish you would place it with -the rest, and in a few posts I will remit between 5 & £600 -to be added to the other sums. I thank you for your friendly -advice about the ‘Indian Widow,’ and tell our friend Tate, -who I suppose will communicate it to M<sup>r.</sup> McNiven, that in -consideration of a little of his assistance to lay out my -property to advantage, I will deduct 10g<sup>s.</sup> I sent it off by -Shawcross last Monday, and hope it will be safe in Manchester -ere this gets to hand. I have remembered the outline of -‘Vesuvius’ for friend Tate, which I should think may be -enveloped in smoke, but no fire should appear, indeed the hot -Lava does not show itself by daylight.</p> - -<p>“I am glad to hear plates are in readiness for Mic. Angelo. I -fear I shall never do my part; my hand is too unsteady now for -lines. Adieu, my good friend. Romana wishes to join in best -remembrances to you & M<sup>rs.</sup> Philips & your family, to our -dear friend Tate, Mr. Moreland, &c.</p> - -<p class="left4">“Dear Sir,</p> - -<p class="left2">“Your much obliged friend,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“Derby, Nov. 29th 1792.”</p> - -<p>“Pray what is your opinion of the Stocks at this time? I have -a little property in, and have some thoughts of selling out. -I bought in about 76. The little picture on pannel is too -square; the right measure of ye frame at the end should cover -⅛<sup>th</sup> in., and ye top and bottom ½´´, which will bring -the picture into better proportion.”</p></blockquote> - -<hr class="r15" /> - -<p>The Plates for Mic. Angelo here alluded to evidently refer to the -reproduction on copper of some of Wright’s sketches from the “Sistine -Chapel,” for we find Wright sending the sketches to Philips on Sep. -24th, 1792. There is in existence an impression from copper of one -of them, partly in aquatint, but whether from the hand of Wright or -Philips it is now impossible to say.</p> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, 31<sup>st</sup> Dec., /92.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“Enclosed I send you Mess<sup>rs.</sup> Crompton’s Draught on -Mess<sup>rs.</sup> Ayton, Brassey, Lees, & Co., their Bankers, Lombard -Street, for £460, payable in fourteen days, which you will -be kind enough to acknowledge the receipt of as soon as you -can make it convenient. What you said in your last respecting -money matters makes an apology on this account unnecessary. -Nevertheless, I must say I feel the obligation very sensibly; -and now let me thank you for a Barrel of excellent oisters. -Your Brother H. spent part of a day with us.<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> I was in a -working humour, so I did not let his visit stop the progress -of my pencil. He sat by me, and seemed pleased with the rapid -advance of my picture, for it was one of my playthings, or -sketches that I was engaged with, which, with six others, -I intend to send you next week for yours and my friends’ -inspection. ‘A Morning Effect of the Lake of Albano’ is a -companion to Wilson’s ‘Evening Effect,’ for my dear friend -Tate. I wish it may be found a meet one. I have just prepared -a canvas the size of Tate’s ‘Moonlight,’ for an evening -effect on another view on the River Tay at Dunkeld, which, -if care and study will accomplish it, I intend it to be the -best picture I ever painted. I know not how it is, tho’ I am -engaged in portraits and made a complete dead colour of a half -length yesterday, I find myself continually stealing off and -getting to Landscapes.</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, 17<sup>th</sup> January, 1793.</p> - -<p class="smcap">“My Dear Friend,</p> - -<p class="left3">“I am glad to find, by my friend Tate, the box of Sketches are -got safe to hand, and that you approve of them. They ought, -as my friend may see by the direction, to have been delivered -almost a week ago. I can’t help doing too much to them as -sketches, and if any other person than yourself was to have -the culling of them, I should certainly charge something more -for those that were selected. You are then indebted to me for -three 30g<sup>s</sup>, and if Tate cannot get more for the remaining -four, they must go at that price. I am sorry your Brother Hy. -did not fix the price for ‘Antigonus,’ as he knew all the -circumstances. He was certainly the proper person to have -done it, but since it is left to me, I must observe, I have -no claim upon him for more than 100g<sup>s</sup>, as I offered him the -other picture for that sum; but in justice to myself I must -say it deserves more, considering the pains I took with it, -and the charges of the frame, &c., amounting to near £13; but -whether he chooses to give me the advanced price, £12Og<sup>s.</sup>, -must be at his option.</p> - -<p class="left4">“Very Sincerely,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“I am sorry I cannot fulfil my engagement with M<sup>r.</sup> -Moreland. M<sup>r.</sup> Gisborne does not think himself at liberty to -divulge Smith’s mode of washing with water-colours.</p> - -<p>“To M<sup>r.</sup> J. L. Philips.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Feby. 26, 1793.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“M<sup>r.</sup> W<sup>m.</sup> Hardman called last night. I showed him the -pictures by candle-light, but I don’t think he could see them -well. They did not seem to reach his feelings, except a small -one of an effect of fire, seen through a dark group of trees, -with a large piece of water reflecting the objects about it. -Had he not in his possession the cottage, I believe he would -have purchased it. ’Tis a new subject, and rather a favourite -with me. If there should be<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> an exhibition this year, -independent of ye Royal Academy, I perhaps may show it to the -public, as also the companion to the ‘Moonlight,’ in my friend -Tate’s hands, which, now being near finished, and if I flatter -not myself, will be a tolerable picture. ’Tis full of air, and -has depth, two necessary requisites for a Landscape.</p> - -<p>“I have a great inclination to send you this fire piece to -look at. I think it would give you pleasure. If Manchester was -nearer I certainly would.</p> - -<p>“How goes Mic. Angelo on? Can you give me <i>proof</i> of your -abilities yet?</p> - -<p>“I often wish I lived with you, that my productions might -receive the benefit of your strictures ere they go out into -the world, & myself enjoy your friendly conversation; but my -lot is cast otherwise. Adieu, my dear friend, and whether near -or distant, believe me ever yours,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - -<p>“J. L. Philips.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“King Street, Feby. 19, 1794.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“The day after you left us I set to work upon the picture of -‘Vesuvius,’ to remove the stiffness of the line of Lava made -across it (and which always dissatisfied me), by bringing -the trees more over it; but it would not do, for what proved -beneficial to the one was injurious to the other, by bringing -the groupe of trees & rock much in a line. I have therefore -illuminated the ground, over which the Lava is about to pass, -very strongly, set fire to the plants & raised a fresh smoke, -which here & there passes across the lava, & effectually -does the business. I have also increased the quantity & -brilliancy of the smoke which arises from the upper surface of -the lava, so that the centre of the picture is more lighted -up, & the general effect much improved. I have added the -forked lightning, which ever attends the dark smoke, & which -increases the horror of the subject without disturbing the -effect; and on Tuesday I intended putting in ye figures & the -finishing touches to your picture, when, alas! I was suddenly -seized with the sore throat & fever, a common complaint here. -My lungs (a weak part) have suffered much. I have a very bad -cough; my frame is much debilitated; the fever is abated. -Thank you for your attention (which is ever awake to serve -your friends) to ye exhibition business. As they have <i>long -ago thrown me on their shelf</i>, I do not feel inclined to sue -for protection, but perhaps when my nerves are more settled I -may see it in another light.</p> - -<p class="left4">“Yours most sincerely,</p> - -<p class="r1">“J. W.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p>“Your picture of ‘Vesuvius,’ and one at Dunkeld, would have -been at Manchester before now, had not the frames of the -pictures which I exhibited been materially damaged at the -Academy. M<sup>r.</sup> Milbourne has orders to put them into good -condition, & send them to you when done.</p> - -<p>“Derby, June 29, 1794.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span></p> - -<blockquote> - -<p class="r1">“Derby, Dec. 27, 1794.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“Your relation (Mr. N. Philips), to whom I some time ago sold -the picture of the ‘City of Florence,’ called upon me last -week, & engaged the picture with the ‘Rainbow,’ the ‘Cottage -on Fire,’ & the small ‘Sea Storm,’ which I find he intends -sending to America. I am sorry the two first leave the Kingdom.</p> - -<p>“He seems anxious that I should paint him the ‘Siege of -Toulon,’ for which he will not exceed 100<sup>gs.</sup> The scenery -must be very complicated, & so many objects & incidents cannot -be painted for that sum. I sometime ago refused a like sum for -any sized picture I would paint of the ‘Siege of Gibraltar.’</p> - -<p>“Did you not give me some hopes of seeing drawings by an -officer of the engagement at Toulon, or have I dreamt it? Pray -inform me soon, as I must satisfy Mr. Philips.</p> - -<p class="r1">“JO<sup>S</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="left3">“Your letter has poured balsam into my wound. I have heard -nothing but humiliating observations on my pictures, which -have tended much to the inactivity of my pencil for some time -past. What a mere machine am I become, depressed and rendered -useless by a little censure, & put into motion again by a -little flattery. I really believe my enemies might easily -persuade me I have no pretensions to paint. What a thing have -these weak nerves made of me.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Feby., 1795.</p> - -<p class="smcap">“To J. L. Philips,</p> - -<p class="left3">“I am sorry to learn from my friend Tate that he does -not acquit himself in the pictures of the Lakes to his -expectation. He is acquainted with my principles, such as -they are. I wonder he does not with more certainty avail -himself of them; but they are different subjects, and I have -sometime seen effects in ye country repugnant to common-sense -principles, and which I could by no means account for. I have -a picture in hand of the sort of Keswick Lake.</p> - -<p>“Did you pick up much painting knowledge in your late visit to -the Captain’s, or only the quackery of the art? Would I had as -much strength as the Captain, I flatter myself I would carry -the art a great way.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“30 March, 1795.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“I am sorry to find Heath still procrastinates. He was to have -begun on the ‘Dead Soldier’ in good earnest last Midsummer. -Another is approaching fast, & nothing more done to it. I -despair seeing it finished, & many of the subscribers to -my portion of the prints are dead. Well, patience, as the -Italians say, & you have as much need of it as I.</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p> - -<p>“The very severe winter we have had has almost demolished me. -Just after Xmas I paid a visit to my friend Gisborne. It was a -young trick of me to sally forth at that time of the year, but -he tempted me with sending his carriage; and wrapping myself -up in Flannels, I thought myself invulnerable. Unfortunately -for me it proved otherwise. I have been dreadfully ill -ever since. I am now wounded at so many points. I despair -of ever being well again. I have had Darwin’s advice, and -about a fortnight ago he ordered me to have a hot bath -every night, from 94 to 96 degrees of heat, in which I stay -half-an-hour. It has certainly braced me, & removed some -disagreeable sensations, but I am still too much oppressed -to think of handling the pencil, & what is worse I feel not -ye least inclination to paint. I am glad to hear my friend -Tate succeeds so well in water colors. I dare say when the -application of them is well understood, it is pleasant work. -Make my best regards to him, to Mr. Philips, and to all my -friends, and believe me with much esteem yours most truly,</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“May 29 /95.</p> - -<p class="left3">“I wish for my own sake—as well as for your feelings—for I -know you participate in the good or ill which attends your -friends that I could give a better account of myself. I have -now been five months without exercising my pencil, and without -a hope that I shall again resume it. I seem to have outlived -my art, a reflection, tho’ in no way favourable to the -restoration of my health, will continually obtrude itself upon -me.</p> - -<p>“I am glad to hear my good friend has laid hold of his brushes -again. Paper and camel hair pencils are better adapted to the -amusement of ladies than the pursuit of an artist. Give my -love to him, & tell him he should not avail himself of my long -silence, the effect only of ill-health. I wish to hear from -him.</p> - -<p>“I understand by your relation y<sup>t</sup> you have built a steam -house, which is productive beyond credit, & that you are -over-run with cucumbers. If this is really the case, pray let -2 or 3 run over to Derby. Am not I very impudent?”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby Oct 2<sup>nd</sup> 1795.</p> - -<p class="smcap">“My Dear Sir,</p> - -<p class="left3">“I take up my pen with much pleasure to communicate to my dear -friends at Manchester, ‘who participate in my welfare,’ that -a few days ago, after a truce to my pencil for ten <i>dreadful -months</i>, I felt the dawn of inclination to resume it, and on -Friday last made, with trembling hands, some feeble efforts. -Disuse and the loss of much strength has made the employment -rather vexatious, but facility will come in proportion to my -practice.</p> - -<p>“I thought I should never have had it in my power to finish -the pictures your relative engaged, but they are now within a -few hours of being compleated.</p> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span></p> - -<p>“The picture of the little elegant bit of scenery at Rydall, -which my friend Holland mentioned to you, is not near being -finished. The water indeed is further advanced than ye rest of -ye picture, for I was keen to produce an effect which I had -never seen in painting of shewing the pebbles at the bottom -of the water with the broken reflections on its surface. -But I have not succeeded to my wish, & Holland, who sees -all my works thro’ the most partial medium, has colored his -description too highly. So highly finished is that little bit -of nature that to do it justice it should be painted upon ye -spot.</p> - -<p>“Your account of the Isle of Man makes me wish to see it. -We often see fine shaped rocks than fine coloured ones; the -patches of different colours are not large and distinct enough -to have effect at a distance. The different hues are produced -by small mosses rather than by original colours in the stones.</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, Dec 18<sup>th</sup> 1795.</p> - -<p>“<span class="smcap">My Dear Sir</span>,</p> - -<p class="left3">“I am at all times very happy to hear from you, and if at any -time there is the appearance of omission, the multiplicity of -your avocations make your apology.</p> - -<p>“I have had too many substantial proofs of your attention to -my interest to doubt ye sincerity of your friendship to me. I -should be highly to blame, without cause, to deprive myself of -so inestimable a blessing.</p> - -<p>“I have put the last touches to your little finished bit of -scenery of ‘Rydal Waterfall,’ which you have commissioned me -to send you, which I will do as soon as it is dry enough to -pack safely; but, that you may not take it upon the character -of my friends, who, as I said before are partial and sanguine, -you shall, if it meets not with your entire approbation, have -the power of returning it. Your feelings upon the occasion may -be different to theirs, and I would not have you buy a pig in -a poke. It is a very intricate subject, and I never wished -myself out of a wood so much in my life.</p> - -<p>“I shall continue to work a little almost every day, & if -the spasms upon my lungs keep off I hope to gain strength. I -cannot describe the pleasure I feel upon resuming the pencil -when I am tolerably well.</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.”</p> - -<p>“I have sent off to Nottingham your kinsman’s pictures, where -they are to remain sometime ’ere they are to be sent to -America.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Derby, 11 Apl., 1796.</p> - -<p class="left3">“Ill-luck ever attends my pursuits. A few days after you left -me, I was again visited with an asthmatic fit, which was in a -day or two succeeded by a second, whereby I was so debilitated -I could not employ my pencil at all for many days, & have not -since<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> found my exertions equal to the great picture; have -therefore given up all thoughts of exhibiting it this year at -least, whatever I may be induced another, but, from abuses I -have received from the Academy, I never feel very anxious to -get among them. They are in general an illiberal set of men, & -the less one has to do with ’em the better.</p> - -<p class="r1">“JO<sup>S</sup> WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<p>Wright painted two pictures for Alderman Boydell’s Shakspeare -Gallery, viz:—“Prospero in his cell, showing a visionary -spectacle to Ferdinand & Miranda,” for which he received 300 -guineas; and “The Storm in the ‘Winter’s Tale,’” for which 140 guineas -was paid.</p> - -<p>Wright addressed the following letter to the Alderman respecting the -former picture:—</p> - -<blockquote> - -<p class="r1">“Derby, 12<sup>th</sup> March, 1789.</p> - -<p class="smcap">“Sir,</p> - -<p class="left3">“I should have sent you the dimensions of the picture by -return of post, but it was till to-day so folded up it could -not be measured with any accuracy. The exact size is 12ft. 0¼ -in. by 8ft. 6in., to hang horizontally. It will be necessary -to have a good straining frame, with the inner edge well -rounded off, for if left square it always makes a mark in the -picture. The reason I mention a fresh straining or wedging -frame is, the one the picture is on has been cut in so many -places to accommodate it to my painting-room; it is too weak -to use again but for the purpose of painting on, if I should -again have occasion for so large a one.</p> - -<p>“The picture is now finished, unless a fresh eye discover -anything in a few days to be corrected. I most heartily unite -with you in wishing I may make a conspicuous figure in your -exhibition.</p> - -<p>“The picture by the time you will want it, will, I hope, be -dry enough to roll upon a cylinder without damage, which I -think the safest way of sending it, for it is much too large -to go flat.</p> - -<p class="left4">“I am, Sir,</p> - -<p class="left2">“Your very humble Serv<sup>t.</sup></p> - -<p class="r1">“JOSEPH WRIGHT.</p> - -<p>“Mr. Alderman Boydell,</p> - -<p class="left5">“Cheapside,</p> - -<p class="left7">“London.”</p> - -</blockquote> - -<hr class="r15" /> - -<p>Before Wright painted the Bear in the “Storm,” he wrote to Gilpin for -his opinion, who sent him some sketches of Bears (one of which was -introduced in the picture), with the following letter:—<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p> - -<blockquote> - -<p class="r1">“Knightsbridge, Wednesday.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“I send you the enclosed sketch as soon as possible, that -I may have time to make a more finished one if it does not -answer your purpose. If it does not, please let me know by -return of post, and I will go a Bear hunting to the Tower, -or somewhere or other, and sketch one from nature, if -possible.... I think with you, that the pursuit is better than -the horrid act of tearing.</p> - -<p class="left4">“Your sincere Friend and Servant,</p> - -<p class="r1">“S. GILPIN.”</p></blockquote> - -<hr class="r15" /> - -<p>Hayley, in his life of Romney, thus alludes to Wright and his -engagement to paint for Boydell’s Shakspeare Gallery:—“Nov. 4<sup>th</sup> -1786. Mr. Josiah Boydell entertained the little party of friends to -the projected Gallery whom he has named in his preface to Shakspeare. -I wrote nothing in its favour except a brief sketch, and a letter -to engage my friend Wright, of Derby, to paint for the Gallery. My -application to Wright was made at the earnest desire of the Alderman.”</p> - -<p>It appears that when the time for payment came, Wright was -dissatisfied with what Boydell offered to him for his picture of -“Ferdinand and Miranda.” Whether Hayley, the poet, who appears to have -been the go-between for the painter & Boydell, placed the matter -before Wright in such a light that Boydell did not afterwards approve -of, it is now impossible to say. Wright, however, wrote the following -letter, which drew forth a characteristic reply from Boydell, who -adopts the usual plan of “abusing the plaintiff.”</p> - -<blockquote> - -<p class="r1">“Derby, July 26<sup>th</sup> 1789.</p> - -<p class="left5 smcap">“To Alderman Boydell.</p> - -<p class="smcap">“Sir,</p> - -<p class="left3">“I understood by my friend M<sup>r.</sup> Hayley, that, forming a -Gallery of pictures from the works of Shakespeare was first -agitated in a private party, of which he was one; that the -artists were to be classed, ye first class to consist of Sir -Joshua, M<sup>r.</sup> West, M<sup>r.</sup> Romney, &c., and your humble -servant; that those in that class were to have 300g<sup>s.</sup> a -picture, more or less, according to the size & work they -might have in them; and that he was extremely happy to find -the artists had entered upon this most laudable work with a -spirit & liberality that reflected the highest honour upon -them, resolving to sacrifice interest to fame. On these -grounds I began and finished my picture upon the largest size -then proposed. In the course of executing my picture, which, -through ill-health, was much protracted, I learnt from good -authority that ye original plan was quite deserted, that you -bought pictures of any size (and which were not designed for -the Gallery), and that the artists painted their subjects on -such sized canvasses as they thought proper, and made the best -terms they could with you. This, I have reason to believe, is -the case, from what I saw and heard when in Town last. Upon -your asking me when in the Gallery (together) what I expected -for my picture, I told you<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> that, being very remote from the -scene of business, I was unacquainted with the prices you had -given; that I should leave myself to you, not doubting but -you would pay me as you had ye rest, upon which, pointing to -one of M<sup>r.</sup> Northcote’s pictures, you answered, We give him -25Og<sup>s.</sup> And, pray, said I, what do you give to M<sup>r.</sup> West -for his? Oh, replied you, was I to pay all ye artists as I -have done M<sup>r.</sup> West, I might soon shut up the Gallery. I -felt much mortified at this unworthy treatment, for such I -cannot but think it, and left you.</p> - -<p>“Now, Sir, I knew at the time, and have been confirmed in it -since, that you gave Sir Joshua 5OOg<sup>s</sup> for his small picture, -and a very considerable fee besides; also, that you gave -M<sup>r.</sup> West 5OOg<sup>s</sup> for his picture, and yet you were paving -the way to offer me a much less sum. Is not my picture as -large as M<sup>r.</sup> West’s? Has it not equal, nay, more, work -in it? Is it not as highly finished? And has not the public -spoken as well of it? Then why should you attempt to make a -difference in our price? Till you can give me a satisfactory -reason why I should take less, I shall certainly expect the -same. Had the work been carried on by the artists, with that -generous and laudable spirit which my friend Hayley held out -to me, I would have scorned to have been behind the most -liberal of them; but for me alone to adhere to the first plan -would be the highest folly, as I should thereby not only lose -the pecuniary advantage, but endanger my reputation, a point -which I consider as of far greater moment.</p> - -<p>“I mentioned the circumstances to some of my friends in Town, -& to others since my return into the country, and they all -agree that I have strong reasons to complain of your treatment.</p> - -<p class="left4">“I am, Sir,</p> - -<p class="left2">“Your Obedient</p> - -<p class="r1">“JOS<sup>H</sup> WRIGHT.</p> - - -<p>“P.S.—I heard also when in Town from very respectable Artists -that you had agreed to give M<sup>r.</sup> Copley 1000g<sup>s</sup> for his -picture. If so, your conduct in this business is most strange.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="r1">“Cheapside, Aug. 3 /89.</p> - -<p class="smcap">“Sir,</p> - -<p class="left3">“I sit down to answer the most extraordinary Letter I ever yet -received, wherein you inform me of a great many circumstances -that I never heard of concerning the conduct of a work that I -thought I was somewhat acquainted with.</p> - -<p>“You begin your letter by telling me that you understood that -I had classed the Painters according to their rank, and you -gave me a list of the first class, in which you place your -own name. Now, Sir, I never presumed to class the Painters. I -leave that to the public, to whose opinion and judgment I bow -with great reverence & respect.</p> - -<p>“At the same time I am free to confess that had I ever -presumed to have classed the<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> historical painters of this -country, perhaps M<sup>r.</sup> Wright’s name would not have stood -exactly where he has been pleased to place it himself.</p> - -<p>“In the line of landscape, I confess it would have been a -different consideration.</p> - -<p>“I find it would be too tedious to go through all the -ridiculous assertions that your very extraordinary Letter -contains. I shall therefore leave you to enjoy your notions, -however unfounded, and proceed immediately to business. I -never offered you any specific price for your picture. You -asked me what I had given for pictures of that size. I told -you the prices. You knew that 300 guineas was the utmost -stipulated sum, and, in one word, Sir, I will not give you any -more.</p> - -<p>“And this I offer, not so much for the merits of the picture, -as that you nor no man may have reason to complain of my -want of liberality. You are, indeed, the first that ever has -complained on this subject, with what justice I leave the -world to judge. When I look at the merits of the picture, it -deserves no such sum; for however excellent the landscape part -of it may be, the figures are very faulty, and so much out of -drawing, that it will give no little trouble to correct it for -the engravers.</p> - -<p>“As to whatever prices I have given, or may hereafter give -to any artist, in this or any other undertaking, I shall -certainly not consult Mr. Wright, and his attempting to dictate -to me on this subject is perfectly ridiculous.</p> - - -<p class="left4">“I am, Sir,</p> - -<p class="left2">“Your humble Servant,</p> - -<p class="r1">“JOHN BOYDELL.</p> - -<p class="p-left">“Copy, J. R. Harrison.”</p> -</blockquote> - -<hr class="r15" /> - -<p>Notwithstanding the Alderman’s disparaging remarks, Wright painted two -other Shaksperian subjects, viz.: “The Tomb Scene in Romeo & Juliet,” -and another of the “Storm,” with Antigonus pursued by a bear. The -former he never sold; the latter was purchased by Mr. Henry Philips.</p> - -<p>Reference to these two pictures will be found in the following -correspondence:—</p> - -<blockquote> - -<p class="r1">“Derby, June 17<sup>th</sup> 1790.</p> - -<p class="smcap">“My dear Friend,</p> - -<p class="left3">“I cannot stomach the application you wish me to make to him, -to come forward in my defence. Nor if I could, do I think it -would be of any use. Long, who, our friend Tate knows, is his -most intimate friend, & whose judgment he holds in the first -rank, is intimately connected with the proprietors of the -work. Therefore, there is but little room to hope he would do -anything to serve me, that would in any wise injure a work -they themselves were the first planners of.</p> - -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> - -<p>“I am extremely obliged to you for the very flattering account -you have sent me. Things seem to work to our wishes, & the -Alderman’s conduct will, I hope, soon be completely dissected. -I much wonder that Vasari has not appeared again ere now. -Perhaps he is intimidated. There appeared an odd paragraph in -one of ye papers a few posts ago: ‘The Prince of Pick-pockets -has given instructions to his attorney to prosecute a printer -for a libel on his character.’ As yet nothing has appeared -that will come under that denomination, <i>I hope</i>.</p> - -<p>“I would most willingly write to M<sup>r.</sup> Heath respecting -plates being made from the two pictures, but I hardly know -what to propose to him; & if, on account of the Picture of -‘Romeo & Juliet,’ which has been so much decry’d, he should -have objections, it might embarrass him to decline it to -me. You have had so much trouble on my account, I really am -sorry to ask you to write a short letter to sound him in the -business; but he would be more explicit to you than me.</p> - -<p class="r1">“J. WRIGHT.”</p></blockquote> - -<hr class="r15" /> - -<blockquote> - -<p class="smcap">“My dear Friend,</p> - -<p class="left3">“The two pictures I exhibited last year in the R. Academy of -‘Romeo & Juliet’ and Antigonus in the ‘Storm,’ were certainly -painted too dark, sad emblems of my then gloomy mind. I -have simplified the back ground of the former, enlarged the -parts, and thrown more light into the Tomb, so that Julia is -bright without being a spot; & the picture of the ‘Storm,’ I -have near gone over the whole; rendering the parts clear & -distinct, without weakening the character of Gloominess, and, -if a man may be allowed to judge & speak of his own works, -they are much improved indeed. I wish Heath was to see ’em -now. I think he would like them, & perhaps indulge us with -plates from them. I have a strange wish to see them well -engraved as they are, though unworthy of adding to Boydell’s -collection. I intended to have exhibited them at the Lyceum, -but they<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> have quarrelled amongst themselves and don’t -make one. Do you think Macklin would hang them in his room -a month or two, for I wish to have them better seen by the -publick than they have been. I communicate this to you to -judge of, because I well know you regard both my interests -& honour. I have heard nothing from Macklin respecting my -painting for him. Tom Tate some time ago told me that Rogers, -of Liverpool, who is concerned in the work, asked him if he -thought, upon proper application being made, I would undertake -any subjects, for it was much their wishes that I should be -concerned. Macklin used me querely in his first scheme, & his -application, if he does not wish to engage me, will now come -with an ill grace.</p> - - -<p class="r1">“JO<sup>S</sup> WRIGHT.</p> - -<p>“St. Ellens,</p> - -<p class="left5">“14<sup>th</sup> Feby., /91.”</p> -</blockquote> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p></div> - - -<h2>CHAPTER IX.</h2> - -<blockquote> -<p class="smcap">Death of Mrs. Wright.—Removes to Queen Street, Derby.—Wright’s -Last Illness and Death.—Mr. J. Leigh Philips on the Character of -Wright.—Sale of Wright’s Pictures in London and Derby.—Letters from -J. Holland and Rev. Thos. Gisborne.</p></blockquote> - -<div> -<img class="drop-cap" src="images/drop-o.jpg" alt="" /> -</div> - -<p class="drop-cap">On August 19<sup>th</sup> 1790, Mrs. Wright died of consumption, aged 41. This -loss inflicted a crushing domestic blow to her husband, whose health -now began seriously to fail, and from his MS. Book we are enabled by -the following receipt to fix the time when Wright left St. Helen’s -house (which was soon after pulled down), and by the name of the owner -of the property, Mr. Bainbrigge, we are enabled to identify the house -in which Wright resided down to the time of his death. The receipt is -as follows:—</p> - -<p class="left5">“May 1, 1793. Settled with M<sup>r</sup> Wright for half a year’s rent (Twenty -pounds) due Lady Day last.</p> - -<p class="r1">“THOMAS BAINBRIGGE, Jun.”</p> - -<p>The house is No. 26, in Queen Street, and is the first house in the -Parish of St. Alkmund—St. Michael’s being the adjoining parish. The -Family Vault was in St. Michael’s Church, but we find the Painter’s -family are interred in the church of the parish in which they lived. -His niece, Miss Wright, says:—“He removed to a house in Queen -Street, near to St. Alkmund’s Ch.; there the windows all looked into -the street, or upon buildings at the back part. The gardens being -beyond them, it was a dull prospect for him.” The house was roomy and -substantial, with a large garden, which in Wright’s time would be open -to the Cherry Orchard, now Orchard Street. The premises now open into -Chapel Street. This house afterwards became the post office, until the -year 1840, and is now in the occupation of Mr. Allen.</p> - -<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p> - -<p>The buildings appear to be in much the same state now as they were -at that time. Some outbuildings obstruct the view of the garden, an -archway giving the only glimpse of what was then open country, and -this peep was obtained by looking through a very pretty wrought iron -gate, no doubt from the hammer and anvil of Bakewell, who has left many -examples of his art and skill in the town and neighbourhood. A drawing -of the gate is here given, as it is worthy of preservation.</p> - -<p>During the latter part of 1795 he became too ill to use his -pencil, and when his first grandchild was born in 1796, he talked -of introducing her in an unfinished portrait of her mother, in the -place of a music book, but the picture was left unaltered, as were -the portraits of his brother and his wife. He was so pleased with his -brother’s portrait at the first sitting, that he said “he should be -afraid of touching it again, lest the likeness should not be so good,” -and so it remained.</p> - - <div class="figcenter" id="i_103"> - <img - class="p2" - src="images/i_103.jpg" - alt="" /> - <p class="p0 center p-left sm">GARDEN ENTRANCE TO HOUSE IN QUEEN STREET, DERBY.</p> - </div> - -<p class="p2">In the month of May, 1797, he took to his bed; about this time his nose -bled to such a degree as to prevent his lying down, and from the feeble -state he was in, he had not strength to hold up his head for long -together. A broad ribbon was therefore tied to each side of the head -of the bed, upon which he rested his chin, and this simple contrivance -afforded him great relief. His sufferings, from a complication of -diseases, were very great, and he gradually became weaker. His daughter -Harriet attended him night and day during this his last illness, and on -the afternoon of the 29th of August, 1797, he expressed his pleasure -at having those around him he had always loved. About two hours before -he died, his friend, Mr. Tate, of Liverpool, having come to Derby, was -anxious to see him, and was admitted. Wright seemed pleased to see his -old friend, though he could scarcely articulate, but<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> he drew with his -fingers upon the sheet, as if expressive of the pleasure they formerly -enjoyed together in following that pursuit. He was buried on September -1st, 1797, in St. Alkmund’s Church, and the following inscription was -placed on a tablet<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> erected to his memory:—</p> - -<p class="smcap center p-left p2">In the Middle Isle, Opposite to this Pillar, are Deposited the</p> - -<p class="smcap center p-left">Remains of Joseph Wright, Esq.,</p> - -<p class="smcap center p-left">Painter.</p> - -<p class="smcap center p-left">He Died August 29th, 1797, in the 63rd Year of His Age.</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>His well earn’d Merit in his Works is shown,</div> - <div>Where Taste and Genius mark him for their own.</div> - </div> - </div> - </div> - - <div class="figcenter" id="i_104"> - <img - class="p2" - src="images/i_104.jpg" - alt="" /> - <p class="p0 center p-left sm">MONUMENT IN ST. ALKMUND’S CHURCH, DERBY.</p> - </div> - -<p class="p2">On an old paper, on which was written the above couplet, there was also -the following lines:—</p> - - <div class="poetry-container"> - <div class="poetry"> - <div class="stanza"> - <div>His age & Death alone are here expressed,</div> - <div>All friends to Taste and Genius know the rest.</div> - </div> - </div> - </div> - -<p>Mr. Jno. Leigh Philips, who wrote an account<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> of Wright shortly after his death, thus -writes of him:—</p> - -<p>“In his person he was rather above the middle size, and when young was -esteemed a very handsome man; his company was then much courted on -account of his pleasing vivacity and convivial habits; his eyes were -prominent and very expressive; in his manners he was mild, unassuming, -modest to an extreme, generous and full of sensibility, with the -perfect carriage of a gentleman; honourable and punctual in all his -transactions, he entertained the<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> most utter contempt for everything -like meanness or illiberality; and his good heart felt but too -poignantly for the misconduct of others.</p> - -<p>“I may truly observe of him that he stedfastly acted on the principle -of always continuing to learn; from conversation, from examining -pictures, and, above all, from the study of nature, he was constantly -endeavouring to advance in the knowledge of his art; and to this -habit, as wise as it was modest, of considering himself through life -as a learner, no small share of his excellence may be ascribed. This -disposition was naturally attended with a candid readiness to adopt, -from the practice of other artists, new modes of proceeding, when they -appeared to him rational, and to make trial in studies on a small scale -of such as seemed in a tolerable degree promising.</p> - -<p>“We shall conclude our account of Mr. Wright, in his private capacity -as a man, with observing that he repeatedly evinced much liberality, -by giving valuable pictures to individuals among his private friends, -or to persons to whom he thought himself obliged. In various instances -these gifts were <i>manifestly</i> disinterested; and they were always -conferred in a very pleasing manner, which declined rather than sought -the expression of gratitude.</p> - -<p>“In addition to the character which he merits for the executive part -of his art, it is pleasing to record, that in his works the attention -is ever directed to the cause of virtue: that his early historical -pictures consist of subjects either of rational or moral improvement, -and he has succeeded admirably in arresting the gentler feelings of -humanity, for what eye or heart ever remained unmoved at the sight -of ‘Maria,’ Sterne’s ‘Captive,’ or the ‘Dead Soldier.’ In his works -‘not one immoral, one corrupted thought’ occurs to wound the eye of -delicacy, or induce a wish that so exquisite a pencil had not found -employment on more worthy subjects. His pictures may be considered as -the reflexion of his own delicate mind, and will be ranked by posterity -as treasures worthy the imitation of succeeding generations.”</p> - -<p>The following letter from Mr. Philips to Dr. Wright is of interest:—</p> - -<blockquote> - -<p class="r1">“Manchester, Nov. 18, 1797.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“You will receive herewith a dozen copies of my account of -your late worthy Brother, which I have got printed more -carefully than was the case in the magazine, in which several -errors had escaped correction. Some few still remain as they -were printed in London, & I had no proof-sheet sent down. I -will thank you to present a copy to Mr. Holland when you have -an opportunity, with my respectful compliments. I have only -to lament my inability to do justice to the character of my -much-valued friend, as it requires abilities much beyond my -scope to point out the beauties of his works, which go far -beyond every modern effort of art, & I do not expect to live -to see them equalled.</p> - -<p class="left4">“Believe me, with great truth,</p> - -<p class="left2">“Dear Sir,</p> - -<p class="left6">“Your faithful, hble. servt,</p> - -<p class="r1">“J. LEIGH PHILIPS.</p> - -<p>“P.S.—My friend Tate brought me a mourning ring, for which -accept my grateful thanks.”</p></blockquote> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<blockquote> - -<p class="r1">“Derby, Irongate, 27 Nov., 1797.</p> - -<p class="left5 smcap">“To Mr. Philips.</p> - -<p class="smcap">“Dear Sir,</p> - -<p class="left3">“I was honored with the parcel last Monday containing the -copies of Memoirs of my late Bro<sup>’s</sup> Life. I return you my -most grateful thanks for them, and think myself much obliged -for the very great attention you have shewn in publishing -the History of my Brother’s Life, wherein you have exhibited -with great judgment and accuracy everything needful to adorn -his character and abilities. The errors you have corrected in -the Magazine are considerable, and make the production more -valuable.</p> - -<p class="r1">“RICH<sup>D</sup> WRIGHT.”</p></blockquote> - -<p>Prefixed to this notice of Wright, by Mr. Philips, was an engraved -portrait of the artist by Blake.</p> - - <div class="figcenter" id="i_106"> - <img - class="p2" - src="images/i_106.jpg" - alt="" /> - <p class="p0 center p-left sm"><span class="smcap">JOSEPH WRIGHT.</span> <i>Etched by himself.</i></p> - </div> - -<p class="p2">Amongst the effects of the late Mr. Geo. Cumberland, who was an -intimate friend of Blake’s, was found an etching, evidently the one -that served Blake as his copy, on which is written, “Wright, of Derby; -etched by himself.” This is the only instance known of Wright having -used the etching point.</p> - -<p>I am indebted to Mr. Wm. Edkins, not only for this information, but for -the unique etching itself, which is here reproduced.</p> - -<p>The following is a copy of the catalogue of the drawings and -paintings finished and unfinished that were sold by Christie, on May -6th, 1801, with the prices realized and the names of the purchasers. -This, with the copy of Wright’s MS. book, to be found in the appendix, -will form a very complete list of his principal works:—</p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p></div> - - <div class="figcenter" id="i_107" > - <img - class="p2" - src="images/i_107.jpg" - alt="" /> - </div> - - -<p class="center p-left sm p2">A</p> - -<p class="center p-left xxl"><b>Catalogue</b></p> - -<p class="center p-left xs">OF</p> - -<p class="center p-left xl">THE GENUINE COLLECTION</p> - -<p class="center p-left xs">OF</p> - -<p class="center p-left xxl"><b>PICTURES,</b></p> - -<p class="center p-left xs">BEING</p> - -<p class="center p-left sm">A Selection of the most Capital Performances of that esteemed Artist,</p> - -<p class="center p-left xl"><i><b>Mr. Joseph Wright, of Derby</b></i>,</p> - -<p class="center p-left">DECEASED:</p> - - -<p class="center p-left xs p2">COMPRISING</p> - -<p class="center p-left sm">A VIEW of ULLSWATER, several others in and near Rome, Naples, &c.</p> - -<p class="center p-left"><i>The Old Man and Death</i>; <i>The Widow of an Indian Chief</i>;</p> - -<p class="center p-left xs">AND</p> - -<p class="center p-left">A CAPITAL VIEW OF AN ERUPTION OF VESUVIUS,</p> - -<p class="center p-left xs">Besides many other interesting Subjects.</p> - - -<p class="center p-left lg p2">Which will be Sold by Auction,</p> - -<p class="center p-left xl gesperrt"><b>BY MR. CHRISTIE,</b></p> - -<p class="center p-left">AT HIS ROOM,</p> - -<p class="center p-left">(N<sup>o.</sup> 118, <i>late the Royal Academy</i>) <i>in Pall Mall</i>,</p> - -<p class="center p-left">On WEDNESDAY, MAY the 6th, 1801,</p> - -<p class="center p-left sm">AT TWELVE o’CLOCK.</p> - -<hr class="full1" /> - -<p class="center p-left xs">May be Viewed Two Days preceding the Sale, when Catalogues may be -had in Pall Mall.</p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></p></div> - - <div class="figcenter" id="i_108" > - <img - class="p2" - src="images/i_108.jpg" - alt="" /> - </div> - -<p class="center p-left xl nobreak"><b>A Catalogue, &c.</b></p> - -<hr class="style2" /> - -<p class="center p-left sm">WEDNESDAY, MAY the 6th, 1801.</p> - - -<p class="center p-left"><i>PICTURES.</i></p> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht3"></td> - <td class="ctr4"></td> - <td class="right3"></td> - <td class="cht"></td> - <td class="right">£</td> - <td class="right">s.</td> - <td class="right">d.</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Col. Denby.</i></td> - <td class="ctr4"></td> - <td class="right3">1</td> - <td class="cht">RUINS—small, unfinished, upright</td> - <td class="right">0</td> - <td class="right">10</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">2</td> - <td class="cht">A View of the Lakes, Ditto</td> - <td class="right">1</td> - <td class="right">1</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Jenings.</i></td> - <td class="ctr4"></td> - <td class="right3">3</td> - <td class="cht">Ditto</td> - <td class="right">1</td> - <td class="right">13</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">4</td> - <td class="cht">A View with a Bridge, Ditto</td> - <td class="right">2</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">5</td> - <td class="cht">A mountainous Landscape, Ditto </td> - <td class="right">0</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Rook.</i></td> - <td class="ctr4"></td> - <td class="right3">6</td> - <td class="cht">A Castle, by Moonlight, in dead Colour</td> - <td class="right">1</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Marshall.</i></td> - <td class="ctr4"></td> - <td class="right3">7</td> - <td class="cht">A Fire in a Forest, by Moonlight </td> - <td class="right">0</td> - <td class="right">11</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">8</td> - <td class="cht">A mountainous and woody Landscape, Oval</td> - <td class="right">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Dorset.</i></td> - <td class="ctr4"></td> - <td class="right3">9</td> - <td class="cht">Ruins of a Roman Temple, by Fire-light</td> - <td class="right">1</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Heath.</i></td> - <td class="ctr4"></td> - <td class="right3">10</td> - <td class="cht">A Boy with a Dog</td> - <td class="right">0</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Denby.</i></td> - <td class="ctr4"></td> - <td class="right3">11</td> - <td class="cht">A Landscape in the Stile of Artois</td> - <td class="right">3</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Maria Wright.</i></td> - <td class="ctr4"></td> - <td class="right3">12</td> - <td class="cht">A Hilly Landscape, with a slated Barn</td> - <td class="right">7</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Goulding.</i></td> - <td class="ctr4"></td> - <td class="right3">13</td> - <td class="cht">A small Mountainous Ditto</td> - <td class="right">2</td> - <td class="right">7</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">14</td> - <td class="cht">A small pleasing View of a Harbour by Moonlight, - and an unfinished Landscape the Companion</td> - <td class="right">5</td> - <td class="right">15</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Jenings.</i></td> - <td class="ctr4"></td> - <td class="right3">15</td> - <td class="cht">A Lake Scene unfinished</td> - <td class="right">5</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">16</td> - <td class="cht">A warm mountainous Landscape, small upright</td> - <td class="right">5</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Goulding.</i></td> - <td class="ctr4"></td> - <td class="right3">17</td> - <td class="cht">A View of Carnarvon Castle by Fire and Moonlight, unfinished</td> - <td class="right">5</td> - <td class="right">15</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">18</td> - <td class="cht">An Italian Landscape with Ruin</td> - <td class="right">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Rawlinson.</i></td> - <td class="ctr4"></td> - <td class="right3">19</td> - <td class="cht">A Landscape, a Rock Scene</td> - <td class="right">6</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">20</td> - <td class="cht">A View of the Ponte Nomentano, near Rome, unfinished</td> - <td class="right">3</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Heath.</i></td> - <td class="ctr4"></td> - <td class="right3">21</td> - <td class="cht">The Dead Soldier, unfinished</td> - <td class="right">5</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>H. Wright.</i></td> - <td class="ctr4"></td> - <td class="right3">22</td> - <td class="cht">A View of the Lake of Nemi, a warm Evening Scene</td> - <td class="right">12</td> - <td class="right">12</td> - <td class="right">0<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></td> - </tr> - - <tr> - <td class="cht3"><i>Long.</i></td> - <td class="ctr4"></td> - <td class="right3">23</td> - <td class="cht">Lady and Beggar Boy, unfinished</td> - <td class="right">1</td> - <td class="right">7</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">24</td> - <td class="cht">The Glass-House, a Sketch: the Fire exceedingly well expressed</td> - <td class="right">3</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Shackman.</i></td> - <td class="ctr4"></td> - <td class="right3">25</td> - <td class="cht">A small View of an Eruption of Mount Vesuvius by Moonlight</td> - <td class="right">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Brown.</i></td> - <td class="ctr4"></td> - <td class="right3">26</td> - <td class="cht">A Landscape unfinished</td> - <td class="right">1</td> - <td class="right">1</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">27</td> - <td class="cht">View of an Eruption of Mount Vesuvius by Moonlight, - with a View of the Bay of Naples</td> - <td class="right">18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Tate, in.</i></td> - <td class="ctr4"></td> - <td class="right3">28</td> - <td class="cht">A Landscape, and Figures with a tilted Cart; a View of Matlock High Tor in the -Distance—very rich and glowing Effect</td> - <td class="right">51</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">29</td> - <td class="cht">Portrait of a Beggarman</td> - <td class="right">6</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Mr. Cade, in.</i></td> - <td class="ctr4"></td> - <td class="right3">30</td> - <td class="cht">A Landscape with a Monumental Ruin by Moonlight</td> - <td class="right">14</td> - <td class="right">3</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Tate.</i></td> - <td class="ctr4"></td> - <td class="right3">31</td> - <td class="cht">A Landscape, Sun-set</td> - <td class="right">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Mr. Cade, in.</i></td> - <td class="ctr4"></td> - <td class="right3">32</td> - <td class="cht">A pleasing View of a Lake by Moonlight</td> - <td class="right">9</td> - <td class="right">19</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Goulding.</i></td> - <td class="ctr4"></td> - <td class="right3">33</td> - <td class="cht">An Italian, rocky Landscape and Figures</td> - <td class="right">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">34</td> - <td class="cht">An Eruption of Vesuvius by Moonlight, viewed through - the Fog—singularly fine Effect</td> - <td class="right">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Heath.</i></td> - <td class="ctr4"></td> - <td class="right3">35</td> - <td class="cht">A View on the Lakes in Westmoreland</td> - <td class="right">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Maria Wright, in.</i></td> - <td class="ctr4"></td> - <td class="right3">36</td> - <td class="cht">A Ditto</td> - <td class="right">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Rawlinson.</i></td> - <td class="ctr4"></td> - <td class="right3">37</td> - <td class="cht">Virgil’s Tomb—a pleasing, high finished picture</td> - <td class="right">17</td> - <td class="right">6</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Mr. Cade, in.</i></td> - <td class="ctr4"></td> - <td class="right3">38</td> - <td class="cht">A mountainous and woody Landscape, - a View in the Neighbourhood of Matlock</td> - <td class="right">20</td> - <td class="right">9</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>Jennings.</i></td> - <td class="ctr4"></td> - <td class="right3">39</td> - <td class="cht">A small Italian Landscape, after Wilson</td> - <td class="right">21</td> - <td class="right">10</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Jo. Wright, in.</i></td> - <td class="ctr4"></td> - <td class="right3">40</td> - <td class="cht">A Boy and Girl with a Blown Bladder: - the Countenances full of lively Expression, - and the Whole delicately and highly finished</td> - <td class="right">40</td> - <td class="right">19</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">41</td> - <td class="cht">A Landscape viewed through a Cavern by Moonlight</td> - <td class="right">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Sters.</i></td> - <td class="ctr4"></td> - <td class="right3">42</td> - <td class="cht">A View of Ulleswater Lake and Skiddaw</td> - <td class="right">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Vernon.</i></td> - <td class="ctr4"></td> - <td class="right3">43</td> - <td class="cht">An upright View in the Convent of the Latomie at Syracuse</td> - <td class="right">16</td> - <td class="right">5</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3"><i>H. Wright.</i></td> - <td class="ctr4"></td> - <td class="right3">44</td> - <td class="cht">A Rocky Landscape, with a River by Moonlight</td> - <td class="right">47</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Smith, M.P.</i></td> - <td class="ctr4"></td> - <td class="right3">45</td> - <td class="cht">A Mountainous Landscape in the Neighbourhood of the Lakes</td> - <td class="right">9</td> - <td class="right">19</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Tate, in.</i></td> - <td class="ctr4"></td> - <td class="right3">46</td> - <td class="cht">A Landscape with a Rainbow, View near Chesterfield in Derbyshire</td> - <td class="right">59</td> - <td class="right">17</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">47</td> - <td class="cht">The Cascade of Terni, near Tivoli</td> - <td class="right">40</td> - <td class="right">19</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Poole & Tate.</i></td> - <td class="ctr4"></td> - <td class="right3">48</td> - <td class="cht">A Pair of elegant Views of the Lake of Albano, with the Castel Gandolfo, and the - companion the Lake of Nemi</td> - <td class="right">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">49</td> - <td class="cht">Sterne’s Maria, an elegant Figure delicately painted</td> - <td class="right">38</td> - <td class="right">17</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">50</td> - <td class="cht">A Landscape, View of the Lake of Albano, a beautiful warm Scene</td> - <td class="right">53</td> - <td class="right">11</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">51</td> - <td class="cht">Romeo and Juliet in the Sepulchre, a spirited Composition; the Interest considerably - heightened by the Shadow of Figures approaching the Tomb, capital</td> - <td class="right">47</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Tate.</i></td> - <td class="ctr4"></td> - <td class="right3">52</td> - <td class="cht">View of a Cottage in Needwood Forest</td> - <td class="right">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">53</td> - <td class="cht">William and Margaret, from the popular Ballad, capital</td> - <td class="right">39</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">54</td> - <td class="cht">The Colosseo at Rome with Figures, a highly finished View of this grand and interesting - Monument of Antiquity</td> - <td class="right">74</td> - <td class="right">11</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">55</td> - <td class="cht">A View of Ditto by Moonlight, with a Figure of a Friar at his evening Devotion to - the Virgin</td> - <td class="right">85</td> - <td class="right">1</td> - <td class="right">0<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">56</td> - <td class="cht">A philosopher in his Study by Lamplight—a highly - finished and brilliant coloured Picture</td> - <td class="right">19</td> - <td class="right">19</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Carr for Arkwright.</i></td> - <td class="ctr4"></td> - <td class="right3">57</td> - <td class="cht">A large and romantic View of the Head of Ullswater Lake from Lyson’s Tower in - Graystoc Park, the Seat of the Duke of Norfolk</td> - <td class="right">315</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">58</td> - <td class="cht">The Allegory of the Old Man and Death in a picturesque Landscape, a River Scene - with Gothic Ruins—a very correct Knowledge of Anatomy is displayed in the Figure - of Death; the Alarm of the old Peasant is finely expressed, and the Lights throughout - the Picture are uncommonly brilliant</td> - <td class="right">51</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">59</td> - <td class="cht">Lusignan in prison—The interior finely illumined, capital</td> - <td class="right">60</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3 nowrap"><i>Smith for Wakefield.</i></td> - <td class="ctr4"></td> - <td class="right3">60</td> - <td class="cht">A small Prison Scene, with a single Figure</td> - <td class="right">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">61</td> - <td class="cht">A Ditto</td> - <td class="right">17</td> - <td class="right">17</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">62</td> - <td class="cht">The Alchymist in his Elaboratory with Assistants. This admirable Performance presents - a happy Display of the Artist’s Talents. The Effect of Light issuing from the - Sand-heat, and reflected from the Retort and surrounding Implements is contrived with - surprising Effect, amounting to perfect Illusion—truly capital</td> - <td class="right">80</td> - <td class="right">17</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4"></td> - <td class="right3">63</td> - <td class="cht">The Hermit, companion to the preceding, capital</td> - <td class="right">70</td> - <td class="right">17</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"><i>Borrow.</i></td> - <td class="ctr4">64</td> - <td class="right3"></td> - <td class="cht">THE INDIAN WIDOW. This elegant painting is replete with poetical Beauties: the - Contest of the Day is over, but the War is still waged among the Elements, and a - Volcano on the Right adds to the Turbulence of the Scene. The Apathy of excessive - Grief is conspicuous in the distressed Female, who is thus admirably contrasted with - the agitated Objects of the Back Ground</td> - <td class="right">73</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"><i>in.</i></td> - <td class="right3">65</td> - <td class="cht">A grand ERUPTION of VESUVIUS, seen across the Bay by Moonlight— - This magnificent Scene so often attempted by the Pencils of various Masters, - has surely, never been expressed with more Grandeur than in this Effort of Mr. - Wright—the Effect is awful beyond Description—Earth, Air and Water appear as but - one Element. It is thus that real Genius can manage Nature at its Will; and the - Artist who transfers her to the Canvas with so much Truth, kindles a Light, which - will ever be reflected with Lustre upon his own Name</td> - <td class="right">304</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht3"></td> - <td class="ctr4"></td> - <td class="right3"></td> - <td class="cht"></td> - <td class="rightbtop">£2075</td> - <td class="rightbtop">3</td> - <td class="rightbtop">0</td> - </tr> -</table> - -<p class="center p-left p2 gesperrt">FINIS.</p> - -<p class="center p-left xs p4">J. Smeeton, Printer, 148, St. Martin’s Lane.</p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p></div> - -<p>Mr. J. Holland, of Ford Hall, one of Wright’s executors, attended the -sale at Christie’s, and on his return wrote the following quaint letter -to Dr. Wright, the artist’s brother:—</p> - -<blockquote> - -<p class="r1">“Ford, Aug<sup>t</sup> 11<sup>th</sup> 1801.</p> - -<p>“<span class="smcap">Dear Sir</span>,</p> - -<p class="left3">“On the 14<sup>th</sup> July & at 4 o’clock in the morning, M<sup>rs.</sup> -Holland and myself passed through Derby on our return from -full ten weeks busling in noisy London. While the chaise was -preparing at Derby, I could not forbear viewing the outside -of your habitation, and wishing that the hour had been more -seasonable that I might have seen how you all would have -admired the Country Squire returned, and that you in your turn -might have had an opportunity to have discovered the vast -improvements I had made in Town manners, &c., &c. I had also -with me your Brother’s drawings from Michael Angelo, which I -wanted much to have left with you. They are, however, very -safe here. I was not able to forward the disposal of them, -tho’ I showed them to several artists, who commended them -very highly. They were all of opinion that they should have -been sold with the pictures. Do you remember Dr. Bates, who -many years ago lived in your Town, and removed from thence -to Aylesbury. Having been a long time in Rome, he knew the -subjects perfectly, and thought them very fine studies. I want -much to come to Derby, but cannot say when at present. I have -very fine impressions both of Sir Richd. Arkwright and the -‘Tempest,’ which I trust to convey to those they are intended -for in due time. I can say with my whole heart, that there was -not a landscape in the Exhibition that could be compared to -what used to be the production of your Brother’s pencil. But -this I thought ill-manners to advance in London. The artists, -indeed, I must say, whom I conversed with, were by no means -niggardly in their commendations of M<sup>r.</sup> Wright’s works. -There were at the Exhibition some fine coloured drawings, -particularly by Turner, who appears to be a very rising -genius. Sir W. Beechy, Hopner, & Lawrence seem all three -pretty near an equality. I shall leave all my rare anecdotes -till I meet the worthy circle, and then you shall be told the -wonders & no wonders that occurred to the Derbyshire man’s -visit to London after 33 years’ absence. My kind regards and -wishes to you and yours, and also at Spondon. The accounts, -&c., shall come, when the bearer will be yours sincerely,</p> - -<p class="r1">“J. HOLLAND.”</p></blockquote> - -<p>It will be noticed that the pictures were nearly all bought by private -persons, and not by dealers; also that several pictures were “bought -in” at the sale at Christie’s in 1801, which were afterwards sold in -Derby, in 1810, at considerably enhanced prices. The following is a -copy of the catalogue, the original being in the Mayer Collection:—</p> - -<blockquote> - -<p class="sm"><span class="smcap">Note.</span>—I am greatly indebted to Mr. Mayer, of -Liverpool, for kindly allowing me the use of his collection of -letters relating to Wright.</p></blockquote> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p> - - <div class="figcenter" id="i_112" > - <img - class="p2" - src="images/i_112.jpg" - alt="" /> - </div> - -<p class="center p-left sm">CATALOGUE OF</p> - -<p class="center p-left">THE GENUINE COLLECTION OF</p> - -<p class="center p-left xxl gesperrt"><i>PICTURES</i>,</p> - -<p class="center p-left">Being a Selection of the most CAPITAL PERFORMANCES, -of that esteemed Artist,</p> - -<p class="center p-left xl">Mr. JOSEPH WRIGHT, of <span class="smcap">Derby</span>, <i>deceased</i>.</p> - -<p class="center p-left sm"><i>COMPRISING</i></p> - -<p class="center p-left">The Alchymist;—The Old Man and Death;—A Philosopher -in his Study, by lamp-light;—and</p> - -<p class="center p-left"><i>A capital View of an Eruption of Vesuvius</i>:</p> - -<p class="center p-left xs">Besides several other interesting Subjects;</p> - -<p class="center p-left xxl"><i>Which will be Sold by Auction</i>,</p> - -<p class="center p-left xxl">BY MR. SHAW,</p> - -<p class="center p-left lg">AT THE TOWN HALL, IN DERBY,</p> - -<p class="center p-left lg"><i>On THURSDAY the 11th day of October, 1810,</i></p> - -<p class="center p-left xs">(The Sale to commence immediately after the Morning’s Musical Performance.)<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a></p> - -<p class="center p-left sm">May be viewed at the Town Hall, from Monday the 8th October, until -twelve o’clock on Thursday the 11th of October. Admission, One Shilling, -to be given to the Infirmary.</p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span></p></div> - - <div class="figcenter" id="i_113" style="width: 10em;"> - <img - class="p2" - src="images/i_113.jpg" - alt="" /> - </div> - -<p class="center p-left lg"><b>Conditions of Sale.</b></p> - -<p class="xs"><i>The highest bidder to be the purchaser; should any dispute arise, the -lot to be put up again.</i></p> - -<p class="xs"><i>The purchaser to pay immediately the auction duty, in addition to the -purchase money. The Pictures to be at the purchaser’s risk immediately -on the fall of the hammer, and taken away at his expence.</i></p> - -<p class="xs"><i>Lastly.—In case of any purchasers neglecting to fulfil their -conditions, the lots to be resold, and the deficiency upon such resale -(should any arise,) and all expences thereon, to be borne and paid by -the defaulter of the present sale.</i></p> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p></div> - -<p class="center p-left lg">THURSDAY 11th <span class="smcap">October</span>, 1810.</p> - -<hr class="r5" /> - -<p class="center p-left xl"><b>PICTURES.</b></p> - -<hr class="r5" /> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="ctr5 smcap" colspan="3">Prices sold for</td> - <td class="ctr"></td> - <td class="cht"></td> - <td class="ctr5 smcap">Purchasers.</td> - </tr> - - <tr> - <td class="right">£ </td> - <td class="right">s.</td> - <td class="right">d.</td> - <td class="ctr5"><i>Lots.</i></td> - <td class="cht"></td> - <td class="ctr"></td> - </tr> - - <tr> - <td class="ctr5" colspan="3">—</td> - <td class="right3">1</td> - <td class="cht">A Hilly Landscape, with a slated Barn; 1 foot 8 by 1 foot 4 inches.</td> - <td class="ctr5">Unsold.</td> - </tr> - - <tr> - <td class="right">23</td> - <td class="right">2</td> - <td class="right">0</td> - <td class="right3">2</td> - <td class="cht">View of an Eruption of Mount Vesuvius by Moon-light, with a view of the Bay of Naples; 2 feet - 7 by 2 feet 1 inch.</td> - <td class="ctr5">Mr. Snowden, Spondon.</td> - </tr> - - <tr> - <td class="right">43</td> - <td class="right">1</td> - <td class="right">0</td> - <td class="right3">3</td> - <td class="cht">A Philosopher in his Study by Lamp-light, a highly finished and brilliant coloured Picture; 4 feet - 2 by 3 feet 4 inches, (upright.)</td> - <td class="ctr5">Mr. Tate, Liverpool.</td> - </tr> - - <tr> - <td class="right">105</td> - <td class="right">0</td> - <td class="right">0</td> - <td class="right3">4</td> - <td class="cht">Lusignan in Prison; the interior finely illumined; <i>capital</i>; 4 feet 2 by 3 feet 4 inches.</td> - <td class="ctr5">Mr. Chappell, Arnold.</td> - </tr> - - <tr> - <td class="right">84</td> - <td class="right">0</td> - <td class="right">0</td> - <td class="right3">5</td> - <td class="cht">The Allegory of the Old Man and Death, in a picturesque Landscape; a River scene with Gothic - Ruins.—A very correct knowledge of Anatomy is displayed in the Figure of Death; the Alarm - of the old Peasant is finely expressed, and the Lights throughout the Picture are uncommonly - brilliant; 4 feet 2 by 3 feet 4 inches.</td> - <td class="ctr5">Sir R. Wilmot, Chaddesden.</td> - </tr> - - <tr> - <td class="right">105</td> - <td class="right">0</td> - <td class="right">0</td> - <td class="right3">6</td> - <td class="cht">William and Margaret, from the popular Ballad; <i>capital</i>; 4 feet 9 by 4 feet 1 inch.</td> - <td class="ctr5">Miss Wright, Spondon.</td> - </tr> - - <tr> - <td class="ctr5" colspan="3">—</td> - <td class="right3">7</td> - <td class="cht">Romeo and Juliet in the Sepulchre, a spirited Composition; the interest considerably heightened - by the shadows of Figures approaching the Tomb; <i>capital</i>; 7 feet 11 by 5 feet 11 inches.</td> - <td class="ctr5">Unsold.</td> - </tr> - - <tr> - <td class="right">210</td> - <td class="right">0</td> - <td class="right">0</td> - <td class="right3">8</td> - <td class="cht">The Alchymist in his Elaboratory with Assistance.—This admirable performance presents a - happy display of the Artist’s talents; the effect of Light issuing from the sand heat, and reflected - from the retort and surrounding implements, is contrived with surprising effect, - amounting to perfect illusion; <i>truly capital</i>, 4 feet 2 by 3 feet 4 inches; (upright.)</td> - <td class="ctr5">Col. Wilson, Wooton Lodge.</td> - </tr> - - <tr> - <td class="ctr5" colspan="3">—</td> - <td class="right3">9</td> - <td class="cht">A grand Eruption of Vesuvius, seen across the Bay of Naples, by Moon-light.—This magnificent - scene so often attempted by the pencils of various Masters, has surely never been expressed - with more grandeur than in this Effort of Mr. Wright.—The effect is awful beyond description; - Earth, Air and Water appear as but one Element. It is thus that real genius can manage - Nature at its will; and the Artist who transfers her to the canvas with so much truth, - kindles a light, which will ever be reflected with lustre upon his own Name; 5 feet 11 by 4 - feet 1 inch.</td> - <td class="ctr5">Unsold.</td> - </tr> - - <tr> - <td class="right">15</td> - <td class="right">15</td> - <td class="right">0</td> - <td class="right3">10</td> - <td class="cht">Portrait of a Lady, (unclaimed.)</td> - <td class="ctr5">Mr. Bateman, Foston.</td> - </tr> - - <tr> - <td class="right">3</td> - <td class="right">3</td> - <td class="right">0</td> - <td class="right3">11</td> - <td class="cht">Ditto of a Gentleman, (unclaimed.)</td> - <td class="ctr5">Mr. Sewell, Leicester.</td> - </tr> -</table> - -<p class="center p-left"><i>N. B. These Paintings have not been copied.</i></p> - -<p>Catalogues may be had of Mr. Shaw, Mr. Mosley, and at the principal -Inns in Derby.</p> - -<p class="right xs">(<i>J. Drewry, Printer, Derby.</i>)</p> - -<div class="chapter"> - -<hr class="r15" /> - -<p><span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span></p></div> - -<blockquote> - -<p class="r1">“Matlock Old Bath, Sep. 3<sup>rd</sup> 1797.</p> - -<p class="left5 smcap">“To Mr. Wright, Surgeon, Irongate, Derby.</p> - -<p class="smcap">“Sir,</p> - -<p class="left3">“On passing through Derby, on Thursday last, I was on the -point of sending a servant to your brother’s, for the purpose -of making enquiries concerning him (meaning to go afterwards -myself, if his health admitted), when I heard with much -concern of his death. I feel sincere regret for a friend whom -I had long known and valued highly. Mrs. Gisborne & myself, on -our return through Derby yesterday, would have been glad to -send our enquiries to Mr. Wright’s, but I was doubtful whether -it might not then be premature to do so. I will therefore -trouble you to express, at a proper opportunity, to Mrs. Cade -& the rest of the family, our concern for their loss, and our -sincere wishes for their health.</p> - -<p class="left4">“I am, Sir,</p> - -<p class="left2">“Your faithful & obedient servant,</p> - -<p class="r1">“THOS. GISBORNE.”</p> -</blockquote> - -<p class="p2">With these notices of the death of Wright, and the subsequent sale -of his pictures, my task is ended.</p> - -<p>As the materials at my command have enabled me, I have striven to -present a faithful record of his artistic and private life. As -an artist, his genius was recognised in his own day; and it is -satisfactory to know that his industrious pencil provided an ample -income, and enabled him to realise a very sufficient competence for the -years when age and infirmity grew upon him. But there were drawbacks -to his attainment of greater fame and honours. He was a man of great -sensitiveness, and of strong domestic feelings and habits. His retiring -disposition, and the depressing maladies from which he suffered during -many years of his life, indisposed him both mentally and physically -for a residence in London, where an active life would have opened -out to him more extended patronage and consequent advancement in his -profession. As a man, the perusal of much private correspondence in -addition to that here published, has led me to form a high estimate of -his character. Loving in his family relationships, he was a faithful -and generous friend, and of large sympathies.</p> - -<p>His private life reflects as great honour on his name, as do his works -on his artistic repute. The latter his own hand has imperishably handed -down to us, and his memory may well be cherished as one who has shed -undying lustre on his native town.</p> - - -<p class="center p-left p2 gesperrt">FINIS.</p> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p></div> - - -<h2>APPENDIX.</h2> - - -<p>The following interesting Memoranda are taken from Wright’s MS. Book:—</p> - -<blockquote class="sm"> - -<p>“Bessy Fritch, at the Green Dragon, a pretty little girl of -the delicate kind.”</p> - -<p>“Nancy Nudal, in the Full Street, a pretty little girl.”</p> - -<p>“Nancy Mellers, upon the Nun’s Green, against Haslam’s, a -pretty middle-sized girl.”</p> - -<p>“Jno. Fletcher, of Osmaston, an old bald-headed man.”</p> - -<p>It is very probable that Fletcher sat to Wright for the six -studies of an old man’s head which he painted, five of which -were exhibited in the Derby Art Gallery in 1883.</p> - -<p>“Paid for Lottery Ticket, No. 26,815, £13 19. 0, half of which -is for More, £6 19. 6—due to More on this account, £1. 0. 6. -The Lottery Ticket came up a prize of £20, for which I got -£19. 14. 0, half of which is More’s, £9. 17. 0.”</p> - -<p>“Paid for lottery ticket, No. 36,123. £15. 1. 0., half of -which is for More, £7. 10. 6.”</p></blockquote> - - -<h3>SUBJECTS FOR NIGHT PIECES.</h3> - -<blockquote class="sm"> - -<p>“<span class="smcap">A Blacksmith’s Shop.</span>—Two men forming a bar of iron -into a horse shoe, from whence the light must proceed. An -idle fellow may stand by the anvil in a time-killing posture, -his hands in his bosom, or yawning with his hands stretched -upwards, a little twisting of the body. Horse shoes hanging -upon ye walls, and other necessary things faintly seen, being -remote from the light.</p> - -<p>“Out of this room shall be seen another, in which a ffarrier -may be shoeing a horse by the light of a candle. The horse -must be sadled, and a traveller standing by. The servant -may appear with hys horse in his hand, on wh. may be a -portmanteau. This will be an indication of an accident having -happen’d, and shew some reason for shoeing the horse by -candle-light. The moon may appear, and illumine some part of -the horses, if necessary.”</p> - -<table summary="pictures" class="sm"> - <tr> - <td class="cht">The size of a</td> - <td class="cht">Kit-cat frame </td> - <td class="cht">is 3ft. ¼″ × 2ft. 4″</td> - </tr> - - <tr> - <td class="ctr5">„</td> - <td class="cht">a ¾</td> - <td class="cht">is 2ft. 6″ × 2ft. 1″</td> - </tr> - - <tr> - <td class="ctr5">„</td> - <td class="cht">an half-length</td> - <td class="cht">is 4ft. 2″ × 3ft. 4″</td> - </tr> - - <tr> - <td class="cht4 nowrap" colspan="3">For a small whole length the frame should be cut 10 inches -from ye bottom.</td> - </tr> - - <tr> - <td class="cht" colspan="2">A full-length straining frame,</td> - <td class="cht">7ft. 10″ × 4ft. 10″</td> - </tr> - - <tr> - <td class="cht" colspan="2">A large full-length</td> - <td class="cht">8ft. — × 5ft. —</td> - </tr> -</table> -</blockquote> - -<p>From the same MS. book we learn that on one occasion Wright cleaned and -restored several paintings for Lord Harrington. The account runs thus:—</p> - -<blockquote> - -<p class="smcap left5">For Lord Harrington.</p> - -<p>Went to Elvaston three times, one of wh. was there a whole -day—</p> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht">Cleaning a full-length picture</td> - <td class="right">2.</td> - <td class="right">2.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">A new straining frame hung to the picture of King Charles</td> - <td class="right"></td> - <td class="right">2.</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="cht">Lining, cleaning, & repairing several damaged parts</td> - <td class="right">1.</td> - <td class="right">10.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Cleaning & repairing 2 Landskips</td> - <td class="right"></td> - <td class="right">12.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Cleaning four small pictures, retouching them </td> - <td class="right"></td> - <td class="right">10.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Cleaning do. two pictures of Venus & Cupid</td> - <td class="right">1.</td> - <td class="right">10.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Cleaning & retouching an historical picture of Paul Veronese.</td> - <td class="right"></td> - <td class="right">10.</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Four Large Historical Pictures clean’d, repaired & varnish</td> - <td class="right">2.</td> - <td class="right">2.</td> - <td class="right">0</td> - </tr> -</table> -</blockquote> - -<p>Other interesting items are:—</p> - -<table summary="pictures" class="sm"> - <tr> - <td class="cht">Chairman</td> - <td class="cht5">2/6</td> - </tr> - - <tr> - <td class="cht">Shoe buckles</td> - <td class="cht5">10d.</td> - </tr> - - <tr> - <td class="cht">Paid for letter</td> - <td class="cht5">10½d.</td> - </tr> - - <tr> - <td class="ctr5">"„</td> - <td class="cht5">7½d.</td> - </tr> - - <tr> - <td class="ctr5">„</td> - <td class="cht5">4½d.</td> - </tr> -</table> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>The following prices, etc., are copied from a priced catalogue of the -sale of the effects of John Leigh Philips, Esq., sold at Manchester in -October, 1814, and are useful in identifying sketches, etc., not named -in the List of Pictures:—</p> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="ctr5 nowrap">41</td> - <td class="ctr5 nowrap">Wright, of Derby.—</td> - <td class="cht6">Four studies, taken on the spot in Italy</td> - <td class="right">£1</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">42<br />(<i>Mr. Meynell.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">Three: A study for the figure in the picture of the Dead Ass, - a fragment in Indian ink, and a ditto of Walls, in colours fine</td> - <td class="right">£2</td> - <td class="right">7</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">44</td> - <td class="ctr5">„</td> - <td class="cht6">Six drawings from Antiques, made on the spot, in outline pen</td> - <td class="right">£3</td> - <td class="right">13</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="ctr5 nowrap">45</td> - <td class="ctr5">„</td> - <td class="cht6">Two: A Ruin and a Landscape, with figures in Indian ink</td> - <td class="right">£2</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">46</td> - <td class="ctr5">„</td> - <td class="cht6">Three: Interior of a Cabin, Hero & Leander, & Dog</td> - <td class="right">£1</td> - <td class="right">1</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">47</td> - <td class="ctr5">„</td> - <td class="cht6">Two: Vesuvius and the Interior of a Church</td> - <td class="right">£1</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">48</td> - <td class="ctr5">„</td> - <td class="cht6">Two: View of a Ruin in Rome, Indian ink, and a ditto in -colours; capital</td> - <td class="right">£3</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">49</td> - <td class="ctr5">„</td> - <td class="cht6">Four: Three Studies by Wright, and a Landscape with figures by - Wilson</td> - <td class="right">£3</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">50<br />(<i>Mr. Hardman.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">Two Cavern Scenes on the Shores of Italy. Fine and highly-finished - drawings made on the spot, and are the originals from - which the two celebrated pictures in the collection of the late - Wm. Hardman, Esq., were painted</td> - <td class="right">£10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">51</td> - <td class="ctr5">„</td> - <td class="cht6">One: Portrait of himself, in a fancy dress; capital</td> - <td class="right">£4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap"></td> - <td class="ctr5"></td> - <td class="ctr5">Wright’s Drawings, £32 17 6.</td> - <td class="right"></td> - <td class="right"></td> - <td class="right"></td> - </tr> -</table> - -<hr class="r15" /> - -<h3>OIL PAINTINGS.</h3> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="ctr5 nowrap">13<br />(<i>Leeming.</i>)</td> - <td class="ctr5 nowrap">Wright, of Derby.—</td> - <td class="cht6">A Landscape with a Waterfall. A spirited representation of a - stormy effect</td> - <td class="right">£26</td> - <td class="right">15</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="ctr5 nowrap">18</td> - <td class="ctr5">„</td> - <td class="cht6">The Lake of Albano. Spirited sketch</td> - <td class="right">£18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">19<br />(<i>Bateman.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">The Old Peasant Bewailing the Death of his Ass. From - Sterne</td> - <td class="right">£34</td> - <td class="right">13</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">21</td> - <td class="ctr5">„</td> - <td class="cht6">A Cavern Scene, upright</td> - <td class="right">£16</td> - <td class="right">5</td> - <td class="right">6</td> - </tr> - - <tr> - <td class="ctr5 nowrap">25<br />(<i>Mr. E. Flack.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">Neptune’s Grotto, near Tivoli. A very highly-finished and beautiful - picture of a favourite scene from nature</td> - <td class="right">£24</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">26<br />(<i>H. & A. Wright.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">An Eruption of Vesuvius, destroying the vineyards. Presumed by - Mr. Wright to be the best picture he painted of the subject</td> - <td class="right">£63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">27<br />(<i>Mr. Pares.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">The Lighthouse on Fire. A beautiful and carefully-finished picture, - full of harmonious effect of the union of the moon and fire-light</td> - <td class="right">£36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">28<br />(<i>Ablet.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">A View of the Bay of Naples, from Pausilipo, with Vesuvius in - the distance. Comp. to last lot, of a sweet sunny effect, and - highly finished</td> - <td class="right">£45</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">29<br />(<i>H. & A. Wright.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">Rocks and Trees. A very spirited and clever study</td> - <td class="right">£30</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">30<br />(<i>H. & A. Wright.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">A Cavern Scene, with a Bridge. Painted with all that close - delineation of the effects of nature, for which this master is so - justly celebrated</td> - <td class="right">£42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">31<br />(<i>H. Wright</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">The Bridge and Waterfall at Rydal, in Westmoreland. A charming - scene represented with great success. The stones seen at the - bottom of the water give an effect to the picture at once curious - and natural</td> - <td class="right">£48</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="ctr5 nowrap">33<br />(<i>Gould.</i>)</td> - <td class="ctr5">„</td> - <td class="cht6">The Dead Soldier. This acknowledged <i>chef-d’œuvre</i> of this admired -master, uniting great knowledge of grouping, excellent drawing, -and correct colouring, with a fine feeling of sentiment, decidedly -proves the assertion of Mr. Fuzeli, in his Biographical Notice -of Mr. Wright, that “he once eminently succeeded in the - pathetic”</td> - <td class="right">£315</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> -</table> - - -<blockquote> - -<p>Memd., 15th Sep., 1787.—Remains to be paid to me by Mr. -John Milnes, on account of the picture of Gibraltar, two -hundred guineas, and by right he ought to pay the Int. of that -money from the time he has withheld the commission from me -to replace two other pictures in the room of the two he has -of Vesuvius & the Girandolo, agreeable to his own letters. -He also owes me twenty pounds for my journey to Wakefield, -according to his own agreement.</p> - -<p class="r1">J. WRIGHT.</p></blockquote> - -<p><span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span></p> - - -<h3>LIST OF PORTRAITS.</h3> - - -<h4>SITTERS AT NEWARK.</h4> - -<div class="parent"> -<ul class="left"> - <li>Mr. Hall.</li> - <li>Mrs. Hall.</li> - <li>Miss Hall.</li> - <li>Mrs. Sikes.</li> - <li>Mrs. Gosbal.</li> - <li>Mrs. Rasdale.</li> - <li>Mr. Rasdale.</li> - <li>Mr. W. Rasdale.</li> - <li>Mrs. W. Rasdale.</li> - <li>Old Mrs. Rasdale.</li> - <li>Mr. Stow.</li> - <li>Mrs. Stow.</li> - <li>Mr. St. Stow.</li> - <li>Mrs. Hanway.</li> - <li>Miss Pockleton.</li> - <li>Mr. R. Pockleton.</li> - <li>Mr. J. Pockleton.</li> - <li>Ld. Robt. Sutton.</li> - <li>Mr. Darwin.</li> - <li>Miss Darwin.</li> -</ul> -</div> - - -<h4>SITTERS AT LINCOLN (1760).</h4> - -<div class="parent"> -<ul class="left"> - <li>Miss Craycroft.</li> - <li>Miss Molly Craycroft.</li> - <li>Miss Chadwick.</li> - <li>Miss Peart.</li> - <li>Miss Molly Peart.</li> - <li>Miss Nancy Peart.</li> - <li>Miss Nelly Peart.</li> - <li>Mr. Wills.</li> - <li>Miss Bromhead.</li> - <li>Miss Monk.</li> - <li>Mr. Monk.</li> - <li>Mrs. Monk.</li> - <li>Governor Thompson.</li> - <li>Master Wilson.</li> - <li>Miss Wilson.</li> - <li>Mrs. Nevil.</li> - <li>Miss Nevil.</li> - <li>Miss Drewry.</li> - <li>Master Drewry.</li> -</ul> -</div> - - -<h4>SITTERS AT BOSTON.</h4> - -<div class="parent"> -<ul class="left"> - <li>Captain Blunt.</li> - <li>Miss Hurst.</li> - <li>Mr. Thompson.</li> - <li>Mrs. Thompson.</li> - <li>Mr. Fydell.</li> - <li>Mrs. Fydell.</li> - <li>Mr. Lynton.</li> - <li>Mr. Willby.</li> - <li>Miss Ayre.</li> - <li>Mr. Ishmay.</li> -</ul> -</div> - - -<h4>SITTERS AT RETFORD (1760).</h4> - -<div class="parent"> -<ul class="left"> - <li>Lynn Simpson, Esq.</li> - <li>Mrs. Simpson.</li> - <li>Miss Simpson.</li> - <li>Mr. Mason.</li> - <li>Mrs. Mason.</li> - <li>Mrs. G. Mason.</li> - <li>Capt. Kirk.</li> - <li>Mrs. Sutton.</li> - <li>Mrs. Absonor.</li> - <li>Mr. Judson.</li> - <li>Mr. Sutton.</li> - <li>Miss Inwood.</li> -</ul> -</div> - - -<h4>SITTERS AT DONCASTER (1760).</h4> - -<div class="parent"> -<ul class="left"> - <li>Mr. Pigott.</li> - <li>Mrs. Pigott.</li> - <li>Mr. Brooks.</li> -</ul> -</div> - - -<h4>SITTERS AT THORN (1760).</h4> - -<div class="parent"> -<ul class="left"> - <li>Mr. Ellison.</li> - <li>Mrs. Ellison.</li> - <li>Mr. & Mrs. Ellison.</li> - <li>Mr. Foster.</li> - <li>Mrs. Foster.</li> -</ul> -</div> - - -<h4>SITTERS AT ECKINGTON (1760).</h4> - -<div class="parent"> -<ul class="left"> - <li>Mrs. Carver.</li> - <li>Miss Carver.</li> - <li>Miss B. Carver.</li> - <li>Mr. Carver.</li> - <li>Mr. Peachall.</li> -</ul> -</div> - - -<h4>SITTERS FROM FEB. 1, 1760.</h4> - -<table summary="pictures" class="sm pictures2"> - <tr> - <td class="cht"></td> - <td></td> - <td></td> - <td></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht">Mr. & Mrs. Nowell, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Clarke, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Master Simeon Harvey Wilmot</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Copy of Mrs. Lumb, sml 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Monk, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Judson, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Sutton, kit-cat</td> - <td></td> - <td></td> - <td></td> - <td class="right6">7</td> - <td class="right">7</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Pigott, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">2 Master Rastall’s</td> - <td></td> - <td></td> - <td></td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Pigott, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Brooks, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Ellison, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Ellison, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Master & Miss Ellison</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Foster, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Foster, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Inwood</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Carver, ½ length</td> - <td class="brckt" rowspan="4"><img src="images/big_right_bracket.png" alt="big right bracket" - style="height:5.5em; padding:0 0em 0 0em;" /></td> - <td class="cht7" rowspan="4">For Dr. Griffith</td> - <td class="brckt" rowspan="4"><img src="images/big_left_bracket.png" alt="big left bracket" - style="height:5.5em; padding:0 0em 0 0em;" /></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Carver, ½ length</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss B. Carver, ½ length</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Carver, ½ length</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Peachall, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Master & Miss Drewry</td> - <td></td> - <td></td> - <td></td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Fenton, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Chase, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. C. Hope, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Nowel, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Fowler, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Bainbrigge, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Bainbrigge ditto</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. C. Hope, kit-cat</td> - <td></td> - <td></td> - <td></td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Captn. Lushington, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Chase, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Heath, k. c.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Tead, k. c.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Wilde, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Wilde, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Wm. Chase & Mrs. Chase, a conversation</td> - <td></td> - <td></td> - <td></td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Pickering, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Rolleston, ½ l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Copy of Needham</td> - <td></td> - <td></td> - <td></td> - <td class="right6">5</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">A 3 qrs. of old Borao for Mr. Beresford</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Stenton, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Stenton, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Tipson, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Tipson, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Lindigton, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Dixon, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Dixon, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Copy of Mr. Millers</td> - <td></td> - <td></td> - <td></td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Swan, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Mundy, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Family picture of Mr., Mrs., & Miss Shuttleworth</td> - <td></td> - <td></td> - <td></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Peckham, ½ length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Heath, ½ l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Miss Warren, whole length</td> - <td></td> - <td></td> - <td></td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></td> - </tr> - - <tr> - <td class="cht">Mr. Borrow, half l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Borrow, half l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Gwin, half l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Wilmot, ½ l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Bingham, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mrs. Bennet, 3 qrs.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Leacroft, ½ l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Barrow, ½ l.</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Burdett</td> - <td></td> - <td></td> - <td></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Boothby</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Beresford</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Mr. Gurney</td> - <td></td> - <td></td> - <td></td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">Full length of Master Fallows</td> - <td></td> - <td></td> - <td></td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht">For painting a draper to a whole length picture for -Lord Vernon</td> - <td></td> - <td></td> - <td></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> -</table> - - -<h4>SITTERS AT MACCLESFIELD.</h4> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht6"></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">Mr. Stafford, Miss Stafford</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> -</table> - - -<h4>SITTERS AT DERBY.</h4> - -<table summary="pictures" class="sm pictures1"> - - <tr> - <td class="cht6"></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">Miss Bateman</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Bainbrigge</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Bainbrigge</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master C. Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master R. Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master S. Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Harvey Wilmot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Fisher</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Wollot</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Baker</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Harpur</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Melland</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Mundy</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Mundy</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Leacroft</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Balguy</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Balguy</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Crompton</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Copestake</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Copestake</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Taylor</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss F. Taylor</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Parson Allen</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Clarke</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Nowel</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Nowell</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">E. Sales</td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Dalby</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Curzon</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Curzon</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Penn Curzon</td> - <td class="right6">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master P. Curzon</td> - <td class="right6">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. A. Curzon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Hanmer</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Hanmer</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mr. Hamner</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Parrot</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Challener</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Challener</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Degg</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Lyggon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Lyggon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Lyggon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Lyggon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Lady Curzon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">2 of Sir Nat Curzon</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Bailey</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Heathcote</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Low</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Wright</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Wright</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Sherring</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Storer</td> - <td class="right6">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mr. Lumb</td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Cockin</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Old Mr. Fox</td> - <td class="right6">3</td> - <td class="right">3</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Nowell</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Fenton</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Chase</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. C. Hope</td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Bainbrigge</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Bainbrigge</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss F. Broad</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Lushington</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Hope</td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Chase</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Heath</td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Tead</td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Wilde</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Wilde</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Chase</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Chase</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Pickering</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Ligdinton</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Dixon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Dixon</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Swan</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Mundy</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Shuttleworth</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Shuttleworth</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Shuttleworth</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> -</table> - - -<h4>SITTERS AT LIVERPOOL, 1769.</h4> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht6"></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">Mr. Warfe</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Atherton</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Smythe</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Leigh</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Hardman</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two Miss Staffords</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Hisbeth</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. & Miss Parr</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Park</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Leice</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Miss Knight</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Ashton<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. & Mrs. Boyd</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Stannyforth</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Gore</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Chas. Coke</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Clarke</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Southward</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mrs. Tarlton</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Stafford</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. B. Tatton</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Lankford</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Sam Lankford</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Rowe</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Wm. Stafford</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> -</table> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p> - - -<h4>SITTERS AT DERBY.</h4> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht6"></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Gisborne</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Hurt</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Holding Shuttleworth</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. French</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Miller Mundy</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Forrester</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Crompton</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Crompton</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Bakewell</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. & Mrs. Coltman—a conversation</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Pole & Child</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Col. Pole</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Day, ½ length<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Jno. Heath</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Bathurst</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Col. Heathcote—small full-length</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Milnes—small full-length</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Lady Rubens</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mr. Boothby</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of a Gentleman</td> - <td class="right6">6</td> - <td class="right">6</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mr. Thos. Gisborne (1777)</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small head of the Rev. Mr. Bakewell</td> - <td class="right6">9</td> - <td class="right">9</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht8">Ditto  of Dr. Berridge</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A conversation piece of two of Mr. Pickford’s children</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Charles Hope</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Harriet Hope</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Warren, small</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Latissiere</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Berridge, small oval</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Capt. Coke of the Blues</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Parker Coke, Esq.</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Mr. Sennet’s 3 children<a href="#Footnote_52_52" class="fnanchor">[52]</a></td> - <td class="right6">73</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large head of Jno. Stovely</td> - <td class="right6">18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A ¾ of Mrs. Hodges</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A ¾ of F. Brome, Esqre.</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Fletcher</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Lander</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Old John at the King’s Head—Raffled for</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Dr. Harrison<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of Mrs. Mortimer</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Ward</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of Mr. Boothby</td> - <td class="right6">50</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small head of old Stovely</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Conversation Picture of D. P. Coke. The Rev. -Mr. Dare Coke & his Lady</td> - <td class="right6">75</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Kit-cat of old John Stovely for Mr. Holland</td> - <td class="right6">18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. More</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two Master Mundys, full-lengths</td> - <td class="right6">73</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Whitehurst, Kit-cat<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></td> - <td class="right6">18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Seward</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Seward</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Inge</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A ¾ Girl, with Doves</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Mr. Bentley, Kit-cat</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of the late Mr. Parker, half-length</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Robt. Holding, Esq.</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mr. Crompton. 3 qrs., with a hand</td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Miss Parker</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mrs. Morewood, with a hand</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mrs. Crompton</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of ditto</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Copy of Mr. Crompton</td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Half length copy of Mr. Wetham</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small oval of ditto</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Small full-length of Mrs. Morewood</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto of Mr. Case</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small oval of Mr. Carleill</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two 3 qrs. copies of Dr. Berridge’s grandfather and uncle</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small copy of Mrs. Morewood</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two 3 qrs. pictures of Mr. & Mrs. Fox</td> - <td class="right6">21</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of Mr. Buxton</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of the late Mr. Pickering with a hand for Mr. Thos. Gisborne</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. with a hand of Mr. Balguy</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht8">Ditto      ditto</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss Stamford</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Miss L. Stamford</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Hancock, 3 qrs.</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Master Carver</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Rev. Mr. Berridge</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Chas. Denby</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A conversation of Mr. Leaper’s children</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Mr. Jones</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Rastall</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Arkwright, ½ length</td> - <td class="right6">26</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Mrs. C. Hurt & her child</td> - <td class="right6">81</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Mr. Gell</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Lady Wilmot & her child “as a Madonna”</td> - <td class="right6">78</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A conversation picture of Mr. & Mrs. Gisborne</td> - <td class="right6">100</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Mr. Caldwell</td> - <td class="right6">8</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Mr. Strutt</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of my nephew Rd. Wright</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mr. Salmon for Mr. Flint</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mr. Salmon for Sir Brooke Boothby</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of Ld. Richard Cavendish</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of Master C. Sales</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto of Mr. R. Sales</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mrs. S. Crompton</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two full-lengths in one picture of Master Thornhills</td> - <td class="right6">73</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. picture of Mr. Pole</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs.  „  of Mr. Ashby</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Col. Hackart</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Mr. Abney</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto of Mrs. Abney</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A conversation picture of 3 of their children</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Half length of Mr. Pares</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto copy of Mr. Pares</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">3 qrs. of Mr. Jos. Crompton</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A conversation of 3 of Mr. Wood’s children</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">3 qrs. of Mr. Wood</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto of Mrs. Wood</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mr. Burnham</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Burnham</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Holland</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Mr. Chadwick</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Sir R. Arkwright</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Mr. C. Hurt</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. copy of Sir R. Arkwright</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length of Mr. Strutt</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Rosseau</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A conversation of Mr. & Mrs. Arkwright & their -little girl, full-lengths</td> - <td class="right6">126</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">½ length of Mr. Milnes</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A conversation picture of 3 of Mr. Arkwright’s children</td> - <td class="right6">94</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto    ditto</td> - <td class="right6">94</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Dr. Darwin, with a hand</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of the late Mr. Oldknow</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto    of Mr. Samuel Oldknow</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length copy of Mr. Pares</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of the late Dr. Lynn Beridge</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Col. Hackart</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A head of Mr. Greatorex</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Greatorex, 3 qrs.</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mrs. Richard Bateman, with a hand</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Miss Sally Duesbury</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Master Bateman</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Mr. Pares, ½ length</td> - <td class="right6">25</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mrs. Bateman</td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span></td> - </tr> - - <tr> - <td class="cht6">Hugh Bateman, Esqre., 3 qrs., with a hand</td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Shevl. Pole, Esqre., 3 qrs., with a hand</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Mrs. Pole, 3 qrs., with hands</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Mrs. Briscoe, 3 qrs., with a hand</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A copy of Dr. Darwin for Sir Brooke Boothby</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy ditto Mr. Strutt</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Mr. Barker, of Bakewell</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of Mr. Strutt, with a hand</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of Mr. Alderson</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A copy of ditto</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of Miss Bentley</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">For painting Mr. Cheslyn’s drapery</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two 3 qrs. pictures of Mr. and Mrs. Fox</td> - <td class="right6">21</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> -</table> - -<p class="center p-left"><i>Brooke Boothby Junr. Esqre. Dr. to Joseph Wright Sep. 30th 1780.</i></p> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht6"></td> - <td class="right4a">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">A view of the High Tor at Matlock, by Moonlight, 3 qrs.</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Frame</td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of himself</td> - <td class="right6">50</td> - <td class="right">8</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Another view of Matlock Tor</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Case for ditto <sup>4</sup>/<sub>9</sub> Frame for ditto</td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Altering Miss Boothby’s picture, and retouching - two small ones on pannel</td> - <td class="right6">2</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Lady Whitmore’s</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - -</table> - - -<h3>LIST OF LANDSCAPE, HISTORICAL, FIRE & MOONLIGHT PAINTINGS.</h3> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="ctr5 smcap">Subject.</td> - <td class="ctr5 smcap">Purchaser.</td> - <td class="ctr5 smcap" colspan="3">Price.</td> - - </tr> - - <tr> - <td class="cht6"></td> - <td class="cht6"></td> - <td class="right4">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6">Two views of Matlock</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two grottos by the sea side in the gulf of Salerno</td> - <td class="cht6">Mr. Hodges</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Vesuvius, for the Bp. Derry</td> - <td class="cht6 nowrap">crossed through</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view of Cromford Bridge, its companion of Arkwright’s mills</td> - <td class="cht6">D. P. Coke</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large Vesuvius</td> - <td class="cht6"></td> - <td class="right6">200</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A grotto in the gulf of Salernum, with the figure of Julia (companion to that -with Banditti)</td> - <td class="cht6">Mr. Cockshutt</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Virgil’s Tomb</td> - <td class="cht6">Mr. Cockshutt</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A full-length of “Maria”<a href="#Footnote_54_54" class="fnanchor">[54]</a></td> - <td class="cht6"></td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. picture of Matlock High Tor by moonlight</td> - <td class="cht6">Mr. Boothby</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Another of Matlock High Tor by moonlight</td> - <td class="cht6">  ditto</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Part of the Colliseum—Sunshine</td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto, its companion—Moonlight</td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Grotto in the Gulf of Salernum, moonlight, ½ length</td> - <td class="cht6">Mr. Hardman, of Manchester</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto, its companion—Sunset</td> - <td class="cht6">Ditto</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Carnarvon Castle, night</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large grotto in the gulf of Salernum, moon rising</td> - <td class="cht6">Mr. Daulby</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small moonlight of a Lake</td> - <td class="cht6">Ditto</td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The lake of Nemi, sunset, 3 qrs. Its companion, moonlight</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Frames for ditto @ 2 gs. & ½ pr frame</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A small oval of the Lake of Nemi, its companion, with frames</td> - <td class="cht6">Dr. Beridge</td> - <td class="right6">23</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">One of the above size of Vesuvius</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of the Girandolo</td> - <td class="cht6">Mr. Daulby</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A grotto with Banditti</td> - <td class="cht6">Mr. Cockshutt</td> - <td class="right6">175</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Sterne’s Captive<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></td> - <td class="cht6"></td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large Mount Vesuvius</td> - <td class="cht6">Sold to the Empress (of Russia)</td> - <td class="right6">300</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Minstrel (Edwin)<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></td> - <td class="cht6">Mr. Milnes</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two Views of Matlock</td> - <td class="cht6">Mr. Emes</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of the Girandolo—companion to the Vesuvius which was sold to - the Empress of Russia</td> - <td class="cht6"></td> - <td class="right6">200</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Virgil’s Tomb</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Neptune’s Grotto</td> - <td class="cht6">Mr. Milnes</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> -</table> - - -<h4>CANDLE-LIGHT PICTURES.</h4> - -<table summary="pictures" class="sm pictures1"> - <tr> - <td class="cht6"></td> - <td class="cht6"></td> - <td class="right4">£</td> - <td class="right5">s.</td> - <td class="right5">d.</td> - </tr> - - <tr> - <td class="cht6"><i>a</i> The Orrery</td> - <td class="cht6">Ld. Ferrers</td> - <td class="right6">210</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht9">Boys with a bladder and its compn.</td> - <td class="cht6">Ld. Exeter</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>b</i> The air pump</td> - <td class="cht6">Dr. Bates</td> - <td class="right6">200</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>c</i> The Gladiator</td> - <td class="cht6">Dr. Bates (on account)</td> - <td class="right6">40</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>d</i> The Academy</td> - <td class="cht6">Lord Melbourne</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>e</i> The Hermit</td> - <td class="cht6"></td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>f</i> The Blacksmith’s Shop</td> - <td class="cht6">Lord Melbourne</td> - <td class="right6">150</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>g</i> Small Blacksmith’s Shop</td> - <td class="cht6">E. Parker</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht9">An old woman knitting, her husband smoaking. Its companion, a girl at her toilet</td> - <td class="cht6">Mr. Parker</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>h</i> The Chymist</td> - <td class="cht6"></td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht9">A Blacksmith’s shop</td> - <td class="cht6">Mr. Alexander</td> - <td class="right6">157</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6"><i>i</i> The young Nobleman in his ancester’s Tomb<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></td> - <td class="cht6">Mr. Milnes</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span></td> - </tr> - - <tr> - <td class="cht6">4 Candle-light pictures at 30 guineas ea</td> - <td class="cht6">Col. Pole</td> - <td class="right6">126</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht10">Mem: Recd. 25th Oct. 1772 of Col. Pole twenty guineas in part of payment -for the picture of the boys with the bladder.</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">The Picture of the Iron Forge</td> - <td class="cht6">Lord Palmerston</td> - <td class="right6">210</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mem: Not sent. Picture of a Captive King</td> - <td class="cht6">Prince of Baaden</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Picture of an iron forge viewed from without</td> - <td class="cht6">Empress of Russia</td> - <td class="right6">136</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Picture of Belshazzer at the feast when the hand - appeared writing on the wall</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Picture of an earth stopper</td> - <td class="cht6">Lord ——</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sunset of the Lake of Nemi</td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Virgil’s Tomb by moonlight</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A distant View of the High Tor at Matlock</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">The Cascade at Terni, 3 qr.</td> - <td class="cht6">Given to my friend Tate</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of the Lake of Nemi, sunset, and its companion, moonlight</td> - <td class="cht6">Robt. Holden, Esqre</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of Hero and Leander</td> - <td class="cht6">crossed through</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of Virgil’s Tomb</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large ditto of the cascade of Terni</td> - <td class="cht6"></td> - <td class="right6">73</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Virgil’s Tomb</td> - <td class="cht6"></td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A candle-light piece    pd</td> - <td class="cht6">Dr. Bates</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Galen          pd</td> - <td class="cht6">Ditto</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A girl reading a letter by candle-light</td> - <td class="cht6"></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a cottage on fire, seen - through a groupe of trees—sketch</td> - <td class="cht6">For my friend Holland</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a view at Valatii, very warm evening</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A ferry over the river Tay at Dunkield, in Scotland, moonlight</td> - <td class="cht6"></td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Village on fire</td> - <td class="cht6">Mr. Lowe</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Lighthouse on fire in the Mediterranean, sketch</td> - <td class="cht6">G. L. Philips</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small storm, sketch</td> - <td class="cht6">Ditto</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sketch of Mount Vesuvius, evening</td> - <td class="cht6">Ditto</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">An upright of a rocky scene wh a waterfall</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view in Italy—a warm sunset</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sketch of Vesuvius, morning</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view at Dunkeld, evening—companion - to the moonlight wh Tate sold to</td> - <td class="cht6">Mr. Wakefield</td> - <td class="right6">73</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a fire seen through a wood</td> - <td class="cht6">Rev. Holden Shuttleworth</td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A near view of Mount Vesuvius</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view of the City of Florence—sun rising</td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view in Scotland, half-length, moonlight</td> - <td class="cht6">for my friend Tate</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A storm—Antigonus pursued by a bear</td> - <td class="cht6">Mr. Henry Philips</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two sketches of the Lakes of Albano and Nemi</td> - <td class="cht6">Mr. Nixon</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small one on pannel of ye lake of Albano</td> - <td class="cht6">L. Philips</td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A cottage on fire</td> - <td class="cht6">Mr. Court, Bristol</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A cottage on fire</td> - <td class="cht6">Miss Linwood</td> - <td class="right6">15</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Sketch of a Lighthouse in the Mediterranean</td> - <td class="cht6"></td> - <td class="right6">10</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Spinster wh Collin singing her a ballad (unfinished)</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A Bridge seen thro’ a cavern - on the coast of Sorento—moonlight</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of the Ponti Salario, half-length</td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View in the Alps in the Dutchy of Milan, half-length, noon</td> - <td class="cht6">John Milnes, Esqre</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The companion ditto, morning</td> - <td class="cht6">John Milnes, Esqre</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A half-length landscape of a cottage scene in Needwood Forest</td> - <td class="cht6">Mr. Milnes</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view of the lake of Como, in Italy, warm sunset, on pannel</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">William and Margaret, framed</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The cascade of Terni, framed</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of the Dead Soldier</td> - <td class="cht6"></td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The old man and death</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Lusignan in prison </td> - <td class="cht6"></td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small prison</td> - <td class="cht6"></td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sea shore seen thro’ an arch in ye rocks, sunset</td> - <td class="cht6">Holland</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Romeo & Juliet</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">The Storm in the Winter Tale</td> - <td class="cht6"></td> - <td class="right6">136</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A cottage on fire</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view at the boat house near Matlock Town</td> - <td class="cht6">Mr. Denby</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A boy blowing a bladder</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A girl looking thro’ a bladder</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Lake of Albano, sunset, ½ length</td> - <td class="cht6">Mr. Milnes</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two girls, with a charcoal stick</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Boy and girl, with a bladder</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A small view at Almalfa</td> - <td class="cht6"></td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sea shore seen through an arch in the rock</td> - <td class="cht6">given to L. Philips</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A small picture of Vesuvius</td> - <td class="cht6"></td> - <td class="right6">21</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Its companion by the Lake of Geneva, moonlight</td> - <td class="cht6">Ditto</td> - <td class="right6">21</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A bit of the Ruins of the Colloseo, sunshine</td> - <td class="cht6"></td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A distant View of Vesuvius, from the shore of Posilipo</td> - <td class="cht6">Mr. Walker</td> - <td class="right6">32</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto    ditto    ditto</td> - <td class="cht6">Mr. Poploe Birch, Curzon Street, May Fair</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A boy and girl, with a bladder</td> - <td class="cht6">Mr. Hardman, Manchester</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A girl blowing a charcoal stick</td> - <td class="cht6">Mr. Daulby</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></td> - </tr> - - <tr> - <td class="cht6">A distant View of Vesuvius, from the Shore of Posilipo, bigger than ½ length</td> - <td class="cht6">Mr. Edward Mundy</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Cromford</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">An internal View of a Prison</td> - <td class="cht6"></td> - <td class="right6">23</td> - <td class="right">2</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Vesuvius, from the Shore of Posilipo</td> - <td class="cht6">Mr. Gisborne</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Cicero’s Villa, in the Bay of Naples</td> - <td class="cht6">Mr. Smith</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large one of ditto—sun setting after a shower</td> - <td class="cht6">Edward Mundy</td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of the View of Cromford Bridge, moonlight</td> - <td class="cht6">Mr. Gisborne</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A bit of the Ruins of the Coloseo—sunshine</td> - <td class="cht6">Mr. Macklin</td> - <td class="right6">16</td> - <td class="right">16</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Vesuvius from the Shore of Posilipo</td> - <td class="cht6">Mr. Macklin</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Moonlight on the Coast of Tuscany in the Mediterranean, Companion to the - large picture of Cicero’s Villa</td> - <td class="cht6">Mr. Jno. Milnes</td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Cosimato, on pannel</td> - <td class="cht6">Honble. A. Tompson</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Cottage, on fire</td> - <td class="cht6">Mr. Hardman</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A picture of the Alps, on the side next Italy, in the Duchy of Milan</td> - <td class="cht6">Mr. Poploe Birch</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Warwick Castle, moonlight</td> - <td class="cht6">Mr. Cutler</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A distant View of Vesuvius, from the Shore of Posilipo, the eruption Principal</td> - <td class="cht6">Mr. Arnold</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The inside of a stable, near Tivoli</td> - <td class="cht6">Jno. Henderson, Esqre.</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a Bridge, in Italy, sunset, on pannel</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A large picture of Prospero in his cell, showing a visionary spectacle to -Ferdinand & Miranda—12 ft. × 8 ft. 6</td> - <td class="cht6">Pd.</td> - <td class="right6">315</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Circular picture, moonlight</td> - <td class="cht6">Mr. Birch</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a distant View of Vesuvius, from ye Shore of Posilipo</td> - <td class="cht6">Mr. Daulby</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sepulchral monument at old Capua—moonlight</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Lake of Nemi, sun rising</td> - <td class="cht6"></td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Chee Tor</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. of the Lake of Albano, with - the Monte Jove, seen through the arch of an acqueduct</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A small picture of Cosimato</td> - <td class="cht6">Given to my friend Tate</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A picture of a distant view of Vesuvius, from - the Shore of Posilipo, painted on pannel</td> - <td class="cht6">Sir Robt. Wilmot</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Mecæna’s Villa, on ditto</td> - <td class="cht6"></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Cicero’s Villa, on pannel</td> - <td class="cht6"></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Cottage on Fire</td> - <td class="cht6">Mr. Culter</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Companion Moonlight</td> - <td class="cht6">Mr. Bird, Liverpool</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of Borrow Dale, sunset</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Neptune’s Grotto</td> - <td class="cht6"></td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of the Lake of Albano, sunset</td> - <td class="cht6"></td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">View of the Boathouse, Matlock</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A View of Vesuvius from the Shore of Posilipo</td> - <td class="cht6">Edwd. Wilmot, Esqre</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The close scene from Cozen’s</td> - <td class="cht6">Sir Robt. Wilmot</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Sea Shore, moonlight</td> - <td class="cht6">Mr. Harvey</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small moonlight, without the moon appearing</td> - <td class="cht6">Mr. Boothby</td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A morning View of the Ponte Salona</td> - <td class="cht6">Mr. Boothby</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Its Companion, sunset of Tivoli</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A View of Dovedale & its companion of Cosimato</td> - <td class="cht6">Mr. Gisborne</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view of the Ponte Mola</td> - <td class="cht6">Sir Brooke Boothby</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Virgil’s Tomb, sun breaking thro’ a cloud. Small picture</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Sunset, a bold sea shore, 3 qrs., from Cozens</td> - <td class="cht6">Mr. Boothby</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two ovals of Dove Dale, with frames</td> - <td class="cht6">Mr. Boothby</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A close scene, morning, from Cozens</td> - <td class="cht6">B. Boothby</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View in Dove Dale, morning ¾ qrs.</td> - <td class="cht6">E. Mundy, Esqre</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Companion, in do., moonlight</td> - <td class="cht6">Do.</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small oval of Dovedale</td> - <td class="cht6">Mr. Parsons</td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">An eruption of Vesuvius, from the Shore of Posilipo, on panel</td> - <td class="cht6"></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Two small pictures of the island of Caprea</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Hero & Leander—Storm</td> - <td class="cht6">The Honble Thos. Fitzmaurice</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Its companion, moonlight</td> - <td class="cht6">Do.</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Margaret & William</td> - <td class="cht6"></td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Siege of Gibraltar</td> - <td class="cht6">Mr. Jno. Milnes</td> - <td class="right6">420</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">An Indian Chief’s Widow</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Moonlight from Comus</td> - <td class="cht6"></td> - <td class="right6">84</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Wood Scene by moonlight, & frame</td> - <td class="cht6">Mr. Thompson</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Corinthian Maid</td> - <td class="cht6"></td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Penelope unravelling her web, candle-light</td> - <td class="cht6">Mr. Wedgwood</td> - <td class="right6">105</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">June 7, 1783. Two small landskips</td> - <td class="cht6"></td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A 3 qrs. picture of a Lake in Italy, moonlight</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small ditto of ditto by moonlight</td> - <td class="cht6"></td> - <td class="right6">21</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Its companion, a Land Storm</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A small moonlight on the coast of Naples</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A 3qrs. of Neptune’s Grotto, with the Sybil’s Temple, &c.</td> - <td class="cht6">Given to my friend Tate</td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A Moonlight, with an eruption of V., from the shore of Posilipo</td> - <td class="cht6">Mr. Bacon</td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Companion, sunset in the Bay of Salerno</td> - <td class="cht6">Sold to my friend Holland</td> - <td class="right6">18</td> - <td class="right">18</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A view of Amalfi, sunset</td> - <td class="cht6"></td> - <td class="right6">14</td> - <td class="right">14</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A sunset from Cozens</td> - <td class="cht6"></td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span></td> - </tr> - - <tr> - <td class="cht6">Recd. Sep. ’85 of Mr. Gisborne for two large drawings of Moses</td> - <td class="cht6"></td> - <td class="right6">8</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A boy with a candle</td> - <td class="cht6"></td> - <td class="right6">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A boy blowing a bladder</td> - <td class="cht6"></td> - <td class="right6">4</td> - <td class="right">4</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Borrowdale</td> - <td class="cht6">T. Tate</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A village on fire</td> - <td class="cht6"></td> - <td class="right6">63</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Convent of Cosimato. Mem. not paid</td> - <td class="cht6">For Mrs. Hayley</td> - <td class="right6">26</td> - <td class="right">5</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Cottage on fire</td> - <td class="cht6">Mr. Cunningham</td> - <td class="right6">21</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto</td> - <td class="cht6">Mr. N. Philips</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of Lodore</td> - <td class="cht6"></td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">The Lake of Nemi—on panel</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A smallish picture of Ullswater, sunset</td> - <td class="cht6">Mr. Hardman</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Ditto of Windermere with Langdale Pikes</td> - <td class="cht6">T. M. Tate</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A Large picture of Ullswater</td> - <td class="cht6"></td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A smallish one of the little cascade at Sir Mic-la-Flemings</td> - <td class="cht6">L. Philips</td> - <td class="right6">31</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Picture of a bridge with the effect of a rainbow</td> - <td class="cht6">Mr. N. Philips</td> - <td class="right6">52</td> - <td class="right">10</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto      ditto</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">Keswick lake wh Skiddaw in the distance</td> - <td class="cht6"></td> - <td class="right6"></td> - <td class="right"></td> - <td class="right"></td> - </tr> - - <tr> - <td class="cht6">A view upon Ullswater, morning</td> - <td class="cht6"></td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">Ditto    Keswick Lake, sunset</td> - <td class="cht6">Norris</td> - <td class="right6">36</td> - <td class="right">15</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A small picture of a view by the sea side, sun rising</td> - <td class="cht6">Sold to my friend Tate</td> - <td class="right6">12</td> - <td class="right">12</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A cottage on fire</td> - <td class="cht6">Norris</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> - - <tr> - <td class="cht6">A View of the outlet of Whyburn Lake</td> - <td class="cht6">For my friend Tate</td> - <td class="right6">42</td> - <td class="right">0</td> - <td class="right">0</td> - </tr> -</table> - - -<h3>PICTURES KNOWN TO HAVE BEEN PAINTED BY WRIGHT BUT NOT ENTERED IN THE -MS. LIST.</h3> - -<table summary="pictures" class="sm pictures2"> - <tr> - <td><a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a>Conversation piece. Three of Mr. Bradshaw’s children with a pet lamb</td> - <td></td> - </tr> - - <tr> - <td>Port. of Mr. Woodville</td> - <td class="nowrap">full-length</td> - </tr> - - <tr> - <td> „  Mrs. Woodville</td> - <td class="ctr1">do.</td> - </tr> - - <tr> - <td> „  Dr. Wilson</td> - <td>half-length</td> - </tr> - - <tr> - <td> „  Miss Macauley</td> - <td></td> - </tr> - -</table> - - -<h3>A CATALOGUE OF PRINTS ENGRAVED AFTER PAINTINGS BY JOSEPH WRIGHT, OF DERBY.</h3> - -<table summary="pictures" class="sm pictures2"> - <tr> - <td></td> - <td class="ctr smcap">Subject.</td> - <td class="ctr smcap">Style.</td> - <td class="ctr smcap">Engraver.</td> - </tr> - - <tr> - <td class="right">1</td> - <td>Two Boys with a Bladder</td> - <td>Aquatint.</td> - <td>J. P. Burdett.</td> - </tr> - - <tr> - <td class="right">2</td> - <td>Master Bradshaw and two Miss Bradshaws with a Pet Lamb<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></td> - <td>Mezzotint.</td> - <td class="nowrap">Valentine Green.</td> - </tr> - - <tr> - <td class="right">3</td> - <td>Count Miravan, a young nobleman of Syria, who having extravagantly lavished -away his fortune, breaks open the tomb of his ancestors, expecting to find great -treasure</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">4</td> - <td>A philosopher giving a Lecture on the Orrery.<a href="#Footnote_59_59" class="fnanchor">[59]</a> The following names are copied -from the margin of a print of the Orrery, written in the year 1768, and are -believed to be the persons represented:—J. Wright, Mr. Burdett taking notes, -young Cantrell, A. Winterman, Mr. G. Snowden, Mr. Denby as the philosopher</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">5</td> - <td>A Philosopher giving a Lecture on the Air Pump, in which are introduced portraits -similar to above<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">6</td> - <td>“The Gladiator.” Mr. Wright in this picture has introduced himself in profile, and he -and the other two figures (Burdett and old John Wilson of the Devonshire -Almshouses), are comparing the drawing he has made with the Statue</td> - <td>Ditto.</td> - <td>W. Pether.</td> - </tr> - - <tr> - <td class="right">7</td> - <td>Democritus found studying Anatomy</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">8</td> - <td>An Alchymist<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">9</td> - <td>A Farrier’s Shop</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">10</td> - <td>Master Ashton (with Dog)</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">11</td> - <td>A Drawing Academy</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">12</td> - <td>A Drawing Academy, 8vo.</td> - <td>Outline.</td> - <td>Normand.</td> - </tr> - - <tr> - <td class="right">13</td> - <td>A Blacksmith’s Shop</td> - <td>Mezzotint</td> - <td>Richard Earlom.</td> - </tr> - - <tr> - <td class="right">14</td> - <td>An Iron Forge</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">15</td> - <td>John Harrison, Esq., Surgeon, Derby</td> - <td>Ditto.</td> - <td>J. R. Smith.</td> - </tr> - - <tr> - <td class="right">16</td> - <td>Edwin, the Minstrel (portrait of Thomas Haden, Esq.)</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">17</td> - <td>Ditto.</td> - <td>Etching.</td> - <td>F. Seymour Haden.</td> - </tr> - - <tr> - <td class="right">18</td> - <td>Three Children of Walter Synnott, Esq. (with Birdcage)</td> - <td>Mezzotint.</td> - <td>J. R. Smith.</td> - </tr> - - <tr> - <td class="right">19</td> - <td>William and Margaret, taken from an Old Ballad</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">20</td> - <td>The Indian Widow</td> - <td>Ditto.</td> - <td>Ditto.<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span></td> - </tr> - - <tr> - <td class="right">21</td> - <td>The Lady in Milton’s Comus</td> - <td>Mezzotint.</td> - <td>J. R. Smith.</td> - </tr> - - <tr> - <td class="right">22</td> - <td>Dr. Darwin, with pen in right hand. (“An alteration in the Face and Wig from the -Original, and for the worse”)</td> - <td>Ditto.</td> - <td>Ditto.</td> - </tr> - - <tr> - <td class="right">23</td> - <td>Ditto, with hands resting on a polished table<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></td> - <td>Line.</td> - <td>J. T. Wedgwood.</td> - </tr> - - <tr> - <td class="right">24</td> - <td>“The Captive,” from Sterne’s Sentimental Journey</td> - <td>Dotted.</td> - <td>Ryder.</td> - </tr> - - <tr> - <td class="right">25</td> - <td>“The Captive,” from Sterne. Engraved for Mr. Milnes, of Wakefield: who destroyed -the plate when twenty impressions had been taken off</td> - <td>Mezzotint.</td> - <td>J. R. Smith.</td> - </tr> - - <tr> - <td class="right">26</td> - <td>Distant View of Vesuvius, from shore of Posilipo</td> - <td>Line.</td> - <td>Wm. Byrne.</td> - </tr> - - <tr> - <td class="right">27</td> - <td>“The Dead Soldier”</td> - <td>Line.</td> - <td>J. Heath.</td> - </tr> - - <tr> - <td class="right">28</td> - <td>Ditto, same size as above, but a much inferior print</td> - <td>Mezzotint.</td> - <td>W. Dickinson.</td> - </tr> - - <tr> - <td class="right">29</td> - <td>“The Dead Soldier,” small</td> - <td>Line.</td> - <td>Bovinet.</td> - </tr> - - <tr> - <td class="right">30</td> - <td>Prospero entertaining Ferdinand and Miranda with Spectacle. From the -“Tempest.” For Boydell’s Shakspeare Gallery</td> - <td>Line & Stipple.</td> - <td>Thew.</td> - </tr> - - <tr> - <td class="right">31</td> - <td>The Storm, Antigonus pursued by the Bear. From the “Winter’s Tale.” For -Boydell’s Shakspeare Gallery</td> - <td>Line.</td> - <td>Middiman.</td> - </tr> - - <tr> - <td class="right">32</td> - <td>John Whitehurst, F.R.S., of Derby, “an elegant Engraving, and very like.” 8vo. -in oval (another in oval on a pedestal)</td> - <td>Line.</td> - <td>J. Hall.</td> - </tr> - - <tr> - <td class="right">33</td> - <td>Sir Richard Arkwright, Kt.</td> - <td>Mezzotint.</td> - <td>J. R. Smith.</td> - </tr> - - <tr> - <td class="right">34</td> - <td>Sir Richard Arkwright, Kt., small (various)</td> - <td>Line.</td> - <td>A. R. Meyer & others.</td> - </tr> - - <tr> - <td class="right">35</td> - <td>Dr. Wilson. (Drawn by T. Lawrence)</td> - <td></td> - <td>J. & C. Sherwin.</td> - </tr> - - <tr> - <td class="right">36</td> - <td>Miss Kitty Dressing. Published February, 1781</td> - <td>Mezzotint.</td> - <td>J. Watson.</td> - </tr> - - <tr> - <td class="right">37</td> - <td>Portrait of Himself, wearing a hat</td> - <td>Ditto.</td> - <td>Ward.</td> - </tr> - - <tr> - <td class="right">38</td> - <td>Ditto, ditto</td> - <td>Line.</td> - <td>M. V. Sears.</td> - </tr> - - <tr> - <td class="right">39</td> - <td>Jedediah Strutt, Esq. (various)</td> - <td>Line & Stipple.</td> - <td>Meyer.</td> - </tr> - - <tr> - <td class="right">40</td> - <td>Rev. Thomas Seward</td> - <td>Line.</td> - <td>Cromer.</td> - </tr> - - <tr> - <td class="right">41</td> - <td>Fireworks from the Castle of St. Angelo, Rome, 8vo.</td> - <td>Line.</td> - <td>Radcliffe.</td> - </tr> - - <tr> - <td class="right">42</td> - <td>“Maria,” from Sterne’s “Sentimental Journey”</td> - <td>Mezzotint.</td> - <td>John Raphael Smith.</td> - </tr> - - <tr> - <td class="right">43</td> - <td>Thos. Day</td> - <td>Line & Stipple.</td> - <td>Meyer.</td> - </tr> - - <tr> - <td class="right">44</td> - <td>Moonlight View in Italy. Size of plate 21 × 16½</td> - <td>Aquatint.</td> - <td>Fras. Eginton, 1781.</td> - </tr> - - <tr> - <td class="right">45</td> - <td>The Twins (plate in this volume)</td> - <td>Etching.</td> - <td>F. Seymour Haden.</td> - </tr> - - <tr> - <td class="right">46</td> - <td>Miss Wrights. Two Girls with a Pet Lamb</td> - <td>Mezzotint.</td> - <td>S. Paul.</td> - </tr> -</table> - - -<p>There are several other Minor Prints after him. Also two very fine -Mezzo Prints, scarce, 2 ft. 6½ in. × 2 ft. 2 in. of a Boy and a Girl -with a Bladder, and Two Girls with a Lighted Stick, with the name of W. -Tate, pinxit (a friend of Wright’s), which is evidently an error, as it -is known that Wright did paint these two pictures, and it is presumed -that Mr. Tate had them engraved, hence the error.</p> - -<p>A Portrait of the artist, engraved by Blake, was used as a frontispiece -to J. Leigh Philips’ article on Wright, in the “Monthly Magazine,” of -Sept. 1797. Blake engraved his plate from an etching by Wright himself, -and of which only one copy is now known to exist.</p> - -<p><span class="smcap">Note.</span>—The celebrated Engraving, “The Fishery,” engraved by -Woollett, often ascribed as after “Wright, of Derby,” was painted by a -Richard Wright, of Liverpool.</p> - -<blockquote> - -<p>It is interesting to know at what prices the fine Mezzotint -Prints were published, and the following list is copied from a -bill for Prints, receipted by W. Pether:—</p> - -<table summary="pictures" class="sm pictures"> - <tr> - <td></td> - <td class="right6">£</td> - <td class="right6">s.</td> - <td class="right6">d.</td> - </tr> - - <tr> - <td class="cht">Gladiator</td> - <td class="right6">0</td> - <td class="right6">15</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Orrery</td> - <td class="right6">1</td> - <td class="right6">1</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Air Pump</td> - <td class="right6">0</td> - <td class="right6">15</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Academy</td> - <td class="right6">0</td> - <td class="right6">15</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Farrier’s Shop</td> - <td class="right6">0</td> - <td class="right6">10</td> - <td class="right6">6</td> - </tr> - - <tr> - <td class="cht">Master Ashton</td> - <td class="right6">0</td> - <td class="right6">6</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Miravin</td> - <td class="right6">0</td> - <td class="right6">10</td> - <td class="right6">6</td> - </tr> - - <tr> - <td class="cht">Blacksmith’s Shop</td> - <td class="right6">0</td> - <td class="right6">15</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Hermit</td> - <td class="right6">0</td> - <td class="right6">15</td> - <td class="right6">0</td> - </tr> - - <tr> - <td class="cht">Alchymist</td> - <td class="right6bb">1</td> - <td class="right6bb">1</td> - <td class="right6bb">0</td> - </tr> - - <tr> - <td class="cht"></td> - <td class="right6">£7</td> - <td class="right6">4</td> - <td class="right6">0</td> - </tr> - -</table> - -<p>“Rec<sup>d</sup> May 1<sup>st</sup> 1778, of John Milnes, Esqr., by M<sup>r.</sup> -Wright, the above sum, in full of all demands.”</p> - -<p class="r1">By W<sup>M</sup> PETHER.</p> - -<p>£7 4 0.</p></blockquote> - -<hr class="chap" /> - -<div class="chapter"> - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p></div> - - -<h2>INDEX OF PERSONS.</h2> - -<ul> - <li>Allen, Mr., - <a href="#Page_102">102</a>.</li> - <li>Almond, Rev., - <a href="#Page_5">5</a>.</li> - <li>Angelo, Michael, - <a href="#Page_39">39</a>, - <a href="#Page_41">41</a>, - <a href="#Page_42">42</a>, - <a href="#Page_69">69</a>, - <a href="#Page_90">90</a>, - <a href="#Page_91">91</a>, - <a href="#Page_93">93</a>, - <a href="#Page_111">111</a>.</li> - <li>Arkwright, Richard, - <a href="#Page_42">42</a>, - <a href="#Page_51">51</a>, - <a href="#Page_84">84</a>.</li> - <li>  „   Elizabeth, - <a href="#Page_42">42</a>.</li> - <li>  „   F. C., - <a href="#Page_42">42</a>, - <a href="#Page_84">84</a>.</li> - <li>  „   John, - <a href="#Page_42">42</a>.</li> - <li>  „   Joseph, - <a href="#Page_42">42</a>.</li> - <li>  „   Sir Richard, - <a href="#Page_51">51</a>, - <a href="#Page_81">81</a>, - <a href="#Page_111">111</a>.</li> - <li>Ashley, Rev., - <a href="#Page_7">7</a>.</li> - <li>Ayton, Brassey, Lee & Co., - <a href="#Page_91">91</a>.</li> -</ul> - -<ul> - <li>Bacon, Mr. (sculptor), - <a href="#Page_53">53</a>.</li> - <li>Bainbrigge, Thomas, jun., - <a href="#Page_102">102</a>.</li> - <li>Bakewell, Mr., - <a href="#Page_103">103</a>.</li> - <li>Barber (artist), - <a href="#Page_55">55</a>.</li> - <li>Barker, J., - <a href="#Page_17">17</a>.</li> - <li>Barrow, Mr., - <a href="#Page_89">89</a>.</li> - <li>Bassano, Mrs., - <a href="#Page_69">69</a>.</li> - <li>Bates, Dr., - <a href="#Page_12">12</a>, - <a href="#Page_111">111</a>.</li> - <li>Baxter, Mr., - <a href="#Page_35">35</a>, - <a href="#Page_70">70</a>.</li> - <li>Beattie, Dr., - <a href="#Page_68">68</a>, - <a href="#Page_69">69</a>.</li> - <li>Beechy, Sir W., - <a href="#Page_111">111</a>.</li> - <li>Belper, Lord, - <a href="#Page_10">10</a>, - <a href="#Page_79">79</a>.</li> - <li>Bemrose, W., - <a href="#Page_26">26</a>.</li> - <li>Bentley, Mr., - <a href="#Page_48">48</a>, - <a href="#Page_69">69</a>, - <a href="#Page_80">80</a>.</li> - <li>Berghem, - <a href="#Page_41">41</a>.</li> - <li>Beridge, Dr., - <a href="#Page_25">25</a>, - <a href="#Page_82">82</a>.</li> - <li>  „  Mrs., - <a href="#Page_81">81</a>, - <a href="#Page_82">82</a>.</li> - <li>Blackwall, Rev., - <a href="#Page_9">9</a>.</li> - <li>Blake, Mr., - <a href="#Page_106">106</a>.</li> - <li>Bousfield, Rev. H. N., - <a href="#Page_52">52</a>.</li> - <li>Boot, Mrs., - <a href="#Page_10">10</a>.</li> - <li>Botts, - <a href="#Page_41">41</a>.</li> - <li>Boydell, Alderman, - <a href="#Page_63">63</a>, - <a href="#Page_64">64</a>, - <a href="#Page_97">97</a>, - <a href="#Page_98">98</a>, - <a href="#Page_100">100</a>, - <a href="#Page_101">101</a>.</li> - <li>Brentnall, Mr., - <a href="#Page_29">29</a>.</li> - <li>Brookes, Hannah, - <a href="#Page_3">3</a>.</li> - <li>Buckley, Edmund, - <a href="#Page_81">81</a>.</li> - <li>Buckston, Rev. German, - <a href="#Page_82">82</a>.</li> - <li>Burdett, P. P., - <a href="#Page_9">9</a>, - <a href="#Page_11">11</a>, - <a href="#Page_12">12</a>, - <a href="#Page_33">33</a>, - <a href="#Page_48">48</a>, - <a href="#Page_76">76</a>, - <a href="#Page_77">77</a>, - <a href="#Page_78">78</a>, - <a href="#Page_84">84</a>.</li> - <li>  „  Mrs., - <a href="#Page_78">78</a>.</li> -</ul> - -<ul> - <li>Cade, Mr., - <a href="#Page_81">81</a>.</li> - <li> „  Mrs., - <a href="#Page_9">9</a>.</li> - <li> „  Miss, - <a href="#Page_56">56</a>.</li> - <li>Carleill, Mr., - <a href="#Page_52">52</a>.</li> - <li>  "  Mrs., - <a href="#Page_52">52</a>.</li> - <li>Cantrell, Mr., - <a href="#Page_76">76</a>.</li> - <li>Caracci, Ludivico, - <a href="#Page_39">39</a>.</li> - <li>Cesar, Mr., - <a href="#Page_29">29</a>.</li> - <li>Chantrey, Mr. (sculptor), - <a href="#Page_5">5</a>.</li> - <li>Chesterfield, Lord, - <a href="#Page_3">3</a>.</li> - <li>Christie, Mr., - <a href="#Page_106">106</a>, - <a href="#Page_107">107</a>, - <a href="#Page_111">111</a>.</li> - <li>Clayton, Mr. and Mrs., - <a href="#Page_30">30</a>.</li> - <li>Clyfford, Mr., - <a href="#Page_82">82</a>.</li> - <li>Coke, Daniel Parker, - <a href="#Page_10">10</a>.</li> - <li> „  Mr., jun., - <a href="#Page_30">30</a>, - <a href="#Page_33">33</a>.</li> - <li>Coleman, Mr., - <a href="#Page_32">32</a>, - <a href="#Page_35">35</a>.</li> - <li>Copley, Mr., - <a href="#Page_36">36</a>, - <a href="#Page_99">99</a>.</li> - <li>Corbould, Mr., - <a href="#Page_73">73</a>, - <a href="#Page_74">74</a>.</li> - <li>Correggio, - <a href="#Page_35">35</a>, - <a href="#Page_36">36</a>, - <a href="#Page_38">38</a>, - <a href="#Page_40">40</a>.</li> - <li>Cox, Rev. Dr., - <a href="#Page_1">1</a>.</li> - <li>Cumberland, Duchess of, - <a href="#Page_44">44</a>.</li> - <li>   "   George, - <a href="#Page_106">106</a>.</li> - <li>Curtis, Capt. R., - <a href="#Page_59">59</a>.</li> -</ul> - -<ul> - <li>Darwin, Erasmus, - <a href="#Page_56">56</a>, - <a href="#Page_69">69</a>, - <a href="#Page_79">79</a>, - <a href="#Page_80">80</a>, - <a href="#Page_87">87</a>, - <a href="#Page_95">95</a>.</li> - <li>  "   Reginald. D. D., - <a href="#Page_80">80</a>.</li> - <li>Daulby, Mr., - <a href="#Page_85">85</a>, - <a href="#Page_86">86</a>, - <a href="#Page_87">87</a>, - <a href="#Page_88">88</a>.</li> - <li>Day, Mr., - <a href="#Page_79">79</a>, - <a href="#Page_80">80</a>.</li> - <li>Daykene, Anne, - <a href="#Page_3">3</a>.</li> - <li>Dean, George, - <a href="#Page_75">75</a>.</li> - <li>Denby, Charles, - <a href="#Page_9">9</a>.</li> - <li>Denby, Mr. (organist), - <a href="#Page_9">9</a>, - <a href="#Page_10">10</a>, - <a href="#Page_76">76</a>.</li> - <li>Derry, Bishop of, - <a href="#Page_43">43</a>.</li> - <li>Domenichino, - <a href="#Page_39">39</a>.</li> - <li>Downman, Mr. (artist), - <a href="#Page_30">30</a>.</li> - <li>Downman, Mrs., - <a href="#Page_37">37</a>.</li> - <li>Drewry, J., - <a href="#Page_114">114</a>.</li> -</ul> - -<ul> - <li>Edkins, William, - <a href="#Page_106">106</a>.</li> - <li>Egerton, Messrs. T. and J., - <a href="#Page_3">3</a>.</li> - <li>Eley, Mr., - <a href="#Page_50">50</a>.</li> - <li>Elliott, General, - <a href="#Page_59">59</a>, - <a href="#Page_76">76</a>.</li> -</ul> - -<ul> - <li>Fallows, Mr., - <a href="#Page_47">47</a>, - <a href="#Page_78">78</a>.</li> - <li>Farrington, Mr., - <a href="#Page_48">48</a>, - <a href="#Page_66">66</a>.</li> - <li>Ferrers, Lady, - <a href="#Page_44">44</a>.</li> - <li>  "  Earl, - <a href="#Page_69">69</a>, - <a href="#Page_76">76</a>, - <a href="#Page_77">77</a>, - <a href="#Page_78">78</a>.</li> - <li>Fitzherberts, The, - <a href="#Page_50">50</a>.</li> - <li>   "    Alleyne, - <a href="#Page_51">51</a>.</li> - <li>Flaxman, - <a href="#Page_82">82</a>.</li> - <li>Flint, Mrs., - <a href="#Page_30">30</a>.</li> - <li>Forrester, Mr., - <a href="#Page_37">37</a>.</li> - <li>Fowler, Miss, - <a href="#Page_30">30</a>.</li> - <li>Fox, Mrs., - <a href="#Page_28">28</a>, - <a href="#Page_30">30</a>.</li> - <li>French, Capt., - <a href="#Page_31">31</a>.</li> - <li>Fuzeli, Mr., - <a href="#Page_71">71</a>.</li> -</ul> - -<ul> - <li>Gainsborough, - <a href="#Page_16">16</a>, - <a href="#Page_44">44</a>, - <a href="#Page_45">45</a>, - <a href="#Page_67">67</a>.</li> - <li>Garbage, Edmund, - <a href="#Page_61">61</a>.</li> - <li>Garvey, Mr., - <a href="#Page_57">57</a>, - <a href="#Page_61">61</a>, - <a href="#Page_62">62</a>.</li> - <li>Gell, Dorothy, - <a href="#Page_2">2</a>.</li> - <li>Gibbon, Mr., - <a href="#Page_78">78</a>, - <a href="#Page_79">79</a>.</li> - <li>Gilpin, Mr., - <a href="#Page_97">97</a>, - <a href="#Page_98">98</a>.</li> - <li>Giotto, - <a href="#Page_40">40</a>.</li> - <li>Girardot & Co., - <a href="#Page_37">37</a>.</li> - <li>Gisborne, Rev. Thos., - <a href="#Page_9">9</a>, - <a href="#Page_25">25</a>, - <a href="#Page_26">26</a>, - <a href="#Page_92">92</a>, - <a href="#Page_95">95</a>, - <a href="#Page_102">102</a>, - <a href="#Page_115">115</a>.</li> - <li>  „  John, - <a href="#Page_51">51</a>.</li> - <li>Gray, Caroline, - <a href="#Page_3">3</a>.</li> - <li>Gray, Sir James, - <a href="#Page_3">3</a>.</li> - <li>Greasley, Mr., - <a href="#Page_31">31</a>.</li> - <li>Greenwood, Mr., - <a href="#Page_28">28</a>.</li> - <li>Griffith, Hon. Mrs., - <a href="#Page_25">25</a>.</li> -</ul> - -<ul> - <li>Hacket, Bishop, - <a href="#Page_1">1</a>.</li> - <li>Haden, Ann, - <a href="#Page_11">11</a>.</li> - <li> „   F. Seymour, - <a href="#Page_11">11</a>, - <a href="#Page_68">68</a>, - <a href="#Page_69">69</a>.</li> - <li> „   Mr., - <a href="#Page_9">9</a>, - <a href="#Page_47">47</a>, - <a href="#Page_68">68</a>, - <a href="#Page_69">69</a>.</li> - <li> „   Sarah, - <a href="#Page_11">11</a>.</li> - <li>Hall, Messrs., - <a href="#Page_51">51</a>.</li> - <li>Hardman, Mr., - <a href="#Page_86">86</a>, - <a href="#Page_92">92</a>.</li> - <li>  „   Mrs., - <a href="#Page_64">64</a>.</li> - <li>Harrison, John (singer), - <a href="#Page_5">5</a>.</li> - <li>  „   J. R., - <a href="#Page_100">100</a>.</li> - <li>Hayley, Mrs., - <a href="#Page_81">81</a>, - <a href="#Page_82">82</a>, - <a href="#Page_83">83</a>.</li> - <li class="hangingindent">  "   (Poet), - <a href="#Page_25">25</a>, - <a href="#Page_26">26</a>, - <a href="#Page_28">28</a>, - <a href="#Page_43">43</a>, - <a href="#Page_44">44</a>, - <a href="#Page_57">57</a>, - <a href="#Page_58">58</a>, - <a href="#Page_61">61</a>, - <a href="#Page_62">62</a>, - <a href="#Page_69">69</a>, - <a href="#Page_76">76</a>, - <a href="#Page_81">81</a>, - <a href="#Page_82">82</a>, - <a href="#Page_83">83</a>, - <a href="#Page_98">98</a>.</li> - <li>  "   T. A. (sculptor), - <a href="#Page_69">69</a>, - <a href="#Page_82">82</a>, - <a href="#Page_83">83</a>.</li> - <li class="hangingindent">Heath, Mr., - <a href="#Page_64">64</a>, - <a href="#Page_66">66</a>, - <a href="#Page_69">69</a>, - <a href="#Page_70">70</a>, - <a href="#Page_71">71</a>, - <a href="#Page_72">72</a>, - <a href="#Page_73">73</a>, - <a href="#Page_74">74</a>, - <a href="#Page_88">88</a>, - <a href="#Page_89">89</a>, - <a href="#Page_94">94</a>, - <a href="#Page_101">101</a>.</li> - <li>Heathcote, Mr., - <a href="#Page_29">29</a>.</li> - <li>Heathcote, Capt., - <a href="#Page_30">30</a>.</li> - <li>  „   Col., - <a href="#Page_30">30</a>.</li> - <li>Heathfield, Lord, - <a href="#Page_59">59</a>.</li> - <li>Hogarth (artist), - <a href="#Page_11">11</a>.</li> - <li>Holland, Jno., - <a href="#Page_26">26</a>, - <a href="#Page_53">53</a>, - <a href="#Page_79">79</a>, - <a href="#Page_96">96</a>, - <a href="#Page_102">102</a>.</li> - <li>  "   Mr., Ford House, - <a href="#Page_52">52</a>, - <a href="#Page_111">111</a>.</li> - <li>Holworthy, James, - <a href="#Page_4">4</a>.</li> - <li>Hope, Rev., - <a href="#Page_9">9</a>, - <a href="#Page_10">10</a>.</li> - <li>Hopner, Mr., - <a href="#Page_111">111</a>.</li> - <li>Houghton, Lord, - <a href="#Page_68">68</a>.</li> - <li>Humphrey, Osias, - <a href="#Page_37">37</a>.</li> - <li>Hudson (portrait painter), - <a href="#Page_5">5</a>, - <a href="#Page_6">6</a>, - <a href="#Page_8">8</a>, - <a href="#Page_11">11</a>, - <a href="#Page_48">48</a>, - <a href="#Page_50">50</a>.</li> - <li>Hurleston, - <a href="#Page_27">27</a>, - <a href="#Page_30">30</a>, - <a href="#Page_31">31</a>, - <a href="#Page_47">47</a>.</li> - <li>  „  F. T., - <a href="#Page_27">27</a>.</li> - <li>Hurt, Charles, - <a href="#Page_53">53</a>.</li> - <li> „ Francis, - <a href="#Page_42">42</a>.</li> -</ul> - -<ul> - <li>Jenkins, Mr., - <a href="#Page_37">37</a>.</li> - <li>Johnson, Dr., - <a href="#Page_11">11</a>.</li> - <li>  "  John, LL.D., - <a href="#Page_82">82</a>.<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span></li> -</ul> - -<ul> - <li>Lansdowne, Lord, - <a href="#Page_12">12</a>, - <a href="#Page_72">72</a>, - <a href="#Page_73">73</a>.</li> - <li>Langhorne, Mr., - <a href="#Page_70">70</a>.</li> - <li>Lawrence, Mr., - <a href="#Page_111">111</a>.</li> - <li>Long, Mr., - <a href="#Page_100">100</a>.</li> -</ul> - -<ul> - <li>Macauley, Miss, - <a href="#Page_45">45</a>.</li> - <li>Macklin, Mr., - <a href="#Page_101">101</a>.</li> - <li>Martin, Mr., - <a href="#Page_64">64</a>, - <a href="#Page_66">66</a>.</li> - <li>McNiven, Mr., - <a href="#Page_91">91</a>.</li> - <li>Meredith, Sir Wm., - <a href="#Page_34">34</a>.</li> - <li>Meteyard, Miss, - <a href="#Page_80">80</a>.</li> - <li>Meynell, Mr., - <a href="#Page_31">31</a>.</li> - <li>Mundy, F. N. C., - <a href="#Page_10">10</a>.</li> - <li>Montague, Mr., - <a href="#Page_37">37</a>.</li> - <li>Middiman, Mr., - <a href="#Page_89">89</a>.</li> - <li>Milbourne, Mr., - <a href="#Page_63">63</a>, - <a href="#Page_93">93</a>.</li> - <li>Miles, Captain, - <a href="#Page_46">46</a>.</li> - <li> „  Mr., - <a href="#Page_46">46</a>.</li> - <li>Milnes, J., - <a href="#Page_74">74</a>.</li> - <li>Moreland, Mr., - <a href="#Page_26">26</a>, - <a href="#Page_91">91</a>, - <a href="#Page_92">92</a>.</li> - <li>Morewood, Mrs., - <a href="#Page_52">52</a>.</li> - <li>Moreland, Mr., - <a href="#Page_74">74</a>.</li> - <li>Mortimer (artist), - <a href="#Page_8">8</a>, - <a href="#Page_33">33</a>, - <a href="#Page_58">58</a>, - <a href="#Page_69">69</a>, - <a href="#Page_78">78</a>, - <a href="#Page_79">79</a>.</li> - <li>Mosley, Mr., - <a href="#Page_114">114</a>.</li> -</ul> - -<ul> - <li>Nash, Jno., - <a href="#Page_1">1</a>.</li> - <li>Newton, Mr., - <a href="#Page_58">58</a>.</li> - <li>Noell, Counsellor, - <a href="#Page_7">7</a>.</li> - <li>Northcote, Mr., - <a href="#Page_99">99</a>.</li> -</ul> - -<ul> - <li>Oakes, James, - <a href="#Page_11">11</a>.</li> - <li>Oliver, Thomas, - <a href="#Page_10">10</a>.</li> - <li>Oxford, Lord, - <a href="#Page_8">8</a>.</li> - <li>Orred, Major, - <a href="#Page_55">55</a>.</li> - <li>Osmaston, John, - <a href="#Page_77">77</a>.</li> - <li>Overstone, Lord, - <a href="#Page_74">74</a>.</li> -</ul> - -<ul> - <li>Palladio, - <a href="#Page_40">40</a>.</li> - <li>Parry, Mr., - <a href="#Page_36">36</a>.</li> - <li>Pasquin, Anthony, - <a href="#Page_57">57</a>, - <a href="#Page_61">61</a>, - <a href="#Page_62">62</a>.</li> - <li>Pether, Mr., - <a href="#Page_31">31</a>.</li> - <li>Phelps, Mr., - <a href="#Page_50">50</a>.</li> - <li>Philips, H., - <a href="#Page_89">89</a>, - <a href="#Page_91">91</a>, - <a href="#Page_92">92</a>, - <a href="#Page_100">100</a>.</li> - <li class="hangingindent">  "  J. L., - <a href="#Page_57">57</a>, - <a href="#Page_58">58</a>, - <a href="#Page_62">62</a>, - <a href="#Page_63">63</a>, - <a href="#Page_64">64</a>, - <a href="#Page_65">65</a>, - <a href="#Page_70">70</a>, - <a href="#Page_72">72</a>, - <a href="#Page_73">73</a>, - <a href="#Page_74">74</a>, - <a href="#Page_85">85</a>, - <a href="#Page_88">88</a>, - <a href="#Page_90">90</a>, - <a href="#Page_91">91</a>, - <a href="#Page_92">92</a>, - <a href="#Page_93">93</a>, - <a href="#Page_94">94</a>, - <a href="#Page_95">95</a>, - <a href="#Page_102">102</a>, - <a href="#Page_104">104</a>, - <a href="#Page_105">105</a>, - <a href="#Page_106">106</a>.</li> - <li>  "  N., - <a href="#Page_94">94</a>.</li> - <li>Pickford, Joseph, - <a href="#Page_55">55</a>, - <a href="#Page_56">56</a>.</li> - <li>Pindar, Peter, - <a href="#Page_69">69</a>, - <a href="#Page_79">79</a>.</li> - <li>Pope, The, - <a href="#Page_34">34</a>.</li> - <li>Poussin, - <a href="#Page_38">38</a>.</li> - <li>Prig, Mr., - <a href="#Page_62">62</a>.</li> - <li>Prince Charles Edward, - <a href="#Page_7">7</a>.</li> -</ul> - -<ul> - <li>Raphael, - <a href="#Page_37">37</a>, - <a href="#Page_38">38</a>, - <a href="#Page_39">39</a>.</li> - <li>Rawlinson, Mr., - <a href="#Page_50">50</a>.</li> - <li>Rawson, Mr., - <a href="#Page_31">31</a>.</li> - <li>Redgrave, Messrs., - <a href="#Page_26">26</a>, - <a href="#Page_41">41</a>, - <a href="#Page_58">58</a>, - <a href="#Page_66">66</a>, - <a href="#Page_67">67</a>, - <a href="#Page_68">68</a>.</li> - <li>  „  R., - <a href="#Page_67">67</a>.</li> - <li>  „  S., - <a href="#Page_58">58</a>.</li> - <li>Rembrant, - <a href="#Page_40">40</a>.</li> - <li>Reynolds, Sir Joshua, R.A., - <a href="#Page_1">1</a>, - <a href="#Page_5">5</a>, - <a href="#Page_8">8</a>, - <a href="#Page_44">44</a>, - <a href="#Page_48">48</a>, - <a href="#Page_67">67</a>, - <a href="#Page_98">98</a>, - <a href="#Page_99">99</a>.</li> - <li>Robins, Mr., - <a href="#Page_16">16</a>, - <a href="#Page_17">17</a>.</li> - <li>Rogers, Mr., - <a href="#Page_101">101</a>.</li> - <li>Romney, Mr., - <a href="#Page_28">28</a>, - <a href="#Page_36">36</a>, - <a href="#Page_37">37</a>, - <a href="#Page_83">83</a>, - <a href="#Page_98">98</a>.</li> - <li>Rought, Thos., - <a href="#Page_77">77</a>.</li> - <li>Russia, Catherine, Empress of, - <a href="#Page_30">30</a>, - <a href="#Page_35">35</a>, - <a href="#Page_80">80</a>, - <a href="#Page_85">85</a>.</li> -</ul> - -<ul> - <li>Sale, Mrs., - <a href="#Page_76">76</a>.</li> - <li>Salmon, Captain, - <a href="#Page_40">40</a>.</li> - <li>Scarsdale, Lord, - <a href="#Page_37">37</a>.</li> - <li>Seward, Anna, - <a href="#Page_69">69</a>, - <a href="#Page_79">79</a>, - <a href="#Page_81">81</a>.</li> - <li>Shackleford, Mr., - <a href="#Page_29">29</a>.</li> - <li>Shaw, Mr., - <a href="#Page_112">112</a>, - <a href="#Page_114">114</a>.</li> - <li>Shelton, Mrs., - <a href="#Page_28">28</a>, - <a href="#Page_30">30</a>.</li> - <li>Sikes, Joseph, - <a href="#Page_52">52</a>.</li> - <li>Simpson and North, Messrs., - <a href="#Page_55">55</a>.</li> - <li>Smeeton, J., - <a href="#Page_110">110</a>.</li> - <li>Smith (artist), - <a href="#Page_26">26</a>.</li> - <li> „  Mr., - <a href="#Page_87">87</a>, - <a href="#Page_89">89</a>.</li> - <li>Smirke, Mr., - <a href="#Page_74">74</a>.</li> - <li>Snowden, G., - <a href="#Page_76">76</a>.</li> - <li>Sotheby, William, - <a href="#Page_31">31</a>, - <a href="#Page_70">70</a>.</li> - <li>Sproule, Mrs., - <a href="#Page_44">44</a>.</li> - <li>Stephens, F. G., - <a href="#Page_62">62</a>, - <a href="#Page_81">81</a>.</li> - <li>Sterne, - <a href="#Page_26">26</a>, - <a href="#Page_52">52</a>, - <a href="#Page_69">69</a>, - <a href="#Page_70">70</a>.</li> - <li>Stevens, Mr., - <a href="#Page_37">37</a>.</li> - <li>Swift, Ann, - <a href="#Page_27">27</a>.</li> - <li>Synnott, Walter, - <a href="#Page_52">52</a>.</li> -</ul> - -<ul> - <li>Tacet (musician), - <a href="#Page_9">9</a>.</li> - <li>Tate, Jno. Moss, - <a href="#Page_5">5</a>.</li> - <li> „  R., - <a href="#Page_31">31</a>.</li> - <li class="hangingindent"> „  Thomas, - <a href="#Page_26">26</a>, - <a href="#Page_31">31</a>, - <a href="#Page_32">32</a>, - <a href="#Page_33">33</a>, - <a href="#Page_63">63</a>, - <a href="#Page_64">64</a>, - <a href="#Page_65">65</a>, - <a href="#Page_66">66</a>, - <a href="#Page_77">77</a>, - <a href="#Page_85">85</a>, - <a href="#Page_87">87</a>, - <a href="#Page_88">88</a>, - <a href="#Page_89">89</a>, - <a href="#Page_91">91</a>, - <a href="#Page_92">92</a>, - <a href="#Page_93">93</a>, - <a href="#Page_94">94</a>, - <a href="#Page_95">95</a>, - <a href="#Page_100">100</a>, - <a href="#Page_101">101</a>, - <a href="#Page_103">103</a>.</li> - <li>Teniers, - <a href="#Page_40">40</a>.</li> - <li>Thacker, Mr., - <a href="#Page_3">3</a>.</li> - <li>Thornton, Mr., - <a href="#Page_82">82</a>.</li> - <li>Tintoret, - <a href="#Page_39">39</a>.</li> - <li>Titian, - <a href="#Page_35">35</a>, - <a href="#Page_36">36</a>, - <a href="#Page_37">37</a>, - <a href="#Page_38">38</a>, - <a href="#Page_39">39</a>, - <a href="#Page_40">40</a>.</li> - <li>Turner, J. M. W., R.A., - <a href="#Page_4">4</a>, - <a href="#Page_31">31</a>, - <a href="#Page_111">111</a>.</li> - <li> „   Dr., - <a href="#Page_83">83</a>.</li> - <li>Tyrrell, Walter, - <a href="#Page_68">68</a>.</li> -</ul> - -<ul> - <li>Van, Mr. and Mrs., - <a href="#Page_30">30</a>.</li> - <li>Vandicke, - <a href="#Page_40">40</a>.</li> - <li>Vasari, Mr., - <a href="#Page_63">63</a>, - <a href="#Page_101">101</a>.</li> - <li>Veronese, Paul, - <a href="#Page_39">39</a>, - <a href="#Page_40">40</a>.</li> -</ul> - -<ul> - <li>Wallis, Sarah, - <a href="#Page_4">4</a>.</li> - <li>Ward, Mr. and Miss, - <a href="#Page_47">47</a>.</li> - <li>Waste, Joan, - <a href="#Page_56">56</a>.</li> - <li>Watkins, Nan, - <a href="#Page_78">78</a>.</li> - <li>Wedgwood, Godfrey, - <a href="#Page_26">26</a>, - <a href="#Page_61">61</a>.</li> - <li>  „    Josiah, - <a href="#Page_26">26</a>, - <a href="#Page_48">48</a>, - <a href="#Page_69">69</a>, - <a href="#Page_80">80</a>, - <a href="#Page_83">83</a>.</li> - <li>West, Mr., - <a href="#Page_98">98</a>, - <a href="#Page_99">99</a>.</li> - <li>Whiatt, Mr., - <a href="#Page_88">88</a>.</li> - <li>Whitehurst, Mr., - <a href="#Page_34">34</a>.</li> - <li>Wilcockson, Frances, - <a href="#Page_2">2</a>.</li> - <li>Williams, John, - <a href="#Page_61">61</a>, - <a href="#Page_62">62</a>.</li> - <li>Wilmot, Sir Eardley, - <a href="#Page_3">3</a>.</li> - <li>Wilson, Capt. John, - <a href="#Page_2">2</a>.</li> - <li>  "  Dr., - <a href="#Page_45">45</a>.</li> - <li>  "  Old John, - <a href="#Page_11">11</a>.</li> - <li>  "  Richard, - <a href="#Page_1">1</a>, - <a href="#Page_53">53</a>.</li> - <li>Winter, Mr., - <a href="#Page_10">10</a>.</li> - <li>Winterman, A., - <a href="#Page_76">76</a>.</li> - <li>Winstanley and Taylor, Messrs., - <a href="#Page_71">71</a>.</li> - <li>Wolcott, Dr., - <a href="#Page_79">79</a>.</li> - <li>Wolfe, General, - <a href="#Page_71">71</a>.</li> - <li>Wollett, Mr. (engraver), - <a href="#Page_5">5</a>.</li> - <li>Wood, Bishop, - <a href="#Page_1">1</a>.</li> - <li>Wood, Mr., - <a href="#Page_24">24</a>.</li> - <li>Woodville, Mrs., - <a href="#Page_55">55</a>.</li> - <li>Woodward, G. W., - <a href="#Page_56">56</a>.</li> - <li>Woty, W., - <a href="#Page_77">77</a>.</li> - <li class="hangingindent">Wright, Anne Elizabeth, or “Nancy,” - <a href="#Page_4">4</a>, - <a href="#Page_28">28</a>, - <a href="#Page_29">29</a>, - <a href="#Page_30">30</a>, - <a href="#Page_33">33</a>, - <a href="#Page_34">34</a>, - <a href="#Page_36">36</a>, - <a href="#Page_48">48</a>.</li> - <li>  "  Dr. Richard (of London), - <a href="#Page_3">3</a>.</li> - <li>  "  “Equity Wright,” - <a href="#Page_3">3</a>, - <a href="#Page_4">4</a>.</li> - <li>  "  Francis, - <a href="#Page_77">77</a>.</li> - <li>  "  Hannah, - <a href="#Page_4">4</a>.</li> - <li>  "  Harriett, - <a href="#Page_103">103</a>.</li> - <li>  "  John, - <a href="#Page_3">3</a>.</li> - <li>  "  Joseph, - <a href="#Page_4">4</a>.</li> - <li>  "  Rev. John, - <a href="#Page_1">1</a>, - <a href="#Page_2">2</a>.</li> - <li class="hangingindent">  "  Richard (of Derby), - <a href="#Page_3">3</a>, - <a href="#Page_6">6</a>, - <a href="#Page_27">27</a>, - <a href="#Page_34">34</a>, - <a href="#Page_41">41</a>, - <a href="#Page_51">51</a>, - <a href="#Page_77">77</a>, - <a href="#Page_105">105</a>, - <a href="#Page_106">106</a>, - <a href="#Page_111">111</a>, - <a href="#Page_115">115</a>.</li> - <li>  "  Richard (marine painter), - <a href="#Page_5">5</a>.</li> -</ul> - -<p class="smcap center p-left xs">Bemrose & Sons, Printers, Derby; and 23, Old Bailey, London.</p> - - -<div class="chapter footnotes"><h2>FOOTNOTES:</h2> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> From Episcopal Registers of the See of Lichfield.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> “On Tuesday morning, at this place, aged 78, Mrs. Hannah -Wright: whose pious and amiable disposition endeared her to those -friends, her very delicate state of health, and long retirement had -confined the knowledge of her virtues, and the poor will have to lament -the loss of a kind benefactress. She was eldest sister to R.J. Wright, -M.D., and to the late eminent painter, Joseph Wright, Esqre.”—<i>Derby -Mercury</i>, Nov. 7, 1810.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Richard Wright was a marine painter of Liverpool, born -1735, died 1775, who painted “The Fishery,” which was engraved by -Wollett.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Sir Joshua Reynolds and Mortimer were also pupils under -Hudson, who, Lord Oxford tells us, pleased the country gentlemen “with -his honest similitudes, fair tied wigs, blue velvet coats, and white -satin waistcoats, which he bestowed liberally on his customers.” -Hudson, however, though an Artist of little imagination, was a sound -painter and probably a good master.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Denby published several music books, a collection of hymn -tunes, sonatinos and rondas for the harpsichord.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> We here transcribe the Rules of the Derby Assembly of -about this period; they are interesting and curious—</p> - -<p>RULES</p> - -<p class="smcap center p-left">To be observed in the Ladies’ Assembly in Derby.</p> - -<p>1.—No Attorney’s Clerk shall be admitted.</p> - -<p>2.—No Shopkeeper, or any of his or her Family shall be admitted, -except Mr. Franceys.</p> - -<p>3.—No Lady shall be allowed to Dance in a long white Apron.</p> - -<p>4.—All young Ladies in Mantuas shall pay 2s. 6d.</p> - -<p>5.—No Miss in a Coat shall Dance without Leave of the Lady of the -Assembly.</p> - -<p>6.—Whosoever shall transgress any of these Rules, shall be turned -out of the Assembly Room.</p> - -<p>Several of the above-mentioned <i>Rules</i> having of late been broke -through, they are now Printed by our order, and signed by Us, the -present Ladies and Governors of the Assembly.</p> - -<div class="parent"> -<ul class="left"> - <li>ANNE BARNES.</li> - <li>DOROTHY EVERY.</li> - <li>ELISABETH EYRE.</li> - <li>BRIDGET BAILEY.</li> - <li>R. FITZHERBERT.</li> - <li>HESTER MUNDY.</li> -</ul> -</div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The first Exhibition was held in April, 1760. The -Catalogue of 1761 has two satirical subjects after Hogarth, and that -for 1762 has a preface from the pen of Dr. Johnson. There were no -Exhibitions in 1779, 81, and 82, nor were there any between 1783 and -1790. The last was in 1791.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The sitters in this picture were old John Wilson, an -inmate of the Devonshire almshouses, Mr. Burdett, and the artist -himself.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Captain Salmon, who then lived at Breadsall Priory, near -Derby, sat to Wright as Romeo.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> The Frontispiece Plate in this volume is taken from this -painting, now in the possession of the Honourable Mrs. Griffith, Yoxall -Lodge, Staffordshire.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> “The Mr. Hurleston who went with Mr. Wright of Derby, -to Italy in 1773, was my great uncle. He was a very promising young -artist, but immediately after his return to this country, was killed -by lightning while riding across Salisbury Plain in a storm. His name -occurs in the early catalogues of the Royal Academy.”—<i>Extract from a -letter from F. Y. Hurleston, President of the Incorporated Society of -British Artists, August, 1850.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> This has reference to the first voyage of his nephew, -Richard Wright, in the service of the East India Company; two other -members of the family were previously in that service.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Now in the possession of the writer, with many other -sketches.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Simpson’s <i>History of Derby</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> There is little doubt that this is John Downman, R.A.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> It is recorded that Catherine, Empress of Russia, -purchased pictures by the most eminent masters in every capital of -Europe, and when she died in 1796, she left at the Hermitage 1,383 -valuable paintings. Of these only eight belonged to the English school.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> No. 321. The Old Man and Death.—Society of Artists’ -Exhibition.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> J. Whitehurst, a celebrated Machinist, and Author of the -“Theory of the Earth.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Osias Humphrey, miniature painter and R.A., was in Italy -about this time with Romney.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Anna Romana Wright, daughter of Joseph and Anne Wright.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Hannah Wright, daughter of Richard and Sarah Wright.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> The Bishop of Derry.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> From a memo.:—“Entered Mrs. Sproule’s House 9th Nov., -1775. My horse went to Ward’s Livery Stable 29th Dec., 1775.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a></p> - -<p>No. 147 in Catalogue of Society of Artists, 1776—“An Eruption of Mount Vesuvius.”</p> - -<p>No. 148 in Catalogue of Society of Artists, 1776—“The Annual Girandolo at the Castle of St. Angelo at Rome.”</p> -</div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Redgrave’s Century of Painters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Life of Richard Wilson.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> St. Helen’s.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Hutton, in his “History of Derby,” says—“1601. A woman -burnt in Windmill Pit, for poisoning her husband.” From this it appears -it was the usual place of execution for criminals for many years.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Joan Waste, blind from her birth, the daughter of a poor -barber, in the parish of All Hallowes (All Saints’), was, at the age of -22, burnt as a heretic in Windmill Pit, just outside the town. She was -a godly woman, learned in the Holy Scriptures, which she was diligent -in getting read to her, and condemned for denying transubstantiation, -and after being taken to All Saints’ Church to hear a sermon on -herself, she was burnt on the first of August, 1556.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Chichester: Printed by Dennett Jaques. 1783.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> <i>Cynthia</i>—Same as Diana, who by some is supposed to have -presided over the moon. So called from her having been born at Cynthus.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> <i>Calpe</i>, Mount—Synonymous with Gibraltar.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> <i>Elliott</i>, General, was appointed to the command of -Gibraltar in 1776, and defended it at the siege in 1783. In 1787 he was -created Lord Heathfield, Baron Gibraltar.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> <i>Curtis</i>, Captain Rodger, of the Marine Brigade, -afterwards knighted for his gallant conduct in rescuing the enemy from -the burning ships, on September 14th, 1782, to which allusion is made -in verses 5 and 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> John Williams.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> “Harp Alley” Shoe Lane, London, was the market for house -signs before they were abolished.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Boydell.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> In the possession of the late Lord Overstone at the time -of his decease.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> The Painter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Gibbon, the Historian of Rome.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Now in the possession of Lord Belper.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Now in the possession of Reginald Darwin, D. D.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Author of “Louisa, a Poetical Novel,” 1782, and “Original -Sonnets,” 1799.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> These interesting portraits of Mr. and Mrs. Hayley are -now in the possession of the Rev. German Buckston.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> Now in possession of the writer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> The Society of Arts, who built the Lyceum.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> When St. Alkmund’s Church was re-built, the tablet was -removed from the pillar and affixed to the wall of the South Porch.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> “Monthly Magazine,” October 17th, 1797.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> For many years a “Grand Musical Festival” was held in -Derby, in October, and produced large sums in aid of the General -Infirmary. The best musical talent of the day was engaged. On this -occasion, the oratorios, “The Messiah,” “The Creation,” “Judas -Maccabeus,” and “Israel in Egypt,” and a selection from Handel, Boyce, -etc., were performed in All Saints’ Church, in which Madame Catalani, -Miss Travis, Mrs. Shepley, and Mrs. Bianchi, Mr. Harrison, Messrs. -Goss, Elliott, Whall, and Bartleman took part. The Chorus was supported -by the celebrated Female Singers from Lancashire; also by performers -from the Ancient and Vocal Concerts, London, and from various -Cathedrals. Messrs. Harrison and Greatorex conducted the orchestra of -150 performers. A ball took place in the New Assembly Room, and two -grand concerts in the theatre. On the first day a sermon was preached -by the Archbishop of York, the offertory amounting to £354.</p> - -<p><span class="smcap">Infirmary Donations.</span>—Messrs. Cade and Chappell, being monies -received at the Exhibition at the Town Hall of the late Mr. Wright’s -pictures, £7 13s. 0d.—(<i>Derby Mercury</i>, Dec. 4, 1810.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Engraved in mezzotint. See list.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Engraved by Mayer. See list.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Engraved in mezzotint. See list.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Engraved in “line.” See list.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Engraved. See list of Engravings.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Engraved and also etched.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> <i>a</i> to <i>i</i> engraved. See list of Engravings.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Engraved. See list.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> This print is often miscalled the Family of Wright, of -Derby.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> The original painting is now in the Derby Art Gallery.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> The original painting is now in the National Gallery.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> Wedgwood’s Medallion of Dr. Darwin, with his arms resting -upon a table, is taken from Wright’s painting of the Doctor, now in the -possession of Reginald Darwin, Esq., The Fern, Buxton.</p></div></div> - -<p class="center p-left" id="Family_Tree">Family Tree</p> - - -<div class="family-tree"> - - - PEDIGREE - - OF - - THE FAMILY OF WRIGHT, OF DERBYSHIRE AND STAFFORDSHIRE, &c., &c. - - COMPILED FROM PARISH REGISTERS, FAMILY PAPERS, &c. - - ARMS.--<i>Gules</i>, on a chevron engrailed, - <i>argent</i>, between three unicorns’-heads of the second, three - spear-heads, <i>azure</i>. - - CREST.--An Agnus Dei, <i>argent</i>, bearing a banner, charged with - a cross, <i>gules</i>.] - - 1661. - (Rev.) John Wright, ordained Feb. = Elizabeth. - 5, 1662; Vicar of Seighford (or | - Syford), 1662; Rector of Longford, | - 1671; bur. Jan. 10, 1681, at | - Longford (nr. Derby). | - | - +--------------+----------------+-----+-----------+-+-+-------+-+-+ - | | 1694. | | | | | | | -Richard = John = Anne Thomas = Jonathan Mary -Wright, | Wright, | Dakeyne, Wright, b. | Wright, b. Wright, b. -born Feb. | Attorney, | born 1658, Jan. 7, | Aug. 24, Sep. 5, -9, 1662, at | born Jan. | died at 1666, at | 1668, at 1673, at -Loadenhall, | 5, 1664, at| Parwich, Syford. | Syford. Longford, -in the | Syford, | bur. S. | Derbyshire. -Parish of | Stafford- | Alkmund’s, | Matt. -Pentridge, | shire, d. | May 18, | Wright, b. Bridget -Stafford- | Sept. 16, | 1745. | Sept. 25, Wright, b. - shire. | 1725, bur. | +------------+ 1669, at Nov. 21, - | at S. | |Oct. 18, 1731. Syford. 1675, at - | Alkmund’s, | Thomas = Mary Allin. Longford. - | Sept. 18th.| Wright, Elizabeth - | | born 1705, Wright, b. Sarah - | | made a Jan. 26, Wright, b. - | | Deacon, 1671, at Mar. 21, - | | Sept. 19, Syford. 1677, at - | | 1731. Longford. - | | - +-----+ +-------------------------------------------------+ - July 10, 1728.| | -Dorothy Gell, = Richard Wright, M.D., born = Frances Wilcockson, of | -of Wirksworth.|1702, at Derby, died Dec. 1,|Wirksworth, born 1711, died | - |1770, bur. at S. Michael’s, |May 6, 1772, bur. S. | - | Derby, Dec. 5. |Michael’s, Derby, May 9. | - No Issue. | | - +------------------------------+--------+-----+ | - | | | | - Richard Wright, = Caroline Elizabeth Mary Wright, = Capt. John | -M.D., F.R.S., of |Gray, only Wright, born b. May 3, | Wilson, R.N., | -Hanover Square, |surviving Feb. 22, 1743, bap. S.| of Tamworth, | -London, born at |dau. of the 1740, bap. at Michael’s, | born | -Derby, 1739, bap.|late Sir S. Michael’s, May 4, 1743, | died Sep. 1st,| -at S. Michael’s, |James Gray. Feb. 25, d. Apr. 9, | 1795, | -Nov. 28, 1739, | 1740, died 1805. | Lieut. under | -died Oct. 14, | Jan. 4, 1766. | Lord Howe | -1786, bur. at S. | +---------------+ when he was a | -Michael’s, Derby.| | Captain. | - | Frances Wilson, | - No Issue. born Sept. 9. 1777, | - at Tamworth, died | - Dec. 15, 1799. | - | - +---------------------+----------------------------------+---------------+ - | | Sept. 26, 1728. | -Jane Wright, born John Wright, = Hannah Brookes, Elizabeth Wright, -Jan. 3, 1695, in Attorney-at-Law, | born 1700, born Apr. 24, -S. Alkmund’s Derby (“Equity | died Nov. 20, May 5, 1703, -Parish, bur. S. Wright,”) born Jan. | 1764, bur. at bap. S. Alkmund’s, -Alkmund’s, Sept. 16, 1697, died Nov. | Alkmund’s, 1703. -16, 1741. 1, 1767, bur. S. | Nov. 24. - Alkmund’s, Nov. 6; | - Town Clerk of Derby,| - from 1756 to 1765. | - | - +------------------------+----------+------------------------+---------+ - | |Nov. 19, 1774, at S. Alkmund’s. | | - John Wright, = Anne. Richard = Sarah Wallis, <a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>Hannah | - Jun., | Wright, M.D., | born Wright, born | -Attorney-at-Law,| born Nov. 8, | died March 2, Sept. 24, 1732, | -born Aug. 29, | 1730, died Feb. | 1820, bur. at bap. S. | -1729, bap. same | 2, 1814, bur. | S. Alkmund’s, Michael’s, Oct. | -day at All | at S. Alkmund’s,| March 9. 18, 1732, died | -Saints’, died | Feb. 9. | Nov. 6, 1810, | -March 22, 1798. | | bur. at S. | - | | Alkmund’s. | - | | | - | +---------------------------------+| - +-------------++---------+------------+------------+---------+ || - | | | | | | || -Hannah Anne John Elizabeth Richard Jane Hannah Anne || -Wright, Wright, Wright, Wright, Wright, Wright, born || -bap. S. bap. same born 1755, born June born Sep. 1759, bap. || -Alkmund’s, time, at S. bap. Nov. 3, 1757, 19, 1758, Oct. 8, 1759, || -Ap. 14, Alkmund’s, 9, 1753, bap. July bap. S. bur. All || -1754, bur. April 14, died Apr. 7, 1757, Alkmund’s, Saints’, Feb. || -at S. 1754, bur. 29, 1775, died Aug. Oct. 19, 15, 1769. || -Alkmund’s, All bur. S. 18, 1789, 1758. || -Aug. 14, Saints’, Alkmund’s. bur. S. || -1759. Jan. 27, Alkmund’s, || - 1790. Aug. 21. || - || - All died young, unmarried. || - || - +----------------------+------------------------------------------+| - | | 15 Oct. 1821, at Hastings. | - Hannah Wright, of Anne Wright, born = James Holworthy, | - Brookfield, born Aug. Aug. 14, 1777, bap. S.|J.P., Artist, born Ap. | - 29, 1775, bap. S. Michael’s, Aug. 15, |10, 1781, died June | - Michael’s same day, 1777, died Nov. 28, | 10, 1841, bur. at | - died May 13, 1867, 1842, at Brookfield, |Kensall Green, London, | - buried at Hathersage, bur. at S. Alkmund’s, |June 19. | - May 21, aged 93 years. Dec. 6. | | - No Issue. | - | - +---------------------------------------------+---------------------+ - | July 28, 1773. | - JOSEPH WRIGHT, = Hannah or Anne Swift, Anne Eliz<sup>th</sup> Wright, -“Painter,” born Sep. 3, | born “Nancy,” born April 6, -1734, bap. S. Michael’s,| 1749, died 1739, bap. S. -Sep. 5, 1734, died Aug. | Aug. 17, 1790, bur. at Michael’s, Apr. 7, -29, 1797, bur. at S. | S. Alkmund’s, Aug. 21. 1739, died May 8, 1813, -Alkmund’s, Sep. 1. | bur. at S.Alkmund’s, - | May 14, 1815. -Whithead = Miss Antill. +--------------------------------------------------+ - | | - +------+ | - | | -Miss Whithead. = Rev. John Cade, Vicar = Mary Osborne. | - |of Spondon, Derbyshire.| | - | | | - | +----+ | - | | | - | John Cade, died at Derby, 18?? | - | | - +-----------+--+ +----------------+--------------+----------+ - | |Ap. 20, 1795.| | | | - Mary Cade, James Cade, = Anna Romana Joseph Wright, Harriet | - died in Surgeon, of |Wright, born born July 14, Wright, | - infancy. Spondon, born|June 24, 1774, 1776, bap. S. born May 12, | - 1772, died |at Rome, bap. Michael’s, 1778, died | - Jan. 15, |at S. Michael’s, July 14, 1776, July 8, 1860,| - 1840, bur. at|Sep. 26, 1775, bur. at in Australia | - Spondon, Jan.|died Aug. 12, S. Alkmund’s, (River | - 22. |1837, bur. at Dec. 5, 1778. Plenty). | - |Spondon, | - |August 18, | - |1837. | - | | - | | - Issue. | - | - +-------------+---------------------------------+-----------------------+ - | | | Oct. 2, 1823, - | | Feb. 15, 1803. | S. John’s, N.B. -John Wright, Maria Wright, = Graham Joseph = Anne Crosby -born Feb. 8, born June 2, |Chappell, born Wright, Rev.,| Wiggins, of -1781, bap. 1783, bap. |about 1773, a Missionary,| New Brunswick -Mar. 29, 1781, June 5, 1783, |bap. born Nov. 1, | (S. John’s). -died Mar. 22, at S. |died 1786, bap. | -1798, aged 17, Alkmund’s, |bur. at Nov. 2, 1786,| -bur. at S. died Sep. 6th,|Spondon, April died 1830, at| -Alkmund’s, bur. Sep. 11, |29, 1834. Hamilton, | -March 27. 1819, at | Bermuda, bur.| - Arnold Church,| January 3. | - Notts. | | - Issue. Issue. -</div> - - -<p class="transnote">Transcriber’s Notes:<br /> - -1. Obvious printers’, spelling and punctuation errors have been -silently correct.<br /> - -2. Where appropriate, original spelling has been retained.</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE LIFE AND WORKS OF JOSEPH WRIGHT, A.R.A, COMMONLY CALLED "WRIGHT OF DERBY" ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - -</body> -</html> diff --git a/old/66201-h/images/big_left_bracket.png b/old/66201-h/images/big_left_bracket.png Binary files differdeleted file mode 100644 index 22a90a7..0000000 --- a/old/66201-h/images/big_left_bracket.png +++ /dev/null diff --git a/old/66201-h/images/big_right_bracket.png b/old/66201-h/images/big_right_bracket.png Binary files differdeleted file mode 100644 index ce6eb7c..0000000 --- a/old/66201-h/images/big_right_bracket.png +++ /dev/null diff --git a/old/66201-h/images/cover.jpg b/old/66201-h/images/cover.jpg Binary files differdeleted file mode 100644 index 4137101..0000000 --- a/old/66201-h/images/cover.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-i.jpg b/old/66201-h/images/drop-i.jpg Binary files differdeleted file mode 100644 index e7d0c41..0000000 --- a/old/66201-h/images/drop-i.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-j.jpg b/old/66201-h/images/drop-j.jpg Binary files differdeleted file mode 100644 index a28ef62..0000000 --- a/old/66201-h/images/drop-j.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-o.jpg b/old/66201-h/images/drop-o.jpg Binary files differdeleted file mode 100644 index e52692a..0000000 --- a/old/66201-h/images/drop-o.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-s.jpg b/old/66201-h/images/drop-s.jpg Binary files differdeleted file mode 100644 index ab16d5a..0000000 --- a/old/66201-h/images/drop-s.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-t.jpg b/old/66201-h/images/drop-t.jpg Binary files differdeleted file mode 100644 index 4b6737a..0000000 --- a/old/66201-h/images/drop-t.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-w.jpg b/old/66201-h/images/drop-w.jpg Binary files differdeleted file mode 100644 index e54a57d..0000000 --- a/old/66201-h/images/drop-w.jpg +++ /dev/null diff --git a/old/66201-h/images/drop-y.jpg b/old/66201-h/images/drop-y.jpg Binary files differdeleted file mode 100644 index fcac08c..0000000 --- a/old/66201-h/images/drop-y.jpg +++ /dev/null diff --git a/old/66201-h/images/i_001a.jpg b/old/66201-h/images/i_001a.jpg Binary files differdeleted file mode 100644 index 339f174..0000000 --- a/old/66201-h/images/i_001a.jpg +++ /dev/null diff --git a/old/66201-h/images/i_004.jpg b/old/66201-h/images/i_004.jpg Binary files differdeleted file mode 100644 index e9f295b..0000000 --- a/old/66201-h/images/i_004.jpg +++ /dev/null diff --git a/old/66201-h/images/i_004fp-large.jpg b/old/66201-h/images/i_004fp-large.jpg Binary files differdeleted file mode 100644 index 19cb553..0000000 --- a/old/66201-h/images/i_004fp-large.jpg +++ /dev/null diff --git a/old/66201-h/images/i_004fp.jpg b/old/66201-h/images/i_004fp.jpg Binary files differdeleted file mode 100644 index 74db955..0000000 --- a/old/66201-h/images/i_004fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_010fp.jpg b/old/66201-h/images/i_010fp.jpg Binary files differdeleted file mode 100644 index 58501c4..0000000 --- a/old/66201-h/images/i_010fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_026fp.jpg b/old/66201-h/images/i_026fp.jpg Binary files differdeleted file mode 100644 index 2fbbcec..0000000 --- a/old/66201-h/images/i_026fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_031.jpg b/old/66201-h/images/i_031.jpg Binary files differdeleted file mode 100644 index 306d9ad..0000000 --- a/old/66201-h/images/i_031.jpg +++ /dev/null diff --git a/old/66201-h/images/i_042.jpg b/old/66201-h/images/i_042.jpg Binary files differdeleted file mode 100644 index beb26f4..0000000 --- a/old/66201-h/images/i_042.jpg +++ /dev/null diff --git a/old/66201-h/images/i_042fp.jpg b/old/66201-h/images/i_042fp.jpg Binary files differdeleted file mode 100644 index 431d53c..0000000 --- a/old/66201-h/images/i_042fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_046.jpg b/old/66201-h/images/i_046.jpg Binary files differdeleted file mode 100644 index 9a78a91..0000000 --- a/old/66201-h/images/i_046.jpg +++ /dev/null diff --git a/old/66201-h/images/i_051.jpg b/old/66201-h/images/i_051.jpg Binary files differdeleted file mode 100644 index c7bfbb0..0000000 --- a/old/66201-h/images/i_051.jpg +++ /dev/null diff --git a/old/66201-h/images/i_054.jpg b/old/66201-h/images/i_054.jpg Binary files differdeleted file mode 100644 index 17f3802..0000000 --- a/old/66201-h/images/i_054.jpg +++ /dev/null diff --git a/old/66201-h/images/i_056fp.jpg b/old/66201-h/images/i_056fp.jpg Binary files differdeleted file mode 100644 index 14b4566..0000000 --- a/old/66201-h/images/i_056fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_068.jpg b/old/66201-h/images/i_068.jpg Binary files differdeleted file mode 100644 index f052690..0000000 --- a/old/66201-h/images/i_068.jpg +++ /dev/null diff --git a/old/66201-h/images/i_068fp.jpg b/old/66201-h/images/i_068fp.jpg Binary files differdeleted file mode 100644 index 81f28a7..0000000 --- a/old/66201-h/images/i_068fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_075.jpg b/old/66201-h/images/i_075.jpg Binary files differdeleted file mode 100644 index 3e52f1d..0000000 --- a/old/66201-h/images/i_075.jpg +++ /dev/null diff --git a/old/66201-h/images/i_077.jpg b/old/66201-h/images/i_077.jpg Binary files differdeleted file mode 100644 index 5cf2ad1..0000000 --- a/old/66201-h/images/i_077.jpg +++ /dev/null diff --git a/old/66201-h/images/i_077a.jpg b/old/66201-h/images/i_077a.jpg Binary files differdeleted file mode 100644 index adeb10c..0000000 --- a/old/66201-h/images/i_077a.jpg +++ /dev/null diff --git a/old/66201-h/images/i_078.jpg b/old/66201-h/images/i_078.jpg Binary files differdeleted file mode 100644 index 5a96cfd..0000000 --- a/old/66201-h/images/i_078.jpg +++ /dev/null diff --git a/old/66201-h/images/i_084.jpg b/old/66201-h/images/i_084.jpg Binary files differdeleted file mode 100644 index 616502e..0000000 --- a/old/66201-h/images/i_084.jpg +++ /dev/null diff --git a/old/66201-h/images/i_084fp.jpg b/old/66201-h/images/i_084fp.jpg Binary files differdeleted file mode 100644 index 2c01136..0000000 --- a/old/66201-h/images/i_084fp.jpg +++ /dev/null diff --git a/old/66201-h/images/i_103.jpg b/old/66201-h/images/i_103.jpg Binary files differdeleted file mode 100644 index 85db69c..0000000 --- a/old/66201-h/images/i_103.jpg +++ /dev/null diff --git a/old/66201-h/images/i_104.jpg b/old/66201-h/images/i_104.jpg Binary files differdeleted file mode 100644 index f727921..0000000 --- a/old/66201-h/images/i_104.jpg +++ /dev/null diff --git a/old/66201-h/images/i_106.jpg b/old/66201-h/images/i_106.jpg Binary files differdeleted file mode 100644 index bb41f17..0000000 --- a/old/66201-h/images/i_106.jpg +++ /dev/null diff --git a/old/66201-h/images/i_107.jpg b/old/66201-h/images/i_107.jpg Binary files differdeleted file mode 100644 index 3948682..0000000 --- a/old/66201-h/images/i_107.jpg +++ /dev/null diff --git a/old/66201-h/images/i_108.jpg b/old/66201-h/images/i_108.jpg Binary files differdeleted file mode 100644 index a90eca0..0000000 --- a/old/66201-h/images/i_108.jpg +++ /dev/null diff --git a/old/66201-h/images/i_112.jpg b/old/66201-h/images/i_112.jpg Binary files differdeleted file mode 100644 index b060b2c..0000000 --- a/old/66201-h/images/i_112.jpg +++ /dev/null diff --git a/old/66201-h/images/i_113.jpg b/old/66201-h/images/i_113.jpg Binary files differdeleted file mode 100644 index 7825627..0000000 --- a/old/66201-h/images/i_113.jpg +++ /dev/null diff --git a/old/66201-h/images/i_frontispiece.jpg b/old/66201-h/images/i_frontispiece.jpg Binary files differdeleted file mode 100644 index 82ac792..0000000 --- a/old/66201-h/images/i_frontispiece.jpg +++ /dev/null diff --git a/old/66201-h/images/i_title.jpg b/old/66201-h/images/i_title.jpg Binary files differdeleted file mode 100644 index 57f516d..0000000 --- a/old/66201-h/images/i_title.jpg +++ /dev/null |
