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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. 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