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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..becf1c0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69228 (https://www.gutenberg.org/ebooks/69228) diff --git a/old/69228-0.txt b/old/69228-0.txt deleted file mode 100644 index a6cab40..0000000 --- a/old/69228-0.txt +++ /dev/null @@ -1,1882 +0,0 @@ -The Project Gutenberg eBook of George Romney, by Rowley Cleeve - -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: George Romney - -Author: Rowley Cleeve - -Release Date: October 24, 2022 [eBook #69228] - -Language: English - -Produced by: Al Haines - -*** START OF THE PROJECT GUTENBERG EBOOK GEORGE ROMNEY *** - - - - - - - -[Frontispiece: MRS. ROBINSON AS "PERDITA."] - - - - Bell's Miniature Series of Painters - - - GEORGE ROMNEY - - BY - - ROWLEY CLEEVE - - - - LONDON - GEORGE BELL & SONS - 1908 - - - - - First Published, 1901. - Reprinted, 1904, 1908. - - - - -TABLE OF CONTENTS - - -The Life of George Romney - -Lady Hamilton - -The Art of Romney - -Our Illustrations - -The Chief Works of Romney - -Some of the Chief Books on Romney - -Chronology - - - - -LIST OF ILLUSTRATIONS - - -Mrs. Robinson as Perdita ... _Frontispiece_ - -The Countess-Duchess of Sutherland - -The Parson's Daughter - -Lady Hamilton - -Children Dancing in a Ring - -Mrs. Mark Currie - -The Clavering Children - -George Granville, afterwards Duke of Sutherland - - - - -THE LIFE OF GEORGE ROMNEY - -George Romney was a Cumberland lad, born in 1734, of parents who were -in humble circumstances living at Dalton in the Fells. - -His father was an ingenious man who lived on his own farm as a -yeoman, but who followed also the pursuits of a joiner and -cabinet-maker, and who was one of the first persons in the north to -see and make use of the newly imported wood mahogany, from which he -made a chest of drawers out of a sailor's chest brought from the West -Indies. - -Romney inherited much of his father's ingenuity, and as a lad set -about making a fiddle, which he completed in later years and retained -all his life. It was a sound instrument of really good tone, and the -artist himself played well upon it. - -As a lad Romney was sent to a small local school; but he made very -slight progress with his studies, and preferred to spend his time in -sketching or in copying the pictures that he found in papers or books. - -His father, finding that he was making so little progress, took him -away from school before he was eleven, and placed him in his own -workshop, where he soon began to learn how to ply the tools and to -make a creditable use of his new accomplishment. - -Still, however, his spare time was filled up by painting, and he made -very careful copies of the illustrations in a monthly magazine which -one of his father's workmen, who boarded in the house, lent him -regularly as it appeared. - -He was also asked by a person in the village to paint her portrait, -and succeeded in performing the commission in so creditable a way, -that it was quite clear to the elder Romney that his son was intended -by nature to be an artist. - -Accordingly, yielding to the persuasions of the lad himself, backed -up as they were by those of many friends, he took steps to apprentice -him to an itinerant painter, who was at that time in their -neighbourhood, named Steele. - -Here he was employed in the more menial work of the craft, grinding -colours and preparing the palette; but Steele, although a poor -painter himself, had been well trained in Paris, and was able to -teach his young pupil much that was of the greatest use to him in his -after career. - -Steele afterwards eloped with a young lady who was one of his pupils, -and Romney had to assist him in his arrangements. They were -difficult, and involved a vast amount of trouble and exposure to -night air at a time when the youth was far from strong; and after the -gay couple had escaped to Gretna Green, Romney fell ill of a fever, -and was nursed by a domestic servant named Mary Abbott. With this -young person the artist fell violently in love, and on recovering -from his illness married her on October 14th, 1756, when only -twenty-two years old, and without any means of his own on which to -live. - -He had to leave his wife very soon after marriage, as Steele had gone -to York, where he expected Romney to join him; but after a while the -roving life that his master led, and his improvident habits and -constant difficulties as to money, disheartened Romney, and he agreed -with Steele that, if he would cancel his indenture, Romney would -forgive him a debt that he had incurred of £10 from the young -apprentice. - -This course was adopted, and Romney returned to Kendal, where his -wife had been residing. - -Here he commenced his own work as a portrait-painter, and from at -first painting signboards he soon became known as a clever worker, -and was employed by the persons of quality in the neighbourhood to -paint their portraits. - -Many of the neighbouring landowners employed him, and at this time -the artist set about painting historical scenes also and landscapes, -in order to turn his time to profitable account. Many of these he -sold at Kendal Town Hall by a system of lottery that was then very -popular. - -By such work the young couple were enabled to save £100, and with -some of this money Romney determined to make his way up to London, as -he felt that the limited scope that he had in the north was cramping -his powers and that he was capable of greater things. - -He had but two children, a son and a little daughter, and his wife, -who loved him profoundly, was quite prepared to sacrifice herself in -order that her husband might prosper. Therefore, taking with him but -£30 of their joint savings, and leaving the remainder for her and the -children, Romney left his native county for the great and distant -city on March 14th, 1762. - -The little daughter whom he left behind him died in the following -year, and Mrs. Romney, with her son, removed to the house of her -father-in-law, John Romney, with whom she continued to live. - -During the whole time of his sojourn in London, which, with the -exception of brief visits in 1767 and 1779, lasted till 1799, Romney -appears to have continued on terms of the closest affection with his -wife, and to have remitted to her constantly such sums of money as -she required; but he never brought her up to London, and, as has been -stated, only visited her in Kendal twice during the thirty-seven -years which he spent in London. - -This is the incident in the life of the artist upon which much stress -has been laid by malevolent writers, and hard things have been said -without number about Romney for his so-called desertion of his wife. - -It must be remembered, however, that Romney's son and biographer does -not say any hard things about his father in this matter, nor does he -upbraid him for leaving his wife far away in the Fells. Mrs. Romney -did not write letters of expostulation to her husband, or demand that -she should be brought up to London; and when her husband returned to -her as an invalid, she received him lovingly and nursed him with -great devotion till his death. She in no way suffered pecuniary loss -by his absence, as he regularly sent sums of money to her; and when -their son was old enough to come to town, Romney had him to his -house, treated him with the greatest affection, and took him about -with him. - -Surely it ill beseems those who consider the life of this gifted -artist so to condemn his action, when those who were the ones best -fitted to blame him specially abstained from doing so! - -Mrs. Romney, be it remembered, came of very humble parentage, and was -a homely person of but slight education. She appears to have had her -own circle of friends in the places where she lived, to have been a -person of simple tastes, not anxious to mix in the world of fashion -or to receive its comments and its sneers. She would have been in -all probability unhappy in London, have in no wise enjoyed the life -that her husband lived, and have been an encumbrance to him and a -clog on his progress; and Romney very possibly feared to expose her -simplicity to the contempt of the people of fashion whom he met and -whose portraits he painted. - -She may have desired to avoid such society and have preferred her -quiet at home, and it may have been a refinement of kindness on his -part which led him to shelter her from the troubles which he knew -would await her in London. - -There is nothing which, with any degree of accuracy, can be stated -against the moral character of Romney whilst he was away from her, -and all such charges against him fall to the ground by reason of the -absence of proof, and it seems clear that it was no such cause that -kept him from sending for his wife. Even the reports as to Romney -and Lady Hamilton, to which reference is made in a succeeding -chapter, are gainsaid by the letters of Lady Hamilton herself which -are in the Morrison collection, and no one has ever been able to -produce one single piece of evidence in support of the statements -that have been too wildly made. Mrs. Romney from the very first -showed her deep attachment to her husband by sacrificing herself for -his advancement; and she continued, as her letters show, throughout -her life, to act in the same way for him, and to give him her deepest -and tenderest affection: and we are therefore justified in accepting -as normal a state of affairs as to which the chief persons concerned -made no complaint, and in declining to attribute to the artist any -unworthy motives for his conduct. - -Romney did not come to London provided with references or -introductions, nor with much money, and the consequence was that for -the first ten years of his life in town it was a struggle for him to -do any more than keep himself and remit small sums to his wife in -Kendal. - -He seems to have known only two persons in London, neither of whom -was in a position to do much to assist him. - -His first important effort proved a disappointment to him in its -result. He competed for a premium offered by the Society of Arts, -and his picture of _The Death of General Wolfe_, sent in 1763, -received the second prize of fifty guineas. Later on, however, it -was stated that the picture was not painted at all by this unknown -artist, but by someone else, and that a fraud had been practised; and -then, when that was disproved, the costume of the picture, which was -not the usual one adopted at the time, was objected to; and it was -further claimed that the event was not strictly historical, having -only so recently happened. The prize was accordingly taken away from -Romney; but, in consideration of the merits of the work, an -_ex-gratia_ payment was made to the artist by the Council of the -Society of twenty-five guineas. The leading artists of the day had -in this way given a slight to this new-comer which he never in after -years forgot. - -Whether, as has been stated, Sir Joshua Reynolds was at the head of -this movement to crush the young artist we cannot tell; but it seems -likely that the bitter jealousy which existed between the two men in -after years, and which Reynolds never lost an opportunity of -increasing, took its rise at this time, and certain it is that -Reynolds hated to hear Romney praised, and was ever ready to say and -do things that would annoy and irritate his rival. - -Romney had always been convinced that the study of the great artists -of the Continent was needful for him before he would be able to -accomplish what he felt was within him, and he made every effort to -get to Italy in order to study the Old Masters. - -At this time he was unable to accomplish his cherished desire for -want of funds, but he saved all that he could, and contented himself -with a journey to Paris. - -Here he copied all the works that appealed strongly to him, and spent -every hour of his time in visiting galleries and churches and -feasting his eyes on the treasures which they contained. His -acquaintance with Vernet was of great service to him at this issue. - -On his return to London after some seven weeks' absence he again set -valiantly to work, and in 1765 carried off a premium from the Society -of Arts of fifty guineas against all his competitors. - -Then, in 1767, he went down to see his wife, and when he returned to -London he brought with him his brother Peter, hoping to be able to -assist him in some measure. Peter was not, however, steady or -industrious, and, although he sat to his cleverer brother more than -once, he did not remain with him long, but drifted away and -eventually settled down to a more or less precarious life in -Manchester. - -Romney now made close friends with Richard Cumberland, who was known -at that time as a writer of odes and a man of no small literary -grace. Cumberland wrote about his new friend and also introduced him -to many other persons, and in this way the artist obtained -commissions for portraits from several notable personages. - -Another important friend whom he made at this time was the -miniature-painter Ozias Humphrey, with whom he made several -excursions, and who was one of his closest friends for many years. - -Two more efforts he made at this time to visit Italy, which was ever -the goal of his desire; but on neither occasion was he able to start. -The death of a friend on one occasion and his own serious illness on -another prevented his leaving England, but in 1773 the long-desired -visit took place. - -The two friends, Romney and Humphrey, set out on March 20th, and -after resting at Knole, near Sevenoaks, as the guests of the Duke of -Dorset, to whom both artists were well known, they left England by -water and arrived in Rome on June 18th. - -He was provided this time with the best of introductions, especially -bearing with him a letter to the reigning Pope Clement XIV., who -received him most graciously, and allowed him to have scaffolding -specially erected in the Vatican that he might study the works of -Raphael. - -Other introductions which the artist took with him were from Sir -William Hamilton and his nephew Greville. - -Romney was not yet a man of any means, and he supported himself -whilst in Rome by painting portraits and some historical works, and -by copying the great masterpieces which he found in the Eternal City; -but he had to make every effort to be economical, as his pictures did -not meet with a ready sale in Italy, and he desired to visit many -other cities whilst in the country besides Rome. - -He actually did see Venice, Bologna, Florence, Padua, Castel-franco, -and even some of the smaller cities, as Modena, Reggio and Mantua. -Then he slowly made his way back to England by way of Aix and Paris, -arriving in London after two years' absence in high spirits, full of -ideas, and overwhelmed with enthusiasm for all he had seen, but in a -pecuniary condition poorer than he had ever been in his life. - -He had, in fact, had to borrow money to carry him through France, and -almost to starve himself in his journey, as his small means had long -ago vanished, and he had withdrawn all the money that he had banked -ere he left Italy. - -When he arrived he was met by demands for immediate assistance on the -part of his clever but ne'er-do-well brother Peter, but was for the -moment unable to assist him. - -He found, however, that his own fame had increased during his -absence, and the demand for work from his brush was considerable, so -much so that he was overwhelmed with the commissions that flowed in. - -He felt now that he was in a position to take a larger house in a -more fashionable neighbourhood than he had possessed before; and -accordingly, as Francis Cotes, R.A., the painter in pastel, had died, -and his house in Cavendish Square was still vacant, Romney took it -and moved in on Christmas Day, 1775. - -Cotes had died in 1770, and the sale of his effects took place in -February, 1771; but after that the house stood vacant for a long -time, and when Romney took it needed some considerable repair. - -Romney had ever a fondness for bricks and mortar, and was delighted -at the prospect of altering and adding to the house. - -He bought the lease, which had some thirty years to run, and was -subject to a rental of £105 per annum; and, although there was -already a good studio attached to the premises in the form of a -double room with sky-light and domed ceiling, yet the artist must -needs set about building another and adding to the accommodation of -the house, and so again exhausting his savings. - -He also foolishly declined many of the commissions sent him, because -he did not possess a studio which was, according to his ideas, fit -for the reception of his clients, and in this way an idea got about -that he was not desirous of doing any more work. The public taste -accordingly veered round, and for a short time Romney found himself -deserted by the crowds of would-be-sitters who had just before poured -in upon him. - -Then the Duke of Richmond, who had befriended the artist before, and -had opened his gallery of sculpture to his use at any time, looked in -upon him at his new residence and gave him several commissions, -besides bringing with him many of his own friends, and was delighted -to have the artist for a while practically to himself and his own -circle of acquaintance. This turned the tide once more in the -artist's favour, and prosperity never again deserted him. - -[Illustration: ELIZABETH, COUNTESS-DUCHESS OF SUTHERLAND.] - -He now became the serious rival of Reynolds, who spoke of him in -slighting manner as "the man in Cavendish Square," pretending, with -studied insult, to have entirely forgotten his name. - -All the world of fashion and wealth sat to the artist, and his list -of portraits reads like a page from the fashionable gazette of the -day, including as it does all the persons who were then well known in -town and who constituted the cream of society. - -The opportunity now arose for Romney to show how indifferent he was -to the slights and contempt of his fellow-artists who ranged -themselves around Sir Joshua. - -The Royal Academy had at this time sprung into being, and its members -desired to include all the chief artists in their ranks, and to show -that those outside their membership were not worthy of attention. -All their efforts, however, to include the name of the most -fashionable artist of the time, or to hang his pictures on the walls -of the exhibition, were in vain. - -Romney was begged by his great friend Jeremiah Meyer, one of the -leading miniature-painters and an original member of the new Academy, -to come within its shelter. He was also approached by Mrs. Moser, by -Humphrey, and by Angelica Kauffmann, all of whom desired him to -exhibit his works. But it was in vain, and never did Romney send a -single picture to the exhibitions of the Royal Academy. He -completely ignored it, would not suffer it to be mentioned in his -presence, considered that it was not worthy of any recognition, and -went on painting pictures of all the loveliest women of society, but -declining to allow a single one of them to be shown in the -exhibitions of the Academy. - -This determination was partly dictated, no doubt, by modesty, as -there is every evidence that Romney was a modest, retiring, shy man, -and even at the very zenith of his fame was not found in the -brilliant society in which the President delighted. He was fond of -his home and of his son, and was not a gay but a quiet man; but there -is little doubt that his refusal to share in the glories of the -Academy was also partly the result of his wish to show to those who -had been bitter and who were still jealous of his fame that he was -quite able to stand alone, and did not require the aid of any Academy -to render his works popular or to enhance his fame. - -The determination cost him the patronage of the Court and of a -certain select group of persons who followed the lead of the King and -did not select for themselves, but it is probable that in the long -run the artist did not really suffer thereby. - -He was a self-respecting and unassuming man at all times, and was not -in the habit of forcing his way into any society or of appealing for -commissions from his friends. - -No flattery escaped his lips, no adulation of those who could assist -him by their introductions and so render him the aid which he -required; and in all these ways he was the reverse of those who were -around him, and who used every artifice to bring themselves into -popular notice and shrank from no ignoble effort to obtain patronage. - -In 1779 he seems to have paid one of his infrequent visits to his -wife in Kendal, and to have refreshed himself by a sight of his -native county; but he was soon back again and hard at work. - -It was perhaps at about this time that he first made the acquaintance -of William Hayley, a poet, who had a great celebrity at that time, -but whose chief work, "The Triumphs of Temper," is now never read. - -The influence of this man upon Romney was not good, and of it his -son, the Rev. John Romney, in after years spoke with much bitterness. -Romney was, as has been already stated, fond of building work, and -pleased to see an opportunity of increasing a house or studio; and -this propensity of his was encouraged by Hayley, who loved to make a -sensation and to live in a large house; and although Hayley was fond -of Romney and brought him many commissions, yet on the whole the -judgment of later days is certainly to the effect that it would have -been better for Romney if he had never met this attractive friend. - -For over twenty years the two men continued fast friends, and Romney -used often to go down to stay with Hayley at Eartham, near -Chichester, and spent some weeks during each autumn with him. He -decorated part of the house, painting some delightful pictures to be -placed in the new library that Hayley built; and he met there many -pleasant friends, amongst whom were the poet Cowper and his friend -Mrs. Unwin, in connection with whom is the chief claim that Hayley -has for remembrance, and also the young sculptor Flaxman, for whom -Romney acquired a deep friendship. - -Hayley was a man of fine taste, personal fascination and amiability, -and fond of associating with men of culture and quality; and it is -for his friends rather than for any work that he himself did that his -memory is kept in honour. Romney is said to have first met him when, -returning from Kendal, he stopped awhile at Tabley as the guest of -Sir John Leicester; and, as they were all of them great admirers of -Pope, the acquaintance began which lasted for so many years, brought -them into contact with Cowper and with Gibbon, and eventually made -Hayley one of the biographers of Romney. - -In 1790 Romney again went to Paris, this time accompanied by his -friend Hayley and by the Rev. Thomas Carwardine, whose portrait he -had painted. - -They were well received in that city, and visited many of the chief -galleries, with introductions from the English Ambassador, who at the -time was Lord Gower, afterwards second Marquess of Stafford and first -Duke of Sutherland. - -During this visit Hayley is said to have obtained the first of -several loans that he got from Romney and never repaid. In this case -it was £100. - -On his return to London he was again almost overwhelmed with work, as -more than ever he had become the fashion, and his portraits were -desired by all who could afford to sit to him. The strain, however, -of such constant work was beginning to tell upon the artist, who by -this time was sixty years old, and he was glad of any excuse to leave -town for a while to rest himself in the country. - -He took a little cottage at Hampstead, to which he could retire for -quiet; he stayed more and more with Hayley at Eartham, desiring some -of his clients to come to him there, that in the quiet of that -restful spot he might do fuller justice to their charms than he was -able to do amid the turmoils of London life. - -Whilst there he often rode over to Petworth, where he was painting -portraits for Lord Egremont, and in these ways he got the country air -and rest that were out of the question when he was in town. He did -not, however, improve in mental vigour; but the old mania for -building came on with greater force than ever, and unfortunately -Hayley did not scruple to encourage it for his own ends. - -[Illustration: THE PARSON'S DAUGHTER.] - -In 1796 he was found one day by his son busy with extravagant ideas -and designs for a great mansion in Edgware Road, and it was only the -fact that his son was able to point out the folly of such an idea -which dissuaded him from its accomplishment. The proposed purchase -was eventually broken off, and Mr. John Romney records in his volume -most gratefully his thankfulness to the solicitor, who behaved very -handsomely in this matter. - -Romney was, however, determined to leave Cavendish Square, and, -acting on the advice of his son to buy a ready-built house rather -than to erect one, he purchased an old dwelling-house near Holly Bush -Hill, Hampstead, now identified with that known as The Mount, Heath -Street, Hampstead, close to where he had been in the habit of lodging -for some little while, and where he found the quiet and retirement -which he desired. - -This happened in 1796, and Romney let the residence in Cavendish -Square and went to reside at Hampstead. - -The accommodation did not, however, content him, and he acquired two -copyhold plots of ground at the back of the house, on which he -forthwith erected what Hayley describes as "a singular fabric," but -which Cunningham calls a "strange new studio and dwelling-house." - -He adds that it "cost £2,733, and was an odd whimsical structure, in -which there was nothing like sufficient domestic accommodation, -though there was a wooden arcade for a riding house in the garden, -and a very extensive picture and statue gallery." - -There is little doubt that this structure forms part of what is at -present the Constitutional Club, the large room being Romney's -picture gallery, although considerable additions have been made to -the building. - -In 1798 he had sold his London house to Mr., afterwards Sir Martin -Shee, and, as this strange structure was ready, he moved into it, and -let off to a Mrs. Rundell the old adjacent house in which he had been -residing. - -The new "whimsical" structure was not really complete when the artist -went to live in it. The walls were not dry, the roof let in water; -but the artist insisted on moving into his fanciful residence, and on -taking with him the vast stock he had of his own pictures and those -by other artists which he had collected. - -Many of them were quickly injured by the damp of the house, and -others by being placed in the open arcade; and Flaxman in a letter -records the distress that he felt at seeing so fine a collection of -works perishing. - -Romney was now more than ever under the influence of Hayley, which -was being used to its full and baneful extent, and other persons were -taken into the house on the advice of the poet to assist the artist -and to look after him, who were all more or less creatures of Hayley. - -Hayley was considerably in Romney's debt, and was anxious, it is -clear, that no one of repute should look into the affairs of the -painter, but that his influence should reign supreme. - -In 1798, however, Romney broke away from this state of affairs, and, -accompanied by his son, who was devoted to him, and whose absence at -his religious duties was the only reason which prevented his dwelling -always with the artist, visited the north of England, not, however, -as far as can be ascertained, going to Kendal. - -A pleasant holiday was spent in the Lake district, but the mental -vigour of the old artist did not gain much increase of strength by -the change, and when he returned to London his health had completely -broken down. - -The following year he was again at Eartham with Hayley, but for the -last time. Hayley's good nature towards his friends, his extravagant -habits and his luxurious life, combined with utter neglect of -monetary matters, had brought about the necessity for stern -retrenchment, and Eartham was to be sold. He removed to Felpham, -where he built a cottage near the sea, and there he and his son -resided till the death of the latter, shortly afterwards; but at the -earnest advice of Flaxman and his wife, coupled with the entreaties -of his son, Romney went north back again to his wife, of whom he had -seen so little for many years. She received him gladly and with open -arms, and nursed him to the end with the most touching tenderness. - -The last event of his life was the return from India of his brother, -Colonel James Romney, to whom he had always been greatly attached, -and for whom he had suffered some privations in order that the -requisite sum needful for the Colonel's advancement might be sent him -many years before. - -The aged artist was, however, hardly able to recognize his beloved -brother. He soon afterwards became completely childish in mind, and -never again regained his intellectual powers. - -[Illustration: EMMA, LADY HAMILTON.] - -He died on November 15th, 1802, at the age of sixty-eight, passing -away in the arms of his wife, who devoted herself entirely to him up -to the moment of his death. She survived him for many years. - - - - -LADY HAMILTON - -In any consideration of the life and art of George Romney, however -brief, it is impossible to leave out the name of Lady Hamilton, as -she was so constantly painted by him. - -It will be well, therefore, for a short section of this little book -to be devoted to a story of the life of this fascinating person, who -was fated to exercise so strong an influence upon the painter. It is -hardly possible for the most imaginative romancer to tell a story -more chequered in its events, more thrilling in its emotions, and -more sad in its end. - -Emma Lyon was the daughter of a smith in Cheshire, a humble man, who -died in 1761, after a very short married life, and left his widow and -infant daughter wholly without support. - -The widow moved at once from Neston, where her husband had died, to -Hawarden, her native place, and here by the aid of her relatives, -almost equally poor with herself, she managed to bring up her child -and send her to a dame's school in the village. - -When about twelve Emma went as nursery-maid to the family of a Mr. -Thomas, a doctor of Hawarden, whose son afterwards became an eminent -surgeon. - -At sixteen she left and came to London, and became housemaid to a -tradesman in St. James's Street; and then later on, probably in 1778, -became nursemaid in the family of another doctor, one Dr. Budd, a -physician in St. Bartholomew's Hospital. - -From here she migrated out to the west end, taking a place as -lady's-maid in the house of a lady of fashion whose dwelling was a -favourite resort of the gayest persons of the day, and where she had -ample opportunity of reading as many books as she desired, of -dressing in a style which made her more attractive, and of receiving -a great deal of praise for her beauty and the quality of her voice. - -The first slip which she made in her career was occasioned by her -going to plead with Admiral Payne for the release of a cousin who had -been forcibly pressed into the navy, and whose family were, without -his assistance, unprovided for. Emma undertook this mission out of -good nature and gained her petition; but in return the admiral, who -was much struck by the beauty of her face, became her suitor, and she -entered his house as his mistress. This life lasted for a very short -time, as a wealthy baronet, Sir Harry Featherston, who visited -Admiral Payne, begged her to leave him and come to Up Park as its -mistress. - -The admiral, who was shortly going on board his ship, consented to -part with the fair Emma, who was much attached to her latest lover, -and she went off with Sir Harry to Up Park, where she resided in the -midst of every luxury for some months. Here she learned to ride on -horseback, and succeeded in attaining to great proficiency in this -accomplishment. - -The affection, however, shown her by Sir Harry Featherston, lasted -but a short time, and soon he began to weary of his toy. He brought -his mistress to London, but was ashamed to let her be seen with him -in public, and so gradually neglected her; and at the end of 1781 -they separated, as Emma was not one to put up tamely with neglect, -and was ambitious of yet greater conquests. They always remained -friends, and corresponded to the end of their days; but another field -of opportunity was now opening, and Emma was ready to avail herself -of it. - -The notorious and unscrupulous quack Dr. Graham was at that time in -the height of his fame, and he had opened in 1779 his so-called -Temple of Health in the Adelphi. - -He was on the point of removing to more important premises when Emma -Lyon left Up Park, and when, therefore, the Temple of Hymen, as the -new imposture was named, was opened at Schomberg House, Pall Mall, in -the residence afterwards occupied by Richard Cosway, R.A., and by -Gainsborough, it was Emma Lyon who, as Hebe and the model of perfect -beauty, health and happiness, was one of the greatest attractions of -the place. - -This wonderful woman, who was so lovely in face and form, and was -withal so graceful in attitude, exhibited herself at the command of -the quack in the most becoming of costumes of light drapery, posing -as a goddess and attracting numerous admirers. Her beauty drew to -the exhibition many of the noted painters and sculptors of the day, -who were anxious to perpetuate the features and form of the fair -Emma, and to draw her in the attitudes and characters which she so -cleverly assumed. - -She had no compunctions as to what character she assumed, whether it -was Venus or a Bacchante, provided that she was admired and received -the praise which was the very breath of her existence. - -It was, however, only for a short time that she remained with Dr. -Graham, as Mr. Charles Greville, the second son of the Earl of -Warwick, to whom all her past history was unknown, and who fondly -imagined that she was, as she represented herself to be, a paragon of -virtue, fell deeply in love with her, and after a while gained her -affection in return. - -Greville was a man of the most cultivated taste, and he set about the -education of the fair Emma with great zeal, training her in music, in -dancing, in the love of the fine arts, and in the duties and -accomplishments that befitted her new position. - -He found out, after a short time, that she loved to be admired, and -was ready to do anything that would obtain for her that -gratification; but so successful was she in retaining her conquest of -the man who appears to have honestly loved her, that for many years -they lived together with considerable apparent affection on both -sides. - -When with Greville she sent for her mother, who from that moment and -for some twenty years remained with her, assuming first the name of -Cadogan, and then later on that of Hart, and she conducted herself -with so much propriety that when Greville died he left her an annuity -of £100 per annum. - -Emma was now known as Mistress Hart, and it was under that name that -Greville first introduced her to Romney in 1782, when he was himself -sitting to the artist for his portrait. - -During all the time when she first sat to Romney she was living with -Greville and was attached to him, and there is absolutely no evidence -whatever that the relationship between her and the artist was any -other than that of a beautiful and accomplished woman sitting to a -clever artist in numerous delightful scenes and characters. - -Few works in which she is represented are more beautiful than the -_Circe_, in which her fair girlish form is seen advancing toward the -spectator full of the knowledge of that power of fascination that she -had in so supreme a degree. - -In 1784 another set of circumstances came into play. Greville had -been extravagant in his method of living, and his affairs were -somewhat embarrassed. He had seen a lady of quality with ample means -whom he had thoughts of marrying; and at this moment his uncle, Sir -William Hamilton, who was Ambassador to the King of Naples, arrived -in London upon a long leave of absence. - -Sir William was fascinated by the mistress of his nephew, and a -curious agreement seems to have been entered into between the two -men. Greville gave up his mistress to his uncle on the understanding -that he took her to Naples, provided securities for the payments of -Greville's debts, and made such arrangements as to his property as -constituted Greville his heir. - -Sir William was, on his part, to provide properly for Emma, who, with -her mother, was to follow him to Naples under the excuse that she -might there complete her training in music and singing under his -care, and return to Greville when his means allowed him to provide -for her. - -She appears to have left England in complete ignorance that she had -been transferred to Sir William Hamilton, and, from her pathetic -letters to her old lover, to have been most anxious to leave Naples -and return to him. - -This was, however, impossible, and Greville, who was, it is clear, -attached in some measure to her, and somewhat ashamed of his part in -the bargain, had to make it clear to her that their connection was at -an end, and that she had better yield to the persuasions of his -uncle. Eventually she did so, but later on, in 1791, prevailed upon -him to marry her, and they were married at Naples. - -He then brought her back to London, as it was needful that she should -be married according to the rites of the Church of England and -presented at Court in order that she should take the position that -was now rightfully hers as the wife of an English ambassador; and -accordingly they were again married, and this time in Marylebone -Church, on September 6th, 1791. - -Then again she sat to Romney as _Joan of Arc_, as _Cassandra_ and as -_The Seamstress_, before she returned to Naples as Lady Hamilton. - -Into the long history of her life in Naples there is no need to enter -in these pages, nor to relate the story of the attachment which, as -the wife of Sir William Hamilton, she formed for Nelson. She -exercised great influence and power at Naples during the war, and was -of the greatest assistance to Nelson, who for her sake deserted and -cast off his wife, and entered into a close connection with Lady -Hamilton, who was, it is clear, the mother of his child Horatia. - -After the recall of the ambassador when the conduct of his wife had -become notorious, Nelson took up his residence in the same house as -that occupied by the Hamiltons; and when Sir William died in 1802 she -went to reside with Nelson at Merton with the distinct understanding -that so soon as Lady Nelson was dead he would make her his wife. - -Nelson, however, died before his wife, and by his will left to Lady -Hamilton certain property; but her extravagant manner of living soon -exhausted her means, and as the nation did nothing of importance for -her, an execution was put in and Merton and all its contents were -sold. She then retired to a smaller house, and later on to lodgings, -but was arrested for debt; and when she was able to do so she left -the country and went to Calais, where, in 1814, she settled down, -first in a farmhouse and then in apartments. - -Her means were by this time greatly reduced, as she had only the -interest of the money settled upon her daughter and the wreck of her -own estate; but, as her daughter stated in later years, although -"certainly under very distressing circumstances, she never -experienced actual want." Her loveliness had left her, the beauty of -her form had given place to corpulence, and it was in distress of -mind and body that she died, attended only by her faithful daughter -and by a rough hired servant, in her lonely apartments in the Rue -Française, Calais, on January 15th, 1815. - -She had some years before become a Catholic, and was at the very last -attended by a priest and was buried with full Catholic rites outside -Calais in the cemetery; but the land has for many years ceased to be -used as a burying-place, and all trace of her grave has been lost. -Her daughter survived her, and as the wife of the Rev. P. Ward died -in March, 1881, at the age of eighty-one years. - - - - -THE ART OF ROMNEY - -Romney is almost exclusively known as a painter of portraits, his -historical scenes attracting but little attention. In their way they -were remarkable, but they were forced in their conception and -over-sentimental in their design, as was the fashion of the day. In -his portraits he struck a much truer note and by them his repute will -stand. - -It is almost impossible, taking into consideration the time in which -he lived, to avoid comparing him with his great rivals Reynolds and -Gainsborough, and perhaps it is well that it should be so, as by -thinking of him in connection with these two men it will be possible -to obtain a better impression of his capabilities and a knowledge of -his faults. - -He was, it is quite certain, a far less important man than -Gainsborough, who must certainly be reckoned as the greatest of the -three. - -He lacked the colour sense that distinguished that great artist; he -was by no means his equal in technical merit; and he had no ability -to produce landscape-work that gave so great a charm to the pictures -of the Sudbury artist. - -The wonderful poetry that streamed from the brush of Gainsborough and -refined all his works, the delicacy, the grace and the sweetness of -his figures are all superior qualities to those which Romney -possessed, whilst as a colourist Gainsborough stood head and -shoulders above both his rivals. - -When we come to draughtsmanship we are, however, on a different -footing, as Romney was the superior both of Reynolds and Gainsborough -in ability to draw with accuracy and truth, and he also surpassed -both of them in the manner in which he obtained his effects. - -Where Reynolds laboured Romney achieved the same effect with the -greatest ease and simplicity; and, in fact, the word "simplicity" may -be taken as the key-word in anything like a critical survey of -Romney's work. - -He was not so varied as was Reynolds. His pictures have a certain -monotony about them which is more apparent than real. It is not that -Romney, as has been unwisely said, made all his women alike, for that -is not so; but the charm that constituted one of the chief merits of -the artist was dependent to a great extent upon tricks of posture, -glance and costume, and, having ascertained what these were, there -was a danger on Romney's part of repeating them. There is further a -certain monotony about his colouring, as he so greatly favoured the -rich golden browns and deep roses that distinguish his best works. - -He was, however, a true artist and could not avoid making his -pictures beautiful. He had a keen sense of beauty, a passionate love -of warm, rich, sunny colour, and when he came to deal with historical -or dramatic scenes a very powerful imagination; but he was careless -and wasteful of his powers, and was so overwhelmed with commissions -that he did not put his best work into many of the pictures that he -painted. They, however, always charm, and they are always pleasing -and generally poetic, although they are in other respects very -frequently open to grave criticism. - -There are instances in which his ability reaches a very high plane. -Some of his portrait figures are really sublime, and the superb -dignity of such portraits as those of Lady Hamilton as _Circe_ and -_Cassandra_ will not be easy to exceed. - -Other important characteristics of this great artist were his love of -children and his ability to paint them in all their brisk childish -humour. The delicious piquancy of the bright little faces, so full -of charm, delight all who behold them, and there is also an -irresistible grace and sweetness about the figures of his children -that is very noteworthy. - -Mark how cleverly he depicts motion, how easily in the Stafford and -Clavering groups of children the young people move, and in what -graceful attitudes the artist has represented them. They hardly -touch the ground as they gracefully glide around through the figures -of the mazy dance, and the happiness of their faces and the grace of -their postures are alike most charming. - -Romney had a very real sense of grace. His ideas were circumscribed -by the fashion for classic attire which ruled the day, and the -delight which his sitters had in being represented, not in their -usual garb and posture, but as some goddess or mythological creation, -and clothed in the robes of Greece or Rome. - -[Illustration: CHILDREN DANCING IN A RING: PORTRAITS OF MEMBERS OF -THE STAFFORD FAMILY.] - -Whatever position or costume, however, he adopted, it was always -graceful, refined and decorous; but some of his sweetest pictures -were those where the simplest of gowns and the most natural of -attitudes were selected, as, for example, _The Seamstress_. - -Lady Hamilton, by her ingenuity in placing herself in the most -becoming and graceful of attitudes, and by the marvellous power of -expression that she possessed, enabling her to show in her -countenance the very thoughts of the creation that she was -representing, delighted Romney, and over and over again he posed her -in various ways, and painted with increasing delight her lovely face. - -She, who lived upon adulation, and desired above all that her beauty -should be admired, was never tired of sitting to the artist who above -all men had the desire and the power to express her features in their -wonderful sweetness, and so the memory of the graceful sitter and -clever artist are handed down together. - -There is no doubt that the fame alike of sitter and artist served to -make more popular the Grecian style of costume seen in the pictures, -and so served to banish the more formal long-waisted style of dress -that had been so popular a short time before. Classic ideas became -more and more the vogue, and to the grace of the drapery is to be -attributed some of the charm of the pictures. Once this was realized -it was not easy for the artist to alter his original suggestion, and -all the great ladies of the day had to be painted in the style that -suited Lady Hamilton, but was not bound to suit the different styles -of beauty of those who desired to follow her example and be painted -by the fashionable artist. - -One of the great advantages which the portraits of Romney have over -those of Reynolds consists in the fact that the colours in them have -stood the test of time. Even in Reynolds's own time the colours were -beginning to fly from many of his works, and it is recorded that, -having displeased the great connoisseur Horace Walpole, by some -disparaging remarks upon a picture of Henry VII. that had been shown -to the President, Walpole had his revenge by saying that Sir Joshua -was not very likely to admire any picture in which the colours had -stood. - -Even Hayley, addressing Sir Joshua in poetry, desires him to "teach -but thy transient tints no more to fly," and so draws attention thus -early to what is the great blemish of the art of the President. - -Romney avoided the constant experiments which were the bane of his -great rival. Reynolds was never satisfied with the result that he -obtained, but desired something finer and richer, and he was -therefore always experimenting with new media, fresh colours and -subtle underpainting, in order to produce some unusually brilliant -effect. Romney was of far simpler mind. He was able to obtain all -the effect he desired in the plainest and most simple means, and, -having found a scheme of colouring which delighted him and a -technique which he considered sufficient, he rested content. - -The use by Reynolds of such ephemeral colours as lake and carmine in -his flesh tints had no attraction for Romney. He was never bitten -with the desire which characterized the President to use bitumen or -asphaltum in his backgrounds and shadows, or to employ wax in his -medium; and by the avoidance of all these pitfalls he was able to -secure for his colours that quality of secure tenure which those used -by the President so lacked. - -Doubtless the search by the President after greater excellence was a -characteristic in his favour, and the regular method adopted by his -rival was not so praiseworthy, but the result has been to the -satisfaction of the present generation; and where the works of -Reynolds are but wrecks of what they once were (especially in the -early and middle parts of his career), albeit they are notable -wrecks, those of Romney are as fresh to-day as when first painted. - -There is also, it must be acknowledged, a greater force and -brilliance in the faces of Romney's sitters than in those of Reynolds. - -The President loved to express the aristocratic composure, the deep -thoughtfulness, the calm placidity of many of his fair women, and the -dignity, reserve and autocracy of the men of the day; but Romney's -faces are more piquant, more brilliant, full of action in many -instances, and running over with life and delight. - -His colouring, as has already been noted, is very frequently the rich -harmony of gold and brown with flushes of full rose in which he so -delighted; but he was not afraid of painting the primary colours when -it was desirable that he should do so, and in one of the National -Gallery pictures this capability can be well seen. - -There is a melting quality, a charming manner of soft modelling that -is also characteristic, an agreeable manner by which each colour -composes itself into its adjacent tint without any hardness of -outline; but even this suavity could be replaced by a certain hard, -even rugged force, if desirable, and the picture just mentioned will -also represent this harshness of outline. - -On the whole he possessed to an unusual degree the power to thrill -and to delight. His pictures are melodious, charming, graceful. His -grouping is delightful and expressive of the highest genius; his -draperies are simply and slightly painted; while the modelling of the -features is full of consummate dexterity. - -He attached great importance to the painting of fingers and hands, -and gave much expression to them. His faces are quiet, and have -often a look of the deepest pathos about them, a look which even -approaches to melancholy; but, on the other hand, the sprightliness -of youthful joy was well expressed by him, and if in a phrase his -qualities are to be summed up, they may be so by the words "grace, -melody, sunshine and sweetness." - - - - -OUR ILLUSTRATIONS - -From the National Gallery we have selected two: a portrait of Mrs. -Mark Currie and the portrait called _The Parson's Daughter_. - -_Mrs. Mark Currie_ represents a life-size, nearly full-length figure. -The lady is dressed in a simple white muslin dress with short -sleeves, and an elaborate _fichu_ of the same material. Round her -waist is a silk sash of pale red, and the ribbons which trim her -sleeves and _fichu_ are of the same pale tint. Her fair hair, -slightly powdered, falls in full clusters around her shapely -shoulders. - -Her face wears a quiet thoughtful expression, with a lurking look of -humour about the eyes. The background is slightly suggested -landscape and trees. - -The lady was a Miss Elizabeth Close, who married Mr. Mark Currie, a -goldsmith and banker, in January, 1789, and gave her first sitting -for the portrait on the 7th of May of the same year. - -[Illustration: MRS. MARK CURRIE.] - -It is not known whom _The Parson's Daughter_ represents, nor why it -bears that name. - -It is a very charming circular portrait of a young lady with dark -eyes and auburn hair, which is powdered and bound with a green -ribbon. She wears a brown dress and white handkerchief. - -The modelling on the face is very dexterously painted, and the tender -thoughtful expression of the dark eyes quite beautiful. - -The hair is painted in very broad, powerful fashion, and the -draperies over the bust indicated lightly and put on with a wonderful -sliding movement which is notable. On the whole Romney seldom did a -more pleasing piece of work than the portrait of this quiet and -refined dainty girl. - - -_The Clavering Children_, which we have the special permission of the -owner (Rev. J. W. Napier-Clavering) to reproduce, is a very happy -example of Romney's ability to depict children in movement and to -give the effect of rapid motion. - -Mark how lightly the two children tread the ground, with what easy -step they move forward, seeming to come right out of the canvas -towards the spectator. Notice how the scarf, which forms part of the -dress of the girl, streams out in the wind, and see how lightly and -with what a graceful movement the lad holds in the two dogs. - -Romney was at his very best in this delightful group. The faces of -both boy and girl are painted with unusual care, the clear eyes of -the manly lad seeming to look right into the spectator; while the -downcast lids of the girl's face serve but to reveal through their -clear semi-transparency the brown eyes which they hide. - -Much attention has in this work been given to the hands, which Romney -rightly believed were indicative of character. The grasp of the -sturdy fingers of the boy contrasts well with the long slender -fingers which grasp the dog in loving embrace, and the same pleasing -idea of divergence can be seen in the modelling of the faces and in -the posture and shape of the feet. The dogs are painted in very -natural positions: the darker spaniel, which is leaping up to the -lad, is evidently in a favourite posture and full of enthusiasm -towards his young master; while the tiny puppy which the girl hugs to -her breast, and which the parent dog is most anxious to have back -again into her care, is a fat little comic beast, quite young, and -very ready to be caressed. - -[Illustration: THOMAS JOHN CLAVERING, AFTERWARDS EIGHTH BARONET, AND -HIS SISTER, CATHERINE MARY.] - -The scene has no studio atmosphere about it. It was clearly -unpremeditated, and has been happily seized by the artist at the -right moment and perpetuated in this work. There is no elaborate -underpainting in this picture, all the effects of it being obtained -in the simplest manner. The sky and ground afford a sufficient foil -in the way of scenery, and the two children come dancing towards the -person who looks at the picture with the most artless grace and -charm, attended as they are by their canine companions. - -The boy was afterwards Sir Thomas John Clavering, the eighth baronet, -of Axwell Park, where the family still reside, and was the grand-son -of the sixth baronet, Sir James. He was born in 1771, married in -1791, succeeded his uncle in the family estates and title, and died -in 1853. His sister, Catherine Mary, died unmarried in 1785. - -The picture is a large one, as the figures are life-size, and it has -been engraved; and hardly any of the works of Romney is more worthy -of praise than this vivacious and graceful creation. - - -The wonderful eyes which distinguished the features of _Lady -Hamilton_ can be well appreciated in the portrait which we give from -the National Portrait Gallery. The face is not altogether a pleasing -one. It reveals some of the desire to fascinate which distinguished -the lady's character. - -There is a purpose in the gaze which these eyes extend to the -observer, and the attitude, although intended to be a natural one, is -quite evidently studied and assumed. It is intended to give full -play to the face and eyes, and to reveal the graceful curves of the -arms and the slender beauty of the fingers. The very roundness of -the face is accentuated against the angles of the fingers in their -half-closed position, and there is a studied grace in the arrangement -of the draperies and in the muslin bands which form the head-dress. -In all these respects it is a fitting representation of the famous -beauty, who in a less natural pose would not have so amply revealed -her power of charm. - -The painting of the features with all their delicate and slight -modelling is a triumphant success, and the eyes, which burn down into -the very consciousness of the spectator, are superbly represented. -The picture, small as it is, and showing but little of the graceful -form, is yet a masterpiece, and is a delineation of character -unsurpassed in its effect by any other portrait by the same hand. - - -There is in the Wallace Gallery an interesting _Portrait of Mrs. -Robinson_, the beautiful actress, in the character of Perdita, the -daughter of Leontes in "The Winter's Tale," which she made so -peculiarly her own. - -Mrs. Robinson first took the part in the performance on December 3rd, -1779, at Drury Lane, in the presence of their Majesties King George -III. and Queen Charlotte, and also before the youthful Prince of -Wales, whose affection was afterwards to have such an effect upon her -life. - -She was at that time just over twenty-one years old, married to a man -who systematically insulted and neglected her and spent his time with -the lowest and most degraded of the women of his acquaintance. The -Prince of Wales was in his eighteenth year, very susceptible, and he -was at once attracted by this lovely woman, little more than a girl, -who acted superbly and with such artless grace. In this way an -acquaintance was commenced, Viscount Malden being employed as an -intermediary, and ripened into a closer affection. - -She, however, hardly met the Prince until he had his separate -establishment in Buckingham House, as during the time when he lived -at Kew he was kept under the strictest regulations. From the 1st of -January, 1781, he was, however, his own master, and Mrs. Robinson -shared his establishment, and was at the height of her beauty and -position. - -The attachment only continued for some two years, when the Prince, -having vowed perpetual devotion to his Perdita, and made her many -presents and more promises, suddenly transferred his affection to -Mrs. Grace Dalrymple Elliott and absented himself from Mrs. Robinson. - -He paid no attention to her misery, nor in any way assisted her in -her distress, though he had given her a bond for £20,000 when she -quitted the theatre at his desire to live with him. She eventually, -however, obtained, through Charles James Fox, an annuity of £500 a -year, and devoted herself to literature. - -She had a very devoted daughter who lived with her, and in the -presence of this daughter she died in December, 1800, and was buried -at Old Windsor by her own particular desire. - -In the picture in the Wallace Gallery she is represented in the -walking costume which she assumed when she played the part of -Perdita, wearing a handsome lace bonnet and carrying a huge muff. -The face is one of peculiar sweetness, and the eyes have an arch -look, mingled with thoughtful pathos, which is peculiarly attractive. - -The face is wonderfully painted, the modelling being subtle and very -dexterous; while the harmony of the whole work is most noticeable. -The picture is one of Romney's most successful works in its charm of -colour and sweetness of expression. - - -The remaining three of our illustrations are taken from the gallery -of the Duke of Sutherland at Trentham, and are reproduced by kind -permission of their noble owner, and of his Grace's representative, -Mr. Bagguley. - -The chief of the three is the important portrait group of _Children -dancing in a Ring_, one of the most famous groups that Romney ever -executed. The tall lady with the tambourine is Lady Anne -Leveson-Gower, third daughter of the Earl Gower who afterwards became -first Marquess of Stafford, by his second wife, Lady Louisa Egerton. -She became eventually the wife of Vernon Harcourt, Archbishop of York. - -The four dancing children are her step-sisters and step-brother, the -children of the earl by his third wife, Lady Susan Stewart--the -Ladies Georgiana, Charlotte, and Susan Leveson-Gower, who became -respectively Lady G. Eliot, the Duchess of Beaufort, and the Countess -of Harrowby. The young lad is Lord Granville Leveson-Gower, -afterwards elevated to the peerage as the first Earl Granville, the -father of the late well-known statesman of the same name. - -The picture is a charming example of the skill of the artist, both in -expressing lightness and grace in attitude, and also in power of -grouping and composition. The children are moving with the utmost -daintiness and freedom, and are all of them admirably well drawn. - -The tall figure is, if anything, a little too tall, but adds dignity -to the group, while the artless expression on the faces of the girls -is beyond praise. There is a peculiar sweetness and happiness in the -faces of all the little ones, and they are evidently in full -enjoyment of health and spirits, and have no feeling of formal -grouping or stilted posing about them. - -[Illustration: GEORGE GRANVILLE, SECOND MARQUESS OF STAFFORD AND -FIRST DUKE OF SUTHERLAND.] - -The colour scheme is delightful. The white dress of the tall sister -and of the boy, with the same hue in the columns, is charmingly -contrasted with the green, plum colour and red of the other dresses, -and with the increase of colour that the scarves of brown and purple -give. All is harmony and grace without artifice, and the technique -of the picture is of the very simplest order. - - -As an example of dignity and restraint, the _Portrait of George -Granville_ will be appreciated. He was the eldest son of the same -Earl Gower who afterwards in his turn became second Marquess of -Stafford and then first Duke of Sutherland. He was, of course, the -brother of the tall girl with the tambourine in the last picture. - -By his marriage with the lady who was Countess of Sutherland in her -own right, he became a person of vast importance and the owner of -enormous estates, which he managed admirably and laid the foundation -for the position now occupied by his successors. - -He stands quietly before the spectator, dressed in a yellow silk -jacket with deep lace collar and cuffs, has a red robe thrown over -his shoulders, and bears in his hand his gray hat with black feathers. - -It is well to mark the extreme care with which the hand of the young -aristocrat is painted, and how expressive it is--perhaps as much as -the serious and somewhat haughty face--of the position and influence -of the lad. - -There is a composure and a stateliness in this portrait which are a -sure index to the mind of the young nobleman, and few painters could -so well have represented the mind of his sitter as Romney has done in -this work. The child was assuredly father to the man, and thus early -he foreshadowed in his features the calm dignity, reserve and power -which in after life distinguished him as Duke. - - -The third portrait is that of his wife, generally known as the -_Countess-Duchess of Sutherland_. - -Elizabeth was the only daughter and surviving child of the -seventeenth and last Earl of Sutherland, and became, on the death of -her father, Countess in her own right. Her mother was a great -beauty, and she inherited all the exquisite features and charm of -that parent, who died in the same year as the Earl of Sutherland, -placing this bright girl, at the tender age of two years, in -possession of the vast estates and the title of the earldom. Her -beauty attracted the loyalty of all her tenants to her, and Sir -Walter Scott records many a story of her charm and kindness. - -The portrait records her appearance soon after she was married, when -somewhat more than twenty years of age, and in the heyday of her -sweet and thoughtful beauty. She is dressed in white and gold, her -dark brown hair tied with ribbon, the background being foliage and a -distant landscape. - -There is all the effect of power, dignity and determination about the -mouth and eyes; the face is a distinct oval, the form rather thin and -slight, and the composure of the expression very marked. It is a -striking portrait of a beautiful girl of high lineage and important -position, and is a triumph of art as a portrait which is at once -lovely in itself and a delineation of the mind of the person who is -depicted in it. - - - - -THE CHIEF WORKS OF ROMNEY - - -NATIONAL GALLERY, LONDON. - -Study of Lady Hamilton as a Bacchante, about 1786. (312) - -The Parson's Daughter. A portrait. A circular bust portrait of a -young lady. See page 45. (1068) - -Portraits of Mr. and Mrs. Wm. Lindow. A life-size group. Bought in -1893. Strong in colour, and more definite and hard than is the -artist's usual manner. (1396) - -Portrait of Mrs. Mark Currie. A portrait of a lady seated on a -terrace. See page 44. Painted in May, 1789. Romney received sixty -guineas for this picture, which was bought for a very large sum by -the Trustees from the family in 1897. (1651) - -Portrait of a Lady and Child. (1667) - - -NATIONAL PORTRAIT GALLERY, LONDON. - -Portrait of Wm. Cowper, the poet. - -Portrait of R. Cumberland, the dramatist. - -Portrait of John Flaxman, R.A., designer and sculptor, represented -modelling the bust of his friend Hayley, author of "The Triumphs of -Temper," whose son, T. A. Hayley, is also introduced as a spectator. -The son was a pupil of Flaxman. - -Portrait of Lady Hamilton. A half-length, resting her elbows on the -table, and with her face turned somewhat to the right. See page 47. - -Portrait of James Harris, M.P. for Christchurch, a writer of -treatises on art, music, painting and poetry, and of other works. -His son became Earl of Malmesbury. - -Portrait of the artist himself, unfinished. It was done in 1782, and -bought at Miss Romney's sale in 1894. - - -THE WALLACE GALLERY, LONDON. - -Portrait of Mrs. Robinson, the actress, in her favourite character of -Perdita. See page 49. (37) - - -ROYAL INSTITUTION, LIVERPOOL. - -A series of fine cartoons by the artist. - - -BIRMINGHAM ART GALLERY - -A portrait of Lady Holte. - - -The foregoing represent the chief works of the artist that are in -public and accessible galleries; but the greatest works still remain -in private hands, and many of them are from time to time exhibited in -London and the provinces. - -Amongst notable collections may be mentioned that of the Duke of -Sutherland, in which are the portraits of Elizabeth, Duchess of -Sutherland, the second Marquess of Stafford, the five children of the -Earl of Sutherland dancing in a ring, and the Countess of Carlisle. -See pages 51-55. - -The Rev. J. W. Napier-Clavering also owns some of the choicest works -of Romney, namely, Maria Margaret Clavering, afterwards Lady Napier, -Colonel Thomas Thornton, and the delightful group of Sir Thomas -Clavering and his sister. See page 45. - -Mr. Lockett Agnew owns the portraits of Miss Hay, Miss Leyborne -Popham with her dog, Miss Popham, Lady Mary Parkhurst and Mr. Charles -Parkhurst, all of them important pictures. - -The Marquess of Lansdowne has the portraits of Lord Henry Petty and -of Lady Louisa Fitzpatrick, both fine works, besides others of lesser -importance; and other fine portraits belong to Mr. Beebe, Mr. R. -Biddulph Martin, who has two, Sir Cuthbert Quilter, who has the -splendid portrait of Mrs. Jordan, Sir Edward Newdigate-Newdegate, -whose portrait of Lady Newdigate is well known, and Mr. Makins. - -Other portraits belong to Earl Granville, Lord de Tabley, the Earl of -Cawdor, the Earl of Normanton, Lord Berwick, Lord Thurlow, and to -several members of the Rothschild family. - - - - -SOME OF THE CHIEF BOOKS ON ROMNEY - - -"George Romney and His Art," by Hilda Gamlin, 1894. - -"Romney and Lawrence," by Lord Ronald Sutherland-Gower, 1882. - -"Memoirs of Lady Hamilton," annotated by Long, 1891. - -"Lady Hamilton," by Hilda Gamlin, 1894. - -Cunningham's "Painters," 1879. - -"Illustrated Catalogue of a Collection of Portraits exhibited at -Birmingham in 1900." - -"Memoirs of Romney," by Hayley, 1809. - -"Memoirs of Romney," by his son, the Rev. John Romney, 1830. - -The Catalogues of the Romney Exhibition in the Grafton Galleries in -1900 and 1901, with Notes by Nash. - -"The Life of Mrs. Robinson," by Molloy, 1894. - - - - -CHRONOLOGY - -1734. Birth of Romney. - -1756. His marriage. - -1757. His indenture cancelled. - -1762. He starts for London. - -1763. Paints _The Death of General Wolfe_ for a premium offered by -the Society of Arts. - -1764. Journey to France. - -1773. Journey to Italy, notably to Rome. - -1775. Settled in Cavendish Square. - -1782. First met Mistress Hart, afterwards Lady Hamilton. - -1797. Removed to Hampstead. - -1799. Returns to his wife. - -1802. His death. - - - - CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. - TOOKS COURT, CHANCERY LANE, LONDON. - - - - - - - Bell's Miniature Series of Painters. - - Edited by G. C. WILLIAMSON, Litt.D. - - _Pott 8vo, with 8 Illustrations, issued in cloth or in - limp leather, with Photogravure frontispiece._ - - ALMA TADEMA. By H. Zimmern. - ROSA BONHEUR. By Frank Hird. - BOTTICELLI. By R. H. Hobart Cust, M.A. - BURNE-JONES. By Malcolm Bell. - CONSTABLE. By Arthur B. Chamberlain. - CORREGGIO. By Leader Scott. - FRA ANGELICO. By G. C. Williamson, Litt.D. - GAINSBOROUGH. By Mrs. Arthur Bell. - GREUZE. By Harold Armitage. - HOGARTH. By G. Elliot Anstruther. - HOLBEIN. By Arthur B. Chamberlain. - HOLMAN HUNT. By G. C. Williamson, Litt.D. - LANDSEER. By McDougall Scott, B.A. - LEIGHTON. By G. C. Williamson, Litt.D. - LEONARDO DA VINCI. By R. H. Hobart Cust. - MICHELANGELO. By Edward C. Strutt. - MILLAIS. By A. Lys Baldry. - MILLET. By Edgcumbe Staley, B.A. - MURILLO. By G. C. Williamson, Litt.D. - RAPHAEL. By Mcdougall Scott, B.A. - REMBRANDT. By Hope Rea. - REYNOLDS. By Rowley Cleeve. - ROMNEY. By Rowley Cleeve. - ROSSETTI. By H. C. Marillier. - RUBENS. By Hope Rea. - TITIAN. By Hope Rea. - TURNER. By Albinia Wherry. - VAN DYCK. By E. R. Dibdin (_In The Press_). - VAN EYCK (Hubert and Jan). By P. G. Konody. - VELAZQUEZ. By G. C. Williamson, Litt.D. - WATTEAU. By Edgcumbe Staley, B.A. - WATTS. By Malcolm Bell. - WHISTLER. By Mrs. Arthur Bell. - - - - - - - -*** END OF THE PROJECT GUTENBERG EBOOK GEORGE ROMNEY *** - -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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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: George Romney</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Rowley Cleeve</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: October 24, 2022 [eBook #69228]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Al Haines</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK GEORGE ROMNEY ***</div> - -<p><br><br></p> - -<p class="capcenter"> -<a id="img-front"></a> -<br> -<img class="imgcenter" src="images/img-front.jpg" alt="MRS. ROBINSON AS "PERDITA.""> -<br> -MRS. ROBINSON AS "PERDITA." -</p> - -<p><br><br></p> - -<p class="t3b"> - Bell's Miniature Series of Painters<br> -</p> - -<h1> -<br><br> - GEORGE ROMNEY<br> -</h1> - -<p class="t3b"> - BY<br> -</p> - -<p class="t2"> - ROWLEY CLEEVE<br> -</p> - -<p><br><br></p> - -<p class="t3"> - LONDON<br> - GEORGE BELL & SONS<br> - 1908<br> -</p> - -<p><br><br><br></p> - -<p class="t4"> - First Published, 1901.<br> - Reprinted, 1904, 1908.<br> -</p> - -<p><br><br><br></p> - -<p class="t3b"> -TABLE OF CONTENTS -</p> - -<p><br></p> - -<p class="noindent"> -<a href="#chap01">The Life of George Romney</a> -</p> - -<p class="noindent"> -<a href="#chap02">Lady Hamilton</a> -</p> - -<p class="noindent"> -<a href="#chap03">The Art of Romney</a> -</p> - -<p class="noindent"> -<a href="#chap04">Our Illustrations</a> -</p> - -<p class="noindent"> -<a href="#chap05">The Chief Works of Romney</a> -</p> - -<p class="noindent"> -<a href="#chap06">Some of the Chief Books on Romney</a> -</p> - -<p class="noindent"> -<a href="#chap07">Chronology</a> -</p> - -<p><br><br><br></p> - -<p class="t3b"> -LIST OF ILLUSTRATIONS -</p> - -<p><br></p> - -<p class="noindent"> -<a href="#img-front">Mrs. Robinson as Perdita</a> ... <i>Frontispiece</i> -</p> - -<p class="noindent"> -<a href="#img-014">The Countess-Duchess of Sutherland</a> -</p> - -<p class="noindent"> -<a href="#img-020">The Parson's Daughter</a> -</p> - -<p class="noindent"> -<a href="#img-024">Lady Hamilton</a> -</p> - -<p class="noindent"> -<a href="#img-038">Children Dancing in a Ring</a> -</p> - -<p class="noindent"> -<a href="#img-044">Mrs. Mark Currie</a> -</p> - -<p class="noindent"> -<a href="#img-046">The Clavering Children</a> -</p> - -<p class="noindent"> -<a href="#img-052">George Granville, afterwards Duke of Sutherland</a> -</p> - -<p><br><br><br></p> - -<p><a id="chap01"></a></p> - -<h3> -THE LIFE OF GEORGE ROMNEY -</h3> - -<p> -George Romney was a Cumberland -lad, born in 1734, of parents who were in -humble circumstances living at Dalton in the -Fells. -</p> - -<p> -His father was an ingenious man who lived -on his own farm as a yeoman, but who followed -also the pursuits of a joiner and cabinet-maker, -and who was one of the first persons in the -north to see and make use of the newly -imported wood mahogany, from which he made -a chest of drawers out of a sailor's chest brought -from the West Indies. -</p> - -<p> -Romney inherited much of his father's -ingenuity, and as a lad set about making a fiddle, -which he completed in later years and retained -all his life. It was a sound instrument of really -good tone, and the artist himself played well -upon it. -</p> - -<p> -As a lad Romney was sent to a small local -school; but he made very slight progress with -his studies, and preferred to spend his time in -sketching or in copying the pictures that he -found in papers or books. -</p> - -<p> -His father, finding that he was making so little -progress, took him away from school before he -was eleven, and placed him in his own workshop, -where he soon began to learn how to ply -the tools and to make a creditable use of his -new accomplishment. -</p> - -<p> -Still, however, his spare time was filled up by -painting, and he made very careful copies of the -illustrations in a monthly magazine which one -of his father's workmen, who boarded in the -house, lent him regularly as it appeared. -</p> - -<p> -He was also asked by a person in the village -to paint her portrait, and succeeded in performing -the commission in so creditable a way, that -it was quite clear to the elder Romney that his -son was intended by nature to be an artist. -</p> - -<p> -Accordingly, yielding to the persuasions of -the lad himself, backed up as they were by -those of many friends, he took steps to -apprentice him to an itinerant painter, who was -at that time in their neighbourhood, named -Steele. -</p> - -<p> -Here he was employed in the more menial -work of the craft, grinding colours and preparing -the palette; but Steele, although a poor painter -himself, had been well trained in Paris, and was -able to teach his young pupil much that was of -the greatest use to him in his after career. -</p> - -<p> -Steele afterwards eloped with a young lady -who was one of his pupils, and Romney had to -assist him in his arrangements. They were -difficult, and involved a vast amount of trouble -and exposure to night air at a time when the -youth was far from strong; and after the gay -couple had escaped to Gretna Green, Romney -fell ill of a fever, and was nursed by a domestic -servant named Mary Abbott. With this young -person the artist fell violently in love, and on -recovering from his illness married her on -October 14th, 1756, when only twenty-two years -old, and without any means of his own on which -to live. -</p> - -<p> -He had to leave his wife very soon after -marriage, as Steele had gone to York, where he -expected Romney to join him; but after a -while the roving life that his master led, and his -improvident habits and constant difficulties as -to money, disheartened Romney, and he agreed -with Steele that, if he would cancel his -indenture, Romney would forgive him a debt that -he had incurred of £10 from the young apprentice. -</p> - -<p> -This course was adopted, and Romney -returned to Kendal, where his wife had been residing. -</p> - -<p> -Here he commenced his own work as a portrait-painter, -and from at first painting signboards -he soon became known as a clever worker, and -was employed by the persons of quality in the -neighbourhood to paint their portraits. -</p> - -<p> -Many of the neighbouring landowners employed -him, and at this time the artist set about -painting historical scenes also and landscapes, in -order to turn his time to profitable account. -Many of these he sold at Kendal Town Hall -by a system of lottery that was then very popular. -</p> - -<p> -By such work the young couple were enabled -to save £100, and with some of this money -Romney determined to make his way up to -London, as he felt that the limited scope that -he had in the north was cramping his powers -and that he was capable of greater things. -</p> - -<p> -He had but two children, a son and a little -daughter, and his wife, who loved him -profoundly, was quite prepared to sacrifice herself -in order that her husband might prosper. -Therefore, taking with him but £30 of their joint -savings, and leaving the remainder for her and -the children, Romney left his native county for -the great and distant city on March 14th, 1762. -</p> - -<p> -The little daughter whom he left behind him -died in the following year, and Mrs. Romney, -with her son, removed to the house of her -father-in-law, John Romney, with whom she -continued to live. -</p> - -<p> -During the whole time of his sojourn in -London, which, with the exception of brief -visits in 1767 and 1779, lasted till 1799, -Romney appears to have continued on terms of -the closest affection with his wife, and to have -remitted to her constantly such sums of money -as she required; but he never brought her up -to London, and, as has been stated, only visited -her in Kendal twice during the thirty-seven -years which he spent in London. -</p> - -<p> -This is the incident in the life of the artist -upon which much stress has been laid by -malevolent writers, and hard things have been -said without number about Romney for his -so-called desertion of his wife. -</p> - -<p> -It must be remembered, however, that -Romney's son and biographer does not say any -hard things about his father in this matter, nor -does he upbraid him for leaving his wife far -away in the Fells. Mrs. Romney did not write -letters of expostulation to her husband, or -demand that she should be brought up to -London; and when her husband returned to her -as an invalid, she received him lovingly and -nursed him with great devotion till his death. -She in no way suffered pecuniary loss by his -absence, as he regularly sent sums of money to -her; and when their son was old enough to -come to town, Romney had him to his house, -treated him with the greatest affection, and took -him about with him. -</p> - -<p> -Surely it ill beseems those who consider the -life of this gifted artist so to condemn his action, -when those who were the ones best fitted to -blame him specially abstained from doing so! -</p> - -<p> -Mrs. Romney, be it remembered, came of -very humble parentage, and was a homely -person of but slight education. She appears to -have had her own circle of friends in the places -where she lived, to have been a person of -simple tastes, not anxious to mix in the world -of fashion or to receive its comments and its -sneers. She would have been in all probability -unhappy in London, have in no wise enjoyed -the life that her husband lived, and have been -an encumbrance to him and a clog on his -progress; and Romney very possibly feared to -expose her simplicity to the contempt of the -people of fashion whom he met and whose -portraits he painted. -</p> - -<p> -She may have desired to avoid such society and -have preferred her quiet at home, and it may -have been a refinement of kindness on his part -which led him to shelter her from the troubles -which he knew would await her in London. -</p> - -<p> -There is nothing which, with any degree of -accuracy, can be stated against the moral -character of Romney whilst he was away from her, -and all such charges against him fall to the -ground by reason of the absence of proof, and it -seems clear that it was no such cause that kept -him from sending for his wife. Even the reports -as to Romney and Lady Hamilton, to which -reference is made in a succeeding chapter, are -gainsaid by the letters of Lady Hamilton -herself which are in the Morrison collection, and -no one has ever been able to produce one single -piece of evidence in support of the statements -that have been too wildly made. Mrs. Romney -from the very first showed her deep attachment -to her husband by sacrificing herself for his -advancement; and she continued, as her letters -show, throughout her life, to act in the same -way for him, and to give him her deepest and -tenderest affection: and we are therefore justified -in accepting as normal a state of affairs as to -which the chief persons concerned made no -complaint, and in declining to attribute to the -artist any unworthy motives for his conduct. -</p> - -<p> -Romney did not come to London provided -with references or introductions, nor with much -money, and the consequence was that for the first -ten years of his life in town it was a struggle for -him to do any more than keep himself and remit -small sums to his wife in Kendal. -</p> - -<p> -He seems to have known only two persons in -London, neither of whom was in a position to -do much to assist him. -</p> - -<p> -His first important effort proved a disappointment -to him in its result. He competed for a -premium offered by the Society of Arts, and his -picture of <i>The Death of General Wolfe</i>, sent in -1763, received the second prize of fifty guineas. -Later on, however, it was stated that the picture -was not painted at all by this unknown artist, -but by someone else, and that a fraud had been -practised; and then, when that was disproved, -the costume of the picture, which was not the -usual one adopted at the time, was objected to; -and it was further claimed that the event was not -strictly historical, having only so recently -happened. The prize was accordingly taken away -from Romney; but, in consideration of the merits -of the work, an <i>ex-gratia</i> payment was made to -the artist by the Council of the Society of twenty-five -guineas. The leading artists of the day had -in this way given a slight to this new-comer -which he never in after years forgot. -</p> - -<p> -Whether, as has been stated, Sir Joshua Reynolds -was at the head of this movement to crush -the young artist we cannot tell; but it seems -likely that the bitter jealousy which existed -between the two men in after years, and which -Reynolds never lost an opportunity of increasing, -took its rise at this time, and certain it is -that Reynolds hated to hear Romney praised, -and was ever ready to say and do things that -would annoy and irritate his rival. -</p> - -<p> -Romney had always been convinced that the -study of the great artists of the Continent was -needful for him before he would be able to -accomplish what he felt was within him, and he made -every effort to get to Italy in order to study the -Old Masters. -</p> - -<p> -At this time he was unable to accomplish his -cherished desire for want of funds, but he saved -all that he could, and contented himself with a -journey to Paris. -</p> - -<p> -Here he copied all the works that appealed -strongly to him, and spent every hour of his time -in visiting galleries and churches and feasting -his eyes on the treasures which they contained. -His acquaintance with Vernet was of great service -to him at this issue. -</p> - -<p> -On his return to London after some seven -weeks' absence he again set valiantly to work, and -in 1765 carried off a premium from the Society -of Arts of fifty guineas against all his competitors. -</p> - -<p> -Then, in 1767, he went down to see his wife, -and when he returned to London he brought -with him his brother Peter, hoping to be able to -assist him in some measure. Peter was not, -however, steady or industrious, and, although -he sat to his cleverer brother more than once, -he did not remain with him long, but drifted -away and eventually settled down to a more or -less precarious life in Manchester. -</p> - -<p> -Romney now made close friends with Richard -Cumberland, who was known at that time as a -writer of odes and a man of no small literary -grace. Cumberland wrote about his new friend -and also introduced him to many other persons, -and in this way the artist obtained commissions -for portraits from several notable personages. -</p> - -<p> -Another important friend whom he made at -this time was the miniature-painter Ozias -Humphrey, with whom he made several excursions, -and who was one of his closest friends for many years. -</p> - -<p> -Two more efforts he made at this time to visit -Italy, which was ever the goal of his desire; but -on neither occasion was he able to start. The -death of a friend on one occasion and his own -serious illness on another prevented his leaving -England, but in 1773 the long-desired visit took place. -</p> - -<p> -The two friends, Romney and Humphrey, set -out on March 20th, and after resting at Knole, -near Sevenoaks, as the guests of the Duke of -Dorset, to whom both artists were well known, -they left England by water and arrived in Rome -on June 18th. -</p> - -<p> -He was provided this time with the best of -introductions, especially bearing with him a letter -to the reigning Pope Clement XIV., who received -him most graciously, and allowed him to -have scaffolding specially erected in the Vatican -that he might study the works of Raphael. -</p> - -<p> -Other introductions which the artist took with -him were from Sir William Hamilton and his nephew Greville. -</p> - -<p> -Romney was not yet a man of any means, and -he supported himself whilst in Rome by painting -portraits and some historical works, and -by copying the great masterpieces which he -found in the Eternal City; but he had to make -every effort to be economical, as his pictures did -not meet with a ready sale in Italy, and he -desired to visit many other cities whilst in the -country besides Rome. -</p> - -<p> -He actually did see Venice, Bologna, Florence, -Padua, Castel-franco, and even some of the -smaller cities, as Modena, Reggio and Mantua. -Then he slowly made his way back to England -by way of Aix and Paris, arriving in London after -two years' absence in high spirits, full of ideas, -and overwhelmed with enthusiasm for all he had -seen, but in a pecuniary condition poorer than he -had ever been in his life. -</p> - -<p> -He had, in fact, had to borrow money to carry -him through France, and almost to starve himself -in his journey, as his small means had long -ago vanished, and he had withdrawn all the -money that he had banked ere he left Italy. -</p> - -<p> -When he arrived he was met by demands for -immediate assistance on the part of his clever -but ne'er-do-well brother Peter, but was for the -moment unable to assist him. -</p> - -<p> -He found, however, that his own fame had -increased during his absence, and the demand -for work from his brush was considerable, so -much so that he was overwhelmed with the -commissions that flowed in. -</p> - -<p> -He felt now that he was in a position to -take a larger house in a more fashionable -neighbourhood than he had possessed before; -and accordingly, as Francis Cotes, R.A., the -painter in pastel, had died, and his house in -Cavendish Square was still vacant, Romney -took it and moved in on Christmas Day, 1775. -</p> - -<p> -Cotes had died in 1770, and the sale of his -effects took place in February, 1771; but after -that the house stood vacant for a long time, and -when Romney took it needed some considerable repair. -</p> - -<p> -Romney had ever a fondness for bricks and -mortar, and was delighted at the prospect of -altering and adding to the house. -</p> - -<p> -He bought the lease, which had some thirty -years to run, and was subject to a rental -of £105 per annum; and, although there was -already a good studio attached to the premises -in the form of a double room with sky-light and -domed ceiling, yet the artist must needs set -about building another and adding to the -accommodation of the house, and so again -exhausting his savings. -</p> - -<p> -He also foolishly declined many of the -commissions sent him, because he did not possess a -studio which was, according to his ideas, fit -for the reception of his clients, and in this way -an idea got about that he was not desirous of -doing any more work. The public taste -accordingly veered round, and for a short time -Romney found himself deserted by the crowds -of would-be-sitters who had just before poured -in upon him. -</p> - -<p> -Then the Duke of Richmond, who had befriended -the artist before, and had opened his -gallery of sculpture to his use at any time, looked -in upon him at his new residence and gave him -several commissions, besides bringing with him -many of his own friends, and was delighted to -have the artist for a while practically to himself -and his own circle of acquaintance. This turned -the tide once more in the artist's favour, and -prosperity never again deserted him. -</p> - -<p class="capcenter"> -<a id="img-014"></a> -<br> -<img class="imgcenter" src="images/img-014.jpg" alt="ELIZABETH, COUNTESS-DUCHESS OF SUTHERLAND."> -<br> -ELIZABETH, COUNTESS-DUCHESS OF SUTHERLAND. -</p> - -<p> -He now became the serious rival of Reynolds, -who spoke of him in slighting manner as "the -man in Cavendish Square," pretending, with -studied insult, to have entirely forgotten his name. -</p> - -<p> -All the world of fashion and wealth sat to the -artist, and his list of portraits reads like a page -from the fashionable gazette of the day, -including as it does all the persons who were then -well known in town and who constituted the -cream of society. -</p> - -<p> -The opportunity now arose for Romney to -show how indifferent he was to the slights and -contempt of his fellow-artists who ranged -themselves around Sir Joshua. -</p> - -<p> -The Royal Academy had at this time sprung -into being, and its members desired to include -all the chief artists in their ranks, and to show -that those outside their membership were not -worthy of attention. All their efforts, however, -to include the name of the most fashionable -artist of the time, or to hang his pictures on the -walls of the exhibition, were in vain. -</p> - -<p> -Romney was begged by his great friend -Jeremiah Meyer, one of the leading miniature-painters -and an original member of the new -Academy, to come within its shelter. He was -also approached by Mrs. Moser, by Humphrey, -and by Angelica Kauffmann, all of whom -desired him to exhibit his works. But it was in -vain, and never did Romney send a single -picture to the exhibitions of the Royal Academy. -He completely ignored it, would not suffer it -to be mentioned in his presence, considered -that it was not worthy of any recognition, and -went on painting pictures of all the loveliest -women of society, but declining to allow a single -one of them to be shown in the exhibitions of -the Academy. -</p> - -<p> -This determination was partly dictated, no -doubt, by modesty, as there is every evidence -that Romney was a modest, retiring, shy man, -and even at the very zenith of his fame was not -found in the brilliant society in which the -President delighted. He was fond of his home -and of his son, and was not a gay but a quiet -man; but there is little doubt that his refusal -to share in the glories of the Academy was -also partly the result of his wish to show to -those who had been bitter and who were still -jealous of his fame that he was quite able to -stand alone, and did not require the aid of any -Academy to render his works popular or to -enhance his fame. -</p> - -<p> -The determination cost him the patronage of -the Court and of a certain select group of -persons who followed the lead of the King and did -not select for themselves, but it is probable that -in the long run the artist did not really suffer -thereby. -</p> - -<p> -He was a self-respecting and unassuming man -at all times, and was not in the habit of forcing -his way into any society or of appealing for -commissions from his friends. -</p> - -<p> -No flattery escaped his lips, no adulation of -those who could assist him by their introductions -and so render him the aid which he required; -and in all these ways he was the reverse of those -who were around him, and who used every artifice -to bring themselves into popular notice and -shrank from no ignoble effort to obtain patronage. -</p> - -<p> -In 1779 he seems to have paid one of his -infrequent visits to his wife in Kendal, and to -have refreshed himself by a sight of his native -county; but he was soon back again and hard at -work. -</p> - -<p> -It was perhaps at about this time that he first -made the acquaintance of William Hayley, a -poet, who had a great celebrity at that time, but -whose chief work, "The Triumphs of Temper," -is now never read. -</p> - -<p> -The influence of this man upon Romney was -not good, and of it his son, the Rev. John -Romney, in after years spoke with much bitterness. -Romney was, as has been already stated, fond of -building work, and pleased to see an opportunity -of increasing a house or studio; and this -propensity of his was encouraged by Hayley, who -loved to make a sensation and to live in a large -house; and although Hayley was fond of Romney -and brought him many commissions, yet on the -whole the judgment of later days is certainly -to the effect that it would have been better for -Romney if he had never met this attractive -friend. -</p> - -<p> -For over twenty years the two men continued -fast friends, and Romney used often to go down -to stay with Hayley at Eartham, near Chichester, -and spent some weeks during each autumn with -him. He decorated part of the house, painting -some delightful pictures to be placed in -the new library that Hayley built; and he met -there many pleasant friends, amongst whom -were the poet Cowper and his friend Mrs. Unwin, -in connection with whom is the chief claim -that Hayley has for remembrance, and also the -young sculptor Flaxman, for whom Romney -acquired a deep friendship. -</p> - -<p> -Hayley was a man of fine taste, personal -fascination and amiability, and fond of associating -with men of culture and quality; and it is -for his friends rather than for any work that -he himself did that his memory is kept in -honour. Romney is said to have first met him -when, returning from Kendal, he stopped awhile -at Tabley as the guest of Sir John Leicester; -and, as they were all of them great admirers of -Pope, the acquaintance began which lasted for -so many years, brought them into contact with -Cowper and with Gibbon, and eventually made -Hayley one of the biographers of Romney. -</p> - -<p> -In 1790 Romney again went to Paris, this -time accompanied by his friend Hayley and by -the Rev. Thomas Carwardine, whose portrait he -had painted. -</p> - -<p> -They were well received in that city, and -visited many of the chief galleries, with -introductions from the English Ambassador, who at -the time was Lord Gower, afterwards second -Marquess of Stafford and first Duke of Sutherland. -</p> - -<p> -During this visit Hayley is said to have obtained -the first of several loans that he got from -Romney and never repaid. In this case it was £100. -</p> - -<p> -On his return to London he was again almost -overwhelmed with work, as more than ever he -had become the fashion, and his portraits were -desired by all who could afford to sit to him. -The strain, however, of such constant work was -beginning to tell upon the artist, who by this -time was sixty years old, and he was glad of any -excuse to leave town for a while to rest himself -in the country. -</p> - -<p> -He took a little cottage at Hampstead, to -which he could retire for quiet; he stayed more -and more with Hayley at Eartham, desiring -some of his clients to come to him there, that in -the quiet of that restful spot he might do fuller -justice to their charms than he was able to do -amid the turmoils of London life. -</p> - -<p> -Whilst there he often rode over to Petworth, -where he was painting portraits for Lord Egremont, -and in these ways he got the country air -and rest that were out of the question when he -was in town. He did not, however, improve -in mental vigour; but the old mania for building -came on with greater force than ever, and -unfortunately Hayley did not scruple to encourage -it for his own ends. -</p> - -<p class="capcenter"> -<a id="img-020"></a> -<br> -<img class="imgcenter" src="images/img-020.jpg" alt="THE PARSON'S DAUGHTER."> -<br> -THE PARSON'S DAUGHTER. -</p> - -<p> -In 1796 he was found one day by his son -busy with extravagant ideas and designs for a -great mansion in Edgware Road, and it was -only the fact that his son was able to point out -the folly of such an idea which dissuaded him -from its accomplishment. The proposed purchase -was eventually broken off, and Mr. John -Romney records in his volume most gratefully -his thankfulness to the solicitor, who behaved -very handsomely in this matter. -</p> - -<p> -Romney was, however, determined to leave -Cavendish Square, and, acting on the advice of -his son to buy a ready-built house rather than -to erect one, he purchased an old dwelling-house -near Holly Bush Hill, Hampstead, now -identified with that known as The Mount, Heath -Street, Hampstead, close to where he had been -in the habit of lodging for some little while, and -where he found the quiet and retirement which -he desired. -</p> - -<p> -This happened in 1796, and Romney let the -residence in Cavendish Square and went to reside -at Hampstead. -</p> - -<p> -The accommodation did not, however, content -him, and he acquired two copyhold plots of -ground at the back of the house, on which he -forthwith erected what Hayley describes as "a -singular fabric," but which Cunningham calls a -"strange new studio and dwelling-house." -</p> - -<p> -He adds that it "cost £2,733, and was an -odd whimsical structure, in which there was -nothing like sufficient domestic accommodation, -though there was a wooden arcade for a riding -house in the garden, and a very extensive picture -and statue gallery." -</p> - -<p> -There is little doubt that this structure forms -part of what is at present the Constitutional -Club, the large room being Romney's picture -gallery, although considerable additions have -been made to the building. -</p> - -<p> -In 1798 he had sold his London house to -Mr., afterwards Sir Martin Shee, and, as this -strange structure was ready, he moved into it, -and let off to a Mrs. Rundell the old adjacent -house in which he had been residing. -</p> - -<p> -The new "whimsical" structure was not really -complete when the artist went to live in it. -The walls were not dry, the roof let in water; -but the artist insisted on moving into his fanciful -residence, and on taking with him the vast stock -he had of his own pictures and those by other -artists which he had collected. -</p> - -<p> -Many of them were quickly injured by the -damp of the house, and others by being placed -in the open arcade; and Flaxman in a letter -records the distress that he felt at seeing so fine -a collection of works perishing. -</p> - -<p> -Romney was now more than ever under the -influence of Hayley, which was being used to its -full and baneful extent, and other persons were -taken into the house on the advice of the poet -to assist the artist and to look after him, who -were all more or less creatures of Hayley. -</p> - -<p> -Hayley was considerably in Romney's debt, -and was anxious, it is clear, that no one of repute -should look into the affairs of the painter, but -that his influence should reign supreme. -</p> - -<p> -In 1798, however, Romney broke away from -this state of affairs, and, accompanied by his son, -who was devoted to him, and whose absence at -his religious duties was the only reason which -prevented his dwelling always with the artist, -visited the north of England, not, however, as far -as can be ascertained, going to Kendal. -</p> - -<p> -A pleasant holiday was spent in the Lake district, -but the mental vigour of the old artist did -not gain much increase of strength by the change, -and when he returned to London his health had -completely broken down. -</p> - -<p> -The following year he was again at Eartham -with Hayley, but for the last time. Hayley's -good nature towards his friends, his extravagant -habits and his luxurious life, combined with -utter neglect of monetary matters, had brought -about the necessity for stern retrenchment, and -Eartham was to be sold. He removed to -Felpham, where he built a cottage near the sea, and -there he and his son resided till the death of the -latter, shortly afterwards; but at the earnest -advice of Flaxman and his wife, coupled with the -entreaties of his son, Romney went north back -again to his wife, of whom he had seen so little -for many years. She received him gladly and -with open arms, and nursed him to the end with -the most touching tenderness. -</p> - -<p> -The last event of his life was the return from -India of his brother, Colonel James Romney, to -whom he had always been greatly attached, and -for whom he had suffered some privations in -order that the requisite sum needful for the -Colonel's advancement might be sent him many -years before. -</p> - -<p> -The aged artist was, however, hardly able to -recognize his beloved brother. He soon -afterwards became completely childish in mind, and -never again regained his intellectual powers. -</p> - -<p class="capcenter"> -<a id="img-024"></a> -<br> -<img class="imgcenter" src="images/img-024.jpg" alt="EMMA, LADY HAMILTON."> -<br> -EMMA, LADY HAMILTON. -</p> - -<p> -He died on November 15th, 1802, at the age -of sixty-eight, passing away in the arms of his -wife, who devoted herself entirely to him up to -the moment of his death. She survived him -for many years. -</p> - -<p><br><br><br></p> - -<p><a id="chap02"></a></p> - -<h3> -LADY HAMILTON -</h3> - -<p> -In any consideration of the life and art of -George Romney, however brief, it is impossible -to leave out the name of Lady Hamilton, -as she was so constantly painted by him. -</p> - -<p> -It will be well, therefore, for a short section -of this little book to be devoted to a story of -the life of this fascinating person, who was fated -to exercise so strong an influence upon the -painter. It is hardly possible for the most -imaginative romancer to tell a story more -chequered in its events, more thrilling in its -emotions, and more sad in its end. -</p> - -<p> -Emma Lyon was the daughter of a smith in -Cheshire, a humble man, who died in 1761, -after a very short married life, and left his -widow and infant daughter wholly without -support. -</p> - -<p> -The widow moved at once from Neston, -where her husband had died, to Hawarden, her -native place, and here by the aid of her relatives, -almost equally poor with herself, she managed -to bring up her child and send her to a dame's -school in the village. -</p> - -<p> -When about twelve Emma went as nursery-maid -to the family of a Mr. Thomas, a doctor -of Hawarden, whose son afterwards became an -eminent surgeon. -</p> - -<p> -At sixteen she left and came to London, and -became housemaid to a tradesman in St. James's -Street; and then later on, probably in 1778, -became nursemaid in the family of another -doctor, one Dr. Budd, a physician in -St. Bartholomew's Hospital. -</p> - -<p> -From here she migrated out to the west end, -taking a place as lady's-maid in the house of a -lady of fashion whose dwelling was a favourite -resort of the gayest persons of the day, and -where she had ample opportunity of reading as -many books as she desired, of dressing in -a style which made her more attractive, and of -receiving a great deal of praise for her beauty -and the quality of her voice. -</p> - -<p> -The first slip which she made in her career was -occasioned by her going to plead with Admiral -Payne for the release of a cousin who had been -forcibly pressed into the navy, and whose family -were, without his assistance, unprovided for. -Emma undertook this mission out of good -nature and gained her petition; but in return -the admiral, who was much struck by the beauty -of her face, became her suitor, and she entered -his house as his mistress. This life lasted for a -very short time, as a wealthy baronet, Sir Harry -Featherston, who visited Admiral Payne, begged -her to leave him and come to Up Park as its -mistress. -</p> - -<p> -The admiral, who was shortly going on board -his ship, consented to part with the fair Emma, -who was much attached to her latest lover, and -she went off with Sir Harry to Up Park, where -she resided in the midst of every luxury for -some months. Here she learned to ride on -horseback, and succeeded in attaining to great -proficiency in this accomplishment. -</p> - -<p> -The affection, however, shown her by Sir -Harry Featherston, lasted but a short time, and -soon he began to weary of his toy. He brought -his mistress to London, but was ashamed to let -her be seen with him in public, and so gradually -neglected her; and at the end of 1781 they -separated, as Emma was not one to put up -tamely with neglect, and was ambitious of -yet greater conquests. They always remained -friends, and corresponded to the end of their -days; but another field of opportunity was now -opening, and Emma was ready to avail herself of it. -</p> - -<p> -The notorious and unscrupulous quack Dr. Graham -was at that time in the height of his -fame, and he had opened in 1779 his so-called -Temple of Health in the Adelphi. -</p> - -<p> -He was on the point of removing to more -important premises when Emma Lyon left Up -Park, and when, therefore, the Temple of -Hymen, as the new imposture was named, was -opened at Schomberg House, Pall Mall, in the -residence afterwards occupied by Richard -Cosway, R.A., and by Gainsborough, it was Emma -Lyon who, as Hebe and the model of perfect -beauty, health and happiness, was one of the -greatest attractions of the place. -</p> - -<p> -This wonderful woman, who was so lovely in -face and form, and was withal so graceful in -attitude, exhibited herself at the command of -the quack in the most becoming of costumes of -light drapery, posing as a goddess and attracting -numerous admirers. Her beauty drew to -the exhibition many of the noted painters and -sculptors of the day, who were anxious to -perpetuate the features and form of the fair Emma, -and to draw her in the attitudes and characters -which she so cleverly assumed. -</p> - -<p> -She had no compunctions as to what character -she assumed, whether it was Venus or a -Bacchante, provided that she was admired and -received the praise which was the very breath -of her existence. -</p> - -<p> -It was, however, only for a short time that -she remained with Dr. Graham, as Mr. Charles -Greville, the second son of the Earl of Warwick, -to whom all her past history was unknown, and -who fondly imagined that she was, as she represented -herself to be, a paragon of virtue, fell -deeply in love with her, and after a while gained -her affection in return. -</p> - -<p> -Greville was a man of the most cultivated -taste, and he set about the education of the fair -Emma with great zeal, training her in music, in -dancing, in the love of the fine arts, and in the -duties and accomplishments that befitted her new position. -</p> - -<p> -He found out, after a short time, that she -loved to be admired, and was ready to do anything -that would obtain for her that gratification; -but so successful was she in retaining her -conquest of the man who appears to have -honestly loved her, that for many years they -lived together with considerable apparent -affection on both sides. -</p> - -<p> -When with Greville she sent for her mother, -who from that moment and for some twenty years -remained with her, assuming first the name of -Cadogan, and then later on that of Hart, and -she conducted herself with so much propriety -that when Greville died he left her an annuity -of £100 per annum. -</p> - -<p> -Emma was now known as Mistress Hart, and -it was under that name that Greville first -introduced her to Romney in 1782, when he was -himself sitting to the artist for his portrait. -</p> - -<p> -During all the time when she first sat to -Romney she was living with Greville and was -attached to him, and there is absolutely no -evidence whatever that the relationship between -her and the artist was any other than that of a -beautiful and accomplished woman sitting to a -clever artist in numerous delightful scenes and -characters. -</p> - -<p> -Few works in which she is represented are -more beautiful than the <i>Circe</i>, in which her fair -girlish form is seen advancing toward the -spectator full of the knowledge of that power of -fascination that she had in so supreme a degree. -</p> - -<p> -In 1784 another set of circumstances came -into play. Greville had been extravagant in his -method of living, and his affairs were somewhat -embarrassed. He had seen a lady of quality -with ample means whom he had thoughts of -marrying; and at this moment his uncle, Sir -William Hamilton, who was Ambassador to the -King of Naples, arrived in London upon a long -leave of absence. -</p> - -<p> -Sir William was fascinated by the mistress of -his nephew, and a curious agreement seems to -have been entered into between the two men. -Greville gave up his mistress to his uncle on the -understanding that he took her to Naples, -provided securities for the payments of Greville's -debts, and made such arrangements as to his -property as constituted Greville his heir. -</p> - -<p> -Sir William was, on his part, to provide -properly for Emma, who, with her mother, was -to follow him to Naples under the excuse that -she might there complete her training in music -and singing under his care, and return to Greville -when his means allowed him to provide for her. -</p> - -<p> -She appears to have left England in complete -ignorance that she had been transferred to Sir -William Hamilton, and, from her pathetic letters -to her old lover, to have been most anxious to -leave Naples and return to him. -</p> - -<p> -This was, however, impossible, and Greville, -who was, it is clear, attached in some measure -to her, and somewhat ashamed of his part in the -bargain, had to make it clear to her that their -connection was at an end, and that she had -better yield to the persuasions of his uncle. -Eventually she did so, but later on, in 1791, -prevailed upon him to marry her, and they were -married at Naples. -</p> - -<p> -He then brought her back to London, as it -was needful that she should be married according -to the rites of the Church of England and -presented at Court in order that she should take -the position that was now rightfully hers as the -wife of an English ambassador; and accordingly -they were again married, and this time in -Marylebone Church, on September 6th, 1791. -</p> - -<p> -Then again she sat to Romney as <i>Joan of -Arc</i>, as <i>Cassandra</i> and as <i>The Seamstress</i>, before -she returned to Naples as Lady Hamilton. -</p> - -<p> -Into the long history of her life in Naples -there is no need to enter in these pages, nor to -relate the story of the attachment which, as the -wife of Sir William Hamilton, she formed for -Nelson. She exercised great influence and power -at Naples during the war, and was of the greatest -assistance to Nelson, who for her sake deserted -and cast off his wife, and entered into a close -connection with Lady Hamilton, who was, it is -clear, the mother of his child Horatia. -</p> - -<p> -After the recall of the ambassador when the -conduct of his wife had become notorious, -Nelson took up his residence in the same house -as that occupied by the Hamiltons; and when -Sir William died in 1802 she went to reside with -Nelson at Merton with the distinct understanding -that so soon as Lady Nelson was dead he -would make her his wife. -</p> - -<p> -Nelson, however, died before his wife, and -by his will left to Lady Hamilton certain -property; but her extravagant manner of living soon -exhausted her means, and as the nation did -nothing of importance for her, an execution was -put in and Merton and all its contents were sold. -She then retired to a smaller house, and later on -to lodgings, but was arrested for debt; and when -she was able to do so she left the country and -went to Calais, where, in 1814, she settled down, -first in a farmhouse and then in apartments. -</p> - -<p> -Her means were by this time greatly reduced, -as she had only the interest of the money settled -upon her daughter and the wreck of her own -estate; but, as her daughter stated in later years, -although "certainly under very distressing -circumstances, she never experienced actual want." -Her loveliness had left her, the beauty of her -form had given place to corpulence, and it was -in distress of mind and body that she died, -attended only by her faithful daughter and by a -rough hired servant, in her lonely apartments in -the Rue Française, Calais, on January 15th, 1815. -</p> - -<p> -She had some years before become a Catholic, -and was at the very last attended by a priest and -was buried with full Catholic rites outside Calais -in the cemetery; but the land has for many years -ceased to be used as a burying-place, and all -trace of her grave has been lost. Her daughter -survived her, and as the wife of the -Rev. P. Ward died in March, 1881, at the age of -eighty-one years. -</p> - -<p><br><br><br></p> - -<p><a id="chap03"></a></p> - -<h3> -THE ART OF ROMNEY -</h3> - -<p> -Romney is almost exclusively known as a -painter of portraits, his historical scenes -attracting but little attention. In their way they -were remarkable, but they were forced in their -conception and over-sentimental in their design, -as was the fashion of the day. In his portraits -he struck a much truer note and by them his -repute will stand. -</p> - -<p> -It is almost impossible, taking into consideration -the time in which he lived, to avoid comparing -him with his great rivals Reynolds and -Gainsborough, and perhaps it is well that it -should be so, as by thinking of him in connection -with these two men it will be possible to -obtain a better impression of his capabilities and -a knowledge of his faults. -</p> - -<p> -He was, it is quite certain, a far less important -man than Gainsborough, who must certainly be -reckoned as the greatest of the three. -</p> - -<p> -He lacked the colour sense that distinguished -that great artist; he was by no means his equal -in technical merit; and he had no ability to -produce landscape-work that gave so great a charm -to the pictures of the Sudbury artist. -</p> - -<p> -The wonderful poetry that streamed from the -brush of Gainsborough and refined all his -works, the delicacy, the grace and the sweetness -of his figures are all superior qualities to those -which Romney possessed, whilst as a colourist -Gainsborough stood head and shoulders above -both his rivals. -</p> - -<p> -When we come to draughtsmanship we are, -however, on a different footing, as Romney was -the superior both of Reynolds and Gainsborough -in ability to draw with accuracy and truth, and -he also surpassed both of them in the manner in -which he obtained his effects. -</p> - -<p> -Where Reynolds laboured Romney achieved -the same effect with the greatest ease and -simplicity; and, in fact, the word "simplicity" -may be taken as the key-word in anything like a -critical survey of Romney's work. -</p> - -<p> -He was not so varied as was Reynolds. His -pictures have a certain monotony about them -which is more apparent than real. It is not -that Romney, as has been unwisely said, made -all his women alike, for that is not so; but the -charm that constituted one of the chief merits of -the artist was dependent to a great extent upon -tricks of posture, glance and costume, and, -having ascertained what these were, there was a -danger on Romney's part of repeating them. -There is further a certain monotony about his -colouring, as he so greatly favoured the rich -golden browns and deep roses that distinguish -his best works. -</p> - -<p> -He was, however, a true artist and could not -avoid making his pictures beautiful. He had a -keen sense of beauty, a passionate love of warm, -rich, sunny colour, and when he came to deal -with historical or dramatic scenes a very powerful -imagination; but he was careless and wasteful of -his powers, and was so overwhelmed with -commissions that he did not put his best work into -many of the pictures that he painted. They, -however, always charm, and they are always -pleasing and generally poetic, although they are -in other respects very frequently open to grave -criticism. -</p> - -<p> -There are instances in which his ability -reaches a very high plane. Some of his portrait -figures are really sublime, and the superb dignity -of such portraits as those of Lady Hamilton -as <i>Circe</i> and <i>Cassandra</i> will not be easy to exceed. -</p> - -<p> -Other important characteristics of this great -artist were his love of children and his ability -to paint them in all their brisk childish humour. -The delicious piquancy of the bright little faces, -so full of charm, delight all who behold them, -and there is also an irresistible grace and -sweetness about the figures of his children that -is very noteworthy. -</p> - -<p> -Mark how cleverly he depicts motion, how -easily in the Stafford and Clavering groups of -children the young people move, and in what -graceful attitudes the artist has represented -them. They hardly touch the ground as they -gracefully glide around through the figures of -the mazy dance, and the happiness of their faces -and the grace of their postures are alike most -charming. -</p> - -<p> -Romney had a very real sense of grace. His -ideas were circumscribed by the fashion for -classic attire which ruled the day, and the delight -which his sitters had in being represented, not -in their usual garb and posture, but as some -goddess or mythological creation, and clothed -in the robes of Greece or Rome. -</p> - -<p class="capcenter"> -<a id="img-038"></a> -<br> -<img class="imgcenter" src="images/img-038.jpg" alt="CHILDREN DANCING IN A RING: PORTRAITS OF MEMBERS OF THE STAFFORD FAMILY."> -<br> -CHILDREN DANCING IN A RING: PORTRAITS OF <br> -MEMBERS OF THE STAFFORD FAMILY. -</p> - -<p> -Whatever position or costume, however, he -adopted, it was always graceful, refined and -decorous; but some of his sweetest pictures -were those where the simplest of gowns and the -most natural of attitudes were selected, as, for -example, <i>The Seamstress</i>. -</p> - -<p> -Lady Hamilton, by her ingenuity in placing -herself in the most becoming and graceful of -attitudes, and by the marvellous power of -expression that she possessed, enabling her to show -in her countenance the very thoughts of the -creation that she was representing, delighted -Romney, and over and over again he posed her -in various ways, and painted with increasing -delight her lovely face. -</p> - -<p> -She, who lived upon adulation, and desired -above all that her beauty should be admired, -was never tired of sitting to the artist who above -all men had the desire and the power to express -her features in their wonderful sweetness, and -so the memory of the graceful sitter and clever -artist are handed down together. -</p> - -<p> -There is no doubt that the fame alike of sitter -and artist served to make more popular the Grecian -style of costume seen in the pictures, and so -served to banish the more formal long-waisted -style of dress that had been so popular a short -time before. Classic ideas became more and -more the vogue, and to the grace of the drapery -is to be attributed some of the charm of the -pictures. Once this was realized it was not easy -for the artist to alter his original suggestion, and -all the great ladies of the day had to be painted -in the style that suited Lady Hamilton, but was -not bound to suit the different styles of beauty of -those who desired to follow her example and be -painted by the fashionable artist. -</p> - -<p> -One of the great advantages which the portraits -of Romney have over those of Reynolds consists -in the fact that the colours in them have stood -the test of time. Even in Reynolds's own time -the colours were beginning to fly from many of -his works, and it is recorded that, having -displeased the great connoisseur Horace Walpole, -by some disparaging remarks upon a picture of -Henry VII. that had been shown to the President, -Walpole had his revenge by saying that Sir -Joshua was not very likely to admire any picture -in which the colours had stood. -</p> - -<p> -Even Hayley, addressing Sir Joshua in poetry, -desires him to "teach but thy transient tints no -more to fly," and so draws attention thus early -to what is the great blemish of the art of the -President. -</p> - -<p> -Romney avoided the constant experiments -which were the bane of his great rival. Reynolds -was never satisfied with the result that he -obtained, but desired something finer and richer, -and he was therefore always experimenting with -new media, fresh colours and subtle underpainting, -in order to produce some unusually brilliant -effect. Romney was of far simpler mind. He -was able to obtain all the effect he desired in the -plainest and most simple means, and, having -found a scheme of colouring which delighted -him and a technique which he considered -sufficient, he rested content. -</p> - -<p> -The use by Reynolds of such ephemeral -colours as lake and carmine in his flesh tints had -no attraction for Romney. He was never bitten -with the desire which characterized the President -to use bitumen or asphaltum in his backgrounds -and shadows, or to employ wax in his medium; -and by the avoidance of all these pitfalls he was -able to secure for his colours that quality of -secure tenure which those used by the President -so lacked. -</p> - -<p> -Doubtless the search by the President after -greater excellence was a characteristic in his -favour, and the regular method adopted by his -rival was not so praiseworthy, but the result has -been to the satisfaction of the present -generation; and where the works of Reynolds are -but wrecks of what they once were (especially in -the early and middle parts of his career), albeit -they are notable wrecks, those of Romney are -as fresh to-day as when first painted. -</p> - -<p> -There is also, it must be acknowledged, a -greater force and brilliance in the faces of -Romney's sitters than in those of Reynolds. -</p> - -<p> -The President loved to express the aristocratic -composure, the deep thoughtfulness, the calm -placidity of many of his fair women, and the -dignity, reserve and autocracy of the men of -the day; but Romney's faces are more piquant, -more brilliant, full of action in many instances, -and running over with life and delight. -</p> - -<p> -His colouring, as has already been noted, is -very frequently the rich harmony of gold and -brown with flushes of full rose in which he -so delighted; but he was not afraid of painting -the primary colours when it was desirable -that he should do so, and in one of the -National Gallery pictures this capability can be -well seen. -</p> - -<p> -There is a melting quality, a charming manner -of soft modelling that is also characteristic, an -agreeable manner by which each colour composes -itself into its adjacent tint without any -hardness of outline; but even this suavity could -be replaced by a certain hard, even rugged force, -if desirable, and the picture just mentioned will -also represent this harshness of outline. -</p> - -<p> -On the whole he possessed to an unusual -degree the power to thrill and to delight. His -pictures are melodious, charming, graceful. His -grouping is delightful and expressive of the -highest genius; his draperies are simply and -slightly painted; while the modelling of the -features is full of consummate dexterity. -</p> - -<p> -He attached great importance to the painting -of fingers and hands, and gave much expression -to them. His faces are quiet, and have often a -look of the deepest pathos about them, a look -which even approaches to melancholy; but, on -the other hand, the sprightliness of youthful joy -was well expressed by him, and if in a phrase -his qualities are to be summed up, they may -be so by the words "grace, melody, sunshine -and sweetness." -</p> - -<p><br><br><br></p> - -<p><a id="chap04"></a></p> - -<h3> -OUR ILLUSTRATIONS -</h3> - -<p> -From the National Gallery we have selected -two: a portrait of Mrs. Mark Currie and -the portrait called <i>The Parson's Daughter</i>. -</p> - -<p> -<i>Mrs. Mark Currie</i> represents a life-size, -nearly full-length figure. The lady is dressed -in a simple white muslin dress with short sleeves, -and an elaborate <i>fichu</i> of the same material. -Round her waist is a silk sash of pale red, and -the ribbons which trim her sleeves and <i>fichu</i> -are of the same pale tint. Her fair hair, slightly -powdered, falls in full clusters around her -shapely shoulders. -</p> - -<p> -Her face wears a quiet thoughtful expression, -with a lurking look of humour about the eyes. -The background is slightly suggested landscape -and trees. -</p> - -<p> -The lady was a Miss Elizabeth Close, who -married Mr. Mark Currie, a goldsmith and -banker, in January, 1789, and gave her first -sitting for the portrait on the 7th of May of the -same year. -</p> - -<p class="capcenter"> -<a id="img-044"></a> -<br> -<img class="imgcenter" src="images/img-044.jpg" alt="MRS. MARK CURRIE."> -<br> -MRS. MARK CURRIE. -</p> - -<p> -It is not known whom <i>The Parson's Daughter</i> -represents, nor why it bears that name. -</p> - -<p> -It is a very charming circular portrait of a -young lady with dark eyes and auburn hair, -which is powdered and bound with a green -ribbon. She wears a brown dress and white -handkerchief. -</p> - -<p> -The modelling on the face is very dexterously -painted, and the tender thoughtful expression of -the dark eyes quite beautiful. -</p> - -<p> -The hair is painted in very broad, powerful -fashion, and the draperies over the bust indicated -lightly and put on with a wonderful sliding -movement which is notable. On the whole Romney -seldom did a more pleasing piece of work than -the portrait of this quiet and refined dainty girl. -</p> - -<p><br></p> - -<p> -<i>The Clavering Children</i>, which we have the -special permission of the owner -(Rev. J. W. Napier-Clavering) to reproduce, is a very happy -example of Romney's ability to depict children -in movement and to give the effect of rapid motion. -</p> - -<p> -Mark how lightly the two children tread the -ground, with what easy step they move forward, -seeming to come right out of the canvas towards -the spectator. Notice how the scarf, which -forms part of the dress of the girl, streams out in -the wind, and see how lightly and with what a -graceful movement the lad holds in the two dogs. -</p> - -<p> -Romney was at his very best in this delightful -group. The faces of both boy and girl are painted -with unusual care, the clear eyes of the manly -lad seeming to look right into the spectator; -while the downcast lids of the girl's face serve -but to reveal through their clear semi-transparency -the brown eyes which they hide. -</p> - -<p> -Much attention has in this work been given -to the hands, which Romney rightly believed -were indicative of character. The grasp of the -sturdy fingers of the boy contrasts well with -the long slender fingers which grasp the dog -in loving embrace, and the same pleasing idea -of divergence can be seen in the modelling of -the faces and in the posture and shape of the -feet. The dogs are painted in very natural -positions: the darker spaniel, which is leaping -up to the lad, is evidently in a favourite posture -and full of enthusiasm towards his young master; -while the tiny puppy which the girl hugs to -her breast, and which the parent dog is most -anxious to have back again into her care, is a -fat little comic beast, quite young, and very ready -to be caressed. -</p> - -<p class="capcenter"> -<a id="img-046"></a> -<br> -<img class="imgcenter" src="images/img-046.jpg" alt="THOMAS JOHN CLAVERING, AFTERWARDS EIGHTH BARONET, AND HIS SISTER, CATHERINE MARY."> -<br> -THOMAS JOHN CLAVERING, AFTERWARDS EIGHTH <br> -BARONET, AND HIS SISTER, CATHERINE MARY. -</p> - -<p> -The scene has no studio atmosphere about it. -It was clearly unpremeditated, and has been -happily seized by the artist at the right moment -and perpetuated in this work. There is no -elaborate underpainting in this picture, all the -effects of it being obtained in the simplest -manner. The sky and ground afford a sufficient -foil in the way of scenery, and the two children -come dancing towards the person who looks at -the picture with the most artless grace and -charm, attended as they are by their canine -companions. -</p> - -<p> -The boy was afterwards Sir Thomas John -Clavering, the eighth baronet, of Axwell Park, -where the family still reside, and was the -grand-son of the sixth baronet, Sir James. He was -born in 1771, married in 1791, succeeded his -uncle in the family estates and title, and died in -1853. His sister, Catherine Mary, died -unmarried in 1785. -</p> - -<p> -The picture is a large one, as the figures are -life-size, and it has been engraved; and hardly -any of the works of Romney is more worthy of -praise than this vivacious and graceful creation. -</p> - -<p><br></p> - -<p> -The wonderful eyes which distinguished -the features of <i>Lady Hamilton</i> can be well -appreciated in the portrait which we give from -the National Portrait Gallery. The face is not -altogether a pleasing one. It reveals some of -the desire to fascinate which distinguished the -lady's character. -</p> - -<p> -There is a purpose in the gaze which these eyes -extend to the observer, and the attitude, although -intended to be a natural one, is quite evidently -studied and assumed. It is intended to give -full play to the face and eyes, and to reveal -the graceful curves of the arms and the slender -beauty of the fingers. The very roundness of -the face is accentuated against the angles of the -fingers in their half-closed position, and there is a -studied grace in the arrangement of the draperies -and in the muslin bands which form the head-dress. -In all these respects it is a fitting -representation of the famous beauty, who in a less -natural pose would not have so amply revealed -her power of charm. -</p> - -<p> -The painting of the features with all their -delicate and slight modelling is a triumphant -success, and the eyes, which burn down into the -very consciousness of the spectator, are superbly -represented. The picture, small as it is, and -showing but little of the graceful form, is yet a -masterpiece, and is a delineation of character -unsurpassed in its effect by any other portrait -by the same hand. -</p> - -<p><br></p> - -<p> -There is in the Wallace Gallery an interesting -<i>Portrait of Mrs. Robinson</i>, the beautiful actress, -in the character of Perdita, the daughter of -Leontes in "The Winter's Tale," which she -made so peculiarly her own. -</p> - -<p> -Mrs. Robinson first took the part in the -performance on December 3rd, 1779, at Drury -Lane, in the presence of their Majesties King -George III. and Queen Charlotte, and also -before the youthful Prince of Wales, whose -affection was afterwards to have such an effect -upon her life. -</p> - -<p> -She was at that time just over twenty-one -years old, married to a man who systematically -insulted and neglected her and spent his time -with the lowest and most degraded of the women -of his acquaintance. The Prince of Wales was -in his eighteenth year, very susceptible, and he -was at once attracted by this lovely woman, -little more than a girl, who acted superbly and -with such artless grace. In this way an -acquaintance was commenced, Viscount Malden being -employed as an intermediary, and ripened into -a closer affection. -</p> - -<p> -She, however, hardly met the Prince until he -had his separate establishment in Buckingham -House, as during the time when he lived at -Kew he was kept under the strictest regulations. -From the 1st of January, 1781, he was, however, -his own master, and Mrs. Robinson shared -his establishment, and was at the height of her -beauty and position. -</p> - -<p> -The attachment only continued for some two -years, when the Prince, having vowed perpetual -devotion to his Perdita, and made her many -presents and more promises, suddenly transferred -his affection to Mrs. Grace Dalrymple -Elliott and absented himself from Mrs. Robinson. -</p> - -<p> -He paid no attention to her misery, nor in -any way assisted her in her distress, though -he had given her a bond for £20,000 when she -quitted the theatre at his desire to live with -him. She eventually, however, obtained, through -Charles James Fox, an annuity of £500 a year, -and devoted herself to literature. -</p> - -<p> -She had a very devoted daughter who lived -with her, and in the presence of this daughter -she died in December, 1800, and was buried at -Old Windsor by her own particular desire. -</p> - -<p> -In the picture in the Wallace Gallery she is -represented in the walking costume which she -assumed when she played the part of Perdita, -wearing a handsome lace bonnet and carrying a -huge muff. The face is one of peculiar sweetness, -and the eyes have an arch look, mingled -with thoughtful pathos, which is peculiarly -attractive. -</p> - -<p> -The face is wonderfully painted, the modelling -being subtle and very dexterous; while the -harmony of the whole work is most noticeable. -The picture is one of Romney's most -successful works in its charm of colour and -sweetness of expression. -</p> - -<p><br></p> - -<p> -The remaining three of our illustrations are -taken from the gallery of the Duke of Sutherland -at Trentham, and are reproduced by kind -permission of their noble owner, and of his -Grace's representative, Mr. Bagguley. -</p> - -<p> -The chief of the three is the important portrait -group of <i>Children dancing in a Ring</i>, one -of the most famous groups that Romney ever -executed. The tall lady with the tambourine is -Lady Anne Leveson-Gower, third daughter of -the Earl Gower who afterwards became first -Marquess of Stafford, by his second wife, -Lady Louisa Egerton. She became eventually -the wife of Vernon Harcourt, Archbishop of York. -</p> - -<p> -The four dancing children are her step-sisters -and step-brother, the children of the earl by -his third wife, Lady Susan Stewart—the Ladies -Georgiana, Charlotte, and Susan Leveson-Gower, -who became respectively Lady G. Eliot, the -Duchess of Beaufort, and the Countess of -Harrowby. The young lad is Lord Granville -Leveson-Gower, afterwards elevated to the -peerage as the first Earl Granville, the father -of the late well-known statesman of the same name. -</p> - -<p> -The picture is a charming example of the -skill of the artist, both in expressing lightness -and grace in attitude, and also in power of -grouping and composition. The children are -moving with the utmost daintiness and freedom, -and are all of them admirably well drawn. -</p> - -<p> -The tall figure is, if anything, a little too tall, -but adds dignity to the group, while the artless -expression on the faces of the girls is beyond -praise. There is a peculiar sweetness and happiness -in the faces of all the little ones, and they -are evidently in full enjoyment of health and -spirits, and have no feeling of formal grouping or -stilted posing about them. -</p> - -<p class="capcenter"> -<a id="img-052"></a> -<br> -<img class="imgcenter" src="images/img-052.jpg" alt="GEORGE GRANVILLE, SECOND MARQUESS OF STAFFORD AND FIRST DUKE OF SUTHERLAND."> -<br> -GEORGE GRANVILLE, SECOND MARQUESS OF STAFFORD <br> -AND FIRST DUKE OF SUTHERLAND. -</p> - -<p> -The colour scheme is delightful. The white -dress of the tall sister and of the boy, with the -same hue in the columns, is charmingly -contrasted with the green, plum colour and red of -the other dresses, and with the increase of -colour that the scarves of brown and purple give. -All is harmony and grace without artifice, and -the technique of the picture is of the very -simplest order. -</p> - -<p><br></p> - -<p> -As an example of dignity and restraint, the -<i>Portrait of George Granville</i> will be -appreciated. He was the eldest son of the same -Earl Gower who afterwards in his turn became -second Marquess of Stafford and then first Duke -of Sutherland. He was, of course, the brother -of the tall girl with the tambourine in the last picture. -</p> - -<p> -By his marriage with the lady who was -Countess of Sutherland in her own right, he -became a person of vast importance and the -owner of enormous estates, which he managed -admirably and laid the foundation for the -position now occupied by his successors. -</p> - -<p> -He stands quietly before the spectator, dressed -in a yellow silk jacket with deep lace collar and -cuffs, has a red robe thrown over his shoulders, -and bears in his hand his gray hat with black -feathers. -</p> - -<p> -It is well to mark the extreme care with which -the hand of the young aristocrat is painted, and -how expressive it is—perhaps as much as the -serious and somewhat haughty face—of the -position and influence of the lad. -</p> - -<p> -There is a composure and a stateliness in this -portrait which are a sure index to the mind of -the young nobleman, and few painters could so -well have represented the mind of his sitter as -Romney has done in this work. The child was -assuredly father to the man, and thus early he -foreshadowed in his features the calm dignity, -reserve and power which in after life -distinguished him as Duke. -</p> - -<p><br></p> - -<p> -The third portrait is that of his wife, generally -known as the <i>Countess-Duchess of Sutherland</i>. -</p> - -<p> -Elizabeth was the only daughter and surviving -child of the seventeenth and last Earl of -Sutherland, and became, on the death of her father, -Countess in her own right. Her mother was a -great beauty, and she inherited all the exquisite -features and charm of that parent, who died in -the same year as the Earl of Sutherland, placing -this bright girl, at the tender age of two years, -in possession of the vast estates and the title of -the earldom. Her beauty attracted the loyalty -of all her tenants to her, and Sir Walter Scott -records many a story of her charm and kindness. -</p> - -<p> -The portrait records her appearance soon -after she was married, when somewhat more -than twenty years of age, and in the heyday of -her sweet and thoughtful beauty. She is dressed -in white and gold, her dark brown hair tied with -ribbon, the background being foliage and a -distant landscape. -</p> - -<p> -There is all the effect of power, dignity and -determination about the mouth and eyes; the -face is a distinct oval, the form rather thin and -slight, and the composure of the expression very -marked. It is a striking portrait of a beautiful -girl of high lineage and important position, and -is a triumph of art as a portrait which is at -once lovely in itself and a delineation of the mind -of the person who is depicted in it. -</p> - -<p><br><br><br></p> - -<p><a id="chap05"></a></p> - -<h3> -THE CHIEF WORKS OF ROMNEY -</h3> - -<p><br></p> - -<p class="noindent"> -NATIONAL GALLERY, LONDON. -</p> - -<p class="paint"> -Study of Lady Hamilton as a Bacchante, -about 1786. (312) -</p> - -<p class="paint"> -The Parson's Daughter. A portrait. A -circular bust portrait of a young lady. See -page 45. (1068) -</p> - -<p class="paint"> -Portraits of Mr. and Mrs. Wm. Lindow. A -life-size group. Bought in 1893. Strong in -colour, and more definite and hard than -is the artist's usual manner. (1396) -</p> - -<p class="paint"> -Portrait of Mrs. Mark Currie. A portrait -of a lady seated on a terrace. See page -44. Painted in May, 1789. Romney -received sixty guineas for this picture, -which was bought for a very large sum -by the Trustees from the family in 1897. (1651) -</p> - -<p class="paint"> -Portrait of a Lady and Child. (1667) -</p> - -<p><br></p> - -<p class="noindent"> -NATIONAL PORTRAIT GALLERY, LONDON. -</p> - -<p class="paint"> -Portrait of Wm. Cowper, the poet. -</p> - -<p class="paint"> -Portrait of R. Cumberland, the dramatist. -</p> - -<p class="paint"> -Portrait of John Flaxman, R.A., designer and -sculptor, represented modelling the bust of -his friend Hayley, author of "The -Triumphs of Temper," whose son, T. A. Hayley, -is also introduced as a spectator. The -son was a pupil of Flaxman. -</p> - -<p class="paint"> -Portrait of Lady Hamilton. A half-length, -resting her elbows on the table, and with -her face turned somewhat to the right. See page 47. -</p> - -<p class="paint"> -Portrait of James Harris, M.P. for Christchurch, -a writer of treatises on art, music, -painting and poetry, and of other works. -His son became Earl of Malmesbury. -</p> - -<p class="paint"> -Portrait of the artist himself, unfinished. It -was done in 1782, and bought at Miss -Romney's sale in 1894. -</p> - -<p><br></p> - -<p class="noindent"> -THE WALLACE GALLERY, LONDON. -</p> - -<p class="paint"> -Portrait of Mrs. Robinson, the actress, in her -favourite character of Perdita. See page 49. (37) -</p> - -<p><br></p> - -<p class="noindent"> -ROYAL INSTITUTION, LIVERPOOL. -</p> - -<p class="paint"> -A series of fine cartoons by the artist. -</p> - -<p><br></p> - -<p class="noindent"> -BIRMINGHAM ART GALLERY -</p> - -<p class="paint"> -A portrait of Lady Holte. -</p> - -<p><br></p> - -<p> -The foregoing represent the chief works of -the artist that are in public and accessible -galleries; but the greatest works still remain in -private hands, and many of them are from time -to time exhibited in London and the provinces. -</p> - -<p> -Amongst notable collections may be mentioned -that of the Duke of Sutherland, in which -are the portraits of Elizabeth, Duchess of -Sutherland, the second Marquess of Stafford, the five -children of the Earl of Sutherland dancing in a -ring, and the Countess of Carlisle. See pages 51-55. -</p> - -<p> -The Rev. J. W. Napier-Clavering also owns -some of the choicest works of Romney, namely, -Maria Margaret Clavering, afterwards Lady -Napier, Colonel Thomas Thornton, and the -delightful group of Sir Thomas Clavering and -his sister. See page 45. -</p> - -<p> -Mr. Lockett Agnew owns the portraits of -Miss Hay, Miss Leyborne Popham with her dog, -Miss Popham, Lady Mary Parkhurst and Mr. Charles -Parkhurst, all of them important pictures. -</p> - -<p> -The Marquess of Lansdowne has the portraits -of Lord Henry Petty and of Lady Louisa Fitzpatrick, -both fine works, besides others of lesser -importance; and other fine portraits belong to -Mr. Beebe, Mr. R. Biddulph Martin, who has -two, Sir Cuthbert Quilter, who has the splendid -portrait of Mrs. Jordan, Sir Edward Newdigate-Newdegate, -whose portrait of Lady Newdigate is -well known, and Mr. Makins. -</p> - -<p> -Other portraits belong to Earl Granville, Lord -de Tabley, the Earl of Cawdor, the Earl of -Normanton, Lord Berwick, Lord Thurlow, and to -several members of the Rothschild family. -</p> - -<p><br><br><br></p> - -<p><a id="chap06"></a></p> - -<h3> -SOME OF THE CHIEF BOOKS ON ROMNEY -</h3> - -<p><br></p> - -<p class="noindent"> -"George Romney and His Art," by Hilda -Gamlin, 1894. -</p> - -<p class="noindent"> -"Romney and Lawrence," by Lord Ronald -Sutherland-Gower, 1882. -</p> - -<p class="noindent"> -"Memoirs of Lady Hamilton," annotated by -Long, 1891. -</p> - -<p class="noindent"> -"Lady Hamilton," by Hilda Gamlin, 1894. -</p> - -<p class="noindent"> -Cunningham's "Painters," 1879. -</p> - -<p class="noindent"> -"Illustrated Catalogue of a Collection of -Portraits exhibited at Birmingham in 1900." -</p> - -<p class="noindent"> -"Memoirs of Romney," by Hayley, 1809. -</p> - -<p class="noindent"> -"Memoirs of Romney," by his son, the -Rev. John Romney, 1830. -</p> - -<p class="noindent"> -The Catalogues of the Romney Exhibition in -the Grafton Galleries in 1900 and 1901, with -Notes by Nash. -</p> - -<p class="noindent"> -"The Life of Mrs. Robinson," by Molloy, 1894. -</p> - -<p><br><br><br></p> - -<p><a id="chap07"></a></p> - -<h3> -CHRONOLOGY -</h3> - -<p class="noindent"> -1734. Birth of Romney. -</p> - -<p class="noindent"> -1756. His marriage. -</p> - -<p class="noindent"> -1757. His indenture cancelled. -</p> - -<p class="noindent"> -1762. He starts for London. -</p> - -<p class="noindent"> -1763. Paints <i>The Death of General Wolfe</i> for a -premium offered by the Society of Arts. -</p> - -<p class="noindent"> -1764. Journey to France. -</p> - -<p class="noindent"> -1773. Journey to Italy, notably to Rome. -</p> - -<p class="noindent"> -1775. Settled in Cavendish Square. -</p> - -<p class="noindent"> -1782. First met Mistress Hart, afterwards Lady -Hamilton. -</p> - -<p class="noindent"> -1797. Removed to Hampstead. -</p> - -<p class="noindent"> -1799. Returns to his wife. -</p> - -<p class="noindent"> -1802. His death. -</p> - -<p><br><br></p> - -<p class="t4"> - CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.<br> - TOOKS COURT, CHANCERY LANE, LONDON.<br> -</p> - -<p><br><br><br></p> - -<p><a id="chap08"></a></p> - -<p class="t3b"> - Bell's Miniature Series of Painters. -</p> - -<p class="t3"> - Edited by G. C. WILLIAMSON, Litt.D.<br> -</p> - -<p class="t4"> - <i>Pott 8vo, with 8 Illustrations, issued in cloth or in<br> - limp leather, with Photogravure frontispiece.</i><br> -</p> - -<p class="noindent"> - ALMA TADEMA. By H. Zimmern.<br> - ROSA BONHEUR. By Frank Hird.<br> - BOTTICELLI. By R. H. Hobart Cust, M.A.<br> - BURNE-JONES. By Malcolm Bell.<br> - CONSTABLE. By Arthur B. Chamberlain.<br> - CORREGGIO. By Leader Scott.<br> - FRA ANGELICO. By G. C. Williamson, Litt.D.<br> - GAINSBOROUGH. By Mrs. Arthur Bell.<br> - GREUZE. By Harold Armitage.<br> - HOGARTH. By G. Elliot Anstruther.<br> - HOLBEIN. By Arthur B. Chamberlain.<br> - HOLMAN HUNT. By G. C. Williamson, Litt.D.<br> - LANDSEER. By McDougall Scott, B.A.<br> - LEIGHTON. By G. C. Williamson, Litt.D.<br> - LEONARDO DA VINCI. By R. H. Hobart Cust.<br> - MICHELANGELO. By Edward C. Strutt.<br> - MILLAIS. By A. Lys Baldry.<br> - MILLET. By Edgcumbe Staley, B.A.<br> - MURILLO. By G. C. Williamson, Litt.D.<br> - RAPHAEL. By Mcdougall Scott, B.A.<br> - REMBRANDT. By Hope Rea.<br> - REYNOLDS. By Rowley Cleeve.<br> - ROMNEY. By Rowley Cleeve.<br> - ROSSETTI. By H. C. Marillier.<br> - RUBENS. By Hope Rea.<br> - TITIAN. By Hope Rea.<br> - TURNER. By Albinia Wherry.<br> - VAN DYCK. By E. R. Dibdin (<i>In The Press</i>).<br> - VAN EYCK (Hubert and Jan). By P. G. Konody.<br> - VELAZQUEZ. By G. C. Williamson, Litt.D.<br> - WATTEAU. By Edgcumbe Staley, B.A.<br> - WATTS. By Malcolm Bell.<br> - WHISTLER. 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