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lously it must be owned, ending with, "I find Hogarth, who is said to have succeeded think myself a very polite man!"

It was to Mr. Ramsay's house-No. 67 Harley Street-that Mr. Boswell sent a letter for his friend: "My dear sir,-I am in great pain with an inflamed foot,"-why not say plainly "the gout," Mr. Boswell ?" and obliged to keep my bed, so am prevented from having the pleasure to dine at Mr. Ramsay's to-day, which is very hard, and my spirits are sadly sunk. Will you be so friendly as to come and sit an hour with me in the evening?"

And it was from Ramsay's house the kind old man sent his rather stiff reply: "Mr. Johnson laments the absence of Mr. Boswell, and will come to him."

After dinner the doctor goes round to the invalid, laid up in General Paoli's house in South Audley Street, and brings with him Sir Joshua Reynolds, whom it is pleasant to find is a frequent guest at his great rival's hospitable board.

his brother-in-law, John Thornhill, the son of Sir James, appointed in 1757, while Mr. Shackleton did not die until 1767, when, as Mr. Cunningham relates the story of the London studios, he died of a broken heart on learning that Ramsay was appointed in his stead. This was certainly about the date of Ramsay's appointment to be painter to the king. And now there grew to be quite a rage for portraits by Ramsay—there was a run upon him as though he had been a sinking bank. He was compelled to call in the aid of all sorts of people, painting the heads only of his sitters with his own hand; and at last abandoning even much of that superior work to his favorite pupil, Philip Reinagle. So that in many of Ramsay's pictures there is probably but a very few strokes of Ramsay's brush. The names of certain of his assistants have been recorded. Mrs. Black, "a lady of less talent than good taste." Vandyck, a Dutchman, allied more Ramsay prospers-his reputation increases in name than in talent with him of the days -he is largely employed, not only in por- of Charles the First. Eikart, a German, traiture, but in decorating walls and ceilings. clever at draperies. Roth, another German, He has a staff of workmen under him. A who aided in the subordinate parts of the second time he visits Rome, making a stay work. Vesperis, an Italian, who was emof some months; and journeys to Edin- ployed occasionally to paint fruits and flowburgh, residing there long enough to estab-ers. And Davie Martin, a Scotchman, a lish, in 1754, "The Select Society." He favorite draughtsman and helper, and congrows wealthy too. Poor Allan Ramsay scientious servant. Mr. Reinagle probably senior dies much in debt in 1757; the furnished Mr. Cunningham with these parpainter takes upon himself his father's liabilities, and pensions his unmarried sister, Janet Ramsay, who survived to 1804. He is possessed, it is said, of an independent fortune to the amount of £40,000; and this before the accession of King George the Third, and his extraordinary patronage of the painter.

ticulars. It will be noted that the English artist's employment of foreign mercenaries was considerable. This must have been either from the fact of such assistance being procurable at a cheaper rate, or that the old notion still prevailed as to the necessity of looking abroad for art-talent.

Ramsay succeeded at court. He was made The office of painter to the crown is one of more yielding materials than Reynolds; of early date. In 1550, Antonio More was assumed more the airs of a courtier-hupainter to Queen Mary. For his portrait of mored the king. Perhaps like Sir Pertinax the queen sent to her intended husband, he had a theory upon the successful results Philip, he was rewarded with one hundred of " booing and booing." He never contrapounds, a gold chain, and a salary of one dicted; always smiled acquiescence; listened hundred pounds a quarter as court-painter complacently to the most absurd opinions to their majesties. There is some obscurity upon art of his royal master. Reynolds was about the appointments of painters to the bent upon asserting the dignity of his proking during the reign of George the Sec-fession. He did not scruple to conceal his ond. Jervas was succeeded by Kent, who appreciation of the fact that as a painter, at died in 1748. Shackleton succeeded Kent. Yet it is probable that the king had more than one painter at the same time. For we

any rate, he was the sovereign's superiorhe would be, to use a popular phrase, “cock on his own dunghill." When the painter's

friends spoke on the subject to Johnson, he ton, as eye-witnesses have described her later said stoutly "That the neglect could never in life-called on Mrs. Garrick one day at prejudice him: but it would reflect eternal Hampton Court, and found the widow of the disgrace on the king not to have employed Roscius very busy pealing onions for pickSir Joshua." But Reynolds received only ling. "The queen, however, would not sufone royal commission: to paint the king fer her to stir, but commanded a knife to be and queen, whole-lengths, for the council- brought, observing that she would peel an room of the Royal Academy, "two of the onion with her, and actually sat down in the finest portraits in the world," as Northcote most condescending manner and peeled declared. The king, who was an early riser, onions." The king, interrupting his sittings sat at ten in the morning. The entry in to dine off his favorite boiled mutton and Reynolds' pocket-book is" Friday, May 21 turnips, would make Ramsay bring easel and (1779), at 10-the king." The queen's canvas into the dining-room, so that they name does not occur till December. The might continue their conversation during king, who was near-sighted, and looked the royal meal. When the king had finished, close at a picture, always complained that Reynolds' paintings were rough and unfinished. But Reynolds heeded not. Be sure Ramsay and West were careful to paint smoothly enough after that. Northcote said that the balance of greatness preponderated on the side of the subject, and the king was annoyed at perceiving it; and disliked extremely the ease and independence of manner of Reynolds-always courteous, yet always unembarrassed-proceeding with his likenesses as though he were copying marble statues. "Do not suppose," adds his pupil, "that he was ignorant of the value of royal favor. No. Reynolds had a thorough knowledge of the world, he would have gladly possessed it, but the price would have cost him too much."

he would rise and say, "Now, Ramsay, sit down in my place and take your dinner." When he was engaged on his first portrait of the queen, it is said that all the crown jewels and the regalia were sent to him. The painter observed that jewels and gold of so great a value deserved a guard, and accordingly sentinels were posted day and night in front and rear of his house. His studio was composed of a set of rooms and haylofts in the mews at the back of Harley Street, all thrown into one long gallery.

He kept an open house and a liberal table, but more it would seem for his friends' pleasure than his own; for though fond of delicate eating, and as great a consumer of tea as Dr. Johnson, he had little taste for stronger potations, and we are told that

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The court-painter had soon enough to do, even the smell of a bottle of claret was for the king had a habit of presenting por- too much for him." The doctor entertained traits of himself and his queen to all his am- different opinions: he spoke with contempt bassadors and colonial governors. He sat, of claret. "A man would be drowned by too, for his coronation portrait, as it was it before it made him drunk," adding, "Poor called, in Buckingham Palace. The bland, stuff! No, sir, claret is the liquor for boys: obsequious, well-informed Ramsay became a port for men: but he who aspires to be a great favorite. He always gave way to the hero must drink brandy!" Most toper senking-would have sacrificed his art to his timents! But Ramsay did not stint his advancement any day. And he was almost guests, and these were constantly of a noble the only person about the court, except the order. Lord Bute, the Duke of Newcastle, servants who could speak German, and the Lord Bath, Lord Chesterfield, and the Duke queen was especially fond of chatting with of Richmond were often at the painter's tahim in her native language. Their majes- ble, discussing all sorts of political questions ties soon gave over being dignified. Indeed, with him. Every man was a politician in few persons were more prone to forget their those days, especially after dinner. grandeur, although they did not like any- Ramsay was not content to be simply a talker body else to do so. With his own hands upon the topics of the day-he became also the king would help West to place his pic- a writer. Many clever papers by him upon tures in position on the easel. The queen-history, politics, and criticism were published plain, snuff-taking, her face painted like a at various times under the signature "Inmask, and her eyes rolling like an automa-vestigator," and were subsequently reprinted

But

declared it to be the finest portrait he had ever painted; and his friends echoed his opinion. But it was the last he was ever to put his hand to.

and collected into a volume. Upon the ques- | working most painfully, and supporting as tion which had agitated London for some he best could his right arm with his left. He months, as to the truth of the charge brought against the gypsey woman, Mary Squire, of aiding in the abduction of the servant girl, Elizabeth Canning, Ramsay wrote an ingenious pamphlet. The same subject had also employed the pen of no less a person than Henry Fielding. Ramsay corresponded with Voltaire and Rousseau, both of whom he visited. His letters, we are told, were elegant and witty. The painter to the king was a man of society.

A third time he visits Rome, accompanied on this occasion by his son, afterwards to rise to distinction in the army. He employed himself, however, more as a savant than an artist-in examining and copying the Greek and Latin inscriptions in the Vatican. The president of the Roman Academy introduced the painter to the School of Art, and was rather pompous about the works of his students. Ramsay's national pride was piqued. "I will show you," he said, "how we draw in England." He wrote to his Scotch assistant, Davie Martin, to pack up some drawings and journey at once to Rome. On his arrival, Ramsay arranged his drawings, and then invited the president and his scholars to the exhibition. The king's painter was always fond of declaring that it was the proudest moment of his life, "for," he said, "the Italians were confounded and overcome, and British skill triumphant!" Perhaps the Italian account of the transaction, could we obtain it, might not exactly tally with the king's painter's.

His constitution yielded; his spirits left him; his shoulder gave him great pain; his nights were sleepless. The painter to King George III. was evidently sinking. Yet he lingered for some years—a shattered invalid. Again he visited Rome, leaving his pupil, Reinagle, to complete his long list of royal commissions. Reinagle's style was so admirably imitative of his master's, that it was difficult to distinguish one from the other. The pupil was instructed to complete fifty pairs of kings and queens at ten guineas each! The task seemed endless, and was six years in hand. Midway, wearied to death with the undertaking, Reinagle wrote to complain that the price was not sufficient. Ramsay trebled it; but the pupil was wont to confess afterwards that he looked back with a sort of horror at his labors in connection with the royal portraits.

The court-painter never recovered his lost health. He wrote from Italy to many of his friends-the first men of the day, both in France and England. Then came the homesickness, which so often precedes dissolution. In the summer of 1784 he set out on his journey to England, hoping to reach it by short and easy stages. He reached Paris with difficulty: the fatigue brought on a low fever he had not the strength to support. He died on the 10th of August, at Dover, in the seventy-first year of his age.

"Poor Ramsay: " so Johnson wrote touchingly to Reynolds. "On which side soever I turn, mortality presents its formidable frown. I left three old friends at Lichfield when I was last there, and now I found them all dead. I no sooner lost sight of dear Allan than I am told that I shall see him no more! That we must all die, we all know. I wish I had sooner remembered it. Do not think me intrusive or importunate if I now call, dear sir, on you, to remember it!"

Soon Ramsay was again in England resuming his prosperous practice. Then occurred the accident which hindered all further pursuit of his art. Reading an account of a calamitous fire, he was so impressed with the idea of showing his household and pupils the proper mode of effecting their escape, in the event of such an accident befalling his own house, that he ascended with them to the top story, and pushing a ladder through the loft door, mounted quickly, saying: "Now I am safe-I can get to the roofs of the adjoining houses." As he turned to A handsome, acute, accomplished gentledescend he missed his step and fell, dislocat- man, outstripping all the painters of his age ing his right arm severely. At this time he in the extent of his learning and the variety was engaged upon the portrait of the king of his knowledge-an artist of delicacy and for the Excise-office. With extraordinary taste, rather than of energy and vigor-pale courage he managed to finish the picture. in color and placid in expression, yet always

graceful and refined-there was a charm in execution and ordinary in features-all I about his works that his contemporaries can say is, that it was the farthest possible thoroughly understood, though they could removed from every thing like vulgarity. A not always themselves attain it. Northcote professor might despise it, but in the mental gave a close and clever criticism on the king's part I have never seen any thing of Vanpainter in this wise: "Sir Joshua used to dyke's equal to it. I could have looked at say that he was the most sensible among all it forever. I don't know where it is now: the painters of his time; but he has left lit- but I saw enough in it to convince me that tle to show it. His manner was dry and Sir Joshua was right in what he said of Ramtimid. He stopped short in the middle of say's great superiority. I should find it difhis work because he knew exactly how much ficult to produce any thing of Sir Joshua's it wanted. Now and then we find hints and that conveys an idea of more grace and delsketches, which show what he might have icacy. Reynolds would have finished it betdone if his hand had been equal to his con- ter; the other was afraid of spoiling what he ceptions. I have seen a picture of his of had done, and so left it a mere outline. Ha the queen soon after she was married-a pro- was frightened before he was hurt." This file, and slightly done: but it was a paragon was high praise of the king's painter, comof elegance. She had a fan in her hand. ing from his rival's pupil. Lord, how she held that fan! It was weak

DUTTON COOK.

HER MAJESTY'S CROWN.-[From a Mineralogical point of view Described by Professor Tennant, of King's College, to the London and Middlesex Archæological Society, July 7, 1858]. -The Imperial State Crown of Her Majesty Queen Victoria was made by Messrs. Rundell and Bridge in the year 1838, with jewels taken from old Crowns, and others furnished by command of her Majesty. It consists of diamonds, pearls, rubies, sapphires, and emeralds, set in silver and gold; it has a crimson velvet cap with ermine border, and is lined with white silk. Its gross weight is 39 oz. 2 dwts. Troy. The lower part of the band, above the ermine border, consists of a row of one hundred and twenty-nine pearls, and the upper part of the band a row of one hundred and twelve pearls, between which, in front of the Crown, is a large sapphire (partly drilled,) purchased for the Crown by his Majesty King George the Fourth. At the back is a sapphire of smaller size, and six other sapphires (three on each side), between which are eight emeralds. Above and below the seven sapphires are fourteen diamonds, and around the eight emeralds one hundred and twenty-eight diamonds. Between the emeralds and sapphires are sixteen trefoil ornaments, containing one hundred and sixty diamonds. Above the band are eight sapphires surmounted by eight diamonds, between which are eight festoons consisting of one hundred and forty-eight diamonds. In the front of the Crown, and in the centre of a diamond Maltese cross, is the famous ruby said to have been given to Edward Prince of Wales, son of Edward the Third, called the Black Prince, by Don Pedro, King of Castile, after the battle of Najera, near Vittoria, A.D. 1367. This ruby was worn in the helmet of Henry the Fifth at the battle of Agincourt, A.D. 1415. It is pierced quite through

after the Eastern custom, the upper part of the piercing being filled up by a small ruby. Around this ruby, to form the cross, are seventy-five forming the two sides and back of the Crown, brilliant diamonds. Three other Maltese crosses, have emerald centres, and contain respectively one hundred and thirty-two, one hundred and twenty-four, and one hundred and thirty brilliant diamonds. Between the four Maltese crosses are four ornaments in the form of the French fleur-de-lis, with four rubies in the centres, and surrounded by rose diamonds, containing respectively eighty-five, eighty-six, eighty-six, and eighty-seven rose diamonds. From the Maltese crosses issue four imperial arches composed of oak leaves and acorns; the leaves containing seven hundred and twenty-eight rose, table, and brilliant diamonds; thirty-two pearls forming the acorns, set in cups containing fifty-four rose diamonds and one table diamond. The total number of diamonds in the arches and acorns is one hundred and eight brilliant, one hundred and sixteen table, and five hundred and fiftynine rose diamonds. From the upper part of the arches are suspended four large pendant pearshaped pearls, with rose diamond caps, containing twelve rose diamonds, and stems containing twenty-four very small rose diamonds. Above the arch stands the mound, containing in the lower hemisphere three hundred and four brilliants, and in the upper two hundred and fortyfour brilliants; the zone and are being composed of thirty-three rose diamonds. The cross on the summit has a rose-cut sapphire in the centre, surrounded by four large brilliants, and one hundred and eight smaller brilliants. Summary of jewels comprised in the Crown: 1 large ruby irregularly polished, 1 large broad-spread sapphire, 16 sapphires, 11 emeralds, 4 rubies, 1,363 brilliant diamonds, 1,273 rose diamonds, 147 table diamonds, 4 drop-shaped pearls, 273 pearls.

From All the Year Round. MR. H.'S OWN NARRATIVE.

THERE was lately published in these pages a paper entitled The Painter and the Apparition (Living Age No. 908), which related the strange experience of "a well-known English artist, Mr. H." On the publication of that account, Mr. H. himself addressed the conductor of this Journal (to his great surprise), and forwarded to him his own narrative of the occurrences in question.

As Mr. H. wrote, without any concealment, in his own name in full, and from his own studio in London, and as there was no possible doubt of his being a real existing person and a responsible gentleman, it became a duty to read his communication attentively. And great injustice having been unconsciously done to it, in the version published, it follows here exactly as received. It is, of course, published with the sanction and authority of Mr. H., and Mr. H. has himself corrected the proofs.

Entering on no theory of our own towards the explanation of any part of this remarkable narrative, we have prevailed on Mr. H. to present it without any introductory remarks whatever. It only remains to add, that no one has for a moment stood between us and Mr. H. in this matter. The whole communication is at first hand. On seeing the article, Mr. H. frankly and good-humoredly wrote, "I am the living man, of whom mention is made; how my story has been picked up, I do not know, but it is not correctly told; I have it by me, written by myself, and here it is."

"I am a painter. One morning in May, 1858, I was seated in my studio at my usual occupation. At an earlier hour than that at which visits are usually made, I received one from a friend whose acquaintance I had made some year or two previously in Richmond Barracks, Dublin. My acquaintance was a captain in the 3d West York Militia, and from the hospitable manner in which I had been received while a guest with that regiment, as well as from the intimacy that existed between us personally, it was incumbent on me to offer my visitor suitable refreshments; consequently, two o'clock found us well occupied in conversation, cigars, and a decanter of sherry. About that hour a ring at the bell reminded me of an engagement I had made with a model, or a young person who, having a pretty face and neck, earned a livelihood by sitting for them to

THIRD SERIES. LIVING AGE.

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artists. Not being in the humor for work, I arranged with her to come on the following for her loss of time, and she went away. In day, promising, of course, to remunerate her about five minutes she returned, and, speaking to me privately, stated that she had looked forward to the money for the day's sitting, and would be inconvenienced by the want of it; would I let her have a part? There being no difficulty on this point, she Close to the street in which I again went. live there is another of a very similar name, address often go to it by mistake. The and persons who are not familiar with my model's way lay directly through it, and, on arriving there, she was accosted by a lady and gentleman, who asked if she could inform them where I lived? They had forgotten my right address, and were endeavoring to find me by inquiring of persons whom they met ; in a few more minutes they were shown into my room.

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My new visitors were strangers to me. They had seen a portrait I had painted, and wished for likenesses of themselves and their children. The price I named did not deter them, and they asked to look round the studio to select the style and size they should prefer. My friend of the 3d West York, with infinite address and humor, took upon himself the office of showman, dilating on the merits of the respective works in a manner that the diffidence that is expected in a professional man when speaking of his own proadopt.. The inspection proving satisfactory, ductions would not have allowed me to they asked whether I could paint the pictures at their house in the country, and there being no difficulty on this point, an engagement was made for the following autumn, subject to my writing to fix the time when I might be able to leave town for the purpose. This being adjusted, the gentleman gave me his card, and they left. Shortly afterwards my friend went also, and on looking for the first time at the card left by the strangers, I was somewhat disappointed to find that though it contained the name of Mr. and Mrs. Kirkbeck, there was no address. I tried to find it by looking at the Court Guide, but it contained no such name, so I put the card in my writing-desk, and forgot for a time the entire transaction.

"Autumn came, and with it a series of engagements I had made in the north of England. Towards the. end of September, 1858, I was one of a dinner-party at a country-house on the confines of Yorkshire and Lincolnshire. Being a stranger to the family, it was by a mere accident that I was at the house at all. I had arranged to pass a day and a night with a friend in the neighborhood, who was intimate at the house, and

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