THE J. PAUL GETTY MUSEUM LIBRARY 
 
SIR JOSHUA REYNOLDS’ 
 
 NOTES AND OBSERVATIONS ON PICTURES, 
 
 % CHIEFLY OF THE VENETIAN SCHOOL, 
 
 BEING EXTRACTS FROM HIS ITALIAN SKETCH BOOKS ; 
 
 ALSO, THE 
 
 REV. W. MASON’S OBSERVATIONS 
 
 ON SIR JOSHUA'S METHOD OF COLORING. 
 
 AND 
 
 SOME UNPUBLISHED LETTERS OF DR. JOHNSON, MALONE, 
 
 AND OTHERS. 
 
 WITH AN APPENDIX, 
 
 CONTAINING 
 
 A TRANSCRIPT OF SIR JOSHUA’S ACCOUNT BOOK, SHOWING WHAT 
 PICTURES HE PAINTED AND THE PRICES PAID FOR THEM. 
 
 EDITED BY 
 
 WILLIAM COTTON, ESQ. 
 
 LONDON: 
 
 JOHN RUSSELL SMITH, 36, SOHO SQUARE. 
 
 M.DCCC.LIX. 
 
 A/O 
 
 49 / 
 
 A3C852 
 
Printed by F. Pickton, 
 Perry’s Place, 29, Oxford Street. 
 
TO 
 
 STEPHEN POYNTZ DENNING, ESQ., 
 
 KEEPER OF THE DULWICH GALLERY OF PAINTINGS, 
 
 WITH WHOM 
 
 l FORMED AN INTIMATE ACQUAINTANCE AND FRIENDSHIP, 
 
 MORE THAN FORTY YEARS AGO, 
 
 IN ROME, 
 
 Uolume 
 
 IS INSCRIBED WITH SINCERE REGARD, 
 
 BY 
 
 THE AUTHOR. 
 
 IVYBRIDGE, 
 
 November , 1858. 
 

 
 
 I 
 
 - 
 
PREFACE. 
 
 In continuation of my Gleanings towards a more complete 
 Memoir of Sir Joshua Reynolds, and in compliance with 
 the notice given in the Preface to my Catalogue of 
 Reynolds’ Portraits, I am now enabled to publish 
 Extracts from portions of his Journal in Italy, with 
 Remarks upon Pictures, chiefly of the Venetian School; 
 and in connection with it, a Transcript by the Rev. J. 
 Mitford, of Mason’s Observations on Sir Joshua’s 
 Method of Coloring ; also, an Appendix, containing 
 some unpublished Letters of Dr. Johnson, Malone, and 
 others, transcribed from the originals by Mr. Mitford, and 
 a copy of Reynolds’ Private Account Book, in which 
 the sums he received for many of his most celebrated 
 Pictures are entered by himself. 
 
 W. C. 
 
 Ivy bridge, Devon. 
 

 
 
 
 
 
 
INTRODUCTION. 
 
 “Would Reynolds have done what he did, if he had never seen Italy?” 
 
 Sir D. Wilkie. 
 
 Part of the following pages was transcribed several years since 
 by J. Lovell Gwatkin, Esq., from two Sketch Books of Sir Joshua 
 Reynolds, now in the possession of his daughter, Miss Gwatkin, 
 of Princess Square, Plymouth. The largest of these books still 
 retains its original parchment cover, and is filled with sketches and 
 observations on pictures in Italy 7 ', chiefly of the Venetian School. 
 These are, for the most part, written with a black-lead pencil, 
 evidently on the spot ; and the sketches are extremely slight — 
 merely the shadows rubbed in, in the manner he himself describes 
 in the Notes to Mason's translation of Du Fresnoy's Poem on the 
 Art of Painting , for the purpose of ascertaining the amount of 
 chiaroscuro and its arrangement, without any attempt at accuracj r 
 of drawing. This Sketch Book, together with one of a smaller size, 
 was purchased at the sale of the Marchioness of Thomond's pictures 
 in May, 1821, by Mr. Gwatkin, who married Theophila Palmer, the 
 favorite niece of Sir Joshua Reynolds; and it was doubtless his 
 intention to publish the remarks and observations contained in 
 them during his lifetime, as he engaged an artist, Mr. Joseph 
 Skelton, of Oxford, to make facsimiles of the drawings, and had 
 written a Preface and Introduction to the work ; but, for some 
 reason or other, the design was abandoned, and I am now intrusted 
 with the publication of the MS. 1 As, however, it is too brief and 
 
 1 Since the above was written, these interesting Sketch Books have been purchased 
 by the Trustees of the British Museum for one hundred and fifty guineas, and are 
 now deposited in the Print Room, forming a valuable addition to the large collection 
 of original Drawings, under the care of Mr. Carpenter. 
 
X 
 
 INTRODUCTION. 
 
 fragmentary to form a separate and distinct work of itself, I 
 am enabled to print, in connection with it, some Observations on 
 Reynolds' Method of Coloring, by Mason, the poet, who seems 
 to have had peculiar opportunities of informing himself on the sub- 
 ject, from his intimacy with Reynolds. These interesting remarks 
 upon a subject which has lately occupied much public attention, 
 have been carefully transcribed by the Rev. J. Mitford, from the 
 Mason MSS. at Aston Rectory, together with some unpublished 
 Letters, addressed to Sir Joshua Reynolds and Mr. Malone, by 
 Dr. Johnson, C. J. Fox, and others, from the originals in the pos- 
 session of the Rev. J. Rooper, of Brighton. 
 
 I have also been permitted, by the kindness of Miss Gwatkin 
 and her sister, Mrs. St. John, to print in this volume of Gleanings, 
 a copy of Sir Joshua's Private Ledger, or Account Book, in which 
 he has recorded the prices received for many of his most celebrated 
 works and portraits; which will form a useful supplement to the 
 Catalogue published in 1857. 
 
 Malone says : — “ Some account of Reynolds' particular practice 
 and habits of study, when in Italy, is much desired by artists, but 
 these I have no means of investigating." This want will be, in 
 part, supplied by the present publication ; but it is probable that 
 Reynolds did not keep a regular diary, and the few memoranda 
 jotted down in these sketch-books is perhaps all that we can know 
 of his studies and pursuits at Rome. Northcote has published some 
 observations, which he had seen in Reynolds' own handwriting; 
 and these were probably derived from the same source, viz., the 
 sketch-books in Lady Thomond's possession. 
 
 Reynolds, on his arrival at Venice, appears to have been imme- 
 diately struck with the rich and brilliant coloring of Titian, Paul 
 Veronese, and Tintoret; and it was, doubtless, in that school that 
 he formed his own style, and, by a careful study of their works, 
 that he so soon elevated himself to the first rank of portrait- 
 painters. He admired, indeed, the grand style of Michael Angelo 
 and Raphael; he held their works in the highest estimation, con- 
 stantly recommending the study and imitation of the grand style 
 
INTRODUCTION. 
 
 XI 
 
 to the students of the Academy ; but his love was clearly with the 
 Venetians. 
 
 When at Venice, he minutely analysed their method of color- 
 ing, and the principles upon which they composed their most 
 important works, carefully committing his observations to writing 
 on the spot, and while the pictures were before him. It is true 
 that, in his Notes to Mason's translation of Du Fresnoy's Art of 
 Painting , Reynolds has published the results of these observations, 
 when his judgment was matured, and he was in the full vigour 
 of his age and grasp of intellect. He there says : — “ The means 
 by which the painter works, and on which the effect of his pictures 
 depends, are light and shade, warm and cold colors. That there 
 is an art in the management and disposition of those means, will 
 be easily granted ; and it is equally certain, that this art is to be 
 acquired by a careful examination of the works of those who have 
 excelled in it." Reynolds proceeds to give the result of the 
 observations he made on the works of those artists who best 
 understood the management of light and shade, namely, Titian, 
 Paul Veronese, and Tintoret ; they were the first who reduced to 
 a system what was before practised without any fixed principles, 
 lie there minutely describes the method he himself took, when at 
 Venice, of examining the pictures he saw there, and of acquiring 
 a perfect knowledge of the sound principles upon which those 
 great masters of the art wrought ; and concludes w ith this expres- 
 sion of his conviction, that “ an habitual examination of the works 
 of those painters who have excelled in harmony, will by degrees 
 give a correctness of eye, that will revolt at discordant colors, as 
 a musician's car revolts at discordant sounds, remembering ahvays 
 that the highest finishing is labor in vain, unless, at the same 
 time, there be preserved a breadth of light and shadow." Most 
 of the drawings contained in the sketch-book in Miss Gwatkin’s 
 possession, are done with this view and intention. 
 
 Sir Joshua having given us the substance of his observations in 
 a more perfect form, it may be asked, w r hy, then, publish these 
 rough notes and memoranda? To this it may be replied, that 
 
 b 
 
Xll 
 
 INTRODUCTION. 
 
 a real and just value will doubtless be attached to the actual 
 notes he wrote down, at the moment, for his own guidance and 
 improvement. 
 
 I should be extremely sorry to publish any thing that could, in 
 the smallest degree, detract from the reputation of so eminent a 
 man ; but I believe these private notes, jotted down in his sketch- 
 book, merely to assist his memory, and without any care or nicety 
 of expression, will be read with interest — showing, as they do, the 
 powers of observation, and the working of his mind, at so early a 
 period of his life, and the lasting effect which the sight of the great 
 master-pieces of Venetian coloring had upon him. 
 
 With this view, I trust the following pages will not be devoid of 
 a certain degree of interest ; and I am further encouraged to make 
 them public by the advice and approbation of persons best qualified 
 to judge. The author of The Stones of Venice , after a perusal of 
 the MS., said, “Publish them, by all means; the private notes of 
 Reynolds are most precious.” 
 
 WILLIAM COTTON. 
 
 Ivybridge. 
 
EXTRACTS FROM 
 
 SIR JOSHUA REYNOLDS’ 
 JOURNAL AND SKETCH BOOK. 
 
 COPIES OF PICTURES I MADE AT ROME. 
 
 In the Villa Medici. 
 
 The vase of the ' Sacrifice of Iphigenia/ 
 
 In the Corsini Palace. — April 16, 1750, anno Jubilei. 
 
 1. Study of an 'Old Man's Head, reading/ by Rubens. 
 
 2. April 17 to 19. — A portrait of Philip II., King of Spain, by 
 
 Titian. 
 
 3. April 20. — Rembrandt's portrait of himself. 1 
 
 4. April 21 to 23. — ' St. Martino on horseback, giving the Devil, 
 
 who appeared to him in the shape of a Beggar, a part of his 
 Cloak.' 
 
 Captain Blackquier's P. (an ( Old Beggar Man ') . 
 
 My own picture. Iacimo's picture. 
 
 5. Began May 30, finished June 10, in the Church of the Capuchins , 
 
 ' St. Michael,' 2 by Guido. 
 
 A Foot of my own. 
 
 6. June 13. — The 'Aurora' of Guido, a sketch. 
 
 1 In the possession of R. L. Gwatkin, Esq. — Note by Mr. Gwatkin. 
 
 2 Formerly in possession of his Majesty George IV., now placed over the altar in the 
 Chapel of Hampton Court Palace. 
 
 1 
 
June 15. Went to Tivoli. 
 
 August 2. Worked in the Vatican. 
 
 I was let into the Capella Sistina in the morning, and remained 
 there the whole day, a great part of which I spent in walking up 
 and down it with great self-importance. Passing through, on my 
 return, the rooms of Raffaele, they appeared of an inferior order. 
 
 Raffaele, in many books on Painting, is praised to the skies for 
 being natural, and because silks and velvets are so naturally painted 
 (by him) that they would deceive any man. This is so far from 
 being true, that they are further from it than the draperies of any 
 other painter; nor ought they to be so natural as to deceive one, 
 except in portraits, as in that of Leo X., at Florence, where the 
 drapery is natural to the last degree, but in none of his history 
 pictures. 
 
 Those pretenders to Painting think the whole art lies in making 
 things natural. If that were the case, how many Ralfaeles has not 
 Holland produced ? What I would endeavour to settle is the point 
 to which the painter is to direct his attention, to give him an idea 
 of what art is by the example of the Great Masters ; for young 
 painters, as well connoisseurs, are sometimes puzzled in seeing a 
 picture, in which there is nothing of what we call natural, preferred 
 to another where there are satins, silks, jugs, &c., which deceive 
 the sight. 
 
 [Reynolds says, the object of all imitation is nature. Rut art 
 does not approximate perfection, in proportion as it approaches to 
 deception, so as to mistake the imitation for the reality. Supposing 
 this to be the state of any art, the pleasure of comparison, which 
 Plato says is the cause of our pleasure in painting, ceases. It is 
 then the thing itself. The art, therefore, of imitation in painting 
 consists in the genius and judgment of the artist in selecting what 
 are dominant and striking features, which may be sufficient to im- 
 press the idea of the original object strongly on the spectator. He 
 feels that consummate pleasure which proceeds from the skill and 
 address of the artist, who, with the appearance of so little labour, 
 
3 
 
 has expressed so much. This is the buon maniera. — Papers in Mr. 
 R. Palmer’s possession. 
 
 Painting is an imitative, but not a more deceptive, art than the 
 Theatre. I can no more impose upon myself the reality of the 
 business upon the stage, than I can believe real figures surrounded 
 by a gilt frame.— Ibid.'] 
 
 Palazzo del Secretario. 
 
 An excellent picture of Pontius, the engraver, by Vandyke. 
 Same as the etched print — left hand pointing. The best portrait 
 I ever saw — the colouring like the head of Rembrandt in the Corsini, 
 but wonderfully finished, a purple hue, the hand wonderful. 
 
 Study of an ‘ Angel's Head/ by Correggio, the best likewise I 
 ever saw of him. 
 
 f Ecee Homo/ by Guido. 
 
 Palazzo Falconiere . 
 
 Three heads, by Guido. Studies on one cloth. 
 
 Two Borgognones. Fine. 
 
 A { Holy Family/ by Poussin, in his very best manner. The 
 Virgin is a noble figure, and the whole composed something in 
 imitation of the Raffaele in France, where the Virgin is standing. 
 
 Two Conversations, one over each door, by P. Veronese. 
 
 * St. Cecilia Playing on an Organ/ a half length, by Guercino. 
 
 Palazzo Borghese. 
 
 1st Room. — ‘iEneas and Anchises/ by Baroccio. 1 
 
 2nd Room. — A picture of Domenichino, f Nymphs shooting for 
 a Prize' (viz., a bow and arrow), which is held up by Diana, who 
 stands in the middle of the picture, and is apparently the principal 
 figure. A Nymph bathing, who puts her hands behind her back, 
 which, touching the ground, makes the other parts of her body 
 swim. She looks you full in the face; it is the most taking figure 
 in the whole composition, though they are all extremely fine. 
 
 1 ‘ iEneas and Andrises,’ a print by Agosfc. Carracci. 
 
4 
 
 [Barry has introduced a similar figure of a nymph buoying 
 herself up in the water in one of his pictures in the Adelphi.] 
 
 ‘ The Last Supper/ by Titian. 
 
 ‘ Cardinal Borgia and Machiavel/ by Titian. Well preserved and 
 finely coloured ; finished quite smooth, like Holbein . 1 
 
 ‘ St. Catherine/ by Raffaele. 
 
 Crucifix, by M. Angelo, of which the story. 
 
 [“The famous Crucifix for which,” as the story goes, “the 
 porter was killed. ’Tis the same as that at St. John Lateran, only 
 this has the St. John and the Virgin, which the other has not. 
 Richardson adds : — i ’Tis so far from being probable that a man 
 was murdered on purpose to make the expression strong and just, 
 that there is hardly any expression at all, either in the face or 
 body, but a tame, ordinary figure/ ”] 
 
 Admirable portrait by Titian, said to be his Schoolmaster. 
 
 [‘ Titian’s Schoolmaster/ a half length, sitting in a chair, 
 leaning back, and holding one wrist over the other. It is one 
 of the most famous pictures in Rome. — Richardson’s “ Account of 
 Pictures ’ ’ tyc.] 
 
 Titian’s own portrait, by himself, in small, the same as that at 
 Windsor. Two portraits by it, like Holbein. 
 
 A Magdalen, by Ann. Carracci. Small; she is lying on the 
 ground. 
 
 ‘ S. Cecilia/ by Domenichino. 
 
 Domenichino’s colouring is very bright, but it wants the clear- 
 ness and transparency of Correggio and Titian. 
 
 A figure drinking, — a young man, only the head and breast, in 
 profile, as big as the life . 2 This, and the profile in the Cardinal 
 Secretary’s collection in the Pope’s Palace, are the two best coloured 
 pictures that I have seen of any master. 
 
 1 ‘ Cardinal Borgia and Machiavel,’ said to be of Raffaele, but I think ’tis rather of 
 Titian. — Richardson. 
 
 2 The painter’s name is not mentioned. 
 
D 
 
 ‘ Venus hoodwinking Cupid, with the three Graces/ by Titian. 
 Large as the life, with glasses before them ; the glass being divided 
 in panes like a window, obstructs the light. 
 
 [An ‘ Equipment of Cupid/ finely engraved by Sir Robert 
 Strange. Venus is binding his eyes, whilst another amorino leans 
 over her shoulder, and two of the Graces bring his bow and 
 quiver. 
 
 The flesh in this picture is depicted with such truth, that it 
 excites an involuntary feeling of surprise. The Cupid leaning on 
 the shoulder of Venus is truly matchless — so beautifully rounded, 
 so delicate, and natural.] 
 
 Two Venuses, by Titian, the same as that at Florence, only, one 
 of these holds her head upright, and seems to be a portrait. I be- 
 lieve there are nearly a dozen of them at Rome, and, perhaps, all 
 originals. Some of them indubitably so, particularly these ; but I 
 think none equal to that at Florence. There is one at Windsor, 
 and another in Cornwall . 1 
 
 A portrait of a lady, in small, by Titian ; excellent for its 
 colouring. 
 
 ( Titian and his Mistress' ; the same as the print. Titian's own 
 head is well preserved ; Mistress's not . 2 
 
 f The Prodigal returned/ by Titian. 
 
 Many drawings, said to be by Julio Romano; among the best, 
 the ( Battle of Constantine/ in the Vatican, said to be by Raffaele. 
 
 Palazzo Verospi. 
 
 A Vault, by Albano, extremely hard, as usual. 
 
 1 Bichardson likewise mentions several of these pictures. Describing this in the 
 Borghese Palace, he says : — “ The Venus , where the servants are in a room within 
 opening chests ; the same the King has. ’Tis very fine, and undoubtedly right, much 
 esteemed, and always kept covered with a curtain.” 
 
 2 See Burnet on Colour, p. 57. The following note was written by Count Cicognara 
 in Mrs. Stisted’s copy : — 
 
 “ The painting is by Titian, though some call it Giorgione ; and it represents Laura 
 Eustochi at her toilette; her admirer, the Duke Alfonso of Ferrara, who afterwards 
 married her, supporting the looking-glass. There is a similar picture in the Louvre.” 
 — Mrs. Stisted’s “ Letters from Italy.” 
 
G 
 
 Over the famous Harpsichord, a landscape of Poussin, in his very 
 best manner, and indeed it is painted in the grandest style that can 
 be conceived. ’Tis finished up at once, except the trees that have 
 the sky for their ground ; a large light pencil, no outline through- 
 out ; the leaves touched in Bassan’s manner. 
 
 Campidoglio. 
 
 At the bottom of the stairs you must by no means neglect to 
 look at the two lions of Egyptian marble, who spout water out of 
 their mouths : they screw up their mouths for that purpose, as a 
 man does when he whistles ; they may be reckoned among the best 
 antiques of their kind in Rome. They were brought from the 
 Church of St. Stefano del Cacco. At the top of the stairs are two 
 colossal statues of Castor and Pollux, with their horses on each 
 side ; they have a noble effect, but are not equal to those at Monte 
 Cavallo. 
 
 [Barry speaks of these Egyptian lionesses with great admiration. 
 Water issuing from the mouth of a lion is the common device of 
 fountains, and derives its origin from the fact of the waters of the 
 Nile beginning to rise when the sun enters the sign of Leo.] 
 
 In the middle of the Piazza is the famous equestrian statue of 
 Marcus Aurelius Antoninus. The pedestal is the work of M. Angelo. 
 You have the best view of this statue, and the whole appears more 
 graceful, from the right side, as you enter the Piazza. The statue 
 has been gilt, and some of the gilding remains on the horse’s head. 
 It is one of the fourteen equestrian statues which adorned ancient 
 Rome. 
 
 Palazzo Altieri. 
 
 has no very considerable pictures in it, except two landscapes by 
 Claude Lorrain. By much the best I have seen of this master, or, 
 indeed, of any other : especially that in which is the Temple of 
 Tivoli. 
 
/ 
 
 Church of S. Jacopo degli Spagnuoli. 
 
 A portrait (bust?) of one Jacopo Fois Montoja, done by Bernini 
 when he was very young. The marble is so wonderfully managed, 
 that it appears flesh itself; the upper lip, which is covered with hair, 
 has all the lightness of nature. He has a meagre, thin face, but a 
 vast deal of spirit in his look. This (bust) certainly yields in no 
 respect to the best of the Antique : indeed I know none that in my 
 opinion are equal to it. ; Twas said to be so wonderfully like (and 
 indeed, from that strong character of nature which it has, one easily 
 believes it to have been like) that those who knew him used to say 
 it was Montoja petrified. 
 
 There are likewise in the Sacristy two heads by the same master 
 — one representing an Anima heata , and the other an Anima damnata 
 — wonderful for the expression as well as the execution and manage- 
 ment of the marble. The former has all the sweetness and perfect 
 happiness expressed in her countenance that can be imagined. 
 
 Palazzo Spada. 
 
 In the Hall is the statue of Pompey, at the foot of which Caesar 
 was killed. 
 
 [The statue of Pompey, as big again as the life, holding a globe 
 in one hand, and the other extended, as in the act of speaking. It 
 was found in the time of Julius III. in the ruins of the place 
 Plutarch has described. — Richardson’s “ Account of Pictures , fyc. 
 in Italy .”] 
 
 f Rape of Helen/ by Guido . 1 
 
 The airs of the heads of the women wonderfully fine. The 
 execution is not equal to some of his other works in Rome. It is 
 said by some to be a copy, retouched by Guido, and that the original 
 is in France. 
 
 ‘Dido transfixed with the Sword of iEneas/ 
 
 She is fallen upon a pile of wood on her face, with a long sword 
 run through her body — no very agreeable picture. A woman on 
 
 1 An etching by Louis Boulongue. 
 
8 
 
 the left side of the picture, with her handkerchief to her eyes, is a 
 wonderful genteel figure. 
 
 [‘ The Death of Dido/ by Guercino. It has been engraved by 
 Sir Robert Strange. The sword comes above a yard through her 
 body, as Richardson remarks, and the expression is something 
 outre , but withal very touching. It is painted in a strong black 
 manner, like his ‘ St. Petronella ’ at St. Peter’s.] 
 
 By the side of this picture is a portrait of Titian, a thin face, 
 wonderfully coloured. 
 
 U 
 
 Palazzo Mattel. 
 
 A Saint disputing with some old man. By Caravaggio. 
 
 Large as the life, only half figures seen; a vast strength, and 
 well coloured, as if the sun shone on the figures ; dark shadows, but 
 not so hard as usual ; and, what one does not often find in this 
 master, the saint is a very genteel figure. This is in every respect 
 the best picture I ever saw of Caravaggio. 
 
 “ Caricatures which I painted in Roine, 1751.” 
 
 The following is a list of the names of persons whose portraits 
 were introduced into these pictures, viz. : — 
 
 Lord Charlemont. 1 
 Sir Thomas Kennedy. 
 Mr. Ward. 
 
 Mr. Phelps. 
 
 Sir Matthew Lowther. 
 Mr. Leeson, Jun. 
 
 Mr. Turner. 3 
 Mr. Huet. 
 
 Lord Bruce. 
 
 Mr. Ward. 
 
 Mr. Leeson, Jun. 
 
 Mr. Henry. 
 
 Mr. Cook. 2 
 Mr. Woodyer. 
 
 Mr. Turner ( ancora ) . 
 Mr. Drake. 
 
 ■\ 
 
 1 James, fourth Viscount, created Earl of Charlemont in 1763. (His niece Eleanor 
 married, in 1787, William, second Earl of Wieklow.) This picture is in the possession 
 of the Earl of Wicklow. 
 
 2 In the possession of Mr. Woodyeare, of Crookhill, in Yorkshire. — See “ Sir Joshua 
 Reynolds and his Works?' 
 
 3 Mr. Turner, afterwards Sir Charles Turner, of Wareham, county of Norfolk, who 
 married Mary, daughter of Robert Walpole, Esq., of Houghton.— See “Extinct 
 Baronetage ,” by Courthope. 
 
9 
 
 P. in the Caricatura of the School of Athens. 1 
 
 Mr. Henry. 
 Lord Bruce. 
 
 Abbate du Bois. 
 
 Mr. Brettingham. 
 
 Mr. Murfey. 
 
 Mr. Stirling. 
 
 Mr. Ironmonger. 
 
 Mr. Dawson. 
 
 Sir Matthew Featherstone. 
 Lord Cliarlemont. 
 
 Sir Thomas Kennedy. 
 
 Mr. Phelps. 
 
 Four ideal figures. 
 
 Mr. Leeson, Sen. 
 Mr. Maxwell. 
 
 Mr. Leeson, Jun. 
 
 Mr. Barret 
 Mr. Patch. 
 
 Mr. Veirpili. 
 
 Sir William Lowther. 
 Dr. Erwin. 
 
 Mr. Bagot. 
 
 Reynolds did not go further south than Rome, and on the 3rd 
 of May, 1752, he left that city, travelling by short and easy stages 
 to Florence. He slept the first night at Castel-Nuovo (two posts 
 and a half only from Rome), and the second at Narni, where he 
 stopped to see the Bridge of Augustus. May 5tli, he dined at Terni, 
 saw the Cascade, and lay at Spoleto. Thus briefly are these events 
 noted in his Journal. 
 
 May the 6th (he says), “ Dined at Fuligno; saw the picture by 
 Raflaele, representing the ‘ Virgin and Bambino’ ; below, on the 
 right hand, St. Francis and St. John Baptist ; and on the other, a 
 Cardinal kneeling (Sigismondo Conti, the donor) ; another old man 
 (St. Jerome) with one hand on the Cardinal’s shoulder.” 
 
 ‘ The Madonna di Fuligno’ (also called 'LaVierge au Donataire’) 
 is now in the Vatican. It was painted about 1511, for the Church 
 of Ara Coeli, in Rome, by order of Gismondo of the Court of 
 Julius II., 2 but was afterwards transferred to Fuligno. Underneath 
 the Virgin and Child (sitting in the clouds in a glory surrounded 
 by angels) is the Donor, kneeling on one side, with St. Jerome 
 standing behind him ; and on the other side is St. Francis, also 
 kneeling, and looking upwards, and behind him, St. John the 
 
 1 This picture is in the possession of Henry, Esq., of Straffan, in Ireland 
 
 2 Vasari , vol. iii. p. 102. 
 
 o 
 
10 
 
 Baptist ; while between the two groups stands a beautiful boy-angel 
 holding a tablet intended for an inscription. 
 
 It is not a little remarkable that Reynolds takes such slight notice 
 of this celebrated picture, wdiich is one of the happiest efforts of 
 Raphael's pencil, and, in point of colouring and a perfect union of 
 all the essential parts, is considered by some even superior to the 
 ‘ Transfiguration.' The face of St. Francis beams with light and 
 clearness ; and the little angel standing in front with a tablet, is per- 
 fect in colouring, and so like flesh, that it might yield to the touch . 
 
 This picture, which was originally painted on panel, has been 
 transferred to canvas, under the direction of some members of the 
 National Institute at Paris. 
 
 After stopping a while at Madonna degli Angeli, and at Assisi, 
 he arrived at Perugia on the 7th. Here he only notices a ‘ Descent 
 from the Cross,' by Baroccio, in the Church of S. Lorenzo; 1 ‘The 
 Marriage of the Virgin,' by Pietro Perugino ; and another fine pic- 
 ture by Baroccio, of the ‘ Virgin Mary taking water out of a brook 
 with a silver dish, while St. Joseph gathers cherries for the Bambino, 
 who is receiving them with delight.' 
 
 It is surprising that Reynolds takes no notice of the large wall- 
 paintings in the Upper Church of St. Francesco at Assisi, or of 
 the works of Giotto in the Under Church, although he acknow- 
 ledged “that the old Gothic masters, as we call them, deserve 
 the attention of the student much more than many later artists : 
 simplicity and truth being oftener found in the old masters, which 
 preceded the great age of painting, than it ever was in that age, 
 and certainly much less since." — Reynolds and his Works, p. 229. 
 
 Richardson's Account of Pictures in Italy was the vade mecum of 
 artists and connoisseurs at that time, and Reynolds appears to have 
 followed in his footsteps. 
 
 May 9, at Arezzo. — He says : “ Saw the best of Baroccio's works, 
 a picture representing the Virgin interceding with Christ in the 
 clouds for a number of people below ; amongst the rest is a profile 
 of a lady, perhaps the portrait of her for whom the picture was 
 
 1 Fedorico Baroccio, of Urbino, 1528 — 1612. One of his principal works, a colossal 
 ‘ Descent from the Cross,’ is in the Cathedral of Perugia. — Kugler's “ Handbook .” 
 
 4 
 
11 
 
 painted. Some angels and women wonderfully genteel ; the Virgin 
 is a fine figure/' 1 
 
 Reynolds also mentions, with more commendation than we might 
 expect, several pictures by Vasari, particularly a very fine one, be- 
 longing to the confraternity of S. Roch, which he remarks is the 
 best of his works. 
 
 On the 10th of May he arrived at Florence. His memoranda 
 are chiefly confined to a bare enumeration of pictures, and brief 
 notices of such objects as particularly engaged his attention with 
 reference to his future practice as a portrait- painter ; occasionally 
 a paragraph of another kind intervenes, which shows us that the 
 painter was not so much engrossed with the study of his art as to 
 be unmindful of his friends and family at home. He writes thus 
 in his Journal at Florence : — 
 
 “ Another thing I shall get, or I am much deceived, is a consi- 
 derable sum of money at , and if so, I shall have that to lay 
 
 out at Brussels for my sisters/’ 
 
 These sisters at home well deserved to be remembered by our 
 Artist, for they had most liberally contributed, from their private 
 purses, towards the expenses of his journey, and, in fact, enabled him 
 to visit the cities of Rome, Florence, and Venice. The bond which 
 Sir Joshua gave his sisters before he left England, for the repay- 
 ment of the money advanced by them, is still in the possession 
 of the family. 
 
 Some friends Reynolds found at Florence were extremely anxious 
 that he should stay a month longer in that city, and used all their 
 endeavours to persuade him to remain among them. In allusion to 
 this we find the following note in his diary : — 
 
 “ I remember, whenever my father discoursed on education, it 
 was his constant practice to give this piece of advice — ‘ never to be 
 in too great a hurry to show yourself to the world ; but lay in first 
 of all as strong a foundation of learning and knowledge as possible/ 
 
 1 Baroccio’s large picture of * The Madonna interceding for the Poor,’ is now in the 
 Gallery of the Uffizi, at Florence. — Kugler's “ Handbook .” 
 
12 
 
 This/’ says Reynolds, “ may very well be applied to my present 
 affairs, as, by being in too great a hurry, I shall perhaps ruin all, 
 and arrive in London without reputation, and without any body's 
 having heard of me ; when, by staying a month longer, my fame 
 will arrive before me, and, as I said before, no body will dare to 
 find fault with me, since my conduct will have had the appro- 
 bation of the greatest living painters. Then again, on the other 
 hand, there are such pressing reasons for my returning home, 
 that I stand as between two people pulling me different ways ; so 
 I stand still and do nothing. For the moment I take a resolution 
 to set out, and in a manner take leave of my friends ; they call 
 me a madman for missing those advantages I have mentioned." 
 Whether Reynolds remained any longer with his friends, or not, 
 cannot be ascertained from these brief notes, as they contain a 
 mere list of pictures, with very few remarks or observations of any 
 kind, and are entirely without dates. 
 
 Extracts from the Journal continued. 
 
 FLORENCE. 
 
 On the beautiful bridge, the arches of which are oval (elliptical), 
 and that looks as light as if made of silver, are good statues, repre- 
 senting the Four Seasons. ‘ Winter ' is represented by a man 
 naked and shivering — like the work of Taddeo Landino. ‘ Autumn ' 
 and ‘ Summer/ by Gior. Caccini. ‘ Spring/ by Francavilla, a dis- 
 ciple of John of Bologna. 
 
 In the Piazza of the Annunziata, admirable Fountains by John 
 of Bologna ; fifty heads — fins instead of whiskers. He had much 
 the same genius as Michael Angelo. 
 
 Piazza before Great Palace, a large Fountain ; all the bronze by 
 J ohn of Bologna. 
 
 The ‘ Rape of the Sabines/ by ditto. 
 
 A basso-relievo, in bronze, under it, by the same. 
 
 f A Grand Duke on Horseback/ by ditto. Basso-relievo under. 
 
 On each side of the door are colossal statues, one by Michael 
 Angelo, and the other by Baccio Bandinelli. 
 
13 
 
 The 1 Centaur and Hercules/ by John of Bologna. 
 
 A Pedestal, basso-relievo by Baccio Bandinelli. 
 
 Mr. Hugford told me that he sold a fine head by Bronzino, of a 
 young man with picturesque hair, &c., to Demar (sic) . He has a good 
 collection of drawings, principally of the Florentine masters. 
 
 At a sculptor's shop, which was formerly the studio of John of 
 Bologna, is a Gess of one of the slaves, belonging to the pedestal 
 at Leghorn, and models for two of the figures belonging to the 
 fountains in the Boboli Gardens, admirable. 
 
 ( A Soldier with a naked dead Body in his arms/ antique, and 
 finely grouped, which the ancients seldom observed. John of Bo- 
 logna has been superior to the whole world, ancient and modern, in 
 that respect at least, as well in statues, as in basso-relievos. 
 
 Capella di S . Lorenzo. 
 
 The four recumbent figures, by Michael Angelo, with a Great 
 Duke, likewise by him. 
 
 When I am here, I think M. Angelo superior to the whole 
 world for greatness of taste. When I look on the figures of the 
 fountains in the Boboli, of which I have seen the models, I think 
 him (John of Bologna) greater than M. Angelo ; and I believe it 
 would be a difficult thing to determine w T ho was the greatest 
 sculptor. The same doubt in regard to the Vatican . 1 
 
 Church of the Carmine . 
 
 A Chapel (the Brancacci) painted by Masaccio. Ratfaele has 
 taken his ' Adam and Eve driven out of Paradise ' from hence . 2 
 The heads, according to the ancient custom, are portraits, and have 
 a wonderful character of nature. 
 
 [The frescos in the Brancacci Chapel have been engraved in 
 Lasinio's work, and the side-walls by Piroli. Drawings of the 
 
 1 This probably refers to a comparison between Michael Angelo and Raffaele. 
 
 2 When such an artist as Raffaelle borrowed from his predecessors, who are those 
 that would venture to rely upon their own undigested crudities, or affect to bury in 
 oblivion the accumulated knowledge of antiquity ? Masaccio had vivified the Gothic 
 stiffness of Cimabue and Giotto with natural action and expression, which Raffaelle 
 caught up and refined by his knowledge of Greek and Roman sculptures. — J . Burnet , 
 Note on Reynolds's Twelfth Discourse. 
 
heads only, in Patch’s work, Masaccio, sua Vita e Collezione di 24 
 Testi; Firenze , 1770. Some writers on Art have attributed all 
 these frescos to Masaccio ; others have considered the best portions 
 only to be his, and the rest by Filippino Lippi and Masolino. — Note , 
 Kugler’s “Handbook,” vol. i. p. 194.] 
 
 The Pitti Palace. 
 
 In a part not usually shown, two large pictures, by Rubens. 
 One represents a battle of the same King he has celebrated in the 
 Luxemburg Gallery. The other (represents) his triumph, where he 
 is drawn in a sumptuous car, holding an olive-branch in his hand, 
 and crowned by Victory — slaves following — trumpets, &c. In the 
 first picture he is represented riding on a bay horse, with light- 
 ning in his hand, striking another (second King) who is riding on 
 a white horse, and forms the principal light. The figure on the 
 white horse is painted very light, so as not to break the mass; and 
 between the horse’s head and legs there is a light figure introduced, 
 not to spoil the form of the mass. The King makes a dark mass ; 
 behind him two dark figures to carry off the mass of dark gradually. 
 
 Three portraits by Vandyke. In one picture are the portraits of 
 King Charles and his Queen ; in the other, a profile of a woman in 
 white satin. 
 
 The ‘ Virgin and Bambino/ f St. John Baptist/ and one in armour, 
 perhaps St. George, with a little dish in his hand, by Correggio, in 
 his first manner. 
 
 Christ on a pedestal, with the four Evangelists underneath, by 
 F. Bartolomeo. 
 
 God the Father above, in small, holding Christ on the cross ; six 
 Saints, large as life, beneath ; Andrea del Sarto. 
 
 f Salutation/ by P. Veronese. 
 
 ‘ Cain and Abel/ by Titian. 
 
 Third Room — 
 
 Two f Assumptions of the Virgin/ with the twelve Apostles below. 
 In one of them there is a nun and a priest, besides the Apostles. 
 
 ‘ St. Mark the Evangelist/ by Bartolomeo. 
 
15 
 
 Sixth Room — 
 
 ‘ Madonna della Sedula/ by RafFaele. 
 
 Madonna, St. Joseph, St.John, and Bambino, by RafFaele. 
 
 ‘Holy Family/ viz., Elizabeth, Virgin Mary, St.John Baptist, 
 and another, perhaps St. Catherine, by RafFaele. 
 
 The f Virgin and Child, St. John and St. Elizabeth/ by Del Sarto. 
 ‘ Christ, St. Peter, and St. John, in the Clouds/ four Saints 
 beneath, by Annibale. 
 
 The f Resurrection of a dead Person by a Saint/ by Guercino ; a 
 print by Bloemart. 
 
 ‘ Holy Family/ by Rubens ; a print by Bolswert. 
 f Salutation/ L by Del Sarto. 
 f Abraham and the Burning Bush/ by Bassano. 
 
 Several others, but none considerable. 
 
 Seventh Room — 
 
 ‘ Mars and Venus/ by Rubens. 
 
 ‘ Charity/ by Guido. 
 
 ‘ Cleopatra with the Asp/ by Guido. 
 
 The f Tribute Money/ by Titian. 
 
 ‘ Conversion of St. Paul/ by Titian. 
 
 ‘ Elisha taken up to Heaven by Angels/ a Bull and a Lion*, by 
 RafFaele. 
 
 ‘ History of Joseph/ by And. del Sarto. 
 f Holy Family/ by P. Veronese. 
 
 Many fine Bassanos. 
 
 The f Muses Dancing/ by Julio Romano. 
 
 The ‘ Three Destinies/ by M. Angelo. 
 f Holy Family/ in small, neatly finished, by An. Carracci. 
 
 ‘ Holy Family/ by RafFaele. 
 
 Fourth Room — 
 
 A copy, by Baroccio, of the famous f Holy Family/ by Correggio, 
 at Parma. 
 
 A f Descent from the Cross/ by Cigoli— St. Sebastiano, by Titian. 
 f Mary Magdalen/ by Titian, with an immense deal of hair, but 
 painted to the utmost perfection. 
 
] 6 
 
 Palazzo Corsini. 
 
 A figure of a woman, by Gerardini, sleeping on ... in a chariot, 
 ash colour, drawn by owls — bats. The half- moon influencing — a 
 . . . crowning her in the .... 
 
 The animals in Titian’s ‘ Venus and Adonis/ in the Barberini 
 Palace, are black and white, on a light ground. 
 
 Black scumbled on a white ground. 
 
 The Gerolamo of Augustin Caracci. 
 
 The head of St. John, by Bassan. 
 
 ‘A Holy Family/ by Titian, in . . . second .... colours; they 
 are so broken. 
 
 The Andrea Sacchis are in general so. 
 
 [The following note describes some process of painting which 
 may be useful to artists] : — 
 
 The ground worked blue, black, and white, first sitting. 
 
 The features marked firm with red. Next sitting, the red colours 
 — blue, black, vermilion, lake, carmine, white, drying oil. 
 
 [In another page of the MS. the following reflections occur] : — 
 
 We must arrive at what is unknown by what is known. Who- 
 ever seeks a shorter method, only deceives himself, and, whilst he 
 flatters himself that he is in possession of the art, is embracing a 
 cloud, and produces only monsters and chimeras. 
 
 In Raffaele there is nothing of the affectation of painting, neither 
 dark nor light — no indications of affected contrasts — no affected 
 masses of light and shadow. He is the medium — Annibal Caracci 
 too wild : ditto Michael Angelo ; Domenichino too tame ; Guido 
 too effeminate. 
 
 [Nathaniel Hone, who some years afterwards made a shameful 
 attack upon Reynolds, by sending to the Exhibition at the Royal 
 Academy, a picture called ‘ The Conjuror/ which he intended as a 
 satire upon Sir Joshua’s method of composing his pictures, was at 
 this time at Florence, and on terms of intimacy with Reynolds, as 
 we find by the following entries in his diary — 
 
17 
 
 “ Hone says, I look like the Altar of the Jesuits lighted up.” 
 And in another place he writes, what seems to be the commence- 
 ment of a letter, “ Gentlemen and Brethren — Hone and Reynolds 
 greeting.”] 
 
 MODENA. 
 
 Duomo . — First altar on the right hand, 1 The Circumcision/ by 
 Guido ; the Virgin is kneeling in the middle of the picture. A . . . 
 figure simple and beautiful. A little boy looking at the doves is 
 another sweet figure ; indeed the whole is admirable. 
 
 ‘ Jupiter and Semele/ 
 
 A copy after the Notte. 
 
 A Pieta, Guercino. 
 
 A Roman Charity, Andrea del Sarto. 
 
 ‘ Marriage of St. Catherine/ 
 
 PARMA. 
 
 The Duomo . — ‘The Cupola/ by Correggio. Angels in stone 
 colour. 
 
 You must ask to see the ‘ Holy Family with St. Jerome/ by 
 Correggio. It gave me as great a pleasure as I ever received from 
 looking on any picture. The airs of the heads, expression, and 
 colouring, are in the utmost perfection. 'Tis very highly finished : 
 no .... in the flesh. The shadows seem to be added afterwards, 
 with a thin colour made of oil and red. Scarcely any outline is to 
 be seen in the face, particularly the Virgin^s, the lips, &c. The red 
 imperceptibly mixed with the white of the face — all broad. 
 
 [In another MS. among the papers in the possession of Mr. R. 
 Palmer, which is quoted in Reynolds and his Works, p. 229, Sir 
 Joshua says, “ This justly celebrated picture of the ‘ Holy Family/ 
 by Correggio, at Parma, was offered to Lord Orford for <£3000 ; 
 but judging only from the print, which was shown him at the time, 
 he declined the purchase ; although I, who have seen the picture, 
 am far from thinking the price unreasonable. Yet Lord Orford 
 
 3 
 
18 
 
 cannot be blamed for refusing to give such a price for a composi- 
 tion which promised so little from the appearance of the print, 
 though it was engraved by no less a man than Agostino Caracci.” 
 
 [The following letters from Walpole to Sir Horace Mann relate 
 to the proposed purchase of this picture, which was, as Reynolds 
 says, no other than the famous f Magdalen and St. Jerome/ by Cor- 
 reggio, although it is somewhat differently described by Walpole — 
 St. Jerome being mistaken for St. Matthew, and the Magdalen for 
 St. Catherine. — ( Walpole’s Letters , vol. i. p. 76) : — 
 
 1751. — “I was mentioning to Sir Robert some pictures in Italy 
 which I wished him to buy : two particularly, if they can be got, 
 would make him delight in you beyond measure. They are, a 
 ‘ Madonna and Child/ by Domenichino, in the Palace Zambeccari, 
 or Caliamba, as they call it. Mr. Chute knows the picture. The 
 other is by Correggio, in a convent (of St. Antonio Abbate) at 
 Parma, and reckoned the second best of that hand in the world. 
 There are the Madonna and Child, S. Catherine, St. Matthew, and 
 other figures. It is a most known picture, and has been engraved 
 by Augustin Carracci. If you can employ any body to inquire 
 privately about these pictures, be so good as to let me know. Sir R. 
 would not scruple almost any price, for he has of neither hand. 
 The convent is poor. The Zambeccari collection is to be sold, 
 though, when I inquired after this picture, they would not set a 
 price.” 
 
 1743, Nov. 30. — “ I am much pleased with the prospect you show 
 me of the Correggio. My Lord is so satisfied with the Domeni- 
 chino, that he will give as far as a thousand pounds for the 
 Correggio.” 
 
 1743, Dec. 15. — *“ I write in a great fright, lest this letter should 
 come too late. My Lord has been told by a Dr. Bragge, a virtuoso , 
 that, some years ago, the monks asked £1 0,000 for our Correggio, 
 and that there were then two copies made of it ; that afterwards, 
 he is persuaded, the King of Portugal bought the original, he docs 
 not know at what price. I think it very probable that this Doctor, 
 
19 
 
 hearing the picture was to be come at, may have invented this 
 story ; as there is a probability that it may be true, you must take 
 all imaginable precautions to be sure that it is the original.” 
 
 Walpole, notwithstanding he persuaded his father to buy the 
 picture, says : — 
 
 “ Correggio never pleased me in proportion to his fame. His 
 grace touches on grimace. The mouth of the beautiful angel at 
 Parma curls up almost into a half-moon .” — Miscellaneous Letters } 
 vol. vi. p. 381. 
 
 Lady Miller also, speaking of this picture, says: "The St. Jerome 
 has the air of a miserable beggar-man, and the singing angel opens 
 a mouth like that of a jolmdory .” — “ Letters from Italy ” by an 
 Englishwoman , vol. i. p. 414.] 
 
 A Pieta, by Correggio. 
 
 ‘ The Martyrdom of two Saints/ 
 
 The expression of the woman and that of the angel is (perfect) 
 bliss. The colouring divine, white and oil, transparent shadows 
 greyish. 
 
 A copy of the Notte, better than that at Modena. 
 
 A copy of the ‘ Holy Family and St. Jerome/ 
 
 [Richardson says : — “ There are, I believe, ten copies of this pic- 
 ture, the ‘ St. Jerome/ by Correggio, in Parma —altar-pieces. ; Tis 
 exquisite, and very well preserved. Several of the copies are very 
 fine, in the old true taste. It has been graved by Agostino Caracci.” 
 
 When Richardson saw this picture it was in the Church of San 
 Antonio Abbate ; but it is now in the Academy at Parma. It has 
 been finely engraved by Sir Robert Strange.] 
 
 July 21, 1752. Arrived at Mantua. 
 
 22. Departed from Mantua, and arrived at Ferrara same day. 
 
 23. Arrived at Venice. 
 
 25. Entered my lodgings. 
 
20 
 
 VENICE. 
 
 Chiesa dei Carmelitani. 
 
 i The Last Supper/ by Tintoretto . 1 
 
 The napkin (is) the principal light, divided by a dark figure. A 
 figure at one end of the table in white satin is divided from the 
 white principal mass by a dark figure ; a light figure at each end of 
 the picture. A dog sitting on his tail, as begging, a fine picture. 
 
 Carmelitani Scalzi (. Barefooted Carmelites). 
 
 The artificial light that is let in at the top of the altar, and rays 
 made of yellow tubes, have an extraordinary effect. 
 
 ‘The Descent/ by Titian. 
 
 A figure dressed in white, flowered with gold lightly ; a fine effect; 
 all the colours broken — no strong ones, and the three Maries make 
 the principal light. 
 
 San Giovanni e Paolo. 
 
 Observations on the ( Pietro Martire / di Titiano . 2 
 
 The trees harmonize with the sky, i. e. } are lost in it in some 
 places, and at others relieved smartly by means of white clouds. 
 The angels’ hair, wings, and the dark parts of their shadows, being 
 the same colour as the trees — the trees of a brown tint. The 
 shadows of the white drapery, the colour of the light ground. The 
 light, the colour of the face of the saint. The landscape dark. 
 Trees opposed to ... of light ; behind that, dark trees ; behind that 
 again, blue scumbled (ultramarine) mountains. 
 
 The drawing, in general, noble, particularly of the right leg of 
 him who turns his head. The shadows of his eyes and nostrils 
 determined and of a beautiful shape. 
 
 [Sir Joshua Reynolds, in his Eleventh Discourse, alluding to the 
 excellent manner in which Titian painted the large trees in this 
 
 1 Jacopo Robusti, surnamed, from his father’s trade, Tintoretto (the dyer) (1512 — 
 1594). 
 
 2 ‘Martyrdom of St. Peter the Dominican,’ engraved by Martin Rota, Fontana, 
 V. Lefevre, &c. 
 
21 
 
 picture of f S. Pietro Martire,* says: — “ When Algarotti praises him 
 [Titian] for the minute discrimination of the leaves and plants in 
 this picture (even so as to excite the admiration of a botanist), his 
 intention was undoubtedly to give [bestow] praise, even at the 
 expense of truth; for he must have known that this is not the 
 character of the picture ; and such praise may be hurtful to young 
 students, as they may possibly conclude, that this great artist 
 acquired the name of the Divine Titian from his attention to such 
 trifling circumstances, which would not in reality raise him above 
 the level of an ordinary painter.” Reynolds* system of gene- 
 ralizing would not allow him to see any merit in minute detail and 
 high finishing; and from his example the English schools became 
 infected with a sort [taint] of negligence and want of finish in 
 subordinate parts, so that weeds and foliage were often rendered in 
 the loosest manner possible, being merely indicated by a dash of 
 the pencil or a dab of colour. — Burnet. 
 
 Mr. Ruskin says that Turner derived much advantage from 
 seeing the works of Tintoret and Paul Veronese, and used to speak 
 with singular delight of the putting in of the beech-leaves in the 
 upper right-hand corner of Titian's f Peter Martyr.* Turner 
 thought so highly of the rendering of these trees by Titian, that he 
 painted a similar group in an Idylic picture of f Venus and Adonis,* 
 now in the possession of Mr. Munro, of Hamilton Place ; it was 
 exhibited in 1849, at the Royal Academy. 
 
 This picture, originally painted on thick board, was transferred 
 to canvas by the French. On its voyage to France, a cannon-ball, 
 fired at the vessel, passed through the centre of the picture, but 
 fortunately the sky only was injured . — Sir Abm. Hume’s “ Life of 
 Titian.” 
 
 Sir David Wilkie says: — “The f Pietro Martire* appeared duller 
 in its place in the Church of SS. Giovanni e Paolo, than it did in 
 Paris, the light coming in all directions ; but for grandeur, poetical 
 feeling, and deep-toned colour, it is, without doubt, a masterpiece 
 of art. This picture was returned to Venice in 1816 ; but, when 
 in Paris, it is understood to have been much restored and painted 
 upon.**] 
 
22 
 
 Church of S. Georgio Maggiore } 
 
 By the great altar, two pictures of Tintoretto : one f The Last 
 Supper/ and the other ‘The Manna/ 
 
 On the right, as you enter, ‘ The Nativity/ by Bassan. The 
 Child painted in the grandest style. It seems to be painted first 
 without shadow at all, and afterwards the shadows are made by 
 glazing lake, made very thin with oil. The colour of the Child is 
 lakey and oily. 
 
 In the Refettorio is the famous ( Banquet/ by Paolo, represent- 
 ing the Marriage of Cana, in Galilee . 1 2 Among the musicians, the 
 principal is Paolo himself, with a viola ; the second, with a violone, 
 is Titian ; the third, with a violonone, is Tintoret ; he with the flute, 
 Bassan Yecchio. The master of the feast, in red, under the middle 
 arch, looking at the figure drawn from Yitellius. He on the left, 
 using his knife and fork, is the father, which employed Paolo. A 
 print. 
 
 Observations on the ‘ Marriage of Cana / by Paolo . — The prin- 
 cipal light in the middle of the picture is Paolo himself, dressed in 
 white, with light yellow stockings, and playing on a viola ; the 
 next is his brother going to taste the liquor : he is dressed in white, 
 but flowered with various colours. The table-cloth, the end on 
 the other side, with the lady, makes a large mass of light. Almost 
 all the other figures seem to be in mezzotint ; between some of 
 them, on the right side, is seen the light building to hinder (sic) 
 the line of shadow, so as to make the picture look half shadow and 
 
 1 A magnificent church, in the form of a Latin cross, built in 1560, by Palladio. It 
 contains eleven altars, and several pictures by Tintoretto, besides those mentioned by 
 Reynolds. The ‘Nativity,’ by Bassan, is over the first altar on the right. Over the 
 third and fourth altars are, ‘A Martyrdom of Saints,’ and the ‘Coronation of the 
 Virgin,’ by Tintoretto. In the principal chapel, the ‘ Supper of our Lord,’ and the 
 ‘ Gathering of the Manna,’ the latter one of Tintoretto’s most remarkable landscapes. 
 
 2 Paolo Cagliari, of Verona, surnamed Veronese (1528 — 1588). 
 
 This celebrated picture is now in the Louvre, at Paris ; it is thirty feet wide by 
 twenty feet high. Another somewhat smaller representation of the same subject, full 
 of new and spirited motives, is in the Brera, at Milan ; and a third is in the Dresden 
 Gallery. — Kugler's “ Handbook .” 
 
23 
 
 half light. The sky (is) blue, with white clouds. The tower in 
 the middle, white as the clouds ; and so is all the distant architec- 
 ture, which grows darker and darker as it approaches the fore 
 figures ; between the dark architecture in the foreground and the 
 light behind, are placed figures to join them, as it were, together. 
 
 [It appears, by an entry in the household -book of the convent, 
 that P. Veronese was paid for this picture the sum of twenty-two 
 sequins, six measures of wheat, and two vessels of wine. “ I 
 wonder,” says Lady Miller, “how Sir Joshua Reynolds would look, 
 if he were offered for one of his best family pictures ten guineas, an 
 hundred of cheese, and a hogshead of strong beer ! ” — “ Letters 
 from Italy ” by an Englishwoman .] 
 
 St. Maria della Salute . 1 
 
 In the soffitto of the high altar, three fine pictures, by Salviati. 
 
 In the sacristy, ‘ The Marriage of Cana, in Galilee/ by Tin- 
 toretto. 
 
 One sees by this picture the great use Tintoretto made of his 
 pasteboard houses and wax figures for the distribution of his 
 masses; it has the most natural light and shadow that can be 
 imagined. All the light comes from several windows over the 
 table. 
 
 The woman, who stands and leans forward to have a glass of 
 liquor, is of great service : she covers part of the table-cloth, so that 
 there is not too much white in the picture, and by means of her 
 strong shadows, she throws back the table, and makes the perspec- 
 tive more agreeable. But, that her figure might not appear to be a 
 dark inlaid figure on a light ground, her face is light, her hair masses 
 with the ground, and the light of her handkerchief is whiter than 
 
 the table-cloth. The shadows, blue, ultram ; strong shadows 
 
 of the table-cloth, blueish ; all the other colours of the draperies 
 are like those of a washed drawing. One sees indeed a little lake 
 drapery here and there, and one strong yellow that receives the 
 
 1 This church was built by the Republic of Venice, in fulfilment of a vow made when 
 the city was devastated by the plague in 1630. 
 
24 
 
 light. This picture has nothing of mistiness : the floor is light, 
 and oily grey ; the table-cloth is in comparison blue ; and the 
 figures are relieved from it strongly, by being dark ; but no colour 
 scarce. The figure of the woman who pours out the liquor, though 
 her shadows are very dark, her lights, particularly on the knee, are 
 lighter than the ground. All the women at the table make one 
 mass of light. c The Last Supper/ by him (Tintoretto) in S. Georgio, 
 is managed something in the same manner, only the Apostles 
 are all on one side. The light is behind them, and throws their 
 shadows on the table. 
 
 [The f Marriage in Cana/ by Tintoretto, is an immense picture, 
 twenty-five feet long by fifteen high. Lazari tells us that it is one 
 of the few he signed with his own name ; and Mr. Ruskin says, 
 “ Taken as a whole, it is perhaps the most perfect example which 
 human art has produced of the utmost possible sharpness of shadow, 
 united with richness of local colour ; ” and again, “ This picture 
 unites colour as rich as Titian’s with light and shade as forcible as 
 Rembrandt’s, and far more decisive.” 
 
 It is said that Tintoretto inscribed in his painting-room, “ The 
 drawing of Michael Angelo, and the colouring of Titian.” He 
 copied the works of the latter, and designed from casts of the 
 Florentine and antique sculpture, particularly by lamp-light, to 
 exercise himself in a more forcible style of relief; he likewise made 
 models for his works, which he lighted artificially, or hung up in 
 his rooms, in order to make himself master of perspective appear- 
 ances, so little attended to by the Venetians. By this means he 
 united great strength of shadow with the Venetian colouring, which 
 gives a peculiar character to his pictures. — Kugler’s “ Handbook .” 
 
 Tintoretto was the most daring and unequal of all the Venetian 
 painters ; they used to say that he had three pencils — one of gold, 
 one of silver, and one of brass.] 
 
 In the soffitto, three most admirable pictures, by Titian. * The 
 Heath of Abel/ f The Sacrifice of Abraham/ and ‘ David cutting 
 off the head of Goliali.’ All three in print, by Le Febre. 
 
[The * Murder of Abel/ by Titian, combines the grand style of 
 Michael Angelo with the greatest fascination of colour. — Burnet. 
 
 Sir David Wilkie, who saw these pictures in 1826, says: — “ The 
 flesh is painted with so much rotundity and tone, as to make 
 anything look poor that could be placed beside them.”] 
 
 Scuola di S. Marco. 
 
 Obs . — Where S. Marco relieves one of his followers — the hands 
 of some of the figures fine. The buildings behind are quite light ; 
 the shadows oily, yellow scumbled on it. The upper part of the 
 sky dark, the lower white, to mass with the building. Trees by 
 the side pretty dark, to mass with the figures, which are dark ; but 
 little lights here and there. The dead figure (is) the principal light, 
 being in the middle of this darkest mass. Some of the draperies 
 painted black and white, and then oil scumbled on it, has a rich 
 effect. Hatchets and other things lying on the ground, are only 
 scumbled, as it were, and sometimes merely outlines. A light 
 pedestal and pillar, but broken by a figure on the left ; behind these 
 (are) darker pillars ; and then the distant light ones. Every here 
 and there the mezzotint mass enters into the lighter ground, by 
 
 means of white turbans flesh, light reds, &c. No 
 
 mistiness. The light buildings at a distance, have likewise some 
 dark doors, so as to match with the foreground. The dark building 
 on the left hand, the upper part lost, and as dark as the sky. The 
 tyrant's drapery on the other side the same. 
 
 Sometimes on a dark dead colour white (is) scumbled, and the 
 ground left here and there for the partitions between some bricks, 
 & c. The whole laid in soft and broad in the dead colour, and then 
 the shadows added. 
 
 Observations . — That the carrying away the body of S. Marco, 
 lightish ground — a group of mezzotint figures, a camel, &c., which 
 indeed receive light on one side, but in the middle is the body, 
 light, all left against the ground. The camel, oil. The body of 
 the figure recovering himself, fine. This light body issues out of a 
 mezzotint mass, which masses with the ground. At the bottom, 
 
 4 
 
26 
 
 which is dark, the ground to the upper part of the figure is light. 
 In painting architecture, &c., after having dead-coloured it blue, 
 when you would have it shine, scumble white and much oil. 
 
 [Nowhere does the genius of Tintoretto shine forth brighter than 
 in the Schools of S. Marco and S. Rocco ; the greater part of the 
 former, and the whole of the latter, are his work. His famous 
 picture of the ‘Miracle of S. Mark' is a splendid combination of 
 the rich tones of Titian with the more fresh colouring of Veronese. 
 .... If any picture deserves the name of the Triumph of Painting 
 it is this work ; in the presence of which, when in the Louvre, even 
 the ‘ Transfiguration 3 of Raffaelle looked cold and academic. — 
 Burnet. 
 
 Wilkie says : — “The ‘Miracle of St. Mark ' is the great favourite 
 of the artists. It is Tintoretto's master-piece."] 
 
 S. Zaccheria , not far from St. Mark. 
 
 In the sacristy, a most admirable picture, by Paolo Veronese, 
 ‘The Virgin and Bambino, with St. John Baptist/ on a pedestal; 
 below, SS. Jerome, Francis, and Catherine . 1 * A print, by Luciani, 
 drawn by Tiepolo. 
 
 The V. and B. make one mass, St. John another. The pedestal 
 is light, and the fluted pillar. This picture is painted in a very 
 large manner; large bold features, and wonderfully well coloured. 
 It looks very much as if it were painted on a Gess priming, and 
 then smoothed with the finger. It is the best preserved of any 
 picture I know of his. The flesh of an Indian red, purply. A 
 print, by Wagner. 
 
 A fine picture, by Salviati, representing a ‘ Miracle of SS. Cosmo 
 e Damiano.' 
 
 1 S. Zacharias the Church of St. Zacharias. This picture is one of the examples 
 illustrated by Burnet, in his Practical Hints on Colour , where it is contrasted with 
 a similar design by Titian. 
 
 Barry’s Lecture upon Colour contains some excellent remarks upon the manner of 
 
 P. Veronese. 
 
27 
 
 II Redemtore. 1 * 
 
 ‘ Ascension of Christ/ by Tintoretto ; and another by Bassan. 
 The Christ of the latter has a fine sweep. 
 
 ‘ Christ conveyed to the Sepulchre/ a fine picture by Palma. 
 
 f Scourging of Christ/ by Tintoretto. 
 
 Scuola di S. Rocco. 
 
 On the ground floor, f The Annunciation/ by Tintoretto. A print 
 by Sadeler. The angel has just entered in at the window; a whole 
 troop of boy-angels are also entering. 
 
 Nearly forty pictures by Tintoretto. 
 
 ( The Salutation/ where a whole string of angels are rushing in at 
 the window. Fine effect. 
 
 [The Scuola di San Rocco is the hall of one of the six Scuole 
 Grande, or great fraternities, which were suppressed in 1797; it 
 was built in 1516, and is remarkable for the beauty of the building, 
 and the pictures by Tintoret. 
 
 Reckoning the pictures in the ceilings, but without counting 
 some of the heads in the angles, there are fifty-seven works of this 
 astonishing painter in the Scuola di San Rocco alone. The greater 
 part are very large, and the figures throughout, the size of life. 
 The ‘ Crucifixion 9 is a most extensive work, and, all things con- 
 sidered, perhaps the most perfect by the master . — Sir Charles L. 
 Eastlake. 
 
 Wilkie, who visited the Scuola di S. Rocco in 1826, says: — “I 
 saw various pictures by Tintoretto, of a slight, unfinished, and 
 dingy appearance, calculated to be appreciated by the artist, but by 
 no one else.”] 
 
 ‘ St. Agnes/ by Tintoretto, in the Madonna del Orto. St. 
 Agnes in the middle, in white. The lamb’s head in the white. 
 This mass is surrounded by figures in dark colours, but on each 
 
 1 The Church of the Redemption was built by the Venetians in 1576, to commemo- 
 
 rate their deliverance from the plague. 
 
28 
 
 side toward the edges is a little light. A white cap and a shoulder 
 with a bit of linen ; and, that the bottom of the picture may not be 
 heavy, the legs of the figure lying are lightish. Two women's 
 heads and breasts over St. Agnes are light, to join the architecture 
 behind, which is light on a light sky. A mass of dark architecture 
 on one side near the eye. The angels above are dressed only in sky 
 blue; lights white, the same as the sky, which is white and blue, 
 in the ‘ Presentation of the Virgin ' she is dressed in a dark colour 
 on a light ground ; but her flesh, and some lights on the drapery, 
 harmonize with the light ground. 
 
 [Mr. Ruskin says: — “The f Martyrdom of S. Agnes' was a 
 lovely picture, but it has been Restored' since I saw it. The 
 figure of the little Madonna in the ‘ Presentation ' should be com- 
 pared with Titian's, in his picture of the same subject in the 
 Academy. I prefer Tin toret's infinitely." — Stones of Venice, vol.iii. 
 p. 318.] 
 
 A General Rule . — Ven. 
 
 A figure or figures on a light ground, the lower part dark, having 
 lights here and there. The ground (properly) dark. 
 
 When the second mass of light is too great, interpose some dark 
 figure, to divide it in two. 
 
 A white drapery edged and striped, or flowered with blue, as the 
 bride in the f Marriage of Cana,' or the Venus in the Colonna, on 
 a mellow oily ground. 
 
 Zuccharelli (sic) says Paolo and Tintoretto painted on a Gess 
 ground. He does not think that Titian did. I am firmly of 
 opinion they all did. 
 
 A portrait— putting on a morning gown — the figure relieved on 
 one side only. 
 
 Dark figures on a light ground, not relieved quite round. 
 
 Obs. — f Venice on the Throne,' &C . 1 Her face, &c., in mezzotint 
 
 1 * Venice crowned by Fame,’ on the ceiling of the Hall del Maggiore Consiglio. 
 
 ‘Venice Enthroned,’ by P. Veroneso; on the roof of the Anti-Collegio of the Ducal 
 Palace. 
 
29 
 
 shadow, with reflections. The white petticoat with gold flowers, 
 and a piece of white ermine, make the white mass against a light 
 blue sky, with flesh-colour clouds. The figure under Peace (has) 
 her garments very dark, the under light being flesh- colour heightened 
 with yellow. The curtain soft against the ground. No strong 
 shadows at all. J ustice rather darkish ; hands, linen, and head, 
 lighter than the ground. Some touches of the drapery ditto. 
 The light drapery of Venice (is) darker towards the edges than 
 the ground. 
 
 A General Rule. 
 
 A light sky of angels, the light by means of clouds, and goes off 
 by degrees ; but on one side a dark figure must come smart against 
 the light, to give spirit to the picture. Titian's f Salutation.' If two 
 figures, (and) one overshadowed on a light ground, the other must 
 be light on a dark ground. 
 
 S. Catarina. 
 
 ‘ The Marriage of St. Catherine in her Church,' by Tintoretto . 1 
 
 A gay, light picture. The upper part of the figures, light on a 
 light ground; pillar light, St. Catherine light; the angel light 
 under the light pillars. This is his very best taste of colouring. 
 
 Refettorio di S. Sebastiano. 
 
 Obs.— The Woman washing Christ's Feet,' (by) Paolo (Vero- 
 nese) . The table- cloth, the principal light, divided by means of dark 
 figures into many compartments. The nearer pillars oiled 'till they 
 are yellow. Dogs painted on a Gess ground . 2 
 
 1 Kugler mentions a ‘Marriage of St. Catherine,’ by Paul Veronese, in the church of 
 that saint at Venice, which he says is of the finest and most animated composition, 
 and excellent in execution . — ( Handbook of Painting, vol. ii. p.463.) It is over the 
 high altar ; and on the side-walls are six pictures, by Tintoretto, from subjects in the 
 life of St. Catherine. 
 
 Ruskin mentions the ‘Marriage of St. Catherine,’ by Tintoret, in the Sala del Collegio 
 of the Ducal Palace. He says it is an inferior picture, but the figure of St. Catherine is 
 exquisite. 
 
 2 ‘ Christ at the Table of Simon the Publican, with the Magdalen washing his feet,’ 
 painted in 1570, for the Church of S. Sebastiano, another gigantic picture, is now in the 
 Louvre. 
 
30 
 
 The ‘ Purification.* Ditto, on the organ (in the Church of 
 S. Sebastian). 
 
 The principal light is a changeable piece of silk, flesh colour 
 heightened with yellow ; a boy with a yellow drapery on his 
 breast comes on it. No other light but what the flesh makes, and 
 indeed a dog, which is inclinable to flesh colour. A square pillar, 
 light. 
 
 The principal light of the picture, where the two saints are going 
 down to be martyred, is the same colour as in a woman kneeling. 
 
 This is a very good manner ; it makes the principal (light) of the 
 flesh. If the drapery was flesh colour, like that in the transfigura- 
 tion/ it might be better still. 
 
 The buildings of this last picture are all white. 
 
 Obs. — e St. Sebastian before the Tyrant.* All dark figures on a 
 light ground (a pretty building), excepting him who holds a horse : 
 he has pink-coloured sleeves of the same tone as the ground. 
 
 A Salviati, 1 as fine as Titian or Paolo. *Tis in their style. 
 
 ‘ The Martyrdom of St. Catherine,* by Palma. 
 
 ‘ The Assumption of the Virgin,* by Titian, at the great altar in 
 the chapel of the Convent of the Frari. 
 
 Most terribly dark ; I saw it near ; *tis nobly painted. 
 
 [The Frari, one of the largest churches in Venice, was built in 
 1234, by Nic. Pisano, and contains the tomb of Titian, who died 
 in 1576, at the age of 99. 
 
 The * Assumption,* by Titian, is now in the Academy, removed 
 from the Church of S. Maria dei Frari. — (Kugley\) Barry says : — 
 “ The e Assumption of the Virgin * at the Frari, and the ‘ Venus * 
 at Florence, are undoubtedly (for an union of all the parts of 
 painting) the most complete and masterly performances of Titian, 
 though I do not think they are his most valuable ones.** 
 
 “ My impression,** says Wilkie, “on seeing the ‘Assumption,* 
 
 1 There were two Salviati’s : Francesco Rossi, called II Salviati, from the favour 
 and protection he received from the Cardinal of that name ; and Giuseppe Porta, his 
 pupil, who was likewise called II Salviati. 
 
31 
 
 by Titian (in the Gallery) is, that it has been rubbed and repainted, 
 and cannot be considered an authority. It is, however, a picture 
 of great force — perhaps no picture could stand against it ; but it 
 has an air of coarseness unlike his other works. ”] 
 
 The Virgin, with Christ, on a pedestal, St. Peter and St. Francis 
 directly under, and beneath them many portraits most incomparably 
 well painted, without shadow on the side (where) St. Peter is; lower 
 down is a warrior with a standard, perhaps St. George. This pic- 
 ture is very dark, excepting the heads of the portraits, and they are 
 almost (concealed) covered with pots of artificial flowers and candles. 
 A print by Le Febre. 
 
 [This picture was also in the Chapel of the Frari, and is men- 
 tioned by Reynolds, in his Journey to Flanders and Holland, as an 
 example of grandeur and simplicity, resulting out of the regularity 
 of composition. He says : — “ Here the Virgin and Child are placed 
 on an altar instead of a pedestal ; St. Peter, with an open book, 
 leaning on the altar, and looking at St. George, and another figure 
 which is kneeling. On the other side is St. Francis (or St. Anthony 
 of Padua) looking up to Christ, and recommending to his protec- 
 tion a noble Venetian (the Vescovo di Baffo), with four other 
 figures, who are on their knees. Nothing can exceed the simplicity 
 and dignity of these figures. They are drawn in profile, looking 
 straight forward in the most natural manner, without any contrast 
 or affectation of attitude whatever. The figure on the other side is 
 likewise in profile, and kneeling; which, while it gives an air of 
 formality to the picture, adds also to its grandeur and simplicity. 
 Titian knew very well, that so much formality, or regularity, as to 
 give the appearance of being above the tricks of art, which we call 
 picturesque, is of itself grandeur.”] 
 
 S. Agostino. 
 
 f Ecce Homo/ with Pilate and others, a good picture, by Paris 
 Bordone, in the style of Titian. 
 
3.2 
 
 Chiesa di San Nicolo de’ Frari. 
 
 High Altar — The Virgin with Angels above; below, St. Nicholas, 
 St. Katherine, St. Anthony of Padua, St. Francis, and St. Sebastian. 
 5 Tis so dark that you see nothing but the body of St. Sebastian ; and 
 he looks as if he had lost his head, 5 tis so dark. No doubt it was 
 painted so a little at first, to preserve the mass in his body of a 
 beautiful shape. S. Nicolo is said to be from the head of Laocoon, 
 which Titian admired. A print by Fabre; and another by Titian 
 himself, on wood, a little different from the picture. 1 
 
 [This picture was in the Musee at Paris, but was restored to the 
 Vatican in 1816. Reynolds says, when he saw it in the Church of 
 the Frari, it was so dark that nothing but the body of St. Sebastian 
 could be seen. In the Gallery of the Vatican it appeared a most 
 gorgeous and brilliant piece of colouring : nothing could compete 
 with it ; and the Virgin and Child reposing in a perfect blaze of 
 glory in the clouds, made even the ‘ Transfiguration 5 of Raphael 
 look cold and blue.] 
 
 On the right hand (in) of this chapel is the c Last Supper, 5 by 
 Benedetto Cagliari, according to Burchini. Ridolfi says 5 tis by 
 Paolo. Underneath is the ‘ Baptism of Christ, 5 and at a distance, 
 the f Temptation, 5 by Paolo. Soffitto, all by Paolo. In the middle, 
 the f Visit of the Magi, 5 St. Nicholas, St. Francis. In the corners, 
 the four Evangelists : of two, St. Matthew and St. Luke, there are 
 prints by Fabre. 
 
 St. Francesco della Viyna. 
 
 ‘ The Virgin and Bambino, 5 with many saints below, as St. Joseph, 
 
 1 For the Friars of St. Nicolo de Frari, Titian painted an altar-piece in his finest 
 manner, in which the Madonna, in white, is reposing on a cloud, holding the infant 
 Saviour in her arms, with two little angels in the act of adoration ; below, S. Nicolo 
 Yescovo, holding the pastoral staff, accompanied by St.Petcr, St. Catherine, St.Francis, 
 St. Anthony of Padua, and St. Sebastian, the colouring of whose body is nature itself, 
 but the figure is indifferently drawn ; and Sir Joshua Reynolds lamented the choice of 
 Titian’s model in this instance, particularly in regard to the legs. — Hume's “ Life of 
 Titian." 
 
33 
 
 St. John, St. Catherine, and S. Ant. Abbate, by Paolo. A print by 
 Agos. Carracci. 
 
 In the sacristy, painted in oil on the wall, the colours scaled 
 off in many places, and otherwise much damaged, f The Virgin 
 and Christ/ and two angels playing on musical instruments/ 
 (P. Veronese.) 
 
 * St. John the Baptist and St. Jerome/ by Titian. 
 
 Opposite is a copy, in little, of the f Supper’ of Paolo, where the 
 woman is drawn washing Christ’s feet, and a man offers a napkin. 
 The original is in France. 
 
 Obs . on the ( Banquet of Paolo / a little Copy in the Sacristy at 
 S. Francesco della Vigna} 
 
 The distant building, white on a blue sky, with white clouds. 
 The shadows of the buildings are the same tone as the blue sky, the 
 light the same as the white clouds. The figures, in strong colours, 
 encompass the two table-cloths ; that on the right side (forms) the 
 principal (light), and is enlarged by some of the furthermost figures 
 at the table being clothed in white, and another in yellow. A man 
 with a table-cloth, and this white cloth hinders the two table-cloths 
 from appearing spots. The (line of the) other table is broken by 
 a boy, which comes very soft upon it. Another figure (is) light 
 towards the cloth, to make the light go off by degrees. Near the 
 pillar light, a woman’s head and back light on it ; lower part, red 
 darkish. 
 
 [The great reputation of Paul Veronese rests principally upon 
 the colossal representations of festive meetings, which he painted 
 for four of the principal churches at Venice. The most celebrated 
 is the ‘ Marriage of Cana/ painted for the refectory of S. Giorgio 
 Maggiore, and now in the Gallery of the Louvre; for this pro- 
 digious work he is said to have received only ninety ducats. The 
 second, painted in 1570, for the Church of S. Sebastiano, represents 
 
 1 It was presented by the Republic of Venice to Louis XIV. The small copy was 
 made by Val. Le Febre. 
 
 5 
 
34 
 
 the ‘ Feast of Simon, with the Magdalene washing the feet of 
 Christ/ The third, executed for the Church of SS. Giovanni e 
 Paolo, is the ( Saviour at Table with his Disciples* ; and the fourth 
 is the same subject as the second, but differently treated : it was 
 painted for the Franciscan Monastery of Della Yigna, and is now 
 in the Louvre, having been given in 1665, by the Republic of 
 Venice, to Louis XIV, It is perhaps the finest of his works. Sir 
 Joshua Reynolds had in his Collection of Drawings, a pen-and-ink 
 sketch, or first thought, for this large composition, a facsimile of 
 which is given in Mr. Charles Rogers’s Imitations, vol. i.] 
 
 The ‘Christ in the White Sheet/ in the School of St. Mark, 1 will 
 serve extremely well for the apparition that comes to Brutus ; the 
 upper part may be kept in shadow, like those friars at the Church 
 of San Gregorio. The Brutus, the man holding the possessed child 
 in the ‘ Transfiguration/ 
 
 Obs. on the ‘ Conviti * di Paolo, in SS. Giovanni e Paolo. 
 
 The mass of light is in the table-cloth in the middle, with the 
 figures on each side tender. The whole distant building and sky 
 light, as usual. The building in the foreground, light and dark. 
 Two pedestals on each side ; the table-cloth, a little distant, light. 
 The flesh of one of the figures lighter than the ground ; at the most 
 *tis only the same tone, sometimes darker. No broad light, but 
 this middle table-cloth, unless you will except the two pedestals 
 before mentioned. 
 
 f Scuola di {della) Caritci. 
 
 ‘ Adam and Eve * (by Tintoretto) . 
 
 His back forms a mass of light, his thigh lost in the ground ; 
 the shadows, in general, full. The figures in the colour of the 
 ground, sometimes a little greyer, sometimes warmer. The land- 
 
 1 Probably the ‘ Christ before Pilate,’ in the Scuola di San Rocco, which Mr.Ruskin 
 says is best seen on a dark day, when the white figure of Christ alone draws the eye, 
 looking almost like a spirit. A reduced photograph of this picture has been published 
 by the Arundel Society. 
 
35 
 
 scapes all mellow, except a little blue distant hill and sky ; black 
 trees, and others more yellow. The nearer hills are painted slap- 
 dash with white, and grey and flesh tints. The leaves of the trees 
 ditto, then scumbled over with a mellow colour or oil. 
 
 ‘ Cain and Abel/ The shadows of Abel a grey colour, without 
 white, scumbled. The shadows painted last. 
 
 Portrait of an ‘ Old Man/ All the shadows, the marking of the 
 nose, the eyes, and mouth, are entirely painted of the flesh. The 
 flesh was dry. 
 
 They all appear to be painted on a Gess priming, at least a white 
 one. 
 
 A very light figure, on a light ground, with dark hair, &c., and 
 other little strengths, must have a fine effect. 
 
 ‘ The Presentation/ by Titian. 
 
 Principal light (is) the profile woman in the middle. The old 
 woman underneath has nothing light but the linen on her head 
 and breast. The woman holding the child, light. 
 
 [The Scuola della Carita, the oldest of the six great fraternities, 
 is now occupied by the Academy of Painting, a modern institution 
 called the Scuola delle Belle Arti, which contains many valuable 
 pictures and works of art : as the f Assumption of the Virgin/ by 
 Titian, now restored to brilliancy from a state of almost total dark- 
 ness; the ‘ Presentation in the Temple/ also by Titian; the 
 f Miracle of St. Mark/ and ‘ Adam and Eve/ by Tintoret, &c. 
 Mr. Ruskin says : — “ One of the most wonderful works in the 
 whole gallery is Tintoret's f Death of Abel/ on the left hand of 
 Titian's great picture of the f Assumption ' ; and the f Adam and 
 Eve/ on the right of it, is hardly inferior. They are both more 
 characteristic examples of the master, and, in many respects, better 
 pictures, than the vaunted f Miracle of St. Mark/ ” 
 
 The large picture of the f Presentation of the Virgin Mary in 
 the Temple/ is recorded by Ridolfi to have been painted in 1506, 
 for the Scuola della Caritk in Venice, where it still remains. It is 
 twenty-two feet in length, and contains divers portraits.— Hume’s 
 “Life of Titian.” 
 
36 
 
 The ‘ Presentation of the Virgin in the Temple, amongst a crowd 
 of Spectators/ a large and important picture by Titian, is now in 
 the Academy at Venice. — Kugler’s “ Handbook, 99 '] 
 
 Santa Maria Mater Domini. 
 
 The ‘ Finding the Cross/ by Tintoret. A print by Giuseppe 
 Mona Metallo ; commonly on red paper. 
 
 Saint Salvatore. 
 
 High Altar — The ‘ Transfiguration/ by Titian. 
 
 Christ in white, oily, on the same-coloured ground, relieved by 
 his hair being black, and a shadow on the thigh, which goes off by 
 degrees. The figures on each side enlightened. 
 
 The ‘Salutation/ ditto. On it is written, Titianus pinxit. 
 
 The angels (form) a mass of light. The glory, the door, and 
 angels, the principal. The white of the angel seems to be painted 
 grey, and then run over with very yellow oily white in the lights. 
 On the Virgin, nothing light, but her head, breast, and hands. 
 
 [There is great animation in Titian's ‘Annunciation/ in the 
 Church of S. Salvatore. The ‘Transfiguration/ in the same church, 
 evinces also no w r ant of power, or even of strong emotion, although 
 among his latest productions. — Kugler. 
 
 Tutti gli Santi. 
 
 The ‘ Salutation of Mary and Elizabeth/ by Carl. Ridolfi . 1 
 
 An imitation of Paolo. 
 
 A large ‘Crucifixion/ by Pietro Vecchia . 2 
 
 An admirable picture ; the whole is well composed, and the par- 
 ticularities are nobly painted (in a) large, broad manner. There are 
 heads in this picture equal to any master whatever. Above Christ 
 on the cross is the Padre Eterno, An angel directs the good 
 thief to Christ, whilst devils are being busy with the other. A 
 figure in the foreground, on a white horse, leans forward and looks 
 
 1 Carlo Ridolfi (1570—1668). 
 
 2 Pietro da Vecchia (1605 — 1678), imitated Giorgione. 
 
37 
 
 up with great expression. The horse's head light, darker and 
 darker towards his breast. A dark boy covers his legs. A whole- 
 length figure forms another mass of light ; dark figures about them ; 
 some have breeches and stockings — in one, striped with red — 
 slashes — sleeves. 
 
 S. Gervaso ( S . Trovaso). 
 
 The ‘Last Supper/ by Tintoret; fine picture. Print by Sadeler 
 and Lovisa. 
 
 [Church of Trovaso. The ‘Last Supper.' “A picture," says 
 Mr. Ruskin, “ which has been through the hands of the Academy, 
 and is, therefore, now hardly worth notice. Its conception seems 
 always to have been vulgar, and far below Tintoret's usual standard. 
 The colour has once been fine, and there are fragments of good 
 painting left ; but the light does not permit these to be seen. The 
 picture is only worth mentioning because it is ignorantly referred to 
 by Kugler as characteristic of Tintoret ." — Stones of Venice, \ ol.iii. 
 p. 361. 
 
 Kugler says : — “ Nothing can be imagined more derogatory, both 
 to the dignity of art and to the nature of the subject, than the 
 treatment of this ‘Last Supper.' St. John is seen with folded 
 arms fast asleep, and the revel seems to have been of the lowest 
 description." 
 
 One of the Apostles is here represented uncovering a dish, which 
 stands on the floor, without observing that a cat has stolen in and 
 is eating from it ; a very unseemly and unbecoming circumstance 
 to introduce in so solemn a subject, and which could only be 
 admired in a picture of Hogarth's; but it was probably the taste of 
 the Venetians; and Reynolds himself observes, that “the same 
 mixture of the serious and ludicrous occurs in the pictures of the 
 Venetian school as in the poems of Ariosto : thus Paul Veronese 
 and Tintoret introduce boys playing with monkeys, dogs and cats 
 fighting for a bone, into their pictures of the gravest and most 
 important subjects, just as Ariosto and other Venetian poets treat 
 us to a ludicrous episode in the midst of a serious narrative ." — See 
 “ Reynolds and his Works” p. 222.] 
 
38 
 
 Opposite is — f St. Anthony tempted by the Devil and some hand- 
 some Women; N. S. descending to succour him/ by Tintoret. A 
 good picture. The upper part of the saint, the same colour as the 
 ground. Christ descending comes dark on the light ground; his 
 legs, &c., are lost in the dark sky. 
 
 The Great Altar — A most sumptuous ‘ Slaughter of the Inno- 
 cents. ’ A deal of merit, but the subject does not require so much 
 magnificence . 1 2 
 
 Near this church is the e Casa Toffetti/ painted in fresco by Tin- 
 toret, with friezes of boys and naked figures, admirably drawn and 
 coloured. Below, Aurora and Titan ; on the other side, f Cybele in 
 a Car/ This is esteemed the best fresco in Venice ; (it is) much 
 damaged. Prints of these two last by Lovisa. 
 
 S. Maria Maggiore. 
 
 High Altar — An f Assumption/ by Paolo. 
 
 The principal light is very strong. A kneeling figure in the 
 middle of the picture, his back towards you — a white loose drapery 
 on him. 
 
 On the side, the ‘ Visit of the Wise Kings/ by Tintoret. 
 
 In the chapel, on the left, the fine f St. John Baptist/ by Titian . 3 
 In perfect preservation, and admirably drawn and coloured. The 
 flesh on a blue sky, with white clouds ; the breast forms the prin- 
 cipal mass of light ; the mass of the face separated by a black 
 beard ; the thigh, by the skin he holds in his hand ; the legs of a 
 low tint; the right thigh quite lost; shadow of the drapery ditto; 
 veins marked, but not blue, have the same effect as those in the 
 Laocoon. The whole finely drawn. The lamb another mass; the 
 white clouds, another; waterfall, another; scarce anything seen 
 but the white of the waterfall ; three or four trees ; those behind, 
 
 1 The ‘ Massacre of the Innocents,’ in the Church of S. Trovaso, by Sebastian 
 Mazzoni. 
 
 2 A whole length of St. John the Baptist, standing in a very grand landscape, the 
 
 further part of which is made up of trees overshadowing a waterfall, in which the 
 light produces the most brilliant effects. — Hume's “ Life of Titian .” Engraved by Le 
 Febre.— -See Observations on Titian’s Colouring, Barry’s Works, vol. ii. p. 52. 
 
39 
 
 the Gess ground oiled, with touches of shadow ; those before, dotted 
 dark ; the back, the light Gess. 
 
 Hung up in the church, a picture of Noah's Ark. The 'Four 
 Seasons,' and others, by Bassan. ' Christ in the Garden,' little, by 
 Paolo; fine clair-obscure. An 'Ecce Homo,' by Paris Bordone. 
 A ' Madonna,' on board, with cherubims and angels ; a picture of 
 much merit, by Giovanni Bellini. 
 
 ( Clixesa di S.) Pantaleone. 
 
 St. Pantaleone, that recovers a boy supported by a priest ; and 
 a portrait, by Paolo. 
 
 The soffitto of all the church, is by (J. Ant ) Fumiani. 
 
 ' St. (Bernardino) curing in a Hospital,' by Paolo (in his old age) . 
 
 ' St. Bernardino and Paolo,' ditto. 
 
 Scuola della St a. Trinit a, by the Salute . 
 
 [As I do not find any mention of a Scuola della Sta. Trinita at 
 Venice, I conclude that Reynolds here alludes to the Scuola della 
 Caritk, mentioned at p. 34, which was near the Church of the 
 Salute.] 
 
 Thirteen pictures, by Tintoretto. 
 
 'II Padre Eterno creating the World.' 
 
 The 'Formation of Eve,' a very fine picture. As is also 'Eve 
 tempting Adam,' and ' Cain and Abel ' : all finely drawn, coloured, 
 and composed. 1 Prints by Lovisa. 
 
 The ' Coronation of the Madonna,' and (a picture of) the Trinity, 
 are not by him. 
 
 Two fine portraits by Tintoretto. 
 
 S. Giovanni Elemosinario , di Rialto. 
 
 The altar- (piece) representing ' St. Giovanni Elemosinario giving 
 Alms to the Poor,' is a fine picture by Titian. 2 
 
 1 Now in the Academy of the Fine Arts. 
 
 2 S. Giovanni Elemosinario, said to contain a Titian and a Bonifazio, but of no 
 other interest. — Ruslcin. 
 
40 
 
 Obs . — The shadows of the white rochet (are) dark, the upper part 
 of the rochet is likewise so. The left arm in shadow. 
 
 The Cupola is by Pordenone, but so damaged that scarce any- 
 thing to be seen. 
 
 S. Polo } 
 
 The ‘ Marriage of the Virgin Mary ’ (in a chapel) on the left, by 
 Paolo. 
 
 The lower part of St. Joseph catches a little light, otherwise they 
 are both in mezzotint on a white sky. 
 
 High Altar — The ‘ Conversion of St. Paul/ by Palma (Vecchio), 
 but half covered by the things before it 
 
 Pour pictures, on the sides of the altar, by Palma. 
 
 [The subjects of these pictures by J. Palma (Vecchio) are, on the 
 right side, the ‘ Death 9 and ‘ Temptation 3 of St. Anthony ; and on 
 the left, ‘ St. Peter receiving the Keys/ and ‘ St. Peter in the midst 
 of the Apostles/ The last-named picture is of his earlier times, 
 and displays much dignity and beauty ; it is now in the Academy. 
 — Kugler.~\ 
 
 The ‘ Assumption/ by Tintoretto, covered by a jointed baby. 
 
 On the left of the principal door, is the ‘Last Supper/ by 
 Tintoret, where there is a figure leaning back, and reaching bread 
 to a beggar, who lies along. Christ, with both hands, is giving 
 bread to the Apostles. There are many other good pictures 
 dispersed about. 
 
 £. Sebastiano. 
 
 Paolo’s monument is in the Church. 
 
 The soffitto is painted by Paolo, in three compartments, with 
 subjects from the history of Esther. 
 
 The High Altar — The ‘Virgin and Bambino/ above; below, St. 
 Sebastian, St. Catherine, John Baptist, Pietro, and St. Francis ; and 
 
 1 Church of S. Polo ; of no importance. — BusJcin. 
 
41 
 
 a Padre, a countryman of Paolo, and the promoter of this work, by 
 Paolo. A print by Alessandro della Via. 
 
 On each side (of the high altar) is a fine piece by Paolo. That 
 on the right is, ‘ St. Mark and S. Marcellino condemned, and going 
 to suffer Death/ They are met by their father, who is sustained by 
 servants, and prays them to live. The mother follows in tears. The 
 wife (of Marcellino) meets him with his little children ; St. Sebas- 
 tian, by their side, encourages them, pointing to an angel with the 
 book of life, This is one of Paolo’s best pictures. 
 
 On the other side is ‘ St. Sebastian about being fastened to a 
 piece of wood (the rack) to be martyred by clubs.’ There are many 
 heathen priests about him, who endeavour to persuade him to 
 idolatry. A print by Metelli. 
 
 [The Church of S. Sebastiano, where Paul Veronese lies buried, 
 contains the best specimens of his historical paintings, and is deco- 
 rated with innumerable works of his hand. Of the three large 
 pictures, representing the ‘Death of St. Sebastian/ executed (1560 — 
 1565 ) with the greatest care, and with all the splendour of his 
 colouring, the finest represents the saint going to the place of his 
 martyrdom. The scene is upon a flight of steps before a house; 
 St. Sebastian, a fine, powerful figure, is hastening down them, while, 
 at the same time, he turns to his fellow-sufferers, Marcus and 
 Marcellinus, who are following him bound, and points to heaven 
 with an inspired look. One of them is gazing on him with the 
 profoundest faith, while the other is looking round at his sorrowing 
 mother, who seeks by her entreaties and reproaches to turn him 
 from his purpose. On the right, a grey-headed father is ascending 
 the steps, led by young men ; women and children also endeavour 
 to intercept the progress of the martyrs. Innumerable figures are 
 seen on balustrades and roofs, clinging to pillars, and crowded on 
 the stairs, looking on in the greatest excitement. This picture 
 displays a beauty of composition, a richness without an overcrowding 
 of subject, and a power of expression and colour, which entitle it to 
 be considered, in some respects, the noblest of Paul Veronese’s 
 works. The two other pictures represent St. Sebastian bound to a 
 
 6 
 
42 
 
 column and pierced with arrows, and the saint stretched upon the 
 rack.] 
 
 Over the pulpit, a small ‘ Holy Family/ by Paolo. 
 
 On the organ, outside, the ‘ Purification ’ ; a print by Fabre. 
 Within, the ‘ Paralytic healed/ by ditto. 
 
 On the Pergolato (on the body of the organ) — The ‘ Nativity/ 
 ditto. 
 
 In the Sacristy — Some of his first works. 
 
 In the Coro — f St. Sebastian before the Tyrant.’ Fine, ditto. 
 
 Opposite, in fresco, his Martyrdom ; no dogs ; fine ornaments, 
 columns, &c., about these. 
 
 [The large wings of the organ, painted about 1560, contain, on 
 the outer side, a beautiful representation of the Temple; and on 
 the inner side, the ‘ Miracle of the Pool of Bethesda/ which is one 
 of Paul Veronese’s most admirable productions. Among the ceiling 
 pictures in this church, the ' Crowning of Esther by Ahusuerus ’ is 
 the best. — Kugler.] 
 
 Isold Murano. 
 
 S. Pietro e Paolo. 
 
 The High Altar — A capital picture, the 1 Descent from the Cross/ 
 by Salviati. The Christ crosses the picture. The Virgin swoons, 
 and in as fine an attitude as was ever invented ; the figures around 
 her are all fine. 
 
 Four pictures by Paolo, two on each side the door. 
 
 [Mr. Ruskin says “ The pictures in this church, once valu- 
 able, are now hardly worth examination, having been spoiled by 
 neglect.”] 
 
 S. Mauro Monacho. 
 
 The High Altar — The Martyrdom of that Saint, by Paolo. 
 
43 
 
 Tor cello S. Antonio . 
 
 The right side of the church, looking towards the high altar, is 
 all painted by Paolo. The high altar, the same. 
 
 The organ is the best part of this work; inside is a fine Saluta- 
 tion; on the outside, the ‘ Adoration of the Magi*; and all the little 
 ornaments in chiaro (*scuro) are likewise by him. 
 
 St. Angelo. 
 
 On the right of the high altar, a Pieta, with St. John Evan- 
 gelist, St. Jerom, two statues and a sepulchre in the middle. This 
 was began by Titian and finished by Palma. The statues are en- 
 tirely by Titian, and are very fine and mellow. The lightest partis 
 little more than the colour of the Gess (ground) . 
 
 S . Stefano. 
 
 The Cloisters, by Pordenone, much decayed. 
 
 S. Cassano. 
 
 Saints John Baptist, Jerom, Mark, Peter, and Paul; the best 
 picture I ever saw by old Palma. 
 
 The Organ, by Tintoret. 
 
 Capella Maggiore, all by Tintoret. Over the altar, the ‘ Resurrec- 
 tion ^ ; on one side the ‘ Crucifixion * ; on the other, f Limbo/ 
 
 [St. Cassano. Mr. Ruskin says : — ■“ This church must on no 
 account be missed, as it contains three Tintorets, of which one, the 
 ‘ Crucifixion/ is among the finest in Europe. It is on the left side 
 of the high altar, and it is refreshing to find a picture taken care of, 
 and in a bright, though not a good, light ; as a piece of colour, it is 
 notable for its extreme modesty .** 
 
 2. The * Resurrection * (over the high altar). 
 
 3. The ‘ Descent into Hades* (on the right-hand side), much 
 injured, and little to be regretted.]. 
 
 In the Refettorio, the f Banquet of Simon Leproso.* This is the 
 
second picture he made in Venice on this subject. The woman 
 washing Christ’s feet, at the end of the picture, is on the right side. 
 ’Tis much damaged. A print, in two sheets, by Metello. 
 
 Padri Jesuisti. 
 
 The 'Martyrdom of St. Lorenzo at Night ’ (by Titian). 
 
 ’Tis so dark a picture, that, at first casting my eyes on it, I 
 thought there was a black curtain before it. (He painted) the same 
 subject for Philip King of Spain, but somewhat different from this : 
 this picture having architecture in the background, and figures, 
 particularly one with a torch coming out from between the pillars ; 
 the other has smoke, clouds, and two boys above. A print of this 
 latter by Corn. Cort. 
 
 The e Assumption of the Virgin/ by Tintoret. A print by Lovisa. 
 
 [The ' Martyrdom of St. Lawrence/ an altar-piece of colossal 
 dimensions, is in the Jesuits’ Church at Venice. Kugler says : — 
 “ It is a picture of more importance than the c Pietro Martire/ but, 
 like that, has suffered considerably. The nobly foreshortened figure 
 of the saint, lighted from above by a beam of heavenly glory, and 
 below by the fire, exhibits an effect of light such as is perhaps 
 unique in painting : the fire, the ray from above, and the light from 
 two pans of burning pitch, producing altogether such a combination 
 of light and reflection in the nocturnal scene, which in themselves 
 would have given the highest value to the commonest composition.” 
 
 Sir Charles Eastlake, in a note on this passage, tells us that 
 Kugler’s description must be understood to refer to the original 
 appearance of that work, as parts of it are so much darkened as to 
 be scarcely visible. And Mr. Ruskin says : — " The ' Martyrdom of 
 St. Lawrence/ by Titian, in the Church of the Jesuisti, originally 
 (as it seems to me) of little value, now, having been restored, is of 
 none.”] 
 
 St. Ermagora , detto S. Marcuola. 
 
 The High Altar — On one side, the f Last Supper/ by Tintoret. 
 
 Opposite, 'Washing the Feet/ by the same. 
 
45 
 
 Obs. on the < Last Supper/ by Tintoret.— The table-cloth, as 
 usual, the principal light, but divided by a dark figure, which covers 
 entirely the end of the table. Then comes a figure in white satin. 
 At the other end of the table there is likewise another light (on) one 
 of the figures, and a light figure at each end of the picture. 
 
 On the steps, a dog sitting on his tail, as begging. 
 
 Obs. on ‘ Washing the FeetJ — The ground and back white ; a dark 
 colonnade, with balustrades, runs across the picture. 
 
 Corpus Domini . 
 
 ' S. Domenico throwing the Book into the Fire,’ by Seb. Ricci. A 
 good picture. 
 
 S. Marziale . 1 2 
 
 In the sacristy is an admirable picture, by Titian, of f Tobias and 
 the Angel/ It is well preserved, only too yellow. The heads are 
 remarkably fine. A print by Lovisa. 
 
 S. Eustacio. 
 
 The ‘ Flagellation of Christ/ by Giorgione. 3 
 There is another picture joined to it by another hand. 
 
 1 Church of St. Marcilian, said to contain a Titian, * Tobit and the Angel’ j other- 
 wise of no importance. — RusJcin. 
 
 ‘ Tobit with the Angel.’ Another picture of this subject, unquestionably by Titian, 
 is, or was, in S. Marziale. ( See Zanotti della Pittura Veneziana.) A print by Yal. Le 
 Fabre. 
 
 Ridolfi, in his Life of Titian , says, he painted the ‘Tobit and the Angel’ at S. 
 Marcilliano, in his most delicate manner— “ in la jpiu delicata sua maniera .” 
 
 2 Giorgio Barbarelli, of Castelfranco, commonly called Giorgione (born 1477, died 
 
 1511). 
 
46 
 
 [August 16, 1752. Reynolds departed from Venice, and the same 
 day arrived at Padua. On the 19th, he departed from Padua; slept 
 at Torre Confini. On the 20th, past Peschiera and Lago di Garda ; 
 slept at Ossino del Papa; and on the 21st, arrived at Brescia. On 
 the 22nd, at Bergamo. On the 23rd, at Milano; and on the 27th, 
 he finally departed from Milan, on his journey home.] 
 
 end or Reynolds’ Italian journal and notes. 
 
 
ANECDOTES 
 
 OP 
 
 SIR JOSHUA REYNOLDS 
 
ANECDOTES 
 
 OP 
 
 SIR JOSHUA REYNOLDS, 
 
 CHIEFLY BELATIVE TO 
 
 HIS MANNER OE COLORING. 
 
 BY W. MASON, THE POET. 
 
 Copied by the Rev. J. Mitford, from the original MS. at Aston 
 Rectory , in 1851, which is unfortunately imperfect ; and the 
 missing part has been sought for in vain among the Mason MSS 
 
 My intention in the following sheets is to set down, without 
 much regard to method, a number of observations, which I have at 
 different times made on the colors he employed, and his manner 
 of blending them, considering him only as a practical artist ; and 
 I flatter myself that I am in some degree competent to this, from 
 having had the pleasure of being admitted into his painting-room 
 at times when his man Ralph had orders to repel visitors, by say- 
 ing that his master had then a sitter, which, when I rapped at his 
 door, was never made an excuse, unless when some lady or gentle- 
 man was actually with him sitting for a portrait. 'Tis indeed true 
 that, unless he was employed in retouching the painting of some 
 old master, he w r as never without a sitter, usually some beggar or 
 poor child, because he always chose to have nature before his eyes. 
 But at those times, except myself, I believe there were few of his 
 friends that had a free entree to him, and certainly no professional 
 artists. My observations therefore, though they will be only those 
 of an amateur, yet of one who has made many experiments on the 
 practical part of painting in oil, may perhaps prove entertaining, if 
 not useful, to future artists, should these slight notices, written at 
 times of great leisure, and with a view only to employ a tedious 
 hour of solitude, meet their perusal. 
 
 7 
 
50 
 
 It is well known, that when young Reynolds returned from his 
 studies in Italy, his patron, Lord Edgcumbe, persuaded many of the 
 first nobility to sit to him for their pictures; and he very judi- 
 ciously applied to such of them as had the strongest features, and 
 whose likeness, therefore, it was the easiest to hit. Most of them 
 also had, but a little time before, sat to Yanloo, a Dutchman, who, 
 while he remained in England, was in high fashion, though a dirty 
 colorist, and whose only merit was that of taking a true but tame 
 resemblance of features. Amongst those personages were the old 
 Dukes of Devonshire and Grafton ; and of these the young artist 
 made portraits, not only expressive of their countenances, but of their 
 figures, and this in a manner so novel, simple, and natural, yet 
 withal so dignified, as procured him general applause, and set him 
 in a moment above his old master, Hudson, and that master’s rival, 
 Yanloo. But the portrait which tended most to establish his repu- 
 tation was a whole length of Captain Keppel 1 (afterwards Admiral) 
 on a sandy beach, the background a tempestuous sea. A figure 
 so animated, so well drawn, and all its accompaniments so perfectly 
 in unison with it, I believe never was produced before by an English 
 pencil. His business increased rapidly upon it, and chiefly among 
 persons of the first rank. The young Lords Huntingdon and 
 Stormont, just arrived from their travels, sat to him for two whole 
 lengths on one canvas ; and here his merit in drawing complete 
 figures and setting them well on their legs, &c., the attitude most 
 natural to them, were [was . ? ] equally conspicuous. 
 
 It was upon seeing this picture that Lord Holderness was induced 
 to sit for his portrait, which he was afterwards pleased to make 
 me a present of, on which occasion he employed me to go to the 
 painter, and fix with him his Lordship’s time of sitting. 2 Here 
 our acquaintance commenced; and, as he permitted me to attend 
 every sitting, I shall here set down the observations I made upon 
 his manner of painting at this early time, which, to the best of my 
 remembrance, was in the year 1754. 
 
 On his light-colored canvas he had already laid a ground of 
 
 1 The portrait of Captain Keppel was painted about 1753. 
 
 2 Lord Holderness sat to Reynolds in March, 1755. 
 
51 
 
 white, where he meant to place the head, and which was still wet. 
 He had nothing upon his palette but flake-white, lake, and black ; 
 and, without making any previous sketch or outline, he began with 
 much celerity to scumble these pigments together, till he had pro- 
 duced, in less than an hour, a likeness sufficiently intelligible, yet 
 withal, as might be expected, cold and pallid to the last degree. 
 At the second sitting, he added, I believe, to the three other 
 colours, a little Naples yellow; but I do not remember that he 
 used any vermilion , 1 neither then or at the third trial ; but it is to 
 be noted that his Lordship had a countenance much heightened 
 by scorbutic eruption. Lake alone might produce the carnation 
 required. However this be, the portrait turned out a striking like- 
 ness, and the attitude, so far as a three-quarters canvas would 
 admit, perfectly natural and peculiar to his person, which at all 
 times bespoke a fashioned gentleman. His drapery was crimson 
 velvet, copied from a coat he then wore, and apparently not only 
 painted but glazed with lake, which has stood to this hour perfectly 
 well, though the face, which, as well as the whole picture, was 
 highly varnished before he sent it home, very soon faded, and soon 
 after the forehead particularly cracked, almost to peeling off, which 
 it would have done long since, had not his pupil Doughty repaired 
 it. I have described this portrait so particularly, on account of my 
 believing that he continued this mode of painting for many years, 
 and to introduce my own opinion (which, however, I give with 
 due deference to gentlemen of the profession), that instead of lake, 
 if he had laid on his first and second coloring with any of the 
 crimson earths (of which there are several), he would have produced 
 carnations, if not so brilliant, at least more durable. But using, as 
 he did, that vegetable or animal pigment, the solving matter of 
 which may be either Brazil wood or cochineal, or a white earthy 
 basis, it is no wonder that they faded ; for it is highly reasonable to 
 think that those pigments, whose hue is either originally inherent 
 
 1 When Northcote endeavoured to persuade Sir Joshua to abandon those fleeting 
 colors, lake and carmine, and to adopt vermilion instead, Reynolds looked on his 
 hand and said, “ I can see no vermilion in flesh.” He did adopt it, however, in his 
 later works, finding by experience the ill effects of lake and carmine. 
 
52 
 
 in them, or fixed by fire, as all the red and crimson ochrcous 
 substances are, must be more durable than chalky or aluminous 
 earths, to which a coloring dye is given by simple decoction ; and 
 this we know is the case of all the lakes — carmine itself, and that 
 variety of drugs (formerly much in use, but now I believe discarded) 
 which went under the general name of Pinks. 
 
 Turning over, very lately, the celebrated Leonardo da Vinci's 
 treatise on Painting, a very detached, unmethodical, yet excellent 
 work, I found only two chapters relative to what I call the Praxis 
 of Painting ; and from one of them (c. 353) I am inclined to think 
 that my excellent friend took that first manner of coloring which 
 I have described. For it is remarkable that he mentions only lake , 
 white and mastick, for the general carnation ; the shades of which 
 he advises to be executed with black and umber, or rather, as he 
 says, with a mixture of black chalk and lake. It is to be noted 
 that the chapter relates only to Distemper, for which, as a general 
 glazing shade, he recommends lake dissolved in gum-water, and ink, 
 also well gummed, and which, he says, may be spread over lake, 
 vermilion, blue (azure), and the like colors. But as, with regard to 
 simple flesh color, he never mentions vermilion as a component 
 pigment, but lake only, I think I am warranted in saying that 
 Da Vinci's methods are exceedingly similar to Reynolds' ; and I 
 am only sorry that I never adverted to this chapter till his much- 
 lamented death put it out of my power to converse with him upon 
 it ; for if I had done so, his openness and candour would have 
 immediately informed me whether my supposition was well founded, 
 To his too liberal use of lake , I however impute one of the causes 
 whence the fading of his pictures proceeded ; but there are many 
 others which will occur in these observations. 
 
 I was one day much surprised by a question which he conde- 
 scended to put to me — “ Whether I thought blue (ultramarine or 
 Prussian I suppose) or blue-black (which is a species of charcoal) 
 produced the best demi-tints for carnation." I expressed my 
 wonder, that after so long a course of successful practice, he had 
 not made up his mind on the subject. lie declared he had not, 
 but that sometimes blue was his favourite, and at others black. 
 
53 
 
 I replied, but with much deference to him, “ Black, in the hands o f 
 such a master, seemed to be preferable, because he would know how 
 to blend it, so sparingly, as not to render his coloring dirty ; and 
 being a more simple color, produced merely by calcination and no 
 heterogeneous mixtures, it was less likely to change, when blended 
 with other colors ; but that, in the hands of a tyro like myself, 
 black was a dangerous color to be intrusted with ; for it was well 
 said by some painter I had read of, ‘that, it was a great pity 
 black and white were not as dear as carmine and ultramarine, in 
 order that young painters might be sparing in the use of them/ " 
 
 It has been said by persons ignorant of the practical part of the 
 art, that one reason, if not the only one, of this defect of durability 
 in the great master's pictures, was, that he did not use ultramarine 
 instead of Prussian blue, as Vandyke, Sir P. Lely, and his other 
 predecessors, did. Nay, avarice has been imputed to him, on this 
 very account; but no imputation was ever less founded. In corro- 
 boration of this opinion, the pocket-book of old Beale has been 
 quoted, as printed by Mr. Walpole, in his Anecdotes of Painting , 
 from whence it appears that Lely paid large sums to that colorman 
 for the sole article of ultramarine. But could he use much of that 
 pigment in the fleshy parts of his portraits ? Every real artist will, 
 I believe, declare he could not. In his draperies, indeed, he might, 
 and we know, too, that he did it properly in the loose vestments 
 and flowing mantles of his women, as the beauties at Hampton 
 Court testify ; and, as that wonderful process by which Prussian 
 blue is generated was not then known, ultramarine and smalt were 
 the only azures he could then use, which accounts for his large 
 expenditure with Beale for that highly levigated powder of lapis- 
 lazuli — a stone as hard as a gem, dear in substance, and rendered 
 more so by the time and labor which it takes to grind it suffi- 
 ciently impalpable for the painter's purpose. We admit, therefore, 
 that Sir P. Lely used it, and perhaps in his faces ; but we are not 
 ready to admit that he thereby produced a greater degree of bril- 
 liancy at the first, or more durability afterwards, than he might have 
 done with cheaper pigments. 
 
 But, with respect to Sir Joshua Reynolds, I know it from fact, 
 
54 
 
 that lie did use ultramarine, and bought large quantities of it occa- 
 sionally, as well as of the finest smalt : nearly, as he told me, as 
 dear as ultramarine, and of full as perfect a color. Now, smalt, 
 we know r , is a highly vitrified substance, compounded chiefly of 
 zaffir, and therefore full as difficult of levigation as lapis-lazuli; 
 but as the art of enamelling, and that of making china, have of late 
 years been carried to so great a perfection at Dresden, France, 
 England, and various parts of Europe, that we see even a pottery 
 in Staffordshire is able to produce a blue equal to that of Nankin 
 china, I see no reason why such smalt should not equal ultramarine 
 in point of durability, nor why a glass, colored throughout so as to 
 become one blue mass, may not retain that color as eternally as a 
 native blue fossil, especially as it has received that color by a 
 mineral combined with it by heat — by the highest power that a 
 continued white heat can achieve. 
 
 While I am upon this topic, I will insert the following anecdote : 
 — that Sir Joshua once bought, at a very considerable price, of 
 some itinerant foreigner, I believe a German, a parcel of what he 
 pretended was genuine ultramarine, which, in point of color, 
 seemed fully to answer its title. Without bringing it to any 
 chemical test, the artist ventured to use it, and by it spoiled, as 
 he assured me, several pictures; for the fictitious pigment soon 
 changed into a muddy green, which he was obliged to repair, by 
 painting over it. I have seen pictures of Guido, in which such a 
 change appears manifestly ; but I have conceived (whether justly 
 or not, I am far from asserting) that such change might arise, not 
 from any failure in the pigment, but from the drugs used in clean- 
 ing the pictures, or the varnish turning yellow which had after- 
 wards been put upon them ; for it is obvious that any yellow glazing 
 put on blue, must immediately turn it to green, and that (is) what 
 a transparent would effect at once, and the acid in the air would 
 effect gradually, on a varnish, however clear from a yellow tinge at 
 the first. But of this more, when 1 speak of the different varnishes 
 which at different times were his favourites. 
 
 I have said, that Sir Joshua had always a living archetype before 
 him, whenever he painted what was not a mere portrait. In this 
 
practice he imitated Guido ; of whom, in one of his excellent notes 
 in Du Fresnoy, he says, that he would make a common porter sit to 
 him, while he was painting a Madonna, merely to have that nature 
 before him which he might depart from. But Sir Joshua did not 
 imitate him to this extreme. I remember, however, an anecdote 
 not quite dissimilar to it. When he was painting his first Venus , 1 
 I was frequently near his easel ; and although before I came to town 
 his picture was in some forwardness, and the attitude entirely decided 
 (which, however, I rather believe, he designed from a plate of some 
 Leda, or like subject of some old master, than from real life), yet I 
 happened to visit him when he was finishing the head from a beau- 
 tiful girl of sixteen, who, as he told me, was his man Ralph's 
 daughter, and whose flaxen hair, in fine natural curls, flowed behind 
 her neck very gracefully. But a second casual visit presented me 
 with a very different object : he w T as then painting the body, and in 
 his sitting chair a very squalid beggar-woman was placed with a 
 child, not above a year old, quite naked upon her lap. As may be 
 imagined, I could not help testifying my surprise at seeing him paint 
 the carnation of the Goddess of Beauty from that of a little child, 
 which seemed to have been nourished rather with gin than with 
 milk, and saying, that “ I wondered he had not taken some more 
 healthy looking model ; " but he answered, with his usual naivete , 
 that, “ whatever I might think, the child's flesh assisted him in 
 giving a certain morbidezza to his own coloring, which he thought 
 he should hardly arrive at, had he not such an object, when it w r as 
 extreme (as it certainly was) before his eyes." 
 
 Upon this picture he bestowed much time, intending, as I 
 suppose, from the subject, to emulate the Venus of Titian. I have 
 seen it, during its progress, in a variety of different tones of 
 coloring — sometimes rosy beyond nature, and sometimes pallid 
 and blue, and these differences throughout the whole form. On 
 his table I observed at the time, there always stood two large 
 gallipots of color, under water : one of a deeper, one of a lighter 
 tinge, composed of vermilion and white, which proved to me that 
 he had now laid aside his first favourite lake ; and indeed he, about 
 
 1 In December, 1759. 
 
56 
 
 that time, told me he had done so, preferring Chinese vermilion to 
 it ; of the durability of which, he however, afterwards doubted, and 
 used in its stead the best he could find of English manufacture. 
 By repeated glazings he, as I imagine, brought the figure to that 
 perfection which it certainly had when finished. Yet, when he first 
 saw it, after it was hung up in the Exhibition room at the Academy, 
 he told me he felt much surprised, and a little temporary chagrin, 
 to see its effect so much lessened from that which it had on his easel. 
 But on reflection he said : “ I was soon reconciled with my work ; 
 I concluded, that the more fiercely colored paintings, which sur- 
 rounded it, made it appear so faint as it seemed to do ; for I know,” 
 and he might say so without vanity, “ that it was the precise hue 
 of nature.” 
 
 At another time I happened to call upon him when he was paint- 
 ing the f Death of Cardinal Beaufort / 1 when a circumstance equally 
 curious with the foregoing occurred. He had merely scumbled in the 
 positions of the several figures, and was now upon the head of the 
 dying Cardinal. He had now got for his model a porter, or coal- 
 heaver, between fifty and sixty years of age, whose black and bushy 
 beard he had paid him for letting grow ; he was stripped naked to 
 the waist, and, with his profile turned to him, sat with a fixed grin, 
 showing his teeth. I could not help laughing at the strange figure, 
 and recollecting why he had ordered the poor fellow so to grin, on 
 account of Shakespeare’s line, 
 
 Mark how the pangs of death do make him grin. 
 
 I told him, that in my opinion Shakespeare would never have used 
 the word “ grin ” in that place, if he could have readily found a 
 better ; that it always conveyed to me a ludicrous idea ; and that I 
 never saw it used with propriety but by Milton, when he tells us 
 that death 
 
 grinned horribly 
 A ghastly smile. 
 
 He did not agree with me on this point, so the fellow sat grinning 
 on for upwards of one hour, during which time he sometimes gave 
 
 1 A design, representing the * Death of Abijah,’ in the leones Hist. Vet. Inst., 1538, 
 seems to have suggested to Reynolds the composition of this picture. 
 
57 
 
 a touch to the face, sometimes scumbled on the bedclothes with 
 white much diluted with spirits of turpentine. After all, he could 
 not catch the expression he wanted, and, I believe, rubbed the face 
 entirely out ; for the face and attitude in the present finished picture, 
 which I did not see till above a year after this first fruitless attempt, 
 is certainly different, and on an idea much superior. I know not 
 whether he may not have changed the model. Yet the man who 
 then sat had a fine, firm countenance of the swarthy kind, not unlike 
 some portrait or other which I have seen of Titian : I think it is 
 one of the Cornaro family. I remember I told him so ; and a few 
 days after, when I called upon him, he had finished a head of St. 
 Peter, which he told me he took from the same subject. It was 
 not, however, by any means a portrait, w r hich I wished to have been 
 in a rich Venetian dress. 
 
 I do not remember to have seen the man who sat for Count 
 Ugolino , 1 and from whom he also painted various other heads ; but 
 the beggar-boy from whom he painted his * Infant Samuel/ a boy 
 reading, in a crimson coat and another standing, with a portfolio 
 under his arm, and I believe some other heads, I have often found 
 on his chair. This boy (at the time about fourteen) though not 
 handsome, had an expression in his eye so very forcible, and indi- 
 cating so much sense, that he was certainly a most excellent subject 
 for his pencil. The figure standing with a portfolio, is almost his 
 absolute portrait . 2 There is something in his history which de- 
 serves to be recorded. He w r as an orphan of the poorest parents, 
 and left with three or four brothers and sisters, whom he taught, 
 as they were able, to make cabbage-nets ; and with these he went 
 about with them, offering them for sale, by which he provided both 
 for their maintenance and his own . 3 What became of him after- 
 wards I know not. Sir Joshua has told me, when talking of his 
 beggars, that when he wanted them again, they very frequently 
 
 1 Walpole says, “ Count Ugolino was painted from a beggar-man, who had so fine a 
 head, that Sir Joshua chose him for the father in his picture from Dante ; and he 
 painted him several times, as did others in imitation of Reynolds.” — Academy Cata- 
 logues , with, Notes by 11. Walpole , in the possession of Mr. Sheepshanks. 
 
 2 * Boy with a Portfolio,’ in the collection of the Earl of Warwick. 
 
 3 “ 1777, Jan. 13, at 9 — ‘ Boy with Net.’ ” — Sir Joshua's “ rocket Book." 
 
 8 
 
58 
 
 were never to be found, by any inquiries he could make concerning 
 them. 
 
 When he was engaged by the Master and Fellows of the New 
 College to give designs for the west window of their chapel, it was 
 meant that they should be drawings, or cartoons. This he told me ; 
 but, calling upon him some time after, I found the figure of Faith 
 painted on canvas ; the reason for this, as he said, was, that he had 
 been so long in the use of the pallet (sic) and brushes, that he 
 found it easier to him to paint them, to drawing. “ Jervas, the 
 painter on glass,” says he, “ will have a better original to copy ; 
 and I suppose persons hereafter may be found to purchase my 
 paintings.” 1 
 
 When he wa3 employed upon the central part of the window, in 
 his famous ‘ Nativity/ I happened to call on him, when his painting- 
 room presented me with a very singular and pleasing prospect. 
 Three beautiful, young, female children, with their hair dishevelled, 
 were placed under a large mirror, which hung angularly over their 
 heads, and from the reflection in this, he was painting that charm- 
 ing group as angels which surrounded the Holy Infant. He had 
 nearly finished this part of his design, and I hardly recollect 
 ever to have had greater pleasure than I then had in beholding 
 and comparing beautiful nature, both in its reflection and on the 
 canvas. The effect may be imagined, but it cannot be described. 
 The head of the Virgin in this capital picture was first a profile. 
 I told him it appeared to me so very Corregiesque , that I feared 
 it would be throughout thought too close an imitation of that 
 master. What I then said, whether justly or not I will not presume 
 to say, had so much weight with him, that when I saw the picture 
 the next time, the head was altered entirely : part of the retiring 
 cheek was brought forward, and, as he told me, he had got Mrs. 
 Sheridan to sit for it to him. 
 
 With the copy Jervas made of this picture he was grievously 
 disappointed. “ I had frequently,” he said to me, “ pleased myself 
 with reflecting, after I had produced what I thought a brilliant 
 
 1 These designs were purchased, after Lady Thomond’s death, by Lord Normanton, 
 for upwards of £12,000. 
 
59 
 
 effect of light and shadow on my canvas, how greatly that effect 
 would be heightened by the transparency which the painting on 
 glass would be sure to produce. It turned out quite the reverse ” 
 And I must myself own, when I saw the window at Oxford some 
 time before Sir Joshua expressed this sentiment to me, that I had 
 thought precisely as he did. It is true that I saw it when not 
 illuminated by the sun behind it, an advantage which such paintings 
 peculiarly require ; I saw it on a dull morning ; whereas, supposing 
 the chapel to stand east and west, a bright evening is the proper 
 time to examine it. 
 
 The day of opening the Exhibition that year, when this picture 
 was in hand, approached too hastily upon Sir Joshua, who had 
 resolved that it should then make its public appearance. I saw 
 him at work upon it, even the very day before it was to be sent 
 thither ; and it grieved me to see him laying loads of color and 
 varnish upon it, at the same time prognosticating to myself that 
 it would never stand the test of time, but that it would * * * * 
 
 [Every possible search has been made for the missing portion of 
 the MS., but in vain, and I am afraid it has been destroyed by a 
 careless servant — at least one cannot imagine any other end. 
 
 J. Mitford.] 
 
APPENDIX. 
 
 MISCELLANEOUS LETTERS. 
 

 
APPENDIX. 
 
 MISCELLANEOUS LETTERS, 
 
 TRANSCRIBED PROM THE ORIGINALS BY THE REV. J. MITPORD. 
 
 Dr. Johnson to Sir Joshua Reynolds. 
 
 Sir, 
 
 Mr. Mason's address to you deserves no great praise : it is 
 lax without easiness, and familiar without gayet} r . Of his transla- 
 tion 1 I think much more favourably, so far as I have read, which is 
 not a great part. I find him better than exact : he has his author's 
 dictinctness and clearness, without his dryness and sterility. As I 
 suspect you have lost your Lives , I desire you to accept of these 
 volumes, and to keep them somewhere out of harm's way, that you 
 may sometimes remember the writer. 
 
 I am, Sir, 
 
 Your most humble Servant, 
 
 Feb. 19, 1783. Sam. Johnson. 
 
 [This very characteristic letter is in the possession of Mrs. St. 
 John, the great-niece of Sir Joshua Reynolds, who has kindly 
 allowed it to be published in this volume. It appears to have been 
 accompanied by a second presentation copy of Johnson's Lives of 
 the Poeis.~\ 
 
 1 The Art of Tainting , by C. A. Du Fresnoy, translated into English verse by the 
 Rev. William Mason, with Annotations by Sir Joshua Reynolds. Du Fresnoy’s Poem, 
 which was written in Latin, is thus mentioned by Yoltaire: — “Du Frenoi (Charles) 
 ne a Paris 1611, peintre et poete. Son poeme de la Peinture a reussi aupres de 
 ceux qui pcuvent lire d’autres vers Latin quo ceux du siecle d’Augustc.” — Siecle de 
 Louis XIV., tom. 1. 
 
64 
 
 Sir Joshua Reynolds to Malone. 
 
 My dear Sir, Dec . 15, 1786. 
 
 I wish you would just run your eye over my 
 Discourse, if you are not too much busied in what you have made 
 your own employment. I wish that you would do more than 
 merely look at it, — that you would examine it with a critical eye , 
 in regard to grammatical correctness , the propriety of expression, 
 and the truth of the observations. 
 
 Yours, 
 
 J. Reynolds. 
 
 To Mr. Malone . 
 
 [Here is certain evidence that Sir Joshua sometimes submitted 
 his Discourses to Mr. Malone, for his inspection and correction in 
 regard to propriety of expression, &c.; and it may be presumed that 
 he occasionally consulted Burke and J ohnson in a similar manner ; 
 but there can be no doubt, from an inspection of the MSS. them- 
 selves, in the possession of the Palmer and Gwatkin families, 
 that the Discourses were substantially his own composition; and 
 Mr. John Russell Smith, of Soho Square, informed Mr. Mitford, 
 that he had, some years ago, a portion of Sir Joshua Reynolds’ 
 Discourses, in his own handwriting, put into his hands for sale by 
 Mr. Palmer, at that time living in Golden Square.] 
 
 M. Jansen to Sir Joshua Reynolds, 
 
 Paris , ce 11 Septembre, 1786. 
 
 Monsieur, 
 
 La critique que M. Mengs fait, en passant, dans ses 
 oeuvres, de vos Discours lus h PAcademie Royale de Peinture de 
 Loud res, me les a faits relire ; et c’est avec un nouveau plaisir que 
 j’en ai admire et le fond et la forme; ce qui m’a engage a les tra- 
 duirc dans Pintention de les publier, afin que les lecteurs fran£ois 
 
65 
 
 qui ne savent pas P anglais, soient it merac de juger la severite un 
 peu hazardee de M. Mengs, qui avoit quelquefois un peu d’humeur 
 atrabilaire, ainsi que le remarke M. Cumberland dans ses Anecdotes 
 of Eminent Painters in Spain. J e me suis porte avec d’autant plus 
 d’empressement it faire une traduction frangaise de votre ouvrage, 
 Monsieur, que c’est une espece de reparation que je vous dois, 
 comme traducteur des oeuvres de M. Mengs en deux volumes in 
 quarto , qui vont bientot paroitre, et dont j’aurais Phonneur de 
 vous faire passer un exemplaire, si cela vous fait plaisir. Je crois 
 cependant, Monsieur, que Phonnetete qu’on doit surtout aux liommes 
 d’un talent superieur, ne me permet pas d’imprimer ma traduction 
 sans votre consentement. Je vous prie done de me Paccorder, et 
 en meme temps de vouloir bien me communiquer, dans ce cas, ce 
 que vous pouvez avoir donne depuis Pedition de 1788 de vos Seven 
 Discourses, ainsi que les notes que vous pouvez juger it propos, 
 Monsieur, d’y ajouter. Vous nPobligerez infiniment en ayant ces 
 complaisances : et c’est un nouveau service que vous rendrez it 
 Part, qui vous doit dejk tant. Je tacherai de mon cote de rendre 
 ma traduction digne de Poriginale. Ainsi, Monsieur, je n’ attends 
 que votre reponse pour commencer mon impression sur laquelle je 
 confererai avec un peintre frangais qui a la traduction italienne de 
 votre ouvrage, dont il ne parle qu'avec enthousiasme. 
 
 J ? ai Phonneur d’etre, avec la consideration la plus distinguee, 
 Monsieur, votre tres humble et tres obeissant serviteur, 
 
 Jansen, 
 
 U Inspecteur General de l’ Academie Royale de Musique. 
 
 Rue de Bondy , No. 23. T. S. V. P. 
 
 P. S. — Si vous aviez, Monsieur, it me faire passer quelquechose 
 soit livre ou papier, je vous prie de Penvoyer h M. Guyon de Saint 
 Prix, Directeur de Diligences de France dans Picadily, sous une 
 seconde enveloppe it M. St. Georges, Directeur des Messageries 
 Royales it Paris, qui m’a permis de me servir de cette voye. 
 
 9 
 
66 
 
 The Baron de Brabech to Sir Joshua Reynolds. 
 
 Hildesheim , Basse Saxe , ce 19 Avril, 1790. 
 
 Monsieur, 
 
 C’est 1’estime et F homage qui sont dus aux talens 
 eminens lesquels m’animent k prendre la liberte de vous ecrire, 
 Monsieur, sans avoir Fhonneur de vous etre personellement connu : 
 ils m’enhardissent meme, k oser vous presenter la ci-jointe brochure 
 en recommandant, si quelqu’occasion en peut jamais exister, k votre 
 protection, F auteur, jeune homme doue de plus de talent et de 
 merite que de fortune. Flatte autant que je desire Fetre, si elle 
 peut meriter votre approbation, je verrois avec vrai plaisir, si quel- 
 que Libraire k Londres en voulait entreprendre Fimpression, au 
 moyen de laquelle quelqu’habile Graveur de votre nation, prendrait 
 peut-etre la fantaisie d J entreprendre la gravure des trois Tableaux 
 dont elle contient Fanalyse, et laquelle je lui en perraettrois et 
 abondonnerois k la seule condition de me ceder de cbaque piece 
 gravee 12 empreintes di prima stampa. Avec la confiance illimitee 
 qu’outre votre talent et vos ouvrages, votre reputation, et la voix 
 publique m’inspirent pour votre fa 9 on de parler, j’ose de plus vous 
 confier, Monsieur, une anecdote singuliere, qui vient de m’arriver 
 depuis peu, k Fegard de mon cabinet de tableaux, et de recourir a 
 votre direction et k vos conseils pour ma regie. CFest qu'ayant 
 depuis plusieurs annees reuni un cabinet, qui passe pour parfait 
 et le meilleur de FAllemagne, je n’ai gueres songe a le vendre, 
 lorsque passees environ six ou huit semaines, deux Messieurs 
 Anglais, voyageurs et connoisseurs, vinrent nFhonorer de leur 
 visite, et en s’extasiant de ma reunion de pieces me demanderent 
 si, et h quel prix, je voudrois vendre toute la collection; je leur 
 repondis ingenument qu’ayant refuse plusieurs fois Foccasion de 
 vendre separement, je n’avois gueres encore en le cas d’avoir ete 
 recherche pour la vente de Fenscmble, et que dans ce cas meme 
 j’aurois de la repugnance k vendre k tout negotiant de Tableaux, 
 autant par mon eloignement naturel, et fortifie par Fexperience, k 
 marebander avec finesse, que plus encore par mes regrets, de voir 
 dechirer aussitdt uue reunion de Diamans, dont j’osois tirer quelque 
 
67 
 
 vanite. Ils me repartirent qu’ils desiraient savoir le prix que je 
 fixois pour toute la collection, et je leur repondis : que plus attache 
 aujourd’hui par mon manage contracts, et mon penchant actuel a 
 ma compague et h F architecture, et m’ayant bien attendu au cas 
 present a exister un prix, j’avois fixe la some a 50,000 guinees et 
 la condition, que Facquereur on la retiendroit on ne la vendroit 
 que reunit dans la meme masse telle qu’elle etoit. Ils me laisse- 
 rent et j^eus peine a demeler Fimpression de ma reponse, quand en 
 revenant me voir le lendemain ils me declarerent que manquant 
 eux memes de fortune pour tel achat ils desiroient cependant dc 
 voir passer ma Galerie dans les mains de leur nation, et d’en faire 
 la base d’une Galerie nationale publique, dont on manquoit chez 
 eux, qu*a cet effet ils voulaient me proposer en m’offrant leur 
 entremise la plus active, de la vendre a leur nation au prix enonce 
 par voie de souscriptions en jeux dictions, en leur permettant de 
 prendre en attendant copie de mon catalogue. La nouveaute de 
 Fidee et j'ose vous Favouer, Monsieur, la justesse que j’y trouvois 
 en partie, me frapperent, cependant mon eloignement a voir publier 
 mon catalogue avant d*y avoir mis la derniere main et le sceau de 
 conviction, que je lui prepare mais que en va retarder encore la 
 publication jusqu’au Printemps 1791 et tout autant mon trop peu 
 de connaissance de leurs pcrsones m’engagerent h leur demander 
 du delai en les priant de nFhonorer shls voulaient de leur corre- 
 spondence ulterieure sur cette affaire. Ils partirent avec cette 
 promesse et entraine du depuis par Favantage qui en resulteroit 
 pour Fart, et surtout (je vous le confesse) par la gloire qui nPen 
 reviendroit personellement, j^ai resolu de suivie cette affaire, mais 
 en ne nFaddressant, et ne la traitant qu'avec la personne qui seule 
 reunit tous les titres, pour la conclure avec honneur, surete, avan- 
 tage, et dignite reciproques. Apres cela vous ne pouvez gueres. 
 Monsieur, etre indecis si j’ose me soumettre a vous et a votre 
 jugement, ni surpris, si je ne me soumets qu J a vous en bay ant 
 negotiation sur la condition preliminaire et inalterable. Que 
 s'agissant d^une affaire entre un particular prive et une nation 
 respectable, je ne veux etre juge que par vous, Monsieur, ni ne 
 viendrai qu’a vous cornmc representant et depute de la part dc 
 
68 
 
 votre nation, ou dans Pimpossibilite absolue de pouvoir jouir du 
 bonheur de vous posseder en personne chez moi, par et k nn juge 
 choisi et depute chez moi directement, par vous, franc et gal ant 
 homme, connoisseur consome des deux ecoles, et pas negotiant de 
 Tableaux lui meme. J'entends tout cela dans le cas que rassure 
 par le moyen expose sur le degre de Bonta de la Marcliandise, vous 
 jugez ^acquisition agreable k votre nation, et ainsi P affaire possible 
 en execution. 
 
 J'ose vous supplier. Monsieur, que sollicite par les correspondans 
 comme je suis, vous veuillez m'honorer si tot qu'il se pourra d'un 
 mot de reponse, et me marquer votre avis avec franchise et ce cceur 
 et caractere qui aeh event de signaler votre talent et reputation. 
 
 Je finis en vous priant. Monsieur, de croire que je n'ai pas 
 d’expression pour vous faire connoitre la verite de Pestime la mieux 
 raisonnee et sentie, avec la quelle je suis. Monsieur, 
 
 Votre tres humble et tres obeissant serviteur, 
 
 Le Baron de Brabech. 
 
 P.S. — J'avois oublie de vous dire, que M. Tassaert de Londres 
 m’a honore Pautomne passe de sa visite; il m^a paru profond 
 connoisseur de l’ecole Flamande et Hollandaise, mais moins acheve 
 a Pegard de PItalienne, au reste franc et tres aimable home, et 
 connoisseur delie du comerce des tableaux. Dites lui shl vous 
 plait, par occasion, qui j*ai acquis depuis peu quelques couples de 
 pieces capi tales Flamandes tires des Pays Bas, et surtout un Crist 
 souffrant par Leon, da Vinci, chef-d'oeuvre parfait et vrai bijoux. 
 
 Addresse, 
 
 k M. Le Baron de Brabcch, 
 a Hildesheim, 
 
 en Basse Saxe. 
 
 par Hannover. 
 
69 
 
 Mr. Fox to Sir Joshua Reynolds. 
 
 Dear Sir, 
 
 If it is not too late to have one of the papers upon the 
 table in my picture docketed “ A Bill for the better regulating the 
 Affairs of the E. I. Company, &c.,” I should be very much obliged 
 to you, if you would get it done immediately. If my object in this 
 were only a little vanity, I should not be so anxious about it ; but 
 as 1 have told many persons that it would be so, and as I intend it 
 shall be so, whenever the picture goes home, the omission of the 
 docket at the Exhibition, at this particular time, might be mis- 
 construed into a desire of avoiding the public discussion upon a 
 measure which will always be the pride of my life. This is the 
 point upon which I am most anxious ; but if another paper could be 
 docketed “Representation of the Commons to the King, March 15, 
 1784,” it would be so much the better. I beg your pardon for 
 troubling you upon these things, which may appear trifles, but 
 which are not so, from the misconstructions that may be made. 
 
 I am very truly, dear Sir, 
 
 Yours ever, 
 
 Monday Night , C. J. Fox. 
 
 St. James’ Street. 
 
 Lord Erskine to Sir J. Reynolds. 
 
 My dear Sir, 
 
 You have conferred a great favour upon me by 
 sending me your Discourse to the Academy of Painters , which 
 conveys instructions equally important to the professors of all other 
 arts. So close is the analogy between all the operations of genius, 
 that it is the best dissertation upon the art of public eloquence 
 that ever was, or ever will be written. 
 
 I have often been surprised to find men with fine voices, and with 
 proper management of them, going over every argument belonging 
 to a subject in their natural order with great precision and elegant 
 observation, fall short of the great object of eloquence, which is to 
 
70 
 
 persuade and even to compel men to follow your counsels. But it 
 is now plain to me, from your Discourse, that these men had not 
 that genius to embrace the whole design, which enables the orator 
 who looks up to nature, and studies the great outlines of the human 
 character, to execute with a few words, what the painter does with 
 a few strokes, and what no other man in either art can perform by 
 the labour of a life. 
 
 Such is my opinion of your Discourse, which, if I did not know 
 your general wish for the success of all men of talents, I might, 
 however, charge upon you as a selfish performance, since it cer- 
 tainly unfolds the secrets of true taste and genius ; and the more 
 they are unfolded, the more your own Paintings must be admired. 
 
 I am, dear Sir, 
 
 Serjeants’ Inn , Your faithful humble servant, 
 
 January 2 Qth, 1783. T. Erskine. 
 
 P.S. — I hope you will let me have Lord KeppePs picture soon. 
 
 The Bishop of London to Sir Joshua Reynolds. 
 
 St. James’ Square, March 7, 1791. 
 
 Dear Sir, 
 
 Accept my best thanks for the very great pleasure 1 
 have received from your admirable Discourse to the Academy. It 
 is the work of a Great Master, whose name will be as much and as 
 justly revered by this country, as that of Michael Angelo is by his. 
 There are only two little amendments which perhaps you will allow 
 a grave man and a very zealous admirer to suggest for your next 
 edition. The one is, where you called Michael Angelo a truly 
 divine man, which we ecclesiastics do not hold to be very good 
 Theology. The other is, where you tell the Academy that this 
 Discourse is probably the last you shall ever address to them. All 
 the world, I am sure, will join in wishing to see this passage 
 expunged, with your obliged and faithful servant, 
 
 B. London. 
 
71 
 
 Boswell's Acknowledgement, 
 
 My dear Sir, 
 
 The debts which I contracted in my father's 
 lifetime will not he cleared off by me for some years. I therefore 
 think it unconscientious to indulge myself in any expensive article 
 of elegant luxury. But in the mean time, you may die, or I may 
 die ; and I should regret very much that there should not be at 
 Auchinlech, my portrait painted by Sir Joshua Reynolds, with whom 
 I have the felicity of living in social intimacy. I have a pro- 
 posal to make to you. I am for certain to be called to the English 
 bar next February. Will you now do my picture, and the price 
 shall be paid out of the first fees which I receive as a Barrister in 
 Westminster Hall? Or, if that fund should fail, it shall be paid at 
 any rate five years hence, by myself or my representatives. If you 
 are pleased to approve of this proposal, your signifying your con- 
 currence underneath upon two duplicates, one of which shall be 
 kept by each of us, will be a sufficient voucher of the obligation. 
 
 I ever am, with very sincere regard, 
 
 Your faithful and affectionate servant, 
 
 London, 7th June , 1785. 
 
 To Sir J. Reynolds. 
 
 James Boswell. 
 
 I agree to the above condition. 
 London, Sept. 10 th, 1785. 
 
 J. Reynolds. 
 
 The Princess of Daschkau to Sir Joshua Reynolds. 
 
 Dear Sir, 
 
 It has given me infinite pleasure to receive your let- 
 ter, and most inimitable Discourses you where 1 so good to send me. 
 I shall read them with the avidity of a literary glutton, and promise 
 
 1 So in the original. 
 
myself to be feasted at every page. When you shall appear in our 
 language, I shall take care that you appear in a garb not intirely 
 unbecoming to you. As to your allusion to my situation at the 
 Imp. Acad,, I fear you contemplate me through the medium of 
 friendly partiality. I wish I could deserve the exalted opinion you 
 have of me. My chief claim to indulgence is a fervent love for 
 my country ; and in that view I have been prevailed to accept the 
 appointment, as it gave me an opportunity of being of some service 
 to Russia, and to deserving individuals whom I always patronised 
 to the utmost of my power, and perform my duty to the best of my 
 contracted abilities. I shall add to this self -elogium 1 with that 
 confidence veracity gives, that I am as steady in friendship as I am 
 difficult in forming it, and that in the confined circle of those I 
 believe and call my friends, my worthy Sir Joshua holds a dis- 
 tinguished place. I should be miserable was I to lose the hope 
 to visit again your blessed island, as it makes my pride 2 to have 
 received in England flattering proofs of regard and friendship from 
 people who, enjoying the best of constitutions, have of course the 
 best education. I wish I could spend some time in a country where 
 virtue and moral characters are not problematical beings; but, having 
 through all my life disregarded my own comfort, I do not know 
 shall it be in my power to gratify this heartily wish of mine. Pray 
 remember me kindly to your amiable niece. Miss Palmer ; your 
 divine picture of her, and the recollection of the pleasing hours I 
 have spent with her, gives me constant satisfaction. 
 
 Believe me, with true esteem and friendship, dear Sir, 
 
 Your most humble servant, 
 
 P. of Daschkau. 
 
 P. S. — I had not forgotten your commission about the Calmuck 
 girl. I had one brought from her country, but she died soon after 
 her arrival, of the smallpox, which is generally fatal to that nation. 
 I confess I hade 3 not the heart to repeat the experiment. 
 
 v 2> 3 So in the original. 
 
73 
 
 Sir Joshua Reynolds to Malone (?). 
 
 London, March 8, 1791. 
 
 My clear Sir, 
 
 It requires some apology to expect you to distri- 
 bute the enclosed books. I believe the persons to whom they are 
 addressed, are all your friends. I am sorry to hear Lord Charle- 
 mont has been unwell, which gives real concern to all who know 
 him. I am afraid to express my particular esteem and affection, as 
 it would have an air of impertinent familiarity and equality, and 
 for another reason, shall say, with regard to yourself, for fear of the 
 suspicion of being a toad-eater, a character for which we gentlemen 
 about town have a great abhorrence, and are apt to run too much 
 on the other side, in order to avoid it. However, I will venture to 
 say thus much, that you are every day found wanting, and wished 
 for back, and by nobody more than by 
 
 Your very sincere friend and humble servant, 
 
 J. Reynolds. 
 
 To-day is Shrove Tuesday, aud no Johnson. I beg the most 
 respectful compliments to Lord Sunderlin. 1 
 
 Dr. Johnson to . 
 
 Sir, 
 
 When the sheet that relates to the publication of the 
 English Iliad comes to hand, be so kind as to keep it till we can 
 talk together. There is a passage in the Life of Bowyer upon 
 which we should confer. 
 
 I am, Sir, 
 
 Your most humble servant, 
 
 Sam. Johnson. 
 
 Aug. 17, 1782. 
 
 . 1 Richard, son of the Hon. Edmund Malone, of Baronston, in the county of West- 
 meath, and one of the Judges of the Court of Common Pleas in Ireland, was created 
 an Irish Peer in 1785, by the title of Baron Sunderlin. 
 
 10 
 
74 
 
 Mrs. Frances Reynolds to Malone. 
 
 Mrs. Reynolds presents her compliments to Mr. Malone. She 
 no sooner sent off her last note to him, than she reflected with 
 sorrow, that she might give him cause to suspect, that her sister’s 
 answer implied ill will towards her deceased brother, Sir Joshua, 
 and ill manners towards Mr. Malone. But, as Mrs. Reynolds 
 believes that neither was intended, in justice to her sister, if Mr. 
 Malone should at any time do Mrs. Reynolds the favor to call 
 upon her in Queen Square, she will show him the letter, and with 
 great pleasure answer any further enquiries he may choose to 
 propose to her. 
 
 Queen’s Square, Dec. 8. 
 
 To Mr. Malone. 
 
 Mr. Seward to Malone. 
 
 Dear Sir, 
 
 May I request the favour of a few dates respecting 
 our poor friend Sir Joshua — When he was born, and in what year 
 he went to Rome, and when he returned to England? 
 
 Sir Wm. Chambers tell us, that while he was at Rome he painted 
 many caricatures (who would have thought it?), and particularly 
 one, in which all the English then at Rome were represented in 
 the School of Athens of Raphael. Sir Joshua once lent me his 
 Notes on Rubens’ Pictures. They were very well done. Lawrence 
 has them at present. May I have your permission (as executor) to 
 borrow them of him for a few r hours ? 
 
 Yours very sincerely, 
 
 W. Seward. 
 
75 
 
 inscription 
 
 On the Pedestal of a Bust of Reynolds, by Bacon, in the Hall 
 the British Institution , written by Richard Payne Knight. 
 
 JOSHUiE REYNOLDS 
 
 PICTORUM SUI SECULI FACILE PRINCIPI, 
 
 ET SPLENDORE ET COMMISSURIS COLORUM 
 ALTERNIS VICIBUS LUMINIS ET UMBRAE 
 SESE MUTUO EXCITANTIUM 
 VIX ULLI VETERUM SECUNDO ; 
 
 QUI, CUM SUMMA ARTIS GLORIA MODESTE UTEltETUR, 
 
 ET MORUM SUAVITATE ET VIT.E ELEGANTIA 
 PERINDE COMMENDARETUR ; 
 
 ARTEM ETIAM IPSAM, PER ORBEM TERRARUM, 
 LANGUENTEM ET PROPE INTERMOltTUAM, 
 
 EXEMPLIS EGREGIE YENUSTIS SUSCITAYIT, 
 
 Pll/ECEPTIS EXQUISITE CONSCRIPTIS ILLUSTRAVIT, 
 
 ATQUE AMENDATIOREM ET EXPOLITIOREM. 
 
 POSTERIS EXERCENDAM TRADIDIT ; 
 
 LAUDUM EJUS FANTORES ET AMICI, 
 
 HANC EFFIGIEM POSUERUNT 
 
 A.S. MDCCCXII1. 
 

 
COPY OP AN ACCOUNT BOOK 
 
 IN THE HANDWRITING OF 
 
 SIR JOSHUA REYNOLDS. 
 
The following pages have been transcribed from a folio Cash 
 Book, in Sir Joshua Reynolds' own handwriting, now in the pos- 
 session of Miss Gwatkin, of Princess Square, Plymouth. It con- 
 tains a statement of the money he received for a considerable 
 number of his pictures, historical and fancy subjects as well as 
 portraits, from 1770 to 1791 inclusive. 
 
 The names of the Purchasers are arranged alphabetically, and 
 the several sums transferred from a previous Account Book. As, 
 however, in some instances, only one payment seems to have been 
 entered, and at letter W a page has been torn out of the book, 
 the statement is necessarily incomplete. 
 
 I have thought it better to print a verbatim copy, than to 
 make any alteration in the arrangement ; although it might have 
 been more convenient, perhaps, to have placed the two payments 
 together in the same page. 
 
 W. C. 
 
JOSHUA REYNOLDS, 
 
 May 12, 1772. 
 
 The Debts due on the Book of 1760 are transferred into this Book. 
 
 N. B. — When the sum denoting the price of the Picture is not 
 placed between the red lines , it implies that the sum is still due } 
 
 A. 
 
 Dutchess of Ancaster. Her picture given to 
 
 Lady Delawar . 50 gs. 
 
 Mrs. Angelo . j£ 15 15 0 not paid. 
 
 Dec. 13, 1773. Lady Albemarle .... 
 
 J042 
 
 0 
 
 0 
 
 Lord Albemarle .... 
 
 36 
 
 15 
 
 0 
 
 (Paid by the executors of Lord Albemarle.) 
 
 
 
 
 Oct. 13, 1773. Mrs. Angerstein 2 .... 
 
 73 
 
 10 
 
 0 
 
 The frame paid. Nov. 1783. Lord Albemarle 
 
 52 
 
 10 
 
 0 
 
 April, 1788. Dr. Ash, for the Hospital at Birmingham 
 
 105 
 
 0 
 
 0 
 
 Second Payment. 
 
 Mrs. Angerstein paid .... 
 
 100 
 
 0 
 
 0 
 
 Mr. Acland ...... 
 
 73 
 
 10 
 
 0 
 
 Lady Harriot Acland .... 
 
 73 
 
 10 
 
 0 
 
 Sep. 1775. Mr. Amherst. Painted about the year 
 
 
 
 
 1760. Paid to Mr. Chamier . 
 
 21 
 
 0 
 
 0 
 
 April 2, 1777. Bishop of St. Asaph 
 
 36 
 
 15 
 
 0 
 
 June, 1779. Col. Acland, for his and Lord Sidney's 
 
 
 
 
 picture ...... 
 
 300 
 
 0 
 
 0 
 
 Jan. 1782. Lord Aylesford, for a Sleeping Boy 
 
 52 
 
 10 
 
 0 
 
 Lady Aylesford ..... 
 
 105 
 
 0 
 
 0 
 
 1 In this list the sums unpaid are not carried out to the end of the line. 
 
 2 This item is crossed out in the original. 
 
80 
 
 Mar. 1792. 
 
 Lady Aylesford, for Lady Frances Finch’s 
 
 
 
 
 
 picture ...... 
 
 £105 
 
 0 
 
 0 
 
 June, 1782. 
 
 Lord Aylesford ..... 
 
 105 
 
 0 
 
 0 
 
 June, 1783. 
 
 Mr. Angerstein, for his two Children . 
 
 200 
 
 0 
 
 0 
 
 Oct. 1783. 
 
 Lord Advocate — Mr. Dundas 
 
 52 
 
 10 
 
 0 
 
 Sep. 1784. 
 
 Lord Ashburton, for Bristol 
 
 105 
 
 0 
 
 0 
 
 Dec. 1786. 
 
 Lord Altamont ..... 
 
 52 
 
 10 
 
 0 
 
 June 24, 1788. For Lady St. Asaph and Child 
 
 157 
 
 10 
 
 0 
 
 July 30, 1788. Sir J. Aubrey .... 
 
 78 
 
 15 
 
 0 
 
 Jan. 1789. 
 
 Dr. Ash, for the Hospital at Birmingham 
 
 105 
 
 0 
 
 0 
 
 March 28, 1791 . Lord Ashburton, for self and Lady, 
 
 
 
 
 
 and Sketches of the Children . 
 
 231 
 
 0 
 
 0 
 
 Mem . — Paid for Mr. Collins’ miniature 15 5 0 
 
 B. 
 
 First Payment. 
 
 Col. Barrington . . . £15 15 0 
 
 Paid, March 19, 1774. Sir Charles Bingham, remain- 
 ing for Miss Fisher 
 Sir W. Boothby. for Nancy Reynolds 
 
 10 10 0 
 26 15 0 
 
 Sir Charles Bunbury, for Lady Sarah 250 gs. \ This bill 
 
 Mar. 1777. 
 
 Feb. 1779. 
 
 May 1779. 
 Nov. 1779. 
 
 Do. 
 
 for Sir William Bunbury 
 
 as - I 
 
 paid, except 
 
 Do. 
 
 for Mr. Bunbury 
 
 25 - for Sir Wil- 
 
 Do. 
 
 for Miss Kennedy 
 
 70 - 
 
 liam & Mr. 
 
 Do. 
 
 for Circe 
 
 35 - 
 
 B unbury ’s 
 
 Do. 
 
 for a Lady 
 
 35 - / 
 
 pictures. 
 
 Feb. 21, 1774. 
 
 Miss Boswell 
 
 
 18 7 6 
 
 June 16, 1 774. 
 
 Mrs. Boon 
 
 
 52 10 0 
 
 May 6, 1775. 
 
 Miss Bowles . 
 
 
 26 5 0 
 
 Dec. 9, 1776. 
 
 Mrs. Boscawen 
 
 
 20 0 0 
 
 Lord Binning 
 Mr. Boscawen 
 Dutchess of Beaufort 
 Mr. Beauclerk, for a copy of Mr. Garrick 
 and Dr. Johnson. Half payment 
 Lady Beaumont .... 
 
 Mr. Beauclerk, for Johnson and Garrick 
 
 18 7 6 
 20 0 0 
 
 36 
 
 0 
 
 26 15 0 
 
 30 0 0 
 26 0 0 
 
81 
 
 July 1784. Mi 
 
 . Boothbv, for ' Venus chastisingCupid , .€105 
 
 0 
 
 0 
 
 Mr 
 
 . Boothbv, for a Landskip 
 
 52 
 
 10 
 
 0 
 
 Feb. 10, 1785. 
 
 Mr. Wm. Beckford, bill paid . 
 
 1 5- 
 
 0 
 
 0 
 
 May 1797. Mr. Baring, for Lord Lansdowne, Barre, &c. 
 
 131 
 
 5 
 
 0 
 
 Nov. 1787. Col. Bertie ...... 
 
 26 
 
 5 
 
 0 
 
 Mar. 1789. Mrs. Billington ..... 
 
 105 
 
 0 
 
 0 
 
 
 Second Payment. 
 
 
 
 
 Jan. 15, 1774. 
 
 Mr. Banks. Paid by Mr. Hodgkinson 
 
 73 
 
 10 
 
 0 
 
 March 2. 
 
 Dean Barnard, for self and Lady, in full 
 
 50 
 
 0 
 
 0 
 
 June 9, 1774. 
 
 Bishop of Bristol .... 
 
 73 
 
 10 
 
 0 
 
 March, 1775. 
 
 Mrs. J. Buller ... 
 
 73 
 
 10 
 
 0 
 
 Mar. 1775. 
 
 Mr. Boothbv .... 
 
 73 
 
 10 
 
 0 
 
 June 2, 1775. 
 
 Mrs. Brand ..... 
 
 36 
 
 15 
 
 0 
 
 March 14, 1776. 
 
 Mrs. Boon ..... 
 
 52 
 
 10 
 
 0 
 
 May, 1776. 
 
 Mr. Basset ..... 
 
 36 
 
 15 
 
 0 
 
 J une 3, 1776. 
 
 Miss Boswell ..... 
 
 18 
 
 7 
 
 6 
 
 June 6, 1776. 
 
 Miss Bowles ..... 
 
 26 
 
 15 
 
 0 
 
 July 3, 1776. 
 
 Mr. Basset ..... 
 
 26 
 
 15 
 
 0 
 
 April, 1777. 
 
 Mr. Basset. Half length 
 
 73 
 
 10 
 
 0 
 
 
 Frame 1 y. half, paid. 
 
 
 
 
 Feb. 1778. 
 
 Dutchess of Beaufort, for a copy of 
 
 
 
 
 
 Lady Mary Somerset, now Lady 
 
 
 
 
 
 Granby ..... 
 
 20 
 
 0 
 
 0 
 
 June, 1777. 
 
 Mrs. Boscawen .... 
 
 31 
 
 10 
 
 0 
 
 June, 1777. 
 
 Lord Binning .... 
 
 18 
 
 7 
 
 6 
 
 Jan. 1778. 
 
 Mr. Banks, for Dilettanti Society 
 
 36 
 
 15 
 
 0 
 
 Feb. 1787. 
 
 Lady Burghersh. Paid by Mrs. Child 
 
 52 
 
 10 
 
 0 
 
 Mem — 
 
 -Mr. Banficld, for f A Girl with a Dead 
 
 
 
 
 
 Bird 9 . . . £52 10 0 
 
 
 
 
 
 Second Payment. 
 
 
 
 
 May, 1778. 
 
 Sir Walter Blacket 
 
 52 
 
 10 
 
 0 
 
 May, 1780. 
 
 Count Bclgioso, the Imperial Minister 
 
 36 
 
 15 
 
 0 
 
 1 So blotted that I cannot make out the sum. 
 
 11 
 
82 
 
 Oct. 25, 1780. 
 July 4, 1781. 
 
 Jan. 1783. 
 July, 1783. 
 Aug. 1783. 
 
 May 31, 1785. 
 April 7, 1786. 
 April 7, 1786. 
 June, 1786. 
 
 May 31, 1787. 
 
 July, 1787. 
 Mar. 1 789. 
 July, 1789. 
 
 June 22, 1789. 
 
 Dec. 1790. 
 Aug. 1791. 
 
 Lord Bute . . . . . 
 
 Do 
 
 Mr. Barwell ..... 
 
 Boy 
 
 Mr. Brommel, for the ‘ Laughing 
 Praying 5 .... 
 
 Mr. Beckford, for Master Hamilton 
 
 .€50 0 0 
 
 Mr. Boothby, for a Lady 
 Mr. Brommel, for his Children 
 Duke of Buccleugh, for his Son and 
 Daughter . 
 
 Dutchess of Beaufort, for Lady Ca- 
 tharine Manners . . £50 
 
 Miss Barwell ..... 
 Mr. Barker and Fa — 
 
 Lady Bute ..... 
 Mr. Barton ..... 
 Mr. Alderman Boydell, for a picture 
 of a Scene in Macbeth, not yet 
 begun ..... 
 Lord Boringdon, for Miss Parker 
 For frame paid 6 gs. 
 
 Mr. Bligh ..... 
 Lord Burgh ersh. Paid by Mrs. Child 
 Mr. Baring, for Lord Lansdown, &c. 
 Mr. Bradylle ..... 
 Mrs. Bradylle .... 
 Mr. Bligh, Brother to Lord Darnley 
 Mr. Alderman Boydell, for the ‘ Death 
 of Cardinal Beaufort 9 
 Mr. Alderman Boydell, for the Fairy 
 Puck, or Robin Goodfellow 
 Mrs. Billington .... 
 Col. Bertie ..... 
 Lady Bayham .... 
 
 .€157 10 0 
 157 10 0 
 315 0 0 
 
 50 0 0 
 
 105 0 0 
 150 0 0 
 
 147 0 0 
 
 paid 
 
 52 10 0 
 210 0 0 
 157 10 0 
 52 10 0 
 
 500 0 0 
 52 10 0 
 
 105 0 0 
 
 52 10 0 
 131 5 0 
 
 52 10 0 
 52 10 0 
 105 0 0 
 
 500^5. paid. 
 
 105 0 0 
 
 105 0 0 
 26 5 0 
 0 
 
 0 
 
83 
 
 Second Payment. 
 
 Feb. 2, 1778. 
 
 Lord Bellamont .... 
 
 £157 
 
 10 
 
 0 
 
 
 Lady Bellamont .... 
 
 15 7 
 
 10 
 
 0 
 
 Feb. 1778. 
 
 Mrs. Boscawen . 
 
 15 
 
 15 
 
 0 
 
 Nov. 1779. 
 
 Dutchess of Beaufort 
 
 36 
 
 15 
 
 0 
 
 
 Frame paid. 
 
 
 
 
 Nov. 1779. 
 
 Admiral Barrington 
 
 52 
 
 10 
 
 0 
 
 June, 1780. 
 
 Lord Binning, for a copy 
 
 10 
 
 10 
 
 0 
 
 March, 1781 . 
 
 Lady Bamfield. Paid by Mr. Gawler 
 
 157 
 
 10 
 
 0 
 
 Jan. 1785. 
 
 Mr. Boothby, of Clarges Street, for a 
 
 
 
 
 
 Lady ..... 
 
 105 
 
 0 
 
 0 
 
 
 Brook Boothby, Esq. 
 
 57 
 
 10 
 
 0 
 
 
 Do. for a Landskip 
 
 57 
 
 10 
 
 0 
 
 Feb. 1787. 
 
 Mr. Bradylle, for his Son 
 
 105 
 
 0 
 
 0 
 
 Mr. Barwell, for Mrs. Seaforth . — See 
 Seaforth. 
 
 Mr. Baxter, for a picture painted for 
 Prince de Yusapoff, one of the 
 Chamberlains of H. I.M., and 
 her Ambassador at the Court of 
 
 
 Turin 
 
 52 
 
 10 
 
 0 
 
 May, 1787. 
 
 Lord Bayham ..... 
 Lady Bayham, JT00 (received, Jan. 
 
 52 
 
 10 
 
 0 
 
 
 1789, <=£50; remaining, j£50) 
 
 
 
 
 Mem — 
 
 -The 1st £50 has been paid in 1790. So 
 
 
 
 
 
 says It. Kirkley. 
 
 
 
 
 July, 1787. 
 
 Sir G. Beaumont .... 
 
 52 
 
 10 
 
 0 
 
 Dec. 21, 1789. Lady Beauchamp .... 
 
 157 
 
 0 
 
 0 
 
 May, 1788. 
 
 The Dutchess D. of Beaufort, for her 
 
 
 
 
 
 picture, whole length, given to 
 the Duke of Rutland 
 
 105 
 
 0 
 
 0 
 
 
 Ditto, for Lady C. Manners 
 
 52 
 
 10 
 
 0 
 
 May, 1788. 
 
 Mr. Brook Boothby, for his Daughter 
 
 52 
 
 10 
 
 0 
 
81 
 
 C. 
 
 First Payment. 
 
 Captain Calcroft . <£15 15 0 . 
 
 Lord Carysfort, for Mr. 
 
 Bower . . 12 12 0 j Paid, 
 
 Ditto, for a copy after 
 
 Holbein . . 25 4 0 
 
 Feb. 14, 1772. 
 
 Mr. Calthorp .... 
 
 
 £36 
 
 15 
 
 0 
 
 June 5, 1772. 
 
 Mr. Child, for his Daughter 
 
 
 100 
 
 0 
 
 0 
 
 April 23, 1774. 
 
 Mrs. Cook .... 
 
 
 25 
 
 5 
 
 0 
 
 June 8, 1774. 
 
 Lady Carysfort .... 
 
 Lord Carysfort, for Mrs. Hartley and 
 
 28 
 
 5 
 
 0 
 
 
 Bacchus. Frame paid 
 
 
 52 
 
 10 
 
 0 
 
 
 Do. for a Strawberry Girl 
 
 
 52 
 
 10 
 
 0 
 
 Nov. 24, 1775. 
 
 Mr. Crofts, for self and Lady . 
 
 
 150 
 
 0 
 
 0 
 
 June, 1777. 
 
 Lord Carysfort 
 
 
 26 
 
 5 
 
 0 
 
 Jan. 1778. 
 
 Miss Campbell 
 
 
 40 
 
 0 
 
 0 
 
 Jan. 26, 1778. 
 
 Mr. Campbell 
 
 
 78 
 
 3 
 
 0 
 
 Feb. 1780. 
 
 Lord Cholmondeley 
 
 
 77 
 
 10 
 
 0 
 
 March, 1781. 
 
 Col. Campbell 
 
 
 25 
 
 0 
 
 0 
 
 May, 1781. 
 
 Lord Cholmondeley 
 
 
 131 
 
 5 
 
 0 
 
 May, 1781. 
 Feb. 9, 1782. 
 
 Mr. Cousmaker 
 
 
 100 
 
 0 
 
 0 
 
 March, 1786. 
 
 Lady De Clifford 
 
 . 
 
 26 
 
 5 
 
 0 
 
 Second Payment. 
 
 June 3, 1772. 
 
 Mr. Calthorp ..... 
 
 36 
 
 15 
 
 0 
 
 July 3, 1772. 
 
 Mrs. Crewe ..... 
 
 157 
 
 10 
 
 0 
 
 Ditto. 
 
 Mr. Crewe, for the Captain of 
 
 
 
 
 
 Banditti ..... 
 
 36 
 
 15 
 
 0 
 
 
 Lord Chatham, for Lord Granby's 
 
 
 
 
 
 picture . . . £150 
 
 
 
 
 July, 1773. 
 
 Lord Carysfort .... 
 
 31 
 
 10 
 
 0 
 
 March, 1774. 
 
 Lady Cockburn and Children . 
 
 183 
 
 15 
 
 0 
 
 Frame paid. 
 
85 
 
 April, 1774. 
 
 Mr. Crewe, for Kitty Fisher’s picture 
 
 £52 
 
 10 
 
 0 
 
 
 Mr. Child, in full, for self 
 
 157 
 
 10 
 
 0 
 
 Nov. 29, 1774. 
 
 Lord Charlemont, for Venus and Cupid, 
 
 
 
 
 
 sent by Sir Hornsby Stewart 
 
 100 
 
 0 
 
 0 
 
 Dec. 13, 1774. 
 
 Mr. Coutts ..... 
 
 36 
 
 15 
 
 0 
 
 Aug. 1775. 
 
 Lady Louisa Conolly . . * 
 
 73 
 
 10 
 
 0 
 
 Sept. 6, 1775. 
 
 Lord Carlisle, whole length 
 
 157 
 
 10 
 
 0 
 
 Do. 
 
 Lady Carlisle ..... 
 
 73 
 
 10 
 
 0 
 
 Nov. 20, 1775. 
 
 Lady Carysfort .... 
 
 26 
 
 5 
 
 0 
 
 April, 1776. 
 
 Mr. Crofts, for self and Lady . 
 
 115 
 
 0 
 
 0 
 
 
 Frame paid. 
 
 
 
 
 Sept. 1776. 
 
 Marchioness Castiglione, of Milan . 
 
 36 
 
 15 
 
 0 
 
 Feb. 14, 1777. 
 
 Mr. Crewe, for his Son . 
 
 105 
 
 0 
 
 0 
 
 
 Mr. Crook ..... 
 
 52 
 
 10 
 
 0 
 
 Feb. 1777. 
 
 Mrs. Crook ..... 
 
 52 
 
 10 
 
 0 
 
 July, 1777. 
 
 Mr. Cater ..... 
 
 Mr. Hippesly Cox, sent to Lady 
 
 52 
 
 10 
 
 0 
 
 
 Craven . . . . £35 
 
 
 
 
 Feb. 3, 1778. 
 
 Mr. Chamier, for a Samuel, sent to 
 
 
 
 
 
 France ..... 
 
 52 
 
 10 
 
 0 
 
 Dec. 1778. 
 
 Lord Cornwallis, for Lord Brome 
 
 36 
 
 15 
 
 0 
 
 Nov. 1779. 
 
 Lord Cambden, given to the Duke of 
 
 
 
 
 
 Grafton ..... 
 
 73 
 
 10 
 
 0 
 
 
 Sir Wm. Chambers, for the ceiling 
 
 
 
 
 
 of the Academy 
 
 31 
 
 10 
 
 0 
 
 Aug. 1780. 
 
 Lord Richard Cavendish, for two 
 
 
 
 
 
 portraits ..... 
 
 210 
 
 0 
 
 0 
 
 May, 1781. 
 
 Lady Eliz. Compton, for the Duchess 
 
 
 
 
 
 of Rutland . . . £25 
 
 
 
 
 June 9, 1781. 
 
 Lord J. Cavendish, for the old Duke 
 
 
 
 
 
 of Devon ..... 
 
 21 
 
 0 
 
 0 
 
 Feb. 1782. 
 
 Col. Campbell, given to Mr. A. Fer- 
 
 0 
 
 
 
 
 guson ..... 
 
 26 
 
 5 
 
 0 
 
 May, 1782. 
 
 Lord Chancellor .... 
 
 105 
 
 0 
 
 0 
 
 May, 1782. 
 
 Mrs. Cleveland .... 
 
 52 
 
 10 
 
 0 
 
Lady Elizabeth Compton 
 
 . 200 gs. 
 
 Do. 
 
 for a copy of the 
 
 Duchess of 
 
 
 Rutland 
 
 . . 25 gs. 
 
 Do., 
 
 for a copy of the 
 
 Duchess of 
 
 
 Beaufort . 
 
 50 gs. 
 
 Mr. Cousmaker ..... 
 
 £105 
 
 0 
 
 
 Frame 10 gs. paid. 
 
 
 
 March, 1773. 
 
 Lord Carmarthen. Dilettanti picture 
 
 30 
 
 15 
 
 July, 1783. 
 
 Lord Carlisle, for Lady C. Howard . 
 
 73 
 
 10 
 
 Jan. 1784. 
 
 Nath. Chauncey, Esq. 
 
 52 
 
 10 
 
 July, 1784. 
 
 Lady G. Cavendish, for their Son, <£105 
 
 
 
 Sept. 2, 1784. 
 
 Mr. Campbell, in full 
 
 153 
 
 15 
 
 Sep. 13, 1785. 
 
 The Duke de Chartres 
 
 262 
 
 1 
 
 June, 1786. 
 
 Lady Cornwall .... 
 
 73 
 
 10 
 
 June, 1786. 
 
 Lady Clive ..... 
 
 
 
 June, 1786. 
 
 Lady De Clifford .... 
 
 26 
 
 5 
 
 April, 1786. 
 
 Lady Cadogan .... 
 
 78 
 
 15 
 
 April 29, 1788. 
 
 Lord Carysfort .... 
 
 26 
 
 5 
 
 May, 1788. 
 
 Mrs. Cook 
 
 26 
 
 5 
 
 June 14, 1788. 
 
 Lord Carysfort, for the Nymph, to be 
 
 
 
 
 sent to Prince Potemkin . 
 
 105 
 
 0 
 
 June, 1789. 
 
 Lord Cholmondeley, given to Mr. 
 
 
 
 
 Windham .... 
 
 52 
 
 10 
 
 Aug. 1789. 
 
 Mr. Crawford .... 
 
 52 
 
 10 
 
 Oct. 1789. 
 
 Mrs. Cox, for a picture of her Niece 
 
 
 
 
 and a little Girl 
 
 205 
 
 0 
 
 March, 1790. 
 
 Mr. Coleman, for his Father's picture 
 
 105 
 
 0 
 
 
 D. 
 
 
 
 
 First Payment. 
 
 
 
 Lord Delawar, for Sir Sep. Robinson 25 gs. 
 
 
 
 June 1 1, 1771. 
 
 Mrs. Demar 1 ..... 
 
 36 
 
 15 
 
 June, 1779. 
 
 Lady Dysart .... * 
 
 100 
 
 0 
 
 Feb. 1784. 
 
 Sir Henry Dashwood 
 
 52 
 
 10 
 
 Feb. 1787. 
 
 Lord Dudley, for his Daughter 
 
 52 
 
 10 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 

 87 
 
 Second Payment. 
 
 
 Duke of Dorset. Beggar Boy 
 
 £35 
 
 0 
 
 0 
 
 
 Ditto ...... 
 
 35 
 
 0 
 
 0 
 
 
 Do., with a Child. By a bill . 
 
 52 
 
 10 
 
 0 
 
 
 Do., for Sig. Sacchini 
 
 36 
 
 15 
 
 0 
 
 
 Do., for a portrait of Corelli 
 
 21 
 
 0 
 
 0 
 
 
 Mr. Dunning ..... 
 Do., given to Sir Elishah Impey ,£35 
 
 73 
 
 10 
 
 0 
 
 
 Lady Drogheda, paid by Lord Hertford 
 
 36 
 
 15 
 
 0 
 
 Aug. 1775. 
 
 Duke of Dorset, for Count Ugolino . 
 
 420 
 
 0 
 
 0 
 
 Aug. 1776. 
 
 Sir Charles Davers .... 
 
 73 
 
 10 
 
 0 
 
 
 Mr. Drummond .... 
 
 36 
 
 15 
 
 0 
 
 June, 1776. 
 
 Duke of Dorset, for Garrick 
 
 36 
 
 15 
 
 0 
 
 
 Mr. Darby ..... 
 
 73 
 
 10 
 
 0 
 
 Aug. 30, 1776. 
 
 Do., Bqu ..... 
 
 36 
 
 15 
 
 0 
 
 Aug. 1776. 
 
 Duke of Dorset, for Wang-y-Tong, 
 
 
 
 
 
 the Chinese .... 
 
 73 
 
 10 
 
 0 
 
 
 Duke of Dorset, for Mad. Schindelin 
 Do., for the f Boy with a Drawing in 
 
 35 
 
 15 
 
 0 
 
 
 his Hand ’ . 
 
 52 
 
 10 
 
 0 
 
 
 Do., Samuel ..... 
 
 52 
 
 10 
 
 0 
 
 Apr. 1777. 
 
 Duke of Devon .... 
 
 36 
 
 15 
 
 0 
 
 Feb. 1778. 
 
 Duke of Dorset, for the Gipsy 
 
 367 
 
 10 
 
 0 
 
 June 10, 1780. 
 
 Lady Betty Delme and two Children 
 
 
 
 
 
 £300 
 
 
 
 
 June 30, 1780. 
 
 Mr. Davidson .... 
 
 70 
 
 0 
 
 0 
 
 Dec. 1780. 
 
 Lady Darby ..... 
 
 157 
 
 10 
 
 0 
 
 June, 1781. 
 
 Duke of Dorset, given to Mr. H anbury 
 
 36 
 
 15 
 
 0 
 
 Feb. 1783. 
 
 Duke of Dorset, for the Baccelli 
 
 52 
 
 10 
 
 0 
 
 May, 1785. 
 
 Lady Dysart ..... 
 Count D’Ademar, the French Ambas- 
 
 57 
 
 10 
 
 0 
 
 
 sador, for a Girl with a Mousetrap 
 
 1 52 
 
 10 
 
 0 
 
 July, 1785. 
 
 Lord Duncannon .... 
 
 52 
 
 10 
 
 0 
 
 
 Lady Duncannon .... 
 
 52 
 
 10 
 
 0 
 
 1 A blot here. 
 
88 
 
 Oct. 26, 1786. 
 
 Duke of Dorset, for Lesbia 
 
 
 £78 
 
 15 
 
 0 
 
 Oct. 1789. 
 
 Sir John D’Oyley . 
 
 
 58 
 
 16 
 
 0 
 
 June, 1789. 
 
 Lord Darnley .... 
 
 
 105 
 
 0 
 
 0 
 
 Feb. 1790. 
 
 Sir Thomas Dundas, for the Dilettanti 
 picture ..... 
 
 38 
 
 15 
 
 0 
 
 April, 1790. 
 
 Lord Dudley, for his Daughter 
 
 
 52 
 
 10 
 
 0 
 
 
 Lord Darnley, for Miss Harris 
 
 
 105 
 
 0 
 
 0 
 
 June, 1791. 
 
 Miss Dunning 
 
 
 36 
 
 15 
 
 0 
 
 Lord Darn ley, for a Head of Inigo 
 Jones, by Yandyck <£52 10 0 l 
 Do., for a Samuel . . 78 15 0 1 
 
 105 0 0 1 
 
 Paid by bill £236 0 0 1 
 
 Lord Darnley, for a Sketch of Rubens 
 of ‘ Little Boys Reaping* £26 5 0 
 He set out for Ireland on the 30th 
 July, 1791, not paying for the 
 picture. 
 
 E. 
 
 First Payment. 
 
 Lord Essex, for a copy of Sir Charles 
 
 
 Ilanbury Williams, £12 
 
 12 
 
 0 
 
 
 
 
 
 Lady Essex . . 12 
 
 12 
 
 0 
 
 
 
 
 
 1 Lord Errol . .£100 
 
 0 
 
 O 1 
 
 
 
 
 Nov. 28, 1783. ( 
 
 j For Lady Errol . 25 
 
 0 
 
 O 1 
 
 Paid. 
 
 
 
 
 For a copy . . 25 
 
 0 
 
 0 1 
 
 163 
 
 5 
 
 0 
 
 
 . Mending a picture . 5 
 
 0 
 
 o\ 
 
 
 
 
 
 Lord Eglinton, a bill delivered. Paid 
 
 188 
 
 19 
 
 0 
 
 June 9, 1775. 
 
 Mrs. Eckersall 
 
 
 
 18 
 
 7 
 
 0 
 
 July, 20, 1781. 
 
 Lord Ely and Lady Ely . 
 
 
 
 115 
 
 0 
 
 0 
 
 
 A copy of Lady Eglinton 
 
 
 . 
 
 105 
 
 0 
 
 0 
 
 Feb. 1787. 
 
 Sir Harry Engleficld 
 
 
 • 
 
 265 
 
 0 
 
 0 
 
 1 These items are crossed out in the original. 
 
89 
 
 May, 1780. 
 Feb. 1782. 
 
 Aug. 1782. 
 Aug. 1783. 
 
 June, 1787. 
 Jan. 1788. 
 Aug. 1790. 
 
 Second Payment. 
 
 Mrs. Eckersall .... 
 
 Lady Eglinton .... 
 
 Mr, Elliot 
 
 Mr. Elliot, for a copy of Uncle . 
 
 Mr. Elliot, Jun. 
 
 Lord Egremont,for Lord ThaneFs Children 1 05 
 
 £18 7 
 
 157 10 
 105 0 
 006 
 59 
 
 Hon. Mr. Erskine 
 Sir Harry Englefield „ 
 
 Lady Elliot. Paid by Sir Jas. Harris 
 Sir James Esdaile 
 
 F. 
 
 First Payment . 
 
 Sept. 6, 1774. Sir Robert Fletcher . . . . 
 
 Jan. 17, 1775. Mr. Fitzmaurice, for the picture of Mr. 
 and Mrs. Garrick 
 Do., for Dr. Hawkesworth . 
 
 Sep. 26, 1781. Mr. Wm. Fooden . . . . 
 
 Earl Fitz william, for 
 
 copy, 
 
 whole 
 
 length, of Lord Rockingham 
 Do. ..... £150 
 
 Lord Fitzwilliam, for a copy of Lord 
 Rockingham, 3 gs. . 
 
 July 8, 1788. Lady Eliz. Trosser, paid by the Duke of 
 Devonshire ..... 
 
 Second Payment. 
 
 Nov. 25, 1775. Miss Fleming 
 May, 1776. Sir William Forbes . 
 
 Mrs. Fitzroy 
 
 March, 1779. Miss Fleming, with an Urn 
 Feb. 1782. Mr. Fooden 
 March, 1782. Mr. Adam Ferguson . 
 
 1784. Hon. Charles Fox. Given to Mr 
 Crewe 
 
 12 
 
 105 
 
 26 
 
 52 
 
 105 
 
 6 
 
 10 
 
 0 
 
 0 
 
 5 
 
 10 
 
 0 
 
 157 10 
 10 10 
 26 5 
 
 157 10 
 73 10 
 30 0 
 157 10 
 26 5 
 50 0 
 
 36 15 0 
 
 175 10 0 
 
 35 0 0 
 
 52 10 0 
 
 105 0 0 
 
90 
 
 July, 1785. 
 
 Earl Fitz william. Paid by Mr. Storns 
 
 £52 
 
 10 
 
 0 
 
 Aug. 1785. 
 
 General Fosset ..... 
 
 105 
 
 0 
 
 0 
 
 June, 1786. 
 
 Sir Wm. Forbes .... 
 
 52 
 
 10 
 
 0 
 
 
 Frame paid. 
 
 
 
 
 July, 1788. 
 
 Mr. Fitzgibbon, for a copy of the Duke 
 
 
 
 
 
 of Rutland ..... 
 
 105 
 
 0 
 
 0 
 
 April.20,1789. Mr. Fox, for a copy of his picture, for 
 
 
 
 
 
 which he sat to Mrs. Armistead . 
 
 105 
 
 0 
 
 0 
 
 
 Lord Fitzwilliam, for his Lady, and for 
 
 
 
 
 
 his Son, Lord Milton . 
 
 210 
 
 0 
 
 0 
 
 June, 1791. 
 
 Lord Fitzwilliam, for ‘ Hercules in the 
 
 
 
 
 
 Cradle/ in full .... 
 
 175 
 
 10 
 
 0 
 
 
 G. 
 
 
 
 
 
 First Payment. 
 
 
 
 
 tC 
 
 rH 
 
 •\ 
 
 CO 
 
 3. Lord Granby, with a Horse. Given to 
 
 
 
 
 
 Marshal Broglio. Paid in full 
 
 250 
 
 0 
 
 0 
 
 
 Lord Granby. Given to Mr. Grenville 
 
 150 
 
 0 
 
 0 
 
 July, 1774. 
 
 Lord Granby. Given to Trinity Hall, 
 
 
 
 
 
 Cambridge ..... 
 
 200 
 
 0 
 
 0 
 
 Feb. 1776. 
 
 Lord Granby. Given to Lord Lothian 
 
 36 
 
 15 
 
 0 
 
 Apr. 26,177* 
 
 6. Lord Granby, for his Father 
 
 36 
 
 15 
 
 0 
 
 
 Lord Granby, for a picture of Samuel . 
 
 105 
 
 0 
 
 0 
 
 
 Lord Granby, for a picture of St. John 
 
 105 
 
 0 
 
 0 
 
 July, 1777. 
 
 Miss George, £30 the whole 
 
 20 
 
 0 
 
 0 
 
 Feb. 1778. 
 
 Mr. Gallway ..... 
 
 18 
 
 7 
 
 6 
 
 
 Lord Granby, sent to Chevely . £36 paid. 
 
 
 
 Feb. 1779. 
 
 Duke of Glos’ter, for the Dutchess and 
 
 
 
 
 
 Princess Sophia .... 
 
 236 
 
 5 
 
 0 
 
 Dec. 1779. 
 
 Mrs. Paine Gallway and Child 
 
 70 
 
 0 
 
 0 
 
 Jan. 1785. 
 
 Mrs. Goslin ..... 
 
 26 
 
 5 
 
 0 
 
 Jan. 1785. 
 
 Col. Gardiner ..... 
 
 52 
 
 10 
 
 0 
 
 Feb. 1788. 
 
 Lord Grantham and Brothers. Paid by 
 
 
 
 
 
 Lord Hardwick .... 
 
 150 
 
 0 
 
 0 
 
91 
 
 Second Payment. 
 
 Jan. 1779. 
 
 Duke of Gloucester, for the Princess 
 
 
 
 
 
 Sophia ..... 
 
 £50 
 
 0 
 
 0 
 
 
 Duke of Gordon .... 
 
 Mr. Grenville, for his Father’s Robes . 
 
 36 
 
 15 
 
 0 
 
 
 £10 10 0 
 
 
 
 
 
 Mr. Gardiner, for his Lady and Sisters 
 
 472 
 
 10 
 
 0 
 
 July, 1776. 
 
 Lord Guernsey ..... 
 
 36 
 
 15 
 
 0 
 
 Dec. 25, 1776. 
 
 Mr. Gawler 
 
 36 
 
 15 
 
 0 
 
 
 Mr. Cosmo Gordon .... 
 
 36 
 
 15 
 
 0 
 
 April, 1778. 
 
 Mrs. Gawler ..... 
 
 36 
 
 15 
 
 0 
 
 
 Master Gawler and his Brother . 
 
 73 
 
 10 
 
 0 
 
 July, 1781. 
 
 Mr. Gibbon ..... 
 
 36 
 
 15 
 
 0 
 
 Apr. 1783. 
 
 Mrs. Goslin ..... 
 
 36 
 
 15 
 
 0 
 
 Apr. 1783. 
 
 Mr. Groote ..... 
 
 52 
 
 10 
 
 0 
 
 a 
 
 Mrs. Groote ..... 
 
 52 
 
 10 
 
 0 
 
 Jan. 1785. 
 
 Col. Gardiner. Given to Brook Boothby, 
 
 
 
 
 
 Esq. ...... 
 
 52 
 
 10 
 
 0 
 
 July, 1782. 
 
 Princess Gagarin, Prince, and Child. 
 
 
 
 
 
 Sent to Russia .... 
 
 157 
 
 10 
 
 0 
 
 June, 1786. 
 
 Lord Gower ..... 
 
 52 
 
 10 
 
 0 
 
 
 A Copy ...... 
 
 lion. Mr. Greville, for Thais, and his 
 
 10 
 
 10 
 
 0 
 
 
 own picture .... 
 
 157 
 
 10 
 
 0 
 
 June21,1787. Sir Samson Gideon, for his Son and 
 
 
 
 
 
 Daughter ..... 
 
 300 
 
 0 
 
 0 
 
 Jan. 1788. 
 
 Duke of Gloucester, for Prince William. 
 
 
 
 
 
 Sent home . . . 100 gs. 
 
 
 
 
 May 19, 1789. 
 
 Lord Grantham and Brothers. Paid 
 
 
 
 
 
 by Lord Hardwick 
 
 165 
 
 0 
 
 0 
 
 
 H. 
 
 
 
 
 
 First Payment. 
 
 
 
 
 July, 1789. 
 
 Mr. Sal. Home ..... 
 
 52 
 
 10 
 
 0 
 
92 
 
 Second Payment. 
 Lady Selina Hastings 
 
 Miss Hunter 
 
 15 gs. 
 
 
 
 Lord Hallifax 
 
 100 - 
 
 
 
 Do 
 
 50 - 
 
 
 
 Commodore Harrison . 
 
 
 
 
 Mr. Fox, 2 pictures . 
 
 50 gs. 
 
 
 
 Sir Wm. Hamilton 
 
 
 £12 
 
 12 
 
 Master Herbert . 
 
 
 36 
 
 15 
 
 Nov. 13, 1775. Lady Eliz. and Mr. Herbert 
 
 
 54 
 
 12 
 
 Mr. Herbert, for a copy of Lady Frances 
 
 
 
 Marsham 
 
 
 26 
 
 5 
 
 Dec. 27, 1777. Mrs. Huddesford 
 
 
 20 
 
 0 
 
 Col. Harcourt 
 
 
 36 
 
 16 
 
 Lord Harcourt . 
 
 
 35 
 
 0 
 
 March, 1781. Mrs. Harcourt, by bill 
 
 
 105 
 
 0 
 
 April 10, 1783. Sir Abraliam Hume . 
 
 
 26 
 
 5 
 
 May, 1781. Col. Hay .... 
 
 
 26 
 
 5 
 
 Nov. 1785. John Hunter 
 
 
 52 
 
 10 
 
 Nov. 1787. Miss Hodgson . 
 
 
 26 
 
 6 
 
 Nov. 1787. Mr. Councillor Hargrave 
 
 
 52 
 
 10 
 
 Nov. 1789. Dr. Hunter, for Glasgow 
 
 
 105 
 
 0 
 
 Dec. 1773. Miss Hickey 
 
 
 36 
 
 15 
 
 Dec. 1773. Mrs. Houghton . 
 
 
 52 
 
 10 
 
 April, 1775. Mr. Hare. Paid by Mr. Storer 
 
 
 36 
 
 15 
 
 March, 1776. Mrs. Hudson, for Draperies 
 
 
 31 
 
 10 
 
 Feb. 10, 1777. Master Herbert . 
 
 
 36 
 
 15 
 
 Mr. Herbert, for a copy of Lady Frances 
 
 
 
 Marsham . 
 
 
 26 
 
 5 
 
 Feb. 1778. Mrs. G. Harding 
 
 
 73 
 
 10 
 
 Mr. Harding, for a Boy 
 
 
 42 
 
 0 
 
 Do., for a Girl . 
 
 
 42 
 
 0 
 
 Mr. Harding 
 
 . £35 
 
 
 
 June, 1778. General Haldeman . . 
 
 . 
 
 36 
 
 15 
 
 Do., Copy .... 
 
 
 26 
 
 5 
 
 0 
 
 0 
 
 6 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
93 
 
 
 Mrs. Huddesford .... 
 
 Mr. Huddesford, for a picture of himself 
 
 £17 
 
 7 
 
 0 
 
 
 and Mr. Bamfield 
 
 105 
 
 0 
 
 0 
 
 March, 1779. 
 
 Hely Hutchinson, Provost of Dublin . 
 
 75 
 
 0 
 
 0 
 
 Dec. 1779. 
 
 General Haldeman, a copy . 
 
 26 
 
 5 
 
 0 
 
 o 
 
 00 
 
 r—i 
 
 P>-» 
 
 a 
 
 w 
 
 Lady Jane Halliday. Paid by Mr. Will. 
 
 
 
 
 
 Tollemache .... 
 
 157 
 
 10 
 
 0 
 
 March, 1781. 
 
 Mr. Harding ..... 
 
 31 
 
 10 
 
 0 
 
 
 Lord Har court ..... 
 
 73 
 
 10 
 
 0 
 
 Nov. 1781. 
 
 Sir John Henniker .... 
 
 52 
 
 10 
 
 0 
 
 Jan. 1783. 
 
 Miss Hoare. Paid by Mr. Grimston . 
 
 78 
 
 15 
 
 0 
 
 June, 1783. 
 
 Sir James Hall. ..... 
 
 52 
 
 10 
 
 0 
 
 
 Frame paid for. 
 
 
 
 
 
 Lord Hood ..... 
 
 105 
 
 0 
 
 0 
 
 Sep. 1783. 
 
 Mrs. Hanbury ..... 
 
 73 
 
 10 
 
 0 
 
 Dec. 1783, 
 
 Lord Hardwick, for a copy of Lord 
 
 
 
 
 
 Rockingham .... 
 
 52 
 
 10 
 
 0 
 
 Feb. 1784. 
 
 Sir Abraham Hume .... 
 
 26 
 
 5 
 
 0 
 
 Sep. 1784. 
 
 Sir William Hamilton, for Bacchante 
 
 52 
 
 10 
 
 0 
 
 
 Sir William Hamilton. Museum picture 
 
 105 
 
 0 
 
 0 
 
 Frame paid. 
 
 Sir Wm. Hamilton. Dilettanti picture 
 Lord Hertford, for Lady Lincoln and 
 
 36 
 
 15 
 
 0 
 
 
 Lady Elizabeth Conway 
 
 110 
 
 0 
 
 0 
 
 Nov. 1784. 
 
 Mr. Hare ...... 
 
 52 
 
 10 
 
 0 
 
 Dec. 1785. 
 
 Sir Abraham Hume, for Lady Hume . 
 
 52 
 
 10 
 
 0 
 
 Jan. 1786. 
 
 Lord Hertford. Given to Capt. Conway 
 
 52 
 
 10 
 
 0 
 
 May, 1786. 
 
 Col. Hay 
 
 26 
 
 5 
 
 0 
 
 June, 1786. 
 
 John Hunter ..... 
 
 52 
 
 10 
 
 0 
 
 July 30, 1786. 
 
 Sir Waldron Hanmer .... 
 
 36 
 
 15 
 
 0 
 
 j> 
 
 Miss Hanmer ..... 
 
 36 
 
 15 
 
 0 
 
 a 
 
 Frances. Paid for at the same time . 
 
 6 
 
 6 
 
 0 
 
 July 30, 1786. 
 
 Sir Edward Hughes, whole length and 
 
 
 
 
 
 a Head ..... 
 
 
 
 
 )i 
 
 Mr. Sharp ...... 
 
 > 577 
 
 10 
 
 0 
 
 )) 
 
 Mr. Cuthbert ..... 
 
 
 
 
 )> 
 
 Capt. Gill ...... 
 
 
 
 
94 
 
 Sir John Honey wood . . <€100 
 
 Lady Honeywood and Child . 150 
 
 Feb. 1787. 
 
 Mr. Hope ...... 
 
 £105 
 
 0 
 
 0 
 
 j) 
 
 Mrs. Hope ..... 
 
 105 
 
 0 
 
 0 
 
 March, 1787. 
 
 Sir Edw. Hughes. Given to the Im- 
 
 
 
 
 
 perial Ambassador 
 
 52 
 
 10 
 
 0 
 
 Oct. 1787. 
 
 Lord Heathfield. Paid by Mr. Alderman 
 
 
 
 
 
 Boydell ..... 
 
 105 
 
 0 
 
 0 
 
 Jan. 1788. 
 
 Miss Hodgson ..... 
 Lady Harrington, for Master Lincoln 
 
 26 
 
 5 
 
 0 
 
 
 Stanhope . . . . . 
 
 52 
 
 10 
 
 0 
 
 Jan. 1788. 
 
 Sir James Harris . . . . 
 
 105 
 
 0 
 
 0 
 
 Jan. 1788. 
 
 Sir Abm. Hume, for Miss Hume 
 
 52 
 
 10 
 
 0 
 
 Apr. 
 
 For a copy of Mr. Hume 
 
 26 
 
 5 
 
 0 
 
 June, 1788. 
 
 Master Hoare ..... 
 
 105 
 
 0 
 
 0 
 
 May, 1789. 
 
 Mr. Hervey, for his Daughter 
 Miss Harris, for Lord Darnley <£105 
 
 52 
 
 10 
 
 0 
 
 May, 1790. 
 
 A copy of Mr. Home, for a Mr. Home 
 Mr. Home, the original, I believe. Paid 
 
 26 
 
 5 
 
 0 
 
 
 for 
 
 52 
 
 10 
 
 0 
 
 Sep. 1790. 
 
 Lord Harrington, for his Son with a 
 
 
 
 
 
 Drum ..... 
 
 50 
 
 0 
 
 0 
 
 
 I. & J. 
 
 
 
 
 
 First Payment. 
 
 
 
 
 June, 1775. 
 
 Mrs. Joddrell . . . . . 
 
 18 
 
 7 
 
 6 
 
 
 Second Payment. 
 
 
 
 
 June, 1772. 
 
 Lord Irwin ..... 
 
 36 
 
 15 
 
 0 
 
 
 Do., for a Shepherd Boy 
 
 52 
 
 10 
 
 0 
 
 
 Mrs. Joddrell ..... 
 
 18 
 
 7 
 
 6 
 
 Dec. 1777. 
 
 Earl of Inchiquin, for Capt. Orme 
 
 105 
 
 0 
 
 0 
 
 Dec. 1781. 
 
 Miss Ingram. Lady G. Gordon 
 
 52 
 
 10 
 
 0 
 
 Feb. 1782. 
 
 Sir William James .... 
 
 105 
 
 0 
 
 0 
 
 July, 1784. 
 
 Lady James, for a copy of Sir William 
 
 52 
 
 10 
 
 0 
 
95 
 
 Feb. 1777. 
 
 August, 1786. 
 
 July, 1776. 
 May, 1779. 
 
 Sep. 1787. 
 
 K. 
 
 First Payment. 
 
 Frame €4. 4s. Admiral Keppell, Given 
 to the Bishop . . . €35 
 
 Capt. Kingsmill ..... ,€20 0 0 
 
 Mrs. Kent 36 15 0 
 
 Admiral Keppell, for four half lengths 400 0 0 
 
 His Majesty and the Queen . . 420 0 0 
 
 Lord Keppell, for Miss KeppelFs picture 
 
 €50 
 
 Lord Keppell. Given to Mr. Erskine 
 
 €100 
 
 Lord Keppell. Given to the Prince of 
 Wales . . . 200 gs. 
 
 Second Payment. 
 
 Capt. Kingsmill . . . . . 16 15 0 
 
 Mrs. Kent . . . . 36 15 0 
 
 L. 
 
 First Payment. 
 
 Mr. Lysaght. Given to Mr. Walsing- 
 ham ..... €21 
 Lady Lauderdale . .20 
 
 Lord Lauderdale . . .80 
 
 Mr. Lane 50 
 
 Mr. Lascelles, Brother to Mr. Edwin 
 Lascelles ... 62 gs. 
 
 Being the remaining half payment 
 for his own and Mrs. Lasc^les’ 
 pictures, and for prints of Mrs. 
 Hale . . . . 5 gs. 
 
 Mrs. Loyd ..... 
 
 A Lady unknown. Mrs. Wells . 
 
 78 15 0 
 25 0 0 
 
96 
 
 Second Payment . 
 
 March 18,1774. Lady Ligonier. Paid by Mr. G. P. H. 
 
 Lady Ligonier, for changing the Portrait 
 May, 1775. Duke of Leinster . . 70 gs. 
 
 Oct. 1774. Duchess of Leinster . . 35 - 
 
 July, 1776. Lord Lothian .... 
 
 June, 1777. Mrs. Loyd .... 
 
 Duke of Leinster, half length. Paid 
 Duke of Leinster, Head. Paid. 
 
 Lord Lucan . 
 
 Dutchess of Leinster . 
 
 Aug. 1778. 
 July, 1779. 
 
 Do 
 
 1781. Mr. Lock, for Ariadne 
 May 1, 1781. Mr. Lascelles, remaining half payment 
 for his own and Mrs. Hale . 
 
 Mar. 1782. Lady Lincoln, for her Daughter . 
 
 May, 1782. Mr. Long, for a copy of Lord Rd 
 Cavendish .... 
 
 May, 1782. Duke of Leinster. Bill paid 
 Jan, 1783. Capt. Levison Gower . 
 
 1784. Lord Levison .... 
 
 Jan. 1786. Councillor John Lee . 
 
 March, 1786. Lady Lansdowne 
 
 Dutchess Dowager of Leinster. Given 
 to Lady Louisa Conolly 
 
 May, 1788. Mr. Lee, the Councillor, for a copy 
 Nov. 1788. Lord Lifford .... 
 
 Feb. 1790. Lady Lovain .... 
 
 June, 1790. Lord Lifford .... 
 
 £157 
 
 36 
 
 paid. 
 
 paid. 
 
 56 
 
 78 
 
 36 
 
 36 
 
 36 
 
 36 
 
 157 
 
 105 
 
 12 
 
 247 
 
 50 
 
 105 
 
 105 
 
 52 
 
 36 
 
 78 
 
 105 
 
 52 
 
 105 
 
 10 0 
 15 0 
 
 15 0 
 15 0 
 
 15 6 
 
 15 6 
 
 15 0 
 
 15 0 
 
 10 0 
 0 0 
 
 12 0 
 
 16 0 
 0 0 
 0 0 
 0 0 
 
 10 0 
 
 15 0 
 
 15 0 
 0 0 
 
 10 0 
 0 0 
 
 M. 
 
 First Payment. 
 
 Aug. 6, 1772. Sir Thomas Mills 
 
 Miss Harriet Musgrave 
 May, 1774. Miss Musgrave . 
 
 18 7 6 
 17 17 0 
 17 17 0 
 
97 
 
 May, 1774. 
 
 Mr. Mason ..... 
 
 £18 
 
 7 
 
 6 
 
 
 Lady Mills 
 
 18 
 
 7 
 
 6 
 
 
 Mr. Malone ..... 
 
 36 
 
 13 
 
 1 
 
 Nov. 1776. 
 
 Lady Frances Marsham 
 
 75 
 
 5 
 
 0 
 
 
 Lady Melbourne .... 
 
 115 
 
 10 
 
 0 
 
 July, 1777. 
 
 Mrs. Mathew ..... 
 
 75 
 
 0 
 
 0 
 
 Dec. 1777. 
 
 Mr. Musters and Mrs. Musters . 
 
 157 
 
 10 
 
 0 
 
 Nov. 1779. 
 
 Miss Molesworth .... 
 
 37 
 
 15 
 
 0 
 
 
 Mr. Macklin, for Tuccia 
 
 210 
 
 0 
 
 0 
 
 Sep. 1788. 
 
 Mr. Macklin, for his family picture 
 
 105 
 
 0 
 
 0 
 
 
 Do 
 
 Mr. Macklin, in part of 500 gs. for the 
 
 105 
 
 0 
 
 0 
 
 
 Holy Family .... 
 
 30 
 
 0 
 
 0 
 
 April, 1789. 
 
 Mr. Macklin, the remaining payment 
 
 
 
 
 
 for the Cottage Scene and Holy 
 Family .... 
 
 810 
 
 0 
 
 0 
 
 July, 1789. 
 
 Lord Macartney .... 
 
 52 
 
 10 
 
 0 
 
 Apr. 1790. 
 
 Mr. Macklin. Remaining unpaid ,£135 
 
 18 
 
 0 
 
 0 
 
 
 Second Payment. 
 
 
 
 
 May, 1772. 
 
 Mrs. Mead ..... 
 
 36 
 
 15 
 
 0 
 
 Sep. 1773. 
 
 Mr. Macpherson .... 
 
 36 
 
 15 
 
 0 
 
 Nov. 1773. 
 
 Sir Thomas Mills .... 
 
 18 
 
 18 
 
 0 
 
 
 Do., for two copies .... 
 
 16 
 
 16 
 
 0 
 
 
 Mr. Mason ..... 
 
 18 
 
 7 
 
 6 
 
 Oct. 1774. 
 
 Mrs. Montagu ..... 
 
 73 
 
 0 
 
 0 
 
 Oct. 1775. 
 
 Miss Musgrave, now Mrs. Morris 
 
 18 
 
 18 
 
 0 
 
 
 Miss Musgrave, now Mrs. Mordaunt . 
 
 18 
 
 18 
 
 0 
 
 Nov. 1775. 
 
 Lord Mount Stewart . . . £ 35 
 
 
 
 
 July, 1776. 
 
 Sir Thomas Mills . . . 
 
 35 
 
 15 
 
 0 
 
 Sep. 1776. 
 
 Lady Mills ..... 
 
 18 
 
 7 
 
 6 
 
 
 Col. Morgan, a copy .... 
 
 26 
 
 5 
 
 0 
 
 April, 1777. 
 
 Lady Melbourne .... 
 
 Lady Mills, a copy for Mr. Moffat 
 
 131 
 
 5 
 
 0 
 
 Oct. 1777. 
 
 Lady Frances Marsham 
 
 75 
 
 0 
 
 0 
 
 
 Sir Thomas Mills, for Mr. Foot. £40 paid 
 
 
 
 13 
 
98 
 
 July, 1778. 
 
 Mr, Malone .... 
 
 . 
 
 £36 
 
 15 
 
 0 
 
 
 Remaining, for Chancellor Malone 
 
 . 
 
 36 
 
 15 
 
 0 
 
 
 Sir T. Mills. Given to the Dean 
 
 of 
 
 
 
 
 
 Derry .... <£10 
 
 
 
 
 Mar. 1779. 
 
 Miss Monckton .... 
 
 
 157 
 
 10 
 
 0 
 
 June, 1799. 
 
 Mr. Millbank .... 
 
 
 52 
 
 10 
 
 0 
 
 Nov. 1779. 
 
 Mr. John Macpherson 
 
 
 52 
 
 10 
 
 0 
 
 
 Lady Louisa Manners 
 
 
 157 
 
 10 
 
 0 
 
 
 Duke of Marlborough's family 
 
 
 735 
 
 0 
 
 0 
 
 Feb. 1780. 
 
 Do., for Lord Henry and Lady Charlotte 
 
 136 
 
 10 
 
 0 
 
 
 Miss Molesworth 
 
 
 40 
 
 0 
 
 0 
 
 May, 1785. 
 
 Sir Hector Monro 
 
 
 52 
 
 10 
 
 0 
 
 Nov. 1785. 
 
 Lord Mansfield. Painted in — 76 
 
 
 105 
 
 0 
 
 0 
 
 June, 1786. 
 
 Lord Mount Stewart . 
 
 
 
 
 
 Jan. 1788. 
 
 Mr. Macklin, for Tuccia theV estal Virgin 
 
 210 
 
 0 
 
 0 
 
 Apr. 1788. 
 
 Col. Morgan .... 
 
 
 210 
 
 0 
 
 0 
 
 May, 1788. 
 
 Mrs. Musters .... 
 
 
 78 
 
 15 
 
 0 
 
 July, 1789. 
 
 Lord Malmesbury 
 
 
 105 
 
 0 
 
 0 
 
 
 N. 
 
 
 
 
 
 
 First Payment. 
 
 
 
 
 
 
 Lady Northampton . £35 3 
 
 6 
 
 
 
 
 Dec. 1782. 
 
 Lord Northington 
 
 . 
 
 26 
 
 5 
 
 0 
 
 
 Lord Northington 
 
 . 
 
 50 
 
 0 
 
 0 
 
 Jan. 1788. 
 
 Lord Northington, copy of Head 
 
 • 
 
 26 
 
 5 
 
 0 
 
 
 Second Payment. 
 
 
 
 
 
 Aug. 
 
 Miss Nurse .... 
 
 . 
 
 36 
 
 15 
 
 0 
 
 
 Frames, £3 3 0 paid. 
 
 
 
 
 
 Jan. 1783. 
 
 Lord Northington 
 
 . 
 
 26 
 
 5 
 
 0 
 
 Apr. 1785. 
 
 Lord Northington 
 
 . 
 
 52 
 
 10 
 
 0 
 
 O. 
 
 June 10, 1775. Lord Ossory, for Lady Ann Fitzpatrick 52 10 0 
 
 Paid 25 more . . . 26 15 0 
 
99 
 
 March, 1789.fMr. Orchard .... Paid 
 
 Frame M rs - ^ rc ^ ar( ^ .... 
 
 A copy for Mr. Orchard of his 
 
 Father .... 
 
 Capt. Orme. — See Inchiquin. Paid. 
 May, 1780. Lord Ossory, for Lady Gertrude . 
 
 Mr. Oglander has paid for all the 
 designs of the window at New Col- 
 lege, except the great picture of the 
 4 Nativity/ 
 
 [£101 10 0 
 
 52 10 0 
 
 P. 
 
 Lord Palmerston, for a Girl leaning on 
 
 
 a Pedestal . ... 
 
 78 
 
 15 
 
 0 
 
 
 Second Payment. 
 
 
 
 
 Oct. 1774. 
 
 Sir John Pringle .... 
 
 36 
 
 15 
 
 0 
 
 June, 1775. 
 
 The Primate Robinson 
 
 73 
 
 10 
 
 0 
 
 June, 1776. 
 
 Mr. Paterson ..... 
 
 36 
 
 15 
 
 0 
 
 Nov. 1777. 
 
 Dr. Pitcarn ..... 
 
 36 
 
 15 
 
 0 
 
 Feb. 1778. 
 
 Lady Catherine Pawlet . £100 
 
 Mrs. Powis, for self and Daughter 
 
 
 
 
 
 £112 17 6 
 
 
 
 
 Apr. 1779. 
 
 Primate, for the copy .... 
 
 36 
 
 15 
 
 0 
 
 July, 1779. 
 
 Mr. Parker, for his two Children 
 
 210 
 
 0 
 
 0 
 
 June, 1783. 
 
 Mrs. Parker and Master 
 
 Lord Pembroke. Paid for a Miniature 
 
 52 
 
 10 
 
 0 
 
 
 6ys. 
 
 
 
 
 Dec. 1787. 
 
 Lady Caroline Price .... 
 
 52 
 
 10 
 
 0 
 
 March, 1789. 
 
 Mr. Pott. Paid by Lord Aylesford 
 
 105 
 
 0 
 
 0 
 
 
 R. 
 
 
 
 
 
 First Payment. 
 
 
 
 
 
 Mr. Ridge 
 
 21 
 
 0 
 
 0 
 
 July, 1774. 
 
 Mrs. Rolleston 
 
 50 
 
 0 
 
 0 
 
 July, 1777. 
 
 Mr. Rogers ..... 
 
 30 
 
 0 
 
 0 
 
100 
 
 Second Payment. 
 
 July, 1774. 
 
 Mr. Ridge * 
 
 £15 
 
 15 
 
 July, 1776. 
 
 Mrs. Rollestone ..... 
 
 55 
 
 0 
 
 June, 1777. 
 
 Rt. Hon. Mr. Rigby, for the Duke of 
 
 
 
 
 Bedford, and his Brother and Miss 
 Vernon ..... 
 
 420 
 
 0 
 
 Aug. 1777. 
 
 Mr. Rogers ..... 
 
 7 
 
 0 
 
 
 Lord Rockingham .... 
 
 36 
 
 15 
 
 
 Lord Rockingham, whole length . 
 
 157 
 
 10 
 
 o 
 
 GO 
 
 cT 
 
 Duke of Rutland, for Children £200 
 For Mr. Thoroughts . . .50 
 
 For the Duchess of Rutland . 150 
 
 
 
 June, 1781. 
 
 For the Duchess of Beaufort, whole 
 length . . . .150 
 
 ! Paid. 
 
 
 Paid for the Duke of Rutland's Children, 
 
 
 
 
 to Mr. Smirk . . 20 gs., 
 
 
 
 Dec. 26, 1781. 
 
 Dean of Rapho ..... 
 
 52 
 
 10 
 
 
 Bishop of Rochester .... 
 
 100 
 
 0 
 
 May, 1782. 
 
 Duke of Rutland, for Lord Chatham£200 
 Duke of Rutland, for Jupiter . 
 
 100 
 
 0 
 
 Do. Sent to Chevely. 
 
 Old Man. 
 
 Duke of Portland, for Lord Lothian, 
 and Mr. Stanhope. 
 
 Gen, Oglethorpe. 
 
 Miss Fisher. 
 
 Duke of Rutland. 
 
 Do., for Lady Catherine Manners. 
 Given to the Duchess of Beaufort. 
 A tela de testa size. 
 
 Duke of Rutland, for Lord Robert 
 Manners. Given to Capt. Reynolds 
 
 £50 / 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
101 
 
 Duke of Rutland, debtor for Dutch pic- 
 tures . . . £247 15 2 1 
 
 Paid. Paid duty . . . 15 15 0 1 
 
 Due from the Duke £263 10 2 1 
 
 Sep. 1785. 
 
 Mr. Robins, for Sir Ed. Hughes' picture 
 Duke of Rutland, for his three Sons. 
 
 £52 
 
 10 
 
 0 
 
 
 Sent to Ireland, Sep. 1785 . 
 
 300 
 
 0 
 
 0 
 
 Feb. 1786. 
 
 Lady Rockingham, for Lord Rocking- 
 
 
 
 
 
 ham. Given to the P. of Wales . 
 
 157 
 
 10 
 
 0 
 
 Jan. 1787. 
 
 Lady Radnor ..... 
 
 105 
 
 0 
 
 0 
 
 
 Duke of Rutland, for three Children . 
 
 200 
 
 0 
 
 0 
 
 
 Do., for Lord Mansfield 
 
 100 
 
 0 
 
 0 
 
 May, 1790. 
 
 Lord Rawdon ..... 
 
 210 
 
 0 
 
 0 
 
 
 S. 
 
 First Payment. 
 
 
 
 
 June, 1777. 
 
 Lord Charles Spencer. Given to Lord 
 
 
 
 
 
 Bolingbroke .... 
 
 42 
 
 0 
 
 0 
 
 Apr. 1783. 
 
 Lord Shelborne, for two half lengths . 
 
 147 
 
 0 
 
 0 
 
 June, 1774. 
 
 Lord Sandy s ..... 
 
 36 
 
 15 
 
 0 
 
 Feb. 1776. 
 
 Mrs. Smith ..... 
 
 15 
 
 0 
 
 0 
 
 Sep. 1777. 
 
 Hon. Miss Sackville. Paid by Lord 
 
 
 
 
 
 Crosbie ..... 
 
 78 
 
 15 
 
 0 
 
 Feb. 1778. 
 
 Mr. St. Leger ..... 
 
 70 
 
 0 
 
 0 
 
 
 Mr. Stuart ..... 
 
 25 
 
 0 
 
 0 
 
 Mar. 1777. 
 
 Mr. Smith, of Nottingham . 
 
 52 
 
 10 
 
 0 
 
 May, 1780. 
 
 Mr. Strahan ..... 
 
 40 
 
 0 
 
 0 
 
 
 Mr. Smith, of Heath. Dilettanti picture 
 
 36 
 
 15 
 
 0 
 
 July, 1735. 
 
 Sir John St. Aubyn .... 
 
 36 
 
 5 
 
 0 
 
 May, 1786. 
 
 Mrs. Scott 
 
 52 
 
 10 
 
 0 
 
 May, 1787. 
 
 Sir Robert Smith, for Lady Smith and 
 
 
 
 
 
 three Children .... 
 
 152 
 
 10 
 
 0 
 
 1 These items arc crossed out in the original. 
 
102 
 
 Second Payment, 
 
 May, 1774. Sir Richard Sutton .... £36 15 
 Apr. 1775. Lady Charles Spencer . . . 52 10 
 
 Mr. Stonhewer . . . . 36 15 
 
 Madame Schindelin. Paid by Mrs. Hor- 
 
 town — ( Quaere Horton) . . 36 15 
 
 Apr. 1777. Mr. Sheldon 36 15 
 
 May, 1777. Lady Elizabeth Somerset . 31 10 
 
 June, 1777. Mrs. Southby 36 15 
 
 July, 1777. Mr. Stanhope 36 15 
 
 Sep. 1777. Lady Smith 73 10 
 
 Mr. St. Leger . . .€87 10 0 
 
 Mr. Stewart . . .110 
 
 June, 1779. Lord Suffolk . 73 10 
 
 General Sandford . . 38 17 
 
 Lord Suffolk, for Lady Andover . . 52 10 
 
 Lord Suffolk, for Mr. Eden 52 10 
 
 Apr. 1780. Lord Suffolk, for Mr. Wedderburn . 52 10 
 
 June, 1780. Mr. Stanhope. Dilettanti picture . 36 15 
 
 Nov. 1780. Mr. Smith, Member for Nottingham . 52 10 
 
 Dec. 1781. Lady Salisbury ..... 200 0 
 
 June, 1782. Mr. Smith 36 15 
 
 Apr. 1783. Lord Sidney, for his Brother’s picture 21 0 
 
 June, 1783. 
 
 Mr. Strahan ..... 
 
 38 
 
 19 
 
 
 T. 
 
 
 
 
 First Payment . 
 
 
 
 Nov. 1771. 
 
 Mrs. Trecothick .... 
 
 75 
 
 0 
 
 May, 1775. 
 
 Lord Temple ..... 
 
 36 
 
 15 
 
 
 Mr. Thrale, in part .... 
 
 200 
 
 0 
 
 
 Do 
 
 200 
 
 0 
 
 Feb. 1781. 
 
 Do., the remaining payment 
 
 83 
 
 5 
 
 
 Mrs. Thrale, for Dr. Burney . £35 
 
 
 
 July, 1781. 
 
 Mr, Turner, for Washington’s picture, 
 
 
 
 
 &c. ...... 
 
 48 
 
 13 
 
 Nov. 1781. 
 
 Lady Taylor ..... 
 
 52 
 
 10 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 6 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
103 
 
 Second Payment. 
 
 June, 1774. 
 
 Mrs. Tollemache .... 
 
 <£157 
 
 10 
 
 Mar. 1775. 
 
 Mrs. Trecothick ..... 
 
 78 
 
 15 
 
 
 Lord Townsend 
 
 ’s Bill, .£944 15 0,paid. 
 
 
 
 
 Sent to Mr. Woodbine, Feb. 23, 1776; 
 
 paid. 
 
 
 June, 1776. 
 
 Lord Temple ; 
 
 paid by Lord Granby . 
 
 36 
 
 15 
 
 Sep. 1776. 
 
 Lady Tyrconnel .... 
 
 73 
 
 10 
 
 May, 1781. 
 
 Sir John Taylo 
 
 r, for Dilettanti . 
 
 36 
 
 15 
 
 Jan. 1782. 
 
 Lady Taylor 
 
 . 
 
 52 
 
 10 
 
 July, 1782. 
 
 Lady Talbot 
 
 . 
 
 210 
 
 0 
 
 
 Col. Tarlton. 
 
 Sent to his Mother, near 
 
 
 
 
 Liverpool 
 
 
 210 
 
 0 
 
 Jan. 4, 1785. 
 
 Sir J. Taylor ^ 
 
 
 
 
 
 Lady Taylor 
 
 > 
 
 157 
 
 10 
 
 
 Mr. Graham 
 
 
 
 
 Aug. 1786. 
 
 Lord Tenet (qu. Thanet) . Bill paid in full 
 
 261 
 
 10 
 
 Feb. 1787. 
 
 Hon William Tollemache, for two fancy 
 
 
 
 
 pictures 
 
 . 
 
 147 
 
 0 
 
 
 Lady Bridget 
 
 Tollemache, for a half 
 
 
 
 
 length copy and frame of Lord 
 
 
 
 
 Northington .... 
 
 58 
 
 10 
 
 Feb. 1790. 
 
 Mr. Tomkins, Writing Master 
 
 50 
 
 0 
 
 
 Andrew Thomson, Esq. 
 
 52 
 
 10 
 
 
 Lord John Townsend .... 
 
 50 
 
 0 
 
 
 
 V. 
 
 
 
 
 First Payment. 
 
 
 
 Dec. 1778. 
 
 Lord Vaughan 
 
 ..... 
 
 187 
 
 6 
 
 Nov. 1785. 
 
 Mr. Vander Guteh, for two Children . 
 
 36 
 
 15 
 
 March, 1789. 
 
 Lord Vernon 
 
 
 
 26 
 
 5 
 
 
 Second Payment. 
 
 
 
 Jan. 1778. 
 
 Mr. Vansittart 
 
 ..... 
 
 26 
 
 5 
 
 Jan. 1779. 
 
 A copy of Mr. 
 
 Jos. Vanneck, for Mr. 
 
 
 
 
 Vanneck 
 
 • 
 
 26 
 
 5 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
 0 
 
104 
 
 Nov. 1781. 
 
 Lord V ere ...... 
 
 o 
 
 CO 
 
 15 
 
 0 
 
 Peb. 1790. 
 
 Lord Vernon ..... 
 
 26 
 
 5 
 
 0 
 
 
 W. 
 
 
 
 
 
 First Payment. 
 
 
 
 
 May, 1775. 
 
 Mrs. Weddell 
 
 36 
 
 15 
 
 0 
 
 Feb. 1777. 
 
 Mrs. West ..... 
 
 18 
 
 7 
 
 6 
 
 Mar. 1779. 
 
 Lord Warwick, for a Boy's Head. Kit- 
 
 
 
 
 
 cat, with a portfolio 
 
 52 
 
 10 
 
 0 
 
 Nov. 1780. 
 
 Lord Wandesford .... 
 
 20 
 
 0 
 
 0 
 
 
 Do 
 
 65 
 
 0 
 
 0 
 
 Nov. 1780. 
 
 The Lady Waldegraves; paid by H. Walpole 315 
 
 0 
 
 0 
 
 
 Prince of Wales ; paid by Mr. Robinson 
 
 33 
 
 0 
 
 0 
 
 Aug. 1787. 
 
 Do 
 
 33 
 
 9 
 
 0 
 
 
 Do 
 
 66 
 
 4 
 
 6 
 
 Dec. 1787. 
 
 Do 
 
 70 
 
 7 
 
 0 
 
 June, 1788. 
 
 Do., closing the account of the pictures 
 
 
 
 
 
 sent home ..... 
 
 169 
 
 9 
 
 6 
 
 Mar. 1789. 
 
 Mrs. Watson ..... 
 
 52 
 
 10 
 
 0 
 
 Mar. 1789. 
 
 Mr. W eddell 
 
 261 
 
 5 
 
 0 
 
 May, 1789. 
 
 Mrs. Watson, for a copy; paid by Mr. 
 
 
 
 
 
 Milles ..... 
 
 52 
 
 10 
 
 0 
 
 
 Mr. Wells 
 
 26 
 
 5 
 
 0 
 
 [A page appears to have been torn out here .] 
 
 Second Payment. 
 
 Feb. 1775. 
 
 Sir W. Wrn. Wynn, for St. Cecilia; 
 
 
 
 
 paid by Sir T. Mills 
 
 
 157 10 
 
 0 
 
 Oct. 1775. 
 
 Mr. Whitford .... 
 
 
 36 15 
 
 0 
 
 Oct. 1775. 
 
 Mr. Wentworth 
 
 
 36 15 
 
 0 
 
 June, 1776. 
 
 Lady Worsley .... 
 
 
 157 10 
 
 0 
 
 
 Do 
 
 
 157 10 
 
 0 
 
 Mar. 1776. 
 
 Mrs. Weyland .... 
 
 
 o 
 
 Ox 
 
 O 
 
 0 
 
 Apr. 1776. 
 
 Earl of Winterton 
 
 
 52 10 
 
 0 
 
 Apr. 1776. 
 
 Sir Richard Worsley 
 
 
 157 10 
 
 0 
 
105 
 
 Sep. 1776. 
 
 Mrs. Willet ..... 
 
 o 
 
 CO 
 
 15 
 
 0 
 
 May, 1777. 
 
 Mrs. West ..... 
 
 18 
 
 7 
 
 6 
 
 Feb. 1778. 
 
 Master Wynn, Son of Sir Watkin 
 
 52 
 
 10 
 
 0 
 
 Oct. 1779. 
 
 Lady Winterton .... 
 
 73 
 
 10 
 
 0 
 
 Aug. 1779. 
 
 Lord Wentworth .... 
 
 52 
 
 10 
 
 0 
 
 
 Mrs. Weddell 
 
 36 
 
 15 
 
 0 
 
 Nov. 1780. 
 
 Lord Wandesford .... 
 
 20 
 
 0 
 
 0 
 
 June, 1781. 
 
 Lady Worsley, in a riding-habit ; given 
 
 
 
 
 
 to Mr. Lascelles . .€150 
 
 
 
 
 June, 1782. 
 
 Mr. Wedgwood .... 
 
 52 
 
 10 
 
 0 
 
 
 Mrs. Wedgwood .... 
 
 52 
 
 10 
 
 0 
 
 March, 1785. 
 
 Sir Eardley Wilmot .... 
 
 52 
 
 10 
 
 0 
 
 1784. 
 
 Prince of Wales, with a Horse; given 
 
 
 
 
 
 to Lord Melbourne by the Prince 
 
 315 
 
 0 
 
 0 
 
 Mav, 1786. 
 
 Mr. Whitbread .... 
 
 Prince of Wales ; given to Mr. Bradylle 
 
 105 
 
 0 
 
 0 
 
 
 50 gs. 
 
 
 
 
 Feb. 1790. 
 
 Dr. Woolcot, for a Sleeping Girl 
 
 52 
 
 10 
 
 0 
 
 April, 1790. 
 
 Prince of Wales with a Black 250 gs. 
 
 
 
 
 
 Second Payment. 
 
 
 
 
 Jan. 1783. 
 
 Mr. Wallace 
 
 52 
 
 10 
 
 0 
 
 Aug. 1788. 
 
 Mr. Windham ..... 
 
 52 
 
 10 
 
 0 
 
 June, 1789. 
 
 Mr. Weddell 
 
 26 
 
 5 
 
 0 
 
 July, 1789. 
 
 Mrs. Watson ..... 
 
 52 
 
 10 
 
 0 
 
 
 Mrs. Watson; given to Mr. Mills 
 
 52 
 
 10 
 
 0 
 
 Aug. 1789. 
 
 Sir R. Worsley, for Liberality 
 
 20 
 
 0 
 
 0 
 
 May, 1791. 
 
 Mr. Wells, in full .... 
 
 26 
 
 5 
 
 0 
 
 Feb. 24, 1791. 
 
 Sir Watkins Wm. Wynn, in full 
 
 124 
 
 4 
 
 0 
 
 Y. 
 
 Second Payment . 
 
 Apr. 1775. Mrs. Yates. Paid by Lord Scarsdale . 73 10 0 
 
 Mar. 1779. Archbishop of York, for his picture and 
 a copy 
 
 14 
 
 94 ]0 0 
 
106 
 
 Mar. 1788. Mr. York, for Master York . . .€105 0 0 
 
 Apr. 1788. Archbishop of York, for a copy of Lord 
 
 Mansfield . . . . 42 0 0 
 
 The King and Queen’s Pictures for Governors and 
 Ambassadors. 
 
 Those marked with a star have been paid for. 
 
 9 
 
 * Mr. Eden. Sent home. 
 
 * Lord Malmesbury. Do. 
 
 * Lord Dorchester. Do. 
 
 Col. Carlton. 
 
 * Gov. Seaton. Do. 
 
 * Gov. Phillips, in small. Do. 
 
 * For Dublin Castle. Mr. Weston. 
 
 Lord Effingham. 
 
 Lord Salisbury. Sent home. 
 
 Nov. 28, 1789. Remain in the Academy, five Kings, four Queens. 
 In the house, two Kings and one Queen. 
 
107 
 
 [Cunningham tells us, that Reynolds said his time was worth 
 £5. 5 s. an hour, and by this calculation incidentally informs us, 
 that in the height of his reputation he painted a portrait in four 
 hours. This he might sometimes do, but, I believe. Sir Joshua 
 generally had from six to eight sittings of an hour each. Mr. 
 Charles Rogers sat eight times to Sir Joshua for the portrait in 
 my possession, and always at five o’clock in the afternoon.] 
 
 The price Reynolds had at first 
 
 for 
 
 a 
 
 
 
 
 head was .... 
 
 
 
 £5 
 
 5 
 
 0 
 
 In 1775 it was 
 
 
 
 12 
 
 12 
 
 0 
 
 1758 
 
 
 
 21 
 
 0 
 
 0 
 
 1760 
 
 
 
 25 
 
 5 
 
 0 
 
 1770 
 
 
 
 36 
 
 15 
 
 0 
 
 1780 
 
 
 
 52 
 
 10 
 
 0 
 
 Pocket Book, 1766. 
 
 
 
 
 
 Whole length .... 
 
 . 
 
 £150 
 
 0 
 
 0 
 
 Half length .... 
 
 • 
 
 
 70 
 
 0 
 
 0 
 
 Kit-cat ..... 
 
 . 
 
 
 50 
 
 0 
 
 0 
 
 Head, three quarters 
 
 • 
 
 
 30 
 
 0 
 
 0 
 
 1771. 
 
 
 
 
 
 
 
 ft. 
 
 in. 
 
 
 ft. 
 
 in. 
 
 A three-quarter canvas . 
 
 2 
 
 6 
 
 by 
 
 2 
 
 1 
 
 Half length .... 
 
 4 
 
 2 
 
 by 
 
 3 
 
 4 
 
 Kit-cat .... 
 
 2 
 
 4 
 
 by 
 
 3 
 
 0 
 
 Whole length 
 
 7 : 
 
 10 
 
 by 
 
 4 
 
 10 
 
 TIIE Ei\D. 
 

 London : F. Pickton, Printer, Perry’s Place, 29, Oxford Street 
 
Lately Published , in 8vo, cloth , 12s. 6d., 
 
 SIR JOSHUA REYNOLDS 
 
 AND HIS WORKS. 
 
 GLEANINGS FROM HIS DIARY, UNPUBLISHED MANUSCRIPTS, 
 AND FROM OTHER SOURCES. 
 
 BY WILLIAM COTTON, ESQ. 
 
 EDITED BY 
 
 JOHN BURNET, F.S.A. 
 
 In 8 vo, sewed , 5s., 
 
 A 
 
 CATALOGU E 
 
 OF THE 
 
 PORTRAITS PAINTED BY 
 
 SIR JOSHUA REYNOLDS, 
 
 COMPILED 
 
 FROM IIIS AUTOGRAPH MEMORANDUM BOOKS, AND FROM PRINTED 
 
 CATALOGUES, &c. 
 
 BY WILLIAM COTTON, ESQ. 
 
 LONDO N: 
 
 LONGMAN AND CO., PATERNOSTER ROW; J. R. SMITH, SOHO SQUARE; 
 AND R. LIDSTONE, PLYMOUTH. 
 

GETTY CENTER LIBRARY 
 
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