■v?' •f„4^/r^ 4V 4VJV 4Wt t. A , >», 4 y at /n- -ft. j W.~>uat« . a Al ,A jy fit i "2 ^ h^tn-Ufc.% (St ^TU -**-0 £/r 6 ___£ /€*~ts . lT^ A^. 7 - v «*. ' /i£W>f flcnf QjLv-iJU^a ^ M, B. A. Digitized by the Internet Archive in 2016 https://archive.org/details/lifeofthomasgainOOfulc BY THE BATE WDLOASW8 itor kg |w In , HEW CITJE.C H . On the South- side of which Samsbcroiyh Was buried Auafg&UBd. JL <0>ET ® s LONGMAN, BHOWN, GREEN A LONGMAN'S , 1856 LIFE OF THOMAS GAINSBOROUGH, R.A. BY THE LATE GEORGE WILLIAMS FULCHER, EDITED BY HIS SON. SECOND EDITION. LONDON : Longman, brown, green, and Longmans, 1856. FULCHER, PRINTER, SUDBURY. ?HE GETTY CENTER 1IBRAKY PREFACE TO THE SECOND EDITION. Since its first publication, this volume has been care- fully revised. Some errors, arising from the circum- stances under which it was written, have been corrected. An interesting letter from Gainsborough to the Duke of Bedford, and several valuable notes have been added. The catalogue of the Painter’s works has been enlarged. For which improvements, the reader is partly indebted to the good offices of the Rev. John Mitford ; and for the supplementary “Notes,” to the kind assistance of Peter Cunningham, Esq., F. S. A. E. S. Fulcher. Sudbury , Dec. 16^, 1856. PREFACE TO THE FIRST EDITION. Nearly seventy years have passed away since Gains- borough was borne to the churchyard of Kew. During that period little has been known of his personal his- tory. Within a month of his decease, his early patron, Thicknesse, published a brief memoir, “written,” he says, “ in one day,” — of which we need not here say more, than that it deservedly enjoyed a fame of equal duration. Nine years elapsed, and Smith, the biogra- pher of Nollekens, wrote to Constable, who was then at Ipswich, desiring him to gather what particulars he could concerning the great Painter ; but in the town wherein Gainsborough resided thirteen years, one so enthusiastic as Constable was unable — in May, 1797 — “ to learn anything of consequence respecting him.” Until the year 1829, no reliable narrative of Gains- borough’s life appeared. The curious might, indeed, have acquired a few facts from obituary notices in magazines, from collections of anecdotes, from the biographies of some eminent men ; but previous to the publication of Allan Cunningham’s Lives of the Painters, Gainsborough’s history was a blank to the PREFACE. V world in general. Of the first volume of that pleasing work, twenty-eight pages only were devoted to Gains- borough. A book so extensive in design, was, of necessity, limited in its notice of individuals. In the case of Gainsborough, especially, personal and diligent enquiry in the various scenes of his sojourning being the chief means of obtaining information, the result might well he small. Except in his native county, where he spent almost half his life, there was little chance of Gainsborough finding a biographer. Circumstances of locality gave my Father the opportunity — a true reverence for great men the inclination — and the intervals of relaxation in an active life the means — for collecting materials for a memoir of Gainsborough. Esteeming it a privi- lege to have been born in the same town, to have been educated at the same school, to have loved the same scenes, he felt it also a duty to prepare some memorial of Ills townsman’s genius, to preserve, at least, from oblivion, those traditions to which he had access. Many interesting particulars had been collected, and a portion of this narrative written, when sudden death, in June last, brought my Father’s labors to a close. It thus devolved upon me to complete what he had begun. I wrote to several Artists and Lovers of Art requesting their aid, and amongst those gentlemen who readily responded to my enquiries, furnishing me with much valuable information, I desire most grate- fully to mention the names of John Sheepshanks, Esq. and C. R. Leslie, Esq., R.A. To Mr. Leslie I am also indebted for many useful suggestions, for remarks on some of Gainsborough’s paintings, and for contri- butions to the Catalogue. VI PREFACE. My acknowledgments are especially due to such of Gainsborough’s surviving representatives as have en- lightened me on various points of his history — to R. J. Lane, Esq., A.R.A. ; the Rev. Gainsborough Gardiner ; Gainsborough Dupont, Esq. ; and Mrs. Sarah Browne. I beg further to acknowledge the courteous commu- nications of R. B. Sheridan, Esq., M.P. ; Dr. Hoskins, F.R.S. ; G. H. Christie, Esq. ; J. Britton, Esq., F.S.A ; Rev. J. Freeman, M.A.; J. Bentley, Esq.; G. Beau- foy, Esq.; R. Almack, Esq.; J. C. Denham, Esq.; J. H. Anderdon, Esq. ; G. Constable, Esq. ; J. Wilt- shire, Esq.; C. Empson, Esq.; J. Kent, Esq.; D. R. Blaine, Esq.; J. Ferguson, Esq.; J. O. Parker, Esq.; W. R. Glennie, Esq.; J. Wodderspoon, Esq.; Miss C. Taylor ; Mr. Hogarth, Mr. Carpenter, Mr. R. Deck, and Mr. R. Roe. On looking over my Father’s papers, I find that the Rev. W. J. Bolton, Mr. A. H. Burkitt, Mr. A. Green, and Mr. Herbert, rendered him considerable assistance. In the Catalogue, it would, perhaps, have been im- possible, at this distance of time, to prevent errors and omissions. I shall be truly obliged to him who will enable me to correct the one, and supply the other. E. S. Fulcher. Sudbury , June 1 6th, 1856. CONTENTS. CHAPTER I. PAGE Birthplace and Parentage ... ... ... 1 CHAPTER II. Gainsborough’s Brothers ... ... 11 Early Years CHAPTER III. 22 Ipswich CHAPTER IV. 36 Bath CHAPTER V. 59 London CHAPTER VI. 101 CHAPTER VII. Reynolds’s Tribute ... ... ... ... 158 Vlll CONTENTS. LIST OF GAIN SBOROy GH’S WORKS. PAGE Pictures Exhibited at the Society or Arts 184 Pictures Exhibited at the Royal Academy 186 Pictures in his Possession at his Decease 191 Pictures Exhibited at the British Inst. 196 Portraits of Himself and of his Family 209 Portraits of Members of the Royal Family 211 Portraits of the Nobility ... ... 213 Portraits of Statesmen 217 Portraits of Divines 218 Portraits of Lawyers ... ... ... 219 Portraits of Musicians ... ... ... 220 Portraits of Actors 221 Portraits of Literati 223 Portraits of Soldiers and Sailors ... 224 Miscellaneous Portraits 225 Miscellaneous Landscapes, &c. ... ... 231 Names of Possessors of his Drawings 241 Addenda ... Notes ... ... 242 243 LIFE OF THOMAS GAINSBOROUGH, R.A. CHAPTER I. Uirtjjplitrt 8c ^urmtugt. Thomas Gainsborough was born in the parish of St. Gregory, Sepulchre Street, Sudbury, Suffolk, in the year 1727 — the day or the month is not recorded — and baptised at the Independent Meeting-house, May 14th, in the same year. His father, Mr. John Gainsborough, was a dissenter, but the family of his mother were members of the Church of England, and her brother was a clergyman of that church. The house in which he was born was originally an Inn, and known by B 2 LIFE OF GAINSBOROUGH. the sign of fC The Black Horse.” It was, as shown in the engraving, one of the many old-fashioned buildings which formerly existed in the ancient town of Soutliburgh * with their high gables and overhanging walls, the upper stories projecting some two or three feet over the basements. When a local act was passed in 1825, for the improvement of the town, a clause was inserted, requiring that the houses which were to be thereafter built, “ should be made to rise perpendicular from the founda- tions thereof.” The late Sir Robert Peel, in a debate upon the disfranchisement of the borough, having occasion to refer to this local act, designated it as “ a most extraordinary piece of legislation to compel people to build their houses upright.” The great statesman’s thoughts running more upon the bribery and corruption of the place than its overhanging stories, he appeared almost to doubt whether the political deviations from the upright had not extended even to the construction of the freemen’s dwellings, and to imagine that they had been either built or warped, after the manner of the leaning tower at Pisa. The Grammar School at Sudbury, founded in 1491 and still standing, was in Gains- * Sudbury was so called in opposition to Norwich— the Nortliburgh. &Minsborou^Ji‘s H vrth -p lace, Szidbun/, 1727. BIRTHPLACE AND PARENTAGE. 3 borough’s boyhood kept by his uncle, the Rev. Humphry Burroughs, curate of the Church of St. Gregory. It was here that the embryo Painter received his education : The bench on which he sat, while deep employed, Though mangled, hacked, and hewed, not yet destroyed, The wall on which he tried his graving skill, The very name he carved existing still. Near his initials is a deep cut figure in the mouldering wall, an evident caricature of the schoolmaster, which it requires no very great stretch of imagination to attribute to the pen- knife of Master Gainsborough. Sudbury being one of the first towns in which Edward III settled the Flemish wea- vers who taught the English their art, a number of ancient buildings, denominated wool-halls, existed within living memory. The chief manufactures were “ says ” and “ crapes,” both made of yarn spun from combed wool, and differing: from each other principally in quality and substance. Gains- borough’s father was engaged in this trade. In the deed of conveyance of the house in which the Painter was born, dated May 1722, Mr. Gainsborough is described as a milliner ; in a mortgage deed about three years later, he is mentioned as a clothier; and in 1735 when there were further dealings with the property, 4 LIFE OF GAINSBOROUGH. he is designated a crape-maker. In person, Mr. Gainsborough is represented by his de- scendants as “ a fine old man, who wore his hair carefully parted, and was remarkable for the whiteness and regularity of his teeth.” According to the custom of the last century, when in full dress, he always wore a sword, and was an adroit fencer, possessing the fatal facility of using his weapon in either hand. He introduced into Sudbury the shroud trade from Coventry, which he managed to keep in his own connexion for some time, by the mystery in which he enveloped it. This monopoly he found extremely profitable, and not only travelled himself into distant coun- ties to take orders, but employed a young man named Burr (whose sister the Painter married) as a travelling agent to assist him in his mercantile pursuits. On one occasion, when in his untaxed cart which contained, besides samples of the dresses for the dead, a keg of smuggled brandy for the comfort of the living, some vague information of his sup- posed delinquencies was given to a revenue officer, who, on a bright moonlight night, took occasion to enquire what he had in his cart? “ I’ll sIioav you,” was the ready answer, and catching up a shroud he enveloped his tall BIRTHPLACE and parentage. 5 figure in the ghostly dress, to the astonishment and speedy departure of his weak-nerved nocturnal visitor. Mr. Gainsborough occasionally extended his travels into France and Holland. His business at that period was very extensive, but he lost much by bad debts, owing to that kindness of heart which would not allow him to press for payment when his debtors were in difficulties. He also resolutely refused to avail himself of a practice common in the trade, of taking what is termed “ toll ” from the spinners’ earnings, which amounted to nearly one third of their small weekly wages. The old gentleman brought up a large, and, with the single exception of his youngest son Thomas who supported himself after he was eighteen, a very expensive family, consisting of nine children, five sons and four daughters. The latter were all married : Mary, to a dis- senting minister of Bath, named Gibbon; Susannah, to Mr. Gardiner of the same gay city ; Sarah married Mr. Dupont, and Eliza- beth, Mr. Bird, both of Sudbury, where they lived and died. In the next chapter we purpose giving a few particulars of the Painter’s bro- thers, J ohn, Humphry, Matthias, and Robert. Some of the family portraits by Gainsborough, 6 LIFE OF GAINSBOROUGH. are still in the possession of his relative, Mr. Dupont of Sudbury. Gainsborough’s father died Oct. 29th, 1748, aged sixty-five, and was buried in the churchyard of St. Gregory, Sud- bury, where a stone is erected to his memory. The Artist’s mother, whose maiden name was Burroughs, was a woman of a well cul- tivated mind, and, amongst other accomplish- ments, excelled in flower painting. Did her painter boy imbibe his love of the art from his mother’s beautiful copies ? She af- fectionately encouraged him in his juvenile attempts at drawing, and lived to see her fondest wishes realized in her son’s acknow- ledged eminence in that pursuit which she had probably been the means of first awakening. Gainsborough was high in fame at Bath when his mother died ; she was buried in the ceme- tery of the Independent Meeting-house, Sud- bury, on the 24th of May, 1769. The dilapidated and antique buildings, which, as we have said, in Gainsborough’s boyhood encumbered and disfigured the streets of his native town, were in the eyes of the Painter positive beauties, from the same artis- tic feeling which made him say to a Lutanist, who objected to accompany him home on ac- count of his week’s redundant beard, 66 do you BIRTHPLACE AND PARENTAGE. 7 think if Vandyke were going to paint you, he would have you shaved ? ” Its then unpaved thoroughfares were at irregular intervals en- croached upon by uncouth porches, ornamented with carvings still more uncouth, antediluvian monsters and zoology-defying griffins, whose antiquity was their only recommendation. Doubtless these curious figures often attracted the notice of the young Painter on his way to school, and probably employed his earliest pencil. He told Thicknesse,* his first patron, that “ there was not a picturesque clump of trees, nor even a single tree of any beauty, no, nor hedge-row, stem, or post ” in or around his native town, which was not from his earli- est years, treasured in his memory. The house in which Gainsborough was born © had a spacious and well-planted orchard an- nexed to it, and several of the trees are still standing that were there in the Painter’s boy- hood. Amongst them is the Pear-tree, the robbery of which, as will be hereafter related, furnished his first attempt at portrait painting. * Sketch of the Life and Paintings of Thomas Gainsborough, Esq., by Philip Thicknesse. London: Fores, 1788. The style of this curious publication is so defiant of all the rules of composition that alterations for grammar’s sake have been occasionally made in the quotations. The Author desires to acknowledge the courtesy of an unknown friend who sent him a M.S. copy from the British Museum. 8 LIFE OF GAINSBOROUGH. Some twelve years ago, drawings of this house, that in which he died, and the Church at Kew, where he was interred, were sent by the Author to his old and valued friend Bernard Barton, an ardent admirer of the paintings of Gains- borough. They suggested to the Bard of Woodbridge the following poem : — GAINSBOROUGH’S HAUNTS. “ Call it not vain ! they do not err Who say that when the Poet dies, Mute nature mourns her worshipper, And celebrates his obsequies ; ” Nor should we less the memory prize Of him, whose imitative art, Transcripts of nature still supplies, To charm the eye, and touch the heart. And, tried by this unerring test, Thine, Gainsbro’ is no transient thrall ; Scenes by thy magic pencil drest, From many an else blank, lifeless wall, Yet plead for thee, and at their call, Love, admiration, fondly wake, In lowly cot, or lordly Hall, To honour thee, for nature’s sake. Most wisely has thy genius plann’d Works that have shed around thy name, Throughout thy lov’d and native land, A Painter’s— and a Patriot’s fame ! For well he plays a Patriot’s part, And every Patriot’s thanks hath won, Who honours, by his noble art, His country’s worth— as thou hast done ! And for this cause we would enshrine, With grateful homage, justly due, Each haunt a memory priz’d as thine. Has made no common vulgar view : BIRTHPLACE AND PARENTAGE. 9 Giving, in pictured semblance true, The House antique where thou wast born — The Orchard, where thy boyhood drew “ Tom Peartree ” in life’s early morn: To these we add — what could we more? The Pile which saw thy mortal close, The Churchyard where, time’s conflict o’er, Thy reliques quietly repose : There, till the grave with teeming throes, Hear the last trumpet’s echoing breath, Shalt thou partake the lot of those Whose memories triumph over death ! Painter, farewell ! ’mid scenes that nurst Thy genius, where thy youthful eye First studied nature, and where first Thy hand aspir’d its skill to try — Fain would a Suffolk Poet vie In praise of merit like thine own ; And gratefully, in passing by, Thus throw upon thy cairn a stone. N ot far from Gainsborough’s garden stood th e ruins of the palace of Simon Sudbury, Arch- bishop of Canterbury in 1375, who was be- headed by the rabble in Wat Tyler’s rebellion. In Gainsborough’s childhood it was occupied as the parish Poor-house — “ to what vile uses may we come, Horatio.” Many a time must the embryo Painter have sketched its gothic arches, nodding to their fall, the elaborate tracery of its ruined windows, entwined with the ivy green ; and many a time must he have stood in boyish wonder before the grim head of the Archbishop, which is enclosed in a niche in the wall of the adjacent Church of St. Gregory. 10 LIFE OF GAINSBOROUGH. Whilst there was so much that was pictur- esque in the town of Sudbury, the surround- ing country was not deficient in grace or beauty. The woodman’s axe had not then thinned the old ancestral trees, nor had the railway broken in upon its rustic retirement. Constable, nurtured amid the same scenery, dwells with lingering fondness on “ its gentle declivities, its luxuriant meadow-flats sprinkled with flocks and herds, its well cultivated up- lands, its woods and rivers, with numerous scattered villages and churches, farms and pic- turesque cottages.” These scenes of his boy- hood, he was wont to say, made him a painter ; and they were not without their influence on the warm heart of Gainsborough. His pen- cil has often portrayed the most striking features of his native landscapes, as in A View near Sudbury , and A View of Henny Church ; the former exhibited at the British Institution in 1814, the latter in 1831. The river Stour, which, in its course to the ocean, follows Hogarth’s line of beauty in all its graceful variety, was ever dear to him ; and fifty years intercourse with the world, and long acquaintance with far nobler streams, en- riched with far grander scenery, could not alienate his affections from the river of his boyhood. CHAPTER II. dainstinrnugji’s 33rntl;n's. That a Prophet is without honor in his own country, and in his father’s house, hears the impress of inspiration. The Editor of the Life of Robert Hall informs us, that when he visited the birthplace of that eloquent divine, for the purpose of procuring biographi- cal information, he found the minds of the good people of Arnsbey, much more impressed with admiration of the comparatively unknown sire, than of the highly-gifted son. The elder Mr. Hall was also a Baptist minister, and one of his venerable hearers, after some deprecia- tory remarks upon the strange notions of the son, observed : “ The father, sir, was the preacher ; he was the man to keep pounding away at a sinner’s conscience, till he made him 12 LIFE OF GAINSBOROUGH. feel.” Had the biographer of Gainsborough visited Sudbury upon a similar mission, he would have found the Painter’s eccentric brother John, or as he was familiarly called “ Scheming Jack,” much more freshly remem- bered than the Poyal Academician with all his wide-spread celebrity. J ohn Gainsborough’s reputation, however, was acquired not so much by what he achieved, as by what he attempted and failed to accomplish. Like the young member of parliament ridiculed by Sheridan, though often “ conceiving ” he “ brought forth nothing.” Gainsborough used pleasantly to say, that he never knew J ohn to finish anything. “ Curse it,” was the Schemer’s familiar phrase when foiled in any of his undertakings, “some little thing was wrong; if I had but gone on with it I am sure I should have succeeded, but a new scheme came across me.” Fortunately for the busi- ness of the world, his schemes were such as occur to the minds of few. He abhorred the beaten track. He was continually endeavour- ing “ to commit miracles in art, and treason against nature.” We do not know that he ever turned alchemist, and laboured to dis- cover the philosopher’s stone, but with this exception, there was scarcely any delusion which did not influence him. HIS BROTHERS. 13 One of the schemes which occupied his mind was that of fabricating a pair of wings, and taking his flight away, away through fields of air. All his mechanical genius was taxed to construct them light enough to be opened and shut with ease, and yet strong enough to support the weight of his body. We doubt whether the reasoning which con- vinced Johnson’s Rasselas of the possibility of flying, ever met the eye of John Gains- borough, but the sentiments were clearly his own : “ He that can swim, needs not despair to fly — to swim is to fly in a grosser fluid, and to fly is to swim in a subtler.” But here Johnson and Jack parted company. The Doctor thought the flexible, folding continuity of the bat’s wing, most easily adapted to the human frame : Jack thought otherwise, and constructed his wings of metal. The differ- ence of the material, however, made very little difference in the result. On a morning appointed, he appeared on the top of a neigh- bouring summer-house, a crowd of spectators having assembled to witness his ascent. Wa- ving his pinions awhile to gather air, he leaped from its summit, and, in an instant, dropped into a ditch close by, and was drawn out amidst shouts of laughter, half dead with fright and vexation. 14 LIFE OF GAINSBOROUGH. Amongst other acquirements John had some knowledge of painting, but his patrons, it seems, were not rumarkable for their gene- rosity or discrimination. Upon one occasion he was waited on by the landlord of a village inn, known as “ The Bull,” who was ambitious of having a new sign “ by Gainsborough,” but restricted the price to twenty shillings. John demanded thirty: Boniface, however, was in- exorable — he would not advance a single six- pence. The artist described in glowing colors the prospective merits of the picture, and, in addition to other recommendations, mentioned that the Bull should be drawn fastened down with a gold chain, in itself worth ten shil- lings. Still the landlord would not raise his terms. The bargain was struck, the sign painted and hung up before the alehouse, where it swung to and fro, the admiration of the villagers and the envy of all the other publicans, till a heavy shower falling one night washed out every vestige of the animal. In the morning the Bull had vanished — dis- appearing as suddenly as the warriors of Roderick Dhu : The sun’s last rays had glinted back, From his bright sides of polished black, The next, all unreflected shone On the bare board,— the Bull was gone ! HIS BROTHERS. 15 The landlord in great wrath waited upon Scheming Jack for an explanation. cc It is your own fault,” said the indignant painter, “ I would have chained him down for ten shillings and you would not let me, the Bull therefore, finding himself at liberty has run away.” The fact was that he had purposely painted the sign in distemper instead of oil, which the first shower washed out. Apart from his eccentricities and chimerical schemes, John Gainsborough had unquestion- able skill in mechanics, but lacking perseve- rance it proved of little use to him. Thick- nesse, in his “ Sketch of the Life of Thomas Gainsborough,” published shortly after the Painter’s death in 1788, gives the following characteristic account of this singular man: “ I never saw John Gainsborough but once, and that is more than twenty years ago, but passing through Sudbury, where he has al- ways resided, I visited him as a friend of his brother, but previous to seeing him, I sat an hour with his wife — asked her whether Mr. Gainsborough, her brother, did not assist them ? tf Oh yes ! ’ said she, f he often sends us five guineas ; but the instant my husband gets it, he lays it all out in brass work to dis- cover the longitude.’ At that instant her 16 LIFE OF GAINSBOROUGH. longitudinal husband appeared — he would not suffer me even to tell him my name, or that I was a friend of his brother, but brought forth his curious brass work, and after showing me how nearly it was completed, observed that he only wanted two guineas to buy brass to finish it. I could hardly determine whether his deranged imagination, or his wonderful ingenuity, was most to be admired ; but I in- formed him that I had not capacity to conceive the genius of his unfinished work, and there- fore wished him to shew me such as was completed. He then shewed me a cradle which rocked itself, a cuckoo which would sing all the year round, and a wheel that turned in a still bucket of water. He in- formed me that he had visited Mr. Harrison and his time-piece ;* c but,’ said he, ‘ Harrison made no account of me in my shabby coat, for he had Lords and Dukes with him. After he had shown the Lords that a great motion to the machine would no ways affect its regularity, I whispered him to give it a * Harrison made a time-keeper in 1759, which in two voyages was found to correct the longitude within the limits required by the Act of Parliament, 12th Anne, 1714; and in 1763, applied for the reward of £20,000 offered by that Act, which he received. John Gainsborough forwarded his time-keeper to the proper authorities, and though the result did not fully answer his expectations, a sum of money was awarded him for his ingenuity. HIS BROTHERS. 17 gentle motion; Harrison started, and in re- turn whispered me to stay, as he wanted to speak to me after the rest of the company were gone.’ I then took my leave of this very eccentric and unfortunate man, without giving him the two guineas he solicited, and now lament that he has lost the aid of his excellent brother, for, alas ! without aid he cannot subsist, and must be verging upon, if not fourscore years of age, for he said he was several years older than his brother Thomas.” In John Gainsborough’s declining years, the ruling passion appeared to gather strength, and he would stand by the hour together, drawing: diagrams with his stick on the sanded floor, indifferent to all that was passing around him. At length he determined that he must go to the East Indies to prove his inven- tion for the discovery of the longitude, and had reached London on his way thither, when he was taken ill and died. After his de- cease, his house at Sudbury was found near- ly filled with brass and tin models of every size and form, most of them in an unfinished state. Humphry Gainsborough, the Painter’s second brother, settled as a dissenting Minister at Henley-upon-Thames. Like his brother C 18 LIFE OF GAINSBOROUGH. John, he possessed great mechanical skill, and his brief history, interesting in itself, is also important as tending to show how largely that essential element in the genius of a Painter was developed in his family. Mr. Edgeworth, the father of the distinguished authoress, a gen- tleman possessing considerable knowledge of mechanics, was intimately acquainted with Humphry Gainsborough, of whom he says in his Memoirs, that he had “never known a man of a more inventive mind,” As a proof of the justness of this remark, we may mention that his experiments upon the steam engine were far in advance of his time. Indeed, it was stated by his family and friends, that Watt owed to him one of his great and fundamental improvements, that of condensing the steam in a separate vessel. Certain it is that Mr. Gainsborough had constructed a working model of a steam engine, to which his disco- veries were applied, and that a stranger, evi- dently well acquainted with mechanics, and supposed to be connected with Watt as an engineer, was on a visit at Henley and called upon him, to whom he unsuspectingly showed his model and explained its novelties. His relatives have assured the Author that such was the fact, and that the circumstance of HIS BROTHERS. 19 having thus lost the credit of his discovery, made a deep and melancholy impression upon his mind. The truth of this statement receives also strong corroboration from the remarks of Thicknesse, who says : “ Mr. Gainsborough ” (the Painter) “gave me, after the death of his clergyman brother, the model of his steam engine: that engine alone would have fur- nished a fortune to all the Gainsboroughs and their descendants, had not that unsuspicious, good-hearted man, let a cunning, designing artist see it, and who surreptitiously carried it off in his mind’s eye.” Watt obtained his first patent for performing condensation in a separate vessel from the cylinder, in 1769; it was renewed in 1775. Humphry Gains- borough died in 1776. His reputation depends not, however, upon the partial kindness of friends. There is in the British Museum a sun-dial of very curious workmanship, presented by Thicknesse, who describes it “ as capable of pointing the hour to a second, in any part of the world; it stands upon three brass claws, and has the name, Humphry Gainsborough , deeply cut in it.”* * Mr. Edgeworth also alludes to this ingenious piece of mechan- ism. “ Amongst other contrivances by Mr. Gainsborough,” he observes, “ I remember to have seen a dial, which shewed time distinctly to one minute, without the assistance of wheel-work or microscopes.” 20 LIFE OF GAINSBOROUGH. He anticipated the modern invention of fire- proof boxes, and presented one of his own construction to a friend. Its utility was put to the test, the house being shortly after destroy- ed by fire, when the box was dug out of the smouldering ruins, and its contents were found uninjured. For a tide-mill of his invention he obtained a premium of fifty pounds from the Society for the Encouragement of Arts. These contrivances were the employment of Mr. Gainsborough’s leisure hours, and were never suffered to interfere with his sacred duties. So exemplary was he in the perform- ance of them, and so generally beloved, that some gentlemen of high rank in the neigh- bourhood of Henley, offered him preferment if he would enter the Established Church. But his reply was similar to her’s, who refused to be spoken for to the king or to the captain of the host: “I dwell among mine own peo- ple.” The death of this ingenious and worthy man was awfully sudden, reminding us of that of a late lamented statesman. He had accepted an invitation to dine with some friends at a short distance from his own resi- dence, and not making his appearance at the time appointed, they went in search of him, and found him lying dead by the road side. HIS BROTHERS. 21 A monument is erected to his memory in the chapel where he laboured so long and use- fully. Of Gainsborough’s remaining brothers — Matthias and Robert, little is recorded. The former died in youth ; while running out of a room with a fork in his hand he suddenly fell, and the prongs entering his forehead, death ensued. Robert resided in Lancashire; but we know not what was his calling, or whether he was a participator in the talent which dis- tinguished the other members of his family. It is current, that he eloped with his first wife, that he was twice married, and that he had three children. CHAPTER III. #itrlt[ If Gainsborough’s mother had belonged to that happily almost obsolete class. Who e’en in infancy decree, What this, what t’other son shall be, his early predilection for drawing would doubt- less have guided her judgment. Thicknesse, always guiltless of chronology, says that “the first effort Gainsborough made with a pencil, was a group of trees,” which he presented to his patron ; in whose opinion it was such “ a wonderful performance as not to be un- worthy of a place in one of the Painter’s best landscapes.” But there never was a boy- painter — the Art requires a long apprentice- ship, being mechanical as well as intellectual.* “At the same time,” continues Thicknesse, * Constable, EARLY YEARS. 23 “ that lie gave me this his maiden drawing, it was accompanied with a great many sketches of trees, rocks, shepherds, ploughmen, and pastoral scenes, drawn on slips of paper or old dirty letters, which he called his riding school” Whatever may have been the merit of these particular drawings, and whenever the period of their production, it is certain, from the remark of Thicknesse which we quoted in our first chapter, that Gainsborough was dis- tinguished when but a child, for a habit of observation. Allan Cunningham says, that “at ten years old, Gainsborough had made some progress in sketching, and at twelve, was a confirmed painter.”* Before the close of his first decade, he was placed at the Grammar School of his uncle, the Bev. Humphry Burroughs, whose wife was a daughter of the learned Dr. Busby. Presuming, perhaps, on the forbearance of his relative, most of the hours which should have been devoted to study, were employed in making rude sketches on the covers of his books, and when they were filled, those of his schoolfellows were put in requisition, who were delighted with his ready pencil, and proud to have them thus adorned. Whilst * The Lives of the British Painters. Vol. I. 24 LIFE OF GAINSBOROUGH. he was engaged in sketching some well-re- membered landscape or laughter-loving face, they busied themselves in preparing his arith- metical exercises, and extracted the cube roots of the vulgar fractions with an accuracy which completely imposed upon his worthy relative, leaving young Gainsborough at liberty to pur- sue his ruling passion. His father, actively employed in business, was for some time un- acquainted with the peculiar talent of his son, when an accidental circumstance, which at first occasioned the old gentleman consider- able uneasiness, discovered it to him. Thomas was never so well pleased as when he could obtain a holiday and set off with his pencil and sketch-book, on a long summer day’s ramble through the rich hanging woods which skirted his native town. An expected treat of the kind having been refused him, the boy, determined not to be disappointed, presented to his uncle the usual strip of paper, “ Give Tom a holiday,” in which his father’s hand- writing was so closely imitated that not the slightest suspicion of the forgery ever entered the mind of Mr. Burroughs. Gainsborough accordingly set off on his rustic excursion, animated by that feeling of trembling hope which makes playing the truant, like other for- EARLY YEARS. 25 bidden pleasures, such an exciting treat. He returned in the evening, liis paper filled with woodland scenery : there were sketches of oaks and elms of majestic growth, clumps of trees and winding glades, sunny nooks and running water, that plainly indicated his love of the art. But, alas, something had occurred during his absence which caused an inquiry to be in- stituted, and Tom was returned absent with- out leave*” Although he had copied his father’s autograph so cleverly, the trick was found out, and the old gentleman, having a most mer- cantile dread of the fatal facility of imitating a signature, involuntarily exclaimed, “ Tom will one day be hanged.” When, however, he was informed how the truant school-boy had employed his stolen hours, and his son’s multifarious sketches were laid before him, he changed his mind, and with a father’s pride, declared, “ Tom will be a genius.” At the back of the house in which Gains- borough was born, there was, as we have ob- served, a spacious orchard. It was separated only by a slight fence from the public road, and the clusters of ripe fruit had long proved too strong a temptation for some of the passers-by. But no clue could be obtained likely to lead to the detection of the culprits, until one morning. 26 LIFE OF GAINSBOKOUGH. young Gainsborough having risen very early, proceeded to a rustic summer house at the further end of the orchard, and there com- menced a sketch of one of the picturesque trees in the enclosure. Whilst thus employed, he observed a man’s face peeping over the fence and looking most wistfully at the mel- low pears. The youthful portrait-painter im- mediately made a sketch of his features, in which roguery and indolence, hope and fear, were happily blended ; ' I dare not, evidently waited on, I would. After gazing about him, he proceeded to scale the fence and climb the tree, when Gainsborough emerged from his hiding place, and the man decamped. At breakfast, Tom related the story, and laid upon the table a faithful likeness of the ma- rauder, who was immediately known to be a man living in Sudbury. On being sent for and taxed with the felonious intent, he stoutly denied it, till the boy produced the portrait, and shewed him how he looked when about to break the eighth commandment. This ju- venile effort was preserved for many years, and Gainsborough ultimately made a finished painting of it, under the title of Tom Pear- tree’s Portrait.” In the meridian of his fame, he often referred to it with those pleasurable EARLY YEARS. 27 feelings with which we invariably look back on the efforts of our boyhood, before the sky is overcast by the gathering clouds which will flit across the brightness of our mid-day sun. His friends now began to think that some- thing might be made of a lad possessing so true an eye and so ready a hand. Consultations were held, opinions canvassed, and Mr. Bur- roughs (seeing that Thomas had made such pro- gress in his studies ! ) recommended his remo- val to London. Accordingly, in his fifteenth year, Gainsborough left Sudbury for the great metropolis. cc The person at whose house he principally resided,” observes a writer in the Gentleman’s Magazine ,* ee was a silversmith of some taste, and from him, Gainsborough was ever ready to confess he derived great assist- ance.” It was, probably, this silversmith who procured him an introduction to Gravelot the engraver, under whose instructions he acqui- red some skill in the art, which in after life he occasionly practised, f Mr. Gravelot also obtained for him admission to the Academy in St. Martin’s Lane; and, shortly after, * August, 1788. t Gainsborough’s biographers state that he etched but three prints : “ one for his friend Kirby’s Perspective ; the second an oak- tree, with gipsies ; and the third, a man ploughing on the side of a rising ground.” Through the kindness of Mr. Constable of Arundel, the Editor is enabled to correct this mistake. That gentleman obli- 28 LIFE OF GAINSBOROUGH. Gainsborough left his studio for that of Hay- man, who was then esteemed the best histori- cal painter in the kingdom. He was equally famous for his convivial habits. Cipriani, in- deed, subsequently surpassed him as an artist, but Fleetwood never excelled him in a bottle contest. “ In his private character,” says one of the Editors of Pilkington, “ Hayman pos- sessed good qualities, but blended with ve- hement passions, that rendered his society disagreeable.” He sought his amusement in taverns, clubs, and brothels. He was fond of athletic exercises, preferred the ring to the studio, Figg’s amphitheatre to the Academy. Those who disputed his supremacy in matters of art, never questioned his ability to decide on the comparative merits of the boxers of Smithfield and Moorfields. It is said that he occasionally introduced his pugilistic practises into the painting room, and engaged in an gingly sent him tracings from fifteen prints, designed and engraved by Gainsborough, representing other subjects than those enume- rated. The originals, (in size about 14in. by loin.) were published by Boydell shortly after the Painter’s death, and chiefly illustrate English scenery. Those entitled The Watering Place— similar in its design to the well known picture in the Vernon Gallery— Even- ing, and Repose are very spiritedly executed, closely resembling his chalk drawings. Gainsborough’s biographers further state “ that he attempted two or three plates in aqua-tinta, but with little suc- cess.” Mr. Constable has three prints by that process, which are far from being unsuccessful performances, one of them is most carefully finished. EARLY YEARS. 29 encounter with a sitter, previous to the taking of his portrait. The coarseness of Hayman’s mind appeared in his works, his figures were mannered and ungraceful, his pictures are rarely met with, and his name is now almost forgotten.* From such an artist, and from such a man, Gainsborough could learn little of painting and less of morality. Whatever was questi- onable in his after conduct, must, in a great measure, be attributed to his early removal from home-influence, and to Hayman’s exam- ple. Whatever knowledge he acquired of his art, beyond its elements, was gained from other instructors than Hayman, and elsewhere than at the Academy in St. Martin’s Lane. That institution indeed, could furnish a stu- dent with scanty means of improvement. Its members consisted for the most part of indif- ferent engravers, coach painters, scene paint- ers, drapery painters — * Smith, in his Life of Nollekens, relates the following charac- teristic anecdote: “Quin and Hayman were inseperable friends, and so convivial, that they seldom parted till daylight. One night, after ‘beating the rounds,’ and making themselves gloriously drunk, they attempted, arm in arm, to cross a kennel, into which they both fell, and when they had remained there a minute or two, Hayman, sprawling out his shambling legs, kicked Quin. ‘ Hollo ! what are you at now?’ stuttered Quin. ‘At? why endeavouring to get up, to be sure,’ replied the fainter, ‘for this don’t suit my palate .’ * Poh ! ’ replied Quin, ‘ remain where you are, the watch- man will come by shortly, and he will talce us both up: ” 30 LIFE OF GAINSBOROUGH. Of men who might have made good jailors, Nightmen, or tolerable tailors, and who dogmatised on the subject of art, while they understood few" of its principles. Their absurd productions, their rules and doc- trines, afforded infinite scope for the genius of Hogarth, who satirized them with his pencil, with his graver, and with his pen. “ They follow,” said he, “ the standard so righteously and so laudably established by picture dealers, picture cleaners, picture frame-makers, and other connoisseurs.” Nature had little part in their studies. Pictures were not looked upon as her interpreters. “ The canvass was thrust between the student and the sky — tradition, between him and God.” Truth, grace, and beauty, were, therefore, seldom found in their works. Coarseness and vulgarity character- ized their portraits ; lifelessness, their land- scapes ; and inconsistency, their historical de- signs. But the student was not long to be in bondage. A revolution in art was at hand. Wilson was now in London, and Reynolds was passing through the ordeal of Hudson’s studio.* Young as Gainsborough was, he could not but see the incompetency of the artists by * Barry speaks of the state of English Art at this period as “ disgraceful ; ” Fuseli, as “ contemptible ; ” and Constable as “ degraded.” EARLY YEARS. 31 whom he was surrounded. Three years spent amid the works of the painters in St. Mar- tin’s Lane were not, however, without their influence upon his own productions; and it is not to he wondered at, that his “ early por- traits have very little to recommend them.”* At the end of that period he resolved to begin the practice of Art for himself. He hired rooms in Hatton Garden, where he com- menced painting landscapes, and portraits of a small size. The former he sold to picture dealers at their own terms; for the latter, his price was from three to five guineas. He also practised modelling, and attained to great excellence in his figures of cows, dogs, and horses : Cf there was,” it is said, “ a cast in the plaister shops from an old horse that he model- led, which had peculiar merit.” A year thus employed did not furnish very satisfactory re- sults. Sitters were few ; dealers proved poor paymasters ; and clay figures yielded but little sustenance. He therefore determined to leave London ; and packing up canvass and colors returned to his native town, from which he had been absent four years. Gainsborough now began to study land- scape, where only faultless painting can be * European Magazine, August 1788. 32 LIFE OF GAINSBOROUGH. found in the woods and fields. The Suf- folk ploughmen often saw him in the early- morning, sketch-book in hand, brushing with hasty steps the dews away ; and lingering in the golden light of evening, taking lessons from the sun-set clouds floating in changeful beauty, as if an angel’s hand had traced the scene. One of these home landscapes hung for many years in the house where the Painter was born : it was purchased by the Author, and is certainly a pleasing performance, but does not indicate that extraordinary talent at- tributed to him in early life by Thicknesse. “It happened,” says Allan Cunningham, “in one of Gainsborough’s pictorial excursions amongst the woods of Suffolk, that he sat down to make a sketch of some fine trees, with sheep reposing below and wood-doves roosting above, when a young woman entered unexpectedly upon the scene, and was at once admitted into the landscape and the feelings of the artist.” This is truly a pretty picture but not correctly drawn. When the brilliant ro- mance of life fades into its dull reality, as Campbell says of the philosophic analysis of the rainbow — “ Oh ! what a lovely scene gives place To cold, material laws.” EARLY YEARS. 33 The young lady’s name was Margaret Burr : her brother, as we have observed, was a com- mercial traveller in the establishment of Gains- borough’s father, and this, as a matter of course, led to an acquaintance with the family. The memory of Miss Burr’s extraordinary beauty is still preserved in Sudbury; and that a beautiful girl should wish to have her portrait painted by her brother’s young friend, naturally followed as cause and effect. The sittings were numerous and protracted, but the likeness was at last finished, and pro- nounced by competent judges, perfect. The young lady expressed her warm admiration of the Painter’s skill, and in doing so, gave him the gentlest possible hint, that perhaps in time he might become the possessor of the original. On that hint he spake, and, after a short courtship, was rewarded by her hand and with it an annuity of two hundred pounds. Considerable obscurity hung over the source of this income. Gainsborough’s daughters told the Author’s informant, that “ they did not know any thing about it ; the money was regularly transmitted through a London bank, and placed to Mrs. Gainsborough’s private ac- count.” Allan Cunningham in remarking upon this subject, observes — “Mrs. Gainsborough D 34 LIFE OF GAINSBOROUGH. was said to be the natural daughter of one of our exiled princes ; nor was she, when a wife and a mother, desirous of having this circum- stance forgotten. On an occasion of household festivity, when her husband was high in fame, she vindicated some little ostentation in her dress, by whispering to her niece — now Mrs. Lane : c I have some right to this, for you know, my love, I am a prince’s daughter.’ ” The late Mr. Thomas Green of Ipswich, a gentleman much esteemed by Sharon Turner for his literary abilities, has the following entry in his Diary of a Lover of Literature : “ Much chat with Mrs. Dupuis, respecting Gainsborough, who lived here .... his wife Margaret, natural daughter of the Duke of Bedford.”* But from whatever source de- rived, the annuity placed the newly-married pair in comfortable circumstances, first, in Friars’ Street, Sudbury, and soon after in Ipswich. Gainsborough was in his nineteenth year, and his wife a year younger. When they were expected home, an old servant of the family was sent by the Painter’s father to meet the bride and bridegroom. On his * Thicknesse, who had a most implacable hatred of Mrs. Gains- borough, styles her— “ a pretty Scots girl, of low birth, who by the luck of the day, had an annuity settled upon her for life of two hundred pounds.” EARLY YEARS. 35 return, announcing tlieir near approach, the old man gave it as his opinion, that “ Master Tommy’s wife was handsomer than Madame Ivedington” — then the belle of the Sudbury neighbourhood. CHAPTER IV. Spstnitlj. Not presuming on liis youth, talents, or the annuity, Gainsborough, about six months after his marriage, hired a small house in Brook Street, Ipswich, at a yearly rent of six pounds. He found the inhabitants of that town occupied with other matters than the Fine Arts ; that their idea of the picturesque was the factory or the wharf; their line of beauty, their line of business ; and their con- stant enquiry — What ships arrived? and, how are stocks to-day? Who’s dead? who’s broken? and, who’s rnn away? In the course of time, however, a commission came. A wealthy Squire in the vicinity, having heard that Gainsborough, the painter. IPSWICH. 37 was in Ipswich, sent one of his servants with a message that he desired to speak to him. Gainsborough speedily attended the summons, picturing to himself in the meanwhile the nature of the work he might be required to perform, whether a family portrait, or view of the domain which included a noble mansion, lofty and picturesque trees with deer in abun- dance grazing beneath the spreading foliage. Arrived at the Hall, he was ushered into the presence of his new patron, who received him as patrons are accustomed to receive their pro- teges. Gainsborough was not surprised at this reception, and only thought of the business for which he was required. The Squire having opened a window leading to the lawn, request- ed the Painter to follow him, as the latter not unreasonably thought, to point out some advan- tegeous spot from which to take a view of the mansion. He listened to what seemed a ram- bling calculation as to the dimensions of the doors and windows, the number of palings round the house, the broken panes in the garrets and hot-house, till the Squire turning to Gainsborough, requested his estimate for repairing the whole. Some moments elapsed before the awful conviction struck the aspiring genius, that he had been mistaken for a painter 38 LIFE OF GAINSBOROUGH. and glazier ! A look of scorn at the Squire concluded the scene, and turning on his heel, Gainsborough left him to discover his error. Patronage even of the plumbing and gla- zing kind seldom disturbing Gainsborough’s leisure, he had ample opportunity for gratify- ing his love of nature. A new phase of sce- nery now presented itself. At Sudbury, his pencil had been chiefly employed in sketching peasant children, rustic cottages, and sunny lanes; but here less homely subjects composed the landscape. Instead of the river Stour with its green pastures, its stunted pollards and drooping willows, the old majestic Orwell, celebrated in the verse of Chaucer and Dray- ton, held on its noiseless course; its waters bearing along to the ocean the light skiff and the lazy collier-boat; its banks bordered by gently rising hills, enriched with stately man- sions, and noble trees ; whilst the country around, gradually deserted by hall and home, spread before the view an endless variety of scene. Gainsborough was not unmindful of these advantages, and earnestly sought to im- prove them. He did not merely make his sketch-book the companion of his walks ; he carried his palette into the open air, and painted with the living object before him. IPSWICH. 39 Every striking combination of foliage, every picturesque group of figures that met his eye, was at once noted down ; the numerous stu- dies he now made, abundantly proving the truth of Reynolds’s remark, “ there is no easy method of becoming a good painter.”* One day as he was sketching near Freston Tower on the banks of the Orwell, a stranger who was passing, paused to watch the progress of his pencil, and after looking on in silence for a few minutes, introduced himself to Gains- borough as cc J oshua Kirby. ” A warm friend- ship, strengthened by kindred pursuits, com- menced between them.f Many a long day’s ramble they took together; many a sketch was made of the quaint old house in the Butter Market, Ipswich ; and many a winter evening did they spend in each other’s com- pany, discoursing on the art they loved, whilst the future Mrs. Trimmer, perchance, sat draw- * Mrs. Edgar, of tlie Red House, Ipswich, is in the possession of several admirable water-color drawings executed by Gainsborough at this period, and given by him to one of her ancestors. It may be mentioned, as tending to show how carefully the Painter pre- pared his studies notwithstanding their apparent want of elabora- tion, that the object of two of these drawings is simply to illustrate the effect of sunbeams piercing through clouds in opposite directions. t Joshua Kirby had some talent for landscape painting, and exhibited one or two pictures at the Society of Arts. But it was in the study of perspective that he most distinguished himself. 40 LIFE OF GAINSBOROUGH. ing by their side.* When Mr. Kirby pub- lished his treatise upon perspective,! with a frontispiece by Hogarth intended to show the absurdities committed by those who attempt to design without a knowledge of the science, Gainsborough etched one of the plates; “but, it is curious to observe,” says Chalmers, “that what little of perspective is introduced is totally false.” Mr. Kirby left Ipswich to settle in London about the year 1753, and subsequently placed his only son, William, a youth of great pro- mise, with Gainsborough, In a letter written shortly after his son’s arrival at Ipswich, ur- ging him to the practice of religion, Mr. Kirby observes : “ My letter may serve as Sunday meditation, and let no one see it except Master W — , the companion of your studies.” Who Master W — , was, cannot now be ascertained; but the fact of Gainsborough having had pupils, which Edwards in his Anecdotes of Painters says was not known, is thus estab- lished. Sarah Kirby, writing to her brother about the same period, impresses upon him the necessity of politeness, and in so doing * Mrs. Sarah Trimmer was a daughter of Joshua Kirby. She early acquired a knowledge of drawing, and for one of her produc- tions obtained a prize from the Society of Arts. t Dr. Brook Taylor’s Method of Perspective made easy. IPSWICH. 41 bears testimony to Gainsborough’s gentle- manly demeanour. “ Having/’ she says, 66 so good an example to copy after, I imagine you improve very much in politeness.” On leaving Gainsborough, young Kirby was, through the munificence of King George III., sent to complete his studies in Italy; but within a few months after his return, a sudden death removed him from his friends, and from those honors and emoluments which would surely have been his. Mr. Kirby did not long survive the loss of his son. His death was deeply mourned by Gainsborough, who ex- pressed a wish that whenever he died, his body might be buried by the side of his friend. Scarcely had he been deprived of Joshua Kirby’s society, by the latter’s departure for London, when it was his destiny to be- come acquainted with a gentleman, of whom, having materially influenced the course of the Painter’s life, and moreover attempted to fill the office of his biographer, some account is necessary. Philip Thicknesse, with whose name the reader is already familiar, was ush- ered into the world under circumstances sin- gularly advantageous, yet they proved to him positive misfortunes. Descended from an an- cient family and possessed of high connexions, 42 LIFE OF GAINSBOROUGH. these things only served to call attention to his follies and to make his failings conspicuous. Handsome and insolent, a soldier and a bully, the father of a peer and a scandaliser of the nobility, he abused every privilege and neg- lected no opportunity of self-injury. He had, in a remarkable degree, the faculty of lessen- ing the number of his friends, and increasing the number of his enemies. He was perpetu- ally imagining insult, and would sniff an injury from afar. Explanation, concession, apology, everything that would satisfy a gen- tleman, would not satisfy Philip Thicknesse. Contention was essential to his existence. Presented with a commission in early life, almost the first use he made of it was to fight a duel. He obtained promotion, and libelled his superior officer. Imprisonment could not teach him wisdom, for at the expiration of the term of his confinement, his liberty again served as a cloak for maliciousness. At length, having lost friends, health, and fortune, he could think of no better method of revenging himself on mankind than by publishing his biography,* wherein his spites, his bickerings, his disappointments, the ill-natured things he * Memoirs and Anecdotes of Philip Thicknesse, late Lieutenant Governor of Landguard F ort, and unfortunately father to George Touchet, Baron Audley, 3 vols. Printed for the Author, 1788. IPSWICH. 43 did, the mistakes he made, the worth he in- sulted, are recorded with a minuteness which his most malignant enemy might have envied. 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3 . 24 o o *G CO PhS be TO Q ® >‘£ w NOTES. NOTES P. 27 — (Note) — Gainsborough' s etchings. They were mostly on “soft-ground,” and on pewter, not copper. P. 63 — Portrait of Quin. Garrick, in a letter to Quin, dated 20th June, 1763, speaks of it as “ the much and deservedly admired picture of you by Gains- borough.” P. 64 — Portrait of a gentleman. Mr. Cunningham has in his possession the Society of Arts’ cata- logue for 1764, in which this portrait is stated to be that of Mr. Kirby, whose treatise on perspective has called forth the following note by some contemporary hand : “ Kirby,— perspicuous obscurer of perspective.” P. 116 — Exhibition of 1780. Walpole, writing to Mason, shortly after the opening of this year’s exhibition, observes: “Gainsborough has live landscapes there, of which one especially is worthy of any collection, and of any painter, that ever existed.” P. 117 — Portrait of a gentleman. This was the full length of Fischer, the composer, now at Hamp- ton Court (vide “ Portraits of Musicians.”) P. 120 — Exhibition of 1781. From a publication of the period, entitled “ The Ear-wig; or an Old Woman’s remarks on the present exhibition of Pictures of the Royal Academy,” we extract the following : “ Portrait of a BisJwp. One of the finest portraits that has been seen. “ A Landscape. It is impossible for the art to produce any work more complete and more pleasing than this Landscape and its companion. The pellucid pencilling of the water, the ethereal clearness of the sky, the unaffected composition, and the just reality of colour, render these pictures admirable to every eye conversant with Nature, whether learned, or unlearned. 246 NOTES, “ Portraits of the King and Queen. The best likeness ever painted of the King, except that produced by Zoffani : his neck is rather too thin, and there certainly wants quantity in the back-ground. The Queen’s picture is a great resemblance, and finely painted : that sort of drapery must be stiff ; but it is, indeed, wonderfully executed, and the lights thrown on the petticoat produce a fine effect. The reverse may be said of what we mentioned of the King’s picture, for the quantity is too great of the back-ground. On the whole, they are the best portraits in the Exhibition, and want very little of perfection. So many Artists had failed in the King’s portrait, and West had so often miscarried himself, that, last year, he ascertained the exact proportions of his Majesty, with a compass and tailor’s measure, from head to foot ; and he produced a stuffed pillow. “ A Shepherd. By far the finest picture in the Exhibition. In point of drawing, coloring, composition, choice of nature, and every other requisite to constitute a complete work of art, this per- formance is unrivalled — it is impossible to find words too luxuriant to praise the landscape, the sky, the dog, and the shepherd ; and we decisively pronounce Mr. Gainsborough to have produced, this year, the best pictures in the Exhibition, and such as would have honoured any age. “ Landscape . A charming picture. The works of this Artist have been always prejudiced by being hung either too near or too far from the eye. The distance should be proportioned, not to the size of the picture, but to the finishing, to the light, and to the shadow. This gentleman’s confessed abilities entitle his works to a preference of place.” P. 121 — Portrait of a nobleman. Lord Camden (vide “ Portraits of Lawyers.”) P. 159, et seq. — Reynolds' s Tribute. Burnet, in his edition of Sir Joshua’s “Discourses,” appends these notes (amongst others) to that on Gainsborough:— “ When a frieze that shall represent the English School is under- taken, the figures of Wilson and Gainsborough will stand out in high relief, while an indented line in the plaster will be sufficient to indicate the situation of the Smiths, Barretts, and Penneys, who lay like logs in the stream, and dammed up and turned aside the patronage of the country.” “ Gainsborough’s first pictures remind us of Wynants, his last of ltubens ; nor does this resemblance so much depend upon the loose- NOTES. 247 ness of handling, as on the decided arrangement of his hot and cold colors; in his earlier pictures his warm colors have a dry- reddish cast, with cool green interspersed, harsh and spotty. In his later works, his hot and cold colors are arranged upon a broad principle, and of a liquid and harmonious quality : the sky and distance, even to the middle ground, cool ; while the foreground is kept rich, warm, and transparent ; the two extremes are wove together, by the sky receiving streaks of warm yellow light, and the foreground touches of cool green, or water reflecting the blue tint of the sky. Now, though this marshalling of the colors upon a broad principle is to be found in nature, and all the best masters from Titian to Rubens ; yet it is less apparent the higher we ascend in the scale, and which gives Gainsborough’s pictures too much the appearance of unfinished works. Nor does his loose manner of handling, though it adds wonderfully to the transparent beauty of his works, and also gives them that freedom which is the strong characteristic of nature, rescue them from this appearance : to these may be added the thin washed manner of laying on the colors, having too much the look of water-color drawings. On com- paring the pictures of his great contemporary, Wilson, even with Gainsborough’s best works, we perceive these peculiarities more striking ; the landscapes of Richard Wilson have a greater variety of tone, more intricate in the arrangement of color, more full of atmospheric qualities, and painted with a greater body of pigment and vehicle, which is not only more in accordance with the prac- tice of all the great masters, but give the eye that satisfaction which it receives when looking upon nature’s works. The pictures of Gainsborough, though possessing the great principles of color to be found in Titian, remind us too much of Rubens’ hasty imita- tions of that master. Wilson’s are neither reminiscences of Claude, Poussin, nor Salvator.” P. 168 — (Note ) — Gainsborough admitted very little light into his painting-room. When his sitters left him, it was his custom to close the shutter, in which was a small circular aperture, the only access for the light, that he might sacrifice all the detail in his works which he deemed unnecessary, or injurious, to the general effect. P. 176 — Edwards informs us, etc. The quotation at the page above mentioned is from the “ Anec- dotes of Painters.” Shortly after its publication, this work was noticed by Hoppner in the first number of the “ Quarterly Review,” 248 NOTES, who, towards the close of the article, thus alludes to the works of Gainsborough “ Gainsborough’s early studies of landscape are rendered touch- ing by the simplicity of their execution, and choice of scenery. His uplands are the abode of ruddy health and labour : the by- paths, the deep intrenched roads, the team, and the clownish wag- goner, all lead us to the pleasing contemplation of rustic scenery, and domesticate us with the objects which he so faithfully deline- ated. This sensibility to sylvan scenery, however, became weaker, as he grew more intimate with the works of the Flemish and Dutch masters, whose choice of nature he appears to have thought better than that which he had been accustomed to study ; and he may be traced through those schools, from the mere imitators of weeds and moss, up to the full enjoyment of Rubens. The admirers of cultivated art will find him most varied and beautiful at this period ; as his works, strengthened and enriched by the study of Rubens, still possessed a uniformity of character, which, if not so simple as his first representations of nature, is not polluted by the extravagance of a style making pretensions to a higher character. His last manner, though greatly inferior to that immediately pre- ceding it, was certainly the result of much practice and knowledge, with some leaning, perhaps, to the suggestions of indolence. Its principal defect seemed to be, that it neither presented the spec- tator with a faithful delineation of nature, nor possessed any just pretensions to be classed with the epic works of art ; for the first, it was, both in its forms and effects, too general ; and for the last, not sufficiently ideal or elevated. The studies he made at this period of his life, in chalks, from the works of the more learned painters of landscape, but particularly from Gaspar Poussin, were, doubtless, the foundations of the style ; but he does not seem to have been aware, that many forms might pass, and even captivate, in drawings on a small scale, where an agreeable flow of lines, and breadth of effect, are principally sought, which would become uncouth and unsatisfactory, when dilated on canvass, and forced on the eye with all the vigour that light and shade, and richness of color, could lend them. But this, it should be remembered, is the language of cold criticism, and very ill expresses the high admiration which we have long cherished for the various and fas- cinating talents of this distinguished artist.” P. 192 — The Good Shepherd. This fine picture is now in the possession of Baron Rothschild. FULCHER, PRINTER, SUDBURY. GETTY CENTER LIBRARY ND 497 62 F96 c - 1 Fulcher, Geoi Life of Thomas Gainsborough, R.A 3 3125 00207 7721