DOI Page / Citation link:
https://doi.org/10.11588/diglit.6915#0070
52
FINE ARTS OF THE ENGLISH SCHOOL.
and the polite; all who were eminent for their virtue, or distinguished for their
genius. From such connections, his mind, rich in its own stores, received an
accession of most extensive knowledge, and an inexhaustible treasure for conver-
sation. He was rich in observation, anecdote, and intelligence. He had a
mind ever open, and desirous to acquire useful knowledge; a sound and pene-
trating judgment to select and separate what he did acquire, and infinite industry
and application in rendering his acquirements useful.
At this period, finding himself sufficiently established to move in a higher
sphere, he quitted his residence in Newport Street, and removed to Leicester-
Fields, where he bought a handsome house, to which he added a splendid gallery
for exhibiting his works, and a commodious and elegant room for his sitters. In
this speculation, as I have heard him confess, he laid out almost the whole
property he had then realized. He also set up a handsome carriage, and his
mode of living was suitably elegant.
In the year 1762, Mr. Reynolds having impaired his health by incessant
application, again paid a visit to his native county; and was accompanied by his
friend Dr. Samuel Johnson. They were entertained at the seats of several
noblemen and gentlemen in the west of England; and during their stay at
Plymouth were the guests of Dr. Mudge, who was then a surgeon, and afterwards
an eminent physician of that town. In 1765 he exhibited an admired whole-
length portrait of Lady Sarah Bunbury, representing her as sacrificing to the
Graces. Previous to this he had painted an excellent whole-length portrait of
Lady Elizabeth Keppel, in the dress she wore as bridemaid to the queen. He
had also produced the picture of Garrick between Tragedy and Comedy, which
may be considered as his first attempt in historical composition.* He had now
attained the summit of his reputation as an Artist; and maintained his dignified
station to the close of his life. Cotes and Ramsey shared, in some degree, with
him in the fashion of the day; for each of those painters had employment
from the court of England, where Reynolds, as an artist, never could become a
favourite. Indeed, he never received one commission from that enviable source
of honour; for the portraits of the king and queen, now in the council-room of
* This picture is in the possession of J. J. Angerstein, Esq. An Engraving from it, by Cardon, will
be found in another part of this volume.
FINE ARTS OF THE ENGLISH SCHOOL.
and the polite; all who were eminent for their virtue, or distinguished for their
genius. From such connections, his mind, rich in its own stores, received an
accession of most extensive knowledge, and an inexhaustible treasure for conver-
sation. He was rich in observation, anecdote, and intelligence. He had a
mind ever open, and desirous to acquire useful knowledge; a sound and pene-
trating judgment to select and separate what he did acquire, and infinite industry
and application in rendering his acquirements useful.
At this period, finding himself sufficiently established to move in a higher
sphere, he quitted his residence in Newport Street, and removed to Leicester-
Fields, where he bought a handsome house, to which he added a splendid gallery
for exhibiting his works, and a commodious and elegant room for his sitters. In
this speculation, as I have heard him confess, he laid out almost the whole
property he had then realized. He also set up a handsome carriage, and his
mode of living was suitably elegant.
In the year 1762, Mr. Reynolds having impaired his health by incessant
application, again paid a visit to his native county; and was accompanied by his
friend Dr. Samuel Johnson. They were entertained at the seats of several
noblemen and gentlemen in the west of England; and during their stay at
Plymouth were the guests of Dr. Mudge, who was then a surgeon, and afterwards
an eminent physician of that town. In 1765 he exhibited an admired whole-
length portrait of Lady Sarah Bunbury, representing her as sacrificing to the
Graces. Previous to this he had painted an excellent whole-length portrait of
Lady Elizabeth Keppel, in the dress she wore as bridemaid to the queen. He
had also produced the picture of Garrick between Tragedy and Comedy, which
may be considered as his first attempt in historical composition.* He had now
attained the summit of his reputation as an Artist; and maintained his dignified
station to the close of his life. Cotes and Ramsey shared, in some degree, with
him in the fashion of the day; for each of those painters had employment
from the court of England, where Reynolds, as an artist, never could become a
favourite. Indeed, he never received one commission from that enviable source
of honour; for the portraits of the king and queen, now in the council-room of
* This picture is in the possession of J. J. Angerstein, Esq. An Engraving from it, by Cardon, will
be found in another part of this volume.