D'Anvers, N.: Thomas Gainsborough R. A. (London: George Bell & Sons, 1902)

46

GAINSBOROUGH

that it should pass, on the death of its tem-
porary owner, to the National Gallery, where it
now hangs.
Perhaps no single picture has been the subject
of so great a diversity of criticism as the so-
called Blue Boy, the portrait of Master Jonathan
Buttall or Buthall, the son of a wealthy iron-
master of Greek Street, Soho. The date of the
picture has been much discussed, but it seems
probable that it was painted in 1779, although
some critics place it as early as 1770. From
the first Gainsborough had shown a marked
predilection for the use of blue in his portraits.
About 1768 or 1769 he painted a likeness of
his nephew, Edward Gardiner, then a boy of
twelve, in a blue dress. This portrait is still
in the possession of the Rev. Ed. Gardiner,
grandson of its subject, and it is a family tradi-
tion that the likeness was painted as a trial of
colour, before the bold attempt was made with
Jonathan Buttall or Buthall. Those who date
the Blue Boy from 1779 assert, probably with
truth, that it was produced with a view to the
refutation of the dictum laid down by Sir Joshua
Reynolds, to the effect that “ the masses of light
in a picture should be always of a warm mellow