DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.66024#0183
LAST DAYS
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The allusions to pictures in the pages referring to 1797 are few. In
January, Angelica began a picture of “ David and Nathan,” for which 300
crowns were paid by Cardinal Zelada; and at the same time she speaks of
completing the sketch for the picture of “ Religion ” for Mr. Forbes. Then
she alludes to a portrait of Miss Lambton as a small child, and to a full-length
portrait of Mr. Lambton. These belong to Lord Durham, and hang at
Lambton Castle. She painted two pictures this year as gifts, one a representa-
tion of “ Our Lady of Good Counsel ” for a person whom she refers to as
Stabio, and the other a portrait for a barrister, Costanzi.
For Lord Holland she completed the picture of three young girls, and a
pendant to it, representing “ Peace playing with Pluto.” Then she refers to
the portrait of the Countess de Lichtenau, and adds that the same lady of
whom she there speaks as the Countess Ritz, required a picture of “ Christ
and the Samaritan Woman,” one of several replicas of the subject; and a little
later down on the same page we find that these were all duly paid for.
On the 9th of September she began to paint her big picture of “ Religion,”
and in November a portrait of Abbot Hervas, but the only other allusion
is to the fact that the paintings commissioned by the Bishop of Munster
were paid for.
The next year, 1798, is the last about which we have any allusions in her
own handwriting to her paintings. In February she began to paint the portrait
of the person whom she calls the Citizen-General L’Espinasse, and the fact
that she so designates her sitter reminds us that at that moment Rome
was in the hands of the French, and that everything was in great con-
fusion. Miss Knight refers to this portrait in the following letter, but it
must be pointed out that she is somewhat unjust to the General, whose portrait
Angelica painted gratuitously. It was done by her own desire, as an acknow-
ledgment of the kind and courteous treatment she had experienced at his
hands, her house being specially exempted from having soldiers billeted in it.
Miss Knight writes thus :—
“ The foreigners who were obliged to remain at Rome were naturally
anxious to obtain correct accounts of what was passing elsewhere. Of this
number was the excellent Angelica Kauffmann, who was civilly treated, how-
ever, by the French, as they rather paid court to artists, though one of their
generals and his aide-de-camp made her paint their portraits gratuitously, and
all the pictures they found in her house belonging to Austrians, Russians, or
English, were carried off by them. These were tolerably numerous, as there
had been for some time past no means of forwarding them to their respective
destinations.
“ I used to send her the news in terms of art, calling the French ‘ landscape
painters ’ and the English ‘ historical painters Nelson was Don Raffaell:
but I recollect being puzzled how to inform her that our fleet was gone to
Malta, until I thought of referring her for the subject of ‘ the picture ’ to a
ioi
The allusions to pictures in the pages referring to 1797 are few. In
January, Angelica began a picture of “ David and Nathan,” for which 300
crowns were paid by Cardinal Zelada; and at the same time she speaks of
completing the sketch for the picture of “ Religion ” for Mr. Forbes. Then
she alludes to a portrait of Miss Lambton as a small child, and to a full-length
portrait of Mr. Lambton. These belong to Lord Durham, and hang at
Lambton Castle. She painted two pictures this year as gifts, one a representa-
tion of “ Our Lady of Good Counsel ” for a person whom she refers to as
Stabio, and the other a portrait for a barrister, Costanzi.
For Lord Holland she completed the picture of three young girls, and a
pendant to it, representing “ Peace playing with Pluto.” Then she refers to
the portrait of the Countess de Lichtenau, and adds that the same lady of
whom she there speaks as the Countess Ritz, required a picture of “ Christ
and the Samaritan Woman,” one of several replicas of the subject; and a little
later down on the same page we find that these were all duly paid for.
On the 9th of September she began to paint her big picture of “ Religion,”
and in November a portrait of Abbot Hervas, but the only other allusion
is to the fact that the paintings commissioned by the Bishop of Munster
were paid for.
The next year, 1798, is the last about which we have any allusions in her
own handwriting to her paintings. In February she began to paint the portrait
of the person whom she calls the Citizen-General L’Espinasse, and the fact
that she so designates her sitter reminds us that at that moment Rome
was in the hands of the French, and that everything was in great con-
fusion. Miss Knight refers to this portrait in the following letter, but it
must be pointed out that she is somewhat unjust to the General, whose portrait
Angelica painted gratuitously. It was done by her own desire, as an acknow-
ledgment of the kind and courteous treatment she had experienced at his
hands, her house being specially exempted from having soldiers billeted in it.
Miss Knight writes thus :—
“ The foreigners who were obliged to remain at Rome were naturally
anxious to obtain correct accounts of what was passing elsewhere. Of this
number was the excellent Angelica Kauffmann, who was civilly treated, how-
ever, by the French, as they rather paid court to artists, though one of their
generals and his aide-de-camp made her paint their portraits gratuitously, and
all the pictures they found in her house belonging to Austrians, Russians, or
English, were carried off by them. These were tolerably numerous, as there
had been for some time past no means of forwarding them to their respective
destinations.
“ I used to send her the news in terms of art, calling the French ‘ landscape
painters ’ and the English ‘ historical painters Nelson was Don Raffaell:
but I recollect being puzzled how to inform her that our fleet was gone to
Malta, until I thought of referring her for the subject of ‘ the picture ’ to a