Barto/o^i and his Works.

either abroad or at home; and furthermore, that Bartolozzi was of opinion that it was only
natural for an artist of Strange's acknowledged abilities to feel hurt by the reception of a
foreigner, like himself, into the Royal Academy, when the governing body refused to admit
their own distinguished countryman. Indeed, Bartolozzi accorded unaffected praise to
the magnificent effects Strange produced with the graver, more especially to the exquisite
tone of his flesh tints, and the skill and fine taste shown in the treatment of all the
mechanical parts of his prints. He used, also, when defects of Strange's drawing were
pointed out, to express unfeigned regret that his rival had not had the advantage of early
study under experienced masters in drawing from the living figure. It is gratifying to
know that in Strange's later years he looked back on the events connected with this
troubled portion of his career with very different feelings from those animating him in the
writing of his " Inquiry," and that he did not hesitate to do full justice both to Bartolozzi's
splendid abilities and to his kindly nature; but he never altered his opinion of Dalton,
who, he believed to the end of his days, had injured him by his intrigues. By the way,
Bartolozzi himself had no complete faith in his employer, for he could seldom be induced
to speak of his three years' engagement with Dalton ; but he always considered himself
as having been ill-used, and believed that undue advantage had been taken of his
ignorance of business matters.
So much for an incident which, in addition to its biographical bearing, serves to remind
us that from the jealousies, the piques, and the misunderstandings which taint so many of
the more commonplace professions, not even the noblest of the arts are free.
The engraving of the Diploma of the Royal Academy, which is still in use, ranks
among Bartolozzi's finest works in line. It was executed from a design made by Cipriani
at the special invitation of the committee, on the establishment of that institution, among
the treasures of which the original drawing—as fresh as on the day it was sent in for
approval—is preserved and exhibited.*
* A proof of the "Headpiece of the Diploma given by His Majesty to the Academicians," was exhibited by Barto-
lozzi at the second Royal Academy Exhibition in 1770, the original drawing being shown by Cipriani at the same time.
Bryan says that the original drawing of the diploma was sold (date not given) by
auction, and bought by Mr. Baker,* the collector, for thirty-one guineas; and there
* A laceman and well-known collector of St. Paul's Churchyard.
appears to be no record under what circumstances it came into possession of the Royal
Academy.
Bartolozzi exhibited at intervals at the Academy for a period of thirty years, begin-
ning at its establishment in 1769, and ending in 1799, three years before he finally left
the land of his adoption for Portugal. The following is a complete list of these exhibits:—
(During his residence at Mr. Forsyth's, Broad Street, Carnaby Market.)
'769 (the first Exhibition). Cupid and Psyche, in crayons.
Clytie; a drawing from A. Caracci.
1770. A print of the Headpiece to the Diploma, after Cipriani.
Venus—drawing.
10 1771.