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+The Project Gutenberg EBook of Gainsborough, by Max Rothschild
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Gainsborough
+
+Author: Max Rothschild
+
+Release Date: April 10, 2012 [EBook #39416]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GAINSBOROUGH ***
+
+
+
+
+Produced by sp1nd, Diane Monico, and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Gainsborough
+
+By Max Rothschild
+
+
+
+
+"MASTERPIECES IN COLOUR" SERIES
+
+
+ARTIST.                 AUTHOR.
+
+VELAZQUEZ.              S. L. BENSUSAN.
+REYNOLDS.               S. L. BENSUSAN.
+TURNER.                 C. LEWIS HIND.
+ROMNEY.                 C. LEWIS HIND.
+GREUZE.                 ALYS EYRE MACKLIN.
+BOTTICELLI.             HENRY B. BINNS.
+ROSSETTI.               LUCIEN PISSARRO.
+BELLINI.                GEORGE HAY.
+FRA ANGELICO.           JAMES MASON.
+REMBRANDT.              JOSEF ISRAELS.
+LEIGHTON.               A. LYS BALDRY.
+RAPHAEL.                PAUL G. KONODY.
+HOLMAN HUNT.            MARY E. COLERIDGE.
+TITIAN.                 S. L. BENSUSAN.
+MILLAIS.                A. LYS BALDRY.
+CARLO DOLCI.            GEORGE HAY.
+GAINSBOROUGH.           MAX ROTHSCHILD.
+TINTORETTO.             S. L. BENSUSAN.
+LUINI.                  JAMES MASON.
+FRANZ HALS.             EDGCUMBE STALEY.
+VAN DYCK.               PERCY M. TURNER.
+LEONARDO DA VINCI.      M. W. BROCKWELL.
+RUBENS.                 S. L. BENSUSAN.
+WHISTLER.               T. MARTIN WOOD.
+HOLBEIN.                S. L. BENSUSAN.
+BURNE-JONES.            A. LYS BALDRY.
+VIGÉE LE BRUN.          C. HALDANE MACFALL.
+CHARDIN.                PAUL G. KONODY.
+FRAGONARD.              C. HALDANE MACFALL.
+MEMLINC.                W. H. J. & J. C. WEALE.
+CONSTABLE.              C. LEWIS HIND.
+RAEBURN.                JAMES L. CAW.
+JOHN S. SARGENT.        T. MARTIN WOOD.
+LAWRENCE.               S. L. BENSUSAN.
+DÜRER.                  H. E. A. FURST.
+MILLET.                 PERCY M. TURNER.
+WATTEAU.                C. LEWIS HIND.
+HOGARTH.                C. LEWIS HIND.
+MURILLO.                S. L. BENSUSAN.
+WATTS.                  W. LOFTUS HARE.
+INGRES.                 A. J. FINBERG.
+COROT.                  SIDNEY ALLNUTT.
+DELACROIX.              PAUL G. KONODY.
+
+_Others in Preparation._
+
+
+PLATE I.--MRS. SIDDONS. (Frontispiece)
+
+     This famous portrait of Mrs. Siddons was painted in 1784.
+     It is one of the chief ornaments in the National Gallery,
+     London. It represents the celebrated actress in her
+     twenty-ninth year. The picture was purchased in 1862 from
+     a relative of Mrs. Siddons.
+
+[Illustration: PLATE I.--MRS. SIDDONS.]
+
+
+
+
+Gainsborough
+
+BY MAX ROTHSCHILD
+
+ILLUSTRATED WITH EIGHT
+REPRODUCTIONS IN COLOUR
+
+[Illustration]
+
+LONDON: T. C. & E. C. JACK
+NEW YORK: FREDERICK A. STOKES CO.
+
+
+
+
+CONTENTS
+
+
+                                                            Page
+
+  I. Painting in England before Gainsborough                  11
+
+ II. Gainsborough's Early Life--Ipswich and Bath              25
+
+III. Gainsborough's Life in London--Last Years and Death      46
+
+ IV. Gainsborough's Works                                     65
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+   I. Mrs. Siddons                                      Frontispiece
+        At the National Gallery, London
+                                                            Page
+  II. Ralph Schomberg, M.D.                                   14
+        At the National Gallery, London
+
+ III. Queen Charlotte                                         24
+        At the South Kensington Museum
+
+  IV. "The Blue Boy"                                          34
+        At Grosvenor House
+
+   V. The Hon. Mrs. Graham                                    40
+        At the National Gallery of Scotland, Edinburgh
+
+  VI. The Duchess of Devonshire                               50
+        In the collection of Earl Spencer, K.G.
+
+ VII. Mrs. Robinson--"Perdita"                                60
+        At the Wallace Collection
+
+VIII. Miss Haverfield                                         70
+        At the Wallace Collection
+
+
+
+
+[Illustration]
+
+I
+
+PAINTING IN ENGLAND BEFORE GAINSBOROUGH
+
+
+The British school of painting was, compared with those of the other
+nations of Western Europe, the latest to develop. In Italy, Spain,
+France, the Netherlands, Germany, and even Scandinavia painting and
+sculpture flourished as early as the Gothic Age, and in most of these
+countries the Renaissance produced a host of craftsmen whose works
+still endure among the most superb creations of artistic genius. It is
+now inexact to say that there was no _primitive_ period in British Art;
+the thirteenth, fourteenth, and fifteenth centuries, so resplendent on
+the Continent with pictures and statues reflecting the character, the
+aspirations, the temperament of the respective peoples that produced
+them, produced works of art also in these islands. There are ample
+records of pictures having been painted in England, both religious
+subjects and portraits, at a very early age, as far back even as the
+reign of Henry III.; of such remote productions little has been
+preserved, but there are still extant a few specimens, from the
+thirteenth century onwards, as well as portraits of Henry VI., Henry
+VII., and effigies of princes and earls, which cause us to mourn the
+loss of a large number of paintings; they are at times grotesque and so
+thoroughly bad as to be a quite negligible quantity as works of art,
+though no doubt historically interesting.
+
+
+PLATE II.--RALPH SCHOMBERG, M.D.
+
+     This canvas can be seen in the National Gallery, and
+     represents a member of the family of Field-Marshal Duke
+     Schomberg, who was killed in 1690 at the Battle of the
+     Boyne. It is painted in the fashion of the time, a full
+     figure in the open air, and is a very fine example of
+     Gainsborough's work.
+
+[Illustration: PLATE II.--RALPH SCHOMBERG, M.D.]
+
+It may be stated for our purposes that until the reign of Henry VIII.
+the art of painting was non-existent in England. This luxurious and
+liberal monarch it was who first gave any real and discerning
+encouragement to art, and the year 1526 must ever be memorable as the
+one in which was laid the foundation-stone of British Art. In that year
+the Earl of Arundel returned from a journey on the Continent; he was
+accompanied by a young man of powerful build, "with a swarthy sensual
+face, a neck like a bull, and an eye unlikely to endure contradiction."
+This was Hans Holbein, who was then thirty years of age, and whose fame
+had already been spread far and wide by the eloquent praises of
+Erasmus. Whether the monarch appreciated the depth and subtlety of the
+painter's genius better than did his own fellow-citizens of Basle, or
+whether his attitude towards him was prompted by a sense of vanity and
+ostentation is a question of little moment; the fact remains that he
+succeeded by his favour and a pension of two hundred florins in fixing
+the painter at the English court, and thus rendered an incomparable
+service to his country's art. With the exception of a few lengthy
+excursions abroad, Holbein lived continuously in England for
+twenty-eight years, until his death of the plague in 1543.
+
+The art of Holbein, with all his genius, with all his success and
+popularity at court, does not seem to have taken root in England. The
+soil was not congenial, and when the plant withered no off-shoots
+remained behind; he formed no school in this country, had no pupils
+capable of carrying on his work, and continuing his tradition. With
+his death, the first short chapter in the history of art in Great
+Britain closes like a book, and for a time it looks as though the seeds
+sown by Henry VIII. were destined never to bear fruit. But one notable
+result had been attained; painting had gained a place in popular
+estimation, and succeeding sovereigns followed Henry's example in
+attracting to England talented artists from over seas. Thus Antonio
+Moro came for a brief period to the court of Mary; Lucas de Heere,
+Zucchero, and Van Somer to that of Queen Elizabeth. During this reign,
+for the first time, distinction is obtained by two artists of British
+birth, the miniature painters Hilliard and Oliver, but they again leave
+no very important followers (with the exception of the younger Oliver),
+and their isolated merit had no share in the formation of a native
+school.
+
+With the accession of Charles the First art began to take a much more
+important position in the life of the nation. Charles was a man of
+considerable taste and refined discernment; no longer content with
+attracting artists to his court, he began to collect fine works
+purchased in other countries, his example being followed by his brother
+Prince Henry, by the Earl of Arundel and others among his courtiers;
+thus the works of the great Italians found their way into England. The
+walls of the royal palaces blazoned with the handiwork of Raphael and
+Leonardo da Vinci, Correggio and Veronese, Titian and Tintoretto; from
+the Netherlands came pictures by Rembrandt and Rubens, and the influx
+thus started was destined to continue until England became the greatest
+artistic store-house in the world.
+
+The greatest artistic event of the reign of Charles I.--the most
+far-reaching, indeed, in the whole history of art in this country--was
+the coming of Van Dyck in 1632, for to his influence is directly due
+the birth and development of our native school of painting culminating
+in the golden period of the following century.
+
+Van Dyck was thirty-three years of age when he came to England; his
+talent was at its highest point of perfection; he was almost
+immediately attached to the court among the royal painters, and his
+success was rapid and unequalled. The king and queen and their children
+sat to him again and again; there was no courtier or noble lady but
+wished her portrait to be painted by the fashionable and fascinating
+artist, and the habit of portrait-painting became so firmly established
+that neither the revolution, nor the Puritan régime, which followed the
+death of Charles I., were able to eradicate it.
+
+Van Dyck's commissions were so numerous that it became impossible for
+him to execute the whole of them with his own hand; Van Dyck, as his
+master Rubens had done in Antwerp, filled his studio with assistants
+and pupils whom he trained, and who frequently painted the more
+unimportant portions of his portraits, such as draperies and
+background. In this manner a considerable number of men received
+tuition of the utmost value, and, though many of them were foreigners,
+drawn to London by the reports of successful brothers of the brush, a
+school was at last founded which was destined to develop into the
+glorious English school of painting of the eighteenth century.
+
+The rule of the Protector arrested for a moment this development, but
+the impulse given was too strong to be permanently stopped, and with
+the Restoration portrait-painting flourished again with increasing
+vigour. The men who attained success were still foreigners for the most
+part, and contented themselves with being weaker reflections of Van
+Dyck. Sitters demanded portraits in the manner of the master, and no
+painter had the strength of character to stray from a close and often
+slavish imitation. The best of them, like Lely and Kneller, both
+Dutchmen, painted some good portraits but entirely devoid of
+originality.
+
+There arose, however, about this period a painter, British born, whose
+strong personality refused to bow down and worship the popular idol,
+while fully realising his merits. Hogarth dared to look at Nature with
+his own eyes instead of through Van Dyck's spectacles, and despite
+opposition insisted on painting things and people as he saw them. He
+refused to give his models the flattery to which they were accustomed,
+and his portraits were accordingly not so popular as his conversation
+pieces. But he had broken the spell: he had proved that it was possible
+to be a good painter without copying Van Dyck to the letter; and
+although his realism was not imitated by his successors he secured for
+them that measure of independence without which no art can attain to
+greatness.
+
+Such is, briefly, a statement of the history of painting in this
+country until the middle of the eighteenth century. The remarkable fact
+appears that until this comparatively late period there is no native
+school worthy of the name. But about this time there is a complete
+change, and there arises simultaneously a whole group of men who form a
+genuinely national school of the greatest brilliancy. British genius
+asserts itself at last, and for the first time, as a distinct and
+independent entity, acknowledging its indebtedness to the great masters
+of the world, but insisting upon its own personal view and temperament.
+These men accept the lessons of Van Dyck, of Rembrandt, of Raphael, and
+of Titian; but they say to these noble ancestors: "You are great
+masters, but Nature is also a great mistress." It is not surprising,
+then, that side by side with portrait-painting, several will turn their
+attention to landscape, a branch of painting which hitherto had been
+completely neglected in this country, and in this branch also they will
+attain no small measure of success.
+
+
+PLATE III.--QUEEN CHARLOTTE
+
+     Gainsborough painted many portraits of George the Third's
+     consort. The bust here reproduced is in the Victoria and
+     Albert Museum. It is a replica, somewhat less brilliant in
+     colour, of the picture at Windsor Castle.
+
+[Illustration: PLATE III.--QUEEN CHARLOTTE]
+
+Of all the artists of this golden epoch, which produced such men as
+Reynolds and Raeburn, Romney, Hoppner, Lawrence, and Turner, the most
+brilliant and the most versatile was undoubtedly Thomas Gainsborough.
+
+
+
+
+II
+
+GAINSBOROUGH'S EARLY LIFE--IPSWICH AND BATH
+
+
+Thomas Gainsborough was born at Sudbury in Suffolk in May 1727; he was
+thus four years younger than Reynolds, thirteen years younger than
+Wilson. He came from a respectable family of old standing and in
+comfortable circumstances. His father, John Gainsborough, was a
+clothier by trade, and of his mother little is known save that she was
+a gentle and kind woman, very indulgent to her children. They had four
+daughters and five sons, of whom Thomas was the youngest. Thomas was
+far from diligent at school; he filled his copy-books with sketches,
+and was not loth to play the truant in order to get into the woods and
+meadows, where he would sit drawing trees, flowers, or cattle. A story
+is even told of his having forged his father's name to a note asking
+the schoolmaster to "give Tom a holiday." When his father saw the
+forged note he exclaimed, "The boy will come to be hanged!" but when he
+was shown the sketches which his son had made during his hours of
+stolen liberty he changed his verdict to "The boy will be a genius!"
+
+Whatever there may be of truth in this pretty story, a genius Tom
+turned out to be, and he certainly showed the most remarkable talent
+when quite a boy. There is a picture by him, painted many years later,
+the history of which shows that even at this early age he was capable
+of drawing a man's head rapidly and with great fidelity to the model.
+The picture is called "Tom Peartree's Portrait," and is a reminiscence
+of an incident in the painter's childhood. He was sitting one day in
+his father's garden, concealed by bushes, sketching an old pear tree,
+when he caught sight of the head of a peasant looking over the wall at
+the ripe fruit. The expression of eager cupidity in the man's face
+amused the boy, who included it in his sketch; he afterwards showed it
+to his father, who recognised the peasant and was able, much to the
+latter's confusion, to tax him with the intention of stealing his
+pears.
+
+Such anecdotes serve to show the artist's extraordinary facility with
+his pencil even as a child, when he had as yet had no training or
+tuition of any kind. The same valuable quality is evidenced in the
+works of his maturity, by the marvellous freedom of his technique, and
+the brilliancy of his brushwork.
+
+His father showed no opposition to his obvious vocation, and at the age
+of fourteen sent him to London to study painting. It is uncertain
+whether he went direct to the studio of Hayman, or whether he worked
+first for a while with Gravelot. Hayman was a portrait-painter of
+ability, a companion and to some extent an imitator of Hogarth; with
+him young Gainsborough learned the rudiments of his art, the use of
+brush and colours, and the principles of composition; but Hayman could
+teach him little more, and after staying with him four years he
+returned to Sudbury. It was not long after his return home that he got
+married, an event which is amusingly related by Cunningham: "It
+happened, in one of his pictorial excursions amongst the woods of
+Suffolk, that he sat down to make a sketch of some fine trees, with
+sheep reposing below, and some 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. The name of this
+young lady was Margaret Burr; she was of Scottish extraction and in her
+sixteenth year, and to the charms of good sense and good looks she
+added a clear annuity of two hundred pounds. These are matters which no
+writer of romance would overlook, and were accordingly felt by a young,
+an ardent, and susceptible man: nor must I omit to tell that country
+rumour conferred other attractions--she 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 circumstance 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, 'I have some right to this; for you know, my
+love, I am a prince's daughter.' Prince's daughter or not she was wooed
+and won by Gainsborough, and made him a kind, a prudent, and a
+submissive wife. The courtship was short. The young pair left Sudbury,
+leased a small house at a rent of six pounds a year in Ipswich, and
+making themselves happy in mutual love, conceived they were settled for
+life."
+
+It was at Ipswich, and not long after his arrival there, that
+Gainsborough made the acquaintance of Philip Thicknesse, then Governor
+of Landguard Fort, a man who was to exercise considerable influence
+upon the artist's life, and to whom we owe much information concerning
+him. Thicknesse, although he afterwards quarrelled with the painter,
+and slandered him in a venomous pamphlet, was at first a highly useful
+friend and not ungenerous patron. Upon his commission Gainsborough
+painted what was probably his first important landscape; it was a view
+of Landguard Fort, with figures and sheep in the foreground, and the
+sea, with the estuary of the Stour, in the distance. This picture was
+unfortunately destroyed through being hung upon a wall built with
+mortar mixed with sea water; but we have an excellent engraving of it
+by Major, and this shows the original to have been a very fine
+composition. As remuneration Thicknesse gave the artist thirty guineas,
+and lent him a violin upon which Gainsborough soon acquired
+considerable proficiency. He retained through life the taste for music
+of which we find in this incident the first evidence; indeed he seems
+to have been at least as proud of his achievements in this direction as
+he was of the creations of his magic brush.
+
+Through the protection of Thicknesse Gainsborough had at this time no
+lack of commissions for both landscapes and portraits. Of the latter,
+the most important is that of Admiral Vernon in the National Portrait
+Gallery, in which the red coat is painted with extreme care. To this
+period belongs the Miss Hippisley, in the collection of Sir Edward
+Tennant, and also the heads of his two daughters in the Forster
+collection at South Kensington Museum.
+
+
+PLATE IV.--THE BLUE BOY
+
+     This world-famous picture, which belongs to the Duke of
+     Westminster, at Grosvenor House, is a portrait of Jonathan
+     Buttall--the son of a wealthy ironmonger who lived in London
+     at the corner of King Street and Greek Street, Soho--in "Van
+     Dyck" costume.
+
+     Probably painted at Bath about 1772.
+
+[Illustration: PLATE IV.--THE BLUE BOY]
+
+Most of Gainsborough's biographers have treated Thicknesse with but
+scant justice. No doubt he was a self-satisfied and overbearing man,
+who had the failing of wishing to manage the lives of those who came
+into contact with him, and who was equally prompt to take offence, and
+to offend in retaliation those who would not be led by his dictatorial
+advice. But in the case of Gainsborough, he certainly rendered him the
+most inappreciable services, and in the quarrel that followed the
+artist was probably almost as much to blame as the patron. Be that as
+it may, it was on Thicknesse's initiative, and on his initiative alone,
+that Gainsborough removed from Ipswich to Bath in the year 1758. The
+importance of this move cannot be overrated, and posterity, no less
+than the painter himself, owes to Philip Thicknesse a considerable debt
+of gratitude for having been instrumental in bringing it to pass. The
+horizon at Ipswich was strictly limited; and although no doubt
+Gainsborough's genius was inborn, he would probably, had he remained in
+Suffolk, never have developed into the superb painter who must ever be
+one of the most dazzling stars of the artistic universe. We shall have
+occasion later to return to this change of scene and to its influence
+on Gainsborough's life-work.
+
+It was Thicknesse then who persuaded Gainsborough to leave Ipswich and
+to settle at Bath. Much to the terror of frugal Mrs. Gainsborough, the
+painter, still acting on his patron's guidance, took a house in the
+Circus at the annual rental of £50. Thicknesse had many friends at
+Bath, and to them he warmly recommended his protégé. Whether it was
+through the influence of Thicknesse, or by the sole force of the
+artist's own genius, success was soon forthcoming and sitters flocked
+to his studio. His previous charge of five guineas for a half-length
+portrait was almost immediately raised to eight, and before very long
+his patrons became so numerous that he was able to demand no less than
+forty guineas for a half-length, and one hundred guineas for a
+full-length, very high prices for those days.
+
+During his stay at Bath Gainsborough devoted much of his time and
+energy to music; he acquired many musical instruments of various kinds,
+and tried his hand at all of them. The viol da gamba was apparently
+his favourite, and in one of his letters to his friend Jackson of
+Exeter he mentions that he possesses five of these instruments. He
+heard Giardini, the then unrivalled violinist, and had no rest till he
+purchased the very instrument that the Italian played on, "but," says
+Jackson, "seemed much surprised that the music remained with Giardini."
+In the same way he acquired Abel's viol da gamba; having heard Fischer,
+he bought a hautboy, then suddenly developed enthusiasm for the harp,
+and thus passing from instrument to instrument he never had the
+perseverance to play any one of them with any degree of perfection. In
+this connection Jackson relates an amusing anecdote of one of his most
+extravagant acquisitions: "Upon seeing a theorbo in a picture of Van
+Dyck's he concluded (perhaps because it was finely painted) that the
+theorbo must be a fine instrument. He recollected to have heard of a
+German professor, and ascending _per varios gradus_ to his garret,
+found him there at dinner upon a roasted apple, and smoking a pipe.
+
+     'I am come,' says he, 'to buy your lute. Come, name your
+     price, and here is your money.'
+
+     'I cannot shell my lude!'
+
+     'No; not for a guinea or two, but by G-- you must sell it.'
+
+     'My lude ish wert much monnay! It ish wert ten guineas.'
+
+     'That it is. See, here is the money!'
+
+     'Well, if I musht; but you will not take it away yourself!'
+
+     'Yes, yes. Good-bye----'
+
+     (After he had gone down he came up again.)
+
+     'I have done but half my errand. What is your lute worth if
+     I have not your book?'
+
+     'Whad poog, Maishter Cainsporough?'
+
+     'Why, the book of airs you have composed for the lute.'
+
+     'Ah, py Cot, I can never part wit my poog!'
+
+
+PLATE V.--THE HON. MRS. GRAHAM
+
+     This portrait of the Hon. Mary Graham (second daughter of
+     Charles, ninth Lord Cathcart) is in the National Gallery of
+     Scotland. Another portrait of the same lady shown in the
+     dress of a housemaid, standing in a doorway with a broom, is
+     supposed to be a rejected design for this picture, and is in
+     the collection of the Earl of Carlisle. Her husband
+     afterwards became Lord Lynedoch.
+
+     This picture was painted in 1775-1776, was locked up in a
+     London store for fifty years, but fortunately recovered.
+
+[Illustration: PLATE V.--THE HON. MRS. GRAHAM]
+
+     'Pooh! you can make another at any time. This is the book I
+     mean' (putting it in his pocket).
+
+     'Ah, py Cot, I cannot!'
+
+     'Come, come; here's another ten guineas for your book. So,
+     once more good-day t'ye.' (Descends again; and again comes
+     up.) 'But what use is your book to me if I don't understand
+     it? And your lute--you may take it again if you won't teach
+     me to play on it. Come home with me and give me my first
+     lesson.'
+
+     'I will come to-morrow.'
+
+     'You must come now.'
+
+     'I musht tress myshelf.'
+
+     'For what? You are the best figure I have seen to-day.'
+
+     'I musht be shave.'
+
+     'I honour your beard!'
+
+     'I musht bud on my wick.'
+
+     'D--n your wig! Your cap and beard become you. Do you think
+     if Van Dyck was to paint you he'd let you be shaved?'
+
+"In this way he frittered away his musical talents, and though
+possessed of ear, taste, and genius, he never had application enough to
+learn his notes. He seemed to take the first step, the second was, of
+course, out of his reach, and the summit became unattainable."
+
+Gainsborough made many friends in Bath; mention has already been made
+of William Jackson of Exeter, with whom he was in constant
+correspondence, and many of the letters that passed between them are
+still in existence. He became friendly with David Garrick, whose
+portrait he painted several times, and another actor with whom he was
+on very intimate terms was John Henderson. He remained at Bath sixteen
+years, and it was probably his quarrel with Thicknesse which induced
+him to migrate once more in 1774.
+
+The true circumstances of his breaking with his earliest patron are not
+easy to unravel; as is usual in such cases there are two sides to the
+story, and the truth probably lies somewhere between the two. One fact
+stands out clearly, namely, that there never was any considerable
+friendship between Thicknesse and Mrs. Gainsborough; each was probably
+jealous of the other's ascendency over the artist, and the Governor in
+his account of their differences makes her appear as the instigator of
+Gainsborough's behaviour towards himself, and lays practically all the
+responsibility at her door.
+
+It seems that shortly after the Gainsboroughs settled in Bath a
+full-length portrait of Miss Ford, who afterwards became Thicknesse's
+second wife, was painted and presented to that gentleman. All the
+trouble arose through his desire to possess his own portrait as a
+companion to that of his wife. We have already seen what a mania
+Gainsborough had for the viol da gamba; Mrs. Thicknesse had a very fine
+instrument, "made in the year 1612, of exquisite workmanship and
+mellifluous tone, and which was certainly worth a hundred guineas."
+This instrument Gainsborough coveted, and many a time he offered that
+price for it. "One night," Thicknesse relates, "we asked him and his
+family to supper with us, after which Mrs. Thicknesse, putting the
+instrument before him, desired he would play one of his best lessons
+upon it; this, I say, was after supper, for till poor Gainsborough had
+got a little borrowed courage (such was his natural modesty), he could
+neither play nor sing! He then played, and charmingly too, one of his
+dear friend Abel's lessons, and Mrs. Thicknesse told him he deserved
+the instrument for his reward, and desired his acceptance of it, but
+said, 'At your leisure give me my husband's picture to hang by the side
+of my own.'" Gainsborough was transported with delight and readily
+agreed. The very next day he began the portrait, finished the head, put
+in a Newfoundland dog at the sitter's feet, and roughly sketched in the
+remainder of the picture. There, however, he stopped, and never
+touched it again; requests, prayers, and remonstrances were in vain,
+and one day in a fit of temper Gainsborough sent back the viol da gamba
+to Mrs. Thicknesse, and shortly afterwards also sent the unfinished
+picture just as it was. At this Thicknesse was of course much offended.
+"Every time," he says, "I went into the room where that scarecrow hung
+it gave me so painful a sensation that I protest it often turned me
+sick, and in one of those sick fits I desired Mrs. Thicknesse would
+return the picture to Mr. Gainsborough. This she consented to do,
+provided I would permit her to send with it a card, expressing her
+sentiments at the same time, to which I am sorry to say I too hastily
+consented. In that card she bid him take his brush, and first rub out
+the countenance of the truest and warmest friend he ever had, and so
+done, then blot him for ever from his memory."
+
+Such is Thicknesse's own story of the quarrel, but according to Allan
+Cunningham, Gainsborough did actually, without her husband's knowledge,
+give Mrs. Thicknesse a hundred guineas for the viol da gamba, and then
+did not consider it incumbent upon him to pay twice over by painting
+the portrait. This is, however, hardly a plausible tale and the
+probabilities are that Thicknesse's version is nearer the truth.
+However that may be the long friendship between the artist and his
+protector came to an end, and Gainsborough having taken a dislike to
+Bath removed to London.
+
+
+
+
+III
+
+GAINSBOROUGH'S LIFE IN LONDON--LAST YEARS AND DEATH
+
+
+Gainsborough was forty-seven years of age when he came to settle
+definitely in London; his genius had reached the highest point of its
+development. This new change of scene, great and important though it
+was, cannot be looked upon as being by any means so risky an
+experiment as his move from Ipswich to Bath. He had by this time a
+firmly established connection, and it must not be forgotten that in
+those days Bath was a highly fashionable watering-place, bearing to
+London very much the same relation as the French Riviera does at the
+present time. Everybody who was anybody socially in the capital was a
+more or less frequent visitor to Bath, and Gainsborough during his stay
+there had ample opportunities to make acquaintances which were bound to
+stand him in good stead when he came to London. Thicknesse, however,
+even after their quarrel, could not refrain from sending him forth once
+more under his particular patronage; he wrote to Lord Bateman, a peer
+of little influence or importance, asking him "for both our sakes to
+give him countenance and make him known, that being all which is
+necessary." This sort of thing was probably quite superfluous, for
+Gainsborough was by this time fully capable of holding his own even in
+London. Still it remains on record that Lord Bateman did do his best
+for him, and himself acquired several of his pictures.
+
+On their first arrival in London the Gainsboroughs took quarters north
+of the Oxford Road; a more central and more fashionable neighbourhood
+was, however, necessary to the painter, and he very soon removed to
+Schomberg House in Pall Mall. This house, which was built by the Duke
+of Schomberg towards the end of the seventeenth century, was at this
+time the property of the eccentric and mediocre painter John Astley, a
+fellow pupil with Reynolds under Hudson. From Astley Gainsborough
+rented a third of the house at £300 a year, showing that he had from
+the first no anxiety as to his success in the metropolis. An
+interesting circumstance in relation to this house is that some seven
+years later another portion of it was occupied by the quack Dr. Graham,
+who installed there his Temple of Health. In some of the strange and
+not very legitimate ceremonies carried on in this "Temple," the part of
+goddess of health was played by none other than Emma Lyon or Hart, who
+was destined to become so famous as the lovely Lady Hamilton.
+Gainsborough must have met her, and although we have no actual portrait
+from his hand of this wonderfully beautiful creature, it is suggested
+by Sir Walter Armstrong that she may have sat for the picture of
+"Musidora" in the National Gallery, one of the very rare attempts at
+the nude which Gainsborough is known to have made.
+
+
+PLATE VI.--THE DUCHESS OF DEVONSHIRE
+
+(In the collection of Earl Spencer, K.G.)
+
+     This delightful painting, one of the gems of the Althorp
+     collection, is considered to be one of the master's greatest
+     achievements in full-length portraits.
+
+[Illustration: PLATE VI.--THE DUCHESS OF DEVONSHIRE]
+
+In London Gainsborough came into personal contact with Sir Joshua
+Reynolds, probably for the first time, although from a note of Walpole
+in his catalogue of the Royal Academy of 1773 it would appear that they
+had been in touch with one another some years previously, Walpole's
+words being: "Gainsborough and Dance, having disagreed with Sir Joshua
+Reynolds, did not send any pictures to this exhibition." When the
+Academy was founded in 1768 Gainsborough was one of the original
+members, and to the first four exhibitions he sent from Bath seventeen
+portraits and fifteen landscapes. Then for four years, no doubt on
+account of the disagreement mentioned by Walpole, he exhibited nothing
+until 1777, when his name reappears in the catalogue with portraits of
+the Duke and Duchess of Cumberland.
+
+The vogue of Gainsborough was now at its height, and a long series of
+portraits of royal personages began to occupy his easel. It was one of
+these which, a few years later, led to his final quarrel with the Royal
+Academy. To the exhibition of 1783 he had sent eight portraits and
+portrait groups, including one of the three "Eldest Princesses." He
+sent the frames only in the first instance, but kept back that of the
+princesses, the king and queen having expressed a wish to view the
+picture before it was sent to the Academy. There was then a rule of the
+exhibition, one which is still in force, that full-length portraits
+could not be hung on the line, and by some misapprehension, it must
+have been thought by the hanging committee that this was a full-length
+group. Gainsborough must have heard of the place which had been
+assigned to it, and he sent the following curt note to Somerset House,
+where the Royal Academy exhibitions were then held:--
+
+     "_Mr. Gainsborough presents his Compliments to the Gentlemen
+     appointed to hang the pictures at the Royal Academy, and
+     begs leave to_ hint _to them that if the Royal Family, which
+     he has sent for this Exhibition (being smaller than
+     three-quarters), are hung above the line along with
+     full-lengths, he never more, whilst he breathes, will send
+     another Picture to the Exhibition._
+
+                                   _This he swears by God._
+
+     _Saturday morn._"
+
+This letter did not have the desired effect, so Gainsborough withdrew
+his pictures and never exhibited again. It would appear that such a
+quarrel, obviously the result of a misunderstanding, could easily have
+been adjusted by the President, had he felt inclined to interfere; but
+Sir Joshua evidently preferred to let matters take their course, and so
+the break became permanent.
+
+There never was any great sympathy between the two men, although their
+mutual admiration for each other's work was considerable. Their
+characters were essentially different, and although they frequently
+shared the same sitters, and had some friends in common, they lived in
+a social atmosphere entirely distinct. On the other hand they never
+were enemies, nor had any serious personal quarrel; at one time it even
+seemed as though they might be drawn into friendship, and Gainsborough
+started painting the President's portrait; this, however, shared the
+fate of Thicknesse's years before and got no further than the first
+sitting. Their relations were such, however, that Gainsborough was able
+to call Reynolds to his death-bed, although they had probably had no
+intercourse for years. The pathetic story of Gainsborough's last
+illness is best told in the words of Allan Cunningham: "Though
+Gainsborough was not partial to the society of literary men, he seems
+to have been acquainted with Johnson and with Burke, and he lived on
+terms of great affection with Richard Brinsley Sheridan. He was also a
+welcome visitor at the table of Sir George Beaumont, a gentleman of
+graceful manners, who lived in old English dignity, and was, besides, a
+lover of literature and a painter of landscape. The latter loved to
+relate a curious anecdote of Gainsborough, which marks the unequal
+spirit of the man, and shows that he was the slave of wayward impulses
+which he could neither repress nor command. Sir George Beaumont,
+Sheridan, and Gainsborough had dined together, and the latter was more
+than usually pleasant and witty. The meeting was so much to their
+mutual satisfaction that they agreed to have another day's happiness,
+and accordingly an early day was named when they should dine again
+together. They met, but a cloud had descended upon the spirit of
+Gainsborough, and he sat silent with a look of fixed melancholy, which
+no wit could dissipate. At length he took Sheridan by the hand, led him
+out of the room, and said, "Now, don't laugh, but listen. I shall die
+soon--I know it--I feel it. I have less time to live than my looks
+infer; but for this I care not. What oppresses my mind is this: I have
+many acquaintances and few friends; and as I wish to have one worthy
+man to accompany me to the grave, I am desirous of bespeaking you. Will
+you come; aye or no?" Sheridan could scarcely repress a smile as he
+made the required promise; the looks of Gainsborough cleared up like
+the sunshine of one of his own landscapes; throughout the rest of the
+evening his wit flowed and his humour ran over, and the minutes, like
+those of the poet, winged their way with pleasure.
+
+About a year after the promise obtained from Sheridan to attend his
+funeral he went to hear the impeachment of Warren Hastings, and,
+sitting with his back to an open window, suddenly felt something
+inconceivably cold touch his neck above the shirt collar. It was
+accompanied with stiffness and pain. On returning home he mentioned
+what he felt to his wife and his niece, and on looking they saw a mark
+about the size of a shilling, which was harder to the touch than the
+surrounding skin, and which he said still felt cold. The application of
+flannel did not remove it, and the artist becoming alarmed, consulted
+one after the other the most eminent surgeons of London--John Hunter
+himself the last. They all declared there was no danger; but there was
+that presentiment upon Gainsborough from which none perhaps escape. He
+laid his hand repeatedly on his neck and said to his sister, who had
+hastened to London to see him, "If this be a cancer, I am a dead man."
+And a cancer it proved to be. When this cruel disease fairly discovered
+itself, it was found to be inextricably interwoven with the threads of
+life, and he prepared himself for death with cheerfulness and perfect
+composure. He desired to be buried near his friend Kirby in Kew
+churchyard, and that his name only should be cut on his grave-stone. He
+sent for Reynolds, and peace was made between them. Gainsborough
+exclaimed to Sir Joshua: "We are all going to heaven, and Van Dyck is
+of the company," and immediately expired--August 2nd, 1788, in the
+sixty-first year of his age. Sheridan and the president attended him to
+the grave.
+
+
+PLATE VII.--MRS. ROBINSON--"Perdita"
+
+(At the Wallace Collection)
+
+     This portrait of the beautiful actress is one of
+     Gainsborough's finest masterpieces. The lightness,
+     dexterity, and transparency of the pigment is almost
+     unrivalled, not only in this artist's work, but in any
+     picture of the eighteenth century. It hangs in the Wallace
+     Collection at Hertford House; a smaller sketch of the same
+     subject is at Windsor Castle.
+
+[Illustration: PLATE VII.--MRS. ROBINSON--"Perdita"]
+
+Gainsborough left two daughters, whose portraits he painted several
+times. The elder one, Margaret, did not marry; while the younger, Mary,
+was secretly wedded in 1780 to her father's friend, Johann Christian
+Fischer, the hautboy player. This marriage caused Gainsborough much
+trouble; he foresaw that the musician's irritability and eccentric
+behaviour on many occasions could not conduce to the happiness of his
+daughter; however, to quote his own letter to his sister, Mrs. Gibbon,
+"As it was too late for me to alter anything without being the cause of
+total unhappiness on both sides, my _consent_, which was a mere
+compliment to affect to ask, I needs must give." The father's
+foreboding was only too fully justified; the union turned out very
+unhappy from the first, and within a year or so husband and wife
+separated. Both sisters were mentally deficient, and their aberrations
+increased with age to the point of total derangement. Mary, soon after
+her marriage, became subject to wild hallucinations, "perhaps the most
+reasonable" (as Fulcher puts it) being that the Prince of Wales was
+pursuing her with his love. After her mother's death she went to live
+with her sister, whose mental condition was even worse than her own;
+they would receive no visitors who did not belong to the nobility, so
+that many who wished to gain admittance to the house were obliged to
+assume titles which they did not possess. Margaret died about 1824, and
+Mary a year or two later; before her death she insisted on presenting
+to the king the portrait of Fischer, painted by her father at Bath
+about forty years before; this portrait is now in the Royal Collection.
+
+Of Gainsborough's personality and character much has no doubt been
+gathered from the preceding pages. His physical appearance is familiar
+from his own portraits of himself, and from that which Zoffany painted
+of him. He was handsome, tall and strong, with large features and a
+broad if not very high forehead; the small eyes are quick and
+observant, the mouth sensitive and rather undecided. In the choice of
+his friends he attached little importance to breeding and none to
+social position; he was generous and open-handed to all, with money to
+his relations and often indiscriminately with his works to friends or
+mere acquaintances: on one occasion he gave his picture of the "Boy at
+the Stile" to Colonel Hamilton (equally well known at the time as an
+amateur violinist and a gentleman pugilist) for having played him a
+solo on the violin; to Wiltshire, the carrier who took his pictures
+from Bath to London, and who refused to take payment in money from the
+artist, he presented many valuable landscapes.
+
+Intellectually he was extremely gifted; although his education in his
+youth was much neglected his letters show him to have been by no means
+ignorant or uncultivated. They also bear the impress of his spontaneous
+wit and keen humour; of this quality there is evidence in numerous
+anecdotes. An old man of the labouring class, named Fowler, used to sit
+to him at Bath; on the studio mantelpiece stood a child's skull, the
+gift of a medical friend.
+
+"Fowler, without moving his position, continually peered at it askance,
+with inquisitive eye. 'Ah! Master Fowler,' said the painter, 'that is a
+mighty curiosity.' 'What might it be, sir, if I may make so bold?' 'A
+whale's eye,' was the grave reply. 'No, no, never say so, Muster
+Gainsborough. Sir, it is a little child's skull!' 'You have hit it,'
+said the wag. 'Why, Fowler, you're a witch! But what will you say when
+I tell you it is the skull of Julius Cæsar when he was a little boy!'
+'Laws!' cried Fowler, 'what a phenomenon!'"
+
+Gainsborough's temper was very hasty, quite opposed to the patient
+courtliness of Reynolds. When a certain peer or alderman, posing, with
+boundless self-satisfaction, for his portrait, begged the artist not
+to overlook the dimple in his chin, "Damn the dimple in your chin, I
+will paint neither the one nor the other!" was the uncompromising
+rejoinder.
+
+These stories, unimportant as they are, serve to give an insight into
+the man's character; but whatever his personal faults and qualities may
+or may not have been it is with his works that posterity is chiefly
+concerned, and by them and them alone that Gainsborough must be judged.
+
+
+
+
+IV
+
+GAINSBOROUGH'S WORKS
+
+
+The works of Gainsborough may be divided into three chronological
+groups, just as his life was divided between three distinct localities.
+But whereas there is a definite and fundamental difference between the
+pictures painted at Ipswich and those of the remainder of his life,
+there is not to any similar extent a determined demarkation between
+his productions at Bath and those of his last and most glorious years
+in London.
+
+It has been seen that Gainsborough used palette and brush from at least
+the age of fourteen, when he went to London to study with Hayman. But
+the productions of this very early period are extremely difficult to
+identify. The National Gallery of Ireland possesses two drawings in
+pencil, portraits of a man and a woman, on each of which appears the
+signature _Tho: Gainsborough fecit 1743-1744_. These, the earliest
+extant attempts of Gainsborough in portraiture are hard and laboured in
+execution, but the heads are well-modelled and full of character; they
+must have been done in London before his return to his native Sudbury.
+
+A similar hardness and elaborate care and attention to detail
+characterises the early landscapes painted in Suffolk. The only
+pictures of the old masters to which the young artist could have had
+access at this period were landscapes of Dutch painters such as
+Ruysdael, Hobbema, and Wynants. Their influence is obvious in his own
+early productions, especially that of Wynants; the most important work
+of this character is the large landscape belonging to Mr. J. D. Cobbold
+of Ipswich; it is an elaborate composition, semi-classical in style,
+with conventional hills in the distance, and a carefully put in group
+of cattle and figures in the foreground. This is the sort of thing that
+Thicknesse must have found in the painter's studio upon his first
+visit, together with the portrait of Admiral Vernon (now in the
+National Portrait Gallery), and others which the Governor describes as
+"truly drawn, perfectly like, but stiffly painted and worse coloured."
+
+The "Landguard Fort" was commissioned by Thicknesse shortly after the
+artist's marriage and removal to Ipswich, and must therefore have been
+painted between 1747 and 1750; it thus establishes an important
+landmark in the painter's early years, and although the original is
+unfortunately lost, it is possible from the engraving of it, which
+still exists, to approximately date other early landscapes of
+Gainsborough. To about the same time probably belongs the "View in
+Suffolk" of the Irish National Gallery, while the "Cornard Wood" in the
+National Gallery, somewhat more free in execution, is slightly later.
+
+Of the portraits of this period very few can be traced, and it is
+probable that no large number were painted. The "Admiral Vernon" has
+already been mentioned and also the "Miss Hippisley" (Sir Edward
+Tennant's collection), and the heads of the artist's daughters at South
+Kensington. There are also in existence two half-length ovals of Mr.
+Robert Edgar and Miss Katherine Edgar, the latter probably one of the
+best examples of Gainsborough's later years in Suffolk. They all show
+the same characteristic tightness, and a lack of that marvellous
+freedom for which his later works are so remarkable.
+
+
+PLATE VIII.--MISS HAVERFIELD
+
+(At the Wallace Collection)
+
+     Portraits of children by Gainsborough are not frequent,
+     although he introduced country boys and lasses into his
+     landscapes with the greatest success. This example in the
+     Wallace Collection possesses a charm which makes one regret
+     that his youthful sitters were not more numerous.
+
+[Illustration: PLATE VIII.--MISS HAVERFIELD]
+
+Almost directly after his settlement at Bath the artist's manner
+changed very appreciably. This was probably due chiefly to the fact
+that he was able in the neighbourhood of Bath to see and study the
+works of great masters of the past, and notably the great family group
+by Van Dyck at Wilton House. He no doubt also had access to the fine
+array of works by Rubens then hanging at Blenheim and unfortunately now
+dispersed. The paintings of these masters seem to have disclosed to
+Gainsborough the possibilities of his materials, and from this moment
+his artistic development is rapid and decided, much more rapid than is
+generally believed. Most people imagine that all his best works date
+from the years of his life in London after 1774, and that the pictures
+of his Bath period, previous to that year, are comparatively much
+inferior. This is quite a mistake, for many of his most famous works
+were in fact painted at Bath and his genius had reached its full
+maturity long before he settled in Pall Mall. The fine half-length of
+Miss Linley and her brother, belonging to Lord Sackville at Knole, Lord
+Burton's "Lady Sussex and Lady Barbara Yelverton," the large equestrian
+portrait of General Honywood, several portraits of Garrick, such
+landscapes as those belonging to Lord Tweedmouth, Lord Bateman, and Mr.
+Lionel Phillipps were all painted at Bath, as was probably also the
+immortal "Blue Boy" itself.
+
+One of the first of Gainsborough's sitters after his arrival at Bath
+was Mr. Robert Craggs Nugent, afterwards Viscount Clare and Earl
+Nugent, whose full-length portrait was the first picture ever sent by
+the artist to a public exhibition. It was shown at the Spring Garden
+Exhibition of the Society of Artists of Great Britain in 1761 and now
+belongs to Sir George Nugent. In the following year a picture entered
+in the Society's catalogue as "A whole-length portrait of a gentleman
+with a gun," has been identified as the picture, now at Althorp, of
+William Poyntz, brother of Georgiana, the first Countess Spencer,
+herself the mother of that more famous Georgiana, Duchess of
+Devonshire. Both the mother and the daughter were painted about the
+same time, the latter as a little girl of five or six years of age.
+These two pictures of the usual half-length size are also at Althorp.
+
+Year by year Gainsborough continued sending portraits and landscapes to
+the Society's exhibitions, the huge canvas of General Honywood on
+horseback hanging there in 1765; the next year came, among others, the
+full-length portrait of Garrick leaning against a bust of Shakespeare,
+painted for the Town Hall, Stratford-on-Avon, where it still hangs.
+
+In 1769 the Royal Academy opened its first exhibition; Gainsborough was
+represented by four pictures, including a whole-length portrait of
+Isabella, Lady Molyneux, afterwards Countess of Sefton, and another of
+George Pitt, first Lord Rivers. In 1770 we find six pictures and a book
+of drawings, in the following year five full-lengths and two
+landscapes, and in 1772 no less than fourteen pictures, four of which
+were portraits, and ten "drawings in imitation of oil-painting;" these
+latter, of which a few exist, are curious productions drawn in
+water-colour on thick coarse paper laid down on canvas and then
+varnished; the process is not a very happy one, and the artist's fancy
+for it does not appear to have been lasting.
+
+For the four following years Gainsborough's name is absent from the
+Academy catalogues from the cause already mentioned of a disagreement
+with Reynolds as recorded by Walpole. But during this time Gainsborough
+no doubt continued to turn out "heads" in great numbers, and not a few
+full-lengths, to say nothing of landscapes of varying size and
+importance. Several of these half-lengths are in the National Portrait
+Gallery and the National Gallery, while a considerable number are to be
+found in private collections.
+
+Sir Walter Armstrong, in his monumental work on Gainsborough,[1] puts
+forward very forcibly the theory that the famous "Blue Boy" at
+Grosvenor House was painted about the year 1770 at Bath and not in 1779
+in London, as has been generally supposed. It is impossible to
+reproduce here his closely reasoned arguments, but his conclusion is
+most probably correct that the "Blue Boy" is a masterpiece of
+Gainsborough's "Bath period." It is a portrait of a certain Jonathan
+Buttall, a very wealthy ironmonger who lived at the corner of King
+Street and Greek Street, Soho. He is represented at full-length,
+standing in a landscape, in a rich blue "Van Dyck" costume, holding a
+large hat with a white feather in his right hand. The history of the
+picture and the manner of its coming into the possession of the Duke of
+Westminster are uncertain; it may have been sold together with the
+effects of Jonathan Buttall, senior, after the death of his widow in
+1796, when all his property was disposed of by public auction. It seems
+to have belonged to Hoppner, who died in 1810, and who probably is the
+author of the very good copy of the "Blue Boy" which is now in America,
+and has sometimes been looked upon as a replica from the master's own
+hand.
+
+To this same period in the artist's career probably belongs another and
+almost equally famous picture which hangs on the same walls as the
+"Blue Boy." The Duke of Westminster's "Cottage Door," one of the finest
+of Gainsborough's landscapes or pastoral scenes, appears to have been a
+product of the last years spent at Bath, together with the great
+"Watering Place" at the National Gallery; the "Rustic Children"
+belonging to Lord Carnarvon and of which a small version is also in the
+National collection; Mr. G. L. Basset's "Cottage Girl," and many other
+landscapes of equal or lesser importance.
+
+It is therefore fair to surmise that had Gainsborough never made his
+last move from Bath to London the world's stock of artistic treasures
+would in all probability not have been very much the poorer. That he
+did afterwards create works of greater beauty was presumably not the
+effect of his settlement in the metropolis, but merely of the
+continuance of the natural development of his genius; to the very end
+of his career he continued to profit by the lessons of greater
+experience; his touch constantly grew more free, more feathery, his
+pigment more transparent, his insight into character more rapid and
+more sure. The increased elegance and heightened refinement of his
+later portraits may or may not be due to a closer touch with the court
+and its immediate surroundings; but, from what has gone before, it is
+clear that it is a delusion to speak deprecatingly of a "Gainsborough
+of the Bath period."
+
+It is by no means easy to assign dates to most of the pictures painted
+by Gainsborough in London. The Academy catalogues provide but slight
+assistance; for one thing portraits were almost invariably unnamed in
+those days and can only be identified in most cases by the help of
+contemporary criticism or correspondence; besides, as we have seen,
+Gainsborough's first reappearance at the official exhibition took place
+in 1777 with the portraits of the Duke and Duchess of Cumberland, and
+his final quarrel with the institution was only a few years later. But
+the beautiful women and men of fashion who sat to him were legion.
+Portraits such as that of "Mrs. Robinson" in the Wallace Collection,
+"Mrs. Siddons" in the National Gallery, "The Hon. Mrs. Graham" in the
+Scottish National Gallery are too well known and too easily accessible
+to need description. Many, however, of his greatest works are hidden
+away from the general public in private collections, and only reveal
+themselves now and again when their owners consent to lend them to an
+exhibition.
+
+Among these is Lord Rothschild's "The Morning Walk," which may perhaps
+be looked upon as Gainsborough's most perfect masterpiece. It is a
+portrait group of Squire Hallett and his wife walking in a landscape
+with a white Pomeranian dog. As in many of the master's finest
+achievements the colour-scheme is of the soberest description; like the
+"Lady Mulgrave" or Lord Normanton's marvellous "Lady Mendip" it is
+almost a monochrome. Yet, by a sort of magic, such pictures as these
+give the impression of a superb melody of colour; every touch conduces
+to a most perfect harmony, and the effect is obtained by a method so
+personal, so entirely new to his time, that Reynolds, speaking of him
+in one of his discourses, was able to say that "his handling, the
+manner of leaving the colours, ... had very much the appearance of the
+work of an artist who had never learned from others the usual and
+regular practice belonging to his art."
+
+And indeed a survey of Gainsborough's life-work leads one to agree with
+the words of Sir Joshua, but in a wider sense than the President
+intended them to apply. Gainsborough owed little or nothing to the
+great masters of painting who came before him, and less to any of his
+contemporaries. His teachers were Nature and his own sympathy with his
+subject. Nowhere in the work of his maturity is there to be found any
+trace of imitation of the Dutch or of the Italian masters. He did not
+pose his models _à la_ Van Dyck, nor did he borrow his palette from
+Titian; he is the most English of English artists as he is the greatest
+glory of English art. "He is an immortal painter," says Ruskin, "and
+his excellence is based on principles of art long acknowledged and
+facts of Nature universally apparent."
+
+
+[Footnote 1: Pages 121, 124.]
+
+
+The plates are printed by BEMROSE & SONS, LTD., Derby and London
+
+The text at the BALLANTYNE PRESS, Edinburgh
+
+
+       *       *       *       *       *
+
+
+Transcriber's Notes
+
+Paragraphs were rejoined on either side of the plates; therefore, some
+sentences will be found on a different page number than the original
+book.
+
+The description of the painting, originally preceding the illustration
+by a page, is displayed above the painting, while the caption added
+below the painting contains only the plate number and title for
+reference purposes.
+
+Double, single, and mismatched quotation marks were preserved from
+the original book.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Gainsborough, by Max Rothschild
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GAINSBOROUGH ***
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+
+The Project Gutenberg EBook of Gainsborough, by Max Rothschild
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Gainsborough
+
+Author: Max Rothschild
+
+Release Date: April 10, 2012 [EBook #39416]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GAINSBOROUGH ***
+
+
+
+
+Produced by sp1nd, Diane Monico, and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+<h1>Gainsborough<br />
+<small>MASTERPIECES IN COLOUR</small></h1>
+
+<hr class="tb" />
+<div class="figcenter" style="width: 440px;">
+<img src="images/i_cover.jpg" width="440" height="600" alt="" />
+</div>
+<hr class="tb" />
+
+<h2><span class="smcap">"Masterpieces in Colour" Series</span></h2>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="series">
+<tr><th align="center"><span class="smcap">Artist.</span></th><th align="center"><span class="smcap">Author.</span></th></tr>
+<tr><td align="left">VELAZQUEZ.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">REYNOLDS.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">TURNER.</td><td align="left"><span class="smcap">C. Lewis Hind.</span></td></tr>
+<tr><td align="left">ROMNEY.</td><td align="left"><span class="smcap">C. Lewis Hind.</span></td></tr>
+<tr><td align="left">GREUZE.</td><td align="left"><span class="smcap">Alys Eyre Macklin.</span></td></tr>
+<tr><td align="left">BOTTICELLI.</td><td align="left"><span class="smcap">Henry B. Binns.</span></td></tr>
+<tr><td align="left">ROSSETTI.</td><td align="left"><span class="smcap">Lucien Pissarro.</span></td></tr>
+<tr><td align="left">BELLINI.</td><td align="left"><span class="smcap">George Hay.</span></td></tr>
+<tr><td align="left">FRA ANGELICO.</td><td align="left"><span class="smcap">James Mason.</span></td></tr>
+<tr><td align="left">REMBRANDT.</td><td align="left"><span class="smcap">Josef Israels.</span></td></tr>
+<tr><td align="left">LEIGHTON.</td><td align="left"><span class="smcap">A. Lys Baldry.</span></td></tr>
+<tr><td align="left">RAPHAEL.</td><td align="left"><span class="smcap">Paul G. Konody.</span></td></tr>
+<tr><td align="left">HOLMAN HUNT.</td><td align="left"><span class="smcap">Mary E. Coleridge.</span></td></tr>
+<tr><td align="left">TITIAN.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">MILLAIS.</td><td align="left"><span class="smcap">A. Lys Baldry.</span></td></tr>
+<tr><td align="left">CARLO DOLCI.</td><td align="left"><span class="smcap">George Hay.</span></td></tr>
+<tr><td align="left">GAINSBOROUGH.</td><td align="left"><span class="smcap">Max Rothschild.</span></td></tr>
+<tr><td align="left">TINTORETTO.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">LUINI.</td><td align="left"><span class="smcap">James Mason.</span></td></tr>
+<tr><td align="left">FRANZ HALS.</td><td align="left"><span class="smcap">Edgcumbe Staley.</span></td></tr>
+<tr><td align="left">VAN DYCK.</td><td align="left"><span class="smcap">Percy M. Turner.</span></td></tr>
+<tr><td align="left">LEONARDO DA VINCI.</td><td align="left"><span class="smcap">M. W. Brockwell.</span></td></tr>
+<tr><td align="left">RUBENS.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">WHISTLER.</td><td align="left"><span class="smcap">T. Martin Wood.</span></td></tr>
+<tr><td align="left">HOLBEIN.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">BURNE-JONES.</td><td align="left"><span class="smcap">A. Lys Baldry.</span></td></tr>
+<tr><td align="left">VIGÉE LE BRUN.</td><td align="left"><span class="smcap">C. Haldane MacFall.</span></td></tr>
+<tr><td align="left">CHARDIN.</td><td align="left"><span class="smcap">Paul G. Konody.</span></td></tr>
+<tr><td align="left">FRAGONARD.</td><td align="left"><span class="smcap">C. Haldane MacFall.</span></td></tr>
+<tr><td align="left">MEMLINC.</td><td align="left"><span class="smcap">W. H. J. &amp; J. C. Weale.</span></td></tr>
+<tr><td align="left">CONSTABLE.</td><td align="left"><span class="smcap">C. Lewis Hind.</span></td></tr>
+<tr><td align="left">RAEBURN.</td><td align="left"><span class="smcap">James L. Caw.</span></td></tr>
+<tr><td align="left">JOHN S. SARGENT.</td><td align="left"><span class="smcap">T. Martin Wood.</span></td></tr>
+<tr><td align="left">LAWRENCE.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">DÜRER.</td><td align="left"><span class="smcap">H. E. A. Furst.</span></td></tr>
+<tr><td align="left">MILLET.</td><td align="left"><span class="smcap">Percy M. Turner.</span></td></tr>
+<tr><td align="left">WATTEAU.</td><td align="left"><span class="smcap">C. Lewis Hind.</span></td></tr>
+<tr><td align="left">HOGARTH.</td><td align="left"><span class="smcap">C. Lewis Hind.</span></td></tr>
+<tr><td align="left">MURILLO.</td><td align="left"><span class="smcap">S. L. Bensusan.</span></td></tr>
+<tr><td align="left">WATTS.</td><td align="left"><span class="smcap">W. Loftus Hare.</span></td></tr>
+<tr><td align="left">INGRES.</td><td align="left"><span class="smcap">A. J. Finberg.</span></td></tr>
+<tr><td align="left">COROT.</td><td align="left"><span class="smcap">Sidney Allnutt.</span></td></tr>
+<tr><td align="left">DELACROIX.</td><td align="left"><span class="smcap">Paul G. Konody.</span></td></tr>
+</table></div>
+
+<p class="center"><i><small>Others in Preparation.</small></i></p>
+<hr class="tb" />
+
+<p class="center"><b>PLATE I.&mdash;MRS. SIDDONS. (Frontispiece)</b></p>
+
+<div class="description">
+<p>This famous portrait of Mrs. Siddons was painted in 1784.
+It is one of the chief ornaments in the National Gallery,
+London. It represents the celebrated actress in her
+twenty-ninth year. The picture was purchased in 1862 from
+a relative of Mrs. Siddons.</p></div>
+
+<div class="figcenter" style="width: 472px;">
+<a id="plate1"></a>
+<a href="images/i_004.jpg"><img src="images/i_004t.jpg" width="472" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE I.&mdash;MRS. SIDDONS.</span>
+</div>
+<hr class="tb" />
+
+
+
+<h1>Gainsborough</h1>
+<p class="title"><big>BY MAX ROTHSCHILD</big><br />
+<br />
+ILLUSTRATED WITH EIGHT<br />
+REPRODUCTIONS IN COLOUR</p>
+
+<div class="figcenter" style="width: 434px;">
+<img src="images/i_005.jpg" width="434" height="400" alt="" />
+</div>
+
+<p class="title"><small>LONDON: T. C. &amp; E. C. JACK</small><br />
+<small>NEW YORK: FREDERICK A. STOKES CO.</small><br />
+</p>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS">CONTENTS</a></h2>
+
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="toc">
+<tr><td align="right" colspan="2">&nbsp;</td><td align="right"><small>Page</small></td></tr>
+<tr><td align="right"> I.</td><td align="left"> Painting in England before Gainsborough</td><td align="right"><a href="#Page_11">11</a></td></tr>
+<tr><td align="right"> II.</td><td align="left"> Gainsborough's Early Life&mdash;Ipswich and Bath</td><td align="right"><a href="#II">25</a></td></tr>
+<tr><td align="right">III.</td><td align="left"> Gainsborough's Life in London&mdash;Last Years and Death</td><td align="right"><a href="#III">46</a></td></tr>
+<tr><td align="right"> IV.</td><td align="left"> Gainsborough's Works</td><td align="right"><a href="#IV">65</a></td></tr>
+</table></div>
+
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</a></h2>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="loi">
+<tr><td class="col1"><small>Plate</small></td><td class="col2">&nbsp;</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">I.</td><td class="col2">Mrs. Siddons</td><td class="col3"><small><a href="#plate1">Frontispiece</a></small></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the National Gallery, London</td><td class="col3"><small>Page</small></td></tr>
+<tr><td class="col1">II.</td><td class="col2">Ralph Schomberg, M.D.</td><td class="col3"><a href="#plate2">14</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the National Gallery, London</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">III.</td><td class="col2">Queen Charlotte</td><td class="col3"><a href="#plate3">24</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the South Kensington Museum</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">IV.</td><td class="col2">"The Blue Boy"</td><td class="col3"><a href="#plate4">34</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At Grosvenor House</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">V.</td><td class="col2">The Hon. Mrs. Graham</td><td class="col3"><a href="#plate5">40</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the National Gallery of Scotland, Edinburgh</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">VI.</td><td class="col2">The Duchess of Devonshire</td><td class="col3"><a href="#plate6">50</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">In the collection of Earl Spencer, K.G.</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">VII.</td><td class="col2">Mrs. Robinson&mdash;"Perdita"</td><td class="col3"><a href="#plate7">60</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the Wallace Collection</td><td class="col3">&nbsp;</td></tr>
+<tr><td class="col1">VIII.</td><td class="col2">Miss Haverfield</td><td class="col3"><a href="#plate8">70</a></td></tr>
+<tr><td class="col1">&nbsp;</td><td class="col2a">At the Wallace Collection</td><td class="col3">&nbsp;</td></tr>
+</table>
+</div>
+
+
+<hr class="chap" /><p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+<div class="figcenter" style="width: 227px;">
+<img src="images/i_011.jpg" width="227" height="300" alt="" />
+</div>
+
+<h2>I<br /><br />
+
+PAINTING IN ENGLAND BEFORE GAINSBOROUGH</h2>
+
+
+<p class="cap"><span class="upper">The</span> British school of painting was, compared with those of the other
+nations of Western Europe, the latest to develop. In Italy, Spain,
+France, the Netherlands, Germany, and even Scandinavia painting<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> and
+sculpture flourished as early as the Gothic Age, and in most of these
+countries the Renaissance produced a host of craftsmen whose works
+still endure among the most superb creations of artistic genius. It is
+now inexact to say that there was no <i>primitive</i> period in British Art;
+the thirteenth, fourteenth, and fifteenth centuries, so resplendent on
+the Continent with pictures and statues reflecting the character, the
+aspirations, the temperament of the respective peoples that produced
+them, produced works of art also in these islands. There are ample
+records of pictures having been painted in England, both religious
+subjects and portraits, at a very early age, as far back even as the
+reign of Henry III.; of such remote productions little has been
+preserved, but there are still extant a few specimens, from the
+thirteenth century onwards, as well as portraits of Henry VI., Henry
+VII., and effigies of princes and earls, which cause us to mourn the
+loss of a large number of paintings; they are at times grotesque and so
+thoroughly bad as to be a quite negligible quantity as works of art,
+though no doubt historically interesting.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+<p class="center"><b>PLATE II.&mdash;RALPH SCHOMBERG, M.D.</b></p>
+
+<div class="description"><p>This canvas can be seen in the National Gallery, and
+represents a member of the family of Field-Marshal Duke
+Schomberg, who was killed in 1690 at the Battle of the
+Boyne. It is painted in the fashion of the time, a full
+figure in the open air, and is a very fine example of
+Gainsborough's work.</p>
+</div>
+<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<div class="figcenter" style="width: 418px;">
+<a id="plate2"></a>
+<a href="images/i_014.jpg"><img src="images/i_014t.jpg" width="418" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE II.&mdash;RALPH SCHOMBERG, M.D.</span>
+</div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+<p>It may be stated for our purposes that until the reign of Henry VIII.
+the art of painting was non-existent in England. This luxurious and
+liberal monarch it was who first gave any real and discerning
+encouragement to art, and the year 1526 must ever be memorable as the
+one in which was laid the foundation-stone of British Art. In that year
+the Earl of Arundel returned from a journey on the Continent; he was
+accompanied by a young man of powerful build, "with a swarthy sensual
+face, a neck like a bull, and an eye unlikely to endure contradiction."
+This was Hans Holbein, who was then thirty years of age, and whose fame
+had already been spread far and wide by the eloquent praises of
+Erasmus. Whether the<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> monarch appreciated the depth and subtlety of the
+painter's genius better than did his own fellow-citizens of Basle, or
+whether his attitude towards him was prompted by a sense of vanity and
+ostentation is a question of little moment; the fact remains that he
+succeeded by his favour and a pension of two hundred florins in fixing
+the painter at the English court, and thus rendered an incomparable
+service to his country's art. With the exception of a few lengthy
+excursions abroad, Holbein lived continuously in England for
+twenty-eight years, until his death of the plague in 1543.</p>
+
+<p>The art of Holbein, with all his genius, with all his success and
+popularity at court, does not seem to have taken root in England. The
+soil was not congenial, and when the plant withered no off-shoots
+remained behind; he formed no school in this country, had no pupils
+capable of carrying on his work, and continuing his tradition. With<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+his death, the first short chapter in the history of art in Great
+Britain closes like a book, and for a time it looks as though the seeds
+sown by Henry VIII. were destined never to bear fruit. But one notable
+result had been attained; painting had gained a place in popular
+estimation, and succeeding sovereigns followed Henry's example in
+attracting to England talented artists from over seas. Thus Antonio
+Moro came for a brief period to the court of Mary; Lucas de Heere,
+Zucchero, and Van Somer to that of Queen Elizabeth. During this reign,
+for the first time, distinction is obtained by two artists of British
+birth, the miniature painters Hilliard and Oliver, but they again leave
+no very important followers (with the exception of the younger Oliver),
+and their isolated merit had no share in the formation of a native
+school.</p>
+
+<p>With the accession of Charles the First art began to take a much more
+important<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> position in the life of the nation. Charles was a man of
+considerable taste and refined discernment; no longer content with
+attracting artists to his court, he began to collect fine works
+purchased in other countries, his example being followed by his brother
+Prince Henry, by the Earl of Arundel and others among his courtiers;
+thus the works of the great Italians found their way into England. The
+walls of the royal palaces blazoned with the handiwork of Raphael and
+Leonardo da Vinci, Correggio and Veronese, Titian and Tintoretto; from
+the Netherlands came pictures by Rembrandt and Rubens, and the influx
+thus started was destined to continue until England became the greatest
+artistic store-house in the world.</p>
+
+<p>The greatest artistic event of the reign of Charles I.&mdash;the most
+far-reaching, indeed, in the whole history of art in this country&mdash;was
+the coming of Van Dyck in 1632, for<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> to his influence is directly due
+the birth and development of our native school of painting culminating
+in the golden period of the following century.</p>
+
+<p>Van Dyck was thirty-three years of age when he came to England; his
+talent was at its highest point of perfection; he was almost
+immediately attached to the court among the royal painters, and his
+success was rapid and unequalled. The king and queen and their children
+sat to him again and again; there was no courtier or noble lady but
+wished her portrait to be painted by the fashionable and fascinating
+artist, and the habit of portrait-painting became so firmly established
+that neither the revolution, nor the Puritan régime, which followed the
+death of Charles I., were able to eradicate it.</p>
+
+<p>Van Dyck's commissions were so numerous that it became impossible for
+him to execute the whole of them with his own<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> hand; Van Dyck, as his
+master Rubens had done in Antwerp, filled his studio with assistants
+and pupils whom he trained, and who frequently painted the more
+unimportant portions of his portraits, such as draperies and
+background. In this manner a considerable number of men received
+tuition of the utmost value, and, though many of them were foreigners,
+drawn to London by the reports of successful brothers of the brush, a
+school was at last founded which was destined to develop into the
+glorious English school of painting of the eighteenth century.</p>
+
+<p>The rule of the Protector arrested for a moment this development, but
+the impulse given was too strong to be permanently stopped, and with
+the Restoration portrait-painting flourished again with increasing
+vigour. The men who attained success were still foreigners for the most
+part, and contented themselves with being weaker reflections of Van
+Dyck. Sitters demanded<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> portraits in the manner of the master, and no
+painter had the strength of character to stray from a close and often
+slavish imitation. The best of them, like Lely and Kneller, both
+Dutchmen, painted some good portraits but entirely devoid of
+originality.</p>
+
+<p>There arose, however, about this period a painter, British born, whose
+strong personality refused to bow down and worship the popular idol,
+while fully realising his merits. Hogarth dared to look at Nature with
+his own eyes instead of through Van Dyck's spectacles, and despite
+opposition insisted on painting things and people as he saw them. He
+refused to give his models the flattery to which they were accustomed,
+and his portraits were accordingly not so popular as his conversation
+pieces. But he had broken the spell: he had proved that it was possible
+to be a good painter without copying Van Dyck to the letter; and
+although his realism was<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> not imitated by his successors he secured for
+them that measure of independence without which no art can attain to
+greatness.</p>
+
+<p>Such is, briefly, a statement of the history of painting in this
+country until the middle of the eighteenth century. The remarkable fact
+appears that until this comparatively late period there is no native
+school worthy of the name. But about this time there is a complete
+change, and there arises simultaneously a whole group of men who form a
+genuinely national school of the greatest brilliancy. British genius
+asserts itself at last, and for the first time, as a distinct and
+independent entity, acknowledging its indebtedness to the great masters
+of the world, but insisting upon its own personal view and temperament.
+These men accept the lessons of Van Dyck, of Rembrandt, of Raphael, and
+of Titian; but they say to these noble ancestors: "You are great
+masters, but Nature is also a great mistress." It is not surprising,
+then, that side by side with portrait-painting, several will turn their
+attention to landscape, a branch of painting which hitherto had been
+completely neglected in this country, and in this branch also they will
+attain no small measure of success.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+<p class="center"><b>PLATE III.&mdash;QUEEN CHARLOTTE</b></p>
+
+<div class="description"><p>Gainsborough painted many portraits of George the Third's
+consort. The bust here reproduced is in the Victoria and
+Albert Museum. It is a replica, somewhat less brilliant in
+colour, of the picture at Windsor Castle.</p></div>
+<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+
+<div class="figcenter" style="width: 446px;">
+<a id="plate3"></a>
+<a href="images/i_025.jpg"><img src="images/i_025t.jpg" width="446" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE III.&mdash;QUEEN CHARLOTTE</span>
+</div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<p>Of all the artists of this golden epoch, which produced such men as
+Reynolds and Raeburn, Romney, Hoppner, Lawrence, and Turner, the most
+brilliant and the most versatile was undoubtedly Thomas Gainsborough.</p>
+<hr class="chap" />
+
+
+
+<h2><a name="II" id="II">II</a><br /><br />
+
+GAINSBOROUGH'S EARLY LIFE&mdash;IPSWICH AND BATH</h2>
+
+
+<p>Thomas Gainsborough was born at Sudbury in Suffolk in May 1727; he was
+thus four years younger than Reynolds, thirteen years younger than
+Wilson. He came from<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> a respectable family of old standing and in
+comfortable circumstances. His father, John Gainsborough, was a
+clothier by trade, and of his mother little is known save that she was
+a gentle and kind woman, very indulgent to her children. They had four
+daughters and five sons, of whom Thomas was the youngest. Thomas was
+far from diligent at school; he filled his copy-books with sketches,
+and was not loth to play the truant in order to get into the woods and
+meadows, where he would sit drawing trees, flowers, or cattle. A story
+is even told of his having forged his father's name to a note asking
+the schoolmaster to "give Tom a holiday." When his father saw the
+forged note he exclaimed, "The boy will come to be hanged!" but when he
+was shown the sketches which his son had made during his hours of
+stolen liberty he changed his verdict to "The boy will be a genius!"</p>
+
+<p>Whatever there may be of truth in this<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> pretty story, a genius Tom
+turned out to be, and he certainly showed the most remarkable talent
+when quite a boy. There is a picture by him, painted many years later,
+the history of which shows that even at this early age he was capable
+of drawing a man's head rapidly and with great fidelity to the model.
+The picture is called "Tom Peartree's Portrait," and is a reminiscence
+of an incident in the painter's childhood. He was sitting one day in
+his father's garden, concealed by bushes, sketching an old pear tree,
+when he caught sight of the head of a peasant looking over the wall at
+the ripe fruit. The expression of eager cupidity in the man's face
+amused the boy, who included it in his sketch; he afterwards showed it
+to his father, who recognised the peasant and was able, much to the
+latter's confusion, to tax him with the intention of stealing his
+pears.</p>
+
+<p>Such anecdotes serve to show the artist's extraordinary facility with
+his pencil even<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> as a child, when he had as yet had no training or
+tuition of any kind. The same valuable quality is evidenced in the
+works of his maturity, by the marvellous freedom of his technique, and
+the brilliancy of his brushwork.</p>
+
+<p>His father showed no opposition to his obvious vocation, and at the age
+of fourteen sent him to London to study painting. It is uncertain
+whether he went direct to the studio of Hayman, or whether he worked
+first for a while with Gravelot. Hayman was a portrait-painter of
+ability, a companion and to some extent an imitator of Hogarth; with
+him young Gainsborough learned the rudiments of his art, the use of
+brush and colours, and the principles of composition; but Hayman could
+teach him little more, and after staying with him four years he
+returned to Sudbury. It was not long after his return home that he got
+married, an event which is amusingly related by Cunningham:<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> "It
+happened, in one of his pictorial excursions amongst the woods of
+Suffolk, that he sat down to make a sketch of some fine trees, with
+sheep reposing below, and some 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. The name of this
+young lady was Margaret Burr; she was of Scottish extraction and in her
+sixteenth year, and to the charms of good sense and good looks she
+added a clear annuity of two hundred pounds. These are matters which no
+writer of romance would overlook, and were accordingly felt by a young,
+an ardent, and susceptible man: nor must I omit to tell that country
+rumour conferred other attractions&mdash;she 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 circumstance forgotten. On an occasion
+of<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> 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, 'I have some right to this; for you know, my
+love, I am a prince's daughter.' Prince's daughter or not she was wooed
+and won by Gainsborough, and made him a kind, a prudent, and a
+submissive wife. The courtship was short. The young pair left Sudbury,
+leased a small house at a rent of six pounds a year in Ipswich, and
+making themselves happy in mutual love, conceived they were settled for
+life."</p>
+
+<p>It was at Ipswich, and not long after his arrival there, that
+Gainsborough made the acquaintance of Philip Thicknesse, then Governor
+of Landguard Fort, a man who was to exercise considerable influence
+upon the artist's life, and to whom we owe much information concerning
+him. Thicknesse, although he afterwards quarrelled with the painter,
+and slandered him in a venomous<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> pamphlet, was at first a highly useful
+friend and not ungenerous patron. Upon his commission Gainsborough
+painted what was probably his first important landscape; it was a view
+of Landguard Fort, with figures and sheep in the foreground, and the
+sea, with the estuary of the Stour, in the distance. This picture was
+unfortunately destroyed through being hung upon a wall built with
+mortar mixed with sea water; but we have an excellent engraving of it
+by Major, and this shows the original to have been a very fine
+composition. As remuneration Thicknesse gave the artist thirty guineas,
+and lent him a violin upon which Gainsborough soon acquired
+considerable proficiency. He retained through life the taste for music
+of which we find in this incident the first evidence; indeed he seems
+to have been at least as proud of his achievements in this direction as
+he was of the creations of his magic brush.</p><p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+
+<p>Through the protection of Thicknesse Gainsborough had at this time no
+lack of commissions for both landscapes and portraits. Of the latter,
+the most important is that of Admiral Vernon in the National Portrait
+Gallery, in which the red coat is painted with extreme care. To this
+period belongs the Miss Hippisley, in the collection of Sir Edward
+Tennant, and also the heads of his two daughters in the Forster
+collection at South Kensington Museum.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
+<p class="center"><b>PLATE IV.&mdash;THE BLUE BOY</b></p>
+
+<div class="description"><p>This world-famous picture, which belongs to the Duke of
+Westminster, at Grosvenor House, is a portrait of Jonathan
+Buttall&mdash;the son of a wealthy ironmonger who lived in London
+at the corner of King Street and Greek Street, Soho&mdash;in "Van
+Dyck" costume.</p>
+
+<p>Probably painted at Bath about 1772.</p>
+</div>
+<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p>
+
+<div class="figcenter" style="width: 407px;">
+<a id="plate4"></a>
+<a href="images/i_036.jpg"><img src="images/i_036t.jpg" width="407" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE IV.&mdash;THE BLUE BOY</span>
+</div>
+<hr class="tb" />
+
+<p>Most of Gainsborough's biographers have treated Thicknesse with but
+scant justice. No doubt he was a self-satisfied and overbearing man,
+who had the failing of wishing to manage the lives of those who came
+into contact with him, and who was equally prompt to take offence, and
+to offend in retaliation those who would not be led by his dictatorial
+advice. But in the case of Gainsborough, he certainly rendered him<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> the
+most inappreciable services, and in the quarrel that followed the
+artist was probably almost as much to blame as the patron. Be that as
+it may, it was on Thicknesse's initiative, and on his initiative alone,
+that Gainsborough removed from Ipswich to Bath in the year 1758. The
+importance of this move cannot be overrated, and posterity, no less
+than the painter himself, owes to Philip Thicknesse a considerable debt
+of gratitude for having been instrumental in bringing it to pass. The
+horizon at Ipswich was strictly limited; and although no doubt
+Gainsborough's genius was inborn, he would probably, had he remained in
+Suffolk, never have developed into the superb painter who must ever be
+one of the most dazzling stars of the artistic universe. We shall have
+occasion later to return to this change of scene and to its influence
+on Gainsborough's life-work.</p>
+
+<p>It was Thicknesse then who persuaded Gainsborough to leave Ipswich and
+to settle<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> at Bath. Much to the terror of frugal Mrs. Gainsborough, the
+painter, still acting on his patron's guidance, took a house in the
+Circus at the annual rental of £50. Thicknesse had many friends at
+Bath, and to them he warmly recommended his protégé. Whether it was
+through the influence of Thicknesse, or by the sole force of the
+artist's own genius, success was soon forthcoming and sitters flocked
+to his studio. His previous charge of five guineas for a half-length
+portrait was almost immediately raised to eight, and before very long
+his patrons became so numerous that he was able to demand no less than
+forty guineas for a half-length, and one hundred guineas for a
+full-length, very high prices for those days.</p>
+
+<p>During his stay at Bath Gainsborough devoted much of his time and
+energy to music; he acquired many musical instruments of various kinds,
+and tried his hand at all of them. The viol da gamba was<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> apparently
+his favourite, and in one of his letters to his friend Jackson of
+Exeter he mentions that he possesses five of these instruments. He
+heard Giardini, the then unrivalled violinist, and had no rest till he
+purchased the very instrument that the Italian played on, "but," says
+Jackson, "seemed much surprised that the music remained with Giardini."
+In the same way he acquired Abel's viol da gamba; having heard Fischer,
+he bought a hautboy, then suddenly developed enthusiasm for the harp,
+and thus passing from instrument to instrument he never had the
+perseverance to play any one of them with any degree of perfection. In
+this connection Jackson relates an amusing anecdote of one of his most
+extravagant acquisitions: "Upon seeing a theorbo in a picture of Van
+Dyck's he concluded (perhaps because it was finely painted) that the
+theorbo must be a fine instrument. He recollected to have heard of a
+German professor, and ascending <i>per varios gradus</i> to<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> his garret,
+found him there at dinner upon a roasted apple, and smoking a pipe.</p>
+
+<div class="blockquot"><p>'I am come,' says he, 'to buy your lute. Come, name your
+price, and here is your money.'</p>
+
+<p>'I cannot shell my lude!'</p>
+
+<p>'No; not for a guinea or two, but by G&mdash; you must sell it.'</p>
+
+<p>'My lude ish wert much monnay! It ish wert ten guineas.'</p>
+
+<p>'That it is. See, here is the money!'</p>
+
+<p>'Well, if I musht; but you will not take it away yourself!'</p>
+
+<p>'Yes, yes. Good-bye&mdash;&mdash;'</p>
+
+<p>(After he had gone down he came up again.)</p>
+
+<p>'I have done but half my errand. What is your lute worth if
+I have not your book?'</p>
+
+<p>'Whad poog, Maishter Cainsporough?'</p>
+
+<p>'Why, the book of airs you have composed for the lute.'</p>
+
+<p>'Ah, py Cot, I can never part wit my poog!'</p></div>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<p class="center"><b>PLATE V.&mdash;THE HON. MRS. GRAHAM</b></p>
+
+<div class="description"><p>This portrait of the Hon. Mary Graham (second daughter of
+Charles, ninth Lord Cathcart) is in the National Gallery of
+Scotland. Another portrait of the same lady shown in the
+dress of a housemaid, standing in a doorway with a broom, is
+supposed to be a rejected design for this picture, and is in
+the collection of the Earl of Carlisle. Her husband
+afterwards became Lord Lynedoch.</p>
+
+<p>This picture was painted in 1775-1776, was locked up in a
+London store for fifty years, but fortunately recovered.</p></div>
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<div class="figcenter" style="width: 414px;">
+<a id="plate5"></a>
+<a href="images/i_043.jpg">
+<img src="images/i_043t.jpg" width="414" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE V.&mdash;THE HON. MRS. GRAHAM</span>
+</div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+<div class="blockquot"><p>'Pooh! you can make another at any time. This is the book I
+mean' (putting it in his pocket).</p>
+
+<p>'Ah, py Cot, I cannot!'</p>
+
+<p>'Come, come; here's another ten guineas for your book. So,
+once more good-day t'ye.' (Descends again; and again comes
+up.) 'But what use is your book to me if I don't understand
+it? And your lute&mdash;you may take it again if you won't teach
+me to play on it. Come home with me and give me my first
+lesson.'</p>
+
+<p>'I will come to-morrow.'</p>
+
+<p>'You must come now.'</p>
+
+<p>'I musht tress myshelf.'</p>
+
+<p>'For what? You are the best figure I have seen to-day.'</p>
+
+<p>'I musht be shave.'</p>
+
+<p>'I honour your beard!'</p>
+
+<p>'I musht bud on my wick.'</p>
+
+<p>'D&mdash;n your wig! Your cap and beard become you. Do you think
+if Van Dyck was to paint you he'd let you be shaved?'</p></div>
+<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<p>"In this way he frittered away his musical talents, and though
+possessed of ear, taste, and genius, he never had application enough to
+learn his notes. He seemed to take the first step, the second was, of
+course, out of his reach, and the summit became unattainable."</p>
+
+<p>Gainsborough made many friends in Bath; mention has already been made
+of William Jackson of Exeter, with whom he was in constant
+correspondence, and many of the letters that passed between them are
+still in existence. He became friendly with David Garrick, whose
+portrait he painted several times, and another actor with whom he was
+on very intimate terms was John Henderson. He remained at Bath sixteen
+years, and it was probably his quarrel with Thicknesse which induced
+him to migrate once more in 1774.</p>
+
+<p>The true circumstances of his breaking with his earliest patron are not
+easy to unravel; as is usual in such cases there are<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> two sides to the
+story, and the truth probably lies somewhere between the two. One fact
+stands out clearly, namely, that there never was any considerable
+friendship between Thicknesse and Mrs. Gainsborough; each was probably
+jealous of the other's ascendency over the artist, and the Governor in
+his account of their differences makes her appear as the instigator of
+Gainsborough's behaviour towards himself, and lays practically all the
+responsibility at her door.</p>
+
+<p>It seems that shortly after the Gainsboroughs settled in Bath a
+full-length portrait of Miss Ford, who afterwards became Thicknesse's
+second wife, was painted and presented to that gentleman. All the
+trouble arose through his desire to possess his own portrait as a
+companion to that of his wife. We have already seen what a mania
+Gainsborough had for the viol da gamba; Mrs. Thicknesse had a very fine
+instrument, "made in the year 1612, of exquisite workmanship and
+mellifluous tone, and which<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> was certainly worth a hundred guineas."
+This instrument Gainsborough coveted, and many a time he offered that
+price for it. "One night," Thicknesse relates, "we asked him and his
+family to supper with us, after which Mrs. Thicknesse, putting the
+instrument before him, desired he would play one of his best lessons
+upon it; this, I say, was after supper, for till poor Gainsborough had
+got a little borrowed courage (such was his natural modesty), he could
+neither play nor sing! He then played, and charmingly too, one of his
+dear friend Abel's lessons, and Mrs. Thicknesse told him he deserved
+the instrument for his reward, and desired his acceptance of it, but
+said, 'At your leisure give me my husband's picture to hang by the side
+of my own.'" Gainsborough was transported with delight and readily
+agreed. The very next day he began the portrait, finished the head, put
+in a Newfoundland dog at the sitter's feet, and roughly sketched in the
+remainder of the picture. There,<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> however, he stopped, and never
+touched it again; requests, prayers, and remonstrances were in vain,
+and one day in a fit of temper Gainsborough sent back the viol da gamba
+to Mrs. Thicknesse, and shortly afterwards also sent the unfinished
+picture just as it was. At this Thicknesse was of course much offended.
+"Every time," he says, "I went into the room where that scarecrow hung
+it gave me so painful a sensation that I protest it often turned me
+sick, and in one of those sick fits I desired Mrs. Thicknesse would
+return the picture to Mr. Gainsborough. This she consented to do,
+provided I would permit her to send with it a card, expressing her
+sentiments at the same time, to which I am sorry to say I too hastily
+consented. In that card she bid him take his brush, and first rub out
+the countenance of the truest and warmest friend he ever had, and so
+done, then blot him for ever from his memory."</p>
+
+<p>Such is Thicknesse's own story of the<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> quarrel, but according to Allan
+Cunningham, Gainsborough did actually, without her husband's knowledge,
+give Mrs. Thicknesse a hundred guineas for the viol da gamba, and then
+did not consider it incumbent upon him to pay twice over by painting
+the portrait. This is, however, hardly a plausible tale and the
+probabilities are that Thicknesse's version is nearer the truth.
+However that may be the long friendship between the artist and his
+protector came to an end, and Gainsborough having taken a dislike to
+Bath removed to London.</p>
+<hr class="chap" />
+
+
+
+<h2><a name="III" id="III">III</a><br /><br />
+
+GAINSBOROUGH'S LIFE IN LONDON&mdash;LAST YEARS AND DEATH</h2>
+
+
+<p>Gainsborough was forty-seven years of age when he came to settle
+definitely in London; his genius had reached the highest point of its
+development. This new change of scene, great and important though it
+was, cannot<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> be looked upon as being by any means so risky an
+experiment as his move from Ipswich to Bath. He had by this time a
+firmly established connection, and it must not be forgotten that in
+those days Bath was a highly fashionable watering-place, bearing to
+London very much the same relation as the French Riviera does at the
+present time. Everybody who was anybody socially in the capital was a
+more or less frequent visitor to Bath, and Gainsborough during his stay
+there had ample opportunities to make acquaintances which were bound to
+stand him in good stead when he came to London. Thicknesse, however,
+even after their quarrel, could not refrain from sending him forth once
+more under his particular patronage; he wrote to Lord Bateman, a peer
+of little influence or importance, asking him "for both our sakes to
+give him countenance and make him known, that being all which is
+necessary." This sort of thing was probably quite superfluous,<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> for
+Gainsborough was by this time fully capable of holding his own even in
+London. Still it remains on record that Lord Bateman did do his best
+for him, and himself acquired several of his pictures.</p>
+
+<p>On their first arrival in London the Gainsboroughs took quarters north
+of the Oxford Road; a more central and more fashionable neighbourhood
+was, however, necessary to the painter, and he very soon removed to
+Schomberg House in Pall Mall. This house, which was built by the Duke
+of Schomberg towards the end of the seventeenth century, was at this
+time the property of the eccentric and mediocre painter John Astley, a
+fellow pupil with Reynolds under Hudson. From Astley Gainsborough
+rented a third of the house at £300 a year, showing that he had from
+the first no anxiety as to his success in the metropolis. An
+interesting circumstance in relation to this house is that some seven
+years later another portion of it was occupied by the quack Dr. Graham,
+who installed there his Temple of Health. In some of the strange and
+not very legitimate ceremonies carried on in this "Temple," the part of
+goddess of health was played by none other than Emma Lyon or Hart, who
+was destined to become so famous as the lovely Lady Hamilton.
+Gainsborough must have met her, and although we have no actual portrait
+from his hand of this wonderfully beautiful creature, it is suggested
+by Sir Walter Armstrong that she may have sat for the picture of
+"Musidora" in the National Gallery, one of the very rare attempts at
+the nude which Gainsborough is known to have made.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+<p class="center"><b>PLATE VI.&mdash;THE DUCHESS OF DEVONSHIRE</b></p>
+
+<div class="description">
+<p class="center">(In the collection of Earl Spencer, K.G.)</p>
+
+<p>This delightful painting, one of the gems of the Althorp
+collection, is considered to be one of the master's greatest
+achievements in full-length portraits.</p></div>
+<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+
+<div class="figcenter" style="width: 368px;">
+<a id="plate6"></a>
+<a href="images/i_054.jpg">
+<img src="images/i_054t.jpg" width="368" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE VI.&mdash;THE DUCHESS OF DEVONSHIRE</span>
+</div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<p>In London Gainsborough came into personal contact with Sir Joshua
+Reynolds, probably for the first time, although from a note of Walpole
+in his catalogue of the Royal Academy of 1773 it would appear that they
+had been in touch with one another some years previously, Walpole's
+words being:<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> "Gainsborough and Dance, having disagreed with Sir Joshua
+Reynolds, did not send any pictures to this exhibition." When the
+Academy was founded in 1768 Gainsborough was one of the original
+members, and to the first four exhibitions he sent from Bath seventeen
+portraits and fifteen landscapes. Then for four years, no doubt on
+account of the disagreement mentioned by Walpole, he exhibited nothing
+until 1777, when his name reappears in the catalogue with portraits of
+the Duke and Duchess of Cumberland.</p>
+
+<p>The vogue of Gainsborough was now at its height, and a long series of
+portraits of royal personages began to occupy his easel. It was one of
+these which, a few years later, led to his final quarrel with the Royal
+Academy. To the exhibition of 1783 he had sent eight portraits and
+portrait groups, including one of the three "Eldest Princesses." He
+sent the frames only in the first instance, but kept back that of the
+princesses, the<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> king and queen having expressed a wish to view the
+picture before it was sent to the Academy. There was then a rule of the
+exhibition, one which is still in force, that full-length portraits
+could not be hung on the line, and by some misapprehension, it must
+have been thought by the hanging committee that this was a full-length
+group. Gainsborough must have heard of the place which had been
+assigned to it, and he sent the following curt note to Somerset House,
+where the Royal Academy exhibitions were then held:&mdash;</p>
+
+<div class="blockquot"><p>"<i>Mr. Gainsborough presents his Compliments to the Gentlemen
+appointed to hang the pictures at the Royal Academy, and
+begs leave to</i> hint <i>to them that if the Royal Family, which
+he has sent for this Exhibition (being smaller than
+three-quarters), are hung above the line along with
+full-lengths, he never more, whilst he breathes, will send
+another Picture to the Exhibition.</i></p>
+
+<p class="author"><i>This he swears by God.</i></p>
+
+<p><span style="margin-left: 2.5em;"><i>Saturday morn.</i>"</span><br />
+</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+<p>This letter did not have the desired effect, so Gainsborough withdrew
+his pictures and never exhibited again. It would appear that such a
+quarrel, obviously the result of a misunderstanding, could easily have
+been adjusted by the President, had he felt inclined to interfere; but
+Sir Joshua evidently preferred to let matters take their course, and so
+the break became permanent.</p>
+
+<p>There never was any great sympathy between the two men, although their
+mutual admiration for each other's work was considerable. Their
+characters were essentially different, and although they frequently
+shared the same sitters, and had some friends in common, they lived in
+a social atmosphere entirely distinct. On the other hand they never
+were enemies, nor had any serious personal quarrel; at one time it even
+seemed as though they might be drawn into friendship, and Gainsborough
+started painting the President's portrait; this, however, shared the
+fate of Thicknesse's years before and<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> got no further than the first
+sitting. Their relations were such, however, that Gainsborough was able
+to call Reynolds to his death-bed, although they had probably had no
+intercourse for years. The pathetic story of Gainsborough's last
+illness is best told in the words of Allan Cunningham: "Though
+Gainsborough was not partial to the society of literary men, he seems
+to have been acquainted with Johnson and with Burke, and he lived on
+terms of great affection with Richard Brinsley Sheridan. He was also a
+welcome visitor at the table of Sir George Beaumont, a gentleman of
+graceful manners, who lived in old English dignity, and was, besides, a
+lover of literature and a painter of landscape. The latter loved to
+relate a curious anecdote of Gainsborough, which marks the unequal
+spirit of the man, and shows that he was the slave of wayward impulses
+which he could neither repress nor command. Sir George Beaumont,
+Sheridan, and Gainsborough had dined together, and<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> the latter was more
+than usually pleasant and witty. The meeting was so much to their
+mutual satisfaction that they agreed to have another day's happiness,
+and accordingly an early day was named when they should dine again
+together. They met, but a cloud had descended upon the spirit of
+Gainsborough, and he sat silent with a look of fixed melancholy, which
+no wit could dissipate. At length he took Sheridan by the hand, led him
+out of the room, and said, "Now, don't laugh, but listen. I shall die
+soon&mdash;I know it&mdash;I feel it. I have less time to live than my looks
+infer; but for this I care not. What oppresses my mind is this: I have
+many acquaintances and few friends; and as I wish to have one worthy
+man to accompany me to the grave, I am desirous of bespeaking you. Will
+you come; aye or no?" Sheridan could scarcely repress a smile as he
+made the required promise; the looks of Gainsborough cleared up like
+the sunshine of one of his own landscapes;<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> throughout the rest of the
+evening his wit flowed and his humour ran over, and the minutes, like
+those of the poet, winged their way with pleasure.</p>
+
+<p>About a year after the promise obtained from Sheridan to attend his
+funeral he went to hear the impeachment of Warren Hastings, and,
+sitting with his back to an open window, suddenly felt something
+inconceivably cold touch his neck above the shirt collar. It was
+accompanied with stiffness and pain. On returning home he mentioned
+what he felt to his wife and his niece, and on looking they saw a mark
+about the size of a shilling, which was harder to the touch than the
+surrounding skin, and which he said still felt cold. The application of
+flannel did not remove it, and the artist becoming alarmed, consulted
+one after the other the most eminent surgeons of London&mdash;John Hunter
+himself the last. They all declared there was no danger; but there was
+that presentiment upon Gainsborough<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> from which none perhaps escape. He
+laid his hand repeatedly on his neck and said to his sister, who had
+hastened to London to see him, "If this be a cancer, I am a dead man."
+And a cancer it proved to be. When this cruel disease fairly discovered
+itself, it was found to be inextricably interwoven with the threads of
+life, and he prepared himself for death with cheerfulness and perfect
+composure. He desired to be buried near his friend Kirby in Kew
+churchyard, and that his name only should be cut on his grave-stone. He
+sent for Reynolds, and peace was made between them. Gainsborough
+exclaimed to Sir Joshua: "We are all going to heaven, and Van Dyck is
+of the company," and immediately expired&mdash;August 2nd, 1788, in the
+sixty-first year of his age. Sheridan and the president attended him to
+the grave.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+<p class="center"><b>PLATE VII.&mdash;MRS. ROBINSON&mdash;"Perdita"</b></p>
+
+<div class="description">
+<p class="center">(At the Wallace Collection)</p>
+
+<p>This portrait of the beautiful actress is one of
+Gainsborough's finest masterpieces. The lightness,
+dexterity, and transparency of the pigment is almost
+unrivalled, not only in this artist's work, but in any
+picture of the eighteenth century. It hangs in the Wallace
+Collection at Hertford House; a smaller sketch of the same
+subject is at Windsor Castle.</p>
+</div>
+<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
+
+<div class="figcenter" style="width: 413px;">
+<a id="plate7"></a>
+<a href="images/i_065.jpg">
+<img src="images/i_065t.jpg" width="413" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE VII.&mdash;MRS. ROBINSON&mdash;&quot;Perdita&quot;</span>
+</div>
+<hr class="tb" />
+
+<p>Gainsborough left two daughters, whose portraits he painted several
+times. The<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> elder one, Margaret, did not marry; while the younger, Mary,
+was secretly wedded in 1780 to her father's friend, Johann Christian
+Fischer, the hautboy player. This marriage caused Gainsborough much
+trouble; he foresaw that the musician's irritability and eccentric
+behaviour on many occasions could not conduce to the happiness of his
+daughter; however, to quote his own letter to his sister, Mrs. Gibbon,
+"As it was too late for me to alter anything without being the cause of
+total unhappiness on both sides, my <i>consent</i>, which was a mere
+compliment to affect to ask, I needs must give." The father's
+foreboding was only too fully justified; the union turned out very
+unhappy from the first, and within a year or so husband and wife
+separated. Both sisters were mentally deficient, and their aberrations
+increased with age to the point of total derangement. Mary, soon after
+her marriage, became subject to wild hallucinations, "perhaps the most
+reasonable" (as Fulcher puts<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> it) being that the Prince of Wales was
+pursuing her with his love. After her mother's death she went to live
+with her sister, whose mental condition was even worse than her own;
+they would receive no visitors who did not belong to the nobility, so
+that many who wished to gain admittance to the house were obliged to
+assume titles which they did not possess. Margaret died about 1824, and
+Mary a year or two later; before her death she insisted on presenting
+to the king the portrait of Fischer, painted by her father at Bath
+about forty years before; this portrait is now in the Royal Collection.</p>
+
+<p>Of Gainsborough's personality and character much has no doubt been
+gathered from the preceding pages. His physical appearance is familiar
+from his own portraits of himself, and from that which Zoffany painted
+of him. He was handsome, tall and strong, with large features and a
+broad if not very high forehead; the small eyes<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> are quick and
+observant, the mouth sensitive and rather undecided. In the choice of
+his friends he attached little importance to breeding and none to
+social position; he was generous and open-handed to all, with money to
+his relations and often indiscriminately with his works to friends or
+mere acquaintances: on one occasion he gave his picture of the "Boy at
+the Stile" to Colonel Hamilton (equally well known at the time as an
+amateur violinist and a gentleman pugilist) for having played him a
+solo on the violin; to Wiltshire, the carrier who took his pictures
+from Bath to London, and who refused to take payment in money from the
+artist, he presented many valuable landscapes.</p>
+
+<p>Intellectually he was extremely gifted; although his education in his
+youth was much neglected his letters show him to have been by no means
+ignorant or uncultivated. They also bear the impress of his spontaneous
+wit and keen humour; of this<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> quality there is evidence in numerous
+anecdotes. An old man of the labouring class, named Fowler, used to sit
+to him at Bath; on the studio mantelpiece stood a child's skull, the
+gift of a medical friend.</p>
+
+<p>"Fowler, without moving his position, continually peered at it askance,
+with inquisitive eye. 'Ah! Master Fowler,' said the painter, 'that is a
+mighty curiosity.' 'What might it be, sir, if I may make so bold?' 'A
+whale's eye,' was the grave reply. 'No, no, never say so, Muster
+Gainsborough. Sir, it is a little child's skull!' 'You have hit it,'
+said the wag. 'Why, Fowler, you're a witch! But what will you say when
+I tell you it is the skull of Julius Cæsar when he was a little boy!'
+'Laws!' cried Fowler, 'what a phenomenon!'"</p>
+
+<p>Gainsborough's temper was very hasty, quite opposed to the patient
+courtliness of Reynolds. When a certain peer or alderman, posing, with
+boundless self-satisfaction, for his portrait, begged the artist not
+to<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> overlook the dimple in his chin, "Damn the dimple in your chin, I
+will paint neither the one nor the other!" was the uncompromising
+rejoinder.</p>
+
+<p>These stories, unimportant as they are, serve to give an insight into
+the man's character; but whatever his personal faults and qualities may
+or may not have been it is with his works that posterity is chiefly
+concerned, and by them and them alone that Gainsborough must be judged.</p>
+<hr class="chap" />
+
+
+
+<h2><a name="IV" id="IV">IV</a><br /><br />
+
+GAINSBOROUGH'S WORKS</h2>
+
+
+<p>The works of Gainsborough may be divided into three chronological
+groups, just as his life was divided between three distinct localities.
+But whereas there is a definite and fundamental difference between the
+pictures painted at Ipswich and those of the remainder of his life,
+there is not to any similar extent a determined demarkation<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> between
+his productions at Bath and those of his last and most glorious years
+in London.</p>
+
+<p>It has been seen that Gainsborough used palette and brush from at least
+the age of fourteen, when he went to London to study with Hayman. But
+the productions of this very early period are extremely difficult to
+identify. The National Gallery of Ireland possesses two drawings in
+pencil, portraits of a man and a woman, on each of which appears the
+signature <i>Tho: Gainsborough fecit 1743-1744</i>. These, the earliest
+extant attempts of Gainsborough in portraiture are hard and laboured in
+execution, but the heads are well-modelled and full of character; they
+must have been done in London before his return to his native Sudbury.</p>
+
+<p>A similar hardness and elaborate care and attention to detail
+characterises the early landscapes painted in Suffolk. The only
+pictures of the old masters to which the young artist could have had
+access at<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> this period were landscapes of Dutch painters such as
+Ruysdael, Hobbema, and Wynants. Their influence is obvious in his own
+early productions, especially that of Wynants; the most important work
+of this character is the large landscape belonging to Mr. J. D. Cobbold
+of Ipswich; it is an elaborate composition, semi-classical in style,
+with conventional hills in the distance, and a carefully put in group
+of cattle and figures in the foreground. This is the sort of thing that
+Thicknesse must have found in the painter's studio upon his first
+visit, together with the portrait of Admiral Vernon (now in the
+National Portrait Gallery), and others which the Governor describes as
+"truly drawn, perfectly like, but stiffly painted and worse coloured."</p>
+
+<p>The "Landguard Fort" was commissioned by Thicknesse shortly after the
+artist's marriage and removal to Ipswich, and must therefore have been
+painted between 1747 and 1750; it thus establishes an important<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+landmark in the painter's early years, and although the original is
+unfortunately lost, it is possible from the engraving of it, which
+still exists, to approximately date other early landscapes of
+Gainsborough. To about the same time probably belongs the "View in
+Suffolk" of the Irish National Gallery, while the "Cornard Wood" in the
+National Gallery, somewhat more free in execution, is slightly later.</p>
+
+<p>Of the portraits of this period very few can be traced, and it is
+probable that no large number were painted. The "Admiral Vernon" has
+already been mentioned and also the "Miss Hippisley" (Sir Edward
+Tennant's collection), and the heads of the artist's daughters at South
+Kensington. There are also in existence two half-length ovals of Mr.
+Robert Edgar and Miss Katherine Edgar, the latter probably one of the
+best examples of Gainsborough's later years in Suffolk. They all show
+the same characteristic tightness, and a lack of that marvellous
+freedom for which his later works are so remarkable.</p>
+
+<hr class="tb" /><p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p>
+<p class="center"><b>PLATE VIII.&mdash;MISS HAVERFIELD</b></p>
+
+<div class="description">
+<p class="center">(At the Wallace Collection)</p>
+
+<p>Portraits of children by Gainsborough are not frequent,
+although he introduced country boys and lasses into his
+landscapes with the greatest success. This example in the
+Wallace Collection possesses a charm which makes one regret
+that his youthful sitters were not more numerous.</p>
+</div>
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+<div class="figcenter" style="width: 467px;">
+<a id="plate8"></a>
+<a href="images/i_076.jpg">
+<img src="images/i_076t.jpg" width="467" height="600" alt="" title="(Click image for enlargement)" />
+</a><span class="caption">PLATE VIII.&mdash;MISS HAVERFIELD</span>
+</div>
+<hr class="tb" />
+
+<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+<p>Almost directly after his settlement at Bath the artist's manner
+changed very appreciably. This was probably due chiefly to the fact
+that he was able in the neighbourhood of Bath to see and study the
+works of great masters of the past, and notably the great family group
+by Van Dyck at Wilton House. He no doubt also had access to the fine
+array of works by Rubens then hanging at Blenheim and unfortunately now
+dispersed. The paintings of these masters seem to have disclosed to
+Gainsborough the possibilities of his materials, and from this moment
+his artistic development is rapid and decided, much more rapid than is
+generally believed. Most people imagine that all his best works date
+from the years of his life in London after 1774, and that the pictures
+of his Bath period, previous to that year, are comparatively much
+inferior. This is quite a mistake, for<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> many of his most famous works
+were in fact painted at Bath and his genius had reached its full
+maturity long before he settled in Pall Mall. The fine half-length of
+Miss Linley and her brother, belonging to Lord Sackville at Knole, Lord
+Burton's "Lady Sussex and Lady Barbara Yelverton," the large equestrian
+portrait of General Honywood, several portraits of Garrick, such
+landscapes as those belonging to Lord Tweedmouth, Lord Bateman, and Mr.
+Lionel Phillipps were all painted at Bath, as was probably also the
+immortal "Blue Boy" itself.</p>
+
+<p>One of the first of Gainsborough's sitters after his arrival at Bath
+was Mr. Robert Craggs Nugent, afterwards Viscount Clare and Earl
+Nugent, whose full-length portrait was the first picture ever sent by
+the artist to a public exhibition. It was shown at the Spring Garden
+Exhibition of the Society of Artists of Great Britain in 1761 and now
+belongs to Sir George Nugent. In the following year a picture entered
+in<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> the Society's catalogue as "A whole-length portrait of a gentleman
+with a gun," has been identified as the picture, now at Althorp, of
+William Poyntz, brother of Georgiana, the first Countess Spencer,
+herself the mother of that more famous Georgiana, Duchess of
+Devonshire. Both the mother and the daughter were painted about the
+same time, the latter as a little girl of five or six years of age.
+These two pictures of the usual half-length size are also at Althorp.</p>
+
+<p>Year by year Gainsborough continued sending portraits and landscapes to
+the Society's exhibitions, the huge canvas of General Honywood on
+horseback hanging there in 1765; the next year came, among others, the
+full-length portrait of Garrick leaning against a bust of Shakespeare,
+painted for the Town Hall, Stratford-on-Avon, where it still hangs.</p>
+
+<p>In 1769 the Royal Academy opened its first exhibition; Gainsborough was
+represented by four pictures, including a<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> whole-length portrait of
+Isabella, Lady Molyneux, afterwards Countess of Sefton, and another of
+George Pitt, first Lord Rivers. In 1770 we find six pictures and a book
+of drawings, in the following year five full-lengths and two
+landscapes, and in 1772 no less than fourteen pictures, four of which
+were portraits, and ten "drawings in imitation of oil-painting;" these
+latter, of which a few exist, are curious productions drawn in
+water-colour on thick coarse paper laid down on canvas and then
+varnished; the process is not a very happy one, and the artist's fancy
+for it does not appear to have been lasting.</p>
+
+<p>For the four following years Gainsborough's name is absent from the
+Academy catalogues from the cause already mentioned of a disagreement
+with Reynolds as recorded by Walpole. But during this time Gainsborough
+no doubt continued to turn out "heads" in great numbers, and not a few
+full-lengths, to say nothing of landscapes of varying size and
+importance. Several of these half-lengths<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> are in the National Portrait
+Gallery and the National Gallery, while a considerable number are to be
+found in private collections.</p>
+
+<p>Sir Walter Armstrong, in his monumental work on Gainsborough,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> puts
+forward very forcibly the theory that the famous "Blue Boy" at
+Grosvenor House was painted about the year 1770 at Bath and not in 1779
+in London, as has been generally supposed. It is impossible to
+reproduce here his closely reasoned arguments, but his conclusion is
+most probably correct that the "Blue Boy" is a masterpiece of
+Gainsborough's "Bath period." It is a portrait of a certain Jonathan
+Buttall, a very wealthy ironmonger who lived at the corner of King
+Street and Greek Street, Soho. He is represented at full-length,
+standing in a landscape, in a rich blue "Van Dyck" costume, holding a
+large hat with a white feather in his right hand. The history of the
+picture and the manner of its coming into the possession of the Duke of
+Westminster are uncertain; it<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> may have been sold together with the
+effects of Jonathan Buttall, senior, after the death of his widow in
+1796, when all his property was disposed of by public auction. It seems
+to have belonged to Hoppner, who died in 1810, and who probably is the
+author of the very good copy of the "Blue Boy" which is now in America,
+and has sometimes been looked upon as a replica from the master's own
+hand.</p>
+
+<p>To this same period in the artist's career probably belongs another and
+almost equally famous picture which hangs on the same walls as the
+"Blue Boy." The Duke of Westminster's "Cottage Door," one of the finest
+of Gainsborough's landscapes or pastoral scenes, appears to have been a
+product of the last years spent at Bath, together with the great
+"Watering Place" at the National Gallery; the "Rustic Children"
+belonging to Lord Carnarvon and of which a small version is also in the
+National collection; Mr. G. L. Basset's "Cottage Girl," and many other
+landscapes of equal or lesser importance.</p><p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+
+<p>It is therefore fair to surmise that had Gainsborough never made his
+last move from Bath to London the world's stock of artistic treasures
+would in all probability not have been very much the poorer. That he
+did afterwards create works of greater beauty was presumably not the
+effect of his settlement in the metropolis, but merely of the
+continuance of the natural development of his genius; to the very end
+of his career he continued to profit by the lessons of greater
+experience; his touch constantly grew more free, more feathery, his
+pigment more transparent, his insight into character more rapid and
+more sure. The increased elegance and heightened refinement of his
+later portraits may or may not be due to a closer touch with the court
+and its immediate surroundings; but, from what has gone before, it is
+clear that it is a delusion to speak deprecatingly of a "Gainsborough
+of the Bath period."</p>
+
+<p>It is by no means easy to assign dates to most of the pictures painted
+by<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> Gainsborough in London. The Academy catalogues provide but slight
+assistance; for one thing portraits were almost invariably unnamed in
+those days and can only be identified in most cases by the help of
+contemporary criticism or correspondence; besides, as we have seen,
+Gainsborough's first reappearance at the official exhibition took place
+in 1777 with the portraits of the Duke and Duchess of Cumberland, and
+his final quarrel with the institution was only a few years later. But
+the beautiful women and men of fashion who sat to him were legion.
+Portraits such as that of "Mrs. Robinson" in the Wallace Collection,
+"Mrs. Siddons" in the National Gallery, "The Hon. Mrs. Graham" in the
+Scottish National Gallery are too well known and too easily accessible
+to need description. Many, however, of his greatest works are hidden
+away from the general public in private collections, and only reveal
+themselves now and again when their owners consent to lend them to an
+exhibition.</p><p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+<p>Among these is Lord Rothschild's "The Morning Walk," which may perhaps
+be looked upon as Gainsborough's most perfect masterpiece. It is a
+portrait group of Squire Hallett and his wife walking in a landscape
+with a white Pomeranian dog. As in many of the master's finest
+achievements the colour-scheme is of the soberest description; like the
+"Lady Mulgrave" or Lord Normanton's marvellous "Lady Mendip" it is
+almost a monochrome. Yet, by a sort of magic, such pictures as these
+give the impression of a superb melody of colour; every touch conduces
+to a most perfect harmony, and the effect is obtained by a method so
+personal, so entirely new to his time, that Reynolds, speaking of him
+in one of his discourses, was able to say that "his handling, the
+manner of leaving the colours, ... had very much the appearance of the
+work of an artist who had never learned from others the usual and
+regular practice belonging to his art."</p>
+<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p>
+
+<p>And indeed a survey of Gainsborough's life-work leads one to agree with
+the words of Sir Joshua, but in a wider sense than the President
+intended them to apply. Gainsborough owed little or nothing to the
+great masters of painting who came before him, and less to any of his
+contemporaries. His teachers were Nature and his own sympathy with his
+subject. Nowhere in the work of his maturity is there to be found any
+trace of imitation of the Dutch or of the Italian masters. He did not
+pose his models <i>à la</i> Van Dyck, nor did he borrow his palette from
+Titian; he is the most English of English artists as he is the greatest
+glory of English art. "He is an immortal painter," says Ruskin, "and
+his excellence is based on principles of art long acknowledged and
+facts of Nature universally apparent."</p>
+
+<div class="footnotes"><p class="center"><big><b>Footnotes</b></big></p>
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Pages 121, 124.</p></div>
+</div>
+<hr class="r5" />
+<p class="center"><small>The plates are printed by <span class="smcap">Bemrose &amp; Sons, Ltd.</span>, Derby and
+London<br />
+
+The text at the <span class="smcap">Ballantyne Press</span>, Edinburgh</small></p>
+
+
+
+<div class="transnote">
+<p><b>Transcriber's Notes</b><br /><br />
+
+Paragraphs were rejoined on either side of the plates; therefore, some
+sentences will be found on a different page number than the original
+book.<br /><br />
+
+The description of the painting, originally preceding the illustration
+by a page, is displayed above the painting, while the caption added
+below the painting contains only the plate number and title for
+reference purposes.<br /><br />
+
+Double, single, and mismatched quotation marks were preserved from
+the original book.</p>
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Gainsborough, by Max Rothschild
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+</body>
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@@ -0,0 +1,1542 @@
+The Project Gutenberg EBook of Gainsborough, by Max Rothschild
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Gainsborough
+
+Author: Max Rothschild
+
+Release Date: April 10, 2012 [EBook #39416]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GAINSBOROUGH ***
+
+
+
+
+Produced by sp1nd, Diane Monico, and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Gainsborough
+
+By Max Rothschild
+
+
+
+
+"MASTERPIECES IN COLOUR" SERIES
+
+
+ARTIST.                 AUTHOR.
+
+VELAZQUEZ.              S. L. BENSUSAN.
+REYNOLDS.               S. L. BENSUSAN.
+TURNER.                 C. LEWIS HIND.
+ROMNEY.                 C. LEWIS HIND.
+GREUZE.                 ALYS EYRE MACKLIN.
+BOTTICELLI.             HENRY B. BINNS.
+ROSSETTI.               LUCIEN PISSARRO.
+BELLINI.                GEORGE HAY.
+FRA ANGELICO.           JAMES MASON.
+REMBRANDT.              JOSEF ISRAELS.
+LEIGHTON.               A. LYS BALDRY.
+RAPHAEL.                PAUL G. KONODY.
+HOLMAN HUNT.            MARY E. COLERIDGE.
+TITIAN.                 S. L. BENSUSAN.
+MILLAIS.                A. LYS BALDRY.
+CARLO DOLCI.            GEORGE HAY.
+GAINSBOROUGH.           MAX ROTHSCHILD.
+TINTORETTO.             S. L. BENSUSAN.
+LUINI.                  JAMES MASON.
+FRANZ HALS.             EDGCUMBE STALEY.
+VAN DYCK.               PERCY M. TURNER.
+LEONARDO DA VINCI.      M. W. BROCKWELL.
+RUBENS.                 S. L. BENSUSAN.
+WHISTLER.               T. MARTIN WOOD.
+HOLBEIN.                S. L. BENSUSAN.
+BURNE-JONES.            A. LYS BALDRY.
+VIGEE LE BRUN.          C. HALDANE MACFALL.
+CHARDIN.                PAUL G. KONODY.
+FRAGONARD.              C. HALDANE MACFALL.
+MEMLINC.                W. H. J. & J. C. WEALE.
+CONSTABLE.              C. LEWIS HIND.
+RAEBURN.                JAMES L. CAW.
+JOHN S. SARGENT.        T. MARTIN WOOD.
+LAWRENCE.               S. L. BENSUSAN.
+DUeRER.                  H. E. A. FURST.
+MILLET.                 PERCY M. TURNER.
+WATTEAU.                C. LEWIS HIND.
+HOGARTH.                C. LEWIS HIND.
+MURILLO.                S. L. BENSUSAN.
+WATTS.                  W. LOFTUS HARE.
+INGRES.                 A. J. FINBERG.
+COROT.                  SIDNEY ALLNUTT.
+DELACROIX.              PAUL G. KONODY.
+
+_Others in Preparation._
+
+
+PLATE I.--MRS. SIDDONS. (Frontispiece)
+
+     This famous portrait of Mrs. Siddons was painted in 1784.
+     It is one of the chief ornaments in the National Gallery,
+     London. It represents the celebrated actress in her
+     twenty-ninth year. The picture was purchased in 1862 from
+     a relative of Mrs. Siddons.
+
+[Illustration: PLATE I.--MRS. SIDDONS.]
+
+
+
+
+Gainsborough
+
+BY MAX ROTHSCHILD
+
+ILLUSTRATED WITH EIGHT
+REPRODUCTIONS IN COLOUR
+
+[Illustration]
+
+LONDON: T. C. & E. C. JACK
+NEW YORK: FREDERICK A. STOKES CO.
+
+
+
+
+CONTENTS
+
+
+                                                            Page
+
+  I. Painting in England before Gainsborough                  11
+
+ II. Gainsborough's Early Life--Ipswich and Bath              25
+
+III. Gainsborough's Life in London--Last Years and Death      46
+
+ IV. Gainsborough's Works                                     65
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+Plate
+
+   I. Mrs. Siddons                                      Frontispiece
+        At the National Gallery, London
+                                                            Page
+  II. Ralph Schomberg, M.D.                                   14
+        At the National Gallery, London
+
+ III. Queen Charlotte                                         24
+        At the South Kensington Museum
+
+  IV. "The Blue Boy"                                          34
+        At Grosvenor House
+
+   V. The Hon. Mrs. Graham                                    40
+        At the National Gallery of Scotland, Edinburgh
+
+  VI. The Duchess of Devonshire                               50
+        In the collection of Earl Spencer, K.G.
+
+ VII. Mrs. Robinson--"Perdita"                                60
+        At the Wallace Collection
+
+VIII. Miss Haverfield                                         70
+        At the Wallace Collection
+
+
+
+
+[Illustration]
+
+I
+
+PAINTING IN ENGLAND BEFORE GAINSBOROUGH
+
+
+The British school of painting was, compared with those of the other
+nations of Western Europe, the latest to develop. In Italy, Spain,
+France, the Netherlands, Germany, and even Scandinavia painting and
+sculpture flourished as early as the Gothic Age, and in most of these
+countries the Renaissance produced a host of craftsmen whose works
+still endure among the most superb creations of artistic genius. It is
+now inexact to say that there was no _primitive_ period in British Art;
+the thirteenth, fourteenth, and fifteenth centuries, so resplendent on
+the Continent with pictures and statues reflecting the character, the
+aspirations, the temperament of the respective peoples that produced
+them, produced works of art also in these islands. There are ample
+records of pictures having been painted in England, both religious
+subjects and portraits, at a very early age, as far back even as the
+reign of Henry III.; of such remote productions little has been
+preserved, but there are still extant a few specimens, from the
+thirteenth century onwards, as well as portraits of Henry VI., Henry
+VII., and effigies of princes and earls, which cause us to mourn the
+loss of a large number of paintings; they are at times grotesque and so
+thoroughly bad as to be a quite negligible quantity as works of art,
+though no doubt historically interesting.
+
+
+PLATE II.--RALPH SCHOMBERG, M.D.
+
+     This canvas can be seen in the National Gallery, and
+     represents a member of the family of Field-Marshal Duke
+     Schomberg, who was killed in 1690 at the Battle of the
+     Boyne. It is painted in the fashion of the time, a full
+     figure in the open air, and is a very fine example of
+     Gainsborough's work.
+
+[Illustration: PLATE II.--RALPH SCHOMBERG, M.D.]
+
+It may be stated for our purposes that until the reign of Henry VIII.
+the art of painting was non-existent in England. This luxurious and
+liberal monarch it was who first gave any real and discerning
+encouragement to art, and the year 1526 must ever be memorable as the
+one in which was laid the foundation-stone of British Art. In that year
+the Earl of Arundel returned from a journey on the Continent; he was
+accompanied by a young man of powerful build, "with a swarthy sensual
+face, a neck like a bull, and an eye unlikely to endure contradiction."
+This was Hans Holbein, who was then thirty years of age, and whose fame
+had already been spread far and wide by the eloquent praises of
+Erasmus. Whether the monarch appreciated the depth and subtlety of the
+painter's genius better than did his own fellow-citizens of Basle, or
+whether his attitude towards him was prompted by a sense of vanity and
+ostentation is a question of little moment; the fact remains that he
+succeeded by his favour and a pension of two hundred florins in fixing
+the painter at the English court, and thus rendered an incomparable
+service to his country's art. With the exception of a few lengthy
+excursions abroad, Holbein lived continuously in England for
+twenty-eight years, until his death of the plague in 1543.
+
+The art of Holbein, with all his genius, with all his success and
+popularity at court, does not seem to have taken root in England. The
+soil was not congenial, and when the plant withered no off-shoots
+remained behind; he formed no school in this country, had no pupils
+capable of carrying on his work, and continuing his tradition. With
+his death, the first short chapter in the history of art in Great
+Britain closes like a book, and for a time it looks as though the seeds
+sown by Henry VIII. were destined never to bear fruit. But one notable
+result had been attained; painting had gained a place in popular
+estimation, and succeeding sovereigns followed Henry's example in
+attracting to England talented artists from over seas. Thus Antonio
+Moro came for a brief period to the court of Mary; Lucas de Heere,
+Zucchero, and Van Somer to that of Queen Elizabeth. During this reign,
+for the first time, distinction is obtained by two artists of British
+birth, the miniature painters Hilliard and Oliver, but they again leave
+no very important followers (with the exception of the younger Oliver),
+and their isolated merit had no share in the formation of a native
+school.
+
+With the accession of Charles the First art began to take a much more
+important position in the life of the nation. Charles was a man of
+considerable taste and refined discernment; no longer content with
+attracting artists to his court, he began to collect fine works
+purchased in other countries, his example being followed by his brother
+Prince Henry, by the Earl of Arundel and others among his courtiers;
+thus the works of the great Italians found their way into England. The
+walls of the royal palaces blazoned with the handiwork of Raphael and
+Leonardo da Vinci, Correggio and Veronese, Titian and Tintoretto; from
+the Netherlands came pictures by Rembrandt and Rubens, and the influx
+thus started was destined to continue until England became the greatest
+artistic store-house in the world.
+
+The greatest artistic event of the reign of Charles I.--the most
+far-reaching, indeed, in the whole history of art in this country--was
+the coming of Van Dyck in 1632, for to his influence is directly due
+the birth and development of our native school of painting culminating
+in the golden period of the following century.
+
+Van Dyck was thirty-three years of age when he came to England; his
+talent was at its highest point of perfection; he was almost
+immediately attached to the court among the royal painters, and his
+success was rapid and unequalled. The king and queen and their children
+sat to him again and again; there was no courtier or noble lady but
+wished her portrait to be painted by the fashionable and fascinating
+artist, and the habit of portrait-painting became so firmly established
+that neither the revolution, nor the Puritan regime, which followed the
+death of Charles I., were able to eradicate it.
+
+Van Dyck's commissions were so numerous that it became impossible for
+him to execute the whole of them with his own hand; Van Dyck, as his
+master Rubens had done in Antwerp, filled his studio with assistants
+and pupils whom he trained, and who frequently painted the more
+unimportant portions of his portraits, such as draperies and
+background. In this manner a considerable number of men received
+tuition of the utmost value, and, though many of them were foreigners,
+drawn to London by the reports of successful brothers of the brush, a
+school was at last founded which was destined to develop into the
+glorious English school of painting of the eighteenth century.
+
+The rule of the Protector arrested for a moment this development, but
+the impulse given was too strong to be permanently stopped, and with
+the Restoration portrait-painting flourished again with increasing
+vigour. The men who attained success were still foreigners for the most
+part, and contented themselves with being weaker reflections of Van
+Dyck. Sitters demanded portraits in the manner of the master, and no
+painter had the strength of character to stray from a close and often
+slavish imitation. The best of them, like Lely and Kneller, both
+Dutchmen, painted some good portraits but entirely devoid of
+originality.
+
+There arose, however, about this period a painter, British born, whose
+strong personality refused to bow down and worship the popular idol,
+while fully realising his merits. Hogarth dared to look at Nature with
+his own eyes instead of through Van Dyck's spectacles, and despite
+opposition insisted on painting things and people as he saw them. He
+refused to give his models the flattery to which they were accustomed,
+and his portraits were accordingly not so popular as his conversation
+pieces. But he had broken the spell: he had proved that it was possible
+to be a good painter without copying Van Dyck to the letter; and
+although his realism was not imitated by his successors he secured for
+them that measure of independence without which no art can attain to
+greatness.
+
+Such is, briefly, a statement of the history of painting in this
+country until the middle of the eighteenth century. The remarkable fact
+appears that until this comparatively late period there is no native
+school worthy of the name. But about this time there is a complete
+change, and there arises simultaneously a whole group of men who form a
+genuinely national school of the greatest brilliancy. British genius
+asserts itself at last, and for the first time, as a distinct and
+independent entity, acknowledging its indebtedness to the great masters
+of the world, but insisting upon its own personal view and temperament.
+These men accept the lessons of Van Dyck, of Rembrandt, of Raphael, and
+of Titian; but they say to these noble ancestors: "You are great
+masters, but Nature is also a great mistress." It is not surprising,
+then, that side by side with portrait-painting, several will turn their
+attention to landscape, a branch of painting which hitherto had been
+completely neglected in this country, and in this branch also they will
+attain no small measure of success.
+
+
+PLATE III.--QUEEN CHARLOTTE
+
+     Gainsborough painted many portraits of George the Third's
+     consort. The bust here reproduced is in the Victoria and
+     Albert Museum. It is a replica, somewhat less brilliant in
+     colour, of the picture at Windsor Castle.
+
+[Illustration: PLATE III.--QUEEN CHARLOTTE]
+
+Of all the artists of this golden epoch, which produced such men as
+Reynolds and Raeburn, Romney, Hoppner, Lawrence, and Turner, the most
+brilliant and the most versatile was undoubtedly Thomas Gainsborough.
+
+
+
+
+II
+
+GAINSBOROUGH'S EARLY LIFE--IPSWICH AND BATH
+
+
+Thomas Gainsborough was born at Sudbury in Suffolk in May 1727; he was
+thus four years younger than Reynolds, thirteen years younger than
+Wilson. He came from a respectable family of old standing and in
+comfortable circumstances. His father, John Gainsborough, was a
+clothier by trade, and of his mother little is known save that she was
+a gentle and kind woman, very indulgent to her children. They had four
+daughters and five sons, of whom Thomas was the youngest. Thomas was
+far from diligent at school; he filled his copy-books with sketches,
+and was not loth to play the truant in order to get into the woods and
+meadows, where he would sit drawing trees, flowers, or cattle. A story
+is even told of his having forged his father's name to a note asking
+the schoolmaster to "give Tom a holiday." When his father saw the
+forged note he exclaimed, "The boy will come to be hanged!" but when he
+was shown the sketches which his son had made during his hours of
+stolen liberty he changed his verdict to "The boy will be a genius!"
+
+Whatever there may be of truth in this pretty story, a genius Tom
+turned out to be, and he certainly showed the most remarkable talent
+when quite a boy. There is a picture by him, painted many years later,
+the history of which shows that even at this early age he was capable
+of drawing a man's head rapidly and with great fidelity to the model.
+The picture is called "Tom Peartree's Portrait," and is a reminiscence
+of an incident in the painter's childhood. He was sitting one day in
+his father's garden, concealed by bushes, sketching an old pear tree,
+when he caught sight of the head of a peasant looking over the wall at
+the ripe fruit. The expression of eager cupidity in the man's face
+amused the boy, who included it in his sketch; he afterwards showed it
+to his father, who recognised the peasant and was able, much to the
+latter's confusion, to tax him with the intention of stealing his
+pears.
+
+Such anecdotes serve to show the artist's extraordinary facility with
+his pencil even as a child, when he had as yet had no training or
+tuition of any kind. The same valuable quality is evidenced in the
+works of his maturity, by the marvellous freedom of his technique, and
+the brilliancy of his brushwork.
+
+His father showed no opposition to his obvious vocation, and at the age
+of fourteen sent him to London to study painting. It is uncertain
+whether he went direct to the studio of Hayman, or whether he worked
+first for a while with Gravelot. Hayman was a portrait-painter of
+ability, a companion and to some extent an imitator of Hogarth; with
+him young Gainsborough learned the rudiments of his art, the use of
+brush and colours, and the principles of composition; but Hayman could
+teach him little more, and after staying with him four years he
+returned to Sudbury. It was not long after his return home that he got
+married, an event which is amusingly related by Cunningham: "It
+happened, in one of his pictorial excursions amongst the woods of
+Suffolk, that he sat down to make a sketch of some fine trees, with
+sheep reposing below, and some 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. The name of this
+young lady was Margaret Burr; she was of Scottish extraction and in her
+sixteenth year, and to the charms of good sense and good looks she
+added a clear annuity of two hundred pounds. These are matters which no
+writer of romance would overlook, and were accordingly felt by a young,
+an ardent, and susceptible man: nor must I omit to tell that country
+rumour conferred other attractions--she 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 circumstance 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, 'I have some right to this; for you know, my
+love, I am a prince's daughter.' Prince's daughter or not she was wooed
+and won by Gainsborough, and made him a kind, a prudent, and a
+submissive wife. The courtship was short. The young pair left Sudbury,
+leased a small house at a rent of six pounds a year in Ipswich, and
+making themselves happy in mutual love, conceived they were settled for
+life."
+
+It was at Ipswich, and not long after his arrival there, that
+Gainsborough made the acquaintance of Philip Thicknesse, then Governor
+of Landguard Fort, a man who was to exercise considerable influence
+upon the artist's life, and to whom we owe much information concerning
+him. Thicknesse, although he afterwards quarrelled with the painter,
+and slandered him in a venomous pamphlet, was at first a highly useful
+friend and not ungenerous patron. Upon his commission Gainsborough
+painted what was probably his first important landscape; it was a view
+of Landguard Fort, with figures and sheep in the foreground, and the
+sea, with the estuary of the Stour, in the distance. This picture was
+unfortunately destroyed through being hung upon a wall built with
+mortar mixed with sea water; but we have an excellent engraving of it
+by Major, and this shows the original to have been a very fine
+composition. As remuneration Thicknesse gave the artist thirty guineas,
+and lent him a violin upon which Gainsborough soon acquired
+considerable proficiency. He retained through life the taste for music
+of which we find in this incident the first evidence; indeed he seems
+to have been at least as proud of his achievements in this direction as
+he was of the creations of his magic brush.
+
+Through the protection of Thicknesse Gainsborough had at this time no
+lack of commissions for both landscapes and portraits. Of the latter,
+the most important is that of Admiral Vernon in the National Portrait
+Gallery, in which the red coat is painted with extreme care. To this
+period belongs the Miss Hippisley, in the collection of Sir Edward
+Tennant, and also the heads of his two daughters in the Forster
+collection at South Kensington Museum.
+
+
+PLATE IV.--THE BLUE BOY
+
+     This world-famous picture, which belongs to the Duke of
+     Westminster, at Grosvenor House, is a portrait of Jonathan
+     Buttall--the son of a wealthy ironmonger who lived in London
+     at the corner of King Street and Greek Street, Soho--in "Van
+     Dyck" costume.
+
+     Probably painted at Bath about 1772.
+
+[Illustration: PLATE IV.--THE BLUE BOY]
+
+Most of Gainsborough's biographers have treated Thicknesse with but
+scant justice. No doubt he was a self-satisfied and overbearing man,
+who had the failing of wishing to manage the lives of those who came
+into contact with him, and who was equally prompt to take offence, and
+to offend in retaliation those who would not be led by his dictatorial
+advice. But in the case of Gainsborough, he certainly rendered him the
+most inappreciable services, and in the quarrel that followed the
+artist was probably almost as much to blame as the patron. Be that as
+it may, it was on Thicknesse's initiative, and on his initiative alone,
+that Gainsborough removed from Ipswich to Bath in the year 1758. The
+importance of this move cannot be overrated, and posterity, no less
+than the painter himself, owes to Philip Thicknesse a considerable debt
+of gratitude for having been instrumental in bringing it to pass. The
+horizon at Ipswich was strictly limited; and although no doubt
+Gainsborough's genius was inborn, he would probably, had he remained in
+Suffolk, never have developed into the superb painter who must ever be
+one of the most dazzling stars of the artistic universe. We shall have
+occasion later to return to this change of scene and to its influence
+on Gainsborough's life-work.
+
+It was Thicknesse then who persuaded Gainsborough to leave Ipswich and
+to settle at Bath. Much to the terror of frugal Mrs. Gainsborough, the
+painter, still acting on his patron's guidance, took a house in the
+Circus at the annual rental of L50. Thicknesse had many friends at
+Bath, and to them he warmly recommended his protege. Whether it was
+through the influence of Thicknesse, or by the sole force of the
+artist's own genius, success was soon forthcoming and sitters flocked
+to his studio. His previous charge of five guineas for a half-length
+portrait was almost immediately raised to eight, and before very long
+his patrons became so numerous that he was able to demand no less than
+forty guineas for a half-length, and one hundred guineas for a
+full-length, very high prices for those days.
+
+During his stay at Bath Gainsborough devoted much of his time and
+energy to music; he acquired many musical instruments of various kinds,
+and tried his hand at all of them. The viol da gamba was apparently
+his favourite, and in one of his letters to his friend Jackson of
+Exeter he mentions that he possesses five of these instruments. He
+heard Giardini, the then unrivalled violinist, and had no rest till he
+purchased the very instrument that the Italian played on, "but," says
+Jackson, "seemed much surprised that the music remained with Giardini."
+In the same way he acquired Abel's viol da gamba; having heard Fischer,
+he bought a hautboy, then suddenly developed enthusiasm for the harp,
+and thus passing from instrument to instrument he never had the
+perseverance to play any one of them with any degree of perfection. In
+this connection Jackson relates an amusing anecdote of one of his most
+extravagant acquisitions: "Upon seeing a theorbo in a picture of Van
+Dyck's he concluded (perhaps because it was finely painted) that the
+theorbo must be a fine instrument. He recollected to have heard of a
+German professor, and ascending _per varios gradus_ to his garret,
+found him there at dinner upon a roasted apple, and smoking a pipe.
+
+     'I am come,' says he, 'to buy your lute. Come, name your
+     price, and here is your money.'
+
+     'I cannot shell my lude!'
+
+     'No; not for a guinea or two, but by G-- you must sell it.'
+
+     'My lude ish wert much monnay! It ish wert ten guineas.'
+
+     'That it is. See, here is the money!'
+
+     'Well, if I musht; but you will not take it away yourself!'
+
+     'Yes, yes. Good-bye----'
+
+     (After he had gone down he came up again.)
+
+     'I have done but half my errand. What is your lute worth if
+     I have not your book?'
+
+     'Whad poog, Maishter Cainsporough?'
+
+     'Why, the book of airs you have composed for the lute.'
+
+     'Ah, py Cot, I can never part wit my poog!'
+
+
+PLATE V.--THE HON. MRS. GRAHAM
+
+     This portrait of the Hon. Mary Graham (second daughter of
+     Charles, ninth Lord Cathcart) is in the National Gallery of
+     Scotland. Another portrait of the same lady shown in the
+     dress of a housemaid, standing in a doorway with a broom, is
+     supposed to be a rejected design for this picture, and is in
+     the collection of the Earl of Carlisle. Her husband
+     afterwards became Lord Lynedoch.
+
+     This picture was painted in 1775-1776, was locked up in a
+     London store for fifty years, but fortunately recovered.
+
+[Illustration: PLATE V.--THE HON. MRS. GRAHAM]
+
+     'Pooh! you can make another at any time. This is the book I
+     mean' (putting it in his pocket).
+
+     'Ah, py Cot, I cannot!'
+
+     'Come, come; here's another ten guineas for your book. So,
+     once more good-day t'ye.' (Descends again; and again comes
+     up.) 'But what use is your book to me if I don't understand
+     it? And your lute--you may take it again if you won't teach
+     me to play on it. Come home with me and give me my first
+     lesson.'
+
+     'I will come to-morrow.'
+
+     'You must come now.'
+
+     'I musht tress myshelf.'
+
+     'For what? You are the best figure I have seen to-day.'
+
+     'I musht be shave.'
+
+     'I honour your beard!'
+
+     'I musht bud on my wick.'
+
+     'D--n your wig! Your cap and beard become you. Do you think
+     if Van Dyck was to paint you he'd let you be shaved?'
+
+"In this way he frittered away his musical talents, and though
+possessed of ear, taste, and genius, he never had application enough to
+learn his notes. He seemed to take the first step, the second was, of
+course, out of his reach, and the summit became unattainable."
+
+Gainsborough made many friends in Bath; mention has already been made
+of William Jackson of Exeter, with whom he was in constant
+correspondence, and many of the letters that passed between them are
+still in existence. He became friendly with David Garrick, whose
+portrait he painted several times, and another actor with whom he was
+on very intimate terms was John Henderson. He remained at Bath sixteen
+years, and it was probably his quarrel with Thicknesse which induced
+him to migrate once more in 1774.
+
+The true circumstances of his breaking with his earliest patron are not
+easy to unravel; as is usual in such cases there are two sides to the
+story, and the truth probably lies somewhere between the two. One fact
+stands out clearly, namely, that there never was any considerable
+friendship between Thicknesse and Mrs. Gainsborough; each was probably
+jealous of the other's ascendency over the artist, and the Governor in
+his account of their differences makes her appear as the instigator of
+Gainsborough's behaviour towards himself, and lays practically all the
+responsibility at her door.
+
+It seems that shortly after the Gainsboroughs settled in Bath a
+full-length portrait of Miss Ford, who afterwards became Thicknesse's
+second wife, was painted and presented to that gentleman. All the
+trouble arose through his desire to possess his own portrait as a
+companion to that of his wife. We have already seen what a mania
+Gainsborough had for the viol da gamba; Mrs. Thicknesse had a very fine
+instrument, "made in the year 1612, of exquisite workmanship and
+mellifluous tone, and which was certainly worth a hundred guineas."
+This instrument Gainsborough coveted, and many a time he offered that
+price for it. "One night," Thicknesse relates, "we asked him and his
+family to supper with us, after which Mrs. Thicknesse, putting the
+instrument before him, desired he would play one of his best lessons
+upon it; this, I say, was after supper, for till poor Gainsborough had
+got a little borrowed courage (such was his natural modesty), he could
+neither play nor sing! He then played, and charmingly too, one of his
+dear friend Abel's lessons, and Mrs. Thicknesse told him he deserved
+the instrument for his reward, and desired his acceptance of it, but
+said, 'At your leisure give me my husband's picture to hang by the side
+of my own.'" Gainsborough was transported with delight and readily
+agreed. The very next day he began the portrait, finished the head, put
+in a Newfoundland dog at the sitter's feet, and roughly sketched in the
+remainder of the picture. There, however, he stopped, and never
+touched it again; requests, prayers, and remonstrances were in vain,
+and one day in a fit of temper Gainsborough sent back the viol da gamba
+to Mrs. Thicknesse, and shortly afterwards also sent the unfinished
+picture just as it was. At this Thicknesse was of course much offended.
+"Every time," he says, "I went into the room where that scarecrow hung
+it gave me so painful a sensation that I protest it often turned me
+sick, and in one of those sick fits I desired Mrs. Thicknesse would
+return the picture to Mr. Gainsborough. This she consented to do,
+provided I would permit her to send with it a card, expressing her
+sentiments at the same time, to which I am sorry to say I too hastily
+consented. In that card she bid him take his brush, and first rub out
+the countenance of the truest and warmest friend he ever had, and so
+done, then blot him for ever from his memory."
+
+Such is Thicknesse's own story of the quarrel, but according to Allan
+Cunningham, Gainsborough did actually, without her husband's knowledge,
+give Mrs. Thicknesse a hundred guineas for the viol da gamba, and then
+did not consider it incumbent upon him to pay twice over by painting
+the portrait. This is, however, hardly a plausible tale and the
+probabilities are that Thicknesse's version is nearer the truth.
+However that may be the long friendship between the artist and his
+protector came to an end, and Gainsborough having taken a dislike to
+Bath removed to London.
+
+
+
+
+III
+
+GAINSBOROUGH'S LIFE IN LONDON--LAST YEARS AND DEATH
+
+
+Gainsborough was forty-seven years of age when he came to settle
+definitely in London; his genius had reached the highest point of its
+development. This new change of scene, great and important though it
+was, cannot be looked upon as being by any means so risky an
+experiment as his move from Ipswich to Bath. He had by this time a
+firmly established connection, and it must not be forgotten that in
+those days Bath was a highly fashionable watering-place, bearing to
+London very much the same relation as the French Riviera does at the
+present time. Everybody who was anybody socially in the capital was a
+more or less frequent visitor to Bath, and Gainsborough during his stay
+there had ample opportunities to make acquaintances which were bound to
+stand him in good stead when he came to London. Thicknesse, however,
+even after their quarrel, could not refrain from sending him forth once
+more under his particular patronage; he wrote to Lord Bateman, a peer
+of little influence or importance, asking him "for both our sakes to
+give him countenance and make him known, that being all which is
+necessary." This sort of thing was probably quite superfluous, for
+Gainsborough was by this time fully capable of holding his own even in
+London. Still it remains on record that Lord Bateman did do his best
+for him, and himself acquired several of his pictures.
+
+On their first arrival in London the Gainsboroughs took quarters north
+of the Oxford Road; a more central and more fashionable neighbourhood
+was, however, necessary to the painter, and he very soon removed to
+Schomberg House in Pall Mall. This house, which was built by the Duke
+of Schomberg towards the end of the seventeenth century, was at this
+time the property of the eccentric and mediocre painter John Astley, a
+fellow pupil with Reynolds under Hudson. From Astley Gainsborough
+rented a third of the house at L300 a year, showing that he had from
+the first no anxiety as to his success in the metropolis. An
+interesting circumstance in relation to this house is that some seven
+years later another portion of it was occupied by the quack Dr. Graham,
+who installed there his Temple of Health. In some of the strange and
+not very legitimate ceremonies carried on in this "Temple," the part of
+goddess of health was played by none other than Emma Lyon or Hart, who
+was destined to become so famous as the lovely Lady Hamilton.
+Gainsborough must have met her, and although we have no actual portrait
+from his hand of this wonderfully beautiful creature, it is suggested
+by Sir Walter Armstrong that she may have sat for the picture of
+"Musidora" in the National Gallery, one of the very rare attempts at
+the nude which Gainsborough is known to have made.
+
+
+PLATE VI.--THE DUCHESS OF DEVONSHIRE
+
+(In the collection of Earl Spencer, K.G.)
+
+     This delightful painting, one of the gems of the Althorp
+     collection, is considered to be one of the master's greatest
+     achievements in full-length portraits.
+
+[Illustration: PLATE VI.--THE DUCHESS OF DEVONSHIRE]
+
+In London Gainsborough came into personal contact with Sir Joshua
+Reynolds, probably for the first time, although from a note of Walpole
+in his catalogue of the Royal Academy of 1773 it would appear that they
+had been in touch with one another some years previously, Walpole's
+words being: "Gainsborough and Dance, having disagreed with Sir Joshua
+Reynolds, did not send any pictures to this exhibition." When the
+Academy was founded in 1768 Gainsborough was one of the original
+members, and to the first four exhibitions he sent from Bath seventeen
+portraits and fifteen landscapes. Then for four years, no doubt on
+account of the disagreement mentioned by Walpole, he exhibited nothing
+until 1777, when his name reappears in the catalogue with portraits of
+the Duke and Duchess of Cumberland.
+
+The vogue of Gainsborough was now at its height, and a long series of
+portraits of royal personages began to occupy his easel. It was one of
+these which, a few years later, led to his final quarrel with the Royal
+Academy. To the exhibition of 1783 he had sent eight portraits and
+portrait groups, including one of the three "Eldest Princesses." He
+sent the frames only in the first instance, but kept back that of the
+princesses, the king and queen having expressed a wish to view the
+picture before it was sent to the Academy. There was then a rule of the
+exhibition, one which is still in force, that full-length portraits
+could not be hung on the line, and by some misapprehension, it must
+have been thought by the hanging committee that this was a full-length
+group. Gainsborough must have heard of the place which had been
+assigned to it, and he sent the following curt note to Somerset House,
+where the Royal Academy exhibitions were then held:--
+
+     "_Mr. Gainsborough presents his Compliments to the Gentlemen
+     appointed to hang the pictures at the Royal Academy, and
+     begs leave to_ hint _to them that if the Royal Family, which
+     he has sent for this Exhibition (being smaller than
+     three-quarters), are hung above the line along with
+     full-lengths, he never more, whilst he breathes, will send
+     another Picture to the Exhibition._
+
+                                   _This he swears by God._
+
+     _Saturday morn._"
+
+This letter did not have the desired effect, so Gainsborough withdrew
+his pictures and never exhibited again. It would appear that such a
+quarrel, obviously the result of a misunderstanding, could easily have
+been adjusted by the President, had he felt inclined to interfere; but
+Sir Joshua evidently preferred to let matters take their course, and so
+the break became permanent.
+
+There never was any great sympathy between the two men, although their
+mutual admiration for each other's work was considerable. Their
+characters were essentially different, and although they frequently
+shared the same sitters, and had some friends in common, they lived in
+a social atmosphere entirely distinct. On the other hand they never
+were enemies, nor had any serious personal quarrel; at one time it even
+seemed as though they might be drawn into friendship, and Gainsborough
+started painting the President's portrait; this, however, shared the
+fate of Thicknesse's years before and got no further than the first
+sitting. Their relations were such, however, that Gainsborough was able
+to call Reynolds to his death-bed, although they had probably had no
+intercourse for years. The pathetic story of Gainsborough's last
+illness is best told in the words of Allan Cunningham: "Though
+Gainsborough was not partial to the society of literary men, he seems
+to have been acquainted with Johnson and with Burke, and he lived on
+terms of great affection with Richard Brinsley Sheridan. He was also a
+welcome visitor at the table of Sir George Beaumont, a gentleman of
+graceful manners, who lived in old English dignity, and was, besides, a
+lover of literature and a painter of landscape. The latter loved to
+relate a curious anecdote of Gainsborough, which marks the unequal
+spirit of the man, and shows that he was the slave of wayward impulses
+which he could neither repress nor command. Sir George Beaumont,
+Sheridan, and Gainsborough had dined together, and the latter was more
+than usually pleasant and witty. The meeting was so much to their
+mutual satisfaction that they agreed to have another day's happiness,
+and accordingly an early day was named when they should dine again
+together. They met, but a cloud had descended upon the spirit of
+Gainsborough, and he sat silent with a look of fixed melancholy, which
+no wit could dissipate. At length he took Sheridan by the hand, led him
+out of the room, and said, "Now, don't laugh, but listen. I shall die
+soon--I know it--I feel it. I have less time to live than my looks
+infer; but for this I care not. What oppresses my mind is this: I have
+many acquaintances and few friends; and as I wish to have one worthy
+man to accompany me to the grave, I am desirous of bespeaking you. Will
+you come; aye or no?" Sheridan could scarcely repress a smile as he
+made the required promise; the looks of Gainsborough cleared up like
+the sunshine of one of his own landscapes; throughout the rest of the
+evening his wit flowed and his humour ran over, and the minutes, like
+those of the poet, winged their way with pleasure.
+
+About a year after the promise obtained from Sheridan to attend his
+funeral he went to hear the impeachment of Warren Hastings, and,
+sitting with his back to an open window, suddenly felt something
+inconceivably cold touch his neck above the shirt collar. It was
+accompanied with stiffness and pain. On returning home he mentioned
+what he felt to his wife and his niece, and on looking they saw a mark
+about the size of a shilling, which was harder to the touch than the
+surrounding skin, and which he said still felt cold. The application of
+flannel did not remove it, and the artist becoming alarmed, consulted
+one after the other the most eminent surgeons of London--John Hunter
+himself the last. They all declared there was no danger; but there was
+that presentiment upon Gainsborough from which none perhaps escape. He
+laid his hand repeatedly on his neck and said to his sister, who had
+hastened to London to see him, "If this be a cancer, I am a dead man."
+And a cancer it proved to be. When this cruel disease fairly discovered
+itself, it was found to be inextricably interwoven with the threads of
+life, and he prepared himself for death with cheerfulness and perfect
+composure. He desired to be buried near his friend Kirby in Kew
+churchyard, and that his name only should be cut on his grave-stone. He
+sent for Reynolds, and peace was made between them. Gainsborough
+exclaimed to Sir Joshua: "We are all going to heaven, and Van Dyck is
+of the company," and immediately expired--August 2nd, 1788, in the
+sixty-first year of his age. Sheridan and the president attended him to
+the grave.
+
+
+PLATE VII.--MRS. ROBINSON--"Perdita"
+
+(At the Wallace Collection)
+
+     This portrait of the beautiful actress is one of
+     Gainsborough's finest masterpieces. The lightness,
+     dexterity, and transparency of the pigment is almost
+     unrivalled, not only in this artist's work, but in any
+     picture of the eighteenth century. It hangs in the Wallace
+     Collection at Hertford House; a smaller sketch of the same
+     subject is at Windsor Castle.
+
+[Illustration: PLATE VII.--MRS. ROBINSON--"Perdita"]
+
+Gainsborough left two daughters, whose portraits he painted several
+times. The elder one, Margaret, did not marry; while the younger, Mary,
+was secretly wedded in 1780 to her father's friend, Johann Christian
+Fischer, the hautboy player. This marriage caused Gainsborough much
+trouble; he foresaw that the musician's irritability and eccentric
+behaviour on many occasions could not conduce to the happiness of his
+daughter; however, to quote his own letter to his sister, Mrs. Gibbon,
+"As it was too late for me to alter anything without being the cause of
+total unhappiness on both sides, my _consent_, which was a mere
+compliment to affect to ask, I needs must give." The father's
+foreboding was only too fully justified; the union turned out very
+unhappy from the first, and within a year or so husband and wife
+separated. Both sisters were mentally deficient, and their aberrations
+increased with age to the point of total derangement. Mary, soon after
+her marriage, became subject to wild hallucinations, "perhaps the most
+reasonable" (as Fulcher puts it) being that the Prince of Wales was
+pursuing her with his love. After her mother's death she went to live
+with her sister, whose mental condition was even worse than her own;
+they would receive no visitors who did not belong to the nobility, so
+that many who wished to gain admittance to the house were obliged to
+assume titles which they did not possess. Margaret died about 1824, and
+Mary a year or two later; before her death she insisted on presenting
+to the king the portrait of Fischer, painted by her father at Bath
+about forty years before; this portrait is now in the Royal Collection.
+
+Of Gainsborough's personality and character much has no doubt been
+gathered from the preceding pages. His physical appearance is familiar
+from his own portraits of himself, and from that which Zoffany painted
+of him. He was handsome, tall and strong, with large features and a
+broad if not very high forehead; the small eyes are quick and
+observant, the mouth sensitive and rather undecided. In the choice of
+his friends he attached little importance to breeding and none to
+social position; he was generous and open-handed to all, with money to
+his relations and often indiscriminately with his works to friends or
+mere acquaintances: on one occasion he gave his picture of the "Boy at
+the Stile" to Colonel Hamilton (equally well known at the time as an
+amateur violinist and a gentleman pugilist) for having played him a
+solo on the violin; to Wiltshire, the carrier who took his pictures
+from Bath to London, and who refused to take payment in money from the
+artist, he presented many valuable landscapes.
+
+Intellectually he was extremely gifted; although his education in his
+youth was much neglected his letters show him to have been by no means
+ignorant or uncultivated. They also bear the impress of his spontaneous
+wit and keen humour; of this quality there is evidence in numerous
+anecdotes. An old man of the labouring class, named Fowler, used to sit
+to him at Bath; on the studio mantelpiece stood a child's skull, the
+gift of a medical friend.
+
+"Fowler, without moving his position, continually peered at it askance,
+with inquisitive eye. 'Ah! Master Fowler,' said the painter, 'that is a
+mighty curiosity.' 'What might it be, sir, if I may make so bold?' 'A
+whale's eye,' was the grave reply. 'No, no, never say so, Muster
+Gainsborough. Sir, it is a little child's skull!' 'You have hit it,'
+said the wag. 'Why, Fowler, you're a witch! But what will you say when
+I tell you it is the skull of Julius Caesar when he was a little boy!'
+'Laws!' cried Fowler, 'what a phenomenon!'"
+
+Gainsborough's temper was very hasty, quite opposed to the patient
+courtliness of Reynolds. When a certain peer or alderman, posing, with
+boundless self-satisfaction, for his portrait, begged the artist not
+to overlook the dimple in his chin, "Damn the dimple in your chin, I
+will paint neither the one nor the other!" was the uncompromising
+rejoinder.
+
+These stories, unimportant as they are, serve to give an insight into
+the man's character; but whatever his personal faults and qualities may
+or may not have been it is with his works that posterity is chiefly
+concerned, and by them and them alone that Gainsborough must be judged.
+
+
+
+
+IV
+
+GAINSBOROUGH'S WORKS
+
+
+The works of Gainsborough may be divided into three chronological
+groups, just as his life was divided between three distinct localities.
+But whereas there is a definite and fundamental difference between the
+pictures painted at Ipswich and those of the remainder of his life,
+there is not to any similar extent a determined demarkation between
+his productions at Bath and those of his last and most glorious years
+in London.
+
+It has been seen that Gainsborough used palette and brush from at least
+the age of fourteen, when he went to London to study with Hayman. But
+the productions of this very early period are extremely difficult to
+identify. The National Gallery of Ireland possesses two drawings in
+pencil, portraits of a man and a woman, on each of which appears the
+signature _Tho: Gainsborough fecit 1743-1744_. These, the earliest
+extant attempts of Gainsborough in portraiture are hard and laboured in
+execution, but the heads are well-modelled and full of character; they
+must have been done in London before his return to his native Sudbury.
+
+A similar hardness and elaborate care and attention to detail
+characterises the early landscapes painted in Suffolk. The only
+pictures of the old masters to which the young artist could have had
+access at this period were landscapes of Dutch painters such as
+Ruysdael, Hobbema, and Wynants. Their influence is obvious in his own
+early productions, especially that of Wynants; the most important work
+of this character is the large landscape belonging to Mr. J. D. Cobbold
+of Ipswich; it is an elaborate composition, semi-classical in style,
+with conventional hills in the distance, and a carefully put in group
+of cattle and figures in the foreground. This is the sort of thing that
+Thicknesse must have found in the painter's studio upon his first
+visit, together with the portrait of Admiral Vernon (now in the
+National Portrait Gallery), and others which the Governor describes as
+"truly drawn, perfectly like, but stiffly painted and worse coloured."
+
+The "Landguard Fort" was commissioned by Thicknesse shortly after the
+artist's marriage and removal to Ipswich, and must therefore have been
+painted between 1747 and 1750; it thus establishes an important
+landmark in the painter's early years, and although the original is
+unfortunately lost, it is possible from the engraving of it, which
+still exists, to approximately date other early landscapes of
+Gainsborough. To about the same time probably belongs the "View in
+Suffolk" of the Irish National Gallery, while the "Cornard Wood" in the
+National Gallery, somewhat more free in execution, is slightly later.
+
+Of the portraits of this period very few can be traced, and it is
+probable that no large number were painted. The "Admiral Vernon" has
+already been mentioned and also the "Miss Hippisley" (Sir Edward
+Tennant's collection), and the heads of the artist's daughters at South
+Kensington. There are also in existence two half-length ovals of Mr.
+Robert Edgar and Miss Katherine Edgar, the latter probably one of the
+best examples of Gainsborough's later years in Suffolk. They all show
+the same characteristic tightness, and a lack of that marvellous
+freedom for which his later works are so remarkable.
+
+
+PLATE VIII.--MISS HAVERFIELD
+
+(At the Wallace Collection)
+
+     Portraits of children by Gainsborough are not frequent,
+     although he introduced country boys and lasses into his
+     landscapes with the greatest success. This example in the
+     Wallace Collection possesses a charm which makes one regret
+     that his youthful sitters were not more numerous.
+
+[Illustration: PLATE VIII.--MISS HAVERFIELD]
+
+Almost directly after his settlement at Bath the artist's manner
+changed very appreciably. This was probably due chiefly to the fact
+that he was able in the neighbourhood of Bath to see and study the
+works of great masters of the past, and notably the great family group
+by Van Dyck at Wilton House. He no doubt also had access to the fine
+array of works by Rubens then hanging at Blenheim and unfortunately now
+dispersed. The paintings of these masters seem to have disclosed to
+Gainsborough the possibilities of his materials, and from this moment
+his artistic development is rapid and decided, much more rapid than is
+generally believed. Most people imagine that all his best works date
+from the years of his life in London after 1774, and that the pictures
+of his Bath period, previous to that year, are comparatively much
+inferior. This is quite a mistake, for many of his most famous works
+were in fact painted at Bath and his genius had reached its full
+maturity long before he settled in Pall Mall. The fine half-length of
+Miss Linley and her brother, belonging to Lord Sackville at Knole, Lord
+Burton's "Lady Sussex and Lady Barbara Yelverton," the large equestrian
+portrait of General Honywood, several portraits of Garrick, such
+landscapes as those belonging to Lord Tweedmouth, Lord Bateman, and Mr.
+Lionel Phillipps were all painted at Bath, as was probably also the
+immortal "Blue Boy" itself.
+
+One of the first of Gainsborough's sitters after his arrival at Bath
+was Mr. Robert Craggs Nugent, afterwards Viscount Clare and Earl
+Nugent, whose full-length portrait was the first picture ever sent by
+the artist to a public exhibition. It was shown at the Spring Garden
+Exhibition of the Society of Artists of Great Britain in 1761 and now
+belongs to Sir George Nugent. In the following year a picture entered
+in the Society's catalogue as "A whole-length portrait of a gentleman
+with a gun," has been identified as the picture, now at Althorp, of
+William Poyntz, brother of Georgiana, the first Countess Spencer,
+herself the mother of that more famous Georgiana, Duchess of
+Devonshire. Both the mother and the daughter were painted about the
+same time, the latter as a little girl of five or six years of age.
+These two pictures of the usual half-length size are also at Althorp.
+
+Year by year Gainsborough continued sending portraits and landscapes to
+the Society's exhibitions, the huge canvas of General Honywood on
+horseback hanging there in 1765; the next year came, among others, the
+full-length portrait of Garrick leaning against a bust of Shakespeare,
+painted for the Town Hall, Stratford-on-Avon, where it still hangs.
+
+In 1769 the Royal Academy opened its first exhibition; Gainsborough was
+represented by four pictures, including a whole-length portrait of
+Isabella, Lady Molyneux, afterwards Countess of Sefton, and another of
+George Pitt, first Lord Rivers. In 1770 we find six pictures and a book
+of drawings, in the following year five full-lengths and two
+landscapes, and in 1772 no less than fourteen pictures, four of which
+were portraits, and ten "drawings in imitation of oil-painting;" these
+latter, of which a few exist, are curious productions drawn in
+water-colour on thick coarse paper laid down on canvas and then
+varnished; the process is not a very happy one, and the artist's fancy
+for it does not appear to have been lasting.
+
+For the four following years Gainsborough's name is absent from the
+Academy catalogues from the cause already mentioned of a disagreement
+with Reynolds as recorded by Walpole. But during this time Gainsborough
+no doubt continued to turn out "heads" in great numbers, and not a few
+full-lengths, to say nothing of landscapes of varying size and
+importance. Several of these half-lengths are in the National Portrait
+Gallery and the National Gallery, while a considerable number are to be
+found in private collections.
+
+Sir Walter Armstrong, in his monumental work on Gainsborough,[1] puts
+forward very forcibly the theory that the famous "Blue Boy" at
+Grosvenor House was painted about the year 1770 at Bath and not in 1779
+in London, as has been generally supposed. It is impossible to
+reproduce here his closely reasoned arguments, but his conclusion is
+most probably correct that the "Blue Boy" is a masterpiece of
+Gainsborough's "Bath period." It is a portrait of a certain Jonathan
+Buttall, a very wealthy ironmonger who lived at the corner of King
+Street and Greek Street, Soho. He is represented at full-length,
+standing in a landscape, in a rich blue "Van Dyck" costume, holding a
+large hat with a white feather in his right hand. The history of the
+picture and the manner of its coming into the possession of the Duke of
+Westminster are uncertain; it may have been sold together with the
+effects of Jonathan Buttall, senior, after the death of his widow in
+1796, when all his property was disposed of by public auction. It seems
+to have belonged to Hoppner, who died in 1810, and who probably is the
+author of the very good copy of the "Blue Boy" which is now in America,
+and has sometimes been looked upon as a replica from the master's own
+hand.
+
+To this same period in the artist's career probably belongs another and
+almost equally famous picture which hangs on the same walls as the
+"Blue Boy." The Duke of Westminster's "Cottage Door," one of the finest
+of Gainsborough's landscapes or pastoral scenes, appears to have been a
+product of the last years spent at Bath, together with the great
+"Watering Place" at the National Gallery; the "Rustic Children"
+belonging to Lord Carnarvon and of which a small version is also in the
+National collection; Mr. G. L. Basset's "Cottage Girl," and many other
+landscapes of equal or lesser importance.
+
+It is therefore fair to surmise that had Gainsborough never made his
+last move from Bath to London the world's stock of artistic treasures
+would in all probability not have been very much the poorer. That he
+did afterwards create works of greater beauty was presumably not the
+effect of his settlement in the metropolis, but merely of the
+continuance of the natural development of his genius; to the very end
+of his career he continued to profit by the lessons of greater
+experience; his touch constantly grew more free, more feathery, his
+pigment more transparent, his insight into character more rapid and
+more sure. The increased elegance and heightened refinement of his
+later portraits may or may not be due to a closer touch with the court
+and its immediate surroundings; but, from what has gone before, it is
+clear that it is a delusion to speak deprecatingly of a "Gainsborough
+of the Bath period."
+
+It is by no means easy to assign dates to most of the pictures painted
+by Gainsborough in London. The Academy catalogues provide but slight
+assistance; for one thing portraits were almost invariably unnamed in
+those days and can only be identified in most cases by the help of
+contemporary criticism or correspondence; besides, as we have seen,
+Gainsborough's first reappearance at the official exhibition took place
+in 1777 with the portraits of the Duke and Duchess of Cumberland, and
+his final quarrel with the institution was only a few years later. But
+the beautiful women and men of fashion who sat to him were legion.
+Portraits such as that of "Mrs. Robinson" in the Wallace Collection,
+"Mrs. Siddons" in the National Gallery, "The Hon. Mrs. Graham" in the
+Scottish National Gallery are too well known and too easily accessible
+to need description. Many, however, of his greatest works are hidden
+away from the general public in private collections, and only reveal
+themselves now and again when their owners consent to lend them to an
+exhibition.
+
+Among these is Lord Rothschild's "The Morning Walk," which may perhaps
+be looked upon as Gainsborough's most perfect masterpiece. It is a
+portrait group of Squire Hallett and his wife walking in a landscape
+with a white Pomeranian dog. As in many of the master's finest
+achievements the colour-scheme is of the soberest description; like the
+"Lady Mulgrave" or Lord Normanton's marvellous "Lady Mendip" it is
+almost a monochrome. Yet, by a sort of magic, such pictures as these
+give the impression of a superb melody of colour; every touch conduces
+to a most perfect harmony, and the effect is obtained by a method so
+personal, so entirely new to his time, that Reynolds, speaking of him
+in one of his discourses, was able to say that "his handling, the
+manner of leaving the colours, ... had very much the appearance of the
+work of an artist who had never learned from others the usual and
+regular practice belonging to his art."
+
+And indeed a survey of Gainsborough's life-work leads one to agree with
+the words of Sir Joshua, but in a wider sense than the President
+intended them to apply. Gainsborough owed little or nothing to the
+great masters of painting who came before him, and less to any of his
+contemporaries. His teachers were Nature and his own sympathy with his
+subject. Nowhere in the work of his maturity is there to be found any
+trace of imitation of the Dutch or of the Italian masters. He did not
+pose his models _a la_ Van Dyck, nor did he borrow his palette from
+Titian; he is the most English of English artists as he is the greatest
+glory of English art. "He is an immortal painter," says Ruskin, "and
+his excellence is based on principles of art long acknowledged and
+facts of Nature universally apparent."
+
+
+[Footnote 1: Pages 121, 124.]
+
+
+The plates are printed by BEMROSE & SONS, LTD., Derby and London
+
+The text at the BALLANTYNE PRESS, Edinburgh
+
+
+       *       *       *       *       *
+
+
+Transcriber's Notes
+
+Paragraphs were rejoined on either side of the plates; therefore, some
+sentences will be found on a different page number than the original
+book.
+
+The description of the painting, originally preceding the illustration
+by a page, is displayed above the painting, while the caption added
+below the painting contains only the plate number and title for
+reference purposes.
+
+Double, single, and mismatched quotation marks were preserved from
+the original book.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Gainsborough, by Max Rothschild
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