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-The Project Gutenberg EBook of Lawrence, by Samuel Levy Bensusan
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-Title: Lawrence
-
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-
-Editor: T. Leman Hare
-
-Release Date: March 29, 2013 [EBook #42431]
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+*** START OF THE PROJECT GUTENBERG EBOOK 42431 ***
 
     MASTERPIECES
     IN COLOUR
@@ -1021,362 +987,4 @@ were a powerful aid to diplomacy in days past.
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 42431 ***
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@@ -1,1382 +0,0 @@
-The Project Gutenberg EBook of Lawrence, by Samuel Levy Bensusan
-
-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: Lawrence
-
-Author: Samuel Levy Bensusan
-
-Editor: T. Leman Hare
-
-Release Date: March 29, 2013 [EBook #42431]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK LAWRENCE ***
-
-
-
-
-Produced by sp1nd, Matthew Wheaton and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
-
-
-
-
-
-
-    MASTERPIECES
-    IN COLOUR
-    EDITED BY - -
-    T. LEMAN HARE
-
-    LAWRENCE
-
-    1769--1830
-
-
-    "MASTERPIECES IN COLOUR" SERIES
-
-        ARTIST.                        AUTHOR.
-    BELLINI.                       GEORGE HAY.
-    BOTTICELLI.                    HENRY B. BINNS.
-    BOUCHER.                       C. HALDANE MACFALL.
-    BURNE-JONES.                   A. LYS BALDRY.
-    CARLO DOLCI.                   GEORGE HAY.
-    CHARDIN.                       PAUL G. KONODY.
-    CONSTABLE.                     C. LEWIS HIND.
-    COROT.                         SIDNEY ALLNUTT.
-    DA VINCI.                      M. W. BROCKWELL.
-    DELACROIX.                     PAUL G. KONODY.
-    DÜRER.                         H. E. A. FURST.
-    FRA ANGELICO.                  JAMES MASON.
-    FRA FILIPPO LIPPI.             PAUL G. KONODY.
-    FRAGONARD.                     C. HALDANE MACFALL.
-    FRANZ HALS.                    EDGCUMBE STALEY.
-    GAINSBOROUGH.                  MAX ROTHSCHILD.
-    GREUZE.                        ALYS EYRE MACKLIN.
-    HOGARTH.                       C. LEWIS HIND.
-    HOLBEIN.                       S. L. BENSUSAN.
-    HOLMAN HUNT.                   MARY E. COLERIDGE.
-    INGRES.                        A. J. FINBERG.
-    LAWRENCE.                      S. L. BENSUSAN.
-    LE BRUN, VIGEE.                C. HALDANE MACFALL.
-    LEIGHTON.                      A. LYS BALDRY.
-    LUINI.                         JAMES MASON.
-    MANTEGNA.                      MRS. ARTHUR BELL.
-    MEMLINC.                       W. H. J. & J. C. WEALE.
-    MILLAIS.                       A. LYS BALDRY.
-    MILLET.                        PERCY M. TURNER.
-    MURILLO.                       S. L. BENSUSAN.
-    PERUGINO.                      SELWYN BRINTON.
-    RAEBURN.                       JAMES I. CAW.
-    RAPHAEL.                       PAUL G. KONODY.
-    REMBRANDT.                     JOSEF ISRAELS.
-    REYNOLDS.                      S. L. BENSUSAN.
-    ROMNEY.                        C. LEWIS HIND.
-    ROSSETTI.                      LUCIEN PISSARRO.
-    RUBENS.                        S. L. BENSUSAN.
-    SARGENT.                       T. MARTIN WOOD.
-    TINTORETTO.                    S. L. BENSUSAN.
-    TITIAN.                        S. L. BENSUSAN.
-    TURNER.                         C. LEWIS HIND.
-    VAN DYCK.                      PERCY M. TURNER.
-    VELAZQUEZ.                     S. L. BENSUSAN.
-    WATTEAU.                       C. LEWIS HIND.
-    WATTS.                         W. LOFTUS HARK.
-    WHISTLER.                      T. MARTIN WOOD.
-           _Others in Preparation._
-
-
-    [Illustration: PLATE I.--MASTER LAMBTON. Frontispiece
-
-    (In the collection of the Earl of Durham)
-
-    In painting this portrait (for which he is said to have received
-    £600) Lawrence was happy in his sitter. The child has good looks
-    and a very intelligent face, but unfortunately he is over-posed.
-    One misses the simplicity, the natural attitude, the spontaneous
-    gesture, found in portraits of children by Sir Joshua, and feels
-    that although Lawrence made an attractive picture, his sitter
-    has been made too self-conscious for childhood.]
-
-
-
-
-    LAWRENCE
-
-    BY S. L. BENSUSAN
-
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    LONDON: T. C. & E. C. JACK
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-    Plate
-
-        I. Master Lambton                 Frontispiece
-              In the collection of the
-              Earl of Durham
-
-                                                  Page
-      II. Mrs. Siddons                              14
-             In the National Gallery
-
-     III. Portrait of Mr. and Mrs. John Julius
-          Angerstein                                24
-             In the Louvre
-
-      IV. Miss Georgina Lennox, afterwards
-          Countess Bathurst                         34
-             In the collection of Earl Bathurst
-
-       V. Miss Maria Siddons                        40
-             In the Wallace Collection
-
-      VI. Portrait of a Lady                        50
-             In the Wallace Collection
-
-     VII. Portrait of Countess Blessington          60
-             In the Wallace Collection
-
-    VIII. King George IV.                           70
-             In the Wallace Collection
-
-
-
-
-I
-
-
-The prodigy is no unfamiliar figure in our midst to-day--indeed the
-world's wonder children tend ever to increase in numbers and
-attainments. For the most part they belong to the realm of music;
-poets and artists must be made as well as born. We are but mildly
-excited when the papers announce the arrival in town of a child who
-can play the piano like Rubinstein or the violin like Paganini; we
-know that though the statement be a gross and misleading exaggeration,
-we shall at least hear work that is little short of marvellous from
-hands that might well have known no heavier burden than toys. We know,
-too, that these precocious children tend to make their début and
-disappear, making way for others. If they are to develop their
-promise, a long spell of study is inevitable, and for the most part
-parents and guardians are more intent upon present profit than future
-prestige.
-
-The precocious lad whose talent makes him a painter is rare. Natural
-aptitude for drawing and natural sense of colour are not uncommon, but
-the possessor of these gifts may remain quite undistinguished. He
-generally succeeds in doing so in these days when the old traditions
-of art are despised by the _cognoscenti_, and the genuine faculty of
-interpretation is not understood or appreciated by the rank and file
-of those who pay their annual tribute of one shilling to the
-authorities of Burlington House, and are not always ashamed to frame
-the colour plates that illustrated papers inflict upon their
-long-suffering subscribers. Life is harder for the young painter of
-genius than his contemporary musician of like age. It was not always
-so, and turning back to the history of England's accepted artists, the
-name of Sir Thomas Lawrence, P.R.A., stands out as one of the most
-brilliant examples in the history of art, of untutored skill that came
-near to amounting to positive genius.
-
-The history of the Italian painters provides us with many cases in
-which men, starting life with talents akin to those that Lawrence
-enjoyed, claimed and found a measure of immortality. Only a few will
-be found to declare that the English painter is destined to the very
-highest place in the annals of British art, but at his best he is a
-very notable painter indeed, in spite of the fact that everything in
-his life was working in opposition to the best interests of his art.
-He had no education, his gifts were exploited shamelessly from the
-days when he was a little boy. As he grew up, the imperious need for
-money gave to purely commercial work the precious years that should
-have been surrendered to study. Happily Fortune was not altogether
-unkind. She checked the proper development of rare talent, she kept
-the painter from all opportunity of becoming the most outstanding
-figure of his generation in the critical eyes of generations to come;
-but, on the other hand, she loaded him with all the material favours
-within her gift. His career was as brilliant as the passage of a
-meteor through the sky; he rose from surroundings of the most
-unsatisfactory kind to the highest place in the profession he adorned.
-He became the intimate of princes and people of high degree, and, with
-certain limitations imposed by an incomplete education, he was a great
-painter.
-
-    [Illustration: PLATE II.--MRS. SIDDONS
-
-    (In the National Gallery)
-
-    In this portrait Lawrence has dealt faithfully with the greatest
-    actress of his time. The face suggests the latent power that
-    could upon occasion hold an audience spell-bound, and there is a
-    certain quality of intimacy about this remarkable study that
-    shows the painter's effort to express the full depths of a
-    complex character. As in the case of Miss Maria Siddons, the
-    painting of this portrait was a labour of love.]
-
-From many of his canvases we can see man's splendid gifts struggling
-for full expression. At times he seems to be a reflection of a still
-greater man, Sir Joshua Reynolds; at other times he is the founder of
-a tradition that lesser men were to make vulgar and commonplace and
-bring ultimately into disrepute. But at every period of his life and
-in every aspect of his work with which we are acquainted, Thomas
-Lawrence is interesting--perhaps it is permissible to say he is even
-lovable. One gets the impression of a strong man who has equipped
-himself for life's race in despite of disadvantages that would have
-crushed and quelled the spirit of a weakling, a man who makes for the
-most difficult goal, and reaches it in triumph. He is an Englishman
-every inch of him, and the spirit that supported him is one he shared
-with the greatest of this island's citizens. Even the most severe of
-his critics cannot hide their admiration of the man, though they are
-most acutely conscious of the shortcomings of the artist.
-
-It is fair to remember, too, that much of the painter's work was done
-under certain disadvantages inherent in the times of his activity.
-With the close of the eighteenth and the beginning of the nineteenth
-century, costume was stiff and ugly to an extreme that excites our
-laughter now. The age of artificiality was upon land, and Sir Thomas
-Lawrence was not so well equipped for making the best of it as were
-Reynolds and Gainsborough, who came immediately before him. That he
-succeeded so often in making the personality of a sitter overcome the
-absurdities of dress and decoration is an eloquent tribute to his art.
-His treatment of children is frankly delightful but frankly
-derivative; it is only necessary to refer to such portraits as the
-"Childhood's Innocence," "Master Lambton," "Nature," and the "Countess
-Gower and Daughter," to see how great is his debt to one who was
-_facile princeps_ among the painters of childhood--Sir Joshua
-himself--and how far he fell short of his teacher's greatness. But the
-gallery of children is a small one; the collection of representative
-men and women of his time is far larger, more representative, and
-painting many of these portraits the artist is speaking with his own
-voice, the voice that lured so many men of a later generation to
-assume it as their own, with results that are little short of
-lamentable. Students of the life of Sir Thomas Lawrence must surely
-have shared the writer's regret that the strong soul, the sure hand,
-and the far-seeing eye were not destined to have lived and thrived in
-the golden age of the Italian Renaissance. Then such natural gifts
-were stimulated to the highest possible pitch of development by the
-splendour of a more flamboyant life, the glory of a less restricted
-power, the rare beauty of pageant and of costume unknown to late
-eighteenth- and early nineteenth-century England, in a land where
-beauty was the very keynote of existence. There, poverty was a
-stimulus to countless artists whose very names thrill us as we mention
-them, men whose genius is enshrined in the galleries of Venice,
-Florence, and Rome. Under Italian skies such gifts as Lawrence
-possessed would have blossomed and budded and filled the face of the
-world with fruit. Eighteenth- and nineteenth-century skies in England
-were never bright enough to teach Lawrence the one secret that his
-canvases lack--the secret of exquisite colour that came to Sir Joshua
-in his prime, though, alas, it faded from so many canvases as surely
-as it passed from the laughing faces that thronged his studio.
-
-Taste, Lawrence had in a very marked measure; his draughtsmanship was
-facile and sure to an almost dangerous degree; but in point of colour,
-as in some of the more subtle qualities of portrait-painting, he
-lacked the equality of gifts that would have silenced our later-day
-criticism. Only when we turn to consider the conditions under which
-his early life was passed, and the labours that were enforced upon him
-at a tender age, do we cease to complain of his slight limitations in
-wonder of the great gifts that passed unscathed through his troubled
-childhood, his scanty days of training, his long years of devoted
-toil, his season of honours and great rewards. The record of
-Lawrence's life is full of interest that has been heightened in the
-past few years by the publication in 1904 of "An Artist's Love Story,"
-edited by Mr. Oswald G. Knapp. With the issue of this work, made up
-of hitherto unpublished letters written by the painter, Mrs. Siddons
-and her daughters, Martha and Maria, a fresh and interesting light was
-thrown upon the artist's relations with the great actress and upon his
-devotion to her daughters; the countless stories and rumours that
-passed current in his day have been corrected. Through this
-correspondence we see more of the man than any biography had ever
-succeeded in showing us, and as the painter had been dead for more
-than seventy years when the book was published, and had left no
-descendants, there could be no suggestion of impropriety in the
-publication. Many of the letters are more than a century old.
-
-In the light of the leading biographies, the brief one by Redgrave,
-the longer and more interesting biography by Allan Cunningham, and
-some others of less note, and with the aid of this volume of
-correspondence, it is possible to set down at all necessary length the
-story of the artist's life, and to speak with some authority of the
-conditions under which the bulk of his work was done.
-
-
-
-
-II
-
-THE PAINTER'S LIFE
-
-
-Thomas Lawrence was born in the year 1769, when Sir Joshua Reynolds
-was in his forty-sixth year, and Gainsborough was two-and-forty years
-his senior. His father, after whom he was named, was a ne'er-do-well
-of decent birth and good education who had made a clandestine marriage
-with a lady of better social position than his own; for Lucy Read, who
-married Thomas Lawrence, senior, was related to the Powis family.
-Because she listened to his suit she was disowned and disinherited by
-her relations. Her influence upon her son would seem to have been
-wholly good; indeed he was devoted to both parents, though his father
-started to exploit the child's gifts in nursery days; and his grief
-when the old people died was very severe. Thomas Lawrence, senior,
-"stiff in opinion, always in the wrong," was "everything in turn and
-nothing long." Attorney, verse-writer, actor, exciseman, and farmer,
-he had become a tavern-keeper when his sorely tried wife presented him
-with the baby who was destined to paint the portrait of Benjamin West
-that hangs in the National Portrait Gallery, and to succeed him as
-President of the Royal Academy.
-
-    [Illustration: PLATE III.--PORTRAIT OF MR. AND MRS. JOHN JULIUS
-    ANGERSTEIN
-
-    (In the Louvre)
-
-    This work, despite one or two regrettable conventions from which
-    the painter was never entirely free when he put more than one
-    figure on his canvas, is of more than passing interest. Mr.
-    Angerstein was a great collector of pictures, a wealthy man to
-    whom the painter was often in debt. The head of Mrs. Angerstein
-    is beautifully posed.]
-
-At a very early age little Thomas Lawrence developed a wonderful gift
-for making life-like sketches, and at the same time he inherited his
-father's gift of recitation. Such an effective combination seemed to
-be too good to waste, and the elder Lawrence employed the lad to
-improve custom in the Bristol tavern over which he presided in his own
-careless fashion. Visitors were invited to hear the infant prodigy
-recite, or if their ears were duller than their eyes, they were
-invited to sit for their portraits. Doubtless this was excellent for
-custom, but it did not avail altogether, for the Bristol house on the
-great Bath Road soon passed into the hands of unsatisfied creditors,
-and the family moved, not without considerable private aid, to the
-Black Bear Inn at Devizes, then a place of importance to the coaches
-passing on their way to and from the west. At Devizes the boy
-received a little education, nothing better than a smattering, and was
-called upon at short intervals to exhibit his precocity. He soon found
-an influential and appreciative audience.
-
-A large proportion of those who patronised the Black Bear Inn were men
-of position and culture; they could not only appreciate the boy's
-gifts, but could reward them. Indeed we read that a few years later
-the elder Lawrence received an offer from one of his old-time
-visitors, Sir Henry Harpur, to send the boy to Italy and have his
-gifts developed in the best schools. Unhappily the father knew as much
-about art as he did about inn-keeping; he was indignant rather than
-pleased with the suggestion that foreign study could improve the
-child's gifts. "My son's talents," he replied, "require no
-cultivation," and this answer says more for his stupidity than all
-his repeated failures to adapt himself to any one of the many
-occupations he followed so unsuccessfully until the time came when he
-could live in comparative affluence upon the proceeds of his boy's
-talent. Doubtless in the latter days he ever prided himself upon the
-discernment that had kept the lad by his side.
-
-The artist's earliest work would seem to have consisted of chalk
-drawings which were produced with great rapidity and sold to his
-father's customers for half a guinea or a guinea each. The likeness in
-each case must have been good, for it is on record that one of his
-earliest efforts, a sketch of Lady Kenyon, who stayed at his father's
-inn with her husband, was easily recognised five-and-twenty years
-later. But drawing was not the only accomplishment of his early days.
-He was, as has been remarked earlier, a clever reciter. Garrick heard
-him twice when he was a lad, and on the second occasion asked his
-father if "Tommy was to be an actor or a painter?" The father had no
-doubt at all about the profession that promised to be the more
-profitable, and, in later years, when the artist was very anxious to
-go upon the stage, was at great pains to persuade him not to do so. As
-his son was more intent upon helping the family than anything else,
-the advice was taken, and doubtless the results justified it. The
-theatre could have offered no equal reward for talent, however great.
-To the end of his days the painter was a fluent reciter, and possessed
-a mastery over his voice that could turn every tone into a caress.
-More than one woman was misled by it into thinking that the artist
-was seriously in love with her.
-
-As early as 1785 young Lawrence received his first public recognition;
-it came from the Society of Arts, which was then quite a serious rival
-of the Royal Academy. He sent a copy on glass of a Transfiguration,
-perhaps one he had seen at Corsham House, the seat of the Methuen
-family. It was made two years before, when the painter was fourteen
-years of age, and although the rules of the Society did not admit of a
-work being put in for competition more than a year after it was
-painted, the Council felt bound to make an exception in this case, and
-presented him with five guineas and a silver-gilt palette. For a boy,
-and he was nothing more, this was a considerable triumph, but it had
-been led up to by much startling work at Devizes and Oxford. When
-young Lawrence was ten years old, Daines Barrington (Gilbert White's
-correspondent) had referred to him as "a lad who can copy historical
-pictures amazingly, and is likewise an excellent reader of blank
-verse."
-
-From Devizes the family had gone to Oxford, where they lived and
-thrived upon the proceeds of the boy's pencil. Among his sitters were
-the Bishops of Oxford and Llandaff, Earls Bathurst and Warwick,
-Countess Egremont, and many others. The visitors to the inn at Bristol
-and Devizes had spread his fame, and Oxford was such a liberal patron
-that Thomas Lawrence, senior, moved to Bath, where he took a house at
-one hundred pounds a year rental as a boarding-house. Sitters were
-expected, and did not fail. Here it was that young Lawrence painted
-Mrs. Siddons for the first time, that Sir Henry Harpur offered to
-adopt him, and that Hoare the painter, to whom the boy was indebted
-for many hints, wanted him to sit for a picture of the youthful
-Christ. Small wonder that if at the age of seventeen, after he had
-taken up oils instead of crayon, and had copied a certain number of
-old masters--Rembrandt, Reynolds, Titian--his thoughts turned to
-London, the Mecca of all British art pilgrims; and he wrote to his
-mother with the unblushing confidence of youth to say, he "would risk
-his reputation for the painting of a head"--the reputation of
-seventeen years--"with any save Sir Joshua." Gainsborough, Romney, and
-Hoppner were very much in evidence then, and the challenge would seem
-an odd one if it had been more than a lad's confidential boast to his
-mother.
-
-    [Illustration: PLATE IV.--MISS GEORGINA LENNOX, AFTERWARDS
-    COUNTESS BATHURST
-
-    (In the collection of Earl Bathurst)
-
-    Fine colouring and effective modelling are noticeable qualities
-    in this, one of the painter's highly successful portraits. Here
-    we have a painting that does not suffer from the costume of the
-    sitter and a rather daring but completely fortunate effect in
-    the contrast between the curtain background and the dress. The
-    landscape is, as usual, quite conventional and uninspired.]
-
-So he came to London, entered himself as an Academy student, and took
-apartments in Leicester Fields, a district made popular by Sir Joshua.
-His father was behind him in all this; and as there was some money in
-hand, and a good send-off was necessary, an exhibition of the boy's
-work was arranged. To make it still more attractive, the worthy
-innkeeper included a collection of stuffed birds recently acquired.
-Between the amateurs of art and ornithology the exhibition fell to the
-ground; it was a failure unredeemed. Happily the funds were still
-sufficient to enable young Lawrence to take a house in Duke Street,
-St. James', and a studio in Jermyn Street near by. Hoare introduced
-him to Sir Joshua, for whom Lawrence's admiration was ever
-whole-hearted. The great painter looked at his work, and remarked,
-"Study nature--study nature." In years to come, looking at some of
-the famous early portraits, he remarked with the rare generosity that
-was one of his characteristics, "This young man has begun at a point
-of excellence where I left off."
-
-Success did not come with Lawrence from the provinces; a few years
-were to pass before it visited him in London and elected to remain
-associated with his work as long as he lived. He found many friends,
-and was much at the house of Mrs. Siddons, whose portrait as Zara he
-had painted four years earlier. Her family consisted then of two boys,
-Henry and George, and two daughters, Sarah Martha (Sally), then twelve
-years old, and Maria, aged eight. It was round the lives of these two
-girls that the strangest romance of Lawrence's life was to be woven.
-Both Sally and Maria were very attractive girls, with the fragile
-beauty that suggests early in life a tendency to consumption. John
-Kemble, another firm friend of Lawrence, was brother of Mrs. Siddons.
-
-The first three years that the artist spent in London were not
-associated with any striking successes, but in 1790 a portrait of the
-Queen and Princess Amelia attracted considerable attention, and
-pleased King George III., who liked British artists best if they had
-not studied abroad. The royal patronage came at the right time.
-Already Lawrence was beginning to experience the financial
-difficulties that never left him as long as he lived, no matter what
-his income might be. He was making an allowance of £300 a year to his
-parents, and for the rest, his earnings "melted," says Allan
-Cunningham, "like snow on a thatch." King George was royal in his
-patronage, and expressed to the Royal Academy his wish that the young
-artist should be made an Associate forthwith. To this suggestion there
-was great opposition, and in the end the difficulty was solved by
-making the artist a Supplementary Associate, the only one in the
-Academy's history.
-
-In 1792 great honours were achieved. The King appointed Lawrence to be
-his painter in ordinary, in succession to the late Sir Joshua
-Reynolds, passing over Romney, Hoppner, Opie, and others, whose claims
-to the honour were held to be greater. Nothing succeeds like success,
-and the Dilettanti Society, suspending their regulation that said
-nobody who had not crossed the Alps could join their brotherhood,
-elected Lawrence and made him one of their chosen painters. He painted
-full-length portraits of the King and Queen, to be sent as a
-present to the Emperor of China, moved from Duke Street to Bond
-Street, and raised his prices all round, charging one hundred guineas
-for full-length portraits, fifty for half-lengths, and twenty-five for
-heads. In 1794 he received the full honours of the Academy; a year
-later the poet Cowper sat to him, and was so pleased with the portrait
-that he invited the artist to Weston.
-
-    [Illustration: PLATE V.--MISS MARIA SIDDONS
-
-    (In the Wallace Collection)
-
-    The portrait of the lady with whom the artist was in love, and
-    to whom he paid his vows, is a tribute to one side of the
-    painter's art. He has contrived to put far more into it than the
-    mere quality of attractiveness. The constitutional delicacy of
-    the sitter, her refined and sensitive nature, are clearly
-    expressed, and the colour harmony is attractive.]
-
-Soon after this Lawrence would seem to have had some grave doubt
-as to whether his gifts were completely expressed through the
-medium of portraiture. The dramatic sense was very strong in
-him--portrait-painting could not quite satisfy it. To be "master of
-the unlettered nameless faces" sufficed him no longer, and he started
-a series of big canvases that added more to his labours than his
-fame. Staying with his great friend Fuseli at a house in Pembrokeshire
-he saw the artist leaning over some rocks that stand above the Bay of
-Bristol. The pose gave him an idea for a big canvas known as "Satan,"
-that was painted in 1797, found its way to the Duke of Norfolk's
-collection, and then to the Academy authorities. A year later he gave
-London its first view of "Coriolanus in the house of Aufidius," and
-followed this with other classical studies--Hamlet, Cato, and others,
-for which John Kemble sat.
-
-In the opening days of 1798 Lawrence proposed to Maria Siddons, and
-the family's consent was given to the union. The engagement was brief.
-Within a few weeks he confessed to Mrs. Siddons that he had mistaken
-his feelings, and asked to be allowed to woo Sally Siddons instead.
-To this startling request Mrs. Siddons gave her consent, but kept the
-truth back from her husband and brothers. To Maria the shock was
-naturally a severe one, and for a consumptive girl, whose medical
-treatment consisted of confinement to the house and repeated
-bleedings, it may even have been a contributory cause of death. Be
-this as it may, and her correspondence shows that she did recover from
-the first shock, the truth remains that she passed away in October of
-the same year, and on her death-bed implored her sister not to marry
-Lawrence. In "An Artist's Love Story," to which reference was made in
-an earlier chapter, the whole story of the engagement and its tragic
-_dénouement_ is set out at length.
-
-There seems no reason to doubt that Lawrence would have married Sally
-Siddons had he been able to do so, when Maria had passed from the
-scene, and that in years to come he was profoundly moved by her death.
-We know, too, that he died a bachelor, though the opportunities for
-marriage that came in his way were almost startling in their number;
-so it well may be that there were deeper springs of devotion and
-loyalty in his heart than were expressed by his pen. Sally Siddons
-died in 1803, when Lawrence was thirty-four years old, and had more
-than a quarter of a century to live. We may then give him the benefit
-of the doubts that have arisen in the minds of his contemporaries and
-biographers. Some still declare that Maria Siddons died of a broken
-heart, but the recently published correspondence throws a measure of
-doubt upon the statement; and fair-minded people will incline to the
-belief expressed by Allan Cunningham that "she died of a disease and
-a doctor."
-
-While the social tragedy was affecting his private life, Lawrence was
-making great headway in his profession and out of it. In society he
-was an established favourite; he had a handsome face, a fluent and
-honeyed tongue, he wrote agreeable verses, and made facile sketches,
-which he would give freely to his friends and acquaintances. His most
-intimate associates were Smirke, the architect of the British Museum,
-Farrington and Fuseli the artists, John Kemble the actor, and Mrs.
-Siddons, whom he painted as Aspasia as well as Zara, though he never
-approached the beauty of the Gainsborough Siddons in our national
-collection. Some of his paintings went to engravers, who paid big
-prices for them; and though after moving from Bond Street to Greek
-Street he settled finally at 65 Russell Square, he never entertained
-on such a scale as his position would have justified. In fact he
-seldom or never gave a dinner party, excusing himself on the ground
-that he had neither wife nor mistress to superintend one. His prices
-rose steadily; he took half his fee in advance, but was always in debt
-and difficulty, and frequently forced to borrow at a high rate of
-interest. A devoted and conscientious worker, he always stood to his
-canvas, and seldom spoke to his sitter. At a first sitting he would
-draw the sitter's head, at the second he would start painting. He told
-friends that on one occasion he worked for thirty-seven hours
-consecutively, a marvellous feat for a man who never sat down to
-paint.
-
-In the year 1801 Lawrence passed through a very critical time. The
-Princess of Wales sat to him at Montague House, Blackheath; he stayed
-in the house while at work on the portrait, spoke and wrote in rather
-indiscreet fashion, guiltless of everything save enthusiasm, and
-provoked a scandal of the first magnitude that alienated royal favour.
-The scandal grew and spread and was partly the subject of the
-commission of inquiry that sat several years later, and whose labours
-were known as "The Delicate Investigation." Lawrence was not even
-referred to in the report issued by the commissioners, but he made a
-difficult position worse by going out of the way publicly to declare
-his own and the Princess's innocence. For some time after the scandal
-was broached, the lady visitors to the studio in Russell Square were
-few and far between, and Lawrence was never as happy with men as with
-women. The genius of his brush was essentially feminine.
-
-In the years wherein the sun of court favour was withheld, and
-fashionable women were less constant in their attention, he was
-nevertheless extremely busy, and was able to raise his prices in 1802,
-1806, 1808, and 1810, the last date being the year of Hoppner's death.
-His other rivals included Beecher and Owen. For one who had
-comparatively few expenses, a large income, and neither parents, wife,
-nor children to support, the general position should have been very
-satisfactory, but nothing seemed able to keep Lawrence in easy
-financial circumstances. Financial difficulties followed him as they
-had followed his father before him; neither his great industry nor his
-raised prices availed to keep him from all manner of small troubles.
-
-    [Illustration: PLATE VI.--PORTRAIT OF A LADY
-
-    (In the Wallace Collection)
-
-    This portrait of an unknown sitter is as happily posed as it is
-    unhappily dressed. One notices two points of interest--the fine
-    painting of the head and the atmosphere of self-consciousness
-    that is common to so many of the Lawrence portraits.]
-
-The early years of the nineteenth century passed without any very
-stirring events apart from the appointment of the Commission for the
-"Delicate Investigation." Lawrence kept his place, earned a great deal
-of money, spent a great part before he received it, met some of the
-greatest men of the day--statesmen, soldiers, _literati_,
-ecclesiastics, and the rest--and was a frequent visitor to country
-houses where he took part in private theatricals. Indeed he may be
-said to have survived the loss of royal favour very creditably. As the
-years passed, subduing all recollection of the scandal associated with
-Montague House, Blackheath, his name was brought forward again in
-Court circles, where he was greatly missed by the women, if not by the
-men. There was no other painter who could combine the portrait with
-truth and flattery in such exquisite proportions that they conveyed
-an impression of youth and beauty while stating all essential truths.
-The truth was well summed up by one of Sir Thomas's biographers who
-wrote: "Lawrence lavished summer colours upon autumn and on winter,
-and gave to declining years the vigour of the life of youth."
-
-It had long been an ambition of the painter to visit Paris, and when
-in 1814 the entrance of the allied armies into the French capital
-opened it to travellers, Lawrence was prompt to take advantage of the
-situation. Now after many years he hoped to see the famous collection
-in the Louvre, enriched as it had been of late years by the thefts of
-Marshal Soult and others of Napoleon's generals with a _flair_ for
-works of art. But before he could complete his work the painter was
-summoned back to London. On the intervention of the first Marquis of
-Londonderry, the Prince Regent had taken the proper and charitable
-view of the Montague House affair.
-
-Lawrence was commissioned to paint for Windsor Castle a commemoration
-gallery of those who had restored the Bourbons. The sitters chosen
-were the Emperor of Russia, the King of Prussia, Blücher, and Hetman
-Platoff. The portraits were painted, and at about the same time,
-Wellington and Metternich sat to the painter. Lawrence recovered all
-the ground he had lost, and gained fresh honours in rapid succession.
-In the year of Waterloo he painted the portrait of the Prince Regent,
-who knighted him; in 1817 he painted at Claremont the portrait of the
-Princess Charlotte. To these years his biographers trace the
-beginning of his relations with Mrs. Wolfe, wife of a diplomat
-accredited to this country. Cunningham refers to her as the wife of a
-Danish Consul, Mr. Knapp says she was the wife of the German
-Ambassador, but the point is not worth investigating. Suffice it she
-was a clever, attractive woman, separated from her husband, and the
-artist seems to have established with her intimate but platonic
-relations. He was devoted to her, but, then, he had a very susceptible
-heart. The friendship continued until the death of the lady, whom the
-artist survived only a few months.
-
-In 1818 a further and greater honour than any that had come his way
-hitherto was conferred upon Sir Thomas. He was sent to Aix-la-Chapelle
-to paint members of the Congress then sitting there, with instructions
-to proceed to Vienna and Rome. An allowance of one thousand a year
-for travelling expenses made the commission still more attractive, and
-the artist, free at last to travel and to work in the most stimulating
-surroundings Europe could provide, remained away from England for a
-year and a half. In his work he distinguished himself. His sitters
-included Emperor Francis of Austria, Louis XVIII., Charles X.,
-Archduke Charles, Metternich, Techernicheff, Ouvaroff, Hardenberg,
-Nesselrode, Baron Gentz, Earl Bathurst, Lord Liverpool, the Marquis of
-Londonderry, the Duke of Cambridge, and Mr. Canning. In Rome the aged
-Pontiff Pius VII. gave him nine sittings, and he painted the portrait
-of the great Cardinal Gonsalvi, "the Pitt of Rome." But it was not
-only to paint that he went to the Eternal City; he had much to learn,
-and some of the letters he wrote to London during his stay are
-remarkable for their sound judgment and insight. The supreme master of
-art for him was Michael Angelo, following him Raphael, Correggio,
-Titian, Sir Joshua, and perhaps J. M. W. Turner came in the order
-named. To the end Lawrence was faithful in his devotion to the art of
-the first President of the R.A. "I don't see why British artists wish
-to travel abroad when we have Sir Joshua in England," he said in his
-untravelled days. He was not heard to express this opinion again in
-the years when he had crossed "the narrow seas." Eighteen months of
-foreign travel did much for him; he brought a wider mind and a bigger
-intelligence home with him; to say nothing of a collection of gifts
-from European rulers and honours from many academies of art. From the
-social standpoint it is hard to believe that life could have given
-more than it gave in 1818-19.
-
-Lawrence was able to visit several Italian cities, and returned to
-London at the end of his eighteen months' sojourn in the country, to
-find that Benjamin West had just died, and that he had been elected to
-succeed him as President of the Royal Academy. His attitude was
-dignified. "There are," he said, "others better qualified to be
-President; I shall, however, discharge the duties as well and wisely
-as I can. I shall be true to the Academy and, in my intentions, just
-and impartial." In giving his consent to Lawrence's election, King
-George IV. presented the new P.R.A. with a gold chain and medal. King
-George also sat to him,[1] and was heard to say that Lawrence was "a
-well-bred gentleman."
-
-    [1] The portrait in the Wallace Collection reproduced here.
-
-In many respects the Academy chose wisely. Sir Thomas was a man who
-had moved and still moved in the highest social circles, whose
-pleasant manners made friends and conciliated foes; he was very
-popular with all save the most critical of contemporary artists. But,
-on the other hand, he was never a great teacher, and his addresses to
-the students were of little worth. He would seem to have entertained
-the idea of running a studio after the old Italian fashion; perhaps he
-had learned about it in Rome. There would have been a certain number
-of student apprentices to prepare the work, and he would have trained
-the cleverest among them to do still more. Unfortunately there was not
-enough money to start the required establishment; not all the foreign
-travel, the handsome presents, and the considerable fees had
-availed to stem the chronic leakage in the exchequer, and the scheme
-came to nothing. Sir Thomas resumed his place in London life, bringing
-an enhanced reputation; and all the old scandals being quite
-forgotten, the house in Russell Square was thronged with fair women
-who trusted to the artist, and not in vain, to make them fairer still.
-His portrait of Lady Blessington, reproduced here, called for
-recognition from Lord Byron in the stanzas beginning--
-
-    "Were I now as I was, I had sung
-      What Lawrence has painted so well."
-
-Both Byron and Sir Walter Scott spoke of the social graces of Sir
-Thomas. His manners would seem to have been distinguished, though his
-taste, generally correct, was not always above suspicion.
-
-    [Illustration: PLATE VII.--PORTRAIT OF COUNTESS BLESSINGTON
-
-    (In the Wallace Collection)
-
-    This portrait is one by which the painter is best known, and is
-    the singularly felicitous expression of a very beautiful woman.
-    It reveals the strength, and perhaps a little of the weakness,
-    of the artist, and made a great sensation when first exhibited
-    in London, moving Lord Byron to an expression of praise, to
-    which brief reference is made in the text.]
-
-In 1825 he was called to Paris, where he painted Charles X., the
-Dauphin, and others, and received the title of Chevalier of the
-Legion of Honour. The Academies of St. Luke in Rome, and those of
-Florence, Venice, Bologna, Turin, Vienna, and Copenhagen, had given
-him honorary memberships; the Fine Arts Academy of America had done
-the same, and there were other bodies that had expressed their
-sentiments in similar form.
-
-As he approached his sixtieth year, Sir Thomas would seem to have
-become conscious of failing health and the double burden of old age
-and loneliness. He had acquired every honour within his grasp, but he
-had lost his best friends through death, and monetary worries still
-troubled him. This last fact is the more surprising, because his
-prices were now very high indeed. They ranged from two hundred guineas
-for a head to seven hundred for an "extra length portrait," and even
-at these high prices there was no lack of patronage. He had no
-extravagances of a discreditable kind, but he could not resist the
-chance of buying a fine drawing, whether old or new, and as, when his
-collection was sold after his death for twenty thousand pounds, it was
-said to have fetched far less than it cost, one large source of
-expenditure is accounted for. Then again the President was a
-singularly generous man, who could not refuse an appeal, and some of
-those who were round him were quick to take advantage of his weakness.
-Making every allowance for his expenditure as collector and
-philanthropist, it is hard to understand why he could earn so much and
-have so little. Even when he painted the portrait of Sir Robert Peel
-he wrote letters asking for the money before the work was finished.
-
-Happily the statesman was a good and understanding friend; not only
-did he entertain the artist very frequently, but he commissioned him
-to paint a gallery of distinguished Englishmen for his country
-house--a commission the painter did not live to execute.
-
-In the late twenties of the nineteenth century, Sir Thomas discovered
-a serious state of mind and became a churchman. The death of Mrs.
-Wolfe, to whom reference has been made, in the year 1829, grieved him
-so deeply that he laid aside his brush for a month. The Irish Academy
-gave him its honorary membership, and the city of Bristol, in which he
-was born, gave its freedom, and these were the last of his honours.
-Those about him noted an ever-increasing feebleness, a failing
-interest in life, though he stuck manfully to his duty, and early in
-January 1830 the end came. He was buried in St. Paul's Cathedral by
-the side of Reynolds and Benjamin West. All the Academicians attended,
-scores of the aristocracy sent mourning coaches, and Sir Robert Peel
-was among the pall-bearers.
-
-
-
-
-III
-
-THE PAINTER'S WORK
-
-
-If in our estimate of a man's work we could pause to consider the
-difficulties under which the work was accomplished, there would be
-much to say for many of those who are lightly esteemed. But in
-criticism there are no extenuating circumstances; the artist, whether
-he work with words or pigment, notes or marble, is judged on his
-merits with as much justice as is ours to command. No judgment is
-final. John Ruskin described a Whistler nocturne as "a pot of paint
-flung in the public's face," but we value these nocturnes even more
-highly than Ruskin's own faultless prose. We know that the critic was
-better equipped to write than to judge, and we have reversed his
-verdict. The history of all art, from the work of the early Tuscan and
-Umbrian painters, with their backgrounds of gold, down to the time of
-the French impressionists, who bring the wide spaces of air, sky, and
-sea on to their canvas, is the history of a constantly changing
-verdict. The men most heartily acclaimed by their contemporaries have
-often failed in their appeal to succeeding generations, while in other
-cases "the stone that the builder rejected has become the corner
-head-stone."
-
-As far as Sir Thomas Lawrence is concerned, it is well to remember
-that his first reputation was not made by artists, but by people whose
-acquaintance with the essentials of a great and enduring art is ever
-of the slightest. His gifts were many and attractive, but they could
-never have deceived the men who were his contemporaries, although
-Reynolds' generous criticism might justify the idea that they did.
-Fuseli after declaring that he painted eyes as well as Titian, could
-find no other praise. Opie said, "Lawrence made coxcombs of his
-sitters, and his sitters made a coxcomb of Lawrence," but then Opie,
-together with Romney, Hoppner, and others, had been passed over by
-King George III. when in 1792 he appointed Lawrence to be his Painter
-in Ordinary, in place of Sir Joshua deceased. Compared with his great
-contemporaries, we see at once that Sir Thomas Lawrence was by no
-means a great colourist, he had no marked skill in composition, the
-effect of more than one figure on his canvas is seldom pleasing, his
-backgrounds were never interesting or even distinctive. That he was
-handicapped by the absurd and artificial dress convention of his day
-is undeniable, but he was hardly as happy in dealing with it as were
-some of his contemporaries. Why then, we may ask ourselves, was
-Lawrence a favourite artist from the days when as a little boy he made
-crayon drawings of visitors to his father's inn, down to the time when
-he was sent on a tour of the chief European capitals to paint Kings,
-Kaiser, and Pope? Why, while artists remained critical and were even
-grudging in the measure of justice they meted out to him did all the
-wealthy patrons of art prefer his studio to that of his
-contemporaries, face the heavy and constantly increasing charges
-without protest, and rejoice in the possession of the canvas that his
-brush had covered? The reason is not far to seek.
-
-    [Illustration: PLATE VIII.--KING GEORGE IV.
-
-    (In the Wallace Collection)
-
-    This portrait, painted in the last years of the artist's life,
-    when he was President of the Royal Academy, is a notable study,
-    despite its rather absurd proportions and artificial background.
-    The figure is rather stiffly posed if carefully observed, the
-    brushwork highly skilled. It was painted when Sir Thomas had
-    returned from the Continent, after a careful and discriminating
-    study of the Italian Masters.]
-
-Lawrence looked upon his sitters with an eye that magnified all points
-of beauty or attraction and passed over the failings, the blemishes,
-the points that in more conscientious eyes might have made a portrait
-true rather than merely attractive. It was but necessary to have the
-beginnings of beauty, to have some attractive features, and Lawrence
-would go to them instinctively, they would be the foundation of his
-study, other points of less attraction would fade from the
-representation on canvas. It was his singular gift, not only to see
-beauty, but to pick out the aspects of the sitter that would give the
-most attractive result possible without absolutely rank flattery or
-deception.
-
-Naturally enough when this gift became recognised the artist's studio
-was thronged by the prettiest women in London. Whatever their beauty,
-Lawrence would interpret it in terms of the utmost generosity. The
-charms transferred to canvas to defy the ravages of time were safe to
-be at least a little in excess of those that existed in the sitter.
-Praise and patronage are notoriously more difficult to fight against
-than neglect, and as time went on Sir Thomas turned more and more to
-the task of perfecting prettiness. The female heads do not suffer from
-this--perhaps they are the better for it--but the male ones do; in
-place of strength we find effeminacy, and many of his men sitters
-narrowly escaped the charge of being pretty. Allan Cunningham does not
-hesitate to express his conviction that Lawrence became weaker and
-more effeminate of set purpose because he found that by doing so he
-kept his dangerous rival Hoppner at bay. This marks the difference
-between Reynolds and Lawrence, for the first named was strengthened by
-the rivalry of Romney; at least Lawrence himself thought that some of
-Sir Joshua's finest efforts were produced by Romney's rivalry.
-
-After 1810, when the danger of this competition had passed with
-Hoppner's death, Lawrence's style was set. France and Italy came too
-late to strengthen a man who in so many ways was the spoilt child of
-fortune. Another reason for his weakness may be found in the desire to
-please. When he painted women he flattered them; when he talked to
-them he did the same. His children have a certain self-consciousness
-that does not belong to the children of Sir Joshua and Gainsborough;
-they can't help posing and looking at their best, for their parents
-and relatives may have been expected to appreciate a little pose.
-Where men are concerned the strength of Lawrence lay in the masterful
-character of the sitters themselves, rather than in any force of hand
-or brain. Had he been called upon to paint common-place types, his
-reputation would hardly have been what it is to-day, but his sitters
-were the pick of the generation, men who played no small part in
-deciding the fate of Europe at one of the most critical periods of
-history. Reference has been made already to some of the greatest; of
-the others, he was extremely successful with John Kemble, John Wilson
-Croker, Curran, Sir James Mackintosh, and Lord Thurlow, this last
-portrait being the one at which, according to his own account, he
-laboured for thirty-seven hours without stopping or sitting down.
-Among his most successful portraits of fair women may be mentioned
-those of the Duchesses of Sutherland and Gloucester, Mrs. Arbuthnot,
-the Countess of Charlemont and children, the Countess Grey, Lady
-Ellenborough, Lady Leinster, Lady Emily Cowper, Lady Elizabeth
-Leveson-Gower, Miss Croker, and Lady Blessington. This is no more than
-a random selection; his portraits and drawings of fair women are
-numbered by the hundred.
-
-Lawrence was a man who was prompt to take advantage of the
-opportunities that were showered upon him. One of his critics said of
-him, "His manners please everybody, save the two or three who look to
-the grain rather than the varnish." This is very harsh and severe, for
-it need have occasioned no surprise had Lawrence been self-conscious
-and awkward, overbearing, or even pompous. His success might well have
-turned his head, and there are indeed occasions when his taste might
-certainly have been impeached; but, all things considered, he
-preserved a wonderfully level head, and in the latter days, when he
-was in as much social demand as anybody in London, he remained
-faithful to his brush--so faithful, that the work coming from his
-studio was always his own. He employed no assistants, though we have
-seen that he had the idea at one time of keeping something like a
-school in his own house. In private life he was fairly abstemious, he
-had no vices, nor did any young painter appeal in vain to him for
-advice or encouragement. Unfortunately those who sat at his feet
-learned the secret of his weakness rather than his strength, and a
-study of a man or a woman after Lawrence is something that defies
-criticism within the limits of courtesy, while showing that there was
-more in Lawrence himself than the keenest of his critics would always
-care to admit.
-
-His colour was never equal to that of Reynolds, but his pictures have
-faced the time test better; the secret of the iridescent glaze that
-the first President of the R.A. could lend to a canvas was apparently
-unknown to Lawrence. On his death nearly one hundred canvases were
-exhibited at the British Institute, and his popularity may be gauged
-from the result of the exhibition, which yielded three thousand
-pounds, the money being given to his nieces. His tastes in art were
-catholic, and his love of attractive drawings has been referred to. It
-was said by some that the £20,000 the collection yielded was less by
-far than it had cost, but this, as far as the writer can ascertain, is
-conjecture. He had drawings of unequal merit, the best being by
-Michael Angelo and Raphael, and these went to Oxford University. His
-Italian journey quickened the best side of Lawrence, and justifies
-the regret that he was not able to visit Italy as a lad. His instinct
-for good work was quick and true; he never hesitated for long between
-the best and the second best, giving the preference to Michael Angelo
-as soon as he had compared his work in Rome with that of Raphael. In
-the last years of his life he gave up the creamy white of his earlier
-canvases for a pure white, taking the hint from the old Venetian
-masters, by whom he was deeply impressed. He exhibited over three
-hundred portraits, and painted many that were not for exhibition.
-To-day he may be seen at his best in Windsor Castle, but London claims
-some of his successful canvases.
-
-Study and the life of Sir Thomas Lawrence begins and ends on the note
-of wonder. It is easy to point out his shortcomings, but it is far
-more difficult to account for his merits when we remember that he
-started to earn his family's living before he was seven years old, and
-received a public recognition at the age of sixteen for work completed
-two years before. He had no student life in the true sense of the
-term, no painstaking teacher, only one or two friends to give him
-hints more or less valuable. His strength lay in accurate
-draughtsmanship and a wonderfully quick eye for effect, his weakness
-in the effeminacy of his handling, the indifference to minor details
-of composition, and the general inferiority of his colour sense to
-that of his great contemporaries. But from a lad who was self-taught
-and never ventured to handle colours until he was seventeen, nothing
-better could be expected, and something not as good might well have
-been pardoned. Finally, it may be suggested that while Sir Thomas
-Lawrence will never take equal rank with the greatest of his
-contemporaries, while Reynolds, Gainsborough, Hoppner, and others will
-take precedence of him, his best work will always command a large
-measure of genuine admiration. It will not fail to attract the
-attention of the student and the connoisseur, while his life must be
-full of interest to those who realise how talents that were not of the
-highest rank did almost as much for Lawrence as greater gifts did for
-Velazquez, Rubens, Hans Holbein the younger, and others whose brushes
-were a powerful aid to diplomacy in days past.
-
-
-    The plates are printed by BEMROSE & SONS, LTD., London and Derby
-               The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
-
-
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-The Project Gutenberg EBook of Lawrence, by Samuel Levy Bensusan
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-Title: Lawrence
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-Author: Samuel Levy Bensusan
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-Editor: T. Leman Hare
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-Release Date: March 29, 2013 [EBook #42431]
-
-Language: English
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-    IN COLOUR
-    EDITED BY - -
-    T. LEMAN HARE
-
-    LAWRENCE
-
-    1769--1830
-
-
-    "MASTERPIECES IN COLOUR" SERIES
-
-        ARTIST.                        AUTHOR.
-    BELLINI.                       GEORGE HAY.
-    BOTTICELLI.                    HENRY B. BINNS.
-    BOUCHER.                       C. HALDANE MACFALL.
-    BURNE-JONES.                   A. LYS BALDRY.
-    CARLO DOLCI.                   GEORGE HAY.
-    CHARDIN.                       PAUL G. KONODY.
-    CONSTABLE.                     C. LEWIS HIND.
-    COROT.                         SIDNEY ALLNUTT.
-    DA VINCI.                      M. W. BROCKWELL.
-    DELACROIX.                     PAUL G. KONODY.
-    DUeRER.                         H. E. A. FURST.
-    FRA ANGELICO.                  JAMES MASON.
-    FRA FILIPPO LIPPI.             PAUL G. KONODY.
-    FRAGONARD.                     C. HALDANE MACFALL.
-    FRANZ HALS.                    EDGCUMBE STALEY.
-    GAINSBOROUGH.                  MAX ROTHSCHILD.
-    GREUZE.                        ALYS EYRE MACKLIN.
-    HOGARTH.                       C. LEWIS HIND.
-    HOLBEIN.                       S. L. BENSUSAN.
-    HOLMAN HUNT.                   MARY E. COLERIDGE.
-    INGRES.                        A. J. FINBERG.
-    LAWRENCE.                      S. L. BENSUSAN.
-    LE BRUN, VIGEE.                C. HALDANE MACFALL.
-    LEIGHTON.                      A. LYS BALDRY.
-    LUINI.                         JAMES MASON.
-    MANTEGNA.                      MRS. ARTHUR BELL.
-    MEMLINC.                       W. H. J. & J. C. WEALE.
-    MILLAIS.                       A. LYS BALDRY.
-    MILLET.                        PERCY M. TURNER.
-    MURILLO.                       S. L. BENSUSAN.
-    PERUGINO.                      SELWYN BRINTON.
-    RAEBURN.                       JAMES I. CAW.
-    RAPHAEL.                       PAUL G. KONODY.
-    REMBRANDT.                     JOSEF ISRAELS.
-    REYNOLDS.                      S. L. BENSUSAN.
-    ROMNEY.                        C. LEWIS HIND.
-    ROSSETTI.                      LUCIEN PISSARRO.
-    RUBENS.                        S. L. BENSUSAN.
-    SARGENT.                       T. MARTIN WOOD.
-    TINTORETTO.                    S. L. BENSUSAN.
-    TITIAN.                        S. L. BENSUSAN.
-    TURNER.                         C. LEWIS HIND.
-    VAN DYCK.                      PERCY M. TURNER.
-    VELAZQUEZ.                     S. L. BENSUSAN.
-    WATTEAU.                       C. LEWIS HIND.
-    WATTS.                         W. LOFTUS HARK.
-    WHISTLER.                      T. MARTIN WOOD.
-           _Others in Preparation._
-
-
-    [Illustration: PLATE I.--MASTER LAMBTON. Frontispiece
-
-    (In the collection of the Earl of Durham)
-
-    In painting this portrait (for which he is said to have received
-    L600) Lawrence was happy in his sitter. The child has good looks
-    and a very intelligent face, but unfortunately he is over-posed.
-    One misses the simplicity, the natural attitude, the spontaneous
-    gesture, found in portraits of children by Sir Joshua, and feels
-    that although Lawrence made an attractive picture, his sitter
-    has been made too self-conscious for childhood.]
-
-
-
-
-    LAWRENCE
-
-    BY S. L. BENSUSAN
-
-
-    ILLUSTRATED WITH EIGHT
-    REPRODUCTIONS IN COLOUR
-
-    [Illustration: IN SEMPITERNUM.]
-
-    LONDON: T. C. & E. C. JACK
-    NEW YORK: FREDERICK A. STOKES CO.
-
-
-
-
-LIST OF ILLUSTRATIONS
-
-
-    Plate
-
-        I. Master Lambton                 Frontispiece
-              In the collection of the
-              Earl of Durham
-
-                                                  Page
-      II. Mrs. Siddons                              14
-             In the National Gallery
-
-     III. Portrait of Mr. and Mrs. John Julius
-          Angerstein                                24
-             In the Louvre
-
-      IV. Miss Georgina Lennox, afterwards
-          Countess Bathurst                         34
-             In the collection of Earl Bathurst
-
-       V. Miss Maria Siddons                        40
-             In the Wallace Collection
-
-      VI. Portrait of a Lady                        50
-             In the Wallace Collection
-
-     VII. Portrait of Countess Blessington          60
-             In the Wallace Collection
-
-    VIII. King George IV.                           70
-             In the Wallace Collection
-
-
-
-
-I
-
-
-The prodigy is no unfamiliar figure in our midst to-day--indeed the
-world's wonder children tend ever to increase in numbers and
-attainments. For the most part they belong to the realm of music;
-poets and artists must be made as well as born. We are but mildly
-excited when the papers announce the arrival in town of a child who
-can play the piano like Rubinstein or the violin like Paganini; we
-know that though the statement be a gross and misleading exaggeration,
-we shall at least hear work that is little short of marvellous from
-hands that might well have known no heavier burden than toys. We know,
-too, that these precocious children tend to make their debut and
-disappear, making way for others. If they are to develop their
-promise, a long spell of study is inevitable, and for the most part
-parents and guardians are more intent upon present profit than future
-prestige.
-
-The precocious lad whose talent makes him a painter is rare. Natural
-aptitude for drawing and natural sense of colour are not uncommon, but
-the possessor of these gifts may remain quite undistinguished. He
-generally succeeds in doing so in these days when the old traditions
-of art are despised by the _cognoscenti_, and the genuine faculty of
-interpretation is not understood or appreciated by the rank and file
-of those who pay their annual tribute of one shilling to the
-authorities of Burlington House, and are not always ashamed to frame
-the colour plates that illustrated papers inflict upon their
-long-suffering subscribers. Life is harder for the young painter of
-genius than his contemporary musician of like age. It was not always
-so, and turning back to the history of England's accepted artists, the
-name of Sir Thomas Lawrence, P.R.A., stands out as one of the most
-brilliant examples in the history of art, of untutored skill that came
-near to amounting to positive genius.
-
-The history of the Italian painters provides us with many cases in
-which men, starting life with talents akin to those that Lawrence
-enjoyed, claimed and found a measure of immortality. Only a few will
-be found to declare that the English painter is destined to the very
-highest place in the annals of British art, but at his best he is a
-very notable painter indeed, in spite of the fact that everything in
-his life was working in opposition to the best interests of his art.
-He had no education, his gifts were exploited shamelessly from the
-days when he was a little boy. As he grew up, the imperious need for
-money gave to purely commercial work the precious years that should
-have been surrendered to study. Happily Fortune was not altogether
-unkind. She checked the proper development of rare talent, she kept
-the painter from all opportunity of becoming the most outstanding
-figure of his generation in the critical eyes of generations to come;
-but, on the other hand, she loaded him with all the material favours
-within her gift. His career was as brilliant as the passage of a
-meteor through the sky; he rose from surroundings of the most
-unsatisfactory kind to the highest place in the profession he adorned.
-He became the intimate of princes and people of high degree, and, with
-certain limitations imposed by an incomplete education, he was a great
-painter.
-
-    [Illustration: PLATE II.--MRS. SIDDONS
-
-    (In the National Gallery)
-
-    In this portrait Lawrence has dealt faithfully with the greatest
-    actress of his time. The face suggests the latent power that
-    could upon occasion hold an audience spell-bound, and there is a
-    certain quality of intimacy about this remarkable study that
-    shows the painter's effort to express the full depths of a
-    complex character. As in the case of Miss Maria Siddons, the
-    painting of this portrait was a labour of love.]
-
-From many of his canvases we can see man's splendid gifts struggling
-for full expression. At times he seems to be a reflection of a still
-greater man, Sir Joshua Reynolds; at other times he is the founder of
-a tradition that lesser men were to make vulgar and commonplace and
-bring ultimately into disrepute. But at every period of his life and
-in every aspect of his work with which we are acquainted, Thomas
-Lawrence is interesting--perhaps it is permissible to say he is even
-lovable. One gets the impression of a strong man who has equipped
-himself for life's race in despite of disadvantages that would have
-crushed and quelled the spirit of a weakling, a man who makes for the
-most difficult goal, and reaches it in triumph. He is an Englishman
-every inch of him, and the spirit that supported him is one he shared
-with the greatest of this island's citizens. Even the most severe of
-his critics cannot hide their admiration of the man, though they are
-most acutely conscious of the shortcomings of the artist.
-
-It is fair to remember, too, that much of the painter's work was done
-under certain disadvantages inherent in the times of his activity.
-With the close of the eighteenth and the beginning of the nineteenth
-century, costume was stiff and ugly to an extreme that excites our
-laughter now. The age of artificiality was upon land, and Sir Thomas
-Lawrence was not so well equipped for making the best of it as were
-Reynolds and Gainsborough, who came immediately before him. That he
-succeeded so often in making the personality of a sitter overcome the
-absurdities of dress and decoration is an eloquent tribute to his art.
-His treatment of children is frankly delightful but frankly
-derivative; it is only necessary to refer to such portraits as the
-"Childhood's Innocence," "Master Lambton," "Nature," and the "Countess
-Gower and Daughter," to see how great is his debt to one who was
-_facile princeps_ among the painters of childhood--Sir Joshua
-himself--and how far he fell short of his teacher's greatness. But the
-gallery of children is a small one; the collection of representative
-men and women of his time is far larger, more representative, and
-painting many of these portraits the artist is speaking with his own
-voice, the voice that lured so many men of a later generation to
-assume it as their own, with results that are little short of
-lamentable. Students of the life of Sir Thomas Lawrence must surely
-have shared the writer's regret that the strong soul, the sure hand,
-and the far-seeing eye were not destined to have lived and thrived in
-the golden age of the Italian Renaissance. Then such natural gifts
-were stimulated to the highest possible pitch of development by the
-splendour of a more flamboyant life, the glory of a less restricted
-power, the rare beauty of pageant and of costume unknown to late
-eighteenth- and early nineteenth-century England, in a land where
-beauty was the very keynote of existence. There, poverty was a
-stimulus to countless artists whose very names thrill us as we mention
-them, men whose genius is enshrined in the galleries of Venice,
-Florence, and Rome. Under Italian skies such gifts as Lawrence
-possessed would have blossomed and budded and filled the face of the
-world with fruit. Eighteenth- and nineteenth-century skies in England
-were never bright enough to teach Lawrence the one secret that his
-canvases lack--the secret of exquisite colour that came to Sir Joshua
-in his prime, though, alas, it faded from so many canvases as surely
-as it passed from the laughing faces that thronged his studio.
-
-Taste, Lawrence had in a very marked measure; his draughtsmanship was
-facile and sure to an almost dangerous degree; but in point of colour,
-as in some of the more subtle qualities of portrait-painting, he
-lacked the equality of gifts that would have silenced our later-day
-criticism. Only when we turn to consider the conditions under which
-his early life was passed, and the labours that were enforced upon him
-at a tender age, do we cease to complain of his slight limitations in
-wonder of the great gifts that passed unscathed through his troubled
-childhood, his scanty days of training, his long years of devoted
-toil, his season of honours and great rewards. The record of
-Lawrence's life is full of interest that has been heightened in the
-past few years by the publication in 1904 of "An Artist's Love Story,"
-edited by Mr. Oswald G. Knapp. With the issue of this work, made up
-of hitherto unpublished letters written by the painter, Mrs. Siddons
-and her daughters, Martha and Maria, a fresh and interesting light was
-thrown upon the artist's relations with the great actress and upon his
-devotion to her daughters; the countless stories and rumours that
-passed current in his day have been corrected. Through this
-correspondence we see more of the man than any biography had ever
-succeeded in showing us, and as the painter had been dead for more
-than seventy years when the book was published, and had left no
-descendants, there could be no suggestion of impropriety in the
-publication. Many of the letters are more than a century old.
-
-In the light of the leading biographies, the brief one by Redgrave,
-the longer and more interesting biography by Allan Cunningham, and
-some others of less note, and with the aid of this volume of
-correspondence, it is possible to set down at all necessary length the
-story of the artist's life, and to speak with some authority of the
-conditions under which the bulk of his work was done.
-
-
-
-
-II
-
-THE PAINTER'S LIFE
-
-
-Thomas Lawrence was born in the year 1769, when Sir Joshua Reynolds
-was in his forty-sixth year, and Gainsborough was two-and-forty years
-his senior. His father, after whom he was named, was a ne'er-do-well
-of decent birth and good education who had made a clandestine marriage
-with a lady of better social position than his own; for Lucy Read, who
-married Thomas Lawrence, senior, was related to the Powis family.
-Because she listened to his suit she was disowned and disinherited by
-her relations. Her influence upon her son would seem to have been
-wholly good; indeed he was devoted to both parents, though his father
-started to exploit the child's gifts in nursery days; and his grief
-when the old people died was very severe. Thomas Lawrence, senior,
-"stiff in opinion, always in the wrong," was "everything in turn and
-nothing long." Attorney, verse-writer, actor, exciseman, and farmer,
-he had become a tavern-keeper when his sorely tried wife presented him
-with the baby who was destined to paint the portrait of Benjamin West
-that hangs in the National Portrait Gallery, and to succeed him as
-President of the Royal Academy.
-
-    [Illustration: PLATE III.--PORTRAIT OF MR. AND MRS. JOHN JULIUS
-    ANGERSTEIN
-
-    (In the Louvre)
-
-    This work, despite one or two regrettable conventions from which
-    the painter was never entirely free when he put more than one
-    figure on his canvas, is of more than passing interest. Mr.
-    Angerstein was a great collector of pictures, a wealthy man to
-    whom the painter was often in debt. The head of Mrs. Angerstein
-    is beautifully posed.]
-
-At a very early age little Thomas Lawrence developed a wonderful gift
-for making life-like sketches, and at the same time he inherited his
-father's gift of recitation. Such an effective combination seemed to
-be too good to waste, and the elder Lawrence employed the lad to
-improve custom in the Bristol tavern over which he presided in his own
-careless fashion. Visitors were invited to hear the infant prodigy
-recite, or if their ears were duller than their eyes, they were
-invited to sit for their portraits. Doubtless this was excellent for
-custom, but it did not avail altogether, for the Bristol house on the
-great Bath Road soon passed into the hands of unsatisfied creditors,
-and the family moved, not without considerable private aid, to the
-Black Bear Inn at Devizes, then a place of importance to the coaches
-passing on their way to and from the west. At Devizes the boy
-received a little education, nothing better than a smattering, and was
-called upon at short intervals to exhibit his precocity. He soon found
-an influential and appreciative audience.
-
-A large proportion of those who patronised the Black Bear Inn were men
-of position and culture; they could not only appreciate the boy's
-gifts, but could reward them. Indeed we read that a few years later
-the elder Lawrence received an offer from one of his old-time
-visitors, Sir Henry Harpur, to send the boy to Italy and have his
-gifts developed in the best schools. Unhappily the father knew as much
-about art as he did about inn-keeping; he was indignant rather than
-pleased with the suggestion that foreign study could improve the
-child's gifts. "My son's talents," he replied, "require no
-cultivation," and this answer says more for his stupidity than all
-his repeated failures to adapt himself to any one of the many
-occupations he followed so unsuccessfully until the time came when he
-could live in comparative affluence upon the proceeds of his boy's
-talent. Doubtless in the latter days he ever prided himself upon the
-discernment that had kept the lad by his side.
-
-The artist's earliest work would seem to have consisted of chalk
-drawings which were produced with great rapidity and sold to his
-father's customers for half a guinea or a guinea each. The likeness in
-each case must have been good, for it is on record that one of his
-earliest efforts, a sketch of Lady Kenyon, who stayed at his father's
-inn with her husband, was easily recognised five-and-twenty years
-later. But drawing was not the only accomplishment of his early days.
-He was, as has been remarked earlier, a clever reciter. Garrick heard
-him twice when he was a lad, and on the second occasion asked his
-father if "Tommy was to be an actor or a painter?" The father had no
-doubt at all about the profession that promised to be the more
-profitable, and, in later years, when the artist was very anxious to
-go upon the stage, was at great pains to persuade him not to do so. As
-his son was more intent upon helping the family than anything else,
-the advice was taken, and doubtless the results justified it. The
-theatre could have offered no equal reward for talent, however great.
-To the end of his days the painter was a fluent reciter, and possessed
-a mastery over his voice that could turn every tone into a caress.
-More than one woman was misled by it into thinking that the artist
-was seriously in love with her.
-
-As early as 1785 young Lawrence received his first public recognition;
-it came from the Society of Arts, which was then quite a serious rival
-of the Royal Academy. He sent a copy on glass of a Transfiguration,
-perhaps one he had seen at Corsham House, the seat of the Methuen
-family. It was made two years before, when the painter was fourteen
-years of age, and although the rules of the Society did not admit of a
-work being put in for competition more than a year after it was
-painted, the Council felt bound to make an exception in this case, and
-presented him with five guineas and a silver-gilt palette. For a boy,
-and he was nothing more, this was a considerable triumph, but it had
-been led up to by much startling work at Devizes and Oxford. When
-young Lawrence was ten years old, Daines Barrington (Gilbert White's
-correspondent) had referred to him as "a lad who can copy historical
-pictures amazingly, and is likewise an excellent reader of blank
-verse."
-
-From Devizes the family had gone to Oxford, where they lived and
-thrived upon the proceeds of the boy's pencil. Among his sitters were
-the Bishops of Oxford and Llandaff, Earls Bathurst and Warwick,
-Countess Egremont, and many others. The visitors to the inn at Bristol
-and Devizes had spread his fame, and Oxford was such a liberal patron
-that Thomas Lawrence, senior, moved to Bath, where he took a house at
-one hundred pounds a year rental as a boarding-house. Sitters were
-expected, and did not fail. Here it was that young Lawrence painted
-Mrs. Siddons for the first time, that Sir Henry Harpur offered to
-adopt him, and that Hoare the painter, to whom the boy was indebted
-for many hints, wanted him to sit for a picture of the youthful
-Christ. Small wonder that if at the age of seventeen, after he had
-taken up oils instead of crayon, and had copied a certain number of
-old masters--Rembrandt, Reynolds, Titian--his thoughts turned to
-London, the Mecca of all British art pilgrims; and he wrote to his
-mother with the unblushing confidence of youth to say, he "would risk
-his reputation for the painting of a head"--the reputation of
-seventeen years--"with any save Sir Joshua." Gainsborough, Romney, and
-Hoppner were very much in evidence then, and the challenge would seem
-an odd one if it had been more than a lad's confidential boast to his
-mother.
-
-    [Illustration: PLATE IV.--MISS GEORGINA LENNOX, AFTERWARDS
-    COUNTESS BATHURST
-
-    (In the collection of Earl Bathurst)
-
-    Fine colouring and effective modelling are noticeable qualities
-    in this, one of the painter's highly successful portraits. Here
-    we have a painting that does not suffer from the costume of the
-    sitter and a rather daring but completely fortunate effect in
-    the contrast between the curtain background and the dress. The
-    landscape is, as usual, quite conventional and uninspired.]
-
-So he came to London, entered himself as an Academy student, and took
-apartments in Leicester Fields, a district made popular by Sir Joshua.
-His father was behind him in all this; and as there was some money in
-hand, and a good send-off was necessary, an exhibition of the boy's
-work was arranged. To make it still more attractive, the worthy
-innkeeper included a collection of stuffed birds recently acquired.
-Between the amateurs of art and ornithology the exhibition fell to the
-ground; it was a failure unredeemed. Happily the funds were still
-sufficient to enable young Lawrence to take a house in Duke Street,
-St. James', and a studio in Jermyn Street near by. Hoare introduced
-him to Sir Joshua, for whom Lawrence's admiration was ever
-whole-hearted. The great painter looked at his work, and remarked,
-"Study nature--study nature." In years to come, looking at some of
-the famous early portraits, he remarked with the rare generosity that
-was one of his characteristics, "This young man has begun at a point
-of excellence where I left off."
-
-Success did not come with Lawrence from the provinces; a few years
-were to pass before it visited him in London and elected to remain
-associated with his work as long as he lived. He found many friends,
-and was much at the house of Mrs. Siddons, whose portrait as Zara he
-had painted four years earlier. Her family consisted then of two boys,
-Henry and George, and two daughters, Sarah Martha (Sally), then twelve
-years old, and Maria, aged eight. It was round the lives of these two
-girls that the strangest romance of Lawrence's life was to be woven.
-Both Sally and Maria were very attractive girls, with the fragile
-beauty that suggests early in life a tendency to consumption. John
-Kemble, another firm friend of Lawrence, was brother of Mrs. Siddons.
-
-The first three years that the artist spent in London were not
-associated with any striking successes, but in 1790 a portrait of the
-Queen and Princess Amelia attracted considerable attention, and
-pleased King George III., who liked British artists best if they had
-not studied abroad. The royal patronage came at the right time.
-Already Lawrence was beginning to experience the financial
-difficulties that never left him as long as he lived, no matter what
-his income might be. He was making an allowance of L300 a year to his
-parents, and for the rest, his earnings "melted," says Allan
-Cunningham, "like snow on a thatch." King George was royal in his
-patronage, and expressed to the Royal Academy his wish that the young
-artist should be made an Associate forthwith. To this suggestion there
-was great opposition, and in the end the difficulty was solved by
-making the artist a Supplementary Associate, the only one in the
-Academy's history.
-
-In 1792 great honours were achieved. The King appointed Lawrence to be
-his painter in ordinary, in succession to the late Sir Joshua
-Reynolds, passing over Romney, Hoppner, Opie, and others, whose claims
-to the honour were held to be greater. Nothing succeeds like success,
-and the Dilettanti Society, suspending their regulation that said
-nobody who had not crossed the Alps could join their brotherhood,
-elected Lawrence and made him one of their chosen painters. He painted
-full-length portraits of the King and Queen, to be sent as a
-present to the Emperor of China, moved from Duke Street to Bond
-Street, and raised his prices all round, charging one hundred guineas
-for full-length portraits, fifty for half-lengths, and twenty-five for
-heads. In 1794 he received the full honours of the Academy; a year
-later the poet Cowper sat to him, and was so pleased with the portrait
-that he invited the artist to Weston.
-
-    [Illustration: PLATE V.--MISS MARIA SIDDONS
-
-    (In the Wallace Collection)
-
-    The portrait of the lady with whom the artist was in love, and
-    to whom he paid his vows, is a tribute to one side of the
-    painter's art. He has contrived to put far more into it than the
-    mere quality of attractiveness. The constitutional delicacy of
-    the sitter, her refined and sensitive nature, are clearly
-    expressed, and the colour harmony is attractive.]
-
-Soon after this Lawrence would seem to have had some grave doubt
-as to whether his gifts were completely expressed through the
-medium of portraiture. The dramatic sense was very strong in
-him--portrait-painting could not quite satisfy it. To be "master of
-the unlettered nameless faces" sufficed him no longer, and he started
-a series of big canvases that added more to his labours than his
-fame. Staying with his great friend Fuseli at a house in Pembrokeshire
-he saw the artist leaning over some rocks that stand above the Bay of
-Bristol. The pose gave him an idea for a big canvas known as "Satan,"
-that was painted in 1797, found its way to the Duke of Norfolk's
-collection, and then to the Academy authorities. A year later he gave
-London its first view of "Coriolanus in the house of Aufidius," and
-followed this with other classical studies--Hamlet, Cato, and others,
-for which John Kemble sat.
-
-In the opening days of 1798 Lawrence proposed to Maria Siddons, and
-the family's consent was given to the union. The engagement was brief.
-Within a few weeks he confessed to Mrs. Siddons that he had mistaken
-his feelings, and asked to be allowed to woo Sally Siddons instead.
-To this startling request Mrs. Siddons gave her consent, but kept the
-truth back from her husband and brothers. To Maria the shock was
-naturally a severe one, and for a consumptive girl, whose medical
-treatment consisted of confinement to the house and repeated
-bleedings, it may even have been a contributory cause of death. Be
-this as it may, and her correspondence shows that she did recover from
-the first shock, the truth remains that she passed away in October of
-the same year, and on her death-bed implored her sister not to marry
-Lawrence. In "An Artist's Love Story," to which reference was made in
-an earlier chapter, the whole story of the engagement and its tragic
-_denouement_ is set out at length.
-
-There seems no reason to doubt that Lawrence would have married Sally
-Siddons had he been able to do so, when Maria had passed from the
-scene, and that in years to come he was profoundly moved by her death.
-We know, too, that he died a bachelor, though the opportunities for
-marriage that came in his way were almost startling in their number;
-so it well may be that there were deeper springs of devotion and
-loyalty in his heart than were expressed by his pen. Sally Siddons
-died in 1803, when Lawrence was thirty-four years old, and had more
-than a quarter of a century to live. We may then give him the benefit
-of the doubts that have arisen in the minds of his contemporaries and
-biographers. Some still declare that Maria Siddons died of a broken
-heart, but the recently published correspondence throws a measure of
-doubt upon the statement; and fair-minded people will incline to the
-belief expressed by Allan Cunningham that "she died of a disease and
-a doctor."
-
-While the social tragedy was affecting his private life, Lawrence was
-making great headway in his profession and out of it. In society he
-was an established favourite; he had a handsome face, a fluent and
-honeyed tongue, he wrote agreeable verses, and made facile sketches,
-which he would give freely to his friends and acquaintances. His most
-intimate associates were Smirke, the architect of the British Museum,
-Farrington and Fuseli the artists, John Kemble the actor, and Mrs.
-Siddons, whom he painted as Aspasia as well as Zara, though he never
-approached the beauty of the Gainsborough Siddons in our national
-collection. Some of his paintings went to engravers, who paid big
-prices for them; and though after moving from Bond Street to Greek
-Street he settled finally at 65 Russell Square, he never entertained
-on such a scale as his position would have justified. In fact he
-seldom or never gave a dinner party, excusing himself on the ground
-that he had neither wife nor mistress to superintend one. His prices
-rose steadily; he took half his fee in advance, but was always in debt
-and difficulty, and frequently forced to borrow at a high rate of
-interest. A devoted and conscientious worker, he always stood to his
-canvas, and seldom spoke to his sitter. At a first sitting he would
-draw the sitter's head, at the second he would start painting. He told
-friends that on one occasion he worked for thirty-seven hours
-consecutively, a marvellous feat for a man who never sat down to
-paint.
-
-In the year 1801 Lawrence passed through a very critical time. The
-Princess of Wales sat to him at Montague House, Blackheath; he stayed
-in the house while at work on the portrait, spoke and wrote in rather
-indiscreet fashion, guiltless of everything save enthusiasm, and
-provoked a scandal of the first magnitude that alienated royal favour.
-The scandal grew and spread and was partly the subject of the
-commission of inquiry that sat several years later, and whose labours
-were known as "The Delicate Investigation." Lawrence was not even
-referred to in the report issued by the commissioners, but he made a
-difficult position worse by going out of the way publicly to declare
-his own and the Princess's innocence. For some time after the scandal
-was broached, the lady visitors to the studio in Russell Square were
-few and far between, and Lawrence was never as happy with men as with
-women. The genius of his brush was essentially feminine.
-
-In the years wherein the sun of court favour was withheld, and
-fashionable women were less constant in their attention, he was
-nevertheless extremely busy, and was able to raise his prices in 1802,
-1806, 1808, and 1810, the last date being the year of Hoppner's death.
-His other rivals included Beecher and Owen. For one who had
-comparatively few expenses, a large income, and neither parents, wife,
-nor children to support, the general position should have been very
-satisfactory, but nothing seemed able to keep Lawrence in easy
-financial circumstances. Financial difficulties followed him as they
-had followed his father before him; neither his great industry nor his
-raised prices availed to keep him from all manner of small troubles.
-
-    [Illustration: PLATE VI.--PORTRAIT OF A LADY
-
-    (In the Wallace Collection)
-
-    This portrait of an unknown sitter is as happily posed as it is
-    unhappily dressed. One notices two points of interest--the fine
-    painting of the head and the atmosphere of self-consciousness
-    that is common to so many of the Lawrence portraits.]
-
-The early years of the nineteenth century passed without any very
-stirring events apart from the appointment of the Commission for the
-"Delicate Investigation." Lawrence kept his place, earned a great deal
-of money, spent a great part before he received it, met some of the
-greatest men of the day--statesmen, soldiers, _literati_,
-ecclesiastics, and the rest--and was a frequent visitor to country
-houses where he took part in private theatricals. Indeed he may be
-said to have survived the loss of royal favour very creditably. As the
-years passed, subduing all recollection of the scandal associated with
-Montague House, Blackheath, his name was brought forward again in
-Court circles, where he was greatly missed by the women, if not by the
-men. There was no other painter who could combine the portrait with
-truth and flattery in such exquisite proportions that they conveyed
-an impression of youth and beauty while stating all essential truths.
-The truth was well summed up by one of Sir Thomas's biographers who
-wrote: "Lawrence lavished summer colours upon autumn and on winter,
-and gave to declining years the vigour of the life of youth."
-
-It had long been an ambition of the painter to visit Paris, and when
-in 1814 the entrance of the allied armies into the French capital
-opened it to travellers, Lawrence was prompt to take advantage of the
-situation. Now after many years he hoped to see the famous collection
-in the Louvre, enriched as it had been of late years by the thefts of
-Marshal Soult and others of Napoleon's generals with a _flair_ for
-works of art. But before he could complete his work the painter was
-summoned back to London. On the intervention of the first Marquis of
-Londonderry, the Prince Regent had taken the proper and charitable
-view of the Montague House affair.
-
-Lawrence was commissioned to paint for Windsor Castle a commemoration
-gallery of those who had restored the Bourbons. The sitters chosen
-were the Emperor of Russia, the King of Prussia, Bluecher, and Hetman
-Platoff. The portraits were painted, and at about the same time,
-Wellington and Metternich sat to the painter. Lawrence recovered all
-the ground he had lost, and gained fresh honours in rapid succession.
-In the year of Waterloo he painted the portrait of the Prince Regent,
-who knighted him; in 1817 he painted at Claremont the portrait of the
-Princess Charlotte. To these years his biographers trace the
-beginning of his relations with Mrs. Wolfe, wife of a diplomat
-accredited to this country. Cunningham refers to her as the wife of a
-Danish Consul, Mr. Knapp says she was the wife of the German
-Ambassador, but the point is not worth investigating. Suffice it she
-was a clever, attractive woman, separated from her husband, and the
-artist seems to have established with her intimate but platonic
-relations. He was devoted to her, but, then, he had a very susceptible
-heart. The friendship continued until the death of the lady, whom the
-artist survived only a few months.
-
-In 1818 a further and greater honour than any that had come his way
-hitherto was conferred upon Sir Thomas. He was sent to Aix-la-Chapelle
-to paint members of the Congress then sitting there, with instructions
-to proceed to Vienna and Rome. An allowance of one thousand a year
-for travelling expenses made the commission still more attractive, and
-the artist, free at last to travel and to work in the most stimulating
-surroundings Europe could provide, remained away from England for a
-year and a half. In his work he distinguished himself. His sitters
-included Emperor Francis of Austria, Louis XVIII., Charles X.,
-Archduke Charles, Metternich, Techernicheff, Ouvaroff, Hardenberg,
-Nesselrode, Baron Gentz, Earl Bathurst, Lord Liverpool, the Marquis of
-Londonderry, the Duke of Cambridge, and Mr. Canning. In Rome the aged
-Pontiff Pius VII. gave him nine sittings, and he painted the portrait
-of the great Cardinal Gonsalvi, "the Pitt of Rome." But it was not
-only to paint that he went to the Eternal City; he had much to learn,
-and some of the letters he wrote to London during his stay are
-remarkable for their sound judgment and insight. The supreme master of
-art for him was Michael Angelo, following him Raphael, Correggio,
-Titian, Sir Joshua, and perhaps J. M. W. Turner came in the order
-named. To the end Lawrence was faithful in his devotion to the art of
-the first President of the R.A. "I don't see why British artists wish
-to travel abroad when we have Sir Joshua in England," he said in his
-untravelled days. He was not heard to express this opinion again in
-the years when he had crossed "the narrow seas." Eighteen months of
-foreign travel did much for him; he brought a wider mind and a bigger
-intelligence home with him; to say nothing of a collection of gifts
-from European rulers and honours from many academies of art. From the
-social standpoint it is hard to believe that life could have given
-more than it gave in 1818-19.
-
-Lawrence was able to visit several Italian cities, and returned to
-London at the end of his eighteen months' sojourn in the country, to
-find that Benjamin West had just died, and that he had been elected to
-succeed him as President of the Royal Academy. His attitude was
-dignified. "There are," he said, "others better qualified to be
-President; I shall, however, discharge the duties as well and wisely
-as I can. I shall be true to the Academy and, in my intentions, just
-and impartial." In giving his consent to Lawrence's election, King
-George IV. presented the new P.R.A. with a gold chain and medal. King
-George also sat to him,[1] and was heard to say that Lawrence was "a
-well-bred gentleman."
-
-    [1] The portrait in the Wallace Collection reproduced here.
-
-In many respects the Academy chose wisely. Sir Thomas was a man who
-had moved and still moved in the highest social circles, whose
-pleasant manners made friends and conciliated foes; he was very
-popular with all save the most critical of contemporary artists. But,
-on the other hand, he was never a great teacher, and his addresses to
-the students were of little worth. He would seem to have entertained
-the idea of running a studio after the old Italian fashion; perhaps he
-had learned about it in Rome. There would have been a certain number
-of student apprentices to prepare the work, and he would have trained
-the cleverest among them to do still more. Unfortunately there was not
-enough money to start the required establishment; not all the foreign
-travel, the handsome presents, and the considerable fees had
-availed to stem the chronic leakage in the exchequer, and the scheme
-came to nothing. Sir Thomas resumed his place in London life, bringing
-an enhanced reputation; and all the old scandals being quite
-forgotten, the house in Russell Square was thronged with fair women
-who trusted to the artist, and not in vain, to make them fairer still.
-His portrait of Lady Blessington, reproduced here, called for
-recognition from Lord Byron in the stanzas beginning--
-
-    "Were I now as I was, I had sung
-      What Lawrence has painted so well."
-
-Both Byron and Sir Walter Scott spoke of the social graces of Sir
-Thomas. His manners would seem to have been distinguished, though his
-taste, generally correct, was not always above suspicion.
-
-    [Illustration: PLATE VII.--PORTRAIT OF COUNTESS BLESSINGTON
-
-    (In the Wallace Collection)
-
-    This portrait is one by which the painter is best known, and is
-    the singularly felicitous expression of a very beautiful woman.
-    It reveals the strength, and perhaps a little of the weakness,
-    of the artist, and made a great sensation when first exhibited
-    in London, moving Lord Byron to an expression of praise, to
-    which brief reference is made in the text.]
-
-In 1825 he was called to Paris, where he painted Charles X., the
-Dauphin, and others, and received the title of Chevalier of the
-Legion of Honour. The Academies of St. Luke in Rome, and those of
-Florence, Venice, Bologna, Turin, Vienna, and Copenhagen, had given
-him honorary memberships; the Fine Arts Academy of America had done
-the same, and there were other bodies that had expressed their
-sentiments in similar form.
-
-As he approached his sixtieth year, Sir Thomas would seem to have
-become conscious of failing health and the double burden of old age
-and loneliness. He had acquired every honour within his grasp, but he
-had lost his best friends through death, and monetary worries still
-troubled him. This last fact is the more surprising, because his
-prices were now very high indeed. They ranged from two hundred guineas
-for a head to seven hundred for an "extra length portrait," and even
-at these high prices there was no lack of patronage. He had no
-extravagances of a discreditable kind, but he could not resist the
-chance of buying a fine drawing, whether old or new, and as, when his
-collection was sold after his death for twenty thousand pounds, it was
-said to have fetched far less than it cost, one large source of
-expenditure is accounted for. Then again the President was a
-singularly generous man, who could not refuse an appeal, and some of
-those who were round him were quick to take advantage of his weakness.
-Making every allowance for his expenditure as collector and
-philanthropist, it is hard to understand why he could earn so much and
-have so little. Even when he painted the portrait of Sir Robert Peel
-he wrote letters asking for the money before the work was finished.
-
-Happily the statesman was a good and understanding friend; not only
-did he entertain the artist very frequently, but he commissioned him
-to paint a gallery of distinguished Englishmen for his country
-house--a commission the painter did not live to execute.
-
-In the late twenties of the nineteenth century, Sir Thomas discovered
-a serious state of mind and became a churchman. The death of Mrs.
-Wolfe, to whom reference has been made, in the year 1829, grieved him
-so deeply that he laid aside his brush for a month. The Irish Academy
-gave him its honorary membership, and the city of Bristol, in which he
-was born, gave its freedom, and these were the last of his honours.
-Those about him noted an ever-increasing feebleness, a failing
-interest in life, though he stuck manfully to his duty, and early in
-January 1830 the end came. He was buried in St. Paul's Cathedral by
-the side of Reynolds and Benjamin West. All the Academicians attended,
-scores of the aristocracy sent mourning coaches, and Sir Robert Peel
-was among the pall-bearers.
-
-
-
-
-III
-
-THE PAINTER'S WORK
-
-
-If in our estimate of a man's work we could pause to consider the
-difficulties under which the work was accomplished, there would be
-much to say for many of those who are lightly esteemed. But in
-criticism there are no extenuating circumstances; the artist, whether
-he work with words or pigment, notes or marble, is judged on his
-merits with as much justice as is ours to command. No judgment is
-final. John Ruskin described a Whistler nocturne as "a pot of paint
-flung in the public's face," but we value these nocturnes even more
-highly than Ruskin's own faultless prose. We know that the critic was
-better equipped to write than to judge, and we have reversed his
-verdict. The history of all art, from the work of the early Tuscan and
-Umbrian painters, with their backgrounds of gold, down to the time of
-the French impressionists, who bring the wide spaces of air, sky, and
-sea on to their canvas, is the history of a constantly changing
-verdict. The men most heartily acclaimed by their contemporaries have
-often failed in their appeal to succeeding generations, while in other
-cases "the stone that the builder rejected has become the corner
-head-stone."
-
-As far as Sir Thomas Lawrence is concerned, it is well to remember
-that his first reputation was not made by artists, but by people whose
-acquaintance with the essentials of a great and enduring art is ever
-of the slightest. His gifts were many and attractive, but they could
-never have deceived the men who were his contemporaries, although
-Reynolds' generous criticism might justify the idea that they did.
-Fuseli after declaring that he painted eyes as well as Titian, could
-find no other praise. Opie said, "Lawrence made coxcombs of his
-sitters, and his sitters made a coxcomb of Lawrence," but then Opie,
-together with Romney, Hoppner, and others, had been passed over by
-King George III. when in 1792 he appointed Lawrence to be his Painter
-in Ordinary, in place of Sir Joshua deceased. Compared with his great
-contemporaries, we see at once that Sir Thomas Lawrence was by no
-means a great colourist, he had no marked skill in composition, the
-effect of more than one figure on his canvas is seldom pleasing, his
-backgrounds were never interesting or even distinctive. That he was
-handicapped by the absurd and artificial dress convention of his day
-is undeniable, but he was hardly as happy in dealing with it as were
-some of his contemporaries. Why then, we may ask ourselves, was
-Lawrence a favourite artist from the days when as a little boy he made
-crayon drawings of visitors to his father's inn, down to the time when
-he was sent on a tour of the chief European capitals to paint Kings,
-Kaiser, and Pope? Why, while artists remained critical and were even
-grudging in the measure of justice they meted out to him did all the
-wealthy patrons of art prefer his studio to that of his
-contemporaries, face the heavy and constantly increasing charges
-without protest, and rejoice in the possession of the canvas that his
-brush had covered? The reason is not far to seek.
-
-    [Illustration: PLATE VIII.--KING GEORGE IV.
-
-    (In the Wallace Collection)
-
-    This portrait, painted in the last years of the artist's life,
-    when he was President of the Royal Academy, is a notable study,
-    despite its rather absurd proportions and artificial background.
-    The figure is rather stiffly posed if carefully observed, the
-    brushwork highly skilled. It was painted when Sir Thomas had
-    returned from the Continent, after a careful and discriminating
-    study of the Italian Masters.]
-
-Lawrence looked upon his sitters with an eye that magnified all points
-of beauty or attraction and passed over the failings, the blemishes,
-the points that in more conscientious eyes might have made a portrait
-true rather than merely attractive. It was but necessary to have the
-beginnings of beauty, to have some attractive features, and Lawrence
-would go to them instinctively, they would be the foundation of his
-study, other points of less attraction would fade from the
-representation on canvas. It was his singular gift, not only to see
-beauty, but to pick out the aspects of the sitter that would give the
-most attractive result possible without absolutely rank flattery or
-deception.
-
-Naturally enough when this gift became recognised the artist's studio
-was thronged by the prettiest women in London. Whatever their beauty,
-Lawrence would interpret it in terms of the utmost generosity. The
-charms transferred to canvas to defy the ravages of time were safe to
-be at least a little in excess of those that existed in the sitter.
-Praise and patronage are notoriously more difficult to fight against
-than neglect, and as time went on Sir Thomas turned more and more to
-the task of perfecting prettiness. The female heads do not suffer from
-this--perhaps they are the better for it--but the male ones do; in
-place of strength we find effeminacy, and many of his men sitters
-narrowly escaped the charge of being pretty. Allan Cunningham does not
-hesitate to express his conviction that Lawrence became weaker and
-more effeminate of set purpose because he found that by doing so he
-kept his dangerous rival Hoppner at bay. This marks the difference
-between Reynolds and Lawrence, for the first named was strengthened by
-the rivalry of Romney; at least Lawrence himself thought that some of
-Sir Joshua's finest efforts were produced by Romney's rivalry.
-
-After 1810, when the danger of this competition had passed with
-Hoppner's death, Lawrence's style was set. France and Italy came too
-late to strengthen a man who in so many ways was the spoilt child of
-fortune. Another reason for his weakness may be found in the desire to
-please. When he painted women he flattered them; when he talked to
-them he did the same. His children have a certain self-consciousness
-that does not belong to the children of Sir Joshua and Gainsborough;
-they can't help posing and looking at their best, for their parents
-and relatives may have been expected to appreciate a little pose.
-Where men are concerned the strength of Lawrence lay in the masterful
-character of the sitters themselves, rather than in any force of hand
-or brain. Had he been called upon to paint common-place types, his
-reputation would hardly have been what it is to-day, but his sitters
-were the pick of the generation, men who played no small part in
-deciding the fate of Europe at one of the most critical periods of
-history. Reference has been made already to some of the greatest; of
-the others, he was extremely successful with John Kemble, John Wilson
-Croker, Curran, Sir James Mackintosh, and Lord Thurlow, this last
-portrait being the one at which, according to his own account, he
-laboured for thirty-seven hours without stopping or sitting down.
-Among his most successful portraits of fair women may be mentioned
-those of the Duchesses of Sutherland and Gloucester, Mrs. Arbuthnot,
-the Countess of Charlemont and children, the Countess Grey, Lady
-Ellenborough, Lady Leinster, Lady Emily Cowper, Lady Elizabeth
-Leveson-Gower, Miss Croker, and Lady Blessington. This is no more than
-a random selection; his portraits and drawings of fair women are
-numbered by the hundred.
-
-Lawrence was a man who was prompt to take advantage of the
-opportunities that were showered upon him. One of his critics said of
-him, "His manners please everybody, save the two or three who look to
-the grain rather than the varnish." This is very harsh and severe, for
-it need have occasioned no surprise had Lawrence been self-conscious
-and awkward, overbearing, or even pompous. His success might well have
-turned his head, and there are indeed occasions when his taste might
-certainly have been impeached; but, all things considered, he
-preserved a wonderfully level head, and in the latter days, when he
-was in as much social demand as anybody in London, he remained
-faithful to his brush--so faithful, that the work coming from his
-studio was always his own. He employed no assistants, though we have
-seen that he had the idea at one time of keeping something like a
-school in his own house. In private life he was fairly abstemious, he
-had no vices, nor did any young painter appeal in vain to him for
-advice or encouragement. Unfortunately those who sat at his feet
-learned the secret of his weakness rather than his strength, and a
-study of a man or a woman after Lawrence is something that defies
-criticism within the limits of courtesy, while showing that there was
-more in Lawrence himself than the keenest of his critics would always
-care to admit.
-
-His colour was never equal to that of Reynolds, but his pictures have
-faced the time test better; the secret of the iridescent glaze that
-the first President of the R.A. could lend to a canvas was apparently
-unknown to Lawrence. On his death nearly one hundred canvases were
-exhibited at the British Institute, and his popularity may be gauged
-from the result of the exhibition, which yielded three thousand
-pounds, the money being given to his nieces. His tastes in art were
-catholic, and his love of attractive drawings has been referred to. It
-was said by some that the L20,000 the collection yielded was less by
-far than it had cost, but this, as far as the writer can ascertain, is
-conjecture. He had drawings of unequal merit, the best being by
-Michael Angelo and Raphael, and these went to Oxford University. His
-Italian journey quickened the best side of Lawrence, and justifies
-the regret that he was not able to visit Italy as a lad. His instinct
-for good work was quick and true; he never hesitated for long between
-the best and the second best, giving the preference to Michael Angelo
-as soon as he had compared his work in Rome with that of Raphael. In
-the last years of his life he gave up the creamy white of his earlier
-canvases for a pure white, taking the hint from the old Venetian
-masters, by whom he was deeply impressed. He exhibited over three
-hundred portraits, and painted many that were not for exhibition.
-To-day he may be seen at his best in Windsor Castle, but London claims
-some of his successful canvases.
-
-Study and the life of Sir Thomas Lawrence begins and ends on the note
-of wonder. It is easy to point out his shortcomings, but it is far
-more difficult to account for his merits when we remember that he
-started to earn his family's living before he was seven years old, and
-received a public recognition at the age of sixteen for work completed
-two years before. He had no student life in the true sense of the
-term, no painstaking teacher, only one or two friends to give him
-hints more or less valuable. His strength lay in accurate
-draughtsmanship and a wonderfully quick eye for effect, his weakness
-in the effeminacy of his handling, the indifference to minor details
-of composition, and the general inferiority of his colour sense to
-that of his great contemporaries. But from a lad who was self-taught
-and never ventured to handle colours until he was seventeen, nothing
-better could be expected, and something not as good might well have
-been pardoned. Finally, it may be suggested that while Sir Thomas
-Lawrence will never take equal rank with the greatest of his
-contemporaries, while Reynolds, Gainsborough, Hoppner, and others will
-take precedence of him, his best work will always command a large
-measure of genuine admiration. It will not fail to attract the
-attention of the student and the connoisseur, while his life must be
-full of interest to those who realise how talents that were not of the
-highest rank did almost as much for Lawrence as greater gifts did for
-Velazquez, Rubens, Hans Holbein the younger, and others whose brushes
-were a powerful aid to diplomacy in days past.
-
-
-    The plates are printed by BEMROSE & SONS, LTD., London and Derby
-               The text at the BALLANTYNE PRESS, Edinburgh
-
-
-
-
-
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