himself, however, without forgetting these important prerogatives, evidently took a more extended view of the matter; he seems early to have felt that the chief difficulty of portrait painting (a difficulty perhaps greater than any in the other branches of art) is to make the representation generally interesting. It is quite obvious that this end can only be attained (especially as beauty of form is not always at command) by a high degree of perfection in all that constitutes the charm of art; for no interest that attaches itself to the individual pourtrayed, however celebrated, can be so universal or so independently intelligible as that which arises from a large and true imitation of nature, to which all are more or less alive. The perfection of art, as applicable to portrait painting, was therefore Reynolds's great object, and it was only in subservience to this that he ventured to introduce what in his hands might be considered a novelty in this department. That novelty was the historic air he often gave his portraits, by happy allusions to some important circumstance in the life of the individual. His consummate knowledge of effect enabled him to do this by means which never interfere with the mere portrait, a difficulty which had been in a great measure evaded by preceding painters. It will be remembered that in most of the portraits even of Titian and Vandyck the attention is literally confined to the individual pourtrayed (after all, the subject of the picture), and it was not lightly or inconsiderately that Reynolds occasionally departed from this judicious practice. If ever a painter could depend on the mere character and expression of his heads, to say nothing of the charm of their execution, Reynolds undoubtedly would have been secure of the public approbation on those grounds alone; and it was only where historic interest happened to coincide or to interfere but little with picturesque effect, that he ventured on the additions alluded to. A better instance

perhaps cannot be given than the portrait of Lord Heathfield (celebrated for his defence of Gibraltar), in the National Gallery; in the back-ground of which a cannon pointed downwards indicates, by its angle of depression, the elevation of the spot where the veteran stands, grasping the keys of the fortress which he defended so bravely. In his allegorical portraits, such as Garrick between Tragedy and Comedy, Mrs. Siddons as the Tragic Muse, &c., Reynolds encountered a much greater difficulty, and it may be questioned whether any painter who has yet appeared would have succeeded better. The mixture of real and imaginary beings, of individual and abstract personifications, the treatment of which would seem to require so different a style, was so managed by Reynolds as to satisfy, in this respect, the most fastidious taste. The secret of the greatness of his style in these subjects, and indeed in most of his portraits, is to be sought in his colouring, the idea of which is large and general; and under its dignified influence the individuality of forms and locality of dress are rendered with all sufficient fidelity without offending. It is thus we find in many Venetian, Flemish, and Dutch pictures, where the subject and forms are most homely, an air of refined taste, and even of grandeur, which seems unaccountable, till we discover that the colouring is true to the largest idea of nature; and thus, to a certain extent, the art is raised by raising its characteristic quality. In short, to return to the question of his imitation of Michael Angelo, we should find that, keeping the main requisites and attainable excellences of portrait painting in view, Reynolds contrived to infuse into it as much elevation as was calculated to improve it without injuring its character; and when we find that he applied this even to execution, and that his breadth of manner, his disdain of non-essentials, is evidently inspired by the same feeling, we

shall no longer wonder at his admiration of the highest style of art, or doubt the sincerity of his recorded professions on the subject. The very indirectness of his imitation, in which the whole mystery lies, so sure a proof of his having penetrated the principle of the great master, establishes his claim to originality as well as to consummate judgment and taste.

In 1768 the Royal Academy was instituted, and Mr. Reynolds, holding unquestionably the first rank in his profession, was elected President. On his elevation to this office he received the honour of knighthood. As President he delivered to the students and professors those celebrated discourses which have reflected so much lustre on his name. Their excellence in a theoretical point of view, the elegance of their composition, and on the other hand the apparent contradictions they sometimes contain, have been the theme of frequent observation and discussion. The other writings of Sir Joshua are the 'Tour to Flanders and Holland,' consisting of notes on the paintings seen by him in those countries in the year 1781; Notes on Du Fresnoy's Poem;' and three papers in the Idler. Among the last, the Essay on Beauty was not so original as is generally supposed, the same theory having been previously promulgated by the Père Buffier in his Cours des Sciences par des principes nouveaux. Paris, 1732.' Among the historical and mythological pictures produced by Sir Joshua, that of the Infant Hercules strangling the Serpents, executed in 1786 for the Empress of Russia, is one of the most considerable: it is pretty closely copied, as to invention and composition, from a description of an antique painting of the same subject in Philostratus. This work, so different from the taste of the Russian painters and connoisseurs, was long treated with neglect; but in consequence of the inquiries of English travellers it has lately been cleaned, and placed in the gallery

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of the Hermitage. It is said to be in a fine state of preservation, and one of the best works of Reynolds. The celebrated picture of Ugolino was produced by an accidental circumstance. The subject was suggested to Sir Joshua by Goldsmith, or, according to others, by Burke, who was struck with the expression of an old emaciated head, among the unfinished studies of the painter, and observed that it corresponded exactly with Dante's description of Count Ugolino. The head was inserted in a larger canvass, and the rest of the composition added. For the Shakspeare Gallery Sir Joshua painted three pictures,-the Death of Cardinal Beaufort, the Cauldron Scene in Macbeth, and Puck from Midsummer Night's Dream. The designs for the window of the New College Chapel in Oxford are among the finest of his sacred compositions.

In 1789, finding his eyesight begin to fail, Sir Joshua was compelled to give up the practice of his art. In December, 1790, he pronounced his farewell Address at the Royal Academy, and on that occasion repeated and confirmed, as with his dying voice, his admiration of Michael Angelo. His infirmities confined him much during the short remaining portion of his life, and he died at his house in Leicester Fields, February 23, 1792. He was buried in the crypt of the cathedral of St. Paul, near the tomb of Sir Christopher Wren. The honours of his funeral, as may be imagined, corresponded with his justly-earned fame; and the day after his death a well-known eulogium by Burke appeared in the public papers, so characteristic both of the writer and the great artist to whose memory it was dedicated, that it was called the panegyric of Apelles pronounced by Pericles. It concludes thus:"His talents of every kind, powerful from nature, and not meanly cultivated by letters, his social virtues in all the relations and all the habitudes VOL. III. 2 F

of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He had too much merit not to excite some jealousy, too much innocence to provoke any enmity. The loss of no man of his time can be felt with more sincere, general, and unmixed sorrow."

[Sketch for the picture of Mr. Eliot and his family,]