Chapter XLII: Book I: , IV. 5 (1)

314. ‘_In the trade of war._’ _Othello_, I., 2.

‘_So as with a difference._’ Cf. _ante_, note to p. 202.

‘_Pure defecated evil._’ Burke, _Letter to a Noble Lord_ (_Works_,
Bohn, V. 141).

‘_Whatever is, is right._’ Pope, _Essay on Man_, I., 294.

‘_Amen stuck in his throat._’ _Macbeth_, Act II. Scene 2.

‘_No malice in the case_,’ _etc._ _The Beggar’s Opera_, Act I.
Scene 1.

_Remorse._ See _Osorio_, of which _Remorse_ was a recast. _Works_,
(ed. J. D. Campbell), p. 496.

315. ‘_I count myself_,’ _etc._ _Hamlet_, Act III. Scene 1.

316. ‘_Who knew all qualities_,’ _etc._ _Othello_, Act III. Scene 3.

ESSAY XXXII. ON THE PICTURESQUE AND IDEAL

318. _Mr. Northcote’s study of Gadshill._ Cf. _Conversations of
Northcote_, _ante_, p. 403.

‘_Of no mark_,’ _etc._ _Henry IV._, Part I. Act III. Scene 2.

319. _The Marriage of Cana._ The Marriage at Cana in the Louvre.

_Madame M—._ Mr. W. C. Hazlitt fills this blank with the name of
Mérimée. When Hazlitt went to Paris in 1802 he took with him a
letter of introduction from Holcroft to Mérimée the painter,
whose son Prosper was born in the following year, 1803.

320. ‘_See how the moonlight_,’ _etc._ _Merchant of Venice_, Act V.
Scene 1.

321. ‘_My bounty_,’ _etc._ _Romeo and Juliet_, Act II. Scene 2.

ESSAY XXXIII. ON THE FEAR OF DEATH

‘_And our little life_,’ _etc._ _The Tempest_, Act IV. Scene 1.

322. _When Bickerstaff wrote his essays._ In _The Tatler_, 1709–11.

_The firing at Bunker’s hill._ June 17, 1775.

‘_The gorge rises at._’ _Hamlet_, Act V. Scene 1.

323. ‘_The wars_,’ _etc._ _The Faerie Queene_, Book II. Canto IX.
Stanza 56.

‘_The present eye_,’ _etc._ ‘The present eye praises the present
object.’ _Troilus and Cressida_, Act III. Scene 3.

324. ‘_Makes calamity_,’ _etc._ HAMLET, Act III. Scene 1.

‘_Oh! thou strong heart_,’ _etc._ Webster’s _The White Devil; or
Vittoria Corombona_, Act V. Scene 1.

‘_Content man’s natural desire._’ ‘To be, contents his natural
desire.’ Pope, _Essay on Man_, I. 109.

‘_On this bank_,’ _etc._ _Macbeth_, Act I. Scene 1.

‘_This sensible_,’ _etc._ _Measure for Measure_, Act III. Scene 1.

‘_Turns to withered_,’ _etc._ _Paradise Lost_, XI. 540.

Note. Young’s _Night Thoughts_, I. 424.

325. ‘_The sear, the yellow leaf._’ _Macbeth_, Act V. Scene 3.

_Gone into the wastes of time._ ‘That thou among the wastes of
time must go.’ Shakespeare, Sonnet No. XII.

326. _Zanetto_, _etc._ Rousseau’s _Confessions_, Part II. liv. 7.

326. _I have never seen death but once._ See MEMOIRS OF WILLIAM
HAZLITT, I. 170.

_At my breast._ A paragraph in the MS. of this essay is here
omitted:

‘I did not see my father after he was dead, but I saw death shake
him by the palsied hand, and stare him in the face. He made as
good an end as Falstaff; though different as became him. After
repeating the name of his R(edeemer) often, he took my mother’s
hand, and, looking up, put it in my sister’s, and so expired.
There was something graceful and gracious in his nature, which
showed itself in his last act.’

_Chantry’s monument_, _etc._ Chantrey’s ‘Sleeping Children’ in
Lichfield Cathedral.

327. ‘_Still from the tomb_,’ _etc._ Gray’s _Elegy_, 91–2.

328. ‘_A little rule_,’ _etc._ Dyer’s _Grongar Hill_, 89–92.

‘_A great man’s memory_,’ _etc._ _Hamlet_, Act III. Scene 2.

329. ‘_At a pin’s fee._’ _Ib._, Act I. Scene 4.

‘_Sea-sick, weary bark_,’ _etc._ _Romeo and Juliet_, Act V. Scene
3.

‘_To lose it afterwards_,’ _etc._

‘To lose it, may be, at last in a lewd quarrel
For some new friend.’
Otway, _Venice Preserved_, Act IV. Scene 2.

MR. NORTHCOTE’S CONVERSATIONS

James Northcote (1746–1831), was the son of Samuel Northcote, a
Plymouth watchmaker. He was brought to the notice of Sir Joshua
Reynolds by the Mudges of Plymouth (see note to p. 366). Sir
Joshua befriended him and he sat as one of the figures in
Ugolino. After study in London and abroad he began to acquire
reputation as a portrait-painter. He exhibited at the Royal
Academy first in 1781, and of that body he was elected an
Associate in 1786, and an Academician on Feb. 13, 1787. He
painted many historical and sacred subjects, but his reputation
will rest upon his portraits, many of which may be seen in the
National Portrait Gallery. He wrote the _Memoirs of Sir Joshua
Reynolds_ (1813–15) wherein several of the anecdotes which occur
in the conversations first appear, and was helped in two other
pieces of literary work by Hazlitt, viz., _The Life of Titian,
with Anecdotes of the Distinguished Persons of his Time_ (1830),
and _One Hundred Fables, Original and Selected_ (1828), the
wood-cuts to which, by William Harvey, from Northcote’s designs,
are of value with respect to the art of English wood-engraving.
A Second Series was issued in 1833, after his death. He spoke
Devonshire all his life and never married. See _Memorials of an
Eighteenth Century Painter_ (James Northcote): by Stephen Gwynn,
1898; _Conversations of James Northcote, R.A., with James Ward
on Art and Artists_: edited by Ernest Fletcher, 1901; P. G.
Patmore’s _My Friends and Acquaintances_; Hazlitt’s essay ‘On
the Old Age of Artists’ in _The Plain Speaker_; Ruskin’s
_Præterita_; and _The Examiner_, May 4th, 1833.

The circumstances under which the ‘Conversations’ were reported
and printed will be found set forth in the ‘Memoirs of William
Hazlitt,’ vol. II. pp. 198–213. After six issues had appeared in
_The New Monthly Magazine_ a Mr. Rosdew protested on behalf of
the Mudges against some remarks that appeared therein. The
passages, which are given below in the Notes for the first time
since they appeared in the _Magazine_ (they were omitted when
Hazlitt collected the papers for a volume), may explain this
protest. The publication of further issues seems to have been
stopped by the Editor, Thomas Campbell. Four Conversations (see
note to p. 394), were contributed to _Richardson’s London Weekly
Review_, and their existence there does not seem to have been
noted until the present edition. Their publication was
transferred to _The Atlas_ (see note to p. 420), and finished
therein. Unfortunately, the British Museum file of _The Atlas_
is defective, and it has not so far been possible to check every
‘Conversation’ with its first appearance in magazine form. Where
possible, however, this has been done, and a few passages are
given below which were not reprinted by Hazlitt.

333. Conversations I.-VI. first appeared in _The New Monthly Magazine
and Literary Journal_. They begin in vol. 17, 1826, Part II.
‘Original Papers,’ under the title of ‘Boswell Redivivus’ and
may be found as follows:—

No. I. August vol. 17 No. 68
„ II. September „ „ „ 69
„ III. October „ „ „ 70
„ IV. November „ „ „ 71
„ V. February „ 19 „ 74 (1827, ‘Original
Papers,’ Part I.)
„ VI. March „ „ „ 75

The motto (‘The precepts here,’ etc.) appears at the head of No.
I.

The following explanatory footnote was not reproduced when the
_Conversations_ were published in volume form:—

‘I differ from my great original and predecessor (James Boswell,
Esq., of Auchinleck), in this, that whereas he is supposed to
have invented nothing, I have feigned whatever I pleased. I have
forgotten, mistaken, mis-stated, altered, transposed a number of
things. All that can be relied upon for certain is a striking
anecdote or a sterling remark or two in each page. These belong
as a matter of right to my principal speaker: the rest I have
made for him by interpolating or paraphrasing what he said. My
object was to catch the tone and manner, rather than to repeat
the exact expressions, or even opinions; just as it is possible
to recognise the voice of an acquaintance without distinguishing
the particular words he uses. Sometimes I have allowed an acute
or a severe remark to stand without the accompanying softenings
or explanations, for the sake of effect; and at other times
added whole passages without any foundation, to fill up space.
For instance, there is a dissertation on pp. 75–6, the
particulars and the Tory turn of which are entirely my own. My
friend Mr. N— is a determined Whig. I have, however, generally
taken him as my lay-figure or model, and worked upon it, _selon
mon gré_, by fancying how he would express himself on any
occasion, and making up a conversation according to this
preconception in my mind. I have also introduced little
incidental details that never happened; thus, by lying, giving a
greater air of truth to the scene—an art understood by most
historians! In a word, Mr. N— is only answerable for the wit,
sense, and spirit, there may be in these papers: I take all the
dullness, impertinence, and malice upon myself. He has furnished
the text—I fear I have often spoiled it by the commentary. Or
(to give it a more favourable turn) I have expanded him into a
book, as another friend[98] has continued the history of the
Honeycombs down to the present period. My Dialogues are done
much upon the same principle as the _Family Journal_: I shall be
more than satisfied if they are thought to possess but half the
spirit and verisimilitude,’

‘J. B. R.’

333. _Cosway._ Richard Cosway, R.A. (1740–1821), painter in
water-colour, oil and miniature.

_Miss Reynolds._ Frances Reynolds (1729–1807), youngest sister of
Sir Joshua. She also was an artist and wrote an ‘Essay on Taste’
of which Dr. Johnson thought highly.

_Burying Lord Byron in Poet’s Corner._ The application of Lord
Byron’s relatives that he should be buried in Westminster Abbey
was refused, and he lies in the church of Hucknall-Torkard, near
Newstead. The Abbey would not receive even his statue by
Thorwaldsen, which is now in the Library of Trinity College,
Cambridge.

334. _Hoppner._ John Hoppner, R.A. (1758–1810). He and Sir Thomas
Lawrence took the places of Sir Joshua Reynolds and Romney as
fashionable portrait painters.

_G—._ William Godwin (1756–1836). ‘His daughter’ would probably be
Mary Wollstonecraft Shelley, who returned to England after
Shelley’s death. As the initial occurs constantly throughout the
_Conversations_ it will save some repetition in the notes if for
G— Godwin is always understood, except where otherwise stated.

_H—._ Leigh Hunt. His _Recollections of Lord Byron and Some of His
Contemporaries_ appeared in 1828, but this Conversation appeared
in the _New Monthly Magazine_ in 1826. In the _Magazine_ the
initial is F— not H—.

_Mr. S—._ Shelley.

_Like the tree in Virgil._ _Aeneid_, III. 37–40.

_Mr. Moore has just written a book._ Moore’s _Life of Byron_ was
published in 1830. This note was added when the _Conversations_
were collected into a volume.

336. _H—._ For Benjamin Robert Haydon, historical painter (1786–1846)
see the volume containing Hazlitt’s art criticism.

_Fuseli._ Heinrich Fuessly, or Henry Fuseli, portrait painter and
art critic (1741–1825).

_W—._ _Wordsworth._ The name is given in full in the _Magazine_.

337. _Armed all in proof._ _Richard III._, Act V. Scene 3.

_Stat nominis umbra._ ‘Stat magni nominis umbra.’ Lucan,
_Pharsalia_, I. 135.

_Tom Paine._ The opposition to Paine’s _Rights of Man_ (1791–1792)
was so great that it involved those circulating it in
imprisonment. Paine’s escape to Paris saved him.

338. _Dr. Watts ... the encomiums passed on him by Dr. Johnson._ See
Dr. Johnson’s Letter to Mr. Edward Dilly, July 7, 1777: ‘his
name has long been held by me in veneration.... I wish to
distinguish Watts, a man who never wrote but for a good
purpose.’

339. _Mr. Northcote ... a portrait of himself._ A portrait of
Northcote, painted by himself in 1821, is in the National
Portrait Gallery. There are two or three others in existence.

340. _West, Barry._ Benjamin West (1738–1820), historical painter, and
James Barry (1741–1806), whom Allan Cunningham described as ‘the
greatest enthusiast in art which this country ever produced.’

341. _Boaden._ (B. in the _Magazine_.) James Boaden (1762–1839),
dramatic critic and author of lives of Kemble and Mrs. Siddons.

341. _Henderson._ John Henderson (1747–1785), the ‘Bath Roscius.’

342. _Master Betty._ William Henry West Betty or the Young Roscius
(1791–1874) who began to act at the age of eleven. Pitt
adjourned the House of Commons to enable the members to see his
impersonation of Hamlet. See Vol. IV. _The Spirit of the Age_,
p. 233 and note. Northcote painted his portrait.

_Humphreys (the artist)._ The remark was probably made by Ozias
Humphry (1742–1810); ‘Master Betty’ acted as a boy eight years
before Humphry’s death, and the conversation is concerned with
Betty’s acting when a boy. See also _Conversations of James
Northcote, R.A., with James Ward_, page 86: ‘Can you tell me,’
said Ward, ‘if Betty the boy-actor—the young Roscius—was as
extraordinary as some people have represented, for I myself
never had an opportunity of seeing him act?’ ‘His gracefulness,’
replied Northcote, ‘was exquisite; I never saw anything like it
before. When Humphry saw him, he cried out, “Oh, ’tis the young
Apollo come down from his pedestal!”’ The only doubt lies in the
fact that Humphry’s eyesight seems to have failed in 1797.

_Mr. Harley._ George Davies Harley (Davies was his real name),
author and actor, who never rose above useful work, and who died
in 1811. He wrote ‘An Authentic Biographical Sketch of the Life,
Education, and Personal Character of William Henry West Betty,
the Celebrated Young Roscius’ (1802).

_Alexander the Great._ The sub-title of Nat. Lee’s tragedy
(1655–1692) _The Rival Queens_ (1677).

_Romney._ George Romney (1734–1802), portrait painter. Lord
Thurlow said that the town was divided into two factions—Romney
and Reynolds.

343. _Opie._ John Opie (1761–1807), portrait and historical painter, of
Cornish birth. He was discovered by Dr. Wolcot (Peter Pindar),
himself a west-countryman.

_Miss C—._ Possibly Miss Cotterell. See note to p. 450.

345. _Gandy._ William Gandy (born second half seventeenth century, d.
1729), portrait painter. He was the son of James Gandy, also a
portrait painter (1619–1689). See _ante_, p. 21 and note.

_Hudson._ Thomas Hudson, portrait painter (1701–1779), the master
of Sir Joshua Reynolds.

_Mengs._ Anton Rafael Mengs, of Bohemian birth (1728–1779),
portrait and fresco painter.

_The Duke of Ormond._ James Butler, second Duke of Ormonde
(1665–1746).

_Stringer._ Daniel Stringer, portrait painter, a student of the
Royal Academy about 1770.

346. _Cignani._ Conte Carlo Cignani, a painter of the Lombard School
(1628–1719).

_Going with Wilkie to Angerstein’s._ Sir David Wilkie (1785–1841).
John Julius Angerstein (1735–1823), who acquired an immense
fortune ‘in the city,’ and made the collection of pictures in
his house in Pall-Mall which developed into the National Gallery
by the purchase of them by the government after his death for
some £60,000.

_Edwards._ Edward Edwards, historical painter (1738–1806).

_Masaccio._ Tommaso Guidi, or Masaccio (= Slovenly Tommy, from his
careless manners) (1401–1428), Florentine painter, noted
especially for his works on the walls of the Carmine church.

Note. ‘_The blacksmith swallowing the tailor’s news._’ _King
John_, Act IV. Scene 2.

347. _Prince Hoare._ Portrait and historical painter and dramatist
(1755–1834), son of William Hoare, R.A. Haydon said of his timid
expression of face, that ‘when he laughed heartily he seemed to
be crying.’

347. _Day._ Alexander Day, miniature painter and picture-dealer
(1772–1841). He brought from Italy several old masters which are
now in the National Gallery.

349. _Lord B— to dine with Dr. Johnson._ In the _Magazine_ the name
is given in full as that of Lord Boringdon. John Parker
(1735–1788), first Baron Boringdon, father of the first Earl
of Morley.

_One of the cages at Exeter-’Change._ See vol. IV. _The Spirit of
the Age_, note to p. 223.

_The Memoirs of Cardinal de Retz._ These _Mémoires_ appeared in
1717, and English translations were published soon after. They
throw much light on the time of the Wars of the Fronde, and are
excellent in character-drawing.

350. _F. Reynolds._ Dramatist (1764–1841).

_Matthews, the comedian._ Charles Mathews (1776–1835), actor and,
above all, mimic.

_The Prince leaving Sheridan to die in absolute want._ Although
Sheridan was the ‘official mouthpiece’ of the Prince Regent, he
was allowed to die in extreme poverty and with the bailiffs in
his house.

351. _Do you believe the modern periodicals._ These are specified in
the _Magazine_ as ‘John Bull’ and ‘Blackwood,’ the former the
Tory paper started in 1820 by Theodore Hook. See vol. IV. _The
Spirit of the Age_, note to p. 217.

_H—me._ Probably Joseph Hume of the Pipe Office. See _ante_, note
to p. 195.

352. _Kelly’s ‘Reminiscences.’_ Michael Kelly’s ‘Reminiscences,
including a period of nearly half a Century; with Original
Anecdotes of many Distinguished Personages,’ appeared in 1820. A
second edition was published in 1826. It is a valuable
store-house for the historian of the English theatre.

_Mrs. Crouch._ Anna Maria Crouch (1763–1805), the beautiful
vocalist, whose ‘appearance was that of a meteor, it dazzled,
from excess of brilliancy, every spectator.’

_Love in a Village._ Isaac Bickerstaffe’s operatic farce, with
music by Arne (1762).

353. _Canova._ Antonio Canova, a sculptor and painter after the manner
of the Venetian School (1757–1822).

_Bernini._ Giovanni Lorenzo Bernini, sculptor and architect
(1598–1680).

_Mandeville._ Bernard de Mandeville, satirist (1670–1733), author
of ‘The Fable of the Bees; or, Private Vices as Public Benefits’
(1705–1723), an ironical attack upon Shaftesbury’s theories of
virtue, the fallacy of which, according to Dr. Johnson,
consisted in that Mandeville defined neither vices nor benefits.
He it was who described Addison as ‘a parson in a tye-wig.’

354. _The Ireland controversy ... Dr. Parr._ Dr. Samuel Parr
(1747–1825), clergyman and schoolmaster, and possessed of an
inexplicable reputation for scholarship, was one of the
believers in the Shakespeare forgeries of Samuel William Henry
Ireland (1777–1835). Northcote uses the same phrase about Dr.
Parr in a conversation with James Ward. See his _Conversations
with James Ward_, p. 88.

_Tresham._ Henry Tresham, painter and amateur picture dealer
(1749–1814).

_Caleb Whitefoord_ (1734–1810), wit and diplomatist. See the
epitaph Goldsmith left among his papers for ‘Retaliation.’

357. _Tongues in the trees_, _etc._ _As You Like It_, Act II. Scene 1.

358. _Mr. — the poet._ Probably Tom Moore.

358. _Start back with affright._ After this sentence the following
passage occurs in the _Magazine_:—‘This has often struck me in
West, how happy it was for him that he lived and died in the
belief that he was the greatest painter that had ever appeared
on the face of the earth. Nothing could shake him in this
opinion, nor did he ever lose sight of it. It was always “My
Wolfe, my Wolfe”:—I do assure you literally, you could not be
with him for five minutes at any time, without his alluding to
this subject: whatever else was mentioned, he always brought it
round to that. He thought Wolfe owed all his fame to the
picture: it was he who had immortalized Wolfe, not Wolfe who had
immortalized him.’

_Woollett._ William Woollett (1735–1785), a great engraver. He is
said to have begun his career by a careful study of a Turk’s
Head on a pewter-pot in his father’s public-house; he was also
credited with the habit of firing a cannon from the roof of his
house when he had finished a great plate. On his mean tombstone
in Old St. Pancras churchyard some one wrote:—

‘Here Woollett rests, expecting to be saved;
He graved well, but is not well engraved.’

There is now a memorial to him in Westminster Abbey.

359. _Dance._ Sir Nathaniel Dance Holland, Bart. (1734–1811), portrait
and landscape painter, son of George Dance, builder of the
Mansion House. Since Angelica Kauffmann would not marry him, he
married a rich widow, took the name of Holland, became a
baronet, entered Parliament and gave up art.

_Farington._ Joseph Farington, landscape painter (1747–1821).

‘_As you do sometimes?_’ After this sentence the following passage
occurs in the _Magazine_:—‘But the thing that provoked me was, I
knew West was only thinking of the engraving of Wolfe, who had
already a monument erected to him in the most select part of
Westminster Abbey, and West thought, if he could get a monument
to Woollett there also, he should come in between them.’

_Round his gallery._ Add the following from the _Magazine_:— ‘And
yet,’ said N.—,’he thought in his pictures he had accumulated an
invaluable property, and that they would be caught up at his
death like so many Correggios. It was this that kept him alive.
If he could have seen how much he wanted, he would, perhaps,
have done nothing.’

360. _The death of poor —._ The _Magazine_ gives the initial F,
which indicates, in all probability, Thomas Foster, Irish
portrait-painter (1798–1826), who committed suicide.

_C—._ John Wilson Croker (1780–1857), who was appointed Secretary
of the Admiralty in 1809, for his services to the Duke of York.

_Poor Bird._ Edward Bird (1762 or 72–1819), _genre_ painter, who
began life as an ornamenter of tea-trays.

_If — was likely to have succeeded._ The _Magazine_ gives the
initial F. See first note to this page.

_Mr. Locke (of Norbury Park)._ William Locke (1732–1810), a
wealthy art amateur, on whose estate at Norbury, near Mickleham,
Surrey, Fanny Burney built ‘Camilla Cottage.’ His son, William
Locke (1767–1847), was an amateur artist, and his grandson also,
William Locke the third (1804–1832).

_Old Dr. Moore._ Dr. John Moore (1729–1802), physician, and author
of the novel, _Zeluco: Various Views of Human Nature, taken from
Life and Manners, Foreign and Domestic_ (1786), which suggested
to Byron the idea of _Childe Harold_ (see Preface to this
latter).

361. _The wrapt soul sitting in the eyes._ _Il Penseroso_, 40 [rapt].

362. _Old Alderman Boydell._ John Boydell (1719–1804), engraver. His
book of plates of views in England and Wales was the first book,
so he said, that ever made a Lord Mayor of London. He was a good
friend to young artists, and greatly furthered the art of
engraving in England.

_Sir R. P—._ Sir Richard Phillips (1767–1840), author, bookseller
and publisher. He established _The Monthly Magazine_ in 1796.

363. _Annibal Caracci._ Annibal Caracci (1560–1609), the decorator of
the Farnese Palace, Rome, and painter of the celebrated picture
of ‘Christ being taken down from the Cross.’

_Ludovico Caracci._ Ludovico Caracci (1555–1619), uncle of the
above.

_Angelica Kauffmann._ Maria Anna Angelica Catharina Kauffmann
(1741–1807), portrait painter and etcher.

364. _Simple Story ... Nature and Art._ Elizabeth Inchbald’s
(1753–1821) books were published in 1791 and 1796 respectively.

_Mrs. Centlivre._ Susannah Centlivre (_c._ 1667–1723), the
authoress of nineteen vivacious plays. See _The Dunciad_, Book
II. 411 and note: ‘wife to Mr. Centlivre, Yeoman of the Mouth to
His Majesty. She writ many Plays, and a Song (says Mr. Jacob)
before she was seven years old. She also writ a Ballad against
Mr. Pope’s Homer before he began it. P.’

364. _Old Baxter._ Richard Baxter, the Nonconformist Divine
(1615–1691). The same illustration is used in _The Plain
Speaker_, p. 243.

_A Dissenting Minister (a Mr. Fox of Plymouth)._ John Fox
(1693–1763). He was given in charge of his father’s first
cousin, Isaac Gilling, minister at Newton Abbot, to see if
Gilling could remove his objections to the ministry. After many
shifts he got his license on Oct. 17, 1717, and he began to
preach, but apparently he was never ordained. He gave up the
ministry after his father’s death, married Isaac Gilling’s
daughter and turned biographer.

365. _An early picture of H—’s._ Haydon’s. The _Magazine_ gives this in
full.

366. _Malone._ Edmond Malone (1741–1812), the editor of Shakespeare.

_Old Mr. M—._ Given in the _Magazine_ as Mudge. The Mudges of
Plymouth were the family by whose means Northcote was introduced
to Sir Joshua Reynolds. Zachariah Mudge (1694–1769), divine, Sir
Joshua described as the wisest man he had met in his life, and
he painted his portrait three times. His ‘character’ was written
by Dr. Johnson in the _London Chronicle_, June 2, 1769. He
taught at a school kept by John Reynolds (grandfather of the
painter), at Exeter, hence the acquaintance between the two
families. He was a friend of Smeaton’s, the builder of the
Eddystone lighthouse, and it was he who joined Smeaton in the
lantern, upon its completion, in chanting the Old Hundredth. The
first Mrs. Mudge was the lady who remonstrated with Dr. Johnson
when he proceeded to his eighteenth cup of tea. ‘What, another!’
she said; and the Doctor replied: ‘Madam, you are rude,’ and
proceeded to his twenty-fifth. John Mudge (1721–1793),
physician, was the fourth and youngest son of the above.

_I heard no more of the Life._ Add the following from the
_Magazine_, p. 85:—‘for it contained stories of Mudge having run
away from the Academy where he was brought up, because Moll
Faux, the housemaid, would not have him; of his sleeping in a
sugar-cask all night at Wapping, finding a halfpenny in the
street, with which he bought a loaf to prevent himself from
starving, and returning home in the greatest distress, where he
soon after left the dissenters to go over to the church, because
the former would not give him some situation that he wanted.’ N—
said, ‘Sir Joshua took no further notice, and I believe he
burned my MS., for it was not to be found among his papers at
his death, though Malone at my request had made every search for
it. The truth is, they were mortified to find one whom they had
been in the habit of crying up not only as a person of the
highest capacity (which he was) but as a saint and the model of
a Christian pastor, turn out little better than a vagabond and
mountebank. It was besides an imputation on their own sagacity.’

366. _Kneller._ Sir Godfrey Kneller, Bart. (or Kniller), 1646–1723. He
painted portraits of nearly every person of importance in his
day.

_It would do for anybody._ Add the following from the _Magazine_:—
‘N— then showed me a print of him after Sir Joshua, which
appeared to me a complete high-priest, bullying and insincere.
His wife (the same Moll Faux, whom he afterwards married, and
who continued a violent Dissenter to the last) used to
say—“There he gets up into the pulpit, and prates away as if he
knew all the secrets of heaven and earth, and all the time does
not believe one word of it.” My father who knew him, said there
was always to him a look of insincerity in his very high-flown
orthodoxy, for once when Smeaton, the great engineer, was making
a remark on some circumstance in the Old Testament, he cut him
short by saying, “Oh! if you give up any part, the whole must
follow!” He used also to say, in speaking of the arguments on
natural religion, that in an infinity of chances everything was
possible. If he had been at Rome, he would have got to be a
Cardinal as sure as I am standing here. He had ambition and
abilities enough for any thing. Yet it was like pride in a
corner too. His wife would always put a brick behind the fire to
keep it low, and would come in and boil the saucepan by his
study-fire, just as when they had been in poverty and mean
circumstances, and yet he never objected. He grew indolent at
last, and spent his time in playing at cards with old ladies who
were rich and pious. He hated writing sermons (though it was
what he was chiefly admired for), and preached the same set over
and over again, till the congregation nearly had them by heart.
I said it was what he did not feel, and he therefore set about
it reluctantly.’

367. _Dunning, Gay, Lord Chancellor King._ John Dunning, first Baron
Ashburton (1731–1783), Solicitor-General in 1768, and one of the
most powerful orators of his day.

John Gay (1685–1732), of Barnstaple, the poet.

Peter King (first Lord King, Baron of Ockham in Surrey) 1669–1734,
lord chancellor 1725.

_Pope’s Lord Lansdowne, ‘What Muse for Granville,’_ _etc._ George
Granville or Grenville (1667–1735), follower of Waller in
English verse. He was created Lord Lansdowne in 1711. He was a
descendant of Charles I’s general, Sir Richard Granville
(1600–1658). See Pope’s _Windsor Forest_.

_Foster, the celebrated preacher._ James Foster (1697–1753) who
was appointed in 1728 Sunday Evening Lecturer at the Old Jewry.

_Lord Chancellor Hardwicke._ Philip Yorke (1690–1764), first Earl
of Hardwicke.

_Let modest Foster._ Pope’s _Epilogue to the Satires_, Dialogue,
lines 131–2. After the couplet the following passage may be
inserted from the _Magazine_:—‘I had made,’ said N—, ‘a pretty
picture of the worthies of the Devon, till — spoiled it by
making me stick his ugly boy in it, and would not have it after
all.’ ‘I asked if the family of the Mudges still continued; and
he said they did, but were not equal to the two that he had
mentioned, old Zachary Mudge, and Dr. Mudge his son, who was a
physician. The last had been his father’s most intimate friend,
and he remembered him perfectly well.’

368. _Warburton ... Dr. Doddridge ... the Divine Legation of Moses._
William Warburton (1698–1779). _The Divine Legation of Moses_
(1738–40) was described by Gibbon as ‘a monument, already
crumbling in the dust, of the vigour and weakness of the human
mind.’ Philip Doddridge (1702–1751), eminent nonconformist
divine and twentieth child of an oilman.

_Female Seducers._ One of the _Fables for the Female Sex_ (1744)
published by Edward Moore (1712–1757), the fabulist. This
particular Fable was the work of Henry Brooke, author of _The
Fool of Quality_.

369. _Mr. Agar._ Welbore Ellis Agar, referred to by Boswell (ed. G. B.
Hill, III. 118 note), in a note to a letter to Johnson (July 9,
1777). In the _Magazine_ the name is given as Ellis only.

_An expression of Coleridge’s._ The remark seems to have been made
in a lecture delivered by Coleridge on Jan. 27, 1818, on the
‘General Character of the Gothic Mind in the Middle Ages.’ See
‘Mr. Green’s note taken at the delivery’ in Coleridge’s
_Literary Remains_ vol. I., p. 69, 1836.

370. _The beautiful Mrs. G—._ Mary Horneck, the ‘Jessamy Bride’ of
Goldsmith, married to Colonel Gwyn. Her elder sister Goldsmith
nicknamed ‘Little Comedy.’

_Ninon de l’Enclos_ (1616–1706). A famous French beauty, who lives
in her letters to St. Evremond. She had many lovers and read
Montaigne at the age of ten.

371. _The description of Cymon._ ‘Cymon and Iphigenia, from Boccace.’

_Mr. P—._ Peter George Patmore (1786–1855), journalist, author
and father of Coventry Patmore. See his _My Friends and
Acquaintances_ (1854).

372. _As Swift said._ ‘But principally I hate and detest that animal
called man, although I heartily love John, Peter, Thomas, and so
forth.’ Letter to Pope, Sept. 29, 1725.

_The same complaint was made of the Academy in Barry’s time._
James Barry was not able to agree with his brother Academicians
and he was expelled in 1799.

373. _Lord G.—_ ? Robert Grosvenor, second Earl Grosvenor and first
Marquis of Westminster (1767–1845). He shocked the House of
Commons in his first speech by quoting Greek and he added the
Agar collection of pictures to the Gallery at Grosvenor House.

_Nollekens._ Joseph Nollekens (1737–1823), who modelled busts of
nearly all the ‘persons of importance’ in his day.

_Giardini._ Felice Giardini, a Piedmontese musician, who
flourished in England in the latter half of the eighteenth
century. Northcote seems to have been much impressed with
Giardini’s statement. He repeated it to James Ward. See
_Conversations of James Northcote, R.A., with James Ward on Art
and Artists_ (1901) p. 219.

_Mr. P. H._ Here and elsewhere, Mr. Prince Hoare.

374. _Dance._ See _ante_, note to p. 359,

375. _W—._ Probably West.

376. _R—, the engraver._ Samuel William Reynolds, mezzotint engraver
(1773–1835).

_Lord John Boringdon._ See _ante_, note to p. 349. Lord Boringdon
added many valuable pictures to the collection at his family
seat, Saltram, near Plymouth.

_Sir John Leicester’s._ Sir John Fleming Leicester, First Lord de
Tabley (1762–1827), art patron. He often allowed the public to
see his fine collection of British pictures, in his house in
Hill Street, Berkeley Square.

378. _Life of Chaucer._ Published 1803.

379. _Mrs. Radcliffe’s Italian._ ‘The Italian’ (1797) by Ann Radcliffe
(1764–1823).

_Wilson._ Richard Wilson, landscape painter (1714–1782). He
inherited a small estate in Wales from his brother and died
there.

380. _Barrett._ George Barret (1728/32–1784) landscape painter and
decorator of the great room at Norbury Park. His son George ‘the
younger’ (1774–1842) was one of the first members of the Water
Colour Society.

_Pirated by an Irish bookseller._ The copyright act was not
extended to Ireland until the Union.

CONVERSATION THE NINTH appeared in the _London Weekly Review_
(Richardson’s), under the heading ‘REAL CONVERSATIONS,’ March
14, 1829, from the beginning of the Conversation to ‘to obtain
redress’ on p. 384. The names are disguised, Northcote as A; G
as F.

_H—._ Haydon.

_Admiral Blake._ Robert Blake (1599–1657) one of the greatest of
English Admirals and a supporter of the Commonwealth, hence the
reference.

_G—._ Godwin and on the next page also.

381. _Baretti._ Giuseppe Marc Antonio Baretti, (1719–1789) Italian
lexicographer and friend of Dr. Johnson.

383. _Zara, Mahomet._ Voltaire’s tragedy _Zaïre_ (1733) was Englished
by Hill in 1735 and his _Mahomet_ (1738) by Miller in 1740.

384. _‘We pay,’ continued Northcote._ This forms the beginning of ‘REAL
CONVERSATIONS’ in the _London Weekly Review_, April 11, 1829.
The names are disguised as before, Northcote under A. I—’s, on
p. 385 is given in full, Irving’s. The failure of a great
bookseller is, briefly, ‘Constable’s failure.’

_Poor Goblet._ Alexander Goblet, Nollekens’ carver.

_Oh! ho, quoth Time to Thomas Hearne._ Thomas Hearne (1678–1735),
a dull but learned antiquarian, of whom Gibbon wrote: ‘His
minute and obscure diligence, his voracious and undistinguishing
appetite, and the coarse vulgarity of his taste and style, have
exposed him to the ridicule of idle wits.’ See _The Dunciad_,
III. 185.

385. _Mr. Moore (brother of the general)._ Sir Graham Moore, admiral
(1764–1843).

_The Pilot._ James Fenimore Cooper’s (1789–1851) novel was
published in 1823.

_I—._ Washington Irving (1783–1859). His _History of New York_,
_Sketch Book_, _Bracebridge Hall_ and _Tales of a Traveller_,
had appeared when this criticism was uttered. See also vol. IV.
_The Spirit of the Age_, p. 367.

386. _Mr. Alderman Wood._ Sir Matthew Wood (1768–1843), M.P. for the
City from 1817 till his death—notorious as the champion of Queen
Caroline.

_Suffered a sea-change_, _etc._ _The Tempest_, Act I. Scene 2.
[rich and strange].

_He did not do so well._ Add from the _London Weekly Review_—‘But
the whole was so thoroughly _Yankee in grain_ (even the hardness
and dryness), that I was surprised to find the writer was the
son of the celebrated Cooper of Manchester. The father was
himself, however, of a very stern republican genius.’[99]

386. _Horrors accumulating on horror’s head._ _Othello_, Act III. Scene
3.

_Brown’s Romances._ Charles Brockden Brown (1771–1810), said to be
the first American who adopted literature as a profession. His
novels (_Wieland_, _Ormund_, _Arthur Mervyn_, _Edgar Huntly_,
_Clara Howard_ and _Janet Talbot_) are full of imagination.

_Zoffani._ Johann Zauffely or Zoffany (1733–1810), portrait
painter, especially of actors in character.

_The Queen’s trial, and the scenes at Brandenburg House._ Lord
Liverpool’s bill of pains and penalties against the Queen was
abandoned in 1820 much to the people’s delight. Brandenburg
House, which was formerly on the banks of the Thames, where the
Middlesex entrance to Hammersmith Bridge now is, was occupied by
Queen Caroline, who died there in 1821.

387. _Our maid’s aunt of Brentford._ _Merry Wives of Windsor_, Act IV.
Scene 2.

_Mr. R—, of Liverpool._ The name is given in full in the _London
Weekly Review_ as Roscoe, but Mr. W. C. Hazlitt says it should
be Railton.

_His book was burnt by the common hangman._ The grand jury of
Middlesex ‘presented the book as a nuisance,’ July 1723.

388. _Dignum the singer._ Charles Dignum (1765?–1872). He was connected
with Drury Lane nearly all his life.

_B—._ Sir William Beechey (1753–1839), portrait painter.

389. _Dressed in a little brief authority._ _Measure for Measure_, Act
II. Scene 2.

390. _Andrew Taffi._ Andrea Tafi, a fourteenth century Florentine
painter.

393. _He that can endure._ _Antony and Cleopatra_, Act III. Scene 3.

394. CONVERSATION THE ELEVENTH. This is the first of the ‘REAL
CONVERSATIONS’ which appeared in the _London Weekly Review_,
March 7, 1829. After the title occurs the following explanatory
note:—‘The Conversations here presented to the reader are _real_
not ‘Imaginary.’ How we became possessed of them, it is not
necessary to disclose. Suffice it that they are set down almost
exactly as they passed from the lips of the speakers; and that
those speakers are living persons, sufficiently distinguished
from the crowd by their name, talents, and acquirements, to
render whatever they may have to say worthy attention, on
whatever topic their talk may turn. We will only add, that the
Conversations here reported were entirely unpremeditated, and
consequently spoken without the remotest view to anything but
their immediate effect on the person addressed.—ED.’

Northcote is disguised as usual under A.

_Kendall’s Letters on Ireland._ ‘Letters to a friend on the State
of Ireland,’ 1826. By Edward Augustus Kendall (? 1776–1842),
founder in 1819 of _The Literary Chronicle_, which was
afterwards incorporated with the _Athenæum_.

_A thing no more difficile._ Butler’s _Hudibras_, Part 1. Canto I.
ll. 53 and 54.

395. _Old Mr. Tolcher._ Henry Tolcher, alderman of Plymouth and friend
of Northcote’s father. Northcote left an unfinished portrait of
him.

_Canning’s assertion._ In a debate in the House of Commons, on
March 1st, 1826, on a Petition for the Abolition of Slavery in
the Colonies (Hansard’s _Parl. Deb._ XIV. 973, _et seq._).

396. _Smites us on one cheek._ _S. Luke_, vi. 29.

397. CONVERSATION THE TWELFTH. No. IV. of ‘REAL CONVERSATIONS’ in the
_London Weekly Review_, April 18, 1829. Northcote as usual is A.

397. _B——._ Beechey.

_M——’s, the landscape painter._ Given as ‘Martin’s’ in the _London
Weekly Review_. John Martin, landscape and historical painter
(1789–1854), whom Lytton characterised as more original than
Raphael and Michael Angelo. He had a lifelong struggle with the
British Academy and was one of the founders of the Society of
British Artists, at whose gallery he exhibited for many years.

398. _X——._ Almost certainly Haydon, who married in October, 1821, a
beautiful widow, Mary Hymans (See p. 399).

_Sir Peter Lely._ 1617–1680, painter of the beauties of the Court
of Charles II.

399. _Brambletye-House._ By Horace Smith (1779–1849): it was published
in 1826.

400. _Maria Cosway._ Maria Hadfield, wife of Richard Cosway R.A. She
also was an artist.

401. _Mrs. G——._ Gwyn, see note to p. 370.

‘_Retaliation._’ Goldsmith’s poem (1774) wherein, amongst other
‘characters’ are the famous lines on Burke:—

‘Who, born for the universe, narrowed his mind,
And to party gave up what was meant for mankind.’

403. _Grandi, the Italian colour-grinder._ Sebastiano Grandi, who was
imported from Italy to be Sir Joshua Reynolds’s colour-grinder.
He is ‘Warwick’ in the ‘Death of Cardinal Beaufort.’

_L——._ Sir Thomas Lawrence, (1769–1830) portrait painter and
President of the Royal Academy.

_Some demon whisper’d._ Pope’s ‘Epistle IV. to Richard Boyle, Earl
of Burlington,’ l. 16.

404. _Raphael Smith._ John Raphael Smith (1752–1812), painter and
mezzotint engraver. His _Life and Works_ by Julia Frankau have
recently been published in two vols. by Messrs. Macmillan.

_Signora Cecilia Davies_ (1750?–1836). After a brilliant career,
especially abroad (she was the first Englishwoman to appear on
the Italian stage), she died ignored, deserted and forgotten.

_Madame Catalani._ Angelica Catalani (1779–1849) retired from the
stage in 1827.

_Storace._ Anne Selina Storace or Storache (1766–1817), a
favourite singer and actress. Her brother Stephano Storace
(1763–1796) was composer to Drury Lane Theatre.

405. _Cried up in the top of the compass._ Cf. _Hamlet_, III. 2. ‘You
would sound me from my lowest note to the top of my compass.’

_Sheridan’s beautiful lines._ ‘Verses to the Memory of Garrick,
spoken as a Monody, at the Theatre Royal in Drury Lane.’ Dated
March 25, 1779.

406. _The Duchess of ——._ Possibly Elizabeth Chudleigh, afterwards
Countess of Bristol and _soi-disant_ Duchess of Kingston.
Reynolds told Northcote he had never seen so delicate a beauty.

_The Three Tuns._ A famous tavern in Guildhall Yard. See Webster’s
_A Cure for a Cuckold_, Act IV. Scene 1.

_The Judge (Lord Kenyon)._ Lloyd Kenyon, First Lord Kenyon
(1732–1802) Master of the Rolls. It is said that no judge who
presided so long in the King’s bench has been as seldom
over-ruled.

407. _Bitter bad judges._ Gay’s _Beggar’s Opera_, Act I. Scene 1.

_A poem with engravings of Dartmoor._ Possibly Noel and Thomas
Carrington’s ‘Dartmoor, a Descriptive Poem’ with notes by the
late W. Burt, Esq., and twelve prints, 1826. [W. C. H.].

407. _The Panorama of the North Pole._ Possibly at Burford’s
‘Panorama,’ now the Catholic Church in Leicester Square. It was
erected in 1793 and was originally Robert Barker’s (d. 1806).
Views of famous places were printed on the inner surface of a
hollow cylinder, the spectators occupying a central platform.

408. _The Fables._ Northcote’s (and Hazlitt’s) _Fables_ were published
in 1828. See the beginning of these notes, p. 504.

_Like the enchanted money in the Arabian Nights._ ‘The Story of
the Barber’s Fourth Brother.’

_Caleb Williams._ William Godwin’s novel (1794).

410. _Lavender._ A Bow Street runner. See vol. VII. _The Plain
Speaker_, p. 83.

411. _So Johnson cried up Savage._ See his _Life of Richard Savage_
(1744).

412. _Savage the architect._ James Savage (1779–1852) architect of St.
Luke’s Church, Chelsea (where he is buried) and many other
churches.

_As the showman says in Goldsmith’s comedy._ _She Stoops to
Conquer_, Act I.

413. _The Seven Champions of Christendom, Guy of Warwick._ ‘The Seven
Champions’ by Richard Johnson (1573–1659?) published 1596–7; Guy
of Warwick, the hero of many romantic adventures: see Drayton’s
_Polyolbion_.

_Richardson (Sheridan’s friend)._ William Richardson (1743–1814)
author of ‘Essays on Some of Shakespeare’s Dramatic Characters’
(1774–1812). See vol. I. _Characters of Shakespear’s Plays_, p.
171.

Note, _a paper ... in the Tatler_. No 95, November 17, 1709.

414. _Vanbrugh._ Sir John Vanbrugh (c. 1666–1726) dramatist and
architect. His comedy _The Provoked Husband_ was left
unfinished. He built Castle Howard in Yorkshire.

_Richards (the scene painter)._ John Inigo Richards (born first
half of eighteenth century, d. 1810). He was one of the original
members of The Royal Academy. His reputation was greatest as
scene painter at Covent Garden and especially in one of the
scenes for _The Maid of the Mill_ which Woollett engraved.

‘_The City-Wives Confederacy._’ The _Confederacy_ was first played
at the Haymarket in 1705.

‘_The Trip to Scarborough._’ Sheridan’s adaptation (acted 1777,
printed 1786) of Vanbrugh’s _Relapse_.

_Let loose the grey-hound._ _The Relapse_, Act III., Scenes 3 and
4.

_Lord Mansfield._ William Murray Earl of Mansfield, (1704–1793)
Lord Chief-Justice.

415. _Mademoiselle Brocard._ Suzanne Brocard (1798–1855) a popular
French actress at the Odéon and at the Comédie Française.

_A certain poet._ Robert Southey, whose _Curse of Kehama_ was
published in 1810.

‘_The Artist._’ A weekly periodical edited by Prince Hoare.

‘_No Song no Supper._’ A farce of Prince Hoare’s with music by
Storace. First acted at Drury Lane, April 16, 1790.

_Madame Storace._ See _ante_, p. 404 and note.

‘_My grandmother._’ A musical farce by Prince Hoare and Storace
produced at the Haymarket, Dec. 16, 1793.

417. _O’Keefe._ John O’Keeffe (1747–1833).

_Bowkitt the dancing-master._ In O’Keeffe’s _Son-in-Law_ (1779).
See under Edwin in _The Dictionary of National Biography_ for a
tale of his acting in the part.

_Edwin._ John Edwin the elder (1749–1790).

_Lingo._ In O’Keeffe’s comedy _Agreeable Surprise_.

417. _Mrs. Wells._ Mrs. Mary Wells, afterwards Mrs. Sumbel (fl.
1781–1812). She was the first actress of ‘Cowslip’ in O’Keeffe’s
_Agreeable Surprise_, Sept. 3, 1781.

‘_Peeping Tom of Coventry._’ A Comic Opera by John O’Keeffe, a
success at the Haymarket, 1784.

_B—._ John Bannister.

‘_Lenitive in the Prize._’ A musical farce by Prince Hoare,
produced at the Haymarket, March 11, 1793.

_Liston._ John Liston (1776–1846).

418. _Munden._ Joseph Shepherd Munden (1758–1836). See Lamb’s _Elia_,
ed. Ainger, p. 201, ‘On the Acting of Munden.’

_Weston._ Thomas Weston (1737–1776).

_Scrub._ In _The Beaux Stratagem_ (1707) by George Farquhar
(1678–1707).

_Dr. L._ Foote and Bickerstaffe’s farce, _Dr. Last in his chariot_
(1769).

_Abel Drugger._ In Ben Jonson’s _The Alchemist_ (1610).

_Mr. Theodore Hook’s ‘Sayings and Doings.’_ Theodore Hook’s
(1788–1841) ‘Sayings and Doings’ fill nine volumes (1824–8).

_Curll._ Edmund Curll (1675–1747), the bookseller of whose
biographies Arbuthnot said ‘They add a new terror to death.’ He
was best known as a publisher of ‘curious’ literature and has
his place in the _Dunciad_.

_President Bradshaw._ John Bradshaw (1602–1659), who presided over
the ‘trial’ of Charles I. That post led to his being made
President of the Council of State.

419. _Dr. M—._ Mudge.

_Rosa de Tivoli._ Philipp Peter Roos (1657–1705), called Rosa da
Tivoli from his having established himself at Tivoli, ‘where he
kept a kind of menagerie, for the purpose of drawing animals
with the greater correctness.’ (Bryan.)

_A whimsical production._ Possibly Amory’s _John Buncle_; See vol.
I. _The Round Table_, p. 51 _et seq._, and notes thereto.

‘_Lazarillo de Tormes._’ The authorship of this romance (?1553)
is generally attributed to Don Diego Hurtado de Mendoza
(1503–1575), the representative of Charles V. at the Council
of Trent. An English edition appeared in 1576.

_Cheats of Scapin._ Otway’s version (1677) of Molière’s farce
(1671).

_Scarron._ Paul Scarron (1610–1660), author of _Le Roman Comique_
(1651–7), the ‘only begetter’ of the novels of Le Sage, Defoe
and their successors, one of the brightest, bravest cripples who
ever lived. His works were translated by T. Brown, Savage and
others in 1700. The sentence reads as though Molière’s comedy
were attributed to Scarron.

420. CONVERSATION THE SIXTEENTH. This Conversation to ‘his infirmity’
on p. 422, was published in _The Atlas_, April 19, 1829, as No.
1 of ‘Conversations as good as Real’ (following the ‘Real
Conversations’ in Richardson’s _London Weekly Review_, No. IV.
of which had appeared the day before). See note to p. 397. N is
J and H is T throughout. The rest of the ‘Conversation’ appeared
as No. 11 in the issue for April 26, 1829.

_Ramsay._ Allan Ramsay (1713–1784), portrait painter, son of the
poet.

_J—n._ John Jackson, portrait painter, (1778–1831).

_W—._ ? Wilkie.

421. _To make assurance doubly sure._ _Macbeth_, Act IV. Scene 1.

421. _Johnson had his Lexiphanes._ A parody of his style, published
1767: ‘its author was one Campbell, a Scotch purser in the
Navy.’

_The L— poets._ The Lake poets.

422. _You’re not so far out._ Add, from _The Atlas_, after this
line:—‘K— wanted him to sit on the Sunday as he was hurried for
time, and I proposed it to him with some hesitation—he answered,
“Oh! yes; you ‘re not to suppose that I am such a Presbyterian
as to refuse to sit for my picture on the sabbath-day, I’ll sit
with the greatest pleasure—after divine service.” And so he
came.’

_A devoted enthusiast notwithstanding._ Add, from _The Atlas_:—‘It
is not his Toryism neither, that I object to, but his manner of
defending it. Neither party has a right to use poisoned weapons,
or to resort to under-hand means. If the Whigs or reformers were
to deal in wholesale calumny and squalid abuse against their
opponents, they would be scouted as blackguards; but the Court
party think themselves screened from this imputation (Sir
WALTER, I am afraid, among the rest), and that they have a right
to say and to do what they please, _cum privilegio regis_.

J. I can’t agree with you on that subject. Whenever politics are
concerned, your passions run away with your understanding. I
don’t believe Sir WALTER had ever any thing to do with the
_Blackwood_ set.

T. Nor with the _Sentinel_?[100]

J. I never heard of that.

T. Never mind, then. There are two things,’ etc.

_All Europe rings with them from side to side._ Milton’s Sonnet to
Cyriac Skinner, II. (_i.e._ ‘To the same.’)

423. _His Grammar?_ William Cobbett’s (1762–1835), _A Grammar of the
English Language in a Series of Letters_ was published in 1818.

_Peter Pindar._ John Wolcot (1738–1819), physician, satirist and
poet.

_Bastards of their art._ Cf.

‘Thought characters and words merely but art
And bastards of his foul adulterate heart.’
Shakespeare, ‘A Lover’s Complaint,’ ll. 174–5.

424. _Not one, but all mankind’s epitome._ Dryden’s _Absalom and
Achitophel_, Part I. l. 546.

_When Rousseau stood._ _Les Confessions_, Partie I. Livre iii.
(ed. _Garnier_, pp. 81–2).

425. _And looked round on them with their wolfish eyes._ ‘The longings
of the cannibal arise (Although they spoke not) in their wolfish
eyes.’ _Don Juan_, Canto II. 72.

426. _The last._ _The Fair Maid of Perth_ published as _Chronicles of
the Canongate_ (2nd Series) in 1828.

_The cask of butter in the storm._ _Don Juan_, Canto II. 46.

_Mrs. Abington._ Frances Abington (1737–1815), flower-seller,
street singer, cookmaid and comedy-queen.

429. _Lord Exmouth (Sir Edward Pellew)._ Edward Pellew, Viscount
Exmouth (1757–1833), whose bombardment of Algiers in 1816
procured him his title.

_The Colosseum._ The Colosseum in Regent’s Park was erected in
1824–6, for a panorama of London from the top of St. Paul’s,
which occupied 46,000 square feet of canvas. It was demolished
in 1875. Rogers said the

building was ‘finer than anything among the remains of
architectural art in Italy.’

429. _Lackington._ James Lackington (1746–1815), whose ‘Memoirs of the
Forty-Five First (sic) Years’ of his life as a bookseller was
published in 1791, ‘with a Triple Dedication; 1. To the Public;
2. To respectable; 3. To sordid, Booksellers.’ His premises in
Moorfields, ‘The Temple of the Muses,’ were ‘so capacious that a
mail-coach and four was easily driven round the counters when it
was opened.’ Adam Black, the Edinburgh publisher, gained his
early experience in the house of Lackington, Allen and Co.

_E— the architect._ ? James Elmes (1782–1862), architect, and
contributor to art and antiquarian periodicals. He was a friend
of Haydon’s.

430. _Drelincourt on Death ... till Defoe put a ghost-story into it._
Charles Drelincourt’s _The Christian’s Defence against the Fears
of Death_, 1675, a popular work by a Calvinist minister. Defoe’s
_A True Relation of the Apparition of one Mrs. Veal....’_ is
often bound up with it, but as to its influence on the sale see
G. A. Aitken’s Introduction to Defoe’s ‘Due Preparations for the
Plague,’ etc., 1895.

_W—l._ Westall, and on the next page also.

_Jack T—._ John Taylor (1757–1832), proprietor of _The Sun_, a
Tory paper, from 1813 to 1825. The editor (William Jerdan), he
bought out in 1817.

_Payne Knight._ Richard Payne Knight (1750–1824), numismatist,
miscellaneous writer, and art connoisseur. His collection of
bronzes, now in the British Museum, to which he bequeathed it,
obtained for him from Walpole the name of ‘Knight of the Brazen
Milk-pot.’

431. _I—g._ Irving.

432. _As Mr. Locke observed._ _An Essay concerning Human
Understanding_, Book IV. chap. XX.

_Ramsay’s picture of the Queen_, _i.e._ Queen Charlotte. The
picture is in the National Portrait Gallery.

_Shield ... Flitch of Bacon._ Composed (1778) by Henry Bate,
afterwards the Rev. Sir Henry Bate Dudley (1745–1824), with
music by William Shield (1748–1829). Its success brought the
latter the post of composer to Covent Garden Theatre.

_Dignum._ See _ante_, note to p. 388.

_Come unto these yellow sands._ _The Tempest_, Act I. Scene 2.

433. _The rhyming echoes in Hudibras._ Part I. Canto III. 199–220.

_Slender’s Mum and Budget._ _Merry Wives of Windsor_, Act V. Scene
2.

434. _Boydell._ See _ante_, p. 362 and note.

_Farquhar’s comedy._ _The Recruiting Officer_, 1706.

435. (_After a pause._) From this paragraph to the end of the
‘Conversation’ appeared in _The Atlas_, June 28, 1829, as ‘A
Discursive Dialogue on Arts and Artists.’

_Somerset-House._ The rooms of the Royal Academy of Arts were here
from 1780–1838, under the vestibule on the right as you enter.
The last of Sir Joshua Reynolds’s Discourses was delivered here
in the great room of the Academy.

436. _Low Bartlemy-fair._ Bartholomew Fair was held at West Smithfield,
1133–1855; it was a famous place for theatrical shows.

437. _Lord Gwydir._ Peter Burrell (d. 1820), created Lord Gwydyr in
1796. He married (1779) Lady Priscilla Barbara Elizabeth
Bertie, daughter of the Duke of Ancaster. Wraxall (_Historical
and Posthumous Memoirs_, ed. Wheatley, III. 352–4) refers to
the ‘prosperous chain of events’ which happened to the Burrell
family. Gwydyr House in Whitehall, the habitation of the
Charity Commissioners, was named after him. See Wheatley and
Cunningham’s _London, Past and Present_.

437. _Mr. Peel._ The great Sir Robert Peel (1788–1850) the best part of
whose fine collection of pictures (including The Snake in the
Grass) is now in the National Gallery.

_Gainsborough._ Thomas Gainsborough (1727–1788), one of the
greatest of English landscape and portrait painters.

_Watteau._ Antoine Watteau (1684–1721), painter of idyllic
landscapes.

438. _An eminent counsellor._ This appears in _The Atlas_ as
‘Loughborough,’ Alexander Wedderburn, 1st Baron Loughborough
(1733–1805), Lord Chancellor 1793–1801.

_C—._ Sir Augustus Wall Callcott, R.A., fashionable landscape and
marine painter (1779–1844).

_Marchant._ Nathaniel Marchant (1739–1816), gem engraver and
medallist. He was engraver of gems to the Prince Regent.

440. _Virtue may choose._ Pope, _Epilogue to Satires_, Dialogue I.

_When Sir Joshua._ From these words to ‘Sir Walter Scott
frequently,’ on p. 443, appeared in _The Atlas_ for August 16,
1829, as No. X. of ‘Conversations as good as Real: The Immodest
in Works of Art.’

_Guido._ Guido Reni, of the school of Bologna (1575–1642). The
‘silvery’ nature of his colouring was a characteristic of the
third period of his art.

441. _Albano._ Francesco Albani, also of the school of Bologna
(1578–1660). He was a fellow student of Guido Reni’s, and the
faces of his twelve children, who were gifted with great beauty,
may be seen in his subjects.

_J—, of Edinburgh._ ? Jeffrey.

442. _Sir W. W._ Given in _The Atlas_ as Lord C—. But in all
probability Sir Watkin Williams Wynn (1749–1789), 4th baronet,
is meant, for whom Reynolds painted St. Cecilia and Dance
Orpheus. See Leslie and Taylor’s _Life of Reynolds_, II. 74.

_A remark of Coleridge’s._ Hazlitt sat up all night at Tewkesbury,
reading _Paul and Virginia_, when he was on his way to visit
Coleridge. See ‘My First Acquaintance with Poets,’ where
Coleridge’s remark is again quoted. No doubt he made it during
Hazlitt’s visit.