Chapter X: Part THE SECOND (8)

The original name of Mrs. Robinson’s family had been M’Dermott, which had been changed by an ancestor to Darby. Mrs. Darby had brought up her daughter under difficult circumstances. Obliged to earn her own living during her husband’s absence in America, she started a ladies’ boarding school in Little Chelsea, in which the future “Perdita” (as we learn from her autobiography) taught English literature to the daughters of the well-to-do citizens, and read to them “sacred and moral lessons on saints’ days and Sunday evenings.” The “high personage” referred to in this paragraph is of course the Prince, in whom Richard Cosway, the courtly miniaturist, found a lavish patron.

[149] Anticipating, on a higher scale, Dickens’s servant-girl bride, who, on stepping into a hackney-coach after the ceremony, “threw a red shawl, which she had, no doubt, brought on purpose, negligently over the number on the door, evidently to delude pedestrians into the belief that the hackney-coach was a private carriage” (_Sketches by Boz_).

[150] Smith’s first master, John Keyse Sherwin, had been a pupil of Bartolozzi. In his studio in St. James’s Street, he was patronised by the Duchesses of Devonshire and Rutland, Lady Jersey, and other ladies of rank, many of whom were eager to figure in his drawing of “The Finding of Moses,” in which the Princess Royal appeared as Pharaoh’s daughter. He was a wonderfully skilful portrait artist: “I have often seen him,” says Smith, “begin at the toe, draw upwards, and complete it at the top of the head in a most correct and masterly manner. He had also an extraordinary command over the use of both his hands.” He was an irregular worker, however, and debt and dissipation helped to kill him at the age of 39.

The sitting given to Sherwin by Mrs. Siddons took place soon after her re-appearance at Drury Lane Theatre, the beginning of her real fame, October 10, 1782. After opening with Isabella in Garrick’s version of _The Fatal Marriage_, she played Euphrasia in _The Grecian Daughter_.

[151] William Henderson, a collector, lived at No. 33 Charlotte Street, Fitzroy Square, where he was the neighbour of Constable.

[152] Mathews’ collection, the formation of which had been the passion of his later years, was not dispersed. It consisted almost entirely of portraits, and on these he is said to have laid out about £5000. For their accommodation the younger Mathews built a special gallery for his father at Ivy Cottage, Kentish Town, from a design by Pugin. In gratifying his tastes, Mathews found that he had sacrificed his privacy to sight-seers; the rural cottage in which he had sought peace became a show-place. The collection ultimately passed to the Garrick Club.

[153] Apparently Smith refers to his will, as it then existed; but, as a matter of fact, he left no will. On his death, letters of administration were granted to his widow, the value of his estate being only £100. The second of the two witnesses was doubtless John Pritt Harley. See note, p. 321.

[154] John Charles Crowle of Fryston Hall, Wakefield, lawyer and antiquary, was a member of the Dilettanti Society, and its Secretary, 1774-78. He was a noted joker and boon companion, and left a tangible proof of his interest in art and antiquity in the illustrated and interleaved copy of Pennant’s _History of London_ which he bequeathed to the British Museum. He died in 1811.

[155] Rats’ Castle is described by Smith in his _Nollekens_ as “a shattered house then standing on the east side of Dyot Street, and so called from the rat-catchers and canine snackers who inhabited it, and where they cleaned the skins of those unfortunate stray dogs who had suffered death the preceding night.” Nollekens obtained models for his Venuses from Mrs. Lobb, an elderly lady in a green calash, at the Fan Tavern in Dyot Street. This street was named after Richard Dyot, a parishioner of St. Giles-in-the-Fields. “The name was changed to George Street in consequence of a filthy song which attained wide popularity, but the original name was restored in 1877” (Wheatley).

[156] This inscription appears to be incorrect. An editorial note to the 1845 (second) edition of the _Rainy Day_ points out that this well-known beggar died April 25, 1788, and that the _Gentleman’s Magazine_ recorded his death thus: “In Bridewell, where he was confined a second time as a vagrant, the man known by the name of Old Simon, who for many years has gone about this city covered with rags, clouted shoes, three old hats upon his head, and his fingers full of brass rings. On the following day, the Coroner’s Inquest sat on his body, and brought in their verdict, ‘Died by the visitation of God.’”

[157] Dr. John Gardner, a well-known character, erected his tomb in the churchyard of St. Leonard’s, Shoreditch, some years before his death, and inscribed it:

DR. JOHN GARDNER’S LAST AND BEST BEDROOM,

but finding that he was assumed to be already dead, and that his practice as a worm-doctor in Norton Folgate was declining, he interpolated the word “intended” thus:

DR. JOHN GARDNER’S INTENDED LAST AND BEST BEDROOM.

A correspondent of _Notes and Queries_, Aug. 25, 1860, wrote: “I remember him well; a stout, burly man with a flaxen wig: he rode daily into London on a large roan-coloured horse.” It was said that he was buried in an erect position by his own wish. Gardner’s tombstone is still carefully preserved, and is a curiosity of the Hackney Road, whence the inscription can be read through the churchyard railings. It now runs:

1807

Dr. John Gardner’s
Last and best Bedroom
Who departed this life the 8th
Of April, 1835, in his 84th year.
Also are here Interred two of His
Sons and Two of His Granddaughters.

[158] “Funeral Weever”: John Weever (1576-1632), poet and antiquary; author of _Ancient Funeral Monuments_, 1631.

[159] “I know not whether Mrs. Nollekens was of Lord Monboddo’s opinion, that men originally had tails; but I could have informed her that it has been asserted that the species of monkeys that have no tails are more inclined to show tricks than those that have.”--(Smith.)

[160] The antiquary, and correspondent of White of Selborne. He joined this year (1783) the club founded by Johnson at the Essex Head in Essex Street, Strand.

[161] Mrs. Nollekens was Mary, second daughter of Mr. Saunders Welch, the police magistrate. Her flightiness and parsimony are Smith’s endless sport in his Life of her husband, and he was willing to believe that her character resembled that of Pekuah, the favourite attendant of the princess, in _Rasselas_. Miss Hawkins says in her _Anecdotes_, that Johnson drew Pekuah from Mary Welch, and that she had this from Anne Welch. In any case, the Doctor found “Pekuah’s” vivacity agreeable. Smith relates: “I have heard Mr. Nollekens say that the Doctor, when joked with about her, observed, ‘Yes, I think Mary would have been mine, if little Joe had not stepped in.’”

[162] “The name of Norman was so extensively known, that I consider it hardly possible for many of my readers to be ignorant of his fame; indeed, so much was he in requisition, that persons residing out of Town would frequently order the carriage for no other purpose than to consult Dr. Norman as to the state of Biddy’s health, just as people of rank now consult Partington or Thompson as to the irregularities of their children’s teeth” (Smith: _Nollekens_).

[163] George Keate was a man of miscellaneous talent. His best-known literary works are his serio-comic poem “The Distressed Poet” (1787), and his “Account of the Pelew Islands from the Journal of Captain Henry Wilson.” He enjoyed the friendship of Voltaire at Geneva, and was careful that the world should know it. In her _Early Diary_, Miss Burney gives a good portrait of Keate as she met him “at the house of six old maids, all sisters, and all above sixty.” She found him a “sluggish” conversationalist who aimed continually at making himself the subject of discussion, “while he listened with the greatest nonchalance, reclining his person upon the back of his chair and kicking his foot now over, and now under, a gold-headed cane.”

[164] This dealer probably bought dog-skins. “The dexterous of all dentists” may be explained by the following passage in Smith’s _Vagabondiana_ (1817): “It is scarcely to be believed that some few years ago a woman of the name of Smith regularly went over London early in the morning, to strike out the teeth of dead dogs that had been stolen and killed for the sake of their skins. These teeth she sold to bookbinders, carvers, and gilders, as burnishing tools.”

[165] The Last Supper was one of many religious subjects which the Quaker artist painted for his uncritical patron, George III. It was a transparent painting, and was let into the east window, which was structurally altered for its accommodation; but it was long ago removed, and the window restored. It is a commonplace that West’s powers lagged far behind his ambition. “Twenty years after his death,” says Mr. E. T. Cook, “some of his pictures, for which he had been paid 3000 guineas, were knocked down at a public sale for £10; and such of his pictures as had been presented to the National Gallery have now been removed to the provinces.” West’s work for George III. is represented by seventeen paintings in the Queen Anne’s Drawing-Room at Hampton Court. These include “Hannibal Swearing never to make Peace with Rome,” “The Death of Epaminondas,” “The Death of General Wolfe” (a picture of some value), “The Final Departure of Regulus from Rome,” etc.

[166] Richard Wyatt of Egham was a well-known amateur, and the patron of John Opie. He married Priscilla, daughter of John Edgell of Milton Place, and had three sons and four daughters.

[167] Anne, or Nancy, Parsons is supposed to have been the daughter of a Bond Street tailor. She lived under the protection of a Mr. Horton, a West India merchant, with whom she went to Jamaica. On her return she lodged in Brewer Street, and, after living with Duke of Dorset and others, became the mistress of the Duke of Grafton. Junius bitterly says: “The name of Miss Parsons would hardly have been known if the first Lord of the Treasury had not led her in triumph through the Opera House, even in the presence of the Queen. When we see a man act in this manner, we may admit the shameless depravity of his heart, but what are we to think of his understanding?” Ultimately Nancy Parsons married Charles, second Viscount Maynard.

[168] Sir Richard Colt Hoare, second baronet (1758-1838), began life in the family bank, but, being made independent of business, he married a daughter of William Henry, Lord Lyttelton, and devoted himself to travel, study, and his art collections. He completed histories of ancient and modern Wiltshire, and smaller works, and was an excellent example of the wealthy antiquary.

[169] George Huddesford (1749-1809) was an artist in early life, studying under Reynolds; in middle life he took to scribbling, and showed a turn for satire. A collected edition of his works appeared in 1801, entitled: “The Poems of George Huddesford, M.A., late Fellow of New College, Oxford. Now first collected, including Salmagundi, Topsy-Turvy, Bubble and Squeak, and Crambe Repetita, with corrections and original additions.”

[170] These verses begin--

“In Liquorpond-street, as is well known to many,
An Artist resided who shaved for a penny.
Cut hair for three-halfpence, for three pence he bled,
And would draw, for a groat, every tooth in your head.

What annoy’d other folks never spoil’d his repose,
’Twas the same thing to him whether stocks fell or rose;
For blast and for mildew he car’d not a pin,
His crops never fail’d, for they grew on the chin.”

[171] Henry Kett (1761-1825) was a frequent subject of caricatures. The learned Thomas Warton’s comment on his “Juvenile Poems” was--

“Our Kett not a poet!
Why, how can you say so?
For if he’s no Ovid
I’m sure he’s a Naso.”

From his long face he was known as “Horse” Kett, and, enjoying the joke, he would say that he was going to “trot down the ‘High.’”

[172] George Stubbs, A.R.A., the great horse-painter of the eighteenth century. He painted sixteen race-horses, including Eclipse, for the _Turf Review_. His physical strength was such that he was said to have carried a dead horse up three flights of stairs to his dissecting attic. His “Fall of Phaeton” was popular, and showed him capable of great things. Many of Stubbs’s finest pictures are now in the possession of the King, the Duke of Westminster, Lord Rosebery, and Sir Walter Gilbey, who has produced an important work on his life and art. Stubbs lived for forty years at 24 Somerset Street, Portman Square.

[173] Woodforde was a dull but correct painter of historical subjects. He died at Ferrara.

[174] In Horwood’s map of London, of 1799, Orange Court is seen behind the King’s Mews.

[175] Miss Pope lived in Great Queen Street for forty years. Among her friends she was known as Mrs. Candour, from her playing that character, and from her habit of taking the part of any person spoken against in company. “I never heard her speak ill of any human being.… I have sometimes been even exasperated by her benevolence,” says James Smith, who writes delightfully about her in his Memoirs. Churchill sang her praises--

“See lively Pope advance in jig and trip,
Corinna, Cherry, Honeycombe, and Snip.”

The actress did not die in Great Queen Street, but at 17 Michael’s Place, Brompton, July 30, 1818.

[176] General John Burgoyne (1722-92) took part in the War of Independence, and surrendered with 5000 men at Saratoga on October 15, 1777. After a term as Commander-in-Chief in Ireland, he gave rein to his literary tastes, and wrote, among other plays, his delightful comedy, _The Heiress_. He died at No. 10 Hertford Street, August 4, 1792.

[177] It stood in Charlotte Street, looking east along Windmill Street. Robert Montgomery, of “Satan” memory, became minister of this chapel in 1843.

[178] Mrs. Mathew, wife of the Rev. Henry Mathew, of Percy Chapel, was famous for her assemblies at her house, No. 27 Rathbone Place, and her encouragement of artists. Here were seen Mrs. Barbauld, Mrs. Chapone, Mrs. Carter, the translator of Epictetus, and Mrs. Edward Montagu. Mrs. Mathew “was so extremely zealous in promoting the celebrity of Blake, that, upon hearing him read some of his early efforts in poetry, she thought so well of them as to request the Rev. Henry Mathew, her husband, to join Mr. Flaxman in his truly kind effort in defraying the expense of printing them” (Smith: _Nollekens_). Mr. Mathew consented, and wrote the “advertisement” for the volume, which was entitled _Poetical Sketches, by W. B._, and bore the date 1783. Not a few of the old houses in Rathbone Place remain, with their ground floors turned into shops. In these or similar houses lived Nathaniel Hone, R.A., who died here in 1784; Ozias Humphry, R.A., at No. 29; E. H. Bailey, the sculptor; and Peter de Wint.

[179] Smith’s prediction was strikingly borne out at the sale of the Earl of Crewe’s collection of the productions of Blake, held at Sotheby’s rooms March 30, 1903. The _Illustrations of the Book of Job_, containing twenty-two engravings, twenty-one original designs in colours, and a portrait of Blake by himself, was keenly contested. Bidding began at £1500, and ended at £5600, at which price the _Job_ passed to Mr. Quaritch. Blake’s original inventions for Milton’s “L’Allegro” and “Il Penseroso” brought £1960, and all the remaining sixteen lots fetched high prices.

[180] Edward Oram, son of Old Oram, assisted Philip James De Loutherbourg, R.A., in the management of the Drury Lane scenery and stage effects. “Old” William Oram, “of the Board of Works,” was Surveyor to that body. He was much employed in panel decoration.

[181] John Ker, third Duke of Roxburgh, the book collector.--Sir John Fleming Leicester, first Baron de Tabley (1762-1827), was a patron of artists, and a good draughtsman. The public were freely admitted to his collection of British pictures at his house at 24 Hill Street, Berkeley Square.--Mr. Richard Bull was a well-known figure at the print sales and a subscriber to Smith’s publications.--Anthony Morris Storer, an ardent collector and “Graingeriser,” extra-illustrated Grainger’s _Biographical History of England_, and left the work to Eton College. A rather candid sketch of Storer is drawn by Rev. J. Richardson in his entertaining _Recollections of the Last Half Century_.--A note on Dr. Lort will be found elsewhere.--Mr. Haughton James, F.R.S., was born in Jamaica; he became a member of the Dilettanti Society in 1763.--Mr. Charles John Crowle and Sir James Winter Lake, Bart., so frequently mentioned by Smith, are the subjects of other notes.

[182] In this list of Smith’s patrons the following are of interest:--The “beautiful Miss Towry” was Anne, daughter of Captain George Phillips Towry, R.N., commissioner of victualling, who became the wife of Lord Ellenborough, afterwards Lord Chief Justice of England, Oct. 17, 1782. Her beauty was so great that passers-by would linger to watch her watering the flowers on the balcony of their house in Bloomsbury Square. Lady Ellenborough bore thirteen children, and, surviving her husband many years, died in Stratford Place, Oxford Street, Aug. 16, 1843, aged 74. Her portrait was painted by Reynolds.

Mr. Douglas was James Douglas, author of _Nenia Britannica, a Sepulchral History of Great Britain_. As a youth he helped Sir Ashton Lever to stuff birds for his museum. His abilities in painting were considerable, and we owe to him a full-length portrait of Captain Grose. His _Travelling Anecdotes_ is an interesting book.

By “Mr. Chamberlain Clark” Smith means Mr. Richard Clark, but he antedates his title of City Chamberlain, to which post he was appointed only in 1798; he held it until 1831, and was Lord Mayor in 1784.

Dr. Joseph Drury was Headmaster of Harrow for twenty years, 1785-1805. He will always be remembered as Lord Byron’s headmaster.

John Wigston figures in Smith’s notes under the year 1796 as a patron of Morland.

Information concerning Captain Horsley and the Boddams will be found in Robinson’s _History of Enfield_.

Mr. Henry Hare Townsend was the owner of Bruce Castle, which he sold in 1792; it was afterwards occupied by Rowland Hill, who brought hither his school, disciplined on the “Hazlewood” system, before he became a public man and the founder of penny postage.

The Mr. Samuel Salt, whose name comes last in Smith’s list of his patrons, is no other than Charles Lamb’s Samuel Salt of the Inner Temple. “July 27. At his chambers in Crown Office Row, Inner Temple, Samuel Salt, Esq., one of the benchers of that hon. society, and a governor of the South Sea Company” (_Gentleman’s Magazine_, July 1792).--Lawrence Sterne, at whose burial he assisted, was laid in the St. George’s (Hanover Square) burial-ground, facing Hyde Park, March 22, 1788. Sterne’s grave is well kept.

[183] The formation of Virginia Water was carried out at the instance of the Duke of Cumberland, as Ranger of Windsor Forest. Thomas Sandby, his Deputy Ranger, lived in the Lower Lodge, where he was soon joined by his brother Paul, the eminent water-colourist. The construction of the Virginia Water occupied him for several years, but it was completed long before the birth of Smith. The works were entirely destroyed by a storm in September 1768, and Smith witnessed in this year, 1785, only the finishing touches to the then reconstructing lake.

[184] In 1796, the Feathers Tavern, on the east side of the square, made way for Charles Dibdin’s “Sans Souci” theatre, in which he gave a single-handed entertainment. Here he produced his song, “My Name d’ye see’s Tom Tough.”

[185] The wealthy and talented “Athenian” Stuart (1713-88) had his sobriquet from his journey to Athens, and his account of Greek architecture embodied in _The Antiquities of Athens Measured and Delineated_, compiled by himself and his fellow-traveller, Nicholas Revett, and completed by Newton and Reveley. Hogarth satirised Stuart’s first volume (1762) in his print, “The Five Order of Perriwigs as they were worn at the Late Coronation, measured Architectonically.”

[186] Samuel Scott, whose paintings, “Old London Bridge,” “Old Westminster Bridge,” and a “View of Westminster,” are in the National Gallery, was one of Hogarth’s companions in the famous “Tour,” described in Gostling’s verses.

“Sam Scott and Hogarth, for their share,
The prospects of the sea and land did.”

Scott’s portrait by Hudson is in the National Gallery.

[187] See note, p. 98.

[188] Luke Sullivan engraved several of Hogarth’s works, and among them his “Paul before Felix” (now in Lincoln’s Inn), to which he sat as model for the angel. He was a handsome, dissipated Irishman, and lodged at the “White Bear” in Piccadilly. His etching of the “March to Finchley” is superb. Ireland says that Hogarth had difficulty in keeping him at work on this plate. Sullivan was destroyed by his habits, and died prematurely.

[189] Francis Grose (1731-91), the famous antiquary, humorist, and spendthrift, who is immortalised by Burns--

“A chield’s amang you takin’ notes,
And, faith, he’ll prent it.”

[190] Valuable as this book certainly was for a number of years, it is now superseded by the elaborate work produced by Dr. Meyrick [_A Critical Inquiry into Ancient Armour_, by Sir Samuel Rush Meyrick, 1824], an inestimable and complete treasure to the historian, the artist, and the stage.--S.

[191] Thomas Hearne (1744-1817) belonged to that group of artists whose tinted topographical drawings initiated water-colour. He died in Macclesfield Street, Soho, April 13, 1817, and was buried in Bushey churchyard by Dr. Monro, Turner’s “good doctor” of the Adelphi, who used to set Turner and Girtin to make drawings for him in the Adelphi at the price of “half a crown apiece and a supper.”

[192] See note on Mr. Baker, p. 115.

[193] Henry Edridge, A.R.A. (1769-1821), was born in Paddington, established himself as a portrait painter in Dufour’s Place, Golden Square, in 1789, and died in Margaret Street, Cavendish Square. He was the friend and pupil of Thomas Hearne, and, like him, was buried in Bushey churchyard by the benevolent Dr. Monro. The British Museum Print Room has pencil portraits by Edridge, and three of his sketch-books.--William Alexander (1761-1816) preceded Smith as Keeper of the Prints and Drawings in the British Museum. He was a skilful water-colourist, and the Print Room has his original sketches for the illustrations in the officially published _Ancient Terra-cottas_ and _Ancient Marbles_, dealing with the Museum collections.--Edmunds was an upholsterer in Compton Street, Soho.

[194] The elephant was Chunee, the “Jumbo” of the Georgian era. Smith writes of his arrival under 1785, but it was not until 1809 that he and Mr. Baker could have seen Chunee coming from the docks. This famous elephant stood eleven feet in height, and was the attraction at Mr. Cross’s menagerie until March 1826, when his death was ordered. Chunee’s carcass was valued at £1000. Lord Byron must have seen Chunee when he “saw the tigers sup” in 1813, and Thomas Hood’s lament on his death is well known. Exeter Change, which stood at the Strand end of Burleigh Street, did not long survive its elephant: in April 1829 it was sold out of existence by George Robins.

[195] Abraham Langford (1711-74), the most fashionable auctioneer of his day, had his rooms in the Piazza, Covent Garden. He was buried in St. Pancras churchyard, and identical laudatory verses were cut on both sides of his tombstone--

“His spring was such as should have been,
Adroit and gay, unvexed by Care or Spleen,
His Summer’s manhood, open, fresh, and fair,
His Virtue strict, his manners debonair,” etc.

Foote satirised Langford in _The Minor_ as Smirke (not Puff) the auctioneer, who raises a Guido from “forty-five” to “sixty-three ten” by declaring that “it only wants a touch from the torch of Prometheus to start from the canvas.”

[196] Samuel Paterson (1728-1802), originally a stay-maker, became a bookseller, and about 1753 opened auction rooms in what remained of Essex House, which stood much on the site of Devereux Court, Essex Street. He afterwards removed to Covent Garden. He would have succeeded better in business had he been less fond of reading the books he sold. He was the first auctioneer who sold books in lots.--Hassell Hutchins, the auctioneer of King Street, Covent Garden, died in 1795.

[197] It was George Michael Moser (1704-83) who made the historic interruption: “Stay, stay, Toctor Shonson is going to say something.” Born at Schaffhausen, he rose from cabinet-making (in Soho) and the chasing of watch-cases and cane heads, to be the First Keeper of the Royal Academy. Sir Joshua Reynolds pronounced him the first gold-chaser in the kingdom. He enamelled trinkets for watches with so much skill as to set a fashion, and it was said that George II. once ordered him a hat full of money for some of his works. Moser lived in Craven Buildings, which have lately been demolished to make way for Aldwych and Kingsway. He died, however, in his official keeper’s residence at Somerset House.

[198] John Millan had a bookshop at Charing Cross for more than fifty years. Richard Gough, the antiquary, frequented Millan’s shop, which he describes as “encrusted with Literature and Curiosities like so many stalactitical exudations.” Behind sat “the deity of the place, at the head of a Whist party.”

[199] Johnson’s letter to Sir Joshua Reynolds on behalf of young Paterson was dated June 2, 1783; his three letters to Ozias Humphrey, April 5, April 10, and May 31, 1784. He asks Humphrey to allow the boy to frequent his studio and see him paint. The Doctor had chosen good teachers for the youth. “Humphrey’s miniatures, before those of any other, remind us of the excellences and graces of Reynolds” (Redgrave: _A Century of Painters_, i. 421). Humphrey had himself been greatly encouraged in his youth by Reynolds, who said to him: “Born in my country, and your mother a lace-maker!--why, Vandyck’s mother was a maker of lace,” and he lent him some of his pictures to copy.

[200] Richard Gough (1735-1809), the antiquary whose _British Topography_, _Sepulchral Monuments_, translation of Camden’s _Britannia_, and other works, are in every great library. The _Britannia_ occupied him seven years, and his investigations led him all over the country. It is said that during the seven years in which he was translating it he remained so accessible to his family at Enfield, that no member of it was aware of his undertaking. He was esteemed by Horace Walpole, who, however, often made a jest of his antiquary mind. Thus: “Gough, speaking of some Cross that has been renowned, says ‘there is now _an unmeaning market-house_ in its place.’ Saving his reverence and our prejudices, I doubt there is a good deal more _meaning_ in a market-house than in a cross” (Letter to Rev. W. Cole, Nov. 24, 1780).

[201] There were four Basires in direct succession. Smith refers to the second in the line, James Basire (1730-1802), the illustrator of _Vetusta Monumenta_. He compares him unfavourably with William Woollett (1735-85) and John Hall (1739-97), but it is not clear that West despised Basire, who, indeed, engraved his _Pylades and Orestes_.

[202] Dr. Lort was Librarian, not Chaplain, to the Duke of Devonshire. He moved in the Johnson set. For nineteen years he held the Rectory of St. Matthew’s, Friday Street, in which church (now demolished) there was a tablet to his memory. He died at 6 Savile Row, Nov. 5, 1790, after a carriage accident at Colchester. A water-colour portrait of him, by Sylvester Harding, is in the British Museum Print Room. In her diary Madam D’Arblay gives an entertaining picture of Dr. Lort as he appeared in the Thrale circle at Streatham, where on one occasion he talked against Dr. Johnson to his face without, it seems, any tragic results. “His manners,” she says, “are somewhat blunt and odd, and he is altogether out of the common road, without having chosen a better path.”

[203] Old Cole, _i.e._ William Cole (1714-1782), was pronounced by Horace Walpole an “oracle in any antique difficulties.” The two travelled France together. Cole, who for many years was in Holy Orders, had filled forty folio volumes with notes on Cambridgeshire, concerning which he wrote to Walpole: “They are my only delight--they are my wife and children.” He earned such nicknames as Old Cole, Cole of Milton (where he lived), and Cardinal Cole (from his leanings to Romanism). Cole’s “wife and children” are now in the British Museum MSS. Department.

[204] The Rev. Dr. Isaac Gossett was proud of his long series of priced catalogues. Every bookseller knew his fad for milk-white vellum. So keen a bibliophile was Gossett, that an illness which kept him from the sale of the Pinelli collection vanished when he was given permission to inspect one of the volumes of the first Complutensian Polyglot Bible of Cardinal Ximenes, on vellum, and in the original binding. Dr. Gossett died in Newman Street, December 16, 1812, and was buried in Old Marylebone cemetery.

[205] Edward Cocker (1631-7?), writing master and arithmetician, is referred to in the phrase “according to Cocker.” The _Dictionary of National Biography_ gives 1675 as the date of his death, but Mr. Wheatley (_London Past and Present_) quotes the Register of Burials at St. George the Martyr’s, Southwark: “Mr. Edward Cocker, Writing Mr. Aug. 26, 1676.”

[206] The wine and wit of Caleb Whitefoord (1734-1810) were both good. Smith reports Mrs. Nollekens as saying: “My dear Mrs. Pardice, you may safely take a glass of it, for it is the last of twelve which Mr. Caleb Whitefoord sent us as a present; and everybody who talks about wine should know his house has ever been famous for claret.” Smith, who often acidulates his ink, suggests that Whitefoord’s little presents and constant attendance on the Nollekens’ household showed the covetous collector rather than the kindly man. Burke, who thought meanly of Whitefoord’s services as secretary of the Commission for concluding peace with America, described him as a “diseur de bons mots.” Goldsmith mourns his wasted abilities in his “Retaliation”--

“Here Whitefoord reclines, deny it who can;
Tho’ he merrily lived, he is now a grave man.
What pity, alas! that so lib’ral a mind
Should so long be to Newspaper Essays confin’d!
…
Whose talents to fit any station were fit,
Yet happy if Woodfall confessed him a wit.”

Whitefoord’s Cross Readings of the newspapers--a form of humour that has been revived somewhat recently--delighted the town in 1766; Goldsmith envied him the idea, and Johnson praised his pseudonym--“Papyrius Cursor.” The following are specimens of these Cross Readings:--

“Yesterday Dr. Pretyman preached at St. James’s--
And performed it with ease in less than sixteen minutes”

“Several changes are talked of at Court--
Consisting of 9050 triple bob-majors.”

“Sunday night many noble families were alarmed--
By the constable of the watch, who apprehended them at cards.”

The wealthy wine-merchant and art lover lived to be the patron in David Wilkie’s painting, “The Letter of Introduction.” He died in Argyll Street, and was buried in the churchyard of St. Mary’s, Paddington, where lie Nollekens, Mrs. Siddons, Haydon, and many others of note.

[207] Captain William Baillie’s copies of Rembrandt’s etchings are still bought--by the simple--in the print-shops. The captain quitted the 18th Light Dragoons in 1761, and joined the Covent Garden Colony of artists. He knew everybody. Henry Angelo heard him say that for more than half a century he had passed his mornings in going from one apartment to another over the Piazza. His works, which have now little value, were issued by Boydell in 1792, and re-issued in 1803. One of his exploits, mentioned by Redgrave, was to purchase for £70 Cuyp’s fine “View of Dort” and convert it into two separate pictures called “Morning” and “Evening,” which were afterwards piously purchased for £2200 and reunited. Captain Baillie died Dec. 22, 1810, aged eighty-seven, at Lisson Green, Paddington. He was for many years a commissioner of Stamp Duties.

[208] Edwards’ _Anecdotes of Painters_ is a useful little supplement to Walpole’s larger work. He was buried in old St. Pancras churchyard, now a recreation ground, where his name, however, does not appear on the memorial erected by the Baroness Burdett-Coutts to those whose graves were obliterated. His portrait in chalk is in the Print Room.

[209] Mr. George Baker, the lace-man, died in St. Paul’s Churchyard in 1811. He compiled “A Catalogue of Books, Poems, Tracts, and small detached Pieces, printed at the Press at Strawberry Hill, belonging to the late Horace Walpole, Earl of Orford,” 4to. Twenty copies only were printed, and were distributed in May 1811. Mr. Baker made a lifelong hobby of print-collecting, and his Hogarths, Woolletts, and Bartolozzis were scarcely surpassed.

[210] Woodhouse’s pictures and drawings were sold in 1801; the catalogues are in the British Museum.

[211] Joseph Musgrave, Esq., was a subscriber to Smith’s _Antiquities of Westminster_.

[212] “The most _acid_ of all Manningtree’s evil and jealous-minded spirits, originally held in the service of that famous witch-finder-general, Matthew Hopkins” (Smith).--Hopkins, after bringing old women to execution as witches, was himself “swum” and hanged in 1647 for witchcraft. “Vinegar Tom” was one of the “imps” which a one-legged beggar woman named Elizabeth Clarke was persuaded by Hopkins to declare was under her control. Hopkins had originally been a lawyer at Manningtree.

[213] Samuel Wodhull, who lived wealthily in Berkeley Square, is best remembered for his translation of Euripides (1774-82), the first complete rendering of the Greek tragedian in English. He was buried at Thenford, his native place, in Northamptonshire.

[214] Thomas Worlidge (1700-66), a skilful etcher after Rembrandt, and illustrator of a book on antique gems, was nicknamed “Scritch-Scratch.” He is said to have had thirty-three children by his three marriages. He lived in the famous house in Great Queen Street (now divided and numbered 55-56) in which Reynolds had been the pupil of Thomas Hudson, and which now bears a tablet proclaiming it one of the homes of Sheridan.

[215] After Rawle’s death, his effects were sold at Hutchins’, Covent Garden, where this Charles the Second wig was bought by Suett, the actor, who, says Smith, “to prove to the company that it would suit him better than his harum-scarum opponent, put it upon his head, and, thus dignified, went on with his biddings, which were sometimes sarcastically serious, and at others ludicrously comic. The company, however, though so highly amused, thought it ungenerous to prolong the biddings, and therefore one and all declared that it ought to be knocked down to him before he took it off his head. Upon this Suett immediately attempted to take it off, but the ivory hammer, with the ruffled hand of the auctioneer, after being once flourished over his head, gave it in favour of the eccentric comedian.” Suett appeared in this wig in Fielding’s _Tom Thumb_, and we are told that “sick men laughed themselves well to see him peeping out of the black forest of hair.” Finally this wonderful wig was lost in the fire which destroyed the theatre at Birmingham. Mrs. Booth, the mother of the actress, was met by Suett, and all he said was: “Mrs. Booth, my wig’s gone.”

[216] Rawle died November 8, 1789 (_Gentleman’s Magazine_, 1789).

[217] From the _Public Advertiser_, July 12, 1774: “Miniature Painting.--Mr. Beauvais, well known at Tunbridge Wells to several of the nobility and gentry for taking a striking likeness, either in water colours or India ink. Miniature pictures copied by him from large pictures, to any size, and pictures repaired if damaged. He also teaches, by a peculiar method, Persons of the least capacity to take a Likeness in India Ink, or with a black lead pencil, in a short time. To be spoke with at Mr. Bryan’s, the ‘Blue Ball,’ St. Martin’s Street, Leicester Fields, from eleven to one o’clock.”

[218] “A most facetious, fat gentleman,” is Henry Angelo’s description of Mr. Mitchell, the wealthy partner in the bank of Hodsol & Company, and the unstinting patron of Rowlandson. Mitchell lived in Beaufort Buildings, in the Strand, which two years ago were demolished for the extension of the Savoy Hotel. Here the worthy banker loved to gather round him such choice spirits as Thomas Rowlandson, John Nixon, and Thomas Wolcot (Peter Pindar). “Well do I remember,” says Henry Angelo, “sitting in this comfortable apartment, listening to the stories of my old friend Peter Pindar, whose wit seemed not to kindle until after midnight, at the period of about his fifth or sixth glass of brandy and water. Rowlandson, too, having nearly accomplished his twelfth glass of punch, and replenishing his pipe with choice Oronooko, would chime in. The tales of these two gossips, told in one of those nights, each delectable to hear, would make a modern Boccaccio.”

[219] William Packer of Great Baddow, and of Charlotte Street, Bloomsbury, was many years in the brewery of Combe, Delafield, & Company in Castle Street, Long Acre. This brewery was the nucleus of Watney, Combe, Reid, & Co.’s present establishment.

[220] John Henderson (1747-85) was known as the “Bath Roscius” from his success at Bath under John Palmer. After a great career at Drury Lane, he died at his house in Buckingham Street, Adelphi, November 25, 1785, it was said from a poison accidentally given to him by his wife. In addition to his Hogarths, he collected books relating to the drama. His library was described by the auctioneer who dispersed it as “the completest assemblage of English dramatic authors that has ever been exhibited for sale in this country.” It contained many books of crimes and marvels.

[221] John Ireland (died 1808) must not be confounded with the Shakespearian impostor. He was brought up to watchmaking in Maiden Lane. With Henderson he frequented the Feathers Tavern in Leicester Fields, and he wrote the actor’s biography. He is best known by his _Illustrations to Hogarth_, published by Boydell, and containing his portrait by Mortimer as frontispiece to the third volume.

[222] The employee is better remembered than the employer. William Seguier (1771-1843), topographical landscape-painter and picture restorer, was appointed Keeper of the Royal Pictures by George IV. He was also the first director of the National Gallery. Haydon pays him this tribute: “June 19, 1811. Seguier called, on whose judgment Wilkie and I so much rely. If Seguier coincides with us we are satisfied, and often we are convinced we are wrong if Seguier disagrees.”

[223] Carlo Antonio Delpini, the best clown of his day, played at Drury Lane and Covent Garden. He devised many stage mechanisms for pantomimes. In 1783 he arranged a masquerade at the Pantheon in celebration of the coming of age of the Prince of Wales, from whom in his old age he received a gift of £200. Delpini, we are told, had a presentiment that he should not die till the year “eight,” which was realised, for he died in the year 1828, at the age of 88. He was born in the parish of St. Martin, at Rome, and drew his last breath in the parish of St. Martin, London (to be precise, in Lancaster Court, Strand).

[224] John Palmer (1742-98), the original Joseph Surface, was known off the stage as Jack Plausible. Once, in patching up a quarrel with Sheridan, he said: “If you could see my heart, Mr. Sheridan,” and was answered, “Why, Jack, you forget I wrote it.” The Royalty Theatre, at which Smith hoped to be employed by him, was the ill-starred house in Well Street, in St. George’s in the East. The opposition of the great theatres caused its degeneration to a house for pantomimes and concerts. Palmer fell into debt and into Surrey Gaol. Nevertheless he appeared at Drury Lane as late as 1798. He is described by Charles Lamb as “a gentleman with a slight infusion of the footman,” for which reason “Jack in Dick Amlet was insuperable.” Palmer died on the stage. His last uttered words, spoken in _The Stranger_, are said to have been: “There is another and a better world,” but this has been disputed: it is contended that the words really uttered by him as he fell were those in the fourth act: “I left them at a small town hard by.”

[225] Just forty years after Smith’s visit, in 1869, a correspondent of _Notes and Queries_ had the curiosity to make a similar journey of discovery. He found only one of the dolphin knockers remaining, that on the door of No. 6. In June 1903 I found that this had gone the way of all men and knockers, but I am told it was there up to the early nineties. The neighbourhood can still show a few door-knockers of ancient types. There are old lion’s head-and-ring knockers in Gunpowder Alley and Hind Court. At No. 3 Red Lion Court is a good knocker, into which is introduced a bat with outstretched wings. The old knocker of No. 9 Bell’s Buildings, Salisbury Square, is adorned with the figure of a naked boy playing on a pipe. There is a fine example of a dolphin knocker at 25 Queen Anne’s Gate.

[226] The Garrat mock elections have often been described. Garrat was a rural spot between Wandsworth and Tooting. A committee organised to protect the village common from encroachments developed into a roaring municipal farce which was repeated after every General Election. The publicans of the southern villages willingly subscribed to the carnival, and reaped handsome profits; while Foote spread the fame and vogue of the elections by his farce _The Mayor of Garrat_. A mock knighthood was given, as a matter of course, to each mayor on his election. The first recorded mayor was Sir John Harper, a retailer of brick-dust, and the next, the most famous of all, Sir Jeffery Dunstan, a humorous vagabond whose ostensible trade was in old wigs. He was constantly portrayed, or used as the basis of caricature. In one print he is seen standing on a stool, asking “How far is it from the first of August to Westminster Bridge?” “Sir Jeffery” used his tongue with great freedom, and the authorities were so destitute of humour as to arrest him and obtain his imprisonment. The next Mayor of Garrat was Sir Harry Dinsdale. He was born in Shug Lane, Haymarket, in 1758, and appears to have haunted the Soho neighbourhood, for he married a woman out of St. Anne’s workhouse. He died in 1811.

[227] It must have been from his house No. 37, on the north side of Gerrard Street, now a restaurant, but retaining its old appearance and marked by a commemorative tablet, that Burke went to Westminster Hall on May 10, 1787, to impeach Warren Hastings. Of Burke’s life in Gerrard Street we have no nearer glimpse than that given by Smith.

[228] General John Money (1752-1817) was one of the earliest of English aeronauts. It was in an ascent from Norwich, July 22, 1785, that he was carried out to sea, where he “remained for seven hours struggling with his fate” before he was rescued.--Philip Reinagle, R.A. (1749-1833), was an animal, landscape, and dead game painter. Examples of his landscape work are at South Kensington.

[229] The Charles Greville here referred to was an early patron of Lawrence at Oxford, when the artist was a mere boy; also of Romney, whose portrait of Wortley Montague, the eccentric pseudo-Turk, he both bought and copied.

[230] Sir William Hamilton (1730-1803), who married Emma Hart, Nelson’s Lady Hamilton, was a keen archæologist, and made a magnificent collection of Greek vases, which he sold to the British Museum. He purchased the Barberini, or “Portland,” vase from Byres, the architect, and sold it for 1800 guineas to the Duchess of Portland, in the sale of whose property it was bought by the family in 1829 for £1029. On February 7, 1745, after its acquisition by the British Museum (Montagu House), it was wantonly broken in pieces by a visitor named William Lloyd, who was sentenced to a fine or imprisonment. The fine was paid anonymously.

[231] Smith’s little present to Sir George Beaumont is the more interesting to us, because of that painter’s well-known love of brown, and his dictum that “there ought to be at least one brown tree in every landscape.” Beaumont’s name is inseparably associated with the National Gallery, and also with Wordsworth’s noble poem on his picture of Peele Castle in a Storm, containing the lines--

“Ah! then if mine had been the painter’s hand
To express what then I saw; and add the gleam,
The light that never was on sea or land,
The consecration, and the Poet’s dream,--

I would have planted thee, thou hoary pile,
Amid a world how different from this!
Beside a sea that could not cease to smile;
On tranquil land, beneath a sky of bliss.”

[232] Henry Salt, the great traveller and British consul-general in Egypt. He sold antiquities to the British Museum, and had dealings, resulting in a quarrel, with Belzoni.

[233] Smith evidently refers to the plan affected by Alexander (not the greater John Rosher) Cozens, of throwing a blot, and then working it into a landscape composition.

[234] Smith expresses himself rather oddly here, for he married only once, his wife being Anne Maria Prickett, who, after a union of forty-five years, was left his widow.

[235] Sir James Winter Lake, Bart., a man of wealth and culture, compiled “Bibliotheca Lakeana” (a catalogue of his library) in 1808, and “British Portraits and Historical Prints, collected by J. W. L.” in the same year. His extra-illustrated _Granger’s History_ extended to forty large folio volumes.

Lady Lake is mentioned in one of the many amusing dialogues recorded by Smith in his _Life of Nollekens_. Panton Betew, the silversmith of Old Compton Street, Soho, talking to Nollekens of their common memories, says: “Ay, I know there were many very clever things produced there (at Bow); what very curious heads for canes they made at that manufactory! I think Crowther was the proprietor’s name; he had a very beautiful daughter, who is married to Sir James Lake. Nat. Hone painted a portrait of her, in the character of Diana, and it was one of his best pictures.”

[236] Smith’s general meaning is plain, but I cannot with confidence explain the reference to Tooley Street. It may be no more than a slightly contemptuous way of referring to villa-building tradesmen (nobodies, like the three Tooley Street tailors) who at that time were building their Camomile Cottages in the country.

[237] The part of Major Sturgeon, J.P., “the fishmonger from Brentford,” was played by Foote in his own comedy, _The Mayor of Garratt_ (1763). Sturgeon brags: “We had some desperate duty, Sir Jacob … such marchings and counter-marchings from Brentford to Ealing, from Ealing to Acton, from Acton to Uxbridge. Why, there was our last expedition to Hounslow; that day’s work carried off Major Molassas.”… Zoffany painted Foote in this character.

[238] Elizabeth Canning (1734-73), a domestic servant in Aldermanbury, startled London in 1753 by the circumstantial story she told of her capture in Moorfields, and her subsequent imprisonment and ill-treatment at Enfield by “Mother Wells” and a gipsy woman, Mary Squires. After Squires had been condemned to death, and Wells had been burned in the hand, the case was revised, with the result that Squires was pardoned and her accuser transported for perjury. The affair, which had originally come before Henry Fielding, the novelist, at Bow Street, aroused an incredible amount of feeling in London.

[239] _The Merry Devil of Edmonton_ was for long carelessly attributed to Shakespeare. Mr. Sidney Lee, in his _Shakespeare’s Life and Work_, says: “It is a delightful comedy … but no sign of Shakespeare’s workmanship is apparent.”

[240] Thomas King (1730-1805) was a clever comedian. His stage career in London lasted fifty-four years. In November 1789 he played the part of Sir John Trotley in Garrick’s _Bon Ton, or High Life above Stairs_. “His acting,” says Charles Lamb, “left a taste on the palate sharp and sweet as a quince; with an old, hard, rough, withered face, like a john-apple, puckered up into a thousand wrinkles; with shrewd hints and tart replies.” The prologue of _Bon Ton_ has these lines:--

“Ah! I loves life, and all the joys it yields--
Says Madam Fussock, warm from Spital-fields.
Bone Tone’s the space ’twixt Saturday and Monday,
And riding in a one-horse chair o’ Sunday!
’Tis drinking tea on summer afternoons
At Bagnigge-Wells, with China and gilt spoons!
’Tis laying by our stuffs, red cloaks, and pattens,
To dance _Cow-tillions_, all in silks and sattins!”

[241] Skelton says of Eleanor Rumming--

“She breweth noppy ale,
And maketh thereof fast sale
To travellers, to tinkers.
To sweaters, to swinkers,
And all good ale-drinkers.”

The woman kept an alehouse at Leatherhead, which, it is thought, Skelton may have visited when staying with his royal master at Nonsuch Palace. It has been claimed, however, on interesting evidence, that her alehouse was “Two-pot House,” between Cambridge and Hardwicke. (See _Gentleman’s Magazine_, Nov. 1794, and _Chambers’ Book of Days_ under June 21.)

[242] This passage in St. Martin’s Lane was built by a Mr. May, who lived in a house of his own design in St. Martin’s Lane. Here Smith himself lived at his father’s house, the Rembrandt Head, No. 18, for some years; the house is now absorbed in Messrs. Harrison’s printing establishment. I have found no trace of Hartry, the valiant cupper, but only of a dentist of that name, who may have been his son.

[243] John Adams, teacher of mathematics, published _The Mathematician’s Companion_ (1796). “The following use was made of Hogarth’s plates of the Idle and Industrious Apprentices, by the late John Adams, of Edmonton, schoolmaster. The prints were framed and hung up in the schoolroom, and Adams, once a month, after reading a lecture upon their vicious and virtuous examples, rewarded those boys who had conducted themselves well, and caned those who had behaved ill” (Smith: _Nollekens_).

[244] Samuel Ireland was father of William Henry Ireland, who forged Shakespearean MSS. and put forward the spurious play _Vortigern_. In his well-known _Graphic Illustrations of Hogarth_ he proves himself rather “a snapper-up of unconsidered trifles than a contributor of serviceable information” (Austin Dobson: _William Hogarth_: enlarged ed. 1898). This work must not be confused with John Ireland’s _Hogarth Illustrated_.

[245] Perhaps it was an ordnance map mistake. “On the south side of Nag’s Head Lane, near Ponder’s End, is a deep well, probably the brick conduit noted in Ogilby’s roads 1698, and known by the name of Tim Ringer’s Well (King’s Ring Well, 2076 in the ordnance map), which was formerly considered infallible as a remedy for inflammation of the eyes” (Hodson and Ford: _History of Enfield_, 1873).

[246] Durance, or Durants, was visited by James I. when it was the home of Sir Henry Wroth, to whom Ben Jonson wrote his lines--

“How blessed art thou, canst love the country, Wroth
…
And though so near the City and the Court,
Art ta’en with neither’s vice or sport.”

Wroth’s executors sold the manor to Sir Thomas Stringer, who married a daughter of Judge Jeffreys.

[247] “But above all, I must not forget the Tulip Tree, the largest and biggest that ever was seen; there being but one more in Great Britain (as I am informed), and that at the Lord Peterborough’s. It blows with innumerable flowers in the months of June and July” (John Farmer: _History of Waltham Abbey_).

[248] Known as Cheshunt House or the Great House. When Smith visited it in 1791, it had been much modernised. There is no evidence, says Thorne (_Environs of London_), that the o’er great Cardinal ever lived there. Ten years after Smith’s visit, the Rev. Charles Mayo pulled down the larger part of the building in order to repair the remainder. After his time it remained desolate and neglected.

[249] Cornelius Janssen (1590-1665) is best remembered for his portrait of Milton as a boy, engraved in the first volume of Professor Masson’s Life of the poet. His original portrait of Sir Hugh Myddelton, now in the committee room of the Goldsmiths’ Hall, represents the great engineer with his left hand resting on a conch from which a stream of water gushes; over this are inscribed the words: “Fontes Fondinæ.” This portrait was presented to the Company by Lady Myddelton.

[250] Robert Lemon, the archivist. He discovered Milton’s “De Doctrina Christiania,” and gave assistance to Sir Walter Scott.

[251] Sir Robert Strange was engraver to Prince Charles. His distinguished career was chequered by his political sympathies, and by his bitter criticism of the Royal Academy, in consequence, partly, of its exclusion of engravers. Knighted by George III. (after he had engraved West’s apotheosis of the three royal children), he died in his last London home in Great Queen Street, July 5, 1792. See note, p. 82.

[252] The bill of which Smith gives particulars is quoted in full by William Hookham Carpenter in his _Pictorial Notices of Sir Anthony Van Dyck_ (1844). “It is more than probable that the account had been submitted to the supervision of Bishop Juxon, who, by the influence of Archbishop Laud, was appointed to the office of Lord Treasurer in 1635, which he held till 1641; and Anthony Wood tells us ‘he kept the King’s purse when necessities were deepest, and clamours were loudest.’” Vandyke had from Charles, in addition to payments against pictures, an annuity of £200 a year and houses at Blackfriars and Eltham.