II.
The mother of JOHN HOPPNER was one of the German attendants at the Royal Palace. He was born in London in the summer of 1759. George the Third took a strong personal interest in the bringing up and education of the child, whose sweet musical voice and correct ear soon won for him the post and white stole of a chorister in the royal chapel. Of course there were motives attributed in explanation of the king's kindness and benevolence, and the boy himself, it would appear, was not eager to contradict a slander which ascribed to him illustrious, if illicit, descent. The world chose to see confirmation of the rumours in this respect, in the favour subsequently extended to the young man by the Prince of Wales, who supported him actively against such formidable rivals as Lawrence, Owen, and Opie, and was the means of directing a stream of aristocratic patronage to his studio. He entered as a probationer the school of the Royal Academy—passing gradually through the various stages of studentship, and emerging at last a candidate for the highest prizes of the institution. He underwent few of the privations of the beginner—knew little of the trials and struggles of the ordinary student. Almost 'a royal road' was opened for him. So soon as he could draw and colour decently, patrons were ready for him. Mrs. Jordan sat—now as the Comic Muse—now as Hippolyte; a 'lady of quality' was depicted as a Bacchante. Then came portraits of the Duke and Duchess of York, the Prince of Wales, and the Duke of Clarence. He lived in Charles Street, close to Carlton House, and wrote himself 'Portrait painter to the Prince of Wales.' The king and queen were quite willing to favour their son's favourite, particularly as they believed, with many other people of the time, that the heir-apparent 'had a taste.' But soon obstacles came between them and the painter. They had never liked Reynolds. Hoppner, full of honest admiration of Sir Joshua, did not hesitate to sound his praises even in the unwilling eyes of royalty. The question, as he held, was one of art, not of kingly predilection. It was uncourtierlike, and the monarch was much displeased. He could not endure contradiction or opposition even in regard to matters of which he knew nothing whatever, such as art for instance. Then the giddy proceedings of the minor and rival court at Carlton House were desperately annoying to plain 'Farmer George;' and in a small way Hoppner had become celebrated in the Prince's circle: for the painter was gaily disposed, witty, and high-spirited. The Prince of Wales having thrown himself into the open arms of the Whigs, Mr. Hoppner must needs become a zealous politician, espousing the principles of the party opposed to the king. He could expect little from their most gracious majesties after that. He obtained nothing. Certainly he was imprudent. What had a painter to do with politics? He thus diminished gravely the area of his prospects. It became quite impossible for Tory noblemen and gentlemen of distinction to bestow patronage upon, sit for their pictures to, a Whig portrait-painter. Why, he might caricature them! And after painting all his Whig friends and associates, what was he to do? with a rival in the field by no means to be despised or held cheaply.