COSTUME OF REYNOLDS’S PORTRAITS.
Sir Joshua Reynolds has done more than any one else to vindicate the art of portrait-painting as indigenous to our country—he has started it afresh from its lethargy and recovered it from its errors—placed himself at once above all his countrymen who had preceded him, and has remained above all who have followed. Like Holbein and Vandyke, Sir Joshua put his stamp upon the times; or rather, like a true artist and philosopher, he took that aggregate impression which the times gave. Each has doubtless given his sitters a character of his own; but this is not our argument. Each has also made his sitters what the costume of the time contributed to make them. If Vandyke’s women are dignified and lofty, it is his doing, for he was dignified and lofty in all his compositions; if they are also childish and trivial, it is the accident of the costume; for he was never either in his other pictures. If Reynolds’s sitters are all simple, earnest, and sober, it is because he was the artist, for he was so in all he touched; if they are also stately, refined, and intellectual, it was the effect of the costume, for he was not so in his other conceptions. For instance, Lady St. Asaph, with her infant, lolling on a couch, in a loose tumbled dress, with her feet doubled under her, is sober and respectable looking—in spite of dress and position. Mrs. Hope, in an enormous cabbage of a cap, with her hair over her eyes, is blowsy and vulgar in spite of Reynolds.
To our view, the average costume of Sir Joshua was excessively beautiful. We go through a gallery of his portraits with feelings of intense satisfaction, that there should have been a race of women who could dress so decorously, so intellectually, and withal so becomingly. Not a bit of the costume appeals to any of the baser instincts. There is nothing to catch the vulgar, or fix the vicious. All is pure, noble, serene, benevolent. They seem as if they would care for nothing we could offer them, if our deepest reverence were not with it. We stand before them like Satan before Eve, “stupidly good,” ready to abjure all the fallacies of the Fathers, all the maxims of the moderns—ready to eat our own words if they disapproved them—careless what may have been the name or fame, family or fortune, of such lofty and lovely creatures—yea, careless of their very beauty, for the soul that shines through it. And then to think that they are all dead!—Quarterly Review.