LIFE OF SIR JOSHUA REYNOLDS
Joseph Farington’s (1747–1821) Memoirs of the Life of Sir Joshua Reynolds was published in 1819. This review was republished in Criticisms on Art (1843–4), and in Essays on the Fine Arts (1873).
PAGE [172]. Dispute between their late President, etc. Relating to the election of Joseph Bonomi as professor of perspective. Reynolds resigned his membership of the Academy in Feb. 1790, but afterwards withdrew his resignation. Edmond Malone (1741–1812) published a Memoir of Reynolds in 1797. [173]. ‘Pleased with a rattle,’ etc. Pope, Essay on Man, II. 276. [174]. Richardson. Jonathan Richardson (1665–1745), author of A Theory of Painting (1715). Hudson. Thomas Hudson (1701–1779), portrait-painter. [177]. The French materialists. See Helvétius, De l’Esprit, Discourse III. [178]. ‘A greater general capacity,’ etc. See Johnson’s Life of Cowley. [180]. Hayman. See Vol. i. (The Round Table) note to p. 149. Highmore. Ibid. ‘Darted contagious fire.’ Paradise Lost, IX. 1036. [181]. Gandy. See vol VI. (Table Talk), note to p. 21. [184]. In the days of Montesquieu. See his De l’ Esprit des Lois. [185]. ‘Like flowers,’ etc. Macbeth, Act IV. Sc. 3. [186]. Says Schlegel. Lectures on Dramatic Art and Literature, I. ‘Like the forced pace,’ etc. Henry IV., Part I. Act III. Sc. 1. ‘With coy, reluctant,’ etc. ‘And sweet, reluctant, amorous delay.’ Paradise Lost, IV. 311. Terrae filii. Cf. Persius, Satires, VI. 59. ‘The crown which Ariadne,’ etc. Cf. The Faerie Queene, Book VI. Canto X. St. 13. ‘Their affections,’ etc. Hamlet, Act III. Sc. 1. [187]. In that part of the country. Winterslow presumably. ‘Returning with a choral song,’ etc. Wordsworth, Ruth, 53–54. ‘We also are not Arcadians!’ Hazlitt frequently quoted the old saying, attributed to Schidoni, ‘Et ego in Arcadia vixi.’ See, e.g. Table Talk, vol. VI. p. 168. [188]. ‘The unbought grace of life.’ Burke, Reflections on the Revolution in France (Select Works, ed. Payne, II. 89). [190]. Leo. Leo X. (1475–1521), son of Lorenzo de’ Medici. Piranesi’s drawings. Giambattista Piranesi (1720–1778), engraver of architecture and ancient ruins. Winckelman. Johann Joachim Winckelmann (1717–1768), author of Geschichte der Kunst des Alterthums (1764). [191]. ‘All eyes’ etc. Cf. Isaiah, xlv. 22–23, and Romans, xiv. 11. ‘Amazing brightness,’ etc. Otway, Venice Preserved, Act I. Sc. 1. ‘A present deity,’ etc. Dryden, Alexander’s Feast, 35–36. The Madona of Foligno. Raphael’s, in the Vatican. The ceiling at Parma. Painted by Girolamo Mazzola, a pupil of Correggio. [192]. Leonardo’s Last Supper. This famous fresco, now almost entirely destroyed, was at the convent of S. Maria delle Grazie at Milan. The institution of Academies, etc. Cf. vol I. The Round Table, p. 160 and note, and vol. IX. p. 311 et seq. [195]. ‘The cat and canary-bird,’ etc. See ante, p. 193. ‘Leaving the thing,’ etc. Philippians, iii. 13. [196]. The Catalogue Raisonnée. Cf. vol. I., The Round Table, pp. 140 et seq. ‘With jealous leer malign.’ Paradise Lost, IV. 503. [197]. Grampound. The borough was disfranchised for corrupt practices in 1821. ‘That is true history.’ This was said by Fuseli. See vol. VI. (Mr. Northcote’s Conversations), p. 340. [199]. Mr. West’s pictures. Benjamin West (1738–1820), president of the Royal Academy from 1792. Cf. vol. IX. pp. 318 et seq. Barry. James Barry (1741–1806). Hazlitt refers to one of the pictures Barry painted for the Society of Arts in John Street, Adelphi. [200]. ‘The bodiless creations,’ etc. Cf. Hamlet, Act III. Sc. 4, ll. 136–137. ‘Like the baseless fabric,’ etc. The Tempest, Act IV. Sc. 1. Mr. Haydon. Benjamin Robert Haydon (1786–1846). Mr. W. C. Hazlitt has given an account of his relations with Hazlitt. See Memoirs, I. 209–213, and Four Generations of a Literary Family, I. 234–236. At his house Hazlitt met Keats. ‘So from the root,’ etc. Paradise Lost, V. 479–481. [201]. His own Penitent Girl. Hazlitt seems to refer to a figure in the Christ’s Entry into Jerusalem. His Christ. Haydon’s picture, Christ’s Entry into Jerusalem, was first exhibited in 1820. At the private view, Haydon says (Tom Taylor’s Life, I. 371), ‘the room was full, Keats and Hazlitt were up in a corner, really rejoicing.’ Hazlitt is introduced into the picture ‘looking at the Saviour as an investigator.’ The picture is now in America. For Mrs. Siddons’s opinion of the picture see Life, I. 372. Mr. Haydon is a devoted, etc. See his letter in The Examiner, March 17, 1816.