In 1813, the public were gratified by a display of the best works of Sir Joshua Reynolds, collected by the industry and influence of the committee, from the private collections of the royal family, nobility, and gentry; and in 1814, by a collection of 221 pictures of those inimitable painters, Hogarth, Gainsborough, and Wilson.{1}
1 That the Fine Arts engaged not a little of the attention of the British Public during the late reign, is a fact too notorious to require proof. The establishment of the Royal Academy, in 1768, and its consequent yearly Exhibitions, awakened the observation or stimulated the vanity of the easy and the affluent, of the few who had taste, and of the many who were eager to be thought the possessors of it, to a subject already honoured by the solicitude of the sovereign. A considerable proportion of the public was thus induced to talk of painting and painters, and to sit for a portrait soon became the fashion; a fashion, strange to say, which has lasted ever since. Whether the talents of Sir Joshua Reynolds as a painter, were alone the cause of his high reputation, may, however, admit of a doubt. From an early period of life, he had the good fortune to be associated in friendship with several of the most eminent literary characters of the age; amongst whom there were some whose high rank and personal consequence in the country greatly assisted him to realize one leading object which he had in view, that of uniting in himself (perhaps for the first time in the person of an English painter) the artist and the man of fashion. From his acknowledged success in the attainment of this object, tending as it did to the subversion of ancient prejudices degrading to art, what beneficial effects might not have resulted, had the President exerted his influence to sustain the dignity of the artist in others! But satisfied with the place in society which he himself had gained, he left the rest of the Academy to follow his example, if they could, seldom or never mixing with them in company, and contenting himself with the delivery of an annual lecture to the students. Genius is of spontaneous growth, but education, independence, and never-ceasing opportunity, are necessary to its full developement.
Since then they have regularly two annual exhibitions; one, of the best works of the old masters, for the improvement of the public taste, and knowledge of the artists, varied by some of the deceased British artists, alternately with that on their old plan of the exhibition and sale of the works of living artists.
The directors of this laudable Institution have also exhibited and procured the loan for study, of one or two of the inimitable cartoons of Raphael for their students. An annual private exhibition of their studies also takes place yearly; the last of which displayed such a degree of merit as no society or academy in Europe could equal.
Sir Felix, who on a former occasion had expressed a wish to acquire the art of verse-writing, was so much satisfied with his inspection of this exhibition, that he became equally emulous of attaining the sister-art of painting; but Dashall requested him to suspend at present his choice, as perhaps he might alternately prefer the acquisition of music.
“In that case,” rejoined the Baronet, “I must endeavour to acquire the knack of rhyming extempore, that I may accompany the discordant music with correspondent doggerels to the immortal memory of the heroic achievements of my revered Aunt's mighty progenitor—O'Brien king of Ulster.”
This expression of contempt cast by the Baronet on the splendor of the ancient provincial sovereign of the north, had nearly created an open rupture between his aunt and him. Tallyho, however, happily succeeded in effecting an amnesty for the past, on promise under his guarantee of amendment for the future.
The party now migrated by Spring Garden Gate into the salubrious regions of St. James's Park, and crossing its eastern extremity, took post of observation opposite the Horse Guards, an elegant building of stone, that divides Parliament-street from St. James's Park, to which it is the principal entrance. The architect was Ware, and the building cost upwards of £30,000. It derives its name from the two regiments of Life Guards (usually called the Horse Guards) mounting guard there.
“Here is transacted,” said Dashall, “all the business of the British army in a great variety of departments, consisting of the Commander-in-Chief's Office,—the Offices of the Secretary-at-War,—the Adjutant-General's Office,—the Quarter-Master-General's Office,—besides the Orderly Rooms for the three regiments of Foot Guards, whose arms are kept here. These three regiments, containing about 7000 men, including officers, and two regiments of Horse Guards, consisting together of 1200 men, at once serve as appendages to the King's royal state, and form a general military establishment for the metropolis. A body called the Yeomen of the Guard, consisting of 100 men, remains a curious relic of the dress of the King's guards in the fifteenth century. Some Light Horse are stationed at the Barracks in Hyde Park, to attend his Majesty, or other members of the Royal Family, chiefly in travelling; and to do duty on occasions immediately connected with the King's administration.
“On the left is the Admiralty (anciently Wallingford House), containing the offices and apartments of the Lords Commissioners who superintend the marine department of this mighty empire.