“Cambridge House, le 21 Mai, 1846.
“Monsieur,
“Je suis chargé de la part de S. A. R. Monseigneur le Duc de Cambridge de vous remercier pour l’envoi des trois tableaux, peints par feue Madame votre épouse, qui ont été dûment admirés et appréciés, non seulement par S. A. R., le Duc, mais aussi par Madame la Duchesse, ainsi que par ceux à qu’il a été donné de les voir.
“J’ai l’honneur d’être, Monsieur,
“Votre très humble et obéissant serviteur,
“Le Baron de Knesebeck.”
“Stafford House, Vendredi.
“La Duchesse de Sutherland présente ses compliments à M. Soyer, et accepte avec plaisir la dédicace de la gravure[32] d’après le tableau peint par feue Madame Soyer.
“Elle a appris avec bien du regret la perte immense qu’il a faite.”
MEMORIAL TO THE LATE MADAME SOYER, THE CELEBRATED ARTIST.
“The inauguration of a splendid monument, erected to the memory of Madame Soyer, whose name is so intimately connected with the genius of art, took place on Sunday, before a numerous and distinguished party, at Kensal Green Cemetery. The design, which is quite new, is by M. Soyer, her husband, and reflects the greatest credit upon that gentleman, who is so well known from his position at the Reform Club. It consists of a pedestal, about twelve feet in height, surmounted by a colossal figure of Faith, with her right hand pointing towards heaven, and the left supporting a golden cross. At her feet, lightly floating upon clouds, are two cherubims, the one holding a crown over the head, and the other presenting a palm to a beautiful medallion of the deceased; the latter executed in white marble, and surrounded by the emblem of eternity. A palette and brushes, embellished with a wreath of unfading laurels, is gracefully placed beneath the medallion. M. Puyenbroaek, of Brussels, one of the principal sculptors to his Majesty the King of the Belgians, has added to his fame by this new example of his talent. Although the figures of the monument are larger than life, so light and elegant is their construction, that the observer might almost fancy they were leaving this terrestrial sphere, while the cherubims, poised upon the ascending clouds, convey such an idea of buoyancy, that one is led to believe that the heavy and solid stone (like the pure and eternal spirit of her who sleeps below) had taken its departure from earth, and was following that shade whose memory it was erected to perpetuate. We are informed that the palette and brushes, with the laurel and her initials, were sketched by the lamented artist the morning previous to her death, she being then in perfect health; while the medallion is from her portrait by M. Simonau, her father-in-law, and only master.