The gentleman who gave her instruction in the French language was a remarkable man, and one for whom she entertained an affectionate respect which continued during the remainder of his life. As he is frequently referred to in her letters and elsewhere, it may not be irrelevant here to give some particulars respecting him, which are principally gathered from an article in “the Monthly Magazine,” written by the late Mr. Wm. Taylor. It appears that in 1752, Mr. Colombine, one of a French refugee family, then residing in Norwich, was entrusted by the members of the Walloon church, in that city, on occasion of his going over to Holland, to seek out for them a suitable pastor. In the execution of this commission, he applied to Mr. Bruckner, then holding a pastorship at Leyden. This gentleman, who had been educated for the theological profession, was of eminent literary acquirements; he read the Hebrew and the Greek, composed correctly, and was able to preach in four languages: Latin, Dutch, French, and English. He listened favourably to the invitation of the Norwich church; and in 1753 settled amongst them, and continued to officiate during 51 years with increasing satisfaction: about the year 1766, Mr. B. also undertook the charge of the Dutch church, of which the duties had become almost nominal, in consequence of the diminished numbers of Dutch families, and the gradual disuse of that language.
The French was Mr. Bruckner’s favourite tongue; and in it he gave lessons, both public and private, to the young people of his adopted city, for many years: he also cultivated music, and delighted in practising upon the organ. He was, besides, an author, and published a work entitled “Théorie du Systême Animal,” and, under an assumed name, a pamphlet entitled “Criticisms on the Diversions of Purley.” His death took place in the month of May, 1804; at his house in St. Benedict’s street. Mr. Opie painted an admirable likeness of him, which appeared in the London Exhibition of 1800. This picture was in the possession of Mrs. Opie at the time of her death, and is the subject of one of her “Lays.” There was a very singular expression in the eyes, and on one occasion a visitor who was calling upon her, gazing on the picture, remarked, that he was painfully affected by this look, as he remembered to have seen the same strange appearance in the countenance of a person who committed suicide. This remark forcibly struck Mrs. Opie, and no wonder, as it was the fact that her poor master died by his own hands! A gradual failure of spirits overtook him in his old age; sleep forsook his eyelids, and the fatal stroke terminated his existence, to the regret of all who had known him; for he was much beloved for his kindliness and affability, and his society was courted to the last, as his conversation shewed good sense, humour, and information. A small piece of paper, written in her delicate and minute characters, and found among her letters, proves that his friend and pupil continued to think of him after the lapse of more than half a century.
Lines, addressed to me by my dear friend and French master, John Bruckner, a Flemish Clergyman, on my requesting him to let my husband paint a portrait of him for me.
Pourquoi me demander, aimable Amélie
De ce front tout ridé, le lugubre portrait?
Pour être contemplé jamais il ne fut fait,
Assez il a déplu—Permettez qu’ on l’oublie!
John Bruckner, 1800.
Translation in prose:—
Why do you ask of me, amiable Amelia, the gloomy portrait of this wrinkled brow? It was never meant to be contemplated. It has enough displeased—Let it now be forgotten.—A. O. 1852.