J. O.
| [6] | For the benefit of our fair readers we subjoin a list found among her old letters, of what probably formed a part of the contents of her Trousseau. Blue satin bonnet russe with eight blue feathers; nine small feathers and a feather edge; three blue round feathers and two blue Scotch caps; one striped gold gauze bonnet russe; four scollop’d edged caps, à la Marie Stuart; one bead cap; one tiara; two spencers, one white, one black. 2nd Box, No. 1. Two yards broad figured lace, for neck and wrists; buff satin slip; buff net gown; three muslin gowns and one skirt; three frilled handkerchiefs; one lace cap and two bands; a set of scarlet ribbon for the gown lined with blue; three lace frills; worked cambric gown and flounces; seven flat feathers and three curled ones, &c., &c., &c. |
CHAPTER V.
MARRIAGE; EARLY MÉNAGE; AUTHORSHIP; LAY ON PORTRAIT OF MRS. TWISS; LETTER TO MRS. TAYLOR; VISIT TO NORWICH; LETTER FROM MR. OPIE; MRS. OPIE TO MRS. TAYLOR; MR. OPIE’S MOTHER.
Mr. and Mrs. Opie were married in Marylebone church on the 8th of May, 1798.
In the Memoir prefixed to her husband’s life she speaks with touching naiveté and feeling of the earlier years of their married life; “great economy and self denial were necessary,” she says, “and were strictly observed by us at that time.” The habits and tastes of Mr. Opie were, happily, very inexpensive, and so domestic in their nature, that he preferred spending his evenings at home to joining in society abroad; and liked nothing better, by way of relaxation after the labours of the day, than to spend the evening hours in converse with his wife, in reading with her books of amusement or instruction, in studying prints from the best ancient and modern masters, or in sketching designs for his pictures. His love of his profession was intense, and his unremitting industry in the pursuance of it drew from Mr. Northcote the observation, that while other artists painted to live, he lived to paint. He was incessantly engaged in his painting-room during the hours of day-light, and no society, however pleasant, could long detain him from it. It was indeed a passion to which the whole energies of his being were devoted. In one branch of his art he appears to have been much indebted to his wife, and in what way this was shewn will be best told in her own words:—
When Mr. Opie became again a husband, (she says,) he found it necessary, in order to procure indulgences for a wife whom he loved, to make himself popular as a portrait-painter, and in that productive and difficult branch of the art, female portraiture. He therefore turned his attention to those points he had long been in the habit of neglecting, and his pictures soon acquired a degree of grace and softness to which they had of late years been strangers. At the second exhibition after our marriage one of his fellow artists came up to him and complimented him on his female portraits, adding, “we never saw any thing like this in you before, Opie; this must be owing to your wife.”
Her husband related with evident delight this pleasing compliment to her who had inspired his efforts. Her modesty did not permit her to speak of another mode in which she assisted to promote his interests; but her friend Mrs. Taylor has mentioned that “in her own house, where Mr. Opie’s talents drew a constant succession of the learned, the gay, and the fashionable, she delighted all by the sweetness of her manners, and the unstudied and benevolent politeness with which she adapted herself to the taste of each individual.”