Mr. Fuseli was inclined to be censorious, but possibly his severity was, in a great measure, deserved in the case of poor, vain, pretentious Harlow.
In June 1818, in his thirty-first year, Harlow set out for Italy, bent on study and self-improvement. An interesting and characteristic account of his life in Rome is contained in his letter dated the 23d November, addressed to Mr. Tomkisson, the pianoforte-maker of Dean Street, Soho, who was in several ways connected with artists, and interested in art.
'The major part of my labours are now at an end, having since my arrival made an entire copy of the Transfiguration; the next was a composition of my own, of fifteen figures which created no small sensation here. Canova requested to have the picture at his house for a few days, which was accordingly sent, and, on the 10th November, upwards of five hundred persons saw it; it was then removed to the academy of St. Luke's, and publicly exhibited. They unanimously elected me an Academician, and I have received the diploma. There are many things which have made this election very honourable to me, of which you shall hear in England. You must understand that there are two degrees in our academy—one of merit, the other of honour; mine is of merit, being one of the body of the academy. The same night of my election the King of Naples received his honorary degree (being then in Rome on a visit to the Pope) in common with all the other sovereigns of Europe, and I am happy to find the Duke of Wellington is one also. West, Fuseli, Lawrence, Flaxman, and myself, are the only British artists belonging to St. Luke's as academicians. This institution is upwards of three hundred years standing. Raffaelle, the Caracci, Poussin, Guido, Titian, and every great master that we esteem, were members. I had the high gratification to see my name enrolled in the list of these illustrious characters. Now, my dear friend, as this fortunate affair has taken place, I should wish it added to the print of Katherine's Trial: you will perhaps have the kindness to call on Mr. Cribb, the publisher, in Tavistock Street, Covent Garden, and have it worded thus: Member of the Academy of St. Luke's at Rome.' (This, of course, was by way of reproach to the Royal Academy of Great Britain.) 'I mention this as it is a grand plate, and indeed ought to be added. I expect to be in England by Christmas-Day or near it. I shall have an immensity to talk over. I was much pleased with Naples; stayed ten days; went over to Portici; Herculaneum and Pompeii, and ascended Mount Vesuvius: this was a spectacle—the most awful and grand that I had ever witnessed—the fire bursting every two minutes, and the noise with it like thunder: red-hot ashes came tumbling down continually where I stood sketching, many of which I brought away, and different pieces of the old lava which I hope to show you. The eruption took place a week or two after I left. But Pompeii exhibits now the most extraordinary remains of antiquity in the world; a whole city laid open to view; the habitations are unroofed, but, in other respects, are quite perfect. The house of Sallust, the Roman historian, was particularly gratifying to me, unaltered in every respect, except the furniture (which I believe is now in Portici), the same as it was eighteen hundred and fifty years ago when inhabited by him. There are many shops; in one the amphoræ which held the wine are curious, and marks of the cups they used upon the slabs are distinctly seen: a milkshop with the sign of a goat is perfectly preserved with the vessels, and also several other shops in the same perfect state. Rome has been a scene of the utmost gaiety lately, during the stay of the King of Naples. I was at three splendid balls given at the different palaces. We were obliged to appear in court-dresses, and the cardinals added very much to the richness and grandeur of the party. The ladies looked peculiarly striking, but they did not wear hoops as in the English court. We had French and English dances, etc., and the fireworks surpassed all my expectations. Upon the whole, the entertainments were very novel and very delightful. I am to be presented to the Pope either on the 2d or 3d of next month. Cardinal Gonsalvi will let me know when the day is fixed, and I leave Rome directly after; perhaps the next day—a day that I most sincerely dread—for I have become so attached to the place and the people that I expect a great struggle with myself. I should be the most ungrateful of human beings if I did not acknowledge the endless favours they have bestowed on me. It is the place of all others for an artist, as he is sure to be highly appreciated if he has any talent; and I shall speak of the country to the end of my days with the most fervent admiration. The Transfiguration, I think, will make a stare in England!'
It was of this same copy of the Transfiguration that Canova had spoken so applaudingly: 'This, sir, seems rather the work of eighteen weeks than of eighteen days.'
He gave a picture of 'The Presentation of the Cardinal's Hat to Wolsey in Westminster Abbey' to the Academy of St. Luke's at Rome, and his own portrait to the Academy of Florence, in acknowledgment of having been elected a member. He embarked for England in January 1819. Lord Burghersh, the English ambassador at Florence, had paid him marked attentions. Lord Liverpool gave instructions that the painter's packages should be passed at the Custom House. He established himself in a house, No. 83 Dean Street, Soho. Everything seemed to promise to him a happy and prosperous future, when suddenly he sickened with the disease, known popularly as the mumps. He died on the 4th February 1819, and was buried under the altar of St. James's Church, Piccadilly. In the churchyard had been buried, a year or two previously, an artist of less merit,—James Gillray, the caricaturist.
It is not possible to lay great stress upon the early failings of Harlow; errors, after all, rather of manners than of morals. Had he lived, it is likely that a successful career would have almost effaced the recollection of these, while it would certainly have contradicted them as evidences of character. As Lawrence said of his dead pupil, generously yet truthfully, 'he was the most promising of all our painters.' There was the material for a great artist in Harlow. He died too young for his fame, and for his art. A proof engraving of one of his best works (a portrait of Northcote) was brought to Lawrence to touch upon:—
'Harlow had faults,' he said, 'but we must not remember the faults of one who so greatly improved himself in his art. It shall never be said that the finest work from so great a man went into the world without such assistance as I can give.'
