As she approached the close of life, and saw the heroes of her early enthusiasm pass away, her love of sculpture increased. She thought the art might be made to render important aid in the civilization and religious improvement of Hindostan and the Indian isles, and often talked with Sir Alexander Johnston of substituting Christian subjects in sculpture for the idols of heathenism in those regions. She was, unfortunately, no longer young enough for such an enterprise; yet the idea was a noble one. She executed the bust of Nelson in marble for a present to the King of Tanjore—a Hindoo sovereign of power and influence in the south of Asia. That specimen of her skill may have tended to disseminate in that remote nation a desire for statuary by British artists.
A list of thirty of her works has been published. A beautiful bust of herself, executed by her in marble, was in the collection of Richard Payne Knight, and was bequeathed by him to the British Museum. Her group of “The Death of Cleopatra,” represented the closing scene of Shakspeare’s tragedy. The Queen of Egypt, having failed to excite the pity of Octavius Cæsar, and resolved to follow her departed love, has applied the “venomous worm of Nile” to her breast. The words
“Come, mortal wretch,
With thy sharp teeth this knot intrinsicate
Of life at once untie,”
are embodied in the expression.
This tasteful composition was modeled in basso-relievo, and was engraved by Hellyer as a vignette title to the second volume of Boydell’s Shakspeare.
Mrs. Damer’s health declined in the spring of 1828, and on the 28th of May she departed this life, in her eightieth year. She left to her relative Sir Alexander Johnston all her works in marble, bronze, and terra-cotta, and her mother’s needle pictures, with directions that her apron and tools should be buried in her coffin, and that her manuscript memoranda and correspondence should be destroyed. She was interred in the church of Tunbridge, Kent.
Whatever difference of opinion there may be respecting the genius and works of this sculptress, there can be none in pronouncing her an extraordinary woman. She would have been called “strong-minded” in our day, for she sent a friendly message to Napoleon on the eve of Waterloo, canvassed an election for Fox, and entertained Queen Caroline during her trial! In her estimation, genius and generous impulse were above the conventionalities of birth and fashion. It is difficult to estimate fairly the productions of a favored child of wealth and splendor, and one eminent for learning and wit. Her works have been severely criticised, and those who most admire her independent career, are disposed to deny her the possession of great originality and such a practical knowledge of art as would enable her to finish with a good degree of perfection. It has been remarked, however, that her conception was generally superior to her execution.
CHAPTER XIII.
THE EIGHTEENTH CENTURY.
Mary Moser.—Nollekens’ House.—Skill in Flower-painting.—The Fashions.—Queen Charlotte.—Patience Wright.—Birth in New Jersey.—Quaker Parents.—Childish Taste for Modeling.—Marriage.—Widowhood.—Wax-modeling.—Rivals Madame Tussaud.—Residence in England.—Sympathy with America in Rebellion.—Correspondence with Franklin.—Intelligence conveyed.—Freedom of Speech to Majesty.—Franklin’s Postscript.—“The Promethean Modeler.”—Letter to Jefferson.—Patriotism.—Art the Fashion.—Aristocratic lady Artists.—Princesses Painting.—Lady Beauclerk.—Walpole’s “Beauclerk Closet.”—Designs and Portrait.—Lady Lucan.—Her Illustrations of Shakspeare.—Walpole’s Criticism.—Other Works.—Mary Benwell and others.—Anna Smyters and others.—Madame Prestel.—Mrs. Grace.—Mrs. Wright.—Flower-painters.—Catherine Read and others.—Maria Cosway.—Peril in Infancy.—Lessons.—Resolution to take the Veil.—Visit to London.—Marriage.—Cosway’s Painting.—Vanity and Extravagance.—The beautiful Italian Paintress.—Cosway’s Prudence and Management.—Brilliant evening Receptions.—Aristocratic Friends.—The Epigram on the Gate.—Splendid new House and Furniture.—Failing Health.—France and Italy.—Institution at Lodi.—Singular Occurrence.—Death of Cosway.—Return to Lodi.—Maria’s Style and Works.