Sitters came and a secretary in livery took their names and made appointments, as is done today in the office of a prosperous dentist.
Joshua Reynolds was young and strong, and he worked while it was called the day. He worked from sunrise until sunset.
That first year in London he produced one hundred twenty portraits, besides painting various other pictures. This he could not have done without the assistance of a most loyal helper.
This helper was Giuseppe Marchi.
There are a half-dozen biographies of Reynolds, and from Boswell, Walpole and Burney, Gossips-in-Ordinary, we have vivid glimpses into his life and habits. Then we have his own journal, and hundreds of letters; but nowhere do we get a frank statement of the assistance rendered him by Giuseppe Marchi.
When Reynolds was in Rome, aged twenty-one, he fell in with a tatterdemalion, who proffered his service as guide. Rome is full of such specimens, and the type is one that has not changed in five hundred years.
Reynolds tossed the lad a copper, and the ragged one showed his fine white teeth in a gladsome grin and proffered information. He clung to the visitor all that afternoon, and the next morning when Reynolds started out with his sketching-outfit, the youngster was sitting on his doorstep. So they fared forth, Giuseppe carrying the kit.
Reynolds knew but little Italian—the boy taught him more. The boy knew every corner of Rome, and was deep in the history of the Eternal City—all he knew was Rome.
Joshua taught the youngster to sketch, and after the first few days there in Rome. Joshua rigged Giuseppe up an easel, and where went Joshua there also went Giuseppe.
Joshua got a bit ashamed of his partner's attire and bought him better raiment.