[5] See Lady Cockburn and her Children, and the Duchess of Devonshire and her Child.
Reynolds painted so many fine portraits of boys that it is hard to say that this or that one is best, though some have preferred Master Crewe to all others.[6] We shall see by-and-by in Master Bunbury, and the Cupid, that the painter understood boy nature pretty thoroughly. This rollicking Master Crewe is not so serious as Master Bunbury, nor so sly as the Cupid boy; he is in fact a typical English lad, sturdy, masterful, frank, and good-natured.
[6] Leslie and Taylor say that "none of his many admirable boy pictures is so consummate."
III
LADY COCKBURN AND HER CHILDREN
A pretty story is told of a Roman matron named Cornelia, who was one day entertaining a visitor, when the conversation led to the subject of jewels. "These are my jewels," said the hostess, and turned to show the stranger her beautiful children. The story comes readily to mind as one looks at this portrait of Lady Cockburn and her Children. Indeed, the picture was once engraved[7] under the fanciful title of "Cornelia and her Children." Like the Roman matron of old, the English mother gathers her children about her as the choicest jewels of her possession. Her stately beauty is of the classic sort, and the children are as charming as English children are reputed to be.
[7] By Tomkins, in 1792.
All three are boys. The eldest is James, who kneels on his mother's lap, playfully grasping the mantle about her neck, and supported in his precarious position by her hand placed firmly on his back. He has the sweet expression which betokens a sunny nature, and his well-cut features are such as make a handsome man. He was his father's heir and namesake, succeeding him as the seventh baronet.