His commissions had gradually become so numerous, that he found it necessary to have several assistants to work out the minor details: he had arrived on an enviable eminence; and though artists of ability made their appearance, he still maintained his supremacy, and constantly struck out wonders to vindicate his claim to the favor of the public. In 1766 he painted the Queen of Denmark, before she sailed on her ill-fated voyage. Coming events cast their shadows before; and he never went without finding the hapless princess in tears. Reynolds increased in wealth and reputation; his enthusiasm for art never cooled into indifference, and he was never so happy as when putting life into canvas. He rose betimes, and commenced operations; he spoke little when occupied, but painted rapidly for six hours, and devoted the remainder to society. He was animated by warm affections, and had a strong love for children.
Reynolds was not one of the originators of the Royal Academy; but in 1768, when it was instituted, he was waited on by West, and requested to give his aid in promoting the objects which the undertaking was intended to serve. He was rather doubtful whether the scheme was likely to be favored by Fortune; and he was one of those who had no relish for engaging in an enterprise,
“Save when her humorous ladyship was by
To teach him safety.”
It was, therefore, after considerable hesitation, and a conference of two hours, that he was persuaded to accompany the American artist. Then ordering his carriage, he drove to the place where the promoters were assembled. On entering the room he was saluted by all present as “President;” but being still convinced that the scheme would prove a delusion, he declined to accept the honor thus voted to him by acclamation, till he had consulted Burke and Johnson, who advised him to consent. The king, whose aid had at first been regarded as doubtful, came forward to offer the Academy his royal patronage; and that it might have the semblance of greater dignity, its president was forthwith invested with the rank of knighthood. The latter was, by no means, backward in fulfilling the functions with which he had been so cautious in burdening himself. Of his own accord he undertook the duty of preparing and reading discourses on the principles and practice of art, for the instruction and guidance of the students. Of these he wrote fifteen; the delivery of which extended over several years. They were pronounced by Sir Thomas Lawrence to be “golden precepts, which are now acknowledged as canons of universal taste.”
In 1773 Reynolds paid visits to Paris and Oxford. At the latter place he received, amidst much applause, the honorary degree of Doctor of Laws, in company with Dr. Beattie, of whom he produced a celebrated picture on returning to London. About the same date he went to his native district, and was elected mayor of Plympton. This mark of esteem from his townsmen seems to have given him particular pleasure. Accidentally meeting with the king shortly after, at Hampton Court, he stated that it had afforded him more satisfaction than any distinction he had met with: “Always,” he added, with the skill of a courtier, “excepting that which your majesty graciously conferred on me—the honor of knighthood.”
Sir Joshua was chosen a member of the Academy of Florence, and, in accordance with its rules, required to furnish a portrait of himself. This he accomplished with his wonted success; and it was added with pride to their interesting collection.
In 1780 he commenced a series of allegorical figures for the window of the New College chapel at Oxford. These were followed by the “Nativity,” which being sold to the Duke of Rutland, perished in a fire at Belvoir Castle. About this time he made a tour to inspect the Continental galleries. On returning, he sustained a paralytic attack, which much alarmed his friends, but his recovery was speedy; and he quickly proved that his powers had suffered no decay, by the production of his “Fortune-teller,” his portrait of Miss Kemble, and that of Mrs. Siddons, in the full might of her beauty and power, as the Tragic Muse. While engaged with the latter, he wrote his name on the border of her robe; and on the great actress looking at the words, and smiling, he remarked, with one of his most courtly bows, that he could not lose such an opportunity of sending his name down to posterity on the hem of her garment. When at work, he is said to have been in the habit of using enormous quantities of snuff. Thus, while [occupied with the large picture of the Marlborough family at Blenheim], a servant was ordered by the duchess to sweep up the snuff that he had let fall on the carpet. However, when the man entered with a broom, Sir Joshua quietly requested him to let it remain till he had finished; observing, that the dust would do more harm to his painting, than the snuff could possibly do to the carpet.
On the death of Allan Ramsay, the king’s painter, Reynolds was, at the request of his majesty, induced to accept the vacant office. He soon after produced “Love unloosing the Zone of Beauty,” and a portrait of the notorious Duke of Orleans. Then he gave his time and attention to painting the “Infant Hercules Strangling the Serpents,” for the Empress of Russia; who acknowledged his attention by a note of thanks from her own imperial hand, a gold snuff-box, on which was her likeness, and a purse of fifteen hundred guineas.