When that artist had published the plates of the Election, he wished to dispose of the paintings, and proposed to do so by a raffle of two hundred chances, at two guineas the stake; to be determined on an appointed day. Among a small number of subscribers, not half what Hogarth expected, Garrick had put down his name; and when the day arrived he went to the artist's house to throw for his chance. After waiting a considerable time no other person appeared, and Hogarth felt this neglect not only as derogatory to his profession, but implying that the subscription had something in it of a mendicant character. Vexed by such a mortifying result of a plan which he had sanguinely hoped would prove, at least, a morning's amusement to the fashionable subscribers, he insisted that, as they had not attended, nor even sent any request to him to throw for them, that Garrick should go through the formality of throwing the dice; but only for himself. The actor for some time opposed the irritated artist; but at last consented. Instead, however, of allowing Hogarth to send them home, he begged that they might be carefully packed up, until his servant should call for them; and on returning to his house, he dispatched a note to the painter, stating that he could not persuade himself to remove works so valuable and admired, without acquitting his conscience of an obligation due to the author and to his own good fortune in obtaining them. And knowing the humour of the person he addressed, and that if he had sent a cheque for the money it would in all probability be returned, he informed him that he had transferred two hundred guineas at his bankers, which would remain at the disposal of Hogarth or his heirs, whether it was or was not then accepted. The charge of habitual parsimony against Garrick was not well founded; and this incident shows that he knew when to be properly munificent. In the acquisition and management of his affluent fortune, it would have been more correct to have praised him for a judicious system of economy, than to have censured him for meanness. It ought to have been considered, that he was professionally required to deal with a class of persons not famed for prudence in pecuniary concerns, and to whom the methodical disbursements of most private gentlemen would probably have appeared penurious.
Chap. III.
Archbishop Drummond's Address in procuring for Mr. West the Patronage of the King.--Singular Court Anecdote of a Lady of Fashion.--Character of the King in his Youth.--Anecdotes of the King and Queen.--The King employs Mr. West to paint the Departure of Regulus.--Mr. West's Celebrity as a Skater,--Anecdote of Lord Howe.--His Fame as a Skater of great Service in his professional Success.
The coldness with which Archbishop Drummond's scheme for raising three thousand guineas had been received by the persons to whom he had applied, and the prejudice which he found almost universally entertained against the efforts of living genius, chagrined him exceedingly. He regarded the failure as a stigma on the age, and on his country; and, as a public man, he thought it affected himself personally. With this feeling, he declared to the gentlemen who had exerted themselves in the business, that he saw no way of engrafting a taste for the fine arts on the British public, unless the King could be so far engaged in the attempt, as to make it fashionable to employ living artists, according to the bent of their respective talents. But, about this period, the affair of Wilkes agitated the nation; and the Duke of Portland and Lord Rockingham, who were among the most strenuous of Mr. West's friends, being both of the Whig party, undervalued the importance attached to His Majesty's influence and countenance. The Archbishop was not, however, discouraged by their political prejudices; on the contrary, he thought that His Majesty was one of those characters who require to be personally interested in what it is desired they should undertake; and he resolved to make the attempt. The address with which His Grace managed the business, evinced great knowledge of human nature, and affords a pleasing view of the ingenuousness of the King's disposition.
When the picture of Agrippina was finished, the Archbishop invited the most distinguished artists and amateurs to give him their opinion of the work; and satisfied by the approbation which they all expressed, he went to court, and took an opportunity of speaking on the subject to the King, informing His Majesty, at the same time, of all the circumstances connected with the history of the composition; and on what principle he had always turned his conversations with Mr. West to excite an interest for the promotion of the arts in the minds of his family. The dexterity with which he recapitulated these details produced the desired effect. The curiosity of the King was roused, and he told the Archbishop that he would certainly send for the Artist and the picture.
This conversation probably lasted longer than the usual little reciprocities of the drawing-room; for it occasioned a very amusing instance of female officiousness. A lady of distinguished rank, having overheard what passed, could not resist the delightful temptation of being the first to communicate to Mr. West the intelligence of the honour that awaited him. On quitting the palace, instead of returning home, she went directly to his house, and, without disclosing her name, informed him of the whole particulars of the conversation which had passed between the Archbishop and the King. In the evening, Barnard, who had been an attendant on the King from the cradle, and who was not more attached to His Majesty, than he was himself in return affectionately beloved, came to Mr. West, and requested him to be in attendance next morning at the Queen's house, with the picture of Agrippina. In delivering the message, this faithful servant was prompted by his own feelings to give the Artist some idea of His Majesty's real character, which at that time was very much misrepresented to the public; and Mr. West during the long term of forty years of free and confidential intercourse with the King, found the account of Barnard to be in every essential and particular point correct.
The King was described to him as a young man of great simplicity and candour of disposition, sedate in his affections, and deeply impressed with the sanctity of principle; scrupulous in forming private friendships; but, when he had taken any attachment, not easily swayed from it, without being convinced of the necessity and propriety of so doing.
At the time appointed, Mr. West was in attendance with the picture; and His Majesty came into the room where he was waiting. After looking at it some time with much apparent satisfaction, he enquired if it was in a proper light; and, on being told that the situation was certainly not the most advantageous, he conducted the Artist through several apartments himself, till a more satisfactory place was found. He then called several of the domestics into the room, and, indeed, assisted them himself to remove the picture. When the servants had retired, and he had satisfied himself with looking at it, he went out of the apartment and brought in the Queen, to whom he introduced the Artist with so much warmth, that Mr. West felt it at the moment as something that might be described as friendliness.
The Queen, though at this period very young, possessed a natural graciousness of manner, which her good sense and the consciousness of her dignity rendered peculiarly pleasing; so that our Artist was not only highly gratified by the unexpected honour of this distinguished introduction, but delighted with the affability and sweetness of her disposition.
When Their Majesties had examined the picture, the King observed that he understood the same subject had seldom been properly treated. Mr. West answered, that it was, indeed, surprising it should have been neglected by Poussin, who was so well qualified to have done it justice, and to whose genius it was in so many respects so well adapted. His Majesty then told the Queen the history of the picture before them, dwelling with some expressions of admiration on the circumstance of the sketch having been made in the course of one evening after the artist had taken coffee with the Archbishop of York, and shown to His Grace the next morning. Turning briskly round to Mr. West, he said, "There is another noble Roman subject which corresponds to this one, and I believe it also has never been well painted; I mean the final departure of Regulus from Rome. Don't you think it would make a fine picture?" The Artist replied, that it was undoubtedly a magnificent subject. "Then," said His Majesty, "you shall paint it for me;" and, ringing the bell in the same moment, ordered the attendant who answered to bring the volume of Livy in which the event is related, observing to the Queen, in a sprightly manner, that the Archbishop had made one of his sons read to Mr. West; but "I will read to him myself the subject of my picture;" which, on the return of the servant with the book, he did accordingly. And the Artist was commanded to come with the sketch as soon as possible.