HOGARTH AND BISHOP HOADLY.
Upon pulling down the Bishop’s palace at Chelsea, many years ago, a singular discovery was made. In a small room near the north front were found, on the plaster of the walls, nine figures as large as life, three men and six women, drawn in outline, with black chalk, in a bold and animated style. Of these correct copies have been published. They display much of the manner of Hogarth, who, it is well known, lived on intimate terms with Bishop Hoadly, and frequently visited his lordship at this palace; and it is supposed that these figures apply to some incident in the Bishop’s family, or to some scene in a play. His lordship’s partiality for the drama is well known. His brother, who resided in Chelsea, at Cremorne House, wrote one of the best comedies in the English language—The Provoked Husband.
SIR JOSHUA REYNOLDS’S PALETTE.
Mr. Cribb, of King-street, Covent Garden, has (1848), in his collection of memorials of men of genius, a palette which belonged to Sir Joshua Reynolds. It descended to Mr. Cribb from his father, who received it from Sir Joshua’s niece, the Marchioness of Thomond. It is of plain mahogany, and measures 11 inches by 7 inches, oblong in form, with a sort of loop handle.
Cunningham tells us that Sir Joshua’s sitters’ chair moved on castors, and stood above the floor a foot and a half. He held his palettes by a handle, and the sticks of his brushes were 18 inches long. The following memoranda are dated 1755:—“For painting the flesh, black, blue-black, white, lake, carmine, orpiment, yellow ochre, ultramarine, and varnish. To lay the palette: first lay, carmine and white in different degrees; second lay, orpiment and white ditto; third lay, blue-black and white ditto. The first sitting, for expedition, make a mixture as like the sitter’s complexion as you can.”
SIR JOSHUA REYNOLDS’ BENEVOLENCE.
Sir Joshua once hearing of a young artist who had become embarrassed by an injudicious marriage, and was on the point of being arrested, immediately hurried to his residence, to inquire into the case. The unfortunate artist told the melancholy particulars of his situation; adding, that £40 would enable him to compound with his creditors. After some further conversation, Sir Joshua took his leave, telling the distressed painter he would do something for him. When bidding him adieu at the door, Sir Joshua took him by the hand, and, after squeezing it cordially, hurried off with a benevolent triumph in his heart—while the astonished and relieved artist found in his hand a banknote for £100!