VERRIO AND CHARLES II.
Verrio, who painted the ceilings in Windsor Castle, was a great favourite with Charles II. The painter was very expensive, and kept a great table; he often pressed the King for money, with a freedom encouraged by his Majesty’s own frankness. Once, at Hampton Court, when he had but lately received an advance of £1000, he found the King in such a circle, that he could not approach. He called out, “Sire, I desire the favour of speaking to your Majesty.” “Well, Verrio,” said the King, “what is your request?” “Money, Sire; I am so short of cash, that I am not able to pay my workmen; and your Majesty and I have learned by experience, that pedlars and painters cannot long live on credit.” The King smiled, and said “he had but lately ordered him £1000.” “Yes, Sire,” replied Verrio; “but that was soon paid away, and I have no gold left.” “At that rate,” said the King, “you would spend more money than I do to maintain my family.” “True,” answered Verrio; “but does your Majesty keep an open table as I do?”
HOGARTH’S PICTURES AT VAUXHALL GARDENS.
Soon after his marriage, Hogarth had summer lodgings at South Lambeth, and became intimate with Jonathan Tyers, then proprietor of Vauxhall Gardens. On passing the tavern one morning, Hogarth saw Tyers, and observing him to be very melancholy, “How now, Master Tyers; why so sad this morning?” said the painter. “Sad times, Master Hogarth,” replied Tyers, “and my reflections were on a subject not likely to brighten a man’s countenance: I was thinking, do you know, which was likely to prove the easiest death, hanging or drowning.” “Oh,” said Hogarth, “is it come to that?” “Very nearly, I assure you,” said Tyers. “Then,” replied Hogarth, “the remedy you think of applying is not likely to mend the matter; don’t hang or drown to-day. I have a thought that may save the necessity of either, and will communicate it to you to-morrow morning; call at my house in Leicester Fields.” The interview took place, and the result was the concocting and getting up the first “Ridotto al Fresco,” which was very successful; one of the new attractions being the embellishment of the pavilions in the gardens by Hogarth’s pencil. Thus he drew the Four Parts of the Day, which Hayman copied; and the two scenes of Evening and Night, with portraits of Henry VIII. and Anne Boleyn. Hayman was one of the earliest members of the Royal Academy, and was, when young, a scene-painter at Drury Lane Theatre.
Hogarth was at this time in prosperity, and assisted Tyers more essentially than by the few pieces he painted for the gardens; and for this Tyers presented the painter with a gold ticket of admission for himself and friends, which was handed down to Hogarth’s descendants—the medal being for the admission of six persons, or “one coach,” as it was termed.
RUBENS AND THE LION.
It is related that Rubens caused a remarkably fine and powerful lion to be brought to his house, in order to study him in every variety of attitude. One day, Rubens observing the lion yawn, was so pleased with his action, that he wished to paint it, and he desired the keeper to tickle the animal under the chin, to make him repeatedly open his jaws; at length, the lion became savage at this treatment, and cast such furious glances at his keeper, that Rubens attended to his warning, and had the animal removed. The keeper is said to have been torn to pieces by the lion shortly afterwards; apparently, he had never forgotten the affront.