There is a very amusing anecdote of the painter’s inordinate vanity, contained in the Percy Anecdotes. The artist having succeeded happily in copying a picture of Titian, he looked first at the copy, and then at the original, and then with parental complacency exclaimed, “Poor little Tit! how he would stare!”
LADY BRIDGEWATER.
Being employed to paint the portrait of Lady Bridgewater, one of the greatest beauties of the age, he fell desperately in love with her. So deeply was his imagination smitten with the features of her enchanting face, that he reproduced them in all his portraits; and many a female was most agreeably surprised on discovering her unexpected resemblance to Lady Bridgewater. His love, however, was not so strong as his vanity, which he more than once displayed, even in the presence of his mistress. One day when she was sitting to him, he stopped short, and expatiated on her charms with all the enthusiasm of a lover; “But yet,” continued he, “I am forced to acknowledge that you have not a handsome ear.” “Have the goodness,” replied the lady, “to show me what you call a handsome ear.” “Here is one,” said Jervas, shoving aside his wig, and showing his own.
THE PAINTER’S GENEROSITY.
Jervas one day entered the shop of Carter, the statuary, in May Fair, and inspected a collection of models, etc. Carter was very industriously employed at the lowest branches of his profession, such as chiselling tombstones, grave-slabs, etc. After remaining a short time, Jervas commended his industry, and took his leave, apparently much pleased with the models, etc. A few days after Jervas called again, and after a few general observations, asked whether Carter was married, and whether he had any children. Being answered in the affirmative to both questions, he said bluntly, “Do you want any money, Mr. Carter?” “Want money? Lord love me! yes, I believe I do.” “Would a hundred pounds be of service to you?” “A hundred pounds! Why it would be the making of me for ever.” Jervas thereupon requested him to breakfast with him at his house the following morning. At the hour appointed Jervas received him with much politeness, and while at breakfast said, “Mr. Carter, I have for some time observed you as a young man of considerable talents and unremitting industry, and I am happy that Providence has put it into my power to assist your efforts. Here is the hundred pounds you seemed to think would be of service to you.”
HINTS TO POPE ON PAINTING.
There is an anecdote of Pope wishing to study painting, and applying to his friend Jervas for instruction in the art. Jervas readily consented, and having to leave town for a few days, gave the key of his painting-room to the poet, promising on his return to give his candid opinion on what Pope had done, and also suggest to him hints. On Jervas’s return, after making many general remarks on the Art, Pope interrupted him: “You tell me what I ought to do, but you have not given me your opinion of my picture. I know it’s very bad, and it gets worse and worse every day. I am sure it looked a deal better three or four days ago. Tell me the reason of this, and why the paint peels off in some places.” Jervas replied—“Colours change in drying; they get duller; some more, some less. Greens fade a great deal. Asphaltum gets much darker and heavier. Of the rest we should make allowance for these changes; so that the picture should not seem right when first painted, but should sink, fade, or dry to the hues required. The reason it peels off is, you have painted a coat of colour over an under one before it has dried and hardened, and the force of your brush thus rubbed it off. You should go over your colours as little as possible. A painter ought to study the natures of colours—have some knowledge of chemistry—should know what colours are transparent, and how much so—what are opaque, and what dry soon, such as umber; and what won’t, such as lake, brown-pink, etc. These last should be mixed with drying oil. All colours made from vegetables, such as lake and brown-pink, are apt to fly: all from metals, such as white lead and verdigris, are apt to change: but all earths, such as ochre, amber, etc., stand well. Clean your palette, when done with, with spirits of turpentine; also your brushes: and try to paint without dirtying yourself with the colours. The knowledge of and attention to a number of trifles, such as these, contributed to give Titian, Rubens, and Rembrandt, so much advantage over those who do not study such things.”
KNELLER (SIR GODFREY).
SIR GODFREY KNELLER was born at Lubeck about 1648. He was intended for the army; but his genius for painting being discovered, he was placed under Bol, at Amsterdam, after which he received instructions from Rembrandt. In 1672 he went to Italy; and while at Venice, painted the portraits of some families of distinction. From thence he came to England by the way of Hamburgh, and was employed to paint a portrait of Charles II., at the same time with Lely, who candidly bestowed praise upon his performance. This success fixed Kneller at the English court, where he painted seven sovereigns; besides three foreign ones. His principal patron was William III., who conferred on him the honour of knighthood, and engaged him to paint the Hampton Court beauties. His pencil was also employed on several of the pictures of the admirals in that palace, and the Kit-Cat Club. George I. created him a baronet. He was a man of wit, but excessively vain, as appeared in his gift of five hundred pounds to Pope, to write an extravagant epitaph for his monument in Westminster Abbey. He died very rich in 1723.—Walpole’s Anecdotes.