The Colonel never entirely recovered from the effects of the pistol shot which he had received in his breast, and though possessed of a vigorous constitution, seemed to descend, as it were, down a precipice into his grave. A very Rochester of his day, inordinately fond of women, he seemed, when at length stricken down, to regret his condition chiefly as depriving him of their society. For some time before this, actuated by that mistaken pride which so often urges men who have done wonders not to allow their decrease of vigour to be noticed or suspected, he had attempted to continue his usual mode of life, and neglecting the warnings given him by one or two serious attacks on his liver, had thus hastened his approach to a most untimely end.
He died in the fortieth year of his age, beloved and regretted by a number of friends to whom his many genuine qualities were known.
An especial reason for the influence enjoyed by Mordaunt over the Nawab was the latter's intimate knowledge of everything connected with the branch of barbarity known as cock-fighting. So devoted was the Prince in question to this form of sport that he often neglected to attend to important business with the residents at his Court in order to indulge in a "main" with him whom he called his "dear friend Mordaunt."
The well-known print representing Colonel Mordaunt's cock-fight depicts a famous battle fought at Lucknow in 1786. Amongst the figures are the Nawab, Colonel Mordaunt, and Colonel Martine, who founded the Martine colleges at Lucknow, Calcutta, and Lyons, and Zoffany himself. The picture, which was painted for Warren Hastings, was carefully preserved in the Palace at Lucknow, but most unfortunately met with a disastrous fate during the Mutiny, when with others of great value it was destroyed.
A water-colour drawing of "The Cock-fight" was, however, made under the last King of Oude in 1853, by "Masawar Khan," a Court miniature-painter, and other copies also exist. The mezzotint of this picture, together with the scarce engraved key published in May 1794, are here reproduced.
Zoffany was a great favourite of Royalty. After the establishment of his reputation in England, he passed many years of his life in India, though in spite of the favour of the Nawab he does not seem to have returned from Lucknow in very opulent circumstances, his industry not having equalled either his reputation or his ability. An excessive devotion to women, and to the Asiatic customs and luxuries, totally precluded the execution of many works which would have brought this painter prosperity. Many of his pictures, however, achieved great popularity. This was especially the case with the "Water Cress Girl," which is engraved. The model, it may not be generally known, was a girl of about sixteen who had achieved a certain notoriety by having been one of a group of nymphs, who ran from the fields of Paddington, to their lodgings in the vicinity of St. Giles's, at noonday, unencumbered with one single habiliment or rag, from head to foot. It was in the summer season, and they had been bathing in a pond, when some wicked wag bundled up and made off with the whole of their clothes.
"The Cock-fight" was certainly one of the most successful works ever executed by Zoffany; the portrait of Mordaunt in particular, according to those who knew him, giving an excellent idea of his manly and elegant appearance.
The Cock-fight at Lucknow.
Engraved by R. Earlom, after Zoffany.
From a Print in the possession of Messrs. Robson & Co., 23 Coventry Street, W.