Famous European Artists

by Sarah Knowles Bolton

In 1766, when he was forty-three, a frequent visitor to the studio was Angelica Kauffman, the pretty Swiss artist, whom he usually enters in his notebooks as "Miss Angel," and whom it is believed he loved and wished to marry. She was, at this time, twenty-five years old, very attractive, and admired by everybody for her genius and loveliness.

Mrs. Ellet, in her "Women Artists," says: "At the age of nine, this child of genius was much noticed on account of her wonderful pastel pictures. When her father left Morbegno, in Lombardy, in 1752, to reside in Como, she found greater scope for her ingenious talent, and better instruction in that city; and, in addition to her practice with the brush and pencil, she devoted herself to studies in general literature and in music. Her proficiency in the latter was so rapid, and the talent evinced so decided, besides the possession of a voice unusually fine, that her friends, a few years afterward, urged that her life should be devoted to music. She was herself undecided for some time to which vocation she should consecrate her powers."

In the native city of her father, Schwarzenberg, Angelica painted in fresco the figures of the Twelve Apostles after copper engravings from Piazetta, an unusual work for a woman. After some years in Milan and Florence, Angelica went to Rome in 1763, where she painted the portrait of Winkelmann, then sixty years old, and other famous people, and was taken to London by the accomplished Lady Wentworth, wife of the British resident.

Here, says Mrs. Ellet, "she found open to her a career of brilliant success, productive of much pecuniary gain. Her talents and winning manners raised her up patrons and friends among the aristocracy. Persons attached to the court engaged her professional services, and the most renowned painter in England, Sir Joshua Reynolds, was of the circle of her friends.... She was numbered among the painters of the Royal Society, and received the rare honor, for a woman, of an appointment to a professorship in the Academy of Arts in London, being, meanwhile, universally acknowledged to occupy a brilliant position in the best circles of fashionable society."

Reynolds painted her portrait twice, and she painted his for his friend, Mr. Parker of Saltram. She was declared by some persons to be "a great coquette." Once she professed to be enamoured of Nathaniel Dance; to the next visitor she would disclose the great secret, "that she was dying for Sir Joshua Reynolds."

When at the height of her fame, either because she had refused a prominent lord, who sought to be revenged, or through the jealousy of another artist, a fearful deception was practised upon her.

"A low-born adventurer," says Mrs. Ellet, "who assumed the name of a gentleman of rank and character—that of his master, Count Frédéric de Horn—played a conspicuous part at that time in London society, and was skilful enough to deceive those with whom he associated. He approached our artist, who was then about twenty-six, and in the bloom of her existence. He paid his respects as one who rendered the deepest homage to her genius; then he passed into the character of an unassuming and sympathizing friend. Finally, he appealed to her romantic generosity, by representing himself as threatened with a terrible misfortune, from which she only could save him by accepting him as her husband. A sudden and secret marriage, he averred, was necessary.

"Poor Angelica, who had shunned love on the banks of Como and under the glowing skies of Italy, and since her coming to London had rejected many offers of the most advantageous alliance, that she might remain free to devote herself to her art, was caught in the fine-spun snare, and yielded to chivalrous pity for one she believed worthy of her heart's affection. The marriage was celebrated by a Catholic priest, without the formality of writings and without witnesses.

"Angelica had received commissions to paint several members of the royal family and eminent personages of the court, and her talents had procured her the favorable notice of the Queen of England. One day, while she was painting at Buckingham Palace, her Majesty entered into conversation with her, and Angelica communicated to her royal friend the fact of her marriage. The queen congratulated her, and sent an invitation to the Count de Horn to present himself at court. The impostor, however, dared not appear so openly, and he kept himself very close at home, for he well knew that it could not be long before the deception would be discovered.

"At length, the suspicions of Angelica's father, to whom her marriage had been made known, led him to inquiries, which were aided by friends of influence. About this time, some say, the real count returned, and was surprised at being frequently congratulated on his marriage. Then came the mortifying discovery that the pretended count was a low impostor. The queen informed Angelica, and assured her of her sympathy.