About this time he sat for his picture to Mr. West, an American artist, who has himself given, in one of our periodical publications, the following account of his noble sitter:—
"On the day appointed, I arrived at two o'clock, and began the picture. I found him a bad sitter. He talked all the time, and asked a multitude of questions about America—how I liked Italy, what I thought of the Italians, &c. When he was silent, he was a better sitter than before; for he assumed a countenance that did not belong to him, as though he were thinking of a frontispiece for Childe Harold. In about an hour our first sitting terminated, and I returned to Leghorn, scarcely able to persuade myself that this was the haughty misanthrope whose character had always appeared so enveloped in gloom and mystery; for I do not remember ever to have met with manners more gentle and attractive.
"The next day I returned and had another sitting of an hour, during which he seemed anxious to know what I should make of my undertaking. Whilst I was painting, the window from which I received my light became suddenly darkened, and I heard a voice exclaim 'è troppo bello!' I turned, and discovered a beautiful female stooping down to look in, the ground on the outside being on a level with the bottom of the window. Her long golden hair hung down about her face and shoulders, her complexion was exquisite, and her smile completed one of the most romantic-looking heads, set off as it was by the bright sun behind it, which I had ever beheld. Lord Byron invited her to come in, and introduced her to me as the Countess Guiccioli. He seemed very fond of her, and I was glad of her presence, for the playful manner which he assumed towards her made him a much better sitter.
"The next day, I was pleased to find that the progress which I had made in his likeness had given satisfaction, for, when we were alone, he said that he had a particular favour to request of me—would I grant it? I said I should be happy to oblige him; and he enjoined me to the flattering task of painting the Countess Guiccioli's portrait for him. On the following morning I began it, and, after, they sat alternately. He gave me the whole history of his connection with her, and said that he hoped it would last for ever; at any rate, it should not be his fault if it did not. His other attachments had been broken off by no fault of his.
"I was by this time sufficiently intimate with him to answer his question as to what I thought of him before I had seen him. He laughed much at the idea which I had formed of him, and said, 'Well, you find me like other people, do you not?' He often afterwards repeated, 'And so you thought me a finer fellow, did you?' I remember once telling him, that notwithstanding his vivacity, I thought myself correct in at least one estimate which I had made of him, for I still conceived that he was not a happy man. He enquired earnestly what reason I had for thinking so, and I asked him if he had never observed in little children, after a paroxysm of grief, that they had at intervals a convulsive or tremulous manner of drawing in a long breath. Wherever I had observed this, in persons of whatever age, I had always found that it came from sorrow. He said the thought was new to him, and that he would make use of it.
"Lord Byron, and all the party, left Villa Rossa (the name of their house) in a few days, to pack up their things in their house at Pisa. He told me that he should remain a few days there, and desired me, if I could do any thing more to the pictures, to come and stay with him. He seemed at a loss where to go, and was, I thought, on the point of embarking for America. I was with him at Pisa for a few days; but he was so annoyed by the police, and the weather was so hot, that I thought it doubtful whether I could improve the pictures, and, taking my departure one morning before he was up, I wrote him an excuse from Leghorn. Upon the whole, I left him with an impression that he possessed an excellent heart, which had been misconstrued on all hands from little else than a reckless levity of manners, which he took a whimsical pride in opposing to those of other people."
LETTER 499. TO MR. MURRAY.
"Pisa, July 6. 1822.
"I return you the revise. I have softened the part to which Gifford objected, and changed the name of Michael to Raphael, who was an angel of gentler sympathies. By the way, recollect to alter Michael to Raphael in the scene itself throughout, for I have only had time to do so in the list of the dramatis personæ, and scratch out all the pencil-marks, to avoid puzzling the printers. I have given the 'Vision of Quevedo Redivivus' to John Hunt, which will relieve you from a dilemma. He must publish it at his own risk, as it is at his own desire. Give him the corrected copy which Mr. Kinnaird had, as it is mitigated partly, and also the preface.