bits of light which destroyed all repose. His latter pictures are by far his best. His great excellence was neither colour, drawing, composition, light and shade, nor perspective, for he was hardly ever above mediocrity in any of these, but expression, both in figure and feature. Perhaps, no man that ever lived contrived to catch the fleeting beauties of a face to the exact point, though a little affected, better than Lawrence. The head of Miss Croker is the finest example in the world. He did not keep his sitters unanimated or lifeless, but by interesting their feelings, he brought out the expression which was excited by the pleasure they felt. "As a man Sir Thomas Lawrence was amiable, kind, generous, and forgiving. His manner was elegant, but not high-bred. He had too much of the air of always submitting. He had smiled so often and so long, that at last his smile had the appearance of being set in enamel.” CORONATION PORTRAITS. Immediately after the coronation of George IV. the King sent for Sir Thomas Lawrence, and directed him to paint a full-length portrait of him in his coronation robes, seated in St. Edward's chair, with his regalia, as he appeared at the altar in Westminster Abbey. It will surprise the public to learn, that the numerous full-length portraits of his Majesty, in his Garter robes, were paid for only at the rate of 300 guineas each,-less than one-half of Sir Thomas's regular price.*-Life of Lawrence, by Williams. Leslie tells us that Sir Thomas Lawrence made a sketch of George the Fourth in the armour of the Black Prince; but had the good sense not to carry the matter further than a sketch. THE LAWRENCE DRAWINGS. When Sir Thomas Lawrence's collection of Drawings was offered for sale to the Government, Sir Charles Eastlake, as might have been expected, was eager in urging their purchase. "When the drawings were in Mr. Keightley's hands," says Sir Charles, "I requested permission to take some of them to Lord Brougham, then Lord Chancellor. Lord Lansdowne and Talleyrand were present: the drawings were * We have been informed that for copies of regal portraits subsequently painted-half-lengths, for presents the price has been twenty guineas! examined by them, and I remember Talleyrand saying: 'If you do not buy these things, you are barbarians.' And barbarians we proved; but the real barbarians in the Lawrence case were Lord Grey and Sir Martin Archer Shee." This celebrated collection became the property of Mr. S. Woodburn, at whose death it was dispersed by auction. The drawings were purchased by Mr. Woodburn from the representatives of Sir Thomas Lawrence, and among the works enumerated in the catalogue were some precious ones of Michael Angelo and Raphael, several of the former having been procured direct from the Buonarotti family, and mary of them engraved by Ottley. In this rare collection were also some splendid specimens of Correggio, Rubens, and Rembrandt, and other great masters, as well as the celebrated portrait of the Duke of Reichstadt, by Sir Thomas Lawrence. LAWRENCE'S ENGRAVED PORTRAITS. The painter considerably increased his income by lending his portraits to be engraved, and he knew well how to bargain with a print-publisher: indeed, he is said to have been hard to deal with. He considered that as the painter he retained a right in the picture after he had been paid for it, as well as to choose the engraver and direct the work. If this view was not supported by law, it was by practice, or the painter considered himself shabbily treated. Lawrence's pencil generally elicited the finest specimens of engraving that ever did honour to English talent. The painting of the Calmady children was engraved in line by Mr. Doo; and the sketch was exquisitely given by Mr. Lewis, in the perfection of the power, delicacy, and truth of his engravings of the beautiful plain and tinted drawings of Lawrence. When the engraving of the Calmady sketch was brought to him, he exclaimed that it was the most beautiful he had ever seen, and asked Mr. Lewis if he would dispose of the plate. A sum was named, and Lawrence immediately paid twenty guineas more than was asked. Mr. Lewis observed to him that the world thought he flattered in his likenesses. "I have never pleased myself as to nature, but only as to likeness," said Lawrence ; "there, you see (pointing to the Calmady sketch,) what a falling off we make from nature.” When Sir Thomas first sent for Mr. Lewis, he politely said, "You are, I believe, the artist that engraved Michael Angelo's Last Judgment for Mr. Ottley, and you are able to do anything for me. I am extremely anxious to have a portrait of a friend, Sir Charles Stewart (Lord Londonderry,) engraved." Mr. Lewis replied that he had never engraved a portrait, and was diffident of his powers on such a finished drawing. Lawrence, immediately shaking him by the hand, rejoined, "I am most happy to confide it to you;" and he insisted upon its performance. Lawrence was above all vanity or selfishness; for he used to say to Mr. Lewis, "You must not any longer engrave from my drawings; you must engrave the drawings of Michael Angelo, Raphael, and of Claude and Rembrandt, at the Museum. The Museum intends to appoint you engraver, and I long to possess your copies of the Claudes." But Sir Thomas (says Williams) forgot that our Government bestows no patronage upon the arts; and to their shame be it said, that at this time, the votes to the British Museum were very much reduced in amount, owing to the heavy expenses of the sovereign! No man could be more friendly, liberal, and generous to his engraver, than Sir Thomas. He greatly evinced these feelings to his favourite lithographic artist, Mr. Lane. Sir Thomas, though imbued with a rational piety, seems to have respected Sir Joshua Reynolds's remark, that the man who made Sunday an idle day, would never make a great painter. Mr. Lane found him one Sunday morning touching a proof of one of his engravings. After a few observations upon not being at church, Lawrence begged him to alter, on the stone, the touches he had just added to the proof. Mr. Lane excused himself by observing, that he had pledged himself to his dying father, never to work on a Sunday. Sir Thomas smiled, but he respected the sacred character of the promise, and concluded the interview with feeling and delicacy. It is, however, well known that some years before his death, Lawrence felt scruples about working on the Sunday, which, in his earlier years he had practised without concern: he then became almost constant in his attendance at church. Sir Thomas was careful not to hurry his engravers. It was feared that all posthumous prints would evince the want of careful and repeated touches which he gave to every plate during his life-time but this was not the case. The plates of Lady Georgiana Ellis, and of young Lambton, were en graved after the death of Lawrence. Some time previously, one day, when he was shown his fine drawing of this boy, he was much affected, and observed, "How very little I have improved since that." KINDNESS AND GENEROSITY TO ARTISTS. Among Lawrence's amiable traits was his rejoicing at the success of the clever and the enthusiastic. He writes these lines of fair encouragement dated March, 1829, to a young artist whom he had requested to draw a view of Rome :— "I need not tell you how sincerely I rejoice in your success: hitherto you have 'won your spurs by your own valour,' however much the kindness of friendship may have cheered you in the contest. The painting of your figures last year convinced me of your increasing ability in the study of the human figure; and, unless you attempt the higher dramatic or epic style of composition, you already walk in perfect safety, and need fear no pit-fall in your path. I am anxious to see the picture you are now sending, of which I heard, last night, a very favourable opinion from Mr. Turner. There is a gentleman here who is desirous of having two small pictures of you, about the size of the Boy and Girl, at your own price and subject. He is not in the circles of fashion, but known to almost all our artists by his liberal patronage and gentlemanly conduct. His name is Vernon. Let me know that you undertake them for him. There are many competitors for your little picture of 'The Youthful Italian Lovers ;' but having your own authority for considering it to be Mr. Bailey's, I retained it for him. Beautiful as your drawing of the same subject was, I preferred the picture. I am well acquainted with the talents and intelligence of Mr. Havell; if you now go to complete those sketches which were but slightly traced with him, and add to them the colour and effects of nature, your tour with a man of such known taste and knowledge of composition, whether beautiful or grand, will have been all gain, and the benefit lasting. I shall not fail to give your remembrances to Callcott, who will be much gratified with the report of your success. You are fortunate in having still the society of Mr. Eastlake; an advantage that cannot be too highly appreciated." Cunningham has preserved this interesting record of Sir Thomas Lawrence's liberality. "I may say with safety," writes a now well-known painter, "that Sir Thomas Lawrence was one of the best friends I ever had. I found him at all times most ready and liberal in his advice and visits; and when the oppressive number of his engagements would not allow him to go out of the house, he would always see the humblest student at home. I had the pleasure of making him a great number of drawings in water-colours-always sketches done on the spot; and I know he frequently conferred this honour upon me, more to assist and encourage my exertions than from any wish to possess the drawings themselves: and for all I did for him in this way he paid me at the moment, and always handsomely; generally more than any one else who encouraged me. He never lost an opportunity of recommending my drawings and paintings among his distinguished friends; and I am even now feeling the effects of this generosity." A painter, of considerable merit, but without patronage, left at the house in Russell-square three of his pictures for Sir Thomas's inspection. He called one evening to learn the President's opinion, and to take away the pictures: he sent up his name, when Lawrence followed the servant down stairs, and put a folded paper into the hand of the artist, saying: "I had left this should you have called whilst I was from home. I much admire your productions, and wish you every success." The painter had only patience to get to the first lamp, when, unfolding the paper, he found within it a 30%. bank-note, which saved him from despair. We are gratified in the Memoirs of Mr. Uwins, R.A. with this frank testimony to Lawrence's sincerity and service to his brother artists: it occurs in a letter to the writer's brother, Mr. David Uwins: "You must not suppose the President, though so very polite, is on that account insincere. It will always be recorded to his glory, that he has ever shown himself the kind friend and protector of aspiring talent. I have received from him much kind instruction and advice, and with many it does not stop there: his connexion and even his purse have been ready to back his counsels. There are many who owe their reputation to his fostering aid, and others who without him could never have been able to make their first step in life with courage and stability. His manner is most courtier-like, but his purpose is firm, and his opinion sincere. Poor West used to overwhelm young men with flattery, and often spoil them; Lawrence befriends them without spoiling U |