THE LIFE AND WORKS
OF
JOSEPH WRIGHT, A.R.A.,
COMMONLY CALLED
“WRIGHT OF DERBY.”

No. 292

PORTRAIT OF JOSEPH WRIGHT.

Original picture in the possession of the Hon. Mrs. Griffiths.

The Vignette of Joseph Wright on the Title Page is reproduced from the Original Picture in the National Portrait Gallery.]

THE
LIFE AND WORKS
OF
Joseph Wright, a.r.a.,
COMMONLY CALLED
“WRIGHT OF DERBY.”

By WILLIAM BEMROSE,

AUTHOR OF “A MANUAL OF WOOD CARVING,” ETC.

WITH A PREFACE BY COSMO MONKHOUSE.

ILLUSTRATED WITH TWO ETCHINGS BY MR. F. SEYMOUR HADEN, AND OTHER PLATES AND WOODCUTS.

London:
BEMROSE & SONS, 23, OLD BAILEY;
AND DERBY.
1885.

PREFACE.

THE name of Joseph Wright, of Derby, once of high repute among English Artists, has, during the last half-century and more, sunk, altogether undeservedly, into a state of semi-oblivion. The Exhibition at Derby in 1883 did, indeed, something to restore its fame, and it is to be hoped that the present work may do yet more. Both book and exhibition owe their existence mainly to the exertions of Mr. Bemrose, who in this matter may be said to have been moved by a triple love—the love of art, the love of family, and the love of locality. By his kindness I am allowed here to aid in doing justice to an artist of whom not only Derby, but England, should be proud.

Even if such a feat were possible, I should have no wish to compare accurately the merits of Wright with those of his forerunners and contemporaries. It will, however, be generally acknowledged that between such names as Hogarth, Reynolds, Gainsborough, and Wilson, and such as West, Northcote, Barry, and Hamilton, there is a gap—sensibly to be felt. In this gap, but nearer to the greater than to the lesser men, a place has of late years been found for Romney. It is but a modest claim for Wright that the same distinction should be accorded to him.

As a painter, his method, in relation to that of Reynolds and Gainsborough, may be said to have been old-fashioned. His pure, precise touches, his level surface, and clear enamelled colours, have not, indeed, the variety of texture or the inspired freedom of a Franz Hals. His practice was nearer to that of Van der Helst, and a host of other illustrious artists to whom clear, clean, work was dear. Through Kneller, and Hogarth, and Hudson, it came to him from Holland; and if he did not reform it, he mastered it, and left his mark upon it. As a colourist, he was scarcely an innovator; but he was still less of a copyist. In this and most other respects a “naturalist,” he did not allow a preference for certain harmonies to dominate his work; but though his colour missed the charm of inspiration, it never failed in harmony. He had the colour sense, and a command of the whole scale. In his candle-light pieces the prevailing hues were determined by his subject; but the way in which he united the blazing reds and yellows of the central glare to the rich browns of his transparent shadows, warmed and cooled these shadows with gleams of red coat and glimmers of blue sash and white dress, and from the ruddy glow of the chamber to the cool night outside, led the eye, untired, showed rare taste, as well as skill. If we take his portraits by ordinary light, we find the same fine power. The group of Mr. Newton’s children, with its blue boy, its olive-green boy, and its girl in white and gold, set off with rich green foliage and clusters of ripe cherries, is a masterpiece of colour. In these daylight portraits, all the favourite colours of the dress of the period are introduced and reconciled. The hues and textures of the buff waistcoat, the “nankeen” breeches, the puce slip, the cinnamon coat, and the pink shoes, are imitated with the same sure skill, the same artistic impartiality. Only in regard to one colour do we find a decided preference, and this is neither the blue of Gainsborough nor the red of Reynolds, but what may be called the green of Wright. Probably no other artist has treated this colour with such variety. It tinges those bladders of which he was so fond; we find it lightly in the stone-coloured coat of Mr. Cheslyn, and deeply in the arm of his chair; in pale cucumber the artist robed his pitiful “Maria”; and from that fine picture of himself in the National Portrait Gallery we learn that it was green that he elected to wear in his youth when he wished to look particularly spruce.

Of his effects of artificial light there is the less need to speak, since what reputation he now preserves is founded upon them. The engravings after Wright by Earlom, J. R. Smith, Val. Green, Pether, and others, are still sought after, and the “Air Pump” is in the National Gallery for all who wish to see. It may, however, be doubted whether due recognition has, as yet, been given to the largeness of design and the dignified simplicity of pose and gesture which lend an almost classic style to such pictures as “The Orrery,” “The Air Pump,” and “The Gladiator.” The Exhibition of 1883, while it confirmed the reputation of such pictures, showed also that his rank as a portrait painter was much higher than was supposed. In this branch of art we find him submitting himself to his subject, and seeking rather to express than to adorn it. He brings you, as few artists do, into the presence of his sitters. As if alone and at ease, unconscious of observation, they, whether men, women, or children, are all engaged with their own thoughts and employments, just as they might have been seen any day in library or garden. Many men of celebrity, not only local, he painted—Arkwright and Whitehurst, Darwin and Strutt; but the charm of his portraits does not depend on the fame of the sitter, but on the power of the artist to seize a distinct individuality, and to make each likeness for ever interesting as an authentic image of a fellow-man. Unsophisticated by fashion or affectation, Wright’s portraits are history in its simplest and truest form.

Of the pure charm of his children, some of the illustrations to this volume, especially Mr. Seymour Haden’s painter-like etching of the “Twins,” will speak. Sir Joshua painted children with more spirit and with a livelier eye for fleeting charms of expression; but no artist has painted them more freshly and truly than Wright. Another admirably suggestive etching by Mr. Haden shows us the elegance of mien and grace of sentiment which he could infuse into his more poetical designs. His versatility was remarkable; but his culture, partly, perhaps, on account of his secluded life, partly from his ill-health, left many of his faculties undeveloped, and his imagination was crossed by a vein of ingenuity which made him delight rather in resolving problems than in indulging fancy. Nevertheless, the “Minstrel” and the “Maria” are as good reflections as exist of that somewhat thin but elegant strain of poetic sentiment which was in vogue in his day. He has in these pictures preserved its gentleness and grace without its falseness. A deeper note of pathos (and pathos unstrained) is touched in the once famous “Dead Soldier.” In his “Death and the Woodman” we find extreme terror depicted with all the force of the most modern realist; and if he did not—(who did?)—prove himself equal to the interpretation of Shakespeare, there is in Boydell’s Gallery no finer head than that of his “Prospero.”

It will seem strange to many that Wright should in his day have ranked even higher as a landscape painter than as a painter of men, but his fireworks and conflagration effects were a novelty, and were executed with a skill which must have then seemed astonishing. Now, perhaps, even if they were done with the superior genius of a Turner, we should not care overmuch for them. His more ordinary scenes from nature were sometimes almost as good as Wilson’s, but generally wanted the warmth and the air of that fine artist, and his composition was apt to be too palpably ingenious.

Nevertheless, all abatement made, he was an original and able landscape painter, and when we add this to his other claims, and remember how thoroughly sincere his art was, how distinct his personality, it seems hard that the latest History of English Art should not even mention his name. True, it was written by a foreigner; and it is probable that if M. Chesneau had visited Derby two years ago he would have awarded Wright an honourable place among those artists whom he calls the Old Masters of England.

COSMO MONKHOUSE.

[CONTENTS.]

LIST OF PLATES.

CHAPTER I.

The Family of Wright.

Joseph Wright, like his famous contemporaries, Reynolds and Wilson, belonged to the great middle-class, as may be seen from the pedigree appended to this chapter. Wright could reckon amongst his progenitors men of some consideration in the three professions of Law, Physic, and Divinity. The family appears to have settled at Seighford, Co. Stafford, in 1662, and from thence to have migrated, about the year 1673, to Longford in Derbyshire. The earliest ancestor of Wright whom I have been able to trace is the great-grandfather of the painter, and I am indebted to the Rev. J. Charles Cox, LL.D., the present Rector of Enville, Stourbridge, for the following interesting information respecting him.

On February 17th, 1662, in the Rectory House of S. Andrew, Holborn, Bishop Hacket (of Coventry and Lichfield) instituted “Johannes Wright, clericus,” into the vicarage of Seighford, Staff., vacant through death of last incumbent, on presentation of the King.[1]

On the 5th of the same month, at an ordination held in the Parish Church of S. Andrew, Holborn, by the same Bishop Hacket, “Johēs Wright, e Colleg, Dublin, in Regno Hiberiæ,” was ordained priest.

On September 12th, 1671, Bishop Wood instituted Jno. Nash to the vicarage of Seighford, on the resignation of John Wright.

On leaving Seighford, the Rev. John Wright became Rector of Longford, Co. Derby, where he died in 1681. His death is thus recorded in the Parish Register, “1681. John Wright, rector of Longford, an orthodox and worthy son. Buried January 10th.”

This exemplary clergyman left a widow and eight children. The maiden name of the former I have not been able to discover, but her Christian name was Elizabeth, and those of his surviving children (he had lost one, Sarah, during her childhood) are written on the back of the inventory of his goods, thus—

• Richard.
• John.
• Thomas.
• Jonathan.
• Matthewe.
• Elizabeth.
• Mary.
• Bridget.

Letters of Administration were taken out on the 28th June, 1682, and some of the items of the inventory are so interesting as to be worth transcribing. It is to be remarked, in the first place, that his goods were valued at the low total sum of £205, and that the largest item was for “corn, wheat, pease, and oates, £44,” from which, and from other entries, it may be inferred that he farmed his own glebe. Among the latter may be quoted—

Of the modest establishment and simple habits of this country parson of the 17th century this document affords evidence. His “plate” was estimated at £5 only, and the same sum was considered sufficient to represent the value of his “purse and apparell,” while the worth of the whole furniture of his “parlour,” consisting of “15 chairs, 2 tables, 1 carpet,” is set down at £3. That he was studious, as well as simple, is attested by the comparatively large valuation of the contents of his “studdy.” These were “one desk and lock, and shelves and books,” which were assessed at £30 4s.—a sum exceeding the supposed equivalent in money of the entire furniture of the Rectory. This assertion I must ask my readers to take upon trust, as the inventory of the contents of the kitchen, dairy, brewhouse, and five upper chambers is scarcely of sufficient interest to print in extenso.

Of the nine children of the Rev. John Wright, of Seighford and Longford, some information is given in the pedigree; but here we need concern ourselves only with his sons, Richard and John, from whom sprang two distinct branches of the family. It is from John that the subject of our biography is descended, but Richard claims precedence by right of seniority.

Of this eldest son, Richard, little is known, except that he was born at Loaden Hall, (or Leadenhall), Pentridge, Staffordshire, in 1662, and that he was the father of Richard Wright, M.D., of Derby. This, the second Richard of this branch, was born in 1702, and was twice married—firstly, to Dorothy Gell, of Wirksworth, who died childless; and, secondly, to Frances Wilcockson, of the same place, by whom he had issue one son and two daughters. One of the daughters, Elizabeth, died unmarried in 1766, and Mary, the other, became the wife of Captain John Wilson, R.N., of Tamworth, and died in 1805. The son was named Richard, after his father, and followed the same profession. The third Richard in this branch was, like Joseph Wright the painter, the great grandson of the Rector of Longford, and must not be confounded with another Dr. Richard Wright, his second cousin, and brother of the artist. For the sake of distinction he may be called Dr. Richard Wright of London, where he settled and became distinguished. He was one of the physicians to S. George’s Hospital, and being a man of high scientific attainments, and a scholar of some eminence, he was elected a Fellow of the Royal Society. He married Caroline, only surviving daughter of Sir James Gray, by whom he had no issue. He collected one of the first Libraries of his time, which, after his death, was sold by Messrs. T. and J. Egerton, on Monday, April 23rd, 1787, and eleven following days. This Library (which numbered 2,824 lots at the sale) consisted of an elegant and extensive collection of books in every branch of learning; it was particularly rich in works on History, Physic, Criticism, and Divinity, and in Greek and Latin Classics. It also included many of the scarcest editions of the old English Poets, novels, and romances, and a remarkably singular assemblage of Theatrical literature, including the rarest productions of the English drama. The dramatic works occupied two days of the sale, and amongst other rarities were copies of the first, second, third, and fourth editions of Shakespeare’s works. The catalogue, a demy 8vo. of 102 pp., forms a good text book for the book buyer of to-day. Dr. Wright died at his house, in Charles Street, Grosvenor Square, London, on Saturday the 14th day of October, 1786. His remains were brought to Derby, and interred in the family vault at S. Michael’s Church.

It is now time to turn to the younger branch of the family to which our artist belonged.

John, the second son of the Vicar of Seighford, and Rector of Longford, was born at the former place in the year 1664. He became an attorney, and established a reputation for integrity which descended to his son. There is still in the possession of the family a letter, addressed to him by “the great Lord Chesterfield,” dated April 13, 1704, in which his Lordship says, “I am much satisfied to find that Mr. Thacker and my daughter Wotton have employed in their affairs a character from whom everybody may expect fair dealing.”

He married Anne Daykene in 1649, and had issue Jane, John, and Elizabeth. John, the second, was born Jan. 16, 1697, and, like his father, became an attorney of good repute. From his upright conduct upon all occasions, he was known by the flattering name of “Equity Wright.” It is said that when applied to respecting any case which he thought only required explanation, it was his wont to reconcile the parties as a friend, without making fee or charge. An attorney of Derby, speaking of “Equity Wright,” some years after his death, said, “he might have died very rich, had he acted like the generality of his profession.” There can be no doubt that he was a thoroughly good lawyer, for on more than one occasion, when he waited on the celebrated Sir Eardley Wilmot, of Osmaston, for an opinion, Sir Eardley said to him, “You are come to throw away a guinea with me, Mr. Wright, for you know the law as well as I do.” He filled the office of Town Clerk of Derby, from 1756 to 1765.

The sisters of “Equity Wright” died unmarried, but he, on September 26, 1728, took to wife a lady named Hannah Brookes, by whom he had issue three sons and two daughters. John, the eldest, and third of this name, was born August 29, 1729, and, like his father and grandfather, became an attorney. He died March 22, 1798. Richard Wright, M.D., the second son, already mentioned in the account of the elder branch of the family, was born November 17, 1730, and attained some eminence as a Physician in his native town, Derby. An old MS. has the following lines relating to this Richard—

“Cease, wonders, cease, from this or that,

Since Dr. Wright has changed his hat;

Corners three and wig profound,

He now salutes his friends all round.”

He married Sarah Wallis, of Derby, by whom he had two daughters, Hannah and Anne. The latter married James Holworthy, an eminent artist, a member of the old Society of Painters in Colours, and an intimate friend of the late J. M. W. Turner, R.A. Mr. Holworthy purchased the Brookfield Estate near Hathersage, and built Brookfield House. Hannah died May 13, 1867, unmarried.

BIRTH-PLACE OF “WRIGHT OF DERBY.”

Joseph, the third son of “Equity Wright,” is the subject of this biography. His sisters, Hannah, the third child, and Anne Elizabeth, or “Nancy,” the youngest of the family, died unmarried in the years 1810 and 1815, respectively.

Transcriber's Note: A plain text copy of the Family Tree can be found [here]

[See larger image]

[2]

Joseph Wright, the painter, commonly called Wright of Derby, to distinguish him from another painter of the same surname,[3] was born at Derby on the 3rd of September, 1734, in the house No. 28, Irongate, and was educated at the Grammar School of that town, under the Rev. Mr. Almond.

Perhaps the ordinary affix to Wright’s name has to some extent interfered with his reputation, but the localisation of his fame is also due to the fact that a great number of his paintings have always remained in his native county, and in the possession of the families for which they were painted.

He was truly “Wright of Derby.” For there he was born and educated, and with the exception of three and a half years under Hudson, in London, two years in Italy, and a similar period at Bath, we find him located at Derby throughout his life. He was, however, well patronised—perhaps, with the exception of Sir Joshua Reynolds, as much so as any of his contemporaries, for seldom, if ever, did a painting of his go into the hands of a dealer, or remain unsold. Respected and honoured by his townsmen, and enjoying the close intimacy and friendship of men eminent by their position and distinguished by their talents in literature and art, he passed his days in the midst of those he loved, industriously labouring at his profession, although at times suffering from long periods of nervous depression until his death in 1797.

Wright’s friend and pupil, Mr. Jno. Moss Tate, of Liverpool, told a gentleman who called upon him early in this century to see some paintings by Wright in his possession, that “he was always pleased to see a Derbyshire man, for that county had produced three most eminent men in the sister arts—Chantrey, the sculptor, Wright, the painter, and John Harrison, the singer.”

It is seldom that a better opportunity is found of obtaining a clear insight into the working and every-day life of an artist, than that afforded by the material collected for the present volume. This consists principally of letters written, and memoranda made, long years ago, and numerous notes by the artist himself. Most of the last are contained in a book in which he carefully recorded the pictures he painted, the prices he obtained for them, and the names of his patrons; in it he was also wont to jot down memoranda (now full of interest) relating to his family and private concerns. Personal and other relics, religiously preserved by relatives, and handed down to the present day, have also assisted in bringing before the writer a vivid picture of the man and his doings.

CHAPTER II.

Early Life.—Mechanical Pursuits.—Aspirations after Art.—Love of Music and Society.—Studies under Hudson.—Returns to Derby.—Again Studies under Hudson.

Young Wright early manifested a taste for mechanics. His brother, Richard, writing to a friend some years afterwards, thus alludes to his leisure employments. “At an early time in life he showed great propensity to knowledge in several mechanical branches; and being of an active mind, would frequently spend his vacant time from school in going to different shops to see the men work. When he returned home he would imitate their works, and compleat them in a masterly manner, such as joiner’s goods, chests of drawers, clocks, spinning wheels, guns, etc. His genius afterwards turned to drawing and painting; if he saw a person once he would draw the outlines of his face so strong as to be known at sight; making great progress in those branches, he was determined to pursue those studies for his profession; accordingly his father, an Attorney-at-Law, enquired of his agents in London, who were the most eminent masters, and upon enquiry he was recommended to Mr. Hudson.”

Having seen a “raree show” at a fair, he considered attentively upon what principle it could be formed, and having discovered the manner of placing the glasses, completed a show about three feet high; having done this, Wright went to the showman and told him he had made a show like his. The man would not at first believe him, but upon enquiring how he had made it, and finding it was quite correct, he earnestly begged that the boy would not tell any one by what means he had effected it. This show, exhibiting some Italian views, was afterwards the delight of his children and nieces.

When the Scotch army, under Prince Charles Edward, came to Derby, in December, 1745, the elder Mr. Wright, father of the painter, took his wife, two daughters, and Joe, as he was generally called, to Repton, thinking that the rebels could not cross the Trent, as there was no bridge there at that time. During the preceding July his two eldest sons, John and Richard, had been placed at Repton School, under the Rev. Mr. Ashley. Much to the surprise of the Wrights, three officers and forty men were quartered in their house at Derby. During the soldiers’ stay they saw a small gun, with which they were so much struck as to make enquiries respecting it, and upon being told that it was made by Master Joseph, “they wished they could see the little gentleman, they would take him with them, for they were sure he must be an ingenious boy to make that gun.”

At Repton, young Wright saw a “Christmas-Piece” which belonged to one of the boys. For a long time this piece so engrossed his mind that he could think of nothing else, and he dwelt upon it until he determined to try to draw. Thus at eleven years of age he took to art, and gradually left off his mechanical pursuits. This love for mechanics showed itself later in life, by the introduction of an air pump and an orrery into two of his principal pictures. He likewise invented a pair of proportional compasses. These were made of two strips of wood, with an opening down the middle of each, placed upon each other and united by a screw, which, moving up and down, fixed the point of the compasses at any place that was desired. By this instrument Wright was enabled to accurately enlarge or diminish any drawing.

His father being averse to his devoting so much time to drawing, thinking it would never be of use to him, and might withdraw his attention from more necessary pursuits, young Wright used to draw, unknown to his friends, in an attic, where he spent much of his spare time. Having nothing from which to study, he copied the public-house signs in the town, which at that time exhibited more “pictures” than at the present day, and it is related of him, that when he had completed his copy of the sign of “Robin Hood and Little John,” near his father’s residence, he was highly delighted, as he was likewise when he had finished the “Buck in the Park.” The “Buck in the Park”—a sign by which an inn in the town is still known at the present day—means the arms of the Borough of Derby, which are azure, a buck couchant, enclosed in park-palings, all proper. His method was, after looking long and earnestly at the sign, to go home and draw as much as he could remember of it. When at a loss, he returned and examined the sign, and then ran back as rapidly as possible, so that he might not lose the impression produced on his mind, and thus he continued until the drawing was finished. His mother, noticing his conduct, and wishing to know why he spent so much time in the attic spoken of, entered it and discovered his employment. The boy-artist earnestly begged that she would not tell his father, and this request, fortunately for the world, was granted. His predilection for art is well illustrated by a life-size head of Counsellor Noel, in my possession, drawn upon blue paper in black and white crayons; on the back, in Wright’s handwriting, “Jos Wright, fecit September 3rd, 1751, Ætat 17. Counsellor Noell. The head being unfinished I was obliged to leave it so.” There is little doubt he was in the habit of attending the Courts of Assize with his father, who was engaged there professionally, and had amused himself by sketching the counsellor in his wig, but from some cause had not time to finish it.

The sketches of his early boyhood show considerable skill and power in light and shade, and the treatment of drapery, and are thus prophetic of that command of chiar-oscuro which distinguished the pictures of his maturity.

His delight in strong lights and shadows was very conspicuous throughout his life. He could never pass a blacksmith’s shop, or any striking lights in the streets, without staying to study them; and the influence of this early passion of his is seen in a large number of his paintings, where remarkable fire, candle-light, and atmospheric effects are rendered with singular power and truth.

At length his father, finding his decided turn for painting, determined upon placing him with the most eminent artist of the time; and in 1751, when Joseph was seventeen years of age, he, after careful enquiry amongst his friends in London, placed him with Hudson,[4] the portrait painter, with whom he remained as a student for two years. Wright, however, appears to have soon become dissatisfied with the subjects which Hudson gave him to copy, which, if we may judge from the studies of this period still existing—stiff, formal portraits in black and white chalk upon blue paper—was not to be wondered at; amongst them is a spirited resemblance of himself, and it is thought probable that the artist, tired of such copying, amused himself by studying from nature.

Young Wright, like most young men, was fond of a frolic, but the effect of a practical joke which he played at Hudson’s effectually cured him of these mischievous propensities. It appears that the lay-figure at Hudson’s was upon low wheels, and having tied a piece of string to it, which he conveyed under the door, Wright, the next morning, whilst the servant-maid was cleaning the grate, stationed himself at the door, which was a little open, to amuse himself with her surprise at seeing it move. Having waited his opportunity, he gently pulled the string, and when the girl turned to look, suddenly stopped. She took no further notice of it until he drew it more decidedly steadily forward. She then earnestly watched its progress, and at last, being convinced that it was moving, threw down her brush and rushed out of the room, and would, in her fright, have precipitated herself over the rails of the stairs, if he had not caught her. He was so much alarmed when he saw how greatly she was agitated, and thought what would have been the probable consequence of such a fall, that he determined never again to indulge in practical jokes, a resolution which he seems never to have forgotten. This circumstance made such an impression upon his mind, that he could not hear with patience of any attempt to frighten people, as “there was no knowing to what consequences it might lead.”

Upon the expiration of the period for which he had been placed with Hudson, Wright, at the age of nineteen, returned to Derby, and soon afterwards painted the portraits of his father and mother, his two sisters, his brother, and himself. These were probably the first portraits he painted, as, when they sat to him, he had only—it must be remembered—been two years at his profession. At this time he also painted the portraits of many of his friends, and of members of the principal families in the neighbourhood. Being, however, dissatisfied with his progress, he returned to London, in 1756, to study under Hudson for the second time, and remained with him for fifteen months, often lamenting during that period that he could not obtain better instruction, there being no master of eminence in England at that time.

Painting was not Wright’s only pursuit. He was a real lover of music, and was considered by those able to judge to be a first-rate amateur performer upon the flute, which he was taught by Tacet. Mr. Denby,[5] the organist at All Saints’ Church, at this time had weekly concerts at his house, at which Wright played the flute, Burdett (who published a Map of Derbyshire in 1767) the violoncello, the Rev. Mr. Hope “thorough bass on the harpsichord,” and the Rev. Mr. Blackwall and Mr. Charles Denby first and second violins. These were cheerful evenings, and Wright took a prominent part in the mirth, for, though naturally shy and retiring, he was of a social and lively disposition. He is said to have been the life of the party. He also attended the balls and assemblies[6] in Derby, Newark, Chesterfield, and other places, and from his handsome person and pleasant manners was a general favourite. An old inhabitant of Derby, Mr. Haden, used to relate that Wright once asked him whether he should teach him to draw, or to play on the flute, and that he foolishly chose the latter. Wright, he said, was a very pleasant master, who held the agreeable theory that Madeira was the best medicine for the flute, and never gave him a lesson without ordering in a bottle of it. Mrs. Cade (Wright’s daughter) has related that he used to play upon the flute in the evening, after he had prepared his palette for the next day; and that the Rev. Thomas Gisborne (who then resided in St. Helen’s House, at the top of Bridge Gate, and afterwards at Yoxall Lodge, Needwood Forest) was in the habit of drawing with him in the morning, and playing upon the flute with him in the evening. She also recollected going with him to Darley Grove, adjoining St. Helen’s, where he delighted to hear the echoes to his flute.

After Wright’s death, there was found a large box containing music for the flute, written very neatly by himself, which at last came to the ignominious fate of being used by the servants for lighting the fires.

An early memorandum of Wright’s states:—“My Father paid Sandys the colourman for me Mch 1759, £15. 17. 0. In March 1762 paid ditto £20. 14. 0. Lent me a guinea to send W^ri. Paid for cloth for shirts when I was in London £4. 4. 0. For a German Flute £3. 3. 0.”

Having soon attained some local celebrity, Wright was allowed a room at the Town Hall when he wished to exhibit his pictures, and could not show them to advantage at his father’s. It was in this room that he painted the portraits of the members of the Derby Hunt, which now hang in Markeaton Hall, where they were placed by Francis Noel Clarke Mundy, the poet. This gentleman, from an elegy written by him in 1765, appears to have been “The life, the leader of the hunter train,” and in Wright’s MS. book occurs the following memorandum in connection with a portrait of one of the Mundy family: “The letter in Mr. Mundy’s picture to be dated from Amberley, in Sussex. It must conclude with ‘your friend Harry Deckham,’ not Henry. The case upon the letter table, directed to Francis Mundy, Esq., at Markeaton, near Derby.” Amongst the portraits known to have been exhibited at the Town Hall may be mentioned that of “Old John,” head waiter at the King’s Head Inn, which was raffled for ten guineas, and won by Danl. Parker Coke, Esq. This picture, which represents “Old John,” with roses in the button-hole of his coat, and a smiling and intelligent face under his wig, is now in the possession of Lord Belper. Another local character similarly distinguished, was Thomas Oliver, beadle at All Saints’ Church, whose attentive attitude, whilst Mr. Winter or his curate, Mr. Hope, preached, had caught the artist’s eye. The interest thus excited led the artist to obtain a sitting from the beadle, and the picture which resulted was exhibited at the Town Hall. Wright made a crayon drawing of this portrait, and gave it to Mr. Denby.

“THE TWINS.”

Etched by Mr. F. Seymour Haden.

Ann Haden, afterwards Mrs. Boot; and Sarah Haden, afterwards Mrs. James Oakes, of the Riddings, Derbyshire.

Original picture in the possession of Mr. James Oakes.

The Plate of “The Twins” was especially etched for this work, and presented to the Author by Mr. F. Seymour Haden.

CHAPTER III.

Candle-Light Subjects.—“The Gladiator” Picture.—Commences to Paint Landscapes in 1772.—List of Pictures Exhibited at the Society of Artists’ Rooms.—List of Pictures Exhibited at the Royal Academy.—Wright holds an Exhibition in 1785, of his Own Works, in London.—Wright’s Generosity in Giving Pictures to his Friends.—Wright, a Pioneer in Water-Colour Painting.

It is interesting to note in the life of an artist who showed such varied talents, at what periods he entered on the different walks of art, which he trod with such success. We know that Wright painted portraits only whilst under Hudson’s tuition; and even for several years after his second period of study under that master, which was during the year 1756, he seems to have attempted nothing else. We are also able to all but fix the dates of many of his early candle-light and historical subjects, because they were exhibited at the rooms of the Society of Artists.[7] The first of these appeared in 1765, and was called “Three Persons Viewing the Gladiator[8] by Candle-light.” In the same way we can fix approximately the date of his first landscape as 1772.

From such records we may also conclude with some certainty that it was Wright’s own innate genius that impelled him to study those effects of artificial light with which his name is so strongly associated, for hitherto no English painter had attempted them, and he did not leave England till 1773.

His visit to Italy, in 1774–5, where he saw a grand Eruption of Vesuvius, merely turned his natural predilection for strange effects of light into a new channel. This eruption may be said to have been the father of his numerous landscapes of volcanoes and conflagrations. Of the eruption alone he painted about eighteen pictures, each of which was treated in a manner differing more or less from the rest. In his striking pictures of sun and moonlight, which also began about this time, we see the same love for unusual and powerful effects of light.

From a letter in the possession of Lord Lansdowne, the owner of “The Gladiator,” which, by the courtesy of his lordship, I am able to transcribe, we learn that this picture was not sold until the year 1772. In Wright’s MS. book the price named is £40. and Dr. Bates is entered as the purchaser. This price must be an error, or only a part payment, as will be seen from the letter, which is from Wright to Dr. Bates, and was sold with the picture. There is little doubt that this was the picture mentioned in the letter, although it is not referred to by name.

“Derby, 12th September, 1772.

“Dear Sir,

“Last night I received a letter from our friend Burdett, whereby I understood you consent to give me £130 for the picture. I must let it go at that price, as I am under a necessity of immediately raising £1,200 on a mortgage, and have only £1,000 by me, it was on this account I offered it to you at 125 guineas. I shall say no more on the subject, only desire for my interest, you will never mention what you gave for it, as it might much injure me in the future sale of my pictures, and when I send you a receipt for the money I shall acknowledge a greater sum.

“I wish it may be convenient for you to remit me the money immediately, as Michaelmas is the time fixed for the payment of the money, and though I have lent more money than I now want, upon the person’s bare note, and without interest, I know not a man that would lend me a hundred pounds without high interest and good security. You see how I am circumstanced, and have no doubt but you’ll immediately assist me with the money if you can. I think myself much obliged to you for offering me the assistance any of your pictures can give me.

“I am, with compliments to Mrs. Bates, though not known,

“Dear sir,

“Your affectionate friend,

“JO. WRIGHT.”

Upon examining the following list of his pictures exhibited at the Rooms of the Society of Artists, it will be noticed that for ten years, from 1765 to 1775, only one landscape is mentioned; but on his return from Italy, in 1776, he exhibited his first picture of Vesuvius, and from this date he evidently paid much more attention to landscape, and almost ceased to paint candle-light effects, which, up to that date, had, with portraiture, almost entirely engrossed his pencil.

Whilst in Italy he made many landscape sketches from nature, which supplied him on his return to England with the greater part of the material for the landscapes he produced from 1775 to within a few years of his death, although these were interspersed with scenes from Scotland, Derbyshire, and the Lake District.

Wright was at an early period elected a member of the Society of Artists, to whose exhibitions in the Spring Gardens he contributed many years, as will be seen from the following lists extracted from the catalogues. It is to be regretted that at this date it was not the custom to mention in catalogues the names of the persons whose portraits were exhibited, and in consequence of the lapse of time, it is now often impossible to identify them.

Pictures Exhibited by Joseph Wright at the Exhibitions of the Society of Artists of Great Britain.

Pictures Exhibited by Joseph Wright at the Exhibition of the Free Society of Artists.

In 1777, Wright does not appear to have exhibited at all, but in the next year he commenced to send pictures to the Royal Academy, a practice he continued with some interruptions until 1794.

Pictures Exhibited by Joseph Wright at the Exhibitions of the Royal Academy.

From the foregoing list of Wright’s contributions to Exhibitions of the Royal Academy, it will be noticed that he did not send any between the years 1782 and 1788. This abstention was caused by his resentment at the conduct of the Academy, in consequence of which he refused the full diploma which the Royal Academy offered to him in 1784.

From the following extract from the Athenæum of January 31st, 1885, it appears that Wright was not the only artist of distinction who at that period had to complain of the treatment of the Council of the Royal Academy.

“In the archives of the Royal Academy is a letter which has special interest. It is a complaint addressed by Gainsborough to the Council of the Academy, about the manner in which his most important contribution to the gathering of 1784 had been treated, being placed in a position, he says, unbecoming its character as a group of Royal portraits, and unjust to himself as a R.A. In the end, with several other works the artist left at the Hanging Committee’s discretion, the picture was withdrawn, so that the Academy gathering of 1784 comprised no Gainsborough.

“The artist abandoned the Academy altogether, and during the four remaining years of his life, he sent no more pictures.”

The doors of the Academy being thus practically closed to Wright, he determined on another plan for bringing his works under public notice. In 1785 he opened an exhibition, composed of twenty-five of his own pictures, at Mr. Robins’s Rooms, Covent Garden, London. This is an early instance of those exhibitions devoted to the compositions of a single artist which have of late become so frequent. In the catalogue of it which we are enabled to reprint, it will be noticed that fifteen out of the twenty-five works exhibited were not for sale.

A

CATALOGUE

OF

PICTURES,

Painted by J. WRIGHT, of Derby,

And EXHIBITED at

Mr. Robins’s Rooms, (late Langford’s) No. 9, under the Great Piazza, Covent Garden.

All have their brilliant moments, when alone

They paint, as if some star propitious shone;

Yet then, e’en then the hand but ill conveys

The bolder grace, that in the fancy plays.

Hence, candid critics, this sad truth confest,

Accept what least is bad, and deem it best;

Lament the soul in error’s thraldom held,

Compare life’s span with art’s extensive field;

Know that ere perfect taste matures the mind,

Or perfect practice to that taste be join’d,

Comes age, comes sickness, comes contracting pain,

And chills the warmth of youth in every vein.

Mason’s Translation of Du Fresnoy’s Poem on Painting, verse 695, &c.

1785.

Printed by J. BARKER, Russell-Court, Drury-Lane.

A

CATALOGUE.

N. B. Such pictures as are marked with an asterisk (*) are to be disposed of.

No. I.

The Lady in Milton’s Comus, verse 221.

Was I deceiv’d, or did a sable cloud

Turn forth her silver lining on the night?

I did not err, there does a sable cloud

Turn forth her silver lining on the night,

And casts a gleam over this tufted grove.

No. II. *

A Companion to the preceding picture. The Widow of an Indian Chief watching the arms of her deceased husband.

This picture is founded on a custom which prevails among some of the savage tribes in America, where the widow of an eminent warrior is used to sit the whole day, during the first moon after his death, under a rude kind of trophy, formed by a tree lopped and painted; on which the weapons and martial habiliments of the dead are suspended. She remains in this situation without shelter, and perseveres in her mournful duty at the hazard of her own life from the inclemencies of weather.

No. III. *

William and Margaret. From the celebrated ballad in Pierce’s Reliques of Ancient English Poetry, vol. 3. xvi.

’Twas at the silent solemn hour

When night and morning meet,

In glided Margaret’s grimly ghost,

And stood at William’s feet.

No. IV. *

View of the Cascade of Turni in Italy.

No. V.

Virgil’s Tomb by moonlight.

No. VI.

The Lake of Nemi. A sunset.

No. VII. *

Julia, the daughter of Augustus, and supposed mistress of Ovid, deploring her exile, by moonlight, in a cavern of the island to which she was banished.

No. VIII. *

The happy meeting of Hero and Leander, after his swimming across the Hellespont in a tranquil night.

No. IX. *

A Companion to the preceding picture. The Storm in which Leander was drowned.

No. X.

A Landscape. Morning.

No. XI.

A Sea Shore. Evening.

No. XII.

Matlock High Tor. Moonlight.

No. XIII.

The Maid of Corinth. From Mr. Hayley’s essay on painting, verse 126, &c.

O, Love! it was thy glory to impart

Its infant being to this magic art;

Inspir’d by thee, the soft Corinthian maid

Her graceful lover’s sleeping form portray’d;

Her boading heart his near departure knew,

Yet long’d to keep his image in her view;

Pleas’d she beheld the steady shadow fall

By the clear lamp upon the even wall;

The line she trac’d with fond precision true,

And drawing, doated on the form she drew.

No. XIV. *

A Companion to the preceding picture. Penelope unravelling her web, by lamp-light. From Pope’s Homer, the second book of the Odyssey, verse 99, &c.

Elusive of the bridal day, she gives

Fond hopes to all, and all with hopes deceives.

Did not the sun thro’ heaven’s wide azure roll’d

For three long years the royal fraud behold,

While she, laborious in delusion, spread

The spacious loom, and mix’d the various thread?

Where, as to life, the wondrous figures rise.

Thus spoke the inventive queen, with artful sighs:

“Tho’ cold in death Ulysses breathes no more,

“Cease yet awhile to urge the bridal hour;

“Cease, till to great Laertes I bequeath

“A talk of grief, his ornaments of death;

“Lest when the Fates his royal ashes claim,

“The Grecian matrons taint my spotless name,

“When he, whom living mighty realms obey’d,

“Shall want in death, a shroud to grace his shade.”

Thus she: at once the generous train complies,

Nor fraud mistrusts in virtue’s fair disguise:

The work she ply’d; but, studious of delay,

By night revers’d the labours of the day;

While thrice the sun his annual journey made,

The conscious lamp the midnight fraud survey’d.

No. XV.

A distant View of Vesuvius from the shore of Posilipo.

No. XVI. *

The Companion, in the gulf of Salerno.

No. XVII. *

A Landscape. Moonlight.

No XVIII.

A View in Dovedale. Morning.

No. XIX.

Ditto, its Companion. Evening.

No. XX.

Portrait of an Artist.

No. XXI. *

Guy de Lusignan in Prison.

No. XXII.

Portraits of three (of Mr. Newton’s) Children.

No. XXIII.

A Wood Scene. Moonlight.

No. XXIV. *

A View of Gibraltar during the destruction of the Spanish Floating Batteries, on the 13th of September, 1782.

It may be proper to inform the spectator, that the painter’s original plan was to execute two pictures, as companions to each other, on this event so glorious to our country. In the first (which is now exhibited) he has endeavoured to represent an extensive view of the scenery combined with the action. In the second (which he hopes to finish hereafter) he proposes to make the action his principal object, and delineate the particulars of it more distinctly.

No. XXV.

Portrait of a Gentleman.

FINIS.

Wright so far forgave the injury he considered the Royal Academy had inflicted upon him, as to contribute to their exhibitions in the years 1788, 1789, 1790, and 1794; though from the correspondence printed in Chapter VI., it will be seen that his paintings were not treated with much consideration.

One characteristic worthy of notice in Wright’s portraiture, is the life-like and liquid look that pervades the eyes; he was also particularly happy in his treatment of the hands of his sitters, which are very different to the misshapen forms that often do duty for hands in paintings by popular artists.

An exhibition, in which his pictures were an important feature, appears to have been held in his native town some two years afterwards, for the Derby Mercury, of October 3, 1787, contains the following advertisement:—

EXHIBITION.

From the numerous and genteel company who have visited this Exhibition, the Inventor will continue the same

FOR ONE WEEK LONGER,

And to the effects already shown will add various others

FROM SOME OF THE

JUSTLY MUCH ADMIRED PAINTINGS OF

MR. WRIGHT, OF DERBY,

The effects of which beggar all description, and for which purpose Mr. Wright has politely sent the Inventor his Paintings.

It is hoped none will miss the present and only opportunity of gratifying their curiosity.

Admittance from Ten in the morning till One, and from Four till Eight in the evening, at Mr. Wood’s, Confectioner, in the Corn Market, at One Shilling ea.

While, however, Wright appears to have had a proper sense of his own merits as a painter, and not to have lost sight of the advantages of keeping them before the public, and though on certain occasions he held out for his price, he was neither conceited nor ungenerous. Of his liberality sufficient proof is afforded by his numerous gifts of valuable pictures to individuals among his private friends, and to persons to whom he thought himself under obligation. In various instances, these gifts were manifestly disinterested; and that they were often, and probably always, conferred in a very pleasing manner, which declined rather than sought the expression of gratitude, the following records will sufficiently vouch.

“Mr. Hayley to Mrs. Hayley.

... “As I love to make you a sharer in every pleasing occurrence of my life, I cannot let a post depart without dispatching to you an account of a circumstance which has given me no little delight. Beridge last night committed a box to my care, declaring it contained something for me, but requesting that I would not open it till he arrived here to-day. After spending an agreeable morning at Hampstead, I met the dear Physician in Cavendish Square; and while I was dressing, he displayed his skill as a carpenter in opening the packing-case. When I came from my dressing-room to the dining-room, he surprised me with an exquisite picture of Virgil’s Tomb, by Wright, putting into my hand a letter from that amiable artist, requesting my acceptance of this poetical scene, and added, that the splendid frame which contained it was the gift of Dr. Beridge.”

The following is part of a letter written on the margin of a pencil and wash sketch of St. Peter’s at Rome, with the Bridge and Tower of St. Angelo, to someone in Derby, in the year 1774, when Wright was at Rome—

“The collour’d drawing I will do for you must be upon a larger scale, and sent by a friend, as I don’t wish to do them as letters, but I presume the enclos’d sort as sketches of observation, or possibly to remove any doubt in regard to particular objects, as I take them as faithfully as I can, and shall do the others also. In the meantime I beg you will make no scruple in mentioning any particular objects that you wish, as I have justly every reason to have the greatest esteem for you, and having experienced your sincerity and friendship, I beg you will mention no more about the prices.”

In the Exhibition of Wright’s works, held in the Art Gallery, at Derby, in 1883, was the latest portrait[10] of the artist. This picture was also a gift, and was painted at Yoxall Lodge, the residence of his intimate friend, the Rev. T. Gisborne, when Wright was there on a visit. On the back of the picture, in Wright’s handwriting, is the following:—

“JOSEPHUS WRIGHT,

An. Dom. 1793

Ætat 59

Manu propria

Tabulam hanc

Amico suo T. G.

Dono dedit

Pictor.”

At Ogston Hall another inscription of the same class is to be seen, in Wright’s handwriting, on the back of a portrait of John Holland, who was a very intimate friend, viz.:

“John Holland, painted by his friend, Joseph Wright, A.D., 1787.

“‘However odd the phyz pourtrayed,

What artist has a better made.’”

Again, on the back of a landscape, now in the possession of Godfrey Wedgwood, Esq., is written the following:—

“The gift of Joseph Wright to his friend Jos. Wedgwood, Esq., the patron and encourager of living artists, 1787.”

In the Appendix, amongst the list of pictures, will be found many more instances of such gifts. Thus: “Given to my friend Tate.” “For Mr. Hayley. Mem. not paid.” etc.

As a Water-colour painter of the English school, Wright must be ranked as one of the earliest. Whilst he largely used chalk, pencil, and oils in his sketches, he also used Water-colours in not a few of his Italian sketches taken in 1774. He evidently little thought then, that Water-colour painting would advance and take the high position as an art that it occupies to-day, when he, as a pioneer, made those early Water-colour sketches; for he, in his correspondence, remarks, “1795. I am glad to hear my friend, Tate, succeeded so well in Water-colours. I daresay when the application of them is well understood it is pleasant work.” “1793. I am sorry I cannot fulfil my engagement with Mr. Moreland, Mr. Gisborne does not think himself at liberty to divulge Smith’s mode of washing with Water-colours.”

In 1795 he writes, “I am glad to hear my good friend (Tate) has laid hold of his brushes again. Paper and camel hair pencils are better adapted to the amusement of ladies than the pursuit of an artist.”

The Messrs. Redgrave, in their “Century of Painters,” say, “We have heard of, but not seen, works in this medium by Wright, of Derby.” It is gratifying to know that there are in existence some interesting landscape sketches and portraits in Water-colours by Wright, that tend to show that Wright could use the new medium with great effect and brilliancy.

“MARIA.”

From Sterne’s “Sentimental Journey.”

Original picture in the possession of Mr. W. Bemrose.

CHAPTER IV.

Wright Marries and Visits Italy.—Letters.—Extracts from Diary.—Birth of his Daughter, Anna Romana, in Rome.—Influence of the Old Masters.

In July, 1773, Wright married Miss Ann Swift, and in November set sail in the “Jupiter” for Italy, with his wife and Mr. Hurleston.[11]

Before leaving England he wrote the following letter to his brother, Richard Wright:—

“1773.

“Dear Brother,

“By the waggon yesterday I sent you in a box four pillar Candlesticks called Tooth & Egg, to be cleaned as silver. They are what they seem to be, w^ch if I mistake not your temper, will be more pleasing to you than a refined outside, with a Base inside. They are such at least as best suit my Taste & pocket, & I sincerely hope you’ll receive them as a pledge of the Love I bear you. I shall be glad to hear you have got ’em safe. Thursday last I got on board the Jupiter all our Baggage, and a Case with the two pictures of the Alchymist and Captive King, for so my Friends advised me. The ship is sailed for Exeter, when she will arrive is as uncertain as the Winds that blow her. However, I hope the Cap^t. will soon send us a summons to embark. The winter approaches fast, and will, I fear, blast those Joys I promised myself at a more agreeable time of the year; however, I flatter myself matrimony has improved my Constitution, and I am better able to bear the rude winds than heretofore.

“Last week my Sister Nancy and this family went on board the ‘Jupiter,’ afterwards we were conducted by the Cap^t. to his house, where we dined with the rest of the passengers; a good thought this of the Cap^t. that we might not when we met on board wear the awkward faces of strangers. I shall be very happy to hear again from you ere we leave English ground, and if you write on Saturday night it will I think get here in time. Tell M^r. Greenwood the Drawings will be ready whenever he sends for them. I rec’d the Ruffles safe. Make my affectionate Comp^ts. to M^rs. Fox & M^rs. Shelton; I dreamt she was got so well as to visit her Friends, would she was really so.

“I am, with Love to my Sister & affectionate Comp^ts. where due, your Loving Brother,

“JO. WRIGHT.

“P.S.—I hope Dick’s[12] heart failed him not at his Departure.		Tuesday night, London.”
“Mr. Hurleston’s Compts. to you & Sister.

“P.S.—I hope Dick’s[12] heart failed him not at his Departure.		Tuesday night, London.”
“Mr. Hurleston’s Compts. to you & Sister.

He evidently proved a bad sailor, for in his first letter home, written from Nice, he says, “The continual agitation of the ship soon rendered us very sick, and we not only lost sight of land, but of everything save our cabin, and the vessel into which we discharged the contents of our sickly stomachs.” He spent many months in Rome, studying especially the works of Michael Angelo, in the Capella Sestina of the Vatican. He here made faithful drawings, upon a larger scale than had generally been attempted, as he considered those subjects but ill-adapted for pocket-book sketches. “These Treasures of Art[13] have hitherto remained, in a great degree, lost to the world, having scarcely been seen except by Mr. Wright’s particular friends, to whom he showed them, when his imagination was warmed with a description of the divine originals.”[14] In Hayley’s Life of Romney we read, “In 1773, Romney went to Italy, where he acquainted himself with all the artists of his country, for I recollect his having repeatedly lamented that our amiable friend, Wright, the painter of Derby, had laid the foundation of those cruel nervous sufferings which afflicted his later years, by excess of application during his residence in Rome.”

His letters from Italy are very interesting, especially for his opinions on various celebrated Works of Art. A few extracts must suffice.

“ ... And on Sunday, 5th Dec. (1773), came into port at Nice amidst thousands of spectators of all ranks, who were placed on steps, their heads rising one above another had a very pleasing effect, like the crowded galleries of a theatre. It was on the ‘Jupiter’s’ account this large assembly were gathered together, she being the largest vessel that has sailed into this port, and I fancy I may add the best, she weathered without any material injury many storms.”

Rome, Feb^y 4th, 1774.

“As I know my Dear Brother & Sister will be better pleased to have a speedy account of our safe arrival here, from an hasty & irregular Letter, than from a more accurate one with delay, I embrace the first minute to tell you we got here last night in tolerable Sp^ts considering the tedious Journey we had from Leghorn, w^ch is not 200 miles. We were advised as the best mode of travelling for those who speak not the language of the Country to engage with a man to take us to Rome for so much money & to accommodate us with every necessary on the Road. The Carriages have only two wheels, like our one horse chairs, drawn by the same pair of horses all the way, w^ch travel about as fast as our Stage waggons; we were obliged to rise by three in the morning to go betwixt 20 & 30 miles a day, to arrive at night at a poor house, with large cold rooms, & bad accommodation, very unpleasing to the English traveller. By the advice of M^r. Cesar, M^r. Heathcote’s friend at Pisa, I provided myself with a large Cloak, such as the Italians use; w^ch kept me tolerably comfortable by day & night, in w^ch I lay, for I durst not undress, the Beds being seldom lain in. Cap^t. Difting’s delay threw us into the Winter which has been attended with much cost & many inconveniences.”

“Rome, Feb. 12, 1774.

“My Dear Brother,

“I fully intended sending this Letter according to the first date, but was prevented by the visits of the English; and many other occurrences has since happened to prolong my silence beyond my wish, as I know you will be anxious to have a second Letter; tho’ I wrote to M^r. Coltman from Genoa, who wou’d, I hope, inform you I was well. I am (entre nous) surprized he shou’d think of quitting the Close till he has it brought into as good condition as he found it. If he leaves it so he must have gained much by it. If M^r. Brentnall has it, who, according to your account, I have no objection to, care should be taken that he does nothing to the disadvantage of my Close to benefit his own. I am sorry poor Dick has been so unfortunate at his first setting out, it was enough to give him an insurmountable prejudice, for the sea is terrible in stormy weather. I am sorry he is still likely to be expensive to us, only because I can’t now so well afford it as formerly. This Tour has & will cost me much more than I expected. My wife has been but indifferent, the storms by sea, and the violent shaking by land (for some parts of the road is very stony) have been too much for her. I called in a Doctor who said it was necessary she should loose blood, accordingly the next morning was appointed for the operation. The D^r. & his Surgeon came, never did I see such parade, they talked of Galen & Hypocrates & abundance of stuff, to conceal, I fear, their Ignorance. However, M^rs. Wright is better, they are against purging and have ordered her to drink a small liquor which they call Sherbett, to thin her blood. I have not wrote to M^r. Shackleford, I did not think it necessary, & his behaviour to me required it not I am sure, for whatever he may say of generosity & Gratitude, I never saw the least shadow of it. I was very fortunate in getting both yours & Nancy’s Letters; my wife has not heard from her friends, nor has Hurleston, nor Downman[15] who came with us received any Letters. I shall be glad to hear from you as soon as your business will permit. The air here is not so cold as in England, but it is very thin & searching. Nancy tells me she has heard the Empress of Russia[16] has taken ye picture of the Iron Forge, but does not like the Hermit. I hope by this time you have heard from Burdett & to some purpose. Make my affectionate Comp^ts. to Coltmans, Hopes, Denby, &c., &c., &c.

“I am sorry to hear you have been indisposed, and that my Sister is no better. Give my love to her. Make my Comp^ts. to Col. Heathcote, his Lady, &c., tell them I have seen Cap^t. Heathcote—he’s well. When I write again I hope we shall be settled, when you shall hear more particularly from me. It is now Carnival time at Rome, the Romans are all mad. M^r. Coke, our member’s son, has done me the honor of a visit. M^rs. Flint’s death alarmed me much, tho’ I thought before I left Derby she declined fast. M^rs. Clayton’s indisposition surprised me. What great alterations does a little time make in a small circle of acquaintance. Pray how does M^rs. Shelton, our good friend M^rs. Fox, I hope for their mutual happiness they both are well. Pray has Miss Fowler received the colours she gave me a commission for, my respects attend the family. Adieu. God be with all.

“I am with sincerity,

“Your loving Brother,

“J. WRIGHT.”

“Rome, 13th Ap, /74.

“For Miss Nancy Wright, at Mr. Hurleston’s in Cary Street, Lincoln’s Inn Fields, London, England.

“What havock, my dear Nancy, does a little time make in the small circle of one’s acquaintance, and how weak and tottering is the basis on which human happiness is founded. Poor M^rs. Van! I left her a happy wife, smiling amidst a joyous family, but now, by one fatal stroke, suddenly involved in bitter calamity, in deep affliction, a sad disconsolate widow. I hope to God M^r. Van has left her so circumstanced that she will feel no additional sorrow on that consideration. He was a good man, and has no doubt done what he could for his dear family. When you see them or write to them, give my love to them, and say I let fall many a sympathetic tear. While I am in this gloomy scene, let me enquire after the afflicted. Pray how does M^rs. Shelton, I fear from your expression she’s relapsed into her old malady. Our good friend, M^rs. Fox, amidst y^e calamities of this world, with her usual good sense & fortitude, I hope keeps up her spirits & is tolerably happy. How does our friends do at Chester, and to go a little farther, how is M^r and M^rs. Clayton, is he got well of his indisposition? Remember me to all my friends in terms agreeable to the esteem you know I hold them in.

“In your first letter you mention something of my Brother’s indisposition, nor is my Brother more particular about it, from which I judged it was slight; but a letter from Tate, and yours, wh^ch now lies before me, sadly convince me to the contrary. My suspicions made me uneasy, & the proof has made but little abatement in it; however, as it is now only the effect of his illness, I hope he will make daily advancements to health. I am pleased to hear Mr. Meynell has behaved so well to my Bro., and that Mr. Greasley—to whom our comp^ts.—is so ready to assist him & is kind. Tate will have a letter from Hurleston while in Town, but as he was not so civil as to ask me if I had any commands, or give me an opportunity of writing a word or two, I must desire you to tell him I shall be glad if he would look after the picture of the Hermit, see whether any accident has happened to it, and deliver it safe to Sotheby to keep till I return to England. M^r. Hurleston, to whose family give our respectful compliments, will inform Tate concerning the picture. I should write to Tate, but he must excuse me at present, for I have so much employment for my eyes (w^ch by the by are not so good as they have been) in the art I am in search of that I cannot afford to use ’em otherwise; hence the reason I have never wrote to my good friends Pether, Rawson, Capt. French, R. Tate, Turner, &c.

THE CONVENT OF ST. COSIMATO, NEAR VICOBARO, AND REMAINS OF THE CLAUDIAN AQUEDUCT, ON THE RIVER ARNO.

Note.—The writer is indebted to the proprietors of the “Art Journal” for the above, and several other illustrations in this work.]

“We are now fixed in very good apartments in the most healthful part of this city. The house stands upon the highest ground, and we have 109 stairs to ascend to them, which I fear will be very inconvenient in hot weather. Here are upwards of 40 English students, and many cavaliers, w^ch makes Rome a much dearer place than I expected.

“Rome answered my expectations at first, but my love & admiration of it increase daily. ’Tis a noble place to study in, and if so many years had not passed over my head I shou’d be tempted to stay longer.

“Tell Tate to take notice whether my picture[17] is hung advantageously in the Exhibition, and it may be sold in the catalogue, and whether mention is made that I am at Rome. I have set 80 guineas upon it, but I would take 70 rather than not sell it.”

“Rome, May 22, /74.

“Dear Sister,

“After waiting many a post-day with great impatience and anxiety, I at last rec^d a letter from my dear brother; from my sister and Coltman’s letters, I had reason to have expected one much sooner, w^ch made the delay intolerable, and filled me with many a doubt and many a fear, lest he should have relapsed into his grievous illness. I have felt much on y^e occasion, and the account he has given me of it (tho’ the danger I hope to God is over), is even now very alarming, from the reflection of what might have happened. You, my dear sister, being witness to the malady, must have suffered much: I sincerely wish him a speedy and perfect re-establishment of his health. Ill health is one of the greatest evils that can befall man in my opinion, the truth of w^ch both you and myself have had woeful experience, and I am sorry to hear you still labour under the affliction. Mine, thank God, is much better. This climate is certainly very salutary, and would, I think, perfectly restore me, was not my attention and application continually engaged with the amazing and stupendous remains of antiquity; and so numerous are they, that one can scarce move a foot but the relics of some stupendous works present themselves. When I consider the immense size of the whole, and the beauty of the parts, I cannot help reflecting how trifling and insignificant are the present operations of mankind; we are no better than infants, and ought to wear daiding strings. I have no time to enter into a particular detail of the fine things this country abounds with; let it suffice to tell you at present, that the artist finds here whatever may facilitate and improve his studies. The Antique remains of Art, as I said before, are wonderful. The natural scenes are beautiful and uncommon, with an atmosphere so pure and clear, that objects twenty miles distant seem not half the way.

“The women are in general handsome, they walk admirably, and have a gentility and ease about them peculiar to themselves. ’Tis not in the costliness of their habits that they outdo the English, but in the form and manner of wearing them. Vast quantity of fine hair, elegantly disposed of, with sometimes a very small cap, with jewels, &c., are the ornaments of their head; and when they go out, instead of putting on a hat, they wear black gauze, w^ch is gathered behind, and hangs from the upper and back part of the head over the face: of a beautiful woman or rather face, one sees so much as to make one wish to see more; of a plain one, it partly conceals the defects. They all wear long trains to their gowns, however ordinary the stuff, w^ch has a grand effect. The common people dress in the same manner, tho’ with worse materials, and from the mutual intercourse one with another—for in the summer months they sit in the streets and pursue their occupations—they have an easiness of deportment that is amazing; their dress, too, which is perfectly easy and picturesque, contributes much to it.

“J. WRIGHT.”

“Rome, Aug. 10th, /74.

“My Dear Brother,

“ ... The thermometers are now at 97 degrees. My wife received the letter you mention, and has answered it by post. As Tate has left Manchester for the present, desire he will write to his brother to wait upon Burdett for the pen-and-ink drawing he has of mine, which Mortimer gave me, & w^ch I would not lose on any account. I suppose I shall suffer much by him.”

“ ... We have had but little society here—none with the Italians—for the want of language cuts off all intercourse. Learning a new language at my time of life is a very arduous task, and would take up more of my time than I can spare. It is astonishing how little I have got of it; and yet, when I consider my time is entirely spent amongst the antique statues and paintings, the wonder ceases, for they speak not the language.”

“ ... Since we came here we have seen St. Peter’s & the Villa de Medicis, of w^ch I can say nothing; they beggar all description. They abound with objects for the artist’s contemplation. It is now Carnival time; the Romans seem to me all going mad. The gent^ln & ladies parade in their carriages up & down a long street whimsically dressed in masques, the most beautiful of w^ch was young Mr. Coke, our Member’s son. You know he is very handsome, and his dress, w^ch was chiefly white, made him appear charming indeed. The lower class walk up & down the streets practising their wit one upon another, consistently with the character they put on.

“J. WRIGHT.”

“Rome, Aug. 11.

“To Miss N. Wright.

“ ... A post or two ago I wrote to my Bro., by which letter you will learn my dear Nancy was safely delivered of a fine little wench, who is now seven weeks old, hearty and bonny. I watch with infinite pleasure its infant state, and slow advances to sensibility. I pray God it may prosper, it will make me happy—our mode of dressing it is so different to the Italian, it raises their admiration; for instead of the loose, light, and easy dress we have, they swaddle their children from head to foot, like so many Egyptian mummies, and have neither use of their hands nor feet; in hot weather it is filthy and intolerable, and I observe when the little creatures are let out of prison at night they discover a pleasure, which condemns the practice.

“J. WRIGHT.”

“Rome, August 14, /74.

“To Miss N. Wright.

“I am heartily sorry, my dear Nancy, so many uncouth circumstances have happen’d to embitter your life, and ruffle that bosom which I know is so well formed for peace and sweet repose. The world, you know, is made up of good and ill, and would exist not but for contrarieties; every individual that helps to compose the whole has his portion, and happy it is for him whose scale of good fortune makes light the adverse one. Minds there are, my Nancy, so fraught with fortitude, patience, and philosophy, as blunt the edge of ills, and bear sharp fortune with a degree of composure as is astonishing, but this, my love, is a power, a faculty of mind few can boast of; yet, I flatter not, when I say you possess these virtues in a desirable degree, and now (sorry I am for the occasion) call them forth, and soothe as much as may be, your troubled breast. Well I know how grievous the indisposition of your lover must be to you, yet consider a little time may make a great change in him; he’s young, and has naturally a good constitution, w^ch doubtless will soon overcome the present malady. May I prove a good prognosticator, and may you both be happy.

“My pictures are in great estimation here. I am shortly to be introduced to the Pope; it is thought he will honour me with his medal....

“J. WRIGHT.”

“Rome 11th Nov. /74.

“To Richard Wright.

“My Dear Brother,

“I am just returned from an Excursion to Naples w^ch I made partly to satisfy my curiosity for seeing one of the most wonderful parts of the world, and partly to improve my health impaired by the intense heats and too close application to study. There has not been known at Rome so hot a summer as the last these many years past. In the month of August the thermometer in the sun was 120 degrees, in y^e shade 96. At Florence the heat was so great as to affect many with a kind of delirium, and others it proved fatal to. I never before experienced such intolerable heat, so great was the perspiration occasioned by it, notwithstanding we have one of the most airy situations here, as made it necessary to sit still and constantly wipe off the sweat as it distilled, this relaxed the mind and body so much as to render them unfit for study and application. I am surprised Sir W^m. Meredith is not punctual in his payment, if he has not paid when you write to me again, tell me so, and I will write to him about it. I am glad my tenants like their closes, I hope their pains and expenses will be rewarded; give my comp^ts. to them. The 19^th Nov., the day you intend to celebrate your Nuptial, now draws very nigh—may health, long life, and every joyous circumstance of the marriage state attend you and yours is y^e sincere wish of yours, &c.

“Mrs. Wright begs to be remembered to you and your intended lady, with every good wish for your felicity. She is, thank God, well, and the little Roman is very bonny, and the admiration of all that see her.

“A day or two before the time appointed for my introduction to the Pope, he was taken with an indisposition, which in a short time robb’d him of his life and me of my honours.... Remember me with respect to all my friends; when you see Whitehurst,[18] tell him I wished for his company when on Mount Vesuvius, his thoughts would have center’d in the bowels of the mountain, mine skimmed over the surface only; there was a very considerable eruption at the time, of which I am going to make a picture. ’Tis the most wonderful sight in nature.

“Adieu, God be with you and my friends, to whom remember me with most cordial love,

“I am,

“Your Affectionate Brother,

“JO. WRIGHT.”

“Rome, May 4, /75.

“For Miss Wright, at Mr. Wright’s, Surgeon, Derby.

“Dear Sister,

“I thought I should have dated this letter from Florence, but I am like all other artists that come here, who much outstay their intended time, and at last leave the noble and renowned city (Rome) with reluctance. Notwithstanding, I have been very industrious, more so perhaps than has been consistent with my health, yet shall I leave undone many things that I covet much to have. I have staid a month longer than I intended, to have an answer from Mr. Baxter, the Russian Consul, concerning the picture I have painted of Mount Vesuvius in a great eruption, ’tis the grandest effect I ever painted. If the Empress is to have it, it must be shipped from Leghorn to St. Petersburg, and I must wait here to see it off. I wish she may take it, a 100 guineas will not be unacceptable, for it is not so cheap living abroad as generally represented; we pay for a floor consisting of 6 rooms at the rate of £40 a year. The tour of Italy is now become so fashionable, and the English cavaliers so profuse with their money, that the artists suffer for their prodigality.

“I should have finished this letter according to the date, but have again had inflamed eyes, and have been much indisposed with sore throats and colds. The weather this spring has been very awkward, always varying from hot to cold—sometimes harsh, dry winds, at other times violent rains; in short, the air of Rome is by no means good; and when I consider my health only, & the many indispositions I have had here, I am not sorry we are to leave on Sunday, 10th June. We go from hence to Florence, where I suppose we shall stay a month or six weeks, & then to Parma, where the most famous picture of Corregio is. If the picture answers to its character, I shall make a copy of it, it will improve me; and if I choose to sell it, it will be advantageous. When I have finished at Parma, we shall go to Venice to study Titian’s colouring. These engagements will detain me in Italy the hot weather, and to return to England in the cold will not be advisable for me. If I can get over the Alps before the snow falls, and pass the winter advantageously at Bordeaux, in the south of France, it will, I believe, be the best scheme for my health. It has been said, if I chose to paint portraits at Bordeaux I might be employed all the winter.

“Give my comp^ts. to my good friend Coltman (to whom I wrote some 7 or 8 weeks ago), and tell him of my intention. But I should not choose to go there on an uncertainty, as it is not a place of art. Perhaps he will write to some of his friends there to know what encouragement I might meet with there for a couple of months. Make comp^ts. to Mrs. Fowler & to her most ingenuous & agreeable daughter—in a word, to all friends whom I have in my heart, but cannot particularize.

“Dear little Nancy is a fine little wench. An Italian gentⁿ who saw her in the street sometime ago said, what a fine girl she was, but was absurd enough to say at the same time, it was a pity the English shou’d have fine children, they used’em so cruelly, mine goes almost naked. The Italians load theirs with dress.

“Y^r. affectionate Bro.,

“J. WRIGHT.”

“Parma, July 24th, 1775.

“Dear Sir,

“In conformity to your request I am sat down to give you my opinion of the famous picture of Correggio, of which how shall I dare speak, but in the current terms of exalted praise. You know the world’s opinion of it, & if mine does not exactly coincide with it, it is not from any affectation of being singular in my opinion, but the result of such judgment as I have, divested of every thing that has been said, for or against it.

“As to the composition & light & shadow, you are as well acquainted as myself from y^e copies you have seen. The picture is beautifully coloured, has surprising brilliancy, without whiteness, and is very harmonious. The parts are very round and forcibly painted, but is laboured as to beget tameness—I had almost said woodenness in many parts. The faces are wonderfully soft, but they want those beautiful turns & spirited touches we see in nature, & which keeps high-finished pictures from looking heavy. The flesh is finely coloured, is very clear, and has a sanguine appearance that is very pleasing, but withal not so true as Titian’s Venus. The draperies are neither very finely set nor painted, nor had Correggio the finest eye for shapes; yet after all the whole together is wonderfully sweet, & one cannot help being charmed with the effect. Romney only painted the Magdalen’s head, the picture answered not his expectations; and Mr. Parry left his quite unfinished, as the picture did not appear so fine to him a second time as it did the first. Mr. Copley has been hard at it five weeks, & says he will spend twice that time more over it, but he will get it like the original. It is with infinite labour he produces what he does, but that is entre nous. I have left my outline, with two English three-quarter cloths, which you seemed to admire, with the Custodio of the academy, directed for you.

“I am quite tired of seeing pictures, the general run of them are so indifferent—even Venice answered not my expectation. Titian’s works are so changed and damaged, & when Mr. Romney said he was not to be seen out of Venice, he meant in grand composition & expression.

“In the Sacristy of the Salute are three ceilings, the one of David & Goliath, Abraham offering his son, & the third I don’t know y^e subject; these are finely painted & designed in a Mic’ Angelo like style. Romney did not copy the St. John; a disaster happened which you will hear of at Venice, & which I have not now time to relate; he painted a half-length of Montague and two or three heads, which he will finish in England. Mr. Jenkins was so obliging to ship my cases for me. I had desired poor Mr. Stevens to pay Mr. Jenkins any charge there might be upon them; I wish you would be kind enough to settle it for me, I will repay you when I have the pleasure to see you in England. If you will indulge me with a line directed to me at Germany—Girardot & Co., Bankers in Parma—I shall be very happy to hear from you.

“Mrs. Downman and Mrs. Wright send their best compliments to you, as does little Pop her ‘Ta.’

“I am, D^r Sir,

“Your friend,

“J^o. WRIGHT.”

“A Monsieur Humphrey[19] Pittore Anglois,

“a Mon^sr Varrini,

“Firenze, N.”

Extracts from Wright’s Journal During His Travels in Italy, in 1774–5.

“Naples.—St. Martino Del Monte. In a Chapel belonging to the Castle of St. Elmo is the famous picture of Spanioletto of a Dead Christ; this picture is esteemed his best. Mr. Forrester bought one of the same in Rome, which is now in the possession of——, and thought equally good. ’Tis well painted and coloured, has great expression and force. In the Church in compartments over the arches are single figures, painted also by Spanioletto, some of them very fine, indeed. I admire his manner, ’tis forcible and natural. This Church of St. Martino Del Monte belongs to the order of Carthusians, which is the richest of all orders, indeed, the riches of this Church prove it. Such elegant things of gold and silver, set with all kinds of precious stones, I never before beheld. In the King’s palace on Capo Del Monte is a very large collection of Pictures, Medals, Cameos, and Intaglios. The famous picture of Titian of Danaë in the shower of gold, is wonderfully painted, but time and varnishes have robbed it of its beautiful colouring, it is now too yellow and spotty. The action is fine and well adapted to the subject, it is better drawn than any I have seen of him.

“In the palace on Capo Del Monte is perhaps the largest piece of Rock Crystal in the world, it is of an irregular shape, one way it is upwards of a yard in diameter, the other about a yard, ’tis very transparent. Here are a great number of Cameos, both single heads and compositions wonderfully fine. Here also is the finest and largest Cameo I ever saw, it is an oval figure, and upwards of 6 inches the longest way. An Holy family by Raphael, small figures very highly finished, the picture very capital. Lord Scarsdale has a copy of it. That sweet little Magdalen lying along on the ground, by Corregio, is here also, as are many others by the same Master.

“In the King of Naples’ palace is a very capital picture of a Holy family, by Raphael, it is finely composed, the Virgin is lovely, and the expression of Jesus and St. John wonderful. It is in his best manner and in good preservation, the Cartoon of it is at the King’s palace on Capo Monte, the size of the picture. At the same place is a very fine portrait of a Pope, by Titian, he is sitting in a chair. It is charmingly painted, with a full pencil, and as far as I can judge the effect is produced without glazing.

“At the palace are two fine oval pictures of Sal. Rosa, the subjects, Banditti, very highly finished, and painted with great force and spirit. A picture of Boys, very good, by Poussin.

“The City of Pompeio, 15 miles from Naples, which was overwhelmed by the eruption of Vesuvius about fifteen hundred years ago (at which Pliny, the elder, lost his life), and which was discovered 15 years ago, seems to me to have been small, at least the houses, rooms, and the street which remain indicate. They have, by the king’s order, dug a good deal of the city, but much remains inveloped in a loose kind of Lava. Parts of buildings intire, with the ornamental paintings on the walls perfect, in style not much unlike some Chinese painting I have seen, together with the Sculls & bones of those that perished there, make a very interesting scene. There is to be seen in one of the rooms in which is fixed a stone vessel for washing in, an intire skeleton of a woman who perished at her work. Whatever is found here, curious or valuable, is deposited in the King’s Museum.

“Herculaneum is at the foot of Vesuvius on which Portici now stands, is 6 miles from Naples, was destroyed probably by the same eruption as Pompeio, the Lava which overwhelmned it is much more hard and compact than that at Pompeio, owing perhaps to its vicinity to the Mountain. The theatre is the only part which remains open, and that is partially so, that one has but little idea of the construction of the whole. They have dug much at Herculaneum and found many paintings & other antiquities which are at the Museum. As Portici stands upon Herculaneum they dug but little at a time, & when they got out the valuables filled up the parts again, that the City of Portici might not be endangered.

“The Museum is the most interesting place I have seen, as it is filled with the ornamental and useful utensils of Herculaneum and Pompeio. Glad I am to find from the observations I have made in these places, that the present age is not so degenerated, either in size or morals as some imagine. The sculls of the old Romans were the size of the present, and from the Chirurgical instruments which are in the Museum, they were liable to the same disorders, indeed there is no doubt but Nature was always the same & will be so ad infinitum. But to return to the contents of the Museum. There are many Bronze heads, one of Seneca, very capital, the rest much inferior. The figures not of the first-class. There is a Satyr lying on a skin of wine, snapping his thumb & finger, the expression very good; also two wrestlers in very fine actions. A sitting figure of a Mercury, sweet attitude. Sculpture good....

“Left Rome the 10th of June, 1775, came to Florence on the 19th, by the way of Narni, Terni, Perugio, &c., 180 miles; part of it a most delightful and picturesque country, of which Claudio has availed himself much. Florence is a pleasant City, the Arno with its Bridges add greatly to its beauty. The one consisting of 3 arches only, is very beautiful. There are a few fine things in Art. The Venus, the Boxers, the little Apollo, the Dancing Faun & the Grinder. Titian’s Venus, Florence, did not answer my expectation; when one has seen Rome, other places suffer by the comparison. Left Florence 4th July, passed over the Appenines, a very wild country, the surface of which is the most broken and irregular I ever saw. Came to Bologna, which is 66 miles, on the 6th. Bologna is a large & well-built City. Its piazzas are very spacious & beautiful, and not less convenient at all times of the year. In the winter it defends you from wet, in summer from heat, which is very great here. At St Agnatis is a picture, by Domenichino, of the murder of that Saint, not good. The Expression weak, the lights of bad shades & not well combined. At the Sampiere Palace is a picture of Guido of St. Peter & St. Paul in his first manner, very forcibly painted. St. Cæcilia, by Raphael, in St. Iovani in Monte, is much damaged and not so fine as I expected to have found it, the figure of St. Paul very fine. A large picture of Ludivico Caracci & one of the woman taken in adultery, some parts of it very good. The birth of St. John, by ditto, very indifferent. At the Carthusian Convent, which is a very elegant one, is the famous picture of Lud. Car. of St. John the Baptist, the character & expression of St. John’s head seems to have been very fine, the other parts of the picture not very good, the whole is much damaged. At the same Convent is a good picture of Guercino. Left Bologna on the 9th and embarked for Venice, had a very fatiguing passage thro’ the Canals, arrived at Venice the 12th, was highly entertained with its first appearance, a City standing in the sea. The chief works in painting are by Titian, Paul Veronese and Tintoret. The large picture by Paul Ver. of the marriage in Canaan has an ill effect altogether, it is a confused multitude. The personages are chiefly portraits, and he has introduced Titian and other Artists his friends as musicians in the centre of the picture; there are in it some heads well painted. In St. Maria Maggiore is the famous picture of St. John in the Wilderness, by Titian, this picture, like most of Titian’s, is grown very brown & dark, it seems to have been finely painted in a broad manner; the drawing is good, as is the action, & the head has a good character. The picture by Do. of the martyrdom of St. Peter, in St. Giovanni e paolo is much damaged, has been a very fine picture, the actions & expressions very natural & spirited. Salute, 3 compartments in the ceiling, by Titian, of David & Goliah, Abraham offering his Son Isaac, and another which I don’t know the subject; all these are finely painted and designed in a Mic. Angelo like style. Church of the Ferari, two Altar pieces by Titian, the one on wood, of the assumption of the Virgin, finely painted, but the colouring is become quite brown, ’tis composed in a sublime manner. St. Marciliano, in the Sacristy Tobia & the Angel by Titian, has been a fine picture, but is much damaged, the Angel fine character. School of St. Roch, on the Stairs is a picture of the Annunciation, by Titian; sweet idea of the Virgin. Jesuits Church, St. Laurence’s martyrdom, by Titian, the figure of the Saint is very grand, the picture is become very dark, and I believe never had the effect of fire. Saw in Venice many pictures of Paul Veronese & Tintoret. Left Venice the 19th, embarked for Padua, had a very agreeable passage by water, the country is well cultivated and populous, along the sides of the Canals and river are a great number of handsome houses, which for miles have the effect of one town. We arrived at Padua, which is 27 miles from Venice, about 7 o’clock the same evening. In the sacristy of the Duomo at Padua is a very fine Madonna & Child, by Titian, sweetly painted, & in good preservation. The head of the Virgin is lovely, & the child is beautifully coloured & painted with more than usual care. Saw several Buildings by Palladio, in very good taste. In the antique Gothic Church, anciently called Maria Maggiore, now St. Antonio, here lies the body of the great Saint in a very fine Altar, ’tis a fine Church with three or four Domes. The great Saloon is a hundred & ten paces long, & eighty wide, the roof is of wood of an Eliptical form. There are great numbers of Giotto’s pictures here. The Room has a noble effect. Left Padua the 20th, at Mezzo Giorno set off for Vicenza, arrived there at night, which is eighteen miles, the next morning set off for Verona, which is 30 miles, where we arrived at night. At Verona is an Amphitheatre, not comparable to that of Rome, but more perfect, having the seats of such part of the building as remains entire. In the center of it is erected a wooden Theatre where they act by daylight. In the Church of St. George is a picture of the martyrdom of that St., by Paulo Veronese, ’tis in good condition, but slightly painted, & in other respects nothing extraordinary. The next morning left Verona & arrived at Mantua at night, which is 25 miles, there’s an Academy for Arts & Sciences lately built, elegant & upon a good plan. Left Mantua on Sunday, 23rd, got to Parma on Monday morning. Here is the famous picture of Correggio. In St. Sepulchre is a Holy family, by Correggio, but so indifferent I could scarce believe it his. The figure of Joseph is as poorly drawn and the drapery as ill set as anything I ever saw, in short there’s nothing good in the picture, nor do I like Correggio in his great works; his figures are but ill drawn, the heads appear large and want character. Left Parma on Thursday morning, got to Piacentia that night, which is 36 miles, it was here that Hannibal, after having passed the Alps for the first time engaged the Romans. Left Piacentia the next morning. Got that night to Avougara, which is 32 miles. The next, 29th July, dined at Allessandria. On the 30th at noon got to Turin. ’Tis curious to be crying out with heat at the foot of the Alps, whose tops are covered with snow. In the King’s palace at Turino is a very large Collection of pictures, many of which are very fine. A man in armour on horseback, as large as life, by Vandicke, very fine. The armour is of dark rich colour, full of beautiful reflections, & the lights most spiritedly touched. By Ditto is a smallish picture of a Madona & Child, the heads very sweet, but the Body & legs of the Child, not fine. A fine Head by Rembrant. Here are a great number of Gerard Dow, very fine, among which is a composition of four or five figures of the Doctor examining his patients. This picture is so wonderfully clear & brilliantly coloured, so astonishingly finished, that it seems to me to be perfection in that style of painting. Several charming pictures of Da. Teniers of Boors, and one piece of witchcraft or Incantation, all delightfully painted with such sober clearness and touched with such truth and Spirit, that one’s pleased & surprized. I forgot to mention Van Dick’s picture of King Charles’ 3 children, which is a capital one, the youngest has great relief without shadow, and such a sweet childish expression as I never before saw. The composition is simple, unaffected, & fine, so is the light & shadow, but the keeping is strong. The whole is very harmonious and has great effect. There is a reddish brown dog wonderfully painted, position fine, & accords charmingly with the fine red drapery of the Boy by whom he stands. This drapery is finely painted the light lies on the body & hips, & graduates very sensibly downwards. The white sattin of the middle girl is much kept down, the little girl is in blue sattin, with gauze linen; several Landscapes by Botts & Berghem, very fine. A small historical picture, by Rembrant, an old head in it, of a most divine Character. Comondear Genevi Genevos at Turin, has a very good Collection of pictures, amongst which was a very fine half-length of a St., by Guido, in his first manner, it is well finished, at the same time spiritedly painted. The head has a fine character. Left Turin, which is one of the most uniform & best built Cities I have ever been in, on the first of August. Crossed the Alps in our way to Lyons, this country is truly sublime. At the foot of Mount Sennis we left our Carriages and took Mules to go over the mountain. Mrs. Wright with little Pop were carried in a chair by six men. We were three hours & half or 4 ascending the mountain, about two thirds of the way is pretty large plain, on which is a Lake about two miles over, here the sight was tremendous, the mountains still rising to an incredible height, hiding their lofty heads in the Clouds, which the winds now & then dissipating shewed partially their hoary towering craggy tops, here it was very cold, and so it was all through Savoy. This Country is mountainous & some parts picturesque. From thence to Lyons is a flat country.”

There is no further account of Wright’s proceedings after crossing the Alps on the 1st of August, 1775. Wright, his wife, and child, arrived at his brother Richard’s, at Derby, on September 26th, 1775.

The little Anna Romana[20] was, with her cousin[21] (who was a month old on that day), christened at St. Michael’s Church, each brother being godfather to the other’s child, and their two sisters being godmothers to both. Little “Pop” was a lively, active child, and did not approve of the proceedings, as she slapped the clergyman in the face.

My own opinion as to the effect of Wright’s visit to Italy is that it increased his knowledge, widened his views of art, and enlarged his style; but this is a very different one from that expressed by the authors of “A Century of Painters.” As this book has a position of considerable authority, I think it right to state my total disagreement with what appears to me the unjust opinion contained in the following extract from Messrs. Redgrave’s work:—

“In 1773 he married, and took that opportunity to visit Italy, where he remained two years, studying, it is said, the works of the great masters, especially those of Michael Angelo, from which he made many copies on a large scale. But however much the works in the Sistine Chapel may have impressed him at the time, they had little influence on his subsequent practice.”

The sketches here alluded to are thirty-six in number, bound in vellum, with “Joseph Wright, Rome, 1774,” written on the side by himself. The book measures 20 × 13 inches; the drawings are outlined by the pen, and broad washes of Indian ink effect the light and shade of the drapery. They are done in a bold and masterly manner, and convey a very good impression of the grandeur of the originals. There is a family tradition that Wright injured his health by over-work when in Rome, and that, for greater ease when working these drawings, he lay upon his back on the cold floor of the Sistine Chapel, and contracted an affection of the liver, which, as years went on, caused him much pain, and prevented him from following his profession for months at a time. On comparing these sketches with various of his pictures, the influence of Michael Angelo upon Wright, especially in design, is evident; and in other respects—such as his choice of subjects, and method of handling—his art changed very much after his return from Italy.

A DRAWING ACADEMY.

CONVERSATION PIECE.

Three Children of Richard Arkwright, Elizabeth (afterwards married to Francis Hurt), John, and Joseph.

Original picture in possession of Mr. F. C. Arkwright, Willersley, Cromford, Derbyshire.

CHAPTER V.

The Bishop and the Painter.—Settles at Bath.—Letter to his Sister “Nancy.”—Prices of Portraits.—Wright’s Method of Making up his Palette.—Returns to Derby.—Lodges with the Eleys.—Removes to St. Helen’s.—Wilson and Wright.—Anecdotes.

Soon after Wright’s return from Italy, an Irish Bishop[22] bespoke a large picture of Vesuvius, and on passing through Derby called at his painting-rooms to look at it. The mountain and burning lava were nearly finished, but the foreground being only laid in, there wanted the bold dark parts to give effect to the brilliant lights. On seeing it, the Bishop literally addressed him in the language used by Hayley in the following lines, and in consequence Wright would not allow him to have the picture, nor would he ever sell it. It hung in his dining-room during his life-time, and is still in the possession of a member of his family. In the MS. list of Wright’s paintings it is entered “Vesuvius for Bp. Derry, £105,” but the indignant artist has dashed his pen through the entry.

THE BISHOP AND THE PAINTER.

A TRUE STORY.

A Bishop who wished to be rank’d with a few

Who are cried up by fashion as men of vertu,

Most wisely conjectur’d ’twould aid his desire

To purchase from Wright a picture of fire;

But his spirit more mean than his gusto was nice,

Tried a singular trick for reducing the price.

And his bargain to make either cheaper or void,

He thus preach’d to the artist his pride had employed—

“Indeed, Mr. Wright, you mistake or neglect

“The true tint of fire and its proper effect;

“I wonder you think of employing your hand

“On a branch of your art that you don’t understand.”

“Hold, meanness and pride, tho’ you’re mantled in lawn,

Ye shall meet due contempt, and your masque be withdrawn,

You never shall wound, unrepaid with disgrace,

A Genius so modest, with insult so base.

You black dilletante I hence learn to your shame,

No mortal can give more expression to flame!

If in flashes more brilliant your eyes wish to dwell,

Your Lordship must go for your picture to ——:

From the plan I propose, tho’ not much to your heart,

I think there might rise some advantage to art;

Your Lordship by going those flames to inspect,

Might learn more of fire and its proper effect,

And the devil, who often creates himself mirth

By caricaturing odd beings from earth,

Would find proper hints for his pencil to sketch

In a mitre bestow’d on so sordid a wretch.”

Hayley intended these lines to be inserted in the newspapers, and sent them to Wright for his approbation, who thought them so very severe that he objected to their being published, and only showed them to a few of his most intimate friends. The original copy is now in the possession of the writer.

Gainsborough having left Bath in 1774, it was thought by Wright that there would be a good opening for a portrait painter in that city, and accordingly in December of that year he left Derby with his family. At Bath,[23] however, he met with but little patronage, as we learn from the following extracts from letters:—

“Bath, Jan. 15, 1776.

“Since I wrote the within, Lady Ferrers has brought the Dutchess of Cumberland to see my pictures, w^ch her Highness much approves of. Thro’ Lady Ferrers’ recommendation her Highness will sit to me for a full-length; a good beginning this, tho’ a late one, and I hope will prove successful. I am glad the conclusion of my letter is better than the beginning.

“JO. WRIGHT.”

“Bath, 9th February, 1776.

“I have now past one season, the biggest of the two, without any advantage. The Duchess of Cumberland is the only sitter I have had, and her order for a full-length dwindled to a head only, which has cost me so much anxiety, that I had rather have been without it; the great people are so fantastical and whining, they create a world of trouble, tho’ I have but the same fate as S^r Jos. Reynolds, who has painted two pictures of her Highness, and neither please. I am confident I have some enemies in this place, who propagate a report that I paint fire-pieces admirably, but they never heard of my painting portraits; such a report as this was mentioned to her Royal Highness, after she had given me the commission for a full-length, as I was told by one of her domestics.

“This is a scheme of some artists here (who, to our shame be it said, seldom behave liberally to one another) to work me out, and certainly it proves at present very injurious to me, and I know not whether it will be worth my while (considering how little business is done here, and has been done these four or five years past) to stay to confute ’em. I have heard from London, and by several gentlemen here, that the want of business was the reason of Gainsborough’s leaving Bath. Wou’d I had but known this sooner, for I much repent coming here. The want of encouragement of the Arts, I fear, is not only felt here but in Town also, and artists are become so numerous that the share which falls to each is small. I wish I had tried London first, and if it had not suited me, I would then have retired to my native place, where, tho’ upon smaller gains, I could have lived free from the strife and envy of illiberal and mean-spirited artists. What I have seen since I have been here has so wounded my feelings, so disturbed my peace, as to injure my health, but I will endeavour to shake it off.

“JO. WRIGHT.”

“Bath, Ap. 15th, 76.

“My dear Brother,

“I have sent my two pictures[24] to the Exhibition, where I hope they will meet with as much approbation as they have here, and better success with regard to the sale of them, or I shall be run aground with this year’s expenses. I have only painted 4 heads yet; the prejudice still runs high against me. I am now painting a half-length of Dr. Wilson & his adopted daughter, Miss Macauley; this is for reputation only, but you must not say so. The Doctor is a very popular man, and is fighting in my cause stoutly, for he thinks me ill-treated; he wishes he had known of my being in Bath five or six months ago, he could have been of use to me before now, and I wonder my friend Coltman (if he knew) did not mention him to me; indeed, if I stay I shall have need of all the friends I can make. I know not what to think of it, sometimes revenge spirits me up to stay and endeavour to triumph over my enemies; at other times more peaceful reflections take place, & I am for retiring to pursue my old walk of painting. I have some intention of coming to Derby, with your leave, to paint the sea engagement, at the time when Bath is deserted by almost all, but will say more of this in my next.

“JO. WRIGHT.”

“Bath, Ap. 30th, 1776.

“To Mr. Wright, Surgeon, Derby.

“ ... From the month of June till the latter end of September there is no company in Bath. I intend to follow the fashion this year and go to Derby, & it will give me an opportunity (if the old room is disengaged) of painting the sea-piece, or some blacksmith’s shop which will bring company to my rooms next season, for there is some advantage arising from their seeing only; there has been given at the doors £22 already, w^ch more than pays a qrs. rent.

“ ... Little Pop is well, talks a little English, a little Italian, and a little French.

“JO. WRIGHT.”

“Bath, May 8th, 1776.

“Dr. Brother,

“The season is almost over here, and there is but little company in town, therefore have but little reason to expect any more sitters. Have in hand a small full-length of Mr. Miles, brother to Capt. Miles I painted at Derby some time ago. He is now in Town, but will be here, I expect, in a day or two to have his picture finished; a day will compleat it, and if I have nothing more to do, shall leave Bath in a fortnight or thereabout. I shall go round by London if the Exhibitions are open at the time....

THE ANNUAL GIRANDOLO AT THE CASTLE OF ST. ANGELO, ROME.

(From the Original Sketch.)

“There has been offered for my picture of the Girandolo a 100 guineas, but the man who is appointed in the room for the transacting the business knows neither his name, place of abode, or anything about him, thro’ which carelessness I shall in all probability lose the selling of my picture. If I do, I will never exhibit with them more.

“I am yours,

“JO. WRIGHT.”

“Mr. Wright, Surgeon, Derby.

“Bath, March 9th, 1777.

“Dear Brother,

“From the cast of that part of your letter w^ch relates to these rascally watermen, I plainly perceive they do not intend making me restitution. I think if M^r. Fallows would write them a letter telling them that I should not trouble myself any farther about the matter, but had desired him to inform ’em of the damage done me, w^ch if they did not immediately redress, to prosecute them, and advertize the affair in such papers as may most affect them. The threatening them with a prosecution, tho’ I don’t intend to throw away more money, may be of use, but advertize them I certainly will. Give my compliments to M^r. Fallows and tell him, as I spent a day over his picture, he will, I doubt not, do me this favour. The carrier that brought my things from Bristol is esteemed an honest man, he was present when the goods were weighed, that their weight was 3 cwt., what they were at other places he has no account. I am confident the theft had been committed some time ere the things were delivered, from this circumstance: I had occasion to pack in the hamper a piece of armour, w^ch I had some trouble with on account of the fulness of the hamper, and could manage it no way but by putting it with the concave side upwards down by the side of the hamper. This I well remember, and M^r. Haden will too. When I unpacked the hamper the armour was in the middle of it, with the concave side upwards, and the hay where it lay fresh and green, an appearance you must have observed when anything has lain long and undisturbed upon hay. From hence, I doubt not, the mischief was done in the beginning of the voyage. But it matters not, I shall look to those people to whom the goods were first committed, let them seek further, pray don’t trifle with them, that the affair may be made public while recent. The account of the things taken, w^ch upon proving the bottles, I find very different to that I sent before.

Eight bottles of old rum, at 13s. per gallon	1	6	0
Four do. Brandy, do.	0	13	0
Two of Shrub	0	7	6
Ten bottles of wine	0	16	8
Twenty-three bottles	0	4	9½
A Cheese 17 lbs. weight, at 4d. per lb.	0	5	8
Basket for ditto	0	0	4
	3	13	11½

“N.B.—One of my bottles was returned unto y^e hamper filled with water. Sent from Derby 146 bottles, received at Bath 22 bottles.

“You have heard the melancholy account of my good friend Hurleston’s death. ’Tis a loss indeed to me, he was ever ready to serve me. I never heard his Asthmatic complaint was so bad as to endanger his life, it used in the thick winter weather to be troublesome; perhaps the fall he got last year, of w^ch he complained at your house, hastened his end. Peace to his soul. Since M^r. Ward is dead, we are happy Miss Ward did not regard our importuning her to stay here, pray make our compliments to her and all friends. My little boy and girl are well. Jo is about his teeth and cross at times. We expect to see his fourth every day. He has drove about his creed, sometimes furiously, & can walk 4 or 5 yards with a slack dade. He grows very strong & handsome. His nurse, to whom give our service, would be proud to see him. Pop is an engaging little girl, everybody that knows her loves her.... I have a sitter, the first this year, but, thank heavens, I have other employment w^ch I will tell you of in my next.

“I am yours,

“JO. WRIGHT.”

There is no date or address to the following playful letter from Wright to his sister Nancy, but judging from its contents, it was written from Bath about 1775–6, as the second picture of the “Smith’s Shop” was exhibited in the former year:—

“‘What can this lazy, idle, good-for-nothing brother of mine be about?’ ‘Why, writing to you, if you’ll only be civil, and not abuse me at this rate. I am not idle, I assure you, nor lazy, nor good-for-nothing, tho’ I am sorry to say it myself; but that is because here is no one to say it for me, or I assure you, if I thought it worth convincing you, I could find vouchers enough. Are you satisfied, Miss Nancy? am I good for nothing or something?’ ‘Oh! quite satisfied my dear Bro’ that you are good for something—nay, for that matter very good.’ ‘Well, now, that is prettily said, and as becomes you; faith, you wou’d always talk in that manner, if you knew what charms it diffused o’er your countenance. I think that prettily said, too, & now I am even with you. I hate compliments; but to dispel a lady’s frowns, & get out of the gloom, I would swear, lie, compliment, or do anything. Now we have shook hands, & are upon a good footing again, I must tell you I have had very good health of late, & have made too much use of it; have worked very hard, have finished my Smith’s Shop—’tis as good or better than the last. Have upon the Stocks the young Nobleman, whose avarice caused him to break open the Tomb of his ancestors, in hopes of finding vast treasures, from an inscription there was upon it—“In this tomb is a greater treasure than Crœsus possessed.” This, I think, will be a favourite picture. Burdett’s tour to France proves highly advantageous to him. He is to etch plates for Wedgewood & Bentley to be printed upon their ware—an employ that in all probability will last him for life—by which he will or may make four or six hundred a year. I know your honest heart will make your pulse beat high at the news.’”