John Thomas Smith

“ Nollekens had been kind to him as a boy, and had remained his friend through life. He was a widower, childless, and enormously rich. No artist had known better how to make art profitable. His purchases of antiques in Rome had been most prudent; so, also, his investments. As a sculptor of portrait busts he stood alone, and in his long working life [xxi] he had “chopped out” the heads of many hundreds of wealthy and illustrious persons. ”

“ Nollekens, in second-hand finery, beating down the price of a new broom or a chicken with cunning affability, or the sculptor pocketing nutmegs at the Royal Academy dinners to be added to the Mortimer Street larder. If you protest against these and worse freedoms, you are grateful for the hundred little touches of locality and custom that accompany them. The daily life of the eighteenth century is before you: the parlour, the street, the print shop.
Of Smith’s reign in the Print Room not much [xxii] can be gathered. ”

“ One day, Mr. Charles Townley, the collector of the Townley marbles, noticed him, and “pouched” him half a guinea to purchase paper and chalk. Dr. Johnson, who was sitting for his bust, once looked at the boy’s drawings, and, laying his hand heavily on his head, croaked, “Very well, very well.” On a February day in 1779, that wag Johnny Taylor, who was to be Smith’s life-long friend, put his head in at the studio door and shouted the news that Garrick’s funeral had just left Adelphi Terrace for Westminster Abbey. ”

“ Why not, as talent is not wanting, prove to the collectors that England has more Woolletts than one? It is true there are several at present engaged in engraving plates from the fine old pictures in the National Gallery, who have my cordial good wishes for their success; yet I trust that, after that task is at an end, they will, with a considerable augmentation to their numbers, pay a becoming respect so justly due to modern painters of their own country, whose works in historical subjects, as well as portraits and landscape, extinguish unquestionably those of foreign powers ”

“ In October this year the venerable Mrs. Garrick departed this life, when seated in her armchair in the front drawing-room of her house in the Adelphi. She had ordered her maid-servants to place two or three gowns upon chairs, to determine in which she would appear at Drury Lane Theatre that evening, it being a private view of Mr. Elliston’s improvements for the season. Perhaps no lady in public and private life held a more unexceptionable character. ”

“ In full happiness of foreign and domestic fame, admired by the expert in art, and by the learned in science, courted by the great, caressed by sovereign powers, and celebrated by distinguished poets, his native humility, modesty, and candour never forsook him, even on surprise or provocation, nor was the least degree of arrogance or assumption visible to the most scrutinising eye, in any part of his conduct or discourse. ”

“ Her abilities had not been dimmed by those of Garrick, Mrs. Siddons, and Miss Farren, and her private life was blameless. The resemblance she bore to Lady Sarah Lennox was such that George III., seeing her act late in her career, exclaimed to his queen, “She is like Lady Sarah still.” There is a fine story of her parting with Garrick. On June 8, 1776, his last appearance but one, when he was playing Lear to her Cordelia, Garrick said to her with a sigh: “Ah, Bess! this is the last time of my being your father; you must now look out for someone else to adopt you.” ”

“ The danger of a mob assembling outside a London bun-shop on Good Friday morning has passed away. Mr. Henry Attwell sadly observed, in Notes and Queries, April 28, 1900, that “the last Good Friday of the nineteenth century” found the hot-cross bun degenerated from a spiced bun (“the spice recalling to the few who cared about its religious suggestiveness the embalming of our Lord”) into a vulgarised currant bun marked with deep indentures for convenience of division, instead of the old slight cross in which there was a touch of mystery. ”

“ In the summer of this year, the Earl of Pembroke allowed me to copy a picture at Wilton, painted by the celebrated architect, Inigo Jones. It is a view of Covent Garden in its original state, when there was a tree in the middle. The skill with which he has treated the effect is admirable.
There is also, in that superb mansion, a companion picture of Lincoln’s Inn Fields by the same artist. ”

“ Such historians are often found in life, mighty recollectors before the Lord, who [xii] talk books which no one can inspire them to write. And it is well that when Smith did write he took small pains to be fine or literary. Writing as a man, and not as the scribes, he produced in his Nollekens and his Times one of the most entertaining harum-scarum biographies ever seen, and in his Book for a Rainy Day, or Recollections of the Events of the Years 1766-1833, a budget of memories which has perhaps been less read and more quoted than any book of its kind. ”

“ He allowed me the use of a horse, to enable me more readily to visit the beauties of Windsor Park and Forest, the scenery of which so attracted and delighted me, that during one month’s stay I made nearly one hundred studies. The two Sandbys were visitors to my patron; and to Thomas, then Deputy Ranger of Windsor Great Park, a situation given to him by his Royal Highness William, Duke of Cumberland (Thomas Sandby had been engineer draughtsman to his Royal Highness at the battle of Culloden) , I am indebted for my knowledge of lineal perspective. ”

“ Smith’s first master, John Keyse Sherwin, had been a pupil of Bartolozzi. In his studio in St. James’s Street, he was patronised by the Duchesses of Devonshire and Rutland, Lady Jersey, and other ladies of rank, many of whom were eager to figure in his drawing of “The Finding of Moses,” in which the Princess Royal appeared as Pharaoh’s daughter. He was a wonderfully skilful portrait artist: “I have often seen him,” says Smith, “begin at the toe, draw upwards, and complete it at the top of the head in a most correct and masterly manner. ”

“ Boswell says: “Garrick’s funeral was talked of as extravagantly expensive, but Dr. Johnson, from his dislike to exaggeration, would not allow that it was distinguished by an extraordinary pomp. ‘Were there not six horses to each coach?’ said Mrs. Burney. Johnson: ‘Madam, there were no more six horses than six phœnixes.’” On this Croker notes: “There certainly were, and Johnson himself went in one of the coach and six.” Richard Cumberland saw Johnson standing beside the grave, at the foot of Shakespeare’s statue, bathed in tears. ”

“ I wish that rogue Burke was here.’
“I am sorry, my dear Sir, that my memory is not better, so as to give you verbatim what passed. I feel like a person giving evidence in a court, trammelled by the apprehension of saying too much, or, as a late friend of mine said, ‘remembering a great many circumstances that never happened;’ and I only write this to show my readiness to comply with any request you could possibly make of your obliged friend,
“M. Phillips.” ”

“ Mr. Esdaile entered the library during our admiration of its taste of design and truly pleasing effect.
The walls are painted with a subdued red, a colour considered by most artists best calculated to relieve pictures, particularly those with broad gold frames. The first picture which attracted our notice was the upper one of two upon the easel nearest the window. The subject is a Virgin and Child, attributed to Albert Dürer, though I must own the style is so elegantly sweet, with so little of the German manner, that I should have considered it the work of a high Italian master. ”

“ He said, on looking at Northcote’s painting of the angel meeting Balaam and his ass: “Northcote, you are an angel at an ass, but an ass at an angel.” Once, at the table of Mr. Coutts, the banker, Mrs. Coutts, dressed like Morgiana, came dancing in, presenting her dagger at every breast. As she confronted Nollekens, Fuseli called out, “Strike—strike—there’s no fear; Nolly was never known to bleed.” He recommended a sculptor to find some newer emblem of eternity than a serpent with a tail in its mouth. ”

“ This “Sack of Sand,” as Suett the actor generally called him, sat at the lower end of the table; and as he very seldom made purchases, few persons ventured to converse with him. He frequently much annoyed Hutchins by the loudest of all snoring; and now and then Doctor Wolcot would ask him a question, in order to indulge in a laugh at his mode of uttering an answer, which Peter Pindar declared to be more like the gobbling of a turkey-cock than anything human. He lived in a two-pair-of-stairs back room in St. James’s Market; and, after his death, Hutchins sold his furniture. ”

“ King Henry VIII. was the first English Sovereign who encouraged painting, in consequence of Erasmus introducing Hans Holbein to Sir Thomas More, who showed his Majesty specimens of that artist’s rare productions. Upon this the king most liberally invited him to Whitehall, where he gave him extensive employment, not only in decorating the panels and walls of that palace with portraits of the Tudors, as large as life, but with easel pictures of the various branches of his family and courtiers, to be placed over doors and other spaces of the state chambers. ”

“ The winner of the race is £10 in pocket, his name is added to the long roll of previous winners, and he wears Doggett’s coat (made to fit him) among the coated élite of Watermen’s Hall.
A clever and genial man, Doggett was known everywhere by his immense wig, on the top of which, not without the aid of pins, rested a small cocked hat. He carried a rapier, and took snuff incessantly. Only two portraits of him are known: one represents him dancing the Cheshire Round with the motto, “Ne sutor ultra crepidam,” and the Garrick Club has a portrait, but its authenticity is questioned. ”

“ Sixty-seven years later, the man who had entered thus hurriedly into the world left it with almost equal unexpectedness in his house, No. 22 University Street, after holding for seventeen years the post of Keeper of the Prints at the British Museum.
As a writer John Thomas Smith takes no high rank; but he is a delightful gossip, full of his two subjects: London and Art. We know him when he exclaims to a visitor in the Print Room, “What I tell you is the fact, and sit down, and I’ll tell ye the whole story.” Smith’s narrative manner is always that: “Sit down, and I’ll tell ye the whole story.” ”

“ Emma in her tender blossom, I understand, assisted her mother in selling rice-milk and furmety to the early frequenters of Honey Lane market; and in the days of her full bloom, new-milk whey in White Conduit Fields, and at the Elephant and Castle. She must have been, as to her outward charms, during her highest flattery, little inferior to the beautiful Emma Lyon ”

“ Caleb Whitefoord [206] was what is usually called a slight-built [114] man, and much addicted when in conversation to shrug up his shoulders. He had a thin face, with little eyes; his deportment was gentlemanly, though perhaps sometimes too high for his situation in life. His dress, upon which he bestowed great attention, was in some instances singular, particularly in his hat and wig, which were remarkable as being solitary specimens of the Garrick School. ”

“ John Rich, the patentee of Covent Garden Theatre, is usually named as its founder, but the germ of the Society (its members loathed the name of Club) lay in the creature needs of his scene painter, George Lambert, of whom Edwards relates in his Anecdotes of Painting—
“As it frequently happened that he was too much hurried to leave his engagements for his regular dinner, he contented himself with a beefsteak broiled upon the fire in the painting-room. In this hasty meal he was sometimes joined by his visitors, who were pleased to participate in the humble repast of the artist. ”

“ Away flew Smith to see the procession, and to record it, in his old age, in the Rainy Day.
As a youth, Smith wished to learn engraving under Bartolozzi, but the great Italian declined a pupil, and it was through the influence of Dr. Hinchliffe, Bishop of Peterborough, one of his father’s patrons, that he entered the studio of John Keyse Sherwin, the engraver. Here he received his kiss from the beautiful “Perdita” Robinson; and when Mrs. Siddons sat to Sherwin for her portrait as the Grecian Daughter, he raised and lowered the window curtains to obtain the effect of light desired by his master. ”

“ His wig was a large Busby, and usually of a brown appearance, for want of a dust of powder. He was chaplain to the Duke of Devonshire; and as he wore thick worsted stockings, and walked anyhow through the mud, considered himself in no way obliged to give the street-sweepers a farthing. He had some wit, however, but it was often displayed in a cowardly manner, being mostly directed towards his little opponent, Doctor Gossett, [204] who was unfortunately much afflicted by deformity, and of a temper easily roused by too frequent a repetition of threepenny biddings at Paterson’s. ”

“ These are the only women who have been members of the Royal Academy, but it cannot be said that their talent was very exceptional. Peter Pindar irreverently said that Mary Moser was made an R.A. for “a sublime Picture of a Plate of Gooseberries.”
[328] The annals of British art do not contain a more tragic story than that of “the late” William Wynn Ryland. A man of great talent, he was engraver to George III., and an exhibitor at the Royal Academy; but it was his fate to be hanged at Tyburn for forging a bond of several thousand pounds. ”

“ John Seguier has proceeded with the pictures painted by Rubens, which adorn the ceiling of Whitehall Chapel, will, I hope, prove a lasting record of his success in picture-cleaning. When first I ascended the scaffold, my astonishment was beyond conception at the enormous size of the objects. The children are more than nine feet, and the full-grown figures from twenty to twenty-five in height. ”

“ Of the various specimens of this clumsy blue and white delf, displayed in the numerous rooms of this once magnificent palace, the pride of Wolsey and splendour of Henry VIII., the eight large pots for the reception of King William III.’s orange-trees, now standing in her Majesty’s gallery, certainly have claims to future protection. As for the old and ragged bed-furniture, it is so disgraceful to a palace, that, antiquary as I in some degree consider myself, I most heartily wish it in Petticoat Lane. ”

“ Her portrait in oils still hangs in the Garrick Club, and the print-sellers are familiar with her figure in theatrical costume. She is believed to have been born about 1730, to have been the daughter of a Clare Market porter, and to have lived in poverty in St. Giles’s or in a Drury Lane cellar. The rather ill-supported narratives of her career speak, as does Smith, of her waiting on the skittle-players at a Marylebone tavern, which Mr. George Clinch thinks (Marylebone and St. Pancras) may have been the old “Rose of Normandy” in High Street. ”