CHAPTER VII

Mention of some Important Pictures.—The Custom House Authorities and “The Captive” Picture.—The “Dead Soldier” and Heath the Engraver.—“Destruction of the Floating Batteries off Gibraltar.”—“The Orrery.”—Earl Ferrers as a Patron.—Mortimer.—Peter Pindar.—Dr. Darwin.—Anna Seward.—Wedgwood.—Bentley.—“The Alchymist” Picture.—Hayley the Poet.—Thos. A. Hayley the Sculptor.

We have seen that Wright’s visit to Italy caused him to turn his attention to landscape, and it is after his return from thence that we find him entering upon the treatment of poetical subjects. “Edwin,” from Beattie’s “Minstrel,” and “Maria,” from Sterne’s sentimental journey, were exhibited at the Royal Academy in 1778 and 1781, and were portraits of living persons, who were eminently fitted to represent the ideal of the authors. Before Wright commenced to paint “Edwin the Minstrel,” he wrote to Dr. Beattie to ask his opinion upon the treatment of the subject. The Doctor wrote a very excellent letter in reply, and concluded by saying, “Edwin from your pencil will be all my pen vainly endeavoured to make him.” A Derby gentleman, Thos. Haden, surgeon, who was considered to be one of the handsomest men in the town at that date, sat for this picture. The lady who sat for “Maria” was a Mrs. Bassano, of Derby.

I am indebted to Mr. F. Seymour Haden for kindly allowing me to embellish this volume with his admirable etching of “Edwin the Minstrel.”

We may well attribute these and some other pictures of a sentimental character to the influence of Wright’s visit to Italy. Wright was evidently indebted for the attitude of the figure in the picture of “The Captive” to Michael Angelo’s “Adam” in the Capella Sistina.This picture was painted in Rome, and sent to England. A very good tale is told about it, which is here inserted from “The Universal Magazine” of June, 1795:—

“When this celebrated painter (Wright, of Derby) was at Rome, he painted that very fine figure, “The Captive,” from Sterne, and consigned the picture to a friend in London, who having advice of its being landed, and deposited in the Custom House, presented a petition to the Board, stating that it was a portrait painted by an English artist, and praying it might be delivered duty free. In answer to this he received an order to attend on a given day, and was brought before their honours. The picture was produced, and the first question asked was, “Of whom is it the portrait?” The gentleman replied with truth, it was the portrait of a Roman (for it was copied from a Roman beggar), and the Board seemed inclined to let it pass; but an old gentleman, who had long been a Commissioner, made a shrewd objection, and remarked that this was such a portrait as he had never before seen in his life, and taken in a manner that he did not believe either Roman, Greek, Turk, Jew, or Infidel, would ever consent to ‘sit.’ ‘If,’ he added, ‘any gentleman at this Honourable Board chose to have his picture drawn, would not he put on a clean shirt, and have his wig fresh powdered, and be clean shaved; answer me that? To be sure he would. Now, it is here pretended, that this fellow sat for his portrait, who had hardly a rag to cover his nakedness; gentlemen, if he could have afforded to have paid for painting his picture, he could have afforded to buy himself a pair of breeches!’ He added by moving that the duty might be paid; and the duty was paid accordingly.”

Wright was more fortunate when he returned from Italy, as to payment of Custom House duties, as the following extract from a letter from Bath, dated 4th Dec., 1775, shows:—“Through the interest & application of my friend Mr. Baxter, I have got my pictures, &c., duty free, a thing so unusual the clerks cou’d scarce credit it. I believe it an indulgence none have experienced but myself. Had I been charged with ye common duty, I should have had near £30 to pay, an object this at any time, at the present a very material one.”

From the pictures of this character, we must not omit to mention that of the “Dead Soldier,” from Langhorne’s poems, which has become so familiar through the excellent line engraving by Heath.

It is related that Wright said before he painted the “Dead Soldier,” that he would depict the greatest possible sorrow, yet there should be a smiling face in the picture. The following lines by William Sotheby, F.R.S., bear testimony to the realisation of his intention:—

“I, to yon lonely tent by pity led,View where the widow mourns her soldier, dead;Turns from her babe, whose careless smiles impartStrange woe, that harrows up the mother’s heart,Hangs o’er the body, bleeding on the ground,Clasps his cold hand, and faints upon the wound.”

“I, to yon lonely tent by pity led,

View where the widow mourns her soldier, dead;

Turns from her babe, whose careless smiles impart

Strange woe, that harrows up the mother’s heart,

Hangs o’er the body, bleeding on the ground,

Clasps his cold hand, and faints upon the wound.”

The picture of the “Dead Soldier” was bought from the easel by Heath for £105, who afterwards sold it to J. L. Philips. It was sold in Manchester, when the effects of thatPatron of the Fine Arts came to the hammer, by Winstanley and Taylor, in October, 1814, and then realized £315. It is thus described in the Catalogue:—“Lot 33, Wright, of Derby,—‘The Dead Soldier.’ This acknowledgedchef-d’œuvreof this admired master, uniting great knowledge of grouping, excellent drawing, & correct colouring, with a fine feeling of sentiment, decidedly proves the assertion of Mr. Fuzeli, in his ‘Biographical Notice of Mr. Wright,’ that ‘he once eminently succeeded in the pathetic.’”

The line engraving by Heath appears, from the following correspondence, to have been a great success.

The following is a copy of the original circular issued by the Engraver:—

London, July 25th, 1795.PROPOSALSFor Publishing by SubscriptionA PRINT,To be Engraved byJAMES HEATH,Historical engraver to his Majesty, &c.,fromThe celebrated pictureofTHE DEAD SOLDIER,Painted byWRIGHT, OF DERBY.CONDITIONS:That the plate shall be the Size of the Plate of theDeath of General Wolfe. The price of each print will be One Guinea; Proofs, Two Guineas; Half to be paid at the time of subscribing, and the remainder on the delivery of the Print.Subscriptions are received by the Proprietor,James Heath, at 42 Newman Street, where a proof of the plate may be seen.Received ______________ 179 of the sum of ______________ being Half of the Subscription for ______ impression of the above-mentioned print, which I promise to deliver according to the proposals.

London, July 25th, 1795.

PROPOSALS

For Publishing by Subscription

A PRINT,

To be Engraved by

JAMES HEATH,

Historical engraver to his Majesty, &c.,

from

The celebrated picture

THE DEAD SOLDIER,

Painted by

WRIGHT, OF DERBY.

CONDITIONS:

That the plate shall be the Size of the Plate of theDeath of General Wolfe. The price of each print will be One Guinea; Proofs, Two Guineas; Half to be paid at the time of subscribing, and the remainder on the delivery of the Print.

Subscriptions are received by the Proprietor,James Heath, at 42 Newman Street, where a proof of the plate may be seen.

Received ______________ 179 of the sum of ______________ being Half of the Subscription for ______ impression of the above-mentioned print, which I promise to deliver according to the proposals.

The following correspondence relating to the print is also of some interest:—

“Oct. 17th, 1796.“To J. L. Philips.“I have sent a proof of the ‘Dead Soldier’ very near finished. Pray let me have your opinion and remarks upon it as soon as possible. I have sent one to Wright, and have asked him to paint a companion to it; if he will not, who would you recommend for that purpose?“I have hopes of a great sale from the number of subscribers I already have, and the approbation the print has met with from every one who has seen it.“J. HEATH.”

“Oct. 17th, 1796.

“To J. L. Philips.

“I have sent a proof of the ‘Dead Soldier’ very near finished. Pray let me have your opinion and remarks upon it as soon as possible. I have sent one to Wright, and have asked him to paint a companion to it; if he will not, who would you recommend for that purpose?

“I have hopes of a great sale from the number of subscribers I already have, and the approbation the print has met with from every one who has seen it.

“J. HEATH.”

“1796.“To J. L. Philips.“The prints you mention from Wright’s I dare say I shall be able to pick up at the sales this winter. I have heard from Mr. Wright, in which he says: ‘The effect of the picture is so well preserved, and the parts which compose it so true, that I have nothing to say but that I am well pleased with it.’ He says that he began to paint again about a week ago, and that he will (if his health returns) talk to me about a companion picture.“J. HEATH.”

“1796.

“To J. L. Philips.

“The prints you mention from Wright’s I dare say I shall be able to pick up at the sales this winter. I have heard from Mr. Wright, in which he says: ‘The effect of the picture is so well preserved, and the parts which compose it so true, that I have nothing to say but that I am well pleased with it.’ He says that he began to paint again about a week ago, and that he will (if his health returns) talk to me about a companion picture.

“J. HEATH.”

“Feby., 1797.“To J. L. Philips.“I shewed him (Lord Lansdowne) a proof of the ‘Dead Soldier,’ which he liked exceedingly, and subscribed for a couple. I asked his permission to dedicate it to him, which seemed to give him great pleasure. I expect him to call to see the picture, and when he has seen it, I will immediately send it on to you.“J. HEATH.”

“Feby., 1797.

“To J. L. Philips.

“I shewed him (Lord Lansdowne) a proof of the ‘Dead Soldier,’ which he liked exceedingly, and subscribed for a couple. I asked his permission to dedicate it to him, which seemed to give him great pleasure. I expect him to call to see the picture, and when he has seen it, I will immediately send it on to you.

“J. HEATH.”

“To Joseph Wright.“Sir,“As I am going to publish the ‘Dead Soldier,’ I wish to announce the ‘Shipwrecked Sailor’ as a companion. I should therefore be much obliged to you to inform me whether your health will permit your painting it. An answer will much oblige.“Your most obedt. Servt.,“JAS. HEATH.“Mch. 14th, 1797.“Newman St., London.”

“To Joseph Wright.

“Sir,

“As I am going to publish the ‘Dead Soldier,’ I wish to announce the ‘Shipwrecked Sailor’ as a companion. I should therefore be much obliged to you to inform me whether your health will permit your painting it. An answer will much oblige.

“Your most obedt. Servt.,

“JAS. HEATH.

“Mch. 14th, 1797.

“Newman St., London.”

“April, 1797.“To J. L. Philips.“I have sent in a large tin case by to-night’s conveyance, four Dozen of the very first impressions of the ‘Dead Soldier,’ and one Dozen proofs. This number is more than you have at different times ordered for yourself and friends, but as I have raised the price topricesand as they are choice impressions, I should suppose they will not stick on hand. If they should, you can at any time return them. A few of them have the same date of publication as the proofs, and consequently in the earliest state. I have met with more success than I had hoped for in such times as these. It is universally talked of, and I have orders for between 2 & 300 from the trade only.“J. HEATH.”

“April, 1797.

“To J. L. Philips.

“I have sent in a large tin case by to-night’s conveyance, four Dozen of the very first impressions of the ‘Dead Soldier,’ and one Dozen proofs. This number is more than you have at different times ordered for yourself and friends, but as I have raised the price topricesand as they are choice impressions, I should suppose they will not stick on hand. If they should, you can at any time return them. A few of them have the same date of publication as the proofs, and consequently in the earliest state. I have met with more success than I had hoped for in such times as these. It is universally talked of, and I have orders for between 2 & 300 from the trade only.

“J. HEATH.”

“Aug 20, 1797.“To J. L. Philips.“A few days ago I sent an India proof of the ‘Dead Soldier.’ I should have sent you one before, but as the India paper was not good, I did not take above three impressions, the best of which you have. I have sent by to-day’s coach seven ‘Dead Soldiers.’ Respecting the two pictures of Wright’s, of ‘Hero’ & ‘Leander,’ I mentioned it to Ld.Lansdowne, who has promised to procure them for me if he can. Have you heard how Wright is lately. If he is not dead, I shall think there are hopes he may recover sufficiently to paint a companion for me.”

“Aug 20, 1797.

“To J. L. Philips.

“A few days ago I sent an India proof of the ‘Dead Soldier.’ I should have sent you one before, but as the India paper was not good, I did not take above three impressions, the best of which you have. I have sent by to-day’s coach seven ‘Dead Soldiers.’ Respecting the two pictures of Wright’s, of ‘Hero’ & ‘Leander,’ I mentioned it to Ld.Lansdowne, who has promised to procure them for me if he can. Have you heard how Wright is lately. If he is not dead, I shall think there are hopes he may recover sufficiently to paint a companion for me.”

“1797.“To J. L. Philips.“I received (1797) yours with the bill enclosed. I am very sorry to hear of Wright’s death, as I do not know now who to get to paint a companion to the ‘Dead Soldier.’ I wish you would say who you think would do it best. I mean to get the pictures of ‘Hero,’ &c., as soon as Ld.Lansdowne comes to Town, and with respect to Sterne’s ‘Old Man and Ass,’ I think it would be a good thing to engrave. Mr. Corbould would be the man to put the back ground to it.“J. HEATH.”

“1797.

“To J. L. Philips.

“I received (1797) yours with the bill enclosed. I am very sorry to hear of Wright’s death, as I do not know now who to get to paint a companion to the ‘Dead Soldier.’ I wish you would say who you think would do it best. I mean to get the pictures of ‘Hero,’ &c., as soon as Ld.Lansdowne comes to Town, and with respect to Sterne’s ‘Old Man and Ass,’ I think it would be a good thing to engrave. Mr. Corbould would be the man to put the back ground to it.

“J. HEATH.”

“June 14th.1798.“To J. L. Philips.“I wish you would get the two pictures of ‘Hero’ & ‘Leander’ for me. I should like to engrave them very much. I have mentioned them to LdLansdowne several times, but he seems to hint that there is a family coolness which prevents him from asking for them.“The ‘Dead Soldier’ continues to sell very well, indeed so much so, that I am very desirous of going on publishing for myself.“J. HEATH.”

“June 14th.1798.

“To J. L. Philips.

“I wish you would get the two pictures of ‘Hero’ & ‘Leander’ for me. I should like to engrave them very much. I have mentioned them to LdLansdowne several times, but he seems to hint that there is a family coolness which prevents him from asking for them.

“The ‘Dead Soldier’ continues to sell very well, indeed so much so, that I am very desirous of going on publishing for myself.

“J. HEATH.”

“July 28, 1805.“To J. L. Philips.“Mr. Corbould desires me to inform you that he has finished Wright’s picture. I should think it would be worth while to engrave it, and if, after you have seen it, you think so too, and would go halves in the speculation, I should like to do it.“J. HEATH.“Russell Place.”

“July 28, 1805.

“To J. L. Philips.

“Mr. Corbould desires me to inform you that he has finished Wright’s picture. I should think it would be worth while to engrave it, and if, after you have seen it, you think so too, and would go halves in the speculation, I should like to do it.

“J. HEATH.

“Russell Place.”

“May 12, 1807.“To J. L. Philips.“My next work will be a companion to the ‘Dead Soldier.’ Mr.Smirke has nearly finished the picture. He had painted one four years ago, but it did not quite please him, and he has now succeeded more to his wishes.“J. HEATH.”

“May 12, 1807.

“To J. L. Philips.

“My next work will be a companion to the ‘Dead Soldier.’ Mr.Smirke has nearly finished the picture. He had painted one four years ago, but it did not quite please him, and he has now succeeded more to his wishes.

“J. HEATH.”

“Feby., 1810.“To J. L. Philips.“I have often thought of mentioning to you the circumstance of Mr.Moreland’s having bought my Landscape of Wright’s for 16 Guineas, and his never offering to pay for it, although it is so long ago. I wish for your advice, as you know his circumstances better than I do.“J. HEATH.”

“Feby., 1810.

“To J. L. Philips.

“I have often thought of mentioning to you the circumstance of Mr.Moreland’s having bought my Landscape of Wright’s for 16 Guineas, and his never offering to pay for it, although it is so long ago. I wish for your advice, as you know his circumstances better than I do.

“J. HEATH.”

It has been the custom to view Wright only as a painter of artificial light, and for picture dealers and some others to attribute all unknown pictures of fire in any form to “Wright of Derby.” We ourselves have seen many so attributed, which would not add fame to any painter’s name. The Exhibition of Wright’s Works in the Derby Corporation Art Gallery, in 1883, tended to dispel this unfounded illusion as to the limits of Wright’s art. Whilst the representation of fire-light in some form or other was undoubtedly a speciality with Wright, this class of subjects, after all, formed but a small proportion of the numerous works then collected together.

On reference being made to the appendix it will be noticed that there were many other important works painted by Wright which were never exhibited; and as he did not always sign his paintings, they may possibly now be attributed to other artists, or to the greatunknown.

A picture that created considerable attention at the time it was painted, was the “Destruction of the Spanish Floating Batteries off Gibraltar,” on September 13th, 1782,[38]which was bought from the easel by Mr. J. Milnes for £420, being the highest price Wright obtained for a single picture. This was one of the works included in the London Exhibition ofWright’s pictures in the year 1785, and a notice of the Press of that date thus alludes to it:—“We shall, however, at different periods lay before our readers a particular account of these noble productions as they stand in the catalogue: except that grand scene of the ‘Destruction of the Floating Batteries off Gibraltar,’ which we cannot resist the present impulse of mentioning out of its turn. In this picture, Mr. Wright has represented a view of the extensive scenery, combined with the action on the 13th Sept., 1782, in which his design is sublime, and his colouring natural and brilliant beyond description. We never remember to have seen shadows painted so little like substance as those in the foreground, which gain great strength and richness from the prodigious brightness of the grand explosion at a distance; but we feel ourselves inadequate to the task of pointing out the various merits of this phenomenon in the imitative arts, which proves the painter is unique in the extraordinary line of the charming study he has so happily pursued.”

MISS DUESBURY.Original picture in the possession of Mr. George Dean, Derby.

MISS DUESBURY.

Original picture in the possession of Mr. George Dean, Derby.

The following lines were written by Hayley, “On Wright’s Picture of the Siege of Gibraltar”—

CALPE’S ADDRESS TO BRITANNIA.“With patriotic pride, and national delight,Ye Britons view me in the tints of Wright!My rock’s the proof, that British Minds and HeartsAre honour’s darlings, both in Arms and Arts;With double triumph here let Britons sayBritons alone could rule this fiery fray;This miracle of Art a Briton wrought,Painting as boldly as his country fought.”

“With patriotic pride, and national delight,Ye Britons view me in the tints of Wright!My rock’s the proof, that British Minds and HeartsAre honour’s darlings, both in Arms and Arts;With double triumph here let Britons sayBritons alone could rule this fiery fray;This miracle of Art a Briton wrought,Painting as boldly as his country fought.”

“With patriotic pride, and national delight,

Ye Britons view me in the tints of Wright!

My rock’s the proof, that British Minds and Hearts

Are honour’s darlings, both in Arms and Arts;

With double triumph here let Britons say

Britons alone could rule this fiery fray;

This miracle of Art a Briton wrought,

Painting as boldly as his country fought.”

“Governor Elliot’s successful defence of Gibraltar has, among the many essential advantages accruing from it, been productive of some of the noblest works in the Fine Arts, especially among the painters. On stopping at Derby a few days since, I was introduced by a friend to view the productions of that great genius Wright, whose astonishing power of expressing artificial lights on canvas, the world has long been acquainted with. His new picture on the Siege of Gibraltar, for composition, force, brilliancy, and prodigious effect of fire, exceeds, in my opinion, all his former labours. To attempt a description of it would be in vain; whoever sees the picture must have such an idea of the action as no poetry can describe. Mr. Wright has not been in the Exhibition (for reasons I cannot explain) for some time past, but that he will not withhold this sublime piece from general inspection, I most sincerely hope, as the attack on Gibraltar, with some other pieces on interesting subjects, would form an Exhibition in every way worthy of the countenance of the public.”

The “Orrery” picture was exhibited at the Society of Artists’ Rooms, in 1766, so must have been painted when Wright was thirty years old. It was purchased by, and probably painted for, the Earl Ferrers, for the sum of two hundred guineas; fifty pounds of this was paid on account, and the remainder secured by a bond, of which a copy is given on the next page.

The figures in the picture are all portraits, and various persons have been mentioned as the probable originals who were thus honoured. A copy of the print, once belonging to the artist, has certain names written on the margin, with the date 1768, so that the following are identified:—Jos. Wright, with his back towards the spectator, Mr. Burdett taking notes, young Cantrell, Mr. A. Winterman, Mr. G. Snowden, Mrs. Sale, and Mr. Denby as the philosopher.

Mr. Burdett also figures in the “Gladiator” picture. The other boy sitter was a son of Earl Ferrers, as the following extract from the “Stemmata Shirleiana” shows:—“Lawrence Rowland, 2nd Son of Robert 6th Earl of Ferrers, Bap. at St. Alkmund’s Derby, Nov. 3, 1757, d. Feb. 5, 1773. His portrait when very young is preserved in Wright’s celebrated picture of the ‘Orrery,’ well known from the engraving.”

The picture passed from the hands of the Ferrers family, and was sold by Mr. Thos. Rought, of London, to the late Mr. Francis Wright, of Osmaston Manor, by Ashbourne, for the sum of fifty guineas, in 1853. In 1884, at the dispersion of Mr. John Osmaston’s collection, to whom the picture then belonged, it was again in the market, and it is with pleasure that we are able to record that, being purchased by a few of Wright’s admirers, singularly, at the original price of two hundred guineas, it was on September 4th presented to the Derby Corporation Art Gallery as a memorial to the painter, where it will remain as a fitting record of the admirable powers he possessed, and be admired by his fellow-townsmen in years to come.

The bond mentioned above was as follows:—

Know all men by these presents That we the Right Honourable Washington Earl of Ferrers Peter Pery Burdett of Stanton Harold in the County of Leicester Gentleman are held and firmly bound to Joseph Wright of the Town of Derby Painter in the sum of one hundred and sixty pounds of good & lawful money of Great Britain To be paid to the said Joseph Wright or his certain attorney Executors administrators or assigns for which payment to be well & faithfully made We bind ourselves and each of us by himself our & each of our Heirs Executors & administrators firmly by these presents Sealed with our seal Dated this Eleventh day of July in the third year of the Reign of our Sovereign Lord George the Third by the grace of God of Great Britain France and Ireland King Defender of the Faith & so forth and in the year of our Lord One thousand and seven hundred and sixty-three The condition of this obligation is such That of the above Bounden Earl Ferrers & Peter Pery Burdett or either of them their or either of their Heirs Executors or Administrators do and shall and do well & truly pay or cause to be paid unto the above named Joseph Wright or his certain attorney Exors. Administrators or assigns the full sums of Eighty Pounds of Good and lawful Money of Great Britain with lawful interest for the same on the eleventh day of July which will be in the year of our Lord one Thousand seven hundred and sixty-four. Then their obligation to be void or else to remain in full forceSealed & delivered being first duly stamped in the presence ofW. WOTY

Sealed & delivered being first duly stamped in the presence of

W. WOTY

From the following extract of a letter written by Wright to his brother Richard, dated Rome, 13thAp., 1774, we learn that Burdett’s behaviour caused Wright some anxiety as to his fulfilment of the bond:—

“I have just received a letter from Mr. Tate of Liverpool, where hetells me Mr.Burdett has sold up his goods and is off. Mrs.Burdett and her dear Miss Fredried are gone into lodgings, over head and ears in debt. I stand no chance of being paid at present—well, if ever; wou’d therefore have you write immediately to Lord Ferrers and tell him how things stand between me and Burdett, that he has not paid a farthing of principal or interest of the four score pounds his Lordship was bound for, wchI lent him in the year ’60 or ’61, that he takes no notice of the letters I have wrote him lately concerning the debt, must therefore look to his Lordship for it. When you write to his Lordship send the amount of principal and interest, and desire him to pay it as soon as he conveniently can. If it is not convenient for him to pay the whole, perhaps it will be prudent to take the interest only, as that will secure yedebt, and prolong the limited time for payment. Mr.Fallows will advise you, give my respects to that family. Tell his Lordship I would not apply to him at this time for yemoney was I not much distressed for it, travelling is very expensive.”

On the back of the bond, in Wright’s handwriting, is the following:—

“August the 23, 1776.“Memo. This day the Earl Ferrers accepted a bill drawn by me for Eighty Pounds, which when paid will be in full for the principal of this Bond.”

“August the 23, 1776.

“Memo. This day the Earl Ferrers accepted a bill drawn by me for Eighty Pounds, which when paid will be in full for the principal of this Bond.”

“Wright was celebrated for scenes that represented the effects of fire subjects, which he painted with more truth to nature than even Schalken, so far-famed.”

“Upon my word, a delicate little hen turkey; what, a Christmas present already! This turkey is from my old fellow-’prentice, Joe Wright,” said Mortimer,[39]“who never forgets us at Christmas. Poor Joe, the valetudinarian! I’d be sworn he procured one of the least in all Derby out of sheer compassion to our evil habits. He knows we always dress his Christmas turkey for supper, and he has generally a hint by way of postscript to his letters, touching the prevalence of apoplexy. Now Master Joe was one of your water-gruel disciples when we were youngsters together at Hudson’s; and I would wager ten pounds to a crown piece, he is just now sitting, Peter Grievous, over that wishy-washy, tasteless, humdrum, drivelling dish, and calling to old Nan Watkins—‘Nanny, have you any nice live coals? Do, pray, let me have my bed warmed.’ Are you a supper eater, Mister Gibbon?”[40]“No, Mister Mortimer; I am a singleman, and a bit of a valetudinarian like your friend Mister Wright.” “And a water-gruel eater, I presume?” said Mortimer. “Yes, indeed,” said Gibbon, smiling; “though in truth, I do not know that I am at all the better for these scrupulosities in diet.”

This playfully overdrawn picture of Wright’s habits was probably written before Wright went to Italy. Wright was of very temperate and abstemious habits, which, unfortunately, cannot be said of Mortimer.

Dr. Wolcott, as Peter Pindar, in one of his Poems, called Mr. Wright’s moons silver sixpences; upon being remonstrated with, he said he had not seen any of his moonlights, but supposed the moon must look like a sixpence. Probably this was the passage that Mr. Holland disliked, when he wrote the following lines, had them printed, and pasted them over the passage in his volume of Peter Pindar’s Poems—

“Would’st thou paintLandscape, study DerbyWright,Where freedom, elegance, and truth unite.Rich sparkling tints, grand shapes and masses showHow fine his pencil marks the Sunset’s glow;Nor does his Master-hand less skillful seem,When silver Cynthia quivers in the stream;E’en Envy with approving smiles must ownIn allWrightpaints,NatureandWrightareONE.”

“Would’st thou paintLandscape, study DerbyWright,

Where freedom, elegance, and truth unite.

Rich sparkling tints, grand shapes and masses show

How fine his pencil marks the Sunset’s glow;

Nor does his Master-hand less skillful seem,

When silver Cynthia quivers in the stream;

E’en Envy with approving smiles must own

In allWrightpaints,NatureandWrightareONE.”

Mr. Holland showed the book to a friend, who exclaimed, “Well done, Peter, I did not think he would have done Wright so much justice.”

The celebrated Dr. Darwin, who was on friendly terms with Wright, was often consulted by him, respecting his “imaginary complaints,” as the Doctor unjustly called them; and on one occasion told him, “he had but one thing more to recommend, and that was what he would not give, but he thought it would be to his advantage to be engaged in a vexatious lawsuit.” The Poet Doctor alludes to Wright in his “Botanic Garden,” Canto I., line 175, in the following lines—

“So Wright’s bold pencil from Vesuvius’ height,Hurls his red lavas to the troubled night;From Calpe starts the intolerable flash,Skies burst in flames, and blazing oceans dash—On birds in sweet repose his shades recede,Winds the still vale, and slopes the velvet mead,On the pale stream expiring zephyrs sink,And moonlight sleeps upon its hoary brink.”

“So Wright’s bold pencil from Vesuvius’ height,

Hurls his red lavas to the troubled night;

From Calpe starts the intolerable flash,

Skies burst in flames, and blazing oceans dash—

On birds in sweet repose his shades recede,

Winds the still vale, and slopes the velvet mead,

On the pale stream expiring zephyrs sink,

And moonlight sleeps upon its hoary brink.”

“In the course of the year 1770, Mr. Day stood for a full-length picture[41]to Mr. Wright, of Derby. A strong likeness, and a dignified portrait were the result. Drawn as in the open air, the surrounding sky is tempestuous, lurid, and dark. He stands leaning his left arm against acolumn inscribed to Hampden. Mr. Day looks upward as enthusiastically meditating on the contents of a book, held in his dropped right hand. The open leaf is the oration of that virtuous patriot in the senate, against the grant of ship money demanded by King Charles the First. A flash of lightning plays in Mr. Day’s hair, and illuminates the contents of the volume. The poetic fancy and what werethenthe politics of the original, appear in the choice of subject and attitude. Dr. Darwin sat to Mr. Wright about the same period. The result was a simply contemplative portrait[42]of the most perfect resemblance.”

Miss Meteyard, in her life of Wedgwood, says in Vol. II., page 442:—“Wedgwood in the previous year (1778) had bespoken a picture of Wright, of Derby, who, neglected by his countrymen ‘would,’ as Wedgwood said, ‘starve as a painter if the Empress of Russia had not some taste and sense to buy these pictures now, which we may wish the next century to purchase again at treble the price she now pays for them.’ Soon after this Wright tried enamel painting, and towards the close of 1779 he promised to visit Etruria and ‘catch any help from its fires;’ but it is not till subsequently that we hear of the fine picture he painted for Wedgwood.”

Again, on page 508, Miss Meteyard writes:—“In 1784 Wright, of Derby, painted for Wedgwood his celebrated picture of the Maid of Corinth, as also a portrait which was probably that of the very friend who had as far as possible replaced Bentley in his heart, Erasmus Darwin. After some critical remarks on female drapery, Wedgwood, in writing to the painter, said of the Maid of Corinth:—

“I do not say I amsatisfiedwith the lover, but that I think it excellent, I had almost said inimitable, & I should quake for any future touch of your pencil there. It is unfortunate, in myopinion, that the maid shows so much of her back; but I give myopiniononly, with great diffidence and submission to your better judgment. In one word, you have been so happy in your figure of the lover, that almost any other must appear to disadvantage in so near a comparison. Make her to please yourself, and I shall be perfectly satisfied.”

“Six years previously Wright had painted for Mr. Wedgwood one of his most celebrated pictures. Writing to Bentley the latter says:—‘I am glad to hear that Mr. Wright is in the land of the living. I should like to have a piece of this gentleman’s art, but think Debutades’ daughter would be a more apropos subject for me than the Alchymist, though my principal reason for having this subject would be a sin against the costume. I mean the introduction of our vases into the piece, for how could such fine things be supposed to exist in the earliest infancy of the potter’s art? You know what I want, & when you see Mr. Wright again, I wish you would consult with him upon the subject. Mr. Wright once began a piece in which our vases might be introduced with the greatest propriety. I mean the handwriting upon the Wall in the Palace of Belshazzar.’—Wedgwood to Bentley, May 5, 1778.”

Upon enquiry as to the present locality of the pictures Wright painted for Wedgwood,we regret to learn that they were all lost to the family early in the present century. It appears that they were sent to some person in London for Exhibition, or for the purpose of being cleaned, and whilst there were distrained for rent. The pictures were dispersed and beyond recall before the Wedgwoods could interfere.

One of these pictures, a “Portrait of Sir Richard Arkwright,” was some years afterwards presented to the Manchester Royal Exchange by Edmund Buckley, Esq., where it now hangs.

On page 26, mention has been made of the friendship which existed between Wedgwood and Wright, exemplified by Wright giving a painting “to his friend Jos. Wedgwood, the patron and encourager of living artists.” This friendship and generosity Wedgwood emulated upon the occasion of the marriage of Wright’s daughter, Anna Romana, to Mr. Cade, by the gift of a dinner service of 150 pieces.

Mr. F. G. Stephens sends me the following interesting copy of an autograph letter:—

“Derby, 12th October, 1788.To Miss Seward,[43]Lichfield.Madam,“I have repeatedly read your charming poem. The subject you hold out for my pencil, as you have treated it, is an excellent one; but how to paint a flaming sword baffles my art. However, as soon as I find myself stout enough, I intend to attack it. I admire the scenery. Would it strengthen or weaken the character to lay it near the sea, upon a rising ground, and through an opening among the trees low in the picture to see the moon just rising above a troubled sea? The point of time is when the sword is rising out of the tomb, what kind of tomb should it be? To make it a regular one would indicate Herver’s father had the usual funeral rites performed, which the poem, I think, contradicts. Your reflections upon this point will greatly oblige,“Madam,“Your most obedient hbleservt,“JOSHWRIGHT.“P.S.—Dr. Darwin, I hope, explained his mistake in returning the poem before I had done with it.”

“Derby, 12th October, 1788.

To Miss Seward,[43]Lichfield.

Madam,

“I have repeatedly read your charming poem. The subject you hold out for my pencil, as you have treated it, is an excellent one; but how to paint a flaming sword baffles my art. However, as soon as I find myself stout enough, I intend to attack it. I admire the scenery. Would it strengthen or weaken the character to lay it near the sea, upon a rising ground, and through an opening among the trees low in the picture to see the moon just rising above a troubled sea? The point of time is when the sword is rising out of the tomb, what kind of tomb should it be? To make it a regular one would indicate Herver’s father had the usual funeral rites performed, which the poem, I think, contradicts. Your reflections upon this point will greatly oblige,

“Madam,

“Your most obedient hbleservt,

“JOSHWRIGHT.

“P.S.—Dr. Darwin, I hope, explained his mistake in returning the poem before I had done with it.”

“May 5th, 1789.Mr. Hayley to Mrs. Hayley.“I shall beg you & Mrs. Beridge to call upon friend Wright & tell him, from me, that I & all the lovers of painting with whom I have conversed, since my return to town, consider his pictures this year as the flower of the Royal Exhibition. His ‘Dying Soldier’ made me literally shed tears, his ‘Moonlight’ enchanted.”

“May 5th, 1789.

Mr. Hayley to Mrs. Hayley.

“I shall beg you & Mrs. Beridge to call upon friend Wright & tell him, from me, that I & all the lovers of painting with whom I have conversed, since my return to town, consider his pictures this year as the flower of the Royal Exhibition. His ‘Dying Soldier’ made me literally shed tears, his ‘Moonlight’ enchanted.”

“Towards the end of August, 1776, Hayley and Mrs. Hayley went to Derby for the pleasure of congratulating their friend Dr. Beridge on a most seasonable marriage, that restored him from a state of perilous discomfort to health and happiness. This visit was productive of various delights. Hayley not only sympathised in the happiness of the restored Physician, but in the weeks that he passed under his friend’s roof he had the gratification of cultivating an intimacy with Wright, the admirable painter of Derby, who, having injured his health by too assiduous application to his art, had great comfort in the kind attention he received from the friendly physician, & took a pleasure in executing for Hayley two hasty portraits in chiaro-oscuro of Mrs. Beridge & her husband, after painting for the Doctor the Poet of Sussex and his ‘Eliza.’”[44]

The following is extracted from the “Life of Wm. Hayley, Esq.” by John Johnson, LL.D., Rector of Welborne, in Norfolk:—“Hayley went to Cambridge in 1763. Here he formed an intimate friendship with Thornton, Beridge, & Clyfford, whose custom it was to breakfast together in the apartments of each other. Hayley devoted some months of the year 1772 to his highly-valued friend Beridge, who had settled as a physician at Derby. Hayley then copied in water-colours two bold sketches of scenery near Matlock, lent to him by the very amiable artist Wright, of Derby, with whom he began this year an intimacy that lasted to the death of the painter, who frequently in his letters consulted his friend of Sussex on the subjects of his pencil.”

The following extract is from theQuarterly Review, “Memoirs, &c., of Wm. Hayley”:—

“Hayley’s son (Thomas Alphonso, the sculptor), was then in his thirteenth year.... It had been Hayley’s first intention to educate his son for the profession of physic, but many circumstances combined to give him a strong inclination for that of the arts. During a visit to Mrs. Hayley, Wright, of Derby, perceived in him so much aptitude for painting, that he took pains in instructing him; and upon the report of his progress, Flaxman wrote to his father, saying, ‘If you have not quite determined to make him a physician, and if you think he has talents for the Fine Arts, show yourself my friend indeed, and accept my offer as frankly as I make it.’”

The offer was accepted, but this promising young artist died, after a long illness, a few years later.

Extract from a letter from T. A. Hayley to his father, the poet:—

“Your letter to Mr. Wright, I delivered to his daughter, who happened to be with us when it arrived, and he has been since so good as to give me a few instructions in drawing.”

“A cordial friendship had long existed between Wright, the admirable painter, of Derby, and the father of Alphonso; but the latter, in writing to his friend, had only requested him to gratify the little traveller with the permission of sometimes passing a leisure hour in hispainting-room, and with the indulgence of seeing him exercise his pencil. The amiable artist, with that warm benevolence which formed a striking part of his character, went beyond the request of his old friend, and being more and more pleased with the intelligence, spirit, and docility of his little visitor, spontaneously bestowed on him such repeated instructions, as perfectly awakened in him a passion and a genius for art, which, being afterwards inspirited by the affectionate encouragement of his father, of Romney, and of Flaxman, ultimately changed his very early professional destination from medicine to sculpture.”

Mr. Hayley to Mrs. Hayley.“I am infinitely pleased with the first-fruits of the little man’s northern pencil, and charmed with the kindness of my friend Wright, in condescending to instruct such an urchin.”

Mr. Hayley to Mrs. Hayley.

“I am infinitely pleased with the first-fruits of the little man’s northern pencil, and charmed with the kindness of my friend Wright, in condescending to instruct such an urchin.”

T. A. Hayley to Mr. Hayley.“I continue to draw, and you will be glad to hear with the approbation of my great master. I shall have a great collection of performances to show you when we meet. I hope it will not be long before that happy moment arrives.”

T. A. Hayley to Mr. Hayley.

“I continue to draw, and you will be glad to hear with the approbation of my great master. I shall have a great collection of performances to show you when we meet. I hope it will not be long before that happy moment arrives.”

Mr. Hayley to T. A. Hayley.“I did not, I believe, send your medallion of Romney to our amiable friend Wright. I wish you to present him such a becoming mark of your gratitude for the extreme kindness that we have ever received from him. Would to heaven I could send him a good portion of health and spirits to attend your interesting offering to the very amiable invalid. From all of him I collect from Meyer, I fear his pencil has been very inactive for some time. I always grieve when men of talents are condemned by ill-health to involuntary indolence; and I doubly grieve when that misfortune falls upon a friend whose works I have often surveyed with delight.”

Mr. Hayley to T. A. Hayley.

“I did not, I believe, send your medallion of Romney to our amiable friend Wright. I wish you to present him such a becoming mark of your gratitude for the extreme kindness that we have ever received from him. Would to heaven I could send him a good portion of health and spirits to attend your interesting offering to the very amiable invalid. From all of him I collect from Meyer, I fear his pencil has been very inactive for some time. I always grieve when men of talents are condemned by ill-health to involuntary indolence; and I doubly grieve when that misfortune falls upon a friend whose works I have often surveyed with delight.”

The following letter relates to the picture of the “Alchymist,” now belonging to the Derby Corporation Art Gallery, having been presented to that Town as a memorial to the painter, by a few of his admirers, in 1883:—

“Dear Wright,“Dr. Turner will in his letter be more particular than I can possibly be on a subject to which I am a stranger. I have conceived that the chemist should be sitting onthis side the table, & turning his head towards glass upon his assistant exclaiming upon the first appearance of the luminous exhalation from the Retort into receiver of the phenomenon. The lamp is still under the influence of the blast of wind remaining in the bellows below which the chemist has been using in another process. Whether this idea of the flame will in the least answer your purpose you alone can judge; you will wonder when you are told that I am painting History without figure, Landscape without trees, and Shipwreck without water. Mrs. Burdett joins me in love, compliments, and everything else to your Family.“Yrs sincerely,“J. P. BURDETT.“Liverpool, Feby. 4, 1771.”

“Dear Wright,

“Dr. Turner will in his letter be more particular than I can possibly be on a subject to which I am a stranger. I have conceived that the chemist should be sitting onthis side the table, & turning his head towards glass upon his assistant exclaiming upon the first appearance of the luminous exhalation from the Retort into receiver of the phenomenon. The lamp is still under the influence of the blast of wind remaining in the bellows below which the chemist has been using in another process. Whether this idea of the flame will in the least answer your purpose you alone can judge; you will wonder when you are told that I am painting History without figure, Landscape without trees, and Shipwreck without water. Mrs. Burdett joins me in love, compliments, and everything else to your Family.

“Yrs sincerely,

“J. P. BURDETT.

“Liverpool, Feby. 4, 1771.”

From a letter on page 27, it appears that Wright took this picture with him to Rome in 1774, where it was much admired.

GIRL WITH A BLADDER.Original picture in the possession of Mr. F. C. Arkwright, Willersley, Cromford, Derbyshire.

GIRL WITH A BLADDER.

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

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