DEATH OF MRS. WRIGHT.--HE REMOVES TO QUEEN STREET, DERBY.--HIS
LAST ILLNESS AND DEATH.--MR. J. LEIGH PHILIPS ON THE CHARACTER
OF WRIGHT.--SALE OF HIS PICTURES IN LONDON AND DERBY.--LETTERS
FROM J. HOLLAND AND REV. THOS. GISBORNE 102
APPENDIX.
LIST OF PLATES.
PORTRAIT OF JOSEPH WRIGHT. _Reproduced by Messrs. A. & W.
Dawson’s Positive Etching process_ FRONTISPIECE
TO FACE PAGE
“THE TWINS.” ANN HADEN, AFTERWARDS MRS. BOOT; AND SARAH
HADEN, AFTERWARDS MRS. JAMES OAKES, OF THE RIDDINGS,
DERBYSHIRE.--_Etched by Mr. F. Seymour Haden_ 12
“MARIA.”--_From Sterne’s “Sentimental Journey.” Reproduced
by Messrs. A. & W. Dawson’s Positive Etching process_ 26
CONVERSATION PIECE. THREE CHILDREN OF RICHARD ARKWRIGHT,
ELIZABETH (AFTERWARDS MARRIED TO FRANCIS HURT), JOHN, AND
JOSEPH. _Reproduced by Messrs. A. & W. Dawson’s Positive
Etching process_ 42
JOSEPH AND HARRIET, TWO OF WRIGHT’S CHILDREN 56
“EDWIN.” MR. THOMAS HADEN, OF DERBY, SAT FOR THIS
PICTURE.--_From Dr. Beattie’s “Minstrel.” Etched by Mr. F.
Seymour Haden_ 68
CONVERSATION PIECE. THREE CHILDREN, RICHARD, ROBERT, AND
PETER (SONS OF RICHARD ARKWRIGHT). _Reproduced by Messrs.
A. & W. Dawson’s Positive Etching process_ 84
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--
Hay £25 6 8
2 mares, 1 nagg 18 0 0
2 heifers, 4 calves, 6 cows in calf, 3 bullocks 27 13 4
19 sheep and 4 swine 6 19 4
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.
[Illustration: 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.
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.
PEDIGREE
OF
THE FAMILY OF WRIGHT, OF DERBYSHIRE AND STAFFORDSHIRE, &c., &c.
COMPILED FROM PARISH REGISTERS, FAMILY PAPERS, &C.
[Illustration: ARMS.--_Gules_, on a chevron engrailed,
_argent_, between three unicorns’-heads of the second, three
spear-heads, _azure_.
CREST.--An Agnus Dei, _argent_, bearing a banner, charged with
a cross, _gules_.]
1661.
(Rev.) John Wright, ordained Feb. = Elizabeth.
5, 1662; Vicar of Seighford (or |
Syford), 1662; Rector of Longford, |
1671; bur. Jan. 10, 1681, at |
Longford (nr. Derby). |
|
+--------------+----------------+-----+-----------+-+-+-------+-+-+
| | 1694. | | | | | | |
Richard = John = Anne Thomas = Jonathan Mary
Wright, | Wright, | Dakeyne, Wright, b. | Wright, b. Wright, b.
born Feb. | Attorney, | born 1658, Jan. 7, | Aug. 24, Sep. 5,
9, 1662, at | born Jan. | died at 1666, at | 1668, at 1673, at
Loadenhall, | 5, 1664, at| Parwich, Syford. | Syford. Longford,
in the | Syford, | bur. S. | Derbyshire.
Parish of | Stafford- | Alkmund’s, | Matt.
Pentridge, | shire, d. | May 18, | Wright, b. Bridget
Stafford- | Sept. 16, | 1745. | Sept. 25, Wright, b.
shire. | 1725, bur. | +------------+ 1669, at Nov. 21,
| at S. | |Oct. 18, 1731. Syford. 1675, at
| Alkmund’s, | Thomas = Mary Allin. Longford.
| Sept. 18th.| Wright, Elizabeth
| | born 1705, Wright, b. Sarah
| | made a Jan. 26, Wright, b.
| | Deacon, 1671, at Mar. 21,
| | Sept. 19, Syford. 1677, at
| | 1731. Longford.
| |
+-----+ +-------------------------------------------------+
July 10, 1728.| |
Dorothy Gell, = Richard Wright, M.D., born = Frances Wilcockson, of |
of Wirksworth.|1702, at Derby, died Dec. 1,|Wirksworth, born 1711, died |
|1770, bur. at S. Michael’s, |May 6, 1772, bur. S. |
| Derby, Dec. 5. |Michael’s, Derby, May 9. |
No Issue. | |
+------------------------------+--------+-----+ |
| | | |
Richard Wright, = Caroline Elizabeth Mary Wright, = Capt. John |
M.D., F.R.S., of |Gray, only Wright, born b. May 3, | Wilson, R.N., |
Hanover Square, |surviving Feb. 22, 1743, bap. S.| of Tamworth, |
London, born at |dau. of the 1740, bap. at Michael’s, | born |
Derby, 1739, bap.|late Sir S. Michael’s, May 4, 1743, | died Sep. 1st,|
at S. Michael’s, |James Gray. Feb. 25, d. Apr. 9, | 1795, |
Nov. 28, 1739, | 1740, died 1805. | Lieut. under |
died Oct. 14, | Jan. 4, 1766. | Lord Howe |
1786, bur. at S. | +---------------+ when he was a |
Michael’s, Derby.| | Captain. |
| Frances Wilson, |
No Issue. born Sept. 9. 1777, |
at Tamworth, died |
Dec. 15, 1799. |
|
+---------------------+----------------------------------+---------------+
| | Sept. 26, 1728. |
Jane Wright, born John Wright, = Hannah Brookes, Elizabeth Wright,
Jan. 3, 1695, in Attorney-at-Law, | born 1700, born Apr. 24,
S. Alkmund’s Derby (“Equity | died Nov. 20, May 5, 1703,
Parish, bur. S. Wright,”) born Jan. | 1764, bur. at bap. S. Alkmund’s,
Alkmund’s, Sept. 16, 1697, died Nov. | Alkmund’s, 1703.
16, 1741. 1, 1767, bur. S. | Nov. 24.
Alkmund’s, Nov. 6; |
Town Clerk of Derby,|
from 1756 to 1765. |
|
+------------------------+----------+------------------------+---------+
| |Nov. 19, 1774, at S. Alkmund’s. | |
John Wright, = Anne. Richard = Sarah Wallis, [2]Hannah |
Jun., | Wright, M.D., | born Wright, born |
Attorney-at-Law,| born Nov. 8, | died March 2, Sept. 24, 1732, |
born Aug. 29, | 1730, died Feb. | 1820, bur. at bap. S. |
1729, bap. same | 2, 1814, bur. | S. Alkmund’s, Michael’s, Oct. |
day at All | at S. Alkmund’s,| March 9. 18, 1732, died |
Saints’, died | Feb. 9. | Nov. 6, 1810, |
March 22, 1798. | | bur. at S. |
| | Alkmund’s. |
| | |
| +---------------------------------+|
+-------------++---------+------------+------------+---------+ ||
| | | | | | ||
Hannah Anne John Elizabeth Richard Jane Hannah Anne ||
Wright, Wright, Wright, Wright, Wright, Wright, born ||
bap. S. bap. same born 1755, born June born Sep. 1759, bap. ||
Alkmund’s, time, at S. bap. Nov. 3, 1757, 19, 1758, Oct. 8, 1759, ||
Ap. 14, Alkmund’s, 9, 1753, bap. July bap. S. bur. All ||
1754, bur. April 14, died Apr. 7, 1757, Alkmund’s, Saints’, Feb. ||
at S. 1754, bur. 29, 1775, died Aug. Oct. 19, 15, 1769. ||
Alkmund’s, All bur. S. 18, 1789, 1758. ||
Aug. 14, Saints’, Alkmund’s. bur. S. ||
1759. Jan. 27, Alkmund’s, ||
1790. Aug. 21. ||
||
All died young, unmarried. ||
||
+----------------------+------------------------------------------+|
| | 15 Oct. 1821, at Hastings. |
Hannah Wright, of Anne Wright, born = James Holworthy, |
Brookfield, born Aug. Aug. 14, 1777, bap. S.|J.P., Artist, born Ap. |
29, 1775, bap. S. Michael’s, Aug. 15, |10, 1781, died June |
Michael’s same day, 1777, died Nov. 28, | 10, 1841, bur. at |
died May 13, 1867, 1842, at Brookfield, |Kensall Green, London, |
buried at Hathersage, bur. at S. Alkmund’s, |June 19. |
May 21, aged 93 years. Dec. 6. | |
No Issue. |
|
+---------------------------------------------+---------------------+
| July 28, 1773. |
JOSEPH WRIGHT, = Hannah or Anne Swift, Anne Eliz^{th} Wright,
“Painter,” born Sep. 3, | born “Nancy,” born April 6,
1734, bap. S. Michael’s,| 1749, died 1739, bap. S.
Sep. 5, 1734, died Aug. | Aug. 17, 1790, bur. at Michael’s, Apr. 7,
29, 1797, bur. at S. | S. Alkmund’s, Aug. 21. 1739, died May 8, 1813,
Alkmund’s, Sep. 1. | bur. at S.Alkmund’s,
| May 14, 1815.
Whithead = Miss Antill. +--------------------------------------------------+
| |
+------+ |
| |
Miss Whithead. = Rev. John Cade, Vicar = Mary Osborne. |
|of Spondon, Derbyshire.| |
| | |
| +----+ |
| | |
| John Cade, died at Derby, 18?? |
| |
+-----------+--+ +----------------+--------------+----------+
| |Ap. 20, 1795.| | | |
Mary Cade, James Cade, = Anna Romana Joseph Wright, Harriet |
died in Surgeon, of |Wright, born born July 14, Wright, |
infancy. Spondon, born|June 24, 1774, 1776, bap. S. born May 12, |
1772, died |at Rome, bap. Michael’s, 1778, died |
Jan. 15, |at S. Michael’s, July 14, 1776, July 8, 1860,|
1840, bur. at|Sep. 26, 1775, bur. at in Australia |
Spondon, Jan.|died Aug. 12, S. Alkmund’s, (River |
22. |1837, bur. at Dec. 5, 1778. Plenty). |
|Spondon, |
|August 18, |
|1837. |
| |
| |
Issue. |
|
+-------------+---------------------------------+-----------------------+
| | | Oct. 2, 1823,
| | Feb. 15, 1803. | S. John’s, N.B.
John Wright, Maria Wright, = Graham Joseph = Anne Crosby
born Feb. 8, born June 2, |Chappell, born Wright, Rev.,| Wiggins, of
1781, bap. 1783, bap. |about 1773, a Missionary,| New Brunswick
Mar. 29, 1781, June 5, 1783, |bap. born Nov. 1, | (S. John’s).
died Mar. 22, at S. |died 1786, bap. |
1798, aged 17, Alkmund’s, |bur. at Nov. 2, 1786,|
bur. at S. died Sep. 6th,|Spondon, April died 1830, at|
Alkmund’s, bur. Sep. 11, |29, 1834. Hamilton, |
March 27. 1819, at | Bermuda, bur.|
Arnold Church,| January 3. |
Notts. | |
Issue. Issue.
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.
[Illustration: “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.
1765.
No. 163. Three Persons Viewing the Gladiator by Candle-light.
„ 164. A Conversation Piece.
1766.
„ 195. A Philosopher giving that lecture on the Orrery, in which
a lamp is put in the place of the sun.
„ 196. A Portrait of a Lady, whole length.
„ 197. Head of a Gentleman.
1767.
„ 188. Portrait of a Gentleman, whole length.
„ 189. A Small Candle-light.
„ 190. Ditto, its Companion.
1768.
„ 193. An Experiment on a Bird in the Air Pump.
„ 194. Two Candle-lights.
1769.
„ 196. A Philosopher by Candle-light.
„ 197. An Academy by Candle-light.
„ 198. A Lady.
„ 199. A Conversation.
1770.
„ 154. Portrait of a Gentleman, Painted by an Artificial Light.
„ 155. A Conversation of Girls.
„ 303. Child with a Dog.
1771.
„ 200. A Lady and Child, whole length.
„ 201. A Blacksmith’s Shop.
„ 202. A Small Ditto, viewed from without.
„ 203. A Small Conversation.
„ 204. Portrait of an Officer.
„ 205. A Young Lady Undressing by Candle-light.
„ 206. An Old Woman Knitting by Candle-light.
„ 209. The Alchymist, in Search of the Philosopher’s Stone,
discovers Phosphorus, and prays for the successful
conclusion of his operation, as was the custom of the
Ancient Chymical Astrologers.
1772.
„ 369. A Portrait of an Officer, small, whole length.
„ 370. A Portrait of an Officer, small, whole length.
„ 371. A Landscape.
„ 372. A Blacksmith’s Shop.
„ 373. An Iron Forge.
„ 417. A Moonlight.
1773.
„ 370. A Captive King.
„ 371. An Iron Forge, viewed from without.
„ 372. An Earth Stopper on the Banks of the Derwent.
1774.
„ 321. The Old Man and Death.
1775.
„ 223. A Smith’s Forge, altered from his first design.
1776.
„ 147. An Eruption of Mount Vesuvius.
„ 148. The Annual Girandola, at the Castle of St. Angelo, at Rome.
1791.
„ 291. Antigonus in the Storm. (From the “Winter’s Tale.”)
„ 220. Romeo[9] and Juliet. The Tomb Scene. “Noise again!
then I’ll be brief.”
N.B.--The above Pictures were exhibited last year in the
Academy; but having been placed in an unfortunate position,
owing (as Mr. Wright supposes) to their having arrived too
late in London, and have since received alterations, he is
desirous they should again meet the public eye.
„ 221. Inside an Italian Stable.
„ 222. Part of the Colosseum.
„ 223. Moonlight, View on the Lake Albano, Italy, Monte Jora in
the distance.
TOTAL, 43 PICTURES.
PICTURES EXHIBITED BY JOSEPH WRIGHT AT THE EXHIBITION OF THE FREE
SOCIETY OF ARTISTS.
1783.
No. 4. Moonlight.
„ 89. Boy Blowing a Bladder.
TOTAL, 2 PICTURES.
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.
1778.
No. 357. An Eruption of Mount Vesuvius, with the Procession of St.
Januarius’s Head.
„ 358. A Grotto by the Sea-side, in the Kingdom of Naples, with
Banditti; a Sunset.
„ 359. Edwin, from Dr. Beattie’s Minstrel.
„ 360. Sterne’s Captive.
„ 361. The Girandola, a grand firework exhibited at the Castle of
St. Angelo, in Rome.
„ 411. Neptune’s Grotto at Tivoli.
1779.
„ 358. The Girandola, or Grand Firework at the Castle of St.
Angelo, in Rome; Companion to the Vesuvius he painted
last year.
„ 359. Virgil’s Tomb, with the Figure of Scilius Italicus, who
bought an estate enriched with this very tomb. He was
frequent in his visits to this monument of his master.
„ 360. Neptune’s Grotto at Tivoli.
„ 361. Two Boys, whole length.
1780.
„ 158. Eruption of Mount Vesuvius.
„ 203. A Cavern, with the Figure of Julia, banished thither by
her grandfather, Augustus.
1781.
„ 23. A Philosopher by Lamplight.
„ 61. Cavern in the Gulf of Salernum, Sunset.
„ 100. Maria, from Sterne, a companion to the Picture of Edwin,
exhibited three years ago.
„ 112. Cavern in the Gulf of Salernum, Moonlight.
„ 181. Portraits of Three Children.
„ 224. Virgil’s Tomb by Moonlight.
„ 245. Portrait of a Gentleman.
1782.
„ 165. Two Young Gentlemen in the Character of Archers.
„ 231. Old Man’s Head, in the character of an Apostle.
1788.
„ 81. Mæcena’s Villa at Tivoli.
„ 83. Cicero’s Villa, near Salerno.
„ 96. View near Mare Chiare, on the shore of Paussillipo.
„ 98. The Convent of St. Cosimato, near Vicobaro, and Remains of
the Claudian Aqueduct, on the River Arno.
„ 234. View in the Alps, on the side next Italy, in the Duchy of
Milan.
1789.
„ 9. A Moonlight.
„ 26. Cicero’s Villa, an Evening.
„ 67. The Prison of the Capitol.
„ 74. Ruins of the Colloseo, in Rome.
„ 87. A Boy and Girl Engaged with a Bladder.
„ 107. Ruins of the Colloseo, in Rome, with Banditti.
„ 137. View of Cromford, near Matlock.
„ 153. A Girl Blowing a Charcoal Stick.
„ 236. A Dead Soldier, his Wife and Child, vide Langhorne’s Poems.
1790.
„ 1. Romeo and Juliet, Act V., Scene last.
„ 221. Scene from the “Winter’s Tale,” Act iii., latter end of the
sixth scene.
1794.
„ 107. An Eruption of Vesuvius.
„ 232. A Lake at Dunkeld, in Scotland, Evening.
„ 233. A Village on Fire.
TOTAL, 40 PICTURES.
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.
F I N I S.
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.
[Illustration: “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,
“M^{r.} Hurleston’s Comp^{ts.} to you & Sister. } London.”
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.
“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.”
[Illustration: 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._]
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.”
“TO RICHARD WRIGHT. “Rome 11th Nov. /74.
“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 gent^n
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.
[Illustration: A DRAWING ACADEMY.]
[Illustration: 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....
“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.”
[Illustration: THE ANNUAL GIRANDOLO AT THE CASTLE OF ST. ANGELO, ROME.
(_From the Original Sketch._)]
“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.’”
Farrington tells us that while Reynolds resided in St. Martin’s Lane,
his prices for portraits were--three-quarters, ten guineas; half
length, twenty guineas; whole length, forty guineas. Those of his
master, Hudson, were rather higher, and were soon adopted by him. About
four or five years later, both raised their prices to fifteen, thirty,
and sixty guineas for the three classes of portraits respectively.[25]
Wright’s prices in 1754, when he was twenty years of age, were for
three-quarters, six guineas; half-length, twelve guineas; and full
length, twenty-six guineas. In 1760 we find them raised respectively
to ten, twenty-one, forty, and sixty guineas. Later in life they were
still further advanced to 90 and 120 guineas for full-lengths.
It has often been lamented that artists did not more frequently leave
behind them a record of their method of working, and the arrangement
of their palette, for the benefit of their brethren who follow them,
so that after a lapse of time the good results from their method of
working might be followed, and their failures, by the use of certain
pigments, be avoided. We are enabled to transcribe from Wright’s MS.
note-book the arrangement of his palette. As the present state of his
paintings, where they have not been “restored,” is generally very good,
after the lapse of a century, with the exception here and there of a
change of tone not intended by the artist, his “palette” may be worth
the attention of art students.
The contents of y^e pallet:--
_First Row._
1. Verm. teint Verm. & White.
2. Verm.
3. Carmine teint Lake & Verm.
4. Carmine.*
5. Lake.*
6. Brown Pink.*
7. Dark shade to flesh B^{r.} Oker, B^{t.} Lake, Terraceum Bl.
8. Half Shade Dark shade Naples Yell^{w.} & a little
White.
_Quarter Shade._
9. Olive teint Half Shade Naples Yell^{w.} & blue
teint.
10. Blue teint Ultramarine, Prussian, & White.
11. Purple Lake azure.
12. Dark shade Indian Red & Black.
13. Burnt Umber.
14. Black.*
The colours marked thus * need not be laid y^e first painting.
_Second Row._
1. Rose teint y^e Carmine teint & white.
2. Lake teint Lake & white.
3. Indian Red teint Indian Red & white.
4. Light Red.
5. L. red teint L. red & white.
6. Do. lighter do.
7. Complexion teint Nap^{s.} yell^{w.} & white.
8. High lights do. very light.
9. Naples yellow.
10. Light Oker.
In the same MS. book, on the first page, is the following record of the
palette of another artist, and it is probable that Wright may have used
it in his early works:--
“_Mr. Phelps’s way of making a Pallet._
“First lay on Naples yellow, light oker, brown oker, Roman oker, Indian
Red, lake, brown pink, Ivory black, & Prussian blue.
“In the light part of the face use Naples yellow, light oker, white,
vermillion, and a very little lake. Obs^e that Naples yellow must be
tempered with an ivory pallet knife. For greenish shadows in the face,
use Naples yellow, Brown pink, lake, & a little black.
“As blue black is a colour that will not stand, the following colours
are the same when mixt together:--Ivory black, Prussian blue, & a
little white. So for Coleus earth, use ivory black, Roman oker, brown
pink, & a little lake.”
Wright often used a twilled canvas for his portraits, and sometimes for
his landscapes. He mostly painted very thinly, and it is perhaps partly
in consequence of this practice that his pictures have stood the test
of time better than those of many contemporary artists. He but seldom
signed his paintings; when he did, he generally gave the initials, “I.
W., pinxit,” and the dates.
His early portraits partake very much of the hard handling and stiff
style of Hudson, his master; but as time elapsed and experience was
gained, he adopted more pleasing and original treatment.
In the early part of this century, an artist, Rawlinson by name, who
resided at Matlock Bath, copied some of Wright’s pictures with some
success.
On Oct. 6th, 1777, Wright and his family returned to Derby from Bath,
and went to lodge at Mr. Eley’s, which was opposite to his brother
Richard’s house, where he still continued to paint. There he lived very
happily and cheerfully, being constantly employed in the evening. When
not in the painting-rooms he would read, draw, play upon the flute, or
romp with his children; he was so pleasant and accommodating to all the
family, that though the Eleys were at first unwilling to receive him,
they quite lamented when he left.