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without the knowledge of her family. Early one morning in February, 1772, she left Staningfield for London, and, with a few necessary articles of apparel packed in a band-box, walked, or rather ran, a distance of two miles, to the place from whence the coach set out for the metropolis. This step, in a girl of sixteen years of age, did not augur very favourably of her future conduct and respectability; but the subsequent tenor of her life affords additional proof that very admirable results will often arise out of indifferent, and even reprehensible, beginnings. On her arrival in London, she sought a distant relation, who lived in the Strand; but, on reaching the house, was, to her great mortification, informed that she had retired from business, and was settled in North Wales. It was near ten o'clock at night, and her distress at this disappointment moved the compassion of the people of whom she had made her inquiries, who kindly accommodated her with a lodging. This civility, however, awakened her suspicions: she had read in Clarissa Harlowe, of various modes of seduction practised in London, and feared that similar intentions were meditating against her. A short time after her arrival, therefore, observing that she had awakened their curiosity, our young heroine seized her band-box, and, without uttering a single word, rushed out of the house, and left them to their conjectures, that she was either a maniac or an impostor."

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Her necessities drove her to the stage where she met with considerable success, and performed principal characters when only eighteen years of age. After a residence of four years in Edinburgh, with her husband, Mr Inchbald, also an actor of some celebrity, she removed to London, where she acted for several years at Covent Garden.

Soon after her return to the metropolis she became an authoress. Her first piece, the comedy entitled 'I'll tell you What,' was at first rejected by Colman of Haymarket, but finally approved and brought out with considerable success, in 1785. In 1789 she retired from the stage, and devoted herself from that period entirely to literature. She wrote a number of popular dramatic pieces, and edited a new edition of ⚫ The British Theatre,' and other dramatic collections. But it is to her two novels, Nature and Art,' and The Simple Story,' that she chiefly owes her literary reputation.

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Mrs Inchbald died at Kensington in 1821. The following character of her is from the pen of Mr Taylor, then editor of the Sun newspaper. Her mind had an original cast, and her literary style was peculiar, terse, pointed, and impressive. By exemplary industry and prudence she had raised herself into a state of comfortable independence; but she had a liberal heart, and deprived herself of many enjoyments, in order to provide for relations who stood in need of her assistance. She was animated, cheerful, and intelligent in conversation, and her remarks were not taken on trust, but were the effects of acute penetration. Her dramatic productions and her novels, a Simple Story,' and Nature and Art,' show a deep knowledge of the human heart, and those novels in particular are well calculated to improve it. She was very handsome in youth, and retained much of her beauty and elegance till her death. Those who did not know her real character, and the benevolence of her nature, considered her prudence as parsimony; but she was capable of

1 Annual Obituary, vol. vi.

your picture; you richly deserved the broken head you got from Gifford :-so now you know my mind."

As a sculptor, Nollekens has risen to eminence only by his busts; his monumental and poetic sculpture are every way inferior. The monumental work, however, of Mrs Howard, dying in childbed, with her infant, and the figure of Religion by her side, is an exception to his works of this nature; it is altogether a beautiful and impressive performance. His heads were finely and faithfully chiselled; if he failed anywhere, it was near the eye, where he seldom cut deep enough. In all that art could achieve, Nollekens was unequalled; but of genius he has afforded little proof. He has left us beautiful forms to admire and forget; but we in vain look for, in the productions of his chisel, that soul and sentiment, of which something more than earthly inspiration is the source.1

Sir Henry Raeburn.

BORN A. D. 1756-died A. D. 1823.

HENRY RAEBURN was born at Stockbridge, in the neighbourhood of Edinburgh, on the 4th March, 1756. In very early life he did not discover any particular propensity to the art in which he was destined so remarkably to excel. It was only observed, at the class of arithmetic, when the boys were amusing themselves in drawing figures on their slates, that his displayed a very striking superiority to those of the other boys; but this did not lead any farther. In other respects he was distinguished by the affection of his companions, and formed at that early period intimacies with some of those distinguished friends whose regard accompanied him through life.

The circumstances of young Raeburn rendering it urgent that he should, as early as possible, be enabled to provide for his own support, he was accordingly, at the age of fifteen, apprenticed to an eminent goldsmith in Edinburgh. It was soon after this that he began to paint miniatures. In what manner this taste first showed itself, is not exactly known; but it certainly was altogether spontaneous, without lesson or example, and without even having ever seen a picture. His miniatures were executed, however, in such a manner as drew immediate attention among his acquaintances. His master then took him to see Martin's pictures, the view of which altogether astonished and delighted him, and made an impression which was never effaced. He continued to paint miniatures; they were much admired, and were soon in general demand. His time was fully occupied; and he generally painted two in the week. As this employment, of course, withdrew his time from the trade, an arrangement was made, by which his master received part of his earnings, and dispensed with his attendance.

At the expiration of his apprenticeship, Mr Raeburn became professionally a portrait-painter. At the age of twenty-two, he married a daughter of Peter Edgar, Esq. of Bridgelands, with whom he received

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some fortune. Ambitious still farther to improve in his art, he repaired to London, where he introduced himself and his works to the notice of Sir Joshua Reynolds. That great man instantly saw all that the young Scotsman was capable of, gave him the kindest reception, and earnestly advised him to enlarge his ideas by a visit to Italy. He even offered, had it been necessary, to supply him with money. Mr Raeburn accordingly set out for Rome, well furnished with introductions from Sir Joshua to the most eminent artists and men of science in that capital. He spent two years in Italy, assiduously employed in studying those great works of art with which that country abounds. He travelled with all practicable expedition to and from Italy, without stopping at Paris, or at any other place.

His powers now fully matured, Mr Raeburn returned in 1787 to his native country, and immediately established himself at Edinburgh. Having taken apartments in George Street, he came at once into full employment as a portrait painter. A life spent in one place, and in uniform application to professional pursuits, affords few materials for narrative. The real history of Mr Raeburn is that of his painting; but this, unfortunately, only himself could fully have given. Having stored his mind with ideas drawn from the purest school of modern art, he was indebted for his subsequent improvement solely to his own reflections and the study of nature. He was never in the habit of repairing to London, and indeed he did not visit that metropolis above three times, nor did he reside in it altogether more than four months. He was thus neither in the habit of seeing the works of his contemporaries, nor the English collections of old pictures. Whatever disadvantage might attend this, it never stopped the career of his improvement. Probably, indeed, it had the effect of preserving that originality which formed always the decided character of his productions, and kept him free from being trammelled by the style of any class of artists.

The first excellence of a portrait, and for the absence of which nothing can atone, must evidently be its resemblance. In this respect, Sir Henry's eminence was universally acknowledged. In the hands of the best artists, there must, in this part of their task, be something precarious; but in a vast majority of instances his resemblances were most striking. They were also happily distinguished by being always the most favourable that could be taken of the individual, and were usually expressive as well of the character as of the features. This desirable object was effected, not by the introduction of any ideal touches, or any departure from the strictest truth, but by selecting and drawing out those aspects under which the features appeared most dignified and pleasing. He made it his peculiar study to bring out the mind of his subjects. His penetration quickly enabled him to discover their favourite pursuits and topics of conversation. Sir Henry's varied knowledge and agreeable manners then easily enabled him, in the course of the sitting, to lead them into an animated discussion on those ascertained subjects. As they spoke he caught. their features, enlivened by the strongest expression of which they were susceptible. While he thus made the portrait much more correct and animated, his sitters had a much more agreeable task than those who were pinned up for hours in a constrained and inanimate posture, and in a state of mental vacuity. So agreeable indeed did many of the most distinguished and intelligent among them find his society, that they

courted it ever after, and studiously converted the artist into a friend and acquaintance.

Besides his excellence in this essential quality of portrait, Sir Henry possessed also in an eminent degree those secondary merits which are requisite to constitute a fine painting. His drawing was correct, his colouring rich and deep, and his lights well disposed. There was something bold, free and open, in the whole style of his execution. The accessories, whether of drapery, furniture, or landscape, were treated with elegance and spirit, yet without that elaborate and brilliant finishing which makes them become principals. These parts were always kept in due subordination to the human figure; while of it, the head came always out as the prominent part. Animals, particularly that noble species, the horse, were introduced with peculiar felicity; and Sir Henry's equestrian portraits are perhaps his very best performances. The able manner in which the animal itself was drawn, and in which it was combined with the human figure, were equally conspicuous. His portraits of Sir David Baird, of the earl of Hopetoun, of his own son, on horseback, and, above all, perhaps, of the duke of Hamilton, are striking illustrations of this remark. This skilful grouping and judicious arrangement of the accessories gave a peculiarly good effect to his family pictures, for which, however, Scotland did not afford a very extensive demand.

The active mind of Sir Henry was by no means confined within the circle of his profession. Indeed, those who best knew him conceived, that the eminence to which he attained in it was less the result of any exclusive propensity, than of those general powers of mind, which would have led to excellence in any pursuit to which he had directed his attention. Though in a great degree self-taught, his knowledge was varied and extensive. His classical attainments were considerable; but mechanics and natural philosophy formed the favourite objects of his study. To these, in a particular manner, he devoted the leisure of his evenings, when not interrupted by the claims of society Sculpture was also an object of his peculiar study; and so great was his taste for it, that at Rome he at one time entertained the idea of devoting himself to that noble art as a profession, in preference to painting. A medallion of himself, which he afterwards executed, satisfied all men of taste who saw it, that he would have attained to equal excellence in this art, had he made it the object of his choice.

Few men were better calculated to command respect in society than Sir Henry Raeburn. His varied knowledge, his gentlemanly and agreeable manners, an extensive command of anecdote, always well told and happily introduced, the general correctness and propriety of his whole deportment, made him be highly valued by many of the most distinguished individuals, both as a companion and a friend. His conversation might be said in some degree to resemble his style of painting, there was the same ease and simplicity, the same total absence of affectation of every kind, and the same manly turn of sense and genius. But we are not aware that the humorous gaiety and sense of the ludicrous, which often enlivened his conversation, ever guided his pencil.

Sir Henry Raeburn, like Raphael, Michael Angelo, and some other masters of the art, possessed the advantage of a tall and commanding

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person, and a noble and expressive countenance. ery, golf, and other Scottish exercises; and it while engaged in painting, his step and attitudes were at once stately and graceful.

The mental qualities of that excellent man corresponded with the graces of his conversation and exterior. By those who most intimately knew him, he is described as uniting in an eminent degree the qualities which command genuine esteem. His attendance on the duties of religion was regular and exemplary. In domestic life he appeared peculiarly amiable. Though so much courted in society, he appeared always happiest at home, in the bosom of his family and of his grandchildren; and while mingling in their youthful sports. To young men, who were entering the arduous career of art, he showed himself always a most active and generous friend. Whether acquainted or not, they were welcome to come to him, and were sure of his best advice and assistance. Notwithstanding his extensive engagements and pursuits, a large proportion of his time was always spent in rendering these kind offices. When unable to command time during the day, he would engage them to come to him early in the morning. In passing sentence on the works of his brother-artists, he evinced the most liberal candour: and even where unable to bestow praise, was scarcely ever heard to blame. The merit of Sir Henry was amply acknowledged, both by literary societies and those formed for the promotion of art. He became a member of the Royal Society of Edinburgh, of the Imperial Academy of Florence, of the Academy of New York, and of the South Carolina Academy. In 1814, the Royal Academy of London, on occasion of the very first picture sent by him, elected him an Associate; and in the following year they named him an Academician. This honour was conferred in a manner quite unprecedented, not having been preceded by any application whatever; while in general it is the result of a very keen canvass; and at this very time the candidates were particularly numerous. The time was come, however, when the talents of the artist were to meet a still more brilliant and imposing homage. His Majesty, George IV., in the course of his visit to his Scottish subjects, determined to show his esteem for the fine arts by a special mark of honour conferred on the most distinguished of their professors. This view was happily fulfilled by conferring on Mr Raeburn the dignity of knighthood. Sir Henry received afterwards the appointment of portrait-painter to his Majesty for Scotland; a nomination, however, which was not announced to him till the very day when he was seized with his last illness. The king, when conferring the dignity of knighthood, had expressed a wish to have a portrait of himself painted by this great artist; but Sir Henry's numerous engagements prevented him from visiting the metropolis for that purpose.

It reflects great honour on the subject of this memoir, that he never gave way to those secure and indolent habits which advanced age and established reputation are so apt to engender. He continued, with all the enthusiasm of a student, to seek and to attain farther improvement. The pictures of his two or three last years are unquestionably the best that he ever painted.

Sir Henry died on the 8th July, 1823, after a brief illness. '

1 Abridged from Edinburgh Annual Register.'

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