iographers seem often to choose between two weaknesses. They are fond of asserting that the hero of their narration comes in truth of a gentle stock, however the clouds of misfortune may for a time have veiled from general observation the glories of his family tree,—or, failing this, they take a sort of pride in dwelling upon and exaggerating the humbleness of his descent and condition. He is a somebody, or he is a nobody; a gentleman of distinguished origin or an utterly unknown creature with the vaguest views about his lineage: a waif of the wayside, a stray of the streets, his rise from obscurity to eminence being entirely attributable to his own intrinsic merits and exertions.

To this last-mentioned method of biographical treatment has been subjected Richard Cosway, painter and Royal Academician of the last century: a man of fame in his day, though that fame may not have come down to us in a very good state of preservation. The fact that in his prime he was a man of fashion, a 'personage' in society, the companion of princes, and an artist of eminence, has given a sort of impetus to the fancy of tracing him back to a vastly inferior state of life. Writers dealing with the painter's story, and prepared to point to him presently as the occupant and ornament of a 'gilded saloon,' have found a preliminary pleasure in dilating upon his earlier and humbler position as an errand-boy in a drawing academy. The contrast was effective, picturesque—dramatic. Contemplate this scene of gloom and degradation; now turn to this other canvas, all sunshine and prosperity. Is not the comparison impressive? But then it ought to be true.

This black and white view of the vicissitudes of Cosway's career is due, in the first instance, to Mr. J.T. Smith, engraver, antiquarian, and author of the Life of Nollekens and other books. Mr. Shipley, from Northampton, brother of the Bishop of St. Asaph, and founder of the Society of Arts, had established a drawing school at No. 229 in the Strand. Cosway, when quite a lad, says Smith, obtained the notice of Shipley, and was engaged by him to attend in the studio and carry to and fro the tea and coffee with which the housekeeper of the establishment was permitted to provide the students at a cost of threepence per head. Nollekens and the father of Smith were among the students, and good-naturedly, the story goes on to say, gave the boy Richard Cosway instruction in drawing, and encouraged him to compete for the prizes he afterwards obtained from the Society of Arts. These particulars probably Smith obtained from his father or from Nollekens—if indeed they be not wholly due not so much to his own invention as to the confusion of names and misconception of incidents to which every one is liable who puts too great a strain upon his memory. Allan Cunningham, it may be observed, relates facts concerning Cosway's origin and youth which go far towards controverting the errand-boy episode in his life, as chronicled by Smith.

Richard Cosway was born in 1740, at Tiverton, in Devonshire, a county singularly productive of famous artists, having given birth among others to Haydon, Northcote, and Reynolds. The father of Cosway was the master of the grammar-school at Tiverton: his uncle was for some time mayor; and the family, originally Flemish, and engaged in woollen manufactures, was possessed of considerable property in the town and neighbourhood. To the connexion of the Cosways with Flanders was ascribed their ownership of certain valuable works by Rubens, which first lit up a love of painting in the heart of young Cosway, and made him an idle schoolboy and an indefatigable artist. The master of Tiverton school was naturally indignant at the want of scholarly application of his son and pupil; was for birching him into better behaviour, forbidding him to ply his pencil at all under heavy penalties. The boy's uncle, the mayor, and a judicious friend and neighbour, one Mr. Oliver Peard, seem to have better appreciated the situation. They interposed on behalf of the young artist, and succeeded in obtaining for him permission to make drawings during such times as he could be spared from the grammar-school. But at last it appears to be agreed on all hands that the boy must close his books: he is wilful, and must have his way—become an artist: there is no hope whatever of his succeeding in any other line of life. He is to be humoured to the top of his bent. His passion is to be cured by indulging it. If he succeeds—well and good,—there is nothing more to be said. If he fails, his failure will sober him, his friends argue: render him docile and tractable, obedient to parental commands for the future.

He was sent up to London, at thirteen, to study under Hudson, Reynolds's preceptor (and more remarkable on that account than on any other, though his merits as a portrait-painter are less contemptible than many suppose); all expenses were to be defrayed by the Mayor of Tiverton and kindly Mr. Oliver Peard. After a year under Hudson, young Cosway entered Shipley's Academy, already mentioned. Probably he was a somewhat puny, insignificant-looking lad, and was therefore made the butt and fag of the robuster students, compelled to attend upon them and obey their behests, even to performing menial offices, just as younger boys do in other academies—for might is right in the world of school—and thus Mr. Smith's errand-boy story may have originated. But it can be scarcely said to be substantiated by the further facts he proceeds to narrate: how that young Cosway in the course of a few years obtained no less than five premiums, some of five and one of ten guineas, from the Society of Arts: the first awarded when he was only fourteen years old, the last when he was under four-and twenty. The unskilled errand-boy could scarcely have received a prize instantly on his commencing to study.

Quitting Shipley's, he became for a time a teacher at Parr's Drawing School, but was soon busily employed on his own account in supplying the jewellers' shops with miniature paintings on ivory; pretty heads and fancy subjects or mythological scenes to be framed with gold or set with diamonds; the beau of the day was incomplete without a costly snuff-box adorned with a lid, the prettiness of which, perhaps, somewhat surpassed its pudicity. Cosway seems to have been just the artist to supply a demand of this sort. He was industrious, fond of money,—but rather because it ministered to habits, which were inclined to be extravagant, than for any very sordid reasons—and was without high views as to his art. He did not mind debasing it a little, accommodating his friends the shopkeepers, and filling his own pockets. And his execution was very rapid and adroit; he could put just as much work into his subjects as would give them in uneducated eyes the effect of high finish, while in truth they occupied but little of his time, and provided him with most ample profits. But, if slight, they were certainly elegant; if not very pure in art, they were unquestionably pleasing to a large and important class. The demand for specimens of Mr. Cosway's ingenious taste became at last almost in excess of his powers of supply.

First, by his snuff-box subjects, and afterwards by his portraits—on ivory or in red and black chalk—after the manner Bartolozzi had introduced—Cosway earned large sums. For many years he was reputed to have been in possession of a handsomer income than could be secured by the efforts of all his artist-brethren put together. But it must be said for him that he worked very hard. At the height of his fame he would sometimes boast as he sat down to dinner, that he had during the day despatched some twelve or fourteen sitters. He would often complete portraits at three sittings of half an hour each. But then his finish was of the slightest kind, and many of his miniatures can only be regarded, from a modern point of view, as tinted sketches, after allowance has been made for the perishable nature of the pigments he employed. He seems to have possessed a trick of enriching the colours of the eyes, lips, and cheeks of his sitters, by reducing every other hue in the picture to a cold blue-grey tone. By this system of violent contrast any hint of positive colour gained in warmth and brilliance to a remarkable degree. The miniature painter can hardly help improving and refining the subjects he deals with; for one reason, because the delicate nature of the material upon which he works, its exquisite surface and delicate texture, imparts a marked purity to all his tints. The coarsest complexion gains in lustre and smoothness when attempt is made to render it upon ivory; the dainty groundwork gleams through and gives beauty and clearness to the swarthiest hues. And then, in addition to this, Cosway had in full the portrait-painter's faculty of flattering his sitters. He could hardly fail to please them. He understood thoroughly how, while preserving a real resemblance, to catch the happiest expression; to subdue unattractive lines; to modify plain features; to conceal weaknesses; bringing out the really good points of a face; to light up dull eyes, and flush pale lips and cheeks. The faults of his portraits consist in their over-conscious graciousness; they smile and sparkle and are arch and winning to an excess that sometimes approaches inanity. And he was disposed, perhaps, to record the fashions of his time with too intense insistence. There was a rage then, as we know, for a piling up on the head of all sorts of finery: feathers, lace, ribbons, velvet hats, mob-caps, and strings of pearls. Cosway will hold back from us none of these adornments, rather he will force upon us a redundancy of them, and contemplating the aspects of the grandmothers and great-grandmothers of the present generation as they appear to us according to Cosway's art, we are led to the conclusion that the dear old ladies were in truth most killing coquettes, with quite an extravagant regard for the dictates of their fashion-books, and occupied by a passion for ogling their fellow-creatures to an extent that was decidedly reprehensible.

But it must be allowed that Cosway suited his customers, and, moreover, in the main satisfied the art-demands of his period. However stern critics might censure, or rival painters scoff, his success was assured. And in artistic facility and accuracy of drawing, when he cared to be particular in that respect, he could hardly be said to be behind his contemporaries. His copies from the antique were both graceful and correct, owing to his frequent practice in the Duke of Richmond's gallery, and his outlines received the fervent admiration of Bartolozzi and Cipriani. He tried his hand now and then at the high historic order of art of Barry and Fuseli, but his ambition was probably limited to a less pretentious range,—'the little pleasing paradise of miniature,' as Allan Cunningham phrases it; he cared rather for the caresses of the world of fashion than the applause of the cognoscenti. In society he was a power; for could he not by means of his pencil bestow, as it were, a certificate of beauty upon whom he would? Have not many of his sitters acquired, thanks to him, a reputation for good looks which has survived even to our day, and which, but for his skilful flattery, they never could have possessed at all? So, in drawing-rooms and boudoirs he was fÊted, and fondly greeted, and made much of, while plenty of money was slipped into his pocket, and so, according to one of his biographers, from the gold he gained and the gaiety of the company he kept, he rose from one of the dirtiest of boys to be one of the smartest of men.

He was, indeed, coxcombical in his smartness. But then he lived in days when, among a large class, a love of fine clothes had risen to quite a passion. Patronized by the Prince of Wales, what could he do but imitate his patron—who was nothing if not 'dressy?' 'The Macaronis' were furnishing the sensation of the hour. A party of young gentlemen who had made the grand tour had formed themselves into a club, and from their always having upon their table a dish of macaroni—a comestible then but little known in England—they acquired the name of the Macaroni Club; at least their name has been generally thus accounted for. The Macaroni Club was to the last century what Crockford's was to this. 'It was composed,' says Walpole, 'of all the travelled young men who wear long curls and spying glasses.' In matters of fashion the Macaronis claimed absolute supremacy. They ruled the world of ton—especially interesting themselves in toilet matters. To wear a style of dress that had not been sanctioned by the Macaroni Club was to be scouted as an outer barbarian. For a time everything was 'À la Macaroni.' It became the phrase of the hour—springing into existence as suddenly, possessing the town as wholly, and disappearing at last as completely as such phrases always do. Of course Cosway must be in the fashion,—must chime in with the universal humour. He dressed in the height of the Macaroni vogue. His small plain person was to be seen in all public places clothed in a mulberry silk coat profusely embroidered with scarlet strawberries, with sword and bag and a small three-cornered hat perched on the top of his powdered toupÉe. He assumed a mincing, affected air—a tone of excessive refinement and exquisite sensibility. He pretended to an absurd superiority over his fellows, and striving to conceal his real and more honest situation as a hard-working artist, posed himself incessantly as a creature of fashion. Of course in the end he disgusted his brother painters, while he did not really conciliate 'the quality.' The former scorned him, his fine clothes, splendid furniture, and black servants—the more satirical holding him up to ridicule in the shop windows, by laughable caricatures, such as 'The Macaroni Miniature Painter; or, Billy Dimple sitting for his picture:' the latter came to his feasts, drank his wines, won his money from him at hazard, stimulated his extravagance to the utmost, while they made mouths at him behind his back, and condemned in secret and among themselves the folly of his conduct. It must be said for the artist, however, that he toiled earnestly and successfully to make his professional earnings keep pace in some sort with his lavish private habits. Cipriani used to relate, that after whole nights had been wasted by Cosway in the most frivolous and worthless of pursuits, he was yet to be found at an early hour in his studio, sedulously toiling to redeem lost time and money, very penitent for the past, full of the best intentions for the future: all of course to be abandoned and forgotten when the evening came, the chandeliers were lighted, the cards strewed the table, and the world of society gathered round him in his drawing-room again.

A less honest source of emolument than his own pencil provided, Cosway found in helping to supply the demand then existing for specimens of the old masters. The love of the connoisseurs for ancient art, even to its most suspicious examples, had survived the satire of Hogarth and the indignation of Barry. The patrons of the day were warmer friends to the picture-dealers than to the painters. Modern works of any pretence were at an alarming discount: the productions of the past were at high premium. Cosway skilfully contrived to reap profits in the double capacity of dealer and painter. He joined the ranks of those whom Barry, in a tone of bitter complaint, describes as 'artful men both at home and abroad [who] have not failed to avail themselves of this passion for ancient art ... for vending in the name of those great masters the old copies, imitations, and studies of all the obscure artists that have been working in Italy, France, and other places, for two hundred years past.' Cosway went into the market of doubtful old masters, and purchased largely; about many of his specimens there was probably no doubt whatever. These he repaired, re-touched, re-varnished, re-framed, and sold for good prices, as 'masterpieces of ancient art,' to such noble and gentle patrons as had galleries to fill, or walls to cover, and money to part with. This method of proceeding was doubtless profitable rather than honourable. Cosway's apologists—Hazlitt among them—say for him, that he was 'Fancy's child,' the dupe of his own deceptions, that he really believed in the genuineness, the pure originality of the old masters he had with his own hand worked upon, almost past identification. But self deception which is so decidedly a source of profit to the deceiver has, to say the least of it, a suspicious element about it.

Cosway at first occupied a house in Orchard Street, Portman Square; but as his income improved, he moved to No. 4 Berkeley Street, opposite the Duke of Devonshire's wall, and at that time, according to Smith, he was attended by a negro servant remarkable for having published an octavo volume on the subject of slavery. It was in Berkeley Street that Cosway was first noticed by the Prince of Wales and his royal brothers, whose liberal patronage of the painter brought him into fashionable and general estimation. He was appointed painter in ordinary to the Prince; and in 1771 he was elected a Royal Academician.

Cosway married Maria Hatfield, the daughter of an Englishman who had made a fortune by keeping an hotel at Leghorn. There is a tinge of tragedy about the lady's story. Four elder children had been secretly murdered by a half insane maid-servant, whose crime remained undiscovered until she was overheard threatening the life of the child Maria. Upon interrogation, the murderess confessed her guilt, and was condemned to imprisonment for life. Other children were subsequently born to the Hatfields. Charlotte, who lived to become the unhappy wife of Coombe, the author of Dr. Syntax, and a son, afterwards known as an artist of some promise. Maria Hatfield was educated in a convent, where she learnt music and drawing. Subsequently she studied painting at Rome, and there made the acquaintance of Battoni, Maron, Fuseli, Wright of Derby, and other artists. Upon her father's death she had resolved to return to the cloister; but her mother brought her on a visit to London, and a friendship she then formed with the popular Angelica Kauffman induced her finally to renounce all idea of a nun's life. Soon she became the wife of Richard Cosway. The marriage took place at St. George's, Hanover Square; Charles Townley, of Townley Marble celebrity, giving away the bride.

She possessed beauty,—she was a fair Anglo-Italian with profuse golden hair—talent, and money. The year of her marriage she exhibited certain highly-admired miniatures at the Royal Academy. Her fame spread. The youth, the loveliness, the genius of Mrs. Cosway became town talk. Her husband's house was thronged with people of fashion who came to see, admire the lady artist, and purchase specimens of her art. But Cosway, probably from pride, though it might be from an acute perception of the greater advantages to be derived from reserve in such a matter, would not permit his wife to paint professionally. A favoured few might now and then become the possessors of some slight sketches by Mrs. Cosway; occasionally she might honour a lady of rank by painting her portrait; but Mrs. Cosway's ability, it was to be distinctly understood, was not placed at the service of the general public. Of course this exclusive system enhanced the market value of the lady's works considerably, and while the majority of people were lauding Mr. Cosway as a husband too fond and indulgent to permit his sweet wife to ruin her health by harassing work at her easel, a judicious minority were perhaps doing Mr. Cosway stricter justice in accounting him a very cunning practitioner indeed, in the way of making the most of Mrs. Cosway's talent.

For this, it must be said, however, that as the times went, it did not really need such careful nursing; it was strong enough, or very nearly so, to run alone: it was of a highly respectable order. The lady possessed poetic feeling, with considerable artistic facility. Her sketches of scenes from Spenser, Shakespeare, Virgil, and Homer compare not unfavourably with the designs of many of her contemporaries. And her portraits were of real merit; one of the fair Duchess of Devonshire, painted as the Cynthia of Spenser, extorted unbounded admiration from the critics and connoisseurs of the period.

From Berkeley Street Cosway removed to the south side of Pall Mall, occupying part of the large mansion originally erected by the Duke of Schomberg—that 'citizen of the world,' as Macaulay calls him, who was made a Duke, a Knight of the Garter, and Master of the Ordnance by William the Third, and falling by his master's side at the battle of the Boyne, was, according to Lord Macaulay, buried in Westminster Abbey; but, in truth, it would seem that his remains were deposited in the Cathedral of St. Patrick, Dublin, Dean Swift and the Chapter erecting there a monument to his memory, and the Dean writing more suo a sarcastic epitaph[15] on the heirs who had neglected to do their duty by their great ancestor. Schomberg House—after the Duke's death divided into three separate houses, and still existing, though in a somewhat changed and mutilated form, part of it being now occupied by the War Office—has sheltered many artists of fame under its roof. Here Jervas painted—the pupil of Kneller, and the admired of Pope, whose deformity the painter in his portrait of the poet did his best to mend and conceal; here lived mad Jack Astley, who made so prosperous a marriage with the rich Lady Duckenfield; and Nathaniel Hone, the Royal Academician, retaining on the premises a negress model, famous for her exquisite symmetry of form; then Cosway—and, greatest of all, Thomas Gainsborough, dying in an upper room on the 2d of August 1778. In the spacious saloons of Schomberg House, Cosway thought he should find ample room and verge enough both for himself and his fashionable friends.

And room was becoming very necessary; for Mrs. Cosway's receptions were now the town rage—were crowded to inconvenience. They were marked by what was then a speciality; though it has since become a common enough characteristic of such assemblies. 'Lions' were to be met with there—literary, artistic, and otherwise. The last new poets, painters, players, were to be seen with their honours in their newest gloss; the latest discoverers, navigators, and travellers—freshly escaped from shipwreck or cannibals—the rising stars of the House of Commons—anybody and everybody of the least note, with the provision, possibly, that they should be 'elegant and ingenious,'—these thronged the charming Mrs. Cosway's drawing-rooms. The elect of society, for the first time on the same floor and under the same roof, met and shook hands, deriving a curious piquant sort of pleasure from the proceeding, with—Bohemia; the word must be used, though not an agreeable one, much misused and liable to be misinterpreted, and above all, though in the Cosway period it was altogether unknown and unheard of. Especially were to be noted among the guests the Whig adherents of the Prince of Wales, the politicians of the buff and blue school: little Cosway, busy in the midst of them, attempting a statesman-like attitude, sympathizing with revolution, and affecting to discover in the convulsions of the French nation the dawn of an empire of reason and taste, in which genius and virtue alone would be honoured. Possibly the painter expressed too unreservedly his views in these respects. A prince may be permitted to masquerade as a prolÉtaire; but for a bystander to talk red republicanism to a royal heir-apparent is rather doubtful taste, to say the least of it. By-and-by wild Prince Hal came to power, and shrunk from his old associates. The Regent abandoned his buff and blue friends, looked coldly upon his whilom political companions: withdrawing his favour from Cosway among the rest. The painter troubled himself little about the matter. He was too proud or too indifferent to make any effort to regain the royal patronage. If he had done little to merit its bestowal upon him in the first instance, certainly he had done nothing to deserve its withdrawal from him at last.

A frequent guest at Mrs. Cosway's during the last ten years of his life was Horace Walpole, very pleased at receiving 'little Italian notes of invitation' from the winning lady. He relates to the Countess of Ossory, in 1786, his meeting 'la ChevaliÈre d'Eon,' after many years' interval, at Mrs. Cosway's. He found 'la ChevaliÈre' noisy and vulgar; 'in truth,' he writes, 'I believe she had dined a little en dragon. The night was hot, she had no muff or gloves, and her hands and arms seem not to have participated of the change of sexes, but are fitter to carry a chair than a fan.' At another time he admits: 'Curiosity carried me to a concert at Mrs. Cosway's—not to hear Rubinelli, who sang one song at the extravagant price of ten guineas, and whom, for as many shillings, I have heard sing half-a-dozen at the Opera House; no, but I was curious to see an English Earl [Cowper] who had passed thirty years at Florence, and who is more proud of a pinchbeck principality and a paltry order from Wirtemberg than he was of being a peer of Great Britain when Great Britain was something.' Elsewhere he speaks admiringly of Mrs. Cosway, and describes her reception as a Diet at which representatives of all the princes of Europe assemble.

From Pall Mall Cosway moved to a larger mansion at the south-west corner of Stratford Place, Oxford Street. A carved stone lion stood on guard at the entrance—a fact which incited some wag to affix to the door the following lines, generally attributed to Peter Pindar:—

According to Smith, a certain ape-like look in Cosway's face in a measure justified the satire. Irritated by the attack, the painter moved once more—to No. 20 in the same street.

Dr. Wolcot (Peter Pindar), who had been busy throwing mud and stones at the Royal Academicians, did not of course spare either Cosway or his wife. In the lines beginning—

he recommends the painter to find some more honest calling, and bids Mrs. Cosway mend shirts and stockings, and mind her kitchen, rather than expose her daubs to the public. Then, as though repenting of his rudeness, he proceeds:—

The furniture and fittings of Cosway's house in Stratford Place seem to have been of a most extravagant kind. He surrounded himself with suits of armour, Genoa velvet, mother-of-pearl, ebony and ivory, carving and gilding. His rooms were crowded with mosaic cabinets set with jasper, bloodstone, and lapis-lazuli, ormolu escritoires, buhl chiffoniers, Japanese screens, massive musical clocks, damask ottomans, with Persian carpets and Pompadour rugs on the floor, and costly tapestries on the walls; enamelled caskets set with onyxes, rubies, opals, and emeralds loaded the tables; the chimney-pieces, sculptured by Banks, were decked with bronzes, cut-glass, models in wax and terra-cotta, Nankin, Dresden, and Worcester china: altogether the place must have been quite a broker's paradise. Yet the painter was immensely proud of it; never seemed to weary of adding new curiosities to his overcrowded collection.

The failing health of his wife compelled him at last to tear himself away from his splendid and beloved upholstery. He carried the ailing lady to Flanders and to Paris. During the tour his conduct was of the most lordly kind. He possessed, and highly prized, certain cartoons attributed to Julio Romano, having refused a liberal offer for them from Russia, because, as he explained, 'he would not sell works of elegance to barbarians.' Impressed with the size and emptiness of the Louvre Gallery, however, he now offered his cartoons to the French King as a gift. They were accepted, and four splendid specimens of Gobelin tapestry were bestowed upon the painter in token of royal recognition and gratitude. These tapestries Cosway, objecting to retain them, possibly lest they should seem to represent a price paid for his cartoons, forthwith presented to the Prince of Wales. It was the humour of the grand little man to oblige royalty, the while he was moved by a keen regard for his own dignity. While at Paris he painted, by desire of the Duchess of Devonshire, portraits of the Duchess of Orleans and family, and the Duchess of Polignac; yet, when applied to for portraits of the King or Queen, he declined the commission, stating that he had come abroad for the sake of his wife's health and his own amusement, and not with professional objects in view.

For a season Mrs. Cosway seemed benefited by the change, and returned home; but a second attack of illness compelled her again to leave England, this time accompanied by her brother—a young artist whose skill in design had gained him the gold medal of the Royal Academy. Walpole writes to the Miss Berrys at Florence: 'I am glad Mrs. Cosway is with you.... but surely it is odd to drop her child and husband and country all in a breath!' The lady was absent three years, constantly expecting her husband to rejoin her; but he was prevented by various causes from quitting England. During her stay abroad her daughter died, an only child. It was some relief to the grieving mother to resume her art-labours, and she painted several large pictures for foreign churches. At Lyons she was persuaded by Cardinal Fesch to attempt the founding of a college for young ladies, but the war hindered her efforts, although she succeeded subsequently in carrying out a similar design at Lodi.

To their one child the parents were tenderly attached, although Walpole, while he admits Mrs. Cosway's affliction to be genuine, goes on to say rather cruelly,—'the man Cosway does not seem to think that much of the loss belonged to him.' According to Smith, however, he was dotingly fond of his little girl; was for ever painting her picture; and in one portrait of her asleep, he introduced the figure of a guardian angel rocking the cradle. The body of the child was embalmed and preserved in a marble sarcophagus which stood in the drawing-room in Stratford Place. It was not until the return of Mrs. Cosway to England that the interment took place in Bunhill Row Burial Ground.

Of Cosway and his wife, it is stated by the biographer of Mrs. Inchbald, who numbered them among her most intimate friends, that they were both 'mystics,' and 'could say almost as much of the unintelligible world as of this.' Hazlitt describes the painter as a Swedenborgian, a believer in animal magnetism—professing to possess the faculty of second sight, crediting whatever is incredible. Had he lived in these our days, he would probably have been a spiritualist, an electro-biologist, a table-turner. He was wont to proclaim his ability to converse with the dead or the distant, 'to talk with his lady at Mantua,' says Hazlitt, 'through some fine vehicle of sense, as we speak to a servant down-stairs through a conduit pipe.' Smith tells us that he had often heard Cosway relate quite seriously, and with an air of conviction that was unimpeachable, conversations he professed to have held with King Charles the First! Sometimes he would startle sober people by asserting that he had just come from interviews with Apelles and Praxiteles. Four years after Pitt's death, Cosway, at the dinner of the Royal Academy, professed to have been that morning visited by the deceased minister, who declared himself prodigiously hurt, that during his sojourn upon earth he had not given greater encouragement to the artist's talents. Another Academician, however, rather outdid this story. 'How can you talk such trash, Cosway?' he asked. 'You know all you have uttered to be lies; I can prove it. For this very morning, after Pitt had been with you he called upon me and said, "I know Cosway will mention my visit to him at your dinner to-day, but don't believe a word he says, for he'll tell you nothing but lies."' This unlooked-for counter-statement took Cosway by surprise, and left him without a reply.

Walpole once said of him, happily, that 'he romanced with his usual veracity.' Hazlitt thought a 'mystic' character was common to artists, instancing Loutherbourg, Sharp, Varley, Blake, and others, 'who seemed to relieve the literalness of their professional studies by voluntary excursions into the regions of the preternatural, to pass their time between sleeping and waking, and whose ideas were like a stormy night with the clouds driven rapidly across, and the blue sky and stars gleaming between.'

For Cosway's wonderful collection of articles of art, antiquarianism, and vertÛ, Hazlitt has only good-natured banter. Of what a strange jumble of apocryphal treasures the painter believed himself the possessor! And he was without the doubts and anxieties of ordinary collectors. They strive to believe and to cast aside all suspicion. But Cosway believed without the slightest effort; he was troubled by no hint of suspicion. His relics and curiosities were in his eyes absolutely and unquestionably genuine. His was the crucifix that Abelard prayed to; a lock of Eloisa's hair; the dagger with which Felton stabbed the Duke of Buckingham; the first finished sketch of the Jocunda; Titian's colossal outline of Peter Aretine; a mummy of an Egyptian king; a feather of a Phoenix; a piece of Noah's Ark, etc. 'Were the articles authentic?' asks Hazlitt; and he answers his own question—'What matter? Cosway's faith in them was true!'

Credit is due to the painter for his indomitable good spirits and buoyancy of heart. His later years were passed in much pain. He had been twice stricken with paralysis, and the use of his right hand had gone from him. Though removed from want, his old extravagant habits had considerably impaired his fortune. He had long left Stratford Place for a humbler, cheaper house in the Edgeware Road. And he had somewhat outlived his reputation. He had to endure severe criticism upon his artistic merits: much calling in question of his position as a painter. Still he was always bright and gay and kindly. He would hold up the crippled, wasted hand that had painted lords and ladies—the kings and queens of society—for some sixty years, and smile with unabated good humour at the vanity of human wishes. So Hazlitt relates: going on to say of him—'His soul appeared to possess the life of a bird; and such was the jauntiness of his air and manner, that to see him sit to have his half boots laced on, you would fancy (by the help of a figure) that instead of a little withered old gentleman, it was Venus attired by the Graces.' His nature was generous and frank. He gave liberally and cheerfully to almost everybody who applied to him for money. The number of letters he received requesting pecuniary assistance was stated to be almost incredible. Of borrowers who never repaid what they borrowed of him, and of patrons in default, of whom he was too proud to make repeated claims for what was strictly his due, a long catalogue might have been made.

He died suddenly at last of a third attack of paralysis, on the 4th day of July 1821. The seizure occurred as he was taking a carriage drive to Edgeware, and he expired without a groan in a few minutes. He had long been in doubt as to whether he should prefer to be buried in his native Devonshire or with his favourite Rubens at Antwerp. But struck with the orderly plan of a funeral in the vaults of a London Church, he had said, 'I prefer this to Antwerp or St. Paul's: bury me here.' He was interred accordingly at Marylebone New Church (the work of young Smirke, son of his brother academician), a select number of his professional and personal friends, and a long line of the carriages of his aristocratic patrons, following the funeral.

Mrs. Cosway erected, on the north wall, under the gallery of the church, a monument by Westmacott, to her husband's memory. The following indifferent epitaph by the painter's brother-in-law, 'Syntax' Coombe, was inscribed upon the marble:—

After the death of her husband Mrs. Cosway quitted England, and took up her abode at her Ladies' College at Lodi, where she was much loved and respected. How long she survived seems uncertain. Some accounts relate that she died the same year as Cosway. But Allan Cunningham, writing in 1833, described her as still living.