THE name of James Gilray stands pre-eminent in the annals of graphic satire. In his hands, caricature became an art, and one that exercised no unimportant influence on the kingdom of Great Britain. Previous to this time, there is little challenging admiration in his department of art. The satire for the most part was brutal where it had point, and clumsy even in invention and execution.

Hogarth, Gay, Fielding, Pope, Swift, and Arbuthnot all aided the progress of satire. France was satirized by Hogarth as a lean personage, all frill and wristbands, with no shirt, dieting constantly on frogs, and wearing wooden shoes. If to this we add Goldsmith's hatred of the French, because they were slaves and wore wooden shoes, we have the amount of the materials lying ready for the caricaturists' use. The hatred towards our Scotch brethren, so strongly manifested under the Bute administration, supplied the caricaturists with hackneyed and profitless jokes. The satirical points of the wits and humorists we have just named, and a few obscure caricaturists, were selected, arranged, and adapted by the genius of Gilray to illustrate, by the etching-needle, a series of political events, as important as those of any country of modern times; and in Gilray's works is preserved a pictorial record of the History of England during the greater part of the reign of George III. An artist to excel in caricature must possess abilities of a superior order, not only as a designer and an etcher, but must have a deep knowledge of life, and be conversant with the progress of public business; he must be a good and a ready reasoner upon nearly all questions; his love of truth and justice should enable him to detect the fallacies of argument, and the injustice consequent upon false or injudicious public acts. A keen sense of the ridiculous should direct his pencil; and then, by a few touches, the true caricaturist, in the most striking manner, mercilessly exposes the follies and the consequences of such acts. In Gilray, of all men before him, was found the union of these requisites.

Of Gilray's early life little is known: it is supposed that he was born at Chelsea, in 1757. Mr. Smith, late of Lisle Street, the well-known connoisseur in prints, himself a collector of Gilray's works, states that Gilray was first placed with Ashby, the writing-engraver, who resided at the bottom of Holborn Hill, and afterwards was either a pupil or an assistant with the celebrated Francis Bartolozzi, which is doubtless founded on truth; as the mastery of the etching-needle, occasional use of the graver, the mysteries of biting, re-biting, and other practical points of engraving so completely possessed by Gilray, could hardly have been attained elsewhere than in the studio of an experienced engraver. An active imagination, an acute sense of the ridiculous points of character, or of personal appearance, and a facility of drawing and etching, would in most cases disqualify any student for the quiet and laborious profession of a line-engraver. That Gilray should have abandoned the higher branches of engraving cannot excite either wonder or regret, as, in all probability, the rank of a merely tolerable line-engraver was exchanged for the highest position that can be awarded to the caricaturist; whose works, eagerly expected by the sovereign down to the poorest labourer, invigorated the national feeling against a powerful enemy, hourly watching an opportunity to light up rebellion in the kingdom, with a determination to invade and subjugate Old England.

Gilray made his first appearance as a caricaturist about 1782. Before his time, it was usual for these satires to be published anonymously; and it is very likely that Gilray might have thus published a few caricatures before he openly set up as a caricaturist by profession, and boldly put his name to his productions. The dispute between the two admirals, Keppel and Sir Hugh Palliser, caused a great public sensation. Keppel was tried by a court martial, and acquitted; and Palliser retired from the service. The caricaturist took up the needles and etched a naval pair of breeches and legs, writing underneath, "Who's in Fault? Nobody?" but a head appears over the waistband—and that is Sir Hugh Palliser's; he was the nobody in fault. A comparison of this print with others of Gilray's will convince anyone acquainted with the details of etching that it is Gilray's. It bears the date of 1779. His first acknowledged production is dated 1782. Having opened his battery of fun, he kept up a continued fire upon his political victims until 1811, when an aberration of mind rendered powerless the mighty hand which had "done the state some service." Gilray was fortunate in meeting with Miss Humphrey, the printseller, in St. James's Street; for, in his insane periods, she proved a most kind and attached friend. He lived in her house, and mainly supported her trade by the sale of his caricatures. It is said that both parties had once resolved on matrimony, and were actually walking to church to become man and wife; when, in the course of the walk, they both reflected upon the approaching state of bondage, and mutually agreeing not to sacrifice their liberty by so rash an act as marriage, walked home again!

In the house of Miss Humphrey, Gilray found ample employment, an excellent spot for marking down his game; here he heard all the news and gossip of the day over a friendly table. Her shop being No. 29, St. James's Street (and afterwards in the occupation of a printseller), was of all others the best situated for Gilray's purpose, as his victims were unconsciously walking daily to and fro before the shop. Behind the window was Gilray, pencil in hand, taking off the heads of the ministers and of the opposition. In this way he became so familiarised with their features, that he could drolly exaggerate, almost out of all humanity, the nose and lank figure of "Billy Pitt, the heaven-born minister," and yet preserve so much likeness, that the portrait was immediately recognised. Loutherburg, the eminent artist and scene-painter, went to Valenciennes, after the seige in 1793, to sketch the military works. He was accompanied by Gilray, who sketched the officers. On their return, they were introduced to the king. George III. did not comprehend the slight sketches made by Gilray; and, remarking that he did not understand "the caricatures," sadly offended Gilray, who had intended them as veritable portraits, and had not the least idea of being "funny." Disappointed with the royal criticism, he went home, and the next day caricatured his Majesty, examining a miniature of Oliver Cromwell, by means of candle-ends and save-alls. He showed it to his friends, and said: "I wonder whether the royal connoisseur will understand this?"

The severity and fearful amount of ridicule at Gilray's command, exposed him to threats of personal chastisement, and sometimes to the probability of a prosecution. Fox was more than once disposed to prosecute the artist, or the publishers—and not without reason; for in some of his portraits he was the incarnation of diabolical sensuality. Burke always figured as a half-starved Jesuit; and Sheridan, himself a satirist, could scarcely stand the attacks of the caricaturist on his red nose and portly person. However, they wisely foresaw that a prosecution would be an excellent advertisement for the offensive prints; so the senators sat down, and gratified themselves with enjoying a hearty laugh at each other. George III. was more than once severely attacked by Gilray; but he bore it with great good humour.

The facile invention, extraordinary humour, and rapid execution of Gilray's works were marvellous. Some of his subjects are full of figures, carefully drawn, although exaggerated. A complete collection of his works amounts to no less than fifteen hundred! An over-taxed imagination, constantly on the rack, watching opportunities, and the rapidity with which the design, the etching, finishing, printing, and publishing of the prints required to be executed, told fearfully upon his mind. His mental powers failed, and the mirth-inspiring son of genius became dead to the world. Some lucid intervals occurred, in one of which he etched the well-known plate of the "Barber's Shop," after Bunbury. Poor Gilray was deprived of his reason in the year 1811, from which time, until his death in 1815, he was the wretched occupant of a garret in Miss Humphrey's house. Here, at the barred windows, he was sometimes seen by that esteemed artist, Kenny Meadows, who contemplated the mad artist with horror. Miss Humphrey entirely supported Gilray until death claimed what disease had left of the great satirist. He threw himself out of an up-stairs window, and died of the injuries he received, on the 1st of June, 1815. He was buried at St. James's Church, Piccadilly, where a tablet is erected to his memory.

From Mr. Wright's curious and interesting England under the House of Hanover, illustrated by caricatures and satires, we gather that the favourite subjects to the artists of fun were the sans-culotte extravagancies of the French Revolutionists; and at home the coalition of North and Fox, the fiscal devices of Minister Pitt, the impeachment of Warren Hastings, and the "Alarmists." It was the popular belief that Hastings had bribed the Court of St. James's with presents of diamonds of large size, and in great profusion, to shelter his Indian delinquencies. Caricatures on this subject were to be seen in every print shop. In one of these Hastings is represented as wheeling away in a barrow the King, with his crown and sceptre, observing, "What a man buys he may sell!" and in another, the King is represented on his knees, with his mouth wide open. A common representation of the King and the Queen was as "Farmer George and his wife;" his Majesty's familiarity of manner, general somnolency, Weymouth displays, and his prying into cottage domesticities—to wit, the memory of the seamless apple-dumpling,—afforded unfailing hits for Peter Pindar, Sayer, and Gilray. The dissipation of the Prince of Wales suggested his portrayal as "The Prodigal Son," the Prince's Feathers in the mire, and the inscription on his garter reduced to the word "honi." In one print a Brighton party is represented, "The Jovial Crew, or Merry Beggars:" among the Prince's guests are Mrs. Fitzherbert, Fox, Sheridan, Lord North, and Captain Morris—"Jolly companions every one."

A scarce print of Gilray's commemorates a grand installation of knights at Westminster Abbey, May 19th, 1788, and is called "The Installation Supper," given at the Pantheon, in Oxford Road. It portrays the chief notorieties of the day, in separate groups, simulating over the bottle an obliviousness of political jealousies: Pitt and Fox hobnobbing behind the gruff Chancellor Thurlow; Lord Shelburn is shaking hands jesuitically with Lord Sydney; Lord Derby is hand-in-glove with Lady Mount Edgecumbe, an antiquated blue, who still dreams of conquest; the Prince is besieged by Lady Archer (of gambling notoriety) on one side, and Lady Cecilia Johnson on the other: while Mr. Fitzherbert is in amiable confab with the ex-patriot, Johnny Wilkes:—

Sheridan.

Edmund Burke always appears with long-pointed nose and spectacles. In one large print by Gilray, he is discharging a blunderbuss at Hastings, who is defending himself with the "shield of honour." The thin, meagre figure of Pitt, "with his d—d iron face," was fruitful for jest as that of his fat, slovenly opponent, Fox. An equivocal phrase of the Prime Minister gave rise to Gilray's caricature of "The Bottomless Pitt;" or it may have been the financial profundity of the Minister, or the wit of his celebrated housekeeper niece:—

Gilray, often as he struck at a minister or satirized a courtier, he yet more often returned to the battle which he loved to wage—that against Bonaparte. With him the Corsican was a murderer, a fanatic, a tyrant; an invader with death's head and dripping sword; a ghoul who loved to feast on human flesh; an incarnate fiend, a demon. Single-handed, Gilray fed and nursed the flame of hatred which burnt so steadily and so long in these islands against that potentate, whether as general, first consul, or emperor. Napoleon himself perceived it, and complained of it. His empress and generals came in for a share of Gilray's pictorial wrath. Ministers, who at the time of the trial of Peltier were not unwilling to conciliate the master of a hundred legions, in vain attempted to stop Gilray. The shop-windows still displayed the bright colours of the newest print, wherein, as incendiary or demon, the chief person was still Napoleon Bonaparte. If, according to the dictum of the latter, one newspaper editor were worse than five corps d'armÉe acting against him, surely Gilray, with his enormous effect on the British mind, then hardly swayed or taught by leading articles, was worse than five editors. And if we of the volunteer corps wish to realise the intense hatred, the indignation, the burning passion with which most of our fathers regarded the first Napoleon, we have only to turn over some old caricatures. How the old times rise before us, summoned by the tricksy Ariel of art, as we look over them.—See a clever paper in the London Review.

One of Gilray's late prints was Dr. Burgess, of Mortimer Street, "from Warwick Lane." The doctor was one of the last men who wore a cocked hat and deep ruffles. What rendered his appearance more remarkable, he walked on tiptoe.

The commercial history of the caricatures is curious. At the period of the artist's death, the copper-plates from which they were struck were estimated to be worth 7,000l. Upon the demise of the printseller, his widow pledged the plates for 1,000l.; but in the process of time, a better tone of political feeling having supervened, and likewise an improved public taste as regards art, this property, upon being put to sale by auction, was bought in for 500l. Subsequently the widow offered them to Mr. Henry Bohn, the eminent publisher, for that sum; but the process of change adverted to still continuing, the offer was declined. Upon her death her executors, unable to sell them as engravings, sold them as old copper for as many pence as they were originally worth pounds, and Mr. Bohn became the purchaser.

The early political caricatures of Gilray were generally directed against the Government party. These he was hired to sketch, and generally at a small price, according to the will of his employers. He used to smoke his pipe with his early employers, and exert his faculties more to win a bowl of punch than to gain ten pounds. For years he occasionally smoked his pipe at the Bell, the Coal Hole, or the Coach and Horses; and although the convives whom he met at such dingy rendezvous knew that he was Gilray who fabricated those comical prints, yet he never sought to act the coxcomb, nor become the king of the company. In truth, with his neighbouring shopkeepers and master manufacturers, he passed for no greater wit than his associates. Rowlandson, his ingenious compeer, and he sometimes met. They would, perhaps, exchange half-a-dozen questions and answers upon the affairs of etching, copper, and nitric acid, swear that the world was one vast masquerade, and then enter into the common chat of the room, light their cigars, drink their punch, and sometimes early, sometimes late, shake hands at the door and depart, one for the Adelphi, the other to St. James's Street, each to his bachelor's bed.

The facility with which Gilray composed his subjects, and the rapidity with which he etched them, astonished those who were eye-witnesses of his powers. Many years ago, he had an apartment in a court in Holborn. A commercial agent for a printseller had received a commission to get a satirical design etched by Gilray, but he had repeatedly called in his absence. He lived at the west end of the town, and on his way to the city waited on him again, when he happened to be at home.

"You have lost a good job and a useful patron, Gilray," said he; "but you are always out."

"How? What—what is your object?" said the artist.

"I want this subject drawn and etched," said the agent; "but now it is too late."

"When is it wanted?"

"Why, to-morrow."

"It shall be done."

"Impossible, Gilray!"

"Where are you going?"

"Onward to the Bank."

"When do you return?"

"At four o'clock." It was now eleven.

"I'll bet you a bowl of punch it shall be completed, etched and bitten in, and a proof before that time."

"Done!"

The plate was finished; it contained many figures; the parties were mutually delighted, and the affair ended with a tipsy bout, at the Gray's Inn Coffee-house, at the employer's expense.

It was not likely that such an original would be content to sit, year after year, over a sheet of copper, perpetuating the renown of others, whilst possessed of a restless and ardent mind, intent on exploring unknown regions of taste, he could open a way through the intricacies of art, and by a short but eccentric cut reach the Temple of Fame. He set to work, and succeeded to the astonishment of the goddess, who, one day, beheld this new votary unceremoniously resting upon the steps of her altar.[36]

William Blake, Painter and Poet.

The life of this extraordinary man of genius has been written by Mr. Alexander Gilchrist, with much feeling, judgment, and good taste. Wordsworth was more interested with what he terms Blake's "madness" than with the sanity of Lord Byron and Walter Scott. Fuseli and Flaxman predicted a day when the drawings of Blake should be as much sought after and treasured by artists as those of Michael Angelo. Hayley admired and befriended Blake. He was a true poet, though, as Gilchrist says, "he neither wrote nor drew for the many, hardly for workyday men at all; rather for children and angels—himself a divine child, whose play-things were sun, moon, and stars, the heavens, and the earth."

Blake was born in 1757, at No. 28, Broad Street, Carnaby Market, where his father carried on the business of a hosier. When a boy he began to dream. When eight or ten years of age, he brought home from Peckham Rye a tale of a tree filled with angels, for doing which his father threatened to thrash him.

In 1767 he was sent to the drawing-school of Mr. Pars, in the Strand, and taught to copy plaster casts after the antique, while his father made a collection of prints for him to study. He had already, too, begun to write poetry. At the age of fourteen he was placed with James Basire, the engraver. His father intended to apprentice him to Ryland, a more famous engraver than Basire. The boy Blake, however, raised an unexpected scruple. "The sequel," says Mr. Gilchrist, "shows it to have been a singular instance, if not of absolute prophetic gift or second sight, at all events of natural intuition into character and power of forecasting the future, from such as is often the endowment of temperament like his. In after-life this involuntary faculty of reading hidden writing continued to be a characteristic. 'Father,' said the strange boy, after the two had left Ryland's studio, 'I do not like the man's face; it looks as if he lived to be hanged!' Appearances were at this time utterly against the probability of such an event." But, twelve years after this interview, the unfortunate Ryland got into embarrassment, committed a forgery on the East India Company, and the prophecy was fulfilled.

By 1773 Blake had begun to draw his own dreams, such as one of Joseph of Arimathea, described by him as "one of the Gothic artists who built the cathedrals in what we call the Dark Ages, wandering about in sheepskins and goatskins." In 1783 Blake published, by the help of friends, a small volume of Poetical Sketches, of which here is a specimen:—

We pass over Blake's progress in his art, but may remark, from his biographer, that although he drew the Antique with great care, he thus early conceived a distaste for the study as pursued in Academies of Art. "Already 'life,'" says Mr. Gilchrist, "in so factitious, monotonous an aspect of it as that presented by a model artificially posed to enact an artificial part—to maintain in painful rigidity some fleeting gesture of spontaneous Nature's—became, as it continued, 'hateful,' looking to him, laden with thick-coming fancies, 'more like death' than life; nay (singular to say), 'smelling of mortality'—to an imaginative mind! 'Practice and opportunity,' he used afterwards to declare, 'very soon teach the language of art;' as much, that is, as Blake ever acquired, not a despicable if imperfect quantum. 'Its spirit and poetry, centred in the imagination alone, never can be taught; and these make the artist:' a truism, the fervid poet already began to hold too exclusively in view. Even at their best—as the vision-seer and instinctive Platonist tells us in one of the very last years of his life (MS. notes to Wordsworth)—mere 'Natural objects always did and do weaken, deaden, and obliterate imagination in me!'"

Blake wrote many songs, to which he also composed tunes, sometimes singularly beautiful; these he would occasionally sing to his friends. His later verse, which he attached to his plates, was very enigmatical. Though he did not for forty years attend any place of divine worship, yet he was not a Freethinker nor irreligious, as has been scandalously represented. The Bible was everything with him. How he reverenced the Almighty, the following conclusion of his address to the Deity will show:—

And in his Address to the Christians:—

Blake was a diligent and enthusiastic student. The day he devoted to the graver and the night to poetry; he was utterly indifferent to the goods of this life, and used to say: "My business is not to gather gold, but to make glorious shapes expressing god-like sentiments."

When Blake was twenty-six years of age, he married Catherine Boutcher, who lived near his father's house, and was noticed by Blake for the whiteness of her hands, the brightness of her eyes, and a slim and handsome shape, corresponding with his own notions of sylphs and naiads. His marriage proved a mutually happy one. She had not learned to write, but Blake instructed his "beloved," as he most frequently called her, and allowed her till the last moments of his practice to take off his proof impressions and print his works, which she did most carefully, and ever delighted in the task; nay, she became a draughtswoman. And as a convincing proof that she and her husband were born for each other's comfort, she not only cheerfully entered into his views, but, what is curious, possessed a similar power of imbibing ideas, and produced drawings equally original, and in some respects, interesting. She almost rivalled him in all things, save in the power of seeing visions of any individual living or dead, whenever he chose to see them. Yet, she joined him in other extravagances. The painter and Mrs. Blake one day received a guest in their arbour in a state of nakedness, to whom they calmly declared that they were Adam and Eve!

In his thirtieth year, Blake annotated the Aphorisms of Lavater, and illustrated his own poems, The Songs of Innocence and of Experience. These, with the illustrations to Blair's Grave, to the Book of Job, and the plate of the Canterbury Pilgrimage—are the works of Blake by which he is best known. He was his own printer and publisher. His deceased brother and pupil, Robert Blake, disclosed to him in a dream by what manner of process his purpose could be brought to pass and the last half-crown he possessed was spent by Mrs. Blake to procure the materials. Their manner of manipulation was revealed to him by "Joseph, the sacred carpenter."

One of the most touching and popular of The Songs of Innocence was "The Chimney Sweeper:"

In 1800, the Blakes were invited by Hayley to visit him at Felpham, in Sussex, under the idea of providing the artist with occupation and emolument. Upon this occasion Blake wrote thus to Flaxman:—

"Dear Sculptor of Eternity,—We are safe arrived at our cottage, which is more beautiful than I thought it, and more convenient. It is a perfect model for cottages, and I think for palaces of magnificence, only enlarging—not altering its proportions, and adding ornaments and not principles. Nothing can be more grand than its simplicity and usefulness. Simple without intricacy, it seems to be the spontaneous expression of humanity congenial to the wants of men. No other formed house can ever please me so well, nor shall I ever be persuaded, I believe, that it can be improved either in beauty or use. Mr. Hayley received us with his usual brotherly affection. I have begun to work. Felpham is a sweet place for study, because it is more spiritual than London. Heaven opens here on all sides her golden gates; her windows are not obstructed by vapours; voices of celestial inhabitants are more distinctly heard, and their forms more distinctly seen; and my cottage is also a shadow of their houses. My wife and sister are both well, courting Neptune for an embrace.

"And now begins a new life, because another covering of earth is shaken off. I am more famed in Heaven for my works than I could well conceive. In my brain are studies and chambers filled with books and pictures of old, which I wrote and painted in ages of eternity before my mortal life; and those works are the delight and study of archangels. Why then should I be anxious about riches or the fame of mortality? The Lord our Father will do for us and with us according to his Divine will, for our good. You, O dear Flaxman! are a sublime archangel—my friend and companion from eternity. In the Divine bosom is our dwelling-place. I look back into the regions of reminiscence, and behold our ancient days before this earth appeared in its vegetated mortality to my mortal vegetated eyes. I see our houses of eternity which can never be separated, though our mortal vehicles should stand at the remotest corners of heaven from each other. Farewell my best friend! Remember me and my wife in love and friendship to our dear Mrs. Flaxman, whom we ardently desire to entertain beneath our thatched roof of rusted gold. And believe me for ever to remain your grateful and affectionate

"William Blake."

This association at Felpham lasted four years, when the Blakes left by mutual consent. Yet the painter wrote upon his host these sarcastic epigrams:—

"To Hayley.

"On H. [Hayley], the Pickthank.

He had already written:—

About this time, Blake's mind was confirmed in that extraordinary state which many suppose to have been a species of chronic insanity. He was so exclusively occupied with his own ideas, that he at last persuaded himself that his imaginations were spiritual realities. He thought that he conversed with the spirits of the long-departed great—of Homer, Moses, Pindar, Virgil, Dante, Milton, and many others. Some of these spirits sat to him for their portraits.

Dr. de Boismont, among his Hallucinations involving Insanity, thus describes him as a lunatic, of the name of Blake, who was called the Seer. There was nothing of the impostor about him; he seemed to be thoroughly in earnest.

"This man constituted himself the painter of spirits. On the table before him were pencils and brushes ready for his use, that he might depict the countenances and attitudes of his heroes, whom he said he did not summon before him, but who came of their own accord, and entreated him to take their portraits. Visitors might examine large volumes filled with these drawings: amongst others were the portraits of the devil and his mother. When I entered his cell," says the author of this notice, "he was drawing the likeness of a girl whose spectre he pretended had appeared to him."

"Edward III. was one of his most constant visitors, and in acknowledgment of the monarch's condescension, Blake had drawn his portrait in oils in three sittings. I put such questions as were likely to have embarrassed him; but he answered them in the most unaffected manner, and without any hesitation.

"'Do these persons have themselves announced, or do they send in their cards?'—'No; but I recognise them when they appear. I did not expect to see Marc Antony last night, but I knew the Roman the moment he set foot in my house.'—'At what hour do these illustrious dead visit you?'—'At one o'clock: sometimes their visits are long, sometimes short. The day before yesterday I saw the unfortunate Job, but he would not stay more than two minutes; I had hardly time to make a sketch of him, which I afterwards engraved——but silence! Here is Richard III.!'—'Where do you see him?'—'Opposite to you, on the other side of the table: it is his first visit.'—'How do you know his name?'—'My spirit recognizes him, but I cannot tell you how.'—'What is he like?'—'Stern, but handsome: at present I only see his profile; now I have the three-quarter face; ah! now he turns to me, he is terrible to behold.'—'Could you ask him any questions?'—'Certainly. What would you like me to ask him?'—'If he pretends to justify the murders he committed during his life?'—'Your question is already known to him. We converse mind to mind by intuition and by magnetism. We have no need of words.'—'What is his Majesty's reply?'—'This; only it is somewhat longer than he gave it to me, for you would not understand the language of spirits. He says what you call murder and carnage is all nothing; that in slaughtering fifteen or twenty thousand men you do no wrong; for what is immortal of them is not only preserved, but passes into a better world, and the man who reproaches his assassin is guilty of ingratitude, for it is by his means he enters into a happier and more perfect state of existence. But do not interrupt me; he is now in a very good position, and if you say anything more, he will go.'"

"Visions, such as are said to arise in the sight of those who indulge in opium," says Allan Cunningham, "were frequently present to Blake; nevertheless, he sometimes desired to see a spirit in vain. 'For many years,' said he, 'I longed to see Satan—I never could believe that he was the vulgar fiend which our legends represent him—I imagined him a classic spirit, such as he appeared to him of Uz, with some of his original splendour about him. At last I saw him. I was going upstairs in the dark, when suddenly a light came streaming amongst my feet; I turned round and there he was looking fiercely at me through the iron grating of my staircase window. I called for my things—Katherine thought the fit of song was on me, and brought me pen and ink—I said hush!—never mind—this will do—as he appeared so I drew him—there he is.' Upon this Blake took out a piece of paper with a grated window sketched on it, while through the bars glared the most frightful phantom that ever man imagined. Its eyes were large and like live coals—its teeth as long as those of a harrow, and the claws seemed such as might appear in the distempered dream of a clerk in the Heralds' office. 'It is the Gothic fiend of our legends,' said Blake—'the true devil—all else are apocryphal.'

"These stories are scarcely credible, yet there can be no doubt of their accuracy. Another friend, on whose veracity I have the fullest dependence, called one evening on Blake, and found him sitting with a pencil and a panel, drawing a portrait with all the seeming anxiety of a man who is conscious that he has got a fastidious sitter; he looked and drew, and drew and looked, yet no living soul was visible. 'Disturb me not,' said he, in a whisper, 'I have one sitting to me.' 'Sitting to you!' exclaimed his astonished visitor; 'where is he, and what is he?—I see no one.' 'But I see him, Sir,' answered Blake, haughtily; 'there he is, his name is Lot—you may read of him in the Scripture. He is sitting for his portrait.'"

Blake's last residence was No. 3, Fountain Court, Strand; he had two rooms on the first floor, that in front, with the windows looking into the court, had its walls hung with frescoes, temperas, and drawings of Blake's, and was used as a reception-room. The back room was the sleeping and living-room, kitchen, and studio; in one corner was the bed, in another the fire, at which Mrs. Blake cooked. By the window stood the table serving for meals, and by the window the table at which Blake always sat (facing the light), designing or engraving. "There was," says Mr. Gilchrist, "an air of poverty as of an artizan's room; but everything was clean and neat; nothing sordid. Blake himself, with his serene, cheerful, dignified presence and manner, made all seem natural and of course. Conversing with him, you saw or felt nothing of his poverty, though he took no pains to conceal it: if he had, you would have been effectually reminded of it. But, in these latter years he, for the most part, lived on good though simple fare. His wife was an excellent cook—a talent which helped to fill out Blake's waistcoat a little as he grew old. She could even prepare a made dish when need be. As there was no servant, he fetched the porter for dinner himself, from the house at the corner of the Strand. Once, pot of porter in hand, he espied coming along a dignitary of Art—that highly respectable man, William Collins, R.A., whom he had met in society a few evenings before. The Academician was about to shake hands, but seeing the porter, drew up and did not know him. Blake would tell the story very quietly, and without sarcasm. Another time, Fuseli came in, and found Blake with a little cold mutton before him for dinner, who, far from being disconcerted, asked his friend to join him. 'Ah! by G—!' exclaimed Fuseli, 'this is the reason you can do as you like. Now I can't do this.' His habits were very temperate. Frugal and abstemious on principle, and for pecuniary reasons, he was sometimes rather imprudent, and would take anything that came in his way. A nobleman once sent him some oil of walnuts he had had expressed purposely for an artistic experiment. Blake tasted it, and went on tasting, till he had drunk the whole. When his lordship called to ask how the experiment had prospered, the artist had to confess what had become of the ingredients. It was ever after a standing joke against him. In his dress, there was a similar triumph of the man over his poverty, to that which struck one in his rooms. In-doors, he was careful, for economy's sake, but not slovenly: his clothes were threadbare, and his grey trousers had worn black and shiny in front, like a mechanic's. Out of doors he was more particular, so that his dress did not in the streets of London challenge attention either way. He wore black knee-breeches and buckles, black worsted stockings, shoes which tied, and a broad-brimmed hat. It was something like an old-fashioned tradesman's dress. But the general impression he made on you was that of a gentleman in a way of his own."

Blake died August 12th, 1827: he composed and uttered songs to his Maker so sweetly to the ear of his Katherine, that when she stood to hear him, he, looking upon her most affectionately, said: "My beloved, they are not mine—no—they are not mine." He expired in his sixty-ninth year, in the back room at Fountain Court, and was buried in Bunhill Fields on the 17th of August, at the distance of about twenty-five feet from the north wall, numbered 80.

Joseph Nollekens. From the Life and Times by J. T. Smith.

Nollekens, the Sculptor.

Avarice would appear to have run in the blood of the Nollekens family. "Old Nollekens," the father of Joseph, was "a miserably avaricious man," and when, in the Rebellion of 1745, his house was attacked by the mob, who thought themselves sure of finding money, the old man became so terrified that he lingered in a state of alarm until his death.

Little Joey was described by Mrs. Scheemakers, the sculptor's wife, as "so honest that she could always trust him to stone the raisins." His love of modelling was his greatest pleasure, though he had an idle propensity for bell-tolling; and whenever his master missed him, and the dead-bell of St. James's church was tolling, he knew perfectly well what Joey was at.

As Nollekens grew up, not unmindful of his art, he rose early and practised carefully, and being a true son of his father, was passionately fond of money. He was much employed as a shrewd collector of antique fragments, some of which he bought on his own account; and after he had dexterously restored them with heads and limbs, he stained them with tobacco-water, and sold them for enormous sums.

When he returned from Rome, he succeeded as a smuggler of silk stockings, gloves, and lace; all his plaster busts being hollow, he stuffed them full of the above articles, and then spread an outside coating of plaster at the back across the shoulders of each, so that the busts appeared like solid casts. Pointing to the cast of Sterne, Nollekens observed to Lord Mansfield: "There, do you know that bust, my Lord, held my lace ruffles that I went to Court in when I came from Rome."

His mode of living when at Rome was most filthy: he had an old woman who was so good a cook, that she would often give him a dish for dinner which cost him no more than threepence. "Nearly opposite to my lodgings," he said, "there lived a pork-butcher who sold for twopence a plateful of cuttings—bits of skin, gristle, and fat, and my old lady dished them up with a little pepper and salt; and with a slice of bread, and sometimes a bit of vegetable, I made a very nice dinner." Whenever good dinners were mentioned after that, he was sure to say, "Ay, I never tasted a better dish than my Roman cuttings."

Nollekens married the daughter of Mr. Justice Welch. She was as parsimonious as her husband. Of a poor old woman, whom she allowed to sit at the corner of her house, she would contrive to get four apples, instead of three, to make a dumpling, saying, "for there's my husband, myself, and two servants, and we must have one a-piece." When she went to Oxford Market to beat the rounds, in order to discover the cheapest shops, she would walk round several times to give her dog Cerberus an opportunity of picking up scraps.

Nollekens's bust of Dr. Johnson is a wonderfully fine one, and very like, but the sort of hair is objectionable, having been modelled from the flowing locks of a sturdy Irish beggar, who, after he had sat an hour, refused to take a shilling, stating that he could have made more by begging.

Most of Nollekens's sitters were much amused with his oddities. He once requested a lady who squinted dreadfully to "look a little the other way, for then," said he, "I shall get rid of the shyness in the cast of your eye;" and to another lady of the highest rank, who had forgotten her position, and was looking down upon him, he cried, "Don't look so scorny; you'll spoil my busto; and you're a very fine woman; I think it will be one of my best bustos."

A lady in weeds for her dear husband, drooping low like the willow, visited the sculptor, and assured him she did not care what money was expended on the monument to the memory of her beloved: "Do what you please, but do it directly," were her orders. Nollekens set to work at once, and in a short time finished the model, strongly suspecting she might, like some others he had been employed by, change her mind. The lady, in about three months, made her second appearance, in which more courage is generally assumed, and was accosted by him, before she alighted, with "Poor soul! I thought you'd come;" but her inclination was changed, and she said, "How do you do, Nollekens; well, you have not commenced the model?"—"Yes, but I have though," was the reply. The Lady—"Have you, indeed? These, my good friend, I own," throwing herself into a chair, "are early days; but since I saw you, an old Roman acquaintance of yours has made me an offer, and I don't know how he would like to see in our church a monument of such expense to my late husband; indeed, perhaps, after all, upon second thoughts, it would be considered quite enough if we got our mason to put up a mural inscription, and that, you know, he can cut very neatly."—"My charge," interrupted the artist, "for my model will be one hundred guineas;" which she declared to be enormous. However, she would pay it, and "have done with him."

Nollekens's housekeeping was a model of parsimony. Coals he so rigidly economized that they were always sent early before the men came to work that he might have leisure-time for counting the sacks and disposing of the large coals to be locked up for parlour use. Candles were never lighted at the commencement of evening, and whenever they heard a knock at the door, they would wait until they heard a second rap, lest the first should have been a runaway, and their candle wasted. Mr. and Mrs. Nollekens used a flat candlestick, when there was anything to be done; and J. T. Smith, his biographer, was assured that a pair of moulds, by being well nursed, and put out when company went away, once lasted them a whole year.

Before he was married, Nollekens kept but one servant who always applied to him for money to purchase every article fresh, as it was wanted for the next meal; and by that mode of living, he considered, as he kept his servant upon board-wages, he was not so much exposed to her pilfering inclinations, particularly as she was entrusted with no more money than would enable her to purchase just enough for his own eating; and he generally contrived to get through the small quantity he allowed himself. He was very cunning in hinting at little presents, and frequently complained of a sore throat to those who made black currant jelly.

Sometimes, in the evening, to take a little fresh air, and to avoid interlopers, Mr. and Mrs. N. would, after putting a little tea and sugar, a French roll, or a couple of rusks into their pockets, stray to Madam Caria's, a Frenchwoman, who lived near the end of Marylebone Lane, and who accommodated persons with tea equipage and hot water at a penny a head. Mrs. Nollekens made it a rule to allow one servant—as they kept two—to go out on the alternate Sunday; for it was Mr. Nollekens's opinion that if they were never permitted to visit the Jew's Harp, Queen's Head and Artichoke, or Chalk Farm, they never would wash theirselves.

One day, when some friends were expected to dine with Mr. Nollekens, poor Bronze (the servant), labouring under a severe sore throat, stretching her flannelled neck up to her mistress, hoarsely announced "all the Hawkinses" to be in the dining-parlour! Mrs. Nollekens, in a half-stifled whisper, cried, "Nolly, it is truly vexatious that we are always served so when we dress a joint. You won't be so silly as to ask them to dinner?" Nollekens—"I ask them! Let 'em get their meals at home; I'll not encourage the sort of thing; or, if they please, they can go to Mathias's; they'll find the cold leg of lamb we left yesterday." Mrs. Nollekens—"No wonder, I am sure, they are considered so disagreeable by Captain Grose, Hampstead Steevens, Murphy, Nicolls, and Boswell." At this moment who should come in but Mr. John Taylor, who looked around, and wondered what all the fuss could be about. "Why don't you go to your dinner, my good friend?" said he; "I am sure it must be ready, for I smell the gravy." Nollekens, to whom he had spoken, desired him to keep his nonsense to himself. A dispute then arose, which lasted so long, that perhaps the Hawkinses overheard it, for they had silently let themselves out without even ringing the bell.

Smith, the grocer, of Margaret Street, was frequently heard to declare that whenever Mrs. Nollekens purchased tea and sugar at his father's shop, she always requested, just as she was quitting the counter, to have either a clove or a bit of cinnamon to take some unpleasant taste out of her mouth; but she never was seen to apply it to the part so affected; so that, with Nollekens's nutmegs, which he pocketed from the table at the Academy dinners, they contrived to fill the family spice-box, without any expense whatever.

For many years Nollekens made one at the table of the Royal Academy Club; and so strongly was he bent upon saving all he could privately conceal, that he did not mind paying two guineas a year for his admission ticket, in order to indulge himself with a few nutmegs, which he contrived to pocket privately: for as red-wine negus was the principal beverage, nutmegs were used. Now it generally happened, if another bowl was wanted, that the nutmegs were missing, Nollekens, who had frequently been seen to pocket them, was one day requested by Rossi, the sculptor to see if they had not fallen under the table; upon which Nollekens actually went crawling beneath, upon his hands and knees, pretending to look for them, though at the very time they were in his waistcoat-pocket. He was so old a stager at this monopoly of nutmegs, that he would sometimes engage the maker of the negus in conversation, looking at him full in the face, whilst he slyly and unobserved, as he thought, conveyed away the spice; like the fellow who is stealing the bank-note from the blind man in the admirable print of the Royal Cockpit, by Hogarth.

Mrs. Nollekens would never think of indulging in such expensive articles as spick and span new shoes, but purchased them second-hand, as her friends, by their maids, pumped out of Bronze, who also let out that her muffs and parasols were obtained in the same way. The sculptor's wife would also often plume herself with borrowed feathers a shawl or a muff of a friend she never refused when returning home, observing, that she was quite sure that they would keep her warm; never caring how they suffered from the rain, so that her neighbours saw her apparelled in what they had never before seen her wear.

Mrs. Nollekens's notions of charity were of the same second-hand description. One severe winter morning, two miserable men, almost dying for want of nourishment, implored her aid; but the only heart which sympathized in their afflictions was that of Betty, in the kitchen, who silently crept upstairs, and cheerfully gave them her mite. Mrs. Nollekens, who had witnessed this delicate rebuke from the parlour window, hastily opened the parlour door and vociferated, "Betty, Betty! there is a bone below, with little or no meat on it, give it the poor creatures!" upon which the one who had hitherto spoken, steadfastly looking in the face of his pale partner in distress, repeated, "Bill, we are to have a bone with little or no meat on it!" When they were gone, the liberal-hearted Betty was seriously rated by her mistress, who was quite certain she would come to want.

Mr. Nollekens, having entered his barber's shop, and his turn arrived, placed one of Mrs. Nollekens's curling papers, which he had untwisted for the purpose, upon his right shoulder, upon which the barber wiped his razor. Nollekens cried out, "Shave close, Hancock, for I was obliged to come twice last week, you used so blunt a razor."—"Lord sir!" answered the poor barber, "you don't care how I wear my razors out by sharpening them."

The old miser, who had been under his hands for upwards of twenty years, was so correct an observer of its application, that he generally pronounced at the last flourish, "That will do;" and before the shaver could take off the cloth, he dexterously drew down the paper, folded it up and carried it home in his hand, for the purpose of using it the next morning when he washed himself.

Nollekens used to sing a droll song, of which the following is a verse:—

One day, Northcote, the Academician, had just reached his door in Argyle Street when Nollekens, who was looking up at the house, said to him, "Why, don't you have your house painted, Northcote? Why, it's as dirty as Jem Barry's was in Castle Street." Now, Nollekens had no right to exult over his brother artist in this way, for he had given his own door a coat of paint, and his front passage a whitewash, only the day before, and they had been for years in the most filthy state possible.

Mr. Smith received from Miss Welch the following specimens of Nollekens's way of spelling words in 1780:—"Yousual, scenceble, obligine, modle, ivery, gentilman, promist, sarvices, desier, Inglish, perscription, hardently, jenerly, moust, devower, jellis, retier, sarved, themselfs, could for cold, clargeman, facis, cupple, foure, sun for son, boath sexis, daly, horsis, ladie, cheif, talkin, tould, shee, sarch, paing, ould mades, racis, yoummer in his face, palas, oke, lemman, are-bolloon, sammon, chimisters for chymists, yoke for yolk, grownd," &c.

After Mrs. Nollekens's death, as if he had been too long henpecked, Mr. Nollekens soon sported two mould candles instead of one; took wine oftener, sat up later, lay in bed longer, and would, though he made no change in his coarse manner of feeding, frequently ask his morning visitor to dine with him. Yet his viands were dirtily cooked with half-melted butter, mountains-high of flour, and his habits of eating were filthy. He frequently gave tea and other entertainments to some one of his old models, who generally left his house a bank-note or two richer than when they arrived. Indeed, so stupidly childish was he at times, that one of his Venuses, who had grown old in her practices coaxed him out of ten pounds to enable her to make him a plum-pudding.

Mr. Smith declares, that in some respects, aged as he was, he attempted to practise the usual method of renovation of some of that species of widowers who have not the least inclination to follow their wives too hastily. Mrs. Nollekens had left him with his handsome maid, who had become possessed of her mistress' wardrobe, which she quickly cut up to her advantage. Her common name of Mary soon received the adjunct of Pretty from her kind master himself. As it soon appeared, however, that Pretty Mary, who had an eye to her master's disengaged hand, took upon herself mightily, and used her master rather roughly, she was one day, very properly, though unceremoniously, put out of the house, before her schemes were brought to perfection.

Nollekens took snuff; he certainly kept a box, but then it was very often in his other coat-pocket, an apology frequently made when he partook of that refreshment at the expense of another.

"You must sometimes be much annoyed," observed a lady to Mr. Nollekens, "by the ridiculous remarks made by your sitters and their flattering friends, after you have produced a good likeness."—"No, ma'am, I never allow anybody to fret me. I tell 'em all, 'If you don't like it, don't take it.'" This may be done by an artist who is "tiled in;" but the dependent man is sometimes known to submit to observations as the witty Northcote has stated, even from "nursery-maids, both wet and dry."

At the commencement of the French Revolution, when such numbers of priests threw themselves upon the hospitality of this country, Nollekens was highly indignant at the great quantity of bread they consumed. "Why, do you know now," said he, "there's one of 'em living next door to me, that eats two whole quarterns a-day to his own share! and I am sure the fellow's body could not be bigger, if he was to eat up his blanket."

Mr. Browne, one of Nollekens's old friends, after having received repeated invitations to "step in and take pot-luck with him," one day took him at his word. The sculptor apologized for his entertainment, by saying that as it was Friday, Mrs. Nollekens had proposed to take fish with him, so that they had bought a few sprats, of which he was wiping some in a dish, whilst she was turning others on the gridiron.

When Mr. Jackson was once making a drawing of a monument at the Sculptor's house, Nollekens came into the room and said, "I'm afraid you're cold here." "I am, indeed," said Jackson. "Ay," answered the Sculptor, "I don't wonder at it: why, do you know, there has not been a fire in this room for these forty years."

Miss Gerrard, daughter of the auctioneer, frequently called to know how Nollekens did; and once the Sculptor prevailed upon her to dine. "Well, then," said he to his pupil, Joseph Bonomi, "go and order a mackerel; stay, one won't be enough, you had better get two, and you shall dine with us."

A candle with Nollekens was a serious article of consumption: indeed, so much so, that he would frequently put it out, and merely to save an inch or two, sit entirely in the dark, and at times, too, when he was not in the least inclined to sleep. If Bronze ventured into the yard with a light, he always scolded her for so shamefully flaring the candle. One evening, his man, who then slept in the house, came home rather late, but quite sober enough to attempt to go upstairs unheard without his shoes, but as he was passing Nollekens's door, the immensely increased shape of the keyhole shone upon the side of the room so brilliantly that Nollekens cried out, "Who's there?"—"It's only me," answered the man; "I am going to bed."—"Going to bed, you extravagant rascal!—why don't you go to bed in the dark, you scoundrel."—"It's my own candle," replied the man. "Your own candle! well then, mind you don't set fire to yourself."

Nollekens frequently spoke of a man that he met in the fields, who would now and then, with all the gravity of an apothecary, inquire after the state of his bowels. At last the sculptor found out that he wanted to borrow money of him.

Whenever Mr. and Mrs. Nollekens had a present of a leveret, which they always called a hare, they contrived, by splitting it, to make it last for two dinners for four persons; the one half was roasted, and the other jugged.

It was highly amusing to witness the great variety of trifling presents and frivolous messages which Nollekens received late in life. One person was particularly desirous to be informed where he liked his cheese-cakes purchased; another, who ventured to buy stale tarts from a shop in his neighbourhood, sent his livery servant in the evening to inquire whether his cook had made them to his taste; whilst a third continued constantly to ply him with the very best pigtail tobacco, which he had most carefully cut into very small pieces for him. A fourth truly kind friend, who was not inclined to spend money upon such speculations himself, endeavoured once more to persuade Nollekens to take a cockney ride in a hackney-coach to Kensington, to view the pretty almond-tree in perfect blossom, and to accept of a few gooseberries to carry home with him to make a tartlet for himself. A fifth sent him jellies, or sometimes a chicken with gravy ready made, in a silver butter-boat; and a sixth regularly presented him with a change of large showy plants, to stand on the mahogany table, especially in his latter years, when he was a valetudinarian, that he might see them from his bed; yet the scent mattered not, a carrion flower or a marigold being equally refreshing to him as jessamine or mignonette.

One rainy morning, Nollekens, after confession, invited his holy father to stay till the weather cleared up. The wet, however, continued till dinner was ready; and Nollekens felt obliged to ask the priest to partake of a bird, one of the four of a present from the Duke of Newcastle. Down they sat: the reverend man helped his host to a wing, and then carved for himself, assuring Nollekens that he never indulged in much food, though he soon picked the rest of the bones. "I have no pudding," said Nollekens, "but won't you have a glass of wine? Oh! you've got some ale." However, Bronze brought in a bottle of wine; and on the remove, Nollekens, after taking a glass, went, as usual, to sleep. The priest, after enjoying himself, was desired by Nollekens, while removing the handkerchief from his head, to take another glass. "Tank you, Sare, I have a finish de bottel."—"The devil you have!" muttered Nollekens. "Now, sare," continued his reverence, "ass de rain be ovare, I will take my leaf."—"Well, do so," said Nollekens, who was not only determined to let him go without his coffee, but gave strict orders to Bronze not to let the old rascal in again. "Why, do you know," continued he, "that he ate up all that large bird, for he only gave me one wing; and he swallowed all the ale; and out of a whole bottle of wine, I had only one glass."

A broad-necked gooseberry-bottle, leather-bunged, containing coffee, which had been purchased and ground full forty years, was brought out when he intended to give a particular friend a treat; but it was so dried to the sides of the bottle, that it was with difficulty he could scrape together enough for the purpose; and even when it was made, time had so altered its properties, from the top having been but half closed, that it was impossible to tell what it had originally been. He used to say, however, of this turbid mixture, "Some people fine their coffee with sole-skin, but for my part, I think this is clear enough for anybody."

Nollekens's wardrobe was but a sorry stock. He had but one nightcap, two shirts, and three pairs of stockings; two coats, one pair of small-clothes, and two waistcoats. His shoes had been repeatedly mended and nailed; they were two odd ones, and the best of his last two pairs. When Mary Holt, his housekeeper, came, she declared that she would not live with him unless he had a new coat and waistcoat. Poor Bronze, who had to support herself upon what were called board-wages, had hardly a change, and looked like the wife of a chimney-sweeper. As for table-linen, two breakfast napkins and a large old table-cloth was the whole of the stock. Bronze declared that she had never seen a jack-towel in the house, and she always washed without soap.

The wardrobe, as proved in Nollekens's will, consisted of his court-coat, in which he was married: his hat, sword, and bag; two shirts, two pairs of worsted stockings, one table-cloth, three sheets, and two pillow-cases; but all these, with other rags, only produced one pound five shillings for the person to whom they were bequeathed.[37]

Mr. Nollekens died April 23rd, 1823. His long-drawn-out will and its fourteen codicils afford strange instances of human weakness in many a phase. In some measure to redeem his memory from obloquy, we had rather record a few instances of his generosity, than add more of his parsimony. In his last illness, he asked his housekeeper:—"Is there anybody that I know that wants a little money to do 'em good?"—"Yes, sir, there is Mrs. ——." Nollekens:—"Well, in the morning, I'll send her ten pounds."—"That's a good old boy," said she, patting him on the back; "you'll eat a better dinner for it to-morrow, and enjoy it." And he was never known to forget his promises. With all his propensity for saving, he used to make his household domestics a present of a little sum of money on his birthday; and latterly, upon this occasion, he became even more generous, by bestowing on them, to their great astonishment, ten and twenty pounds each.

Master Betty as Norval. The Young Douglas.