Chapter 13

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:--

'When a man to a fair for a show brings a lion, 'Tis usual a monkey the sign-post to tie on. But here the old custom reversed is seen, For the lion's without, and the monkey's within.'

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--

'Fie, Cosway! I'm ashamed to say, Thou own'st the title of R.A.'

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:--

'Muse, in this criticism I fear Thou really hast been too severe: Cosway paints miniatures with decent spirit, And Mrs. Cosway boasts some trifling merit.'

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:--

'Art weeps, Taste mourns, and Genius drops the tear O'er him so long they loved who slumbers here. While colours last, and Time allows to give The all-resembling grace, his name shall live.'

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.

THE STORY OF A SCENE-PAINTER.

When, in the middle of the seventeenth century, Sir William Davenant, manager of the theatre in Lincoln's Inn Fields, discarded the 'traverses' and tapestries which had theretofore been accepted as sufficient for the purposes of stage illusion, and substituted regular scenes 'painted in perspective,' without doubt there were to be found many conservative old playgoers who lifted up their voices against the startling innovation, and prophesied the approaching downfall of the drama. If the grandsons present marvelled how elder generations could for so long have gone without such useful and necessary appliances, assuredly the grandsires were complaining that now things had come to a pretty pass indeed, when a parcel of beardless, empty-pated boys, not content with stage fittings such as had been esteemed good and sufficient by the late Mr. William Shakespeare and his great brother-dramatists, demanded foolish paintings and idle garniture, that diverted attention from the efforts of the players and the purpose of the playwrights, and had never been dreamt of, and would never have been tolerated in the good, and simple, and palmy days gone by. Unquestionably, the first 'painting in perspective' brought upon the boards was, in the judgment of many,[16] the thin end of a wedge, which, as it thickened, was certain to drive forth and destroy all that was intellectually and vitally precious in the drama, and to lead the way to a last scene of all in the eventful history of the stage, which should be 'second childishness and mere oblivion.'

[16] 'I decidedly concur with Malone in the general conclusion that painted moveable scenery was unknown on our early stage; and it is a fortunate circumstance for the poetry of our old plays that it was so: the imagination of the auditor only was appealed to, and we owe to the absence of painted canvas many of the finest descriptive passages in Shakespeare, his contemporaries, and immediate followers. The introduction of scenery gives the date to the commencement of the decline of our dramatic poetry.'--_Annals of the Stage_, by J. Payne Collier, vol. iii. p. 366.

But the scene-painter having set foot within the theatre was not to be expelled. The intruder soon won for himself a large popularity; held his ground against criticism and opposition. He was no mere journeyman dauber. From the first he had taken distinct rank as an artist. Lustrous names adorn the muster-roll of scene-painters. Inigo Jones planned machinery and painted scenes for the masques, written by Ben Jonson, for performance before Anne of Denmark and the Court of James the First. Evelyn lauds the 'very glorious scenes and perspectives, the work of Mr. Streeter,' serjeant-painter to King Charles the Second. In February 1664, the Diarist saw Dryden's _Indian Queen_ acted 'with rich scenes as the like had never been seen here, or haply, except rarely, elsewhere on a mercenary theatre.' Mr. Pepys--most devoted of playgoers--notes occasionally of particular plays, that 'the machines are fine and the paintings very pretty.' In October 1667, he records that he sat in the boxes for the first time in his life, and discovered that from that point of view 'the scenes do appear very fine indeed, and much better than in the pit,' to which part of the house he ordinarily resorted. The names of the artists who won Mr. Pepys' applause have not come down to us. But previously to 1679, one Robert Aggas, a painter of some fame, was producing scenes for the theatre in Dorset Gardens. Nicholas Thomas Dall, a Danish landscape-painter, settled in London in 1760, was engaged as scene-painter at Covent Garden Theatre, and was elected an Associate of the Royal Academy in 1771. For the same theatre, John Richards, a Royal Academician, appointed secretary to the Academy in 1778, painted scenes for many years. Michael Angelo Rooker, pupil of Paul Sanby, and one of the first Associates of the Academy, was scene-painter at the Haymarket. Other names of note might be mentioned before the modern reputations of Roberts and Stanfield, Beverley and Callcott, Grieve and Telbin are approached; and especially over one intermediate name are we desirous of lingering a little. The story of the scene-painter of the last century, who was well known to his contemporaries as 'the ingenious Mr. DE LOUTHERBOURG,' presents incidents of singularity and interest that will probably be found to warrant our turning to it for purposes of inquest and comment.

The biographers of Philip James de Loutherbourg are curiously disagreed as to the precise period of his birth. Five different writers have assigned five different dates to that occurrence: 1728, 1730, 1734, 1740, and 1741; and it has been suggested, by way of explanation of this diversity, that the painter's fondness for astrological studies may have induced him to vary occasionally the date of his birth, in order that he might indulge in a plurality of horoscopes, and in such way better the chance of his predictions being justified by the actual issue of events. He was born, at Strasbourg, the son of a miniature painter, who died at Paris in 1768. Intended by his father for the army, while his mother desired that he should become a minister of the Lutheran Church, he was educated at the College of Strasbourg in languages and mathematics. Subsequently he chose his own profession, studying under Tischbein the elder, then under Vanloo and Francesco Casanova; the latter, a painter of battle pieces after the style of Bourgognone. By his landscapes exhibited at the Louvre, De Loutherbourg acquired fame in Paris, and in 1763 was elected a member of the French Academy of Painting, being then eight years below the prescribed age for admission to that distinction, say the biographers who date his birth from 1740. Quitting France, he travelled in Germany, Switzerland, and Italy, and in 1771 came to England, moved hitherward probably by the opinion then prevalent both at home and abroad, that (as Edwards puts it in his Anecdotes of Painting) 'some natural causes prevented the English from becoming masters either in painting or sculpture.' Shortly after his arrival in England he was engaged by Garrick to design and paint scenes and decorations for Drury Lane Theatre, at a salary of £500; a sum considerably larger than had been thitherto paid to any artist for such services.

Of gorgeous scenery and gay dresses Garrick was as fond as any manager of our own day; he knew that these were never-failing allurements to the general public. Yet as a rule he confined his spectacle to the after-pieces; did not, after the modern fashion, illustrate and decorate what he regarded as the legitimate entertainments of the theatre. For new as for old plays, the stock scenery of the house generally sufficed, and some of the scenes employed were endowed with a remarkable longevity. Tate Wilkinson, writing in 1790, mentions a scene as then in use which he remembered so far back as the year 1747. 'It has wings and flat of Spanish figures at full length, and two folding doors in the middle. I never see those wings slide on but I feel as if seeing my old acquaintance unexpectedly.' Of the particular plays assisted by De Loutherbourg's brush, small account has come down to us. They were, no doubt, chiefly of a pantomimic and ephemeral kind. For the 'Christmas Tale,' produced at Drury Lane in 1773--the composition of which has been generally assigned to Garrick, though probably due to Charles Dibdin--De Loutherbourg certainly painted scenes, and the play enjoyed a considerable run, thanks rather to his merits than the author's. Some years later, in 1785, for the scenery of O'Keeffe's _Omai_, produced at Covent Garden Theatre, the painter furnished the designs, for which he was paid by the manager one thousand pounds, says Mr. J.T. Smith; one hundred pounds, says Mr. O'Keeffe; so stories differ! The scenery of _Omai_ was appropriate to the then newly discovered islands in the South Pacific, and the play concluded with a kind of apotheosis of Captain Cook. In the course of _Omai_, Wewitzer, the actor who played a chief warrior of the Sandwich Islands, delivered a grand harangue in _gibberish_, which of course, for all the audience knew to the contrary, was the proper language of the natives; a sham English translation of the speech being printed with the book of the songs. The harangue was received with enormous applause!