' YALE N
CENTER

CBritisfP
. Art

BEQUEST OF
FREDERICK WHILEY HILLES

ANGELICA KAUFFMANN

ANGELICA KAUFFMANN,
In the dress of her own Canton. Painted by herself.

Frontispiece,

\y\A^ page 150.

ANGELICA KAUFFMANN

A- BIOGRAPHY

FRANCES A. GERARD 11/

A NEW EDITION

LONDON
WARD AND DOWNEY
12 YORK STREET COVENT GARDEN W.C.
1893
\_All rights reserveiT]

PREFACE TO SECOND EDITION.
I TAKE this opportunity to thank all those
who responded to the request made by me
in the AthencBum and Notes and Queries,
for further information about Angelica
Kauffmann's pictures and house decora
tions. The result has been so much fresh
matter as to necessitate a Supplementary
Catalogue. The new edition has had the great advan
tage of being revised by an experienced
friend, to whom I am deeply indebted, as
I am also to Mr. William Rossetti, who,
with great kindness, has given me some
valuable advice about the chapter of Critical
Notices. Much interest attaches to the quotations
from the MS. Memoir lent by Mr. Hendriks,

vi Preface to Second Edition.
in the handwriting of Zucchi, Angelica's
husband.^ There is every reason to suppose
it is the one alluded to in Goethe's letter to
Angelica, which will be found on page 304.
I received considerable help from Mr.
William Bowles, Mr. Charles Goldie, the
Honourable Gerald Ponsonby, and Miss
Wright, to whom I offer my best thanks.
I cannot conclude without assuring those
friendly readers of my book, who wrote to
me encouraging letters, and sent me useful
hints and remarks, that I appreciate most
fully their kindness. .
Frances Gerard.
February, 1893.

' A cardinal's seal being attached to the manuscript
was a puzzle to Mr. Hendriks; but Cardinal Quirini
being a relative of Zucchi, may account for its appearance,
as it may have been in the Cardinal's possession at some
petiod. The "Memoir" came to England in 1858, and
was sold with the other papers belonging to Angelica.

PREFACE.
Any one who can look back some twenty
years will remember how much interest was
excited by the appearance of a story in
Cornhill Magazine, called " Miss Angel,"
which, written as it, was by a young authoress,
taught the English public something of the
successes and the misfortunes of a pretty
German artist, to whom our great Sir
Joshua Reynolds went on his knees at
Ranelagh — and whose name was Angelica
Kaufifmann. Charming as it is, however, Miss
Thackeray's story was a novel. It began,
as all novels should, with the heroine at
the age of eighteen, and ended in the legi
timate manner with the heroine's marriage.
A biography goes somewhat deeper ; it is, or

viii Preface.
ought to be, the true record of a life, and it
has to take up the two ends of the long
thread — the beginning, when " all the
world is young, the trees are green, and the
birds sing for ever ; " and the reverse side,
when the world grows very, very old, the
trees very brown — and the birds sing no
more for us. It comes to this with all lives,
only there is a difference. Some have a
flood of sunshine, others a dull monotony
more terrible and harder to bear than even
worse misfortunes.
Angelica had plenty of sunshine. She said
in her old age she had one consolation : she
had lived in the past ! " A tinted life," some
one called hers, so varied by joy and sorrow,
success and failure, a life full of interest.
She comes before us through a mist of tender
memories. A sweet artistic woman, made
doubly interesting by her sad story of
betrayal, by her beauty and her grace, and by
a sympathetic attraction which won all hearts
in her lifetime, and which sheds a certain
tenderness over her when dead — and yet with
all her charm, her undoubted gifts, Angelica

Preface. . ix
has not quite kept her place as an artist. It
may be that she was too much extolled by a
former generation, and by the present is
unfairly judged, in fact almost forgotten.
In England especially, where she spent
the flower of her youth, and where she
was the pet of the aristocracy, and the
fashion of the hour, we look in vain for
traces of her life : those who may wish
to know more cohcerning her than what
is contained in Miss Thackeray's story, must
seek for it from foreign sources ; the English
notices would not fill a small magazine article.
Half a page in Sir Joshua Reynolds's life by
Leslie, three or four allusions in Smith's
"Life of Nollekens," a stray mention here
and there, is all we can glean concerning a
woman who was at one time in the first rank
of artists. Even Horace Walpole, who expends
all the encomiums of the English language
in praise of Lady Diana Beauclerk's Gypsies
and Mrs. Damer's busts, has hardly one wor
to say of Angelica, although she was an R.A.
and he was an art critic. But if there is a
paucity of information concerning the artist

X Preface.
on this side of the channel, the libraries
abroad teem with notices, memoirs and an^.
The Germans have written copiously on their
gifted countrywoman, not altogether in her
praise. Sternberg, whose pen is always
dipped in the bitterest ink of criticism, has
little to say for her, her principal ground of
offence, in his eyes, being her adoption of
England, which country he holds in contempt.
Oppermann, Weissely, Wurzbach, Gering,
Nagler, Bernsdorfif, Sturz, Guhl, have
exhaustive notices and memories of the
artist. The French, too, are not behindhand
either in fiction or biography. Leon de Wailly's
novel is well known abroad. The Biogra
phie Nouvelle, Biographie des Contemporains,
Biographie Universelle, the Manuel des
Curieux et des Beaux Arts, Leblanc, B^raldi,
etc., have extensive notices. In Italian there
is Rossi's life, which has been translated
into German by Alois Weinhart, who in his
preface says, " he can vouch for the truth of
all contained in this volume, as he was not only
a near relative, being the artist's first cousin
by marriage and brother-in-law to Johann

Preface. xi
Kaufifmann, who resided in her house and
managed her afifairs for twenty-two years,
but also because all her papers and those
of her father, Joseph Kaufifmann, came into
his hands.
It is from these different sources that the
present biography has been compiled, and it
is hoped that the fact of its being \}i\& first
life of the artist written in English (together
with the great interest of the subject) may
incline the reader to overlook the short
comings which must manifestly find place in
a work of this kind undertaken by an in
experienced writer.
There is a want in both Rossi's biography
and Weinhart's translation, which, to a certain
extent, has been supplied in this.^ They are
both destitute of correspondence. Without
letters the story of a life cannot be told satis
factorily : they make, in fact, the backbone
of biography. As Angelica corresponded
with some of the most interesting persons of
1 It is interesting to know that the late Prince Consort
had some letters and MSS. concerning Angelica. These
were given to Miss Thackeray (now Mrs. Richmond
Ritchie), who kindly lent them to the writer.

xii Preface.
her time, her letters would be of great value.
Unfortunately before her death she burned
a great portion of them.
For assistance in procuring letters and in
formation most grateful thanks are offered,
especially to Professor Gebhardt, Director of
the King's Library, Berlin ; Mrs. Thackeray
Ritchie; Mr. W. M. Rossetti; Mr. C. S.
Hopwood, Foreign Office ; Messrs. Sotheby
and Co. ; Messrs. Duprez and Gutekunst ;
Mr. Alfred Morrison ; Mr. Bernton Benja
min ; Mr. Algernon Graves ; Mr. Harvey ;
Mr. R. F. Sketchley ; Mr. Thomas Arm
strong ; and Mr. Sidney Colvin.

CONTENTS.
PAGE
IlfTRODUCTION .... . , Xvli
CHAPTER L •
Childhood and Girlhood . . . . i
CHAPTER II.
Girlhood  40
CHAPTER III.
Girlhood and Womanhood . . . -53
CHAPTER IV.
Marriage  78
CHAPTER V.
Womanhood  107
CHAPTER VI.
Womanhood  136
CHAPTER VII.
Womanhood  162
CHAPTER VIIL
Middle Age .¦  181
CHAPTER IX
Middle Age  201

xiv

Middle Age

Last Years

Last Years

Contents,
CHAPTER X.
CHAPTER XL

CHAPTER XII.

PAca 260

27s

303

Critical Notices 
Catalogue of Pictures 
Subjects of Pictures whose Owners are un
known to Compiler 
Etchings by Angelica Kauffmann .
Pictures and Designs engraved by Bartolozzi .
Illustrations and Frontispieces by Bartolozzi
FROM Angelica's Design ....
Drawings in Pencil, Chalk, and Indian Ink,
BY Angelica Kauffmann ....
Drawings to be seen in the Exhibition
Gallery, British Museum ....
In the Fine Arts Gallery, New Bond Street .
Guide to the Houses Decorated by Angelica
Kauffmann 
Supplement to Appendix : Catalogue of ad
ditional Pictures, painted by Angelica
Kauffmann, R.A 
Index  449

335363
38s 388 391
395 396 398 398399

432

LIST OF ILLUSTRATIONS.

FAGS

Angelica Kauffmann, in the dress of her own
Canton. Painted by herself . . Frontispiece
Portrait of Angelica Kauffmann. Afterthe painting
by Sir Joshua Reynolds  44
Sir Joshua Reynolds. From a portrait in the
possession of the Earl of Morley . . .126
Dolly Monroe. From a sketch by the late Henry
Doyle, C.B., Director of the National Gallery,
Dublin, from the painting by Angelica Kauff
mann . . . . . . . .142

INTRODUCTION.
Before entering on the biography, it may
be useful to take a glance at the condition
in whieh art found itself in the first portion
of the eighteenth century. It has a very
distinct bearing upon the life itself, and
although to many it will be an oft-told tale,
to others, not so well instructed in the history
of the past century, it may come in the light
of a new and interesting revelation.
Oppermann, who has written a volume
upon the decay of art, says that in Germany,
Italy, the Netherlands and France, although
there was a multitude of schools, a plethora
of artists, there was no master. " There was
no inspiration to be found in Nature or in
Love — there was no strength with which to
represent a delicious world of imagination,
passion, or heroism — in one word, genius,
without which the hand of the painter is

xviii Introduction.
paralyzed — genius, the wonderful creative
gift — was dead."
Meanwhile, students of all kinds filled the
schools, and pictures without end flooded the
market, but with very few exceptions the
names of the artists have fallen into a well-
deserved oblivion. They were, for the greater
part, copyists of the most servile description,
but for this pernicious and fatal habit — fatal
alike in literature as in art — they were not
altogether to blame. It was not, indeed, so
much the fault of either the school or the
student that copying became such an integral
portion of art in the last century ; it was
attributable in a great measure to the taste
which had grown up for overlaying a picture
with details conceived in the highest style of
finish. The Netherlands was the head centre of
this species of "genre" painting in which
genius was replaced by a perfection of
execution not to be surpassed. One must
study the works produced in this period to
be able to judge of the low condition and
poverty of invention into which art had sunk.

Introduction. xix
In the schools each student followed the
style of such and such a master : they copied
the colouring, the arrangement of light and
shade ; their ambition went no further than
to produce a faithful copy, and so far they
succeeded perfectly.
Raphaels, Correggios, Rembrandts, said
to be originals, filled the shops, and the work
was so excellent, the imitation so perfect,
as often to mislead the best critics, and it
is in this way, Oppermann says, that the
number of replicas of the same picture can be
explained, each of which is supposed to be
by an " Old Master," but not one of which
was ever touched by his brush.
It is easy to understand how such a pro
cess of imitation, however faithfully executed,
extinguished every germ, if such existed, of
natural genius, and so cramped and fettered
the imagination of the student, that he soon
became a characterless, insipid copyist, who
had no right to the name of artist, and, in
fact, approached the level of a clever photo
grapher of our own day.
Sir Joshua Reynolds, in his lecture to the

XX Introduction.
students, condemns most emphatically this
perjiicious habit. " I consider," he says,
" copying a delusive kind of industry, the
student satisfies himself with the appearance
of doing something, he falls into the danger
ous habit of imitating without selecting, and
labouring without a determinate object. He
sleeps over his work, those powers of inven
tion and disposition, which ought particularly
to be called out and put into action, lie torpid
and lose their energy for want of exercise.
The man of true genius, instead of spending
hours, as many artists do while they are in
Rome, in measuring statues and copying
pictures, soon begins to think for himself and
endeavours to do something like what he sees."
It cannot be denied, however, that the luxu
rious and effeminate tastes ofthe eighteenth
century had its share in this lowering of the
true standard of art : a love had grown up for
decoration, conceived, it must be owned, in
an artistic spirit, but still not belonging to the
region of art. One could hardly imagine a
Titian or Paul Veronese expending his genius
on adorning a king's palace with painted

Introduction. xxi
ceilings and elegalnt panellings. Still this
new method of ^^prostituting a divine mis
tress " soon grew in favour.
•Lebrun and his pupil Laguerre led the
way ; and later, Watteau and Boucher fol
lowed in their footsteps : their work is still
to be seen at Versailles and Fontainbleau.
Such groups of charming nymphs and fairy
shepherdesses — such Colins and Colinettes —
they are delicious to look at. Even the
Spinets and Sedan chairs were made vehicles
for highly decorated designs. Some of these
can be seen at the Kensington Museum. So
too with the bureaux with their delightful little
medallions painted sometimes on enamel, and
the Watteau fans which are rare and exquisite.
The fashion spread quickly, demand in
variably creating supply, and soon all over
Europe and in every capital there were
swarms of Italian, Dutch, and French artists
eager to get taken on for this sort of work.
Princelings, dukes, noblemen and rich men
of all classes, considered it necessary to
decorate their palaces and country seats, and
every man of rank and influence was a patron

xxii Introduction.
of some needy artist, who formed part of the
household and ranked with the poor cousin
and the chaplain. This would be naturally
deteriorating to the noble art, and the result
soon began to show itself in the decay, of
which Oppermann, Sternberg, and all who
have written on or studied the subject
speak. Oppermann tells us that perhaps the
country which suffered least was France. He
says : "In Germany the perseverance of the
Teuton race made their schools famous for
the perfection to which they brought the
technique of their handiwork ; the German
artist was a pedant, and precisely because he
knew actually nothing of the eternal laws of
art, he was perpetually talking of rules and
taste." But he goes on : " With the French
it was somewhat dififerent ; the French
literature, the French mind, which in the
eighteenth century governed educated
Europe, was not by any means conducive to
art ; the enlightenment ofthe encyclopaedists,
with Voltaire to help them, possessed too
much negativism and too little positivism to

Introduction. xxiii
exercise upon the arts any useful influence ;
in fact, to understand this, one has only to
cast an eye over the romances and the poetry
of the day, for the most part written by the
Galants Abbes."
For all this he goes on to say : " If the
encyclopaedists had no good influence over the
schools of painting, they brought, neverthe
less, a certain influence to bear in the direction
and formation of taste in the higher classes.
"In spite of their effeminacy and love of
pleasure the French aristocracy possessed a
truer sense of art, more elegance of taste,
and more freedom of thought than prevailed
elsewhere, and this freedom showed itself in
every walk."
The landscape-gardener used his own
discretion in varying the stiff style of planting
which had been introduced from Holland,
and which had grown into fashion in France
as elsewhere ; but although at Versailles
and St. Cloud the straight walks and yew
trees of Hampton Court are to be seen, the
artistic vistas cut through the shrubberies,
the grottoes and shady laurel walks "for

xxiv Introduction.
whispering lovers made," all bear testimony
to a more refined taste, and a certain emanci
pation from slavish imitation in our French
neighbours. So too with their schools for
painting. It is agreed by all writers on
the subject that at this period they showed
some faint traces of inspiration, and were less
trammelled than were the others by the curse
of imitation ; they offered, too, some evidences
of feeling in their compositions, and for that
reason the French school stands out, as it
were, in this dark and melancholy period,
which may be with justice called the deca
dence of art. It was at this epoch (and Op
permann especially mentions the fact) that
the pernicious influence exercised by the
amateur or dilettante, who for the first time
came prominently to the front, began to make
itself felt, and led to the worst results.
Towards the middle of the eighteenth cen
tury some symptoms began to arise which
gave better hopes for the future, without in
any way reviving the old and ancient glories
of art. These symptoms were identical with
the appearance of a new art history. This

Introduction. xxv
book, the work of an unknown German
student, Winckelmann, appeared in 1755.
It was called the " Imitation of the Antique,"
and was principally directed against the per
nicious taste of the day, and in particular
against the prevailing worship of Bernini,
whose outrages against nature and the uni
versal laws of beauty were shown up piti
lessly. Winckelmann's inspiration, his knowledge
of Greek antiquity, his artistic feeling,
breathed through the book. He wrote in
words of fire, and his words did not fall upon
barren. soil. He rose up like a prophet of
old, and denounced the vile system of copy
ing ; he annihilated the trivial, pedantic
mannerism which prevailed, and created an
entirely new school, whfch, if not free from
faults and grave imperfections, nevertheless
contained the seeds of all that is noble, fresh,
and inspired, having, like all true inspiration,
its root in the sincerity of the man who
caused this sudden reaction.
For all this, and without in any way de
tracting from the debt of gratitude art owes

xxvi Introduction.
to its benefactor, Winckelmann, it would be
idle to maintain that the artists contemporary
with Winckelmann ever attained the standard
of true art. The efforts, however, made by
some amongst them were in the highest de
gree commendable, and go far to prove that
every return to the laws of nature or to the
true models of antiquity must have excellent
effects, even if art itself is not at its highest
point of development.
From the desolation and general decay which
prevailed in the early part of the eighteenth
century, it is not easy to give any but meagre
details. Oppermann, however, says, and he
is supported by Sternberg and Goethe, " that
" the French (so-called) galanterie painters,
" Boucher, Watteau, Greuze, form a group,
" to which imitators of less merit belong." ^
Amongst the German school he sets apart
another group — Christian Dietrich, Raphael
Mengs and Angelica Kaufifmann — and of her
he says : "There have been few artists who
remained as she did so persistently true to
^ Oppermann would have been more correct in making
the group Watteau, Lancret, and Boucher.

Introduction. xxvii
her own nature. She was always tender,
womanly, sympathetic, and, although occasion
ally she erred on the side of exaggerated
sentiment, she never offended against good
taste. She leaves us a pleasant recollection
of a sweet woman, who has in a certain degree
influenced the development of art. Her
memory will be always cherished, not only
in her own country, but wherever art is
reverenced."

ANGELICA KAUFFMANN.
CHAPTER I.
1741— 1765.
childhood and girlhood.
Kauffmann ^ is by no means an uncommon
name, in fact, in that respect it resembles in
Germany our Smith, Jones, or Robinson.
The all-sanctifying "Von" has never pre
ceded the name in the family tree.
John Joseph, the father of Angelica, was a
native of Schwartzenberg, in the Bregenz,
where the family had dwelt for years. They
were simple, kindly folk, and not a little
proud when John Joseph declared he would
be a painter. A painter he was, accord
ingly, but in no wise an artist ; his talent
' The name is written either Kauffma«« or Kauffma«,
Angelica used both ways, but in later years adopted
only one n. B

2 Angelica Kauffmann.
never rising beyond church decoration and
a little portrait painting. The church work
took the lead, especially as, being a devout
Catholic, he found patrons amongst the
bishops and heads of monasteries, and so
made a comfortable living.
He was engaged in such work when we
first hear of him, at Chur or Coire — capital of
the Grisons — whither he had come from his
native mountains in the Bregenz ; here also,
he married one Cleofa Lucci or Lucin, still
more commending himself to his patrons by
bringing his heretic wife into the fold of
Catholicity.^ The first and only fruit of this marriage was
Marie Anne Angelica Catherine, who was
born at Battazatta^ on the 30th of October,
1 74 1. Gering says, " An angel gave Angelica
her name, and under a strange sky she re
ceived the soul of her native country." Al-

' The " Dictionary of National Biography " states that
Joseph had been previously married to Maria Sibilla
Lohrin, by whpm he had a son, who died 1740, but
Rossi makes no mention of this marriage, neither does
Zucchi. Zucchi MS.

Childhood. 3
though we must consider this a poetic flight,
still it was evident that the child had peculiar
graces and attractions, which were visible to
others besides her adoring parents. She was
a mere baby when, the work ait Coire being
finished, John Joseph moved his family to
Monbegno, in the Valtellina, where he
had fresh engagements, and here the edu
cation of the future artist began so far as
teaching her the rudiments.
It is evident that from the very beginning
the father had resolved that his little daughter
should be a prodigy. It was fortunate that
he did not (as so many parents have done)
altogether spoil the rich harvest lying ahead
by an injudicious system of forcing. That
he did, however, injure the early seed com
mitted to his care is certain.
Rossi tells us, that when the painter
began to teach the child how to write, he
remarked that when he gave her her first
copy-book, in place of copying the text she
imitated the ornamentations and hierogly
phics, and that her drawing was in infinitely
better taste than the original. Also that her

4 Angelica Kauffmann.
greatest delight was to be allowed to remain
in her fa,ther's workroom where the plaster
casts attracted her. As she grew older she
spent her play-time in copying little heads
and figures, either with a pen or pencil,^
and always with astonishing precision and
neatness. Kaufifmann gladly encouraged the child's
fancy, and watched with intense anxiety for
the moment when she would be old enough
to begin to learn in real earnest. By way of
losing no time, she was shown every day
some rare prints,^ of which John Joseph had a
large collection, and these he explained to her
with much care. He was convinced that this
method of teaching, although slightly over
her head, would by degrees form her taste
and educate her eye.
Under such training the child became
wonderfully precocious. At the age when
most girls play with their dolls, she had
begun a course of study, her father being a
very strict master,
^ When she was a baby her plaything was a chalk
pencil. — Zucchi MS.
^ They were lent to him by friends. — MS.

Childhood. 5
She might have had worse, for setting
aside his eagerness in pushing on his pupil,
he was conscientious enough in the principles
he -laid down. It happened in this case, as
it has happened before, "that an indifferent
artist has produced apupil of astonishing merit.
She had to study from plaster models.
She had to copy heads without end, her father
not being content that she should only sketch
them, but forcing her to re-copy them in oil,
so as to learn the proper treatment, of light
and shade ; and it was to her early practice
in this manner that she owed that lightness of
touch and great power of relief, in which she
afterwards excelled.
At this time the child artist was barely nine
years of age,^ and already her talent was
beginning to be noticed. Friends and ac
quaintances blamed both father and mother
for working a child of such tender years so
hard. They accused them of undue severity,
but this is an unfair accusation. The little
girl was the idol of both parents, and to John
^ In Meyer's " Conversations Lexicon," it is stated
that at this age she drew designs representing " The
Seasons " on the walls of the house.

6 Angelica Kauffmann.
Joseph especially she was the very apple of
his eye. In her were centred all his hopes
and ambitions. The high place on the ladder
of fame to which he had never dared to raise
his humble eyes, was, he imagined, reserved
for his fair-haired daughter.
Anyone who had seen her in her father's
studio, would have been convinced that no
undue pressure was put upon her infant
strength ; she herself ran eagerly to the
corner where her palette and brushes were
kept, and established herself at her work
with the most infinite content ; the praise
which she received was the sweetest reward
that could be given to her.
Nevertheless, with all due reverence to the
authority from which I quote, it must be
confessed, that when a couple of years later
we read of Angelica, aged eleven years,
practising as a portrait-painter, to whom no
less a personage than .the dignified Bishop of
Como, Nevroni Cappucino,^ sat, we are in-
^ Nevroni Cappucino was not her first sitter. At eight
years old she had taken likenesses of several beautiful
ladies and pretty children. — Zucchi MS,

Childhood, 7
clined to think that John Joseph's critics were
in the right ; it was at all events to be deplored
that the little girl was pushed forward as an
infant prodigy.
The portrait-painting began at Como,
whither the Kaufifmanns had removed in 1752,
and the Bishop, we are told, was a most digni
fied prelate, stately in figure, with fine eyes,
long grey beard, and brilliant colouring. It
must have gone hard with the little maiden
of eleven tq transfer all this to her canvas.
We are assured, however, that she was not in
the least affrighted, but set to work with a
will. When one comes to think of it, it must
have been a pretty sight, and one which
would make a pleasing subject for a picture —
the child painter sitting opposite her vener
able model. The portrait, which was in
pastel, gave universal satisfaction, and the
Bishop expressed himself much pleased with
the likeness.
The Kaufifmanns remained two years in
Como, Rossi says that the soft southern
breezes of the lake, the richness of the
gardens and villas on its shores, the romantic

8 Angelica Kauffmann.
charm . of its laurel hedges, in which marble
statues spoke silently of past ages — all this
had a distinct influence on the impressionable
mind of a precocious and highly-sensitive
child, such as Angelica was, and laid the
groundwork of what afterwards developed
into a tendency somewhat unhealthy and
morbid. In Como, too, the young artist was an
object of great interest, her youth and beauty,
together with her wonderful proficiency,
exciting much sympathy. In later years she
always recurred to this period as the happiest
of her life. The time had now come, how
ever, when it would be necessary for her to
enter upon a wider field of instruction than
it would be possible for her father, unassisted,
to supply. The works of the great masters
were as yet only known to her by hearsay, or
through the medium, in some instances, of
copies or engravings, Kaufifmann (who, it
must be owned, lost no opportunity of culti
vating to the utmost his child's gift) resolved,
therefore, to move onwards, and the family
left Como for Milan, where the opportunities

Childhood. g
for instruction would be greater. It was like
the opening of a new world to the girl when
she saw this beautiful city, about the most
beautiful in Europe, with its fine churches,
fairy-like palaces, and magnificent theatres.
Here, too, Leonardo da Vinci had once
held a school of art, and the sight of the
splendid works of this great master was not
without its influence upon the young artist's
future career. She studied the softness of
expression and the stately repose of feature,
which are the leading characteristics of the
great Lombardian painter, and -traces of
which are very evident in all her subsequent
work. Her residence in Milan had, however,
other and more direct influence upon her life.
In those days female students were rare.
The life of an artist was not one to be
chosen willingly by women, as the drudgery
was considered unfit for their strength, and
the Life schools equally unfit for their-
sex. When, therefore, the Governor of
Milan, Rinaldo d'Este, Duke of Modena, heard
that a young girl was copying in his gallery.

IO Angelica Kauffmann.
he wished to see her, and both he and his
duchess were at once impressed by her
talent, and charmed by her beauty and
simplicity. All through her life Angelica
seems to have possessed this strange power
of attraction, which in her case was almost
irresistible, and yet, perhaps it proved more
a dangerous gift than one that secured her
any tangible or lasting advantage.
The Duchess' of Modena took a fancy to
the young German, and, to the delight of John
Joseph, honoured her by sitting to her for
her portrait, and her example was immedi
ately followed by the obsequious courtiers.
On all sides orders came in and favours
were showered on the Duchess's favourite ;
Cardinal Pozzobonelli, the Bishop of Milan,
and Count Firman ^ took especial interest in
her career, and through their means she had
access to some of the best private collections
in Milan.
The two years which the Kauffmann
family spent in Milan were of the greatest
' Plenipotentiary. A distinguished ainatcur.

Childhood. 1 1
use in developing the young artist, and it
was no doubt due to her constant intercourse
with the nobility of the Milanese Court,
that she acquired that ease of manner and
great confidence for which she was, later on,
remarkable, and which never deserted her,
even in presence of the most exalted person
ages. Her pleasant life in Milan, amidst her
courtly friends, was, however, to come to an
end. Her mother, Cleofa Lucci, died in March,
1757, just as her young daughter had
reached her sixteenth year, a dangerous age
for a girl of her temperament to be left to
the sole charge of a rather silly father,
whose judgment, to the great detriment of
the future artist, was blinded by his affection
and paternal pride.
Both father and daughter were overcome
with grief for the loss of poor Cleofa, and
Milan with its associations becoming insup
portable to them, John Joseph determined
to visit his old home in the Bregenz, where
he had not been since the Bishop, his first
patron, had called him thence to Chur.

1 2 Angelica Kauffmann.
He had hosts of relations there, brothers and
sisters, uncles and aunts, to whom he wished
to present his golden-haired Angelica. And
besides, he had the offer of a commission to
decorate the parish church of Schwartzen
berg — his native village. The journey was
therefore determined on, to the great joy of
Angelica, to whom her once-loved Milan had
become a desert ; she also, with the versatility
of youth, looked forward with rapture to seeing
a new country — her father's birth-place.
To give my readers, who may not have
visited this delightful spot, an idea of its
beauty, I cannot do better than quote from
Oppermann's " Walk through the Bregenzer
Wald (or Valley of the Bregenzer Ach),"
a charming little book to read in the original,
" I made a very early start," he says ; " five
o'clock saw me on my way. In the parish
church of Alberschwende the bells were
ringing for morning service, and pious
women were hurrying to begin the day by
prayer. I ascended the ' Lorena,' which is
a mountain-comb, from which the road winds
into the valley below. The fresh dew of

Childhood. 1 3
the early morning lay on the hill-side and the
vale beyond, hiding the landscape. Sud
denly the mist lifted, and before me I saw
the hill and dale clothed in all the glory of
the morning sun. It was a sight to remem
ber; the eye did not know where to turn
to take in all the beauty of the scene.
To the east, the little village I had left
behind me — Alberschwende — with its scat
tered farm-houses, the towers and turrets
of the convent of Bildstein, and farther on
the Suabian country, encompassed by undu
lating hills, which seem to reach alraost to
the horizon, and mix themselves with the
blue of heaven itself.
" A new and altogether strange world
opened before me as I turned to the other
side. Rich with meadow-land, and a luxuri
ant growth of shrub and tree, is the slope of
the mountain which sinks gradually as it
descends into the lovely valley. The Ach,
which has been winding circuitously in and
out of the hill-side with all the coquetry of a
mountain stream, now bursts into momentary
importance as it reaches the valley, and

1 4 Angelica Kauffmann.
covered bridges span its increased width at
Schwartzenberg and Egg.
" Just at the foot of the mountain, and in
the centre of the greenest meadow-land, sur
rounded by rich fruit gardens, embosomed in
woods and hills, lies the picturesque village
of Schwartzenberg ; almost joining it are Egg
and Andelbach, with their cosy farm-houses
nestling in the trees; and farther on, built up
the hill-side in terrace fashion, Huttesau."
The German writer goes on to describe
the village of Schwartzenberg as he saw it,
" The inhabitants were all busy with their
harvesting, and all was quiet in the hamlet.
The doors stood open, and one could see
the sunny grass-plots behind the houses.
Under the apple-trees laden with fruit sat
some children playing with flower-chains.
A dog lay yawning in the heat upon the
doorstep. The pigeons cooed on the roofs,
and in the distance the murmuring ofthe Ach
made a musical sound. It was a true
summer's day ; and, to pass an idle hour
before dinner, I walked across the grass-
grown village square, in the centre of

Childhood. 1 5
which stood an old well full of fresh water,
and made my way to the churchyard, in
the middle of which stands' the church —
-an enchanting spot. The door stood in
vitingly open, a delicious coolness breathed
upon me as I went in. The altars were
richly dressed, the standards were fixed in
each circle of seats, the frescoes on the
walls are the work of Angelica Kauffmann —
gigantic' Apostles copied from Piazzetta's
engravings." This charming description of village and
church brings us, so to speak, in touch with
Angelica. More than a hundred years have
gone by since the girl artist worked in the
parish church. Her memory still lives in the
little hamlet ; they talk of her and what she
did and said, as if the hundred years were
only a few weeks. Any visitor coming to
Schwartzenberg cannot be an hour in the
village without hearing these traditions, and
being shown the marble bust, placed in the
church to her honour, together with her
early attempts at drawing, which are in pos
session of one fortunate individual.^ This
' Herr Walch, schoolmaster of Schwartzenberg.

1 6 Angelica Kauffmann.
fidelity of the simple villagers is the more
touching as constancy towards departed
genius is somewhat rare.
In after years, Angelica would often recur
to this time spent in her father's native village,
and would tell the circle of friends who con
gregated round her anecdotes of the sim
plicity of her life — how she had to rise at
break of day and go through deep snow to
the parish church to hear mass ; also, how
on one occasion, when staying with her uncle,
Michael, a goatherd in his service, coming to
bid her welcome, sat down at the same
table with her, a proceeding which she was
wont to contrast with her present position,
" Who would imagine," she used to say,
"that I, who have been in company with
some of the most exalted personages, once
dined with a goatherd?" This remark
would seem to us to savour of pride, although
all her German biographers tell it as if it
were a proof of her humility. They con
trast, her simplicity with the pride of others,
who, " like the haughty beetle in the fable
ignore their old companion, the worm."
Angelica, however, would hardly have

Childhood. 1 7
relished this somewhat doubtful compli
ment. After a time both father and daughter
began to weary of the solitude of Schwartzen
berg, and to pine, especially Angelica, for
the society and the pleasures which she
had enjoyed in Milan, This feeling, most
natural to one of her age, and so well fitted
to shine in even the most refined circles,
induced her father, who was proud of
his darling and eager to gratify her
wishes, to accept the invitation of Cardinal
Roth — to whom their friend, Cardinal
Pozzobonelli, had given them an introduction
and special recommendations.
The visit was most satisfactory, the Car
dinal treating them with the greatest dis
tinction,^ The young artist received a
commission to paint his Eminence's portrait,
an undertaking in which she succeeded so
well that some persons in the town of Mors-
burg, where the Cal-dinal's palace was
situated, also sat to her.*
^ "Con decora" Zucchi says.
' The Cardinal was Bishop of Constance. He lived
with all the splendour of a Sovereign Prince.

1 8 Angelica Kauffmann,
From Morsburg father and daughter made
their way back to Constance, and thence into
Northern Italy, stopping to pay a visit to
Count Montfort, with whom they remained
some time, Angelica painting the portraits
of that noble family.
All the biographers of our artist agree that
at this period her personal attractions were
great. She was in the first blush of youth,
and although she was not of a commanding
or striking order of beauty, she possessed — ¦
what was perhaps even better — a wonderful
power of winning hearts.
Her portraits all tell the same story. A
face of extraordinary sweetness and sensi
bility, an enchanting smile, and long seductive
eyes. She was tall and graceful, quick of
intelligence, and to these charms was added
a fascination of manner and a ready sym
pathy which all through her life secured for
her hosts of friends. As is. often the case, she
possessed almost as much talent for music as
for painting. She played both the clavichord
and the zither with exquisite taste, and her
voice wag wonderfully sweet, and of extr^-

Childhood. 19
ordinary flexibility — so much, so, that many
of her intimate friends advised her to abandon
painting and make music her profession.
Foremost amongst these advisers was a young
man then staying at Montfort Castle — a
musician of much promise. That the affair
should not be wanting in the element of
romance he was deeply attached to her. In
the debate that followed, Angelica was torn
one way and then another. She naturally
inclined to the brilliancy of an operatic career.
She believed the promises of success that
were assured to her, and there is little doubt
that with her grace and talent she would have
succeeded. Her father, who was easily led
and greedy for money, was persuaded to take
the side of those who advised the new venture,
and who assured him that she would make a
rapid fortune. Kauffmann was poor, and his
failing health incapacitated him from work.
For Angelica, therefore, despite her talent for
painting, there was a long and weary round to
travel before she could hope to obtain the fame
which would lead to fortune. It was a heavy
tasjc for so delicate and refined a creature,
c 2

20 Angelica Kauffmann.
to plod through all the difficulties which lay
before her.
All these reasons combined induced John
Joseph to throw in his vote for the stage.
At this juncture — a critical one for our young
artist — an old priest appeared on the scene.
He had known Angelica from her childhood,^
and some say she confided to him the doubts
and scruples which were agitating her mind,
and asked him to interfere. Any way he did
so, representing to the father the temptations
which were likely to beset the path of so
young and beautiful a girl, and the danger to
which he, her guardian, was exposing her.
The stage at that time was in a debased
condition. Players and singers alike were
ranked as an inferior class, and for one of her
religion especially, there were pains and
penalties attached to those who belonged to
the profession, which made it in their case a
virtual surrender of every principle of their
faith, Kauffmann and his daughter were devout
Catholics. It was enough to hint at these
^ He was the chaplain of Count Firman,

Childhood. 2 1
penalties, to produce a change in the ideas of
the father, the project of the operatic stage
as a profession was abandoned and never
renewed. Angelica, however, lost her lover
the musician, who never renewed his suit.
Zucchi, who told the story to Rossi, added
that in her picture of Orpheus leading
Eurydice out of Hades, which she painted at
Montfort Castle, Orpheus is the portrait of
the musician who endeavoured to entice her
from her beloved art.
Many years later she showed that the
recollection of this time of struggle still dwelt
in her memory. She painted herself as
standing between the rival arts of music and
painting in a painful state of indecision ; this
picture she presented to her friend Bernini,^
During her stay at Count Montfort's
Angelica had for the first time recognized
the power of her own attractions ; she was
surrounded with admirers and flatterers.
Her biographer, Sternberg, blames her
severely for listening to their beguiling
words ; he forgets that to her good
^ See Appendix.

2 2 Angelica Kattffmann.
sense was due the departure of the Kaufif
manns from this enchanted castle. She
was the one to persuade her weak-minded
father fo leave these pleasant surroundings,
and to take her where she could pursue a
course of study which was most necessary for
perfecting her in the art she had adopted.
It was difificult at first to make John Joseph
see the matter in its true Hght. He was
growing old, and was glad to remain where
he was in comfort. Angelica, however, had
begun to take the lead in the little household,
where now the added spur of poverty was
keenly felt. If money were to be gained, it
must be by the brush of the younger artist.
From all points of view, therefore, it was
important she should go where the best oppor
tunity for study could be afforded. With this
view father and daughter set out on their
pilgrimage, visiting Monbegno, where Joseph
Kaufifmann's sister was married to Florini, an
Italian ; thence father and daughter pro
ceeded by way of Bologna and Parma, arriving
in Florence, June, 1762.
They were provided with excellent intro-

Childhood. 23
diictions, and as usual the beauty and charm
of the girl-artist produced its effect. She
received much gratifying attention, and a
room in the Duke's Gallery was specially
set apart for her, where she could copy what
ever picture she was engaged upon, without
being disturbed by the prying eyes, or
annoyed by the unpleasant remarks of other
students. She applied herself to her work
with extraordinary diligence, sometimes
working from sunrise to sundown ; and when
she returned home in the evening exhausted
with the day's incessant toil, she only waited
for the necessary time to get some refresh
ment to again commence work.
She was at this period of her life entirely
possessed by that enthusiasm which at times
seizes upon the artistic mind. She lived only
for study and for her art ; looking at the work
of the dead giants who had gone before her,
ambition grew up in her soul to be like them
— to fill posterity with wonder and admiration.
That this wish remained to a certain extent
unfulfilled was in a great measure owing to
the circumstances which befell her in after life,

2 4 Angelica Kauffmann.
and also to the hindrances which then — far
more than in the present time — stood in the
way of women who sought to make their
mark, and thus rendered their best efforts
naturally incomplete.
In spite of her heavier work, Angelica found
time to execute several historical pictures, to
gether with portraits of distinguished persons,
during her stay in Florence. These last were
the necessary pot-boilers which kept the wolf
from the door, and they are proofs of the in
dustry and goodness of the young girl who had
all the burden of supplying the daily wants of
herself and her father.
After a year's residence, Angelica with
her father proceeded on her journey to
Rome, there to continue the course of study
so well begun in Florence.
No time could have been better chosen
for her visit. Rome was brilliant — scintil
lating at all points with genius — crowded.
with princes, statesmen, artists, it offered a
fascinating spectacle rich with everything
that could appeal to a mind like Angelica's.
To Rome she vowed an eternal fidelity, a

Childhood. 25
vow she most faithfully kept. Later on, when
there was a question of an advantageous
marriage, she wrote to her father, " Not so
early will I bind myself Rome is ever in
my thoughts." And so it was until the day
she passed from under the shelter of its
walls. Our heroine's usual facility for making
friends came well tO the front during her stay
in Rome. She made lasting friendships,
which were of much use to her in her future
career. Notably with English visitors, as
Lord and Lady Spencer, Lady Wentworth,
some members of the ducal family of Devon
shire, and many others.
By the artists she was most favourably
received, and admitted into the inner
circle, which was presided over by the
great art critic, Winckelmann, who at this
time had supreme influence in the Art
World. All German writers from Goethe down
wards are apt to gush somewhat as to the
giant intellect of the art restorer or apostle
(for so he may be justly called) of the

26 Angelica Kaiffmann.
eighteenth century. His onslaught on the
false teachings that prevailed was courageous
and deserving of all the gratitude and
encomiums bestowed upon him by his own
countrymen, in the very longest and biggest
words in their formidable vocabulary — for
midable merely so far as the mileage of the
words is in question.
Anyone who has ever read Goethe's
travels in Italy will remember his outburst,
" To-day "Winckelmann's letters fell into my
hands. With what emotion have I read
them ! Thirty years ago, at this time of
year, he came here a yet poorer fellow than
I am. He too was full of an earnest wish
to fathom the depths of ancient Art. How
bravely he worked, and what remains to me
but the memory of this man who lived where
I live now ! " Again, " Winckelmann's let
ters are not a representation of life, they are
life itself — they induce hope, desire, misgiv
ing." Goethe devotes pages to his hero ;
" There are peculiar minds," he says, " who
find in themselves a necessity to seek in the
exterior world a counterpart of what nature

Childhood. 2 7
has implanted in themselves, and through this
the soul becomes elevated and purified, and
we can have full assurance that such an one
will have created for himself the most perfect
existence here and hereafter. So it was
with Winckelmann ; in him nature had found
what makes and adorns man. A miserable
childhood, insufificient instruction in his
boyhood, and the iron pressure of poverty
had chained the young student to the school
master's desk in an obscure village. He was
fully thirty years of age before a ray of sun
shine crossed his path."
Goethe goes on to tell us (investing his
'subject with all the charm this great master
of word-painting possessed) how the poor
schoolmaster educated himself The blind
rector, whose reader he became, returned
this service by giving the lad the run, so to
speak, of his small but well-chosen library,
and here Winckelmann, following his bent
for ancient lore, read mostly the dead
languages in which he was almost his own
teacher. A short time after this, and before the

28 Angelica Kauffmann.
academical year commenced, he went to one
of the Berlin colleges, and there continued
his studies ; but whether he found a teacher
who could instruct him in the old literature
he affected, does not appear, and seems un
likely. It must have been a singular and
fragmentary course of study to adopt ; only
one scholar had preceded him on this path,
and to him Winckelmann now made his
way. This was Gottfried Sellius, the Professor
of Jurisprudence and Philosophy in Halle,
He received Winckelmann cordially and
soon discerned his merit.
He gave him the delightful task of putting
in order the Ludovizshe library, which —
as is sometimesL the case with a body
of learned men — had got into the direst
confusion, and for his services he received
the thanks of the Stadtdirektor. From
Halle, Winckelmann went to Dresden, and
became librarian to the Northentz Library
belonging to Count BUnau. The years
which he spent here were years of profound
study which bore its fruit later. "He

Childhood. 29
studied the commentaries and exercises, and
laid 'the foundation for his wide-stretching
knowledge of all literature which made him
the wonder of those who knew him in later
years. What, however, distinguished him from
other Librarians was the quiet firmness or
obstinacy with which he resisted the tempta
tion into which most oflficial librarians fall —
of being nothing more or less than a walking,
breathing catalogue.
In Dresden his first literary efforts
appeared, and the result of his well-
directed reading was made evident in the
manner of his composition. His raaxim
never to use two words when one would do,
was here manifested clearly, and it gave to his
style a perfect rhythm and a dignity mixed
with simplicity which few, if any, works of
the present time possess.
In the Autumn of 1755 he came to Rome.
He came poor and sickly, he had only a
pension of two hundred thalers, but he
brought with him a " soul of fire,'' a soul
which " thirsted for the really beautiful in

30 Angelica Kauffmann.
Nature and in Art, as a wanderer in the
desert longs for a drink of pure spring
water," At the moment at which this wonderful
man entered Rome, Art was nigh to extinc
tion. We have seen in what a hopeless con
dition it had sunk, and how the work of each
artist, sculptor, or painter went further and
further from the divine original. Winckel
mann brought new fu^l into the decaying
fire of genius. He came fresh from nights
and days of ceaseless study, he awoke men
from their trance of Indifference, and once
more the standard of true art was raised.
His first work, the famous " History of Art,"
attracted the attention of Cardinal Albani,
who at once appointed him the custodian of
the art collection his enormous fortune had
allowed hira to amass. It was the moment
when Pompeii and Herculaneum were vomit
ing forth Caryatides, Vases, Statues, Bas-
reliefs, Antiques of all kinds, and to contain
these the Cardinal added hall to hall, build
ing to building, gallery to gallery, and still
the collection grew. It was one pf the

Childhood. 3 1
most wonderful museums in the world at
the time of the Cardinal's death, and by its
means attention was drawn to Winckelmann,
who was soon acknowledged to be the most
learned teacher of a pure ideal in art, which
is to be sought only in the Greek School as
it was developed in the true artistic period
called the Periclean.
This subject is too deep to find a place
here. Moreover It has been handled by
able hands, and is only introduced now for
the reason that Angelica's future was much
influenced by the teaching of Winckelmann,
which, together with the instruction of
Rafael Mengs,^ who was her master, left
distinct traces upon her work.
It was through the friendly offices of
Rafael Mengs that the Kaufifmanns were
received into the inner circle which congre
gated round the great apostle. He had just
published his " Anmerkungen iiber die
Baukunst der Alten," and It was this work
' Anton Rafael Mengs. His name is spelt by dif
ferent writers as Raphael, Rafaell, and Rafael. I have
adopted the method used jn Bryan's Dictionary, last
edition.

32 Angelica Kattffmann.
which riveted Angelica's attention, and
made her anxious to know the writer and to
profit by his instruction.
Winckelmann, who was then forty-nine,
was much taken with the grace and talent of
the young artist, who sat in girlish fashion at
his feet, and listened with her large serious
eyes to the words of wisdom which fell from
his lips. The philosopher was after all but
a man, and there can be little, doubt that
he fell paternally or platonically in love with
his fair pupil.
"It is pleasant," says a German writer,
" to form to oneself a picture of these two
students, each animated with the same in
terest, the same longings, each enjoying
the intimate communion they held with
one another — two students separated by
almost half a century of years, the maiden
of eighteen summers, and the greybeard
more than double her age." A portrait
which the gifted young artist painted of
her beloved mister shows how well she had
studied his features and caught his expression,
Winckelmann, in a letter to a friend, mentions

Childhood. 33
with evident pride that his likeness has been
painted and engraved by a very pretty young
lady," This was when writing to his friend Franck,
He says, " I have just been painted by a
stranger, a young person of extraordinary merit.
She excels in oils. Mine is a half- figure seated,
and she has herself engraved it {a I eau forte),
as a present for me. This young girl is
a Swiss ; her father, who is likewise an artist,
brought her to Italy when she was only a
child, so that she speaks Italian as well as
she does German — as for German, she speaks
it as if she were born in Saxony. She ex
presses herself equally well iu French and in
English, and in consequence ofthe latter, she
paints the portraits of all the English in Rome.
She sings so well that she stands compari
son with our best virtuosi. Her name is
Angelica Kauffmann."
That her constant intercourse with the first
Greek scholar of his time left Indelible traces
upon Angelica is evident in all her future
works. Her romantic nature naturally in
clined to the study of classical mythology, D

3^ Angelica Kauffmann.
or, as Oppermann calls it, " the sentiment
of past ages." Her sensitive mind readily
embraced all the beauty of the ideal world ;
she listened to Winckelmann's preaching
upon Greek art and the glories of the
Periclean era, until she became saturated
with the fables of mythology and set up
the forms of gods and goddesses as the
standard of all merit. From that time she
could draw no face without giving to it a
Greek profile, and this without regard to
the circumstances in which she placed her
subject. One of her critics says, " Angelica painted
Greek men and women without having
the faintest idea of the world wherein
they lived, just as she drew knights of the
Middle Ages, with as little knowledge of
the century which produced Gotz von Ber-
lichingen." The truth was, in her early youth she was
somewhat superficial ; her imagination, as is
the case with many artists, being more lively
than her reading was deep, and she did not
remain long enough under the care of men,

Childhood. 35
such as Winckelmann and Mengs, who were
no flatterers, and would have in time cor
rected the faults which even her greatest
admirers have to acknowledge spoil the
beauty of her pictures.
Sternberg is of opinion that had she
possessed resolution to continue the life of
study and hard work she had begun, she
might have become, not a great or creative
genius, for such power did not lie in her
scope, but a " very respectable artist,"
capable of transmitting to posterity the new
art religion ; but unfortunately circumstances
were against her. Her father, without in
tending to injure, spoiled her by compliance
with all her girlish whims, and there was,
besides, the ever-grinding need of money ; so
now, when an offer came for her to go to
Naples and make some copies in the Capo-
dimonte . gallery, she dared not refuse.
Naples was crowded with English, who all
sat to her for their portraits, so that the trip
W9,s very profitable. In the October of this
same year she went to Venice, and there
made the acquaintance of Lady Wentworth,
d 2

36 Angelica Kauffmann.
wife of the English Resident at Venice, Mr.
John Murray.^
In the eighteenth century, the two favourite
amusements amongst the English aristocracy
were " The Grand Tour " and " Patronage."
No lord or gentleman's education was con
sidered complete until he had passed the Alps,
studied every continental vice, bought a cer
tain number of pictures, and patronized a
certain number of artists.
Lady Wentworth loved patronizing ; she
posed as being devoted to art. She was fasci
nated with Angelica, and insisted on carrying
her off to London, assuring her charming young
friend that she would speedily make a fortune.
Angelica and her father listened and believed,
with the result that their plans were changed,
John Joseph returned to Monbegno to remain
with his sister while Angelica accompanied her
patroness to England, Angelica's German
^ This lady was Bridget, daughter to Sir Ralph Mil-
banke : she married, first, Sir Butler Cavendish "Went
worth of Howsham, Yorkshire ; this gentleman dying
in 1 741, she married, secondly, Mr. John Murray (not
Morris as stated in the dictionary of national biography),
his Majesty's Resident at Venice from 1754 to 1765,
when he was appointed Ambassador to Constantinople,

Girlhood. 37
biographers blame her for undertaking this
journey. Sternberg talks of her frivolity in
abandoning substance for mere shadow,
sacrificing her art for the love of pleasure, the
greed of money. Oppermann accuses her of
forsaking a lover who would have made her
far happier than any of the titled or rich
husbands to which she aspired.
There does not seem any foundation for
Oppermann's insinuation that she preferred
ambition to happiness. Rossi, who is a most
faithful biographer, makes no mention of this
unknown lover, who in all probability had no
existence.^ Rossi tells the story of her leaving
Rome in the following words : —
" Although Angelica was much considered
in Italy, and her name was beginning to be
well known, still the Italians gave her but
trifling orders, and paid her insufficiently,
while strangers, on the contrary, and the
English in particular, showed an immense
predilection for her paintings."
' Nathaniel Dance, the artist, was her lover during her
stay in Rome, but although she encouraged his atten
tions, she ultimately refused him.

38 Angelica Kattffmann.
In the last century England was the
Eldorado of artists, much as America is in
the present day. It was there they received
substantial reward for their efforts ; never
theless, the German writers speak most con
temptuously of the artistic condition of the
nation. " It is well known," says Sternberg, " that
in matters of art the Little Island is of no
account ; there are nations whose voice makes
or mars the reputation of painter or sculptor,
but England, in the matter of pictures or
statues, is a modern Pompeii. Whatever
treasures she may possess she covers them
with the ashes of a cold egotism. They are
for her — not for the world. She has no
generous desire to elevate or to kindle a wish
for emulation. She collects only to possess."
He goes on : " The Frenchman, when he
buys a picture, makes a great fuss ; he lets
the whole of civilized Europe know what he
has and where it is to be seen. The German
ornaments his own sitting-room with the
work of art, he shows it to his friends, he
enjoys it himself his eyes turn constantly to

Girlhood. 39
his treasure, as do the eyes of the lover towards
his beloved. The Italian, the true disciple of
art, places the newly-acquired masterpiece in
a public gallery where everyone may see it.
¦To him its beauty is a subject of devotion,
and this devotion to be complete must be
shared by the rest of his countrymen. Now
mark the conduct of the Englishman ! He
locks up his picture in his own gallery under
the care of a surly guardian. He never sees
it himself, he is content to have been the
purchaser, the one who has money enough to
outbid others, and who has bought a very
dear picture. With this, all is said and
done ! "

CHAPTER II.
1766.
GIRLHOOD.
The season was at its height when, on June
15th, 1766, Angelica arrived in London. An
exceptionally brilliant season this, for only a
few weeks since the royal Princess, the king's
youngest sister, Caroline Matilda, of most
unhappy memory, had been wedded to her
cousin the King of Denmark, The town,
therefore, was seething with the effervescence
of the late festival. The rank and fashion of
England had crowded into the capital, and
there was a going and coming, and a deal of
noise and chatter, and a general air of
pleasure and dissipation abroad. Moreover,
the young king had not long been on the
throne, and his queen, good, homely Char
lotte, was almost a girl, albeit already busy
with the royal nursery.

Girlhood. 4 1
Lady Wentworth had a house in Charles
Street, Berkeley Square, and here Angelica
was in the way of seeing the best society, her
patroness. Lady Wentworth, being a woman
of fashion, besides a pretender to the authority
of a connoisseur.
In the latter part of the last century there
was growing up an emulation amongst ladies
of quality, to be more than " the toast " at
men's dinners — the Bluestocking Club, later
on, was the outcome of this laudable desire.
Lady Wentworth was, however, not to be
classed with Mrs. Montagu, or even Mrs.
Vesey — she was what Carlyle would call a
windbag. She knew little of art, but talked
a great deal. She loved patronizing a rising
artist ; bringing one forward, much to
his or her injury, as her injudicious praises
and constant flattery were sure to have mis
chievous results.
So it was with Angelica, who was now
presented to the world of London, heralded
by the busy tongue of Lady Wentworth, the
lady running from house to house singing the
praises of her new prot^gde.

42 Angelica Kauffmann.
Angelica did not know this proclivity of her
ladyship, so she fell into the net, and was
carried about as my lady's new favourite. A
hundred years ago people of fashion did not
know what domestic life by the chimney-
corner meant. They were, in a sense, far
more dissipated than the butterflies of our
own time ; they lived for ever in society.
There were no big crushes or cultivation of
city millionaires or American silver kings,
but a constant give and take of invita
tions between the same people in the same
set. It took Angelica a longtime to understand
the ins and the outs of this curious world into
which she found herself so suddenly trans
ported ; it was so unlike the world in which
she had hitherto lived, totally different, even
from the court life at Milan, which was more
polished, but had not half the formality, the
bowing, and the complimenting which pre
vailed in England. Angelica was, however,
well pleased with the attentions she received.
Shortly after her arrival in London, she
wrote to her father ; her letter is dated the

Girlhood. 43
I Ith July, 1766 : " I have been told many a
time that the English, when you meet them
in their own country, are apt to forget all the
promises of friendship which they made when
abroad, but I find this to be quite untrue,
and my experience is altogether opposed to
this false statement. The gentlemen particu
larly are most kind (molte gentile), and
their kindness is quite sincere, and, generally
speaking, their words are full of good
sense," One cannot forbear a smile at this very
naive confession that her merits were more
recognized by the sterner sex than by her
own — but this was only natural, as Rossi
tells us that Angelica was now in the full
perfection of her charms. She was not a
perfect beauty, but possessed the most won
derful attractions, " There was a. witchery
in her sweet blue eyes, and in the pupil so
much expression that one could almost guess
her thought before she spoke,"
Everyone must remember how charmingly
she is described in the opening chapter of
"Miss Angel":—

44 Angelica Kauffmann.
" Yesterday, at' Mr. Colnaghi's, I saw a
print lying upon the table, the engraving [by
Bartolozzi] ^ of Sir Joshua's picture. It was
the portrait of a lady, sorae five or six-and-
twenty years of age. The face is peculiar,
sprightly, tender, a little obstinate, the eyes
are charming and intelligent, the features
broadly marked — there is something at once
homely and dignified in their expression —
the little head is charmingly set upon its
frame, a few pearls are mixed with the heavy
loops of hair, two great curls fall upon the
sloping shoulders, the slim figure is draped
in light folds fastened by jewelled bands, such
as people then wore, A loose scarf is tied
round the waist. . . ."
It was no wonder that this dainty figure
caused a sensation, especially as " her wit
was sprightly," and her musical accomplish
ments ofthe highest order. People found that
the combination of beauty and talent, simplicity
and fascination, which distinguished this
German girl,* was something quite rare. Soon
' See Appendix.
^ Angelica's nationality is sometimes disputed; the

PORTRAIT OF ANGELICA KAUFFMANN.
(After the painting by Sir Joshua Reynolds.)

To /ace page 44.

Girlhood. 45
she was the leading toast, and Fashion, that
capricious dame who often refuses to ac
knowledge Nature's best handiwork, pro
nounced for Angelica, and set her seal, which
is as a trade-mark for beauty, upon the young
artist. " She shared," says a contemporary writer,
"with hoops of extra magnitude, toupees
of superabundant floweriness, shoe-heels of
vividest scarlet, and china monsters of superr
lative ugliness, the privilege of being the rage,"
Angelica's letters to her father are full of
the kindness she received ; how she is invited
to Lord Spencer's, and introduced by Lord
Exeter to Sir Joshua Reynolds.
In July she writes again : —
" I have been to visit several of the studios
here, but there is none to compare with that
of Mr. Reynolds. He is decidedly the first
English painter. He has a peculiar method,
and his pictures are mostly historical. He
has a light pencil or touch which produces a
wonderful effect in light and shade,"
Germans and Swiss both claim her. She was, however,
only Swiss by being born in the Grisons.

46 Angelica Kauffmann.
This expression penello volante is particu
larly appropriate, and shows the happy turn
of expression possessed by Angelica, both in
speaking and writing.
In another letter, dated October loth, in
the following year, she mentions Reynolds'
kindness to her : —
" He is one of my kindest friends, and is
never done praising me to everyone. As a
proof of his admiration for me, he has asked
me to sit for my picture to him, and in return
I am to paint his." ^
Rossi says, " Reynolds was indeed full of
admiration for Angelica's talent, and for her
self he had a far tenderer feeling than admi
ration. She, however, only thought of her
beloved art, and her heart was closed to all
other passions.'
As with Rossi, so it was with all other
foreign writers who have occupied them
selves with Angelica's career, as biographers
' This compact was duly carried out. A picture of
Angelica appeared in the Artists' Exhibition of 1769;
hers of the painter was done for his friend Mr. Parker
of Saltram, in Devonshire. Mr. Parker was raised to
the peerage in 1784 as Lord Boringdon, and in 1815
his son was created Earl of Morley.

Girlhood. 47
or novelists. They cling to the idea of
Reynolds' love for their charming country
woman, and her rejection of his suit. Miss
Thackeray also cultivates this notion, but, as
a matter of fact, there seem to be no grounds
for believing that Reynolds ever made her
a definite offer. His biographers — M alone,
Farington, and Leslie — make no mention of
his attachment — fortunate or unfortunate — to
any woman.^ The fact that she and Reynolds
painted each other's portraits was sufficient
for the gossips -of the day to couple their
names together, and out of this slender
thread the romantic story has been woven
together, with the episode of the great
English painter going on his knees to a girl
young enough to be his daughter: not that
his so doing would be injurious to his memory ;
one would be inclined to like him better in
this character of an earnest lover, than as he
was — the most kind-hearted of men, the best

' Pasquin says, "Whether, as she alleged, Miss
Westem had anything to do with the steeling of the
heart of Reynolds against elegant Angelica cannot be
decided,"

48 Angelica Kauffmann.
of friends, but a decided flirt,^ a regular old
hand, not likely to be caught by even
Angelica's simplicity and fascination.
Sir Joshua himself said his heart had
grown callous from too much contact with
beauty : all the most beautiful women in
London had passed under his pencil. He
had painted Kitty Fisher,^ Nelly O'Brien,'
and Miss Parsons,* the volatile Bellamy, the
lovely Miss Morris,® and the greatest beauty
of her own or any day, Georgina, Duchess
of Devonshire.
For all these ladies the painter had the same
half paternal, half lover-like manner, which
may have deceived Angelica. He certainly
had great kindliness towards her, and some
little tenderness, -which is made evident by
the mention of her in his note-book, as "Miss
' His friends were well aware of Sir Joshua's foible in
this direction. " 'Tis Reynolds's way," says Goldsmith, in
his genial verses on Dr. Baker's dinner.
^ One of the most famous Phryries • of the day. Sir
Joshua painted five celebrated portraits of her.
' This lady was in the same category.
* The Duke of Grafton was divorced by his Duchess
for his devotion to Nancy Parsons.
' Miss Morris sat for Hope nursing Love, one of the
most beautiful of Sir Joshua's portraits.

Girlhood. 49
Angel." One time he adds, " Fiori" as if to
remind himself to send her a posy ; but this
would not be a convincing proof that he ever
meant to make her his wife. There is no
reason to imagine he ever went beyond
these safe attentions, neither would it be
likely that Angelica would have concealed
this proposal from her father had it been
made, and Joseph, who was proud of his
daughter, would have told his friends ; and so
the matter would have been made public,
which it certainly was not, for Rossi does
not state it as a fact. Sternberg accuses
Reynolds of the meanness of being jealous of
the girl artist. " Previous to her arrival he
had been," says this bitter writer, "the
oracle in matters of art, and finding himself
now placed in a secondary position, he re
venged himself by pouring words of false
praise into her ear, which the simple girl, who
did not know the world, and who adored
praise, swallowed as gospel truth. For the
first time-in her life she ignored the advice of
her more prudent father. The old fox,
Joseph Kauffmann, knew well what underlay

50 Angelica Kauffmann.
the praise and the admiration of a rival. He
warned Angelica against Reynolds."
As a refutation of this calumny, there is the
testimony of a well-known writer : —
" The most celebrated ofthe women paint
ers," says Mr. John Forster, "had found no
jealousy in the leading artist of England.
His was the first portrait that made Angelica
Kaufifmann famous here ; to him she owed
her introduction to the Conways and Stan
hopes." There is a mistake here. Angelica's first
success was "Arcadia"; Reynolds' portrait
of her was exhibited at the Incorporated
Society of Artists In May, 1769, when her
position as an artist had been assured.
Secondly, this portrait In spite of its merit
was not the best done of her by Sir Joshua.^
The first time that she came before the
English public, in a professional capacity, was
in 1765, the year before her arrival in
London, when mention is made of her in the
exhibition of the Society of Arts in Maiden
Lane, at Mr. Marengo's rooms.
' She sat to Reynolds three times, 1766, 1769, 1777.

Girlhood. 5 1
She is set down in the catalogue thus : —
A portrait of Garrick,^ by Miss Kafifmann,^
at Rome.
It was not a wise . selection, although
her six years of travel and study had
done much to improve the young artist,
and to ripen the talent she undoubtedly
possessed. Itwas a mistake for one so inex
perienced to undertake a subject which had
baffled more mature artists. Bernstorff says,
"that even Hogarth failed in depicting
Garrick as Richard III,, and that the same
could be said of Zofifany's Hamlet." It was
only Reynolds who made a masterpiece of
his portrait of the actor, standing between
tragedy and comedy.
Angelica was more successful the next
year,' when she chose for her subject one
more suited to her peculiar style. A shep
herd and shepherdess of Arcadia, moralizing
at the side of a sepulchre, while others are
^ This must have been a copy, as at this time she had
not seen the actor. It was a commission from the Marquis
of Exeter, and is in the collection at Burghley. See
Appendix. ' The spelling is that of the catalogue of 1765.
' 1766, the year of her arrival in London.
E 2

52 Angelica Kauffmann.
dancing in the distance. This had been,
originally, used by Guercino, and was a
favourite of Angelica's.^ She repeated it
several times, and always treated it with
that grace and feeling which she showed in
such compositions.^
A drawing of " Arcadia " is in the possession bf
Charles Goldie, Esq. See Appendix Supplement.
^ Sir Joshua used the same subject for his pictures of
Mrs, Bouverie and Mrs. Crewe.

CHAPTER III.
1766, 1767.
GIRLHOOD.
Lady Wentworth falling into bad health,
Angelica moved from her house, and estab
lished herself in apartments with a friend of
her patroness in Suffolk. Street, Charing
Cross. It was in every way better for her,
and work soon began to flow In. The friend
ship or admiration of Reynolds was invalu
able to her. He sent her many sitters, and her
patrons were amongst the highest in London.
A letter to her father, which she wrote at this
time, gives an interesting account of her life,
and the struggle she had to keep a proper
appearance before the grand world who had
so suddenly taken her to its arms. The good
^ She died in 1774.

54 Angelica Kauffmann.
sense and business capacity which was re
markable all through her life, is very pro
minent in this letter, especially when we take
the years of the writer into account. Some
people might say there was a certain hard
ness in her evident wish to keep her father
from joining her ; but it must be remembered
at what an early age the burden ofthe family
support had fallen upon her shoulders, and
how anxious she was to procure a certain in
come. For this she worked when others
amused themselves, and it would have been
suicidal to her plans if she had been saddled
at the outset with an expensive household.
That there was no want of affection for her
father was proved by her subsequent con
duct. There never was a better daughter,
" A Monsieur Kaufifmann, Peintre, chez
Monsieur Gaupp, L'Apoticaire d Lindau.
"London, Jeu, loth, September, 1766.-
^ " My dearest Father, — I received your
letters of the 20th August, as also of 3rd
instant all right. I rejoice from my heart
' This letter was procured for the compiler by Pro
fessor Gebhardt, King's Library, Berlin.

Girlhood. 55
at the news that your health continues satis
factory ; thank God ! I am also in excellent
health. From your last I see that you
and dear Rosa ^ intended to leave Monbegno
the day after it was written. The thought,
and the hope of seeing you rejoices me, and
I wish it heartily. I see also, that without
waiting for my answer, you are resolved upon
setting out on your journey, and therefore,
that it is very uncertain whether this letter
will reach you. Nevertheless, I cannot re
frain from giving you every information about
this country, so that you can judge what the
best course is, whether to continue your
journey, or put it off until next spring. Be
assured I am as anxious to see you, as you
are to see me — but do not take it ill if I tell
you that some good, sensible friends think it
ill-advised of you, to come this winter to Lon
don, and if you will weigh well all the circum
stances, you will find it is not for our advantage,
as the expense of everything here is enormous.
" I am in a private house with excellent
people, old acquaintances of my lady, who
' The daughter of his sister who afterwards accom •
panied him to England.

56 Angelica Kauffmann.
has had the goodness to recommend me to
them, as if I were her own daughter. I have
been a month here. The people of the house
do everything for me. The handy-woman is
a mother to me, and the two daughters love
me as a sister,
" The opportunity was so good, and every
thing suited me so well, that I did not hesitate
to secure them, and have taken the apart
ments for the whole winter. I have four
rooms ; one where I paint, the other to show
my portraits, which are finished (it is the
custom here for people to come and see work
without disturbing the artist). The other two
rooms are very small, in the one that is my
bedroom there is scarcely room for the bed
stead to stand, the other serves to keep my
clothes and trunks. For the rooms I pay two
guineas a week, one guinea for the keep of the
man-servant, whom I have also to clothe ; this
is without washing and other small expenses ;
but I could not dispense with the servant.
" These are my outgoings, which will ap
pear to you very large, but it could not be
less. Should you determine on coming this

Girlhood. 57
winter, we must take a house, which is very
hard to find, and nothing could be had under
a hundred guineas a year, unfurnished, and
to furnish it would cost four hundred guineas.
Consider how expensive all this will be ;
especially in the winter-time, when every
thing is double in price, the days twice as
short, so that little work can be done. You
know very well that we must have a man and
a maid, Decoritm 'requires this, for I am
known by everyone here, and I have to main
tain a character for respectability for the sake
of my standing in the profession, so that
everything must be arranged on a proper
footing from day to day, which is most
necessary if one wants to be distinguished
from the common herd. Ladies of quality
come to the house to visit me, or to see my
work. I dare not receive people of their
rank in a mean place. My present apart
ment is very proper for the purpose, at the
same time as moderate as can be had here.
I would not do better by changing. So long
as I am alone, I hope (in spite of the expense
I am at) to save a good deal this winter.

58 Angelica Kauffmann.
and when the summer comes to make a
change. " Houses will be easier to get, and they
will be cheaper. There is another point which
gives me uneasiness. The climate is bad,
and you are not accustomed to the air here.
It is already late in the year, and we have
dark, foggy days, also the smoke from the coal
fires is most unpleasant. I am concerned for
your health. If you were to get ill what a
terrible cross it would be. I shall say no
more. I fear you might think I had some
other reason, for wishing you not to come,
but no — certainly not. My only object being
to avoid under our present circumstances all
unnecessary expenses. Please God, with
time, everything will come right, and be
settled to our wishes, I beg you will consider
all this carefully, and do not act hurriedly.
May God preserve you in good health.
" I remain until death your obedient
daughter, "Angelica Kauffmann.
"Address to Miss Angelica Kauffmann at
Mr. Hurnes, Surgeon in Suffolk Street,
Charing Cross, London."

Girlhood. 59
This sensible remonstrance had the desired
efifect, and Joseph Kauffmann put off his
journey for this winter. In the spring of the
year, however, we find that Angelica, who
had worked hard all through the winter, did
fulfil her promise, and in 1767 a house was
taken in Golden Square, Soho. It can be
gathered from this step with one so prudent
that things were going well with the young
artist, and that money was coming in.
Whatever we may think of Golden Square
as we hurry through the now deserted
thoroughfare, people of quality lived there a
century ago, and also in the mean little
streets adjoining it. Mrs, Delany, during her
first marriage to the rich Mr. Pendarves had
a house in Hog's Lane, Soho ; her friends.
Lady Falmouth and Mrs. Vernon, lived in
Catherine Wheel Lane and Dean Street.
So it is probable that Angelica paid at least
a hundred a year for her house — which is
said to be one of the large ones with tall
windows at the corner of Soho Street ; it is a
lodging house now. Except for the silence
which has fallen upon it. Golden Square is
but little changed since Angelica lived there.

6o Angelica Kauffmann.
It has a broken-down air of gentility as of
having seen better days. It is decidedly dull,
and the clerks who write in the dingy parlours
of the business houses have a desolate outlook
on the quiet little square, with the forlorn dusty
trees. Not even nursemaids come here now.
But in Angelica's time it was otherwise.
Society a hundred and fifty years ago was
made of precisely the same stuff" as our own
world of to-day, and the magic touch of royal
patronage worked wonders then as now.
When it was known that the king's sister,
the Duchess of Brunswick, had sat to An
gelica for her portrait,^ there was a rush to
her studio. Golden Square was blocked with
carriages. She was doubly, trebly fashion
able. It was said that a young nobleman
got melancholy mad because she refused to
paint his picture, and officers in the Guards
fought for a bit of ribbon or a flower she had
worn. One day a royal carriage drove up
to the tall house, and the king's mother, the
Princess of Wales, alighted. She had come
to see her Grace of Brunswick's picture.
' This portrait is in Hampton Court Palace. It iS a full
ength.

Girlhood. 6 1
This visit raised the young artist to the
seventh heaven of delight. She writes to
her father in a strain of exultation : —
" Never, oh never, has any painter received
such a distinguished visitor."
Every letter, indeed, which she sends to
the far-away village of Schwartzenberg is
conceived in the same key.
"There is nothing but applause of my
work ; even the papers are full of verses
written in different languages, all in praise
of me, and my pictures."
In another letter she says, —
" I have finished some portraits which meet
great approval, Mr. Reynolds is raore
pleased than anyone. I have painted his
portrait, which has succeeded wonderfully,
and will do me credit ; it will be engraved
immediately. Lady Spenser^ has paid one
hundred ducats for her picture. Lord Exeter
is still in the country. This morning I had
a visit from Mrs. Garrick. My Lady
Spenser was with me two days ago. My
Lord Baltemore visits me sometimes. The
queen has only returned two days. As soon
^ The spelling of the letter has not been altered.

62 Angelica Kauffmann.
as she is better I am to be presented to her.
Two days ago the Duchess of Ancaster came
to see me. She is the first lady at Court.''
This sounds like blowing her own trumpet,
but it must be remembered she was writing
to her best friend, the one who would reflect
her triumphs, and consider them as his very
own ; this would make a difference from
ordinary self-glorification. There is also
something very pretty in her loving anxiety
to convince her father that she is getting rich.
It is so transparent that her pleasure in this
arises from no mercenary feeling, but from
the joyful anticipation that the time is at
hand when she can provide him with every
comfort for his old age. Every line of her
charming letters has the ring of true feeling
and a longing to have her home ready for him.
John Joseph rejoiced exceedingly over his
child's success. He carried her letters about
with him, and read them to everyone, until
every man, woman and child knew of the
Princess Dowager's visit and Angelica's
triumphs, which, however, are viewed in a
different light by her biographers. One of

Girlhood. 63
these writes : "In England she once more
was the centre ofa frivolous circle, by whom
she was again, as in Milan and Florence, led
away, only with this difference. The rich
aristocratic English were In a position to
offer far greater temptations (especially to a
luxurious temperament, such as Angelica's)
than the, comparatively speaking, needy
nobility and princes of Upper Italy and
the Swiss Cantons. The court, the
nobility, the rich lords of the Parliament
House, the owners of collections, and the
leaders of fashion, and talent poured their
money into her hands. She herself was
amazed at their lavish generosity, but she
didn't reckon that her art was getting its
death-blow. England was the platform upon
which she could exhibit her sentimental gods
and goddesses. This prudish nation — a
whited sepulchre, so to speak, of immodesty
— applauded to the echo the delicacy which
could handle doubtful subjects,^ and yet
know how to present them so as not to
' This is an allusion to her picture of "Venus attired by
the Graces.

64 Angelica Kauffmann.
affront Society's feelings, hurt the prejudices
of the ' British matron,' or make the young
English miss blush. Art, in fact, was to be
clothed in a sort of toilette luxury to please
the taste of this eccentric nation, which found
in Angelica an artist ready to gratify its
ridiculous prejudices at the expense of the
true principles and ideal of art itself."
This criticism of Sternberg is severe, but
there is truth in it. Angelica, surrounded
by admirers and flatterers, was led away by
her success, both social and professional, and
there is no defending her from another
charge brought against her, that of being a
flirt. An arrant flirt, Mr. Smith, who
does not mince his words, calls her,
in his " Life of Nollekens." Another writer
says : " She was one time sighing for Mr,
Dance, another time declaring herself heart
broken for Sir Joshua, She was never happy
unless she had several strings to her bow."
So far as Nathaniel Dance was in question
she had no need to sigh for him ; he was
desperately in love with her, and had been
so far back as her first year in Rome,

Girlhood. 65
when there was some talk of an engagement,
but it came to nothing, much to Dance's
disappointment. He was an Irishman, an
artist of considerable merit, and was now
making his way in London.^ He renewed his
suit, but Angelica, being influenced by Lady
Wentworth, who turned Dance into ridicule,
would not listen to him. .The artist took her
rejection and the manner of it very much to
heart, and it was under the smart of his
mortification that he painted his fine picture
of Timon of Athens,
Fuseli was another lover of Angelica's.
This was a conquest she might have been
proud of The young Swiss artist was already
making a name for himself, and this year his
portrait of Garrick as Macbeth, and Mrs.
Pritchard as Lady Macbeth, had attracted
much attention. Angelica gave him en
couragement. J. T. Smith tells of seeing her
one night at Drury Lane in a private box with
both Dance and Fuseli, She was playing
them both off. Standing between the two
' He was created a baronet in 1797. F

66 Angelica Kattffmann.
beaux, she found an arm of each embracing
her waist ; she contrived, while her arms
were folded before her on the front of the
box over which she was leaning, to squeeze
the hand of both, so that each lover considered
himself the man of her choice. Smith
adds, " She should have remembered Mrs.
Peachum's remonstrance, ' Oh, Polly, you
might have toyed and known by keeping
men off you keep them on.' "
In the end, however, Angelica refused
Fuseli, also on the plea that she never meant
to marry; In her letter to her father, ac
quainting him with this proposal, she says ;
" Not so easily will I bind myself Rome is
ever in my thoughts. May the Spirit of God
guide me." The words may have reference
to the lover in Rome, whom Oppermann
accuses her of abandoning, but Rossi
considers they signified that her heart was
closed against every passion save that of her
art. Her indifference in regard to Fuseli is
strange. He was singularly handsome, and
his wonderful genius would naturally attract
a girl of Angelica's romantic temperament.

Girlhood. 67
The explanation lay in the fact that she was
ambitious, and that Fuseli's^ position not being
assured, and his poverty great, he had no
means of gratifying her wishes. At this time
he was only waiting for his friends to secure
him 50/. a year to go to Italy, which he did
shortly after Angelica's rejection ; her treat
ment of him made a coolness between her
and her friend Mary Moser.
The Mosers had been amongst the first to
make her welcome, George Moser having
known John Joseph in their early days, when
both were struggling artists. Moser, how
ever, had come when young to England as a
chaser in gold and painter on enamel, and was
^ Fuseli did not at any time hold Angelica's profes
sional talents in high esteem ; his criticism, however, has
a touch of bitterness, which smacks of the despised lover.
"I have no wish," he says, "to contradict those who
make success the standard of genius — and, as their
heroine equals the greatest names in the past, suppose
her on a level with them in power. She pleased, and
desired to please, the age in which she lived, and the
race for which she wrought. The Germans, with as
much patriotism at least as judgment, have styled her the
' Paintress of the Soul ' (Seelen Mahlerin), nor can this
be wondered at for a nation who, in a Raphael Mengs,
flatter themselves that they possess an artist equal to
Raphael the divine."
F 2

68 Angelica Kauffmann.
well considered, being on friendly terms with
all the leading artists and directors ofthe draw
ing school In Maiden Lane. He received the
child of his old friend warmly, and Angelica
was quite at home in St. Martin's Lane,
where the Mosers lived. Here she met
Fuseli, for whom the daughter of the
house, Mary, had a warm attachment, un
fortunately not reciprocated, Mary being a
plain little person, but a kind, sensible girl.
A skilful artist too — her flower groups were
exquisite in finish and most elegant in ar
rangement. Her work was in great demand.
Queen Charlotte patronizing her largely,
and for her she painted a room at Frogmore,
which was called the Flower-room.
Angelica and Mary Moser were close
friends until this afifair of Fuseli. They met
often at the house of Nollekens, the eccentric
kindly sculptor. He was very partial to
both the girls, especially Mary, who confided
to him her love for Fuseli. Angelica painted
Mrs. Nollekens as " Innocence, with Doves,"
for which she received fifteen guineas.
Other friends of hers were theGarricks (who

Girlhood. 69
often welcomed her to their pretty villa on the
Thames), Doctor Fordyce, D.D., and his
brother James, and a host of others too
numerous to name.
Amongst the lovers report gave her, was
a younger son of the ducal house of Devon
shire, but although he may probably have
admired her, there was nothing definite
in his admiration, else Rossi would
have surely made mention of the circum
stance. It is, however, woven into a German
novel,^ which also represents a Lady Sarah
Cavendish as being in love with the artist,-
Antonio Zucchi, her death being caused by
the struggle between her love and her pride.
This improbable story would seem to have
no foundation. The two brothers, Antonio
and Joseph Zucchi, were struggling artists :
Antonio, a correct, but rather uninteresting,
painter of large architectural designs ; Joseph,
an engraver of much excellence. The story
that Antonio was at this period a lover of
Angelica's seems likewise to have no founda
tion. ' Historical novel by Amalie Schoppe. The whole
story as regards the Cavendish family is pure fiction.

70 Angelica Kauffmann.
In the early part of 1767 Angelica had
the happiness of welcoming her father,
who, henceforth, remained with her until
his death, many years later. John Joseph
brought with him Rosa Florini, his sister's
daughter, to be a help and companion to
Angelica. He did little to assist the establish
ment. Any artistic talent he may have had,
had long since departed, although he still
continued to paint, and his pictures were ex
hibited.^ He was rather a pompous old man,
much inflated by his daughter's success. He
spent most of his time arranging the house and
studio for the reception of the distinguished
sitters and patrons, who, as was the fashion
in those days, had free entrde, and lounged
away whole mornings in an artist's studio.
This year Angelica's popularity seemed on
the increase. She was presented at Court, and
Royal commissions were showered on her,
' His paintings are mostly Scriptural in subject. His
" Joseph sold to the Ishmaelites," and " Joseph telling
his Dream," were engraved by God by. They will be found,
together with some sickly abominations called "The
Affectionate Sister," and the " Afflicted Mother," in the
fine collections of the engravings from Angelica's pictures
in the British Museum.

Girlhood. 7 1
Queen Charlotte sat to her with a baby prince
on her knee. King Christian III., ofDen
mark, who was this year in London, also sat
to her. Walpole said that he was as diminutive
as if he came out of a kernel In a fairy tale.
Rossi holds forth at great length upon
Angelica's method in portrait painting ; how
she sought, not only to make a reproduction
of the features, but also to convey to her
canvas a general idea of the character, as
she conceived it, of her sitter, and for this
purpose gave much time and consideration
to each person who came to her. There is
no doubt, as an eminent authority tells us,
that the effect of a fine portrait emanates
rnore from the painter than from the sitter.
This gift of imparting, if we may so call it,
comes to its best where there is a subtle
harmony between the painter and model.
Reynolds possessed a faculty of establishing
such a harmony to a wonderful extent. " All
the people he paints," says Leslie, "seem
irradiated by something of the amiability,
breeding, and sense of the artist.
So too with Angelica. " She gives," says

72 Angelica Kauffmann.
a contemporary, " to her portraits much of
her own grace and dignity." The Biographie
Universelle remarks "upon the elegance of her
draperies, which are never confused, and the
attitude which is always well chosen, although
her figures are often wanting in strength of
colour and vigour of touch."
The Allgemeine Biographie says, " She
excelled in portraits."
Another German art critic remarks ; "In
her portraits she shows undoubted talent ;
they are full of merit. She not only
produces a faithful likeness, but gives mind
and vitality to the picture, as for example in
her portrait of Winckelmann."
Oppermann, in his " Bregenzer Wald,"
devotes many pages to criticism of Angelica's
style. He says : "The principal character
istics of her work are facility, clearness, and
great ability in the treatment of the subject,
and no artist of her time was possessed of
as much taste and feeling, which, when it
was not betrayed into an exaggeration of
sentiment, was tender and noble."
Angelica's strange predilection for classical
and mythological subjects, and the treatment

Girlhood. 73
of sitters in allegorical forms, has often
been commented on. In regard to the first
it was no doubt the outcome of Winckel
mann's teaching, and the next was not
always a matter of personal choice. In the
latter portion of the eighteenth century there
was a craze for mythology ; the knowledge of
" the gods of the heathen " possessed by
women of that day would astonish many an art
student of our time. Their letters and diaries
are full of classical allusions and quotations
from Virgil, and nothing pleased them so
well as to be handed down to posterity as
Vestals, Sibyls, in fact, in any shape but
their own, Angelica perhaps lent herself
to this fashion more than any other artist,
for the reason that it was her taste. It was
a. false taste, however ; portraiture was not
to be dignified by transforming ladies of the
eighteenth century into heathen goddesses,
and investing them with the attributes of the
Pantheon. Angelica, however, was by no
means the only artist who pandered, so to
speak, to the fancy of her sitters, very few
having the courage to resist this classical
mania.

74 Angelica Kauffmann.
We find Reynolds one of the chief offenders.
He has handed down " Lady Sarah Bunbury
sacrificing totheGraces," the Duchess of Man
chester as " Diana," Mrs. Blake as " Venus,"
Mrs. Hall as " Euphrosyne," and other ladies
of fashion, masquerading as goddesses.
Neither was he successful in his mytho
logical portraits, and not even his grace of
design and beauty of colouring could conceal
the affectation of the whole idea.
Where Angelica, however, failed most was
in the large canvases, upon which she ex
hausted her invention, reproducing the eternal
histories of heathen mythology. .Eneas, Ulys
ses, Hector, Menelaus, Telemachus, repeat
themselves with, it must be owned, weari
some fidelity. Some of these are dreadful ;
" wishy-washy canvases," Leslie calls them —
her heroes look like girls dressed up as men.
Her figures are full of indecision, and their feet
never seem to take a firm grasp of the ground.
This indecision is especially remarkable
in scenes of passion, which for the rest she,
as a rule, avoided. Forster, the German
critic, says, "Her composition of a large

Girlhood. 75
picture is weak. Her imagination not having
sufficient strength, and its predominate feature
being softness, her tenderness often degene
rates into sentimental sweetness." He, how
ever, forgets that sentiment was the feature
of the century in which she lived, when every
one " went about with cambric handkerchiefs
weeping over dead asses." There was, how
ever, no affectation in Angelica's sweetness,
it bore the stamp of sincerity.
To the rigid prudery of the time in
which she lived, was due the want of know
ledge of the anatomy of the human form,
which is so often brought against her. No
woman student was then allowed access to
the Life Schools. "I have never seen,"
says Pasquin, " the works of any female who
could draw the human form correctly, their
situation preventing them from studying nu
dities." He adds, in direct contradiction to
the Biographie Universelle, that her draperies
were erroneous, and were copied from the
old expedient of the French School, of clothing
the lay figure with damp brown paper.
It is not the place here to say how far art

76 Angelica Kauffmann.
should dominate decorum. Whether the
withdrawal of all the barriers, which, in
Angelica's time, hedged in a woman student
and prevented her from occupying the
same position as a man (since her ignorance
was always sure to cause some crying fault
in the anatomy of the human body),
although a gain to art, is compensated
by the loss of the modesty which is a
woman's charm, is a question for individual
opinion. We have seen many changes as to
women's rights within the last fifty years,
surely none greater than the latitude allowed
to them in such matters.
The Biographie Universelle says "That
Angelica's pencil was always faithful to the
highest aim of real art, and to the character
of her sex ; she never painted but the most
chaste imaginations." On the other hand,
her propriety sometimes verged on prudery ;
as when in the moral emblem of " Mercy
and Truth " ^ she clothes Truth, whose very
attribute is its nakedness. She explains this
proceeding in a fly-leaf:
" To avoid the unnecessary indelicacy of
^ Moral Emblems, a series published by George Taylor.

Girlhood.

17

representing Truth naked, I have clothed her
in white, as significant of Purity,"
On another occasion, being commissioned
by a lady to paint a naked figure, she refused
on the score of indelicacy, but executed a
most charming picture of a nymph surprised
when about to bathe, the figure being en
veloped in a gauze veil.
Angelica's enemies set about malicious
stories as to her " affected propriety," asserting
that while protesting so much she attended
the Life Schools dressed as a boy, and that
in private she drew from a naked male model.
Mr, J. T. Smith was at the trouble to go
into this latter invention, and in his " Life of
Nollekens" says that he found the man,
Charles Cramer, then 82 years of age, who
told him he had often sat to Mrs. Kaufifmannj
but that she had only drawn from his arms
and shoulders.

CHAPTER IV.
1767.
marriage.
There was in London at this time (1767), a
man of handsome exterior, of brilliant accom
plishments, of sufficient education, and of
most agreeable manners, who, under the
name of Count Frederick de Horn, repre
sented himself as being the head of a dis
tinguished Swedish family. He was, in fact,
the valet of the gentleman whose part he
undertook to play, and his knowledge of the
family circumstances which he had thus
gained, and of which he knew how to take
advantage, enabled him to carry out the
deception so perfectly, that no one who met
him for a moment suspected the deceit, and

Marriage. 79
he passed in the very best society. He had
every appearance of wealth and rank, drove
a splendid equipage, wore fine jewels, and
scattered money about with all the air of a
nobleman, so that he gained an easy credit
everywhere. The count lodged at Claridge's. He had
two footmen behind his coach dressed mag
nificently in green, but he was never known
to invite any friend to his table.
It was at Dr. Burney's, in St. Martin's
Lane, that Angelica first met this adventurer,
who at once singled her out as an object of
admiration. His handsome face and fine figure, his
charming manners, together with his profes
sion ofthe Catholic faith, inclined Angelica to
receive his attentions with great favour.
He came very often to Golden Square, and
he conducted his wooing with such reserve
and apparent devotion as to win his way to
her heart, for she was strangely hard to woo.
He was quick enough to perceive the advan
tage he had gained, and, seizing a favourable
moment, he declared his love, asked her to

8o Angelica Kauffmann.
be his wife, and promised to divide all his
large fortune between her and her father, to
whom he would be the tenderest, the most
obedient of sons — he, who, by his own
account, was possessed of distinguished
birth, great military honours, immense
riches, castles, picture galleries, and magni
ficent jewels.
Deceived by the general belief in him,
Angelica never for a moment doubted his
words, and, when he added that in a few
days he would seek her father and formally
demand her hand in marriage, Angelica
was fully convinced, and agreed to his
condition that until these days had elapsed,
she would keep their engagement secret.
The reason he gave was plausible — he was
expecting papers which he wished to lay
before John Joseph.
The villain left her satisfied, but Angelica
was only so for a short . time. The idea of
concealing so important a matter from her
father, tormented her tender heart and
alarmed her delicate conscience. She man
aged, however, to silence this monitor by

Marriage. 8 1
assuring herself that her father, when he
knew the extraordinary good luck which had
come to her, would pardon her the momen
tary want of confidence ; and the more she
saw of her lover, the more she was fully con
vinced of the nobility and generosity of his
mind, the more she trusted, esteemed, and
even loved him.
One day the scene changed.
Pale, agitated, full of grief, he comes to
Angelica, who, on her side, alarmed and
trembling at what is going to happen, asks
him what is the matter,
Alas ! it is a political affair. His absence
from his estates in Sweden and from the
royal court has given offence. His enemies
have been busy, they have prejudiced his
friend the king against him; they have
calumniated him and persuaded his Majesty
that he is engaged in a conspiracy against
the royal life, and orders have come to the
Swedish ambassador at the British Court to
arrest him. Therefore, they must separate,
and more — he is to be loaded with chains,
branded with dishonour, and sent back to his
G

82 Angelica Kauffmann.
native land to perish there an innocent victim
sacrificed to the tongue of the detractor.
Angelica, shuddering at this terrible picture,
implores her noble-minded hero to fly at once,
but he refuses.
Then, after a minute's pause, he goes on
pleading as for his very life, — '
" Only one hope is there of saving me —
only one refuge is for me — in thy arms, my
angel — reach me thy hand as my wife. Once
a holy bond unites me to thee, I am certain
the royal family who love you and esteem
you will not give up your husband, or allow
him to be carried away to prison and certain
death. If I escape now, all will go well. I
am innocent, and once I am free and in
another country, I will defend myself, I will
bring my accusers to shame, and triumph
over them, and It will be to you that I shall
owe my happiness — my life — but there is not
a moment to lose, either you raake me your
husband at once or I am a lost man."
This is Rossi's account of an interview
at which the words quoted may, or may
not, have actually been spoke nbut there is

Marriage. 83
every evidence to show that great pressure
was brought to bear on the unfortunate girl
to induce her tq consent to a secret marriage.
It was unlike her to do so ; the upright
ness of her character, her love for her
father, her respect for herself, were all
against her doing anything clandestine ; on
the other hand, she was romantic and —
a curious anomaly — decidedly ambitious.'^^
Both these tendencies pulling at her heart
strings, inclined her to yield to her lover's
wish, and, by so doing, secure to herself
the, rank and wealth she desired. These
motives swayed her ; that there was much-
love is to be doubted, although the romance
of the situation may have somewhat touched
her heart.
By the 22nd of Noveraber Horn had made
everything ready, and in the morning
Angelica met him at St, James's Church
in Piccadilly, and was there married to
him safe and sure by the curate, Mr,
Baddeley.^ How the supposed count got
* Zucchi writes of her — "Ambition is her fault!'
* The certificate is to be seen in the vestry book at
St. James's Church.
G 2

84 Angelica Kauffmann.
over all the difficulty of being a foreigner, how
he evaded producing baptismal certificates,
etc., is, like everything else in this hideous
marriage, shrouded in mystery. He had
two witnesses, Annie Home and Richard
Home. Who were they ?
It must have been a melancholy ceremony.
How Horn must have started at every sound
in the empty church ! How he must have
dreaded that out of some corner an accusing
voice would be heard denouncing his dastardly
fraud upon the innocent girl beside him.
Rossi does not seem to have known of the
marriage at St. James's. He makes mention
only of their going secretly to a Catholic
Church ^ not far from Golden Square, where
an imprudent priest blessed a union which was
no union, without witnesses or proper for
malities. In stating this, Rossi evidently
was. not aware that In England, in 1767, the
penal laws against Roman Catholics were in
full force, and that it was strictly illegal for
any priest to marry two people of his own
1 Probably that of Spanish Place, as stated by Miss
Thackeray.

Marriage. 85
faith ; such an kct was punishable with death
in his case, and imprisonment in theirs.
It would be a question whether, as the
supposed De Horn and Angelica were both
foreigners, this law could have applied to
them, but it is evident she was determined to
be on the safe side. The visit afterwards to
the Catholic Church (if it did take place) was
a salve to her conscience, which was delicate
in matters of her faith.
The deed being done, Angelica returned
to Golden Square, as she fondly imagined,
the Countess Frederick de Horn, and after
this Rossi says the supposed count seemed
to recover his serenity. The pressing danger
vanished, he talked no more of the conspiracy
against him, but he confided to his newly-
made wife that neither the papers he ex
pected nor the money, which was a large
sum, had come to hand, and that in conse
quence he was much pressed by impudent
creditors. What should a loving wife do
but help her husband, and this Angelica did
gladly, without even a doubt that all he said
was true. So three weeks glided by, no

86 Angelica Kauffmann.
one suspecting that they were inan arid
wife. At last, either at the bidding of others or
because he deemed it was now time to play
his last card, Horn thought the moment had
come to disclose to the miserable father of
the girl he had deceived the true state of
affairs. He did not, however, care to make
the announcement himself; he sent an old
priest to break the news, which, when he
heard, so overwhelmed and crushed John
Joseph that he lost the power of speech, and
for some minutes could not articulate. He
was, a man who, good and honourable him
self could not easily believe others to be
knaves, and the deception practised upon him
hurt him sorely; moreover, he had some
doubts that this great count was not all he
appeared to be, and he feared for the happi
ness of his beloved child, without exactly ap
prehending the abyss into which she had
fallen through her own fault. He was filled
with the deepest anxiety, and could not be
pacified by all the good priest said , until
he saw his daughter. Angelica came trem
bling, and threw herself at her father's feet ;

Marriage. 87
he reproached her bitterly for her con
duct, and pointed out to her the danger she
had run by trusting herself to a man of
whom neither he nor she knew anything
definite. Angelica acknowledged her fault,
but would hear nothing against her husband.
She had grown fond of him in these weeks.
Nevertheless, her words, as quoted by her
biographer, have not the true ring of affection
in them, but have rather a worldly matter-
of-fact flavour,
" You doubt, my good father, as to whether
my husband is the nobleman he represents
himself to be," she said ; "in such a case our
marriage would be null and void, for it is only
under these conditions that I have united
myself to him."
At these words the priest and the father
looked at one another, pitying Angelica's
simplicity. She, however, never ceased con
soling and persuading John Joseph, until he
at last brightened up and consented to receive
the count. Angelica was now happy, she
led her husband proudly to her father, and
looked at these two both so dear to her with
eyes swimming in joyful tears. Horn stayed

88 Angelica Kauffmann.
with them, and when, later on, his father-in-
law began to make inquiries as to what
proof he could give as to the reality of his
position and fortune, he turned off the con
versation, saying that the joys of the honey
moon should not be disturbed by any such
worldly conversation.
In the meantime, the fact that Angelica
was married began to ooze out amongst
her own circle. There was, curiously enough,
at this moment a run of singular marriages,^
so that hers did not excite any particular
attention, but her friends took the alarm and
were filled with apprehension as to the true
position of the man she had married.
During the days that followed the narrowest
investigations were made about him, and the
opinion grew that he was an adventurer, if
not worse. The inquIsitioi> to which his past
life was subjected did not remain long con
cealed from the Count, and, as he dreaded the
Inquiry, he thought fit to put on a mask of
virtuous indignation. His anger was prin-
' That of Lady Susan Strangways to O'Brien the
actor, and another lady of quality to her footman.

Marriage. 89
cipally directed against his wife's father.
He forbade Angelica to hold any communi
cation with him. He drove away all her
friends, and finally ordered her to pack up
her things and prepare to leave London with
him immediately ; the town no longer suited
him as a residence, and it was part of her
wifely duty to obey him and ask no questions.
Angelica was aghast. Was this furious, ill-
mannered man the soft-spoken lover of a few
weeks ago ? His brutality frightened her.
His dislike to her unoffending father raised
a storm in even her tranquil breast ; his
conduct to her best friends made her indig
nant. She refused to go with him and quit the
home and the certain income she had
made for an uncertainty, for it did not seem
to iier he had any visible means of support
ing her. This contumacy on the part of the
usually gentle Angelica excited the rage of
Hom still more ; he threw off his mask and
showed the wretched girl his true rufifianly
nature. In her alarm and misery she seized
the first opportunity to tell her father, and

90 Angelica Kauffmann.
implored him to help her. Poor John Joseph
appealed to his friends. One of these, who had
been himself taken in by the Count, whose
warm friend he had been, took upon him to
demand an explanation. He wrote to Horn,
telling him the injurious suspicions that were
gaining ground against him, and demanded
from him as a man of honour a written con
tradiction of them. The letter was couched
in rather a threatening tone.
Deceit and cowardice are closely allied.
The Count answered in fear and trembling, but
his shifting, double-dealing reply confirmed
rather than allayed the suspicions against him.
The letter was shown to Angelica by her father,
and plunged her into still deeper grief and
when Horn, growing moreandmore tyrannical,
insisted upon his rights as a husband, she sum
moned all her courage, and refused to leave
her father. She showed him the letter in
which he defended himself from the accusa
tions made against him, adding, that until he
cleared himself from all suspicion of being
an impostor she would live apart- from
him.

Marriage. 91
"You wish for a separation," he cried in a
fury ; " then you shall have it."
Then he burst out in threats, shrieks,
violence of all kinds, which soon brought
old Kauffmann to the assistance of his child,
when the rufifian, seizing a purse full of gold,
took his hat and flung out of the house,
crying out, —
"You will soon know who I am, and you
will both repent the rough treatment you
have given me."
The two poor creatures remained all that
day trembling from the efifect of that terrible
scene. They were in hopeless despair, not
knowing what, he would next do. Their
despair increased when the night passed with
out his return, and again the following day.
It was not his absence that caused them un
happiness, it was the dread of what so wicked
a man might be hatching against them.
After three days spent in anxious uncer
tainty, on the fourth came a lawyer's clerk
in the name of Count Horn, to demand
from Angelica instant submission to his
wishes, since he, as her -hue^"-^. ' rfad a

92 Angelica Kauffmann.
legal right over her and all she possessed,
otherwise he would press for a deed of
separation and demand compensation to the
amount of 500/,
Angelica was quite cured of even the
lukewarm liking she had for him, she saw
that it would be impossible for her to live
with such a villain. She grasped at the idea
of a separation, but neither she nor her father
were inclined to reward the other's successful
villainy with so much of her hardly-earned
money. She was advised to have recourse to
the law. The cause, however, took the usual
tedious course. Proofs had to be collected,
searches to be made into the career and
episodes of the false count, and, as much of
his life had been spent abroad, messengers
had to be despatched to almost every court
in Europe.
Pending the outcome of these inquiries, the
villain set the seal to all his former turpitude
by an attempt to carry off Angelica by
violence. He got together some cut-throats,
had carriage and horses in readiness, hired a
vessel; aua..«....,opt bv a dispensation of Provi-

Marriage. 93
dence, through which his designs were dis
closed, Angelica would undoubtedly have
fallen into his hands.
From this time (although Horn was bound
over under strong penalties to respect his
wife's person and liberty) Angelica lived in
constant fear of him. She dreaded what
might befall her if once in his power ; she
knew that he wore on his finger a ring which
contained poison, and she did not think he
would scruple to use it.
Meantime, from divers sources, information
from abroad and depositions were coming
in, all containing evidence of a rascally
history. One set proved the dififerent names which
he had taken in dififerent places ; another the
titles and dignities he had given himself;
this one related how he had extorted money
on false pretences ; another how he had con
tracted debts to keep up a splendid appear
ance. All went to prove an unbroken course
of swindling. There came news, too, of his
having manied another woman, who was with
him in the year 1765, when he resided at

94 Angelica Kauffmann.
Hildesheim, and gave himself out as a colonel
and lieutenant of Frederick the Great.
In Hamburg, at the Hague, in Breslau
and other towns, he was well known, and al
ways as an adventurer with the worst repu
tation. At Amsterdam he had gone by the
name of Studerat, in other places he called
himself Rosenkranz, Brandt was the only
name to which he had any right.^
This consensus of accusation and the ac
cumulation of evidence that came pouring in
from every side made the Count tremble.
He began to think it were best to abate his
demands and get clear off with what money
he could extract from his victim. He there
fore again approached Angelica with an offer
ofa compromise. To this her friends, and
especially the magistrate before whom the
process would come, objected very strongly-,
advising her to make no terms with such a
villain, but to have him properly punished for
his shameful conduct in her regard,
Angelica, undecided, now listened to the
' When he was Count Horn's fpotnian he went by the
name of Buckle,

Marriage. . 95
firm counsels of the magistrate, and Ggnin,
when the process seemed to stretch away in
the distance, was inclined to put an end to
this torturing delay and agree to Horn's
proposal. He was now limiting his demand
to 300/,, and agreeing to sign a legally drawn-
up document, wherein he bound himself to
abandon all his rights as a husband and to
leave Angelica absolutely free, never seeking
to renew any intercourse or hold any com
munication with her.
Angelica at last consented to sacrifice the
money for the sake of peace. She naturally
preferred — as any sensitive woman would do
-^this method, to exposing 1 to the world all
the miserable details of her unfortunate con
nection with this man.
On the loth of February, 1 768,^ this docu-
' The deed of separation is signed with Horn's real
name, Brandt, which was the one he had a right to call
himself; his mother, Christina Brandt, had been seduced
by Count De Horn, while she was serving as a maid in an
inn. The count may have taken the boy and brought
him up in his own household, which was very often done
with natural children, and this would account for his
gentlemanlike manners and his likeness to the Horn
family. It is also probable that it was thus he got hold
of the coveted articles and the jewels which cast such a

96 Angelica Kauffmann.
ment, which was to give her her freedom
from the persecution of a villain, was
signed, and so ended this miserable busi
ness, four months after the marriage,
three of which Horn had spent out of the
house, which he had quitted on the day of
the quarrel,
Rossi goes on to tell of an extraordinary
incident which took place on the same day
upon which Angelica's release was signed,
and which, he says, would have appeared too
improbable for any stage piece.
" A respectable person carae to Angelica
and disclosed to her the fact that the Count
was already married to a girl in Germany,
and had deserted her, leaving her in the ut
most poverty ; and that this girl was intending
to come to London if only she had the means
to pay for the voyage. This discovery, if true,
invalidated the second marriage, and several
persons tried to persuade Angelica to bring
the real wife to London. Others advised her
by no means to give herself the expenses and
glamour over poor Angelica. It is more than likely that
he stole them.

Marriage. 97
anxiety of a trial, and these wiser counsels
prevailed. Angelica frqm the first was ad
verse to any publicity which could be avoided,
and it did not take her long to decide upon
leaving the matter as it was ; ' for,' said she,
' if the count has been guilty of this offence,
and if his guilt is proved, he will be sentenced
to death, and if I should be the cause of this,
I should never know a moment's happiness.
No, the spirit of revenge and anger dwells
no longer in my breast, and although he
has injured me, and it may be has betrayed
me, I leave his punishment in God's hands.
Never speak his name to me again.' A
wise resolution," says her biographer, " wise,
pious and good, which did her under
standing as much credit as her heart, for
there is no doubt, in the end, the dragging
of Horn into the mire of contumely would
have thrown a certain stain upon the
woman who had shared his name for some
months. Meantime the soi-disant count had made
good his escape, and never more was heard
of until news came many years after of his
H

98 Angelica Kauffmann.
death. Who or what he was must always
remain a mystery. ^Rossi adds, " I have lin
gered long over this sad story, but I think it
only just to Angelica to contradict the many
' fables ' spread abroad. What I have now
related has been told to me by the father of
Angelica, who suffered keenly from the dis
grace which had fallen undeservedly on his
loved child, and who wrote down accurately
the true history."
John Thomas Smith, in his " Memoirs,"
tells the story of Horn's detection in a
different manner.
" After the marriage," he says, " Angelica
was sent for to Buckingham House to paint
Queen Charlotte. She communicated her
marriage to her Majesty, upon which she
was invited to Court and her husband also.
He, however, kept out of the way, saying his
luggage had not arrived. At last the real
Count Horn arrived in London, and at the
Jevde was much surprised at being congratu
lated by the queen upon his marriage, when
it all came out."
In " Miss Angel " this incident is made

Marriage. 99
use of in a very pretty scene between the
queen and the artist. However well suited
for the purposes of a novel, there is no truth
in the story, neither does it appear that a real
Count Horn did niake his appearance on the
scene. The whole business is involved in a
strange mystery, out of which it is difificult to
grasp any tangible facts beyond that of the
false marriage.
Putting aside his share in Angelica's story,
Horn's career was one of the most singular ,
instances of audacious swindling. It was the
age for adventurers. Every court in Europe
swarmed with them ; every minister used
them as instruments, and supplied them with
money and credentials. Handsome, agree
able men, with good manners, were in
request, as they were certain to have bonnes
fortunes, and much could be expected from
the favour of a great lady. Horn, or Brandt,
rather answers to this description, and the
splash he made, the fine horses and footmen,
the best hotel, and the splendour of his own
appearance, would lead one to think he had
some other means besides the jewels he was
H 2

100 Angelica Kauffmann.
suj)posed to have stolen. But why did he
not seek the favour of some great lady?
He moved in the best society, and must
have known- many women better suited to
his purpose than Angelica. The Kauffmann
household was not appointed in a style to
deceive a man of Brandt's experience ; he
must have guessed that all he could possibly
expect was a share of the girl artist's
earnings,
^ What, then, was his motive ? Love, per
haps (who can say ?), and that, knowing the
dignity and purity of Angelica's nature,
he saw no way of making her his but by
going through an apparently legal marriage
ceremony. But there is another view of the subject,
which one finds set forth by several German
and French writers.
Wurzbach says : " The suspicion of having
a hand in this unpleasant affair fell upon
Reynolds. It is true that later on he made
a lame attempt at clearing himself and gave
an explanation to Angelica. All the same just

Marriage. i o i
as it remains a riddle how much Reynolds
had to do with this melancholy history, so he
also remains under a certain imputation of
having a share in the matter."
Sternberg is even more plain spoken. He
says : " ' Le Manuel des Curieux et des
Amateurs des Beaux Arts ' speaks of a
conspiracy, which was set on foot in London,
against the artist. The writer does not
mention names, for the reason that the
source is nasty. Angelica herself in the
public papers, addressed a letter to the
editor of the " Beaux Arts," denying
there was any truth in these assertions.
From other sources of information, how
ever, there is not the smallest doubt that
this contemptible mystification was planned
for the - humiliation of the artist, and that
Reynolds had a hand in the game. Whether
it was he, or a friend of his, an artist, who
had proposed for Angelica and been refused,
it is enough, that out of revenge, these two
concocted the plot to disgrace her. There
then appeared this man, who called himself

I02 Angelica Kauffmann.
Count Horn, and who gave himself out for a
distinguished Swede. He pretended to be
an art patron, and spent considerable sums
in buying pictures. A handsome man, a rich
man, a count, Angelica could not resist.
The poor woraan suffered cruelly ; the spring
of her life was dried up ; she loved and had
been betrayed."
Nagler, in his " Notice" of the artist in
vol. ii.,^ mentions this story in the " Manuel
des Curieux," also Angelica's letter. The
" Biographie Universelle " says : — " Des Bio
graphies ont accuse Reynolds d'avoir prepare
ce complot et initie ce malheureux a son role
pour se venger des dedains d' Angelique, mais
ce ne fut pas certain." The same charge of a
"complot" is made either distinctly or hinted
at in every biographical notice ; in Dohme's
" Kunst u. Kiinstler," ^ in " Hoeffer's Nou
velle Biographie," and the " Biographie
Contemporaine," in Wurzbach's Lexicon,
also in Leon de Wailly's^ historical novel.
' Kiinstler Lexicon.
* Article on Angelica, by J. Weissley.
' Schoppe also and Desalles-Regis wrote novels on
this subject. The latest addition to fiction is Mr. Du-

Marriage. 103
But if this story were true, how does it
happen that Reynolds' biographers (friendly
or unfriendly) are silent as to such grave
charges, of which they must have been aware,
had this letter from Angelica in the " Beaux
Arts " ever appeared ? And again, how is it
that the gossips of the day, the news writer,
Horace Walpole, and the garrulous Boswell,
make no allusion to a bit of scandal too
delightful to be omitted ? It would seem
that when the original accusation was made
In the " Manuel des Curieux et des Beaux
Arts," edited by Hiiber and Rast, a French
edition was published contemporaneously
with the German one. For the purpose of
this biography, both editions have been closely
searched for either accusation or letter, but
without success. It may be that they ap
peared in a first edition and have been sup
pressed. Putting aside the well-known character of
our great painter, which would make such
an accusation incredible, it is not possible to
bourg's play "Angelica," which is soon to be given at
one of the leading theatres.

I04 Angelica Kauffmann.
suppose that after treachery of this kind
he would have remained a fast friend of
Angelica's to the end of his hfe, heaping
favours upon her and her family. If con
spiracy there were, and many circurastances
would lead one to this hypothesis, it would
lie more probably at the door of Nathaniel
Dance, and his friend Nathaniel Hone.^
Dance, as we know, had loved and been
rejected by Angelica, and had taken the
manner of her rejection much to heart, and
his Celtic blood would lead him to revenge
himself upon the woman who had not only
refused but ridiculed him.
His friend and fellow-countryman, Hone,
was a despicable character, envious of other

' Hone and Dance were both Irishmen ; Dance was
the most successful artist. He recovered from his disap
pointment, married the widow of a Hampshire gentleman
with a good fortune, was a member of parliament, and
was created a baronet. He was a vain man, and gave
out that Angelica refused Sir Joshua because she was
attached to himself. In the " Records of my Life," by
John Taylor, the author talks of " Mrs. Kauffmann's
correspondence with Dance, which was thought so
interesting, that his Majesty George III. asked to see it."
Taylor, however, is not reliable authority, and there is
no reliance to be placed upon this story.

Marriage. 105
artists, cordially disliked by them. Smith
says he was jealous of Reynolds, and lost no
opportunity to defame him ; the dislike be
tween them began in their school days, and
culminated in the ugly transaction of " The
Conjurer " later on. There would be every
probability that such a nature as Hone's
might have planned the outrage on Angelica,
for the purpose of throwing dirt, if he could,
upon Sir Joshua. In addition to which. Hone
had a personal dislike to Angelica, based
upon her greater success as an artist.
Rossi, from whom the account given here
of Angelica's betrayal is principally collected,
speaks of the reports and fables in circula
tion at the time, which Angelica had not
the courage to contradict ; and for this
reason, he adds, he has thought it right to
communicate to the public the facts which
were left to him in writing by the good
father of Angelica, who had suffered infinitely
from his daughter's misfortune.
This would seem very conclusive that
John Joseph had never heard of the
Reynolds conspiracy, or, if he had, counted

io6 Angelica Kauffmann.
it amongst the fables. It has, however, been
thought better to mention in this biography
the accusations so freely made abroad,
which, up to the present time, have gone
without contradiction, thus leaving a slur
upon the memory of a great artist and an
honourable gentleman.

CHAPTER V.
1768-1771,
WOMANHOOD.
After Horn's final withdrawal a hopeless
calm settled down upon Angelica's life.
There was nothing more 'to fear, but to a
sensitive nature like hers the bare idea that
everyone was in possession of what had
happened must have been mental torture.
She bore her trial bravely, and by degrees
her work, and the sympathy of her friends,
who were never weary of showing her kind
ness, mitigated her pain, although the wound
never healed,
Rossi says that the strangeness of her un
merited misfortune, together with the esteem
in which she was held, caused her to receive

io8 Angelica Kauffmann.
numerous offers of marriage from men in the
highest positions. Angelica, however, shud
dered at the name of a second engagement,
and before she could have accepted any pro
posal of marriage, she must have gone
through a painful trial to prove that, for
various reasons, her first union was invalid,
and from this publicity she shrank.
Angelica now threw herself into work
with almost feverish energy. Her brush
was always in her hand. Money was much
needed in Golden Square, Horn's demands
had swept away all her savings, and there
were the heavy expenses of the legal pro
ceedings to be met, Angelica's friends
behaved generously. Orders came flowing
in. Her good patron. Lord Exeter, ordered
pictures by the yard. Lord Spencer, too,
gave her commissions, and the good-natured
king^ sat for his portrait, although this was
' It will be remembered by readers of " Miss Angel"
that Angelica (after the discovery of Horn's conduct)
goes to Windsor to paint the portrait of the king. Miss
Thackeray popped her heroine into the house of Dr.
Starr, a Master at Eton. Curiously enough, this proved
to be the very house where had lived her father's great

Womanhood. 109
an honour he had not yet paid to Reynolds,
With all this amount of work in hand, she
cultivated assiduously her literary and musical
talents, both of which were of a high order.
In music she excelled, her voice being of a
delicious quality,^ Her mind was highly
cultivated, and all through her life she en
joyed the friendship of those who were dis
tinguished in the artistic or literary world.*
- Count Bernsdorff,^ the Danish Prime Min
ister, who was this year visiting London,

grandfather, Rev. Dr. Thackeray, who was assistant
master of Eton in 1746, and later became Archdeacon
of Surrey. There is in the family a tradition that one of
his daughters was attached to Antonio Zucchi.
' She would run to the harpsichord and sing all manner
of national airs.
' Rossi says her love for men of letters did not spring
in any way from vanity or a wish to be considered a bas
bleu, but from a true appreciation of the beautiful; so
much so, that when she read an elevated passage or heard
some eloquent discourse, her eyes would light up and her
whole countenance show how moved she was.
' Count Bernsdorfif, the friend and companion of
Frederick Prince of Wales, returned to Copenhagen
after the death of the Prince and became Minister. He
was a clever statesman and accomplished man. He did
as much for Denmark as Bismarck did for Germany. A
handsome obelisk just outside Copenhagen is erected to
his memory. — Sturz' s Biographie.

IIO Angelica Kauffmann.
gives in one of his delightful letters a descrip
tion of a visit he paid her ; it is full of in
terest, and is dated September 15th, 1768,
just six months after Horn's betrayal : —
" I found our gifted countrywoman yester
day with Klopstock's ' Messiah ' in her hand.
Pope's ' Homer ' lay upon the table near her.
She reads both with perfect ease, but natu
rally the German poet is nearest her heart.
She was born, if I remember right, in Bre
genz, and went to Italy when quite young,
associating there and ever since with the very
best people, artistic and social. This always
makes a distinct impression, in early youth
especially, and she is now both in her art and
herself in her manners and mind, quite on an
exceptional platform. She has a peculiar and
most womanly dignity which inspires the
utmost respect. She is about twenty-seven,
by no means a beauty, nevertheless extremely
attractive. The character of her face belongs
to the type Domenichino loved to paint, the
features are noble, the expression sweet. It
would be impossible to pass such a face with
out looking at it, and once you have looked

Womanhood. 1 1 1
you must admire, and there are moments
when she is absolutely beautiful : thus when
she is seated at her harmonica singing Per-
golesi's ' Stabat Mater,' her large expressive
eyes, ' pietosi a riguardar a mover parchi,'
are piously raised to Heaven, and her inspired
look helps the expression of the divine words.
At this moment she is a living St. Cecilia.
Alas ! that so much beauty and such talent
should have failed to secure for this gifted
woman any measure of happiness. The
sadness of her whole air betrays an inward
discontent which is the consequence of her
unfortunate marriage which has ended in a
separation. The whole story is pitiful, and
this misfortune has spoiled her life. She is
a great favourite here, and has a reputation
as an eminent artist. This truly British word
at once guarantees a fortune ; Angelica, how
ever, is too modest — she does not sufficiently
assert herself, for an eminent artist can, in
this rich capital, use her admirers much as a
selfish, money-seeking coquette does her
lovers, plunder and ill-treat them, without fear
of a rupture ; the passion of the nation being

112 Angelica Kauffmann.
to fill the pockets of their favourite, no mat
ter whether he be an artist, or a hair-dresser,
Farinelli, or a conjurer."
Angelica, not having left any note-books as
Reynolds did, it is impossible to know the
scale of her prices. Fifteen guineas is men
tioned by J. T, Smith as the price paid for a
portrait of Mrs. Nollekens.^ A hundred years
ago all artistic and literary work was in
differently paid. Goldsmith received sixty
pounds for the " Vicar of Wakefield ; " Ho
garth one hundred for the " Lady's last
stake ; " Zoffany two hundred for " Abel
Drugger " ; and it was only when his name
was at its highest that Reynolds was paid
1 50 guineas for a full-length portrait,
Angelica's rapid method of painting
enabled her to execute more work than most
artists. She drew hurriedly, putting in the
costumes and figures with her pencil before
she took the palette in her hand, trusting very
much to the delicate combination of colour,
for which she was famous, to conceal the
false outlines into which there is no denying
^ As " Innocence, with Doves."

Womanhood. 1 1 3
she was often betrayed. Her colouring has
been the subject of very diverse^ opinions.
Bernsdorff says she played strange tricks with
her carnation, and that her shadows are
overdone. Rossi maintains she was equal
in colouring to the old masters, Oppermann
thinks her draperies are too highly tinted,^ her
background too monotonous. At the time
it was thought she used a secret preparation,
which gave her tints this extraordinary
brilliance, but in her later pictures she
subdued her colouring to a great degree.
George Keate, her friend and admirer,
wrote an absurd pamphlet addressed to the
lovely, the adorable, the beloved Angelica,
in which he ascribes her miraculous colouring
" to a magician who has given her a powder
from Egypt's distant shore. He believes
Cheops and Rhodope are proud to minister
to her glory. Nitocris will shine again in
her delineation of a virtuous monarch, and
Cephenes will blacken with his dark pigment
some villain's face which her chaste pencil
' A writer in the Art Journal ol 1890 criticises what
he calls this vinous tone, which is decidedly unpleasant.

1 14 Angelica Kauffmann.
abhors to paint." He covers pages with this
nonsense. Notwithstanding her secret, Angelica's
colours have not been lasting. In some in
stances they have faded more than others,
but this is also noticeable In Sir Joshua's, and
can be accounted for by the different varnishes
and mediums used, some of these being
deleterious to the preservation of the work.
The year 1768 was a memorable one In
the history of Art in England. It was
then that the scheme of founding a Royal
Academy, which had long been in agitation,
took actual shape, and the institution which
is now such a yearly point of interest to both
public and artists had its birth.
Its process of incubation had been a try
ing one. So far back as 1 7 1 1 , Sir Godfrey
Kneller, then at the head of the profession
of arts, made the attempt, and failed ; Thorn-
bill later established a makeshift academy
or school of art at his own house. This
lame effort was followed by the Life School
under George Moser, and when this was
joined by such men as Hogarth, Cotes, and

Womanhood. 115
other artists of standing, it migrated first to
St. Martin's Lane, and in 1759 opened rooms
in Pall Mall.
Still all felt even this improved position
did not answer the purposes of a National
Academy. Efforts were strenuously made
to induce the royal sanction to. be given, to
gether with a proper grant. The proclivities
of the House of Hanover, however, had never
been artistic, George 1. was too fond of his
mistresses, and George II. had his hands
full of his quarrels with his son, and his
ministers. The struggle still went on ; the Society,
with gallant spirit, exhibiting annually a
number of pictures which were excellent in
work and drew large crowds of visitors. At
last, in 1765, the Society wrung from the
Government a charter of incorporation, and
the right to call itself " The Society of In
corporated Artists." Having attained this
measure of success, the spirit which had
been so admirable died out.
Constant disputes arose amongst the
members ; jealousies, private warring, until
I 2

ii6 Angelica Kauffmann.
the cohesion ofthe Society became impossible,
A split followed — Chambers, Moser, West,
Cotes, being included amongst the mal
contents. The result was the starting of a
new art society upon totally different lines,
the professed object being to found an
academy of design for the instruction of
students with an annual exhibition which
should contain the work of the academicians.
Pressure was brought to bear on George III.,
who had at first received the scheme coldly,
but later offered to supply from his private
purse any money deficiency and to give the
academy a royal sanction.^ This enabled
the members to offer prizes to the students
and to bestow annuities on such as were
promising. With these advantages the new constitu
tion was easily formed under the title of

^ The generosity of the king was much commended by
the journals of the day. The Advertiser bursts into
enthusiastic praises in verse : —
" Long had Britannia sighed for such a king.
When George arose and bade her Muses sing ;
Called Genius forth from Contemplation's cell.
And drew up Wisdom from her sacred well."

Womanhood. 117
" The Royal Academy." Reynolds at first
held aloof, not, as unfriendly writers allege,
from a doubt that the countenance of the
court would be wanting, but from fear that
the mistakes of " The Incorporated Society
of Artists" might again be committed. It
was after West had taken to him a proposed
list of thirty members, and explained to him
enough to show that the new society started
on a basis of their own which might fairly
be made to include all the higher objects
of such an institution, that Reynolds con
sented to join ; and all his brother artists,
rising to a man, saluted him as president of
the new-born institution.
The list of original members includes the
names of Chambers,^ Moser, Hayman, New
ton, Penny, Sandby, West, Reynolds, Barto
lozzi, Cipriani, Cosway, Wilson, Zoffany,
Nollekens, Dance, Hone, and Wilton ;
together with two women artists, Angelica
' Sir W. Chambers was the prime mover, and is thus
alluded to : —
" By all thy odes the world shall know
That Chambers planned it."
Academy Lyrics, Peter Pindar.

1 1 8 Angelica Kauffmann.
Kauffmann and her friend Mary Moser.
Such an honour as this has never since
that day been paid to any female artist, and
although it was no doubt due to the in
fluence of Sir Joshua, still he would not
have ventured to confer the dignity of R.A.
upon Angelica unless her position in a great
degree justified his action. His fellow-
academicians, however, did not approve of
the introduction of the female element, and,
as a hint that their sex rendered them unfit
for the necessary course, both ladles are
purposely omitted from Zoffany's picture of
the " Academicians gathered about the
Model." In this fine work (as Leslie ^ says),
" each face is an admirable likeness, and
the peculiarity of every artist is caught and
transferred to the canvas so as to strike
every beholder. There is Moser setting
the figure, and Zuccarelli and Yeo studying
the pose. Dr. W. Hunter scans the action
of the muscles. Nathaniel Hone, with an
attitude of swaggering importance, leans on
the screen at the back of the model. Cosway,
Leslie's life of Sir Joshua Reynolds.

Womanhood. 119
the Maccaroni miniaturist, displays his clouded
cane and gold lace at full length in the left-hand
corner. He is the only one present, except Sir
Joshua, who Wears a sword. Zoffany himself,
palette on thumb, is a pendant to Cosway.
Behind him West leans on the rail, in con
versation with Cipriani and Gwynne, On his
left, seated on a drawing-box, is the burly
figure of Frank Hayman. Just behind him is
Sir Joshua, the centre figure of the composi
tion." On the wall hang the portraits only, in oval
frames, of the two lady academicians, Mary
Moser and Angelica Kauffmann.^ They
were thus admitted into the picture, as it
were, on sufferance, not as making part of
the assembly. Zoffany, too, has done very
little justice to them — at least to Angelica,
whom he deprives of all her beauty, and re
presents as a prim, hard-featured woman.
The first exhibition of the Royal Academy
pictures was held in the spring of 1769, at
Messrs. Christie's auction rooms, in Pall -Mall.
^ The diploma given by the Eoyal Academy is pre
served by the descendants of Johann Kauffmann.

I20 Angelica Kauffmann.
" Tradition," says Mr, Redford, in his " Art
Sales," " fixes the spot where the Senior
United Service Club now stands, opposite to
Market Lane, Haymarket." On the 26th
April, 1 769, the social and artistic world of
London were hurrying thither. The Adver
tiser oi April 27th announces : " On Monday
the Princess-Dowager of Wales, and yester
day his Majesty, accompanied by his Royal
Highness the Duke of Gloucester and the
two princes of Mecklenburg Strelitz, visited
the exhibition of the Royal Academy in Pall
Mall, with which they expressed themselves
highly satisfied."
One hundred and thirty-six pictures had
been sent in, a small number according to our
ideas, Angelica sent four, which are thus
set down in the catalogue : ^
' The introduction to the catalogue has the follow
ing:— " As the present exhibition is a part of the institution
of an academy supported by royal munificence, the
public may naturally expect the liberty of being
admitted without any expense. The academy, there
fore, think it necessary to dec'are that this was very
much their desire, but that they have not been able
to suggest any other means than that of receiving money
for admittance, to prevent the room from being filled

Womanhood.

121

6i. Interview of Hector and Andromache.
62. Achilles discovered by Ulysses amongst the at
tendants of Deidamia.'
63. Venus showing Eneas and Achates the way to
Carthage.
64. Penelope taking down the bow of Ulysses for
the trial of her wooers.
The Advertiser ^.¦a.y^ that the pictures which
chiefly attracted the attention of the con
noisseurs were three by Sir J. Reynolds, the
" Regulus " of West and his " Venus lament
ing the Death of Adonis," and " Hector and
Andromache," by Mrs. Angelica, an Italian
young lady of uncommon genius and merit.
In the European Magazine there is like
wise a short notice :

,, West.
.. Nathaniel Dance.
.. Mr. Gainsborough.
., Mr. Hone.
.. Cotes.
.. Cipriani.
.. Mr. Reynolds.

Departure of Regulus from Rome.
The King and Queen
Lady Molyneux
¦A piping boy
A boy playing cricket
An altar-piece
Duchess of Manchester
Hector and Andromache
and
Venus directing Eneas and Achates,,, Mrs. Kauffmann, a
lady but lately
arrived in Lon
don.
by improper persons, to the entire exclusion of those
for whom the exhibition is apparently intended."
^ Deidamia, daughter to King Lycomedes, at whose
Court Achilles was concealed dressed as a woman.

123 Angelica Kauffmann.
From Angelica's choice of subject it was
evident the gods and goddesses of Olympus
ruled her fancy. Other artists. West and
Reynolds, likewise exhibited classical and
allegorical subjects.^
The president sent no less than three alle
gorical portraits :
I. The Duchess of Manchester, as Diana nursing
Cupid.
2. Lady Blake, as Juno receiving the Cestus of Venus.
3. Miss Morris nursing Hope.
Allan Cunningham says, in his caustic way,
" Poor Miss Morris was no dandier of babes,
but a delicate over-sensitive spinster, unfit
for the gross wear of the stage. Of Lady
Blake's title to Juno, I have nothing to
say, and what claim a Duchess of Manchester,
with her last babe on her knee, could have
to^the distinction of Diana, it is difficult to
guess." The critics were hard upon the pictures.

' Mr. Taylor, in his Life of Sir Joshua, speaks slight
ingly of his forced and far-fetched personifications of
Juno, Hebe and Diana. He considers them indescrib
ably inferior in charm to those which Reynolds has
painted of the women of his own time.

Womanhood. x 2 3
Horace Walpole marks "Bad, very bad," ^ con
stantly in his catalogue. He makes no men
tion of Angelica's " Hector and Andro
mache," which was a commission from Mr.
Parker of Saltram (afterwards Lord Boring
don), and was engraved by Watson.
Bernsdorff saw the picture in the artist's
studio before it went to the Academy, and
after criticising Angelica's faults severely, he
says, " The defects in her method (grave ones,
I own) are in my opinion counterbalanced by
the many beauties of thought and feeling
with which her work is permeated. Sensu
tincta sunt. She shows great wisdom in her
choice of a subject — the moment of separation
when the interest is heightened by the fore
boding of never again meeting, and the
imagination can fill up the details. Her
composition is full of grace, and the figures
have the quiet dignity of the Greek
models. Her women are most womanly,
modest and loving, and she conveys with
much art the proper relation between the
' From the Strawberry Hill Catalogue.

1 24 Angelica Kauffmann.
sexes, the dependence of the weaker on
the stronger, which appeals very much to her
masculine critics. It must be owned, how
ever, that a little of this feebleness charac
terizes her male personages. They are shy
creatures ; some of them look like girls in
men's clothes, and it would be impossible for
her to portray a villain. However," he
adds, "the colouring is very faulty, the
background is monotonous, and a violet
haze floats over the picture, which is very
detrimental to its beauty,"
The moment chosen by Angelica is where
Hector meets his spouse at the gates of
Troy. His steps are already turned towards
the camp. It seems that one more and he
will be outside the city, but he has wavered
at the voice of Andromache ; he has turned
towards her, the left foot is loosely drawn
back behind the right, and the lance which
he holds is planted in the ground. He is
consoling the half-fainting woman, who
rests upon his shoulder. Her right arm
is thrown round his neck, the other hangs
down, and her hand seeks that of her

Womanhood. 125
husband, who takes it in his clasp. She has
just spoken :
" Too daring Prince : Oh, whither dost thou run ?
Ah ! too forgetful of thy wife and son !
And think'st thou not how wretched we shall be,
A widow I— a helpless orphan he !
Thy wife, thy infant in thy danger share.
Oh, prove a husband and a father's care ! "
Pope's " Iliad."
But now she is silent, nestling close to her
beloved, searching his face, anxious to read
if she may dare to hope. Hector is speaking
those noble words :
"Andromache, my soul's far better part,
Why with untimely sorrow heaves thy heart ?
No hostile hand can antedate my doom
Till Fate consigns me to the silent tomb."
The spectator can see that the hero has
not made up his mind. Will he remain ? or
will he tear himself away, from her loving
embrace ? The uncertainty of this situation,
when realistic in intensity, appeals very
much to the heart, and is a great factor in
art. Lessing availed himself of it with
great success in his book dealing with the
antique statue of the Laocoon.
Angelica also exhibited this year a portrait

126 Angelica Kauffmann.
of the president, done to order for his friend-
Mr. Parker of Saltram,
Mr. Taylor says it is (judged by the
present standard) a weak and characterless
piece of work, but it found great commenda
tion in its day. This portrait must have been
exhibited at the Society of Incorporated
Artists, who had their show of pictures on
May I oth this year.^
The Advertiser wrote of it in these
terms : —

' While fair Angelica, with matchless grace,
Paints Conway's lovely form and Stanhope's face,
Our hearts to beauty willing homage pay,
We praise, admire, and gaze our souls away.
But when the likeness she has done for thee,
O Reynolds, with astonishmtnt we see,
Forced to submit with all our pride, we own
Such strength, such harmony excelled by none ;
And thou unrivalled by thyself alone."

This painting of one another's portraits,
^ The Earl of Morley kindly allowed a photograph
to be taken of this portrait, and, in opposition to Mr.
Taylor's criticism, we venture to quote the judgment of
other art critics who, when the portrait was exhibited
at the Manchester Exhibition, pronounced the treatment
to be unconventional and the colouring good.

SIR JOSHUA REYNOLDS.
(From a portrait in the possession ofthe Earl of Morley.)

To face page 126,

Womanhood. 1 2 7
together with placing Angelica's name on
the roll of Academicians, very naturally
revived the old report, and set the gossips'
tongues wagging, although now there could
be no talk of a marriage.^ Mr. Forster in
his " Life of Goldsmith," speaks of "Reynolds
and his Angelica," and gives us the story of
Dr. Baker's dinner in a rhyming letter from
Goldsmith to his dear Horneck, in which he
makes mention of Angelica's portrait of the
president : —"So tell Horneck and Nesbitt
And Baker and his bit
And Kauffman beside
And the Jessamy Bride.
" But 'tis Reynolds's way
From Wisdom to stray.
And Angelica's whim
To befrolick like him.
But, alas, your good worships, how could they be wiser,
When both have been spoiPd in to-day's ' Advertiser ' ? "
The years '70 and '71 were full of work.
To the exhibition of 1770 she sent four large
pictures :
'' Angelica not being able to get a divorce from Brandt,
without going through the publicity of a trial.

128 Angelica Kauffmann.
ii6. Vortigern enamoured with Rowena.'
117. Hector upbraiding Paris.^
118. Cleopatra adorning the tomb of Mark Antony.'
119. Samma, the Demoniac, weeping over the ashes
of his son.

The subject of this last was taken from
Klopstock's " Messiah," which the author had
sent to her, and of which she writes to
Sturz : —
" May, 1 769.
" I have much to thank you for, in the
great honour our famous countryman has
paid me in sending me his works. I had
thought it would be too bold of me to
offer my warm thanks, but now I have
resolved to follow your advice and to write
to him. I am going to venture further
(still in accordance with your good counsels)
and having chosen a subject from the
^ In the British Museum there is a proof engraving
from the original which is in the possession of the Earl of
Morley. It is counted one of her best as regards correct
outlines. ^ Engraved by Thomas Burke.
' Engraved by Thomas Burke from the original, which
was bought by George Bowles. This is well known to
all print collectors.

Womanhood, 129
' Messiah,' I mean to paint it for the great
composer. Oh, that I were able to express
by my brush something of the majesty, the
divine beauty of this glorious, this sacred
theme ! I shall, however, attempt it, and
should I succeed, I shall send my un
worthy effort to my kind friend, Herr Klop-
Stock." Sternberg damns this with the words
*' full of false sentiment," but Horace Walpole,,
in his Strawberry Hill catalogue, remarks :
Not ill ; which, considering his notes are
all in a depreciatory key, amounts to almost
praise. This year, too, the portrait of General
Stanwick's daughter, who was lost on her pasr
sage from Ireland, had an iraraense success. It
is full of tenderness and sensibility, and even
Sternberg has to acknowledge its raerits :
at the sarae time he takes care to add to
his few words of praise his usual araount
of unworthy criticism against the English
people. "This picture," he says, "was the fore-
K

130 Angelica Kauffmann.
runner of an infinite number of pale, sen
timental heroines and equally colourless
heroes, meeting under a romantic moonlight
in an English park. One can imagine
nothing more cold and prudish than these
compositions : nevertheless, they charmed
all England for the reason that the English
nation, which is outwardly prudish, but at
heart immoral, adores a conventional hand
ling of dangerous subjects. They like to
have paintings hung in their drawing-rooms
which will not cause a pulse to beat, and
at which their young misses can gaze without
blushing; in fact, they clothe art, and, to
satisfy their absurd prudery, stifle genius.''
Without wishing to enter upon the inca
pacity of the English nation to decide upon
matters of art in the last century, one may
venture to say in Angelica's defence, that
the reproduction of her pictures by the best
engravers of all countries must be an evidence
that her work was possessed of merit, an
evidence of greater value than would be the
sale of her pictures.
The engraver does for the painter what

Womanhood. 131
the translator does for the author or poet,
and it is not probable that a bad or indiffer
ent writer would find translators from every
nation competing for his book !
The list of the engravers who secured
the copyright of her designs is a long
one : — Bartolozzi,^ Facius, Ryland, Burke,
Green, Watson, Scorodomoff, Dickinson,
Laurie, Houston, Dauke, Berger, Smith,
Porporati, Kruger, Durmer, Schiavonetti,
Knight, Carattoni, Spilsbury, Taylor,
Bryer, Cataneo, Morghen, Marcuard,
Wrenk, Tomklns, Folo, Zucchi ; also the
girl. Rose Lenoir, who engraved " Venus
in her Chariot " at the age of fourteen.
It is almost impossible to make a cor
rect list of the proofs taken from her
pictures and designs. Rossi makes it six
hundred, without counting the English en
gravers. The subject of her designs she generally
took from history, ancient or modern.
While in England she read constandy the
' For a list of those engraved by Bartolozzi, see
Appendix, K 2

132 A ngelicct Kauffmann.
English poets ; mythology and classical his
tory were, however, nearer to her heart, and
in dealing with Cupids, nymphs, Bacchantes,
no one, except perhaps Albano, has ever sur
passed her for delicacy and grace of design.
Goethe talks of them as the children of an
airy, loving imagination, " Executed by the
pencil of fascination," says Pasquin, " and the
colouring is in the chastest Italian school."
I would draw attention especially to a vig
nette, " Die Gekrankte Liebe " — sometimes
called " Aglala ^ bound by Cupid " — also
" L'Amour dort," " Garde a vous," " Cupid
Asleep," and " Cupid disarmed by Euphro
syne.' ' ' ' Cupid drying Psyche's tears " extorts
the warmest praise from Sternberg, who
acknowledges that "design" was the artist's
real merit. " Her talent," he says, " lay in
elegance and delicacy."
There are two Cupid* pictures in the
Kensington Museum. The anatOniy of both
is as usual faulty, the arm of the woman being
singularly out of drawing. The colouring,
' Aglaia the bright one. One of the nymphs or charities.
^ Cupid's Pastime should be the name of the pictures.

Womanhood. 1 33
however, is charming, the soft yellows d^-
cious, and the malicious expression on the
Cupid's face most humorous,
Mary Moser wrote a pleasant, chatty
letter to Fuseli, still in Rome, telling him
all the news of the Exhibition of 1770, in
which she says, " Reynolds was like himself
in pictures which you have seen. Gains
borough beyond himself in a ' Portrait of a
Gentleman,' in a Vandyke habit ; Zoffany
superior to everybody in a portrait of ' Garrick,
as Abel Drugger,' with two other figures.
Subtle and Face. Angelica made a very
great addition to the show, and Mr, Hamil
ton's ^ ' Briseis Parting from Achilles ' was
much admired,"
1 77 1. At the third exhibition of the
Academy, Leslie says Angelica's pictures
were amongst the best. Again she had four
large canvases :
113. The Interview of King Edgar with Elfrida after
her marriage with Athelwold.
114. Acontio and Adippe.
115. Return of Telemachus (Odyssey),
II 6. Erminia finds Tancred wounded.
Also a Portrait of a Lady.
' Hamilton was a pupil of Antonio Zucchi,

134 Angelica Kattffmann.
^ " ' The Interview between Edgar and
Elfrida,' "says Sternberg, "raised Angelica's
reputation in England to the highest point.
Ryland engraved it in the so-called Schwarz
Kunst (Mezzotinto), and no collection of
engravings is without it," He adds, in a
grudging manner, that the drawing of the
figures is correct, and the grouping original
and effective, but that there is a certain cold
ness, and the formSj although beautiful, are
wanting in life, Horace Walpole finds very
little expression in it.
At this exhibition appeared West's great
picture, "The Death of Wolfe," the first
high art picture that represented a contem
porary event. It caused a reaction against
the classical and allegorical style, which,
Leslie says, " never took any real hold of the
English mind, but that in spite of the cold re
ception given to Grecian gods and goddesses,
Angelica Kauffmann and Barry persisted in
sending in, year after year, mythological
pictures." He might have added Reynolds, and West
' In the possession of the Earl of Morley at Saltram.

Womanhood. 135
himself, who, the very next year, relapsed
into the classical.
In Peter Pindar's bitter "Odes to the
Academicians," in which he satirizes all the
leading artists, he gives a touch to Angelica's
Grecian foible : —
" Angelica my plaudit gains.
Her wit so sweetly canvas stains.
Her dames so Grecian give me such delight ;
But were she married to such males
As figure in her painted tales," etc.

CHAPTER VI.
1771 — 1776.
WOMANHOOD.
In the autumn of 177 1 Angelica visited
Ireland. She had several commissions from
noble patrons, amongst the number that of
the Viceroy, whose portrait she was commis
sioned to paint.
Getting to Dublin a hundred and twenty
years ago was not such an easy matter as it is
now-a-days ; it took four days to reach there,
even if you secured a passage from Parkgate
in the Lord- Lieutenant's yacht, a matter of
favour, although it cost five guineas.
It was thirty years before the Union,
when Angelica paid this visit to the Irish
capital, which was then the pleasantest in
the three kingdoms, the mimic court being

Womanhood. 137
infinitely gayer than the more decorous one
at St, James's,^ The nobility had fine houses,
elegantly decorated ; * they spent their money
in a princely fashion, gave orders without
stint, and what they could not pay for they
charged upon the family estates.
In Lord Cbarlemont's letters, lately pub
lished by Mr. Gilbert, one sees what a mag
nificent nobleman he was : the freightage of
his books, his statues, his pictures, his marbles,
cost a small fortune, and his example was
' The vice-Kings were oftentimes jovial, and permitted
somew;hat of a saturnalia to prevail— as when the game
of Cutchacutchoo was introduced and was in high favour
at the Castle. "Two recesses were fitted up at the
end of the grand saloons, and here behind a curtain the
ladies prepared their toilet for the sport. In a moment
the floor was crowded with ' belles,' ' dowagers,' and
' beaux,' hopping about in the sitting attitude required
by the game. Great was the laughter when a gentle
dame of high degree was capsized by the heavier assault
of a stouter rival. Presently, as the fun waxed more
furious, dresses were torn, hair disordered, paint on the
fair faces began to rub off, and the whole became a
romp," ' Most of these houses were designed in Castle's *
-massive style, the interiors being decorated by foreign
artists, and the ceilings, friezes, and chimney-pieces
the work of Italian stuccoists who had been imported into
Dublin. * An architect of great merit.

1 38 Angelica Kauffmann.
emulated by Lord Powerscourt, the Duke of
Leinster,^ Mr. La Touche, Lord Meath, and
many others. Most of these houses are now
Government offices, and are gutted (either
by sale or removal) of their works of art, but
the friezes, ceilings, staircases, still remain,
and are most elegant in design, being chiefly
the work of either Marinari or Verpyle. The
chimney-pieces are, many of them, Wedg
wood's. In Lord Ely's house, in Ely Place,
they are of such value that the late marquis,
although he had long since parted with the
lease, preserved his right in them, and would
periodically send skilled artists to see they
were not tampered with.*
' At the time when Leinster House was built, there
were neither squares nor many houses on the south side
of the city. From the windows of the Earl of Kildare's
mansion, in Merrion Square, you could see on a fine day
the ships in Dunleary Harbour— six miles distant. But
soon magnificent mansions rose as by a magician's wand,
Lord Meath came from High Street to Stephen's Green,
Lord Powerscourt to William Street, Lord Antrim and
others to Merrion Square, Lord Mornington to Merrion
Street, Lord Clonmel to Harcourt Street, the Marquis
of Ely to Ely Place, etc.
2 Here, too, the wrought-iron staircase is rare, so, too,
are the panelled walls with family pictures let in. For
beauty, however. Lord Ely's House does not equal
Powerscourt House, where the friezes, ceilings, and
staircase are most elegant; there is also a Venetian

Womanhood. 1 39
It was at one of these fine houses that
Angelica stayed on arriving in Dublin ; she
was the guest of Mrs. Clayton, the wife of the
Bishop of Clogher, the friend of Swift and
Dr. Delany. The Bishop's house was in
Stephen's Green, on the south side, with a
very handsome frontage, something like
Devonshire House ; the apartments were
well furnished with gold-coloured damask,
with busts and portraits brought by the
Bishop from Italy. Mrs. Delany says,
" the Claytons saw the best of company,
and kept a .handsome table : six dishes of
meat at dinner, and six at supper ! "
From the Claytons the artist went as a
guest to the Attorney-General, Tisdall, who
lived in Molesworth Street, a man of extra
vagant habits. She likewise visited Lord
window of very beautiful design. In Mr. Latouche's
house,* in Merrion Square, the chimney-pieces let in with
Wedgwood's elegant designs, are delightful j and all
through the old houses in Dublin there were formerly
chimney-pieces enriched by this famous artist. They
have, however, gradually disappeared, having been, in
most cases, sold to English brokers ; so, too, with the
carvings, and, in many cases, with the pictures and
frescoes. * Now the residence of Sir John Banks, K.C.B.

T40 Angelica Kauffmann.
and Lady Ely, at Rathfarnham Castle, Lady
Caroline Daraer, an old acquaintance, at
Emo, in the Queen's County, besides many
others. Everywhere she was received with
the greatest distinction — more as a friend
than an artist ; her portrait of Lord Town
shend making her the fashion,
. The Irish Viceroy was a gallant soldier,
frank, convivial, abounding in humour of a
somewhat coarse kind, and not always in keep
ing with the dignity of the position he held.
His capricious, uncertain temper offended the
higher order. Horace Walpole gives him the
worst of characters; according to him "he
was proud, insolent, sarcastic, ill-tempered, and
ill-natured, stooping to the lowest buffoonery,
and debasing the Government he represented,
while he drove the Opposition to resistance
by his absurd and profligate conduct." ^

' The Townshends were made of very uncertain, unre
liable stuff. Charles, the brother of the Viceroy, the wit
and statesman of the family, being one of those political
meteors, whose brilliancy is outweighed by a total want
of ballast, which renders them too erratic to be depend
able. The mother, Audrey, or, as she chose to call
herself, Etheldreda, had an astonishing wit, but little
prudence.

Womanhood. 141
He had been a widower for two years,
but was not inconsolable. In his picture he
appears surrounded by his numerous family.
Angelica had the singular idea of placing
him with his youngest child in his arms
before a large looking-glass, in which he is
showing the infant its own image ; the double
effect is cleverly conveyed. Another portrait
of greater interest, which Angelica painted,
was that of the beautiful Dolly Monroe, niece
to Lady Ely,^ whom Lord Townshend was
supposed to admire. Besides this portrait,
which will be found facing page 142,* Angelica

' " I remember, in my juvenile days," writes Mr,
Caleb Powell, " to have seen a full-length portrait, at
Rathfarnham Castle, of the beautiful Dolly Monroe, and
a relative of hers told me that Lord Townshend pre-;
tended to her aunt. Lady Ely, that his object was to
captivate Miss Monroe, and prevail upon her to become
Lady Townshend, a delusion he kept up until Lady Ely
had induced her lord to give his parliamentary support
(about the strongest in the House of Commons) to Lord
Townshend's administration; but, to Lady Ely's great
mortification, the Viceroy married Miss Montgomery,
whose portrait, by Sir Joshua Reynolds, was certainly
not as handsome as that of Miss Monroe."—-/". C. Filz-
patrick's Portfolio.
' The beauty of Dolly Monroe was well nigh as cele
brated in her day as that of the famous Miss Gunnings.
Mr. Forster, in his " Life of Goldsmith," says the poet'

1^2 Angelica Kauffmann.
also painted a large canvas, with four figures
— the Earl with his Countess, Miss Monroe in
the foreground of the picture leaning over the
clavichord, and Angelica at the instruraent.
The picture is too rnuch crowded, but- it is
interesting from its vicissitudes.
During the troubled times which befell
Ireland in 1798, Rathfarnham Castle was
tenanted by a dairyman, who made the
banqueting hall into a stable for his cattle.
Later it passed into the possession of Chief
Justice Blackburne, whose son is the present
owner. When improvements were being
made sorae years ago, the oak panellings
were teraporarily removed, and the family
portraits were found concealed. The late
marquis presented the Ely group to the
National Gallery of Dublin, where it is now ;
devoted his verse to her charms. He introduces her
name in the " Haunch of Venison " : —
" Of the neck and the breast I had next to dispose,
'Twas a neck arid a breast that might rival M-r-e's."
The sketch of her presented here was contributed by
the late Mr. Henry Doyle, C.B., Director of the
National Gallery, Dublin, from the original portrait by
Angelica. It was bought for the gallery two years ago,
when the Marquis of Ely's sale took place at Messrs;
Christie's.

DOLLY MONROE.

(From a sketch by the late Henry Doyle, C.B., Director of the National
Gallery, Dublin, from the painting by Angelica KaufTmann.)

To face page 142.

Womanhood. 143
it was considered to be by Reynolds, until
Mr. Henfy Doyle, the then Director of the
Gallery, discovered the signature, A. Kauff
mann. At Emo there are several portraits by her,
all in good preservation. Besides " Lady
Caroline Damer, and her husband. Lord
Milton," she painted several replicas of the
Duke and Duchess of Dorset, and presented
Lady Caroline with a portrait of herself ^ Rossi
says, she received such a multitude of orders
for historical pictures and portraits while in
Ireland, that she found the only way was to
sketch in the heads, by this means satisfying
her patrons, and reserving the completion of
the work until she had leisure to do it justice,
" The Death of Sylvia's Stag," painted for
Justice Downes of the Queen's Bench ; two
beautiful portraits of Lord Ferrard and his son,
which are at Antrim Castle ; " Mrs, Bous-
field," in the possession of Mr. Bagwell, of
Marlfield, County Tipperary ; " Mrs. Cle
ments," with a naked infant on her knee, in the
possession of Colonel Clements, are about the
' There is also at Emo a table of her work.

144 Angelica Kauffmann.
best known of her portraits. The amount of
decorative work done by Angelica, during her
stay in Dublin, in the way of ceilings, door-
panels, tables, etc., seems almost incredible.
Unfortunately, the delicacy of her method,
and the fading of the colours she used, to
gether with the neglect which shortly after
befell all of beauty and art in the ill-fated
country, have caused much of her work to be
irrecoverably lost. There still remains, how
ever, a good deal of her beautiful decoration :
notably, in Lord Meath's house, in Stephen's
Green (now the property of the Church Tem
poralities), where the ceilings are elaborately
painted by her, with emblematic figures in
the four corners of the centre. The doors,
too, are prettily decorated, the work being
as fresh as if done yesterday. In an outer
room there are frescoes, of which both the
subject and the author are said to be un
known; but anyone conversant with Angelica's
style would have little hesitation in attribut
ing them to her. They are weakly drawn,
and carelessly handled, but the very faults
show thern to be hers ; and the subject of

Womanhood. 145
one, at all events, was a favourite theme with
her.^ At 18, Rutland Square, formerly Lord
Farnham's, and now the residence of Lord
James Butler, the ceilings are painted by her,
also at Lord Longford's, in the same square.
The best of her work is to be found at Dr.
Mahaffy's, in North Great George's Street,
where the medallions are painted on canvas,
and laid into niches made for them in the
"Aveco " ; here the subjects are her favourite
Greeks. It is pleasant to think that, in this
instance, her work is in the hands of one
of the best Greek scholars of our day, Dr.
Mahaffy, of Trinity College.
Angelica's stay in Ireland lasted over six
months. She returned to London in time to
exhibit, at the May Exhibition of 1772,
" Andromache and Hecuba weeping over
Hector's ashes," a gloomy, uninteresting sub
ject ; " Rinaldo and Armida," "La Penserosa,"
a whole length of a lady in Italian dress, and
a Bishop ! " They made very little mark ; the
' A shepherd moralizing while peasants dance in the
distance. ' Doctor. Robinson, Pri-nate of Ireland, afterwards
created Baron Rokeby.

146 Angelica Kattffmann.
president had six of his best pictures, and
Zoffany's "Academicians," which was this
year in the Academy, deservedly absorbed all
attention. To her other occupations she now added
those of etching and engraving. The former
she had practised in her girlhood. There are
about thirty-five plates of hers extant,^ which
are proofs that in this line she would have
distinguished herself The outlines are well
defined, and the shadows brought out with a
firm touch ; the aquafortis used with intelli
gence. With this method she had produced
a good picture of Winckelmann, which was
this year engraved by Ryland, Bernsdorff,
writing to Denmark, says, " Angelica has
given me a charming present of some etch
ings of her own doing, which are not to be
had in any print shop. Amongst these, I am
particularly pleased with a likeness of our
Winckelmann. He sits at his desk, his pen
in his hand, searching with his eagle eye to
' For a list of these thirty-five plates, see Appendix.
They are very valuable, as after she left England
Angelica gave up etching.

Womanhood. 147
discover in Apollo's nose, or the Torso of
Hercules, where lay their contempt for the
gods." ^
Another etching of equal merit was one of
" Raphael," and a half length of" Hope," which
she gave to the Academy of St. Luke, in 1 765 ;
" A Madonna and Child," in 1 773, and in 1 776,
two fine etched copper-plates, also a picture of
"St. Peter" after Guido, the original of which
is in the Monastery of Sampiere, at Bologna :
this she perfected with the assistance of
Joseph (or Giuseppe) Zucchi the engraver, and
it was published in London in 1776, the plate
bearing the name of both artists. . A good
many of the thirty-five plates have — "eadem et
Joseph Zucchi ; " these last are finished with a
graving tool. Some of them are very fine —
" Calypso and Ulysses," " Urania," " Sappho
conversing with Homer," from a picture by
Antonio Zucchi, which is a masterpiece of
free treatment. Also the " Haarflechterinn,*'
or Hairplaiter, which is well known to all
collectors. This is also etched in Scheide-
wasser, or aquafortis, and has the date 1765.
* From Sturz's Biography.
L 2

148 Angelica Kauffmann.
After she came to England she gave up
aquafortis, and adopted the English method of
aquatint, in which she was not so success
ful. Biraldi says that the great English
engravers, BoydeU Brothers, of Cheapside,
bought the coppers upon which her first im
pressions were printed ; she retouched these
for them, and in 1780, after putting them
through the aquatint ^ process, they were
reproduced. This process is sometimes called
a la maniere de lavis.
In 1773 we find her varying her usual con
tribution of immortals, by sending to the May
Exhibition * only two mythological pictures,
the others being portraits and a Holy F'amily.
Considering Angelica's well-known piety, it
was strange how seldom her brush was
devoted to heavenly subjects. An altar-
piece for the Parish Church at Schwartzen
berg ; the frescoes of the Twelve Apostles,
and one or two Holy Families, are all she
' This process consisted in pouring over the copper a
preparation which bit, so to speak, into the work. For
this purpose the engravers used salt sand mixed with
gum, etc. It was only used in England.
' See Appendix for complete list of exhibits.

Womanhood. 149
has left in this direction. Nevertheless, she
would have seemed eminently fitted by the
spiritual tone of her mind to portray Celestial
Love, and the Beatitude of the Saints. A
French writer says, " Her heads have much of
the divine, majestic beauty of Guido, and had
she preferred Heaven to Olympus, she would
have attained a far higher degree of perfec
tion." The explanation lies in her reverence for
sacred subjects, to which she considered her
self unworthy to give expression. In one of
her note-books she wrote : " One day, when
I found it impossible to convey to my canvas
any idea of the majesty of Almighty God, I
threw down my brush, saying, Never agairi
shall I attempt to interpret the Divine, which
is impossible to human inspiration, I shall
reserve the attempt for the time when I shall
enjoy Heaven, supposing always that there
should be such an art as painting there."
If Reynolds's noble idea of decorating St.
Paul's Cathedral with scriptural subjects had
come into effect, Angelica's powers in this
line would have been tested. It was in this

1 50 Angelica Kauffmann.
year that this project was ventilated, and re
ceived the hearty approval of both the king
and Archbishop of Canterbury. The artists
were chosen, Reynolds was to paint " The
Nativity," and Barry, Dance, Cipriani, and
Angelica Kauffmann, were each to take a
subject. Unfortunately, the narrow-minded
bigotry of Terrick, Bishop of London, defeated
this noble conception. Everyone knows his
answer ; " I would rather close the doors of
the Cathedral for ever, than open them to
admit Popery," "Accordingly," as Thackeray
says, "the most clumsy heathen sculptures
decorate the edifice."
During 1773, and the years that followed,
Angelica's work as a portrait-painter in
creased. Her studio was crowded with
fashionable sitters ; portraits painted during
that time by her were "The Duke and Duchess
of Richmond," " Jane Maxwell (Duchess of
Gordon)," " Earl and Countess of Derby,"
" Countess of Albemarle," " Marchioness of
Lothian," ^ " Honourable Charlotte Clive," ^
' Exhibited at the Royal Academy, i888, Marquis
cf Lothian.
. » Exhibited at the N,P.E., 1867, Earl of Powis.

Womanhood. 1 5 1
" the Duke of Gordon," ^ "Alleyne Fitz Her
bert," ^ the lovely " Lady Georgiana " and
" Lady Henrietta," with Viscount Althorp,
only son, and daughters of John, ist Earl
Spencer.' (There is another portrait of
the " Duchess of Devonshire," in a white
dress and large white hat, which belonged
to Lord Howard de Walden, and was sold
in 1869, for 162/.)
Mrs. Hartley's lovely face and lithe, tall,
delicious figure, had won her in a short time
the leading place at Covent Garden Theatre,
and her picture by Angelica, which is now in
the Garrick Club, is wonderfully graceful, and
little inferior to that done by Sir Joshua of
the same lady. Another sitter, Mrs, Damer,
was equally well known in the fashionable
world. She was the " Infanta " of the etters
of H, Walpole, whose friendship for her
father, Field-Marshal Conway, is a refreshing
trait in his cynical worldliness, Mrs. Damer
was everythingbytums, a dilettante artistof ex-
' Exhibited at the Art Treasures, 1857, Duke of
Richmond. = Exhibited at the N.P.E., 1867, Sir W. Fitzherbert.
' For particulars of exhibitions, see Appendix,

152 Angelica Kauffmann.
ceptional'talent, and one of a group of" Pretty
Fellows," with the Duchess of Ancaster, Mrs.
Crewe and Mrs, Bouverie, at the Pantheon,
Angelica's portrait of Mrs, Damer is in the
possession of Captain Frederick Erskine
Johnston, and is a far more graceful, pleasing
likeness than the prim picture painted by Sir
Joshua of the same lady.
The portraits the artist executed of herself
are numerous.^ Some were orders, others
gifts to friends, as in the case of Klopstock
and Bernini. There is one of her at Althorp,
another at Emo — both presented to her good
patrons. Lord Spencer and Lady Caroline
Damer. She gave one to Isabella, Duchess
of Rutland, one to the Academy of St. Luke,
another to the Ufiizii Gallery at Florence,
Lord Rosebery has one at Mentmore. The
Earl pf Home exhibited a portrait of her at
the N.P.E. of 1867. So did the Rev. J. E.
Waldy. Mr. J. Stokes has one. Mr.
Cheesman exhibited one at the Suffolk Street
Exhibition of 1833.
Many of these self portraits have found their
' See supplement to Appendix.

Womanhood. 153
way to the sale room. In 1879 a beautiful
portrait of her with Clio was bought at the
Bowles-Rushout ^ sale by Lord Leven and
Melville for 160/., and in 1876 Mr. Henry
Graves, the well-known picture dealer of Pall
Mall, bought an oval portrait for 100
guineas.^ She gave a large full-length portrait of
herself to the Dresden Gallery, as a Vestal ;
to Berlin also she presented one, in
which she is dressed in an ideal costume,
half Muse, half Bacchante. Her head is
crowned with laurels, the dress covered with
flowers, with a gold girdle and bracelets, and
an expression of archness, although somewhat
affected, suits the beautiful face ; the colour
ing, which is reddish-brown, recalls that of
Mengs, her early master. "From this pic
ture," says Sternberg, " one would hardly say
that she had been a beauty ; her charm lay
in her youth, her freshness, and expression."
To her father's native village of Schwart
zenberg she presented a portrait of herself
* For particulars of Bowles-Rushout sale, see catalogue.
' Mr. Graves sold this portrait to the National Portrait
Gallery, where it now is.

154 Angelica Kauffmann.
in the dress of her own canton, a copy of
which will be found on the first page. In
this, as in all her portraits, the extraordinary
length of her mouth is remarkable.
In addition to her portraits, Angelica for
years never missed exhibiting at the Academy
her classical or historical pictures.
In 1774 Leslie ill-naturedly says " Angelica
Kauffmann as usual in a great expanse of
washy canvases, six classicals and a portrait."^
In 1775 she sent six classicals and five
portraits ; of the former were —
Sappho. The Despair of Achilles.
Rinaldo and Armida (Tasso).
Andromache fainting at the sight of Eneas (Virgil).
The Return of Telemachus (Odyssey xvii.).
Horace Walpole says of the " Despair of
Achilles " ^ that it was " Very good," but
^ The catalogues of the Academy from 1769, which
are in the British Museum, were a bequest from
Mr. Anderdon, who enriched the collection with all
manner of details and portraits (Grangerizing, as it is now
called). His remarks are caustic and amusing; he is
always giving hits at Angelica, who, he says, had long
and beautiful fingers. Of this year's exhibition he says,
seven of the Lady Angelica's work, including Sappho.
^ From the Strawberry Hill Catalogue,

Womanhood. 1 55
against the " Return of Telemachus " is
written " Very ill," It was indeed impos
sible all could be good, for in addition to these
she contributed other pictures and portraits
) — eleven in all.
In consequence, perhaps, of this large
supply, there was some fuss as to the hang
ing. Her father, who was growing old and
fidgety, harassed her with suspicions as to
unfairness, and Angelica carried her com
plaints to Sir Joshua, who took her to see
that justice had been done. He also replaced
the four which had been omitted, and which
are to be found in the appendix to the
Academy Catalogue for 1775.
This year was marked by one of those un
deserved insults which low natures have it in
their power to inflict upon those who suffer
most keenly from being dragged before the
public. To Angelica, especially, who had
endured so much already, and whose peculiar
position made her shrink from notoriety, it
was doubly painful to be included in Hone's
malevolent attack upon the President of the
Academy. This artist, whose small raind was

156 Angelica Kauffmann.
full of envy for those who succeeded better
than himself, regarded Reynolds with jealous
eyes. He considered that he stole all his
ideas from the old Masters, and resolved that
the world in general should be acquainted
with the theft.^ He sent to the exhibition of
1775 a picture called "The Pictorial Con
jurer displaying the whole art of Optical
Deception." This picture has been variously
described as an old man with a wand in his
hand, commanding the engravings, which
Reynolds used,^ to rise out of the flames ; or
as an old man with a wand in his hand and
a child leaning on' his knee, performing in
cantations by means of which a number of
sketches, from which Reynolds had taken hints,
were made to float on the air round the
wizard. When the picture was sent in, the Council
of the Academy decided to reject it, not so
much for the sneer at the President, but
' There was some truth in the allegation, It is now
well known that Sir Joshua borrowed very freely from
the old Italian school. An instance in point is " Mrs.
Sheridan as St. Cecilia," in which the idea is a distinct
plagiarism.

Womanhood. 157
because of an alleged likeness in one of the
floating sketches to AngeKca, who was repre
sented as a nude figure. There was general
disgust at such a wanton attack. Angelica
had plenty of friends to take up her defence,
and to protest against this insult to a
woman who was worthy of ¦all respect.^
Hone being thus put in the wrong, wrote
to Angelica : —
" Madam, — The evening before last I was
not a little surprised at a deputation from the
Council of the Academy, acquainting me
that you were most prodigiously displeased
at my making a naked academy figure in my
picture of ' The Conjurer,' now at the Royal
Academy, representing your person. I
immediately perceived some busy medler,'' to
say no worse, had imposed this extravagant
lie, of whose making God knows, upon your
understanding. To convince you. Madam,
that your figure in that composition was the
' This striking at Reynolds through Angelica would
seem to lend a colour to the suspicion that Hone had
been engaged in the " complot " or conspiracy to which
the foreign writers allude. See page 102.
' Hone's spelling.

1 58 Angelica Kauffmann.
farthest from my thoughts, I now declare I
never at any time saw your works but with
the greatest pleasure and that respect due to
a lady whom I esteem as the first of her sex
in painting, and the loveliest of women in
person. Envy and detraction must have
worked strangely, for yesterday morning
some more gentlemen from the Academy
assured me that your uneasiness was very
great. I assured them I could sO far
alter the figure that it would be impossible
to suppose it a woman, though they
cleared me of such a supposition themselves,
as they understood it to be a male figure, and
that I could put a beard to it or even dress
it to satisfy you and them. I did myself the
honour of calling twice, when I had the mis
fortune not to meet you yesterday at your
house, purposely to convince you how much
you have been mistaken, as you will perceive
when you see the picture itself, and likewise
to convince you with how much respect,
" I am. Madam,
"Your most obedient, humble servant,
" N. Hone."

Womanhood. 159
To this Angelica replied in the following
dignified manner : —
" Sir, — I cannot conceive why several
gentlemen who never before deceived me
should conspire to do so at this time, and if
they themselves were deceived, you cannot
wonder that others should be deceived also,
and take for satire that which you say was
not intended. I was actuated, not only by
my particular feelings, but a respect for the
arts and artists, and I persuade myself you
cannot think it a great sacrifice to remove a
picture that has even raised suspicion of dis
respect to any person who never wished to
offend you."
Hone, however, thought otherwise ; he
persisted in his determination to appeal
against the sentence of rejection, and when
he was outvoted, he took a room at 70, St.
Martin's Lane, and there exhibited "The
Conjurer." The matter did not drop here.
Hone, who was resolved to give as much
publicity as he could to the affair, appeared
before Mr, Addington, the Middlesex magis-

i6o Angelica Kauffmann.
trate, and made an affidavit, to which he
attached the accompanying —
" N.B. — The figure said to have been Mrs.
Angelica Kauffmann is not only taken out,
but all the other naked figures, lest they
should be said to be likenesses of any par
ticular lady or gentleman which Mr. Hone
never meant, as the merit of the picture does
not depend upon a few smoked Academy
pictures or even those well-dressed gentlemen
who supply the place of those figures said to
be indecent, though Mr. Hone had shown
the picture to ladies of the most refined taste
at his own house."
Notwithstanding these disclaimers, the
sense of the respectable portion of the artist
world was against Hone and his picture.
He was looked upon coldly afterwards,
Nollekens some years later expressed the
general opinion : " You are always running
a rig against Sir Joshua," he says, " and you
may say what you please, but I have never
had any opinion of you since you painted
that picture of ' The Conjurer,' as you called
it ; and pray what business had you to bring

Womanhood. 1 6 1
Angelica into it ? " for the rest it was soon for
gotten. It was originally bought by a French
nobleman, who resold it in 1790 to Knight,
under thetitleof "A Conjurer, a well-known
Satirical Subject," for 15/, 15^., since which
time it has been consigned to well- deserved
oblivion.

M

CHAPTER VII.
1776-1781.
WOMANHOOD.
For the Academy of 1 776 Angelica varied
her usual programme by sending only one
classical subject, and two taken from English
history: No. 155, "Eleanor sucking the
Poison from the wound of Edward I." ; No.
156, " Elizabeth Grey imploring of Edward
IV, the Restitution of her Husband's Lands."
In 1777 Leslie says Angelica was liberal
of her sentimentalities, the reason for this
stricture being that she exhibited one of
"Sterne's Maria," and also " Sylvia lament
ing over the favourite Stag." Both were
'very popular.
In the following year she struck new
ground with '' Leonardo da Vinci expiring in
the arms of Francis the First," and in 1779

Womanhood. 163
exhibited a large canvas, the " Death of
Procris," together with some insignificant
pictures, one being "Conjugal Peace,". ex
emplified by two ducks in a basket.
In 1780 she produced, in addition to four
classicals, a large allegorical picture of "Reli
gion." The catalogue sets forth that the sub
ject was taken from the " Temple of Virtue,"
written by her friend, J. Fordyce.^
The Earwig, an amusing satirical paper
of the day, criticizing Angelica's work,
remarks that her allegories have too much
the air of basso-relievo, in which work her
designs have often been employed with
better success than any of the Moderns.
Later Canova made use of her design,
" Cupid drying Psyche's tears with her own
hair," when the full beauty of the grouping
was brought into view.
Mention has been made of Angelica's
illustrations and decorations. Both were
becoming a great feature of art in England,
' James Fordyce, Minister of Alloa, D.D., a well-
.known divine. The " Temple of Virtue " was an
allegorical poem. M 2

J 64 Angelica Kattffmann.
The vignettes of the books of the day were
designed by the best artists, and men like
George Taylor, Carington Bowles, and the
Boydells spared no expense in bringing
out the finest illustrations, in all of which
Angelica took a prominent part. In her
series of " Moral Emblems," published by
Taylor she produced some beautiful
designs, notably, " Life," " Omnia Vanitas,'"
and " Hope," ^ which last was engraved by
Ryland. These moral emblems were
always accompanied by a few words from
the artist, which shows how well she could
express herself even in a language not
her own.
"The most forcible idea of Hope is to
imagine a period when that virtue only is, or
can be, in action. I have therefore repre
sented Hope as a woman, supporting the
head of a dying pilgrim, and cheering him
with the expectation of a future felicity and
glory, towards which she points, I have
introduced an anchor as an emblem of Hope
' The original of " Hope " is in St. Luke's Academy,
at Rome; it was painted in 1764.

Womanhood. 165
(although it is seldom a graceful object in a
picture), as well because it is an emblem
generally received, as because St. Paul,
speaking of Hope, terms it an anchor of the
^soul, nor is the improbability of its intro
duction so glaring in this scene, which repre
sents the ocean side."
The vignettes and frontispieces of Bell's
" Poets of Great Britain," and " CoUins's
Eclogues," together with vignettes and fron
tispieces of novels, and a series of engravings
called " Practical Exercises and Morning
Amusements," came into her work during
these years. Hamilton published a volume
entitled " Angelica's Ladies' Library," a col
lection of excellent tales illustrated by the
artist and H. Bunbury, the amateur carica
turist. This book had a great success ; the
little oval woodcuts are charming.
Angelica likewise designed fans such as
ladies then carried, and concert and masque
rade tickets, some of which were engraved
by Bartolozzi.
Her most important undertaking, how
ever, some years later was the illustrations

1 66 Angelica Kauffmann.
for Boydell's ^ " Shakespeare Gallery," to
which all the first artists of the day con
tributed — West, Copley, Romney, Reynolds
and " Fuseli." Angelica's share was limited
to two scenes, one from the " Two Gentlemen
of Verona ; " the other from " Troilus and
Cressida." In 1780, the same year as the Gordon
Riots, the Academy, to whose first exhibi
tion in Pall Mall she had contributed her pic
ture " Hector and Andromache," moved its
abode to Somerset House, the front wing
facing the Strand, where now the prosaic
Government offices are installed. The
entrance was from the vestibule. The ex
hibition room for Sculpture was on the
ground floor, and was not ornamented. The
ceiling of the library was enriched with a
painting by the President, a figure of
Theory holding a scroll, with the words,
"Theory is the knowledge of what is truly
Nature."^ There were four figures by Cipriani
* See Supplement to Appendix for original letter to
Alderman BoydeU.
' When the Royal Academy was removed from
Trafalgar Square to its present habitation the paintings

Womanhood. .167
in the coves. In the lecture room, where
the ceiling was by West, the Graces were in
the centre, the Elements round them. At
each end of the ceiling four figures, of Genius,
Design, Composition, and Painting, were by
Angelica, who ^ " exerted her very strongest
powers in these pieces, which possess an
infinite deal of character and sweetness.
Genius is finely represented leaning upon
the celestial globe, and expressing rapture
of invention. We view the very character
which Shakespeare has described :
" ' The Poet's eye, in a fine frenzy rolling,
Doth glance from Heaven to Earth, from Earth to
Heaven,
And as imagination bodies forth
The forms of things unknown, the Poet's pen
Turns them to shapes, and gives to airy nothing
A local habitation and a name.' "
Leslie also says ^ " that these pieces were
painted in a more masterly style than any
by West, Reynolds, and Angelica were also carried
thither. " Design " can be seen in the Diploma Gallery,
set in an oval frame ; it is the figure of a young girl
drawing from a torso. The three other designs are in the
cellars !
' From the Earwig.
' Leslie's " Life of Sir Joshua Reynolds."

i68 Angelica Kauffmann.
of Angelica's former productions ; " perhaps,
he adds, " they are more beautiful because
less finished."
This was about the last work of importance
undertaken by Angelica in England, and it
is a proof of the high consideration she was
held in by those who were capable of judging.
Envious and neglected artists would allege
that it was the powerful influence of fashion
able patrons which procured her this associa
tion with men like Reynolds and West ; the
answer to this is in the work itself, which
is still to be seen.
1 780 was to be the beginning of a great
change in Angelica's life. The miserable
man who had crossed her path fourteen years
before, and blighted her happiness, died in
poverty abroad. His death came at an
opportune moment, when Angelica had
given an unwilling assent to her father's
wish for a dissolution of her unfortunate
marriage. For many years she had ascer
tained that her union, from a theological
point of view, had not been a valid one.
The bishops of her own Church were of one

Womanhood. 169
mind as to this. It was only her dislike to
re-opening the wretched story, which was
almost forgotten, that stood in the way of her
freedom. But this year she had allowed some
steps to be taken towards obtaining the Pope's
consent to hearing the matter " in camera,"
It is hard to say why, after so many years
of refusal, she did agree to this. It might
have been the perpetual harping of old
Joseph on the point, or perhaps she still had
a hope that Sir Joshua's kindness might take
a warmer phase, were she known to be free.
But in the year that followed Brandt's death,
she had time to learn that her wishes had
cheated her into believing what did not exist.
This may have had something to do with
her listening to the proposals of another
suitor, Antonio Zucchi, who, report said,
had long been in love with her.
The Zucchis, Antonio and Joseph, were
old friends of the Kauffmanns, They came
of an ancient Venetian family, which had,
however, fallen upon evil times.^ Both
' There is in the British Museum an old Italian
memoir of the head of the house.

J 70 Angelica Kauffmann.
brothers had come to London to seek their
fortune, and had secured a fair amount of
consideration. Antonio,^ the elder, was not
in the first rank of artists, but he was a
meritorious painter of architectural subjects,^
and had been elected an Associate of the
Royal Academy in 1770.
He was a proud, reserved man, remark
able for his uprightness. Rossi distinctly
says, "He never aspired to Angelica, but
was very much in her society, as she often
worked in the same studio with him and his
brother Joseph, the engraver. Old Kauff
mann, casting about for a husband for his
child, thought well of Antonio, knowing his
character." Fourteen summers had come and gone
' Zucchi had formed one of the party who accom
panied Adam, the architect, to Dalmatia, to study
the architectural remains of that beautiful city. In his
younger days he must have had some charm, for he had,
it was said, several advantageous offers of marriage, and
ladies of position fell in love with him.
^ In the Knowsley collection there are two large pic
tures by Antonio Zucchi, painted for the 12th Earl of
Derby, in commemoration of the marriage of Lord
Stanley with Lady Betty Hamilton. They are in Piranesi's
style.

Womanhood. 1 7 1
since the June day in 1 766 when Angelica
had first seen London. Much had happened,
many changes in friends and lovers ; changes
most of all in herself. The brilliant girl,
with life before her, and "a wallet full of
hopes and anticipations," was now a sad-
eyed, careworn woman, who had suffered
much, and learned the bitterness of disap
pointment. Still she was content ; she had
lived on in Golden Square, looking at the
dingy houses, the dusty trees, her days
full of work, her brush ever in her hand.
Now and again there would corae a longing
to her for the Italian sky which she
loved so well, but the idea of a journey to
Italy, with her father in his feeble state,
deterred her from putting her desire into
execution.* Joseph Kauffmann was getting
very old. The climate of England did not
agree with him ; moreover, he had suffered
a good deal from the annoyance of the
' Other motives weighed with Angelica in her wish to
leave England. The favour of the public is ever fickle,
and there was no doubt her popularity was on the wane ;
new stars had risen, Mrs. Cosway was now the favourite
of the hour.

1 72 Angelica Kauffmann.
Hone business. He felt anxious as to his
daughter's future, for if he died she would
have no protector.
Common friends conveyed to Zucchi that
were he to seek Angelica for a wife, he
would have her father's consent to the
marriage, which, for the rest, was suitable
and advantageoiis to him. He therefore
made his proposals, which Angelica, out of
obedience to her father, accepted.
In September Zucchi wrote to Sir Rowland
Winn, one of his patrons, to announce his
approaching marriage * : —
" The report you heard of the intention I
have to enter on the conjugal state is not
without foundation, and I hope it will contri
bute much to my felicity, as the person who
is to be my companion is in every respect
agreeable to my wishes, and her merit as an
artist is sufficiently known to the world by
the number of prints published after her
works. I shall take the liberty to send a
' The letter given here is one of great interest. It
was found amongst the correspondence of Sir Rowland
Winn by the present owner of Nostell Priory, Lord St.
Oswald : it is a proof that Zucchi's feelings were not
much engaged, but that he considered his marriage a
good speculation.

Womanhood. 173
specimen of them to your house in St. James'
Square, and shall likewise add a print of her
own portrait painted by Sir J. Reynolds, and
engraved by Bartolozzi. " Anthony Zucchi.
" London, September 6th, 1780."
The marriage and the journey to Italy
were, however, alike postponed by the
serious illness of Joseph Kauffmann. In a
letter Angelica wrote at this time to her
friend, Mrs. Fordyce, she makes no mention
of Zucchi, but we must suppose the disap
pointment refers to him. The letter is in
every way charming, for, amongst her other
gifts, Angelica included that of a refined
letter-writer, expressing herself in English
clearly and even elegantly,*
" To Mrs, Henrietta Fordyce, Putney Heath,^
"Dearest and most beloved Friend, —
' After all the hurry and preparation for my
^ From the collection of Alfred Morrison, Esq.
* Henrietta, wife of James Fordyce, D.D., author of
the " Temple of Virtue."
' This letter was sold in 1858 at Waller's, for 15^. On
the superscription she has written "From Angelica
Kauffmann, with seal. A charming specimen." From
Anderdon's Academy Notes,

1 74 Angelica Kauffmann.
journey, here I am still — the cause ofthe disap
pointment is for me, melancholy — yet after all
I have the comfort to be amongst my friends.
My best friend, Dr. William, with his kind
attention to my father, is to me the greatest
consolation, and your last dear letter, my
charming friend, revives my spirits though
ever so much oppressed, I want words to
express what I feel. All I can say is, that I
shall ever esteem the continuation of the
friendship of Henrietta, James and William
Fordyce, the greatest honour that can be
conferred upon me, and to merit your kind
affection shall be my greatest care. Ah !
let me remain for ever, " Yours, Angelica.
" Golden Square,
" October 30th, 1 780,"
" The fatal moment of parting is not so
near as I thought it would have been. So
that before years or months do pass, I may
have the happiness of seeing you,"
That the fatal moment of parting did not

Womanhood. 175
take place for ten months after this letter was
written, is evidence that Antonio was not a
very ardent lover. Angelica spent the winter,
as usual, full of work. For her elegant
designs in house decoration she had long
held a very high reputation, and some of her
work is still to be seen fresh as on the day it
was done.
This is eminently the case in Sir John
Leslie's fine house in Stratford Place, built by
the brothers Adam for Lord Aldborough, for
whom it was decorated by Angelica. Here
are three ceilings in excellent preservation.
That in the drawing-room represents the His
tory of Cupid, done with exquisite delicacy.
The dining-room has only one medallion, in
whichappears Aglaia bound to a tree by Cupid, '
very charmingly executed. An additional in
terest is attached to this medallion, for looking
at it induced one of our most charming
novelists to write an idyllic novel, " Dining
one day with us," writes Lady Constance
Leslie to a friend, " Miss Thackeray's atten
tion was attracted to the ceiling. When she
was told by Sir John the story of Angelica

176 Angelica Kauffmann.
Kauffmann, it interested her so much that
she was drawn to write ' Miss Angel.' "
Other houses decorated by Angelica were
those of Cosway, the Miniature painter, and
Garrick in the Adelphi; and this year,
1781, she finished the adornment of Mrs.
Montagu's new house in Portman Square,
which is now the residence of Lord Port-
man.* To the exhibition of 1781 she sent " Venus
attended by the Graces ;^' " The Judgment
of Paris ; " and the portrait of a Lady as
a Muse. Of these pictures, the Earwig
said : —
" This lady seems in all her works to have
copied pictures, prints and plasters — perhaps
she has been deterred by the delicacy of her
sex from studying living models,"
As a proof of the correct judgment evinced
in this criticism the two pictures named,
both of which were commissions for her kind
friend, Mr, Bowles of Wanstead, fetched

' For a list of houses decorated by Angelica, see Ap
pendix.

Womanhood. 177
large prices at the Rushout-Bowles sale in
1879, It will be remembered that when John
Joseph joined Angelica in 1769, he brought
with him a young girl, Rosa Florini, the
daughter of his only sister, to whom he was
sincerely attached. We would like to know
more of Rosa : she was pretty, * gentle, and
Angelica loved her as a sister, but she
married in 1775, Joseph Bonomi, an able
draughtsman and architect, and we hear
little more of her.
In the marriage column ofthe Gentleman! s
Magazine for 1781 appears — "September 8,
Signor Zucchi to Senora Angelica Kauff
mann, the celebrated historical /a:z«/r^jj." ^
I have now lying before me an old yellow
parchment, which sets forth to be Indenture
Tripartite (or Marriage Settlement) between

' She sat for Angelica's picture of " Faith," engraved
by Ryland. Charles Goldie, Esq., has a pencil drawing
of her by Angelica, a sweet face something resembling
Angelica. For Bonomi, see pages 404 — 407.
' They were probably married in the city, there being
no record of this marriage at St. James's, Piccadilly, nor
would it be likely Angelica would have gone there, N

I J^ Ang^licce Kauffmann.
Antonio Zucchi, of St. Ann's parish, Soho,'
painter, and Angelica Kauffmann, of Golden
Square, Bloomsbury, painter, on the other
hand, together with" the signatures of her
trustees : —
"Deed of Trust and Marriage Settle
ment, executed on July loth, 1781, 21st year
of George Ilird, between Antonio Zucchv
parish of St. Ann, Soho, painter, ist part;
Angelica Kauffmann, of Golden Square,-
painter, Bloomsbury, spinster, and part ; and
George Keate, Esq., H, Peter Kuliff,
merchant ; and Daniel Braith waite, of the
General Post-Office, 3rd part —
"To put in their hands as trustees the
sum of 3350/. three per cent, consolidated
annuities, and 1650/. three per cent, consoli
dated reduced bank annuities—
" For the use and benefit of said Angelica
Kauffmann, whether sole or covert. And to
enable her to enjoy the dividends thereof,
exclusive of the said Antonio Zucchi, her
intended husband, ' who is not to intermeddle
therewith,' nor is any part. thereof to be sub
ject to his debts ; and is also to give her

Womanhood. 1 79
power to leave the said sums by will as she
shall appoint. And is signed and sealed by
"Antonio Zucchi.
"Angelica Kauffmann.
" George Keate.
" Henry Peter Kuliff,
" D. Braithwaite." *
.Angelica therefore did not come empty-
handed to her husband ; her savings accumu
lated by her industrious life amounted to
5000/. three per cents., bringing in one
hundred and fifty a year.
The restrictions in the marriage settlement,
and especially the clause as to intermeddling,
could hardly be pleasant to Zucchi: he sub
mitted to them at the time, but that he
nourished a grievance against his wife was
made evident later on. On his side he was
not without means. He had a house in
John Street, Adelphi, which he let at 90/. a
year ; he had 150/. a year in short annuities,
' Mr. Braithwaite held a position in the Foreign
Department of the Post-office. Angelica made him.
an executor of her will, and left him one hundred,
pounds. See Appendix. ' N 2

i8o Angelica Kauffmann.
and he had divers sums at interest and
one or two bad debts.
Angelica and her husband left pictures with
their man of business for sale, and every
direction was given in a clear, business-like
manner, every possible contingency being
provided for.
All this being done, the party sailed from
England on July 19th, it being nearly to
the month sixteen years since Angelica
had arrived there with Lady Wentworthi
It had been a shifting scene, brilliant,
triumphant ; but the triumph was saddened
by disappointment, blighted by the cruel
fate which had shadowed the best years
of her life, a fate, moreover, which falls to
the lot of few women; She had borne it
bravely, and now there remained nothing of
the sunshine and the sorrow of the last
fifteen years but the memory. So it is with
most lives.
Disraeli, the successful author, the great
statesman, in his old age used to murmur, as
he sat thinking of the past, " Dreams — all
dreams."

CHAPTER VIII.
1781— 1785,
middle age.
The travellers went in the first instance by
Ostend and Brussels to Schwartzenberg ;
John Joseph had a restless anxiety to find
himself once more in the Vorarlberg amongst
his native mountains. He had all his rela
tions there, and at first the joy of seeing
them and of being out of cold, damp England
revived the old man. Soon, however, he
began again to droop. The air of the Tyrol
was too keen for his weakened condition,
and he had to try a warmer climate. They
brought him therefore to Venice, where they
arrived early in- October. Here Zucchi's
family lived, all people of birth and cultiva-

1 82 Angelica Kauffmann.
tion. Here, too, Angelica's pictures were
well known, many of them having been
engraved by Joseph Zucchi.
At this time the grand Duke and Duchess
Paul of Russia (afterwards Emperor and
Empress) were staying in Venice under the
name of Count and Countess du Nord. As
soon as they heard of Angelica's arrival they
expressed a wish to visit her studio, and
at once conceived, especially the duchess, a
friendship for her. Angelica had two pic
tures half finished, orders for an English
nobleman ; one was from the old Saxon
history, the other a replica of " Leonardo da
Vinci dying in the arms of Francis 1st."*
The royal visitors admired both so much that
nothing would satisfy them until Angelica
let them have them. The grand duchess
overpowered her with thanks, embraced her,
and assured her these pictures should be the
greatest ornament of her apartment, as well
for their merit as because they would re.
' The original of this picture she had exhibited at the
Royal Academy Exhibition of 1778,
It was during her stay in Venice that she painted
Tier own portrait as Design, listening to the suggestions
of the Muse Clio, for G. Bowles, of Wanstead.

Middle Age, 183
mind her, of her charming friend, " Madame
Zucchi." *
When these honours were known, all
Venice flocked to Angelica's studio.* She
had more orders than she could take, for she
had brought with her many commissions
from England. Nevertheless \ she painted
several of the grand Venetian ladies, also
the youthful Almoro Barbaro.
This pleasant sunshine was, however, soon td
be darkened. In Venice Angelica experienced
the great sorrow of losing her father. The
simple, kindly old man died January, 1782,
feeling happy in leaving his daughter with
so good a husband. Angelica felt his loss
bitterly, and for a time nothing would rouse
her from her grief, which was increased by
the death in the following month of her aunt,
Rosa Bonomi's mother, who had come to
Venice to nurse her brother John Joseph in
his last illness. Zucchi, seeing his wife
overwhelmed by these two misfortunes,
wisely considered that the best remedy for
* This is an odd phrase, but is in Rossi.
' " There was a regatta in honour of the Duke and
Duchess ; every one saw the royalties coming out of tlic
studio. The next day all YinicQcaxat,"— ^Zucchi's MS."

;84 Angelica Kauffmann.
sickness of either mind or body lies in
change of scene ; he therefore resolved to
take Angelica away from a place which was
now so full of sorrow for her.*
Their original plan, discussed before leaving
J-,ondon, had been to settle ultimately in
Naples. They had arrived at this conclusion
frpm different reasons, one being that for a
permanent home, Rome, although it was
"ever in Angelica's thoughts," was not the
climate best suited for one of her delicate
constitution. Already their heavy baggage had gone
by sea to Naples, and thither, in the month
of April, they proceeded, stopping fora short
time at Rome,
At Naples the old story was renewed.
The queen,* who was herself an artist and
whose apartments contained many engrav
ings of Angelica's pictures, overwhelmed the
Zucchis with attentions. She wished to

' John Joseph left some money amounting to 3500/.,
which was inherited by his only child and heiress, Angelica
Kauffmann Zucchi, together with all his pictures and
personalities. He made no will. See Appendix.
' Caroline, daughter to Maria Theresa, married to
Ferdinand II., King of Naples

Middle Age. * 185
keep Angelica always with her, and offered
her a post at court. This, however, Ange?
lica, whose mind was full of her recent loss,
and who at all times was adverse to a life of
courtly etiquette, refused.
She could not, however, get out of under--
taking a large picture of the royal family.
Angelica accepted the commission, but was
wholly unequal to the task of completing it,
Moreover, with the restlessness of grief,
she had taken a longing to return to Rome,
and there fix herself for life. It was the
lodestar which had attracted her back to
Italy, and there she felt she must live and
die. The desire was shared by Zucchi ;
they therefore left Naples, Angelica having,
as was her manner, made studies only of the
heads for the royal picture which was to be
finished in Rome,
At this time Rome (then in the very
height of its grandeur) was full of celebrities
from all countries. The English flocked
there with pockets full of money, as eager to
patronize artists and buy their pictures as
the Americans are now. Most of these rich
patrons found their way to Angelica's studio.

l86 Angelica Kattffmann.
Many of them she had known during her
residence in England, others brought intro
ductions. Her picture of the royal family of Naples
attracted numerous visitors, amongst thera
the Emperor of Austria, Joseph 1 1., who was
highly pleased with the portraits of his
family. He desired the artist to be presented
to him, and when he heard she was German,
or rather Austrian, by birth, expressed great
satisfaction that she was amongst his subjects.*
His Majesty gave a royal commission for
two large paintings for the gallery at Vienna,
with the express desire that they might be
finished as soon as possible ; the choice of
subject, size of figures, etc., being left to
the artist. Angelica frankly confessed that
she had to finish a large picture for the
Empress Catherine of Russia,* which she

• Rossi says, " The success made by Angelica caused
a commotion amongst the artists in Rome, whose
jealousy was excited by seeing a woman carry all before
her." " The subject was " Servius Tullius as a child," a
miraculous flame playing round his head. The picture
•was of gigantic size, the figures life-size.

Middle Age, 187
had promised should be put aside for no
one. The emperor had therefore to wait
for nearly two years.
Karl Theodor, Archduke of Bavaria, and
the. Austrian Archduchess Amalia of Parma,
also honoured her with commissions. Such
an amount of work would have overpowered
anyone not endowed with the supply of
energy possessed by Angelica, - who was
never so happy as when her whole time was
spent in her loved art. A letter she wrote
this year to her friend Doctor W^illiani
Fordyce is written with evident enjoyment of
her busy life, and has all that tenderness which
makes the charm of her correspondence : —
" To Dr. Wm. Fordyce,
" Warwick Street,
^' Golden Square,
" Ingilterra. "London,
"Rome, December 28th, 1782.
* " It is impossible to describe how very
desirous I was to receive a line from the
* The orthography of this and all other letters remains
unaltered.

1 88 Angelica Kauffmann.
friend I so much value and respect, and
whose kind attention to me and to those who
were dear to me, I shall never forget.
You cannot imagine, best of friends, with
how much pleasure I peruzed your letter. I
was surprized first of all to see from whence it
was dated. I rejoiced to find you was at this
side of the Chanel — I was in hopes you had
resolved to cross the mountains — ^but ah!
all my hopes were over when I came to the
part of the letter where you say that you were
just returning to London. However, I hope
it is written in the Book of Destiny that
somewhere or other we shall meet once more
upon this globe, the which I believe I could
quit contented if once more I could pass a few
happy hours with the all-harmonious Triad.
" I am sorry to hear that your worthy
brother James enjoys but indifferent health,
pray remeraber me to him and to his most
amiable consort, my charming friend. Mr.
Zucchi and I never think of the happy
moments we enjoyed with ye, without re-
greting the time we lost in being so late
acquainted with the most worthy, the most

Middle Age. 189
amiable of human kind, .where good hearts
and good heads are united together with
which one so seldom meets. For the love
of friehdship do not forget us — believe me,
tho we are so distant, our hearts and souls
are frequently in society with yours.
" I am more then I can say obliged to you
for the -kind notice you take of my couzins,
the Bonomis. Mr. Bonomi tells me in every
letter he writes, how much you are his friend,
and that. often he has the honour to be in
vited to your table ; that you assist them
with your kind advize in their indispositions..
The goodness of your heart has no limits,
Mr. Zucchi and I have spent the whole
somer at Naples, where I had the honour to
paint all the royal family — the greatest atten
tion were shown to me, the queen in particu
lar in occasiones express' d herself much in,
my favour. The portraits ofthe royal family
are all to be in a large picture which consists
of the king, the queen, three princes and four
princesses. Having finished all the liknesses
at Naples, I shall finishe the rest at Rome,
the residence of the arts. However, I have

19a Angelica Kauffmann.
promised to return td Naples as soon as I
have finished that great work, to present it
myself to the soverains according to the
desire they expressed. In regard to health,
thank God, I am well, but Mr, Zucchi has
been troubled with feavers last summer, and
the air at Naples deed not so well agree with
him. He is much better since we returned
to Rome, where we are just fixing ourselfs
in winter quarter in one of the finest situa
tions, Sopra la Trinita del Monte, which
I dare say you remember. Accept my
sincerist wishes for the begining of a happy
new year. May health, and every other
happynes and contentment never leave you.
Render my sincerist wishes acceptable to
my friend, your brother, and his beloved
companion, the charming Henrietta, the
friend of my heart. Oh that I could begin
the year with ye, that would be enough to
end it happy — for a good begining brings a
good end.
" Now remember it is in your power to give
me real satisfaction with a few lines by which
I hope you will always have it in your power

Middle Age. ' i<j\.
to tell me that you enjoy the most perfect
health. " Mr, Zqcchi desires me to present his
sincerist thanks to you for your kind re
membrance of him, and begs you will render
his compliments, indeed he says his most
affectionate compliments acceptable to the
two friends above-named. Remember us
both to your friend Mr. Brithingam. Excuse
a long tedious letter, but I found time always
too short conversing with you : which pleasure
I wish to live to enjoy again. Adieu, best of
brothers and friend, let me hear from you as
often as you can, and believe that I shall
never cease to be
*' Your most affectionate friend, sister, and
truely obliged " Angelica Kauffmann-Z.
" P.S. — A letter recomended to the care
of Monsieur Barazsi, Banchiere a Romd,
wil be safe delivered to me."
In the spring of 1783, Angelica fulfilled
her promise of returning to Naples, Jour*

192 Angelica Kauffmann.
neying thither with her husband, they
brought with them the picture which she
had painted of the royal family, which was
duly admired by the court.
The queen was overjoyed to have her
dear " Madame Zucchi " back again, and
made much of her, lending her for her use
the Francavilla Palace, which was eminently
suited for the abode of an artist. On one
side there was a lovely garden, on the other
the most splendid view over the far-famed Bay
of Naples. Every day the most tempting
offers were made to induce Angelica to re
main permanently, which she refused ; at last
Her Majesty made a request that it was im
possible to decline, that during her stay the
artist would give some lessons in drawing
to the young princesses. The queen was
always present at the lessons, and was more
and more charmed with the sweetness of
Angelica. When the royal party removed
to Caserta, she again tried to induce the
Zucchis to follow her there ; Angelica, how
ever, returned to Rome laden with presents
of costly jewellery, alnd orders for another

Middle Age. 193
picture,* intended as a present for the queen's
sister, the Archduchess Christina, and an
historical portrait of the Duchess Corigliano.
She likewise sent to England three pictures,
which are set down in the catalogue of the
Incorporated Society of Artists, and exhibited
in their rooms in Suffolk Street under the
following heading :—
From Madame Kauffmann, Naples.
A Lady and Child as Venus and Cupid.'
A Cupid and a Hebe.
She returned once more to Naples in the
summer of 1 784, and resumed her course
of instruction to the princesses. This was,
however, her last visit ; the task of teaching,
always irksome, became doubly so in her
case, as after the hours spent at her easel she
needed rest of mind and body. The worry
of imparting to beginners the rudiments of
^ She was given the title of Court painter to her
Majesty of the two Sicilies. There was no fixed emolu
ment by Angelica's own wish, who left it to the Queen's
generosity. She had a court carriage for her own use.
— ZuccMs Memoirs.
f The portrait of Lady Northwick and child — a com-
itiission from George Bowles, of Wanstead. See Ap
pendix, O

194 Angelica Kattffmann.
an art she loved so well, fretted her beyond
endurance, it having the additional burden of
being hedged in by all the trammels of court
etiquette. The strain became unbearable,
and, Angelica's patience growing exhausted,
she laid the matter before the queen and
besought her to release her from her engage
ment, assuring her that with a more patient
and less preoccupied teacher the princesses
would make greater progress. The queen
acceded to her request with regret, and her
young scholars parted with her in tears.
Nevertheless she never returned to Naples,
which is rather a significant fact, and would
look as if her royal patroness had been some
what offended. Gering, however, relates that
she always spoke ofthe queen and her sister-in
law, the Empress of Austria, with the utmost
affection and gratitude, and that her apartment
in Rome, which was a museum of curiosities,
was full of mementoes and gifts from the
royal family of Naples,* From the time of
her return from Naples, Rome was now her
^ The Queen gave her a beautiful ornament with the
name of her Majesty in brilliants. — Zucchi's Me?noirs.

Middle Age. 195.
abiding-place, and except for short absences
she never left it, dying, as she had wished,
within its walls. It was a strange love she
ever had for this^ ancient city, which was, as
she often said, mistress of her heart, and satis
fied all the artistic desires of her nature. Here
everything noble and good in her seemed
to blossom into greater - perfection ; she was
like a plant or flower which has been trans
planted from ungenial soil to air and sunshine,
and both her art and her inner life flourished.
As a wife she appears to have been in the first
years of her married life tolerably happy.
Zucchi, although morbidly sad and visionary,
was a kind husband and a model of conjugal
virtue. As is often the case with marriages
contracted, as theirs was, from no warmth
of love, but with a groundwork of mutual
liking, both being of good disposition,
their esteem for one another Increased ;
Angelica recognized his worth, while he
surrounded her with much thoughtful care.
Rossi says that Antonio reverenced his
wife's talent, and knowing that time was
infinitely precious to her, he took upon
o 2

196 Angelica Kauffmann.
himself the care of all household matters,
so that her mind should be free from
anxiety, and that he was always at Hand tb
give help and advice in her work. He
had excellent judgment, and was possessed
of great knowledge in the rules of art.
Angelica consulted him as to the be
ginning, arrangement, and completion of her
pictures. Every artist who possesses modesty
enough will acknowledge how useful it is
to have beside one an intelligent critic, who
can decide whether an idea should be acted
upon or abandoned, or suggest some improve
ment which will perfect the whole, Angelica,
being rapid in grasping a situation, was
much helped by the more solid judgment
of her husband, andthe improvement which
is visible in her work in later years dates
from the time of her residence abroad.
There is more strength In the composition,
the lines are firmer, the colouring not so
brilliant. The amount of work which Angelica got
through must always suggest a certain hurry

Middle Age. 197
which is inimical to perfection of finish, but
it must be remembered she had been accus
tomed to work from her childhood, Rossi
says she commenced with almost (in summer)
the dawn of day, and, with the exception of
a light meal, continued until the light failed.
She gave a certain portion of her time to
religious exercises, being of a most devout
turn of mind, and she would occasionally
visit the antiquities of the city, or go for a
few hours into the country. The evenings
were always given to society, of which she
had the choice of the very best in Rome.
Her house in the Arco di Regina "was a
museum," * being filled with paintings and
objects of art, many of them the gifts of

^ Goethe in his " Italienische Reise " says : " Angelica
has given herself the gratification of buying two pictures,
one by Tizian the other by Paris Bourdon, both at
high prices. Since she is rich enough not to diminish
her income, which every year increases, it is right she
should have every pleasure." This is a mistake for Paris
Bordone, and in the last edition of the "Italienische
Reise " the error is corrected by the editor. The paint
ing represented a young woman standing between two
old men who present her with a looking-glass. Angelica
mentions it in her will, wherein she directed several
paintings and objets d'art to be ^o\Afor the poor.

198 Angelica Kauffmann.
her royal patrons. Here came all the
savants, artists and noblesse of Rome : the
habitues were such men as Backert, the
celebrated landscape painter, Volpato, the
famous engraver, with his beautiful daughter,
Raphael Morghen, the celebrated engraver.
Cardinal Spina, Goethe, Gering, the
Grand Duchess Amalie von Weimar, Rath
Rieffenstein, M. Seroux d' Agincourt, writer of
" L'Art par les Monumens," and many others.
The circle was ever increasing through the
fresh arrivals of distinguished strangers,
who found their way at once to Madame
Angelica, She herself had all the gifts which
make a hostess successful ; she spoke four
languages well, her imagination was lively,
her wit keen. Yet her sweetness of manner
was never betrayed into offensive severity,
nor did she ever speak in decisive tones
upon matters of art, but seemed always
ready to listen to what others said and to
learn from them, example worthy of imita
tion by some of the loud-voiced mattresse
femmes of our own time. Gering, in his
" Book of Italian Travels," talks of Angelica's

Middle Age. 1 99
amiability of manner and of her tranquil
mind, which showed itself in her charming
countenance, where every thought of her
tender soul could be read. " She preserves,"
he goes on, " her true German nature whilst
living under a foreign sky, and her memory
tenderly cherishes her own country."
Rossi, who was a constant visitor at the
Zucchis, describes the society gathered at her
receptions as comprising all that could make
a salon successful for in addition her love
for music drew round her the most dis
tinguished musicians,
" I remember," he says, " to have heard
there the greatest artists of the day com
peting with one another in the desire to give
Madame Angelica pleasure. The two cele
brated Italian Improvisatrices, Fortunato
Fantastico and Therese Bandettini, gave
some of their most exquisite performances,
encouraged by the appreciation of the artistic
circle in which they found themselves,"
Goethe, however, who was I ami intime in
the Zucchi household, gives a less pleasant
account, " Angelica," he says, " is not

200 Angelica Kauffmann.
as happy as she deserves to be, or as her
great talent merits, and with the fortune
which she daily earns she is herself weary of
painting for sale, but her old husband finds
it profitable that she should do so. She
would prefer to have more leisure to prepare
her work with more care and study, and she
ought to have it. They have no children
and have no necessity to save, and she
should have only a certain quantity of work
to do every day. This, however, is not the
case, and never will be. She speaks very
openly to me, and I have given her my
opinion and my advice, and I try to cheer
her up when I am with her. Those who fear
want and misfortune when they have sufficient
do not know how to enjoy good fortune." —
Goethe's " Italienische Reise," vol. ii.

CHAPTER IX.
1785— 1789.
middle age.
The year 1785 brought a fresh influx of
work. The Emperor Joseph's order had been
completed. The subjects of the two pictures
being left to the artist's choice, were of course
drawn from a classical source : ' The Return
of Arminius, welcomed by Thusnelda after
his victory over Varus," and "The Lament
of the youthful Pallas." * The figures were
two-thirds natural size, and the emperor,
being much pleased, paid for them with
royal munificence.*
* Both pictures are in the Belvedere Gallery at Vienna.
^ He sent Angelica a beautiful diamond ornament
with his cypher in diamonds ; also a gold snuff-box highly
ornamented.

202 Angelica Kauffmann.
F^rom Moscow she received a fresh com
mission. Catherine II. was a magnificent
patron of art ; she wished for a companion
picture to "Servius Tulius," which had arrived
in Russia, and met much commendation, and
for her Angelica painted "Achilles discovered
by Ulysses in the disguise of a Woman," a
picture which has been engraved, and Is
to be met with often. Prince Poniatowski, a
well-known virtuoso, sat for his portrait in an
allegorical character, which so pleased his uncle,
the King of Poland, that he ordered a large
picture. Angelica chose for him as subject,
" Virgil Reading the ^neid before Augustus
and his sister Octavia."
Up to this, by some strange omission,
Angelica had received very little patronage
amongst the Italians ; a circumstance which
was noted by her fellow -artists, and which
caused no little mortification to herself
The portraits of the Duke and Duchess of
Ceci, that of Volpato, the eminent engraver,
and his daughter-in-law, "Nathan and David"
for Cardinal Zelado, and two or three por
traits was all of her work to be found in

Middle Age. 203
the Roman States, In this year, however,
Cardinal Ignatius Boncompagni was ap
pointed Secretary of State to Pope Pius VI.
The cardinal was a man of great talent and
artistic tastes, and as his post gave him all
powers, he wished to beautify the holy
house of Loretto, and for this purpose
employed the best artists in Rome to con
tribute pictures of their own design.
Amongst them he included Angelica, who
received the commission joyfully, although
the pripe given was small in comparison to
what she was in the habit of receiving. It
was, she thought, a gratifying proof of the
esteem in which she was held, to be selected
amongst the native artists, and, in addition,
the place in which her work was to be
placed was so celebrated as to ensure its
immortality. The painting was to represent
Saint Joachim and Saint Anna, with Mary as a
child ; the figures were to be life-size. Ange
lica has given a Grecian character to the
picture. She represents the Holy Child as
watering a bunch of lilies, her eyes raised
to Heaven, while a halo plays upon her head.

204 Angelica Kauffmann.
Joachim, struck with astonishment, points
out the miraculous appearance to Anna, who,
full of pious rapture, praises the Almighty.
The work was well received by the public,
and the Pope expressed himself gratified.
He wished to visit Angelica in her studio,
but Rossi says he was deterred by the
jealousy of the inferior artists, who envied
the popularity of one who belonged to
another nation.
Four years had now passed since she had
left England, During this time, with the
exception of a small picture, " Modesty,"
exhibited in 1782, Angelica's name had not
appeared in the catalogue of the Royal
Academy. In the May of 1786 we find
the following : —
86. Cornelia, the Mother of the Gracchi, pointing to
her children as her treasures.
196. Virgil Writing his own Epitaph.
214. Pliny the Younger at Misaenum.*

^ These three pictures were commissions for George
Bowles of Wanstead. (See catalogue.) A replica of
the " Mother of the Gracchi " was painted for Prince
Poniatowski, as a companion to " Brutus passing
Sentence on his own Son."

Middle Age. 205
"Cornelia" had a great success; it was
warmly praised by the critics. Goethe,
who saw it in the artist's studio, calls it a
most natural composition — a happy inspira
tion. Sternberg, on the other hand, falls
upon it with more than his usual acrimony.
" In this way," he goes on, " did she
paint her famous (famous only in England)
' Mother of the Gracchi,' which raised her
fame to the highest point, and which is, in
fact, nothing more or less than a cold
unfaithful representation of a fine subject,
dressed up with modern sentiment, and
presenting, as the Roman Matron, a modern
drawing-room lady. The ' Mother of the
Gracchi ' has the most striking likeness to
Lady Wentworth, the friend and patroness
ofour artist ; the children are the sons ofthe
Duke of York, only without powder and
breeches, nevertheless their hair dressed and
their limbs most respectabljj draped. The
lady with the jewels, who leans negligently
against an Ionian pillar, is undoubtedly the
Queen's Mistress ofthe Robes; the scene is
a park in Regent Street."

2o6 Angelica Kauffmann.
Some justification of Sternberg's hard criti
cism will be found in the prices realized by
these pictures. At the sale of the Bowles-
Rushout collection in 1879, the " Mother
of the Gracchi " was sold for 47/., " Virgil
Writing his own Epitaph," for 99/., and
" Pliny" for 59/.
That the mere monetary value is not a
legitimate standard for art is no doubt true.
Many a good work has been before now
knocked down for half its value by the
auctioneer's hamrner, but this would be
where there would be an ignorant crowd,
not in the case of a choice collection, such
as was the Rushout. At this same sale Lady
North wick's portrait, also by Angelica, fetched
the large price of 850/. It would therefore
seem, to be clear that the judges of to-day
supported Sternberg's opinion as to the
" Mother of the Gracchi."
In 1788 and 1789 she was full of work as
ever: an altar piece for the town of Bergamo,
the family ofthe Duke of Holstein Beck, from
which Morghen made a splendid engraving,
and the Princess of Anhalt Dessau were

Middle Age. 207
amongst the subjects undertaken. She sent
to the Royal Academy, 1788, " Bacchus
teaching the Nymphs to make verses,"
Zucchi, who was getting anxious for the
health of this zealous bread-winner, now
took for her, as a surprise, a villa at
Castel Gandolfo, a most charming summer
residence,* in the hope that she would with
draw occasionally from her work, and
enjoy perfect rest, Angelica liked the
idea in theory, but found it impossible to
put it into practice ; she made little or no
use of her husband's present, and finally it
was resold.
1788 was marked by the beginning of a
friendship with Goethe, which soon developed
into a warm attachment. The young Ger
man, then in the zenith of his creative power,
had come to Rome suffering from one of his
unfortunate attachments. He lived a hermit's
life, calling himself by another name. Like
* Goethe, in his " Italienische Reise," gives a pleasant
account of this watering place, " where one leads the
life usually led at such places ; there are lively girls and
agreeable women. In the evening we go to the play
tout comme chez vous, only under a delicious sky."

2o8 Angelica Kauffmann.
all poets, he wanted sympathy. This Ange
lica readily gave him, "It was natural,"
says a charming German writer, "that he,
the favourite of the Graces, should be, so
soon as he came within her spell, attracted
by this sweet impersonation of womanly
grace." There is no doubt that Goethe was
attracted in a great degree. He " schwarmt,"
to use a German expression, in all his letters
home, over this " charming creation," whom
he calls Angelica, or Fra Angelica.* " She is
so dear, so good to me," he writes. " I go
often to her, especially when I am in a
thoughtful mood, and have no one to whom
I can open my mind. It is now settled that
I go there every Sunday; after dinner we
visit the galleries. You cannot conceive
what real enjoyment there is in seeing
pictures with her. Her eye is so educated,
and her knowledge of the mechanism of art
so great, her feeling of the beautiful so pro
found, and she is so inconceivably modest."
Again he says, " She has something ot
It is written thus in Goethe's letters.

Middle Age. 209
the nature of Fra Angelico, whose mind was
so full of heavenly images, which he
depicted with such fidelity, that it was im
possible for him to give any idea of a demon.
So it is with Angelica, a villain she could
not, for the life of her, convey to her canvas.
Her works are the outcome of a lovely
imagination, a pure soul — for the rest, she is
mistress of her pencil, excels in colouring,
which is much appreciated here."
In another of his letters home he gives an
account of a party he gave in her honour.
"Angelica," he says, "never goes to the theatre,
for what reason I do not inquire, but as we
talked much to her of the music of Cimarosa,
and she desired ardently to hear it, we
resolved. Bury * and I, to procure her as much
satisfaction as could be got from a musical
representation. Bury, who knew many
artists, and Kapell-meister Kranz, from
Weimar, a violinist of much merit, studying
now in Rome, arranged the representation.
' A young German artist who lived in the same apart
ment with Goethe. He became later a distinguished
portrait painter.

2 ID Angelica Kauffmann.
I had in the upholsterers and confectioners,
and we had a charming concert on the
loveliest summer's night. Madame Angelica,
her husband, Hofrath Rieffenstein,* Volpato,*
Jenkins,' and all who have been civil to us,
were invited ; under the windows a crowd
collected and applauded the different mor-
ceaux as if at the opera," *
Poets, of all men, need sympathy, and
Goethe, whose nature was more highly strung
than was even Byron's, found in the company
of his gifted countrywoman the rest and the
help he required. The sentimental tendency
of her mind, which has been so found fault
with, was to him an additional charm, and
the pleasure he experienced in her society
was ail the greater ; he made her the
confidante of his poetical dreams, and the
judge of his works. In his correspondence

' Johann Friedrich Rieffenstein, the guide and coun-
Eellor of all strangers visiting Rome, his knowledge of art,
I nd antiquities qualifying him for the office. He stood '
equally well with the German and Russian courts.
^ An eminent Italian engraver. ;
* An English commission agent and art dealer.
* From Goethe's correspondence.

Middle Ape. 2 1 1

-"A

there is constant mention of his reading
his pieces to her ; he read to her his " Ipbi
genia," which had been talked of amongst
his friends, " and this coming to the ears
of Angelica and Herr Rieffenstein, nothing
would content them but I should give them a
reading, I had to read the whole piece,
which pleased my audience far better than I
had hoped ; even Herr Zucchi, from whom I
had expected little or no sympathy, gave
most cordial approval. This shows me
plainly that the piece is constructed in the
manner which has been long acceptable to
the Greeks, Italians, and French, and which
suits these nations best. The English alone
have not accustomed themselves to these in
novations." On another occasion he writes to her one
of his charming little notes : —
" Pour Madame Angelica.
" It seems that in the studio of the
Tedeschi we go from one extreme to the
other. Last week we drew men as God
created them, this week they are to be
p 2

2 1 2 Angelica Kauffmann.
clothed in iron and steel ; with this preface,
I introduce, dearest friend, a request. Do
you possess a copper-plate which represents a
hero in complete armour, that is, armed from
head to foot ? If so, I beg you will lend it
to me for a few days.
" I am working at a tale of enchantment,
which I hope to read to you on Sunday, if I
am fortunate enough to find you at home. I
do not ask you to forgive me, for I know I
have a general pardon.
" Farewell, my best friend, " Goethe,"
The tale of enchantment referred to is
"Egmont," He describes reading it to her
and Rath Rieffenstein, " Herr Zucchi was
pressed to stay, and did so, because his
wife wished it, Angelica's impressionable
soul was deeply touched — she has such won
derful perception and delicacy of mind."
He paid her the high compliment of con
sulting her as to the vision seen by Egmont
in his dream,*
' Egmont, who headed the revolt of the Netherlands
against the Spaniards, is condemned to death by the

Middle Age. 2 1 3
" On Sunday," he say's in his " Italienische
Reise," " I went to Angelica and laid before
her my doubts as to the vision. She has the
piece, and has been studying it, and, oh, how
I wish you could have seen how tenderly,
and with what womanly tact she went into
the whole subject. She says she is convinced
that it is right that Clarchen should express
what is taking place in the hero's mind, and
that no words could give greater force or
testify more clearly how much he loved and
cherished her, than did this dream in which
the beloved one appeared to him, Yesl it
must have gladdened his heart, that she,
whose whole life had been a waking dream
of love, should now keep watch over him in
this, his last sleep."
"There is no denying," says Sternberg,
" that it was a great honour for the artist,
that Goethe should have taken her judgment

Duke of Alba, the Spanish Governor. The night before
his execution he sees in a dream Clarchen (who has
killed herself not to survive him), who places a crown of
laurel leaves on his head and gives him to understand
that his death is not in vain, for that his country will
recover its freedom.

2 14 ^ «^ elica Kattffmann .
upon so critical a point. Nevertheless, what
can we think of her comprehension of the
matter, when we have before us the incom
prehensible frontispiece,* which she produced
for this same ' Egmont,' of which she spoke
with so ' much tenderness and womanly tact ' ?
Her mind," he goes on, " was not capable of
retaining a deep impression, or of producing
it upon others. She was emotional, if you
will, but too feeble to be capable of conveying
that emotion to her canvas."
Before he left Rome, Goethe sat to the
artist for his portrait, which was not success
ful. " It is a very pretty fellow, but it has
no trace of me," wrote Goethe to his friends,
" and Angelica is much vexed at the failure."
Wesseley remarks "that the high estimation
in which she held the divine gift of the poet,
very likely interfered with her reproduction
of his genius on her canvas."
When the time for saying farewell to
Italy came, Goethe seems to have had the
' Goethe dedicated the first copies of " Egmont " to
Angelica, and she designed the froniispiece. See page
220.

Middle Ap-e. '^2 1-^^

-"A

tenderest feelings towards the artist, who
preserved all her charm, although she was
in her forty-eighth year.
" Now that I am leaving Rome," he writes,
" I feel that I could wish to bind myself by
closer ties to this fascinating woman." *
This is rather a strange expression, con
sidering that Angelica was already bound in
matrimonial ties, but license must always be
given to a poet's language,
Oppermann, in his " Bregenzer Wald,"
says, " that it was well known that Goethe's
admiration for Angelica was such, that, had
she been free, he would have made her his
wife, and that a marriage with her would have
given that repose to his life which was want
ing in his union with the Vulpina, but that such
was not possible, as the artist was, at the
time of Goethe's visit to Rome, the wife of
Zucchi," ^ In the " Italienische Reise " he says :
"2 March, 1788.
" My departure grieves three persons. I quit them,
too, with sorrow. In Rome I have, for the first time,
found my real self. I have been happy, and these three
have worked in their different ways to this effect."

2i6 Angelica Kauffmann.
Stolberg, in his characteristics of Angelica,
says, " that the relations between Madame
Angelica and Goethe, during his visit to Italy,
require to be more clearly defined. There
is no doubt," he goes on, " that in a love
episode, in which'the poet played the principal
part, Angelica filled the r$le of go-between ;
and in consequence of this affair, before her
death, she burnt any correspondence which
would throw light on that or any other delicate
subject." *
It would seem, therefore, that although Stol
berg was right, in so far as the love episode
was in question, Oppermann goes nearest the

' This is an allusion to a certain love episode of
Goethe's with a pretty Milanese during his stay at Castel
Gandolfo. The girl was engaged, but the poet took to
teaching her English, and evidently won her affections.
In his journal he tells the story in his usual frank fashion
of dealing with his love affairs, adding, " Angelica is good
and obliging as she always is." Later on, in Rome, he
meets the Milanese in company with Angelica, who was a
friend of hers. He says he was amused at Madame
Angelica's efforts to show off the girl to advantage ; but
already the fickle poet's fancy had passed. It revived
again, however, when he paid the Milanese a farewell
visit. Although it shows the nature of the man, there
was in all this nothing serious or that would necessitate
burning letters.

Middle Age, 2 1 7
truth as to Angelica, Some letters, which have
been lately published by the Goethe Society,
and which include fifteen from Angelica
to Goethe, prove only too clearly how deep
was the attachment on her side. Though it
was half due to admiration for his genius, and
wholly platonic, it nevertheless seems to have
coloured every thought of her mind for
years. The more extraordinary perhaps, is it,
that she, in the maturity of her charms, should
have attracted a man seven years younger
than she was ; such things, however, are not
unknown, and do not bear argument. The
poet's fancy was not lasting, he was by nature
inconstant, and Angelica's efforts to keep her
memory green in his heart are painful read
ing. For the rest, these letters are most inter
esting : they give us an insight Into the inner
life of this gifted and unhappy woman.*
That her marriage had been one of con
venience and mutual arrangement, explains
much, Zucchi, although admirable as a
major-domo, was not a husband to suit a
' Unhappy in the sense of not being suited to
Zucchi.

2i8 Angelica Kauffmann.
woman of Angelica's sensitive nature ; she
wanted sympathy — he had none to give ; he
was gloomy, silent, prematurely old, Rossi,
who stands up for his countryman, says he
adored Angelici, not as a wife, but as an
artist, therefore he surrounded her with every
care and comfort ; he nursed her in fact as he
would a commercial speculation. She was the
bread-winner, and should be kept in good
health ; he even allowed her now and then to
make purchases, but it was all a matter of busi
ness. It cannot be wondered at that Angelica
felt she had made a mistake, and that after
she came to know Goethe, who was then in
possession of all his wonderful gifts, her life
seemed to grow, as she says, insupport
able. The letters, which are all interesting, would
nevertheless be too long to find place in this
volume ; a selection has therefore been made,
the first being written immediately on Goethe
leaving Rome : — "Den loth May, '88.
"Dearest Friend, — Parting from you

Middle Age. 2 1 9
has penetrated my heart and soul with grief;
the day of your departure was one of the
most sorrowful of my life, only for the dear
lines you wrote to me before you started,
and for which I have already thanked
you. " Now again I thank you from my heart
for your letter from Florence, which I looked
for with longing. A few nights ago I dreamt
that I had received letters from you, and that
I felt consoled and said, ' It is well that he
has written, else I would soon have died of
grief " I am content to know you are well ; may
heaven continue to keep you thus. I live
such a sad life, and because I cannot see what
I most desire, all and everyone is indifferent
to me, except perhaps our good friend,
Rieffenstein, with whom I can speak of
you. " The Sundays, which once were days of
joy, have become the saddest days — they seem
to say we return no more, but I will not believe
this ; the words ' return no more,' sound too
hard. Now I will say not another sorrowful

220 Angelica Kauffmann.
word. Do you know I have something of
yours upon which you bestowed great care ; I
have to thank the good Schiitz * for this trea
sure. Your little pine tree stands now in my
garden, and is my dearest plant. One thing
more I have, which I destined for you before
it was mine — the figure of which I have
spoken to you — the Muse.* I am only wait
ing for a good opportunity to send it to
you. You will help me in this, for it would
be a thousand pities if it should meet any
injury, " I have made some alteration in the design
for the title page,' also I have made it some
what larger. I recollected that I had said to
you that I could myself engrave it on the
copper ; it is, however, a long time since I
have done etching, and I know not how it
might succeed, and the proofs would take a
long time before I could be sure of success,
consequently I should be glad to know if the
design, which will be finished to-day, should
^ Johann Georg Schiitz, landscape painter.
2 See pages 226, 233.
' Of " Egmont," engraved by Lips.

Middle Age. 1 2 1
be given to Herr Lips,* or sent to you, I
shall wait your directions.
"In Florence you have seen many beautiful
things which you will one day tell me of.
Zucchi thanks you heartily for your kind re
membrance of him, and desires to continue in
your regard ; we speak every day of you."
She then goes on to mention some com
missions Goethe had entrusted her with, and
winds up with these curious words : —
"Give me the only satisfaction I can now
enjoy, that of hearing from you often.
When I know that you are well and coptent,
I will try and reconcile myself to my fate.
Farewell, my dear friend, keep me in your
thoughts. " Angelica."
Here is a second letter, conceived in even
more passionate language, and written on the
1 7th of May : —
" I thank you a thousand times, my dear
friend, for the joy your letter from Florence
* Painter and engraver. Studied under Lavater.
Professor in the Academy of Weimar.

2 2 2 A ngelica Kauffmann .
has given me. Your commissions I have"
handed over to our good Rath Rieffenstein,
and I have made your excuses to him and
Abbate Spina ; both love you dearly, but who
can help doing that ? I am not at all pleased
with Herr Kayser ; * he has left you very much
alone, and evidently prefers the library to
your society. Ah ! if I were in his place !
and how I envy him ! It is true that in spirit
I am often as near you as your own shadow,
but let the power of imagination be ever so
strong, it yet remains only an imagination.
If I had known your address I would have
written to Florence. You will find my answer
to your first letter at Milan, but I cannot
leave your last without an answer. I forget,
however, what has happened since you left.
When I think of you I grow confused. I sit
with the pen in my hand, have much to say,
v/ould wish to say much to you — every pulse
of my heart suffers and complains. But of
what use is all this ? nothing I can say will
' Christoph Kayser, a German composer of merit,
came to Rome to write the music for the opera of
" Egmont."

Middle Age. 223
bring you back to me! It were better that
I remained silent ; your feeling heart can
imagine the rest.
" Since the 23rd — that last and fatal day
— I have been in a dream, out of which \
cannot rouse myself — the lovely sky, the
most lovely scenery, alas ! even the divine in
art, excites nothing in me — =1 am indifferent
to all. I really believe I am on the outer
edge of that folly, of which we often talked.
In the other world I hope it will be arranged
that all dear friends meet never more to
part, and so I look for a happier life
above. " I hope to hear that you are comfortably
lodged ' in Milan ; everything about you
interests me. Your health and well-being is
as near to my heart as my own. , , .
" This evening, the 28th, when I came
home, I found your dear letter upon the table.
How my heart beat as I opened it, and how
much I thank you for the contents and for
your friendship, of which you gave me a
proof, by sending me those dear lines which
will help to make my weary days less hard-

224 Angelica Kauffmann.
to bear. May Heaven, my dear friend,
reward you for this, and keep you from
everything that may annoy you,
"The 'Motet of Cristofero Morales,'*
which you picked up in Bologna, and also the
book of ' Gvidetti,' I have stretched upon what
little gum-paper I have, I have many times
reminded Signor Carlo Albacini, and begged
of him to do what is possible ; he puts me
off with fair promises. One cannot be con
tent with these, so I shall try in another
direction, " Your ' Tasso ' will be received by me with
love and joy, ' yet it is joining new links to
the chain ; ' nevertheless, every word you
have written is precious to me, because it is
yours. " Some days ago I went with Zucchi to
visit your apartment (what I saw there I will
tell you after I have seen it again under
better circumstances). We went up into your
cabinet, I felt as if I were in a sanctuary or
shrine where one dwelt whom all honoured,
* Cristofero Morales, a Spanish composer of the
sixteenth century.

Middle Age. 225
I could hardly tear myself away — I remem
bered what lovely music the excellent Kayser
played once here for you and me. Ah 1
those dear happy days, I raust stop and beg
your pardon for allowing my pen to run on
so wildly, Zucchi desires his most friendly
remembrance, also our good Herr Rath and
the Abbate Spina, Whenever we meet we
speak of you, I am looking forward to the
letter from Milan, which you have promised
me. There is a postscript to this letter dated a
fortnight later, June 7th : —
" Pray forgive the length of this letter and
the disorder with which it is written ; my
mind was half distracted when I wrote.
" Not a line from you from Milan ! Have
you forgotten your kind promise ? It fills
me with anxiety ; it raay be that Herr Rath*
had letters from you by yesterday's post, but
he is in Frascati with his housekeeper, who
has been ill, but now gives every hope of
' It would seem from this that the correspondence
between them was carried on through good Rath Rieffen
stein,

2 26 Angelica Kauffmann.
perfect recovery. I shall not see him until
next Monday; I shall, therefore, wait no
longer ; as you gave me permission to address
you at Weimar, I shall do so, I trust you
have already happily arrived there, and that
you have met all your friends. Happy
Weimar, and thrice happy those who are
blessed wilh your presence there ! The only
consolation left to me is the hope that you
kee^:) me in your remembrance. That you
may be always well and happy is the sincerest
wish of your devoted " A.
" Please remember me and Zucchi and other
friends to Herr Kayser. I told you in my last
that I had the ' Muse ' in my own hands, and
that I was only waiting an opportunity to send
it to you with the help of Herr Rath, also
the finished design for the title page, about
which I expect an answer from you. Dearest
friend, pardon this long letter, which for the
rest is the answer to two of yours with which
I was made happy.
" To-morrow will be Sunday — once such a
longed-for day. Farewell, your commission
as to the Intaglio shall be looked after."

Middle Age. '227
On the 5th August she writes to tell him
of Herder's arrival ; the letter is interesting
from many points of view.
" Rome, 5 th August, '88.
" Dreaming again, you'll say.
" But I know you forgive me.
" I dreamt last night you had come back.
I saw you a long way off, and hastened to
the entrance door, seized both your hands,
which I pressed so closely to my heart that
with the pain I awoke, I was angry with
myself that my joy in my dream should have
been so great, and that in consequence my
happiness had been shortened. Still, to-day
I am content, for I have your dear letter
written July 19th, That in spite of your
many distractions artd occupations, with
friends and acquaintances around you, you
are in spirit often in Rome — this does not
surprise me ; but that you think of me is a
proof of your goodness for which I am in
finitely grateful, I rejoice that you are well,
and wish you an unbroken course of happi
ness and content. For me, / live only in the
hope of a better life. And now a word of art
Q 2

228 Angelica Kauffmann.
and especially of ' Daniele da Volterra,' The
portrait is now mine} How it came tobe mine,
how it got into the house, what a piece of
work there was to persuade Tischbein to
sell the picture and to share the profits — all
this you already know. I could not bear
the thought of letting such a treasure leave
me, I talked the matter over with Zucchi,
and. decided to write to Tischbein and have
the whole thing out. I made him an offer * —
and now the portrait,^ which is a veritable
masterpiece, is ours, wholly and entirely, and
so long as I live I shall look at it. It shall
be given all honour and placed with ' all
dignity ' in the big ' Saal ' ; the ' Mercury '
must give way, and come in the middle of
the hall ; ' Venus and Adonis ' on the same
' It is curious that in her will she makes no mention
of the Volterra, so it is probable that either Tischbein
claimed the picture or that Angelica sold it.
® She gave six hundred pounds for it.
' " This fine picture of the ' Burial of our Lord,' by
Daniele da Volterra, was discovered by Tischbein in the
convent of the Porta del Popolo. The monks were
willing to sell it for one thousand scudi, which Tischbein,
being only a struggling artist, could not muster. He
therefore made a proposal to Madame Angelica, to which
she consented. She advanced the- sum andthe picture
remained with her ; later, Tischbein, by an agreement,
could repurchase it." — Goethe's I, Reise.

Middle Age. 229
side where ' Ganymede and Apollo ' are.
The picture remains in its case, and only those
shall see it who are capable of seeing it. I
give you all these details, because I know
that they will give you, dear friend, pleasure.
When shall we see it together ? I live con
tinuously between fear and hope — alas,
more fear than hope — but I must be silent ;
of what use are my complaints ?
"You want to know what I am working at.
I have the following pieces finished, I think : —
The portrait of ' Lady Hervey,' the picture
of ' Cardinal Rezzonico before the Senate,'
To-day I am finishing ' Virgil,' the subject
you will remember, I am very well pleased
with the effect of the ' Chiaroscuro ' — this
picture has a great deal of strength and the
colours have become very brilliant. I have
also commenced the two for the Shakespeare
Gallery,* and a picture for the Duke of Cour-
land.* Soon I must consider the subject of
my large picture for Catherine of Russia.' I
* The BoydeU Shakespeare. For Angelica's letter to
BoydeU see Supplement to Appendix.
^ Peter, Duke of Courland.
' Catherine IL, who gave Angelica several orders.
This one was "Achilles " ; it is now in the Hermitage at
St. Petersburg.

230 Angelica Kauffmann.
have as yet done nothing, and I want to make
it as good as possible. To do this, I must
imagine it is Sunday, and that you are coming
to my studio. Ah ! the dear past. It does
not do to think of that,
" My portrait, or it would be better to call
it the painting, which I presented to the
gallery in Florence, has been accepted. I
received the letters a few days ago, and
that they have placed me in a good light and
beside a very famous man — no less than
Michel Angelo Buonarroti.* I wish I could
stand near him, not in effigy alone, but in
his works ; but this is too ambitious. The
Grand Duke, as a proof of his kind acceptance
of the portrait, has honoured me with the
gift ofa large gold medal. Now it is time for
me to stop speaking of myself; I have already
said too much. If you had not sent me the
promised sketches of the neighbourhood, I
should have most certainly reminded you.
Now that I have them, I find my thoughts
often, often, very often there. Dear friend,
' This portrait of Angelica has been removed from its
juxtaposition to the great painter ; it now hangs in
the Artists' Room.

Middle Age. 231
Rome is beautiful, but no more so for me.
Let me be still, let me once more be the
master of my pen,
" The letter from your young friend has
given me much pleasure ; also I am glad
to know Herr Kayser is coming back, and
that Herr Herder is coming, but you are not
coming: that is my everlasting sorrow, and
my lamentation.
" Farewell, be happy and do not forget me;
I honour and esteem you with all my heart.
" Angelica."
One of the results of Goethe's visits to
Rome had been to excite the imagination of
the intellectual circle in Weimar, which had
a reputation for art and learning. It included
such menasWieland, Herder, Bode, Hackert,
Emondel, Knebel, likewise Frau von Secken-
dorff, Amalie Trieshoff, and others. The little
duchy went by the name of the modem
Athens ; after Goethe's return a regular pil
grimage set out for Rome. First came Her
der, accompanied by Domherr von Dalberg
and Frau von Seckendorff. Great efforts
had been made to induce Goethe to join this
party, but the poet, although in full nieasure

232 Angelica Kauffmann.
artistic, was German first of all. He wanted
to improve his own country, and to raise it
from an artistic point, and to do this it was
necessary in the first place to make a bridge
between the north and the south. From
Weimar he directed all the movements ofthe
art pilgrims, bringing them in contact and
friendship with his Roman friends, so that they
might see all to the best advantage. From
Constanz he writes to Herder the fullest
directions, and again on his arrival, he
says, —
" I am rejoiced that you and Angelica
have so many pleasant hours together, that
you like Bury. Be very nice to Herr Rieffen
stein ; commend me to him and tell him how
much I value his friendship."
Herder did not care much for the society
of Goethe's antiquarian friends, but he was
charmed with Angelica. He cannot praise
enough her grace, her elegance and her
kindness of heart. " She is true heavenly
music," he says in letter 25 of the series.
Angelica gives her opinion of the philosopher
to Goethe in the following letter : —

Middle Age. 233
"21st September.
" How joyful I am on the days that your
letters come, and that I hear of your well-
being. I thank you for your letter of 4th
August and ist September, and from the last
Iknow that the 'Muse' * has at last reached
you. I am very pleased that my little re
membrance has given you pleasure, and that
you consider it as a small proof of my true
and unutterable esteem for you. Before this
reaches your honoured hand you will have
received the title page, together with the
Vignette ; the shortness of the time and the
confined space did not allow of adding any
thing. Fall in love, do, with the figure
Simplon, and grant me the honour to make
up for other deficiencies on another occasion.
The drawing I would have willingly sent, only
it was too large, Herr Rati] will send it by
another opportunity,
* Shortly before he left Rome a dealer offered Goethe
a statue taken from the court of the palace Carafa
Colombano in Naples. He was all anxiety to buy it,
but the money was not forthcoming. Tischbein proposed
an arrangement like the " Volterra," but Angelica was
afraid of her husband and refused. The statue is now in
the Museum pro Clementina, Itwas a copy she sentGoethe.

2 34 Angelica Kauffmann.
"On the 1 9l;h this month, when I came home
at my usual hOur, I found Bury in the draw
ing-room with Herr Herder. It gave me
joy to see this excellent man, your friend,
I gave him your letter, the questions about
which you are anxious he could scarcely
answer, as he had only just arrived. The visit
was short, but he has given me the hope that
he will come often. The Duchess-Mother
will arrive at the end of the month,* You
know already, my dear friend, how much I wish
to do honour to those whom you like, and to
be of use to them if I can ; it rejoices me that
your friends have come at the best time to
enjoy the neighbourhood. It will soon be
the season when we were together at
Castel Gandolfo — every place where you
sketched will be dear to me, all will remind
me of what is past, and with such a memory
^ can I hope for enjoyment in the present ?
In my imagination I will see you everywhere.
We shall only spend a few days there this
year, as we intend to make a short tour in
' The Duchess-Dowager of Weimar, who was preparing
to make an art pilgrimage to Rome.

Middle Age. 235
October. You console me with the hope of
a future. I will try and hope the best, it
may make the present less unbearable.
That my little offering, which you so kindly
have accepted, should have arrived at a time
and on a day which shall be ever sacred to
me ! this coincidence makes me happy. May
I live to keep that day with you again,
'Tis Sunday, and instead of going to fetch
you, I am writing to you these few lines with
the little pen which I stole from you. Here
comes good Herr Rath,* with whom I can
talk of you, and wish that our wishes might
for once be fulfilled.
" I have seen Herr Herder again ; what a
worthy man he is, and speaks as he writes.
We showed him your bust, which pleases your
friend much. I am content with the likeness.
When I wanted to pay Herr Trippel* my debt,
he said you had paid him, consequently I
have to thank you infinitely for such a dear
and precious present. I spend many moments
' Rieffenstein.
' Trippel, the sculptor, executed a marble bust of the
poet for the Prince of Waldeck.

236 Angelica Kauffmann.
in the day looking at it, I am at present
occupied with ' Troilus and Cressida ' from
Shakespeare. It is somewhat heavy, the
subject in itself calls out very little imagi
nation ; nevertheless, I will do all that is
possible to overcome the difficulties,* The
drawing-room is now arranged : ' Daniele da
Volterra' In his case is placed where the
great architectural picture of Zucchi's used to
hang. This same picture-frame, instead of the
doors of the case, preserves and encloses the
treasure, and serves as before to the decora
tion of the salon — in the middle of which
' Mercury ' is well placed for light. The large
table has been made smaller, so as to give
more space, and the 'Daniele da Volterra' can
be better seen in the distance. Herr Herder
has not seen the picture nor our little collec
tion, for he came in the evening, accompanied
by Herr Dalberg. The garden has pro
duced nothing wonderful this year, not a
single monstrum. The dear pine grows,

* Troilus was much the best ; Ulysses and Thersites
have the usual Greek profiles ; Cressida is firmly drawn
and fills the picture well.

Middle Age. 237
I have not transplanted it. You would
laugh over my anxiety when the sky is
darkened with clouds and there are signs
of a storm. I run into the garden and
place the young plant under cover for fear it
may be injured; all the rest I leave to their
fate.* " Pardon, dear friend, the length of this
letter, and the disorder with which it is
written. You know it is well meant. Fare
well, my dear friend, forget me not. To
know you live content is my dearest wish.
"A. K. Z.
" I hear ' Tasso ' has advanced very far
tovvards completion, as also another work of
which you have said nothing to me. I
* Goethe says, " I planted the pine cutting from the
Botanical Gardens ; it had begun to grow, and was a
miniature of a future tree. It grew and flourished for
many years in Angelica's garden. It reached a respect
able height, as I heard with much content from many
friends who visited the garden, of which I retained so
perfect a recollection as to be able to represent to myself
the little tree ; but, alas ! after the death of my much-
valued friend, new people entered into possession, who
considered the pine detrimental to their flower-beds, and
the latest visitors to Rome have brought me news that
no trace of its existence remains."

238 Angelica Kauffmann.
remember the happy time when you read
to us your manuscript ; those ¦ days will
never, I fear, come again ; the very thought
fills me with sadness."
In these words there is a slight touch of
reproach, or as if a foreboding had come to
Angelica that a change had come over the
ever-changing spirit of the poet ; his whole
thoughts, indeed, were now concentrated
on the journey of the duchess-dowager to
Rome. Anna Amalie, a princess of Brunswick
Wolfenbiittel, and the widow of Duke Ernest
II, of Weimar, was a woman of extraordinary
gifts, great cleverness, and brilliant qualities.
She patronized art generously, was the
friend of Wieland, Goethe, Herder, and from
her visit to Rome great things for Weimar
were expected ; the expectations were ful
filled. She came accompanied by a large suite,
and during her two years' residence in Italy
gathered round her all who were remarkable
for gifts of science and wit. Her circle in
cluded the Pope, cardinals, and bishops, foreign
ambassadors, Italian nobles, savants, artists

Middle Age. 239
and musicians ; and there was a refreshing air
of freedom and absence of court etiquette
which completed the charm of this pleasant
society. During her stay in Rome, Angelica
seems to have gradually recovered her
serenity. Drawn together by their common
admiration for Goethe and their love of art,
the two women became dear friends. In
one of his first letters to the duchess, Goethe
strikes the key-note of this friendship : " You
have seen Mad. Angelica by this time, and
this excellent woman must from many differ
ent points be interesting to you ; " and the
duchess immediately responds : " I go to
Angelica as often as I can, and she comes
to me ; she is in every way eine herzliebe
frau.^ Next Friday I am to sit to her for
my portrait, certainly not as a model, but I
like to have something of hers. Old Zucchi
has given me some of his drawings."
The first letter Angelica writes after
the duchess's arrival is in a joyous tone.
^ A lovable woman.

240 Angelica Kauffmann.
It begins : " Do you know, my dear friend,
that I am coming to Weimar ; have you ever
dreamt of such a thing? Her excellency
the duchess has invited, in the most cordial
manner, good Rath Rieffenstein, Zucchi and
me to either accompany her back or to
follow her. Fraulein von Gochhausen * and
Herder were present and added their en
treaties. Was it possible to refuse such a
gracious proposal ? The promise has been
given if circumstances permit. Blessed
Weimar, which since it has given me the joy
of knowing you, I have so often envied,
where my thoughts fly so constantly, shall I
really see it and see you there ? Oh, most
beautiful dream, and still I hope that even
before this journey comes off we may see you
in Rome, That the duchess has shown
herself so gracious to me, I have to thank
you, my best and dear friend.
"This gracious princess honours me
with a visit constantly, and she allows me to
go to her. We often speak of you, and then
what joy fills my soul. A few evenings ago
' The lady-in-waiting to the Duchess.

Middle Age. 241
her Excellency visited the rauseum, attended
by her whole suite, that is, Herr baron
von Dalberg, Frau von Seckendorff, Herr
Herder, etc. Zucchi and I had the honour
of accompanying them. It was quite a
festival for me. Nevertheless there was
something wanting to make me perfectly
content. Your name was repeated in the hall
of the Muses, but I looked about me and
only saw you in spirit. When we all stood
before the Apollo, some one proposed that
we should offer a prayer to the god. Herr
Herder said we should each ask for sorae
thing. My prayer to Apollo was that he
would inspire you to come to Rome, Oh
that my wish may be granted ; but it must
be before I go to Weimar,
"The duchess's circle is exceedingly
pleasant, and what a kindly dear creature
is Fraulein von Gochhausen, So intel
ligent and so lively, and she does everything
so well. The princess seems quite satisfied.
The weather is beautiful ; everything looks
to the best advantage. Madame von
Seckendorff desires to be remembered to
R

2 42 Angelica Kauffmann.
you. I am glad that you like the title page.
Herr Rath is sending the design, perhaps
to-morrow, with other things to you. I hear
much in praise of your ' Tasso.' I am
rejoicing over the hope you have given me,
that you may still read it to me. It is a
consolation for much . May Apollo strengthen
you in this good purpose, I thank you
meanwhile for having thought of me.
" Zucchi and I often talk of you, but alas !
that is not the same as being with you. Ah,
the happy time ; the dear Sundays which I
will think of so long as 1 live. Her Excellency
the duchess seems to wish that I should
paint her portrait. Next week I shall have
the honour to commence it. I hope my
work will please. I have just finished the
two Shakesperian pictures.* A mass of
things are waiting for me to begin. One
after the other they will gradually get
finished. It is all well so long as health
lasts ; but on that score I cannot complain
' For Boydell's Shakespeare.

Middle Age. 243
at present. I am anxious about you, and
trust you take care of yourself
" The other day I chanced on a good
specimen of an Intaglio. It is surely a
Tolomeo cut in Hintzint, which I rather
fancy, I send you an impression, which I
hope may reach safely. The stone is very
fine, and cut in a masterly manner in ray
judgraent, only I have a doubt on account of
the subject, because under the four antiques
there seems to be the head of a philosopher.
A word from you will settle this matter and
be a guide for me in the future.
" I am glad that you like your present
situation, and that you have time to prosecute
your work. May you live always happy
and content, and if you have an idle moment
think of me. Farewell, best of friends. "A. K."
In several of the duchess's letters to
Goethe there is most kind mention of
Angelica. " I have sat twice," she says, " to
Angelica, and the picture promises to be
a splendid success. The last time I sat
R 2

244 Angelica Kauffmann.
Herder read for us your poems. The good
Angelica was so inspired, that the portrait
seemed to grow under her fingers." And
again Herder writes : " Angelica is a lovely
Madonna ; only she lives in herself and feeds
upon her own branches," Fraulein von
Gochhausen also gives her meed of praise :
" Angelica has such a beautiful soul, there
are few like her, and out of love for her one
grows better when near her. She loves the
duchess, and yesterday she wept tears of
sorrow at the thought that our quiet evenings
were over. We cheer her up with talking
of her visit to Weimar, and so scatter the
ghost of melancholy which hangs about a
farewell." The pleasant party had now left Rome
for Naples, and Angelica writes sadly to
.Goethe :— "Rome, 24th January, 1789.
"Her Excellency Is very well satisfied
with Naples. I had letters yesterday from
our good friend, Rieffenstein, who has taken
for the duchess the villa which was next

Middle Age. 245
Our little garden ; you remember it ? Who
would have thought that we should have
visited that lovely spot together? Herr
Herder is also to live there. And why not
you ? Why do you keep away from Rome ?
" Her Excellency is so well, I trust we
may soon have her back. In the meantime
we are making our preparations for the
journey to Weimar. You think it is only
a joke, this visit ; but It Is so much in my
thoughts that I am constantly dreaming of
it. "You must have nearly finished your
* Tasso ' by this time. I am longing for and
rejoicing over the appearance of this work.
I have finished my two * Shakespeare pictures
and several other bagatelles. The ' Achilles '
comes next, a fearful undertaking. I have
made a small sketch of the design,* and with
thought, time, and trouble I do not despair
of the result.

' Horace Walpole did not consider any painter equal
to the work. " His commentators have not been more
inadequate," he said ; adding " Lord help Alderman
Boydelland theRA. !"
' For the Empress Catherine of Russia.

246 Angelica Kauffmann.
"The portrait of her Excellency is already
far advanced, it will be nearly ready by
the time she returns from Naples. She
is expected in the middle of the next
month." The duchess did return to Rome, and
there were more sittings for the portrait.
Amalie wrote privately to Goethe that
" Angelica was a noble, charming woman,
but not an artist, , , , and more parties to
Frascati, Albano, and to old curiosity shops,
looking for fossils and stones, until," writes
the sprightly Fraulein Gochhausen, " I feel
like a fool, but Angelica's greater intellect
takes pleasure in all that concerns art, and
she elevates our minds and makes us enjoy,
so far as we are capable of doing, the
antique," But this, too, came to an end.
On the 23rd May, 1789, Angelica writes
to Goethe that his friends have left Rome
again. " I must acknowledge," she writes, " that
I was happy when I had so many of your
friends near me. We spoke so constantly

Middle Age. 247
of you, and her Highness showed herself
always so extremely gracious towards me ;
also her suite were full of kindness,
"On the 19th her Excellency left for
Naples to spend the summer. It seems to
me now that I have been in a dream of
pleasant companionship, and have just awoke
to resume my solitary life again. Also the
good, excellent Herder is gone. This day
fortnight I spent with the Respectable
Society at Tivoli at the Villa d'Este ; under
the great cypress trees Herder read to us the
portion of ' Tasso ' which you have sent.
I cannot tell you with what pleasure /
listened, I think of all your beautiful works
it is the most beautiful. Who can read such
a masterpiece and not long to hear the rest ?
Herr Herder gave me the manuscript, for
which I thank you warmly.
" For a long time I have been intending
to write and thank you for the eight volumes *
of your works which you sent me. I delayed
' Goethe presented her with a splendidly bound edition
of all his works, " that she might renew her acquaintance
with her native language." That she had forgotten how
to spell in German is evident in her letters to him.

248 Angelica Kauffmann.
because I feared you would say I wrote too
often. Silence, too, is not forgetfulness.
How could / forget a friend whom I honour
so much as I do you, and shall ever continue
to honour so long as I live ? My industry is
much as usual ; but who is so industrious as
you are ? the research, and the writing itself
is far more useful than mere handiwork. It
is good to cultivate all knowledge, and who
does that — does well. Continue to enjoy
yourself in every way that can make you
happy, I wish I could write to you of art or
of artists or of any other agreeable subject.
It had been my intention to make amends
for my silence by a long letter, but the
absence of my good friends makes me feel
so sad, that I can only say that I live and
hope to live in your memory as you do in
mine, where your remembrance will always
and for ever be dear, "A, K, Z,"
The Duchess Amalie seems to have con
ceived quite as tender a friendship for
Angelica as the impressionable artist had

¦ Middle Age. 249
for her Durchlaucht. In September we find
her writing the following little note : —
" An Madame Angelica,
" Napel, den 7th September, 1789.
" The love and friendship which I feel for
you, dear Angelica, makes me confident that
you will forgive my disturbing your occupa
tions with this letter, but it is intolerable to
be so long without hearing from you. How
is your health, my dear little woman ? and are
you always busy — always at your easel ? Ah,
come to Naples — come to us. Tell dear old
Zucchi to bring you ; and put before him, in
your own sweet way, what splendid designs
and beautiful new ideas he will find here.
Goethe is going to send you his ' Tasso.'
Perhaps you have it already. When you
read it think of the little room in the
Villa d'Este — there one could enjoy it
thoroughly. " I will no longer take up your time, which
is so much better employed at your delightful
art ; so farewell, dearest, best of little women ;
think of me often as I do of you.
"Your Amalie.

250 Angelica Kauffmann.
"Give my remembrances to Herr Zucchi
and Herr Rieffenstein."

The moment of the final parting was close
at hand. Herder had already returned to
Weimar. Angelica, writing to Goethe on
I st August, says : —
"You have your worthy, excellent Herr
Herder with you again. Greet him warmly
from me. Oh, that for once I could see you
all together, and spend the evening with you,
Rome, now that I am losing all my friends,
is fast becoming a desert. Paintings and
statues are beautiful to look at, but to
live surrounded by true friends is better :
these are thoughts I must not dwell on —
they disturb my rest, and sadden my heart,
I try to occupy myself as much as possible, so
that the hours may slip away unnoticed until
a better time comes.
" The duchess is remaining so long in
Naples, that she will have only a short time
here. The happy hours I have spent in her
company belong to those memories which can
never be forgotten by me. I am longing for

Middle Age. 251
the arrival of your ' Tasso,' and rejoice in
anticipation over such a splendid work,
" May you be always well and happy, and
grant me sometimes the happiness of a few
lines. The pine is in full growth, so also the
other plants which you brought out of the
Botanical Garden. Once more I recom
mend myself to you, my honoured friend,
and remain, as always, with great esteem,
" A  "
There is a ring in these words of parting.
The old time has passed away, and a new and
a colder season has set in. The key to this
is to be found in the fact that Goethe was
now preparing to come to Italy. Under the
orders of his patron, the Duke of Weimar, he
was to have the honour of conducting the
Duchess Amalie on her return journey. What
more natural than that he should grasp such
an opportunity to revisit Rome and his dear
friends there? Strangely enough the capri
cious poet made it a condition of undertaking
the journey, that he should not be asked
to proceed further than Venice, where he

252 Angelica Kauffmann.
awaited the princess. His letters to Herder
show how much against the grain the whole
journey was — he was longing to be back in
Weimar, to his newly-made horae there.
The entreaties of his friends in Rome not to
remain at such a tantalizing distance he
totally disregarded — he, who only a year
before, at Easter-time, could hardly restrain
his longing to be in the holy city. In Venice
he led a solitary, almost hermit-like, life, the
only person in whose society he took any
pleasure being Angelica's brother-in-law,
Joseph Zucchi. The duchess joined him in
Venice, May, 1790, and on June 25th she
writes to Angelica of her safe arrival at
Weimar. " From the Duchess Amalie von Weimar.
" I have been intending and wishing, for a
long time, dear Angelica, to give you news
of myself but my journey, and my unsettled
life, up to the present, prevented my doing
90. Now that I am again quiet, my first
thought is to tell you, best of women, of my
safe arrival in my own home. I am once

Middle Age. 253
more amongst my own good people, whom I
love, and who love me ; still, Italy, enchant
ing Italy, holds me so firmly that as yet I
cannot feel happy or content. Your portrait,
dear Angelica, which I found here is an
epoch for Weimar. I am afraid of offending
your modesty, else I would tell you of the
praises it receives, and how everyone marvels
at your astonishing skill. Nothing more
perfect has ever been seen here.* Goethe will
write to you of it himself To rae it is a real
blessing as a loving remembrance of you, the
best and most delightful souvenir of those
happy days which I spent with you in
beautiful Rome. Think of me sometimes
as amongst those who love you.
" Your sincere friend,
"Amalie.'
" P.S. — Mille salute to Signor Zucchi and
the Abbate Spinal
In connection with this portrait, and as ji
proof of the fugitive nature of the brilliant
colours Angelica used, which in many
' She wrote to Goethe that Angelica was a noble
woman, but not an artist. See page 246.

2 54 Angelica Kauffmann.
instances faded so rapidly, an extract from
one of Goethe's letters is given here. The
whole letter, in proper chronological order,
finds a place later on : — "Weimar, 1797.
" The excellent likeness which you painted
of our duchess, which I believe is to be
placed in a new summer palace just built by
the duke, has somewhat changed its appear
ance, the cause, I imagine, being that the
varnish has either flown or sunk into the
picture, so that the brightness of the colour
ing and the harmony of the whole is
manifestly injured. It will be easy, by means
of re-varnishing, to restore the portrait to its
original freshness, but I am afraid lest a
wrong varnish ignorantly applied might do
more harm than good, and irretrievably ruin
the work. Will you, therefore, have the
kindness to tell me what varnish I should
use, and what mediura I should eraploy to
secure it ? "
Another letter from Wieland, one of
Germany's most celebrated poets, may also

Middle Age. 255
find place here, although it bears date sorae
four years later ; it is written in the very
highest strain of corapliraent : —
"A very welcome visit which ray gracious
duchess received from our agreeable country
man, Herr Consul Haigelin, frora Naples,
has procured me the long-wished-for oppor
tunity of assuring the artist of all the graces
of ray entire devotion to her, a devotion which
I may say is ever on the increase, and which
I find it almost impossible to express, every
glance I give to her imraortal works re
newing ray adrairation." *
This is very well for a beginning, but soon
Wieland is divided between his want of
capacity to express his feelings and a fear that,
in so doing, he raight be supposed to consider
his voice of any iraportance to one at whose
feet has been laid the applause of Europe ;
" And, Angelica," he goes on, " it is this fear
which has kept rae so long silent, and has
stayed the most ardent wish of my heart.
Ah ! when our beloved duchess returned
^ This letter was sent to me by Professor von Geb
hardt, King's Library, Berlin.

256 Angelica Kauffmann.
from Italy and told me that I was not so un
known as I had imagined, and that you would
receive a letter from me (nay, even grant a
request, the purport of which was known to
her Grace), why was it then, by what accident
did it happen, that I, at that very moment
did not write to you ? when, too, I had just
seen your incomparable likeness of our
duchess, which has been painted by the hand
of Apelles, which has conveyed to the canvas
the soul which animates that lovely form ?
This splendid apotheosis of one so good
and so artistic as bur duchess, is likewise a
standing memorial of the cultivated taste
of her whose work it is. This portrait
has, for the last two years, afforded me the
highest enjoyment the human mind is capable
of the enjoyment of perfection ; and no man
of feeling can consider it without being pene
trated with reverence for Amalie and love
for Angelica — and nevertheless I have been
for two years dumb, why ? It is a peculiar
feeling, and difficult to express the process
that has gone on In my mind. It was no
caprice that kept me silent, but a deep-rooted

Middle Age. 257
conviction that I could only express to
Angelica the feelings that filled my heart
and mind, in the same language in which she
spoke to me, through her works. She spoke
to my mind and heart. • I should pci,int, and
paint like Angelica, to convey. to her what
my feelings In her regard are, and how
I beg of the invisible powers that they
may grant her every blessing and happi
ness. "With such thoughts and feelings, nothing
could be more natural than the wish to have
some share in the friendship of an artist, who,
through the properties of her mind and heart,
and if possible, even more through her extra
ordinary talents, is considered one of the
greatest ornaments of her sex and of the
century in which she lives.
" But am I not a little indiscreet, dear
Angelica, and having gone so far may I go
further, and, concluding you have granted the
first of my wishes, may I now venture on one
still bolder, which, I may add, in my own
eyes seems pardonable enough ? fpr why
should not a man, who for forty years has
s

258 Angelica Kauffmann,
aimed at living in future ages through his
work, why should such a one not desire
ardently to be associated with Angelica
Kauffmann ; she who, not alone by her
own contemporaries, is honoured, but shall be
reverenced by posterity ? And now for my
request. Goschen, of Leipzig, is bringing
out a new edition of my works. Of these
' Oberon,' in the judgment of the public, in
which my own coincides, is the one least un
worthy of immortality. It surely must attain
this high place if Angelica deigns, with her
divine pencil, to illustrate one or two of the
most striking scenes. To me this would be
the most perfect, the truest reward.
" We flatter ourselves with the hope of
that which we desire most ardently. I there
fore make bold to present to you, by Herr
Haigelin, a copy of my 'Oberon.' In the
before-mentioned collection of my works this
will appear in November, 1793. Herr Lips,
whom you have known in Rome, charges
himself with the task of producing the illus
trations. " This page is full and your patience is

Middle Age. 259
exhausted, I therefore conclude with the
assurance that the sentiments of reverence I
entertain for you will cease only with my
life, and when that shall cease will follow me
in a better world, "C, M, Wieland,'

s 2

CHAPTER X.
middle age.
In a pleasant paper upon biography, lately
written, the question is asked, " How far is a
biographer justified in exhibiting the frailties
and defects of the subject of the memoir ? "
The answer is, " The whole man or woman,
or none at all." And this even at the risk
of dethroning a popular hero such as was
Carlyle. If this principle is allowed (and we
must acknowledge it to be a right one), it is
perfectly justifiable to lay bare to the reader
the smaller imperfections, which can hardly
be called frailties, which made part of the
really excellent character of Angelica ; one
of these being her exceeding vanity which in
clined her to accept homage wherever and
however it was offered, together with the

Middle Age. 261
feminine weakness of beihg all things to all
men. Hence we find from Herder's letters
to his wife * that after Goethe's departure
from Rome, a friendship, on precisely the
same half-sentimental, half-platonic lines, grew
up between himself and Angelica ; and of
this friendship no word is spoken by her in
her letters to Goethe, laid before the reader
in the last chapter. This reticence on her
part will easily be understood by her own
sex, but it nevertheless implies a want of
sincerity. Herder, on the other hand, is
wonderfully frank In the confession of his
feelings in regard to her, especially when
we take into consideration the fact that his
confidante was his wife, who could hardly
have relished his devotion to another than
herself For the rest the letters are interest
ing, as showing the singular influence
Angelica exerted over men's minds, even at
an age when such influence is supposed to
cease ; and likewise as giving an insight into
^ Caroline Flachsland. Her correspondence with
Herder before her marriage is a most charming contri
bution to literature.

262 Angelica Kauffmann.
her life, adding a testimony to that of
Goethe that she was overtasked to provide
money for the household. Zucchi was un
doubtedly avaricious, as the future disclosed.
He was saving his own money and spend
ing hers, hardly earned as it was. " Der
alte Zucchi ist geizig," * writes the Duchess
Amalie in one of her letters, and Herder
alludes several times to her being a victim
sacrificed in every way to the greed of her
father and husband.
It will be remembered that the German
philosopher arrived in Rome after Goethe
had left it. He came in the company of
Baron von Dalberg and Frau von Secken
dorff. He travelled at the charges of the
baron, and the story of his many discomforts
and his final rupture with his friend is pleasant
to read. One of his first visits was paid to
Angelica, and he gives his impressions of
her in a letter to his wife : —
" September 21st.
" Rome.
" I have just been to Angelica; she is a
' " Old Zucchi is stingy."

Middle Age. 263
delicate, tender soul, artistic to her finger
tips, extraordinarily simple, without any
bodily charm, but extremely interesting.
Her principal attraction is her simplicity
and extreme purity ; she reminds me of a
Madonna, or a little dove, Alas ! for the
sake of art and the world generally, she is
growing old. She lives retired in an ideal
world in which the little birds and the flowers
dwell. Poor old Zucchi is a good sort of
man in his own way ; he resembles a Vene
tian nobleman in a comedy."
By-and-by he grows more eloquent : —
" These last few weeks have been purified
and brightened by my friendship with
Angelica. Oh ! what torments might I have
spared myself had I only known earlier this
noble creature, who lives shy and retired as
a heavenly being. Since my return from
Naples, I have drawn nearer to her, and she
is dearer to me than all in Rome. I am so
happy with her ; she on her side regards me
with the deepest reverence, while of thee she
speaks tenderly and with a certain timidity.
She looks upon thee as one of the happiest of

264 Angelica Kauffmann.
women. The impression this gifted creature
•has made upon my mind is indelible ; it will
last my whole life, for she is utterly devoid of
envy, free from vanity, and incapable of in
sincerity. She knows not what meanness is,
and, although she is perhaps the most culti
vated woman in Europe, is full of the sweetest
humility and the most angelic innocence. I
tell thee all this, my own, because I know
that from thee I need hide nothing, and be
cause thou wilt rejoice with me that after my
bitter months of solitude, I have found this
pearl, or rather lily, which heaven has vouch
safed to me as a blessing and reward. It is
in this light that I regard her."
Madame Herder was no doubt an amiable
woman and an excellent wife ; her letters
prove this ; but it must be acknowledged she
was sorely tried as post after post brought
her rhapsodies of this sort over the perfection
of another woman. Here is another follow
ing close on the last : — " Rome, — 14th.
" Angelica sends thee a tender souvenir — it

Middle Age. 265
came on Easter Day ; a little ring, which I am
to put on thy finger, and with it I now seal
this letter. On this side of the Alps I may
look on it as mine own, and on my return
give it to thee from thy sister. No one
knows of this little present except the good
Rieffenstein, who ordered it for her.* It is,
indeed, a faithful symbol of her pure tender
soul, for truly Friendship and Love are one.
So she represents her little soul {seelchen) as
a tiny sparrow resting upon a branch of
myrtle, a type that our union shall exist
absent or present. Do not say anything of
this to anyone, but take the remembrance as
it is meant, in good part, A purer, more
exquisite creature does not exist on earth.
Like to a pious victim, she has all her life
been sacrificed to her art, for it she has lived
and still lives ; now she is nearly fifty years
old, and it is still the sarae. She loves me
with a warm affection, and I love and honour
her as a saint. Do not, however, believe,
my dearest wife, that my affection for her
would keep me one day longer in Rome than
' Rieffenstein is again enacting the part of Mercury !

266 Angelica Kauffmann.
it is right for me to remain, Angelica would
be the first to advise me to go, if she saw me
inclined to stay, for, with all her tenderness,
she has a strong and almost masculine mind.
Therefore, it is that I reckon so strongly
upon her sympathy, and see such a wonder
ful dispensation in this friendship. I regard
it as the germ of far more in the future, and
neither time nor absence shall interrupt it.
It is, I think, a reward for my undertaking
this journey, a panacea for all I have under
gone, and thou also, my dearest, must look
upon it from this point of view. The birth
of this friendship has awakened in me a tardy
prudence and a resolution to live henceforth
for thee and my dear ones, for now I feel more
strengthened in good than I have ever been."
In a letter dated the 20th April, he makes
allusions to her lonely life unblessed by chil
dren, and adds : " But she is, indeed, an angel
of a woman, and her goodness sets the
balance right between me and others of her
sex, who have done me bad turns. She has
the activity of a man, and has done more
than fifty men would have done in the time.

Middle Age. 267
In goodness of heart she is a celestial being.
I gave her thy kiss as it stood in thy letter,
without transferring it to her lips. Once I
did kiss her on the forehead, and once she
unexpectedly seized my hand and would
press it to her lips. There, that is all
between, us ! I thank my God that He made
me to know this pure soul, and that through
her I carry away one pleasant memory from
Rome, She is with us constantly, sometimes
with the duchess, who loves her on account
of her great modesty. I am with her every
moment I can spare. She came unexpectedly
to Frascati, and I do not know if she will
also come to Tivoli.
" Thou must love Angelica for my sake,
for she deserves it, the strangely tender,
loving soul ; , she knows thee, and we speak
of thee often, and then she says softly she
esteems thee to be very happy. The story
which you heard from Frau von Stein * is
false, although I myself do not know the
' Frau von Stein had told Madame Herder that in
her youth Angelica had married a villain who thought
she was rich, and had run away with her money and
jewels.

268 Angelica Kauffmann.
exact circurastances of the true story. Once
she began to tell it to me, but her grief at
the recollection would not let her finish.
Take the letter she sends thee kindly ; she is
not strong in words, but in deeds a most
honest soul. English and Italian she speaks
and writes beautifully, German is to her
almost a strange language.* Her best
wishes accompany me when I go, and her
friendship /br us both will last as long as we
live. This is the confession of my heart's
feelings while in Rome, written only for thee,
for I must and' always shall write to thee
what fills my heart."
This ingenuous confession of his heart's
feeling, together with the kissing passages,
did not quite please Madame Herder. She
writes to her husband that she feels like
Ariadne deserted by Theseus, and urges his
return to his home and family. Herder's
answer is an amusing effort to calm any little
jealousy that may have arisen in his wife's
mind, and impress upon her Angelica's friend
ship for her.
' Her letters to Goethe are full of mistakes in spelling.

Middle Age. 269
" I count Angelica amongst my true
friends. She in years is much older than I
am, and she is more a spiritual than a cor
poreal being. She is, however, such a true
heart, so few like her, and through hearing
constantly of thee from me, she loves thee
also. So in every way she is worthy of
being joined to us by a close bond of friend
ship. She often says to me that the whole
happiness of her life depends upon the con
tinuance of this bond ; that she would wish
to die now, since she has (and truly only for
such a short time) seen and known me ; it is
to her as a dream. I write to thee, my
dearest, everything, because it is my habit so
to do. Thou knowest that these words of
hers do not make me vain, but rather humble.
I look upon the friendship of this dear and
noble woman as a gift that Heaven has sent
me, which has turned me from all else, and
in a theoretic manner has elevated my
thoughts and improved my whole being, for
she charms the mind, purifies and softens it,
and is a good tender creature. Do love her
for my sake, dearest ; she is so good, and her

270 Angelica Kauffmann.
life is not happy. For the remainder of our
poor lives we shall do all things to please this
willing victim to art. She sends you a
thousand greetings. I told her yesterday
when I saw her for a few moments, that this
day would be the anniversary of our wedding-
day, and so, if it be possible, I am to go to
her this evening, and we will bear you and
the children In remembrance."
In the postscript to this same letter, he
adds the following : —
"When I went this evening to Angelica,
she with infinite grace slipped upon my
finger a little gold chain as a remembrance
of to-day ; she said it was for us both. She
is in every way a sweet, angelic and pure
woman. Thou must promise an eternal
friendship to her, and with me render thanks
to Heaven who has given her to me to know
and to love."
On the 9th May, Herder • writes to his
Caroline an account of an expedirion to
Tivoli, to which Madame Angelica came un
expectedly.! 1 This was the party to Tivoli already mentioned in
Angelica's letter to Goethe.

Middle Age. 271
" Her silent, modest grace," he says,
"gives the tone to the company she is
amongst ; like to a chord of music she is in
harmony with all. Oh, what an exquisite
nature is hers — ¦& nature like to thine own,
my dear one ; like thee, she makes no claim
upon our admiration, but is full of sympathy
and tender feeling for others, I leave Rome
content, now that I have been to Tivoli."
Then he goes on about Caroline's journey
to Carlsbad, and concludes with : —
" My best and dearest, do not constrain
thyself, if thou would prefer to remain at
home. Thou hast received by this time my
letter, and wilt know how best to decide. It
was thy remark as to being ' Ariadne '
which gave rise to the idea in my mind.
But fear not. Where could I go but to thee ?
Everything draws me to thee, and thou
wilt no longer find me rough and fierce,
but gentle, tender, forbearing. Oh, I have
learned, if I never knew it before, what I
have in thee. Also fear nothing from the
Angelica friendship. She is the best woman
in the world ; the most thoroughly honest ;
besides, her mind and, mine are turned to

272 Angelica Kauffmann.
other things. As I have many times re
peated, she is truly modest ; she honours
thee as a sort of divinity, and loves me in a
spiritual manner. She greets thee affection
ately, and you can receive this greeting from
my hand. She is in truth an angel. At
Tivoli her silhouette was taken, which I shall
send you in my next."
His next is the last of this remarkable
series of letters : — " 13th May, 1789.
" Well then, in God's name, my trunk is
packed. All is ready ; to-morrow I leave
Rome for Pisa. I am well, and, all things
considered, have had a time in Rome of
which few strangers can boast.
*****
" Angelica, who is dear and good beyond all
expression, greets thee cordially, and sends
thee her silhouette. Take it with feelings of
love an'd kindness. The angel has made me
during these last weeks inexpressibly happy.
I would I had known her earlier ; the good,
excellent, tender, beautiful soul. She likes
me as much as I do her ; our friendship will

Middle Age. 2^2)
grow stronger year by year, for it is founded
upon the purest esteem and love. So too,
must thou, if thou wilt please me, take her
heartily to thy heart. Thou wilt do so when
thou knowest her better, the tender, loving
creature. The duchess esteems her highly ;
so do all who come in contact with her, for
she lives and acts as a beneficent being.
To-day I dine with her, and to-morrow we
take our last drive together. May Heaven
bless and preserve this sweet woman. Fare
well, my good soul, no longer to be a
desolate Ariadne. Farewell ! think joyfully of
my return. I am far happier than I deserve
to be."
Herder's hopes as to the continuance of
this friendship do not seem to have been
realized. Whether Madame Herder, as a
wife sometimes does, put her foot down upon
the intimacy founded upon the " purest lines
of love and esteem," or whether Herder him
self with the erratic nature of a genius, grew
tired of his worship of this beneficent being,
does not appear. The letters which he may
have written shared the same fate as those

274 Angelica Kauffmann.
of Goethe. The one quoted in the next
chapter is written in a cold strain, very unlike
his former rapturous expressions. In his
case it is evident that, contrary to the poet's
idea, absence did not make his heart grow
fonder. All through this curious correspond
ence of Herder's, allowance, however, must
be made for the nature of the poet-philo
sopher, which was highly strung, sensitive
and altogether Teutonic. His seelen senti-
mentalitdt meant very little, certainly nothing
dangerous ; neither can it be gainsaid that
the friendship and admiration of such men as
Herder and Goethe is a rare testimony to
the worth and attractions of Angelica.

CHAPTER XI.

last years.

The parting with her German friends had
saddened Angelica, whose spirits were already
depressed by the state of the political horizon.
Already the first grumblings of the storm
could be heard, which in a few years burst
with such tremendous violence over the
whole continent of Europe, uprooting in its
course all old institutions, and wrecking social
order. No thinking mind could contemplate,
without grave fears for the future, the
power of the revolutionary party, which
was increasing every day in violence, and
would end in general chaos. Angelica was
especially concerned for her beloved art.
She feared the time was at hand when all
that was refined would be dragged down and
T 2

276 Angelica Kauffmann.
degraded. As the years went on this fear
strengthened, as the dangers which had
only existed in the imagination of the more
thoughtful became sickening realities. It
was fortunate for Angelica that her work,
which was ever on the increase, gave her so
much occupation, that her mind could not
dwell on the horrors every day occurring,
which filled her tender heart with pain.
So far, Angelica had suffered from no
diminution of income. In the earlier portion
of the social revolution, the area was confined
to France, the way to Italy remaining open.
Travellers, especially the English, continued to
flood Rome, and to give large orders to the
artists. In 1790 the Miss Berrys and their
father travelled all through Italy, and in 1791
there came to Rome the lovely Lady
Hamilton, Erama Lyon, whose story is
stranger than that of any fiction, not the
least strange portion being the infatuation of
her doting husband, who believed in her to
the end. Madame le Brun, in her amusing
reminiscences, tells a characteristic trait of
this " refined" gentleman, representative

Last Years. 277
of his gracious Majesty of England.
Nearly all the portraits of his beautiful
Emma were not so much proofs of his
affection and admiration as commercial spe
culations, as he sold them to her dif
ferent admirers at a far higher price than
he gave for them ; and when Madame le
Brun made him a present of a beautiful
" Bacchante," for which Lady Hamilton had
sat as model, he sold this likewise to the
Due de Bracas.
Angelica painted the lovely Emma, in
a half-length, as the " Comic Muse " ; * not a
happy selection, considering it would have to
run the gauntlet of comparison with Romney's
exquisite production of the same subject.
The picture was not successful, and was the
cause of a quarrel between her and the cele
brated Italian engraver, Wilhelm Morghen —
who, in his reproduction, changed some
portion of the original, which annoyed
Angelica so much that she would not allow
her name to be put to it as the artist. She
was seldom known to show so much irrita-
^ She painted Lady Hamilton twice as a Bacchante.

278 Angelica Kauffmann.
tion as at this liberty being taken with her
work, one which had never been, attempted
by such engravers as Bartolozzi, Schiavonetti,
or others. On another occasion, Raphael
Morghen, brother to Wilhelm, took a greater
liberty. In engraving the portrait of a gentle
man after one of her pictures, he altered, or,
according to his idea, improved upon it, by
adding to the figure in length. Angelica,
indignant at such audacity, made an addition
not much to his satisfaction. She wrote at
the foot of the portrait : —
" Non e di Angelica Kauffmann."
There was no doubt the artist had justifi
cation for her anger. The painter looks upon
the engraver as the author does upon the
translator of his book, who should make
a faithful version, and take no liberties with
the text. Two large pictures for the
Duchess of Courland formed part of the
work of these years : — " Telemachus and
Mentor on the Island of Calypso," a very
pleasing picture (this subject had already
been painted for an English lady) ; the

Last Years. 279
other was " Adonis going to the Boar Hunt,"
Horace's words, " * " Bacchum in remotis
carmina rupibus Vidi docentem," gave her a
subject for another picture,* For the Princess
of Anhalt- Dessau (besides her portrait full
size) she painted " Psyche swooning when the
vessels were opened, in which were contained
the ointment for beautifying Proserpina,"
also " Cupid drying the tears of Psyche with
her own hair." Sternberg calls this a
beautiful creation, but adds that the artist
herself thought very little of it, believing
herself called to the grand historical style,
for which no painter of her time was less
fitted, Sternberg as usual has truth in this
criticism. He forgets, however, that the large
canvases in which Angelica indulged were
in a measure forced upon her, being mostly
commissions, the purchaser wishing, it would
seem, to take the worth of his money in
quantity more than quality. That the classics

' From Horace's Ode to Bacchus, ii. 19.
' She also painted this year the infant children of the
Duke and Duchess of Gloucester.

28o Angelica Kauffmann.
should have been ransacked for subjects
appears to us, in this day, a strange fancy,
when the tales of classical history have be
come almost obsolete.
Our ancestors and their wives, and
daughters too, were much better read in these
matters than we are, learned as we think
ourselves. (One notable lady, Mrs. Eliza
beth Carter, translated " Epictetus " ; Miss
Berry wrote papers on " Xenophon " ; Mrs,
Thrale composed odes in the style of Horace.)
Most of them could have passed an examina
tion in classical history, whereas it would
puzzle some of us to tell who was Germanlcus,
whose ashes were held In a golden vessel,
and what was the nature of Papirius Prsetex-
tatus's little joke with his mother.*
1 Praetextatus, being entreated by his mother to dis
close the secret of the Senate, told her, to escape impor
tunity, that it had been debated whether it would be
more useful to the republic for the husband to have two
wives, or the wife two husbands. The following day the
Roman ladies went to the Senate to request that wives
might have two husbands. The amazement of the
Senate was great, when Praetextatus, being present, con
fessed his joke, and was much applauded for his in
genuity. — Roman History.
There is a very charming engraving (very rare) of

Last Years. 281
Angelica's classicalities must therefore have
been acceptable to her public, which accounts
for her persistent choice of such subjects.
Thus we have again : — " Agrippina holding
the golden vessel which contained the ashes
of Germanlcus " ; " Pyrrhus," a very fine
picture bought by Count Brown ; " Praxiteles
presenting the little Statue of Cupid to
Phryne " ; " Phryne seducing the Philosopher
Xenocrates " ; and the " Nymph Egeria
showing Numa Pompilius the splendours of
the Celestial Shield " : the last three were
in her best manner. " The Redeemer at
the well, conversing with the Woman of
Samaria," and " The Prophet Nathan re
proaching David," were half-lengths of in
different merit.
In 1 79 1 she sent to the Royal Academy,
" The Death of Alcestls," who purchases her
husband's life with the sacrifice of her own,
subject taken from the tragedy of Euripides ;
also "Virgil reading the ^Eneld to Augustus
the nine muses ofGreat Britain. It is an oval, with Mrs.
Carter, Mrs. Barbauld, Mrs. Angelica Kauffmann, Mrs.
Sheridan, Mrs. Lennox, Mrs. Macaulay, Mrs. More,
Mrs. Montagu, and Mrs. Griffith.

282 Angelica Kauffmann.
and Octavia," for Prince Josepoff. She worked
up the " Story of Venus advising the wife of
Menelaus to love Paris," and the melancholy
history of " Ovid's Banishment from Sulmo."
From the Prince of Waldeck she received a
commission to paint the first meeting of
Hero with Leander ; araongst the Vestals
who accompany Hero, she represented the
affianced bride of the Prince. The Duke of
Sussex, who was then in Rome, making love
to the luckless Lady Augusta Murray, had
his portrait painted in a Highland uniform
with a large mastiff ; and for Lord Berwick,
who also sat for his portrait, she painted
two large pictures, " Euphrosyne wounded
by Cupid," and " Ariadne mourning over
the desertion of Theseus." " Euphrosyne"
was exhibited in 1796 at the Royal
Academy, and excited considerable admira
tion. '"Euphrosyne and Cupid,'" says an
art critic of the day, Pasquin, "are designed
by the pencil of fascination ; the Goddess of
Love (Venus) is not so happily represented
either in attitude or featural expression ;
the extravagance of the Grecian model

Last Years. 283
is happily avoided throughout this picture,
and the colouring is in the chastest Italian
school." So far back as 1790 a new inmate had
formed part of the Zucchi household.
Antonio had up to this period taken upon
himself all business arrangements, as well
as the management of the establishment,
Angelica's constant occupation affording her
no time, as we have seen, for being what is
called mistress of the house. So far this
joint arrangement had v/orked excellently ;
but now Antonio's health began to give way.
For a long time one of his hands had been
troubled by a paralytic affection, so that he
found it difficult to paint, although he tried
to do so on a peculiarly constructed table.
The state of the Continent, too, affected his
spirits, which were at all times of a gloomy
type. The horrors passing in France would
soon shake all Europe, and threaten all
comraercial interests ; and in the bad days
coming, he felt it would be well for
Angelica to have a male protector of her
own kith and kin. He therefore wrote

284 Angelica Kauffmann.
to a young cousin of hers in Schwartzen
berg, Anton Joseph Kauffmann, to come and
undertake the work to which he no longer
felt himself equal, and in which he in
structed him. In every way Anton Kauff
mann proved himself worthy of the choice,
and Angelica, later on, had good reason to
thank her husband for his provident care.
Through the surrounding gloora occasional
glimpses of the life she loved best would
come to Angelica, as when her friend Herder
wrote to her, heralding the arrival of a sister
artist : —
" To Madame
" Angelica Kauffmann-Zucchi, Rom.
"Weimar, den loth Sept., 1795.
" Madame Le Brun, from Copenhagen, a
lady of singular talent, both in art and poetry,
and possessed of many accomplishments and
agreeable qualities, is desirous on her ap
proaching visit to Italy to make the acquaint
ance of the charming Angelica, and who is
there, who visits Rome, be he virtuoso or
artist, who does not desire her friendship ?

Last Years. 285
" Madame Lebrun is sister to Doctor
Miinter, who was in Italy some years ago.
Her father,* a very worthy man, died lately.
Her knowledge of Italy surprises me, and, if
the climate suits her, it is her intention to
establish herself in that interesting country
for a residence of some years.
" Will you permit, my honoured friend,
that this note should act as a Mercury to your
antechamber, and introduce to you Meyer,*
who leaves this in a few weeks for Rome, and
will present himself charged with a long
letter from me ?
" Farewell, gentle mistress of the new art
and of modest beauty.
" My wife desires her devoted remem
brance. It is so long since you have written
that you must have forgotten us, but we have
not forgotten you.
" Once more farewell. My kind regards
to Herr Zucchi.
" Herder.
1 Dr. Miinter, collector of coins. The lady in
question was the celebrated artist, Madame Vig^e
Le Brun.
^ Heinrich Meyer, a Swiss artist.

286 Angelica Kauffmann.
" I do not know if Herr Lebrun accompanies
his wife. He is a very worthy man, of con
siderable property and great speculations
with half Europe. Farewell."
Meanwhile, the outlook was growing more
and more gloomy, there was no security for
either life pr property, and those who had
not suffered themselves, were trembling for
what was to come.
Angelica felt for her friends' misfortunes
acutely, and was harassed with doubts and
apprehensions as to her own future.
Already the number of visitors to Rome
was diminishing. Soon they would alto
gether cease, and with them the orders for
which they paid so handsomely. There was
another source of anxiety, inthe transport of her
finished orders to their different destinations,
which involved immense risk. Stolberg,*
writing to her about this time, speaks of this
' Count Leopold Stolberg, a dilettante of the first
class— poet and artist. He wrote an ode to Angelica,
beginning — " Immortality embraced thee.
Wisdom was thy teacher,
Aurora baptized thee."

Last Years. 287
danger, which he says will last until the
French, those enemies of God and man,
are properly humbled, or some means are
found tp protect the sea from their robberies.
There was another danger ; that the interest
of money invested in English or other funds
would not be regularly paid, or, if it were,
might not come safe to hand,* In October,
1795, we find Angelica writing in great
anxiety to her trustee and solicitor, Mr.
Kuliff, in London, as to goods despatched
nearly a year previously : —
" Rome, October, 1 795,
" Dear Sir, — I hope my letter, dated
November i8th, has reached your hand before
now, I acknowledged in the same the re
ceipt of my dividend, paid to me by ypur
orders by our friend Mr, Cavaggi,
" I had also the pleasure to learn the other
day from Mr, Jenkins, that the ships upon
which my pictures were loaded escaped
being taken by the French. I hope to have
'' See Supplement, for an account by Zucchi of
Angelica's income. — From Zucchi's Notebook,

288 Angelica Kauffmann.
this news soon confirmed. With this oppor
tunity I thank you kindly for your attention
and goodness towards me.
" With my most affectionate compliments
to Mrs. Kuliff, I remain, with the sincerest
estime, " Sir,
" Your most obliged humble servant,
"Angelica K.-Z.
" P.S. — It is a very long time, I have not
heard from my worthy friend Mr. Braithwaite.
I hope he is well. Should you happen to see
him, pray give him my kindest compliments,"
This letter was accompanied by one from
Zucchi, written in a querulous, anxious
tone, as to the sale of his house in- John
Street, Adelphi, and also as to different
loans he had made, one of 600/., a bad
debt, another of 80/. or 100/. to an
Italian artist, Locatelli, a sculptor of very
indifferent reputation. Antonio's health
had been giving way for some time, and
his naturally gloomy temperament was even
more impressed by the miserable prospects
around him, than Angelica's more sensitive

Last Years. 289
disposition. His illness naturally intensified
what was worst in the situation, and his
constant anxiety hastened his end, inducing
a severe attack of jaundice, from which he
died, after a short illness, in December, 1795.
A marriage on the lines of this rather ill-
assorted union could not have been supposed
to have been one where the survivor would
feel the loss very keenly, Zucchi made so
little mark in Angelica's life, that her
biographers make little mention of his death,
beyond the mere fact. It therefore rather sur
prises one to find that she was overwhelmed
with affliction at the blow, and was inconsolable
for " der alte Zucchi ; " neither did his will,
which is a standing record of his want of re
gard for her, in any way alter her sentiments,
or abate her grief It is singular and unac
countable that Zucchi should have behaved in
such a manner to a woman who had been the
bread-winner for so many years, unless it were
that his gloomy, jealous, Venetian tempera
ment had nursed all through their years of
married life, as a grievance in- his mind, the
stringent terms in which Joseph Kauffmann had
U

290 Angelica Kauffmann.
secured to Angelica the use of her own fortune,
without " intermeddling " on the part of her
husband. He, in his turn, now left her
nothing but a miserable pittance of fifteen
pounds a year short annuities ; all the rest of
his property, amounting to more than four
thousand pounds in the funds, and the house
in John Street, Adelphi, he devised to his
brother and nephews.
In apprising the English solicitors of her
husband's death, Angelica gave a short
synopsis of this will, and in the affidavit,
of the 26th December, 1795, declares that
" Ant. Zucchi, on the 24th March, '95, had
deposited his will and that A. Z. at nine
o'clock * last night had departed this life."
* In another affidavit made later she states
that he bequeathed 68/., Locatelli's debt,
to his nephew Frs., son of Pietro Zucchi.
The 30/. short annuities, one-half to Ang.
Kauffmann, one-half to his brothers Joseph
' This seems somewhat extraordinary, but perhaps
she had to make the affidavit the day after Zucchi's
decease. '^ The papers connected with Zucchi's will were sent
to me by Mrs. Thackeray Ritchie.

Last Years. 291
and Pietro and his nephew Frs, to be enjoyed
equally ; 4800/. in money also to them
subject to survivorship, with liberty to
invest it mutually into any other stock.
The value of the house to be invested in
the bank of Venice.
In the following February Angelica wrote
the following letter to Messrs. Kuliff and
Greller, which is undoubted evidence of the
sweetness and generosity of her disposition : —
"Rome, Feb. 17th, 1796.
" Gentlemen, — I received your kind favr.
dated the 15th of January, the loth of this
month, when at the same time Mr. Cavaggi *
paid me by your orders 50/. 5^-. for the deed
ye paid of 3350/. I kindly thank ye for
your punctuality and attention and beg the
continuance of your kindness.
" I daresay ye have before now read my
last, written in January, I forget the date, by
which letter I announced to you my mis
fortune, the irreparable loss I sustained by
the death of my worthy husband, friend,
1 The banker and man of business of the Zucchis.
U 2

292 Angelica Kauffmann.
and best companion, but such was the
will of God, to which we must submit. I
find in your last favour that the affair about
disposing of the house Is still in agitation.
What is done in that Is now the business of
Mr. Zucchi's heirs In Venice ; perhaps it will
be necessary to inform them what steps are
necessary they should take to come into pos
session of what was left to them by my
deceased husband. To me he has left only
the half interest of his short annuity, the
other half goes to his nephew. What. I must
do to come to the possession of my little
share ye will be so good as to tell me, as I
am totally ignorant about these matters and
melancholy affairs.
" I am glad to hear from you that 'all the
pictures arrived safe to their destiny. I
hope my two friends, Mr. Keate and Mr.
Braithwaite, are both well ; when ye see
them remember me to them, I am sure they
take part of my misfortune, but chiefly
my good friend, Mr. Kuliff, to whom I
beg to present my best and most affectionate
compliments.

Last Years. 293
" I repeat my thanks for all your kindness,
and remain, gentlemen,
" Your most obliged servant,
" Angelica Kauffmann-Z."
To this letter she adds the following some
days later ; — " Tuesday, February 20th.
" This was to have been sent by last
Wednesday's post, but as I expected letters
from Venice the day following, I thought to
defer presenting this to this day, in case I
should have anything particular to mention
about the affairs now pendant with Mr.
Zucchi's relations. I find that Mr. Joseph
Zucchi, eldest brother to my deceased hus
band, has written to ye, but at the same
time he begs me to recommend him to your
kindness, which I do with the sincerest
heart. "The best I think will be to transact
business issues immediately with him, it will
save time and a little trouble to me ; how
ever, in whatever my assistance Is necessary
I shall be very ready to give it.

294 Angelica Kauffmann.
" I have a high regard for the family of
my deceased husband, and approve what he
has done in favour of them;
" Pardon me, my worthy friends, for giving
you so much trouble."
This letter. In which there Is not a word
of reproach or a touch of bitterness, exempli
fies the extraordinary generosity of Angelica's
disposition, which would not see a fault in
the conduct of one she esteemed as she did
Zucchi. On his tomb in the church of St. Andrea
delle Fratte she had inscribed this touching
inscription : —
" To my sweetest, kindest husband.
Not as I had prayed."
There was no insincerity in these words.
To one of Angelica's tender loving nature
the outlook of a lonely life, widowed and
childless, was so terrible that death would
have been infinitely preferable. Writing to
a friend shortly after Zucchi's death she
says : "It is not poverty 1 fear, but this
dreadful solitude." Her health and spirits alike
suffered, a hopeless depression seemed to

Last Years. 295
settle upon her once bright nature. Her
friends, alarmed at the continuance of her
melancholy, made every effort to rouse- her,
and to induce her to return to her work.
There were imperative reasons why she
should do so, for not only was her income
considerably reduced by the death of Antonio,
but her money in the English funds was
threatened by the war which was general
all over Europe. Necessity, therefore, was
added to the entreaties of her friends, and,
to their gratification, she resumed her usual
occupations. In "after years she would re
joice that she had been so necessitated, saying
that she had two consolations — one that her
hands were left to her, the second- that she
had lived in the past-
Once she had taken up work she remained
constant to it, never laying down the brush
so long as health was left to her, and in those
last years some of her best work was done.
The Revue Contemporaine says her faults
of composition disappeared, her colouring
was. more subdued- In 1797 she exhibited
(for the last time) at the Royal Academy "The

296 Angelica Kauffmann.
Portrait of a Lady of Quality." This was
probably Lady Harcourt, a very fine por
trait. ,
Orders, however, came in very slowly.
Rome was deserted by visitors, and money
was scarce. The Bishop of Miinster gave
her a commission for two large altar-pieces ;
one of tbe "Annunciation," the other "The
Saviour Calling the little Children to come
to Hira."
Rossi says .she executed both with the
utmost delicacy and devotion, and to the ex
treme satisfaction of the Bishop- We may,
however, be allowed to doubt this. From
some cause, Angelica found it impossible
to portray religious subjects. She was,
however, of a most pious mind. " In
her moments of solitude," says Rossi,
" this excellent lady was in the habit of
occupying herself with holy thoughts,
which, according to her custom, she wrote
down on little pieces of paper, which she
preserved in her pocket-book." Some of this
t7'ouvaille the good Rossi collected, by which
it will be seen how constantly she turned to

Last Years. 297
God as the only source of comfort and con
solation." Oh ye, who fear the Lord,
Believe in Him, hope in Him and love Him ;
His divine mercy will descend and console ye.
" Expect in patience that thou dost expect from God.
Remain united to God in order that thy life may be more
perfect.
Confide in God, and He will lead thee into the port of
Salvation.
" Oh, holy Religion !
Guide of poor mortals into peace everlasting.
Ah ! kindle in my heart fervent love for thee.
And be my comfort and my stay in the bitter pains I
now endure."
This year she undertook a large picture
of Religion, with all her lovely train.
Rossi said she did this as a sort of protest
against the infidelity which was now growing
rampant, and from the pious hope that the
representation of the divine emblems, Faith,
Hope, and Charity, might rekindle the faith
amongst the believers, " for," he adds, " An
gelica was in all manner of her life a perfect
Christian, and the attacks made upon religion
and the desecration of all holy objects was
one of her bitterest trials."
That Rossi is wrong in ascribing these

298 Angelica Kauffmann.
high-souled motives to Angelica, is made
evident from the following account given by
Mr. Forbes, an English gentleman, then visit
ing Rome, for whom the picture was painted.
He says : " During my stay in Rome in
the year 1796, I enjoyed the greatest
pleasure in cultivating the friendship of
Angelica Kauffmann ; I had at all times free
access to her studio, where I passed many
delightful hours.
" I was with her when she put the
finishing touches to her picture ' Suffer little
Children to come to Me.' I gladly em
braced this opportunity of introducing the
sublime description of ' Religion ' and her
lovely train, which I had copied from a
sermon by Doctor Home, of Norwich,
before I left England, in the hope that I
should engage Angelica to paint me a
picture upon that exalted theme. She
entered deeply into the spirit, and said she
had every hope of giving me satisfaction.
"On my leaving Rome in 1 797, she had
only made the first sketch of her picture ;
she favoured me with a small copy to let me

Last Years. 299
see what I might expect, but in a few weeks
after, the French entered Rome, the Arts
and Sciences dropped, and she was involved
in the general distress."
fn Rome itself a Republican govern
ment had been established, and every
thing was in utter confusion. For Ange
lica it was a terrible moment ; all the
money she had in the local banks lay
there useless. An annuity, which she against
her will had bought, shared the same fate ; *
a money changer took advantage of her in
experience and gave her, instead of an order
on the London bank, paper money, which
was for some time of no value. A letter she
wrote at this time to the firm of Kuliff shows
how harassed she was at the situation in
which she found herself*
"Messrs. Kuliff, Greller and Company,
" London. " Rome, July 23, i 798.
" Gentlemen, — I have yesterday, the 22
' See Supplement.
'^ This letter was kindly procured for me by Messrs,
Sotheby & Co.

300 Angelica Kauffmann.
of this, receivd your very obliging favour,
dated May the i8, by which I understand
that you have receivd my dividend on the
5000/., and given orders to Messrs.- Donald,
Ord and Son at Florence to hold that sum
at my disposition there. F"riends have very
punctualy informed me of the order they
had, forwarding me your kind letter. With
this day's post I write to the sadye * friends
returning them the quittances signed for the
"jQl. \^s., enclosing to them at the same time
this in answer to yours, being at this present
moment the securer channel.
" It is fair that ye reimburse yourself for all
expenses ye may have on my account. I am
glad that the trust deed is settled, and that
my little affaires are in the hands of friends
who take my interest and my advantage . so
much to heart. I have no words sufficient
to express ye the sentiments of my gratitude ;
it is indeed a great happiness to have such
friends in these very critical circumstances,
I have thus far been unmolested till now, but
I sustained, for one in my situation, very
considerable losses in paper money, in which
' The original spelling is preserved.

Last Years. 301
I had considerable sums now reduced to next
to nothing. This is the fate of most of the
inhabitants of this place, so that I leave ye
to consider the consequences and misery of
the greatest number, some few except who
had the managt of affairs. . , . May God
Almighty save Engd from such distress.
" Amongst the many unavoidable vexations
and troubles, thank God, my health continues
well till now. A cousin-german, who has
now been with me this 6 years past, a very
honest man, takes care of my affaires, of which
I have but little notion, being used to other
occupations. Times, at present, tho, are
everywhere unfavourable to the fine arts,
yet I endeavour to occuple mysellf as much as
I can to deviate raelancholy ideas — all friends
I had in this place are dispersed, and all is
changed. "It makes me happy to know that my
worthy friend, Mrs. Kuliff, and Mrs. Henry
are both well. I beg ye will present my
kindest compts to them both.
" Nothing else remains to mention at
present, except to ask your pardon for giving

302 Angelica Kauffmann.
ye so much trouble. My obligations to ye
are infinite, and all deeply impressed on my
heart. I beg the continuance of your friendly
attention, to which I shall endeavour to prove
my gratitude as far as it lays in my power.
Assuring ye that I am, and ever shall be, with
the greatest estime, gentlemen,
" Your most obliged humble servant, "A. K.
" P.S. — I thank ye kindly for the letter ye
was so kind as to forward to my friend at
Brussels, it is sufficient to me to know that
it reached your hands."

CHAPTER XII,
LAST YEARS,
The beginning of the year 1 797 was heralded
by a disappointment, Goethe, who had held
out hopes of visiting Rome once more, now
definitely gave up the idea, the state of
the Continent being such that it was im
possible for him to cross the Alps. Perhaps
it was as well. A friendship like theirs,
once it is dead, cannot be rekindled.
"Weimar, 25 June, 1797.
" The hope I had entertained, most honoured
friend, of seeing you in the coming year, is
through this most miserable war at an end,
as the way to Rome is completely barred,
at least for the present. Professor Meyer,*
whose continued residence in Rome is the
^ Heinrich Meyer, an artist following the footsteps of
Winckelmann and Rafael Mengs.

304 Angelica Kauffmann.
groundwork for me still to cherish the hope
of revisiting that delightful city, tells me that
he has had the honour of waiting upon you —
he has gone for the moment to Florence, but
returns to Rome shortly,
."Will you pardon me a question ? A friend
of mine, a most respectable tradesman * in
Leipzig, has prepared a catalogue with in
finite care of the engravings which have
been taken from your paintings. This work
has occupied him many years, and he is now
bringing it out. He desires nothing more
ardently than to have a short account pre
fixed of the life of the artist (whom he
esteems so highly and. about whose works
he has been so long occupied). When he
told me this very natural desire, I re
membered that Herr Zucchi, when he was
collecting information about his own family,
had also made a notice of the life of his
distinguished wife. If you will allow me to
have this to communicate to my friend, you
will confer on me a new proof of your friend-
Probably Andresen u. T. O. Weigel, of Leipzig.

Last Years. 305
ship, and you will likewise rejoice the hearts
of your many adorers.
" Not many days ago your excellent picture
of "Cupid and Psyche,"* which I saw in
.Dessau, gave me the most exquisite pleasure.
You cannot conceive the impression these
heavenly creatures make, when seen amidst
the snowflakes of the icy north, which are
only suited to a wild beast or a dull hunts
man.* " Farewell, and kindly answer either your
self or through others. " Goethe."*
1798 and 1799 were naturally not very
fruitful in work, the times being too dis-

1 This is the " Cupid Drying Psyche's Tears," to which
Sternberg gives such praise.
2 " It is not necessary to remind you that these words
do not apply to the Dessau country. The Luiseum in
which the painting is kept is for the rest in a garden.
Such a background cannot impair its beauty." — Extract
from Professor von Gebhardt' s -letter to the compiler.
' So far as is known this is the last of the Goethe
correspondence. Two significant circumstances are
worth noticing in this matter : one that Rossi makes
no mention of the Goethe friendship; the other, that
in her will Angehca is equally reticent, leaving no token
to her once dear friend. X

3o6 Angelica Kauffmann.
turbed for any settled employment. Already
foreign troops were filling the city, and rough
soldiers were billeted in every household.
The idea of such guests being introduced
into her quiet home was in itself a tor- .
ture to a mind like Angelica's. She had,
however, friends in high quarters ready to
interest themselves for her, and the leader
of the French army. General Espinasse,
showed himself in every way desirous of
paying honour to so distinguished a woman.
He gave a written order, by which she was
exempt from all such visitors or imposts.
In return for this act of courtesy, Angelica
presented the General with his portrait.
She also painted another distinguished
officer of the French army, taking care to
place him standing amidst some old ruins,
as a reminder of the antiquity of Rome.
Being left undisturbed in her studio,
Angelica occupied herself unceasingly ; not
that large orders came to her. Still she
had a multiplicity of smaller commissions.
Amongst these was " Ariadne holding the
Thread of the Labyrinth to Theseus ; " a

Last Years. 307
subject she treated very gracefully. For the
Countess of Solms she painted a charming
subject taken from " Osslan."
In consequence of her necessities * she was
obliged (and to a spirit like hers this must
have been her hardest trial) to have recourse
to her friends for pecuniary assistance.
From^a letter written at this period to her
kind patron, Mr. Forbes, we find her asking
for advances on the unfinished picture of
" Religion." "October, 1799.
" All these circumstances, my much-
honoured and respected friend, to which a
total suspension in the art I profess, must be
added, induce me to a boldness unusual to
me. " When you honoured me with your
commands respecting the picture of
' Religion,' you generously offered me half
^ Writing to a friend, she says : — " I have suffered
nothing in my person, but there was no want of dis
tresses of all kinds and the prospect is gloomy beyond
expression : the losses I have sustained are considerable
and at a time of life when I hoped to enjoy comfort and
ease." X 2

3o8 Angelica Kauffmann.
its amount, which I then declined, and told
you how much I wished my situation
was such that it might only be given and
received as a pledge of my esteem and
friendship, and that no money might be
mentioned ; nor do I forget your kind reply ;
but I could not bring myself to accept it,
having at that time several commissions for
pictures from Germany, but the unfortunate
war In which that country has also been
overwhelraed, has occasioned a suspension of
these orders, and I have therefore given all
ray time and attention to your picture, and I
flatter myself have, by frequent renewed
touches, brought it to a greater perfection
than I once thought of: indeed, I have the
satisfaction to hear it approved by all who
see it, and that even the French generals
have bowed before ' Religion.' Oh ! how I
do long for peace, that I may send * you your
' " Religion," with five others, reached Mr. Forbes in
1802. See catalogue.
From the engraving by Burke one can see how
crowded the canvas is with figures. " Religion," a hard-
featured woman, seated on a throne, is surrounded by
her attendant maidens. Faith, Hope, and Charity. They
have all Greek profiles. Hope has her anchor, Faith
has her arms crossed on her breast, while Charity

Last Years. 309
picture, and when you see it, I flatter myself
'it will give you satisfaction, I was delighted
with the subject, and most sincerely respect
the friend who honoured me with tbe com
mission. " Angelica Kauffmann."
At one. moment a gleam of hope promising
peace came to the harassed minds of those
living in the shadow of those troublous days.
During this pause a few strangers came
once raore to Rome ; bold travellers, who
ventured to cross the Alps for a sight of the
great city beyond, "
Amongst these was Lord Montgomery and
his friend Colonel Macdonald. Both of these
were painted by Angelica in their national
costume. For some time Angelica had been revolv-
sprawls on the ground, embracing a small family of naked
children. " The inspiration," says Miss Thackeray, in " Miss
Angel," " is something like the apotheosis of Madame
Tussaud, and yet a certain harmony redeems it."
Waagen says it displays warm colouring and careful
execution. After Mr. Forbes's death the picture was presented by
his widow to the National Gallery. Up to 1870 it
hung on the walls of that institution, but it is now in the
cellars !

3 ID Angelica Kauffmann.
ing in her mind the idea of presenting her
native canton with a picture by her own
hand. In 1800 she fulfilled this cherished
scheme, and executed for the parish church
of Schwartzenberg* a large canvas of the
" Blessed Virgin crownedby the Three Persons
of the Blessed Trinity." She was so much
impressed by the magnitude of the concep
tion, and the difficulty, above all, of portray
ing the Almighty, that she often wished she
could throw a veil over the head and so conceal
the features.
This year, too, she painted that very
charming picture, " Omnia Vanitas " : a
young girl, tired with gathering flowers,
sits down to rest upon a newly-made monu
ment, upon which is this inscription : —
"All is vanity."
The maiden drops her flowers, which lie
scattered around. Also " Corlolanus in the
midst of his Family " was begun this year.
It was during the completion of this work
that she was attacked by a severe illness. It
' Schwartenzberg was her father's native canton ; it
niust be supposed she considered it the home of her
kinsfolk.

Last Years. ' 311
was of a pulmonary nature, and although she
recovered from it, her lungs and breathing
were seriously affected. Work for a time
was forbidden by her doctors, who strongly
recommended a complete change of air and
manner of life. Although it was a hard
struggle, Angelica followed this advice, and
tore herself away from her beloved easel and
a circle of devoted friends. Accorapanied
by Johann Kauffmann, her cousin, she left
Rome in July, 1800, and went to Florence,
from whence she undertook a still longer
journey to Bologna and Milan.
It was now nearly twenty years since she
had left Rome for more than a few weeks.
The change was most beneficial to her, re
newing her youth and strengthening her
body. Everywhere she was treated with
the greatest distinction, the highest person
ages vieing with one another in doing her
honour. From Milan she went to Como,
Here Johann Kauffmann left her, going to
pay a short visit to his - relations . in the
Bregenz. Angelica had not been in Como
since her childhood, when she had painted
the Cardinal Bishop Nevroni.

312' Angelica Kauffmann.
Writing now in the sere and yellow leaf of
her old age, she says : —
" You ask me why I care for Como. It
was here that in my childish days I ex
perienced the first joys of life ; there I saw
for the first time magnificent palaces, villas,
and a splendid theatre. It was. like paradise
to me. There, too, I saw Love pointing his
arrows at me, but in my innocence and un
consciousness I turned aside and evaded the
dart." This passage would appear to hint at some
youthful attachment. Oppermann, however,
says this is an error, and it would seem mani
festly one, as the young heroine was barely
fourteen. Nevertheless, in the same letter
from which I have just quoted, she goes on :
" Many years after, I was led by Fate back
to this charming spot. I enjoyed to the
fullest the pleasures of my ripened years. I
enjoyed the society of friends ; I breathed
again the breezes of the immortal lake.
" One day, wandering with some chosen
companions through the delightful woods
belonging to a friend's villa, in a shady spot
I came once more upon Love. He was

Last Years. 313
asleep ; I drew near to him ; he awoke and
smiled in a friendly manner at me. He re
cognized me — albeit time had silvered my
golden hair.
, " Suddenly he rose, mischievously de
termined to revenge the slight he had re
ceived from me in my early years. He
pursued me, and, taking deliberate aim,
threw his arrow at me ; I had all the trouble
in the world to escape the dart,"
It is not quite easy to understand this allu
sion, and Rossi makes no effort at explaining
it. Ill-natured people did talk of an attach
ment between her and her cousin Johann ; but
he was at Bregenz during her stay at Como.
From Como Angelica made her way to
Venice, where she wished once more to see
her husband's relations, whose kindness to
her at the time of her father's death she had
never forgotten. She had in particular a
great esteem for her brother-in-law Joseph,
who had collected art mementoes of her life.
After twelve days' stay in Venice, she re
turned to Florence by Padua and Bologna,
thence to Perugia, where she was the
honoured guest of Cardinal Cesari, and on

314 Angelica Kauffmann.
the 30th of October was once more in
Rome. Her friends made a festival of her arrival,
giving parties in her honour ; and the pleasure
of being so welcome was very dear to
Angelica's heart. At this moment of her life
she seems to have been really happy. From
Schwartzenberg, where her coronation picture
had arrived, she received an account of the
reception given to her present. Such crowds
had come from all parts to see it, that the
pastor had erected a temple for it outside the
church, where the multitude could behold it.
Here is a letter which is full of that kind
ness of heart which was one of Angelica's dis
tinguishing characteristics. It is written to
her cousin Casimir's son, to whom she left
her sketches and drawings later, together
with some of her letters.* " Rome, 29, 1 801,
" Much Beloved Cousin, — I thank you
from my heart for your letter, which I
received with pleasure ; your good conduct
' These were nearly all sold in London,

Last Years. 315
and diligence in your trade has at all times
given me joy. I hope that you will always
continue striving to turn to account the years
of your youth, applying yourself perse-
verlngly to all raatters connected with your
business, and that you will specially seek to
fulfil, to the best of your power, your duty
towards God, from whora we derive our
being and from whom we receive everything ;
as also your duty towards your parents. He
who turns to good account the years of his
youth, will, in his old age, enjoy its fruits.
The present times are unhappily very
dangerous for those who have little experi
ence ; one must commend oneself to God
and seek association with good and pious
men, and avoid idleness as much as possible
by the reading of good books, such as serve
to educate the heart and intellect, and teach
scientifically ; and in this matter the advice
of a righteous man is very necessary, for
how many have been deluded by the writings
of the philosophers of our day. I do not
doubt that you will strive to attain perfection
in your trade as much as possible.

3i6 Angelica Kauffmann.
" Cousin Johann will add some lines.
Herewith I conclude with the assurance that
I shall at all times take the greatest interest
in your welfare. God give you his blessing.
." I remain, your devoted cousin,
"Angelica Kauffmann,
" P.S.' — From a letter of your good father.
Cousin Casimir, which I have recently
received, I learn that he is convalescent, at
which I heartily rejoice."
Immediately on her return, Angelica had
resumed her beloved art, and with intense
joy found that the cunning of her hand had
not deserted her. She finished "Corlolanus,"
which had been interrupted by her illness,
and soon sitters began to crowd into her
studio as of old. At this moment the devout
King of Sardinia, Charles Emmanuel, and his
excellent consort happened to be in Rome.
The queen, hearing of Angelica's talent and
devotion, asked to be allowed to visit her
studio, an honour which much gratified the
artist. In this year, too, she made the ac
quaintance of Canova, who executed from her
designs some exquisite " Cupids " in bas relief

Last Years. 317
These peaceful days were, however, to be
again interrupted. The eighteenth century
had run its course, and the nineteenth was
ushered in with a fresh outburst of war. A
new conqueror. had arisen. Already the cannon
of Toulon had filled the astonished world with
Napoleon's name. Victory followed victory.
Trumpets blew, drums beat, standards waved
over battle-fields. Armies of soldiers filled
the streets and market-places of every town
on the Continent of Europe. The Alps were
echoing with the cry of battle ; a thousand
voices took up the cry along the Italian frontier.
In Rome, all was in confusion ; Canova fled,
taking with him the three "Naked Sisters," the
little frozen " Cupids," and his poor wounded
" Psyche," all his dear children, his entire
marble family. Statues were wandering in
every direction, paintings and frescoes
changing places. The " Venus de Medici "
travelled to Paris, and greeted, with a curve
of her lovely Grecian mouth, the Alexander
of the nineteenth century.
Poor Angelica! this new outbreak shat
tered her already weakened nerves. Again
was her»income diminished, her credit in

3i8 Angelica Kauffmann.
England Interrupted. It was a cruel blow
in her feeble condition and advancing years.
Still she struggled bravely on. Despite
harassing care and ill-health she worked
through 1803, 1804, and even 1805, when
her health mended and she was back at her
easel. Her spirits revived, her strength
returned, as is shown in the following
letter :^— "Albano, 20th Sept., 1806.*
" Much Respected Friend, — Before this
reaches you Mr. Bonomi, to whom I wrote
this month, I hope, according to my request,
has informed you that I have in due time
received your obliging favour.
" I find myself in this delightful place since
August 20th last. This change of air was
necessary for the better restoration of my
health, which has suffered so much by the
long, lastiiig rheumatic pains suffered in my
breast, but now, thank God, the air has been
so beneficial to me that all my complaints
are vanished and my spirits recovered.
1 This may have been addressed to Mr. Bowles of
Wanstead.

Last Years. 3 1 9
" I hope this will find you and all those
dear to you in good health. Remember me
to them most affectionately. All hopes of
peace are, I fear, vanished. I am sorry for
it, for many reasons. The picture was and
is ready for exportation. I shall remain in
this place all this month, if the weather
continues good, and perhaps part, of the
next. The situation is beautiful, but we are
now and then visited with some shocks of an
earthquake, which have done considerable
damage in most of the neighbouring places.
Here they were not very sensible, thank
God ! I should have been much alarmed.
" Pardon me for being thus tedious to you
before I conclude, repeating my sincerest,
kindest, warmest thanks to you for all your
kindness, for all the attention you have for
me, which I do not know how to deserve, nor
have I words to express the -sincere attach
ment with which I am, and shall be as long
as I exist, " Yours truly obliged humble servant
and affectionate friend,
"Angelica Kauffmann."

320 Angelica Kauffmann.
But soon again she was beaten down by
fresh attacks.
Sternberg, with his usual ill- nature, declares
that she was surrounded by interested friends,
dependents and flatterers, and that these care
fully kept from her that her artistic power
was gone.
" Old age," he continues, "requires tobe
caressed, especially aged painters and poets ;
therefore, in consideration of Angelica's con
dition, these friends thought it only kind to
deceive the failing artist with imaginary
orders. Some of them were supposed to
come from France and England. This pious
fraud was most successful, Angelica, lying
on her sick bed, would seize her brush, and,
with a joyous smile upon her pale lips, com-
-plaln of this rush of commissions."
"Is there no other painter ? " she would
ask ; and the chorus of friends would answer,
" No, there is none to equal you. If you
die, art is indeed an orphan."
This is amusingly told, but on turning to
Rossi we find, like many smart things, it has
no grain of truth. He distinctly says, " From

Last Years. 321
the year 1803 Angelica neither received
nor would undertake any large order, but'
she finished some portraits, and even com
menced some fresh ones, all of strangers then
in Rome ; as, for instance, that of the Crown
Prince of Bavaria, also that of Count Pappa-
sava." She was so charmed with the beauty of
the little daughter ofthe Duke and Duchess
of Miranda, that she painted the child for
the parents who were friends of hers. It is
a lovely picture, something in the style of
Sir Joshua Reynolds. The last work un
dertaken by her was a charming " Magda
lene " for Count Pezzoli of Bergamo, which
was engraved on copper by Folo, Consider
ing the extreme weakness of her health and
her reduced condition, this is a wonderful
piece of work, the same lightness of touch
and brilliancy of colouring which was her
attraction in her youthful days.
An excursion made into the country about
this time seems to have benefited her. She
writes in her old charming style to a friend
in England, probably Mr. Forbes : —

32 2 Angelica Kauffmann.
" My kindest and warmest thanks have
this time been longer delayed on account of
a little excursion made into the country, I
passed near three weeks at Tivoli, about
twenty miles from Rome, a charming place,
so much sung, and praised by Horace, where
he had his villa, of which, however, little or
nothing remains. More is yet to be seen of
the villa of Maecenas and the villa Adriana
and some others, but destructive Time has
reduced all to the pleasure of imagination —
perhaps a melancholy pleasure, to see only
poor remains of the greatest magnificence.
Oh ! that you, my friend, could see this place,
or that I could once more have the happiness
to see you in dear England, to which my
heart is so much attached, and where I
should once more see you, my worthy friend,
with the greatest joy. Too happy should I
think myself to be the bearer of the picture
I had the pleasure of executing for you. In
peaceable times it would not, perhaps, have
been amongst the impossible things; could
I, however, find in the meantime a safe
opportunity of getting it conveyed to you, I

Last Years. 323
shall certainly not lose it, as I long you
should have at least this token of my grati
tude for the many and numberless obliga
tions for all the favours you continue to
bestow on me. It makes me very happy
that you and all your family are well. Be so
kind as to remember me to them in the most
respectful manner.
" I beg. for the continuance of your friend
ship, and have the honour to be with the
greatest esteem and gratitude,
" Your most obliged humble servant
and friend,
" Angelica Kauffmann."
The year 1807 showed a great dirainution
of strength. The author of" A Dead Man's
Diary," who was in Rome that year, mentions
seeing her drive along the Corso, and being in
troduced to her. Although aged and ill, she
was full of charm. She was called, he says,
" The Mother of the Arts." Soon, however,
the malady gaining on her, she was unable to
leave her bed. The deepest melancholy took
possession of her, in spite of her efforts to
Y 2

324 Angelica Kauffmann,
appear cheerful, by which amongst her friends
she succeeded in gaining some appearance of
gaiety. She would make them play games,*
and evinced the greatest interest in all their
pursuits. Still it was evident how much this
struggle cost her. In these last days she
occupied herself in going through her papers,
and burning those she did not wish should
fall into strange hands. When this was
done, she arranged all her affairs, and made
presents to many of those who visited her,
and were kind to her.
By the end of the summer her weakness
had increased so much, that she could not
leave her bed. Her face was like that of a
corpse ; her eyes alone retained something of
their former brightness. Her friends were
devoted to her, and to humour her fancy not
to be left alone, her visitors would come
for the day, and carry on their occupations
in an adjoining room. One at a time would
sit with her, and she had always something
kind to say, an expression of gratitude or
' M. Seroux d'Agincourt lived near to her, and
visited her constantly in her last illness.

Last Years. 325
affection on her lips. In October, her ill
ness taking a most serious turn, there was no
longer a shade of hope. She received the
last Sacraments, and from that time took
farewell of the world, her only consolation
being the visits of her spiritual adviser.
Some of her friends, fearing that the minis
trations of this priest, who was rather
of the rough-and-ready order, were not
suited to a person in her weak condition,
tried to induce her to have one of the monks
whose especial office it was to attend the
dying. " No," said the sick woman, " my
good pastor would be hurt if I sent for
another, and it would be a bad return for his
goodness to me."
On the 5th November, her cousin Johann *
was sitting by her bedside. She asked him to
read her one of Gellert's " Hymns for the
Sick." By some mistake he began one of the
hymns for the dying, but this choice did
not please her ; either she preferred the
other, which breathed a more Christian
spirit, or a spark of hope still lingered in
* Anton Johann Kauffmann.

326 Angelica Kauffmann.
her breast. She interrupted him quickly :
" No, Johann," she said, " I will not hear that.
Read me the ' Hymn for the Sick,' on page
128," Her cousin sought the place, found
the desired hymn, and began to read. But
after a few moments he found that Angelica
had passed peacefully away, without a
sigh or pain. She was sixty-six years of
age. There was general mourning in Rome
when the news was known, and the desire to
do honour to the artist who had passed
from amongst them was universally felt by
all. A funeral service was organized, con
ducted in the manner by which in the golden
days Rome delighted to glorify art. The
architect, Uggieri ; the sculptor, Albaggini,
and her cousin Johann undertook the ar
rangements, which were of a most splendid
character. It took place on November 7th,
in the Church of Sant' Andrea delle Fratte.
Canova received the invited guests^ who
were of the highest rank. The Brothers of
St. Luke, and the virtuosi of the Academies
of Science and Art, walked in the procession,

Last Years. 327
which was swelled by every one of rank and
distinction then in Rome. Canova and
Pazetti (directors of the French and Portu
guese Academies), Le Thiere and Le Rossi
carried tbe coffin.
In the church the scene was most impos
ing. Two of her pictures, religious in
subject, were placed on each side of the
altar, and, in the centre, her bust in Carrara
marble, the work of Canova, only finished
a month before her death. Her body, by her
own especial desire, was laid next to that of
her husband in the smaller chapel. Over
the grave, Johann Kauffmann and her heirs
erected a handsome monument with the
following inscriptions : —

Antonius. Petrus. Franc, f. Zucchius.
Venetus. in, Deum. Amore. in. Pauperes.
Picturae. Laude. concelebratus.
H. S. E.
Vix. A. 69. M. 7. D. 26. ob. VII. Kal. Jan.
ab. orbe. servato. 1795.
Angelica. Kauffmann.
Lachrymis. et. tristitiae. damnata. Marito.
dulcissimo. et. benignissimo,
contra, votum. pofuit.

328 Angelica Kattffmann.
H. S. E.
Angelica. Joannis. Josephi. f. Kauffmann.
Domo. Schwarzenbergio.
Cui. summa. Picturae. Laus.
Cenotaphium. in. Aede. Panthei. pro-
meruit. sed. ipsa. se. in. hoc. Monumen
to. quod. Antonio. Zucchio. posuerat.
inferri. jussit.
ut. cum. Viro. concordissimo.
post, funus. etiam. habitaret.
Annos. nata. 66. dies. 6.
obiit. Romae. Non. Nov. 1807.
Ave. Mulier. optima, et. vale. in. pace.

A year later, her bust, executed by Peter
Kauffmann, was placed with all ceremonial
and honour in the Pantheon,
Nothing could prove more distinctly the
sweetness of her disposition, and the
generosity of her mind, than the provisions
of her will, which were of the most just
character. No one was forgotten; her
servants were well remembered ; * so were
the poor.
To her cousin, Rosa Bonomi, wife to the
' To her maid, Maria Pericoli, who had served her
thirteen years, she left one thousand silver thalers, the
bedstead she used, and all belonging to it, as also her
entire wardrobe.

Last Years. 329
architect, then living in London, and with
whom she had kept up constant relations,
she bequeathed all her money standing in the
English funds, amounting to five thousand
pounds, besides the best of her jewels and
plate.* Her remaining capital of three thou
sand pounds she devised to her cousins
Johann and Casimir Kauffmann, who were
with her at the time of her death, together
with her pictures, furniture, etc. To her
relations in Schwartzenberg she left seven
hundred pounds. To her husband's family
she bequeathed, with' many kind words,
several remembrances, together with all
Antonio's plate, pictures, and everything
which had come to her through him. All
that was left in her studio of unfinished
pictures, etc., she desired might be sold,

' The jewels consisted of some fine pearls, seven rows
for bracelets, the clasps being miniatures set in brillianis
of her father and husband ; a diamond ornament for
the head ; and earrings of fine brilliants, clasps of dia
monds; a necklet of fine brilliants; two emerald and
diamond rings. Also a tea service of silver and silver tea-
chest with a Chinese man on the lid." — From the Will,

330 Angelica Kauffmann.
and the proceeds distributed amongst the
poor- As she lived, so she died ; even her
enemy Sternberg calls her " a sweet creature
— her very faults were lovable — and she,
was above all, most womanly."
Letter from Signor Joseph Bonomi} to George
Bowles, Esq., of Wanstead Manor.
" Dear Sir, — This morning I received a
letter from my correspondent in Rome, Dr.
M. A. Borsi, concerning the death of Mrs.
Angelica Kauffmann, which I shall transcribe
word for word.
" ' Dear Sir, — What I foresaw for some
time, after twenty days' confinement to bed,
with the greatest tranquillity of spirit, always
present to herself, having twice received the
blessed Sacrament, and two days before
Extreme Unction, perfectly resigned, coura
geously met the death of the just Thursday
last, 5th instant, at half-past two, the great
woman, the always illustrious, holy, and
most pious Mrs. Angelica Kauffmann.
' The original spelling and construction are preserved.

Last Years. 331
" ' I shudder in acquainting you with such
unfortunate news, knowing the grief it will
cause to you and Mrs. Bonomi. I shall now
relate the particulars of her illness and
funeral. During her severe illness, her
numerous friends did what they could to
restore her, and everyone was grieved in
apprehension of losing her. You may easily
believe, more than I can express, how much
their grief increased at her death, I only,
therefore, shall mention that they vied with
each other in endeavouring to perform the
last duties in the most decorous obsequies
celebrated this morning in the Church of S,
Andrea delle Fratte, conducted by Canova
and other virtuosi friends. The church was
decorated as is customary for nobles. At
ten o'clock in the morning the corpse was
accompanied to the church by two very
numerous brotherhoods, fifty capuchins and
fifty priests. The bier was carried by some
of the brotherhood, but the four corners of
the pall by four young ladies properly
dressed for the occasion. The four tassels
were held by four first Gentlemen of the
Academy; these were followed by the rest

332 Angelica Kauffmann.
of the academicians, and virtuosi, who
carried in triumph two of her pictures, and
everyone had wax tapers lighted.'
" This is the melancholy account I thought
it ray duty to transmit to you as one of her
most intimate friends. I shall take the first
opportunity of communicating to you any
further intelligence I may receive on the
subject. " I have the honour to be,
" Dear sir,
" Your obedient, humble servant,
"Joseph Bonoml"
1808,
" At the general assembly of Academicians,
the President announced the demise of a
celebrated member of the body, Mrs. Ange
lica Kauffmann, Her name was then taken
off the roll ofthe Academy."
Extract of a letter from Johann Kauffmann,
dated Rome, November i2,th, 1808, to
Madame Bonomi.
" In these days is celebrated in the church
of the Rotunda (Pantheon) the anniversary

Last Years. 333
of our Cousin Angelica, and her bust will be
placed as suggested by your late husband,
A memorial marble will also be erected in
St. Andrea delle Fratte with an inscription.
A similar one, but of greater expense, is
actually executing in her own country, with
every function suitable to the occasion. Here,
likewise, a magnificent requiem has been
made with about two hundred Holy Masses
in suffrage of her soul, besides many other
things performed in her honour, so that since
the death of Raphael Urbino till now a
similar funeral has not been made at Rome.
"On Thursday, 29th November, 1808, the
marble bust * in the Pantheon was uncovered.
1 A writer in the Athenceum, 13th March, 1880, who
had visited Schwartzenberg, speaks of the bust set up to
her honour in the church : —
"It is a medallion bust of Italian workmanship in
marble. Below is an inscription of which I send you a
copy. " The words of the inscription are most curiously run
together, but, I believe, are correctly copied : —
" Deredlenam V. Nov. mdcccvii. Im lxvi jahre ihres
alters in Rom Gestorben Frau Angelica Kauffmann Der
Ersteninder Mahlerkunst der Grossen Wohlthaeterinder
Armen Und Kirche zu Schwartzenberg, der Zierde
ihres Vaterland des Zum steten Andenken Von ihren
Freunden under Bendank voUstgewidmet, den xii. Jun-',
MDCCCIX.

334 Angelica Kauffmann.
On this occasion a solemn funeral service
was celebrated, at which the academicians of
St. Luke assisted.

" Sie war als Mensch als Christ
Als Kunstler gross ane Erden
Willst du Hie, und dort, dirund
Andern nutzlich Werden ?
Wie sie Ehre Ruhm Reichtum
Ruh Vergniigen haben ?
Schaetze Tugend, Benutz Talent
Des Schopfers gaben."
Translation.
To Angelica Kauffmann, who departed this life in
Rome in the year 1807, and in the sixty-sixth year of her
age. She was an ornament to her Fatherland ; the first of
artists, a benefactress to the poor and to the church
at Schwartzenberg. This monument has been raised to
her memoiy by her friends on June xn., mdcccix.
She was great as a woman, a Christian, an artist.
Would'st thou thyself and others serve,
Would'st thou Honour, Fame, and Peace deserve.
Then must thou Virtue prize.
And use the talents God provides.

CRITICISMS BY HER CONTEMPO
RARIES AND WRITERS OF
THE PRESENT DAY.
Gering says : —
" Her discretion, which is the parent of all
merit, was extraordinary, and this, together
with the peculiar blending of her colours,
raised this artist to a high place. In all her
pictures there is made evident the workings
of a tender soul."
Nagler says : —
"The tenderness and amiability of Angelica,
which tinged her work with a certain softness
and tenderness which was most pleasing, to
gether with the facility and certainty of her
method of painting, caused her historical
pictures to be most popular, especially
amongst the English. In portraits she at
tained a well-deserved reputation, as she not
alone made an excellent likeness, but also
gave the mind and character of the sitter.

33^ Angelica Kauffmann.
Her portrait of Winckelmann is a proof of
this. Her subjects are always well-chosen,
and her figures marked by dignity and grace ;
this last applies especially to her women.
Her men are timid-looking fellows,
" Heroes and dramatic situations being
alike foreign to her gentle nature, she was
unable to depict them. Nevertheless,
Angelica, together with Mengs and Fliger,
must not be judged by the present day
standard. She appeared at a moment when
all was dark in the horizon of art, as a mes
senger of better times that were at hand,
and if she herself failed in accomplishing all
she might have done, so did the two before-
named artists. She is blamed for a certain
incorrectness in the outlines, monotony in
her backgrounds, and for the use of too bril
liant colours." — Nagler^ s Kunstler- Lexicon.
Sternberg, her hardest critic, acknowledges
" that she had a sweet nature but a feeble
talent. Her reputation never could have
risen to the" level of a national artist, it was
confined to drawing-room coteries ; and such
fame as she attained was due to the vanity

Critical Notices. 337
of the amateurs amongst whom she lived, far
more than to any artistic merit she possessed.
From England her trumpet was blown most
loudly, and there her patrons filled their
houses with her pictures. Everyone knowS'
however, that in matters of art this little
Island has no claim to be listened to."
Goethe pronounces decidedly in her favour,
" Her paintings are full of thought, beautiful
in form, composition and colour, and their
treatment is excellent. These are the prin
cipal characteristics of this artist, whom no
living painter can approach in taste and light
ness of touch." He adds : " For a woman
she has a really wonderful talent, and one
must judge her by her success, not by her
failures, for how few artists would stand the
test, if one takes into account their failures or
shortcomings ? "
Herder, in his Kunst Literatur, speaks
highly of Angelica's talent. The article
should be read for its clear definition of the
Grecian forms of art. "How can we suffi
ciently admire," he says, " the beauty of their
figures — how body and soul seem to unite in
Z

338 Angelica Kauffmann.
perfect harmony without one discordant note ;
and where there is more than one figure,
how perfect is the attitude of both ; how they
look at one another ; how they listen to one
another ; persuasion dwells upon their lips,
although no word issues from their mouths.
When their hands touch their soft arms inter
twine and their eyes meet : what sweet
harmony directs every motion. I have never
seen a group, such as 'Orestes and Pylades,'
or ' Orestes and Electra,' without observing
this tender union which exists between each
figure. So it is with the few paintings left
of their work, and also in the numerous basso
relievos which adorned every Greek dwelling-
house. There we find that repose which is
so wanting in the tumultuous compositions of
our days, Raphael imbibed much of this
spirit, and Mengs shows somewhat of it in
his picture of ' Jupiter and Ganymede,' In
Angelica's compositions, too, there is an effort
to attain this harmony. Her men and women
have this innate moral grace ; her young men
are more like Genii walking this earth ; a
savage even becomes gentle in her hands.

Critical Notices. 339
So far as a pure and innocent mind may, she
has gone to the depths of humanity, and her
fine intelligence has so arranged the whole
as to develop each portion like a growing
flower," — Kunst Literatur, vol. vii.
Waagen in his " Treasures of Art," while
giving a side thrust at her sentimentalities,
speaks of the warmth of her colouring and
careful execution.
A French critic says : " Her heads have
much of the majesty and divinity of Guido,
with a mixture of the light school of Albano
and Correggio. She was capable of express
ing all the elevated and tender passions.
"An examination of her style, however,
obliges us to acknowledge that there is a lack
of energy underlying her elegance and no
bility of thought, and therefore it is that she
always avoided any strong or terrible situa
tions, in depicting which she would have
utterly failed. In subjects of domestic
interest, calm and not heroic, she is at her
best, that Is to say, full of tenderness and
inexpressible grace. Her exaggeration in
colouring was greatly modified during her
z 2

340 Angelica Kauffmann.
residence abroad ; and, in her later pictures,
her style is broader, less brilliant and more
vigorous. Her touch was large, her know
ledge great, and she possessed in a high
degree a feeling of the picturesque as also
of the art of grouping, having acquired a
habit of seizing the best attitudes in which
to place her models. She arranged her
draperies with such consummate art that, as
one of her admirers remarked, 'Your'figures
could walk without disarranging their
garments.' " — Biographie Nouvelle.
A writer in the Art Journal s^.-^^ : —
" She was a woman, and therefore an
optimist ; she believed in the possibility of
regenerating art, and, womanlike, she would
be satisfied with nothing but the highest
motives, and loftiest aims. There was to be
no truckling to expediency, no half-hearted
compromises with indifference and a public
taste, which has gone to the bad. High art,
art of the highest, was her model," He,
however, adds some strong words of criticism,
principally directed against her colouring,
which has " a tendency to vinous tones, which
is often unpleasant."

Critical Notices. 341
Anthony Pasquin says : " That connecting
her beauty with her knowledge, and her
sweet disposition with both, she was, perhaps,
the most fascinating woman in Europe."
Seguier gives a lengthened notice, the gist
of which is that Angelica Kauffmann loved
to make a composition of her portraits, and
this she did remarkably well. The figures are
generally about three feet high, and when the
subject is an interior the children are generally
represented naked or as cupids. One great
point of beauty is the grace of the attitudes
and the care she bestowed upon the hands.
He adds, "In her faces she has the man
nerism of bringing the nose and chin too near
together." Miss Charlotte Knight, the authoress of
" Dinarbas," and whose memoirs are such
pleasant reading, gives a charming picture of
the artist, whom she classes amongst those
who have ennobled the profession, and whose
works are intended not merely to please the
eye, but to elevate the mind, " She was great
as an artist, engaging and amiable as a woman.
In her house, her garden, her domestic estab
lishment, all was most proper and unostenta^

342 Angelica Kauffmann.
tious. Her choice of books was excellent, and
with her all was harmony and grace."
A writer in the Dictionary of National Bio
graphy suggests that her personal attractions
partly account for the exaggerated praise
showered on her art by her contemporaries.
This view, although it is somewhat un
sympathetic, seems to have been in a measure
the true one, with this difference, it was not
Angelica's charms, for she was not beautiful,
but it was her personality that had to do
largely with her success. It was that strange
complex nature of hers, a mixture of simplicity,
goodness, shrewdness, deep thought, infinite
tenderness, and childlike gaiety ; artistic aims,
and homely affections : all these combined
to make up an amount of fascination which
worked as a spell upon all who came under
its influence, and blinded the clearer judg
ment of those who should have corrected, by
judicious criticism, the glaring faults which
disfigure her artistic productions. We can in
no other way account for the infatuation (for
we can call it by no other word) which in
duced Mr. George Bowles, of Wanstead,
Lord Exeter, Mr. Parker, of Saltram, Mr.

Critical Notices. 343
Forbes, and others, to fill their houses with
her enormous canvases. It seems as if they
could not have enough of them. This, too,
at a moment when the matchless works of
such artists as Gainsborough, Romney, Rey
nolds, were to be had for almost the same,
perhaps less money. It must be owned that
the descendants of Angelica's admirers have
some cause to grumble.
That the present century should have re
versed the judgment of the last is only
natural, for to us her pictures are somewhat
uninteresting, reproducing, as most of them
do, the fables of ancient mythology, the taste
for which had died out even in her day. The
result of Count Calonne's sale of Angelica's
pictures in 1825 marked the decadence, and
the Bowles-Rushout sale in 1879 was con
clusive as, to the estimation set upon her best
work. Angelica has been dethroned from
her position as popular idol, perhaps with a
precipitancy that will ultimately produce a
reaction, of which indeed signs are not want
ing. At every sale there is fierce competition
for Bartolozzi's mezzotints, and who can tell
when an equally strong desire may grow up

344 Angelica Kauffmann.
for the original pictures by Angelica. Her
earlier works have a freshness quite delight
ful ; the composition, too, is graceful ; but the
colour, that dull red, is decidedly crude and
disagreeable. For the moment, however, any effort at
just criticism of her paintings would be more
than useless. The fin de siecle is realistic,
not to say matter of fact : criticism is, as it
should be, hard, and to the point, and little
or no allowance is made for sentiment ;
whereas, in Angelica's time, it was all senti
ment ; there was a cloud of romance floating
in the air, men fought for a lady's flower or
ribbon, if she dropped it ; cupids were the
fashion, so, too, was the gift of tears. Women
wept prettily (an art now forgotten) over every
trifle, from the sorrows of Clarissa Harlowe,
to a dead bullfinch ; the magazines of the day
were filled with maudlin verses sickening to
read. If we reflect, it is easy to understand
how this strained sentiment came about.
Making due allowance for the exceptional
and pre-eminent powers of Hogarth, English
art had been, for more than a century,

Critical Notices. 345
singularly barren of -anything approaching to
what might be termed artistic feeling. "It
was," says a well-known writer, "nakedly
and narrowly Protestant ; it hadn't even the
relaxation of a good historical painter, who
may, if he be a man of thought and purpose,
infuse a spirit alraost religious into his work."
From the time of Charles II. there had been
cold realism-, and now, under the Georges,
romance was fashionable. Angelica was,
therefore, in keeping with the generation in
which she lived. She was not a whit too sen
timental for the sentimentalists, and we must,
or we ought, to take this into account, when
judging her work. Likewise, it may be, that
we of this century are going a little too far
in the opposite direction. Is it not the case
that we are losing touch of those delicate
perceptions which should underlie all art
criticism ? Technical skill, form, colour are
excellent qualities in a picture, but should
there not be feeling as well — feeling that
should stop short of sentimentalism ; but sen
timent, a certain phase of fervid balmy deli
cacy of emotion, this is a natural development,

346 Angelica Kauffmann.
and should accompany ' every true artistic
effort, and when present should merit appro
bation, albeit it be accompanied by faults
which mar the general effect.
Those who appreciate this sweetest quality
can find much to adraire in Angelica's work,
in the colour, in the grouping, and in that
indescribable charm which she herself pos
sessed, and which she infused into most of
her pictures. Over such judges as these last
she still holds her sway. To them the feel
ing which underlies the ill-drawn shepherds
and shepherdesses of Arcadia compensates,
in a measure, for the lapses in technical skill:
they see the soul of the woman shining
through the picture ; they mark the elevated
tone, and they honour her effort, although
they cannot but blame its execution.
These men are, however, idealogists ; in
the strong array of critics we raeet but few
of them. It must be owned they would be
unsafe guides to our young artists, to whom
nothing could be more fatal than the develop
ment of a sentimental school. Still, it should
never be forgotten that the proper aim of all

Critical Notices . 34 7
art is to elevate the mind. That Angelica's
aim was a high one, that she failed in giving
it always effect, was due to a multiplicity of
causes, some of them beyond her control.
That she was aware of her shortcomings is
certain, and that she strove to cover her de
ficiencies by overcrowding her canvas, and
so heaping fault upon fault, was an error in
judgment much to be deplored ; that she like
wise was injudicious in selecting historical
subjects is evident : she possessed neither the
technical knowledge necessary for grouping
a crowd of figures, nor the grasp of mind
for seizing the most dramatic point in the
situation ; hence her inability to impress the
spectator, who sees a confused mass of arms
and legs, to say nothing of the difficulty of
discriminating the sexes by the test of facial
contour and energy.
Some of her smaller classical pieces are
better drawn, and the difference between men
and women more clearly defined. Thus,
Telemachus at the Court of Menelaus is a
most pleasing picture ; the attitude of the son,
who hears for the first time of his father's

348 Angelica Kauffmann.
supposed death, is full of pathos. There is
much dignity in the figure of Menelaus, while
Helen, who advances to console the sorrowing
youth. is perfectly charming; it will be noticed
that the burden here falls upon the three
principal figures. The same judgment must
be passed by even an adverse critic on " La
bergere des Alpes," one of Angelica's best
pictures ; here there are only two figures.
Exception may be taken to the somewhat
womanly air of Fonrose, but one loses sight
of this in looking at the delightful shepherdess,
who approaches with her flock of sheep un
seen by the disguised Marquis. Such a
dainty figure, exquisitely graceful ; there can
be no cavilling over this picture, it is admir
able in every detail. On the other hand, we
may take her large canvas of Religion as a
specimen of her at her worst. With its sprawl
ing figures of Faith, Hope and Charity, it
purports a representation of what is meant to
elevate the mind, but which is, in fact, more
likely to produce a feeble nightmare than to
raise the thoughts of the beholder heaven
wards,

Critical Notices. 3 49
These examples go to prove that Angelica
mistook her vocation when she consecrated
her brush to the delineation of classical or re
ligious subjects. Nature had intended her
for portraiture, there lay her true talent. If
she had been wise enough to cultivate this
branch of art more closely, and had not
looked upon it merely as a means of subsist
ence, to be accomplished hurriedly, and con
sequently carelessly, she might have achieved
a lasting success, and have left a reputation
akin (with a difference) to that of Reynolds.*
She had many qualifications for the task ;
imagination, sympathy, and that quick, search
ing insight into the character of the sitter
which goes to make a good artist. This
was the secret of the extraordinary success
achieved by Reynolds, and, to a certain
extent, Angelica might have followed in
his footsteps. What was said of him could
be applied to her ; that her portraits of women
^ Seguier says : " There is such a Sir Joshua Rey
nolds-like feeling about her groups as to lead us to think
that she must have studied his works very carefully, but
the reader miist not suppose she imitated him morethan
did Cosway."

350 Angelica Kauffmann.
are sometimes so charming that we, for a mo
ment, lose the familiar idea of the person in
their elevation to a muse or a goddess ; how
ever this applies to her mythological disguises,
which, to our ideas, are tiresome masquerades,
too often repeated. But there are many
portraits of hers which are graceful, carefully
executed compositions. Amongst these may
be named Mrs, Bates,* a really fine picture,
formerly in the Burghley Collection, Lady
Eardley,* as a portrait of an elderly lady, is
excellent, and there are some of her groups
of children charming in finish and delicacy.
A portrait of herself, now at Messrs. Dowdes-
well's Gallery, should be seen. It is an
admirable specimen, the face well finished,
while the soft colour of the blue strap across
her shoulder contrasts well with the brown
dress. Another portrait of herself,^ as an
Italian lady, is very rich in colour, the detail
of the dress is good, but the background too
monotonous.

^ Now in po.ssession of Mr. Messell.
" Belonging to Sir Thomas Blomefield.
^ Belonging to Mr. Bowring.

Critical Notices. 351
In her own day Angelica's portraits were
highly considered, it was the fashion to be
painted by her. The highest ladies in the land,
and the most beautiful, sat to her for their
portraits — Georgiana, Duchess of Devonshire,
Mrs, Sheridan, Lady Northwick, and Lady
Hamilton, How is it that we never see them ?
Year after year the company of the silent
dead fill the halls of the Royal Academy,
They come from all parts, these high-born
lords and ladies of the past. The lovely, the
good, the wicked, and the frail, look down
from their gilded frames upon the world of
to-day. Old friends in plenty form part of
these gatherings, Titian's grand Venetians,
Holbein's burly kings and courtiers, Lely's
wanton beauties, Hogarth's rakes and
harlots, Reynolds's ever delightful men and
women are all gathered to the show, while
the female Academician is conspicuous by
her absence. Why is this ? It seeras unjust
to exclude her from an exhibition of old
Masters, who were her contemporaries and
confreres. The present generation know
very little of her works. They should see

352 Angelica Kauffmann.
some of her best, and be allowed to judge
for themselves.
In considering the works of the artists of
the last century, nothing excites more sur
prise and admiration than the extraordinary
power of production they possessed ; it was
boundless. Pictures came from their hands as
if by machinery. A great deal was method ;
and, moreover, most of them had a school of
students who could be trusted to paint the
draperies and accessories, and forward the
middle stages of the work. In this manner
Northcote assisted Sir Joshua ; Lancret
worked for Watteau ; and Angelica, no doubt,
was helped by both the Zucchis, Hamilton
their pupil, her father, and some others.
Zucchi, describing her method of painting,
represents it as a sort of manufactory.*
" Angelica," he says, " took sketches of the
heads, and placed them afterwards in any
position she chose to select ; the draperies,
etc., were often painted by others." John
Joseph confessed to Mary Moser that he had
^ She was handsomely paid for her portraits, and was
able to maintain herself ^o^ decora. — Zucchi's MS.

Critical Notices. 353
many times copied his daughter's pictures;
and passed them off upon purchasers in the
same way. Much of the house decora
tions ascribed to her was the work of
Antonio Zucchi ; and in her later years she
was assisted by her cousins, two of whom,
Caroline and Peter Kauffmann, were studying
as artists in Rome,
If deliberate deceptions were practised
with her knowledge, it does not speak well
for her sense of what was due either to herself
or to her clients, A certain amount of help is
permissible, and it has happened that artists
of great reputation have been often them
selves defrauded. Half the pictures of the
old masters credited as originals are only in
different copies. If all the so-called Raphaels
were genuine, the painter must have had
three or four pairs of hands. Waagen says
that at the sale of the Marquis of Exeter's
collection, some years ago, scarcely one could
be allowed to take rank amongst the works of
the great masters whose names they bore in
the catalogue, and the same story repeats
itself in almost every collection that comes
A a

354 Angelica Kaiffmann.
to the hammer. It is well known that com
paratively few of George Morland's works
were by his own hand, as replicas, Mr. Red
grave tells us, were made on the spot by
artists in the pay of his employer, who set
them to work so soon as the artist left
the house. So too with Bartolozzi's en
gravings, many of which are the production
of his pupils.
Nathaniel Dance produced pictures so like
in style and colouring to Sir Joshua's that
even the best judges are deceived ; in the
matter of art mendacity is an old story.
A word must be said as to the portraits of
Angelica, painted by herself
The extraordinary number of these must
always excite surprise : it was a strange fancy
of hers to present her own features under
every possible form, as a Sibyl, a Muse, a
Vestal ; as Urania, Clio, Sappho, Una ; as
Fortitude, Hope, Charity, Innocence, etc.
Besides these masquerades (if we may so
call them) there were numerous , portraits of
her in her own character. These she gave
to friends. Usually every patron received
one.

Critical Notices. 355
It is not astonishing that this constant self:
production was set down as an over-estimation
of her own charms ; people smiled at her
evident good opinion of herself Such
glaring undisguised vanity was, however, not
in keeping with a character like hers, in
which simplicity was allied with good sense,
for to exhibit self-love so openly would be
a proof of folly. One explanation of her
apparent self-glorification lies in the well-
known fact that in the last century it was
almost impossible to get a female model to
sit ; it was not at that time considered a re
spectable or even decent calling, and women
with very little claim to either of these
appellations shrank from It. On the other
hand, such characters as Kitty Fisher and
Nelly O'Brien were inadmissible to Angelica's
studio. She was therefore, in a measure,
driven to copy from her own circle of friends *
— most frequently from herself
Considering the great difficulty of self-
' For " Hector and Andromache, nurse and child," the
models were a young married couple, friends of hers,
with their newly-born baby. Rosa Florini also sat for
different pictures, including Faith.
A a 2

356 Angelica Kauffmann.
portraiture, it must be owned she succeeded
admirably, although it may be that " her
version of herself" as Mr. Anderdon calls it,
is more beautiful than the original. 1 1 must be
remembered, however, that all painters are
permitted to Idealize the model. That she
did not always do so is clear from the portrait
of herself that she gave to her father's canton,
which has a ludicrous resemblance to one of
the heads found in a mummy case.*
Angelica's portrait has been given to us
by other hands than her own. The first we
have of her is as a child, and it must be
owned an ugly child, with too big a head ;
then we have a miniature by John Smart,
date 1 764, the year she went to Rome, and
sat at the feet of the apostle of art, Winckel
mann. She was then twenty-three, but
Smart represents her as seventeen. It is
quite a girlish face, and gives the idea of a
' The coloured copy of this picture in Rossi's edition
de luxe is a very pleasing resemblance : the hair of a
peculiar golden brown, matches the colour of the
almond-shaped eyes, the mouth is not so long ; there is
an air of courtly simplicity, the dress is charming — a
sort of coat trimmed with fur and laced with scarlet
ribands.

Critical Notices. 357
sprightly young person with a good opinion
of herself — " perky " is the word that applies
to the expression — the hair is red, and the
face fat. Dance during his love fit painted
Angelica's portrait several times : one of his
is in the Burghley collection ; and Zucchi
painted her once as Sappho conversing with
Homer. A young painter named Banks *
painted. a portrait of her, and in 1776 her
father exhibited a picture of her at the Royal
Academy — " A Charity." To judge by the
miniature copy she made of it, and which
has been lately shown in the collection of
historical miniatures, John Joseph's portrait
was a poor affair, very much of the waxen
image about it. The expression ofthe face, as
she regards the two children who are the
recipients of her maternal charity, is absolutely
nauseous.* And now we come to Sir Joshua's beautiful
portrait of her. I say portrait, although as
a matter of fact he painted her three times.
' Not Thomas Banks, R.A.
2 Mr. Tuer, in his "Bartolozzi and His Works," men
tions having in his possession a portrait of Angelica by
Bartolozzi.

358 Angelica Kauffmann.
The first picture was taken in 1766,* the year
of her arrival in England ; the second, shortly
after Horn's desertion ;* the third and last in
1777. This is the one engraved by Barto
lozzi, and is well known to all collectors, a
beautiful picture, yet what a contrast it pre
sents to the bright-eyed, self-satisfied girl of
Smart's portraiture. This is what life had
brought to Angelica, and yet one would not
wish it otherwise. It is, indeed, the face of
a woman who has known what it is to suffer,
but has risen above suffering and has at
tained peace. Looking at it, one gets some
idea of where lay that strange power of
attraction which fascinated those of Angelica's
own generation. What gentle dignity, how
sweet is the evident desire to please, while
the wistful sadness in the lamp-like eyes
draws us irresistibly to her. The whole air of
the picture breathes refinement, A " rondo "
some one calls it not inappropriately.^
' Sold at Messrs. Christie's in 1832 to Mr. Hind for
il- S-f-
^ Sold in 1850 at Messrs. Christie's for 3/- 3J.
^ In Mr. Anderdon's catalogues we find the following,
which brings us oiriously in touch with the picture :

Critical Notices, 359
Sir Joshua gave the picture to Angelica.
It may be that she would have preferred his
keeping it, in memory of her. The old
romance, however, if it ever existed, was
dead by this time ; there was not even a
withered leaf of the "fiori" left, so Angelica
packed up her picture (or probably Zucchi
did so), and they took it with them to Italy.
It was hung in a prominent position in their
house in the Arco di Regina, for both Goethe
and Rossi saw it there. Angelica always
kept it: it rerainded her of the palmy' days
of her youth, and very probably she got to
believe that Reynolds had really loved her,
and told this story to her friends.*
When she died, she left the picture to her
cousin, Johann Kauffmann, who had lived in
the house, saying in her will that it was the
portrait painted of her by the celebrated
it is the original receipt: — "Received November ist,
1780, the sum of ninety guineas, in full, for a plate
of Mrs. Angelica Kauffman, after Sir Js. Reynolds.
Francesco Bartolozzi."
' She made copies in miniature form of the picture,
and gave them to her friends. One of these was in
the exhibition of Historical Miniatures. It is a fair
copy. It is s'gned A. Kauffmann, and was givan to
Adelina Rosalba in 1783.

360 Angelica Kauffmann.
English painter, Ritter (knight) Reynolds,
There is something touching in this, poor
soul ! She clung to her early triumphs even
when writing her last wishes : not that
this availed much, for Johann dying, in
his turn left it to his nephew, another John
Kauffmann, who forthwith carted it off, and
all he could find of saleable matter with it, to
England, where the best price was likely to
be got.
Sir Joshua's picture was sold in i860, at
Messrs. Christie's rooms, to Mr. Fairholme
of Leamington.*
The auction room is the ultimate end of
most collections ; they seem to gravitate
thither almost with certainty. Angelica's
pictures have, however, changed hands very
constantly. Those who understand the vicis
situdes of picture sales say that the demand
for her work is steadily increasing. This
will be good news for those who possess
more than they need, or would be glad from
' Mr. Fairholme, some few years ago, sent the
picture to be re-sold at Messrs. Christie's. Only 78/.
was offered, so it returned to Leamington,

Critical Notices. 36 1
prudential motives to dispose of what they
have. A great number of her pictures have
already gone to America, and more are likely
to follow. The constant sales, and the
difficulty of tracing the purchasers, make a
complete catalogue of her pictures difficult to
obtain. I have to thank warmly those who have
given valuable assistance by sending lists of
their pictures. Mr. William Bowles has been
indefatigable in his search into the Bowles
family records. I wish I had space enough
to give all the interesting details of the
Wanstead collection, which contained the
largest proportion of Angelica's works.
Most of these pictures have been traced, but
some were sold at the Rushout sale in 1879,
to Aldis, a picture dealer, who got into
difficulties, and at a compulsory sale of his
house in Norfolk Street, the Angelicas were
sacrificed for almost nothing, and went no
one knows where. One of them was found
lately in the cottage of a working man in
Devonshire. I have also to thank Mr. Graves, of Pall

'362 Angehca Kauffmann.
Mall, Messrs. Dowdeswell, of New Bond
Street, Mr. Harvey, Messrs. Christie, Manson,
and Woods, Messrs. Phillips and Neale, for
their kindness in giving me every help in
their power. Mr. Algernon Graves's admir
ably arranged catalogues of the Royal
Academy, etc., have been of the greatest
assistance.

APPENDIX.

ORIGINAL OR (when

known) present owner.

SUBJECT.

ENGRAVER.

Her Majesty the

George III., Portrait of.

1767.

Queen.

Charlotte, his Consort, Portrait
of.
Portrait of Anne, wife to the

1766.

Albemarle, Earl of

and Earl. 29 x 24.
Adams, Esq., of New
Portrait of a lady and child.'
York.
Aders, C.
Portrait of an English lady of
quality.
I . Allegorical Picture of Psyche
Anhalt-Dessau,
Prince of.
fainting when the vessels were
opened which contained a
beautifying lotion for Proser
pina.
2. Portrait, Princess of Anhalt-
Dessau, full length.
Anhalt-Dessau, Lui
3. Cupid drying Psyche's tears
seum Museum.
with her hair.
'
Anhalt-Dessau,
4. Agrippina clasping to her
Princess of.
heart the golden vessels con
taining the ashes of Ger
manlcus.
Aschaffenburg
Princess of Courland as a Vestal.
Gallery.
A Madonna.
Bagwell, Richard,
Portraits of Mrs. Bousfield and
I77I.
Esq., Marfield,
a lady (name unknown).
Tipperary.
Barbaro, Almero,
Portrait of himself.
I78I.
Venice.
Bought from Mr. Dowdeswell, New Bond Street, April, 1892.
364

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Baring, Sir Thomas.

View in Rome.

1789.

Baronneau, Francis,

Telemachus redux a Penelope

Ryland. .

Esq.

excipitur. — Odyssey,

BeU, Publisher of

Louisa Hammond writing to

Bartolozzi.

" Bell's Poets."

her brother.

Berlin Museum of

Angelica Kauffmann, Portrait

Arts.

of, in the character of half
Muse half Bacchante; her
head is crowned with a laurel
wreath, and she wears a robe
and girdle of gold colour.

Bernini.
Angelica Kauffmann between
the rival arts of Music and
Painting. A present from the
artist to the sculptor.
Berwick, Lord.
I. Euphrosyne wounded by
Cupid and complaining to
Venus.
2. Cupid leading Bacchus to
Ariadne to console her for the
desertion of Theseus.
1796.
Bergamo, Town of
Holy Family, an altar piece.
1795-
Birchall.
I. Una and the Lion.^
2. Abra "amidst the maids of
Zagan's peaceful groves."
From CoUins's "Eclogues."
3. Painting, a portrait of herself.
Burke.
Blomefield, Sir Tho
Portrait of Lady Eardley, wife
1781
mas, The Grange,
to Lord Eardley, of Belve
Wimbledon.
dere.
Boddam, C, Esq.
Leda and the Swan.
Burke, 1787. Very
pretty.-
Bowles,George, Esq.,
I. Angelica Kauffmann, Portrait
1783. A gift to Mr.
The Grove, Wan
of, in the character of Design
Bowles.
stead.'
listening to Poetry as the
Nymph Clio.
' Una is a portrait of herself. She repeated this subject often.
' George Bowles, of Wanstead Grove and Burford, Salop, was well known
as a patron of art and collector of enamels and curios. On his death, in
1 817, he bequeathed Wanstead and its collections to his niece, the Hon.
Anne Rushout, daughter to the first Lady Northwick, his sister, who had pre
deceased him. On Miss Rushout's death Wanstead passed to Humphrey
Bowles, of East Sheen, and his son, the Rev. Charles Bradshaw Bowles,
sold the bulk of the pictures, etc., in 1849. On this occasion the whole of
.' ngelica Kauffmann's works -.Tere, by a family arrangement, disposed of to
Appendix.

365

ORIGINAL OR (when
known) PRESENT OWNER.

SUBJECT.

ENGRAVER.

Bowles, George, Esq.,
The Grove, Wan
stead. {Continued^

2. Abijah and Jeroboam. '
3. Alexander resigning his mis
tress Campaspe to Apelles.^
4. Angelica and Sacripant, from
Ariosto.
5. Aspasia and Palus.
5. Achilles discovered by Ulys
ses. 44 X 32.
7. Cornelia, Mother of the
Gracchi.
8. Christ and the two Maries.
9. Cleopatra and Augustus.
10. Cupid binding Aglaia to a
laurel tree (Metastasio).3
II. Venus and Ascanius.
12. Venus chiding Ganymede.''
13 & 14. Cupid's pastime (a pair).
15. Bacchus and Ariadne.
16 & 17. Wisdom and Mortality
(a pair, on copper).
18. Cupid disarmed by Eu
phrosyne.'
19. Flora finishing a flower for
Verelst.
20. Gualtherius and Griselda.

Bartolozzi.Burke.

Facius.Bartolozzi. Bartolozzi. Burke.

BoydeU. 1781.
BoydeU and Facius.

Lady Cockerell, daughter to the first Lady Northwick and sister to the Hon.
Anne Rushout. The pictures eventually came to this lady's grandson, Sir
Charles Fitzgerald Rushout, of Sezincot, on whose death they were sold at
PhiUips and Neale's, New Bond Street, 1879. Through their kindness
the tracing of the pictures to the hands into which they have fallen has been
partiaUy successful. Many of them were purchased by a commission agent.
Smith, for the American market ; but the best have remained in England,
and wUl be found under the alphabetical headings. The sale of the pictures
realized ;^68oo.*
' See Supplement under P.
2 See Supplement under B.
* See Supplement under S.
* See Supplement under P.
' See Supplement under S.

* The original catalogue, in the handwriting of Mr. George Bowles, is most
quaint and interesting. He gives the position of the pictures—" Lady North
wick by ye window : Oval over the Harpsichord." In addition to tlie forty-
seven pictures sold in 1879, there were " Dionysius Evander and Euphrosia,"
the portrait of the second Lord Northwick, painted by Angelica, in Rome,
1794, now at Burford, and " Horace and Calliope," from Anacreon, Ode Ixi.

366

Appendix.

ORIGINAL OR (when
known) present owner.

Bowles, George, Esq.,
The Grove.. Wan
stead, {Continued.)

SUBJECT.

21. Hector reproaching Paris.
44 X 32. Homer, 6th book.
22. Henry and Emma frora Prior
23 & 24. Horace and Virgil. A
pair — small ovals.'
25. Holy Family.
26. Lady Jane (jrey giving her
Table book to the Constable
of the Tower.
27. Queen Margaret of Anjou
and the robber.
28. La Bergere des Alpes. ^
(Oval.)
29. Damon and Musidora.
(Ovals — pair.)
30. Lavinia and Palemon.
31. Nathan reproaching David.
32 & 33. Numa Pompilius with
Egeria, and Roman Charity
(A pair.)
34. Lady Northwick, Portrait
of, with child holding a gar
land of iiowers. (Large oval,
50 X 42.) ^ and l
35. Pliny the younger at Mis-
enum during the Eruption of
Vesuvius, A.D. 79.
36. Rinaldo arresting the arm of
Armida, to prevent her pur
pose of suicide. (From Tasso.)
SO X 42.
37. Praxiteles, the sculptor, giv
ing the little statue of Ciupid
to Phryne.

ENGRAVER.

BoydeU.Burke. 1792.
Bartolozzi.
Bartolozzi.Dickinson.
Dickinson.
Taylor.
Bartolozzi.

Burke. Macklin
Gallery.

•Green.

' See under W.
- For present possessor see under letter R,
•* This is one of Angelica's best portraits ; it is finely coloured and graceful.
For present owner see " R."
¦* Rebecca, Lady Northwick, sister to George Bowles, of Burford and Wan
stead Grove. Her husband, Sir John Rushout, was raised to the peer.age as
Baron Northwick in 1797. Her three daughters. Miss Anne Rushout, Lady
Cockerell, and the Hon. Mrs. Sydney Bowles, are well known by Plimer's
miniature portrait of them as the Three Graces. A fine copy of this picture
was made by Bone, and is now in the possession of the present representative
ofthe family, Mr. Charles Bowles.

Appendix.

367

ORIGINAL OR (when
known) I'resent owner.

Bowles, George.Esq.,
The Grove, Wan
stead. {Continued^

Bowring, Victor,
Esq., 30, Eaton
Place.'

BoydeU, John and
Josiah, Cheapside.''

SUBJECr.

38. Phiyne seducing the Philo
sopher Xenocrates.
39 .& 40. Temple of Guidus,
Scenes from Montesquieu's
works. (A pair— ovals.)
41. Telemachus and Mentor in
the Island of Calypso.
42. TibuUus writing an ode on
Lesbia's Sparrow.
43. Ulysses in the Island of Circe.
44. Virgil writing his own Epi.
taph.
45. Venus attired by the Graces.
(Oval, 40 X 32.)' And
46. The Judgment of Paris.
(A pair.)
47. Zeuxis composing the pic
ture of Juno."
I. Penelope and her dog ; and
2. Angelica Kauffmann, said to
be portrait of. (Pair — full
length.)
3. Angelica Kauffmann. (Half
length.)
Troilus and Cressida. Shake
speare GaUery.
Two Gentlemen of Verona.
Ditto.
Industry and Patience, assisted
by Perseverance, crowned by

ENGRAVER.

Bartolozzi.William 'Bond.
Bartolozzi.

Schiavoretti, 1792.

Facius.

' For present owner see under K. ^ .S?^ under C.
' Mr. Bowring's collection is large and well selected. The two portraits fif
Angelica are good examples of her at her best. The colouring is clear, the back -
ground somewhat confused. The smaUer picture of her was bought at Messrs.
Christie's in 1888 ; the two whole lengths came from Ireland and are
signed. * Alderman BoydeU did more for the advancement of art in 'England than the
whole mass ofthe nobility put together. He laid out upon his magnificent idea
of a National Shakespeare Gallery thousands of pounds ; some say ^^150,000,
others double that amount. When he was ruined by the French Revolution
he petitioned Parliament fer permission to dispose of the gallery by lotteiy.
The tickets were quickly bought, but he died before they were drawn. The
lot fell to Tuone, who set it up to auction. The well-known Mr. Graves,'
of Pall Mall, is a descendant of the Boydells. For an oiiginal letter to Boy
deU, see Supplement to Catalogue.

;68

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

BoydeU, John and

Honour and rewarded with

Facius.

Josiah, Cheapside.

Plenty.'

{Continued,)

Sappho, inspired by Love, com
posing an ode to Venus.

The Flower Girl, after Sir J.
Reynolds.

Spiolsbury.

Bridgewater, Duke
of.
Briscoe, Esq., Ken

Holy Family.

Euphrosyne disarming Cupid.
sington.
Painted on copper. Small
oval.
Brown (said to be
Pyrrhus carried in the arms of
Count Brown).
his nurse to King Claudius.
Bryer, Ann.
Dido invoking the Gods.
Bryer.
Aglaia bound to a laurel tree by
Cupid. Dedicated to the
Hon. John Dawson.
Brunswick, Duchess
Portrait of the Duchess. One of
1767.
of.
her best portraits. It is now
at Hampton Court Palace.
Calonne, Colbert,
Jupiter and Calista.
French Ambassa
Orpheus and Eurydice.^ Two
dor. Collector of
large ovals.
pictures and curios.
Zadig.3
His collection was
sold in 1825.
Capucino, Monsignor
Portrait of himself'*
Nevroni, Bishop of
Como.
Ceci, Duke of
Portraits of Duke and Duchess.
Cheeseman, Esq.
Portrait of Angelica Kauff
mann.
1782.
Charlemont, Earl of
History and Music'' A pair.
Clements, Lieut.-Col.
Mrs. Clements and infant, Por
McArdeU, Dublin,
the Hon. Henry,
trait of.
1771.
M.P.
' In this enormous picture she was helped by Zucchi.
^ Sold in 1825 at Messrs. Christie's for £^o, The picture of Oipheus was
the likeness of the musician who was in love with her 9f. Montfort Castle. See
page 20.
' Zadig sold in 1825 for .,^43, to Count St. Brude.
'' There is another portrait ofthe bishop in rel and black, signed Marianna
Caterina Angelica Kauffmann, aged xiii.
' Sold at the Roxborough sale, May, 1892, for ^63.
Appendix.

369

ORIGINAL or (when
known) present owner.

Courland, Duke of.

Corbett, J. Esq., 20,
Hertford Street, W.
Delafosse, F., Esq.
Derby, Earl of.'

Digby, G. D.W., Esq.

SUBJECT.

I. Telemachus and Mentor in
the Island of Calypso.'
2. Adonis equipped for the
Hunt. Venus and dogs.
3. Bacchus teaching the nymphs
to make verses. Horace,
Odes ii. 19.
Zeuxis painting the picture of
Juno.^
La Penserosa.
I. Family Group of Edward,
1 2th Earl, with Lady Eliza
beth Hamilton, his first wife,
and their infant son, after
wards 13th Earl. 4 feet x 3
feet. (The figures appear
small and separate; and the
divided action of the child
who is between them, destroys
all simplicity and unity.)
2. The Retum of Telemachus.*
2 feet 2 inches x 5 feet. (A
long picture, originaUy de
signed for a " Sopra Porta."
The composition comprises
seven figures. The tints are
broken and the shadows
strong and heavy.)
3. The parting of XJlysses and
Penelope, a companion pic
ture to Telemachus. CThe
composition is far superior to
and much more effectively
coloured than Telemachus.)
Portrait of Countess Digby.

ENGRAVER.

' The Duke of Courland saw the original picture, a commission from Mr.
Bowleg, of Wanstead, and ordered two repHcas. Zucchi MS.
' This fine picture was bought at the Rushout sale for ^136.
' The collection of paintings at Knowsley is one of the finest in England,
comprising worlcs of the best raasters. The catalogue is a most interesting
volume, from which above was taken.
^ " As pretty a painted tale as that dainty artist could produce, and the
oiapan'on picture a sweet thing in oils. — Athentsum, i88o.
B b

370

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Donaldson Gallery,

Two ovals of Cupid dis

New Bond Street.

armed by Euphrosyne, and
Cupid, Venus, and Euphro

Downes, Chief

syne.
The death of Sylvia's favourite

Bartolozzi (very

Justice, Ireland.

stag.

popular).

Dresden Gallery.

I. Portrait of herself as a Sibyl,
3 feet 6 inches in height, 2 feet
ID inches in width. Very
fine.
2. Portrait of Princess Mary of

Schultze.

Courland as a Vestal.
3. Ariadne deserted by Theseus.
Kriiger.
Dugnami, Cardinal.
Study of a head. A sketch.
Dublin National
I. Family group of Lord and
1771.
Gallery.
Lady Ely, their niece,
Dorothy Monroe, and Ange
lica at the cla'vichord.
2. Portrait of Dorothy Moniroe.'
1771.
Duff, Mr.
Portrait of himself.
1797-
Edinburgh Gallery.
Novosiels Ki, the architect,
portrait of.
Exeter, Marquis of.'
I. .(Ethra and Theseus.
2. Abelard presenting Hymen
Ogborne.
to Eloisa.
3. Abelard and Eloisa.
4. Death of Eloisa.
Burke.
5. Marriage of St. Catherine.
6. Fame decorating the Tomb
of Shakespeare.
7. Maria from Sterne.
8. Penelope lamenting over the
body of Ulysses.
g. Love conquering Prudence.
10. Prudence resisting Love.
' A celebrated beauty. See pages 141, 142. The portrait was bought at
Lord Ely's sale at Messrs. Christie's, 1889.
2 Lord Exeter was a friend and admirer of Angelica ; he ordered pictures
from her by the yard. Waagen in his "Treasures of. Art" says that he
had seen no seat which afforded so completely a view of the taste in art
.which prevailed in England in the 17th and l8th century, as that pf Lord
£xeter. ,.' '
Appendix.

371

ORIGINAL OR (when
known) present owner.

Exeter, Marquis of.
{Conti-nued.)

Esterhazy, Prince
Nicolas.

Fitzherbert, Sir WU-
liam.
Florence, the UfRzi
GaUery.
Frankfort Gallery.
Forbes, Esq.

Firrao, Cardinal.

Garrick Club.

SUBJECT.

II. Cleopatra decorating Mark
Antony's tomb.
12. David Garrick.
13. Lady Townshend and her
infant son.
14. Mrs. Bates.'
I. Death of Alcestis.
2. Pyrrhus presenting his foster-
brother to King Glaucus. 3
feet high aj wide.

AUeyne Fitzherbert, Portrait
of.
Her own portrait.
Winckelmann, Portrait of
I. Religion with all her lovely
train.
2. The departure of Hagar and
Ishmael from the tents of
Abraham.
3. Cephalus and Procris.
4. The Blessed Mary watering a
lily.
5. The Discovery of Achilles by
Ulysses in the Court of King
Lycomedes, disguised as a
Virgin.
6. Angelica between the Rival
Arts of Music and Painting.
44 X 32.^ A present from the
artist.
Portrait of. An allegorical pic
ture.

Mrs. Hartley, portrait of.

ENGRAVER.

J. C. Leclerc.
Vienna.

Bartolozzi.

Scorodomoff,

1799.

' Miss Harrod, afterwards Mrs. Bates, a celebrated singer, seated m a
landscape, holdmg a lyre and roll of music. Sold in the sale of the Marquis
of Exeter's pictures at Messrs. Christie's, June 9th, 1888. See Supplement
under M. ' , . ¦
2 Barry, R.A., passed the highest encomiums upon all these pictures,
especially the last, which is a reminiscence of the struggle she had once gone
through. See p. 21. He declared that he envied Music the squeeze she
recti ved, " for," said he, "the impression is actually imprinted on her hand.
B b 2

;72

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Grimani, Marchese, a
beautiful Venetian
lady, of the family
of Conaro.
Gartaut, Monseig-
neur.
Hamilton, Sir
William.

Hampe, John Henry,

M
Hampton Palace.
Hervey, Lord.^

Court

Herzen, Cardinal.
Hoare, Sir Francis,
of Stourhead.

Hoare, of Wavendon
Manor.

Holstein-Beck. Home, Earl of.
Houldsworth, Col.

Portrait ot.

Portrait of himself.

Emma, Lady Hamilton, por
trait of, as the Comic Muse.
Emma, Lady Hamilton, as a
Bacchante' (only the head).
Portrait of himself.
Duchess of Brunswick, portrait
of, full length.
Lady Hervey, portrait of
Georgiana, Duchess of Devon
shire, portrait of, in a white
hat.'
St Joseph of Cupertino.
Francis Hoare, portrait of, fuU
length.
Portrait of a lady in a Greek
dress."*
Allegorical picture of Penelope
sacrificing to Minerva to ob
tain the safe return of Tele
machus.*
Large family group.

Angelica Kauffmann, R.A.,
portrait of.
Two classical pictures.
Portrait of AngelicaKauffmann.^

1781.

R. Morghen, 1797.
Fine print of this
in British Museum.

Burke. head.
1767.

A noble

Raphael Morghen.
Print in British
Museum.

' Sold at Sir William Hamilton's sale, 1801, for ;^32 los,
' Lord Hervey was the eldest son of the famous Bishop of Derry, Marquis
of Bristol.
' This portrait came into the possession of Lord Howard de Walden frora
the Herveys; it was sold by the late lord in 1869, at Messrs. PhiUips's, for
jf 162- For purchaser see " S,"
< 'This picture has been sold.
' Penelope is the portrait of the second wife of Sir Richard Hoare, nk
Acland, a lady of remarkable beauty, between whom and Angelica a great
ilUimacy existed.
' bold at Messrs, Christie's, 1888, for 4^115, see Bowring, »

Appendix.

373

ORIGINAL OR (when
known) PRESENT owner.

SUBJECT.

ENGRAVER.

Husupoff, Prince.

Venus, on a couch, counselling
Helen to fly with Paris, whom
Cupid leads by the hand into
tlie room.
Ovid in his old age writing
verses, while Cupid, behind
him, draws his bow.

Hayne, C. Seale,

Telemachus at the court of

Esq., M.P., Bel-

Sparta. One of her best pic

grave Street, S.W.

tures.

Illustrations for
books : —
L Bell's "Poet's."
I. Vignette Frontispiece.
2. Churchill's Poems.
3. CoUins's Eclogues.
4. 1st volume, page 54, Savage.
5. Hammond's Love Elegies.
6. Love Elegies.
7. MaUet, Canto I., verse 268,
8. Chaucer, vol. iv.
Bartolozzi, &c.
IL Taylor's
I. Fortitude.
Ryland, &c. -
"Moral Em
2. Hope.
blems."
3. Justice.
4. Mercy and Truth.
5. Patience.
6. Perseverance.
7. Prudence.
8. Omnia Vanitas.
9. Temperance.
10. Wisdom.
II. There's a slip 'twixt me and
Death.
12. Instruction.
IIL In "AngeU-
13. SimpUcity.
Flora — Frontispiece.
Bartolozzi, 1778.
ca's Library." '
La Bergere des Alpes.
Gualtherius and Griselda (from
Marmontel).
IV. Various pub
A shipwreck. A frontispiece
lications.
for Thomson's Seasons.
Silence and the Shepherd's
moral.
Vignette, a Muse, for a volume
of poems.
' " Angelica's Library, or a Present from Parents and Guardians," price one
guinea, published by Hamilton, charmingly illustrated by Angelica Kauffmann
and H. W. Bunbury, The book still commands a good price at book sales.
574

Appendix.

ORIGINAL OR (when

SUBJECT.

ENGRAVER.

known) present owner.

Johnston, Captain

I. Hon. Mrs. Damer, por

Frederick Erskine,

trait of. Graceful aud charm

Gloucester Place.
ing.
2. Earl and Countess of Derby,
portraits of.
Josepoff, Prince.
Augustus and Cleopatra.
Virgil reading the Eneid ta
Augustus and Octavia.
Klopstock.
Samma at Benoni's Grave.
(Presented by the artist to
the author of the Messiah.)
1769.
Knight, John.
Penelope.
Venus and Cupid.
Harding.
Kimber, Arthur, Esq.
Venus attired by the Graces.'
Leven and Melville,
Clio and Angelica."
Earl of.
Holy Family.3
Lyte, H., Esq.
Venus with the corpse of
Adonis on her knee.''
Loretto, Holy House.
Mosaic of the Blessed Child
watering the lily.
Lothian, Marquis of.
Portrait of Elizabeth, Mar
chioness of Lothian.*
London : —
Royal Academy,
Design, large oval ; one of the
DiploraaGallery.
four removed from Somerset
House.
National Portrait
Portrait of herself, oval, half
GaUery.
length, in a white dress with
yellow scarf. She rests her
-
right hand, holding a porte-
crayon, on a portfolio, the
other, without a ring, is raised
to her breast.^
National Gallery.
Religion, bequeathed by Mr.
Forbes.?
Bartolozzi.
' This large oval was bought at the Rushout sale for £<,2,i.
' This large oval Vras bought at the Rushout sale, in 1878, for £\\o,
« Bought at Rushout sale, 1878, £l(>.
* Bought at Messrs. Christie's, 1792, by M. White, for ,^^74.
» Exhibited at R. A. Exhibition of 1887.
^ See Forbes.
' Bought from Mr. Graves, of Pall Mall, for .j^'iao.
Appendix.

375

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

London {Continued.)

South Kensington

I. Emma, Lady HamUton.'

1792.

Museum.

2. Cupid's'pastime. SmaU oval,
on copper.
3. Ditto. Small oval on copper.

MacDonald, Colonel.

Portrait of, in national cos
tume.

1800.

Martinenghi, Count

Altar piece— John the Baptist.

of Brescia.
Massereene,Viscount,
Lord Ferrard and his son.
Antrim Castle.
portraits of.
Mendip, Lady.
Magdalen.''
'
Medley, Esq.
Politicians quarreUing over their
cards.*
Milan (Casa Tivai-
I. Duchess of Massa-Carrara,
,1754-
luzio.)
portrait of.
2. Portrait of Ferdinand, King
of Naples.
Miranda, Duke of.
I. Portrait of his youngest
daughter in a peasant's dress.
2. Historical picture (subject
unknown).
Portraits of Count and Countess
1 / .
Montfort Castle.
1757-
of Montfort and the different
members of the family.
Morley, Earl of.
I. Portrait of Sir Joshua Rey
nolds.
2. Ulysses discovering Achilles
' Bond.
in the disguise of a Virgin.
3. Penelope hanging up the
Ryland.
bow of Ulysses.
1 Angelica painted Lady Hamilton twice, once as a Bacchante, a failure,
and once as the Comic Muse, holding a mask in her hand. This last wps en
graved by Morghen, and is in the collection of the B. M. Morghen made
some alteration in the picture, at which Angelica was so much displeased
that she would not allow her own or Lady Hamilton's name to be placed un
derneath. It is, however, far superior to the Bacchante, a drawing of which
is in the British Museum.
" Now in possession of Lindo Mayers, SaviUe Row.
3 This picture was sold at Messrs. Christie's in 1888, for ^^84, to Mr. Frick-
cnham.
376

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Morley, Earl of.
^Continued.)

Montgomery, Lord.
Miinster, Bishop of.

Munich Neue Pina-
kothek.

Schleissheim Gal
lery.
Maughan, Rev. G.,
East Kirkby Vicar
age, Spilsby.

4. Venus meeting Eneas at Car
thage.'
5. Hector taking leave of An
dromache.
6. Elfrida's interview with
King Edgar after her marriage
with Athelwold.
7. Rowena presenting a cup to
Vortigern.
8. A woman in Neapolitan
costume.^
9. Portrait of herself playing
the guitar.
10. Edmund Bastard, Esq.,
portrait of
II. Hebe, on copper. Asmall
copy of a large picture by
Sir Joshua Reynolds, of
Miss Meyer, daughter to J.
Meyer.
12. Crayon copy of the Magda
len, of Correggio.
Portrait of himself.
I . The Annunciation.
2. Christ calling the little
children to Him.
I. Angelica Kauffmann, por
trait of.
2. Christ and the woman of
Samaria at the well. 46
X 55 inches.
3. Portrait of the Palatinate
Prince of Bavaria in the cos
tume of a Knight of St.
Hubert.
4. Portrait of Prince Nicolas
Esterhazy. 3 feet high.
I. Portrait of Louis I. of Ba
varia.
Meeting of Edward IV. with
Lady Elizabeth Grey, when
she implores him to restore

Watson. Ryland. After his
death it was finish
ed by Sharp for
the widow.

1800.1790.

' A replica of this painted for Colonel Vereker. See V.
' 2 to 8 were painted expressly for Saltram, Lord Morley's seat, in
Devonshire.

Appendix.

377

ORIGINAL OR (when
known) present owner.

SUPJECT.

ENGRAVER.

.Naples, Capo di
Monte Gallery.

Nollekens, J., R.A.

Paris, the Louvre.
Parma, Archduchess
of.
Panin, His Excel
lency Comte de.
Pappasava, Count.
Pepper, W., Esq.,
presumably of
Ballygarth.Ireland.
Pezzoli, Count.
Philadelphia, Penn
sylvania GaUery.

Pius VL, Pope.

Poland, Stanislaus,
King of.

her husband's lands to her
son. 7 X 44 feet.
I. Large family group of the
Royal family.
2. Portrait of Ferdinand, King
of Naples.
3. Duchess of Corigliano and
child.
4. Portrait of Princess Maria
Teresa.
5. Portrait of Monsignore Gae
tano.
6. Portrait of Dr. Cirillo '
Mrs. NoUekens, portrait of, as
Innocence with Doves.

Portrait of the Baroness von
Kruder and child.
Portrait of the Archduchess.
Achilles discovered by Ulysses
in the disguise of a Virgin.
Portrait of himself and brother.
Portrait of himself and brother.

A Magdalen, on copper.
I. Virtue directed by Prudence
to withstand the solicitations
of Folly.
2. Portrait of herself.
Joachim and St. Anne with the
felessed Child Mary 'watering
a lily for the Holy House of
Loretto.
I. Virgil reading the Eneid to
Octavia, and companion pic
ture of
2. Augustus reading the verses
upon the death of MarceUus.

¦783.

BoydeU, 1782, after
Scorodomoff.

1789.

' A celebrated Neapolitan physician. She also painted the death of
Cleopatra for the Marchese della (jambuca.

378

Appendix.

ORIGINAL OR (when

SUBJECT.

ENGRAVER.

known) PRESENT OWNER.

Poniatowski, Count.

I. Cornelia, Mother of the
Gracchi, showing her children.
2. Bratus condemning his Son to
death.
3. Portrait of the Count in an
allegorical picture.
4. Portrait of herself

Portarlington, Earl

I. Portrait of Lady Caroline

of.

Damer. 45 x 47.
2. Portrait of Lord Milton.
3. Portraits of Duke and
Duchess of Dorset.

4. Portrait of Angelica.
Portman, Viscount.
Two " Sopra Portas " of
I. Scenes from "King Lear,"
including a fine picture of
Cordelia's death.
2. The death of Clorinda.
Powis, Earl of.
Portrait of the Hon. Charlotte
Clive.
Redshaw, J.
Death of Procris.
Fielding, 1767.
Rezzonico, Cardinal.
Historical portrait of himself, as
appearing before the Senate.
Richmond and
Mary, wife of 3rd Duke of
Ryland.
Gordon, Duke of.
Richmond. Small full length.
At Goodwood.
Historical : —
At Gordon Castle.
I. Alexander, 4th Duke of Gor
don, half length.
1772.
2. Jean Maxwell, wife of 4th
1772.
Duke of Gordon, half length.
3. Venus and Adonis. Copy
from- Titian.
4. -Danae. Copy frora Titian.
5. La Madonna della Seggiola.
Copyfrom Raphael.
6. St.Cecilia(theCumeanSibyl).
Copy from Domenichino.
7. Sibylla Persica. Copy from
Guercino.
8. Abraham and Hagar. Copy
from Guercino.
9. Joseph and Potiphar's. wife.
i
Copy from Guercino.
See Northwick — Supplement to Catalogue.
Appendix.

379

ORIGINAL OR (when
known) PRESENT OWNER.

Richmond, and
Gordon, Duke of.
{Continued^

Robinson, Richard,
Archbishop of Ar
magh.
Roth, Cardinal,
Prince Bishop of
Constanz.
Rosebery, Earl of. '

SUBJECT.

•Rome, Academy of
St. Luke.
Rutland, Duke of,
Belvoir Castle.*
Russia, Count du
Nord, afterwards
Emperor Paul I.

Russia, Catherine II.,
Empress.

IO. St. Paul rebuking Peter.
Copy from Guido.
1 1. Salome. Copy from Guido.
12. Dido. Copy from Guido.
13. Ulysses and Calypso.
Portrait of himself.

Portrait of himself.

I. Portrait of Lady Northwick ^
and child. Large oval, 50
X 42.
2. La Bergere des Alpes.'
3. Gualtherius and Griselda.
(Oval.)
4. Cupids at play. (SmaU ovals,
pair.)
5. Horace and Virgil. (Small
ovals, pair.)
6. Lavinia and Palemon.
7. Damon and Musidora.
Hope, a portrait of herself.
The death of the stag. 26 x
36. This picture hangs in
the Queen's sitting-room.
I. Leonardo da Vinci expiring
in the arms of Francis I.
2. Portrait of the Countess du
Nord, afterwards Empress of
Russia.
I. The birth of Servius Tul-
lius.
2. AchUles discovered by Ulysses
in the disguise of a Virgin at

ENGRAVER.

Bartolozzi.Dickinson, 1787.

Ryland.

f Scorodomoff.
( Ryland.

' Lord Rosebery bought these pictures at the Bowles-Rushout sale in
1879. * Rebecca, Lady Northwick, was sister to Mr. George Bowles. Her hus
band. Sir John Rushout, was raised to the peerage as Baron Northwick in
1797. Her daughters, the Hon. Anne, and Harriet, Lady Cockerell, were
Mr. Bowles' nieces.
' Subject taken from Marmontel's story.
* For additional pictures at Belvoir Castle, see Supplement to Catalogue.

380

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Russia, Catherine IL,
Empress. {Con
tinued. )
Ryland, W.

Sayer, R., Esq.
S chwartzenberg, Church of.

EmUia Seckingen,
Hoch w o h Ige-
borne, Kammer
Fraulein, or lady-
in-waiting to her
Highness, the wife
of the Churfurst of
Bava'ria. She
wears the orders
of St. Elizabeth.
Scantlebuiy, Esq.

S,;ott, Sir B.
St. Petersburg
Academy.
St. Petersburg, the
Hermitage.

Sussex, Duke of.
Spencer, Earl.

the court of King Lyco
medes.'
Cymon and Iphigenia.

Mirror of Venus.
I. Fresco of the Twelve
Apostles, after Piazzetta.
2. Altar piece, the coronation of
the Blessed Virgin.
3. Her own portrait in the na
tional dress, bequeathed.
Portrait of herself. 3 feet in
height, 2.\ in width.

W.W. Ryland, 1782.
Trotter, 1757.
1799. Sintzenich.

I. Duchess of Devonshire in a
white hat.^
2. Cupids at play.
I. Euphrosyne disarming Cupid.^
2. Cupid and Aglaia.''
Thetis bathing Achilles in the
Styx.
I. The Monk of Calais and
Juliette. (From Sterne's
"Sentimental Journey.")
2. The adieux of Abelard and
Eloisa.
Portrait of himself, with his
dog.
I. Family group, including por
traits of Viscount Althorp,
with his sisters, Georgiana,

1797. 1771.

' Angelica used this subject several times, treating it differently. The story
is always that of Achilles disguised as a girl, and discovered by Ulysses,
' Bought in 1869 from Lord Howard de Walden, for ;^l62.
' and ^ Bought at the Rushout sale.

Appendix.

381

ORIGINAL OR (when
known) present owner.

Spencer, Earl.
{Continued.)

Sommariva, Herr (of
Milan).
Solms, (Countess of.
Stokes, T., Esq.
Shepherd, Esq.
Strickland, Mrs.,
* Cokethorpe House.
Schopfer. Tacconi, Marquis.
Taylor, G. W., M.P.

SUBJECT.

Thornton, Godfrey,
Esq.

afterwards Duchess of Devon
shire, and Henrietta, after
wards Countess of Bess-
borough.'
2. Margaret, Countess of
Lucan.
3. Portrait of Angelica, a pre
sent.
4. Portrait of Lord and Lady
Spencer.
Cleopatra and Augustus.
The Power of Love, a scene
from Ossian's poems.
Angelica Kauffmann, portrait of.
Corlolanus going into exile.
Rival arts. Painting and Music.
Ditto, a present from Angelica.'

Mary, Mother of God, with the
child and two angels.
I. Ariadne and Penelope.
2. Palemon and Lavinia.
3. A small head of Laura.
4. Eurydice. > ^
5. CordeUa. j
6. Celadon and Amelia struck
by lightning.

" From his void embrace,
Mysterious Heaven ! that moment
to the ground,
A blackened corpse, was struck the
beauteous maid.*'^.-6'f«jtf«f.
Theseus finding his father's
sword and sandals.

ENGRAVER.

1767.

Ogborne, 1799.
Bartolozzi, 1802.

Bartolozzi. Bartolozzi.
Bartolozzi.

Tomkins.

' This portrait is at Althorp, Lord Spencer's seat.
panel over the chimney-piece. The grouping is excellent

It is let into a
The two ladies
are seated in a garden; their brothef is standing before them. It is mo t
natural. ' Cokethorpe House now belongs to'Mr. Clement Cottrell Dormer. The
picture is very beautiful. Music is seated.
' "This was a picture of herself between Music and Painting. Schopfer
drew the design with chalk upon stone and sent it to Rome, and in this way
Senefelder's discovery was made known in Italy,
< Sold at Messrs. Christie's, 1832.

382

Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Townshend, Marquis.

Large family group of eight
children, the Marquis hold
ing the youngest in his arms.
f\, Armida putting on her

Vereker, Colonel, the

3 armour. (Tasso.)

Hon. C. S.'

i 2. Venus showing Carthage
(. to Eneas and Achates.

Vernon, Sir Edward.

I. Electra and Chrysothemus,
frora Sophocles.

2. Peleus and Thetis.
Macklin's GaUery.
Vienna, Belvedere
I. Thusnelda receiving Armi
GaUery.
nius after the battle with Varus.
2. The companion picture of
j^neas paying funeral honours
to the corpse of Pallas.^
Volpato, Giovanni.
Portrait of himself.
Portrait of his daughter and
daughter-in-law.
Walch, Herr, Dorn
Portrait of Angelica.'
birn, Bregenz.
Portrait of John Joseph Kauff
mann.
' For present owner, see Sandeman, in Supplement Catalogue.
^ These enormous pictures were a commission from the Emperor Joseph II. ,
and on receiving them he wrote to Cardinal Herzen,* his plenipotentiary at
Rome: "As a token of my gratitude I join to this letter a snuff-box and
ornament with a cypher, which Your Eminence will have the goodness to
present to Angelica. I desire you to inform her that the two works are
placed in the Imperial collection, for I wish that, as well as myself, all my
subjects may admire her talents."
' A writer in the German Kunstbild (a magazine on the lines of the Art
yournal) states, that in making a tour through the Bregenz, he chanced at
Dornbirn to meet a certain Herr Walch, the drawing-master of the Realschule
in the village.
" I was," says the writer, "not a little surprised to find that my acquaint
ance turns out to be a descendant of Angelica Kauffmann's family, and the
heir to her belongings, which, after her death, in 1807, had been brought to
Schwartzenberg. Herr Walch has raany interesting relics, notably a charming
portrait of the artist, also the portrait of her father, together with different
works of art and curiosities which she coUected in England and elsewhere.
* Cardinal Herzen gave Angelica a comraission for a picture of St. Joseph,
of Cupertino. She presented it to him as a present ; upon which his
Eminence sent her a splendid silver basin and some excellent coffee from the
Levant.- — Zucchi MS. {See p. 372.) - ¦
Appendix.

383

ORIGINAL OR (when

known) present owner.

SUBJECT.

ENGRAVER.

Waldeck, Prince of.

Allegorical painting of the first
meeting of Leander with
Hero : the priestess of Venus,
surrounded by her vestal
virgins, is offering sacrifice to
Adonis. Hero is the portrait
of Prince Waldeck's affianced
bride, who was then in Rome.

Waldegrave, Earl.

I. Prince Frederick of
Gloucester, an infant.
2. Princess Sophia of
Gloucester, an infant.

Walker, — .
I. Virgil asleep.'
2. Horace dreams.
Bartolozzi.
WeUs, Esq.
Griselda."
Bartolozzi.
West, Mrs.
Eurydice and Ariadne ' deplor
ing the flight of Theseus.
Woodhouse, Esq.
I. Rural sports.
2. Griselda.
Bartolozzi.
Zamoyski.
Large family group.'*
and divers presents made to her by friends and admirers." For the purpose
of this biography, Joseph Baer, the excellent bookseller at Frankfort, com
municated with Herr Walch, but received no reply.
' Bought at Messrs. Christie's in 1833 for £iTi.
^ Sold in 1888 by Messrs. Christie's to Messrs. Agnew, of Bond Street, for
,j^220 lOf.
3 Sold 1832.
* Count Andrfe Zamoyski, of Poland, husband of Countess Constance
Zamoyski. Alexandre Zamoyski, eldest son. Mademoiselle Anetta Zamoyski.
Stanislaus Zamoyski, youngest son. L'Abbe Stanislaus, the Preceptor.
" A large family group, in which will be represented Count 'Andre de Za
moyski, seated, showing his two sons and his daughter the marble bust of his
grandfather, who was so celebrated in Poland — that his children raay emulate
the example of this hero. The figures are to be full length, and to be attired
in the costume of the ancient Romans. The bust of the hero is to be on a
pedestal, and a country landscape in the background.
" The picture to be painted for 600 (zecchini) Rortian, as agreed on.
" The heads of the four sitters are already painted on small canvas. They
are to be copied and painted into the large picture, which is to be finished
May 12, 1791.
" Countess Constance Zamoyski has paid in advance 300 zecchini, being
half of the agreement for said picture, which is to be painted by Angelica
Kauffmann exactly in the manner she has already painted the heads."—
Extract from Private Memoirs by Antonio Zucchi, lent by Fred. Hendriks, Esq.
384

Appendix.

omsiNAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Zamoyski. {Continued.)
Zelada, Cardinal.
Zucchi, Family of,
Venice.
Zurich.

A handsome child painted as
the God of Love.
Nathan reproaching David.
A Madonna touching a sleeping
child and laying a wreath of
flowers upon his head.
Portraits of Antonio, Giuseppe,
and Francesco Zucchi.
Portrait of Winckelmann,

Porporati.

SUBJECTS OF PICTURES WHOSE
OWNERS ARE UNKNOWN
TO COMPILER,

SUBJECT.

ENGRAVER.

I. Arcadia.'

2. Penelope weeping over the bow of Ulysses.

Delatre.

3. Penelope taking down the bow of Ulysses.

Ryder.

4. Messalina sacrificing to Venus and (jupid before

Burke.

she obtained liberty for the Roman ladies to

have several husbands.

5. Andromache weeping over the ashes of Hector.

Burke, Ryland.

6. A son newly married introducing his bride to his

Morghen. (Very fine

¦widowed mother.

engraving, British

Museum. )
7. Alcestis sacrificing her life to save that of her
Kininger.
husband.
8. A lady contemplating her own picture.
g. A group of royal children.
Marcuard.
10. An English lady and child.
1779.
1 1. An English lady as Psyche.
121 Portrait df a lady playing the harp.
1778.
13. Portrait ofa gentleman.
1779.
14. Portrait ofa group of chUdren as Autumn.
1788.
15. Portrait of a gentleman.
1765.
16. Portrait of a lady.
17. A nobleman's children.
1799.
i8. A gentleman (fuU length).
1777.
19. Portrait of a lady in Eastern dress.
1775-
20. Portrait of lady (full length).
1772.
21. Erminia finding Tancred asleep.
Delatre.
' This was the first picture exhibited by Angehca after she came to London,
1766. Mr. Goldie has the original sketch. See page 396.
C C
386

Appendix.

S''BJECT.

22. Eleanor sucking the poison from the wound of
Edward I. From Rapin's history.

23. AchiUes lamenting the death of Patroclus.
24. Venus in her chariot. Designed for a ceiling ;
and repeated several times.
25. The flight of Paris and Helen.
26. A sacrifice to Pan.
27. Aristides requested to sign the ostracism for his
own banishment by an illiterate citizen.

28.
29. 30- 31-32- 33-
34- 35-36.37- 38.
39-
40. 41. 42.
43- 44, 45-46.
.47- 48.
49- 5'- 52.

53

ENGRAVER.

Penelope awakened by Euryclea, with the news
of the retum of Ulysses.
Winter. Cupid reposing.
Modesty embracing virtuous love.
Madonna and Child.
Andromache fainting at the sight of ,<^ineas.
Paris and Helen directing Cupid to inflame their
hearts.
Calypso calling Heaven to witness her affection
for Ulysses.
Venus presenting Helen to Paris.
Juno borrowing the Cestus of Venus.
Sylvia overcome by Daphne.
¦Werter and Charlotte.
Werter. The power of music.
Lady contemplating her lover's picture.
Picturesque amusements.
Tancred and Clorinda.
Oval from Anacreon.
" L'Amour dort."
Venus crowned by Cupid.
Temperance.History.Poetry. Ulysses conducted by Calypso to the forest
where he can cut the trees to build his raft.
Postumio, Consul of Rome, examining the
Courtesan Ispalia in the presence of his mother,
as to the Feasts of Bacchus.
Erminia.

Pariset and MUe.
Bareuille, Paris, re-
produced by W.
Syland.
Ryland.
Rose Lenoir, aged
14, daughter to the
printseller.
Ryland.Ryland.W. Dickinson. .(A
very fine engraving,
B.M.)
Burke. Ryland.

1780.

Ryland.Ryland.
Tomkins.

Hogg. Scorodomorf
Bettelini.

Tomkins. Marcuard.

Bartolozzi.A. K. and Joseph
Zucchi.
Delatre.

Delatre.

Appendix.

387

SUBJECT.

ENGRAVER.

54. Conjugal peace. (Two ducks in a basket.)
,55. Paris and CEnone carving their names on a tree.
56. Diana and her nymphs.
57. Papirius Praetextatus revealing to his mother the
supposed secret of the Senate.'
58. Practical exercises.
59. Morning amusements.
60. Charlotte.
61. Virtue.
62. The flight of Paris and Helen from the court of
Menelaus.
63. Pomona.
64. Cupid and Psyche.
65. The beautiful Rhodope in love with .lEsop.
66. Laura.
67. Nymphs awakening Cupid. With a quotation
from Horace's " Odes " : — " Dormio in-
nocuus."
68, General Stanwick's daughter. , A memorial
picture, very popular in its day, being largely
engraved.' There were six lines of poetry at
the foot of the engraving. The German
biographers of Angelica Slludq constantly to
this picture as one of her best paintings. So
far no trace seems to exist of such a painting.
69. Faith.'
70. Therese Bandattini and Fortunato Fantastici.
Portraits of.
71. The Muses crowning Pope.
72. Perseverance.''
73. Fortitude with Lion, Her own portrait.
74. Signor Abbate de Bourbon of France. Portrait,
1782.
75. General Espinasse.

Bartolozzi.Marcuard.
Burke.

Bartolozzi.

BettiUni. Stipple engraving by
Rose Lenoir.
W. W. Ryland.

Ryland.

Ryder.Scorodomorf.

' In the classical dictionary Praetextatus Vettius and Praetextatus Sul-
picius are given, but' not Papirius.
' A print engraved by Ryland, and corresponding in every particular to
above description, is in the portfolio of Angelicas, B. Museum. ... It has
no title nor history.
' Portrait of Rosa Bonomi.
< Perseverance is sometimes caUed Penelope with her dog. — (See Bowring.)

C C 2

ETCHINGS BY ANGELICA KAUFFMANN.

Etching is, as everyone kno'ws, a process in which the design is
freely drawn on copper with a metal point, and afterwards bitten
in by a strong acid. This art was much practised by artists in
the last century, particularly abroad, where the peintre graveur
flourished J in the seventeenth and eighteenth century line
engraving was the principal method used, but some of the best
engravers combined both methods with excellent effect.
Mr. Tuer, in his " Bartolozzi and his Works," tells the reader
in a pleasant manner all about the beautiful art of engraving, with
its many variations, and he draws attention to the good work of
Mr. Seymour- Haden and Prof. Herkomer.
The thirty-five etchings by Angelica are of great value, first,
because she excelled in this branch ; secondly, because she never
practised it after she left England.
Her earlier productions are very fine. There are several
specimens in the collection of engravings after her pictures, in
the print room of the British Museum. Many of these were
purchased by the Boydells Brothers, and reproduced in aquatint,
or lavis, to suit the taste of the day. Some of her later etchings
were reproduced in mezzotint, or, as the French call it, a la
maniere noire. In all the dictionaries ' of the peintre-graveur
of the last century, these thirty-five plates of Angelica's are
mentioned with much commendation, and the reproduction by
BoydeU (where it took place) is set down in the following
1 Beraldi, Le Blanc, and Hiiber are amongst the best. Andresen gives
a catalogue of her etchings ; so does Bryan, but both are imperfect.

.Appendix.

389

manner : — 2nd Ed. a la maniere de lavis, or " lavis " simply
with the date of the reproduction. In the catalogue here given
this example is followed.
In some of her plates Angelica was assisted by Joseph Zucchi,
the engraver (broth^ to Antonio), and in such cases at the foot
note of the engraving or etching appears the words Eadem (the
same meaning herself) and Joseph Zucchi.
These explanations are given for the advantage of those who,
perhaps, have not studied these details.

SUBJECT.

ENGRAVER.

I . Susanna surprised by the Elders.
2. Holy Family, an angel offering flowers to the
child Jesus.
3. Repose in Egypt. (Angel with a dish.)
4. Marriage of St. Catherine of Sienna, after
Correggio.
5. Venus with the corpse of Adonis on her knees.
6. Juno with the peacock, right hand resting on the
altar.
7. Hebe, holding a shell in her right hand, a vase
in her left, into which she pours nectar for
Jupiter, who is in the disguise of an eagle.
8. Urania ' measuring the celestial globe.
9. Simplicity with Doves, after her portrait of Mrs.
NoUekens.
10. Hope. (Large oval.) Figure of a woraan with
a turban on her head, her arms resting on an
anchor.
II. Rinaldo crowned with flowers by Armida, two
knights in the distance.
12. Calypso and Ulysses swearing etemal fidelity.
13. Sanzio.
14. Winckelmann seated at his desk preparing to
write.

1770.

2nd

lavis,

I78I.

I77I.

2nd

lavis,

I78I.

1770.
2nd
lavis,
1781.
1770.
2nd
lavis,
I78I.
A. K.
and
Joseph
Zucchi
Reproduced lavis with
bistre.
A. K. and Joseph
Zucchi.
1764. Proof before
letters.
' Mezzotint, or a la maniire noire.
In this process the artist worked upon a grained board, called the cradle".
Upon this board the drawing was fixed, and the lights were brought out by
means of a sharp instrument called le grattoir:
Lavis and aqua-tint are identical. The copper, upon which the design
is drawn, is plunged in a bath of water, into which either salt mastic or sand
has been mixed. The effect produced resembles Indian ink or bistre.
^ Urania and Hope. Portraits of herself.
390

Appendix.

SUBJECT.

ENGRAVER.

15. Young man leaning on his left hand. The portrait
of a painter.
16. Bust of a man (three-quarters) holding a stick.

17. Bust of a man (in profile). In the left-hand
corner the letters A. K.
18. Man with turban, leaning on books, a pencil in
his hand.
19. Woman, with her arras and feet naked, sitting
with her back to spectators on some stones.
20. Die Haarflechterinn (Hair-plaiter).
21. Woman meditating.
22. Woman reading.
23. Woman with a veU, one end knotted in her
hair, the other falling on her shoulder. Both
hands support a book, over 'which her head is
bent.
24. A female figure weeping over a monumental urn.
(In meraory of General Stanwick's daughter,
lost in her passage frora Ireland.) Very rare.
25. A woman reading frora a large book.
26. A woman (half-length) leaning on her elbow,
holding a ribbon.
27. Bust of a woman, her profile to the right.
28. Head, in profile, of a young woman.
29. L' Allegro. (Oval.)
30. II Penseroso. (Oval.)
31. Two philosophers.
32. Bust of an old man.
33. Study of the head of an old man.
34. St. Peter rebuking his brother apostle, St. Paul.
After Guide's celebrated picture in the Casa
Sempiere in Bologna. Angelica did this
subject three times, in 1772, 1773, and 1776.
Joseph Zucchi helped her with the last, and
his name is found with hers on the leaf. The
one executed in 1772 is the best.
35. Sappho conversing with Homer. From the
original by Antonio Zucchi.'

1762. 2nd acquafortis
finished 17S1 in
mezzotint.

1 770. '2nd lavis,
1780.^- • ^;-^
1765. 2nd lavis, 1780.
2nd 1 781. Lavis and
bistre.
1 77 1. 2nd lavis,
1781.

1772.

1779- ) These are two
1779.3 of her best.
1765. 1762.

1781. A. K. and
Joseph Zucchi.

' This was the last etching executed by Angelica in England. Homer is
lying under a tree. This is said to be Antonio Zucchi's -portrait, while
Angelica sat for Sappho. Le Blanc remarks that " Sappho married Homer."
A portfolio of etchings in acquatinta by Angelica, and fancy subjects
after her designs by Delatre, Tomkines, and Pastorini, were sold in Sir Mark
Sykes's sale, 1825.

PICTURES AND DESIGNS ENGRAVED
BY BARTOLOZZI,

Bartolozzi's engravings hold such a high place ip public estim^-
tion, that it would seem desirable to append a list of those which
he produced from Angelica's works, as an assistance to co'lectors.
The proofs, especially those in colours, are the most difficult to
obtain, and are very beautiful.
There have been several collections made of the Bartolozzi-
Angelicas. At the Bowles-Rushout sale a portfolio containing
250 Bartolozzis, many of them proofs before letters, were sold to
Smith, the comraission agent for the American market.
An album put together some years since by Mr. Harvey, St,
James' Street, of Bartolozzi's engravings, contained a number of
beautiful prints after Angelica. It was sold at Mr. Sotheran's, in
the Strand, for ^^400, to an American.
Mr. La Touche of Belview, in Wicklow, has a room full of
Bartolozzis, amongst them many after Angelica.^
Mr. A. W. Tuer has a large collection of prints, and sold some of
his Bartolozzi- Angelicas not long ago. The British Museum has a
portfolio containing 250 engravings after Angelica (including many
Bartolozzis), and three or four valuable proofs before letters.
Anyone wishing to know more of this interesting subject should
consult Mr. Tuer's " Bartolozzi and his Works." '
1 After Bartolozzi's death his prints went for a tirae out of fashion. They
could be got for the small sura of sevenpence and a shilling. The Americans
raised the price by offering large suras for the collections.
^ It is not generally known that Bartolozzi lived for a couple of years in
Dublin, and it was owing to the influence of Mr. La Touche and Lord Charle
mont that he secured the patronage of the fashionable world of London.
^ Miss Hoare, of Charles Street, had a collection of Angelica -Bartolozzis
which have been sold. She has still three or four. Mr. William Bowles has
a collection of proof engravings, many of them Bartolozzis. Mrs. Neyile
has a coloured print by Bartolozzi, from Macklin's gaUery, of the death of
SyWa's stag — date 1796. The Hon. Gerald Ponsonby is the owner of a col
lection of very fine engravings (several proofs). They were bought at the
Rushout sale, and are now very valuable.

392 Appendix.
The list here given has been compiled in part from Mr.
Tuer's exhaustive catalogues.
I. Penelope hanging up the bow of Ulysses. From the original in the
possession of the Earl of Morley.
2. The Death of Sylvia's Stag. From the original in the possession of Lord
Justice Downes.
3. Gualtherius and Griselda, printed in red chalk.' From the picture
painted for George Bowles, Esq.
4. Cleone, printed in brown.
5. Cordelia, in red chalk.
6. Dancing and Bacchanalian nymphs.
7. Penelope weeping over the bow of Ulysses. Oval.
8. Calais— the snuff-box. From " Sentimental Journey." In red chalk.
9. Companion ditto. Maria and the handkerchief.
10. Simplicity. From the portrait of Mrs. Nollekens.
II. Ahijah foretelling the death of the son of Jeroboam. From the original
painted for G. Bowles, Esq.
12. Christ appearing to the Maries. From the original painted for George
Bowles, Esq.
13. Dido invoking the Gods. Red chalk. Very fine.
14. The birth of Shakespeare. (Very fine.) From the original painted for
Lady Rushout, afterwards Lidy Northwick.
15. Companion oval. The tomb of Shakespeare.^
16. Telemachus and Mentor in the Island of Calypso.' From the original
painted for George Bowles, Esq.
17. Winter.''
18. Sincerity.^
19. Rinaldo and Armida.^ From the original painted for George Bowles, Esq.
20. Pomona.
21. The Death of Clorinda and her companion. Proofs in black and brown
before letters. Very fine.'
22 Louisa Hammond ; or, the miseries of war.'
23; L' Allegro.'
' The red chalk method was successfully practised in Paris by Deraarteau,
who iraitated by this process the chalk studies of Boucher. Deraarteau
taught the method to Ryland, who introduced it into England about the
time Bartolozzi arrived, when it becarae very popular. Everyone raved
about these charming red prints. Angelica Kauffmann, then in the zenith of
her farae, warmly encouraged this new taste amongst her fashionable patrons ;
hence the great number of red chalk engravings after her prettily-conceived
designs. " Bartolozzi," by A. W. Tuer.
^ Mr. WiUiam Bowles fias two engravings of the birth of Shakespeare and
companion oval. They are in red, and are first impressions, having formed
part of the Wanstead collection.
^ This was sold at Mr. Tuer's sale for £1 ^A o
* and ' were , , , , , , i i o
«and? „ „ „ ,, 5 10 o
* was ,, „ „ 3 5°
a I) IJ ») 220
See Tuer's "Bartolozzi."

Appendix. 393
24. The beautiful Rhodope in love vrith .iEsop. Proofs in brown, very fine.
Ditto in red before letters.'
25. Coriolanus.^
26. Venus attired by the Graces.' From the original painted for George Bowles.
27. A vestal.
28. King Psammetichus and the fair Rhodope.
29. History.
30. Paulus Emilius educating his children. Proofs very rare.
31. Diana preparing for the hunt. Oval. Red chalk. Proofs in red and
black, very rare.
32. Paris and CEnone engraving their names on the bark of a tree.
33. Zeuxis composing his picture of Juno. Proof most rare and beautiful.
From the original painted for George Bowles.
34. The four parts of painting. Invention, Composition, Design, Colouring.
(Ovals.)
35. The fine arts ; or, les beaux arts. Architecture, Sculpture, Painting.
From a drawing in possession of M. le Baron d' Offenbach.
36. The rainbow in four parts. In dark brown chalk.
37. Socrates in his prison composing a hymn to Apollo. Oval.
38. Lady Jane Grey giving her table, book to the constable of the tower.
Bowles' collection.
39. Queen Margaret of Anjou and the robber.''
40. Lady Elizabeth Grey imploring Edward IV. to restore his lands to her son.*
41. Elfrida meeting King Edgar after her marriage with Athelwold. From
the original in possession of Lord Morley.*
42. Bergere des Alpes. Proof before letters, rare and beautiful.
43. Religion.
44. Horace * dreams.
45. Sallacia girl with box.
46. Veillez amants si I'amour dort.
47. Turkish lady at her devotions.
48. Cleopatra persuading Meleagar to defend his country.
49. Cossuccia.
49a. Coelia.
50. Fatima and Zoraide.
51. Liberal fair.
52. Rosalinda.
53. The fair Alsatian.
54. Rural sports. From the original picture in the possession of Mr. Wood-
house.
' This was sold at Mr. Tuer's sale for £2 2 o
' ,,  240
' „ ., ., ,,660
See Tuer's " Bartolozzi,"
• The price now asked for an engraving of either of these pictures is from
;,f 5 to ;^IO.
* This had been commenced by the unfortunate W. W. Ryland, and after
his death it was completed by Bartolozzi for the benefit of his widow,
^ "Horace " is called in Mr. Bowles' catalogue '¦' Venus and Ascanius."
In the Bartolozzi prints there are two lines of poetry at the foot oi engraving.

394 Appendix.
55. Zobeide, the beautiful Moor.
56. Young girl with bird-cage.
57. Antiope.
58. Diana.
59. Eurydice.
60. Female, walking in a wood, comes upon Love 'playing the harp,
61. Hermione.
62. Nymphs after bathing.
63. Penelope.
64. Venus showing .(Eneas the way to Carthage. From the picture now in
possession of Albert Sandeman, Esq, •
65. Women, one with lyre.
66. Miranda and Ferdinand.
67. Girl with garlands. Probably from the Belvoir picture.
68. Cornelia, mother of tbe Gracchi. Proof beautiful. From the original
painted for George Bowles.
69. Venus and Cupid.
70. Cupid and Aglaia.
71. Cupid sleeping on the lap ofa woman, another Cupid standing by.
72. Tancred and Erminia,
73, VirgU,
74. Virgil reading the ^Eneid.
75. Adoration.
76. HumUity, Proof before letters.
77. Sacrifice to Ceres. 1782.
78. Nymph and Cupid.
.79, The Passions,
80. The Seasons, A series of four.
81. Tragedy and Comedy.
82. Vanity and Modesty.
83. Damon and Delia. '
84. Death of Alcestis,
85, Griselda,
86. Henry and Emma. From the Bowles' collection.
87. ApoUo and his companion.
88. Erama Corbett,
89. A warrior seated in a wood holding up his hand to a maiden.
90. A woman (in profile).
91. Celia and Rosalind.
92. Celadon and Amelia,
93, Fatima.
94. The Judgment of Paris. From the Bowles' collection.
9S. Tancred and Clorinda (from Tasso).
96. Bacchus teaching the Nyijiphs to make verses.
97. Child with kitten.
98. A girl at her toUette,
99. Tambourine and Castanet,
100. Woman with lyre, or Angelica as Poetry.
loi. Lady Northwick and child. Sometimes called Venus and Cupid.
102, Countess of Harcourt. Portrait.
103, Virgil asleep. Companion picture to "Horace dreams." From the
Bowles' collection.

ILLUSTRATIONS AND- FRONTISPIECES
BY BARTOLOZZI FROM AIS^GELICA'S
DESIGN.

I. A Muse for Scott's Poems,
2. Flora for Thomson's Seasons. Bell's edition,
3. Frontispiece for Churchill's Poems.
4. Felicity, from CoUins's Eclogues.
5. Bell's Poets — Savage, vol, Ixx.
" Where kind content, from noise and Court retires.
And smiling sits, while Muses tune their lyres."
6. Hammond's Love Elegies, vol. i., p. 88,
"And Love tumself could flatter me no more,"
7. Mallet's, vol. xi,
" And close within his grasp was clenched a broken oar."
¦" Angelica preferred Burke as an engraver of her work to Bartolozzi, and
always stipulated he should copy her pictures j he had a, soft and beautifiil
tone in his prints, and the day is not far distant when they will comraand very
high Tprices.— Tuer' s " Bartolozzi." Fan Mounts.
I. Hope nursing Love.
2. The fine arts.
3. L'amour dort. Also
Some concert and masquerade tickets (very rare).

DRAWINGS IN PENCIL, CHALK, AND
INDIAN INK, BY ANGELICA
¦KAUFFMANN.

In the Possession of Charles Goldie, Esq., ^
20, Gordon Place, Kensington.
I. Portrait of Rosa Bonomi, nk Floruii. (In pencil.)
2. Arcadia. The original sketch of "Arcadia," exhibited by Angelica the
year of her arrival in England, 1766. The sketch is small, and done
with great delicacy in Indian ink on grey paper, touched with Chinese
white.
3. Calypso mourning the departure of Ulysses. Original sketch, identical in
treatment with Ariadne lamenting 'Theseus. It is also in Indian ink,
same as No. 2.
4. Slight sketch of a woman consoling a weeping child. In chalk.

' The family of Goldie are the immediate descendants of the eminent
architect, Joseph Bonomi, who married, in 1775, Rosa Florini, Angelica's
cousin. Of this raarriage there were ten children, six sons and four daughters.
The sons were distinguished either in the army or in science, Joseph was
well known as an eminent Egyptologist, and later became curator of the
Soane Museum. Of the daughters, Mary Anne, the second, married George
Goldie, M.D., father of Mr. Charles Goldie, so that he comes in touch through
his grandmother with Angelica, and has an affectionate regard for his gifted
cousin. All raeraentoes have been carefully preserved. The gold snuff-box
given by the Emperor Joseph, the miniature of Zucchi set as a bracelet, and
the diamond earrings mentioned in her will are in Mr, Charles Goldie's
possession.

Appendix. 397
Drawings formerly in the Burney Collection, and
entered in Mr. B. Quaritch's Catalogue of 1892.
Summer and Autumn, a pair of pictures in water-colours, with classical figures
and appropriate scenery, the three Graces being prominent in the
foreground of " Summer." About 1780.
L'Amour Veng^, Cupid flying from a company of Satyrs, the figures coloured,
A mother and three children clinging to her, richly but darkly painted in oil.
A mother and three naked boys seated on clouds ; a coloured cartoon, but
not finished as a painting.
Three designs apparently for a book on " The Arts," one a frontispiece, the
other two symbolizing Music and Painting. About4i786-90.
Two tinted pen-and-ink drawings to illustrate Telemachus. About 1790,'

F. Wadmore, Esq., Cleone.
Original Sketch,

1 A set of engravings (4) have been recently added to the portfolio of
Angelicas in the Print-roora, British Museum ; tbey are engraved by Gabrielli,
and are said to be after her designs of the four seasons. They are very
indifferent.

DRAWINGS TO BE SEEN IN THE EXHIBITION
GALLERY, BRITISH MUSEUM.
«
I, Death of Clorinda.
2, Una and the lion. Una, a portrait of herself,
3. A girl reading.
4. Portrait of herself
5. Sketch of a beggar holding out his hand. From the collection of Mr,
Payne Knight,
6, Classical design for decoration.
7, Sacrifice to Ceres, Design for a sopra porta.
8. A Bacchante.
9. Paris and Helen with Cupid inflaming their hearts. Original sketch.
IN THE FINE ARTS GALLERY, NEW BOND
STREET.
Calypso mourning the departure of Ulysses. "The same subject as the one in
possession of Mr. Charles Goldie.

A portfolio of drawings in possession of Mr. Edward Goldie.
Also a portfolio of drawings, and other mementoes belonging to
Angelica, in the possession of Mrs. George Goldie {Venabrid),
living in Brittany.

GUIDE TO THE HOUSES DECORATED
BY ANGELICA KAUFFMANN.
[1771— 1781.]
To present anything approaching • to a complete list of
the ceilings, friezes, etc., painted by Angelica during the
ten years she undertook this work, would be impossible.
In the constant changes which occur in a large city,
many of the houses have disappeared, others have fallen
into decay, while some, during the benighted period
which set in about 1830, and which may be termed the
Dark Ages, were deliberately spoiledi by their owners,
who were genuine iconoclasts so far as art was in ques
tion. The fact that Angelica painted these ceilings, not
on wood, but on canvas or foolscap which was afterwards
put up, made the work easy to remove, and also more
liable to the influence of damp or neglect, and in this
manner much of her decoration has been lost.
To find out the names of the original owners of the
houses she decorated has been a task of some difficulty.
Great help has been given by those who possess such
houses, either by right of succession or by purchase,
and the result has been fairly successful.

40O Appendix.
I have to thank, in a special manner, for their kind help.
Viscount Portman, Dowager Lady Watkin Williams-
Wynn, the Lady Constance Leslie, Mr, R. F. Sketchley,
of the South Kensington Museum, Mr. Vicat Cole,
R.A,, Mr. Wright of the Adelphi, and Mr. Miintzer of
Dover Street.

The Adelphi.
This interesting and now beautiful part of the Strand
takes its name from four brothers, Robert, John, James
and William Adam, who, in 1765, obtained the lease of
the land from Sir Thomas Maupasson for ninety-nine
years, and called it the Adelphi, Greek for brothers.
Robert and James were architects of repute and men of
genius. William, in company with Cldrisseau, the French
artist, and Antonio Zucchi, then a young draughtsman,
undertook a journey to Dalmatia, in order that he might
perfect himself in the best types of Ancient Art. The
result can be seen in the magnificent designs of the
houses he built and the exquisite finish of his curves,
friezes, panels, etc.
Being natives of Scotland, the brothers Adam were
patronized largely by Lord Bute. For this statesman
they built Lansdowne House, Berkeley Square, Luton
House, Bedfordshire, and Caen House, Hampstead.
Their nationality, together with their enjoyment of the
favour ofthe unpopular minister, made them disliked, and
when in 1771, in building the Adelphi, they encroached

Appendix. 40 1
too far on the rights of the citizens, the inhabitants
applied to Parliament for protection, but did not get it.
This increased their annoyance. Squibs were freely cir
culated at the expense of the brothers : —
" ' Four Scotchmen, by the name of Adams,
Who keep their coaches and their madams,'
Quoth John in sulky mood to Thomas,
' Have stole the very river from us ! ' "
The Adelphi is a standing memorial of the master
hand that designed and built it. Walking through Adam
Street and the adjacent streets, anyone with an eye for
architectural beauty must be struck with the exquisite
symmetry of the designs — notably in Mr. Attenborough's
offices — the architraves of the doors of the houses in
John Street, and the elegance of the terrace itself, upon
which imrnense care had been bestowed. Most of the
ceilings in the principal rooms were decorated by
Zucchi,' and more than one was the work of Angelica.
Thie chimney-pieces were handsomely carved, and the
shutters, doors and skirtings had all carved mouldings of
very elegant design. Much of this still remains, although
the houses suffered considerably through the vicissitudes
through which they passed. The speculation of the
brothers turned out a failure, the expense of the building
and of the arches that were necessary for the foundation
' Zucchi was an old friend of the Adam Brothers, and had come
to London on their invitation. It was he who probably introduced
Angelica to the decorative business. Zucchi decorated Caen Wood,
Osterley Park, Luton House, Buckingham House, Sion House, and
others. In the architectural works of the Brothers Adam no men
tion is made of any other decorator but Zucchi, There is, however,
no doubt that he was assisted by Angehca, her father, Cipriani,
and others.
D d

402 Appendix.
was not recouped, t)wing to the difficulty of finding tenants
rich enough to pay sufficiently high rents. The houses
remained unlet, and gradually fell out of repair. The
property was heavily mortgaged, and, as time went on,
came into the hands of the principal mortgagee, Mr.
Drummond, to whom it now belongs. In 1872 the
houses subsided, and the attention of the authorities
being called to their dangerous state, an order was made
to compel immediate repair. They are now in excellent
order and all occupied, but in many' of them the decora
tions had to be removed, as the damp and rain coming
through the roofs had completely obliterated them.'
This happened to the ceiling in No. 6, now occupied by
the Savage Club. There are decorations to be seen
at:— No, I a, formerly the residence ofthe Bishop of Durham,
afterwards the home of the Juriior Garrick Club, and
now belonging to the Christian Police Association. Here
the ceiling is good, but the paintings, half-moons in
shape, nine in number, representing flying Cupids and
Nymphs, are very poor. They are said to be by
Angelica, but have great traces of John Joseph.
No. 5, which bears the well-known medallion, to
" David Garrick," now belongs to the Institution of Naval
Architects, and has a very good ceiling with a medallion
in the centre and several small ovals. These are said
to be the work of Angelica,^ and probably some of them
are, as she had such a close friendship with Garrick and

' Much information about the terrace was kindly given by Mr.
Wright, agent to the estate.
= In " Old and New London " it is distinctly stated that Garrick's
house was decorated by Antonio Zucchi.

Appendix. 403
his wife. The subject of the centre medallion is " Venus
attired by the Graces." It is very highly coloured.'
At No. 6, now the home of the Savage Club,'' under
neath the whitewash there was discovered a painted
ceiling, said to be by Angelica. It fell to pieces in re
moving. At No. 4, now the residence of Mr. R, D'Oyly Carte,
there is a perfect gem of a ceiling, and the work is dis
tinctly Angelica's. It is soft and lovely, and, if restored,
has been most judiciously done. The subject is one
often repeated by her — " Aglaia, one ofthe Graces, bound
to a tree by Cupid," There are fifteen small ovals.
Mr, Carte may consider himself very, fortunate in pos
sessing such a piece of work.^
On the other side of the Police Association, in the
Adelphi Hotel, there is a ceiling with three plaques ; the
paintings require cleaning to enable one to discern the
subjects. The ceiling has been divided. It is probable
that in its first. condition this house, and the one formerly
occupied by the Junior Garrick, were one, and may have
been the residence of the brothers, which is the tradi
tion. On the other hand, it would seem unlikely that
those artistic minds would h^e such inferior work.
No. 9, John Street, Adelphi.* Antonio Zucchi's
' In all decorative work which has been restored, it is hard to
distinguish the original colouring, and this applies especially to
Angelica's work, which was too delicate to bear the presence of
certain mediums and varnishes.
° No, 7 also belongs to the club.
' Henderson, the husband of George Keate's daughter, had a
house in Adelphi Terrace; Mrs, Henderson was a friend of
Angelica's, * Now occupied by different professional gentlemen. The ceiling
is in the possession of Messrs, Perry & Reid. Zucchi got 90/. a year
for this house.
D d 2

404 Appendix.
house, which he bequeathed to his nephews. A good
house with a good deal of Adam's work on the staircase
and doors ; one of the rooms has a nice ceiling let in
with faint blue here and there, and a medallion with
three figures in the centre. The figures are of Grecian
pattern in stucco, and are probably the work of Bonomi.
They are well designed. There is a tradition that Ange
lica painted some decorations for Zucchi's house. If
this ceiling represents her labour of love, it did not cost
her much trouble.
Just opposite Zucchi's house in John Street is the
home of the Society of Arts, who removed from the
Strand to the Adelphi in 1774.
After the failure of the proposal to decorate St. Paul's,
it was suggested that the principal artists of the Royal
Academy should be invited to contribute each a painting
to decorate the Great Room of meeting, or Council
Chamber of the Society. Reynolds, Cipriani, West,
Dance, Barry, and Angelica Kauffmann -were named.
The idea, however, fell to the ground; but three years
later (in 1777) Barry offered to decorate single-handed
the Great Room. He had sixteen shillings in his pocket
when he made the offer. *He accomplished his work,
and anyone visiting the Society's rooms can see his six
enormous canvases.

II.

22, Portman Square, the Residence of Viscount
Portman,
This noble mansion, designed by James Stuart and
Bonomi, built by the brothers Adam, and decorated by

Appendix. 405
Angelica, Zucchi, and Cipriani, in which Mrs. Montagu,
nie Robinson, lived, was the wonder of the day. Miss
Burney, in her pleasant Diary, tells us how that lady, of
whom the clever little authoress stood considerably in
awe, invited the Streatham party to come and see her
new house, where Angelica was at work.
Horace Walpole, who disliked the Montagu and her
blue-stocking friends, writing to Sir Horace Mann, says,
" On Monday with the Harcourts at Mrs. Montagu's new
palace, and was much surprised. Instead of vagaries, it
is a noble, simple edifice. It is grand, not tawdry, nor
larded and embroidered and pomponned with shreds and
Temnants, and clinquant like all the harlequinades of
Adam, which never let the eye repose a moment," '
That there is wonderful harmony and a dignified repose
in Montagu House is certain ; but a lack of gilding ' is
not its predominant feature : on the contrary, its gilded
walls and ceilings have always been famous. We must
therefore conclude the critic of Strawberry Hill visited
it before it had received all its trappings ; neither does
he make any mention of the Feather Room, to which
Mrs. Mofitagu's friends in all countries contributed.
Cowper alludes to this eccentric chamber in the well-
known lines : — " The birds put off their every hue
To dress a roora for Montague."
After a time the congregation of moths became so
numerous, that the gay plumage had to be stripped from
the walls.
' He also says, " Dined at Mrs. Montagu's. When I came
home I recollected that though I had thought it so magnificent
a house, there was not a morsel of gilding." This was in 1782.

406 Appendix.
Lord Portman, upon whose property the house was
built, has lately made Montagu House his residence, and
the improvements introduced by him are most judicious,
including the portico, which looks as if it had formed
part and parcel of the original house.
Inside it is purely Georgian, the medallions and
entablatures being thoroughly Adamesque, if we may so
call them. The ball-room, a superb room, has a highly
decorated ceiling with three large oval paintings repre
senting Olympus, The subject of the centre is Venus
borrowing the Cestus of Juno, The friezes round the
room, which are in stucco, reproduce Venus in her chariot
drawn by Cupids. Lord Portman does not count the
ceiling as the work of Angelica, " The paintings in the
reception-room," he says, writing to the compiler, "are
by Angelica Kauffmann. Most of the decorations in
the ball-room on the ceiling are by Bonomi,' date 1791."
If we accept the date as correct, there can be no doubt
that they could not be Angelica's work, as she was then no
longer living in England ; in addition to which there
is a certain Italian touch and brightness of the colouring
unlike her. At the same time, we have Miss Burney's
testimony that Angelica was decorating the house in 1 781,
' Joseph Bonomi, A.R.A., while studying architecture at Rome,
where he was born, was induced by the brothers Adam to leave
Rome and come to London, which he did in 1767, when he was about
twenty-eight years of age. He reraained for a considerable time in
the employment ofthe Adams. He married Rosa Florini, a cousin
of Angelica Kauffmann, and had a family of ten children. The
Spanish Chapel and Montagu House in London are from his
designs ; also Eastwell House, in Kent, once the residence of the
Duke of Edinburgh ; Roseneath, on the Clyde, a mansion belonging
to the Duke of Argyll, and other well-known country seats.
He died in his house in Great Titchfield Street on the 9th March,
1808. His wife lived tiUJuiie, 1812.

Appendix. 407
and, moreover, it is certain that Bonomi was no colourist,
but an architect and able draughtsman. It is pro
bable, taking into account Walpole's remarks, that
the gilding was an addition, and that at the same time
some portions of the ceiling may have been painted by
Cipriani,' which would account for the Italian colouring,
which is very unlike Angelica's. There is a fine marble
chimney-piece in this room, and the skirtings are all of
the purest Italian marble,^
In the reception-room there are six " sopra-portas " by
Angelica on each side of the wall, matching exactly in
shape a large one in the middle and a smaller on each
side. The subjects are taken from Shakespeare's plays,
especially "King Lear," One is Cordelia's corpse
carried on a bier — a good picture. The others are some
what poor, and it is a pity they should be framed, as it
spoils the effect ; particularly on the side of the room
where the door is they would look better let into the
wall as panels.

IIL
II, Stratford Place, Sir John Leslie's House,
Few persons hurrying along the busy thoroughfare of
Oxford Street have leisure to give more than a passing
glance at this old-fashioned place, standing back, as
' Cipriani, the intimate friend of Bartolozzi, whose fellow-coun
tryman he was. They were like twin brothers. Cipriani was
remarkable for the elegance o£ his groups and the grace of his
contours. 2 Since writing the above I have been informed by Mr. Goldie
that the Baron de Cosson, connected with his family by marriage,
has in his possession Angelica's original drawings for Montagu
House.— /".a

4o8 Appendix.
it were, with the quiet dignity of age, from the bustle and
tumult of the new world which now surrounds it, and
which is out of tune with its past.
Stratford Place was built in 177 1 by the Brothers
Adam, and Stratford House, with its noble frontage, was
the residence of an Irish peer, O'Neale Stratford,
Earl of Aldborough.' The viscount was a dilettante
nobleman of the Charlemont and Powerscourt type, the
viscountess being quite as eccentric as her contemporary,
Lady Burlington, with the result that the extravagances
of both husband and wife left a legacy of debt to the
heirs, which necessitated parting with Stratford House,
while the old family residence near Dublin was first
converted into barracks, and has now sunk into a
lodging house of the most ruinous description.^
Sir John Leslie, of Glasslough, is the present owner of
Stratford House, and in his hands the beauties contained
in it are well cared for. There is a fine staircase with
the Adam cornices and ornamentations. The ceilings
are in Angelica's best manner. In the Cupid drawing.
room, "the Paphian Boy" is to be seen in every mood
and shape, truly painted by the "pencil of fascination,"
In the dining-room we find another ceiling with the
subject so well known, and which Angelica so much
liked, that of Aglaia bound by Cupid and the Nymphs
to a laurel tree.
There are other houses of interest in Stratford Place.
Cosway, the miniature painter, removed in 1792 from Pall
' Hence the name Stratford Place,
' It is a most weird-looking old house, degradation vnrilten upon
its neglected walls. But up to a recent date it contained some fine
chimney-pieces by Wedgwood, and carvings, which have since been
sold to English dealers.

Appendix. 409
Mall to the corner house. No. i. It may be known by
the lion on the top. Hardly was he established, when a
pasquinade, attributed to the malicious Peter Pindar, was
affixed outside ; —
" When a man to a fair for a show brings a lion,
'Tis usual a monkey the signpost to tie on ;
But here the old custom reversed is seen.
For the lion's without and the monkey's within." '
Cosway, who was as sensitive as he was vain, was
so annoyed at this sorry jest, that he moved to the
opposite side (No. 20), and there he lived until his death.
It has been always said that in his house there was a
beautiful ceiling by Angelica Kauffmann ; but this seems
improbable, as in 1792 .she had been living many years
in Rome. She may have painted one for him either in
his house in Pall Mall or Berkeley Street.

IV.
Soho Square, Lord Fauconberg's House.
{Now a portion of Messrs, Crosse and Blackwell's
Warehouse,)
One of the charms of London is the quaint little
squares set apart in the midst of the busy capital, and
reminding one in their quietude and alraost desolation
of some grey, joyless lives, which have no share in what is
going on around them. Silent as it now is, Soho Square
was in Angelica's day a centre of gaiety and dissipation,
' Since this was written No. i has been pulled down to make
way for the new buildings of a bank.

4IO Appendix.
for here lived Mrs. Cornelys, called in her time "the
Heidegger of the age." To her and her notorious rooms
was attributable the ruin of many a promising youth and
maiden. Another celebrated place of fashionable dissipation
was the " White House," situated on the opposite side
of the Square to Mrs. Cornelys, where Messrs, Crosse
and Blackwell's premises now stand. The White House
was frequented by such well-known personages as the
Marquis of Queensberry, familiarly called " Old Q," the
Marquis of Hertford, and the Prince of Wales. The
different apartments were known as the silver, the bronze,
and the gold rooms, the painted chamber and the grotto.
Next door to this White House was the residence of
Lord Fauconberg. It is now incorporated with Messrs.
Crosse and Blackwell's buildings, and in it the sale of
their productions is carried on. In one of the upper
rooms a painted ceiling was found in a dilapidated and
neglected condition. It fortunately fell into the hands of
the head of the firm, who, finding it was painted on canvas,
had it carefully removed, restored, and conveyed to his
own residence. The Cedars, near Pinner. The four ovals
of the ceiling have been framed, and hang in the hall as
pictures. There is a slight coarseness about them, for as
a natural consequence, work intended to be seen from
a distance is never so highly finished. There is Cupid
and the nymph Euphrosyne, Angelica and Urania with
the Celestial Globe, and a large oval of nymphs with
garlands, which is far the best both in design and colour.
The grouping is both graceful and effective.

Appendix. 411

12, Grosvenor Square, Lord Wynford's House.
This house has changed hands several times. It
belonged to Miss Charlotte Grenville, daughter to George
Grenville, the Minister, and wife to Sir Watkin Williams-
Wynn, who was the friend of Garrick, and of Sir Joshua,
by whom the lady was twice painted. Her son gave
her 12, Grosvenor Square as her dower house, as she
did not like St. James's Square.' Lord Lytton lived here
for some years before his death. The author of " The
Last Daya of Pompeii " seems to have shared the opinion
of Horace Walpole as to the "Adam harlequinades,"
for he had the elegant mouldings, friezes, and cornices all
disguised in dull Pompeian colours, one room being
called the Pompeian room. After Lord Lytton's death,
about twenty years ago, the present owner bought it, and
with commendable good taste abolished the relics of
Herculaneum and restored the Georgian character of
the house. There is, however, a superabundance of
gilding. Fortunately each reformer spared Angelica's
ceilings, which are exquisite in the softness of their colour
and delicacy of treatment. TJie large ovals represent in
the front drawing-room, Venus attired by the Graces, in
the back room, Apollo playing the lyre to his com
panions ; while the smaller ovals, charming little gems,
display the most enchanting Cupids and graceful
Nymphs, In an inner room on the same floor there are two " sopra-
' See page 416.

412 Appendix.
portas," also by our artist, as fresh as if done yester
day, in which the favourite Chariot of Venus reappears,
drawn by the most enticing Cupids.
There is also an allegorical picture by Angelica of
herself as Sappho.

VI,
39, Berkeley Square,
This house, which has recently been sold by Lord
Downe to Mrs. Hartmann, is a thoroughly sound speci
men of the Georgian era. It was built by Adam, and
some of his best work is here. Nothing can surpass the
beauty of the ornamentation on the friezes, enriched
with motley masks and strange devices of all kinds, and
the well-known Adams' " Fillings," as they are called.
So too with the ceilings, two of which are octagon in
shape and wonderful in elegance of design and ornament.
Doors, mouldings, cornices likewise^ are in excellent taste
and are made for use as well as for ornament.
Like most houses of the last century, 39 has had its
vicissitudes. In the " dark ages " the hand ofthe spoiler
was busy destroying all of beauty, and replacing it by
the tasteless improvements then in fashion. In this way
the elegant mouldings were disfigured by coat upon coat
of paint, until the original design became utterly lost,'
' This painting over of ornamentations was very common from
1830, at which period the " dark ages " began. In this instance the

Appendix. 413
while other malpractices were used in regard to
friezes and ceilings. No. 39 has now, however, come into
good hands, and the work of restoration will be complete.
It is somewhat to be regretted that in the beautifully
panelled library, or reception-room, the old style is to
be replaced by a Louis XVI, decoration. The white
octagon morning-room and the octagon drawing-room
are specially noticeable ;. the first has a pure Adam
ceiling, beautiful in its design ; the second is a splendid
piece of work, the panels (ovals) being painted by
Angelica most exquisitely. They are soft in colour,
graceful and harmonious in grouping, and excellently
restored. The centre oval (through which some Goth
had run a gas-pipe !) represents the nymph Euphrosyne
disarming Cupid j the smaller ovals, which are inter
spersed between the ornamentation of the ceiling, display
a series of Nymphs and Cupids : the whole thing is a
feast to the eye as a work of art.
The chimney-pieces cannot be passed over without a
word of admiration. They are the work of Wedgwood
with all his elegance of shape and design, and with the
coloured flutings which are his characteristic.
This house when finished will be a rare treat to those
who understand and reverence such relics of the days
when art was present in every curve, cornice and mould-
wood has had to be scraped and pickled down to get at the original
design, which was concealed by layers of paint. It is a fact that in
many houses of the Georgian era the beautiful Adam doors have
been taken off and thrown into a stable; and the Wedgwood
chimney-pieces replaced by marble or velvet-covered mantel-boards.
So, too, with old panellings and surbases ; and in many instances
ceilings have been painted over or gilt, and gas-pipes run through
the centre plaques.

414 Appendix.
ing, and when the true principle was observed of making
everything for use as well as for ornament. That principle
is now utterly neglected. Hence the reproductions of the
Adam or Inigo Jones ornamentations are failures.

VII.
The Arts Club, Hanover Square.
Hanover Square and its neighbourhood forms an inter
esting region peopled by many recollections, as of the
old Hanover Square rooms, once the great musical centre,
where Bach led the orchestra and George III. loved, to
come and listen. Fashionable concerts were given even
so lately as ten or fifteen years ago, although the rooms
were then getting into the sear and yellow condition, and
marked down for sale.' Opposite to the Hanover Square
rooms is the Arts Club, established in 1873. The house
is an old one ; there is a good deal of panelling, and a
general air of having a history, but so far what its story is
has not been ascertained. The Square is out of fashion,
and its fine houses are mostly clubs, or inhabited by pro
fessional men; but in Angelica's day, several of the
nobility lived there. At 23 her first royal patroness, the
Duchess of Brunswick, lived for many years, and died
there. In the Arts Club we find two ceilings, one
painted by Angelica is an oval representing " Aurora "
' The old house has been converted into a club. No 15; George
Street, Hanover Square (now occupied by the eminent physician
Dr. Kidd), a house of the Georgian era, has a panel let in over
the mantel-piece, which has vei^ much the mark of Zucchi's paint
ing. There is, however, no definite information concerning it.

Appendix. 415
after Guido.' It is well painted, the colouring good. In
the other room, which is a very delightful library,
or reading-room, the ceiling is an olla podrida of styles
and hands, in which anyone conversant with John Joseph
can recognize his touch. Zucchi is also present, and
if Angelica did have a share, and doubtless she had, it
must be said she is not much better than the others.
Still, the effect is good: the varnish is high, and the
whole performance forcibly recalls an old art, once much
practised, of transferring prints to tables, etc., which is
now utterly forgotten, but which can be still seen in some
old houses of the last century.

VIII.
Arlington House, 23, Arlington Street.
When this fine old house was taken down some few
years ago, it was stated that the drawing-room ceil
ing had been whitened over to conceal a painting by
Angelica, and that the owner. Lord Walsingham, finding
it was on canvas, had it carefully removed.^

IX.
Dowager Lady Freake, 30, Cranley Gardens.
Lady Freake is well known as a collector of pictures
and rare engravings. Her four Angelicas are exception-
1 This subject was evidently the inspiration of Angelica's picture
of Venus drawn in her Chariot by Cupids, which had a great
success, and was engraved both by Marcuard and Rose Lenoir,
* Lord Walsingham, writing to Miss E, Vemon Harcourt, states
that he never heard of the ceiling, but that a very coarse and badly
painted frieze was taken down.

4 1 6 Appendix.
ally good. They formed part of the decorations of the
Earl of Derby's house ^ in Grosvenor Square. Two
were certainly " sopra portas " from their shape. These
are " Cupid and Aglaia," and " Cupid's Pastime." The
others are nymphs carrying garlands ; and Venus on a
couch counselling Helen, to fly with Paris, whom Cupid
leads by the hand into the room.

X.
No. 20, St. James's Square, the Dowager Lady
Williams-Wynn's House.
There are many reminiscences called up when we
enter the precincts of this stately sqiiare, with its grand
ducal mansions representing the houses of Norfolk,
Marlborough, Cleveland. Here, round and round
through the long hours (fortunately) ofa summer's night,
walked Johnson and Savage, both homeless and hungry,
but by no means depressed. In connection with the
Square, Johnson was fond of repeating the following
lines : — " When the Duke of Leeds shall married be
To a fine young lady of high quality,
How happy vrill that gentlewoman be
In his Grace of Leeds' good company !
She shall have all that's fine and fair,
And the best of silk and satin shall wear.
And ride in a coach to take the air.
And have a house in St. Jaraes's Square.''

' Lord Derby's house was one of the most beautifully decorated
houses in London ; the ornaments of the pedestals, circles, and
panels of doors were all of the highest class of decoration. It is
minutely described in the architectural works of Adam, to the
furniture in Lady Derby's dressing-room,

Appendix. 417
Here, too, on another June night, when a ball was going
on at Mrs. Boehm's, came rushing up at tearing speed
Major Percy, with the news of the battle of Waterloo.
What a scene was there I how the ball was interrupted —
how Major Percy told his tale — what grief and distrac
tion it brought to many who had been laughing only a
moment before. It was a dearly-bought victory to these.
Mrs. Boehm's house was on the south side, so was
Lord Radnor's, elegantly decorated by the French artist,
Laguerre. The Dowager Lady Williams-Wynn's house is one
of the finest specimens of Adam's work in London.
Every cornice and curve has its use, each medallion is
elegant in design, all the ornamentations and mouldings
are graceful and to the purpose. The house was built
in 1 771. The same year Sir Watkin W. Wynn married
Miss Charlotte Grenville. He spared no expense in
making No. 20 beautiffil. The ceiling of the dining-room,'
which is altogether Adam in design,^ is enlivened by
ovals painted on foolscap paper by Angelica,^ and alle
gorical in subjects. The centre one represents the story
of Alexander resigning his mistress Campaspe to Apelles.
It is very beautiful, being soft in colour and the design
good. The smaller ovals represent some of the fine arts.
There are about fifteen. The sopra-porta represents a
sacrifice to the God Pan.
' The dining-room was originaUy the music-room, and here the
splendid organ used to stand ; this has been removed to the family
seat in the country.
2 The height of the Adam ceUings was, as a rule, very favour
able to Angelica's work, as the distance at which the spectator is
conceals any deficiency in the outlines. Sir Watkin was a strong
admirer of the Adam brothers. He went so far as to raelt down
sorae Queen Anne plate and have it re-raade after their designs.
' This was discovered when the ceiling had to be repaired. E e

41 8 Appendix.
In a smaller room on the same floor there is a de
licious ceiling painted in monochrome attributed to
Cipriani. This room is full of objects of art, old minia
tures, china, etc, and in the adjoining room, used as
Lady Wynn's bedroom, there is a dressing-table service
of old plate ofthe quaintest pattern.'
We now go up the fine staircase, and passing
through the spacious vestibule (Adam never stinted
space on landings), we enter the la'rge drawing-room, or
ball-room, where the splendour of the carved ceiling
and the character of the decoration takes one's
breath away. Every portion of its spacious arches is
covered with ornamentation in different styles, but all
blending harmoniously. To do it justice by description
is impossible, and even a photograph would give little
idea of its beauty. There are six panels, allegorical sub
jects, long, not oval in shape ; the remaining spaces
being filled in with Egyptian scrolls and quaint devices.
Mr. Miintzer, of Dover Street, has recently restored
the ceiling and re-papered' this room in excellent
taste. He was able to make a close inspection
of the work, and says that it is evidently by
different hands, the panels being far superior to the
scrolls, figures and ornamentations. Most probably
Zucchi and John Joseph assisted Angelica. The panels
present many of her favourite subjects. The Chariot of
' In the library there is a large portrait by Dance of Garrick as
Richard HI. When the painter becarae Sir Nathaniel Dance-
Holland he offered one thousand pounds to have it back I The
ornamentation of this roora is in the shape of fans at each corner of
the ceUing : the centre medallion represents Sappho discoursing with
Homer ; the other medallions, four in number, represent Angelica
listening to the Muse, Coraposition, Design, and Invention.

Appendix. 419 ¦
Venus, Diana and nymphs preparing to hunt. There are
two which it does not appear she ever treated before, one
is of Aphrodite rising from the sea ; and from this
circumstance and the peculiar colour of the blue back
grounds, might be formed the conclusion that Cipriani,
who often worked for Adam, had some hand in the
ceiling,' In this room the panels of the doors (which are of
singular beauty) are also painted. This work, which
unfortunately is so close to the eye, is most unworthy of
its surroundings. It is certainly not by Angelica,
Cipriani,'' or even Zucchi ; or if it were originally done
by either of these artists, it had got blurred, and in the
effort to restore it has been altogether defaced, especially
the nymphs, who hang their hmbs in a purposeless
sort of manner. The chimney-piece of white marble is
splendid, the centre being from a design of Angelica's,
It is pleasant to think this. fine old house is so valued
by its owner, and kept in excellent preservation.

XI.
Cambridge House, Regent's Park. Mr. Walter
Gilbey's House,
Here there are two beautiful chimney-pieces, the frontis
pieces painted by Angelica, The one in the second
' The smaUer ovals round the roora are distinctly Cipriani's, and
there is little doubt he likewise painted the three panels on the ceiling,
2 On a second visit to No, 20 I find the doors much improved ;
they have been carefuUy touched. The defacement of the original
work was due to some country artist who was eraployed in the
restoration many years ago. He also meddled with the back
grounds of the panels on the ceiling, introducing colours which have
turned almost black. The design of this ceiling resembles Adam's
design for Carlton House. — See Adams' " Works in Architecture."
E e 2

420 Appendix.
drawing-room is the best ; it represents Fortitude and
the lion. Fortitude is a. portrait of the artist, Mr.
Gilbey has also a most interesting relic, a clavichord, the
plaques of which are admirably painted by Angelica,
Some of the pieces of furniture supposed to be painted
by either Angelica, Cipriani, or Cosway, are simply
modern work, as is often the case with the so-called
Sheraton and Chippendale furnimre, of which there
is said to be a large manufecture in this country.'
Some people, however, are fortunate enough in possess
ing the real thing, and Mr. Gilbey's clavichord is a
genuine antique.
Lord Portarlington possesses at Emo Park a table
painted by Angelica for his ancestor. Lord Milton. Lord
Spencer has a cabinet. For the Empress Catherine of
Russia she painted a harpsichord.

XII.
Osterley Park, the Seat of the Earl of Jersey,
near Brentford, Middlesex,
Decorated principally by Zucchi in 1 781, assisted by
Angelica, and probably by her father.
Waagen says one apartment was entirely embellished
by him, and in another room the frieze was the work of
Angelica. Taylor '^ says, "The chamber decorations at Osterley
' Mr. Phillips, of Bond Street, says that hardly a week passes
without pieces of furniture being brought to him for sale, supposed
to be painted by some of the well-known artists of the last century ;
Angelica being the favourite, probably because she was the more
easily imitated.
" " Records of a Life,"

Ap)pendix. 421
are very inferior art. A series of views in Tempera.
Another apartment of this great house was decorated in
body colour by Angelica Kauffmann."

XIIL
LuTON House, or Luton Hoo.'
Rebuilt by the brothers Adam for Lord Bute, and
partially burned down in 1843. It was decorated by
Zucchi and Angelica. There still remains a chimney-
piece of her design from the Tempest — Ferdinand and
Miranda.

XIV.

Belvedere, Kent, formerly the Seat of Sir
Culling Eardley, Bart.
Waagen says the dining-room at Belvedere is decorated
with thirteen pictures by Angelica Kauffmann, let into the
walls, which, by their pleasing composition and cheerful
colouring, have an agreeable effect. They were painted
for Lord Eardley ; and also the portrait of Lady. Eardley,
now in possession of Sir T. Blomefield,^ one of her most
charming and dignified portraits.

XV.

At a house in Liverpool a ceiling painted by Angelica,
subject, Selim addressing the Persian nymphs, was
disposed of quite recently by private sale.
' Luton Hoo now belongs to Monsieur and Mdme. de Falb .
^ See Catalogue, under B.

42 2 Appendix. Ireland,
Rathfarnham Castle, near Dublin, formerly Lord Ely's,
now in the possession of Mr, Blackburne ; Lord Meath's
house, now the Church Temporalities, Dublin; Dr.
Mahaffy's house. North Great George's Street, Dublin,
have all ceilings and panels painted by Angelica during
her visit to Ireland, For description of these, see
Chapter VI.
This is all of her work that can be traced in Ireland,
but doubtless there was much more which through
neglect got injured or was painted over.
A word must be said of Lord James Butler's house,
1 8, Rutland Square, Dublin, which was built by Lord
Farnham in 1774. This date being three years later
than Angelica's visit to Dublin, would seem to make the
decorations of the ceilings attributed to her impossible ;
still it may be that (as she painted her decorations
always on either canvas or foolscap) she executed the
commission in London and sent it over to Dublin. The
centre panel of the ceiling is allegorical, the four side
panels are round, and represent the Seasons.
Lord James, who is a virtuoso, has likewise some
beautiful cabinets, the undoubted work of Angelica.
They were originally intended for the panels of sedan
chairs, and are highly decorated ; one cabinet has yellow
panels with artistic arabesques, the other cupids, most
gracefully and prettily drawn.

Nostell Priory, the Seat of Lord St. Oswald.
Nostell Priory, the residence of Lord St. Oswald, is
situated between Wakefield and Normanton. An

Appendix. 423
admirable series of article in the Athenceum of 1880
deals exhaustively with the delightful old place and its
wealth of pictures, including the Sir Thomas More, by
Holbein, over which so much discussion took place.
There is an unusually large proportion of good pictures
at the Priory. Poussin, Claude, Paul Veronese, Titian,
are all represented. Likewise Angelica comes in for a
full share — not that the writer of the articles in question
has much to say in her favour. He speaks somewhat
contemptuously of her " gentle art," at the same time
acknowledging her uniform gracefulness and elegance.
There is a vast amount of decoration at the Priory.
Three rooms with about thirty paintings, panels, ceilings,
etc. Most of these are attributed to Angelica, but this
is not, I fancy, the fact. The greater portion was the
work of Zucchi, who was sent down, to the Priory by the
brothers Adam, who were largely patronized by Sir Row
land Winn, who was then the owner of Nostell. He was
engaged on different works of decoration from 1767, and
was paid in sums varying from 100/. to over 600/.' He
executed four large pictures of ruins about six feet high,
in which, it is said, he was helped by Angelica. This
may be the case. Zucchi's letter,^ however, to Sir Row
land Winn, which will be found on page 172, proves
that up to 1780 she was unacquainted with Sir Rowland.
No doubt after this and previous to her marriage she
did go to Nostell, for we are told that she was a great
favourite with the baronet and his family, and constantly
stayed at the Priory. Some of her work is there, and
' Lord St. Oswald has the receipts signed by Zucchi, The
last in 1780.
2 Sent to the writer by the late Lord St. Oswald.

424 Appendix.
as fresh as the day it was done. There are six small
pictures by her, the subjects would seem to be her
favourite shepherds and shepherdesses dancing. There is
the usual background of trees ; also the round or oval
panels in the ceilings are repeated with her usual variety
of cupids, all in excellent condition.

Devonshire Place House, Marylebone Road,
the Residence of Joseph Pyke, Esq.
In the days when Angelica lived in Golden Square,
there lay a dreary waste between where Cavendish
Square now stands and the village of Marylebone, some
times called Harley Fields. In 1772 the now populous
thoroughfare of Duke Street was not built, and Maryle
bone itself was considered the country, Mr, Smith, in
his " Rainy Day," tells his readers that it was inhabited
by families of distinction, who kept their coaches. The
old Manor House, built it is said, by Inigo Jones, which
was well known as Mr. Fountaine's Academy, stood
on the same side of the road as the house which we are
about to visit, facing the Marylebone Church, in High
Street, where Byron and many notables were christened,
amongst them Nelson's daughter Horatia- Devonshire
Place House is a good specimen of the Adam brothers ;
it is substantial and yet elegant. It stands in a sort of
courtyard, with a fine garden at the back. Inside there
is a quaint circular hall with a mosaic pavement and
a narrow corridor leading to the reception rooms, all
on the ground floor. Here we have the fine old
mahogany doors of the last century, enriched with rare
entablatures of ornamental brass, curious of device.

Appendix. 425
The rooms are not large, and somewhat low, but there
are many of them, and they open one into another. The
ceilings, which were in a bad state when Mr. Pyke took
the house, have been restored. There is no definite
idea as to who painted them, but they have a decided
similitude to Angelica's style, especially the one in the
drawing-room, which presents the well-known Chariot of
Venus. The old house, which, it is said, belonged to
the Devonshire family, has fallen into good hands. Mr.
Pyke is a virtuoso, and his collection of paintings, china,
and curios is delightful to those who enjoy such things.
Amongst other relics of bygone times, he possesses a
quaint Chippendale stand containing the necessaire de
toilette of a lady of fashion ; small jng and basin in deli
cate china, and a drawer where the cosmetics were kept
handy for use. In the matter of paintings, we have
a small gallery to look at : amongst them four of Smirke's
Shakespearian pieces. All indeed are excellent. There
are five of Angelica's, for whose pictures Mr. Pyke had,
when a boy, conceived an almost romantic affection, from
looking at prints from her works in his father's house.
His present collection came from the Rushout sale.
Nathan and David, Jeroboam's wife listening to the
Prophet Ahijah, as also the Temple of Guidus, hang
in the dining-room. In the drawing-room we find over
the doors two more Angelicas, beautiful specimens,
painted during her stay in Rome, for her good patron,
Mr. Bowles. The colouring is soft, and' the pictures
most Kauffmannesque. One is "The Nymph Egeria
advising Numa Pompilius ; " the other " Venus chiding
Ganymede." In both the female figure is perhaps
somewhat too tall for the picture, but this defect is lost

426 Appendix.
sight of in the general effect. They are quite in keeping
with the interesting old house and its artistic contents,
amongst which we must not omit to mention Thorwald-
sen's "Calypso," This lovely statue Mr. Pyke has
placed in a home of its own, carefully curtained from
the eyes of the profane. It was specially built for the
purpose, and here on special occasions, with light
artistically let in from the top, Thorwaldsen's master
piece smiles softly upon her admirers.

Also decorations for the houses of the Dowager
Countess Home, and the Earl of Bathurst.

Some house in Russell Street, Bloomsbury, is said to
be decorated by Angelica Kauffmann, but no accurate
information has been received by compiler.

20, Portman Square, 'the Residence of the
Misses Goldsmid.
Here is a splendid mansion in the very best style of
the brothers Adam, with their train of skilled statuaries,
decorators, and workmen. It was built for the Duke of
Newcastle, who, with the reckless magnificence of the
noblemen of his time, spared no expense in the fitting up
of this fine house. When we come to reflect upon these
men, w^o played such a part in the history of the four
Georges, we can find much to admire. These fine
gentlemen of loose morals and extravagant habits had
some grand qualities ; they were brave men, splendid
statesmen, generous patrons of art ; and if they squan
dered their fortunes, they at least left to us of this
generation memorials of good taste and artistic instincts.

Appendix. 427
No. 20 stands upon the same side of the square
as Lord Portman's fine house ; its portico and pillars
distinguish it from its neighbours, which are not so pre
tentious, and it has a grave and dignified air, as befitting
the residence of so exalted a personage as Henry Duke
of Newcastle.' The Duke had come recently to his
strawberry leaves when he built this mansion. He had
inherited it and a large fortune, and was a man distin
guished for his fine taste, and for other matters not quite
so creditable to his memory. Lady Mary Wortley
Montagu was 'said to have been much attached to him,
but her heart went out to a great many people. Perhaps
the finest staircase ever built by the Adams is here ; it is
truly magnificent, elegant in its- proportions, and Grecian
in design. The broad stairs in front, the double flight
on each side, the circular light from the top, give
it an imposing character, which is added to by the
niches in the wall holding large statues, life-size. These
niches are surmounted by oval panels of Wedgwood's
elegant designs, on a pale blue background, the effect
being most harmonious. As one looks at this grand
staircase the imagination peoples it with the forms of
those who in their day often trod these steps. In the
morning the hangers-on of my lord Duke, intent on
getting places or money from him, the poor men of
' Henry, Earl of Lincoln, married. Catharine Pelham, daughter
and heiress to Pelham, the minister. The Duke of Newcastle-
under-Lyme was her uncle ,¦ the dukedom descended to the Earls of
Lincoln. The previous dukes had lived in Lincoln's Inn Fields,
comer of Queen Street. Portman Square was in the last century a
very aristocratic residence. The Duke of Hamilton lived at No. 12,
and nearly every house was occupied by a noble family. It stUI
keeps up its prestige, the size of the houses making it obligatory that
they should be rented by persons of wealth and position.

428 Appendix.
letters, the needy artists, and so forth. Later on would
come her Grace's visitors, descending from their coaches
and sedan chairs. We see them ascending and descending
in their hoods, the sweet saucy beauties of that day, all
patchesand powder, hoops and brocades; Horace Walpole
paying his court as he conducts the Countess of Upper
Ossory ; and the Duke himself, leading sprightly, witty
Lady Mary Wortley, who is retailing a somewhat risky
story. Ah ! they are gone, and the staircase is empty.
Let us look at the reception rooms.
On the first floor there are three fine spacious apart
ments: the morning-room, dining-room, and library, which
is connected with the latter by a closet, possibly the
"powder" closet. The doors are all of mahogany,'
with the old-fashioned inlaid brass plates. There is a
great amount of ornamentation of the best adamesque
design, light and beautiful. There is a wealth of
decoration all through the house, the drawing-room
being likewise highly decorated with the addition of
much gilding.
That in this work different hands were employed by the
Adams is more distinctly evident here than in the other
houses we have been visiting. One room, the dining-room,
is attributed to Angelica, and in this only the centre panel
of the ceiling ; the morning-room is said to be done by
Zucchi. The oval over the chimney-piece, however, is by
no means in his flat sign-board style : it has traces of
Angelica's more harmonious treatment;^ so, too, with the
' The hall door (or portes-battant rather) is likewise of
mahogany.

ogany. It is either the original or a copy of her picture " Erminia,"
¦iivpfl hv Ttnrtnloy.zi.

engraved by Bartolozzi.

Appendix. 429 «
centre panel of this ceiling, which represents her oft-
repeated subject " Venus counselling Helen." There are
several panels by Cipriani, his lighter backgrounds and
soft pleasing touch being easily distinguished. The
" Four Seasons " are his work ; the chimney-pieces are in
keeping with the elegance of the house. They are of
beautiful design and execution. One, in particular, in
the library calls for special mention : the panel or painting
over this is somewhat in Barry's style ; but there is no
definite certainty as to any ofthe work beyond the fact that
it was done by the usual artists employed by the Adams,
Zucchi, Cipriani, and Angelica, with their assistants,
whoever they may have been. We may believe with
tolerable certainty that Hamilton had a hand in most of
the house decorations, and that John Joseph occasion
ally was employed ; but one Would like to know more
details of the work, which, however, do not appear to
exist. Perhaps they may turn up some day, and will
be most interesting.'
Had Robert and James Adam completed the record
they commenced of the houses built by them, we should
have had a splendid contribution to the history of the last
century. The three large volumes they left contain only
a part of the work they did ; these cause a real regret that
they did not finish what they began so well. Strangely
enough, the only artist they mention is Antonio Zucchi, "
' Two very interesting notices of Somerset House have lately
been contributed to the "Journal of British Architects" by Mr.
Wyatt Papworth, curator of the Soane Museum, from which I have
quoted on page 44.
'^ Zucchi had been engaged in decorating houses for the Adams
from 1767. Angelica did not work for the brothers Adam until
after her return from Ireland in 1 77 1, when she, too, entered upon
this branch of the profession.

430 Appendix.
for whose abilities they appear to have much respect,
based no'doubt on their early friendship, when ais young
men they travelled together in Italy. Zucchi was no
doubt a respectable draughtsman, and probably more
submissive as a copyist of the brothers' designs than
artists of more imagination. He painted all manner of
ornaments, pilasters, circles, panels of doors, etc, for
Sion House, and the furniture of Lady Derby's dressing-
room. The Adam style was a profuse use of ornament, perhaps
too much so, which may have caused the reaction to
the bald, cheerless apartments which distinguished the
earlier portion of this century. The introduction of gas
had much to do with the painted ceiling going out of
fashion ; but with the advent of the electric light we
may hope for a return of'this charming decoration.
An approach has been made in the papered ceil
ings which are now in use ; but they are unsatisfactory,
and given to splitting into very unsightly cracks. The
Tyncastle designs are mere imitations, but both these
are an improvement upon the white-washed~ ceilings
with stucco patterns. The cold unfinished look of
the plaster ceiling disfigures every room, however it
may otherwise be in good taste, for the reason that to
please the eye there must always be harmony in detail :
hence the crudeness of the white ceiling offends us,
although we may not know that its want of colour is
totally out of keeping with the hangings, the pictures,
and the decorations on the walls.

Appendix. 43 1
Mr. Evans's Chimney-piece, Stamford.
It is pleasant to find that at Stamford Angelica has
many admirers. Possibly the proximity of Burghley,
where so much of her work is to be seen, has to do with
this, for it is clearly impossible to admire without having
some acquaintance with the object we admire.
In Stamford itself there is also a fine piece of her
work, a chimney-piece, which was ordered by a Mr.
Robinson over a hundred years ago,, and is now the
property of Mr. Evans, who, with commendable good
taste, has built a room to suit this work of art. The
chimney-piece is very high, carved oak, painted white
(which would seem a pity). Its front is ornamented
with three medallions, that in the middle being large,
those at the sides ovals. The medallions by Angelica
are painted on copper. The centre represents Una and
the Lion,' Una being a portrait of Angelica, On each side
of this centre there are narrower plaques with a pretty
ornamentation of convolvulus. In the right-hand corner
the oval shows a girl holding a lamb on her lap ; in the
left a girl making a garland. The sides of the chimney-
piece have trails of the same flower as the panels.
I am indebted to Miss Evans for a charming sketch
of the old chimney-piece, which I wish it were in my
power to reproduce here. 1 Erminia again.

SUPPLEMENT TO APPENDIX,

CATALOGUE OF ADDITIONAL PICTURES,
PAINTED BY ANGELICA KAUFFMANN, R.A.

ORIGINAL OR (when
known) PRESENT OWNER,

Mr, Barford, Woking
ham.
Mr, Burkitt, 2, York
Terrace, Regent's
Park.
Mrs. Daniell, 20,
Cathcart Road,
Kensington.
Dowdeswell Gallery,
160, New Bond
Street.

Lady Fitzgerald,
Merrion Square,
DubUn.

SUBJECT.

'Alexander presenting his mis
tress Campaspe to ApeUes.
Circular.
^ Portrait of Angelica as Sim
plicity with Doves ; a charm
ing picture, well-coloured and
graceful.
5 Portraits of Justice and Mrs,
Helms. I length. The
background rather monoto
nous.
Portrait of herself With a
pencil in her hand ; beautiful
face, colouring good, alto
gether an admirable specimen.
J length.
Portrait of Angelica. From the
coUection of Mr. Moloney.

ENGRAVER.

' Thi? picture was sold at the Rushout sale to a commission agent, Engel,
for £S2. It was resold at Messrs, Christie's, a few years ago, to Mr. Barford.
^ This picture belonged to Mr. Burkitt's brother-in-law, Mr, Coward, a
weU-known coUector of pictures in Bath.
3 These portraits were sketched during Angelica's stay in Dublin, 1771.

Supplement to Appendix.

433

ORIGINAL OR (when
known) present owner.

Mr. Edward Goldie,'
12, ArgyU Road,
Kensington.

Harcourt Family.
Mrs. Swinnerton-
Hughes, 34, Ab
ingdon ViUas, Ken
sington.

CoUection of Mr.
Hopkinson.Eccles-ton Square. Sold
by Messrs. Christie.

SUBJECT.

Portrait of Luigi Bonomi, infant
son ofjoseph Bonomi, A.R. A.,
and Rosa Bonomi «^,f Florini,
A very natural, easy portrait,
much in the manner of Sir
Joshua.
Sketch in oils of the well-
known subject so often
treated by Angelica, Achil
les at the Court of King
Lycomedes, disguised as a
Virgin.
Sketch in oUs of "The Aca
demy Model," a drawing of
which is in the Payne
Knight coUection, British
Museum,
Sketch in oils of a large picture,
subject unknown.
Countess of Harcourt,
Sketch in oils of the large pic
ture of Troilus and Cressida
for the Shakespeare GaUery.
The colouring is subdued in
tone, and the grouping is
good. SmaU cabinet size.
I. Nymphs with Cupids. A
pair.^
2, Nymphs with Cupids, Cir
cular.
3, Juno introducing Venus to
Mars.

ENGRAVER.

Bartolozzi.

' Mr. Edward Goldie has two interesting water-colour drawings by his
great grandfather, Joseph Bonomi, A.R.A. They are the designs for the
Townley Gallery, and for the library at Lansdowne House, being the draw
ings produced on the occasion of the difference between Sir Joshua and
some members of the Academy. Mr. Goldie also inherited some handsome
diamond ornaments left by Angelica to Rosa Bonomi. These formed part of
the present sent to her either by the Queen of Naples or the Emperor,
Joseph II. They have been reset, and are very fine diamonds. .
2 I. Bought by J ennings.
2. ,, Grindley,
3. ,, Wilson. for £<j gs.
4. ,, Dowdesdell for j^i2 I2J.
Ff

434

Supplement to Appendix.

ORIGINAL OR (when
known) present owner.

SUBJECT.

ENGRAVER.

Collection of Mr.

4. Mars and Venus.

Hopkinson,Eccles-

5. Venus with the armour of

ton Square. Sold

Mars.

by Messrs.Christie..

6. Cupids. Four ovals.
7. Cupids, A pair. Circular.
8. Six Cupids. Circular.
9. Nymphs and Cupid. A
pair.
10. Oval panels, classical (in

Grisaille).
II. Cupids with lions (in Gri-
Count Koraraosky,
saiUe).
Henry the Fourth, King of
1788,
Austria.
France, between Glory and
Love. (Subject taken frora
the " Henriade.") This pic
ture is specially mentioned
.in Zucchi's MS.
Rev, H. J. MarshaU,
Portrait of a child with a kitten.'
Bartolozzi.
Bedford, North
Devon.
Mr.Alfred Martineau,
Fairlight, Hast
The Angel appearing to Hagar
and Ishmael in the desert.
ings ,2
39 X 29.
Portrait of Mr, Daniel Braith
waite,
Portrait of his daughter, Mrs.
Batty.
Portrait of Angelica. -J length.
Ridley " European
Her palette is in one hand.
Magazine " 1809.
Mrs, MaxweU.
Portrait of a lady and three
children.
Portrait of a gentleman and
children.
Mr. MesseU, Nanyms,
Portrait of Mrs. Bates (Miss
Crawley, Sussex,
Harrod), From the Burghley
coUection.
*
Hopkinson. Collection continued —
5. Bought by Wilson for ^4 16s.
6, „ Grindley for £2^ 14s. 6d.
1. „ Richardson for ^8 Ss,
' Sold at Messrs, Christie's about 1882 iox £60.
^ Mr. Martineau is the great grandson of Mr. Daniel Braithwaite, AngeUca's
friend, and one of the trustees of her marriage settlements.
Supplement to Appendix.

435

ORIGINAL OR (when
known )-peese*it owner.

SUBJECT.

ENGRAVER.

Mr, George Newnes,

Lady in a Turkish dress. Very

Bartolozzi.

M.P., WUdcroft,

well coloured, graceful atti

Putney Heath.

tude.

Lord Northwick (the

Cupid drawn by the Graces.

and), Thirlestane

Cupid disarmed by the Graces,

House, Chelten
A pair.a
ham.'
Cephalus and Procris,' with
Cupid.
Four pictures vrith mythological
subjects.
Graces decorating the tomb ot
Handel.
The departure of Hagar.
Portrait of herself
Lady Northwick,
Portrait of Angelica Kauffinann.
Northwick Park.
From Prince Poniatowski's
collection.
Eurydice.''
Cordelia.5 AUegorical subject.
Female scattering Flowers over
the Tomb of Shakespeare.^
Nymph and Cupid.
Allegorical subject.
Dido, Portrait of Angelica Kauffmann.
Artist unknown, perhaps by
Dance.
Mr. Roger Pock-
Portrait of Mrs. Pbcklington,
lington - Coltman,
wife of Roger Ppcklington,
' The Thirlestane House sale was an event in the art world ; it lasted
eighteen days, and realized ;^94,ooo.
2 The Cupid pair were bought for ;^30 17^. dd. for the Due d' Aumale, and
are at ChantiUy.
' Cephalus and Procris was bought for £(>ei, by Grindley, and the four
mythological pictures brought £i,t. Graces decorating the tomb of Handel,
£¦^0 gs. The departure of Hagar, ;£'i9. Portrait of herself, ;^i8. Some of
these were bought by the late Lord Northwick, and are now at Northwick
Park. The portrait by Angelica of the second Lord Northwick is at Burford,
Worcestershire {see page 365) .
* and * Bought in 1824 at Messrs. Christie's, from Mr. G, W. Taylor, M.P.
' This picture was painted for Lady Rushout, and the engraving is dedi
cated to Mrs. Montagu, The companion picture, the Birth of Shakespeare,
was also painted for Lady Rushout, and was bequeathed lately to Stratford-on-
Avon by Mr. Graves.
F f 2
436

Supplement to Appendix.

original OR (when
icnown) PRESENT OWNER,

Hagnaby Priory,
SpUsby, Lincoln
shire,

Mr, Joseph Pyke,
Devonshire Place
House, Maryle
bone Road.

Mr, G. J. Rust, The
Views, Hunting
don.

Duke of Rutland,
Belvoir Castle.

SUBJECT.

Esq., of Winthorpe, Notts.
The lady is painted in white
drapery with a red sash round
her waist and a yellow scarf
on her shoulders. She is
leaning against a pedestal sur
mounted by an urn. There
is a background of trees.
Ahijah foretelling to Jeroboam's
wife the death of her son.
I Kings xiv.
Nathan and David.
Scene from Montesquieu's Tem
ple de Gnidus. Circular.
Portrait of Miss Margaret
Brown ' (Mrs Rust). 36 X 28.
Half length, nearly full face ;
abundant brown hair ; left
hand raised to head ; blue
dress ; face beautifully fin
ished ; drapery rather hard.
Maria, from Sterne's " Senti
mental Journey." Small
oval.
Eloisa reading Abelard's letter,
SmaU oval.
* Soon as thy letters trembling I
unclose,
That well-known name awakens all
my woes."
The figure is draped in white.
She has tumed away frora the
letter and is gazing sadly at a
ring upon her finger.
Girl wdth garlands.
She is seated in a garden upon
a red chair ; behind her at
the extreme left is a curious
summer house with two long
upright poles. Flowers lie
scattered on the ground.
The girl is supposed to be a
likeness of Angelica.

ENGRAVER,

Bartolozzi.

Bartolozzi.

' Daughtei of the celebrated landscape gardener, Lancelot Brown,;known
as '' Capability " Brown.

Supplenient to Appendix.

437

ORIGINAL OR (when
known) rRBSBNT owner.

Mr. Albert G. Sande
man, 32, Grosvenor
Street.
Mr. Albert G.Sande-
man, 32, Grovenor
Street,
Mr. John Samson,
West Lynne, Stoke
Newlngton.
Duke of Sutherland,
Trentham, Staf
fordshire.

Earl of Strafford,
Wrotham Park.
Mr. G. L. Wat
son, Rockingham
Castle, Rutland.

SUBJECT.

Venus showing Eneas and
Achates the way to Carthage.
SO X 39-
Armida putting on her armour.
Tasso. 50 X 39.
St. Cecilia playing the organ.
Said to be a portrait of Mrs.
Sheridan.
Lady Louisa Macdonald,
daughter to the first Marquess
of Stafibrd. '
Caroline, Countess of Carlisle,
wife to Frederick, 5th Earl
of Carlisle.
The Marquis and Marchioness
of Stafford and their daughters
— Lady Louisa Macdonald,
Countess of Carlisle, Lady
Anne Vemon -Harcourt, Lady
Georgiana Eliot, and the
Ducbess of Beaufort.
Corlolanus,Coriolanus taking leave of his
family before going into exile.
Grace, daughter of Rt. Hon.
Henry Pelham, and wife of
the 1st Baron Sondes. High
powdered head, pensive,
dignified attitude.

ENGRAVER.

Bartolozzi.

LIST OF ADDITIONAL ENGRAVINGS/ ETC.

original or (when
known) PRESENT owner.

Royal Institute of
British Architects,
Conduit Street,
Hanover Square.

Hon. Gerald and
Lady Maria Pon
sonby,' 57, Green
Street, Grosvenor
Square.

SUBJECT.

ENGRAVER.

^Lady Elizabeth Grey imploring
Edward IV. to restore her
husband's lands to her son.
See page 441.
AchUles at the Court of Lyco
medes,
Euryclea awakening Penelope
with the news of the retum
of Ulysses.
Queen Eleanora sucking the
venom from the arm of Ed
ward I. See page 441.
Fan painted by Angelica for
Miss Ann Rushout, and be
queathed by her to her grand-
niece. Lady Maria Ponsonby.
It is one of those quaint little
fans used by ladies in the last
century, of most delicate
tracery almost like lace. The
painting is in the middle.
Oval. The subject "Venus
counselling Helen." It is
very fine work and the
colouring as fresh as if
painted yesterday.
A set of engravings after Ange
lica, by Bartolozzi. They
were bought at the Bowles
sale, and are many of them
proofs. Some are in brown,
such as ' ' Lady Northwick
and child," a beautiful speci
men, "Shakespeare's Tomb,"
and " La bergere des Alpes,"

Ryland,

Scorodomoff.

' These prints are mostly in brown,
* There is also an oil painting said to be by Angelica ; but although it.has
a plate with her name on the frame it is undoubtedly by Zucchi.
3 Mr. Ponsonby is a collector of all manner of art treasures, his house being
full of them. The miniatures are (as in all coUections) to most people the most
interesting, and these especially, as each one has its own history and belongs
to the family, which is quite another thing from buying them haphazard.

COMPLETE LIST OF PICTURES EXHIBITED
BY ANGELICA KAUFFMANN, R.A., AT THE
ROYAL ACADEMY, 1769— 1797.

NO, IM
ACADEMY
CATALOGUE,

SUBJECT.

6162
6364

1161171x8119

"3
114"5
116
117118

1769.
Interview of Hector and Andromache. Painted for Mr, Parker,
of Saltram.
Achilles discovered by Ulysses amongst the attendants of
Deidamia, Painted for Mr, Bowles.
Venus showing Eneas and Achates the way to Carthage,
Penelope taking down the bow of Ulysses for the trial of her
wooersj Painted for Mr. Parker, of Saltram.

1770.
Vortigern enamoured with Rowena. Painted for Mr. Parker,
of Saltram.
Hector upbraiding Paris. Painted for Mr, Bowles,
Cleopatra adorning the tomb of Mark Antony. Painted for
the Earl of Exeter,
Samma the Demoniac weeping over the ashes of his son,
Benoni, whom he had killed in his frenzy. (From Klop
stock's Messiah.) Painted for Klopstock,
1771,
Interview of King Edgar with Elfrida after her marriage with
Athelwold. Painted for Mr. Parker, of Saltram.
Acontio and Adippe, Omd, Epist. xix.
The retum of Telemachus, Odyssey xvii.
Erminia finds Tancred wounded, and assists in his relief.
Tasso.
Portrait of a lady and chUd.
Portrait of an artist.

440

Supplement to Appendix.

NO. IN
ACADEMY
CATALOGUE.

SUBJECT.

127128129130

16316416S166167

142143144HS
14614714S

168169
170
171172
173

1772.
Rinaldo and Armida. Tasso. Painted for Mr. Bowles.
Andromache and Hecuba weeping over the ashes of Hector.
Lady in Italian dress. Whole length. Painted in Ireland.
Her own portrait.
La Penserosa.
Portrait of a Bishop (Dr. Robinson, Archbishop of Armagh,
afterwards first Baron Rokeby). Painted in Ireland.
1773-
Telemachus at the Court of Sparta, discovered by his grief
on the mention of his father's sufferings. Odyssey.
Trenmor and Imbaca, the moment of her discovery to Tren-
mor. Ossian.
Portrait of a lady with her daughter.
Grecian lady at work. Painted for Sir Richard Hoare of
Stourhead.
Holy Family. Painted for Mr, Bowles.

1774-
Calypso caUing heaven and earth to witness her affection for
Ulysses,
Penelope invoking Minerva's aid for the safe retum of Tele
machus. Painted for Sir Richard Hoare, of Stourhead,
Cupid finding Aglaia asleep binds her to a laurel. Metastasio.
Painted for Mr. Bowles.
Ariadne abandoned by Theseus,
Portrait of a lady.
Paris and Helen directing Cupid to inflame each other's
heart with love.'
Portrait of a lady.

I77S-
Portrait of a gentleman.
Sappho.The despair of Achilles on being informed of the death of
Patroclus.
Madonna and child.
Rinaldo and Armida.
Andromache fainting at the unexpected sight of Eneas.

' Original drawing in the Print room, British Museum.

Supplement to Appendix.

441

NO. IN
ACADEMY
CATALOGUE,

SUBJECT.

174 Return of Telemachus. Painted for the Earl of Derby.
396 Small oval of a lady in a Turkish dress. Whole length.
397 Portrait of an artist, kitcat. [Her father.]
398 St. John.
399 A Cupid. 1776.
155 Eleanora sucking the venom out of the wound which Edward
I. received with a poisoned dagger. . Rapin.
156 [ Lady Elizabeth Grey imploring of Edward IV. the restitu
tion of her deceased husband's lands. Rapin,
157 Patience. " Her meek hands folded on her modest breast."
Mason, — ' ' Caractacus. ' '
158 Armida in vain endeavours to prevent Rinaldo's departure.
Tasso.
159 Portrait of a gentleman. 1777,
192 Sylvia lamenting over the favourite stag wounded by Ascanius.
./Eneid, vii. Painted for Chief Justice Downes.
193 Dido.
194 Maria near Moulines. Sentimental Journey. Painted for the
Burghley collection.
105 Love punished.
196 Group of Children. 1778.
174 Leonardo da Vinci expiring in the arms of Francis I.
175 A nymph presiding in the temple of Immortality, receives from
the two swans to be placed in the temple, the few names
they had saved of those whom an aged man (the emblem of
Time) had thrown into the River Lethe. Ariosto, canto
xxxiv.
176 Calypso mournful after the departure of Ulysses.
177 Flora.
178 Portrait of lady playing the harp.

1779.
162 The death of Procris. Ovid, Metam.
163 A Magdalen.
164 Paris and CEnone. Ovid, Epist.
165 Diana with one of her Nymphs.
166 Conjugal peace. [Two ducks in a basket.]
167 A Nobleman's Children.
168 Group of children representing Autumn.

442

Supplement to Appendix.

NO. IN
ACADEMY
CATALOGUE,

SUBJECT.

1780.

22
196
300321367

Religion. See "Temple of Virtue," by Dr. Fordyce.
Modesty embracing virtuous Love.
Lady and her daughter.
A Sybil,
Design for a Fan.
A Vestal. 1781.

169 67
IS3

Venus attended by the Graces. Painted for Mr. Bowles.
Portrait of a lady as a Muse.
Judgment of Paris. Painted for Mr. Bowles.

102

1782,
Modesty.

1786.

86
196
214

Cornelia, Mother of the Gracchi, pointing to her children as
her treasures.
VirgU writing his own Epitaph at Brundusium. These three
painted for Mr. Bowles.
Pliny the younger with his mother at Misenum.

1788.

217

Bacchus teaching the Nymphs to make verses,' Horace.

214246

1791.
Death of Alcestis.
Virgil reading the sixth jEneid before Augustus and his
sister Octavia.

1796.
29
Euphrosyne, wounded by Cupid, complaining to Venus.
Painted for Lord Berwick.
1797.
53
Portrait of a lady of quality. [Lady Harcourt.]
' This was the only picture Angelica ever sent to the Royal Aqademy with
the star affixed. All others were commissions, or purchased before they
appeared. Very few artists can now say as much. This can be easily
proved by looking over the file of the Academy Exhibition catalogues, from
which this list is taken.
LIST OF PICTURES BY ANGELICA KAUFF
MANN IN EXHIBITIONS FROM 1824 TO
1882.

Leeds, 1824.
OWNERS.
View in Rome  Sir Thomas Baring.
Eurydice  Mr, G. W, Taylor.
Cordelia  Mr, G. W, Taylor.
British Institution.
Portrait of Angelica Kauffmann . . Mr. Cheeseman.
An English lady of quality . . . Mr. C, Aders.
Cleone. A drawing .... Mr. F. Wadmore.

Leeds, 1853.
Portrait of Angelica Kauffmann . . Mr. T. Stokes,
La Penserosa  Mr, T. De la Fosse,

Art Treasures, Manchester, 1857.
Jane Maxwell, Duchess of Gordon . Duke of Richmond and Gor
don.

International, 1862.
Margaret, Countess of Lucan . . . Earl Spencer.
National Portrait Exhibition, 1867, South Kensington
Museum.
Viscount Althorp and his sisters. Ladies
Georgiana and Henrietta Spencer,
afterwards Duchess of Devonshire, and
Countess of Bessborough . . . Earl Spencer,

444

Supplement to Appendix.

OWNERS.
Earl of Home.'
Marquis Townshend.
Rev. J. E. Waldy,
Mr, G. D. W. Digby,
Sir WiUiam Fitzherbert.
Earl of Powis.
Earl of Derby.

Portrait of Angelica Kauffmann
Anne Montgomery, Marchioness Town
shend, and her son ....
Portrait of Angelica Kauffmann
Mary Knowler, Countess Digby
AUeyne Fitzherbert, first Lord St.
Helen's, as a boy ....
Honourable Charlotte Clive .
Earl and Countess of Derby, with their
infant son between them ' .
Leeds, r868.
Venus showing Eneas and Achates the')
way to Carthage ^ . . . , [ Col. the Hon. C, S. Vereker.
. Armida arming, Cupid attending her s . J
Royal Academy (Winter Exhibition), 1873.
Anne, Countess of Albemarle . . Earl of Albemarle.
1876.
Sir Joshua Reynolds .... Earl of Morley.
1878.

Lady Caroline Damer

Earl of Portarlington.

1883.

"Design"  \
One of the four decorations of Somerset > The Royal Academy.
House, now in the Diploma GaUery ^ . J
1885.
Elizabeth, Marchioness of Lothian, and

child

Marquis of Lothian.

¦ 1889.
Prince William Frederick and Princess
Sophia Matilda, children of T.R.H.
the Duke and Duchess of Gloucester . Earl Waldegrave,
' The Earl of Home has also two classical pictures by Angehca.
2 & ^ Both pictures sold to Mr. Albert Sandeman, Grosvenor Street.
* .Angelica received for these four paintings 2^ 100; Sir Joshua, for
" Theory," £12 ; Cipriani, £42.— Journal of R. I. of British Architects, 1892.

LETTER TO MR. BOYDELL, IN ANSWER TO
HIS GIVING HER A COMMISSION FOR
THE SHAKESPEARE GALLERY AND SIX
HISTORICAL PICTURES.'

Rome, February 4th, 1786.
Sir, — It is some time since I rec'*' the favour of your letter
date November the isth, it rader came late to hand, for which
reason the answer was delayed.
I greatly admire the Idea you have to form so noble a gallery,
and I shall certainly esteme it an honour to have my portrait
placed amongst the respectable artists you name.
I likewise understand that you wish to have half a dozen
Historical Pictures done by me, my engagements are very num-
berous — I am just now finishings two large Historical Pictures for
his Majes'', the Emperour, and tho' I have a great number of
other comyssions, I shall as soon as I can be mindful of yours,
and chuse such subjects which may be pleasing and interesting.
I generally prefer to paint what I have not seen done by others.
I well remember Mr. Ben. Evans. I am sorry he has not
behaved to you as he ought, but it too often happens that bene
volence is returned with ingratitude.
Mr. Zucchi, sensible of your kind remembrance of him, pre
sents his comp**- to you, and we both present our best comp'-
1 Contributed by Miss Wright, Dover.
2 The date is the same as her letter to Goethe teUing him of the commission.
It is remarkable that in any autograph letter she never crosses a ^ or dots
an i. The original speUing has been preserved.

446 Supplement to Appendix.
to your Nice.' I am obliged to her for the partiality she is
pleased to shew to my works ; but those who say that she is like
me in person don't pay her a compliment. I hope some day
or an other to have the satisfaction of being acquainted with
her. I intend to visite England again, but how soon that will be
I do not know, having many things to finishe. However, I hope
to be able to effectuate my intention. Meanwhile, I have the
honor to be with the greatest esteme.
Your most obliged humble Servant,
Angelica Kauffmann.

' The Miss BoydeU mentioned here was both a belle and a blue stocking ;
she married Mr. Nicol, of Pall MaU, the King's bookseller. A very interest
ing account of her appeared in Notes and Queries, November 26th, 1892,
contributed by Mr, Hendriks,

NOTES OF FUNDED PROPERTY, INVEST
MENTS, AND OTHER EFFECTS OF AN
GELICA KAUFFMANN ZUCCHI.

A sum of Five Thousand pounds in the Funds or Stocks in
London, bearing interest at 3 per cent., making yearly
£^50  ;£S.ooo o 0
Another sum of ;^i3So invested in the English Funds, bearing
;^i 10 interest yearly   ;^i,30O o o
The two making ;f 260 yearly,
Lochi di Monte, Communita di Roma, No. 80, making
yearly at 3 per cent  Scudi Romani 240
Further Lochi di Monte, bought in 1791. No. 100. ,,. 
Monies invested at interest in Schwartzenberg... Florini 7,000
A sum invested in good pictures  Scudi 8,000
Also jewels, silver, books, prints, statues, and plaster
busts, household furniture of every kind, carriages,
horses, curiosities, clothing, and house linen. Also
all necessaries for the study and use of the art of
Painting   
Angelica Kauffmann has this day (26th May, 1798), sunk a sum of Ten
thousand scudi Romani with the Royal Church of St. Ludovico del Negion
for a Life Annuity, at 7 per cent,
N,B, — This makes the amount 700 scudi yearly.
Extracts from "Zucchi's Memoir of Angelica," lent by Mr. Hen
driks, Vicarage Gate, Kensington.

LIST OF AUTHORITIES CONSULTED.

Vita di Angelica Kauffman, Cav.' Giovanni Gherardo Rossi.
Translation of ditto into German. By Alois Weinhart.
Beriihmte deutsche Frauen. Baron A. von Sternberg.
Das Leben der Maler. Andreas Oppermann u. A. von Sternberg.
Aus dem Br,egenzer Wald. Andreas Oppermann.
Meyer, AUegemeine Kiinstler Le.-cikon.
Nagler, AUegemeine Kiinstler Lexikon.
R. D, DOhmes. Kunst u. Kiinstler. Article by J. Weisseley.
AUegemeine deutsche Biographie,
Italienische Reise. Goethe. Last edition,
Nachgeschichte der Italienische Reise, Otto Harnach.
Schrilten von Helfrich. Peter Sturz.
Briefwechsel von Herder.
Literatur u. Kunst. Herder,
Der Gesellchafter oder Blatter fiir Geist und Herz, 1 838.
Zeitung fiir die elegante Welt. K, L. Meilaus Mulier, 1827.
Biographie des Contemporains, Arnault.
Nouvelle Biographie Generale. Hoefer.
Biographie Universelle. Michaud.
Manuel des Curieux et des Amateurs des Beaux Arts, Hiiber u, Rast.
Manuel de I'Amateur des Estarapes, Charles Le Blanc,
Gravure du XVIII. Siecle. Henri Beraldi,
Hand-Buch der Kupferstich Sammler. Andresen u. Weigel.
Bartolozzi and his Works, Andrew W. Tuer.
Records of my Life. John Taylor.
Life of NoUekens. J. T. Smith,
Life of Sir Joshua Reynolds, Leslie and Tom Taylor.
Celebrated Women. Ellen Clayton,
Dictionary of Painters. Bryan. Last edition.
Dictionary of Painters. Seguier.
Century of Painters. R, and S, Redgrave.
Dictionary of National Biography, vol. xxx.
Architectural Works. Brothers Adam.
Catalogues of the Royal Academy. South Kensington Museum.
Catalogues of ditto, frora Mr. Anderdon's collection. British Museum.
Catalogues of ditto, annotated by Horace Walpole. Lent by Mr. Harvey,
St. James' Street.
Ditto, arranged by Mr. Graves, of Pall MaU.
Catalogues of the Leeds and National Portrait Exhibitions, arranged by
Mr. Graves. Unpublished.
Articles written at different times in the Athemeum, Art journal, European
Magazine, Household Words, and Leisure Hour,
TheSaltram, Belvoir, Knowsley, and Thirlestane Catalogues, lent by the
owners ; lists sent by owners ; the Burghley Catalogues, kindly lent by Mr.
Jos. Phillips, of Stamford.

INDEX.

Abbate Spina, 222, 225, 253.
Abel Drugger, 112, 133,
Academicians, Picture of, 118 — 119,
146.
Academy, Royal, 114, 116 — 123,
146, 150, 154. ISS. IS7. 162, l66,
169, 180, 204, 281, 29s, 3Si,
3S4— 7. 361, 374. 404. 439. 44°.
441, 442.
Academy Notes, 173.
Academy, St, Luke, 147 — 152, 164,
326, 334-
Ach, The, 12, 13.
AchiUes, 1S4, 229, 24S, 377.
AchiUes discovered by Ulysses, 121,
202, 371, 380—1.
Adam Brothers, 170, 175,400 — I — 3,
404— S— 8, 413— 14— 17. 430-
Adams, New York, 363.
Addington, Mr., 159.
Adelphi, 179, 288, 400, 401, 404.
Adonis, 279, 369, 374-8, 383.
Advertiser, 116, 120, 121, 126.
Affectionate Sister, 7o»
Afflicted Mother, 70.
Aglaia bound by Cupid, 132, 175,
380, 394, 403, 408, 416.
Alba, Duke of, 213.
Albacini, Signor Carlo, 224.
Albaggini, 326.
Albani, Cardinal, 30.
Albano, 132, 246, 318, 339.
Albemarle, 363.
Albemarle, Countess of, 150.
Alberschwende, 12.
Aldborough, Viscount, 175, 308.

Allgemeine Biographie, 72, 76, 102.
Allan Cunningham, 122.
Almighty, The, 149, 205.
Almoro Barbaro, 183, 361.
Alps, 26s, 303, 309, 317,
Althorp, 151, 381.
Amalie, Duchess of Weimar, 198,
234, 238 — 246, 248—256.
Amalie, Princess of Parma, 187.
Amalie Schoppe, 69, 102.
AmaUe Triesdoff, 231.
Araerica, 361.
American Market, 391.
American Silver Kings, 42.
Amsterdam, 94,
Ancaster, Duchess of, 62, 152,
Anderdon's Catalogue, 154,
Andromache, 123—5, 145. 154. 37S>
38s.
Angel, Miss, 43, 98, 176, 309,
Angelica, See Kauffmann,
AngeUcfe, 2i8.
Anhalt-Dessau, Princess of, 206,
279. 363-
Anhalt-Dessau, Prince of, 363.
Anna (Santa) and Joachim, 203, 377.
Apollo, 241, 242, 412.
Apollo's nose, 147,
ApeUes, 256, 417.
Appendix, 363.
Arcadia, 52, 346, 385.
Archduchess Christina, 193.
Architects, 438.
Arco di Regina, 197, 359.
Argyle, Duke of, 406.
Ariadne, 268, 273, 282, 306, 370,
381.
Arlington House, 415.

450

Index.

Arf Club, Hanover Square, 414,
415-
Art Joumal, 113, 340.
Aschaffenberg, 363.
Athenaum, 333, 369, 423,
Attenborough, 401,
Authorities, 448.

B.
Bach, 414.
Bacchante, 153, 277, 372 — 4,
Bacchantes, 132,
Bacchum in remotis Carmine, 279.
Bacchus teaching the Nyrap'ns to
make verses, 207, 279, 369.
Bagwell, Mr,, 143, 363.
Baker, Dr., 48, 127.
Baltimore, Lord, 61.
Bandettini, Therfese, igg.
Banks, 357.
Sir John, 139.
Barazzi, Monsieur, igi.
Barbauld, 181.
Barford, 432.
Baring, 364.
Baronneau, 364.
Barry, 134, 150, 371, 404, 429.
Bartolozzi, 44, 46, 117, 131, 165,
173, 278, 305—7. 343, 354. 357.
360, 370—83.
Bastard, 376.
Battazate, 2.
Bavaria, Archduke of, 187, 321,
380.
Beatitude, 149.
Bellamy, 48.
Bell's " Edition of the Poets," 165,
364-
Belvedere, 201, 421.
Benjamin, 8.
Beraldi, 388,
Bergarao, 206, 321, 364.
Berger, 131,
Berlin, 28, 153, 255, 364.
Bernini, 21, 152, 364.
Bernsdorff, 51, 109, 123, 146.
Berry, Miss, 276, 280,

Berwick, Lord, 282, 364.
Bessborough, 381, 443.
BUdstein, 13.
Biraldi, 148.
Bishop of Como, 6, 11, 311.
Biographies, 72, 76, 102, 340.
Blomefield, Sir Thomas, 350, 364
421,
Bloomsbury, 178, 426.
Blue Stocking Club, 41.
Boddam, 364.
Bode, 231.
Boehm, 417.
Bologna, 22, 147, 311, 313.
Bonomi, Joseph, 177, 189, 318, 328,
332, 400, 404—7.
Bonomi, Rosa Florini, 55, 177, 183,
323-8, 330, 406.
Book of Italian Travels, 198.
Borsi, 330.
Boswell, 103.
Botanical Gardens, 237, 251.
Boucher, 392,
Bousfield, Mrs., 143.
Bouverie, 152.
Bowles, Mr. George, 128, 176, 182,
193, 204, 245, 282, 318, 330, 342,
364. 365. 366, 367, 391, 425.
Bowring, Mr. Victor, 350, 367.
BoydeU, 148, 164, 166, 242 — 5, 367,
368, 377. 388.
Brandt, 127.
Briscoe, 368.
Britannia, no.
British Court, 81.
Brown, Count, 281, 368.
Brown, Lancelot, 436.
Margaret, 436.
Brassels, 181.
Bryer, 131, 368,392.
Brithingam, Mr., 191.
Buckingham House, 98, 401.
Buckle, 94.
Buonarotti, Michael Angelo, 230.
Burghley Collection, 350, 357, 431.
Burial of our Lord, 228.
Burke, Thomas, 128, 131, 395,
Burkitt, 432.
Burnand, Count, 28,

Index.

453

Duke of
Richmond and Gordon, 150,
151, 378-9-
Rutland, 379, 436.
Weimar, 238, 251.
Duke's GaUery, 23, 24.
Dunleary, 138.
Durchlaucht, 240,
Durham, Bishop of; 401,
Durmer, 131. E.
Eadem, 389.
Eardley, 350, 364, 421.
Eardley, Sir Culling, 421.
Earwig, The, 163 — 7, 176,
Easter Day, 252, 265.
Eastwell House, 406.
Edgar and Elfrida, 133, 134, 375.
Edward IV. , 376.
Egmont, 212, 214, 220.
Egypt, 113.
Egyptian, 418.
Electra, 338.
Elements, 167.
Ely, Countess, 140 — i.
Ely, Earl of, 138, 142, 370.
Emma Lyon, 276, 277.
Erao, 140, 152, 420.
Emondel, 231.
Emperor of Austria, Joseph IL,
186, 201. 396.
Emperor of Russia, Paul IL, 182,
379-
Eneas, 74, 375, 382.
England, 38, 42, 63, 148, 171, 180,
183—6, 193, 204, 301, 318, 320,
321—2, 357—8-
EnglUh, 35, 63, 130, 185, 193.
EngUsh Art, 344.
Englishman, The, 39.
Epictetus, 280.
Epitaph, 206.
Espinasse, General, 306, 387.
Esterhazy, 371, 376.
Etchmgs, 146—7—8, 388.
Euphrosyne, 74, 282, 369, 380, 410.
Euripides, 281.

Europe, 38, 264, 275, 283.
Evans, 431.
Exeter, Marquis of, 51, 108, 342,
370.
Exhibitions, 119, 126, 145, 148, 150,
152, 162, 204, 295.
Exhibitions :
Academy, Royal, 439 — 442.
Society of Arts, 50, 51, 126,
193-
Leeds, 443.
Nation'ai portrait, 443, 444.

Facius, 131.
Fairholme, 360.
Faith, 177. 297.348, 354-
Fantastico Fortunato, 199.
Farringdon, 47.
Fashionable, 384.
Fauconberg, 469.
Feather room, 405.
FiUing, Adam's, 412.
Firrao, Cardinal, 371.
Fisher, Kitty, 48, 355.
Fitzgerald, 432.
Fitzherbert, 151 — 56.
AUeyne, 371.
Fitzpatrick, J. C, 141.
Florence, 22 — 4, 219, 221 — 2, 230,
300, 311, 371.
Florence, Grand Duke of, 230.
Folo, 131, 321.
Forbes, 298, 307, 309, 321, 342, 371,
374-
Fordyce, Henrietta, 173, 174.
Fordyce, James, 163, 188.
Fordyce, WiUiam, 187.
Forster, John, 50, 127, 141.
Forster, 74.
Fortitude, 354, 420.
Fountaines, 424,
Fra Angelico, 209.
France, 276, 320.
Francis the First, 1 63.
Franck, 33,
Francavilla Palace, 192,
Frascati, 225, 246, 267.

454

Index.

Frederick Hom, Count, 78 — 107.
French, 211, 287, 308.
Frenchman, 38.
Fuger, 336.
Funeral honours, 326, 331.
FuseU, 65—67, 68, 133, 168.

Gaetano, 377.
Gainsborough, 133, 343..
Galleries —
Aschaffenberg, 363,
Beriin, 153, 364.
Dresden, 153, 370.
Dublin National, 142, 370,
Edinburgh, 370.
Florence, 371,
Frankfort, 371.
London, 374, 375, 431 .
Milan, 375,
Munich, 376,
Naples, 377,
Philadelphia, 377.
St. Petersburg, 380,
Vienna, 382.
Ganymede, 329, 338, 425.
Garde k vous, 132,
Gardens, Botanical, 237, 251.
Garrick, 51, 61, 68, 133, 176, 371,
402, 411, 418.
Club, 151, 371.
Junior, 325, 402,
Gebhardt, Professor, 54, 255, 305,
Gellert, 326.
General Espinasse, 306, 387.
General Stanwick's daughter, 129,
387-
Gemi, 338.
Genius, 167.
Gering, 194, 198, 335.
German, 33, 268.
Germanicus, 280, 281.
Germany, 96, 308.
George Itl., 40, 116, 363.
George Keate, 113, 179, 292,
403 :
Georgian, 406, 411, 412.

Gilbert (J. T.), 137.
Gilbey, Walter, 419, 420.
Giudetti, 224.
Glasslough, 408.
Globe, celestial, 411.
Gloucester, 383,
Gloucester, Duke of, 120, 279.
Gochausen, Fraulein von, 240, 241,
244, 246,
Godby, 70.
Goldsmith, 112, 127, 141 — 2.
Goethe, 26, 27, 197, 198—200, 207
— 215-16-17 — 18, 221, 231 —
233.237—239.243—4—6—9,250—3, 274, 303— 5. 337. 359-
Goethe Society, 217.
Goldie, Charles, 243, 378, 396.
Family, 396.
Edward, 398, 433.
Mrs. George, 398.
Goldsraid, Misses, 426.
Goschen, 258.
Gotz von Berlingchen, 34.
Gracchi, Mother of the, 204 — 5.
Graces, The, 74, 167, 402,
Grangerising, 154.
Graves, 367,
Graves, Henry, 153, 362.
Grecian, 403.
Green, 131.
Greeks, 211.
Grellar, Messrs., 299,
GrenviUe, 411, 417.
Griffith, 281,
Grimani, 372.
Grisons, 45,
Guercino, 370.
Guido, 147, 1 149, 339, 378—9,
415,

H.
Hagelin, Consul, 255, 258.
Hague, The, 94,
Hairplaiter, The, 147, 390.
HaU, Mrs., 74.
HaU. Great,. 404.
Hamburg, 94,

Index.

45»

Bumey, Dr., 79,
Bury, 132^ 209, 232, 234.
Bute, Lord, 400.

C.
Caen House, Hampstead, 401.
Calais, 380 — 392.
Calonne, 343, 368.
Calypso, 147, 278, 379, 426.
Calypso calling on Heaven to wit
ness her affection for Ulysses, 379.
Cambridge House, 419.
Canova, 163, 316—17, 326-7, 331.
Canterbury, Archbishop of, 150.
Canton, 154, 309.
Captain Frederick Johnston, 151.
Caraffa, Columbano Palace, 233.
Carattoni, 131,
Caserta, 192.
Casimir Kauffmann, 314 — 16.
Carlsbad, 271.
Cartyle, 260,
Caroline Flachsland, 261, 271.
Carter, Mrs, Elizabeth, 281.
Castel Gandolfo, 207, 216, 234.
Castle, 137.
Castle, Dublin, 137.
Catalogue of Paintings, 363, 432.
Cataneo, 148.
Cathedral, St. Paul's, 149—50.
Cavaggi, 287, 291.
Cavendish Square, 424.
Ceci, Due of, 202, 368.
Cedars, 410.
Cesari, Cardinal, 313.
Chambers, Sir WiUiam, 117.
Charing Cross, 53, 58.
Charity, 297, 354, 357-
Charies IL, 345-
Charles Cramer, 77.
Cheapside, 148.
Cheeseman, Mr., 152, 368.
Cheops, 173.
Chiaro-oscuro, 229.
Christian, King of Denmark, 40, 71,
Christian Police Institution, 402,
403- G

Christie's, 119, 142,357 — 8, 360 — i,
365. 370—1—2—4. 383. 429.
Church of St. Andrea, 294, 326,
331-2.
Cimaroso, 209.
Cipriani, 117, 119, 150, 166, 402,
404 — 7, 418 — 19, 420—9.
Cirillo, 377.
Clarchen, 213.
Claridge's, 79.
Clayton's, 139.
Clements, Colonel, 143, 368.
Clements, Mrs., 143, 368.
Cleopatra weeping over Antony,
128, 371-4, 381, 411, 416.
Cleophas Lucin, 2, II.
Clerisseau, 400.
Cleveland, 416.
Clio, 153. 354. 374-
Clive, Hon, C, 150, 378.
Clonrael, Lord, 138.
CockereU, 365, 366.
Collins' "Eclogues," 165, 373,
395-
Colnaghi, 44,
Comic Muse, 279, 372.
Como, 6-8, 311, 313.
Como, Bishop of, 6, II, 311, 368,
Compositira, 167.
Conjugal Peace, 163,
Conjuror, The,. 156 — 61.
Constance, 18, 232.
Conway, 50, 126, 150.
Copenhagen, 109, 284.
Copley, 166,
Corbett, 369.
Cordelia's Corpse, 378, 381, 407.
Corigliano, Duchess of, 193, 377.
Coriolanus, 310, 381,437,
Cornelia, 204 — 5.
Cornelys, Mrs., 410,
Correggio, 339,
Corso, 323.
Cosway, Mrs,, 171.
Cosway, Richard, 117, 119, 176,
409, 420.
Cotes, 121.
Council ofthe Academy, 156, 402,
I Courland, Princess of, 369.
g 2

452

Index.

Covent Garden Theatre, 151.
Coward, 432.
Cowper, 405.
Cranley Gardens, 416.
Cressida, 166.
Crewe, Mrs., 52, 152.
Crosse and Blackwell, 409, 410.
Cupid, 132, 163, 175, 281, 305,
317, 344, 365, 369, 373—4—5,
402, 408, 410, 412, 413.
Cupid and Hebe, 193.
Cupid asleep, 132.
Cupid disarmed, 132,
Cupid drying Psyche's hair, 132,
163, 279, 305.
Cupid finding Aglaia asleep, 132,
17s. 380, 394, 403. 408, 416.
Cutchacutchoo, 137.

D,
D'Alberg, 236, 262.
Dalmatia, 170, 400, 430.
Daraer, Lady Caroline, 140, 152,
374-8.
Damer, Mrs., 151, 152, 374.
Dance, Nathaniel, 37, 64, 65, 104,
117, 121, 150, 354, 356,404,418,
Daniell, 432.
D'Auraale, 435.
Daniel Volterra, 228, 233—6.
Dark Ages, 399, 413.
Dauke, 131.
Dead Man's Diary, 323.
Decorations (see Appendix).
De Falbe, 421,
Delafosse, 369.
Delany, Mrs., 59, 139.
Delatre, 385—6.
Denmark, 147.
Demarteau, 392.
Derby, Eari of, 150, 369, 374, 416,
430-
Design, 167, 182, 443.
Desalles Regis, 102,
Dessau, 305,
Devonshire, 351, 361,

Devonshire Place House, 424.
Diana, 122, 419.
Dickenson, 131, 379.
Dido, 368, 379-
Digby, 369,
Dinorlas, 341.
Diploma Gallery, 167, 374.
D'Israeli, 180.
Dohme's " KUnst ii Kunstler," 102.
Domenichino, no, 378.
Donald, Messrs., 300.
Donaldson, Mr., 369,
Dowager Princess (of Wales), 62,
120.
DowdesweU, Messrs., 350, 361 — 3,
432-
Downe, 404,
Doyle (Henry), 142.
D'Oyly Carte, 403.
Dreaming, 327 .
Dresden, Gallery of, 153, 370.
Drummond, Mr., 402.
Drury Lane, 65.
Dublin, 136—142, 144, 391, 408,
422.
Dubourg, 102 — 3.
Ducal family of Devonshire, 25, 69.
Duchess of
Ancaster, 62, 152.
Brunswick, 60, 368, 372, 415.
Courland, 278.
Devonshire, 151, 372, 380 — I.
Dorset, 143, 378. •
Modena, 10.
Manchester, 121, 122,
Richmond and Gordon, Jane
Maxwell, 150, 378.
Weimar, 234, 238—9, 240 — I.
243—56, 273.
Duff, 370,
Dugnarai, Cardinal, 370.
Duke of
Bridgewater, 368,
Courland, 229, 368,
Dorset, 143, 378.
Gloucester, 120, 279, 449,
Mecklenburg Strelitz, 120.
Miranda, 321, 375.
Modena, 9.

Index.

455

HamUton, 133, 152.
Duke of, 427.
Lady, 276, 277, 351, 369, 372,
Sir WUliara, 276, 372.
Hammond, 364,
Hampe, 327,
Hanover, 115.
Harcourt, Lady, 296, 433.
Harlowe, Clarissa, 344.
Hartley, Mrs., 151, 372.
Hartmann, Mrs,, 412.
Hayman, 117, 119.
Haymarket, 120.
Hebe, 122, 276.
Hector, 121, 124, 125, 166, 354,
37S-
Hecuba, 145.
Heidegger, 410.
Heinrich Meyer, 285, 302.
Hendriks, 446.
Herculaneum, 30, 411.
Herder, 227, 231, 232, 234, 235,
238, 244, 247, 250, 261, 262 —
274. 337-
Herkomer, 388.
Hermitage Palace, 229, 380.
Hero, 282, 383,
Hervey, Lord, 372.
Hoare, Wavenden Manor, 372,
Sir Francis, 372.
Miss, 391.
Hogarth, 114, 344, 351.
Holstein, Beck, Duke of, 206, 373-
Holy Child, 203.
Holy Families, 148, 374,
Home, Lord, 152, 444.
Homer, no, 147, 357.
Hone, Nathaniel, 104, 117, 118,
155 — 160.
Hope, 147, 164—5, 297, 354, 373,
379-
Hope nursing Love, 48, 394,
Hopkinson, 433, 434.
Horace, 279, 322, 379, 383.
Horace Mann, 403,
Horn, Frederick, 78, 100 — 107, 168.
Home, Anne, 84.
Richard, 84,
Hornek, 127,

Houses, Guide to, 399 — 431.
Houston, 131.
Huber and Rast, 103, 388.
Hughes (Swinnerton), 433.
Hunt, 279.
Hunter, Dr., 118.

I.

Illustrations, 373 (See Appen
dix).
Infanta, 152.
Inigo Jones, 414, 424.
Inghilterra, 187.
Intaglio, 226, 243,
Ireland, 129, 136— 14S, 367, 421,
430-
Innocence with doves, 112, 354, 377.
ItaUan, 33, 39, 268.
Italian Memoir, 169.
Italian School, The Old, 156,
Italian Stuccoists, 137.
Italians, 202, 211.
" Italienische Reise," 197, 199, 200,
207, 213, 215.
Italy, 26, 173, 214, 276.

Jenkins, 210, 287.
Johnson, Dr., 416.
Jersey, Lord, 412, 420.
Joachim, 203, 377.
Johnston, Captain, 152, 374.
Josepoff, Prince, 282, 374.
Journal, Art, 113, 340.
Judgraent of Paris, 176.
Juno, 122, 369, 406..
Justice Blackbume, 142.
Justice Downe, 143, 392.
K,
Kauffmann, AngeUca — Birth, 2 ;
early education, 3 — 5 ; Como,
6 — 8 ; MUo, 8—10 ; death of

456

Index.

mother, 1 1 ; leaves Milan, 1 1 ;
Schwartzenberg, 12 — 17 ; retums
to Italy, 18; Montfort Castle,
18—22; inclined to the stage, 19,
20 ; first love affair, 21 ; Florence,
22, 23 ; Rome, 24, 25 ; Winckel
mann, 25 ; his influence upon her
future career, 25, 26, 31 — 33;
her adoption of mythology, 33,
34 ; Venice, 35 ; acquaintance
with Lady Wentworth, 35, 36 ;
goes with her to London, 36 ;
London, 40 — 45 ; acquaintance
with Sir Joshua Reynolds, 45 —
50 ; her portrait by him, 46 ; ex
hibits portrait of Garrick, 51 ;
exhibits Arcadia, 52; leaves Lady
Wentworth, 53; Reynolds' friend
ship, 45 — 52; letters to her father,
45,46, 54 — 62 ; takesa house, 59;
love affairs, 64 — 67 ; friendship
with Mary Moser, 67, 68 ; arrival
of her father and Rosa Florini,
70 J method of painting, 71 —
77 ; Horn, 78, 79 ; marriage
with, 84 ; separation, 95 ; accusa
tions against Sir Joshua, 100 —
106; Bemsdorff^s account, 109,
112; elected an Academician,
117; her portrait in Zoffany's
picture, 119; exhibits at the Royal
Academy, 120 ; mentioned in the
Advertiser, 126 ; her portrait of
Sir Joshua, 126 ; dinner at Sir
George Baker's, 127 ; engravings
and etchings, 130, 131, 146, 147,
148 ; exhibits at Royal Academy,
120, 133; satirized by Peter
Pindar, 134 ; visits Ireland, 136
— 145 ; exhibits at Royal Aca
demy, 145 ; proposal to decorate
St. Paul's, 149 ; her Portraits,
150 — 154; exhibits at Royal
Academy, 154 ; Hone's Conjurer,
155 — 163 ; exhibits at Royal
Academy, 162 ; criticized in the
Earwig, 163; Vignettes, 164, 165;
decorates Somerset House, 166;
death of Hom, 168; agrees to

marry Antonio Zucchi, 172 j Ul
ness of her father, 171 ; letter to
Mrs. Fordyce, 173; exhibits at
Royal Academy, 176 ; marriage
with Zucchi, 177, 178; leaves
England, 180 ; Venice, 181 ;
death of her father, 183 ; goes
to Naples, 184; friendship of
Queen Caroline, 184.; Rome, 187 ;
letter to Dr. WilUam Fordyce,
187; retums to Naples, 193;
finally settles in Rome, 194 ; life
in Rome, 195 j Gering's account,
198; Goethe's view ("Italienische
Reise"), 199; the Emperor of
Austria commissions AngeUca,
186, 201 ; pictures ordered by
Catherine of Russia, 186, 202 ;
commission from the Pope, 204 ;
exhibits at the Royal Academy,
London, 1786, 204; criticism of
the Mother of the Gracchi, 205 j
friendship with Goethe, 207 ;
party given by him, 209 ; Egmont,
212 ; Goethe's picture, 214 ;
Oppermann and Stolberg's opi
nions as to the friendship, 215 —
l5; Zucchi as a husband, 217 ;
letters from Angelica to Goethe,
219 — 231,233 — 238; letters from
the Duchess of Weimar, 249,
252 ; letter from Wieland, 255 —
259 ; friendship with Herder, 26 1 ;
letters from Herder to his wife,
262 — 274 ; condition of Europe,
275 ; arrival of Lady Hamilton,
276 ; her portrait painted, 277 ;
engraved by Morghen, 278 ;
Steinberg's criticism, 279; ancient
mythology her favourite subject,
280 — I ; exhibits Euphrosyne
at Royal Academy, 282 ; portrait
of Duke of Sussex, 282 ; arrival
of her cousin Anton, 283 ; letter
from Herder, 284 ; Madame Le
Brun, 284 — 5 j state of Europe,
286 ; letters to Mr, Kuliff, 287,
291 — 294, 299 — 302; Zucchi's ill-
health, 288 i his death, 289 ; his

Index.

457

wUl, 290; letter to Mr. Kuliff,
291 ; inscription on tomb, 294;
obliged to work, 295 ; her piety,
296; her large picture of Religion,
297 ; Mr. Forbes, 298 ; Rome
a republican government, 299;
letter to Mr. Kuliff, 291 — 293;
letter from Goethe, 303 — 305 ;
state of Rome, 306 j courtesy of
General Espinasse, 306 j letter
to Mr. Forbes, 307 — 309 ; por
traits, 309 J present to Schwart
zenberg, 310 ; illness, 310 ; leaves
Rome, 311 ; visits Florence, 31 1;
Como, 311 ; letter to a friend,
312 J visits Venice, 313; retums
to Rome, 314; letter to her
cousin, 314 — 15; Canova exe
cutes her designs, 316 ; Napoleon
invades Italy, 317; her income
in danger, 317; letter to Mr,
.Bowles, 318; illness, 319; visits
Tivoli, 322 ; letter to Mr. Forbes,
322; renewed Ulness, 323; last
sickness, 325 ; death, 326 ; fune
ral, 326 ; will, 328 ; letter from
Dr, Borsi, 330; letter .from An
ton Kauffmann, 332 ; inscrip
tions, 328, 333, 334; critical
notices, 334; catalogue of pic
tures, 363 ; catalogue of etchings,
388 ; engravings by Bartolozzi,
391 ; illustrations by Bartolozzi,
395 ; drawings in British Museum,
398 J house decorations, 399.
Kauffmann, Casimir, 314 — 316, 329.
Kauffmann, Anton Johann, 284,
301,311,325—6,327, 332, 359,
Kauffmann, John Joseph, i, 4 — 6,
8, II, 19—22, 36, 40, 54, 59, 62,
80, 87, 91, 105, 167, 171— 3,
177, 181— 3, 184, 291, 352, 357,
402.
Kauffmann, Peter, 328, 353.
Kauffmanns, The, 6, 7.
Kayser, Christoph, 222, 225, 226.
Kidd, M.D. , 414.
Kimber, 374,
King Lear, 378, 407.

King's Library, Berlin, 54,255, 316.
Klopstock, IIO, 152, 374.
Knebel, 231.
KneUer, Sir Godfrey, 1 14.
Knight, 131, 374.
Knight, Charlotte, 341.
Knowsley, 170, 369.
Koraraosky, 434,'
Krantz, Kapellmeister, 209.
Kruder, 377.
Kuliff, 178, 292, 301.
Kunst, Literateur, 337, 339.
Kunstbild, 382.
Kunstler, Kiinst, 102.

Labyrinth, 306.
Lady Sarah Bunbury, 74.
Sarah Cavendish, 69,
Caroline Damer, 140, 152.
Falmouth, 59.
Freake, 416.
Charlotte GrenvUle, Watkins-
Wynn, 411, 417.
Hamilton, 276 — 7, 351.
Hervey, 229, 372.
Molyneux, 121.
Augusta Murray, 282.
Northwick, 193, 206, 351, 364
—366, 379-
of quality, 296.
Susan Strangways, 88.
Dowager Williams-Wynn, 416,
417.
Wentworth, 25, 36, 41, 65, 180,
205.
Laguerre, 417.
Lancret, 352.
Lane Maiden, 50, 68.
Market, 120. -
St. Martin's, 68, 79, 114, 159.
Wheel, 59.
Laocoon, 125.
La Penserosa, 145.
La Touche, 138—9, 39 1.
Lavater, 221.

458

Index.

Lavis, 389.
Leamington, 360,
Leander, 282, 283,
Lear, King, 378, 405.
Leblanc, 388, 390.
Lebrun, Madame, 277, 284, 285.
Leeds, Duke of, 416.
Leinster Duke of, 138,
House, 138.
Leipzig, 258, 304—5,
Lely, Sir Peter, 351.
Leonardo da Vinci, 9, 1 63, 379.
Le Rossi, 327.
Leslie, Charles, 47, 71, 118, 133,
154, 162—7.
Sir John, 175, 407 — 8.
Lady Constance, 407, 408.
Lessing, 125.
Le Thiere, 327.
Levant, 382.
Lewis, 373,
Library Ludovische, 28.
Librarian, 28.
Life, School, 9, 77, 75, 114,
Lincoln, 427,
Lincoln's Inn Fields, 427.
Lindau, 54,
Lips, engraver, 220, 258.
Liverpool, 421.
Locatelli, 288, 290.
Lohren, 2.
London, 40, 41, 48, 54, 58, 65, 78,
89, 96, 98, 145, 147. 150. 170.
187—8, 287, 299, 314, 329,409,
417.
Lord Antrim, 138.
Baltimore, 61.
Berwick, 282, 364.
Bute, 400, 421,
Butler, James, 145, 422,
Cavendish, Arthur, 69,
Charlemont, 137, 368, 391, 408,
Ely, 138, 370-
Ferrard, 143, 375,
Fauconberg, 411,
Hervey, 372.

Lord Howard de Walden, 151, 372.
Jersey, 412, 420.
Leven and Melville, 153, 374-
Lieutenant, 136, 141.
Longford, 145.
Masserene and Ferrard, 375.
Meath, 138, 140, 422.
MUton, 378; 420.
Montgomery, 309.
Moriey, 46, 123, 126, 134, 375
—6.
Momington, 138.
t Northbrook, 138.
Portarlington, 378, 420.
Portman, 176, 378, 399, 404
—6.
Powerscourt, 138.
Powis, 150, 378.
Radnor, 417.
Spencer, 108, 381, 420,
Townshend, 140, 141, 384.
Wynford, 411.
Loretto, House of, 203, 374.
Lothian Marquis of, 150, 374.
Marchioness of, 150, 374,
Louis XVL, Decoration, 413,
Love, 100, 265, 370, 383,
Celestial, 149,
Lucin, Cleophas, 2, 10, 11.
Luiseura, 305, 363.
Lycomedes, King, 380.
Lyon, Erama, 276 — 7.
Lyte, 374.
Lytton, Lord, 411.

M,
Macaulay, 280,
Macaroni Artist, 119.
Macbeth, 65.
Lady, 65.
Macdonald, Colonel, 309, 375.
Msecenas, 322.
Madonna, 147, 244, 378, 380 — 4.
Magazine, European, 121,

Index.

41&1

Periclitan, 31, 34,
Pericolo, 327.
.Philadelphia, 377.
Phillips, 420.
Phillips and Neale, Messrs., 361,
365, 372,
Phryne, 281.
Peter, Duke of Courland, 229.
Peter Kauffmann, 328.
Peter Kuliff, 178.
Peter Pindar, 117, 134, 409,
Peter, Saint, 147, 378.
PezzoU, Count, 321, 377.
Piazetti, 15, 380,
Piccadilly, 83.
Pictorial Conjuror, 155 — i6l.
Pietro, Zucchi, 191.
Pinner, 410.
Piranesi, 170.
Pisa, 272.
Place, Ely, 138.
Pliny, 204, 206.
Poison-sucking from the wound,
162, 169.
Poland, King of, 202, 377.
Polly Peachum, 66.
Pompeii, 30.
Pompeiian, 411.
Pompilius, Numa, 281, 425.
Poniatowski, Prince, 202, 204, 377
—8.
Pope Pius VI„ 203—4, 238, 377-
Popery, 150.
Pope's Tliad, 125,
Porporati, 131.
Porta del Popolo, 228.
Portraits, 129, 130, 141—3, 150
—154, 296, 385,
Post Office, 178—9,
Powell, Caleb, 141.
Powerscourt, 138,
Powerscourt House, 138.
Powis, Lord, 150, 378.
Pozzobonelli, 10, 17.
Practical amusements, "les.
Pratextatus, Papirius, 280.
Praxiteles, 280, 281,
President of Academy, 156, l56.
Prince Anhalt-Dessau, 363.

Princess Anhalt-Dessau, 206, 279."
Princess Dowager, 60, 62, 120.
Pritchard, Mrs., 65.
Procris, Death of, 163.
Property, 427.
Professor Sellius, 28 — 30.
Prophet, Nathan the, 281, 384,
Proserpina, 279.
Psyche, 279, 305, 317.
Purity, 77.
Putney Heath, 173.
Pyke, 424—5.
Pylades, 338,
Pyrrhus, 281, 371.

Quaritch, 397.
Queen Anne Plate, 417,
Queen's Bench, Ireland, 143.
Queen Charlotte, 40, 61, 68, 71,
98, 363-
Queen's County, 140.
Queen's Mistress of the Robes, 205.
Queen of Naples, 184 — 5 — 9, 192 —
3—4- R,
Rafael Mengs, 31, 67, 153, 3(^3,
336.
Raphael, 147.
Raphael Urbino, 67, 333, 338, 378.
Rast and Huber, 103, 388.
Rathfarnham Castle,; 140, 142,
422.
Read and Perry, 364, 403.
Rebecca, Lady Rushout, 366, 379,
435-
Records of my life, 104.
Redeemer, The, 281.
Redford's Art Sales, 120.
Redgrave, Mr., 354,
Redshaw, 378,
Regent's Park, 419.
Regent's Street, 205,
Regis Desalles, 102.
Regulus, 121.

462

Index.

Religion, 163, 297 — 8, 307 — 8 — 9,
348. 371. 374-
Republican, 299.
Revue Contemporaine, 295.
Reynolds, Sir Joshua, 44 — 50, 61,
100 — 106, 112, 114 — 117, 118,
119, 123, 126, 127, 133, 135,
146, 149, 150, 152, 155-6—7,
166—7—8—9, 173, 321, 323, 343,
349. 351—2. 357. 360, 375, 404,
411.
Rezzenico, Cardinal, 229, 378,
Rhodope, 113.
Richmond, Duke of, 150 — i, 378
— 9-
Rieffenstein, Rath, 198, 210, 212,
219, 225, 235, 240, 242, 244, 250,
265,
Ritchie, 290.
Rinaldo d'Este, 9.
Rinaldo, 145, 154.
Robert, 370.
Robinson, i, 145, 379.
Rome, 24, 25, 29, 30, 37, 121, 184,
187 — 189, 190 — 2, 207, 209, 210,
214, 215, 218, 227, 231, 237, 238,
239, 240,241,244, 246,250, 251,
252, 253, 262, 263, 264, 265, 267,
268, 276, 282 — 4, 287, 291, 296,
298, 299, 300, 309, 311, 314, 321,
322, 326, 327, 353, 409.
Romney, 166, 404.
Rosa Florini Bonomi, 55, 70, 177,
183, 328, 330, 332, 354.
Rosebery, Lord, 152, 379.
Rose Lenoir, 131, 386, 415.
Rosenkrantz, 94.
Roseneath House, 406.
Rossi, 7, 37,46,49, 98, 105, 107,
109, 113, 131, 170, 186, 199, 204,
296—299, 320, 327, 359.
Roth, Cardinal, 17, 379.
Rowena, 128, 376.
Roxborough, 368.
Royal Academy, 114, 117 — 120,
154, 162—6, 177, 204, 281—2,
295, 402.
Royal Commission, 70.
Royal Highness, of Gloucester, 120.

Rushout, 177, 206, 364— 5, 369,
374, 425. 435-
Russia, 229, 379.
Rust, 436.
Rutland, 436.
Ryland, Wynn, engraver, J31, 134,
146, 164, 177.373, 375-6—8-9.
385-6-7, 392—3-

Saal, 228.
Sacraments, Last, 325, 330.
Sales, Art, 120.
Salmo, 282.
Saltram, 46, 123, 126, 134, 342,
Saraaria, Woman of, 276,
Samma, 374.
Sampiere, 147.
Samuel, 281.
San Andrea, 294, 326, 331, 332.
Sandeman, 436,
Sappho, 147, 154, 354—7. 412.
Savage, 416,
Savage Club, 402, 403.
Saviour, The, 196,
Sayer and Bennett, 380.
Scantlebury, 380.
Scheidewasser, 147, 148,
Schlessheim, 380.
School, 75, 77, 114.
Schopfer, 381,
Schoppe, A,, 69, 102.
Schiitz, Johann, 220, 370.
Schwartzenberg, i, 12, 14, 17, 148,
181, 284, 310, 314, 329, 380.
Schwarz Kunst, 131.
Scorodomoff, 131, 373, 380, 387.
Scott, 380.
Seckendorf, Frau von, 231, 241, 262,
Seguier, 343.
Sellius Godfried, 28 — 30.
Senate, 280,
Senior United Service Club, 220.
Servain d'Agincourt, 198, 324,
Shakespeare, 167, 236, 370, 407.
Shakespearian Gallery, 166, 229,
242, 367.

Index.

459

Magazine, Gentleman's, 177.
Magistrate, Mr. Addington, 159.
Mahaffy, Dr., 145, 422.
Mahlerinn seelen, 67.
Malone, 47.
Manchester, Duchess of, 74, 121,
122.
Manuel des Beaux Arts, 182.
Marceaud, 131, 415.
Marengo Rooms, 50.
Marinari, 138.
Marlborough House, 408.
Marlfield, 143.
Marquis Ely, 138, 141.
Exeter, 51, 108, 342, 353, 370
— I.
Hertford, 410.
Queensberry, 410,
Marriage settlement, 177.
Marshall, 434.
Martineau, 434,
Martinegbi, 375.
Marylebone, 424,
Massacarrara, 375.
Matilda Caroline, 40.
Matthews, i8o,
Maughan, Rev. G., 376.
Maupasson, Thomas, 400.
Maxwell, 434.
Medley, 375.
Mendip, 375,
Menelaus, 74, 347.
Mengs, Raphael, 31, 67, 153, 303,
33&, 370-
Mentmore, 152.
Mentor, 278.
Mercury, 228, 236, 265, 285.
Messell, 434,
Messiah, no, 128.
Messilina, 385.
Metastasio, 403.
Meyer, 285, 302, 376.
Meyers, 5.
Mezzotinto, 134, 388.
MUan, 8— II, 17, 63, 223— 5, 311,
375-
Milan, Bishop of, 10.
MUanese, 10, 216.^

Miranda, Duke and Duchess of,
321. 375-
Miss Angel, 43, 98, 176, 309.
Mistress of Robes, 205 .
Model, Naked, 77, 118.
Modena, Duke of, 9.
Duchess of, 10.
Modesty, 204.
Monastery of San Pietro, 147.
Monbegno, 3, 22, 36.
Monroe, Dolly, 141, 142, 370.
Montagu, 427 — 8.
Montagu, Mrs., 41, 181, 404—5.
Montagu House, 405.,
Monte dell Trinita, 190.
Montfort, Count, 18, 21, 375.
Castle, 19, 21, 365, 375.
Montgomery, 375.
Montgomery, Lord, 309.
Monuments of Rome, 198.
Moral Emblems, 76.
Morales, Cristoforo, 224.
More, Sir Thomas, 423.
Morghen, 131, 198, 206, 278, 372 —
3—4, 385-
Morland, 354;
Moriey, 46, 123, 126, 134, 375— 6'
Morris, Miss, 48, 122.
Morrison, Alfred, 173.
Morsburg, 18.
Mosaic, 374.
Moscow, 202.
Moser George, 67, 114, 116,117, 118.
Mary, 67, 68, Ii8, 133, 352.
Mosers, The, 67, 68.
Mother, afflicted, 70.
ofthe Arts, 323,
ofthe Gracchi, 204—5—6, 377.
Munster, Bishop of, 296.
Miinter, Dr., 285,
Muntzer, Mr,, 400, 418.
Muse, The, 153, 176,233, 254,395.
Muses, The, 281.
Museum, 233.
Museum, British, 70, 77, 128, 154,
169, 276, 387, 388.
Museum, Soane, 396, 429.
Music, 371, 381, 397.

460

Index.

N.
Nagler, 102, 335 — 6.
Naked, Model, 77, 118.
Naples, 35, 184—5—9, 190— 1, 192,
193. 194. 233, 244, 247, 249, 263,
377-
Naples, Queen of, 184 — 5 — 9,
192—4, 483-
Napoleon, 317.
Nathaniel Dance, 37, 64, 65, 104,
117, 121, 150, 418.
Nathaniel Hone, 104, 117, 118, 155
—161.
National Academy, 114.
National Biography, Dictionary of,
341.
National GaUery, 142, 309, 370 —
4-
National Portrait Gallery, 374.
Nativity, The, 150.
Nelly O'Brien, 355.
Nelson's Daughter, 424.
Netherlands, 212.
NeviUe, 391.
Nevroni, Cardinal, 311, 368.
New Bond Street, 361, 365,
Newcastle, 427.
New London, and Old, 402.
Newnes, 435,
Nicotris, 113, 199.
Norfolk Street, 367.
NoUekens, 64, 68, 77, II2, 117,
160, 377.
Nord, Count du, 182, 379.
Countess du, 182, 379.
Norfolk House, 416.
Northentz Library, 28.
Northern Italy, 18.
Northwick, 193, 351, 435.
Northwick, Lady, 364, 365, 379,
392.
Norwich, 298.
Nostall Priory, 172, 422,
Nouvelle Biographie, 102, 340,
Novosiels Ki, 370.
Nymph Egeria, 281, 425.
Nymphs, 369, 402, 408, 413,
415-

o.;
Oberon, 258,
Olympus, 149, 406.
Omnia Vanitas, 164, 310, 373.
Oppermann, 34, 72, 87, 113, 215,
216, 312,
Ord and Son, 300.
Orestes, 338,
Organ, 417.
Orpheus, 21, 368.
Ossian, 307, 381.
Osterly Park, 401, 420.
Ovid, 282, 373.
Oxford Street, 407.

Padua, 313.
Painting, 167, 371, 381, 397.
PaU Mall, 115, 120, 153, 166, 361,
409.
Pallas, 201, 382.
Pan, 417.
Pannini, 377.
Pantheon, 73, 152, 328, 332—3,
Paphian Boy, The, 408,
Pappasava, Count, 321, 377.
Papworth, 429,
Paris, 282.
Paris de Bordone, 197.
Paris, Judgment of, 176, 394.
Parker, 46, 123, 126, 342.
Parliament House, 63.
Parma, 187.
Parsons, Miss, 48.
Pasquin, 47, 75, 132, 282, 341.
Patronage, 36.
Payne, Knight, 77.
Pazetti, 327.
Peintre, 54.
Penello Volante, 40.
Penelope, 121, 369, 374—5, 381,
385^-
Penserosa, La, 145.
Pepper, 377.
Percy, Major, 417.
Pergolesi, in.

Index.

463

Shepherd, 381.
Shepherdesses, 424.
Sheraton, 420.
Sheridan, 281, 351.
Shield, Celestial, 281.
Sibyls, 73, 253, 354, 370, 378.
Simplon, 233.
Sion House, 430.
Sketchley, Mr. R. F., 399.
Smart, 358.
Smirke, 425.
Smith, 1,64, 65,77, 98, 105, 112,
131. 365. 424-
Society of Incorporated Ahists, 50,
115, 126, 193, 402,404.
Respectable, 247.
Naval Architects, 402.
Solms, Countess of, 307, 381,
Somerset House, 166 — 7, 374, 429,
Sommeriva, 381.
Sophocles, 382.
Sopra Portas, 369, 378, 407, 416.
Sotheby, 299.
Sotheran, Mr., 391.
South Kensington Museum, 132,
374. 399-
Spanish Place, 84, 406,
Sparta, 373.
Spencer, 25, 45, 61, 108, 151, 152,
381.
Spilsbury, 131.
Spina, Abbata, 222, 225, 253,
Spirit of God, 66.
Spiritual subjects, 70.
Spring Gardens, 404.
Squares Berkeley, 41, 400, 409, 412.
Golden, 59, 60, 84, 85, 171,
173,. 41 1, 424.
Grosvenor, 416,
Hanover, 414,
Merrion, 138, 140.
Portman, 176, 404, 426, 427.
Rutland, 145,
Soho, 59, 178, 409, 410.
St, James's, 411, 416.
Squibs, 401,
Stabat Mater, in.
Stadtdirektor, 28,

Stafford, 437.
Stake, Lady's last, 112.
Stanford, 431.
Stanhope, 50.
Stanwick, General, 129, 387.
St. Catherine, 370.
Stein, Frau von, 267.
Stemberg, 35, 38, 49, 63, loi, 129,
132, 134. 153. 205, 206, 213,
279. 320, 329, 336,
Stephens Green, 138, 139.
St. Joseph, 381.
St. Oswald, 172, 422.
St, Paul, 378.
St. Peter, 390.
St, Peter's, 406,
St. Petersburg, 229, 380,
Stokes, 152.
Stolberg, 216, 286.
Story of Venus, 282,
Strand, 166, 400.
Stratford House, 306.
Stratford, O'Neal, 308.
Stratford Place, 175,407, 306.
Strawberry HUl, Catalogue; 123,
129, 375, 405-
Streets, Berkeley, 411.
Charles, 41, 391.
Dawson, 138.
Dean, 59.
Dover, 400, 418.
Harcourt, 138.
John, 179, 288, 290, 401 — 3 —
4-
Molesworth, 130.
St, James's, 391.
Suffolk, 52, 58, 152, 193, 437,
St. Cecilia, in, 156, 378.
St, James's Church, 83, 84.
Court, 137.
St. John, 375,
St. Paul's, 149, 402,
Strafford, 437.
Streatham, 405.
Strickland, 381.
Studerat, 94.
Sturz, 109, 128, 147.
Styx, 380,

464

Index.

Suabian, 13.
Subject, satirical, 161.
Subtle, 133,
Suffer little children, 266, 29'8.
Sundays, 208, 219, 226, 235, 242,
Sussex, Duke of, 282, 380,
Sutherland, 437,
Swede, 102.
Sweden, 81.
Swedenborg, 409.
Swedish, 78, 8i.
Swiss, 33, 45.
Sylvia's stag, 143, 162, 370, 379,
391.

T.
Table (Emo), 143.
Taccone, Marquis, 381.
Tancred, 133,
Tasso, 224, 237, 242, 245, 247,
249.
Taylor, 76, 104, 122, 126, 131, 164,
381, 420.
Tedeschi, 211.
Telemachus, 74, 133, 154, 155,278,
347—8, 369, 372—3-
Temple of Virtue, 163,
Terrick, Bishop of London, 144,
ISO-
Thackeray, 109.
Thackeray, Miss, 84, 98, 108, 175.
Thackeray, William, 150.
Theatre, Covent Garden, 151.
Theodor, Duke, 187.
Theory, 166,
Therese Bandettini, 199,
Thersites, 236.
Theseus, 268, 282, 306, 370, 381.
Thomas, 401,
Thomson's Seasons, 373.
Thomhill, 114.
Thornton, 381,
Thorwaldsen, 426,
Thrale, Mrs,, 280.
Timon, 65,
Tipperary, 143,
Tischbein, 228.

Tisdall, 139.
Titians, 197, 351, 378,423,
Tivoli, 247, 267, 270 — 2, 322,
Tolomeo, 243.
Tom Jones, 140.
Tomkins, 131, 381, 386.
Toulon, 317.
Tour, Grand, 36.
Townshend, Lord, 140, 141, 384.
Townshend, Charles, 140,
Townshend, Lady Audrey, 140.
Tradition, 120.
Trafalgar Square, 166,
Travellers, 276.
Treishoff, AmaUe, 231.
Triad, 188,
Tripartite, 177.
Trippel, 235.
Truth, 76, 77.
Tuer, Mr. 388, 392—3. 395-
Tussaud, Madam, 309.
Tyrol, 181.

U.
Uggieri, 326,
Ulysses, 74, 121, 147, 202, 236,
369, 370— I— S— 9-
Una, 354, 364, 398, 431.
Universelle Biographie, 72, 75, 76,
102,
Upper Italy, 63.
Upper Ossory, 428.
Urania, 147, 354, 410.

V.
Vandyke, 133.
Venice, 181 — 2 — 3, 251, 293, 313.
Venus, 74, 121, 131, 228, 317, 369,
375. 382—5—6, 394. 415, 425-
9-
Venus attired by the Graces, 63,
176, 374. 402.
Venus, Story of, 282.
Vereker, 382.

Index.

465

Vemon, 382,
Vernon Harcourt 415.
Vemon, Mrs., 59.
Verona, Two Gentlemen of, 166,
Verpylle, 138,
Verrio, Antonio, 370.
Vesey, Mrs., 41.
Vestals, 73, 282, 354, 370.
Vicar of Wakefield, 112.
Vicat Cole, R.A., 400.
Vice-kings, 137.
Viceroy, 136, 140.
Victory, 317.
Vienna, 201, 281, 382.
Vignette, 233, 373.
Villa Adrienna, 322.
VUla d'Este, 247, 249.
Virgil, 202, 204, 229, 282, 377, 379,
383-
Volpato (engraver), 198, 202, 210,
382.
Volterra, Daniel di, 288, 236.
Von, I.
Voralberg, 181.
Vortigern, 128, 376.
Vulpina, 215. W,
Waagen, 309, 339, 353, 370, 421.
Wadmore, 397.
WaiUy, Leon de, 102.
Walch, Herr, 15, 382.
Waldeck, Prince of, 23S, 282, 382.
Waldegrave, 383.
Walden, Howard de, 151, 354.
Walder, 12, 72, 215.
Waldy, Rev. E., 152.
Walker, 383.
Walpole, Horace, 7l> 103, 123.
129, 134, 140, 154, 245, 405, 407,
41 1, '428.
Walsingham, Lord, 400.
Wanstead, 193, 204, 318, 330, 342,
361.
Warwick Street, 187.
Watkins Wynne, Sir, 411, 417,
Dowager Lady WUUams, 399,
416, 417.

Waterloo, 417,
Watsoi}, 133.
Watteau, 352.
Wedgwood,. 139, 408, 413, 427.
Weigel und Andresen, 304.
Weimar, 209, 221, 226, 231, 234,
238—240, 241, 244, 250, 253,
254, 303-
Weisseley, 102, 214.
Wells, 38.
Wentworth, Lady, 25, 35, 36, 41,
S3, 65, 180, 205,
West, 117, 119, 121, 134, 13s. 166
—7. 383. 404-
White, 374.
White House, Soho Square, 410.
Wicklow, 391.
Wieland, 231, 238, 254-259.
Wilson, 117,
Wilton, 117.
Winckelmann, 25 — 34, 146, 336,
356. 371. 384-
Winn, Sir Rowland, 172, 423.
Wisdom, 116, 127.
Wolfe, Death of, 134.
Wolfenbiittel, 238,
Woman under a tree (Aglaia),
132. 175-
Woodhouse, 383,
Wrenk, 131,
Wright, 402, 445.
Wurzbach, 100.

Xenocrates, 281.
Xenophon, 280.

Yeo, 118,
York, Duke of, 205,

Zadig, 368.
Zamoiski, 383.

II h

466

Index.

Zelado, Cardinal, 202, 384.
.Zoffany, 51, 112, 117, 119, 133,
146.
Zuccarelli, 118.
Zucchi Antonio, 2, 6, 109, 169,
'170-2—3, 177, 180, 183—
4, 188, 189, 191, 195- 6, 215,
224, 226, 228, 236, 239, 240
—1—2, 249, 253, 262—3, 283
—5, 287—291, 292—295, 304,

353. 3S7— 9, 368, 384, 401—4,
419. 429-
Zucchi Household, 199, 283.
Zucchi, Joseph, 69, 131, 147, 252,
290, 293, 329, 384.
Zucchi's Memoirs, 188, 193 — 4,
287. 352. 384.
Zucchi, Pietro, 290.
Zucchis, The, 169, 352, 384.
Zurich, 384.

OPINIONS OF THE PRESS,

Angelica's is a singularly difficult life to write, and her latest biographer has
evidently spared no pains to make this volume complete. It is excellently
illustrated and is unquestionably a book of great interest. — St. Jameses Gaseite,
We think that whoever takes to heart the story of Angelica Kauffmann's
career, must find his respect for women and art equally increased, and hiS
aflfection, if not his approval, gained for much of her work. — The Spectator*
Her friendships with Sir Joshua Reynolds and Goethe are of course dwelt
upon at length, and if Miss Gerard brushes away some of the romance which
has attached to the former of these, she is only attesting her adherence to the
truth. — Art Journal^ January, 1893.
Miss Gerard's work has real value. She has an appendix of sixty or seventy
pages, including careful lists of Angelica's works, their engravers, and their
present owners, a separate list of those engraved by Bartolozzi, no less than
eighty-eight in number, a guide to the houses decorated by Angelica, &c. This
will be found the most satisfactory part of the book. Miss Gerard has done her
work well, and all- lovers of Mr. Dobson's favourite world, "the times of Paint
and Patch," will be grateful to \x&Cn— Daily Chronicle, December.
It is written with kindliness, knowledge, and good taste, and if it contributes
little to our knowledge of Angelica Kauffmann as an artist, it helps as materially
to understand her versatile charms as a woman. — Standard, December nth.
We have to thank the authoress for givin|; us a study of an interesting per
sonality belonging to an age which is sufficiently close to us to have charms
denied to a more remote period of the past. — Sunday Times.
The admirable lists at the end of Miss Gerard's volume, to which reference
has been made, bear evidence of Angelica's astonishing fecundity. The list of
houses decorated by her include, among numerous others, a ceiling of great
beauty in Mr. D'Oyly Carte's rooms at the Adelphi ; others very fine at Sir
John Leslie's house, Stratford Place (in Oxford Street) ; Lord Wynford's house,
12, Grosvenor Square ; Mrs. Hartmann's house, 39,Berkeley Square ; the
Dowager Lady Williams Wynn's house, 20, St. James's Square ; Mr. Walter
Gilbe^s house, Cambridge House, Regent's Park ; and the Arts Club, Hanover
Square.— i?<at//>' Chronicle.
We recommend the reader to find out the book for himself, and thus gain an
insight into one of the most curiously interesting personalities in the history of
modern art. Messrs. Ward and Downey have published the book in excellent
style. One decided merit of Miss Gerard's book is the addition of very full
appendices giving fairly complete lists of the artist's works, the date of engravings
and etchings therefrom, and in a pood many cases the present owner of the
original. "Hiese lists are of exceptional value to the connoisseur or collector.
Another interesting appendix is that devoted to the *' Houses decorated by
Angelica Kauffmann in the decade 1771-1781." — Freeman^s Journal, Dublin.
Miss Gerard has done her work carefully and effectively, and succeeded in
giving us a very living picture of the gifted Tyrolese girl who was not only in
the front rank of the painters of her time lone before she was thirty, but besides
being a favourite of fashion and the protegee of half the courts of Europe had
the singular fortune to win the affectionate esteem, if not the absolute love, of
such men as Reynolds, Goethe, Herder, and Wieland. — Tablet,

Now comes 'Miss Frances Gerard with her thoroughly sympathetic and
studious biography (Ward and Downey), in which for the firat time we have the
career ofthe unjucky artist set out at full length, with a good deal, too, of inte
resting information on art matters. — Glohe^ November 7th, 1892.
No one can deny that sbe has told the sad story of the life of Angelica
Kauffmann in a most interesting and charming manner. Her subject evidently
possessed. many fascinations for her, and she has succeeded in making it fasci
nating to others, — Lady^s Pictorial.
Miss Gerard has accumulated many interesting facts about her heroine, — The
speaker. The authoress has done her work with the greatest thoroughness and im
partiality, besides writing a very" graceful and fascinating monograph. The
subject itself is one ofthe most romantic interest. — Wotnan,
Hitherto her biography has never been published in the English language,
and Mbs Gerard's book has the advantage of novelty. — Mortdng Postt No
vember 23rd.
The plan of Miss Gerard's book is methodical, and the list of Angelica's works
at the end makes a very satisfactory termination to an admirable study. —
Gtntlewonuin, October.
From this summary it will be seen that the bock is carefully written, and that
no pains have been spared to procure all the information possible about the
brilliant but unfortunate artist whose life reads like a romance. — Daily Express,
Dublin. Miss Frances A. Gerard, the compiler of this biography, had ample materials
from foreign sources, and these she has utilized to advantage, with the result
that we have a full account of the career of a somewhat remarkable woman, —
Manchester Examiner.
Among the new books of the season is Miss Frances A. Gerard's biography of
Angelica Kauffmann. It is pleasantly written, and the subject being an inte
resting one. Miss Gerard's work is likely to have many readers.— *S'cA(7i?/-
jnistress. "Miss Gerard has studied 'her materials, which are scanty in English but
copious in other languages, with great industry, and in particular, has recovered
many letters written by Angelica Kauffman, which lend an intrinsic and excep
tional interest to her volume," — The Times,

YALE UNIVERSITY LIBRARY

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