We could appreciate the lines of the panel even better if we could see it in its relation to the entire plan. Each figure is drawn with reference to its place in the great design. Though there are so many component parts, they unite to form a coherent whole, the main lines flowing together in a harmonious unity.

Reynolds's design was executed by the gla.s.s painter Jervas; but when the window was set in place it was a great disappointment. The colors are opaque, and can properly be seen only in a darkened room; with the light falling through them they are at a great disadvantage.

Nevertheless the window is a matter of great pride to the fortunate college which possesses it. The original designs, instead of being black and white cartoons, as another artist might have made them, are finished paintings in oil.

X

LORD HEATHFIELD

Lord Heathfield, the original of this portrait by Reynolds, is famous in English history as the hero of the siege of Gibraltar. Gibraltar, as is well known, is that great rock on the coast of Spain, overlooking the narrow strait which forms the pa.s.sage between the Atlantic Ocean and the Mediterranean Sea. In the affairs of nations this rock occupies a position of great importance, forming, as it were, a "key to the Mediterranean." The Strait of Gibraltar is the gateway through which all ships must pa.s.s to gain the ports of southern Europe, and it is therefore a matter of moment to all the civilized world what nation holds possession there. Nature has made the rock a fortress, and military inventions have been added, through the centuries, to strengthen its defences. It has been the scene of some fearful conflicts.

Gibraltar once belonged to Spain; but, by the fortunes of war, it fell into the possession of the English early in the eighteenth century.

Various attempts were made to recover it, but the most determined was that of 1779, when the combined land and sea forces of France and Spain were brought to bear upon it. The struggle lasted over three years; but, in the end, the English were victorious, and they have retained the fortress to this day.

The governor in command at that time was General Elliott, who was afterwards rewarded for his services here by being raised to the peerage as Lord Heathfield. General Elliott was already well known as a gallant officer. He had served in the war of Austrian succession, holding a colonel's commission at Dettingen, where the English defeated the French in 1743. In the Seven Years' War he had raised and disciplined a splendid corps of cavalry, known as the "Light Horse."

He was now over sixty years old, and his long military career fitted him admirably for the command at Gibraltar. He showed his calibre in the beginning of the siege, in refusing the keys of the fortress, which were demanded of him. With tremendous odds against him, his conduct has not inappropriately been likened to that of the Greek hero Leonidas, at Thermopylae, when ordered by the Persian king to lay down his arms. Throughout the defence his intrepidity, resource, and generalship, proved him a man of remarkable military genius.

The crisis in the siege was reached in September, 1782, when a fleet of ten enormous floating batteries opened fire on the fortress, each one manned by a picked crew, and carrying from ten to eighteen guns.

These batteries were the invention of the most skilled French engineers, and were believed to be impenetrable to shot. The cannonading began in the morning and continued all day. Soon after midnight nine ships were on fire, and the hostile fleet was doomed.

[Ill.u.s.tration: LORD HEATHFIELD]

General Elliott showed himself a generous victor, and the men saved from the enemy's ships owed their lives to him. Five years later the returned hero, now become Lord Heathfield, sat to Reynolds for his portrait, ordered by a wealthy admirer--the public-spirited Alderman Boydell. The picture shows the brave old soldier as he took his stand in command of Gibraltar. Some one has said that it tells the whole story of the siege.

The general grasps firmly the key of the fortress, the chain wound twice about his hand, to emphasize the determination of the man to hold it against all odds. His sword swings at his side, ready for instant use; a cannon in the rear is pointed downward towards the hostile fleet, and the smoke of battle rolls in clouds behind him. Far away on the horizon a glimmer of light shines on the distant sea.

The veteran stands as immovable as a Stonewall Jackson. His face is set in determined lines, the lips firmly closed, the head thrown back a little, and the eyes steadily fixed on the battle. Yet the face is not altogether stern; there is much that is kindly and n.o.ble in the expression. One can fancy it in another moment softening into an expression of gentleness.

It was a remarkable feature of his success during these terrible months of siege, that he was able to hold the love and loyalty of his men. When the spirits of the little garrison flagged, under the combined influence of disease and impending famine, his genial presence animated them with fresh hope. His chivalry was as unfailing as his bravery. It is said that "his military skill and moral courage place him among the best soldiers and n.o.blest men Europe produced in the eighteenth century."

The portrait painter makes us feel all this in his picture. The att.i.tude is so dignified, the gesture so forcible, the countenance so expressive, that we are impressed at once with the dignity of his character. Even if we knew nothing of his history we should still be sure that this is a great man.

The last days of the hero of Gibraltar were spent at his home, Kalkofen, near Aix-la-Chapelle, where he died, July 6, 1790, in the seventy-third year of his age.

XI

MRS. PAYNE-GALLWEY AND HER CHILD (PICKABACK)

Pickaback is one of the old, old games which no one is so foolish as to try to trace to its origin. We may well believe that there was never a time when mothers did not trot their children on their knees and carry them on their backs. The very names we give these childish games were used in England more than a century ago.

The picture of Mrs. Payne-Gallwey and her child has long been known as Pickaback, and will always be so called by many who would not be at the pains to remember the lady's name. It is one of those portraits in which the painter, impatient of the stiff conventional att.i.tudes which were in vogue in his day, drew his inspiration from a simple homely theme of daily life.

What an ingenious painter Reynolds was, we learn more and more as we examine one picture after another and compare them with those of his predecessors. He liked to have his pictures tell stories, and often, when he had a mother and child to paint, he represented them as playing together just as they might have done every day in their own nursery or garden.[14] The d.u.c.h.ess of Devonshire is seen in her boudoir trotting her baby to Banbury Cross, and the c.o.c.kburn children are surprised in a game of hide-and-seek on their mother's lap.

[Footnote 14: Claude Phillips refers to Pickaback as "one of the most popular and representative" of this cla.s.s.]

Mrs. Payne-Gallwey seems to have just caught her little girl up on her back and to be starting off to give her a ride. Her body is bent slightly forward in the att.i.tude of one walking with a burden, and we almost seem to see her move. It is as if in another moment they would pa.s.s across the canvas and out of our sight.

The incident is so precisely like something which happens every day that we might think the picture was painted yesterday instead of in 1779, were it not for the few signs which indicate its date. For one thing, the lady's hair is arranged over a high cushion in the peculiar style affected at this period in fashionable circles. The style was carried to absurd extremes, ladies vying with one another in the height of the coiffure until in some cases it actually towered a foot and a half in height. Over this structure were worn nodding plumes of feathers, increasing the fantastic effect.

We may imagine how these unsightly erections vexed the artistic soul of Sir Joshua Reynolds. He was, however, enough of an autocrat to take liberties with the fashions. When obliged to paint the portrait of a lady with a "head" (for so the coiffure was called) he always managed to modify its height and make its outlines harmonize with his composition.

[Ill.u.s.tration: MRS. PAYNE-GALLWEY AND HER CHILD "PICKABACK"]

A side view was of course much less objectionable than the full front, in which the face was elongated to such strange proportions. In this case the face is turned in profile, and its delicacy is enhanced rather than injured by the ma.s.ses of hair which frame it. The hair, instead of being drawn tightly back from the forehead in the ordinary way, waves in graceful curves, which are quite beyond the art of any hairdresser. Finally, the ma.s.sive effect of the hair is broken by the narrow scarf bound about it and tied under the chin. The curve of this scarf meets the curve of the profile to form a beautiful oval.

The quaintest touch in the picture is the child's big hat. The same shape is worn to-day by men, and one might fancy that the baby had borrowed her papa's hat for the frolic. It is a curious change in fashions which transfers any part of a little girl's wardrobe to that of a grown man.

We may feel a little better acquainted with the mother and daughter to know their names. Mrs. Payne-Gallwey was Philadelphia, the daughter of General De Lancey, Lieutenant Governor of New York. The child was Charlotte, who afterwards married John Moseley. Mrs. Gallwey's beauty is of a very fragile type, and her eyes have a languor hinting of invalidism. Only a few years later she died, while still in her young motherhood. Little Charlotte has a round healthy face, but it is a little sober. Indeed, both mother and child seem to be of a rather dreamy, poetic temperament. Their mood is hardly merry enough for such a game, but they enjoy it in their own way with quiet contentment. It is an idealized version of the ordinary romping game of Pickaback.

The composition is based on lines which cut the canvas diagonally. In one direction is the line running the length of the profile and continued along the bodice. Crossing this at right angles is the shorter line made by the two arms. It is the first of these which gives character to the picture and produces the impression of motion which is so striking. It is almost as if a modern photographer had taken a snap shot of a figure in the act of walking. But in no such photograph, it is safe to say, would the lines chance to flow in such perfect rhythm.

XII

CUPID AS LINK BOY

A familiar figure in cla.s.sic mythology was that of the little G.o.d of love, Cupid. He was the son of Venus, and, like her, was concerned in the affairs of the heart. Ancient art represented him as a beautiful naked boy with wings, carrying a bow and quiver of arrows, and sometimes a burning torch. The torch was to kindle the flame of love, and the arrows were to pierce the heart with the tender pa.s.sion. These missiles were made at the forge of Vulcan, where Venus first imbued them with honey, after which Cupid, the mischievous fellow, tinged them with gall. Thus it was that the wounds they inflicted were at once sweet and painful.[15]

[Footnote 15: Anacreon's Ode x.x.xIII. in Moore's translation.]

Now Cupid was always bent upon some of his naughty pranks. He was afraid of nothing, and we read of his riding on the backs of lions and sporting with the monsters of the deep. He played all sorts of tricks on the G.o.ds, stealing the arms of Hercules, and even breaking the thunderbolts of Jove. His bow and arrows were a source of great amus.e.m.e.nt to him. He delighted in taking aim at unsuspecting mortals, and his random shots often wrought sad havoc.

One of Anacreon's odes relates how the poet was awakened on a rainy midnight by the cry of a child begging shelter. The little waif proved to be Cupid in disguise. After being warmed and dried by the fire, the boy artfully craved permission to try his bow, to see if the rain had injured its elasticity. The arrow flew straight at the poet's heart with a sweet pain, and away flew Cupid laughing gayly at his exploit.[16]

[Footnote 16: Anacreon's Ode XXVIII. in Moore's translation.]

Cupid was naturally a very popular G.o.d, yet his tricksy ways caused him to be looked upon with suspicion. Every one was anxious to stand well with him. In some of the cities of ancient Greece, as Sparta and Athens, he was worshipped with great solemnity, and every five years festivals were held in his honor.

In our picture the painter has represented the little torch-bearing G.o.d disguised as a link boy. He is dressed in the clothes of a London street urchin, and behind him are the warehouses of the great city.

The link bearer's occupation was abandoned so long ago that it needs a word of explanation. In the old times, before there were stationary street lights of any kind, men and boys used to run about by night, carrying torches or links, as they were called, to lighten the way for pa.s.sers-by.

They were like the newsboys of to-day, running up to each wayfarer to offer their services, and always glad to pick up a few pennies. They accompanied parties home from the clubs, the theatres, and all sorts of entertainments, running beside carriages, as well as foot pa.s.sengers. Nor was their occupation solely by night. There sometimes came suddenly in London a thick fog, shutting out the sunlight as completely as if it had been night. People caught in the streets at such times soon lost their way, and the services of the link boy were then very useful.

[Ill.u.s.tration: CUPID AS LINK BOY]

We may now understand what a capital chance for fun Cupid would have, playing the part of a link boy. The strangers whom he guided on their way would little suspect that the link boy's torch was kindling the flame of love within them. He might lead them whither he pleased, and finally, disclosing his true ident.i.ty, would draw his bow upon them and leave them to their fate.