612 Hints to Portrait Painters. [JuNE, 



already quoted. They are enough no doubt, in the reader's opinion as 

 well as in our own, to prove the value of Gerard de Laircsse's lessons, 

 and to suggest an idea of the numberless advantages that would accrue to 

 the world, if our young portrait-painters would but take them seriously to 

 heart. But in case this idea should not strike every body, we will linger 

 a little on the subject, and point out two or three instances of the effect 

 that might be produced by the adoption of Gerard's hints. 



Ex. gr. What a misfortune is it for art, and what a loss to society, 

 that Mr. Wilkie never read " Lairesse's Art of Painting." If he had but 

 have seen even these " Hints" before he painted the portrait of the King in 

 the present Exhibition, the world would certainly have enjoyed the benefit of 

 a most instructive and edifying delineation of character. Instead of a mere 

 common-place portrait, we should have seen it adorned with the most 

 fit and anomalous accompaniments. His Majesty would been repre- 

 sented standing between Wellington and Grey, looking as if he were 

 thinking of " how happy could I be with either." A troop of Horse 

 Guards would appear on one side, and a deputation from Birmingham 

 vainly struggling to approach with a petition, on the other. A porter 

 would be holding the half-open door, and saying, " not at home" to the 

 Duke of Sussex j and a little back staircase in the distance would be 

 crowded with company of both sexes, English as well as foreign, watch- 

 ing the turn of the royal eye, and trembling to the tips of their feathers 

 and mustachios, when it fell with a reluctant recognition on the " Peoples' 

 Premier." Two thrones would appear in opposition to each other - } a 

 popular one, entwined with vine-leaves and roses, and one on the old 

 principle, encircled with thorns, and propped up with bayonets. 



In the Duke of Wellington's portrait would be introduced a bronzT; 

 Achilles upon brazen crutches, that are nevertheless bending beneath the 

 increasing tendency to fall, which the attitude of the figure denotes. A 

 suit of regimentals, much the worse for wear, and a strait-waistcoat evi- 

 dently designed for immediate use, are lying in the foreground. The 

 picture must be exceedingly dark, us the windows of the room are boarded 

 up. His Grace might be seated on a file of gazettes, reading the 

 " Standard" darkness being no impediment to his occupation. The 

 article might be a " Lament for the One-hundred-and-fiftieth Assassination 

 of the late lamented Constitution." 



Lord Carnarvon might be painted in the act of presenting a petition for 

 emancipation from the degrading privileges of a peer. A document, 

 called the " Carnarvon Abolition Bill," would be lying near him. In the 

 distance might be a mock-auction a coronet being put up to to sale, but 

 producing no bidders, on account of its inutility. 



A very considerable sheet of canvas would be required, for a complete 

 development of all the characteristics of such a sitter as Lord Lyndhurst. 

 "Bills" of all descriptions, private as well as public, and " amendments" 

 invariably devised to work mischief, might be scattered about him. 

 Judicial wigs and political masks should be mingled with them. Inde- 

 pendence and honour are seen far off in the path which he might have 

 taken, while that which he travels is terminated by enthralment, degrada- 

 tion, and remorse. 



A " lamp-iron " might appropriately form the principle feature in Lord 

 Wynford's portrait, his Lordship being exhibited in a fit of meditation on 

 the possibility of his being " hanged" upon it (see his speech). The 

 instructions of Gerard de Laircssc would be equally valuable in composing 



