689 



REYNOLDS 



and the Bear en free out of prison ; and he 



tin- Ram into their power, ana decreed Reynard to 



be an outlaw. 



To this the Low German version adds a continu- 

 ation, j'.irtly a repetition of the same mcident- 

 under disguise and partly an actual continuation 

 of the story, ending in a single coiulutt Iwtween 

 the Fox and the \Volf, in which the former l>y 

 trickery beat his antagonist. Finally he returned 

 to his own home, honoured with the favour and 

 protection of tlie Lion. 



Kngliih reader* should consult the Introduction to W. 

 J. Thorns' edition of Caxton't Xry*" 1 1 1MS), Carlyle's 

 Mitfrllanrnut Kitaiii (not quit.- accurate), and F. 8. 

 Ellis's Hillary of Rrynard Utt Fox (1894). See aUo L. 

 Sudre, Let Sourcet du Roman de Benart (1893). 



Reynolds, JOHN FULTON, an American 

 general, was born in Lancaster, Pennsylvania, 20th 

 September 18-20, graduated at West Point in 1841, 

 and became commandant there in 1859. As 

 brigadier general he fought at Mechaniesville and 

 (James's Mills, and was taken prisoner at Ulendale, 

 but exchanged in August 1862. At the second 

 battle of Hull linn his own bravery induced his 

 brigade to stand fast, and so prevented a complete 

 rout. In November he was commissioned major- 

 general, and in 1863 commanded a corps at 

 Frederickshnrg. He was killed ut Gettysburg, 

 where he commanded the left im.', on 1st July 

 1863. The state erected a granite shaft on the 

 spot where he fell, and his men a bronze heroic 

 statue on the field ; and in 1884 an equestrian 

 statue was unveiled in Philadelphia. 



Hf> lloliN. Sir JOSHI-A, IMi.A., ]>ortrnit and 

 subject painter, was born at Plympton Earls, near 

 Plymouth, on 16th July 1723, the year of Kneller's 

 death. His father, a clergyman and master of 

 Plympton grammar-school, intended him for the 

 medical profession ; but he developed a strong 

 aptitude for painting, was continually studying 

 the plates in Gate's Book of Emblem*, Dryilen 's 

 I'liitiin-li, and the other volumes that came 'in his 

 way, ami at the age of eight had mastered the 

 Jrxnit'i Pempectiif, and applied its principles to 

 drawings executed by himself. In Octoltcr 1740, 

 accordingly, he was sent to London to study art, 

 ami plaeed in the studio of Thomas Hudson, a 

 portrait-painter, of very moderate abilities, much 

 employed at the time. In 1743 he returned to 

 Devonshire, and some of the portraits of local 

 worthies which he then produced still exist. In 

 the following year lie was again in London pursu- 

 ing his art ; bat in the beginning of 1747, lifter tin- 

 death of his father, he settled in Ply nth Pork. 



now Devonport, where he learned much from a 

 study of the works of William Candy of Exeter. 

 In 1749 he made the acquaintance of Commodore. 

 afterwards Lord, Keppel, who invited him to 

 accompany him on a cruise in the Mediterranean; 

 and, after painting many of the llritish ollieers in 

 Minorca, he made his way to Koine, where he 

 studied Raphael and Michael Angelo, and in the 

 Vatican caught a chill which permanently affected 

 hi- hearing, and necessitated his use of an ear 

 1 1 nnipet during the rest of his life. He also visited 

 Itologna. Genoa, Florence, Parma, and Venice. 

 Returning to Knglaiid in October 17.V2, he soon 

 afterward* MtabouMd himself in a studio in St 

 Marl iii's Lane, London, and attracted notice by 

 his (Nirtraits of the second Duke of Devonshire anil 

 Commodore Keppel. Before long he was in 

 .lent practice, and in the year 17~>~> lie had no 

 fewer than a hundred and twenty sitiers, of whom 

 he produced portraits in which the influence of the 

 Italian masters, and especially of Correggio, is 

 clearly visible ; works in which he was certainly 

 aided by such assistants as Marchi. but. which he 

 impressed with his own character and individuality. 



He soon removed to Great Newport Street ; and 

 finally, in 1760, he purchased a mansion on the 

 we-t Mile of Leicester Square, to which he added a 

 studio and reception room. 



He was now at the height of his fame, and a 

 valued friend of his most celebrated contemporaries. 

 In 1764 he founded the famous literary club of 

 which Ih- .lohn.-on, Garrick, Hurke, Goldsmith, 

 Boswell, and Sheridan were mcniliers ; all of whom 

 were portrayed by his brush. He was one of the 

 earliest members of the Incorporated Society of 

 Artists, and contributed to its exhibitions till 1*768, 

 when, on the establishment of the Hoyal Academy, 

 he was elected it* first piesident ; and in the follow 

 ing year he received the honour of knighthood from 

 the king. In 1769 he delivered the first of In- 

 Discourses to the -indents of the Academy, lifiecn 

 of which have been published. They are full of 

 valuable ami well-considered instruction, and, along 

 with his papers on art in the hllfr, his annotations 

 to Du Fresnoy's Art of Painting, and his Sotet 

 on the Art of the Low Countries ( the result of a 

 visit to Belgium and Holland in 17M). show a 

 correct and cultivated literary style. He con- 

 tributed his picture of Mis- Morris as 'Hope 

 nursing Love ' to the first exhibition of the lioval 

 Academy, along with his portraits of the Duchess 

 of Manchester, Mrs Klake, Mrs < 'rewe, and Mrs 

 Bonverie ; and in 1771 completed his subject of 

 'Count I'golino and his Children in the Dungeon,' 

 usually regarded as his most successful effort in the 

 direction of historical art. In 1784 he succeeded 

 Allan Ramsay as painter to the king ; in the same 

 year he finished and exhibited his |>rtrait of Mrs 

 siddons as the 'Tragic Muse,' in the possession of 

 the Duke of Westminster, undoubtedly his greatest 

 portrait, a work existing in several vci.-ions, of 

 w hich one is in the Dulwich Gallery : and in 1787 

 he undertook three subjects for Boydell's Shake- 

 speare Gallery, executing 'Puck,' 'The Witch 

 Scene from Macbeth,' and 'The Death of Cardinal 

 Beaufort.' 



Hitherto he hod devoted himself with little 

 interruption to his art, having speedily recovered 

 from a slight attack of paralysis from which he 

 siitlered in 1782; but in July 1789 his sight 

 became affected, and he ceased to paint, though 

 he was still able to enjoy intercourse with his 

 friends. The following year was embittered by an 

 unfortunate dispute witfi the Academy regarding 

 the appointment of a professor of Perspective, 

 which led to his resignation of the presidentship, 

 a resolution which he afterwards reconsidered and 

 rescinded; and on the 10th of December 171M) he 

 delivered his last Discourse to the students. 

 Gradually his strength sank for, unknown to his 

 physicians, he was suffering from a painful form 

 of liver complaint and he peacefully expired on 

 the 23d February 1792. 



It is in virtue of his portraits that Reynolds 

 ranks as the head of the English school o'f art. 

 In the dignity of their style, the power and 

 expressiveness of their handling, the variety and 

 appropriateness of their attitudes, in the beauty 

 of their colouring and the delicacy of their flesh- 

 painting, his portraits have never been surpassed. 

 He was at home alike in portraying the strength 

 of manhood and the grace of the gentler sex ; and 

 his pictures of children have an especial tender- 

 ness and lieauty which have given a world-wide 

 celebrity to works like 'Master Bunbnry,' 'The 

 Strawberry Girl,' and 'Simplicity.' Hi- ellbrts in 

 the higher departments of historical and imagina- 

 tive art were less successful, and too often these 

 can be regarded only as among the failures of a 

 great artist. In his technical methods Reynolds 

 was unfortunately most careless and uncertain, 

 lie was continually experimenting in new processes 



