Sir Joshua Reynolds.

Last evening Mr. Humphrey Ward gave the second of his lectures on English Art in the Eighteenth Century. His subject was Sir John Reynolds and the substance of his lecture was as follows:

In the year 1768 the Royal Academy was founded with Sir Joshua Reynolds president. At that time England was intensely aristocratic. Everything was judged by the standards of old families. Obviously if art was ever to find a place in England it had to be taken up and encouraged by the influential classes. Had Sir Joshua never lived, it is improbable that Gainsborough or Romney would have led the people to demand more than Hogarth's prints; for combined with the highest artistic taste, he possessed all the qualifications of a man of letters.

Sir Joshua Reynolds was born in 1723 at Plympton in Devonshire. When eighteen years of age he was apprenticed to Hudson, a famous portrait painter. This relation lasting but two years, he set up for himself and met with considerable success. During this time he formed a warm acquaintance with Admiral Vicomte Keppel. He accompanied the latter in his trip to the Mediterranean. He carefully studied the galleries of Rome, Florence and Venice. Three years later he returned to England and rented a studio in London.

The effect of Reynolds's journey to Italy is very marked on his early portraits, particularly in the blending of colors, which he derived from the painters of Venice. In 1756 his note-book contains appointments for one hundred and fifty-four sitters. Of these portraits he did the head, hands and the final touches.

The early years of the reign of George III. were the greatest of Reynolds's life. He was president of the Royal Academy. Among his intimate friends were Johnson, Goldsmith, Gilbert, Fox and Burke. He visited France and Holland and brought to England the choicest productions of the Dutch School. He painted innumerable pictures of children some of which are the best he ever did.

In his Discourses, Reynolds ranked historical painting as the highest art. He said that the mere copier of nature could do nothing good, and that the greatest artist is he who most appeals to the imagination. Reynolds did not follow in practice what he believed in theory. His happiest efforts are those in which he followed the precepts of Dutch and Venetian Schools.

Reynolds's greatness lies in the way he observed the colors of nature and imparted them to canvas. Somewhat deficient in draughtsmanship, often excelled by Romney in rendering the beauty of a woman's face, but combining the color of Titian, the grace of Corregio, the depth of Rembrandt, Sir Joshua Reynolds stands unrivalled and alone.