Middle Room.—West Side.
Mannings # 2111
Current title: "New College Window: A Peasant Girl and Children with a Torch"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Shepherd and shepherdesses" fits in the upper tier, inside right portion of the New College window. Waagen described this piece as "hard and empty" (Mannings).
Middle Room.—West Side.
Mannings # 2113
Current title: "New College Window: Temperance"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Temperance" appears in the lower tier of the New College window, first on the far left. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
Temperance pours wine into a cup of water, signaling her association with abstinence from alcohol. According to Reynolds family tradition, Elizabeth Johnson, his niece, was the model for "Temperance."
Middle Room.—West Side.
Mannings # 2114
Current title: "New College Window: Fortitude"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Fortitude" appears in the lower tier, second left portion of the New College window. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
The stern helmeted figure of Fortitude touches a broken pillar while a lion rests at her feet. Reynolds mixes biblical and mythological icons: while the pillar invokes the brave destruction wrought by Samson, the lion conjures up the courage of Hercules.
The list of suggested models includes Reynolds' niece Elizabeth Johnson, Julia Bosvile, Lady Dudley, and Lady Ward.
Middle Room.—West Side.
Mannings # 2116
Current title: "New College Window: Charity"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Charity" appears in the lower tier, center portion of the New College window, strategically below the nativity scene as the "greatest" of the Christian virtues (Cor. 13:13). The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
The model for Charity, who is shown with three small children, is thought to have been actress Elizabeth Sheridan, who also posed for the Virgin in the nativity portion of the window. Compare Mrs. Sheridan's portrait at No. 101, in which she is portrayed as St. Cecilia. For notes about her career, also see No. 101.
Middle Room.—West Side.
Mannings # 2115
Current title: "New College Window: Faith"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Faith" appears in the lower tier, third left portion of the New College window. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
Faith is the only one of Reynolds' Virtues who stands on a round plinth, raised to the sky. The plinth likely represents her rock-solid foundation.
Middle Room.—West Side.
Mannings # 2119
Current title: "New College Window: Hope"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Hope" appears in the lower tier, third right portion of the New College window. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
As Mannings points out, Reynolds' depiction of Hope, seen in profile standing on a wall or ledge, was initially criticized for being too sensuous. By revealing the outline of her leg through the arrangement of the folds of the gown, the image stirred objections: "Hope has something in its Drapery, and the Formation of its lower parts, which gives disgust" (St. James's Chronicle, 24-27 April 1779). Compare this to the pose in "A portrait of Lady George Cavendish" (No. 37), where the sensuality is licensed by the occasion of a wedding and the portrait is intended for the husband-to-be.
Middle Room.—West Side.
Mannings #
Current title: "New College Window: Justice"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Justice" appears in the lower tier, second right portion of the New College window. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
Dressed in salmon-pink robes, Justice rests her right hand on the traditional sword meant to symbolize her swiftness and power. The scales she balances to represent her impartiality resemble those used in contemporary commerce and shops rather than traditional scale-pans. Reynolds also turns Justice's iconic blindfold into a shadow cast across her face by her own raised left hand. These striking innovations in the iconography of Justice, which so radically modernized her image, were ruthlessly mocked by Reynolds' critics.
Middle Room.—West Side.
Mannings # 2121
Current title: "New College Window: Prudence"
Location: Private Collection
This painting, along with ten others nearby, formed part of the New College window designs that Reynolds began in 1777. For a fuller account as well as an image that shows where this fits into the completed set of New College windows, please see the notes at No. 62.
"Prudence" appears in the lower tier, extreme right portion of the New College window. The complete lower tier showed all four Cardinal Virtues—Temperance, Fortitude, Justice, and Prudence—next to the three "theological" or Christian Virtues—Faith, Hope, and Charity.
Prudence looks into a mirror to denote not vanity but the ability of the wise to see themselves as they truly are—rather than from the perspective of others. Prudence also holds an arrow with a serpent wrapped around it, referencing the gospel of Matthew: "Be ye therefore wise as serpents" (Matt. 10:16).
The 1813 retrospective was the first public exhibit of Reynolds' painting of "Prudence," which had not previously accompanied his other window designs at the Royal Academy in 1779.
Middle Room.—West Side.
Mannings # 2110
Current title: "New College Window: Adoration of the Shepherds"
Location: Private Collection
This it the last of eleven paintings in the 1813 exhibit which show parts of the New College window designs that Reynolds began in 1777. This design, which contains a self-portrait, appears in the window in the upper tier, inside left portion. For a fuller account of the New College window commission as well as a print of the completed set of designs, please see the notes at No. 62.
Reynolds is the kneeling shepherd in the foreground while Thomas Jervais, who painted his designs on glass to make the windows (see notes at No. 62), is the shepherd in the background whose hands are raised. Reynolds looks back over his shoulder at the viewer.
Compare this self-portrait to No. 76, nearby on this same wall, or to No. 91 in the South Room.
Further Reading:
Entry for "Jervais, Thomas (d. 1799), glass painter," in Oxford Dictionary of National Biography (Oxford UP, 2004).
Middle Room.—West Side.
Mannings # 1946
"Master Wynn (1772-1840)"
Location: Private Collection
This identification strays slightly from Mannings. For the "Shepherd boy" loaned to the British Institution in 1813 by Reynolds's niece, the Marchioness of Thomond, Mannings tentatively suggests "Child Baptist in the Wilderness" (Mannings #2042). However, while the dimensions of that picture are similar, it is not in landscape format, which is the only manner in which No. 72 would have fit between No. 71 and No. 73 on the wall, making a vertical line of shepherds.
Mannings does locate this picture in the third edition of the Catalogue as No. 142—after the mid-June reshuffle of the show to accommodate late arrivals (see section V on the "About WJS" page). In June it may indeed have been rehung in the South Room. Either way, this image was part of the British Institution show during its run. We simply believe that on 24 May 1813 it was already part of the exhibit as seen by Jane Austen—and as No. 72.
The sitter for this portrait was the eldest son of Sir Watkin Williams Wynne, fourth Baronet (1749-89), and his wife Charlotte (1754-1832).
Middle Room.—West Side.
Mannings # 2162
Current title: "The Young Shepherdess"
Location: Private Collection, USA
This picture is the third in a vertical line of shepherds on this wall.
The sitter of this particular painting is unknown, although often mistaken for Miss Sarah Price (see her portrait at No. 16) whom Reynolds painted in precisely the same attitude and setting in a different painting with a separate Mannings number, namely #2163, which was not in the 1813 show.
Because of the similarities between the two portraits, it is not known whether the engraving made by Joseph Grozer in 1784 (shown on the left) is of this picture or of the similar portrait of Miss Price. Both portraits, showing different sitters in the same pose, came into the Marchioness of Thomond's possession after Reynolds' death in 1792.
The faces in the painting and print do indeed appear distinct. This is an example of Reynolds' occasional habit of recycling a composition for different clients.
Middle Room.—West Side.
Mannings # 449
Current title: "John Crewe, afterwards 2nd Lord (1772-1835)" or "Master Crewe as Henry VIII"
Location: Private Collection
King Henry VIII was a famous historical figure transformed into a popular costume at masquerades in the eighteenth century. In this portrait, Reynolds comically turns the colossal haughtiness of Henry VIII into boyish jollity. Mannings confirms that, of all of Reynolds' works, this painting has been the most frequently exhibited and reproduced.
John was the only son of John Crewe, afterwards first Baron Crewe, and his wife, Frances Greville, who were both substantially involved in the political sphere as loyal friends of Charles James Fox. He succeeded his father as the second Baron Crewe and married Henrietta Walker-Hungerford in 1807.
For Austen, who was familiar with Hungerford family history through the stories about their ancient family castle near Bath, a marriage between this faux-Henry VIII and a Hungerford might have zested Reynolds' portrait with a dash of historical coincidence. The Hungerfords flourished during Henry's reign until their relationship with the king, marred by allegations of murder and conspiracy, ended when Henry VIII ordered the execution of a Hungerford patriarch.
Further Reading:
Entry for "Crewe, John, first Baron Crewe (1742-1829)," in Oxford Dictionary of National Biography (Oxford UP, 2004).
Entry for "Crewe, Frances Anne, Lady Crewe (bap. 1748, d. 1818)," in Oxford Dictionary of National Biography (Oxford UP, 2004).
Janine Barchas, "The Real Bluebeard of Bath: A Historical Model for Northanger Abbey," Persuasions 32 (2010): 115-134.
Middle Room.—West Side.
Mannings # 2176
Current title: "Venus and the Piping Boy"
Location: Polesden Lacey, National Trust
This painting is a version of Reynolds' "Venus and Cupid" (No. 29 in the North Room), with the figure of Cupid replaced by a boy in a red jacket playing a pipe.
Reynolds may have created three versions: the original picture, another for the Duke of Dorset that received some criticism in 1786, and a copy for Lord Ossory with self-described "improvements." The existence of three versions sparked much debate many years later as to which picture was which.
Middle Room.—West Side.
Mannings # 21
Current title: "Sir Joshua Reynolds, PRA (1723-92)"
Location: Royal Academy of Arts, London
In this mature self-portrait, Reynolds boldly likens himself to Rembrandt. Not only is the costume reminiscent of the velvet capes and hats worn in several of Rembrandt's own self-portraits but the entire composition resembles his Aristotle Contemplating a Bust of Homer—which we know, by 1815 at least, belonged to Reynolds' friend Sir Abraham Hume. In the portrait, Reynolds poses beside a bust of Michelangelo, whom he is said to have admired above all other artists.
The seventh of ten children, Joshua Reynolds was the son of schoolmaster Samuel Reynolds and his wife Theophila Potter of Great Torrington, Devon. In 1735, at the age of twelve, Reynolds made his first portrait of a local clergyman, Thomas Smart.
He was sent to London in 1740 to apprentice under Thomas Hudson for several years. Reynolds proved decidedly ambitious as well as talented and was soon establishing a modest reputation of his own. Reynolds traveled through Europe from 1749 to 1752, during which time he copied works by Michelangelo and other famous masters.
Upon his return to London he began experimenting with styles of portraiture and helped to found the Royal Academy in 1768. He completed several thousand canvases. While his historical paintings and "fancy pictures" were admired, Reynolds was renowned for his commissioned portraits.
The first to engrave this well-known portrait of Reynolds was Valentine Green (1739-1813), whose mezzotint (on left) was published in December of 1780. Green's name appears prominently on the final page of the 1813 Catalogue in his role as "Keeper" of the British Institution. As Keeper, Green must have had a hand in the curating of the Reynolds retrospective. Sadly, he died towards the end of its three-month run.
There are two other self-portraits in the show: No. 71 and No. 91.
Further Reading:
Entry for "Reynolds, Sir Joshua (1723-1792), portrait and history painter and art theorist" in Oxford Dictionary of National Biography (Oxford UP, 2004).
Entry for "Green, Valentine (1739-1813), engraver and publisher," in Oxford Dictionary of National Biography (Oxford UP, 2004).
Middle Room.—West Side.
Mannings # 2125
Current title: "Nymph and Cupid"
Location: Tate Gallery
This painting depicts a bare-breasted nymph hiding her face with her hand, in mock pretense of bashfulness, as Cupid loosens the blue ribbon that cinches her gown. The head of a snake, a manifest phallic symbol, is visible at her elbow in the lower right corner, earning the print the popular title "A Snake in the Grass." In 1813, it began to also be called "Love Untying the Zone of Beauty."
When it was exhibited at the Royal Academy in 1784, some thought it "bewitching" while others dismissed it as "Bad and gross" (Mannings). This controversial picture seems deliberately tucked into an out-of-the-way corner.
Because the nymph's hand conceals much of her face, the identity of the model remains uncertain. However, it has been speculated that Reynolds used Emma Hart (later Lady Hamilton) for this piece. A named portrait of her hangs at No. 84, on the next wall of this same room. Emma was, to risk anachronism, the Marilyn Monroe of her generation. Both her iconic beauty and her reputation as a painter's model and celebrity mistress suit Reynolds' rather risqué composition.
Further Reading:
Entry for "Hamilton [née Lyon], Emma, Lady Hamilton (bap. 1765, d. 1815), social celebrity and artist's model," in Oxford Dictionary of National Biography (Oxford UP, 2004; online edn, 2007).
Middle Room.—West Side.
Mannings # 1905
Current title: "Prince William Frederick (1776-1834)"
Location: Trinity College, Cambridge
Painted in the style of Van Dyck, William Frederick was the only son of William Henry, first Duke of Gloucester, and his wife Maria Walpole (see notes at No. 60).
Despite William's reputed lack of intelligence, he was the first royal admitted to a Cambridge college and was elected Chancellor of the University of Cambridge in 1811. Regardless of these academic distinctions, he remained widely known as "Silly Billy."
At thirteen he entered the army as a colonel and continued to serve bravely and enthusiastically even during wartime—rising to Lieutenant-General by 1799 and General by 1808. While not significantly involved in politics, Prince William was a strong advocate for the abolition of slavery.
Although as an adult he was generous and religious, his comically rotund appearance and pompous nature made him a favored target by cartoonists and earned him the nickname "Slice of Gloucester and Cheese." During the Regency, he acted with the opposition, supporting the Duke of Sussex against the Prince of Wales.
Having succeeded his father as second Duke of Gloucester in 1805, he would marry his cousin, Princess Mary, in 1816.
The portrait of his sister, Princess Sophia, hangs at No. 102. According to the list of owners in the Catalogue, brother and sister each lent each other's portrait to the British Institution for the 1813 show.
Further Reading:
Entry for "William Frederick, Prince, second Duke of Gloucester and Edinburgh (1776-1834)," in Oxford Dictionary of National Biography (Oxford UP, 2004; online edn, 2009).
Middle Room.—West Side.
Mannings # 2039 [or #2037]
Current title: "Child Baptist in the Wilderness"
Location: Minneapolis Institute of Art [or Destroyed]
Mannings seems undecided about which of two nearly identical versions hung in 1813 in the British Institution as No. 79. Since one of these was destroyed, we have opted to hang the survivor in this e-exhibit. Reynolds painted two additional versions (four in total), testifying to the original popularity of "St. John in the wilderness."
One nineteenth-century biographer of Reynolds famously termed the pose of this infant St. John "a plagiarism from Guido." Irrespective of whether Reynolds intended a narrow visual allusion to a specific artist or work, the boy's gesture calls to mind canvasses by Raphael and other old masters. Reynolds allegedly used a sketch made during his travels in Italy in the early 1750s.
Like "Infant Samuel" (No. 39), this is a subject picture and not a portrait of a known sitter.