On Jan. 20, the body was placed in an oak coffin, covered with lead, which was inclosed in an outer coffin, covered with black velvet; the handles and head and foot plates, and nails, were of silver.

The remains were removed in a hearse on Wednesday evening from the mansion in Russell-square to Somerset House, and were followed by four members of the family, and the executor, attended by an old and faithful servant. At the Royal Academy, the body was received by the Council and officers, and placed in the Model-room, which was hung with black cloth, and lighted with wax in silver sconces. At the head of the coffin was placed a large hatchment of the armorial bearings of the deceased; and the pall over the coffin bore escutcheons of his arms wrought in silk. The members of the Council and the family having retired, the body lay in state all night; the old servant of the President watching through the night the remains of his beloved

master.

On Thursday morning, the body lay in state in this room: the academicians, associates, and students, were in attendance, and none but the private friends of the deceased were admitted. The family then assembled in the Library, and the mourners and members of the Academy met in the great Exhibition

room.

The Earl of Aberdeen, Earl Gower, Sir Robert Peel, Lord Dover, Sir George Murray, the Right Honourable J. W. Croker, Mr. Hart Davis, and Earl Clanwilliam, were pall-bearers. The carriages of the Lord Mayor and Sheriffs went before the hearse; the whole members of the Royal Academy accompanied it; 164 noblemen and gentlemen followed in 64 carriages. On the lid of the coffin was inscribed,-"Sir Thomas Lawrence, Knt., LL.D., F. R. S., President of the Royal Academy of Arts in London, and Knight of the Royal French Order of the Legion of Honour, died 7th January, 1830, in the sixty-first year of his age."

The body having reached the choir was placed on trestles, the chief mourner being seated at the head of the coffin, attended by the old servant of the deceased. The venerable Dr. Hughes read the Lesson; the proper portions of the Service were chaunted by the choir, and the fine anthems were sung. The body was then removed into the crypt, and placed under the centre of the dome; the mourners, clergy,

T

and choir forming a large circle around the perforated brass plate in the floor of the nave, when the remainder of the Service was read by the Bishop of Llandaff, who was also Dean of St. Paul's.

The ceremony being concluded, the mourners retired. The executor, and some of the family of the deceased, went down into the crypt, and saw the body deposited in the grave, at the head of the late President West, not far from the remains of Sir Joshua Reynolds-under an arch, on the wall of which, over the grave, is a bust of Mr. Barry, R.A.

Etty, who followed, says: "Since the days of Nelson, there has not been so marked a funeral. The only fine day we have had for a long time was that day. When the melancholy pageant had entered the great western door and was half-way up the body of the church, the solemn sound of the organ and the anthem swelled on the ear, and vibrated to every heart. It was deeply touching. *** The organ echoed through the aisles. The sinking sun shed his parting beams through the west window; and we left him alone,-Hail, and farewell!"

WILL OF SIR THOMAS LAWRENCE.

The Will is dated July 28, 1828, and directs that Sir Thomas's collection of Drawings by the Old Masters, estimated at 20,000l., should be offered at that sum to various persons: this was done, and the several parties declining the purchase, the collection was otherwise disposed of. Next were to be offered in similar manner, two volumes of Drawings by Fra Bartolomeo, at 8007.; the series of original Cartoons of the Last Supper, by Leonardo da Vinci, at 1,000l.; the picture, by Rembrandt, of the Wife of Potiphar accusing Joseph, at 5007.; two small pictures by Raphael, (the Entombment and Charity,) at 1,0007.; but the several offers being declined, the drawings and pictures, and a collection of architectural casts, were mostly sold by auction.

The superb service of Sèvres porcelain, presented to Sir Thomas by Charles the Tenth, was bequeathed to the Royal Academy of Arts, to be used on the birthday of the King; at the annual dinner on the opening of the Exhibition, and on other public occasions, "in remembrance of the honour conferred by a foreign Prince on the President of the Royal Academy of Great Britain."

The Will then directs that all other works of art in his

possession, whether pictures, drawings, engravings, casts, marbles, bronzes, or models, and books, plate, linen, china, and other effects, should be sold. The produce of such of Sir Thomas's collections of works of art as were sold by auction, was 15,4457. 17s. 6d. ; and the Testator's estate was about equal to the demands upon it.

LAWRENCE'S HOUSE.

Haydon, on May 25, 1832, visited the house of Sir Thomas Lawrence, in Russell-square. He records, in his Journal: "Nothing could be more melancholy or desolate. I knocked and was shown in. The passages were dusty-the paper torn-the parlours dark-the painting-room, where so much beauty had once glittered, forlorn, and the whole appearance desolate and wretched-the very plate on the door green with mildew.

"I went into the parlour, which used to be instinct with life. Poor Sir Thomas !-always in trouble,' said the woman who had the care of the house. 'Always something to worrit him.' I saw his bedroom, small, only a little bed; the mark of it was against the wall. Close to his bedroom was an immense room, (where was carried on all his manufactory of draperies, &c.) divided, yet open over the partitions. It must have been five or six small rooms turned into one large workshop. Here his assistants worked. His painting-room was a large back drawing-room: his show-room a large front one. He occupied a parlour and a bedroom; all the rest of the house was turned to business. Any one would think that people of fashion would visit from remembrance the house where they had spent so many happy hours. Not they, they shun a disagreeable sensation. They have no feeling, no poetry. It is shocking. It is dirty."

CHARACTERISTICS, RETROSPECTIVE OPINIONS, AND PERSONAL TRAITS.

LAWRENCE AND REYNOLDS COMPARED.

Sir Thomas Lawrence's likenesses were celebrated as the most successful of his time; yet no likenesses exalted so much, or refined more upon the originals. He wished to seize the expression, rather than copy the features. His attainment of likenesses was most laborious: one distinguished person, who favoured him with forty sittings for a head alone, declared he was the slowest painter he ever sat to, and he had sat to many.

Sir Joshua Reynolds seems to have created and idealized the individual person as well as the groups when under his pencil, showing a boldness and diversity of arrangement unexampled in the history of portraiture. Lawrence, compared to Reynolds, was confined and limited far more than his powers could have justified, admitting but small deviation in the placing of the heads-small variety of pictorial composition. The features were painted nearly in all his heads, in the same light and in the same position; but they derived from this a perfection of execution not to be surpassed. In the drawing and touching of the human eye, he gave a lustre and life which Rubens and Vandyck have equalled but not excelled. The question, however, will be how far this deviation from actual appearances may be allowed; for it will be said, can anything be a better representation of a man than the transcript of himself, or can it be a better likeness by being unlike to man ?* "The Rey

Burnet has well compared the two painters. nolds' exhibition was richness itself, and glowing with deeptoned brightness, so much so, that the best portraits by Titian or Rembrandt might have been interposed on the walls without gaining the least ascendancy: the gallery during the Lawrence exhibition, on the contrary, looked cold, and many

* Life of Sir David Wilkie.

of the pictures chalky; even the surface, though pure white in the draperies, had become a slate-colour, from the absence of a rich vehicle to preserve the white lead from the action of the atmosphere."

HOWARD'S CHARACTER OF LAWRENCE.

Mr. Howard, the Secretary of the Royal Academy, has left this interesting sketch of Lawrence's talents :

"In the first part of his career, he was inclined to carry his taste for the colouring of the old masters a little too far, and the pursuit of tone, chiaro-scuro, and breadth, led him into a style rather artificial, and approaching to manner; but he gradually got the better of this error, and, by incessant study and application, became at once artful and more natural. Indefatigable, and never satisfied with his productions, like Pope, he laboured hard to gain a reputation, and then laboured hard to maintain it. On one occasion, he is known to have painted thirty-eight hours together, without reposing or taking any sustenance but coffee. It is remarkable that in the latter part of his life, when his great practice might have been expected to make him more rapid in the completion of his work, the increased pains he took, arising no doubt from his improved perceptions, acquired for him the character of slowness, for him who had painted that admirable picture, of Hamlet in so short a time as one week!

"He was a finished draughtsman, had a perfect knowledge of the human figure in its various classes, an exquisite feeling of the beautiful, the grand, and the pathetic, with a rich and luxuriant taste in landscape and background-in short, seemed deficient in no one requisite. He possessed, too, an enthusiastic love for the higher qualities of the art, as was evinced by his admiration of Michael Angelo and Raphael, of Fuseli, Flaxman, and Stothard, which, in a country where there was any demand for historical painting, would have inevitably have led him to the first rank of excellence. The few examples he has left of his talents in this way help to prove it; if we ought not rather to say, that many of his portraits, such as his Kembles, Mrs. Siddons, young Lambton, &c. belong equally to this class of art.

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"His great technical excellence seems to have been drawing.