mithfield and its horrors rose vividly before me, and I turned, not
without a shudder, from this too faithful portrait to copies by Phillips
of some family pictures in the Royal Collection, painted by permission
expressly for Mr. Beckford, and looking more like originals than mere
copies.

But the picture of pictures in this room is a Velasquez, an unknown head,
the expression beyond anything I have ever seen. Such light and shade,
such expressive eyes; the very epitome of Spanish character. "Is it not
amazingly like Lord Byron?" "It certainly is very like him, but much
more handsome." This room is devoted entirely to portraits.

Mr. Beckford opened a door and we entered the Duchess Drawing Room; a
truly Royal room, the colour of the curtains, carpet, and furniture being
crimson, scarlet, and purple. Over the fireplace is a full length
portrait of the Duchess of Hamilton by Phillips, painted in the rich and
glowing style of that sweet colourist. It represents a beautiful and
truly dignified lady. The sleeves of the dress are close and small, as
worn in 1810 (Quel bonheur! d'etre jeune, jolie, et Duchesse), so truly
becoming to a finely formed woman, and so much superior to the present
horrid fashion of disfiguring the shape by gigot and bishop's sleeves,
which seem to have been invented expressly to conceal what is indeed most
truly beautiful, a woman's arm.

We were next shown a glorious Sir Joshua, a beautiful full length
portrait of Mrs. Peter Beckford, afterwards Lady Rivers, and the
"Nouronchar" of Vathek. She is represented approaching an altar
partially obscured by clouds of incense that she may sacrifice to Hygeia,
and turning round looking at the spectator. The background is quite
Titianesque; it is composed of sky and the columns of the temple, the
light breaking on the pillars in that forcible manner you see on the
stems of trees in some of Titian's backgrounds. The colouring of this
picture is in fine preservation, a delicate lilac scarf floats over the
dress, the figure is grace and elegance itself, and the drawing perfect;
the general effect is brilliancy, richness, and astonishing softness.
"Sir Joshua took the greatest pleasure and delight in painting that
picture, as it was left entirely to his own refined taste. The lady was
in ill-health at the time it was done, and Sir Joshua most charmingly
conceived the idea of a sacrifice to the Goddess of Health. Vain hope!
Her disorder was fatal."