ether new ideals. Setting up a
studio in London, he soon gained an immense popularity. When the Royal
Academy was founded, in 1768, he became the first president, and at
the same time the honor of knighthood was conferred upon him. Other
artists now rose to prominence, but he still held the supremacy.

The painter's popularity depended by no means on his artistic talents
alone; his opinions were worth hearing on many subjects. He was fond
of books and literary discussions, and his friendship was valued by
such men of intellect as Johnson, Goldsmith, Burke, and others of that
charmed circle making the Literary Club. He had a genial, kindly
nature, and his manners were exquisitely courteous. Thackeray once
wrote that "of all the polite men of that age, Joshua Reynolds was the
finest gentleman." He was a member of several clubs, was fond of
society, and was a welcome guest in many of the best houses in London.
He himself entertained with generous hospitality, and gathered about
his table some of the brightest people of his time.

His intimate friend, Edmund Malone, described him as a man "rather
under the middle size, of a florid complexion, and a lively and
pleasing aspect; well made, and extremely active. His appearance at
first sight impressed the spectator with the idea of a well-born and
well-bred English gentleman. With an uncommon equability of temper,
which, however, never degenerated into insipidity or apathy, he
possessed a constant flow of spirits which rendered him at all times a
most pleasing companion.... He appeared to me the happiest man I have
ever known."

Through many years Reynolds was very deaf, and was obliged to use an
ear trumpet to aid him in general conversation. In later years he also
wore spectacles, so that we always picture him in his advancing life
with trumpet and glasses. His habit of taking great quantities of
snuff was one which gave occasion to many jokes among his friends.

Numerous poetic tributes were written by his admirers, describing more
or less rhetorically his qualities as a man and an artist. There is
one bit of verse by Goldsmith (1770), in a comic vein, and in the form
of an epitaph, which delineates very cleverly the real character of
the man:--

"Here Reynolds is laid, and to tell you my mind,
He has not left a better or wiser behind;
His pencil was striking, resistless and grand,
His manners were gentle, complying, and bland;
Still born to improv