TS AND LIST OF PICTURES

PORTRAIT OF REYNOLDS. Painted by himself. (_Frontispiece_)
From a Carbon Print by Braun, Clement & Co.

INTRODUCTION

I. ON THE ART OF REYNOLDS

II. ON BOOKS OF REFERENCE

III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS
COLLECTION

IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN
REYNOLDS'S LIFE

V. CONTEMPORARIES

I. PENELOPE BOOTHBY
Picture from a Photograph by Mansell

II. MASTER CREWE AS HENRY VIII
Picture from an Engraving by S. W. Reynolds

III. LADY COCKBURN AND HER CHILDREN
Picture from a Photograph by Franz Hanfstaengl

IV. MISS BOWLES
Picture from a Photograph by Mansell

V. MASTER BUNBURY
Picture from an Engraving by S. W. Reynolds

VI. MRS. SIDDONS AS THE TRAGIC MUSE
Picture from a Photograph by W. M. Spooner &
Co., London.

VII. ANGELS' HEADS
Picture from a Carbon Print by Braun, Clement & Co.

VIII. THE DUCHESS OF DEVONSHIRE AND HER CHILD
Picture from a Carbon Print by Braun, Clement & Co.

IX. HOPE
Picture from a Photograph by the London Autotype
Co.

X. LORD HEATHFIELD
Picture from a Photograph by Franz Hanfstaengl

XI. MRS. PAYNE-GALLOWAY AND HER CHILD--"PICKABACK"
Picture from a Photograph by the London Autotype
Co.

XII. CUPID AS LOVE BOY
Picture from an Engraving by S. W. Reynolds

XIII. THE HON. ANNE BINGHAM
Picture from an Engraving by Bartolozzi

XIV. THE STRAWBERRY GIRL
Picture from a Photograph by Mansell

XV. DR. SAMUEL JOHNSON
Picture from a Carbon Print by Braun, Clement & Co.

XVI. THE PORTRAIT OF REYNOLDS

* * * * *

INTRODUCTION

I. ON THE ART OF REYNOLDS

The name of Sir Joshua Reynolds holds a place of honor among the
world's great portrait painters. To appreciate fully his originative
power one must understand the disadvantages under which he worked. His
technical training was of the meagrest kind, and all his life he was
hampered by ignorance of anatomy. But on the other hand he combined
all those peculiar qualities of the artist without which no amount of
technical skill can produce great portrait work.

He had, in the first place, that indefinable quality of taste, which
means so much in portraiture. His was an unerring instinct for poise,
drapery, color, and composition. Each of his figures seems to assume
naturally an attitude of perfect grace; the draperies fall of their
own accord in beautiful lines.

Reynolds knew, too, the secret of imparting an air of distinction