es the lines of
the composition follow the same pyramidal form, and in both also the
park-like surroundings extend into an indefinite distance, so that the
eye may follow with pleasure the long vista. Both pictures suggest the
same idea of a child pausing in play to look directly out of the
canvas at some distant object. Yet the painter has shown a perfect
understanding of the difference in the temperament of the two
children, the girl, graceful, quick, mischievous, the boy, sturdy,
rather serious, and with a mind eager for information.

The portrait of Master Bunbury was evidently painted by Reynolds for
his own pleasure, and retained by him during his lifetime, after which
it passed by bequest to the boy's mother.

VI

MRS. SIDDONS AS THE TRAGIC MUSE

The name of Mrs. Siddons is one of the most distinguished in the
history of English dramatic art. For thirty years she was unsurpassed
in her impersonation of the tragic heroines of Shakespeare. Her first
great success was in the season of 1782, when she appeared for the
second time on the London stage. She was then about twenty-seven years
of age, and had devoted years of arduous study to her profession.
Though gifted by nature with strong dramatic instincts inherited from
generations of players, her powers developed slowly. The roles which
she acted were of the more serious sort, which required maturity and
experience for interpretation. Her personal appearance was eminently
fitted for tragic parts. She had a queenly presence, a countenance
moulded in noble lines, a deep-toned measured voice, and an impressive
enunciation. In private as well as in public she commanded the highest
admiration. Though all London was at her feet flattery could not spoil
her. Her children adored her, her friends found her the soul of
sincerity, and all the world honored her noble womanhood.

It was while she was still on the threshold of her great career that
Reynolds painted her portrait as the Tragic Muse.

In the old Greek mythology every art had a corresponding goddess or
muse who inspired the artistic instincts in human hearts. There was,
for instance, a muse of tragedy, called Melpomene, a muse of the
dance, Terpsichore, and so on through the nine arts. The great
sculptors used to make statues of these muses, trying to express in
each the highest ideal of the particular art represented.

It was in imitation of this old custom that Reynolds conceived the
idea that Mrs.