n academic elegance
reminiscent of Raphael. He knew well how to accomplish the flow of
line, the balance of masses, the symmetry of outline, which produce a
harmonious effect. A variety of designs were at his command, from the
well-worn but always effective pyramidal form illustrated in many
single figures, to those more novel forms he invented for groups such
as Lady Cockburn and the Duchess of Devonshire.

Reynolds was frankly a borrower from many sources. In the Roman, the
Bolognese, the Venetian, Flemish, and Dutch schools, he found
something to appropriate and make his own. From Rembrandt he took
suggestions of lighting, and such sombre color harmonies as are seen
in the portrait of Mrs. Siddons. Something of bloom and splendor he
caught from the florid Rubens; something of the decorative
effectiveness of such pictures as Lady Cockburn may be traced to the
influence of Titian and the Venetians. Yet to all that he borrowed,
Reynolds added his own individual touch. As a critic has said, he was
always Reynolds from first to last.

Much has been written of the evanescence of Reynolds's colors. His
passion for color experiments amounted to a mania, and cost the world
many beautiful pictures. Precisely what was the nature of these
experiments, and what combination of pigments ruined his pictures, is
of interest only to the expert. Fortunately, enough pictures escaped
to show us the original glory of those which have faded. Among the
best preserved canvases, "those in which his power and brilliancy
appear least impaired, those in which the typical Sir Joshua still
most unmistakably shines forth," are Lady Cockburn and her Children,
Miss Bowles, Mrs. Siddons, and Angels' Heads.

The range of Reynolds's art is much wider than is commonly supposed. A
very imperfect appreciation of his gifts is gained by those who know
only his portraits of women and children. These indeed show a peculiar
insight into childhood, and a rare delicacy in the interpretation of
womanhood. But Reynolds is at his strongest in the portrayal of men.
It is by such portraits as the Johnson and Heathfield that he is
worthy a place among the immortals.

II. ON BOOKS OF REFERENCE

THE original biographical material on the subject of Reynolds was
supplied by his own contemporaries. His friend Malone wrote a valuable
Memoir (1804), and his pupil Northcote furnished the first biography
of the painter, the Life of Reynolds in two volumes published in 181