Page:Anecdotes of painters, engravers, sculptors and architects, and curiosities of art (IA anecdotesofpaint01spoo).pdf/152

 don't know how it is, but you have a way of managing your tints unlike every body else. Here, take the palette, and finish the head.' 'I can't, sir,' 'You can't?' 'I can't indeed, sir, as it is; but let it stand till to-morrow morning and get dry, and I will go over it with all my heart.' The picture was to go away the day after the morrow; so he made me promise to do it early next morning.

He never came down into the painting room until about ten o'clock, I went into his room bright and early, and by half past nine I had finished the head. That done, Rafe (Raphael West, the master's son) and I began to fence; I with my maul-stick, and he with his father's. I had just driven Rafe up to the wall, with his back to one of his father's best pictures, when the old gentleman, as neat as a lad of wax, with his hair powdered, his white silk stockings and yellow morocco slippers, popped into the room, looking as if he had stepped out of a band-*box. We had made so much noise that we did not hear him come down the gallery, or open the door. 'There, you dog,' says I to Rafe, 'there I have you, and nothing but your back-ground relieves you.'

"The old gentleman could not help smiling at my technical joke, but soon, looking very stern, 'Mr. Stuart,' says he, 'is this the way you use me?' 'Why! what's the matter, sir? I have neither hurt the boy nor the background.' 'Sir, when you knew I had promised that the picture of his majesty should be finished to-day, ready to be sent away to