of Sir Henry Doulton, Lambeth.

It has been engraved by Sir Henry for the volume of Selections from Wordsworth, recently compiled by members of the Wordsworth Society.

XX.

'The second portrait was similar in position to the first; the Wordsworths being so pleased with the one done for Moon, as to wish it repeated for themselves, with the addition of Mrs Wordsworth at the poet's side in one picture.' *

XXI.

'A copy of the same was subsequently taken for Miss Quillinan, and is now in her possession at Loughrigg Holme.

XXII.

The third portrait was a profile.

It was also from life.

It was engraved by Armitage, and published in a book entitled The New Spirit of the Age, issued by Smith and Elder in 1843 or 1844. I do not know what became of the original of this profile. I considered it, as a likeness, the most satisfactory of the three. The engraving from the first portrait was not a very good representation of the picture.'

The original of the profile is in the possession of Mrs William Wordsworth, and is by far the best likeness of the three. The engraving—which has been often reproduced in popular editions of the Works-does no justice to it. Wordsworth, writing to Mr Thomas Powell in 1841, says, 'I think you will be delighted with a profile picture on ivory with which Miss Gillies is at this moment engaged.

This picture descended to the poet's grandson, William Wordsworth, Elphinstone College, Bombay, and was accidentally burnt.

Mrs Wordsworth seems to prefer it as a likeness to anything that Miss G. has yet done.'

Mr Powell published a volume of poems, in which there is one On a Portrait of Wordsworth painted by Miss Margaret Gillies. Judging, however, by the following extract, I think that he refers to the first portrait painted by her :

Here I seem to gaze

On Wordsworth's honoured face; for in the cells

Of those deep eyes Thought like a prophet dwells,

And round those drooping lips Song like a murmur strays.

XXIII.

Miss Gillies painted another portrait, of the poet and his wife-a copy of the one burnt in India-for Mr William Wordsworth. It is now at the Stepping Stones, Ambleside. A miniature in oil of Mrs Wordsworth in her old age, taken by Miss Gillies, is now at Mrs Charles Lewis's, Cambridge Terrace, London.

XXIV.

In 1842 Wordsworth again sat to Haydon at the painter's urgent request. In a letter to Professor Reed of Philadelphia, written in January 1841, Wordsworth says, Haydon is bent upon coming to Rydal next summer, with the view of painting a likeness of me, not a mere matterof-fact portrait, but one of a poetical character, in which he will endeavour to place his friend in some favourite scene of these mountains. I am rather afraid, I own, of any attempt of this kind, notwithstanding my high opinion of his abilities; but, if he keeps in his present mind, which I doubt, it would be in vain to oppose his inclination. He is a great enthusiast, possessed also of a most active intellect; but he wants that submissive and steady good

sense, which is absolutely necessary for the adequate development of power, in that art to which he is attached.'

It does not appear, however, that Haydon did visit Rydal Mount in 1842. In that year Wordsworth was in

London, and Haydon painted him in his own studio.

In the Autobiography, already referred to, the following occurs under date June 14, 1842 *-'Wordsworth sat, and looked venerable, but I was tired with the heat. I made a successful sketch. He comes again to-morrow. 16th.-Wordsworth breakfasted with me, and we had a good sitting. He was remarkably well, and in better spirits.' Further on, in this Autobiography, we read that 'He [i.e., Haydon] sent, at the request and pressure of Miss Mitford, to her friend Miss E. B. Barrett (now Mrs Browning), the portrait of Wordsworth on Helvellyn, painted this year.' The portrait inspired the following sonnet by Mrs Browning.

ON A PORTRAIT OF WORDSWORTH BY R. B. HAYDON.

Wordsworth upon Helvellyn! Let the cloud
Ebb audibly along the mountain-wind
Then break against the rock, and show behind
The lowland valleys floating up to crowd

The sense with beauty. He with forehead bowed
And humble-lidded eyes, as one inclined
Before the sovran thought of his own mind,
And very meek with inspirations proud,
Takes here his rightful place as poet-priest
By the high altar, singing praise and prayer
To the higher Heavens. A noble vision free
Our Haydon's hand has flung out from the mist!
No portrait this, with academic air!

This is the poet and his poetry.

One of the last entries in Haydon's diary, June 18, 1846,

---six days before his death, when hard pressed by his chronic embarrassments-is to this effect, "I sent 'Wordsworth

to Miss Barrett, to protect."

In this picture Haydon represented Wordsworth as if ascending Helvellyn, and composing the sonnet addressed to himself (Haydon) on his portrait of the Duke of Wellington upon the field of Waterloo. The sonnet was written in 1840, and the portrait represents Wordsworth in his seventy-second year. It was bought at the sale of Haydon's effects by Mr Cornelius Nicholson of Ventnor, Isle of Wight, in whose possession it now is. It was engraved by Thomas Lupton in 1848, and has been frequently reproduced. A few years ago it was lent by Mr Nicholson for the purpose of being etched for the present work. this picture by Haydon, Wordsworth wrote to the artist, Jan. 24, 1846:-'I myself think that it is the best likeness-that is, the most characteristic that has been done of me.'

Of

XXV.

Mr Francis Bennoch, 5 Tavistock Square, London, tells me that he possesses a portrait of Wordsworth seated on Helvellyn, by B. R. Haydon. It is, he says, 6 on canvas about four or five feet square, and was painted on the occasion when the poet was last in London, prior to the artist's death. The head was sketched with infinite care, and is altogether the most characteristic likeness I have ever seen of him. He sat for it two or three times, but it was never finished. The general idea of the scene is clearly indicated, though rough exceedingly. From the elevated point on which Wordsworth is seated, the shimmering on the surface of the lake is seen far beneath, while overhead an eagle is perched on a crag. . . . The head of

the poet, however, is the only part really worth preserving.'

XXVI.

In 1844, Mr Henry Inman, an American artist (18021846), was commissioned by Professor Reed, of Philadelphia, to paint a likeness of Wordsworth for him. Mr Inman, while in England, took portraits of Macaulay and Chalmers, as well as of Wordsworth, and amongst his landscapes was one of Rydal Falls. His portrait of Wordsworth belongs to Mr Reed's widow in Philadelphia. Mr Yarnall, of Wynndown, Overbrook, Montgomery Co., Pa., wrote to me of this picture, Feb. 14, 1881: 'Not having seen it for several years, I made a careful examination of it within a few days. It is in perfect condition, evidently represents the poet at his best, and is a singularly clear and beautiful work of art. It is not quite but almost a profile—the face indicating perfect health-the features rather large, the complexion very clear, and the large grey eyes with that far-off look that gaze into the future, which has so often been described. I think the expression of the eyes is the most noticeable characteristic of this picture, of which Mrs Wordsworth wrote, "In my opinion Mr Inman's portrait of my husband is the best likeness that has been taken of him."

Mr Yarnall wrote, on June 27, 1882: 'The other portraits are more or less conventional—while the true man, Wordsworth as he was, as he lived and moved among the sons of men-not perhaps the ideal poet, but the somewhat rustic dweller among the hills-speaks in the Inman picture. It is a likeness. It is the man, with the far-off gaze, who wrote the poems. Do you need more than that? To my mind its simplicity is its charm.'