leaning on a rock. In the background are mountain tops and a rapid mountain stream. The dress is a black coat with ruffled shirt. The left hand is thrust into the waistcoat, more suo. Carruthers' picture was engraved by Henry Meyer, and published by Henry Colburn, Conduit Street, London, in the New Monthly Magazine, Feb. 1, 1819. It was also engraved by J. T. Wedgwood for the Paris edition of Wordsworth's Poems, published by Galignani in The latter is not nearly so good a reproduction of the original as Meyer's engraving was. A copy of this picture by E. Hader-taken not from the original, but from the engraving in the Paris edition has recently been photographed in Germany.

1828.

In October 1821, Wordsworth, writing to Henry Crabb Robinson, said of Carruthers, 'He is an amiable young man, whom a favourable opening induced to sacrifice the pencil to the pen, not the pen of authorship-he is too wise for that,but the pen of the counting-house, which he is successfully driving at Lisbon.' Of Meyer's print in Colburn's Magazine Southey wrote to Sir George Beaumont (Feb. 1819), 'Wordsworth may be congratulated upon coming off so well in the Magazine. The print is not so good as the drawing in my possession, because it does not so well represent his capacious forehead; but on the whole it is a respectable likeness, and would be thought excellent by those who are not intimate with his face.'

This portrait has been reproduced by Mr J. R. Tutin of Hull, in his Wordsworth Birthday Book.

VI.

Mr Carruthers took a copy of this picture, which is now, I understand, in the possession of Mrs Drew, the daughter of Mr Thomas Monkhouse.

VII.

Writing to Henry Crabb Robinson from Rydal Mount on the 24th June 1817, Wordsworth says, 'I have not lately seen any one new thing whatever, except a bust of myself. Some kind person-which persons mostly unknown to me are has been good enough to forward me this,' Of this bust I can discover no trace whatsoever. Probably it had no merit.

VIII.

Of

Benjamin Robert Haydon seems to have painted Wordsworth at least four times. The first portrait was taken in 1817; and was a sketch intended for the head of a bystander, in his picture of Christ's Entry into Jerusalem. this sketch Hazlitt said, 'Haydon's head of him, introduced into the Entry of Christ into Jerusalem, is the most like his drooping weight of thought and expression.'

It is thus that Haydon writes, in his Autobiography of his Jerusalem,' as he called it: During the progress of the picture of Jerusalem, I resolved to put into it (1816), in a side group, Voltaire as a sneerer, and Newton as a believer' (vol. i. p. 358). 'I now (1817) put Hazlitt's head into my picture, looking at Christ as an investigator. It had a good effect. I then put in Keats into the background, and resolved to introduce Wordsworth bowing in reverence and awe. Wordsworth was highly pleased, and before the close of this season (1817) the picture was three-parts done. The centurion, the Samaritan woman, Jairus and his daughter, St Peter, St John, Newton, Voltaire, the anxious mother of the penitent girl, and the girl blushing and hiding her face, many heads behind, in fact the leading groups were accomplished, when down

came my health again, eyes and all' (vol. i. p. 372). Wordsworth's head is again referred to in the artist's account of the successful exhibition of this picture in London: 'Wordsworth's bowing head; Newton's face of belief; Voltaire's sneer; the enormous shouting crowd,' etc. (p. 404). The Entry into Jerusalem was sold in September 1831 to Messrs Child and Inman, of Philadelphia. Its departure from England was a heavy blow to the painter. September 23, 1831-My Jerusalem is purchased, and is going to America. Went to see it before it was embarked. It was melancholy to look, for the last time, at a work which had excited so great a sensation in England and Scotland. It was now leaving my native country for ever' (vol. ii. p. 314). This picture is now in the Roman Catholic Cathedral at Cincinnati.

Henry Crabb Robinson, in his Diary, May 11, 1820, writes: The group of Wordsworth, Newton, and Voltaire is ill-executed. The poet is a forlorn and haggard old man; the philosopher is a sleek, well-dressed citizen of London; and Voltaire is merely an ugly Frenchman.'

The original study by Haydon for this head of Wordsworth is now in the possession of Mr Stephen Pearce, 54 Queen Anne Street, Cavendish Square, London, who writes to me as follows: 'The portrait I have of Wordsworth is the original study in black chalk, by Haydon, the painter. They were great friends. The head is larger than life, most carefully drawn, and was executed for the purpose of being placed in Haydon's large picture of Christ's Entry into Jerusalem. It was his general plan with all the principal heads in his pictures to make chalk studies, and then, I believe, to paint from them. In that large picture Haydon painted several of his eminent friends, using them as models. The face and expression of the head of Wordsworth are those of one bowing in reverence to Christ.

It is on tinted paper, and beneath the head in Haydon's writing is

Wordsworth.

For Entry into Jerusalem, 1819.'

This Haydon drawing was bought by Mr Pearce at the sale of some of Haydon's effects in 1852, and has been in his possession ever since.

IX.

The second picture by Haydon was drawn during the following year, while the artist, according to the testimony given below, was staying at Rydal Mount. I find no trace

of this visit to Rydal in Haydon's own autobiographical memoranda; but his records of the years 1818 and 1819 are extremely meagre, and the date of the drawing is undoubted. The original is in the possession of Mrs Walter Field, the only daughter of the late Mr William Strickland Cookson, Hampstead, and was given to him by Wordsworth's sons. Mrs Field writes to me of it, 'The sketch in my possession is a crayon drawing on tinted paper, made by Haydon while staying at Rydal Mount, and presented by him to Mr Wordsworth. It was, I believe, employed in the picture you name. It has on it, in Haydon's writing, "B. R. Haydon, in respect and affection, 17th June 1818;" and in Wordsworth's writing, "Wm. Wordsworth, 1818.".

It was engraved by Thomas Landseer, Southampton Street, and published by him on May 1, 1831.

It is a three-quarters face, with a large turn-down collar, showing the throat. The face looks somewhat over the right shoulder to the spectator's left, and shows an outline of the back of the head. It has the appearance of never having been quite finished, but the massiveness of the head is well rendered.

A living artist, commenting on this picture, writes to me thus:

'June 26, 1882.

I have seen the Haydon "Wordsworth." I distrust its merits as a piece of draughtmanship; and I suspect that there is too much Haydon in it to make it valuable as a likeness. It was taken when Wordsworth was forty-eight years of age. If it is rightly drawn, Wordsworth must have had a very great development of the back of the head. I cannot imagine how such a head and face could ever grow into anything like the head and face which Miss Gillies painted in 1841. That portrait strikes me as lacking in the representation of the strength and stubbornness which must have been evident in Wordsworth's face, but I feel that there is a likeness in it. It is very delicately and carefully done. . . . There is a want of thoroughness and of humility, as it appears to me, in that sketch of Haydon's.'

Wordsworth, I am told, used to speak of this as the likeness of the brigand.'

X.

In 1831 Sir William Boxall painted a small half-length likeness, which was engraved by J. Bromley, and subsequently by R. Roffe, for the frontispiece to the twenty-sixth volume of The Mirror, published in 1835. The original is now at the Stepping Stones, Ambleside, in the possession of Mr Gordon Wordsworth, the poet's grandson. It was also engraved by J. Cochran. It was also engraved by J. B. Longacre, for Professor Henry Reed's American edition of Wordsworth's Poetical Works, published at Philadelphia in 1844.

XI.

In or about the same year, Wilkins published a lithograph in his series of Men of the Day, including Lockhart, Allan