A Book for a Rainy Day; or, Recollections of the Events of the Years 1766-1833 — John Shaqi
A Book for a Rainy Day; or, Recollections of the Events of the Years 1766-1833Smith, John Thomas
History
A Book for a Rainy Day; or, Recollections of the Events of the Years 1766-1833
Smith, John Thomas
Great Britain -- Social life and customs -- 18th century; Great Britain -- Social life and customs -- 19th century
In 1816 he succeeded William Alexander as Keeper of the Prints, and it
is probable that he soon afterwards took up his residence at No. 22
University Street.[1] He was living here in 1828, when he published,
through Henry Colburn, of New Burlington Street, “_Nollekens and his
Times_: comprehending a Life of that celebrated Sculptor; and Memoirs
of Several Contemporary Artists, from the time of Roubiliac, Hogarth,
and Reynolds, to that of Fuseli, Flaxman, and Blake.” This, his most
ambitious work, must be noticed more particularly because of its
bearing on Smith’s life and character. Mr. Gosse, who has edited it,
with the addition of a graceful essay on Georgian Sculpture, describes
it as “perhaps the most candid biography ever published in the English
language.” In its pages Smith exposes the domestic privacies and miserly
habits of the sculptor and his wife. There are pages of sordid gossip
which a dismissed charwoman might probably have found unacceptable to her
cronies and supporters. Yet the book cannot be described as venomous. It
is cheerily and unscrupulously candid, and this even in the matter of
the author’s own disappointment. Nollekens, he assures us, had again and
again given him reason to believe that he would be handsomely remembered
in his will. “That you may depend upon, Tom,” were his words. It is easy
to see that Smith may have come to expect this as the bright event of
his later years. His Museum appointment had lifted him out of drudgery,
and the promised legacy may have presented itself to him as the final
deliverance from care. Nollekens had been kind to him as a boy, and
had remained his friend through life. He was a widower, childless, and
enormously rich. No artist had known better how to make art profitable.
His purchases of antiques in Rome had been most prudent; so, also, his
investments. As a sculptor of portrait busts he stood alone, and in his
long working life he had “chopped out” the heads of many hundreds of
wealthy and illustrious persons. When he died in April 1823, no one was
surprised that his estate was declared to be of the value of £300,000.
But very little of it went to “Tom,” who, to his intense chagrin,
received a bare hundred pounds as one of the three executors.
Public-domain text, read in full here on John Shaqi.
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