However inclined Harlow may have been to neglect counsel, given in rather an imperious tone, he did not hesitate to profit by Fuseli's comments, and accordingly he re-arranged the grouping in the foreground of his picture. On a subsequent visit Fuseli remarked the change: 'So far you have done well,' he said, 'but now you have not introduced a back-figure to throw the eye of the spectator into the picture.' And he then proceeded to point out by what means this might be managed. Accordingly, we learn, Harlow introduced the two boys who are taking up the cushion; the one with his back turned is altogether due to Fuseli, and is, no doubt, the best drawn figure in the whole picture. Fuseli was afterwards desirous that the drawing of the arms of the principal object--Queen Katherine--should be amended, but this it seems was not accomplished. 'After having witnessed many ineffectual attempts of the painter to accomplish this, I remarked, "It is a pity that you never attended the antique academy."' It was only Fuseli who would have presumed to address such an observation to Harlow; while it was only from Fuseli that it would have been received with even the commonest patience. The Kemble family are represented in this picture; and it is probable that the painter was more anxious for the correctness of their portraits, and an accurate representation of the scene, as it was enacted at Covent Garden Theatre, than for any of the higher characteristics of historical art. Mrs. Siddons is the _Katherine_; John Kemble is _Wolsey_; Charles Kemble, _Cromwell_; while Stephen Kemble, who was reputed to be fat enough to appear as _Falstaff_, 'without stuffing,' here represents the _King_. These are all admirable portraits of a strikingly handsome family, firmly and grandly painted, and full of expression. Perhaps the best of all is Mrs. Siddons', and the next Charles Kemble's. The whole picture is a highly commendable work of art, and enjoyed during many years an extraordinary popularity. It was with John Kemble, however, that the artist had his greatest difficulty, and it was here that Sir Thomas Lawrence rendered assistance to Harlow. Kemble steadily refused to sit, and great was the distress of the painter. At last Sir Thomas advised his pupil to go to the front row of the pit of the theatre (there were no stalls in those days, it should be remembered), four or five times successively, and sketch the great actor's countenance, and thus make out such a likeness as he could introduce into the painting. This expedient was adopted, and not only was a very good likeness secured, but the artist was successful in obtaining the expression of the _Cardinal_ at the exact point of his surprise and anger at the defiance of the _Queen_. Had Mr. Kemble sat for his portrait, Harlow would probably have experienced the difficulty Northcote complained of:--