from European rulers and honours from many academies of art. From the social standpoint it is hard to believe that life could have given more than it gave in 1818-19. Lawrence was able to visit several Italian cities, and returned to London at the end of his eighteen months’ sojourn in the country, to find that Benjamin West had just died, and that he had been elected to succeed him as President of the Royal Academy. His attitude was dignified. “There are,” he said, “others better qualified to be President; I shall, however, discharge the duties as well and wisely as I can. I shall be true to the Academy and, in my intentions, just and impartial.” In giving his consent to Lawrence’s election, King George IV. presented the new P.R.A. with a gold chain and medal. King George also sat to him,[1] and was heard to say that Lawrence was “a well-bred gentleman.” [1] The portrait in the Wallace Collection reproduced here. In many respects the Academy chose wisely. Sir Thomas was a man who had moved and still moved in the highest social circles, whose pleasant manners made friends and conciliated foes; he was very popular with all save the most critical of contemporary artists. But, on the other hand, he was never a great teacher, and his addresses to the students were of little worth. He would seem to have entertained the idea of running a studio after the old Italian fashion; perhaps he had learned about it in Rome. There would have been a certain number of student apprentices to prepare the work, and he would have trained the cleverest among them to do still more. Unfortunately there was not enough money to start the required establishment; not all the foreign travel, the handsome presents, and the considerable fees had availed to stem the chronic leakage in the exchequer, and the scheme came to nothing. Sir Thomas resumed his place in London life, bringing an enhanced reputation; and all the old scandals being quite forgotten, the house in Russell Square was thronged with fair women who trusted to the artist, and not in vain, to make them fairer still. His portrait of Lady Blessington, reproduced here, called for recognition from Lord Byron in the stanzas beginning-- “Were I now as I was, I had sung What Lawrence has painted so well.” Both Byron and Sir Walter Scott spoke of the social graces of Sir Thomas. His manners would seem to have been distinguished, though his taste, generally correct, was not always above suspicion. [Illustration: PLATE VII.--PORTRAIT OF COUNTESS BLESSINGTON (In the Wallace Collection) This portrait is one by which the painter is best known, and is the singularly felicitous expression of a very beautiful woman. It reveals the strength, and perhaps a little of the weakness, of the artist, and made a great sensation when first exhibited in London, moving Lord Byron to an expression of praise, to which brief reference is made in the text.]