Soon after the Academy was established, Reynolds began a series of "discourses," which in time became famous for their splendid literary quality, and some people, knowing his close friendship with Burke and Dr. Johnson, declared that the artist got one of them to write his "discourses" for him. This threw Johnson and Burke into a fury of resentment for their friend, and the doctor declared indignantly that "Sir Joshua would as soon get me to paint for him as to write for him!" Burke denied the story no less emphatically. Besides these speeches, which were a great advantage to the members of the Academy, Sir Joshua instituted the annual banquet to the members, and King George--who just before had given the commission of court painter to one less talented than Sir Joshua--bade him paint his portrait and the queen's, to hang in the Academy. This was a great thing for the new society and advanced its fortunes very much. Barry and Gainsborough were both churlish enough to envy Sir Joshua and to quarrel with his good feeling for them, but both men had the grace to be sorry for behaviour that had no excuse, and both made friends with him before they died--Gainsborough on his death-bed. Toward his last days the artist was attacked with paralysis, but grew better and was able to paint again; then he began to go blind--he was already deaf--and this affliction made painting impossible. Shortly before his death, he undertook to raise funds for a monument to his dead friend, Dr. Johnson, but he grew more and more ill, "and on the 23d February, 1792, this great artist and blameless gentleman passed peacefully away." That he was very painstaking in his work is shown by an anecdote about his infant "Hercules." "How did you paint that part of the picture?" some one asked him. "How can I tell! There are ten pictures below this, some better, some worse"--showing that in his desire for perfection he painted and repainted. So untiring was he in seeking out the secrets of the old masters that he bought works of Titian and Rubens, and scraped them, to learn their methods, insisting that they had some secret underlying their work. So anxious was he to get the most brilliant effects of colours that he mixed his paints with asphaltum, egg, varnish, wax, and the like, till one artist said: "The wonder is that the picture did not crack beneath the brush." Many of these great pictures did go to pieces because of the chances Sir Joshua took in mixing things that did not belong together, in order to make wonderful results. Sir George Beaumont recommended a friend to go to Reynolds for his portrait and the friend demurred, because "his colours fade and his pictures die before the man." "Never mind that!" Sir George declared; "a faded portrait by Reynolds is better than a fresh one by anybody else."