Portraits in Plaster, from the Collection of Laurence Hutton — John Shaqi
Portraits in Plaster, from the Collection of Laurence HuttonHutton, Laurence
History
Portraits in Plaster, from the Collection of Laurence Hutton
Hutton, Laurence
Masks (Sculpture); Portraits
Roubilliac’s mask of Alexander Pope was one of the cherished possessions
of Samuel Rogers, but its present whereabouts I have not been able to
discover.
The contrasts between the profoundest of England’s philosophers and the
bravest of her bruisers are as marked in an intellectual as in a
physical way. Ben Caunt, the pugilist, died in London in 1861,
universally respected. He was, during the later years of his life,
proprietor of the Coach and Horses, a public-house in St. Martin’s Lane,
much frequented by his old pupils, and by all the prominent patrons of
the prize-ring. He came to America in the early Forties, giving a series
of exhibitions throughout the country, but never engaging in any serious
encounter here. He was a leader in his own profession, and at one time,
perhaps, the best-known man in all England. His portrait, which once
adorned the walls of cottage and palace, is still to be found in Miles’s
_Pugilistica_, taken at the period of his famous fight with “Bendigo” in
1842. His head is certainly a strong one, and, in a phrenological way,
he was better than many of the men among his contemporaries who did
better things.
Thackeray, like most Anglo-Indian infants, was sent, when he was about
five years of age, to the mother-country for mental and physical
nourishment. An aunt, with whom he lived, discovered the child one
morning parading about in his uncle’s hat, which exactly fitted him.
Fearing some abnormal and dangerous development of the brain, she
carried him at once to a famous physician of the day, who is reported to
have said, “Don’t be afraid, madam; he has a large head, but there’s a
good deal in it!” How much was in it subsequent events have certainly
proved. His brain, when he died, fifty-three years later, weighed
fifty-eight and a half ounces. In 1849 or 1850, Charlotte Brontë wrote
of Thackeray: “To me the broad brow seems to express intellect. Certain
lines about the nose and cheek betray the satirist and cynic; the mouth
indicates a childlike simplicity—perhaps even a degree of irresoluteness
in consistency—weakness in short, but a weakness not unamiable.” And
Motley, writing to his wife in 1858, said: “I believe you have never
seen Thackeray; he has the appearance of a colossal infant, smooth,
white, shining ringlety hair, flaxen, alas! with advancing years; a
roundish face, with a little dab of a nose, upon which it is a perpetual
wonder how he keeps his spectacles.” This broken nose was always a
source of amusement to Thackeray himself; he caricatured it in his
drawings, he frequently alluded to it in his speech and in his letters,
and he was fond of repeating Douglas Jerrold’s remark to him when he was
to stand as godfather to a friend’s son—“Lord, Thackeray, I hope you
won’t present the child with your own mug!”
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[Illustration: BEN. CAUNT]
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Public-domain text, read in full here on John Shaqi.
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