To quote the ‘Jessamy Bride’ once more—it is ‘a fine poetical head for the admiration of posterity, but as it is divested of his wig and with the shirt collar open, it was not the man as seen in daily life’ (_Ib_. ii. 380). Had Goldsmith lived in our era of photography, photography would doubtless have given us something which would have been neither the one nor the other, but more like Bunbury than Reynolds. Yet we may be grateful for both. For Bunbury’s sketch and Reynolds’s portrait are alike indispensable to the true comprehension of Goldsmith’s curiously dual personality.** * This was the print to which Goldsmith referred in a well-known anecdote. Speaking to his old Peckham pupil, Samuel Bishop, whom, after many years, he met accidentally in London, he asked him eagerly whether he had got an engraving of the new portrait, and finding he had not, ‘said with some emotion, “if your picture had been published, I should not have suffered an hour to elapse without procuring it.”’ But he was speedily ‘appeased by apologies.’ (Prior’s _Life_, 1837, i. 219–20.) ** There is in existence another undated etching by Bretherton after Bunbury on a larger scale, which comes much nearer to Reynolds; and it is of course possible, though not in our opinion probable, that Mrs. Gwyn may have referred to this. But Forster selected the other for his comparison; it is prefixed to the _Haunch of Venison_; it is certainly the better known; and (as we believe) cannot ever have been intended for a caricature.