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My mind tells me that I have seen another somewhere in Great Britain, but cannot recollect the spot, unless it were Arundel Castle in Sussex, but I am not sure: none was ever painted so since the days of Pietro Perugino I believe, so their antiquity is unquestionable: he and his few contemporaries drew her white, as Sir Joshua Reynolds and Pompeio Battoni.
Dubois, a pupil of Regnault, had been to Rome, where he had seen Raphael's tapestries, which he set above all the masterpieces of the world. He admired Correggio's colouring, Annibale Caracci's invention, Domenichino's drawing, but thought nothing comparable in point of style with the pictures of Pompeio Battoni.
His head is turned away from me. He does not appear to be attending. "What is it?" I repeat; "have you forgotten too?" "Battoni!" he answers, laconically, still keeping his face averted. "Battoni! oh, yes! thanks of course! so it is! "Well, what about him?" replies Algy, turning his head, but not showing much inclination to slacken his speed or to join Frank and me.
Subsequently she studied painting at Rome, and there made the acquaintance of Battoni, Maron, Fuseli, Wright of Derby, and other artists. Upon her father's death she had resolved to return to the cloister; but her mother brought her on a visit to London, and a friendship she then formed with the popular Angelica Kauffman induced her finally to renounce all idea of a nun's life.
His picture of the Virgin and Child represents simply a very graceful, beautiful woman, holding a fine little child. His peculiar excellences in the management of his lights and shades appear in all. In one of the halls we found a Magdalen by Battoni, which gave me more pleasure, on first sight, than any picture in the gallery.
Her friends there, among whom were Battoni, Raphael Mengs, and Fuseli, found much to admire and praise in her art. After her father's death Maria ardently desired to become a nun, but her mother persuaded her to go to England. Here she came under the influence of Angelica Kauffman, and devoted herself assiduously to painting.
I have said that one of the most remarkable features of Sir John's illness was his deadly pallor. Though I had now spent some time at Worth, and had been daily struck by this lack of colour, I had never before remembered in this connection that a strange paleness had also been an attribute of Adrian Temple, and was indeed very clearly marked in the picture painted of him by Battoni.
I have sometimes thought of destroying it; but my late husband, being a Temple, would never hear of this, or even of removing it from its present place in the gallery; and I should be loath to do anything now contrary to his wishes, once so strongly expressed. It is, besides, very perfect from an artistic point of view, being painted by Battoni, and in his happiest manner."
On the foot of the pedestal was the painter's name, "BATTONI pinxit, Romæ, 1750." On the top of the pedestal, and under his left elbow, was a long roll apparently of music, of which one end, unfolded, hung over the edge.
'On this ground, however unsafe, I will venture to prophesy, that two of the last distinguished painters of that country, I mean Pompeio Battoni and Rafaelle Mengs, however great their names may at present sound in our ears, will very soon fall into the rank of Imperiale, Sebastian Concha, Placido Constanza, Musaccio, and the rest of their immediate predecessors; whose names, though equally renowned in their lifetime, are now fallen into what is little short of total oblivion.
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