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Updated: May 16, 2025
Many other similar truehearted wives rise up in the memory, to recite whose praises would more than fill up our remaining space such as Flaxman's wife, Ann Denham, who cheered and encouraged her husband through life in the prosecution of his art, accompanying him to Rome, sharing in his labours and anxieties, and finally in his triumphs, and to whom Flaxman, in the fortieth year of their married life, dedicated his beautiful designs illustrative of Faith, Hope, and Charity, in token of his deep and undimmed affection; such as Katherine Boutcher, "dark-eyed Kate," the wife of William Blake, who believed her husband to be the first genius on earth, worked off the impressions of his plates and coloured them beautifully with her own hand, bore with him in all his erratic ways, sympathised with him in his sorrows and joys for forty-five years, and comforted him until his dying hour his last sketch, made in his seventy-first year, being a likeness of himself, before making which, seeing his wife crying by his side, he said, "Stay, Kate! just keep as you are; I will draw your portrait, for you have ever been an angel to me;" such again as Lady Franklin, the true and noble woman, who never rested in her endeavours to penetrate the secret of the Polar Sea and prosecute the search for her long-lost husband undaunted by failure, and persevering in her determination with a devotion and singleness of purpose altogether unparalleled; or such again as the wife of Zimmermann, whose intense melancholy she strove in vain to assuage, sympathizing with him, listening to him, and endeavouring to understand him and to whom, when on her deathbed, about to leave him for ever, she addressed the touching words, "My poor Zimmermann! who will now understand thee?"
Layard's "Second Series of Monuments," from plate 45 to 49, the originals of these in the British Museum, the noble series of slabs obtained by Mr. Loftus from the northern palace of Koyunjik, and of the drawings made from them, and from other slabs, which were in a more damaged condition by Mr. Boutcher, who accompanied Mr. Loftus in the capacity of artist.
Layard's first folio work, from plate 68 to 83; those in his second folio work from plate 7 to 44, and from plate 50 to 56; the originals of many of these in the British Museum; several monuments procured for the British Museum by Mr. Loftus; and a series of unpublished drawings by Mr. Boutcher in the same great national collection.
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