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Updated: May 5, 2025
W. I believe it is not much known what my work is, very few persons have seen it. H. Why, it is a critical history of painting, is not it? W. No, it is an antiquarian history of it in England; I bought Mr. Vertue's MSS., and, I believe, the work will not give much offence; besides, if it does, I cannot help it; when I publish anything, I give it to the world to think of it as they please.
I am glad you are pleased, Sir, with my "Anecdotes of Painting;" but I doubt you praise me too much: it was an easy task when I had the materials collected, and I would not have the labours of forty years, which was Vertue's case, depreciated in compliment to the work of four months, which is almost my whole merit.
There was an older chapel in a ruinous condition, which there is reason to believe had been that of the Bishops, as it was dedicated to St. Richard of Chichester. Mr. Spilsbury quotes one of the Harleian manuscripts, written in or about 1700, in which Inigo is named as the architect, and Vertue's engraving of 1751 also mentions him.
I have two reasons for believing Richard was not well made about the shoulders. Among the drawings which I purchased at Vertue's sale was one of Richard and his queen, of which nothing is expressed but the out-lines.
His height was extraordinary, his breadth of chest and shoulder equally gigantic, though well proportioned, and with a look of easy strength, and, as Viola had said, his head was very much what one knows as the Lion Heart's, not Marochetti's trim carpet knight, but Vertue's rugged portrait from the monument at Fontevrand.
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