THREE:Under Sir Joshua Reynolds a perfect revolution in the art of painting, as practised in England, was effected. He threw aside past traditional fashions, and returned to nature; and his portraits at once excited the consternation of the painters of the day, and placed him in the very first rank of artists. In 1768 was established the Royal Academy, and amongst its foreign members were Benjamin West and Angelica Kauffmann. West produced all his great works in England, and, however much they may now be criticised, they showed an advance on past art in England, and had the merit of introducing modern costume for modern heroes, as in the "Death of General Wolfe," contrary to the advice of even Reynolds himself. Barry made a spasmodic attempt to lead the public back to what he deemed the classical, but in vain; and the successive appearance of Wilson, Gainsborough, and Opie, in different styles, but all genuinely English, established the public in its attachment to the true English school. Wilson, during his lifetime, indeed, was neglected, and died in poverty; but the next generation made the amende to his fame, though too late for his own enjoyment of it. To[202] Paul Sandby we owe the origin of the water-colour school, which afterwards grew so extensive and so rich in production. Amongst eminent painters of this portion of the reign we must mention Wright of Derby, Mortimer, Stubbs and Sawrey, animal painters, and Copley, who, though an American by birth, produced most of his works in England.The Duke of York did not long survive his vehement declaration against the concession of the Catholic claims. His vow that he would never permit the Emancipation to take place, whatever might be his future positionalluding to his[255] probable accession to the Throneembittered the feelings of the Irish Roman Catholics against him. His disease was dropsy, and Mr. Sheil, at a public dinner, jeeringly referred to the "rotundity of his configuration." Mr. O'Connell, with equally bad taste, exulted in the prospect of his dissolution, and said, "I wish no physical ill to the royal duke; but if he has thrown his oath in the way of our liberties, and that, as long as he lives, justice shall not be done to the people of Ireland, it is a mockery to tell me that the people of Ireland have not an interest in his ceasing to live. Death is the corrector of human errors; it is said to be man's hour for repentance, and God's opportunity. If the royal duke should not become converted from his political errors, I am perfectly resigned to the will of God, and shall abide the result with the most Christian resignation." The duke's bodily sufferings increased very much towards the end of 1826, and in December the disease manifested the most alarming symptoms. He continued to the last to discharge his duties as Commander-in-Chief. His professional zeal flashed out even on his death-bed. At a time when his breathing was so oppressed that it was necessary to support him with pillows in an upright position, he personally gave all the orders, and directed all the arrangements, for the expedition which left England in the middle of December, when the peace of Europe was in imminent danger from the threatened invasion of Portugal. Notwithstanding his dislike to Canning, in consequence of their difference on the Catholic question, he co-operated with him in this matter with an earnestness and vigour which the Duke of Wellington himself could not have surpassed. On the 5th of January, 1827, he died.
