"I have been introduced," Shee writes, in 1789, "to Mr. Opie, who is in manners and appearance as great a clown and as stupid a looking fellow as ever I set my eyes on. Nothing but incontrovertible proof of the fact could force me to think him capable of anything above the sphere of a journeyman carpenter-so little, in this instance, has nature proportioned exterior grace to interior worth."

A cousin, Sir George Shee, returning from India, the "Nabob," as he was called, took him in person to Edmund Burke, who had been not at home when the young painter, shortly after his first arrival in London, had called at his door with an Irish letter of introduction. Sir Martin used thus to describe the interview :"Never shall I forget the flood of eloquence which poured from his lips, as, while holding my hand, and pressing it with affectionate cordiality, he expatiated in glowing terms on the claims and glories of the art to which I was about to devote myself, and sought to kindle my ardour by the prospects of fame and distinction that might be the reward of my exertions in the honourable career which lay before me." Not content with fine words, Burke took the young man to Sir Joshua, who, it seems, had quite forgotten his former call a year before. The President received him with more than usual urbanity, and asked him to breakfast, begging him to bring a specimen of his art: the work met with measured but favourable criticism.

Sir Martin used to relate, what struck him as a singular fact in reference to the President's deafness-an infirmity which, as is well known, compelled, or suggested, in his case, the constant use of an ear-trumpet-while at breakfast, and during the long-protracted interview which accompanied and followed that meal, the conversation with his visitor was carried on in the ordinary tone, without any assistance from the acoustic tube, or any indication of imperfect bearing on the part of Sir Joshua. During the morning, however, they were not unfrequently interrupted by the entrance of a servant, with a message or some communication that required his master's attention and oral reply; and on each of such occasions the appearance of a third person was the signal for the President to snatch up his trumpet, and resume a look of anxious inquiry and uncertain comprehension, befitting the real or supposed defect of his auricular powers.*

* Life of Sir Martin Archer Shee. By his Son.

580

ANECDOTES OF PLAYERS AND PAINTERS.

HARLOW'S SIGN-PAINTING.

G. H. Harlow, having quarrelled with his master, Lawrence, annoyed him in an odd way. He made an excursion into the country, and took up his quarters at the Queen's Head, a small roadside inn, on the left hand as you leave the town of Epsom for Ashtead. Here the young painter stayed some time; when, burning to be revenged upon Lawrence, he painted for the landlord a signboard, in a bold caricatura style, of the head of a queen, and in one corner of the board he wrote "T. L., Greek-street, Soho." Lawrence, it is well known, became apprised of such a liberty with his name and reputation; but the caricatura sign-board did service, and remained. at Epsom many years. We remember to have seen it as early as 1815. Upon the obverse was painted a queenly portrait (the face and bust), and upon the reverse the back of the head and bust. Some twenty years after, missing the sign-board from its suspensory iron (where a written sign-board had been substituted), we made inquiry at the inn as to the fate of Harlow's Queen's Head, but could not learn anything from the landlord of its disappearance.

INDEX.