instruments of various kinds, and tried his hand at all of them. The viol da gamba was apparently his favourite, and in one of his letters to his friend Jackson of Exeter he mentions that he possesses five of these instruments. He heard Giardini, the then unrivalled violinist, and had no rest till he purchased the very instrument that the Italian played on, "but," says Jackson, "seemed much surprised that the music remained with Giardini." In the same way he acquired Abel's viol da gamba; having heard Fischer, he bought a hautboy, then suddenly developed enthusiasm for the harp, and thus passing from instrument to instrument he never had the perseverance to play any one of them with any degree of perfection. In this connection Jackson relates an amusing anecdote of one of his most extravagant acquisitions: "Upon seeing a theorbo in a picture of Van Dyck's he concluded (perhaps because it was finely painted) that the theorbo must be a fine instrument. He recollected to have heard of a German professor, and ascending per varios gradus to his garret, found him there at dinner upon a roasted apple, and smoking a pipe.

PLATE V.—THE HON. MRS. GRAHAM

PLATE V.—THE HON. MRS. GRAHAM

"In this way he frittered away his musical talents, and though possessed of ear, taste, and genius, he never had application enough to learn his notes. He seemed to take the first step, the second was, of course, out of his reach, and the summit became unattainable."

Gainsborough made many friends in Bath; mention has already been made of William Jackson of Exeter, with whom he was in constant correspondence, and many of the letters that passed between them are still in existence. He became friendly with David Garrick, whose portrait he painted several times, and another actor with whom he was on very intimate terms was John Henderson. He remained at Bath sixteen years, and it was probably his quarrel with Thicknesse which induced him to migrate once more in 1774.

The true circumstances of his breaking with his earliest patron are not easy to unravel; as is usual in such cases there are two sides to the story, and the truth probably lies somewhere between the two. One fact stands out clearly, namely, that there never was any considerable friendship between Thicknesse and Mrs. Gainsborough; each was probably jealous of the other's ascendency over the artist, and the Governor in his account of their differences makes her appear as the instigator of Gainsborough's behaviour towards himself, and lays practically all the responsibility at her door.

It seems that shortly after the Gainsboroughs settled in Bath a full-length portrait of Miss Ford, who afterwards became Thicknesse's second wife, was painted and presented to that gentleman. All the trouble arose through his desire to possess his own portrait as a companion to that of his wife. We have already seen what a mania Gainsborough had for the viol da gamba; Mrs. Thicknesse had a very fine instrument, "made in the year 1612, of exquisite workmanship and mellifluous tone, and which was certainly worth a hundred guineas." This instrument Gainsborough coveted, and many a time he offered that price for it. "One night," Thicknesse relates, "we asked him and his family to supper with us, after which Mrs. Thicknesse, putting the instrument before him, desired he would play one of his best lessons upon it; this, I say, was after supper, for till poor Gainsborough had got a little borrowed courage (such was his natural modesty), he could neither play nor sing! He then played, and charmingly too, one of his dear friend Abel's lessons, and Mrs. Thicknesse told him he deserved the instrument for his reward, and desired his acceptance of it, but said, 'At your leisure give me my husband's picture to hang by the side of my own.'" Gainsborough was transported with delight and readily agreed. The very next day he began the portrait, finished the head, put in a Newfoundland dog at the sitter's feet, and roughly sketched in the remainder of the picture. There, however, he stopped, and never touched it again; requests, prayers, and remonstrances were in vain, and one day in a fit of temper Gainsborough sent back the viol da gamba to Mrs. Thicknesse, and shortly afterwards also sent the unfinished picture just as it was. At this Thicknesse was of course much offended. "Every time," he says, "I went into the room where that scarecrow hung it gave me so painful a sensation that I protest it often turned me sick, and in one of those sick fits I desired Mrs. Thicknesse would return the picture to Mr. Gainsborough. This she consented to do, provided I would permit her to send with it a card, expressing her sentiments at the same time, to which I am sorry to say I too hastily consented. In that card she bid him take his brush, and first rub out the countenance of the truest and warmest friend he ever had, and so done, then blot him for ever from his memory."

Such is Thicknesse's own story of the quarrel, but according to Allan Cunningham,