class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">[1] The portrait in the Wallace Collection reproduced here.

In many respects the Academy chose wisely. Sir Thomas was a man who had moved and still moved in the highest social circles, whose pleasant manners made friends and conciliated foes; he was very popular with all save the most critical of contemporary artists. But, on the other hand, he was never a great teacher, and his addresses to the students were of little worth. He would seem to have entertained the idea of running a studio after the old Italian fashion; perhaps he had learned about it in Rome. There would have been a certain number of student apprentices to prepare the work, and he would have trained the cleverest among them to do still more. Unfortunately there was not enough money to start the required establishment; not all the foreign travel, the handsome presents, and the considerable fees had availed to stem the chronic leakage in the exchequer, and the scheme came to nothing. Sir Thomas resumed his place in London life, bringing an enhanced reputation; and all the old scandals being quite forgotten, the house in Russell Square was thronged with fair women who trusted to the artist, and not in vain, to make them fairer still. His portrait of Lady Blessington, reproduced here, called for recognition from Lord Byron in the stanzas beginning—