principal painter to the King. He died in 1792, and his remains were deposited in the crypt of St. Paul's cathedral, near the tomb of Sir Christopher Wren. He formed a splendid collection of works of art, which, after his death, brought at public sale about £17,000; and the whole of his property amounted to about £80,000, the bulk of which he left to his niece, who married Lord Inchiquin, afterwards Marquis of Thomond. He never married, but his sister Frances Reynolds conducted his domestic affairs. He was fond of the society of literary men, kept open house, and seldom dined without his table being graced by the presence of some of the chosen spirits of the land. He was simple and unostentatious in his habits, and affable in his deportment; and while his table was abundantly supplied, there was an absence of all ceremony, and each guest was made to feel himself perfectly at home, which gave a delightful zest to his hospitality.
REYNOLDS' NEW STYLE.
Soon after Reynolds' return to England from Italy,
in 1752, he commenced his professional career in St.
Martin's Lane, London. He found such opposition
as genius is commonly doomed to encounter, and does
not always overcome. The boldness of his attempts,
and the brilliancy of his coloring, were considered
innovations upon the established and orthodox system
of portrait manufacture, in the styles of Lely
and Kneller. The old artists first raised their voices.
