he deprived Fischer of his instrument, though he procured a hautboy.
"The next time I saw Gainsborough he had heard a harper at Bath. The performer was soon left harpless, and now Fischer, Abel, and Giardini were all forgotten—there was nothing like chords and arpeggios.
"More years passed, when, upon seeing a Theorbo in a picture of Van Dyck, he concluded that the Theorbo must be a fine instrument." But Theorbos were no more played. The nearest approach to one was a lute. On inquiry Gainsborough ascertained that there was a poor German professor who performed on the lute, living in a garret. To him went the artist full of eagerness. The lute he must have. The poor man was reluctant to part with it; but finally sold it for ten guineas.
"But I must have the book of airs for the instrument," said Gainsborough; "the instrument is no good without the book." After much haggling, at last the German parted with the music-book for another ten guineas. "In this way," says Jackson, "Gainsborough frittered away his musical talents, and though possessed of ear, taste, and genius, he never had application to learn his notes."
Another acquaintance of Jackson's was Sir Joshua Reynolds. Of him he says: "Whatever defects a critical eye might find in his works, a microscopic eye could discover none in his heart. If constant good-humour and benevolence, if the absence of everything disagreeable, and the presence of everything pleasant, be recommendations for a companion, Sir Joshua had these accomplishments."
Of Jackson's musical powers it is not necessary to speak. Details concerning his compositions may be found in Grove's Dictionary of Music, and his songs
