Complete oblivion seems already to have overtaken all that Wainwright painted; though we cannot doubt, from Blake's testimony, as reported by Mr. Palmer, that his works belonged, in whatever degree, to the class showing individual power. He seems to have practised painting as a means of subsistence in Australia during his last years, as well as at an earlier, and not yet hopeless, time in England. Of the first period of his painting, there is said to be some evidence in designs to an edition of Chamberlayne's poems, which I have sought for, but failed to find, at the British Museum; and in the preface to which he is spoken of, I am told, as a young man of high hopes. To the last period belongs a portrait of the Hon. Miss Power, painted in Australia, which also is known to me by report, not by eyesight. Into any of the works of such a life it is difficult to search without feeling as if every step were taken among things dead and doomed. But the truth about Wainwright's essays on art is, that they display a real knowledge, insight, and power of language, which remained unequalled, in their own walk of criticism, from that day till the splendid advent and immediate influence of Ruskin. This being thus in fact though sometimes otherwise stated, it would be interesting, even highly so, to discover what has become of Wainwright's pictures, and what were the practical artistic gifts of one whose nature presents such strange and hideous contrasts.
I trust that the decision with which I have spoken of this man's great talents will not be taken as implying any bluntness of repugnance for the great criminality which, I fear, stands substantially, though never explicitly, proved agalnt him. But art has its own truth, as absolute as that of life itself, and demanding a wholly independent verdict, not to be appealed against on any ground of good deeds, and which not even the sternest personal censure can annul.
