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Memoirs of William Hazlitt
Ch. VI 1792-1803
William Hazlitt to William Hazlitt sen.; 20 October 1802

Chap. I 1778-1811
Ch. II: 1791-95
Ch. III 1795-98
Ch. IV 1798
Ch. V 1798
Ch. VI 1792-1803
Ch. VII 1803-05
Ch. VIII 1803-05
Ch. IX
Ch. X 1807
Ch. XI 1808
Ch. XII 1808
Ch. XII 1812
Ch. XIV 1814-15
Ch. XV 1814-17
Ch. XVI 1818
Ch. XVII 1820
Ch. XX 1821
Ch. I 1821
Ch. II 1821-22
Ch. III 1821-22
Ch. IV 1822
Ch. V 1822
Ch. VI 1822
Ch. VII 1822-23
Ch. VIII 1822
Ch. IX 1823
Ch. X 1824
Ch. XI 1825
Ch. XII 1825
Ch. XIII 1825
Ch. XIV 1825
Ch. XV 1825
Ch. XVI 1825-27
Ch. XVII 1826-28
Ch. XVIII 1829-30
Ch. XX
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“Paris, at the Hôtel Coq Heron, Rue Coq Heron,
“Thursday, October 20th, 1802.
“My dear Father,

“I have begun to copy one of Titian’s portraits. . . . . I made a very complete sketch of the head in about three hours, and have been working upon it longer this morning; I hope to finish it next week. To-morrow and Saturday I can do nothing to it;

* Of Liverpool.

there are only four days in the week in which one is allowed to, or at least able to, do anything. Friday is allotted to sweeping the rooms, and Saturday and Sunday are usually visiting days. There are great numbers of people in the rooms (most of them English) every day, and I was afraid at first that this would confuse and hinder me; but I found on beginning to copy that I was too occupied in my work to attend much to, or to care at all about what was passing around me; or if this had any effect upon me indirectly, it was to make me more attentive to what I was about. In order that I and my copy might not fall into contempt, I intend to employ the vacant days of the week in making duplicates of the copies which I do here, and in doing a picture of myself, in the same view as that of Hippolito de Medici, by Titian, which I intend to begin upon tomorrow. This, it is true, will occasion an increase in the expense, but I shall do them better here, at least the duplicates, than I could at home, and it will be necessary for me to have them as models to keep by me. The pictures I wish to copy are the following:—1st. Portrait of a young man in black, and very dark complexion, by Titian.* This is the one I am doing. 2nd. Another portrait, by Titian. 3rd. The portrait by Titian of Hippolito de Medicis.† 4th. Portrait of a lady, by
Vandyke. 5th. Portrait of the Cardinal Bentivoglio, by Vandyke also. 6th. Leo X., by Raphael. If I cannot get them removed into the room, either

* Which he did. It is still in the possession »f the family,

† The same observation applies to this.

through the influence of
Mr. Merrimee or by bribing the keepers, I shall substitute either Titian’s Mistress, or a head of a Sibyl, by Guercino, a very good painter, or two landscapes in the room. The finest picture in the collection is the Transfiguration, by Raphael. This is without any exception the finest picture I ever saw; I mean the human part of it, because the figure of Christ, and the angels, or whatever they are, that are flying to meet him in the air, are to the last degree contemptible. The picture of the Taking down from the Cross, by Rubens, which I have heard John describe, is here. It is a very fine one. One of the pictures is Reynolds’ picture of the Marquis of Granby. Mr. Merrimee came to look at the [young man in] black and the old woman, which he liked very much, though they are contrary to the French style; on the other hand, without vanity be it spoken, they are very much in the style of the Flemish and Italian painters. I like them better, instead of worse, from comparing them with the pictures that are here. The modern French pictures are many of them excellent in many particulars, though not in the most material. I find myself very comfortable here.

“With my love to my mother, John, and Peggy, I am your affectionate son,

“W. Hazlitt.

“I saw Bonaparte.”