spectator into the picture;' and then pointed out by what means he might
improve it in this particular. Accordingly, Harlow introduced the two boys
who are taking up the cushion."[2]

"It has been stated that the majority of the actors in the scene sat for
their portraits in this picture. Mr. Kemble, however, refused, when asked
to do so by Mr. Welsh, strengthening his refusal with emphasis profane.
Harlow was not to be defeated, and he actually drew Mr. Kemble's portrait
in one of the stage-boxes of Covent Garden Theatre, while the great actor
was playing his part on the stage. The vexation of such a _ruse_ to a man
of Mr. Kemble's temperament, can better be imagined than described: how it
succeeded, must be left to the judgment of the reader. Egerton, Pope, and
Stephen Kemble, were successively painted for Henry VIII., the artist
retaining the latter. The head of Mr. Charles Kemble was likewise twice
painted: the first, which cost Mr. C. Kemble many sittings, was considered
by himself and others, very successful. The artist thought otherwise; and,
contrary to Mr. Kemble's wish and remonstrance, he one morning painted out
the approved head: in a day or two, however, entirely from recollection,
Harlow re-painted the portrait with increased fidelity. Mr. Cunningham, we
may here notice, has erroneously stated, that Harlow required but one
sitting of Mrs. Siddons. The fact is, the accomplished actress held her
up-lifted arm frequently till she could hold it raised no longer, and the
majestic limb was finished from another original."

The lights of _Love among the Roses_ are vivid and beautiful: the whole
composition will be recollected as of a charming character.

By the way, persons unpractised in the art of painting on glass, or in
transparent enamel, have but a slender idea of its difficulties.
Crown-glass is preferred for its greater purity. The artist has not only