at about the same time as he, in 1816.

In the first flush of those romantic wedded days of their youth how
impressive must have been the appearance of that markedly clever young
man, eager in the fight for fame, and of his beauteous bride from
Bath. Reynolds painted, in 1779, the standard presentment of Sheridan.
Walpole's comment on it was: "Praise cannot overstate the merits of
this portrait. It is not canvas and color, it is animated nature--all
the unaffected manner and character of the great original." The artist
said that among all his sitters none had such large pupils of the
eyes. With the brilliance of that mind informing the face, his
features, though not regular, were handsome. Of all the portraits of
Miss Linley, perhaps the one by Gainsborough, in which she is
portrayed with her young brother, gives the best idea of the special
character of her type of beauty. Here are the large lustrous eyes and
the very delicately modelled, sensitive, refined features; here, the
luxuriant hair, the slender neck, and the sloping shoulders; and here,
the superb poise of head and of mind. There is another fine picture of
her by Gainsborough, for this painter was one of the brilliant men
who frequented her father's house at Bath. A musician he was, too,
and an excellent performer on the violin, so was congenial company in
that musical family. He admired the daughter, and wrought for us the
delightful records of her beauty. His change of residence, from Bath
to London, coincided in date with that of the Sheridans. Opie, too,
painted her portrait; not an ideal one, but good in respect to her
eyes. And Romney has given us good pictures both of her and Mrs.
Tickell. Reynolds's portrayal is supreme in indicating the exaltation
of spirit, by the poise of head and perfection of profile. This
picture of her as the patron saint of song was exhibited at the
Academy, in 1775, just about the time its subject had abandoned public