it was bequeathed in 1890 by Dr. Leifchild, having formerly been the property of Caleb Whitefoord. Caleb Whitefoord also had an 'admirable miniature' by Reynolds, which belongs to the Rev. Benjamin Whitefoord, Hon. Canon of Salisbury (Whitefoord Papers, 1898, p. xxvii). A small circular print, based upon Reynolds, and etched by James Basire, figures on the titlepage of Retaliation. Some of the plates are dated April 18, 1774. The National Portrait Gallery has also a silhouette, attributed to Ozias Humphry, R.A., which was presented in 1883 by Sir Theodore Martin, K.C.B. Then there is the portrait by Hogarth shown at South Kensington in 1867 by the late Mr. Studley Martin of Liverpool. It depicts the poet writing at a round table in a black cap, claret-coloured coat and ruffles. Of this there is a wood-cut in the later editions of Forster's Life (Bk. iii, ch. 14). The same exhibition of 1867 contained a portrait of Goldsmith in a brown coat and red waistcoat, as a young man.' It was said to be extremely like him in face, and was attributed to Gainsborough. In Evans's edition of the Poetical and Dramatic Works is another portrait engraved by Cook, said, on some copies, to be 'from an original drawing'; and there is in the Print Room at the British Museum yet another portrait still, engraved by William Ridley 'from a painting in the possession of the Rev. Mr. Williams,' no doubt Goldsmith's friend, the Rev. David Williams, founder of the Royal Literary Fund. One of these last may have been the work to which the poet refers in a letter to his brother Maurice in January, 1770. 'I have sent my cousin Jenny [Jane Contarine] a miniature picture of myself .. The face you well know, is ugly enough, but it is finely painted' (Misc. Works, 1801, p. 88).

...

In front of Dublin University is a bronze statue of Goldsmith by J. H. Foley, R.A., erected in 1864.2 Of this there is a good engraving by G. Stodart. On the memorial in Westminster Abbey erected in 1776 is a medallion by Joseph Nollekens.

1 There is also a sketch by Reynolds (?) at the British Museum. 2 Goldsmith's traditional ill-luck pursued him after death. During some public procession in front of Trinity College, a number of undergraduates climbed on the statue, with the result that the thin metal of the poet's head was flattened or crushed in, requiring for its readjustment very skilful restorative treatment. The Editor is indebted for this item of information to the kindness of Mr. Percy Fitzgerald, who was present at the subsequent operation.

262

APPENDIX B

DESCRIPTIONS OF NEWELL'S VIEWS OF LISSOY, ETC.

In 1811, the Rev. R. H. Newell, B.D. and Fellow of St. John's College, Cambridge, issued an edition of the Poetical Works of Goldsmith. The distinctive feature of this lay in the fact that it was illustrated by a number of aquatints 'by Mr. Alkin' (i.e. Samuel Alken), after drawings made by Newell in 1806-9, and was accompanied by a series of 'Remarks, attempting to ascertain, chiefly from local observation, the actual scene of The Deserted Village.' Some quotations from these 'Remarks' have already been made in the foregoing notes; but as copies of six of the drawings are given in this volume, it may be well, in each case, to reproduce Newell's 'descriptions.'

LISHOY, OR LISSOY MILL.

The west end of it, as seen from a field near the road; to the north the country slopes away in coarsely cultivated enclosures, and the distance eastward is bounded by the Longford hills. The stream ran from the south side of the mill (where it is still of some width though nearly choked up), and fell over the once busy wheel, into a deep channel, now overgrown with weeds. Neglect and poverty appear all around. The farm house and barn-like buildings, which fill up the sketch, seem to have no circumstances of interest attached to them (p. 83).

KILKENNY WEST CHURCH.

This south-west view was taken from the road, which passes by the church, towards Lishoy, and overlooks the adjacent country to the west. The church appears neat, its exterior having been lately repaired. The tree added to the foreground is the only liberty taken with the subject (p. 83).

HAWTHORN TREE.

An east view of the tree, as it stood in August, 1806. The Athlone road occupies the centre of the sketch, winding round

DESCRIPTIONS OF NEWELL'S VIEWS 263

the stone wall to the right, into the village, and to the left leading toward the church. The cottage and tree opposite the hawthorn, adjoin the present public-house; the avenue before the parsonage tops the distant eminence (p. 84).

SOUTH VIEW FROM GOLDSMITH'S MOUNT.

In this sketch the decent church,' at the top of the hill in the distance, is an important object, from its exact correspondence with the situation given it in the poem. Half-way up stands the solitary ruin of Lord Dillon's castle. The hill in shadow, on the left, is above the village, and is supposed to be alluded to in the line

Up yonder hill the distant murmur rose.

A flat of bogland extends from the narrow lake in the centre to the mount on the right of the foreground (p. 84).

THE PARSONAGE.

A south view from the Athlone road, which runs parallel with the stone wall, and nearly east and west: the gateway is that mentioned in Goldsmith's letter, the mount being directly opposite, in a field contiguous with the road.

The ruinous stone wall in this and three other sketches, which is a frequent sort of fence in the neighbourhood, gives a characteristic propriety to the line (48)

And the long grass o'ertops the mould'ring wall. (pp. 84-5).

THE SCHOOL-HOUSE.

This cottage is situated, as the poem describes it, by the roadside, just where it forms a sharp angle by branching out from the village eastward: at this point a south-west view was taken (p. 85).

Newell's book was reissued in 1820; but no alterations were made in the foregoing descriptions which, it must be borne in

1 See note to 1. 114 of The Deserted Village.