hat the pictures were
signed G. Stuart, R. A., and bore coats of arms and long Spanish
inscriptions. It was claimed that this made the genuineness of the
canvases doubtful, for Stuart signed few of his paintings--possibly none
except the standing Washington in the Philadelphia Academy; he was not
an R. A. (Royal Academician); nor was he a heraldic illuminator.
Furthermore, the painting of the male portrait and the dress and
accessories in the companion piece did not seem to the critic to agree
with Stuart's handling. To make his impressions fit with the pictures,
the critic supposed that Stuart painted a smaller portrait of Jaudenes
and started one of his wife, which through some freak of temper he left
(as he frequently did) with only the head and part of the background
finished. These being brought to Spain, some artist there finished the
lady's portrait, painted from Stuart's original a companion piece of her
husband, and added to both the coats of arms, the inscriptions, and
Stuart's name.

Now, frankly, this is not possible. As for the portrait of Dona Matilde
being left unfinished, there exists in Stuart's handwriting a list of
gentlemen who are to have copies of his portrait of Washington,
consisting of thirty-two names. A few take two copies, no one takes more
save Jaudenes, who subscribes for five. The list is dated April 20th,
1795, which is seven months after the date on the pictures, and is the
strongest possible evidence that Jaudenes was greatly pleased with
Stuart--presumably on account of these portraits--and is entirely
irreconcilable with the idea that the painter had quarreled with the
diplomat's wife or left her portrait unfinished.

As to the coats of arms, the most casual examination makes it clear that
they were painted by another hand than executed any part of the
portraits. In all probability they were done after the canvases reached
Spain, and the inscriptions and signatures would naturally have been
added at the same time. Stuart would never have engrossed a long Spanish
inscription, and that he should have signed his name (contrary to his
habit) and have added the "R. A." to which he had no right is most
unlikely. What is most unlikely of all, however, is that there should
have been found in Spain an artist capable of painting a portrait like
the Don Josef. Both heads are absolutely alike in handling, in texture,
in mixing of the pigments, and in all of those things are absolutely
character