ze portrait of
Mrs. Siddons, in the character of Queen Katherine in Shakspeare's Play of
Henry VIII., introducing a few of the scenic accessories in the distance.
For this portrait Harlow was to receive twenty-five guineas; but the idea
of representing the whole scene occurred to the artist, who, with Mr.
Welsh, prevailed upon most of the actors to sit for their portraits: in
addition to these, are introduced portraits of the friends of both parties,
including the artist himself. The sum ultimately paid by Mr. Welsh was one
hundred guineas; and a like sum was paid by Mr. Cribb, for Harlow's
permission to engrave the well-known print, to which we have already
adverted. The panel upon which the picture is painted, is stated to have
cost the artist 15_l_.

"Concerning this picture we find the following notice by Knowles, in his
_Life of Fuseli_. 'In the performance of this work, he (Harlow) owed many
obligations to Fuseli for his critical remarks; for, when he first saw the
picture, chiefly in dead-colouring, he said, 'I do not disapprove of the
general arrangement of your work, and I see you will give it a powerful
effect of light and shadow; but you have here a composition of more than
twenty figures, or, I should rather say, parts of figures, because you
have not shown one leg or foot, which makes it very defective. Now, if you
do not know how to draw legs and feet, I will show you,' and taking up a
crayon, he drew two on the wainscot of the room. Harlow profited by these
remarks; and the next time we saw the picture, the whole arrangement in
the fore-ground was changed. Fuseli then said, 'so far you have done well:
but now you have not introduced a back figure, to throw the eye of the
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 r