' Then, spreading her hand, she said, 'I believe I
owe what you are pleased to call my good writing, to the shape of
this hand, for my uncle, Sir Robert Cotton, thought it was too manly
to be employed in writing like a boarding-school girl; and so I came
by my vigorous, black manuscript.'"
It was fortunate that the hand-writing compensated for the hands; and
as she attached great importance to blood and race, that she did not
live to read Byron's "thoroughbred and tapering fingers," or to be
shocked by his theory that "the hand is almost the only sign of blood
which aristocracy can generate." Her Bath friend appeals to a
miniature (engraved for this work) by Roche, of Bath, taken when she
was in her seventy-seventh year. Like Cromwell, who told the painter
that if he softened a harsh line or so much as omitted a wart, he
should never be paid a sixpence,--she desired the artist to paint her
face deeply rouged, which it always was[1], and to introduce a
trivial deformity of the jaw, produced by a horse treading on her as
she lay on the ground after a fall. In this respect she proved
superior to Johnson; who, with all his love of truth, could not bear
to be painted with his defects. He was displeased at being drawn
holding a pen close to his eye; and on its being suggested that
Reynolds had painted himself holding his ear in his hand to catch the
sound, he replied: "He may paint himself as deaf as he pleases, but I
will not be Blinking Sam."
[Footnote 1: "One day I called early at her house, and as I entered
her drawing-room, she passed me, saying, 'Dear Sir, I will be with
you in a few minutes; but, while I think of it, I must go to my
dressing-closet and paint my face, which I forgot to do this
morning.
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