CHAPTER XX. JOSIAH WEDGWOOD.-MEDALLION PORTRAITS OF HIM BY FLAX- FASHION OF AND here, at the close of his useful and eventful life, a few words may be well introduced concerning the different portraits of Josiah Wedgwood which have been executed. And, first, with regard to the medallions which have been produced in Wedgwood's own matchless jasper ware. Of these medallions I have the good fortune to be enabled to bring under my readers' notice, for the first time, four different varieties. Of these two have not, I believe, before been either engraved or described, and will, therefore, be welcome additions to the data I am giving to collectors. The first of these medallions of which I shall speak, is one of Flaxman's happiest relief-portraits, and is shown on the accompanying engraving. In it Wedgwood is represented, as will be seen, in the fashionable dress of the period, with bag wig, lace frill, and collarless coat. This I take to have been one of the earliest of the medallion portraits of Wedgwood, and it is one which is but little known to collectors. The "bag" of the wig on this medallion is small, when compared with what was worn by those who were in the "height of fashion" in those days, and which caused one of the writers of the time to say, "At present, such unmerciful ones are worn, that a little man's shoulders are perfectly covered with black satin." When fashion had changed, when the bag wig was discarded, and the coat assumed its deep collar, the next medallion was evidently prepared, and bore the admirable profile which I engrave on the next page. The few years that had intervened, too, had, besides changing the fashion of the garments and of the hair, deepened the features of the great man, and given to them even a more solid thoughtfulness and an air of greater kindliness and benevolence than they had before. The figure, too, had grown proportionately, and had become more portly; and all these points were caught by the quick eye, and presented in the new medallion by the almost magically manipulative fingers of Flaxman. This medallion, which is the one best known to collectors, is still produced by Messrs. Wedgwood in their finest jasper ware. The two profiles which I have just given have been engraved to illustrate Mr. Gladstone's "Wedgwood: An Address." And I have to express my obligations to Mr. Murray for his courtesy in giving me the free use of these two admirable engravings. ⚫ London: John Murray, Albemarle Street, 1863. The next medallion of which I give an illustration is undoubtedly of an earlier date than the last; it is of great rarity, and has never before been engraved. The accompanying illustration is drawn from an example in the possession of my friend, Dr. Barnard Davis; and a similar one may be seen in Mr. Mayer's museum, Liverpool. On this, Wedgwood is represented in a bag wig, frilled shirt, and collared coat, and an ermine mantle is thrown over the lower part of the bust. This medallion I feel disposed, and not without reason, to believe to have been the work of Hackwood, a clever modeller, who was employed by Wedgwood, and produced a large number of portraits and bas-reliefs. Another medallion of a different size, and of totally different character, is the one shown on the engraving on the following page. Like the last one, this striking and admirable profile portrait of Wedgwood has never before been engraved or noticed by any writer, and I am much gratified at being the means of bringing it and the previous one into notice. The portrait in this instance consists simply of the head, without any drapery or ornament of any kind. It is remarkably well and boldly modelled, and is of very great rarity. While speaking of the medallions, it would be unpardonable not to say a word or two about the exquisite model of Mrs. Wedgwood which was executed as a fitting companion to that of her husband. This medallion represents Mrs. Wedgwood in one of the fashionable head-dresses of her day. Her hair is dressed in the "maccaroni" style, but of much less dimensions, and more simply elegant, than was worn by most ladies of fashion. The head-dress consisted of a pile of tow and pads, supported frequently with a frame-work of wire, over which false hair was arranged and hung with gauze, in folds, ribbons of every gay colour, feathers, |