is said to have had a salutary effect on the character of the young Flaxman, in whose composition a certain degree of dogmatism and self-sufficiency went together with many amiable qualities of kindness, simplicity, enthusiasm, generosity, and piety. Some experience of the former qualities, naturally most conspicuous in early youth, caused Thomas Wedgwood to write of him in 1775, `It is but a few years since he was a most supreme coxcomb.' By the time these words were written Wedgwood's partner, Thomas Bentley [q. v.], who had already had some business relations with the elder Flaxman, had secured the services of his second son as a designer for the cameo wares of their firm, then freshly in fashion. Wedgwood himself quickly learnt to rate the talents of the young coxcomb at their true value, and to call him `the genius of sculpture.' It was by designing and preparing wax models for classical friezes and portrait medallions in Wedgwood ware that Flaxman chiefly maintained himself during the first part of his career.
That career falls into three main divisions: first, his early life in London, brought to a close in 1787 by his departure for Rome; next, the period of his residence in Italy, from his thirty-second to his thirty-ninth year (1787-94): and, lastly, his second residence in London, as an artist of acknowledged fame and standing, from 1794 until his death in 1826.
In 1775, the year in which young Flaxman began to be regularly employed by the Wedgwoods, his family, and he with it, moved from New Street, Covent Garden, to a larger shop, No. 420 Strand. He had been for four years a frequent exhibitor at the Royal Academy (1770, a wax model of Neptune; 1771, four portrait models in wax; 1772, figure of a child in wax, portrait bust in terra-cotta, figure of History; 1773, a figure of the Grecian Comedy, a Vestal in bas-relief); and continued to contribute somewhat more irregularly during the next twelve years. In 1780 he showed his first design for a monument to be erected in a church, that, namely, in honour Chatterton for St. Mary Redcliffe at Bristol; this was followed 1784 by one in memory of Mrs. Morley for Gloucester Cathedral, and in 1785 by another, for Chichester, in memory of the Rev. Thomas and Mrs. Margaret Ball. It was by works of this class that Flaxman came in due time to earn the best part both of his livelihood and his fame. Meantime his incessant industry (for he is described as continually reading or drawing when not actually at work for his employers) did not prevent him from increasing the circle of his acquaintance. His chosen companions of his own age and calling were Thomas Stothard and William Blake. For a time these three young artists used to frequent together the drawing-room of Mrs. Mathew in Rathbone Place, which was the resort of a lettered society, including such models of female accomplishment and decorum as Mrs. Montague, Mrs. Barbauld, and Mrs. Chapone. There was that about Flaxman already, and still more as time went on, which secured him personal liking and respect wherever he went. His appearance was singular, for though his frame had acquired a wiry tenacity which enabled him to bear much fatigue, yet he looked feeble, and was high-shouldered almost to deformity, with a head somewhat too large for his body, and a sidelong gait in walking. His mouth and set of jaw had something of plebeian stubbornness, corresponding to his inflexible rigidity of opinion on certain subjects; but the eyes were fine and full of enthusiasm, the forehead noble, the smile quaint and winning, and in youth his features were set off to advantage by a crop of long brown hair curling to his shoulders. Such as he was, Flaxman won the affections of a girl about his own age, Ann Denman, who proved to him the best of wives. She shared all his studies and interests, was enthusiastic, sensible, somewhat sententious, according to the Johnsonian fashion of the age, in speech, the pleasantest and most frugal of housekeepers, his inseparable companion, helpmate, and 'dictionary' (to use his own expression). The pair were married in 1782, and went to live in a very small house, No. 27 Wardour Street; where Flaxman was elected to the parochial office of collector of the watchrate. Shortly afterwards the sculptor was made known by Romney to his friend William Hayley [q. v.], the Sussex squire and poet. This maudlin writer, but genial and generous man, conceived a warm attachment both for Flaxman and his wife. The young couple spent the summer holidays of several years following their marriage at Hayley's country house at Eartham in the South Downs; and his patronage, equally assiduous and delicate, was of great use to Flaxman, particularly in procuring him commissions for monumental works in the neighbouring cathedral of Chichester.
After five years of married life Flaxman determined to start on a journey to Rome, on which his heart had long been set. Wedgwood helped him both with recommendations and with a money advance for services to be rendered in superintending the work of the designers and modellers employed for the firm in Italy. The young couple set out in August
