12 Leslie pp238–9.
13 Ivy pp168, 172–3; CIV p111.
14 Tate 1991 p167; CIV pp114, 117; Rhyne p174.
15 CV p150.
16 CIV pp146, 397, C:FDC pp10, 92.
17 CV pp163–5; Reynolds Later pp174–5; Ivy pp178, 210.
18 CV p106.
19 CIV p383.
20 CV p105.
21 Holcomb Burlington 1982 pp628–9.
22 Bailey pp85–6.
23 CIV p110.
24 C. Leslie 1860 I p64.
25 CIV p223.
26 CIV pp242–3.
27 CV p12.
28 CIV pp230-1.
29 CIV p235.
30 Tate 1976 p177.
31 CIV p229.
32 Leslie p246.
33 G. Leslie pp4, 111.
34 Story p137; CIV pp287–8, 293.
35 C:FDC p33; CIV p295; Story pp139–40.
36 CIV pp247–9.
37 CV pp167–8.
38 CV pp9–10, 13–16.
39 CV pp108–11; Leslie pp95, 248.
19. Fever and Fire
1 C:FDC p332; Leslie p247; CV p173.
2 CV pp172–3.
3 Leslie pp246, 248.
4 Ivy p190.
5 Leslie p248.
6 Tate 1991 p36.
7 CV pp16–17.
8 Leslie pp249, 253–4.
9 CV p19.
10 Leslie p253.
11 CIV p419.
12 Mary Leslie ‘lecture’ inserted in Grainger’s copy of Leslie’s Memoirs, 1843, Yale Center for British Art.
13 Bailey p314; R. Leslie 1894 p57; R. Leslie footnote in C. Leslie, Life & Letters of John Constable 1896, p20; Ruskin Praeterita and Dilecta I pp534–6.
14 Leslie p253; Tate 1991 p480.
15 Whitley 1930 p293.
16 CV p178.
17 Leslie p254.
18 CIV pp395, 400–1, 403, 405–6.
19 CIV pp402, 414, 416–17, 421–3.
20 CIV pp420–1, 423–4.
20. The Appearance of the Day
1 Discourses p28.
2 Leslie p308.
3 Discourses p29.
4 Leslie pp308–11.
5 Leslie pp312–13, 317.
6 C:FDC p8; Leslie pp178, 333–4, 337–8.
7 Discourses p34.
8 Discourses p56.
9 Leslie pp228–9, 336, 338.
10 Leslie pp331–2, 339–43; Gainsborough’s model horse in Gainsborough’s House museum, Sudbury.
11 Shields & Parris John Constable Tate 1985 p15.
12 C:FDC p8.
13 Discourses p30.
14 Leslie p344.
15 CV pp184–5.
16 Leslie p350.
17 Ivy p209.
18 Discourses pp35, 71–2; C:FDC p22.
19 Leslie p258; Discourses pp29–30, 34, 36, 53, 58.
21. A Portion of England
1 C:FDC p96.
2 CV pp179, 185.
3 CIV p419.
4 Ivy pp197–8.
5 Ivy pp198, 200.
6 Tate 1991 pp376–8.
7 CV p20.
8 Ivy p210.
9 Ivy pp199–202.
10 Ivy pp203–4.
11 CIV pp149–50, 278, 427.
12 CV pp20, 25–6; Tate 1991 p378.
13 Parris Tate 1976 p182; Hill p21.
14 CV pp173, 175.
15 C:FDC p95.
16 CV pp181, 187.
17 CIV p128 n4.
18 CV p187.
19 CIV pp130–1.
20 CV pp189.
21 CV pp189–92.
22 Leslie p262.
23 CV p183.
24 CV p185.
25 Shields & Parris John Constable Tate 1985, p15.
26 CV p196.
27 CV pp191, 193–5; CIV pp426–7.
28 CI pp300–1; Suffolk Record Office, map P461/27.
22. Two Monuments
1 CIV p151.
2 C. Leslie 1860 I pp113–16.
3 Leslie p269.
4 CV p92; Tate 1976 pp49, 136, 185; Leslie pp270–1.
5 Reynolds Later p286.
6 Leslie pp270–1.
7 Ivy pp214–16; Tate 1991 p37.
8 Tate 1991 p490; Ivy p217.
9 CIV p285.
10 Ivy p221.
11 CIV p285; Whitley 1930 p319; Bailey p330.
12 CV p199.
13 Ivy p218; Rhyne p202.
14 CV pp200–1.
15 CIV pp123–4, 429.
16 CIV pp229–30, 431.
17 G. Leslie p77.
18 CIII pp141, 143–4.
19 CIV pp427, 431, 433, 436; Parris, John Constable and David Lucas p9.
20 CIV p106.
23. Engaged with the Assassin
1 CV p36–7.
2 Tate 1991 p384.
3 Salander–O’Reilly 1988.
4 Leslie p277.
5 CV p37.
6 Discourses p77.
7 Leslie pp277–8; Morning Post 4 April 1837.
8 CIV p303.
9 Reynolds Later pp298–9; CIV p438; Leslie p279.
10 Leslie p281.
11 Leslie p282.
12 Discovery p1.
13 Leslie p282; see Thomas Churchyard account in Morfey; Tate 1991 p38.
14 C. Leslie 1860 I p158.
15 Leslie p282.
16 Discovery p3.
17 Leslie p282; C. Leslie 1860 I p158; Tate 1976 p190; CV p128; Ivy p224.
18 Leslie pp292–3.
24. The Other Side of the Grave
1 Reynolds Early p39; Tate 1991 pp384–5; Ivy pp233–4.
2 Discovery pp9–10; CIV p308.
3 ODNB, Ivy on Constable; C:FDC p96 n7; Discovery p11.
4 Discovery pp13–21.
5 Discovery p15; Shirley 1930 pp10–14.
6 Discovery pp15, 17–18, 20–1.
7 CV pp203, 205, 207–8.
8 Discovery pp12, 68–9.
9 CV p206.
10 Discovery p24.
11 CV pp207, 213–14; Discovery pp11–12, 57, 61–2, 64.
12 Discovery pp26–7, 42, 55–7, 59–60, 64–5.
13 C. Leslie Constable 1896 edn pp263–4n; Discovery pp66–7.
14 CVI p226.
15 CV p207; Boner I p13.
16 CV p206.
17 Discovery p30; Tate 1976 p161; Shirley 1930 p146.
18 Vaughan, Oxford Art Journal; C. Leslie 1860 I pp114–15; Discovery pp24, 30, 48.
19 R&S Redgrave II p346; F. Redgrave p56.
20 C. Leslie 1860 I pp115–16.
21 Discovery pp48, 52–3; Hamerton p315; Leslie, intro by B. Nicolson p10; Delacroix Selected Letters ed. J. Stewart, London 1971.
22 Ruskin Modern Painters I pp99–100.
23 Ruskin Works III pp191, 603; A.P. Oppé in Early Victorian England p143; Badt p5; C. Leslie 1855 pp273, 277; Discovery pp49–51.
24 C. Leslie 1855 p273; Ruskin 1897 Modern Painters I pp99–100, Tate 1976 p24.
25 C:FDC pp247–8.
26 Discovery pp42–4, 46; Parris, John Constable and David Lucas p1.
27 Discovery pp48, 52–3; Gage p191.
28 Discovery pp85–7, 138; Painter.
29 Discovery pp122–3; Salander–O’Reilly 1988 citing Meier-Graefe I pp68, 71, 129.
30 Discovery pp123–4; Salander–O’Reilly 1988 p90.
31 William Feaver interview with Lucian Freud, Sunday Telegraph 29 September 2002.
32 TLS 27 February 1976.
33 Constable to Fisher, October 1823, from East Bergholt: ‘I want to get to my easil in Town – & not witness rotting melancholy dissolution of the trees … which two months ago were so beautifull.’
Acknowledgements
I am indebted to many people. Most especially, to Anne Lyles at Tate Britain, whose great knowledge of Constable matters has been generously shared, and to the late Leslie Parris, who encouraged me to embark on this book. I gratefully acknowledge the help of Brian Allen, Sarah Barnes, Hugh Belsey, Marcus Bick
nell, Heather Birchall, David Blaney Brown, the late John Constable and Freda Constable, Richard and Val Constable, Sarah Cove, Natalie Finch, Angela Green, Anne Helmreich, Tom Hodgson, Judy Ivy, Celia Jennings, the late Evelyn Joll, Susan Morris, Annabel Obholzer, Pippa Parris, Charles Rhyne, Ian St John, Frank Salmon, Norman Scarfe, Sarah Speight, Allen and Olive Synge, David Thomson, Pieter and Elizabeth van der Merwe, Barry Venning, Ian Warrell, Andrew Wilton, Joan Winterkorn, and Patricia Wright. My thanks to the Yale Center for British Art in New Haven for a visiting fellowship and the Mellon Centre for British Art in London for a grant for research expenses. At Yale, I was much assisted by Constance Clement, Jules Prown, Elisabeth Fairman, Scott Wilcox, Gillian Forrester, Susan Brady, Mary Beth Graham, Lori Misura and Denise McColgan. The Suffolk Records Society kindly gave permission for me to quote from its published volumes of Constable correspondence. The Suffolk Records Office in Ipswich gave me access to many books and documents. The staff of the London Library provided their habitual skills and patience. My thanks also to the Wellcome Library and the library of the Royal Academy. This book has come into being with the particular aid of Penelope Hoare, Katherine Fry, Poppy Hampson, Mary Gibson, Diana Phillips, Reginald Piggott and Neil Olson. Margot Bailey has once again been a presiding angel.
Constable’s spelling was idiosyncratic, his punctuation erratic; and I have not aimed at complete consistency in rendering his words. For example, phrases he emphasised in handwritten correspondence and journals were often underlined by him, while in published form emphasis was italicised.
Bibliography
I have had close to hand the Correspondence edited by R.B. Beckett; the Tate catalogues of the Constable exhibitions of 1976 and 1991 (cited in my notes as Tate 1976 and Tate 1991); the indispensable catalogues of Constable’s work by Graham Reynolds; The Discovery of Constable by Ian Fleming-Williams and Leslie Parris (cited as Discovery); and Charles Leslie’s Memoirs of the Life of John Constable Esq., R.A. (cited as Leslie, with page numbers). There have been a number of editions of this, with one in print, but I have, unless otherwise noted, used that introduced by Benedict Nicolson and published by John Lehmann, London, in 1949. The Victoria County History, the Survey of London (1949) vol. 21, the London Encyclopedia, and the Oxford Dictionary of National Biography have also been frequently consulted.
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