¹ The best account of his life is given by Annie Raine Ellis in her edition of The Early Diary of Frances Burney, 1768-1778, with a Selection from her Correspondence, and from the Journals of her Sisters Susan and Charlotte Burney (London, 1889), ii, 291-293.

² Hubert François Bourguignon, called “Gravelot,” worked in England from 1732 to 1746.

³ Austin Dobson, ed. Diary & Letters of Madame D'Arblay (1778-1840) (London, 1904), i, 23.

⁴ Ellis, ed. The Early Diary of Frances Burney, ii, 215.

⁵ Actually it was Fanny herself who posed for a portrait. Of this visit and of Edward, she wrote:

Chessington, Monday, August 12.—I set out for this ever dear place, accompanied by Edward, who was sent for to paint Mr. Crisp for my father. I am sure you will rejoice in this. I was a little dumpish in the journey, for I seemed leaving my Susan again. However, I read a Rambler or two, and “composed the harmony of my temper,” as well as I could, for the sake of Edward, who was not only faultless of this, but who is, I almost think, faultless of all things. I have thought him more amiable and deserving than ever, since this last sojourn under the same roof with him ; and, as it happened, I have owed to him almost all the comfort I have this time met with here.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The instant dinner was over, to my utter surprise and consternation, I was called into the room appropriated for Edward and his pictures, and informed I was to sit to him for Mr. Crisp! Remonstrances were unavailing, and declarations of aversion to the design were only ridiculed; both daddies [Dr. Burney and “Daddy” Crisp] interfered, and, when I ran off, brought me back between them, and compelled my obedience;—and from that time to this, nothing has gone forward but picture-sitting. (Dobson, ed. Diary & Letters of Madame D'Arblay, ii, 94-95).

⁶ Ellis, ed. The Early Diary of Frances Burney, ii, 288-291.

⁷ Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and their Work from its Foundation in 1769 to 1904 (London, 1905-06), i, 354.

⁸ Dobson, ed. The Diary & Letters of Madame D'Arblay, i, 338-339.

⁹ “Introduction” to Evelina (London, 1904), p. xviii.

¹⁰ In a letter to Dr. Burney, Sept. 5, 1782, in which he wants to know why he did not get the right to publish Cecilia, Lowndes writes of these illustrations: “On my Determination to print Evelina a third Time, I prevailed on Mr. Mortimer to make me three Drawings. I told him the Author did not chuse to be known, but was an accomplished young Lady in genteel Life. I begged he would make Evelina as elegant as his Mind could conceive. I engaged Mr. Bartolozzi and two eminent Artists to do the Engravings; I meant this as a Compliment to the Lady-Author. The Plates cost me Seventy-three pounds. I shewed you the Drawings and Proofs before Publication.” (Dobson, ed. The Diary & Letters of Madame D'Arblay, ii, 481-482.)

¹¹ The engravings from Mortimer's three designs are also included in this edition.

¹² It is possible that Burney's design was republished in later nineteenth-century editions, though I have been unable to discover any which contains it. In 1904 Archdeacon Burney, of Surbiton, had one of the original drawings. (Dobson, ed. The Diary & Letters of Madame D'Arblay, i, 339 n.)