On Monday 21 April 1760 Joshua Reynolds had a busy day. Through the morning and the afternoon he had a series of sitters. Each of these stayed for an hour in the painter’s premises on St Martin’s Lane and was no doubt ‘greatly entertained’ — as another of Reynolds’s clients recorded — by watching the progress of their portraits in a large looking-glass strategically placed behind the easel so the subject could view the artist at work.
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