Sarah Siddons of feminine propriety. Commissioned and completed in 1784, Sir Joshua Reynolds' portrait, "Sarah Siddons as The Tragic Muse", is characterized by Reynolds' inspiration, contextualisation of the Muse, and distinctive brush work and paint palette. This portrait, as Heather McPherson writes, became the known depiction of tragedy, infused with contemporary ideas about acting and representation of the passions in Siddons' melancholy expression and deportment. Mary Hamilton's correspondence with her fiancé illuminated its seamless transition from "the artist's studio to the theatrical stage", practical venues that interlocked in the eighteenth century and formed a large part in creating the very idea of
Sarah Siddons (horse) run well on good and firm ground Prendergast had insisted that the Sarah Siddons would be better suited by a soft surface, which she encountered for the first time in the Prix Vermeille at Longchamp Racecourse on 19 September. With Lester Piggott taking over the ride from Roche, she started a 24/1 outsider in a field which included Pawneese, Riverqueen, Lagunette and Theia. She produced a strong late run to take the lead from Lagunette inside the last 200 metres and looked the likely winner, but Lagunette rallied to defeat the Irish filly by a nose. Timeform described Sarah Siddons'