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
Henry Siddons Nothing"), and Rolla. He ended his connection with the London stage at the close of the season 1808–9. Largely through Sir Walter Scott's influence, he then secured the Edinburgh patent, and opened there on 14 November 1809 with "The Honey Moon", in which he played the Duke; his wife appeared as Juliana. On starting his managerial career, Siddons aimed at producing plays with greater efficiency in all directions than before, at the Edinburgh Theatre; he was encouraged and supported by Scott. Siddons had an eye for talent, bringing on Daniel Terry and William Oxberry. Joanna Baillie's "Family Legend" was produced