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TheVictorians found this painting so disturbing that it was almost never included in lists of Reynolds' works in the nineteenth century.

From the child's empty eyes to the way he is looking over his shoulder as if fearing he is followed, it is indeed unsettling, and a far cry from the little girls of privilege that were Reynolds' bread-and-butter.

Intriguing comments!

Anonymous, Lady Burghley, Araminah, and Monica: I'm glad you responed to the boy's wistfulness much as I did, too. It's so hard to try to look at him with 18th century eyes instead of 21st century ones, and with the earlier sensibility as well. Maybe an earlier viewer would see the boy's expression as a pose, a pretense of calculated vulnerability meant to seduce. That time had a much different concept of childhood and innocence, and also saw a connection between poverty and wickedness that's alien to us. So who knows?

Chris, I came across the tales of Betty Careless and Little Casey, too - but my post was already running long! Here's a print showing Betty being carried home drunk in her sedan chair, with Little Casey before her, his dragging link unnecessary since it's now morning:

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Interesting insight regarding the bat wings and Gothic overtones. I esp. love the idea that Dr. Johnson and Sir Joshua were discussing bats over their dinners, too. Surely there's some punch-line hidden there....:)

Good Lord...were link boys that young? This is just a small child what about nine? And they were already into sodomy or crime? I have read a little about them but hadn't pursued it but I certainly will now! I always thought of them as poor beggared Children running about the streets of London much like Sherlock Holmes "little spies" did for him....

Long time lurker here...

I think we can best appreciate how much the boy is portrayed as a sexual plaything - the suggestive posing is not incidental - looking at 'Mercury as a cut-purse' ( -admin/images/new23/Sir%20Joshua%20Reynolds-433854.jpg). The two pictures are very similar and bought by the same patron, the 3rd Duke of Dorset.

I'm not sure that social commentary was what both painter and patron had in mind.

Mari, unfortunately the poor - and poor children in particular - were constantly at the mercy of those above them. This is long before any social service agencies, or even stringent laws to protect children.

Richard, thank you for the compliment! We're always learning ourselves, too.

Courtaud, I'm so glad you came out of lurkdom. Thank you so much for linking to the painting of Mercury (the limp, cut purse is esp. creepy), and adding more information to the discussion. With your lead, I'm now finding mention of these described as a pair of "lewd pictures" bought by the Duke of Dorset. Usually that description refers to paintings of frolicking nudes, so it's doubly. disturbing to find pictures of young, poor boys described in that fashion.

I was also intrigued by the coincidence of having the pictures bought by an 18th c. Duke of Dorset and the poem lambasting Katherine Sedley written by his ancestor, a 17th c. Earl of Dorset. Oh, those Sackvilles.

I'm investigating all of this further....:)

I love this painting. Always have. I guess it's my Goth-roots showing. Link boys are one of the tiny details that make the streets of London come alive in fiction, very much like Dickens's roving band of child pickpockets.

Michael, thank you for all the additional info! The two prints are esp. enlightening, revealing more details that reproductions of the painting don't show. Like the cats.

Since you have the exhibition catalogue (which I've requested, but haven't yet received) perhaps with it in hand, you can answer a couple of other questions.

Do the buildings to the left represent actual places? The couple in the street suggests a brothel.

Was the Cupid painted before the Mercury? Guessing here that it was (sequels seldom being quite as successful as originals.*g*)

Also - has anyone else ever noted the eerie resemblance between the link boy's face and Reynolds' portrait of the imminently respectable Lady Caroline Howard? The expression, the 3/4 turn of the face, the shape of the nose and mouth are very similar:

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This is one home Jane Austen visited that Amanda Vickery would not be talking about, for reasons that will be obvious when you read this through:

The Notorious 3rd Duke of Dorset in the subtext of 3 Jane Austen novels (along with Garrick's disturbing Riddle & Joshua Reynolds's disturbing "Cupid as Link-Boy")

Today I have been honored to be invited to write a guest post at the English Historical Fiction Authors blog created and coordinated by author Debra Brown--here is the link to my post, together with the introduction to the connections outlined in my Subject Line:

Cheers, ARNIE PERLSTEIN

@JaneAustenCode on Twitter

A link-boy (or link boy or linkboy) was a boy who carried a flaming torch to light the way for pedestrians at night. Linkboys were common in London in the days before the introduction of gas lighting in the early to mid 19th century. The linkboy's fee was commonly one farthing, and the torch was often made from burning pitch and tow.

Link-boys and their torches also accompanied litter vehicles, known as sedan chairs, that were operated by chairmen.[1] Where possible, the link boys escorted the fares to the chairmen, the passengers then being delivered to the door of their lodgings.[1]

The term derives from "link", a term for the cotton tow that formed the wick of the torch. Links are mentioned in William Shakespeare's Henry IV, part 1, as Falstaff teases Bardolph about the shining redness of his face:

Sir Joshua Reynolds painted Cupid as a Link Boy, now held by the Albright-Knox Art Gallery in Buffalo, New York. In that painting, little Cupid as a London linkboy wears demonic bat wings and an immense phallic torch to "remind those in the know of the proclivities of a certain patron."[2] Another appears in the first plate of William Hogarth's The Four Stages of Cruelty, putting out the eyes of a bird using a hot needle heated in the flame of his torch. Hogarth depicts a linkboy again, in plate four, Night, of his Four Times of the Day, this time huddled beneath a bench blowing on his torch.

In the mid-eighteenth century Laurence Casey, who was known as Little Cazey, became the personal linkboy of the famous courtesan Betty Careless, and gained something of reputation as a troublemaker. He features in Louis Peter Boitard's 1739 picture The Covent Garden Morning Frolick, leading the sedan chair containing Betty and being ridden by Captain "Mad Jack" Montague (seafaring brother of the Earl of Sandwich). Henry Fielding considered Montague, his companion Captain Laroun, and Casey "the three most troublesome and difficult to manage of all my Bow Street visitors". Casey was eventually transported to America in 1750.[3]

In thieves' cant, a linkboy was known as a "Glym Jack" ("glym" meant "light") or a "moon-curser" (as their services would not be required on a moonlit night). Employing a linkboy could be dangerous, as some would lead their clients to dark alleyways, where they could be beset by footpads.[4]

Linkboys make brief appearances in the novels of William Thackeray and Charles Dickens, and are mentioned by Samuel Pepys[5] in his diary. An anonymous illustrated serial novel, The Link Boy of Old London, was published in the penny dreadful Boys Standard from 4 November 1882.[citation needed]

Girls and boys might be more vulnerable to the negative effects of social media use at different times during their adolescence, according to research published today by an international team of scientists, including experts from the Oxford Internet Institute.

In a study published in Nature Communications, UK data shows, girls experience a negative link between social media use and life satisfaction when they are 11-13 years old and boys when they are 14-15 years old. Increased social media use also predicts lower life satisfaction at age 19 years.

Social media has fundamentally changed how young people spend time, share information and talk to others. This has led to widespread concern about its potential negative impact. Yet, even after years of research, there is still considerable uncertainty about how social media relates to wellbeing. The team looked for a connection between estimated social media use and reported life satisfaction and found key periods of adolescence where social media use was associated with a subsequent decrease in life satisfaction. The researchers also found teens who have lower than average life satisfaction later use more social media.

Professor Przybylski agreed and said, 'To pinpoint which individuals might be influenced by social media, more research is needed that combines objective behavioural data with biological and cognitive measurements of development. We therefore call on social media companies and other online platforms to do more to share their data with independent scientists, and, if they are unwilling, for governments to show they are serious about tackling online harms by introducing legislation to compel these companies to be more open.'

The researchers are keen to point out that, while their findings show at a population level that there is a link between social media use and poorer wellbeing, it is not yet possible to predict which individuals are most at risk.

Above is a rather romantic view of Cupid as a link-boy by Joshua Reynolds, painted 1773. In contrast to this, from contemporary reports, lots of the link-boys seem to have been run by criminal gangs who would lead clients into dark corners where waiting cronies would rob them. Not quite as angelic then!

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