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ANECDOTES

O P

PAINTING in ENGLAND;

With fome Account of the principal Artifts ;
And incidental NOTES on other ARTS;

Colle&ed by the iate

Mr. GEORGE VERTUE;

And now digefted and publifhed from his original MSS.

By Mr. HORACE WALPOLEj

To which is added

The HISTORY of
The MODERN TASTE in GARDENING,

The Glory of Lebanon Jhall come unto thee, the Fir-Tree, the Pine-Tree,
and the Box together, to beautify the Place of my Zaniluary, and I i»ill
make the Place of my Feet glorious. Ifaiah, lx. 13.

The THIRD EDITION with ADDITIONS.
VOLUME the FOURTH and laft.

LONDON:

PRINTED FOR J. DODSLEY, PALL-MALL.

M.DCC.LXXXVI.

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oV-Vn

TO HIS GRACE

CHARLES,

Duke of Richmond, Lenox, and
Aubigny.

My Lord,

IT is not to court protection to this
work ; it is not to celebrate your
Grace's virtues and abilities, which
want no panegyric; it is to indulge
the fentiments of refpect and efteem,
that I take the liberty of prefixing
your name to this volume, the for-
mer parts of thefe Anecdotes having
been infcribed to a Lady, now dead,
to whom I had great obligations,
a 2 The

yi DEDICATION.

The publications of myprefs have been
appropriated to Gratitude and Friend-
fhip, not to Flattery. Your Grace's
fingular Encouragement of Arts, a vir-
tue inherited with others from your
noble Father, in titles you to this A4-
drefs -, and allow me to fay, my Lord,
it is a proof of your Judgment and
Tafte, that in your countenance of
talents there is but one inftance of
partiality — I mean, your Favour to

My Lord,
Tour Grace s

mojl faithful and obedient
humble Servant,

HORACE WALPOLE.

ADVERTISEMENT.

THI S laft volume has been long writ-
ten, and even printed. The publi-
cation, * though a debt to the purchafers of
the preceding volumes, was delayed from
motives of tendernefs. The author, who
could not refolve, like moft biographers, to'
difpenfe univerfal panegyric, efpecially on
many incompetent artifls, was ftill unwilling
to utter even gentle cenfures, which might
wound the affections, or offend the prejudices
of thofe related to the perfons whom truth for-
bad him to commend beyond their merits.
He hopes, that as his opinion is no ftandard, it
will pafs for miftaken judgment with fuch as
fhall be difpleafed with his cnticifms. If his
encomiums feem too lavifh to others, the pub-
lic will at leaft know that they are bellowed
fincerely. He would not have hefitated to
publifh his remarks fooner, if he had not
been averfe to exaggeration.

The work is carried as far as the author in-
tended to go, though he is fenfible he could
continue it with more fatisfaclion to himfelf, as

* It was not publirtiei till 0<5Uber 9, 1780, though printed
in 1771.

a 3. the

vi JD-VERTIS EME.NF.

the arts, at leaft thofe of painting and architec-
ture, are emerging from the wretched ftate in*
which they lay at the acceflion of George
the firft. To architecture, tafte and vigour
were given by lord Burlington and Kent—-
They have fucceflbrs worthy of the tone they
gave; if, as refinement generally verges to ex-
treme contrarieties, Kent's ponderofity does
not degenerate into, fill igraine — But the mo-
dern Pantheon, uniting grandeur and lightnefs,
fimplicity and ornament, feems to have marked
the medium, where tafte muft flop. The archi-
tect who fli all endeavour to refine on Mr.,
Wyat, will perhaps give date to the age of em-
broidery. Virgil,. Longinus,, and Vitruvius af-
ford no rules, no examples, of fcattering finery..
This delicate redundance of ornament grow-
ing into our architecture might perhaps be
checked, if our artifts would ftudy the fublime
dreams of Piranefi, who feems to^ have con-
ceived vifions of Rome beyond what it boafted>
even in the meridian of its fplendor. Savage
as Salvator Rofa, fierce as Michael Angelo,
and exuberant as Rubens, he has imagined;
fcenes that would ftartle geometry, and ex-
haufl the Indies to realize. He piles palaces
on. bridges, and temples on palaces, and fcales.

Heaven.

JD VERf IS EMENT. vii

Heaven with mountains of edifices. Yet what
tafte in his boldnefs ! what grandeur in his
wildnefs ! what labour and thought both in his
rafhnefs and details ! Architecture, indeed, has
in a manner two fexes ; its mafculine dignity-
can only exert its mufcles in public works and
at public expence : its fofter beauties come
better within the compafs of private refidence
and enjoyment.

How painting has rekindled from its em-
bers, the works of many living artifts demon-
flratc. The prints after the works of fir Jo-
fhua Reynolds have fpread his fame to Italy,
where they have not at prefent a fingle painter
that can pretend to rival an imagination fo
fertile, that the attitudes of his portraits are
as * various as thofe of hiflory. In what age

were

* Sir J. Reynolds has been accufed of plagiarifm for having
borrowed attitudes from ancient matters. Not only candour
but criticifm muft deny the force of the charge. When a fingle
pofture is imitated from an hiftoric picture and applied to a
portrait in a different drefs and with new attributes, This is
not plagiarif.T), but quotation : and a quotation from a great
author, with a novel application of the fenfe, has always been
allowed to be an inrrancc of parts and tafte ; and may have
more merit than the original. When the fons of Jacob impo-
fcd on their father by a falfe coat of Jofeph, faying, " Know
now whether This be thy fon's coat or" not," they only afked
a deceitful queftion— but that interrogation became wit, when

Richard

a 4

viii JDyERTlSEMENT.

were paternal defpair and the horrors of death
pronounced with more exprefTive accents than
in his picture of count Ugolino ? When was
infantine lovelinefs> or embrio-paffions, touch-
ed with fweeter truth than in his portraits of
rhifs Price and the baby Jupiter]? What frank -
nefs of nature in Mr. Gainfborough's land-
iCapes ; which may entitle them to rank in the
nobleft collections ! What genuine humour in
Zoffanii's comic fcenes; which do not, like the
works of Dutch and Flemiih painters, invite
laughter to divert itfelf with the naftieft inde-
licacy of boors !

Such topics would pleafe a pen that delights
to do juftice to its country — but the author has
forbidden himfelf to treat of living profeffors.
Pofterity appreciates impartially the works of
the dead. To pofterity he leaves the continua-
tion of thefe volumes j and recommends to the

Richard id. on the pope reclaiming a bifhop whom the king
had taken prifoner in battle, fent him the prelate's coat of mail,
and in the words of fcripture aflced his holinefs, whether that
was the coat of his fon or not ? Is not there humour and fatire
in fir Joflma's reducing Holbein's fwaggering and colofla!
haughtinefs of Henry 8th. to the boyifh jollity of mafter
Crewe ? — .One prophecy I will venture to make ; fir Joflrna
is not a plagiary, but will beget a thoufand. The exuberance
of his invention will be the grammar of future painters of
portrait.

j lovers

AD FERT1S EMENT.

IK

lovers of arts the induftry of Mr. Vertue, who
preferved notices of all his cotemporaries,
as he had collected of paft ages, and thence
gave birth to this work. In that fupple-
ment will not be forgotten the wonderful
progrefs in miniature of * lady Lucan, who
has arrived at copying the moft exquifite
works of Ifaac and Peter Oliver, Hofkins and
Cooper, with a genius that almoft depreciates
thofe matters, when we confider that they
fpent their lives in attaining perfection ; and
who, foaring above their modeft timidity, has
transferred the vigour of Raphael to her copies
in water-colours. There will be recorded the
living etchings of Mr. H. Bunbury, the fecond
Hogarth, and firft imitator who ever fully
equalled his original ; and who, like Hogarth,
has more humour when he invents, than when
he illuftrates f — probably becaufe genius can
draw from the fources of nature with more
fpirit than from the ideas of another. Has any
painter ever executed a fcene, a character of
Shakefpeare, that approached to the prototype
fo near as Shakefpeare himfelf attained to na-

• Margaret Smith, Wife of Sir Charles Bingham Baron Lu.
can in Ireland.

f For inftance, in his prints to Triftram Shandy.

ture ?

3 Ah VERTISEMENT.

tyre ? Yet is there a pencil in a living hand as ca-
pable of pronouncing the paffions as our un-
equalled poet i a. pencil not only infpired by
his iniight into nature, but by the graces and
tafte of Grecian artifts — but it is not fair to
excite the curiofity of the public, when both
the rank and bafhful merit of the poffeflbr, and
a too rare exertion of fuperior talents, confine
the proofs to a narrow circle. * Whoever has
feen the drawings, and bafreliefs, defigned and
executed by * lady Diana Beauclerc, is fenfi-
ble that thefe imperfect encomiums are far
fhort of the excellence of her works. Her por-
trait of the duchefs of Devonshire, in feveral
hands, confirms the truth of part of thefe af-
fertions. The nymph-like fimplicity of the
figure is equal to what a Grecian (latuary
would have formed for a dryad or goddefs of
a river. Bartolozzi's print of her two daugh-
ters after the drawing of the fame lady, is ano-
ther fpecimen of her fingular genius and tafte.
The gay and fportive innocence of the young-
er daughter, and the demure application of
the elder, are as characteriftically contrafted

* Eldeft Daughter of Charles Spencer fecond Duke of Marl-
borough, married firft to Frederic St. John Vifcount Boling-
broke, and afterwards to Tophara Beauclerc3 only fon of Lord
Sidney Beauclerc.

8 as

ADVERTISEMENT. ti

as Milton's Allegro and Penferofo. A third
female genius is Mrs. Darner, * daughter of
General Conway, in a walk more difficult and
far more uncommon than painting. The an-
nals of ftatuary record few artifls of the fair
fex, and not one that T recalled of any cele-
brity. Mrs. Darner's bulls from the life are
not inferior to the antique, and theirs we are
fure were not more like. Her fhock dog,
large as life,, and only not alive, has a loofenefs
and foftnefs in the curls that feemed impofii-
ble to terra-cotta : it rivals the marble one of
Bernini in the royal colle&ion. As the anci-
ents have left us but five animals of equal
merit with their human figures, namely, the
Barberini goat, the Tufcan boar, the Mattel
eagle, the eagle at Strawberry-hill, and Mr*
Jennings's, now Mr. Duncombe's, dog, the-
talent of Mrs. Darner muft appear in the mofb
diftinguiihed light. Aided by fome inflruc-
tions from that mafterly ftatuary Mr. Bacon*,
{he has attempted and executed a bull in mar-
ble. Ceracchi, from whom firft fhe received
four or five lefibns, has given a whole figure

*Only child of general. Henry Seymour, commander in chief.
in 1781 and 1783, by lady Caroline Campbeu, countefs dowa-
ger of Ai'.efbuiy. Mrs. Damer wa<> widow of J<hn Damer*
«Jdeft fori of Jofeph lord Milton,

of

xii ADVERTISEMENT

of her as the mufe of fculpture, in which he
has happily preferved the graceful lightnefa,
of her form and air.

Little is faid here but hiftorically of the art
of gardening. Mr. Mafon in his firft beautiful
canto on that "tubjecl: has mown that Spenfer
and Addifon ought not to have been omitted
in the lift of our authors who were not blind
to the graces of natural tafte. The public
muft wifh with the author of this work, that
Mr. Mafon would complete his poem, and
leave this effay as unneceffary as it is imperfect.

The hiftoric compofitions offered for St.
Paul's by fome of our firft artifts, feemed to
difclofe a vifion of future improvement — a
period the more to be wifhed, as the wound
given to painting through the fides of the
"Romifh religion menaces the arts as well as
idolatry — unlefs the methodifts, whofe ri-
gour feems to foften and adopt the artifices
of the catholics, [for our itinerant mounte-
banks already are fond of being fainted in
mezzotinto, as well as their St. Bridgets and
Terefas ] mould borrow the paraphernalia of
enthufiafm now waning in Italy, and fuperadd
the witchery of painting to that of mufic.
Whitfield's temples encircled with glory may

convert

JDVERTISEMENT. xlii

convert nifties, who have never heard of his
or Ignatius Loyola's peregrinations. Ifenthu-
fiafm is to revive, and tabernacles to rife as
convents are demolifhed, may we not hope at
leaft to fee them painted ? Le Sueur's cloyfter
at Paris makes fome little amends for the im-
prifonment of the Carthufians. The abfurdity
of the legend of the reviving canon is loft in
the amazing art of the painter ; and the laft
fcene of St. Bruno expiring, in which are ex-
preffed all the ftages of devotion from the
youngeft mind imprefted with fear to the
compofed resignation of the prior, is perhaps
inferior to no fingle picture of the greatefl
mafter. If Raphael died young, fo did Le
Sueur; the former had feen the antique, the
latter only prints from Raphael : yet in the
Chartreufe, what airs of heads ! what harmony
of colouring ! what aerial perfpe&ive ! How-
Grecian the fimplicity of archite&ure and
drapery ! How diverfified a fingle quadrangle,
though the life of a hermit be the only Subject,
and devotion the only pathetic ! In fhort, till
we have other pictures than portraits, and
painting has ampler fields to range in than
private apartments, it is in vain to expect the
art fhould recover its genuine luftre. Statuary

has

xiv ADVERTISEMENT.

has frill lefs encouragement. Sepulchral deco-
rations are almoft difufed ; and though the
rage for portraits is at its highefl tide both in
pictures and prints, bufts and ftatues are ne-
ver demanded. We feem to wifh no longer
duration to the monuments of our expence,
than the inhabitants of Peru and Ruflla,
where edifices are calculated to laft but to the
jfiext earthquake or conflagration,

October J, ioS»i

CONTENTS

CONTENTS

O F T H E

FOURTH VOLUME.

CHAP. I.

p AIMERS in the Reign of King George I.

CHAP. II.

Architects and other Artifis in the Reign of
George I. f. 84,

CHAP. III.

Painters in the Reign of George II. p. 10$.

CHAP. IV.

Account of William Hogarth, and Catalogue
ef his Prints, p. 146.

Vol. IV. C H A P.

CONTENTS.

CHAP. V.

Painters in Enamel and Miniature, Statu-
ariesj and Medalists, in the Reign of George II,

CHAP. VI.

ArehiteRs in the Reign of George 11. p. 221,

CHAP. VII.

Hifiory of modern Gardening, p, 247.

ANEC-

ANECDOTES

O F

PAINTING, &l

CHAP. I.

Painters in the Reign of King George I.

WE are now arrived at the period
in which the arts were funk to the
loweft ebb in Britain. From the ftifFrtefs
introduced by Holbein and the Flemifii
mafters, who not only laboured under the
timidity of the new art, but who faw 'no-
thing but the ftarch and unpliant habits of
the times, we were fallen into a loofe, and, if
I may ufe the word, a diflolutc kind of paint-
Vou IV. A jing,

2 Painters in the Reign of George I.

ing, which was not lefs barbarous than the
oppofite' extreme, and yet had not the merit
of reprefenting even the drelTes of the age.
Sir Godfrey Kneller ftill lived, but only in
name, which he proftituted by fuffering the
moft wretched daubings of hired fubftkutes
to pafs for his works, while at moft he gave
himfelf the trouble of taking the likenefs
of the perfon who fat to him. His bold an4
free manner was the fole admiration of his
fucceflbrs, who thought they had caught his
flyle, when they neglected drawing, proba-
bility, and finifhing. Kneller had exagge-
rated the curls of full-bottomed wigs, and
the tiaras of ribbands, lace, and hair, till he
had ftruck out a graceful kind of unnatural
grandeurj but the fucceeding modes were
ftill lefs favourable to picturefque imagina-
tion. The habits of the time were fhrunk
to awkward coats and waiftcoats for the
men 5 and for the women, to tight-laced
gowns, round hoops, and half a dozen

fqueezed

Painters in the Reign of George I, 3

fqueezed plaits of linen, to which dangled
behind two unmeaning pendants, called
lappets, not half covering their ftrait-drawn
hair. Dahl, Dagar, Richardfon, Jervas,
and others, rebuffed by fuch barbarous
forms, and not porTeiling genius enough to
deviate from what they faw into graceful
variations, cloathed all their perfonages
with a loofe drapery and airy mantles, which
not only were not, but could not be the
drefs of any age or nation, fo little were
they adapted to cover the limbs, to exhibit
any form, or to adhere to the perfon, which
they fcarce enveloped, and from which they
muft fall on the leaft motion. As thofe cafual
lappings and flowing ftreamers were imitat-
ed from nothing, they feldom have any
folds or chiaro fcuro ; anatomy and colour-
ing being equally forgotten. Linen, from
what ceconomy I know not, is feldom al-
lowed in thofe portraits, even to the ladies,
who lean carelefly on a bank, and play with
A 2 a parrot

4 Painters in the Reign of George I.

a parrot they do not look at, under a tran-
quillity which ill accords with their, feeming
fituation, the flightnefs of their veftment
and the lanknefs of their hair having the
appearance of their being juft rifen from
the bath, and of having found none of their
cloaths to put on, but a loofe gown. Ar-
chitecture was perverted to meer houfe-
building, where it retained not* a litle of
Vanbrugh ; and if employed on churches,
produced at b eft but corrupt and tawdry
imitations of fir Chriftopher Wren. Statu-
ary ftill lefs deferved the name of an art.

The new monarch was void of tafte, and
not likely at an advanced age to encourage
the embellifhment of a country, to which
he had little partiality, and with the face of
which he had few opportunities of getting
acquainted; though had he been better
known, he muft have grown the delight of
it, pofTeffing all that plain good-humoured
fimplicity and focial integrity, which pecu-
liarly

Painters in the Reign of George I. $

Harly diftinguifhes the honeft EngHJh private
gentleman. Like thofe patriots, it was more
natural • to George the firft to be con-
tent with, or even partial to whatever he
found eftablifhed, than to feek for improve-
ment and foreign ornament. But the arts,
when neglected, always degenerate. En-
couragement muft keep them up, or a ge-
nius revivify them. Neither happened
under the firfl of the houfe of Brunfwic.
I fhall be as brief as I can in my account of
fo ungrateful a period, for though the elder
Dahl and Richardfon, and a very few more
had merit in fome particulars, I cannot
help again advertifing "my readers, that no
reign, fince the arts have been in atty
efteem, produced fewer works, that will
deferve the attention of pofterity. As the
reign too was of no long duration, mofl of
the artifts had lived under the predecefibrs
of George the firft, or flourifhed under his
fon, where feveral will be ranked with
A 3 more

6 Painters in the Reign of George I,
more propriety. Of the former clafs,

was

LOUIS LAGUERRE,

The affiftant and imitator of Verrio, with
whofe name his will be preferred when
their united labours fhall be no more, both
being immortalized by that unpropitious
line of Pope,

Where fprawl the faints of Verrio and Laguerre.

The fame redundancy of hiftory and fable
is difplayed in the works of both ; and it is
JDut juftice to fay that their performances
were at leaft in as^jood atafte as the edi-
fices they were appointed to adorn.

Laguerre's father was a Catalan, who
fettled in France, and became mafter of the
menagerie at Verfailles. The fon being
torn at Paris in 1663, Louis the fourteenth

did

Painters in the Reign of George I. 7

did him jhe honour of being his godfather,
and gave him his own name* At firft he
was placed in the Jefuits college, but hav-
ing a hefitation in his fpeech, and difcover-
ing much inclination to drawing, the good
fathers advifed his parents to breed him to
a profefiion that might be of ufe to him-
felf, fince he was not likely to prove fer-
viceable to them. He however brought
away learning enough to affift him after-
wards in his allegoric and hifloric works.
He then ftudied in the royal academy of
painting, and for a fhort time under Le
Brun. In 1683 he came to England with
one Ricard, a painter of architecture, and
both were employed by Verrio. Laguerre
painted for him molt part of the large pio>
ture in St. Bartholomew's hofpital, and
fucceeding fo well when little above twenty,
he rofe into much bufinefs, executing great
numbers of cielings, halls, and ftaircafes,
particularly at lord Exeter's at Burleigh,
A 4 the

S Painters in the Reign of George I.

the ftaircafe at old Devonfhire-houfe in Pio
cadilly, the ftaircafe and falon at Bucking-
ham-houfe, the ftaircafe at Petworth, many
of the apartments at Burleigh on the hill,
where the walls are covered with his Cae-
fars, fome things at Marlborough-houfe in
St. James's Park, and, which is his bell
work, the falon at Blenheim. King Wil-
liam gave him lodgings at Hampton-court,
where he painted the labours of Hercules
in chiaro fcuro -, and being appointed to
repair thofe valuable pictures, the triumphs
of Julius Casfar by Andrea Montegna, he
had the judgment to imitate the ftyle of the
original, inftead of new cloathing them in
vermillion and ultramarine j a fate that be-
fel Raphael even from the pencil of Carlo
Maratti.

Laguerre was at firft chofen unanimoufly
by the commifiioners for rebuilding St,
Paul's to decorate the infide of the cupola,
but was fet afide by the prevailing intereft

of

Pointers in the Reign of George I. 9

of Thornhill, a preference not raviftied
from him by fuperior merit. Sir Godfrey
Kneller was more juft to him,* though
from pique to Thornhill, and employed
him to paint the ftaircafe of his houfe at
Witton where Laguerre diftinguifhed him-
felf beyond his common performances. Oh
the union of England and Scotland he was
ordered by queen Anne to make defigns for
a fet of tapeftry on that occafion, in which
were to be introduced the portraits of her
majefly and the principal miniftcrs \ but
though he gave the drawings, the work
went no farther. A few pictures he painted
befides, and made defigns for engravers.
In 17 1 1 he was a dire<5tor of an academy of
painting erected in London, and was likely
to be chofen governor on the refignation of
Kneller, but was again baffled by his com-
petitor Thornhill. In truth he was, fays

* Vide life of Kneller in the preceding volume.

Vertue,

io Painters in the Reign of George I.

Vertue, a modeft unintriguing man, and
as his father-in-law * John Tijou faid, God
had made him a painter, and there left him.
The ever-grateful and humble Vertue com-
mends him highly, and acknowledges in-
ftrudtions received from him; the fource,
I doubt, of fome of his encomiums. At a
tavern in Drury-lane, where was held a
club of virtuofi, he painted in chiaro fcuro
round the room a Bacchanalian proceffion,
and made them a prefent of his labour.
Vertue thinks that fir James Thornhill
was indebted to him for his knowledge of
hiftoric painting on cielings, &c. and fays
he was imitated by -j- others, as one J Ri-
ario, Johnfon, Brown, and feveral, whofe
names are perifhed as well as that gawdy
ftyle.

* A founder of iron baluftrades.

■f Lanfcroon was another affiftant of Verrio and La-
guerre, on his firfl arrival from Flanders. He died
poor in 17375 leaving a fon of his profefHon.

J Riario painted a ftaircafe at lord Carpenter's

Laguerre

Painters in the Reign of George I. tl

Laguerre towards his latter end grew
dropfical and inactive, and going to fee the
Ifland Princefs at Drury-lane, which was
acted for the benefit of his fon, then newly
entered to fing on the ftage, he was feized
with a ftroke of apoplexy, and dying before
the play began, April 20, 17 21, he was
buried in the church-yard of St. Martin's
in the Fields.

John Laguerre the fon had talents for
painting, but wanted application, prefer-
ring the ftage to more laborious ftudies.
After quitting that profeflion, I think he
painted fcenes, and publifhed a fet of prints
of Hob in the well, which had a great fale,
but he died at laft in indigent circumftances
in March, 1748.

MICHAEL

i 2 Painters in the Reign of George I.

MICHAEL DAHL

Was born at Stockholm, and received fome
inftruclions from Ernftraen Klocke, an
efleemed artift in that country and painter
to the crown, who in the early part of his
life had been in England. At the age of
22 Dahl was brought over by Mr. Pouters,
a merchant, who five years afterwards in-
troduced Boit from the fame country.
After a year's refidence here, Dahl con-
tinued his travels in fearch of improvement,
{laid about a year at Paris, and bellowed
about three more on the principal cities in
Italy. At Rome he painted the portrait of
P. F. Garroli, a fculptor and architect, under
whom Gibbs fludied for fome time. But it
was more flattering to Dahl to be employed
by one that had been his fovereign, the
famous queen Chriftina. As he worked on

her

Painters in the Reign of George I. 13

her picture, fhe afked what he intended fhe
fhould hold in her hand ? He replied,
a fan. Her majefty, whofe ejaculations
were rarely delicate, vented a very grofs
one, and added, cc a fan ! give me a
lion; that is fitter for a queen of Swe-
den." I repeat this, without any intention
of approving it. It was a pedantic affec-
tation of fpirit in a woman who had quitted
a crown to ramble over Europe in a motley
kind of mafculine mafquerade, afluming a
right of arTaffinating her galants, as if ty-
ranny as well as the priefthood were an in-
delible character, and throwing herfelf for
protection into the bofom of a church fhe
laughed at, for the comfortable enjoyment
of talking indecently with learned men,
and of living fo with any other men. Con-
temptible in her ambition by abandoning
the happieft opportunity of performing
great and good actions, to hunt for venal
praifes from thofe parafites the literati, fhe

attained,

14 Painters in the Reign of George I.

attained, or deferved to attain, that fole
renown which neceffarily accompanies great
crimes or great follies in perfons of fuperior
rank. Her letters difcover no genius or
parts, and do not even wear that now trite
mantle of the learned, the affectation of
philofophy. Her womanifh paflions and
anger difplay themfelves without referve,
and ihe is ever miftaking herfelf for a queen,
after having done every thing fhe could to
relinquifh and difgrace the character.

Dahl returned to England in 1688,
"where^ he found fir Godfrey Kneller rifing
to the head of the profefTion, and where he
had yet merit enough to diftinguifh himfelf
as no mean competitor. His colouring
was good, and attempting nothing beyond
portraits, he has certainly left many valu-
able pictures, efpecially as he did not ne-
glect every thing but the head like Kneller,
and drew the reft of the figure much better
than Richardfon, Some of Dahl's works

are

Painters in the Reign of George I. 15

%-e worthy of Riley. The large equeftrian
picture of his fovereign Charles the ele-
venth at Windfor has much merit, and in
the gallery of admirals at Hampton- court
he fuffers but little from the fuperiority of
iir Godfrey. In my mother's picture at
Houghton there is great grace, though it
was not his moll common excellence. At
Petworth are feveral whole lengths of la-
dies by him extremely well coloured. The
more univerfal talents of Kneller and his
aflfuming prefumption carried away the
croud from the modeft and filent Dahl, yet
they feem to have been amicable rivals, fir
Godfrey having drawn his portrait. He did
another of himfelf, but Vertue owns that
fir Godfrey deferved the preference for
likenefs, grace, and colouring. Queen
Anne fat to. him, and prince George was
v much his patron.

Virtuous and efleemed, eafy in his cir-
cumftances and fortunate in his health,

DaM
4

1 6 Painters in the Reign of George I.

Dahl reached the long term of eighty-feveif
years, and dying October 20, 1743, was
buried in St. James's church. He left two
daughters, and about three years before
loft his only fon, who was a very inferior
painter, called the younger Dahl, but of
whofe life I find no particulars among
Venue's collections.

PETER ANGELIS

Worked in a very different ftyle from the
two preceding painters, executing nothing
but converfations and landfcapes with fmall
figures, which he was fond of enriching
with reprefentations of fruit and fifh. His
manner was a mixture of Teniers and Wat-,
teau, with more grace than the former,
more nature than the latter. His pencil
was eafy, bright, and flowing, but his co-
8 louring

Taint en In the Reign of George I. 17

touring too faint and nervelefs. He after*
wards adopted the habits of Rubens and
Vandyck, more picturefque indeed, but not
fo proper to improve his productions in what
their chief beauty confifted, familiar life*
He was born at Dunkirk in 1685, anc^ Vi"
fiting Flanders and Germany in the courf
of his ftudies, made the longeft ftay at Duf-
feldorpe, enchanted with the treafures of
painting in that city. He came to Eng-
land about the year 17 12, and foon became
a favourite painter; but in the year 1728
he fet out for Italy, * where he fpent three
years. At Rome his pictures pleafed ex-
tremely, but being of a referved temper,
and not oftentatious of his merit, he dif-
gufted feveral by the reluctance with which
he exhibited his works : his ftudious and

* After making an audUon of his pi&ures, amongft
which were copies of the four markets, then at Hough-
ton, by Rubens and Snyder.

Vol. IV. B fbber

s 8 Painters in the Reign of George I.

fober temper, inclining him more to the
purfuit of his art, than to the advantage of
his fortune. Yet his attention to the latter
prevented his return to England as he in-
tended, for flopping at Kennes in Bretagner
a rich and parliamentary town, he was fo
immediately overwhelmed with employ-
ment there, that he fettled in that city, and
died there in a fhort time, in the year 1734,
when he was not above forty-nine years of
age. Hy fling painted his picture while he
was in England,

ANTONY RUSSEL

Is recorded by Vertue, as one of Riley's
fchool, [confequently a painter of por-
traits] as were Murray and Richardfon,
though he owns with lefs fuceefs and
lefs merit : nor does he mention any
other fads relating to him, except that;

he

Painters in the Reign of George I. I $

he died in July i743> aged above four-
Tcore. I fhould not be follicitous to pre-
ferve fuch dates, but that they fometimes
afcertain the hands by which pictures have
been painted — and yet I have lived long
enougji fince the firft volumes of this work
were printed, to fee many pieces afcribed
to Holbein and Vandyck in auctions,
though bearing dates notorioufly pofterior
to the deaths of thofe matters : fuch notices
as thefe often helping more men to cheat
than to diftinguifli*

LUKE CRADOCK,

Who died early in this reign, was a pain-
ter of birds and animals, in which walk he
attained much merit by the bent and force
of his own genius, having been fo little
initiated even in the grammar of his profef-
$ 2 fion,

co Painters in the Reign of George I.

fion, that he was fent from Somerton near
Uchefter in Somerfetihire, where he was
born, to be apprentice to a houfe-painter
in London, with whom he ferved his time.
Yet there, without inftructions, and with
few opportunities of ftudying nature in the
very part of the creation which his talents
led him to reprefent, he became, if not a
great matter, a faithful imitator of the in-
ferior clafs of beings. His birds in parti-
cular are flrongly and richly coloured, and
were much fought as ornaments over doors
and chimney-pieces. I have feen fome
pieces of his hand painted with a freedom
and fire that intitled them to more diftinc-
tion. He worked in general by the. day
and for dealers who retailed his works, pof-
fefling that confcious dignity of talents that
"fcorned dependence, and made him hate to
be employed by men whofe birth and for-
tune confined his fancy and reflrained his
freedom. Vertue records a proof of his

merit

Painters in the Reign of George I. *V

merit which I fear will enter into the pane-
gyrics of few modern painters — he fays he
fow feveral of Cradock's pictures rife
quickly after his death to three and four
times the price that he had received for
them living. He died in 17 17, and was
buried at St. Mary's White-chapel.

PETER CASTEELS

Was, like Cradock, though inferior in
merit, a painter of fowls, but more com-
monly of flowers, yet neither with the
boldnefs and relievo of a matter, nor with
the finifhed accuracy that in fo many Fle-
mim painters almoft atones for want of
genius. He was born at Antwerp in 1684,
and in 1708 came over with his * brother

* So Vertue. I fuppofe he means brother-in-law.

B 2 Peter

J.1 Painters in the Reign of George I.

Peter Tillemans. In 171 6 he made a fhort
journey to his native city, but returned
foon. In 1726 he publifhed twelve plates
of birds and fowl which he had defigned
and etched himfelf, and did a few other
things in the fame way. In 1735 ne
retired to Tooting, to defign for callico-
printers : and laflly, the manufacture being
removed thither, to Richmond, where
he died of a lingering illnefs May i6%
1749-

D A Q A R,

The fon of a French painter, and himfelf
born in France, came young into England
and rofe to great bufinefs, though upon a
very {lender flock of merit. He was vio-
lently afflicted with the gout and ftone,. and
died in May 1723, at the age of fifty-four.

He

Painters in the Reign of George I. 23

He left a fon whom he bred to his own
profeffion,

CHARLES JERVAS.

No painter of fo much eminence as Jervass
is taken fo little notice of by Vertue in his
memorandums, who neither fpecifies the fa-
mily, birth, or death of this artift. The latter
happened at his * houfe in Cleveland-court,
in 1739. One would think Vertue forefaw
how little curiofity pofterity would feel to
know more of a man who has bequeathed
to them fuch wretched daubings. Yet, be-
tween the badnefs of the age's tafte, the
dearth of good mailers, and a fafhionable
reputation, Jervas fat at the top of his pro-

* He had another houfe at Hampton,

B 4 fefTion j

24 Painters in the Reign of George I.

feffion j " and his own vanity thought no en-
comium difproportionate to his merit. Yet
was he defective in drawing, colouring,
composition, and even in that moll necef-
fary, and perhaps molt eafy talent of a por-
trait-painter, likenefs. In general, his pic-
tures are a light flimfy kind of fan-painting
as large as the life. Yet I have feen a few
of his works highly coloured ; and it is cer-
tain that his copies of Carlo Maratti, whom
moft he ftudied and imitated, were ex-
tremely juft, and fcarce inferior to the
originals. It is a well-known ftory of him,
that having fucceeded happily in copying
[he thought, in furpaffing] a picture of
Titian, he looked firft at the one, then at
the other, and then with parental compla-
cency cried, " Poor little Tit ! how he
would ftare V*

But what will recommend the name of
Jervas to inquifitive pofterity was his inti-
macy

Painters in the Reign of George I. i§

macy with Pope, * whom he inflrueled-
to draw and paint, whom therefore thefe
anecdotes are proud to boaft of and enroll j-
among our artifts, and who has enfnrined J
the feeble talents of the painter in the lucid
amber of his glowing lines. The repeated
name of lady || Bridgewater in that epiftle

* Jervas, who affe&ed to be a Free-thinker, was one
day talking very irreverently of the bible. Dr. Arbuth-
not maintained to him that he was not only a fpecula-
tive but a practical believer. Jervas denied it. Ar-
buthnot faid he would prove it : " You fhidtjy obferve
the fecond commandment, faid the dodlqr ; for in your
pictures you make not the likenefs of any thing that is
in the heavens above, or in the earth beneath, or in the
waters under the earth."

f See his lecters to Jervas, and a fhorr copy of
verfes on a fan defigned by himfelf on the ftory of Ce-
phalus and Procrls. There is afmall edition of the Ef-
fty on Man, with a frontifpiece likewife of his defio-n.
. % See Pope's epiftle to Jervas with Dryden's transla-
tion of Frefnoy's Art of Painting.

II Elizabeth countefs of Bridgwater, one of the
beautiful daughters of the great duke of Marlborough.

.was

16 Painters in the Reign of George I.

was not the fole effect of chance, of the
lady's charms, or of the conveniency of her
name to the meafure of the verfe. Jervas
had ventured to look on that fair one with
more than a painter's eyes ; fo entirely did
the lovely form poifefs his imagination, that
many a homely dame was delighted to find
her picture refemble lady Bridgwater. Yet
neither his prefumption nor his paflion
could extinguifh his felf4ove. One day,
as fhe was fitting to him, he ran over the
beauties of her face with rapture — " but,
faid he, I cannot help telling your ladyfhip
that you have not ahandibme ear.*' " No !"
laid lady Bridgwater \ " pray, Mr, Jervas,
what is a handfome ear ?'' He turned afide
his cap, and (hawed her his own.

What little more I have to fay of him, is
chiefly fcattered amongft the notes of Ver-
tue. He was born in Ireland, and for a
year fludied under fir Godfrey Kneller,
Norris, frame-maker and keeper of the
5 pictures

Painters in the Reign of George I. 27

pictures to king William and queen Anne,
was his firft patron, and permitted him to
copy what he pleafed in the royal collec-
tion. At Hampton-court he copied the
cartoons in little, and fold them to Dr.
George Clarke of Oxford, who became his
protector, and furnifhed him with money
to vifit Paris and Italy. At the former he
lent two of his cartoons to Audran, who
engraved them, but died before he could
begin the reft. At Rome he applied hiin-
felf to learn to draw, for though thirty
years old, he faid he had begun at the
wrong end, and had only ftudied colour-
ing. The friend (hip of Pope, and the pa-
tronage of other men of genius and rank, *
extended a reputation built on fuch flight
foundations : to which not a little contri-
buted, we may fuppofe, the Tatler, No. VIII.

* Sevea letters from Jervas to Pope are printed
in the two additional volumes to that poet's works,
publiftied by R, Baldwin 1776.

April

2? Painter's in the Reign of George I.

April 1 8, 1709, who calls him the loft great
painter that Italy has Jent us. To this in-
cenfe a widow worth 20,000/. added the
folidj and made him her hufband. In
1738 he again travelled to Italy for his
health, but furvived that journey only a
ftiort time, dying Nov. 2d, 1739.

He tranflated and publifhed a new edi-
tion of Don Quixote. His collection of
drawings and Roman fayence, called * Ra-
phael's earthen-ware, and a fine cabinet of
ivory carvings by Fiamingo, were fold, the
drawings in April 1741, and the reft "after
the death of his wife.

It will eafily be conceived by thofe who
know any thing of the ftate of painting in
this country of late years, that this work
pretends to no more than fpecifying the

* There is a large and fine colle&ion of this ware
at the late fir Andrew Fountain's at Narford in Nor-
folk,

i - profetfbrs

Painters in the Reigtr of George I. $$

profeflbrs of moft vogue. Portrait-paint-
ing has increafed. to fo exuberant a degree
in this age, that.it would be difficult even
to compute the number of limners that
have appeared within the century. Con-
fequently it is almoft as necefTary that the
reprefentations of men ihould perifh and
quit the fcene to their fucceilbrs, as it is
that the human race fhould give place
to rifing generations. And indeed the
mortality is almoft as rapid. Portraits
that coft twenty, thirty, fixty guineas, and
that proudly take poffeffion of the drawing-
room, give way in the next generation to
thofe of the new-married couple, defend-
ing into the parlour, where they are flightly
mentioned as my father's and mothers pic-
tures. When they become my grandfather
and grandmother, they mount to the two
pair of flairs ; and then, unlefs difpatched
to the manfion-houfe in the country, or
crouded into the houfe-keeper's room, they

perifh

30 Painters in the Reign of George ft

pm£h among the lumber of garrets, or
flutter into rags before a broker's fhop at
the Seven Dials. Such already has been
the fate of fome of thofe deathlefs beau-
ties, who Pope promifed his friend
fhould

Bloom in his colours for a thoufand years i

And fuch, I doubt, will be the precipitate
cataftrophe of the works of many more who'
babble of Titian and Vandyck, yet only
imitate Giordano, whofe hafty and rapa-
cious pencil defervedly accquired him the
rjifgraceful title of Lucafa preftoi

JONATHAN RICHARDSON

Was undoubtedly one of the belt Englhli
painters of a head, that had appeared in
this country. There is ftrength, roundnefs,
and boldnefs in his colouring; but his men

want

Painters in the Reign of George I. jt.

want dignity, and his women grace. The
good fenfe of the nation is character ifed in
his portraits. You fee he lived in an age
when neither enthuliafm nor fervility were
predominant. Yet with a pencil fo firm,
poffefTed of a numerous and excellent col-
lection of drawings, full of the theory, and
profound in reflections on his art, he drew
nothing well below the head, and was void
of imagination. His attitudes, draperies,
and back-grounds are totally infipid and
unmeaning : fo ill did he apply to his own
practice the fagacious rules and hints he
bellowed on others. Though he wrote with
fire and judgment, his paintings owed little
to either. No man dived deeper into the
inexhauflible (lores of Raphael, or was more
fmitten with the native luflre of Vandyck.
Yet though capable of tailing the elevation
of the one and the elegance of the other,
he could never contrive to fee with their
eyes, when he was to copy nature himfelf.

One

3- Painter* in the Reign of George I.

One wonders that he could comment their
works fo well, and imitate them fo little.

Richardfon was born about the year
1665, and againfh his inclination was placed
by his * father-in-law apprentice to a fcri-
vener, with whom he lived fix years, when
obtaining his freedom by the death of his
mailer, he followed the bent of his difpo-
fition, and at twenty years old became the
difciple of Riley j with whom he lived four
years, whofe niece he married, and of
whofe manner he acquired enough to main-
tain a folid and lading reputation, even
during the lives of Kneller and Dahl, and
to remain at the head of the profefllon
when they went off the ftage. He quitted
bufinefs himfelf fome years before his
death ; but his temperance and virtue con-
tributed to protract his life to a great length
in the full enjoyment of his understanding,

* His own father died when he was five years old..

and

Painters in the Reign of George I. 33

and in the felicity of domeftic friendihip.
He had had a paralytic ftroke that affected
his arm, yet never difabbd him fiom his
cuftomary walks and exercife. He had
been in St. James's Park, and died fud-
denly at his houfe in Queen- fquare on his
return home, May 28, 1745, when he had
pafTed the eightieth year of his age. He
left a fon and four daughters, one of whom
was married to his difciple Mr. Hudfon,
and another to Mr. Grigfon, an attorney.
The tafte and learning of the fon, and the
harmony in which he lived with his father,
are vifible in the joint works they com-
pofed. The father in 1719 published two
difcourfes; 1. An EfTay on the whole Art
of Criticifrn as it relates to Painting;
2. An Argument in Behalf of the * Science

* He tells us, that being in fearch of a proper term for
this fcience, Mr. Prior propofed to name it eo7inoiJfance ;
but that word has not obtained pofleffion as connoijfeur
has.

Vol, IV. C of

34 Painters In the Reign of George I.

of a Connoifleur; bound in one volume
Octavo. In 1722 came forth an Account
of fome of the Statues, Baf-reliefs> Draw-
ings and Pictures, in Italy, &c. with Re-
marks by Mr. Richardfon, Sen. and Jun.
The fon made the journey ; and from his
notes, letters, and obfervations, they both
at his return compiled this valuable work.
As the father was a formal man, with a
flow, but loud and fonorous voice, and, in
truth, with fome affectation in his manner ;
and as there is much Angularity in his flyle
and exprefiion, thofe peculiarities, for they
were fcarce foibles, (truck fuperficial read-
ers, and between the laughers and the
envious, the book was much ridiculed.
Yet both this and the former are full of
matter, good fenfe and inftruction : and the
very quaintnefs of fome expreflions, and
their laboured novelty, fhow the difficulty
the author had to convey meer vifible ideas
through the medium of language. Thofe

works

Painters in the Reign of George I. 35

works remind one of Cibber's inimitable
treatife on the ftage : when an author writes
on his, own profefiion, feels it profoundly,
and is fenfible his readers do not, he is not
only excufable, but meritorious, for illu-
minating the fubject by new metaphors or
bolder figures than ordinary. He is the
coxcomb that fneers, not he that inftrudls
in appropriated diction.

If thefe authors were cenfured, when con-
verfant within their own circle, it was not
to be expected that they would be treated
with milder indulgence, when they ven-
tured into a filler region. In 1734 they
published a very thick octavo, containing
explanatory notes and remarks on Milton's
Paradife Loft, with the life of the author,
and a difcourfe on the poem. Again were
the good fenfe, the judicious criticifms,
and the fentiments that broke forth in this
work, forgotten in the fingularities that
diftinguifh it. The father having faid in
C 2 apology

3 6 Painters in the Reign of George I.

apology for being little converfant in claf-
fic literature, that he had looked into them
through his fon, Hogarth, whom a quibble
could furnifh with wit, drew the father
peeping through the nether end of a tele-
fcope, with which his fon was perforated,
at a Virgil aloft on a ihelf. Yet how for-
cibly Richardfon entered into the fpirit of
his author appears from his comprehenfive
expreflion, that Milton was an ancient born
two thoufand years after his time. Richardfon,
however, was as incapable of reaching the
fublime or harmonious in poetry as he was
in painting, though fo capable of illuftrat-
ing both. Some fpecimens of verfe, that
he has given us here and there in his
works, excite no curiofity for more, * though

he

# More have been given. In June 1776 was pub-
lifhed an o&avo volume of poems (and another pro-
mifed) by Jonathan Richardfon, fenior, with notes by
his fon. They are chiefly moral and religious medi-
tations ; now and then there is a pitturefque line or

image ;

Painters in the Reign of George I. 37

he informs us in his Milton, that if paint-
ing was his wife, poetry had been his fe-
cret concubine. It is remarkable that
another commentator of Milton has made
the fame confeflion j

• funt & mihi carmina, me quoque dicunt

Vatem paftores-

fays Dr. Bentley. Neither the doclor nor
the painter add, Jed non ego credulus Mis,
though all their readers are ready to fupply
it for both.

image ; but in general the poetry is very carelefs and
indifferent — Yet fuch a picture of a good mind, ferene
in confcious innocence, is fcarcely to be found. It is
impoIHble not to love the author, or not to wilh to be
as fincerely and intentionally virtuous. The book
is perhaps more capable of infpiring emulation of
goodnefs than any profeffed book of devotion, for the
author perpetually defcribes the peace of his mind
from the fatisfa&ion of having never deviated from
what he thought right.

C 3 Befides

38 Painters in the Reign of George I.

Befides his pictures and commentaries,
we have a few etchings by his hand, par-
ticularly two or three of Milton, and his
own head.

The fale of his collection of drawings,
in February 1747, lafted eighteen days,
and produced about 2060/. his pictures
about 700/. Hudfon, his fon-in-law,
bought many of the drawings. After the
death of the fon in 1771, the remains of
the father's collection were fold. There
were hundreds of portraits of both in chalks
by the father, with the dates when executed,
for after his retirement from bufinefs, the
good old man feems to have amufed him-
felf with writing a fhort poem and drawing.
his own or fon's portrait every day. The
fon, equally tender, had marked feveral v/ith
expreflions of affection on his dear father.
There were a few pictures and drawings by
the fon, for he painted a little too.

GRISONI

Painters in the Reign of George I. 39

G R I S O N I

Was the fon of a painter at Florence,
whence Mr. Talman brought him over in
17 15. He painted hiftory, landfcape, and
fometimes portrait ; but his bufinefs de-
clining, he fold his pictures by auction, in
1728, and returned to his own country with
a wife whom he had married here of the
name of St. John.

WILLIAM AIKMAN

Was born in Scotland, and educated under
fir John Medina. He came young to Lon-
don, travelled to Italy, and vifited Turkey,
and returned through London to Scotland,
where he was patronized by John duke of
C 4 Argyle

40 Painters in the Reign of George I.

Argyle the general, and many of the nobi-
lity. After two or three years he fettled in
London, and met with no lefs encourage-
ment— but falling into a long and languifh-
ing diftemper, his phyficians advifed him to
try his native air, but he died at his houfe
in Leicefter- fields, in June 1731, aged fifty.
His body, by his own defire, was carried
to and interred in Scotland. Vertue com-
mends his portrait of Gay for the great
likenefs, and quotes the following lines,
addreffed to Aikman on one of his per-
formances, by S. Boyfe -3

As Nature blufhing and aftonifhed eyed

Young Aikman's draught, furpriz'd the goddefs

cried,
Where didfl: thou form, ram youth, the bold defign
To teach thy labours to refemble mine ?
So fcft thy colours, yet fo juft thy ftroke,
That undetermin'd on thy work I look.
To crown thy art cou'dft thou but language join,
The form had fpoke, and call'd the conqueil
thine.

In

Painters in the Reign of George 1 . 4. i

In * Mallet's works is an epitaph on Mr.
Aikman and his only fon (who died before
him) and who were both interred in the
fame grave.

JOHN ALEXANDER,

Of the fame country with the preceding,
was fon of a clergyman, and I think de-
fcended from their boafted Jamifone. He
travelled to Italy, and in 17 18 etched
fome plates after Raphael. In 17 21 was
printed a letter to a friend at Edinburgh,
defcribing a ftaircafe painted at the cattle
of Gordon with the rape of Proferpine by
this Mr. Alexander.

* Vol. i. p. 13. printed by Millar, in 3 vols, fmall
o&avo, 1769.

Sir

4 2 Painters in the Reign of George I.

Sir JAMES THORNHILL,

A man of much note in his time, who fuc-
ceeded Verrio and was the rival of La-
guerre in the decorations of our palaces
and public buildings, was born at Wey-
mouth in Dorfetlhire, was knighted by-
George the firft, and was elected to repre-
fent his native town in parliament. His
chief works were, the dome of St Paul's,
an apartment at Hampton-court, the altar-
piece of the chapel of All Souls at Oxford,
another for * Weymouth of which he made
them a prefent, the hall at Blenheim, the
chapel at lord Oxford's at Wimpole in
Cambridgeshire, the falon and other things

* The altar-piece at Weymouth was engraved by a
young man, his fcholar, whom he fe.t up in that
bufinefs.

4 for

Painters in the Reign of George I. 43

for Mr. Styles at More-park, Hertford-
ihire, and the great hall at Greenwich hof-
pital. Yet high as his reputation was, and
laborious as his works, he was far from
being generouily rewarded for fome of
them, and far others he found it difficult
to obtain the ftipukted prices. His de-
mands were contefted at Greenwich, and
though La FofTe received 2000 /. for his
work at Montao-u-houfe, and was allowed
500 /. for his diet befides, fir James could
obtain but 40 s. a yard fquare for the cu-
pola of St. Paul's, and I think no more for
Greenwich. When the affairs of the South-
fea company were made up, Thornhill,
who had painted their flair-cafe and a little
hall by order of Mr. Knight their cafhier,
demanded 1 500 /. but the directors learn-
ing that he had been paid but 25 s. a yard
for the hall at Blenheim, they would allow
no more. He had a longer conteft with
Mr. Styles, who had agreed to give him

3500 /.

44 Painters in the Reign of George I.

3500 /. but not being fatisfied with the
execution, a law-fuit was commenced, and
Dahl, Richardfon, and others were ap-
pointed to infpe£t the work. They ap-
peared in court, bearing teftimony to the
merit of the performance ; Mr. Styles was
condemned to pay the money, and by their
arbitration 500 /. more, for decorations
about the houfe and for Thornhill's act-
ing as furveyor of the building. This
fuit occafioning enquiries into matters of
the like nature, it appeared that 300 /. a
year had been allowed to the furveyor of
Blenheim, befides travelling charges : 2.00/.
a year to others; and that Gibbs received
but 550 /. for building St. Martin's church.

By the favour of that general Mecas-
nas, * the earl of Halifax, fir James was

allowed

* If was by the influence of the fame patron that fir
James was employed to paint the princeis's apartment
at Hampton-court. The duke of Shrewfbury, lord

chamberlain*

Painters in the Reign of George I. 45

allowed to copy the cartoons at Hamp-
ton-court, on which he employed three
years. He executed a lmaller fet, of one-
fourth part of the dimenfions. Having
been very accurate in noticing the defects,
and the additions by Cooke who repaired
them, and in examining the parts turned
in to fit them to the places ; and having
made copious ftudies of the heads, hands and
feet, he intended to publifh an exact account
of the whole, for the ufe of ftuaents : but
this work has never appeared. In 1724
he opened an academy for drawing at his
houfe in Covent-garden, and had before
propofed to lord Halifax to obtain the
foundation of a royal academy at the upper
end of the Mews, with apartment* for the

chamberlain, intended it fhould be executed by Sebaf-
tian Ricci, but the earl, then fir it commiffioner of the
treafury, preferring his own countryman, told the
duke, that if Ricci painted it, he would not pay
him.

profeifors,

46 Painters in the Reign of George L

profeiTors, which by an eftimate he had
made would have coil but 3139/. for fir
James dabbled in architecture, and ftirred
up much envy in that profeffion by an-
nouncing a defign of taking it up, as he
had before by thinking of applying himfclf
to painting portraits.

Afflicted with the gout and his legs fwel-
ling, he fet out for his feat *at * Thornhill
y near Weymouth, where four days after his
arrival he expired in his chair, May 4,
1734, aged fifty-feven, leaving one fon
named James, whom he had procured to
be appointed ferjeant-painter, and painter
to the navy; and one daughter, married

* Sir Jajjaeswas defcended of a very ancient family
in Dorfetfhire, and repurchafed the feat of his ances-
tors, which had been alienated. There he gratefully
ere&ed an obelifk to the memory of George I. his
protector. See his pedigree, and a farther account of
Thornhill in Hutchins's Hiftory of Dorfetfhire, vol. i.
410, 413. vol. ii. 185, 246, 451, 452,

, • to

Painters in the Reign of George I. ift

to that original and unequalled genius,
Hogarth.

Sir James's collection, among which
were a few capital pictures of the great
mafters, was fold in the following year;
and with them his two fets of the cartoons,
the fmaller for feventy-five guineas, the
larger for only 200 /. a price we ought in
juftice to fuppofe was owing to the few
bidders who had fpaces in their houfes
large enough to receive them. They were
purchafed by the duke of Bedford, and
are in the gallery at Bedford-houfe in
Bloomfbury - fquare. In the fame col-
lection were drawings by one Andrea, a
difciple of Thornhill, who died about the
fame time at Paris.

ROBERT

4$ Painters in the Reign of George I.

ROBERT BROWN

Was a difcipje of Thornhill, and worked
under him on the cupola of St. Paul's.
Setting up for himfelf, he was much em-
ployed in decorating feverai churches in
the city, being admired for his fkill in
painting crimfon curtains, apoftles, and
ftories out of the New Teftament. He
painted the altar-piece of St. Andrew Un-
derfhaft, and the fpaces between the gothic
arches in chiaro fcuro. In the parifh
church of St. Botolph, Aldgate, he painted
the transfiguration for the altar ; in St.
Andrew's, Holborn, the figures of St. An-
drew and St. John, and two hiftories on the
fides of the organ. In the chapel of St.
John at the end of Bedford- row, he painted
St. John the Baptift and St. John the Evan-
gelift, and even two figns that were much

admired

Painters in the Reign of George I. 49

admired, that for the Paul's head tavern in
Cateaton-ftreet, and the Baptift's head at
the corner of Aldermanbury. Correggio'a
fign of the muleteer is mentioned by all his
biographers. Brown, I doubt, was no
Correggio.

~ — BELLUCCI,

An Italian painter of hiflory, arrived here
in 17 16, from the court of the elector Pa-
latine. In 1722 he finifhed a cieling at
Buckingham-houfe, for which the ducheis
paid him 500/. He was alfo employed
on the chapel of Canons; that large and
coftly palace of the duke of Chandos,
which by a fate as tranfient as its founder's,
barely furvived him, being pulled down as
foon as he was dead ; and, as if in mock-
ery of fublunary grandeur, the fcite and
Vol. IV. D materials

50 Painters In the Reign of George I.

materials were purchafed by Hallet the
cabinet-maker. Though Pope was too
grateful to mean- a fatire on Canons, while
he recorded all its oftentatious want of
tafte, and too fincere to have denied it, if
he had meant it, he might without blame
have moralized on the event in an epiftle
purely ethic, had he lived to behold its fall
and change of matters.

Bellucci executed fome other works
which Vertue does not fpeeify ; but being
afflicted with the gout, quitted this country,
leaving a nephew, who went to Ireland*
and made a fortune by painting portraits
there.

BALTHAZAR

Painters in the Reign of George I. |I

BALTHAZAR DENNER,

Of Hamburgh, one of thofe laborious af»
tifts, whofe works furprize rather than
pleafe, and who could not be fo excellent
if they had not more patience than genius,
came hither upon encouragement from
the king, who had feen of his works at
Hanover and promifed to lit to him, but
Denner fucceeding ill in the pictures of two
of the favourite German ladies, he loft the
footing He had expected at court : his fame
however rofe very high on his exhibiting
the head of an old woman, that he brought
over v/ith him, about fixteen inches high,
2nd thirteen wide, in which the grain of
the fkin, the hairs, the down, the glafly
humour of the eyes, were reprefented with
the moft exacl: minutenefs. It gained him
more applaufe. than cuftom, for a man
D 2 could

52 Painters in the Reign of George I.

could not execute many works who em-
ployed fo much time to finifh them. Nor
did he even find a purchafer here j but the
emperor bought the picture for fix hundred
ducats. At Hamburgh he began a com-
panion to it, an old man, which he brought
over and fin ifhed here in 1726, and fold
like the former. He painted himfelf, his
wife and children, with the fame circum-
ftantial detail, and a half length of himfelf,
which was in the pofTeflion of one Swarts,
a painter, totally unknown to me. He
refolved however, fays Vertue, to quit this
painful practice, and turn to a bolder and
lefs finifhed ftyle j but whether he did or
mot is uncertain. He left England in
1728. The portrait of John Frederic
Weickman of Hamburgh, painted by
Denner, is faid to be in the Bodleian library
at Oxford.

FRANCIS

Painters in the Reign of George I. $3

FRANCIS FERG,

Born at Vienna in 1689, was a charming
painter, who had compofed a manner of
his own from* various Flemifh painters,
though refembling Polenburgh moll in the
enamelled foftnefs and mellownefs of his
colouring : but his figures are greatly fu-
perior; every part of them is fufKciently
finifhed, every action expreflive. He
painted fmall landfcapes, fairs, and rural
meetings, with the moil agreeable truth;
his horfes and cattle are not inferior to

* Hans Graf, Orient, and laftly Alex. Thiele,
painter of the court of Saxony, who invited him to
Drefden to infert fmall figures in his landfcapes.
Ferg thence went into Lower Saxony and painted for
the duke of Biunfwick, and for the gallery of Saltz-
dahJ.

D 3 Wouver-

|4 Painters in the Reign of George X.

Wouvermans, and his buildings and difr
tances feem to owe their refpe&ive foftnefs
to the intervening air, not to the pencil.
More faithful to nature than Denner, he
knew how to omit exact nefs, when the re-
fult of the whole demands a lefs precifion,
in parts. This pleafmg artift pafTed twenty
years here, but lktle known, and always
indigent, unhappy in his domeftic, he was
fometimes in prifon, and never at eafe at
home, the confequence of which was dif-
fipation. He died fuddenly in the ftreet
one night, as he was returning from fome
friends, about the year 1738, having no$^
attained his fiftieth year, Jie left fpuf
children.

THOMAS

Painters in the Reign of George I. $5

THOMAS GIBSON,

A man of a moft amiable character, fays,
Vertue, had for fome. time great bufinefs,
but an ill ftate cf health for fome years in-
terrupted his application, and about 1730
he difpofed of his piclures privately amongft
his friends. He not long after removed to
Oxford, and I believe praclifed again in
London. He died April 28, 175 1, aged,
about feventy-one. Vertue fpeaks highly
of his integrity and modefty, and fays he
offended his cotemporary artifls by for-
bearing to raife his prices j and adds, what
was not furprifing in fuch congenial good-
nefs, that of all the profeflion Gibfon was
his moft fincere friend.

D4 HILL

5 6 Painters in the Reign of George I.

— HILL

Was born in 1661, and learned to draw of
the engraver Faithorne. He painted many-
portraits, and died at Mitcham in 1734.

P. M O N A M Y,

A good painter of fea-pieces, was born in
Jerfey, and certainly from his circum-
ftances or the views of his family, had
little reafon to expect the fame he afterwards
acquired, having received his firft rudiments
of drawing from a fign and houfe-painter
on London-bridge. But when nature gives
real talents, they break forth in the home-
lier!: fchool. The lhallow waves that rolled
under his window taught young Monamy

what

Painters in the Reign of George I. 57

what his matter could not teach him, and
fitted him to imitate the turbulence of the
ocean. In painter's-hail is a large piece
by him, painted in 1726. He died at his
houfe in Weftminfter the beginning of

1749-

JAMES VAN HUYSUM,

Brother of John, that exquifite painter of
fruit and flowers, came over in 17 21, and
would have been thought a great mailer in
that way, if his brother had never appeared.
Old Baptift had more freedom than John
Huyfum, but no man ever yet approached
to the finiihing and roundnefs of the latter.
James lived a year or two with fir Robert
Walpole at Chelfea, and copied many
pieces of Michael Angelo Caravaggio,
Claud Lorrain, Gafpar, and other matters,

which

5 8 Painters in the Reign of George I.

which are now over the doors and chinv
nies in the attic flory at Houghton ; but
his drunken diflblute conduct occafioned
his being difmiffed.

JAMES MAUBERT

Diftinguifhed himfelf by copying all the
portraits he could meet with of Englifh
poets, fome of which he painted in fmalj
ovals. Dryden, Wycherley, Congreve,
Pope, and fome others, he painted from
the life. He died at the end of 1746.
Vertue fays he mightily adorned his pic-
tures with flowers, honey-fuckles, &c,

PESNES

fain ten in the Reign of George I. J 9

P E S N E,

A Parifian, who had ftudied at Rome, and
been painter to the king of Pruflia, great-
grandfather of the prefent king. He came
hither in 1724, and drew fome of the royal
family, but in the gawdy ftyle of his own
country, which did not at that time fucceed
here.

JOHN STEVENS,

A landfcape-painter, who chiefly imitated
Vandieft, painted fmail pictures, but was
moftly employed for pieces over doors and
chimnies. He died in 1722.

II JOHN

€o Painters in the Reign of George I.

JOHN SMIBERT,

Of Edinburgh, was born about 1684, and
ferved his time with a common houfe-
painter -, but eager to handle a pencil in a
more elevated ftyle, he came to London,
where however for fubfiftence he was
forced to content himfelf at firft with
working for coach-painters. It was a
little rife to be employed in copying for
dealers, and from thence he obtained ad-
mittance into the academy. His efforts
and ardour at laft carried him to Italy,
where he fpent three years in copying
portraits of Raphael, Titian, Vandyck,
and Rubens, and improved enough to
meet with much bufinefs at his return.
When his induftry and abilities had thus
furmounted the afperities of his fortune, he
was tempted againft the perfuafion of his

friends

Painters in the Reign of George I. Gt

friends to embark in the uncertain buta-
mufing fcheme of the famous dean Berke-
ley, afterwards bifhop of Cloyne, whofe
benevolent heart was then warmly fet on
the erection of an univerfal college of
fcience and arts in Bermudas, for the in-
ftruction of heathen children in chriftian
duties and civil knowledge. Smibert, a
filent and modeft man, who abhorred the
finefTe of fome of his profeffion, was en-
chanted with a plan that he thought pro-
mifed him tranquility and honeft fubful-
ence in a healthful Elyfian climate, * and

* One may conceive too how a man fo devoted to
his art mufl have been ani mated , when the dean's en-
thufiafm and eloquence painted to his imagination a
new theatre of profpects, rich, warm, and glowing
with fcenery, which no pencil had yet made cheap
and common by a famenefs of thinking and imagina-
tion. As our difputes and politics have travelled to
America, is it not probable that poetry and painting
too will revive amidft thofe extenfive trafts as they in-
creafe in opulence and empire, and where the ftores
of nature are fo various, fo magnificent, and fo new ?

10 in

62 Painters in the Reign 6f George I.

in fpite of remonftrances engaged with the
dean, whofe zeal had ranged the favour of
the court on his fide. The king's death
difpelled the vifion* Smibert however,
who had Fet fail, found it convenient or
had refolution enough to proceed, but fet-
tled at Bofton in New England, where he
fucceeded to his wifh, and married a wo-
man with a confiderable fortune, whom he
ieft a widow with two children in March
175 1. A panegyric on him, written there,
was printed here in the Gourant, 173O0
Vertue, in whofe notes I find thefe parti-
culars, mentions another painter of the
fame country, one Alexander Nefbitt of
Leith, born in 1682, but without record-
ing any cirumftances relative to him*

TREVETT

Painters in the Reign of George I. 6$

TREVETT

Was a painter of architecture and mailer of
the company of painter-ftainers, to whofc
hall he prefented one of his works. He
painted feveral views both of the infide
and outfide of St. Paul's, intending to have
them engraved, for which purpofe Vertue
worked on them fome time j but the de-
fign was never compleated. He began
too a large view of London, on feveral
fheets, from the fteeple of St. Mary Overy,
but died in 1723,

HENRY TRENCH

Was a cotemporary of Kent, and ga'necf a
prize in the academy of St. Luke at Rome,

at

6 4 Painters in the Reign of George I.

at the fame time. Trench was born in
Ireland, but ftudied many years in Italy,
and for fome time under Giofeppe Chiari.
Returning to England, he profeffed paint-
ing hiftory, but not finding encourage-
ment, went back to Italy and ftudied two
years more. He came over for the lad
time in 1725, but died the next year, and
was buried at Paddington.

PETER TILLEMANS

Not only diftinguifhed himfelf above moft
of his competitors, but which is far more
to his honour, has left works that fuftain
themfelves even in * capital collections. He

* His view of Chatfworth hangs among feveral fine
pi&ures at Devonfhire-houfe, and is not difgraced by
them.

was

Painters in the Reign of George I. 6$

was t born at Antwerp, and made hirrifelf
a painter, though he ftudied under very-
indifferent matters. In 1708 he was brought
to England, with his brother-in-law Caf-
teels, by one Turner, a dealer in pictures j
and employed by him in copying Bourgog-
non and other mafters, in which he fuc-
ceeded admirably, particularly Teniers, of
whom he preferved all the freedom and
fpirit. He generally painted landfcapes
with fmall figures, fea-ports and views;
but when he came to be known, he was
patronized by feveral men of quality ; and
drew views of their feats, huntings, races,
and horfes in perfection. In this way he
was much employed both in the weft and
north of England, and in Wales, and drew
many profpects for the intended hiftory of
Nottinghamfhire by Mr. Bridges. He
had the honour of inftructing the late lord

f His father was a diamond-cutter.

. Vol, IV. E Byron,

66 Painters in the Reign of Gtsrge I.

Byron, who did great credit to his mailer,
as may be ken by feveral of his lordfhip'*
drawings at his beautiful and venerable
feat at Newftede-abbey in Nottingham-
ihire, and where Tillemans himfelf muft
have improved amidft fb many * fine pic-
tures of animals and huntings. There are
two long prints of horfes and hunting de-
figned and etched by him, and dedicated
to his patrons, the duke of Devonfhire and
lord Byron, With Jofeph Goupy he was
prevailed upon to paint a fet of fcenes for
the opera, which were much admired- Af-
ter labouring many years under an afthma,
for which he chiefly refided at Richmond,
he died at Norton % in Suffolk Decem-

* Thefe have flnce been fold by auctiom There is
a very fcarce print of John Weft, firft earl of Dela*
warre, from a drawing by that Lord Byron.

f In the houfe of Dr. Macro, by whom he had been*
long employed. He was buried in the church oC
Stovv-Langtoft. Brit. Topogr. vol. ii. p. 38-

ber

Painters in the Reign of George L 67

ber 5, 1734, at about the fiftieth year of
his age*

John vandRebank,

A painter much in fafhiOn in the reigns of
the two laft kings, is faid by Vertue to be
an Englifhman (though by his name at
leaft of foreign extraction) and to have at-
tained his fkill without any afiiftance from
ftudy abroad. Had he not been carelefs
and extravagant, fays my author, he might
have made a greater figure than almoft any
painter this nation had produced ; fo bold
and free was his pencil and fo mafterly his
drawing. He died of a confumption when
he was not above forty-five, in Hollis-
ftreet, davendifh-fquare, December 23,
1739. J°hn Vandrebarik gave the defigns
of a fet of plates for Don Quixote. He
E 2 had

(5S Painters in the Reign of George I.

had a brother of the fame profeffion -t and
a coufin, called

SAMUEL BARKER,

Whom he inftr lifted in the art, but who
having a talent for painting fruit and
flowers, imitated Baptift, and would pro-
bably have made a good mailer, but died
young in 1727.

PETER VAN BLEECK,

Came into England in 1723, and was
reckoned a good painter of portraits.
There is a fine mezzotinto, done in the
following reign, from a picture which he
painted of thofe excellent comedians, John-

fon

Painters in the Reign of George I. 69

fon and Griffin, in the characters of Ana-
nias and Tribulation, in the Alchymift,. I
have mentioned Johnfon in this work be-
fore, as the mod natural a&or I ever faw.
Griffin's eye and tone were a little too
comic, and betrayed his inward mirth,
though his mufcles were ftriftly Heady.
Mr. Wefton is not inferior to Johnfon in
the firm.nefs of his countenance, though
lefs univerfal, as Johnfon was equally great
in fome tragic characters. In bifhop Gar-
diner he fupported the infolent dignity of
a perfecutor; and compleatly a prieft,
fhifted it in an inftant to the fawning in-
Fincerity -of a (lave, as foon as Henry
frowned. This was indeed hiftory, when
Shakefpeare wrote it, and Johnfon repre-
fented it. When we read it in fictitious
harangues and wordy declamation, it is a
tale told by a pedant to a fchool»boy0
Vanbleeck died July 20, 1764.

E3 H. VAN-

79 Painters in the Reign of George L

H, VANDERMIJN,

Another Dutch painter, came over recom-
mended by lord Cadogan the general, and
in his manner carried to excefs the labori-
ous minutenefs of his countrymen j faith-
fully imitating the details of lace, em-
broidery, fringes, and even the threads of
ftockings, Yet even this accuracy in arti-
ficial trifles, which is often praifed by the
people as natural, nor the protection of the
court, could eftablifh. his reputation as a,
good mafter j though perhaps the time he
^vafted on his works, in which at leaft he
was the reverfe of his flatternly cotempo-
faries, prevented his enriching himfelf as
they did. In hiftory he is faid to have had
greater merit. He was more fortunate m
receiving 500 /. for repairing the paintings
it Burleigh, The prince erf" Orange fat tc?

him,*

Painters in the Reign of George 1 . 71

him, and he fucceeded fo well in the like-
nefs, that the late prince of Wales not only
fent for him to draw his picture, but pre-
vailed on his filler the princefs of Orange
to draw Vandermijn's -, for her royal high-
nefs, as well as princefs Caroline, both
honoured the art by their performances in
crayons. This fingular diftinction was not
the only one Vandermijn received ; George
the firft, and the late king and queen, then
prince and princefs, anfwered for his fon, a
hopeful lad, who was loll at the age of
fixteen, by the breaking of the ice as he
was fcating at Marybone, at the end of
the great froll in 1740. Vandermijn had
a filler called Agatha, who came over with
him, and painted fruit, flowers, and dead
fowls. I do not find in what year he
died.

E4 ENOCH

7 2 Painters in the Reign of George I.

ENOCH ZEEMAN,

Vertue has preferved few anecdotes of this
painter, whom I remember in much bufr%
nefs. His father and three brothers fol-
lowed the fame profefTion ; one of them in
water-colours ; but Enoch was moft in
falhion. At nineteen he painted his own
portrait in the finical manner of Denner,
and executed the heads of an old man and
woman in the fame ftyle afterwards. He
died fuddenly in 1744, leaving a fon, call-
ed Paul, who followed the fame profeffion.
Ifaae Zeeman, brother of Enoch, died
April 4, 17 5 1, leaving alfo a fon who w$§
3, painter.

WATTEAU,

Tmniers in the Reign of George I. 73

W A T T E A U«

England has very {lender pretenfions to
this original and engaging painter ; he
having come hither only to confult Dr,
Meade, for whom he painted two pictures,
that were fold in the doctor's collection.
The genius of Watteau refembled that of
his countryman D'urfe ? the one drew and
the other wrote of imaginary nymphs and
fwains, and defcribed a kind of impoflible
paftoral, a rural life led by thofe oppofites
of rural fimplicity, people of falhion and
rank. Watteau's fhepherdefTes, nay, his
very fheep, are coquet ; yet he avoided the
glare and clinquant of his countrymen ; and
though he fell Ihort of the dignified grace
of the Italians, there is an eafy air in his
figures, and that more familiar fpecies of
the graceful which we call genteel. His

nymphs

74 Painters in the Reign of George I.

nymphs are as much below the forbidding
majefty of goddeffes, as they are above the
hoyden awkwardnefs of country-girls. In
his halts and marches of armies, the care-
lefs flouch of his foldiers ftill retain the air
of a nation that afpires to be agreeable as
well as victorious.

But there is one fault of Watteau, for
which till lately I could never account.
His trees appear as unnatural to our eyes,
as his figures muft do to a real peafant
who had never ftirred beyond his village.
In my late journies to Paris the caufe of
this grievous abfurdity was apparent to me,
though nothing can excufe it, Watteau's
trees are copied from thofe of the Tuille-
jdes and villas near Paris ; a ftrange fcene
to ftudy nature in ! There I faw the ori-
ginals of thofe tufts of plumes and fans,
and trimmed-up groves, that nod to one
another like the fcenes of an opera. Fan-
taftic people ! who range and fafhion their

trees,

Painters in the Reign of George I, *j$

trees, and teach them to hold up their
heads, as a dancing^mafter would, if he.
expected Orpheus fhould return to play a
minuet to them.

ROBERTWOODCOCK,

Of a gentleman's family, became a painter
by genius and inclination, He had a place
under the government, which he quitted
to devote himfelf to his art, which he prac-
tifed folely on fea -pieces. He drew in
that way from his childhood, and ftudied
the technical part of fhips with fo much
attention, that he could cut out a fhip with,
all the mafts and rigging to the utmoft ex-
aetnefs. In 1723 he began to practife in
oil, and in two years copied above forty
pictures of Vandevelde. With fo good a
foundation he openly profeffed the art,
and his improvements were fo rapid that
{he duke of Chandos gave him thirty

guineas

7 6 Painters in the Reign of George L

guineas for one of his pieces. Nor was his
talent for mufic lefs remarkable. He both
played on the hautboy and compofed, and
fome of his compofitions in feveral parts
were publifhed. But thefe promifing a-
bilities were cut off e'er they had reached
their maturity, by that enemy of the in*
genious and fedentary, the gout. He died
April 10, 1728, in the thirty-feventh year
of his age, and was buried at Chelfea.

ISAAC WHOOD

Painted portraits in oil, and in black-lead
on vellom, chiefly profiles. He was pa-
tronized by Wriothefiey duke of Bedford,
and has left feveral of his works at Wo-
burn-abbey. . He died in Bloomfbury-
fquare, February 24, 1752, aged fixty-
three. He was remarkable for his humour,
and happy application of pafiages in Hu-
dibras.

— VOGELSANG,

Painters in the Reign of George I. 77

VOGELSANG,

Of what country I know not, was a land-
fcape-painter, who went to Ireland, where
he had good bufinefs ; but leaving it to
go to Scotland, was not equally fuccefs-
ful, and returned to London. Thefe are
all the traces I find of him in Vertue's
notes,

ZURICH,

Of Drefden, was fon of a jeweller, who
bred him to his own bufinefs, but giving
him fome inftru&ions in drawing too, the
young man preferred the latter, and ap-
plied himfelf to miniature and enamelling. .
He ftudied in the academy of Berlin, and
came to England about 17 15, where he
met with encouragement, though now for-r,
gotten, and obfcured by his countryman
that fecond Petitot, Zincke, whom I fhall
mention in the next reign. Zurich died

about

7 8 Painters in the Reign of George L

about Chriftmas 1735, in the fiftieth year
of his age, and was buried near the Lu>-
theran church in the Savoy, leaving a fori
about twelve years old. Frederic Peterfort
•was an enameller about the fame time, and
died in 172,9.

CHRISTIAN RICHTER,

Son of a filverfmith at Stockholm, came
over in 1702 and pra&ifed in oil, chiefly
ftudying the works of Dahl, from which
hp learned a ftrong manner of colouring,
and which he tranfplanted into his minia-
tures, for which he is bell known. In the
latter part of his life he applied to en*
amelling, but died, before he had made
great proficience in that branch, in
November, 1.732, at about the age of
ftftf. He had feveral brothers, artifts, one
a medaliift at Vienna, and another at Ve-
nice, a painter of views. Richter was
member of a club with Dahl and feveral

gentlemen,

¥ aimers in the Reign tf George I. 79

gentlemen, whole heads his brother mo-
delled by the life, and from thence made
medals in filver. I mention this as it may
explain to collectors the origine of thofe
medals, when they are met with. Sir Wil-
liam Rich, Grey Neville, and others, were
of the club, and I think .fome foreign gen-
tlemen.

JACQUES ANTOINE ARLAUD

Was born at Geneva, May 18, 1668, and
was defigned for the church, but poverty
obliged him to turn painter. At the age
of twenty he quitted Geneva, worked at
Dijon, and from thence repaired to Paris,
where, fucceeding in miniature, he was
approved of by the academy and coun-
tenanced by the king. The regent ad-
mired him ftill more— I am almoft afraid
to repeat what follows, fo much exaggera-
tion teems toiaive been mixed with the

account.

So . Painters in the Reign of George- 1 .

account. Having copied a Leda, my au-
thor fays from a baferelief of Angelo, I
rather firppofe it was the famous Leda of
Coreggio deftroyed by the bigotry of the
regent's fon, all Paris was ftruck with the
performance.' The due de la Force gave
twelve thoufand livres for it, but the duke
being a fufferer by die Miffifllpi [probably
before the picture was paid for] reftored it
to Arlaud,' with 4000 livres for the time he
had enjoyed it. In 17 21 Arlaud brought
this chef d'eeuvre to London^ but would
not fell it— but fold a copy of it, fays the
fame author, for fix hundred pounds fier-
Iing. This fact is quite ' incredible. The
painter was at leaft fo much admired, that
he received many prefents of medals, which
are' ftill in the library of Geneva. But
poor Leda was again condemned to be the
victim of devotion — in 1738 Arlaud him-
felf deftroyed her in. a fit of piety, yet (till
with fo much parental fondnefs, that he

cut

Painters in the Reign of George I. 8 1

cut her to pieces anatomically. This hap-
pened at Geneva. Monf. de Champeau,
then refident there from France, obtained
the head and one foot of the diffectedj a
lady got an arm. The comte de Lautrec,
then at Geneva, and not quite fo fcrupu-
lous, rated Arlaud for demolishing fo fine a
work. The painter died May 25, 1743.
Thefe particularities are extracted from the
poems of Monf. de Bar, printed at Amfter-
dam in 3 volumes, 1750. In the third
volume is an ode on the Leda in queftion*
Vertue fpeaks incidentally of the noife this
picture made in London, but fays nothing
of the extravagant price of the copy. The
duchefs of Montagu has a head of her
father when young, and another of her
grandfather the great duke of Marlbo-
rough, both in water-colours by Arlaud.
The celebrated count Hamilton wrote a
little poem to him on his portrait ) the
Pretender's fitter. See bis works, vol. 4,
h 279-

Vol. IV. F Mrs,

8 2 Painters in the Reign of George I.

Mrs. HOADLEY,

Whofe maiden name was Sarah Curtis, wa&
difciple of Mrs. Beal, and a paintrefs of
portraits by profeffion^ when fhe was fa
happy as to become the wife of that great
and good man,. Dr. Hoadley, afterwards
bifhop of Winchester. From that time Ihe
only pra<5tifed the art for her amufement ;.
though if we may judge of her talents by
the print from her portrait of Whifton, the
art loft as much as me gained — but orien-
tation was below the fimplicity of character
that enobled that excellent family. She died
in 1743. Iri the library at Chatfworth, in
a collection of poems is one addreffed by a
lady to Mrs. Sarah Hoadley on her ex-
cellent painting.

ANECDOTES

ANECDOTES

O F

PAINTING, &c.

CHAP. II.

Architects and other Artifts, in the Reign of
George I.

TH E flages of no art have been more
diftinctly marked than thofe of ar-
chitecture in Britain. It is not probable
that our matters the Romans ever taught
us more than the conftru&ion of arches.
Thofe, impofed on clufters of difpropor-
tioned pillars, compofed the whole gram-
F 2 mar

84 Architetts and other Artifts,

mar of our Saxon anceftors. Churches
and caftles were the only buildings, I ihould
fuppofe, they erected of ftone. As no tafte
was beftowed on the former, no beauty
was fought in the latter. MafTes to refill,
and uncouth towers for keeping watch,
were all the conveniencies they demanded.
As even luxury was not fecure but in a
church, fucceeding refinements were folely
laid out on religious fabrics, till by degrees
was perfected the bold fcenery of Gothic
architecture, with all its airy embroidery
and penfile vaults. Holbein, as I have
fhewn, checked that falfe, yet venerable
ftyle, and firft attempted to fober it to
claflic meafures ; but not having gone far
enough, his imitators, without his tafte,
compounded a mungrel fpecies, that had
no boldnefs, no lightnefs, and no fyftem.
This lafted till Inigo Jones, like his coun-
tryman and cotemporary Milton, difclofed
the beauties of ancient Greece, and efta-
7 blilhed

in the Reign of George I. 85

bliflied fimplicity, harmony, and propor-
tion. That fchool however was too chafte
to flourifli long. Sir Chriftopher Wren
lived to fee it almoft expire before him;
and after a mixture of French and Dutch
uglinefs had expelled truth, without erect-
ing any certain ityle in its {lead, Vanbrugh
with his ponderous and unmeaning mafles
overwhelmed architecture in meer mafonry.
Will pofterity believe that fuch piles were
erected in the very period when St. Paul's
was finishing ?

Vanbrugh's immediate fucceflbrs had no
tafte, yet fome of them did not forget that
there was fuch a fcience as regular archi-
tecture. Still there was a Mr. Archer, the
groom-porter, who built Hethrop, * and a

temple

* St. Philip's church at Birmingham, Cliefden-
houfe, and a houfe at Roehampton, (which as a fpeci-
men of his wretched tafte maybe feen in the Vitruvius

Britan-

F3

86 Architects and other Artifts,

temple at Wreft ; and one Wakefield, who
gave the defign of Helmfley ; each of whom
feemed to think that Vanbrugh had deli-
vered the art from fhackles -, and that they
might build whatever feemed good in their
own eyes. Yet before I mention the
struggles made by the art to refume its juft
empire, there was a difciple of Sir Chrifto-
pher Wren that ought not to be forgotten j
his name was

NICHOLAS HAWKSMOOR.

At eighteen he became the fcholar of Wren,
under whom during his life, and on his
own account after his matter's death, he
was concerned in erecting many public

Britannicus) were other works of the fame perfon ; but
the chef d'ceuvre of his abfurdity was the church of St.
John, with four belfrys in "Weftminfter.

edifices.

in the Reign of George I. 87

edifices. So early as Charles's reign he
was fupervifor of the palace at Winchefter,
and under the fame eminent architect af-
fifted in conducting the works at St. Paul's
to their conclufion. He was deputy-fuf-
veyor at the building Chelfea-college, and
clerk of the works at Greenwich, and was
continued in the fame poft by king Wil-
liam, queen Anne, and George the firft, at
Kenfington, Whitehall, and St. James's ;
and under the latter prince was firft fur-
veyor of all the new churches and of Weft-
rninfter-abbey from the death of Sir Chrif-
topher, and defigned feveral of the temples
that were erected in purfuance of the fta-
tute of queen Anne for raifing fifty new
churches ; their names are, St. Mary Wool-
noth, in Lombard-ftreet j Chrift-church,
Spital-fields -, St. George, Middlefex^ St.
Anne, Limehoufe j and St. George, Bloomf-
bury ; the fteeple of which is a mafter-
ftroke of abfurdity, confifting of an obelifk,

crowned
F4

S8 Architects and other Artifts>

crowned with the ftatue of king George the
Firft, and hugged by the royal fupporters.
A lion, an unicorn, and a king on fuch
an eminence are very furprifing :

The things, we know, are neither rich nor rare,
But wonder how the devil they got there.

He alfo rebuilt fome part of All-Souls
college, * Oxford, the two towers over
the gate of which are copies of his own
fleeple of St. Anne, Limehoufe. At Blen-
heim and Caftle- Howard he was afibciated
with Vanbrugh, at the latter of which he
was employed in erecting the magnificent
maufoleum there when he died. He built
feveral confiderable houfes for various per-
fons, particularly Eafton Nefton in Nor-

* Dr. Clarke, member for Oxford, and benefactor
to that univerfity, built three fides of the fquare called
Peckwater at Chrift-church, and the church of All
§aints in the high Itreet there.

thamptonfhire j

in the Reign of George I. 89

thamptonfhire j reftored a defect in the min-
der of Beverley by a machine of his own
invention -, * repaired in a judicious man-
ner the weft end of Weftminfter-abbey ;
and gave a defign for the Ratcliffe library
at Oxford. His knowledge in every fcience
connected with his art is much commend-
ed, and his character remains unblemifhed.
He died March 25, 1736, aged near feven-
ty. The above particulars are taken from an
account of him given in the public papers,
and fuppofed by Vertue to be drawn up
by his fon-in-law Mr. Blackerby. Many of
the encomiums I omit, beeaufe this is in-
tended as an impartial regifler of, not as a
panegyric on, our artifts. When I have
erred on either fide, in commending or
blaming, I offer but my own judgment.

* Of that machine by which he fcrewed up the
fabric with extraordinary art, there was a print pub*
lifted,

which

go Architects and other Artifts,

'which is authority to nobody elfe, and
ought to be canvarTed or fet right by
abler decifions. Hawkfmoor deviated a
little from the leflbns and practice of his
mafter, and certainly did not improve on
them ; but the moft diftinguifhed archi-
tect was

JAMES GIBBS,

Who without deviating from eftablilhed
rules, proved what has been feen in other
arts, that meer mechanic knowledge may
avoid faults, without furnifhing beauties ;
that grace does not depend on rules ; and
that tafte is not to be learnt. Virgil and
Statius ufed the fame number of feet in
their verfes ; and Gibbs knew the propor-
tions of the five orders as well as Inigo ;
yet the Banquetting-houfe is a ftandard,
and no. man talks of one edifice of Gibbs.

In

in the Reign of George I. 91

In all is wanting that harmonious fimpli-
city that fpeaks a genius — and that is
often not remarked till it has been ap-
proved of by one. It is that grace and
that truth, fo much meditated, and de-
livered at once with fuch correctnefs and
eafe in the works of the ancients, which
good fenfe admires and confecrates, be-
caufe it correfponds with nature. Their
fmall temples and ftatues, like their
writings, charm- every age by their fym-
metry and graces and the juft meafure
of what is neceffary j while pyramids and
the ruins of Perfepolis, only make the
vulgar flare at their gigantic and clumfy
grandeur. Gibbs, like Vanbrugh, had no
averfion to ponderofity, but not being en-
dued with much invention, was only regu-
larly heavy. His praife was fidelity to
rules -, his failing, want of grace.

He was born at Aberdeen in 1683, and
ftudied his art in Italy. About the year

1720

©2 Architects and other Artfjls,

1720 he became the architect moft in
vogue, and the next year gave the defign
of St. Martin's church, which was finifhed
in five years, and coft thirty-two thoufand
pounds. His likewife was St. Mary's in
the Strand, one of the fifty new churches,
a monument of the piety more than of the
tafte of the nation. The new church at
Derby was another of his works ; fo was
the new building at King's college, Cam-
bridge, and the fenate-houfe there, the
latter of which was not fo bad as to jufti-
fy erecting the middle building in a ftyle
very dilfonant. The Ratcliffe library * is
more exceptionable, and feems to have
funk into the ground j or, as Sarah Duchefs
of Marlborough faid of another building, -j-

it

* At the opening the library, Gibbs was compli-
mented by the univerfity with the degree of Mailer of
Arts.

f Of her own houfe at Wimbledon, built for her by
Henry earl of Pembroke, mentioned hereafter ; but it

was

( in the Reign of George I. 93

it looks as if it was making a curtfy.
Gibbs, though he knew little of Gothic
architecture, was more fortunate in the
quadrangle of All Souls, * which has blun-
dered

was her own fault. She infifted on the offices not be-
ing under ground, and yet Ihe would not mount a flight
of fteps. The earl ingenioufly avoided fuch a contra-
diction by finking the ground round the lower flory.
* In the late publication of A. Wood's Hiftory and
Antiquities of the Colleges and Halls in Oxford, I
am juftly corrected for attributing the new buildings
at All Souls to Gibbs, though in another place I had
rightly afcribed them to Hawkfmoor. It is very
true ; I confefs my miftake and flrange negligence,
for I made thofe contradictory affertions within very
few pages of each other. I am told too that there was
no blunder in the ftyle of the building, which was in-
tentional ; the library being built in conformity to the
chapel, and it being the intention of the architect of
the new buildings to build them in the fame ftyle, viz.
in the Gothic. It was undoubtedly judicious to make
the library confonant to the chapel, and the new build-
ings to both, which the Editor fays are Gothic. If
the new buildings are jufl copies of Gothic, it is I
who have blundered, not the architect — but I confefs
I thought the architect had imitated his models fo ill,
and yet had contrived to ftrike out fo handfome a piece

of

94 ArchiteBs and other Artijis,

dered into a pidturefque fcenery not void
of grandeur, eipecially if feen through the
gate that leads from the fchools. The af-
femblage of buildings in that quarter,
though no fingle one is beautiful, always

of fcenery, that what I meant to exprefs, was, that he
had happily blundered into fomething, which though
it milled the graceful and imposing dignity of Gothic
architecture, has yet fome refemblance to It in the ef-
fedt of the whole. When Hawkfmoor lived, Gothic
architecture had been little ftudied, nor were its con-
flituent beauties at all underftood : and whatever the
intention of the architect or of his directors was, I be-
lieve they blundered, if they thought that the new
buildings at All Souls are in the true Gothic flyle. I
was in the wrong to impute that error to Gibbs ; but
I doubt Hawkfmoor will not remain juftified, if, as it
is faid, he intended to make the new buildings Gothic,
which I prefume they are far from being correctly, as
they might rather be taken for a mixture of Vanbrugh's
and Batty Langley's clumfy mifconceptions. Should
the univerfity be difpofed to add decorations in the ge-
nuine flyle of the colleges, they poffefs an architect
who is capable of thinking in the fpirit of the founders.
Mr. Wyat, at Mr. Barrett's at Lee near Canterbury,
has, with a difciple's fidelity to the models of his maf-
ters, fnperadded the invention of a genius. The little
library has all the air of an abbot's ftudy, except that
it difcovers more tafte.

ftruck

in the Reign of George I. 95

(truck me with Angular pleafure, as it con-
veys fuch a vifion of large edifices, un-
broken by private houfes, as the mind is
apt to entertain of renowned cities that exift
no longer. *

In 1728 Gibbs publifhed a large folio of
his own defigns, which I think will con-
firm the character I have given of his

* It is the fame kind of vifionary enchantment that
ilrikes in the gardens at Stowe. Though fome of
the buildings, particularly thofe of Vanbrugh and
Gibbs, are far from beautiful, yet the rich landfcapes
occafioned by the multiplicity of temples and obelifks,
and the various pictures that prefent themfelves as we
fhift our fituation, occafion furprize and pleafure,
fometimes recalling Albano's landfcapes to our mind,
and oftener to our fancy the idolatrous and luxurious
vales of Daphne and Tempe. It is juft to add that the
improvements made by lord Temple have profited of
the prefent perfect ftyle of architecture and gardening.
The temple of Concord and Viftory prefiding over fo
noble a valley, the great arch defigned by Mr. T.
Pitt, and the fmaller in honour of Princefs Amelie,
difclofmg a wonderfully beautiful perfpedlive over the
Elyfian fields to the Palladian bridge, and up to the
eaftle on the hill, are monuments of tafte, and fcenes,
that I much queftion if Tempe or Daphne exhibited.

works.

96 Architects and other Art'ifis,

works. " His arched windows, his ruftio
laced windows, his barbarous buildings
for gardens, his cumbrous chimney-pieces,
and vafes without grace, are finking proofs
of his want of tafte. He got 1500/. by
this publication, and fold the plates after-
wards for 400 /. more. His reputation was
however eftablifhed, and the following
compliment, preferved by Vertue, on his
monument of Prior in Weftminfter-ab-
bey, fhews that he did not want fond ad-
mirers :

While Gibbs difplays his elegant defign,

And Ryfbrack's art does in the fculpture mine,

With due compofure and proportion jufl

Adding new luitre to the finifh'd bull,

Each artift here perpetuates his name,

And fhares with Prior an immortal fame. T. W.

There are three prints of Gibbs, one from
a picture of Huy fling, and another from one
of Schryder, a Swifs, who was afterwards
painter to the king of Sweden, and the
third from Hogarth. Gibbs was afflict-
ed

in the Reign of George \. 97

ed. with the gravel and ftone and went
to Spa in 1749, but did not die till Au-
guft 5, 1754. He bequeathed an hundred
pounds to St. Bartholomew's hofpital, of
which he was architect and governor, the
lame to the Foundling hofpital, and his
library and prints to the RatclifFe library at
Oxford, befides charities, and legacies to
his relations and friends,

COLIN CAMPBELL,

A countryman of Gibbs, had fewer faults,
but not more imagination. He publifhed
three large folios under the title of Vitru-
vius Britannicus, containing many of his
own defigns, with plans of other architects ;
but he did not forefee with how much
more juftice that title would be worn by
fucceeding volumes to be added to his
works. One has already been given. The
Vol. IV. G bell

98 Architects and other Artijls,

beft of Campbell's defigns, are Wanftead/
the Rolls, and Mereworth in Kent: the
latter avowedly copied from Palladio.
Campbell was furveyor of the works at
Greenwich hofpital, and died in 1734.

JOHN JAMES,

Of whom I find no mention in Vertue's
notes, was, as I am informed, confider-
ably employed in the works at Greenwich j
where he fettled. He built- the church
there, and the houfe for fir Gregory Page
at Biackheath, the idea of which was taken
from Houghton. James likewife built the
church of St. George Hanover-fquare, the
body of the church at' Twickenham, and
that of St. Luke, Middlefex, which has a
fluted obelifk for its fteeple. He tranfla-
ted from the French fome books on gar-
dening.

~ C A R-

in the Reign of George I. 99

CARPENTIERE*

Or Charpentiere> a ftatuary much employ-
ed by the duke of Chandos at Canons, was
for fome years principal affiftant to Van
Oft, an artift of whom I have found no me-
morials, and afterwards fet up for himfelf.
Towards the end of his life he kept a
manufacture of leaden ftatues in Piccadilly,
and died in 1737, aged above fixty.

CHARLES CHRISTIAN REISEN,

The celebrated engraver of feals, was fort
of Chriftian Reifen of Drontheim in Nor-
way, * who had followed the fame profef-

fion,

* The father, on his voyage to England, had been

driven by a ftorm to Scotland, and worked at Aber^

G * deen

loo Architetls and other Artifts,

fion, and who with one S tykes were the
firfc artifts of that kind, who had diftin-
guiflied themfelves in England. The fa-
ther died here leaving a widow and a nu-
merous family, the eldeft of which was
Charles Chriftian, who though fcarce twen-
ty had made fo rapid a progrefs under his
father's inftructions, that he became the
fupport of the family, and in a few years
equalled any modern that had attempted
the art of intaglia. He was born in the
parifh of St. Clement's Danes, and on ac-
count of his extraction was recommended
ro prince George, but being little verfed
in tlie language of his family, does -not ap-

deen for one Mfelvin, a goldfmith, for two years be-
ibre he came to London, where he arrived on the fe-
cond day of the great fire in September 1666. Here
lie firfc began to engrave feals, having been only a
goldfmith before. Afterwards he was confined in the
Tower for four years, on fafpicion of engraving dies
•for coining, but was difcharged without a trial,

pear

m the Reign of George \. 101

pear to have been particularly encouraged
by his royal highnefs. The for.ce of his
genius however attracted the notice of fuch
a patron as genius deferved, and always
found at that time, Robert earl of Oxford,
whofe munificence and recommendation
foon placed Chriftian (by which name he
is beft known) on the bafis of fortune and
fame. In the library and mufeum of that
noble collector he found all the helps that
a very deficient education had deprived
him of -, there he learned to fee with Gre-
cian and Roman eyes, and to produce
heads after the antique worthy of his mo-
dels y for though greatly employed on cut-
ting arms and crefts, and fuch taftelefs fan-
tafies, his excellence lay in imitating the
heroes and empreiTes of antiquity. I do
not find that he ever attempted cameo.
The magic of thofe works, in which by
the help of glaflfes we difcover all the beau-
ties of flatuary and drawing, and even the
G 3 fcience

102 ' Architects and other Art'ifis*

fcience of anatomy, has been reflrlcled tot
an age that was ignorant of microfcopic
glaiTes; a problem hitherto unrefolved tq
fatisfaftion. Chriftian's fame fpread be-
yond the confines of our ifland, and he
received frequent commiflions from Den-
mark, Germany, and .France. Chriftian,
as his fortune and tafle improved, made a
collection himfelf of medals, prints, draw-
ings and books ; and was chofen director
of the academy under fir Godfrey Kneller.
On the trial of bifhop A-tterbury, on a
queftion relating to the imprelTion of a
feal, he was thought the beft judge, and
was examined accordingly. Vertue repre-
fents him as a man of a jovial and free,
and even farcaftic temper and of much
humour, an inftance of which was, that
being illiterate, but converfing with men
of various countries., he had compofed a
dialect fo droll and diverting, that it grew
into a kind of ufe among his acquaintance,

and

in the Reign of George 1 . 105

and he threatened to publifh a dictionary
of it. His countenance harmonized with
his humour, and Chrifcian's mazard was a
conftant joke; a circumftance not worth
mentioning, no more than the lines it oc-
cafioned, but as they fell from the pen of
that engaging writer, Mr. Prior. Sir
James Thornhill having drawn an extem-
pore profile of Chriftian, the poet added
this diftich,

This, drawn by candle-light and hazard,
Was meant to fhow Charles Chriftian's mazard..

This great artift lived * chiefly in the
neighbourhood of Covent-garden, Co long
the refidence of mod of our profeffors in-
virtu. He died there of the gout, De-

* He had a houfe too at Putney ; a view of which,
under the fatii ic title of Bearfdenhall, was publifhed
about 1720. V. Brit. Topogr. vol. ii. p. 280.

G 4 cember

I04 Architects and other Artift$> &c.

(cember 15, 1725, when he had not patted
the forty-fixth year of his age, and was
buried in the church-yard on the north fide
next to the fteps. He appointed his friend
fir James Thornhill one of his executors,
and dying a batchelor left the bulk of his
fortune to a maiden filter who had con-
ftantly lived with him, and a portion to
his brother John.

ANECDOTES

ANECDOTES

PF

PAINTING, g£,

CHAP. III.

Painters in the Reign of King George IL

T T is with, complacency I enter upon a
■*• more ihining period in the hiftory of
arts, upon a new aera j for though painting
made but feeble efforts towards advance-
ment, yet it was in the reign of George the
Second that architecture revived in antique
purity j and that an art unknown to every
age and climate not only flarted into be-
ing, but advanced with mafter-fteps to vi-
gorous

io6 Painters in the Reign of George II.

gorous perfection, I mean, the art of gar-
dening, or as I fhould chufe to call it, the
art of creating landfcape. * Ryfbrack and
Roubiliac redeemed ftatuary from reproach,
and engraving began to demand better
painters, whofe works it might imitate.
The king, it is true, had little propen-
fity to refined pleafures; but queen Ca-
roline was ever ready to reward merit,
and wifhed to have their reign illuftrated
by monuments of genius. She enfhrined
Newton, Boyle, and Locke : {he employed
Kent, and fat to Zincke. Pope might, have

* I have not been able to pleafe myfelf with a fingle
term that will exprefs ground laid out on principles
of natural pidlurefque beauty, in contradistinction to
iyinmetrical gardens — but I am very clear that the
«Jefigner of modern improvements in Landfcape -Gar-
dens (as I will call them for want of a happier appella?
tkm) ought by no means to be confounded with the
*}omeflic called a Gardiner j efpecially as a word pre-
fents itfelf which will diftinguifh the different provinces
,of defigning a garden, and of fuperintending it when
laid out. The latter will remain the Gardiner, the
projector I fhould propofe to denominate a Gardenijt.

enjoyed

Painters in the Reign of George II. 107

enjoyed her favour, and Swift had it at
firft, till infolent under the mafk of inde-
pendence} and not content without domi-
neering over her politics, ihe abandoned
him to his ill-humour, and to the vexation
of that mifguided and difappointed ambi-
tion, that perverted and preyed on his ex-
cellent genius.

To have an exadl view of fo long a
reign as that of George the Second, it muft
be remembered that many of the artifts
already recorded lived paft the beginning
of it, and were principal performers. Thus
the ftyle that had predominated both in
painting and architecture in the two prece-
ceding reigns, (till exifted during the firft
years of the late king, and may be con-
fidered as the remains of the fchools of
Dahl and fir Godfrey Kneller, and of fir
Chriftopher Wren. Richardfon and Jervas,
Gibbs and Campbell, were ftill at the head
p{ their refpective profeflions. Each art
jmproved, before the old profeffbrs left

the

io8 Painters in the Reign of George II.

the ftage. Vanloo introduced a better ftyle
of draperies, which by the help of Vanaken
became common to and indeed the fame
in the works of almoft all our painters ;
and Leoni, by publifhing and imitating
Palladio, difencumbered architecture from
fome of the weight with which it had
been overloaded. Kent, lord Burlington,
and lord Pembroke, though the two firft
were no foes to heavy ornaments, reflored
every other grace to that impofing fcience,
and left the art in porTefiion of all its
rights — yet ftill Mr. Adam and fir Wil-
liam Chambers were wanting to give it
perfect delicacy. The reign was not clofed^
when fir Jolhua Reynolds ranfomed por-
trait-painting from infipidity, and would
have excelled the greateft mailers in that
branch, if his colouring were as lafting, as
his tafte and imagination are inexhauflible
— but I mean not to fpeak of living maf-
ters, and mull therefore omit fome of

the

Painters in the Reign of George II. 109

the ornaments of that reign. Thofe I
fhall firft recapitulate were not the moft
meritorious.

HANS HUYSSING,

Born at Stockholm, came over in 1700,
and lived many years with Dahl, whole
manner he imitated and retained. He
drew the three eldeft princefTes, daughters
of the king, in the robes they wore at the
coronation.

CHARLES CO LLINS

Painted all forts of fowl and game. He
drew a piece with a hare and birds and
his own portrait in a hat. He died in
J744.

_ COOPER

i io Painters in the Reign of George fL

COOPER

Imitated Michael Angeio di Caravaggid
in painting fruit and flowers. He died to-
wards the end of 17431

BARTHOLOMEW DANDRIDGE,

Son of a houfe-painter, had great bufinefs
from his felicity in taking a likenefs. He"
fometimes painted fmall conventions, but
died in the vigour of his age.

D A M I N I,

An Italian painter of hiftory, was fcholar

-of Pelegrini. He returned to his own

§ countrj*

Painters in the Reign of George II. 1 1 1

country in 1730, in company with Mr.

Huffey, whofe genius for drawing was
thought equal to very great matters.

JEREMIAH DAVISON

Was born in England, of Scots parents. He
chiefly ftudied fir Peter Lely, and with the
afiiftance of Vanaken, excelled in painting
fattins. Having got acquainted with die
duke of Athol at a lodge of free-mafens, he
painted his grace's picture and prefented it
to the fociety. The duke fat to him again
with his duchefs, and patronized and car-
ried him into Scotland, where, as well as in
London, he had great bufinefs. He died,
the latter end of 1745, aged about fifty.

JOHN

H2 Painters in the Reign of George II.

JOHN ELLIS,

Born in 1701, was at fifteen placed with fir
James Thornhill, and afterwards was a fhort
time with Schmutz j but he chiefly imitated
Vandrebank, to whofe houfe and bufinefs he
fucceeded j and by the favour of the duke
of Montagu., great mafler of the wardrobe,
purchafed Vandrebank's place of tapeftry-
weaver to the crown, as by the intereft of
fir Robert Walpole, for whom he bought
pictures, he was appointed mafter-keeper of
the lions in the Tower. In thefe eafy cir-
cumftances he was not very afliduous in his
profeflion.

PHILIP MERCIER,

Of French extraction, but born at Berlin,
ftudied there in the academy and under

monfieur

Painters in the Reig7i of George II. 1 1 J

monfieur Pefhe. After vifiting France and
Italy he went to Hanover, where he drew
prince Frederic's picture, which he brought
to England, and when his royal highnefs
came over, Mercier was appointed his pain-
ter, became a favourite and was taken
into his fervice and houfhold j and by the
prince's order drew feveral of the royal
family, particularly the three eldeft prin-
ceffes, which pictures were publifhed in
mezzotinto. After nine years, he loft the
favour of the prince of Wales, and was dif-
miffed from his fervice. At firft he talked
of quitting his profefiion, retired into the
country, and bought a fmall eftate j but
foon returned and took a houfe in Covent-
garden, painting portraits and pictures of
familiar life in a genteel ftyle of his own,
and with a little of Watteau, in whofe man-
ner there is an etching of Mercier and his
wife and two of their children. There is
another print of his daughter. Children
Vol. IV. H too

ii4 Painters in the Reign of George I J.

too and their fports he painted for prints.
From London^ he went to York, and met
with encouragement, and for a fhort time
to Portugal and Ireland y and died July 1 8,
1760, aged feventy-one.

JOSEPH FRANCIS NOLLI&INS,

Of Antwerp, fon of a painter who had long
refided in England, but who had fettled
and died at Roan. The fon came over
young, and fludied under Tillemans, and
afterwards copied Watteau and Paulo Pa-
nini. He painted landfcape, figures, and
converfationS) and particularly the amufe-
ments of children. He was much em-
ployed by lord Cobham at Stowe, and by
the late earl of Tilney. He died in St.
Anne's parifh, January 21, 1748, aged
forty-two, and left a wife a>nd a numerous
voung family. Slater painted in the fame

kind

Painters in the Reign of George II. 115

kind with Nollikins, and executed cielings
and works in frefco at Stowe and at the
earl of Weftmorland's at Mereworth in
Kent.

ROBINSON,

A young painter from Bath, had been edu-
cated under Vandrebank, but marrying a
wife with 4 or 5000 /. and taking the houfe
in Cleveland-court in which Jervas had
lived, he fuddenly came into great buli-
nefs, though his colouring was faint and
feeble. He affected to drefs all his pictures
in Vandyck's habits ; a fantaftic fafhion
with which the age was pleafed in other
painters too, and which, could they be
taken for the works of that great man,
would only ferve to perplex pofterity.
Vanaken afiifted to give fome credit to the
delufion. Robinfon died when he was not
above thirty, in 1745.

Hs ANDREA

1 1 6 Painters in the Reign of Georgt IT.

ANDREA SOLDI,

Of Florence, arrived in 1735, being theii
about the age of thirty-three.- He had
been to vifit the Holy Land, and at Aleppo
having drawn the pictures of fome Englifh
merchants, they gave him recommenda-
tions to their countrymen. For fome time
he had much bufinefs, and painted both
portraits and hiftory, but outlived his in-
come and fell into misfortunes*

CHEVALIER RUSCA,

A Milanefe, came over in 1738, and paint-
ed a few pictures here in a gawdy flutter-
ing ftyle, bu: with fome merit. I think her
ftaid here but very few years.

STEPHEN

Painters in the Reign of George II. 117

STEPHEN SLAUGHTER

Succeeded Mr. Walton as fupervifor of
the king's pictures, and had been for
fome time in Ireland, where he painted
feveral portraits. He had a fitter that ex-
celled in imitating bronzes and bafreliefs
to the higheft degree of deception. He
died at Kenfington, whither he had retired,
May 15, 1765. He was fycceeded in his
office of furveyor and keeper of the pic-
tures by Mr. George Knap ton, painter in
crayons.

JAMES WORSDALE

Would have been little known, had he

lbeen diftinguilhed by no talents but his

pencil. He was apprentice to fir Godfrey

H 3 Kneller,

1 1 8 Painters in the Reign of George IX.

Kneller, but marrying his wife's niece
without their confent, was difinifTed by his
matter. On the reputation however of
that education, by his finging, excellent mi-
mickry and facetious fpirit, he gained many
patrons and bufinefs, and was appointed
mafter-painter to the board of ordnance.
He * publifhed feveral fmall pieces, fongs,
tec. befides the following dramatic per-
formances :

i. A Cure for a Scold, a ballad opera,
taken from Shakefpeare's Taming of a
Shrew,

2. The Affembly, a farce, in which Mr*
Worfdale himfelf played the part of old lady
Scandal admirably well.

3. The Queen of Spain.

4. The extravagant Juftice.

He died June 13, 1767, and was buried

* Vide Baker's Companion to the Playhoufe.

at

Painters in the Reign of George II. 119

at St. Paul's Covent-garden, with this epi-
taph' compofed by himfelf,

Eager to get, but not to keep the pelf,
A friend to all mankind, except himfelf.

RANELAGH BARRETT

Was a noted copyift, who being counte-
nanced by fir Robert Walpole, copied fe-
deral of his collection, and others of the
•duke of Devonfhire and Dr. Meade. He
was indefatigable, and executed a vaft num-
ber of works. He fucceeded greatly in
•copying Rubens. He died in 1768, and
his pictures were fold by auction in Decem-
ber of that year.

JOHN W O O T T O N,

A fcholar of Wyck, was a very capital maf-

ter .in the branch of his profeffion to which

H4 te

1 20 Painters in the Reign of George II.

he principally devoted himfelf, and by
which he was peculiarly qualified to pleafe
in this country > I mean, by painting horfes
and dogs, which he both drew and coloured
with confummate fkill, fire and truth. He
was firft diftinguifhed by frequenting New-
market and drawing race-horfes. The
prints from his hunting-pieces are well
known. He afterwards applied to land-
fcape, approached towards Gafpar Pouflin,
and fometimes imitated happily the glow
of Claud Lorrain. In his latter pieces the
leafage of his trees, from the failure of his
eyes, is hard and too diftinctly marked.
He died in January, 1765, at his houfe in
Cavendifh-fquare, which he built, and had
painted with much tafte and judgment;.
His prices were high -3 for a fingle horfe he
has been paid 40 guineas j and 20, when
fmaller than life. His collection was fold
before his death, on his quitting bufmefs \
his drawings and prints January 21, 176 1,

and

Painters in the Reign of George II. \zt

and his pictures the 12th and 13th of
March following,

JOSEPH HIGHMORE,

Nephew of ferjeant Highmore, was bred
a lawyer, but quitted that profeflion for
painting, which he exercifed with reputa-
tion amongft the fucceffors of Kneller, un-
der whom he entered into the academy,
and living at firft in the city, was much
employed there for family-pieces. He af-
terwards removed to Lincoln's-Inn Fields,
sand painted the portraits of the knights of
the Bath, on the revival of that order, for
the feries of plates, which he firft projected,
and which were engraved by Pine. High-
more publifhed two pamphlets •, one called,
A critical Examination of the Cieling paint-
ed by Rubens in the Banquetting Houfe, in
which Architecture is introduced, as far as

relates

1 22 Painters in the Reign of George ft*

relates to Perfpective ; together with the
Difcufiion of a Queftion, which has been the
fubjecT: of Debate among Painters. Written
many years fince, but now firft publifhed,
1764, quarto. * The other, The Practice of
Perfpedtive on the Principles of Dr. Brook
Taylor, &x. Written many years fince,
but now firft publifhed, 1764, quarto;
with 50 copper plates; price one guinea in
boards. He had a daughter who was mar-
ried to a prebendary of Canterbury, and to
her he retired on his quitting bufinefs, and
died there in March 1780, aged 88. f

THOMAS HUDSON,

The fcholar and fon-in-law of Riehardfon,
enjoyed for many years the chief bufinefs of

* Gough's Topogr. art. London.

t There is a larger account of Mr. Highmore in the
Oentleman's Magazine for April 1 780, with a portrait
of him.

portrait-

Painters in the Reign of George II . 123

portrait-painting in the capital, after the fa-
vorite artifts, his matter and Jervas, were
gone off the ftage ; though Vanloo firft, and
Liotard afterwards, for a few years diverted
the torrent of fafhion from the eilabliihed
prof fTor. Still the country gentlemen were
faithful to their compatriot, and were con-
tent with his honeil fimilitudes, and with the
fair tied wigs, blue velvet coats, and white
fattin waiftcoats, which he bellowed liberally
on his cuftomers, and which with compla-
cence they beheld multiplied in Faber's
mezzotintos. The better tafte introduced
by Sir Jofhua Reynolds put an end to Hud-
fon's reign, who had the good fenfe to re-
fign the throne foon after finifhing his ca-
pital work, the family-piece of Charles duke
of Marlborough. He retired to a fmall
villa he had built at Twickenham on a moil
beautiful point of the river, and where he
furniflied the befl rooms with a well-chofen
collection of cabinet-pictures and drawings
by great mailers -3 having purchafed many

of

1 24 Painters in the Reign of George II.

of the latter from his father-in-law's capi-
tal collection. Towards the end of his life
he married to his fecond wife Mrs. Fiennes,
a gentlewoman with a good fortune, to whom
he bequeathed his villa, and died Jan. 26,
*779j aged 78. On the death of his widow
his collection of pictures and drawings were
fold by auction in 1785.

FRANCIS HAYMAN,

A nati veof Devonfhire and fcholar of Brown,
owed his reputation to the pictures he paint-
ed for Vauxhall, which recommended him
to much practice in giving deligns for prints
to books, in which he fometimes fucceeded
well, though a flrong * mannerifl, and eafily
diftinguifhable by the large nofes and fham-
bling legs of his figures. In his pictures
his colouring was raw, nor in any light did

* Churchill, in his firft book of Gotham, objects th.at

fault to him.

he

Painters in the Reign of George II. 1 2$

he attain excellence. He was a rough man,
with good natural parts, and a humourift—
a character often tailed by cotemporaries,
but which feldom aflimilates with or for-
gives the rifing generation. He died of the
gout at his houfe in Dean Street, Soho, in
1776, aged 6$.

SAMUEL SCOTT,

Of the fame aera, was not only the firft pain-
ter of his own age, but one whofe works
will charm in every age. If he was but fe-
cond to Vandevelde in fea-pieces, he ex-
celled him in variety, and often introduced
buildings in his pictures with contaminate
fkill. His views of * London-bridge, of the
* quay at the Cuftom-houfe, &c. were equal

* In the collection of Sir Edward Walpole, who had
feveral of the bell works of Scott, Lambert, Oram and
"Wootton,

to

. 1 26 Painters in the Reign of George if*

to his marines, and his figures were judi-
cioufiy chofen and admirably painted ; nor
were his walked drawings inferior to his fi-
nifhed pictures. Sir Edward Walpoje has
feveral of his largeft and moft capital works.
The gout harafied and terminated his life,
but he had formed a fcholar that compen-
fated for his lofs to the public, Mr. Mar-
low. Mr. Scott died . October 12, 1772,
leaving an only daughter by his wife, who
Survived him till April 17 81.

Mr. TAVERNER,

A proctor in the Commons, painted land-
fcape for his amufement, but would have
rnade a confiderable figure amongft the re-
nowned profeiTors of the art. The earl of
Harcourt and Mr. Fr. Fauquier have each;
two pictures by him, that mult be miftaken
for, and are worthy of Gafpar PouiTin.

1 GEORGE

Painters in the Reign of George II. 1 27

GEORG E KNAPT ON

Was fcholar of Richardfon, but painted
chiefly in crayons. Like his mailer he was
well verfed in the theory of painting, and
had a thorough knowledge of the hands of
the good matters, and was concerned with.
Pond in his various publications. In 1765,
Knapton was painter to the fociety of Dilet-
tanti, and on the death of Slaughter, was
appointed flirveyor and keeper of the king's
pictures, and died at the age of 80, in 1778,
at Kenfmgton, where he was buried.

FRANCIS COTE a,

Scholar of Knapton, painted portraits in oil
and crayons, in the latter of which he ar-
rived at uncommon perfection, though be.

died

128 Painters in the Reign of George II.

died untimely of the (lone in July 1770$
not having pafled the 45 th year of his age*
His pictures of the Queen holding the prin-
cefs royal, then an infant, in her lap ; of his
own wife -, of Polly Jones, a woman of
pleafure ; of Mr. Obrien, the comedian ; of
Mrs. Child, of Oflerley-park j andofMifs
Wilton, now lady Chambers -, are portraits
which, if they yield to Rofalba's in foftnefs,
cxcell her's in vivacity and invention.

WILLIAM ORAM

Was bred an architect, but taking to land-
fcape-painting, arrived at great merit in that
branch ; and was made mailer- carpenter to
the board of works, by the intereft of fir Ed-
ward Walpole, who has feveral of his pic-
tures and drawings.

JOHN

Painters in the Reign of George II. 129

JOHN SHACKLETON

Was principal painter to the crown in the
latter end of the reign of George II. and
to his death, which happened March 16,
1767.

GIACOMO AMICONI,

A Venetian painter of hiftory, came to Eng-
land in 1729, when he was about forty years
of age. He had ftudied under Bellucci in
the Palatine court, and had been foine
years in the elector of Bavaria's iervice.
His manner was a ftill fainter imitation of
that nervelefs matter Sebaftian Ricci, and as.
void of the glow of life as the Neapolitan
Solimeni : fo little attention do the modern
Venetian painters pay to Titian, Tintoret,
and Paul Veronefe, even in Venice, Ami-
Vol. IV. I coni's

1 30 Painters in the Reign of George II.

coni's women are meer chalk, as if he had
only painted from ladies who paint them-
ielves. Nor was this his worfe defect ; his
figures are fo entirely without exprefiion,
that his hiftorical compofitions feem to re-
prefent a fet of actors in a tragedy, ranged
in attitudes againft the curtain draws up.
His Marc Antonys are as free from pafiion
as his Scipios. Yet novelty was propitious
to Amiconi, and for a few years he had
great bufinefs. He was employed to paint
a ftaircafe at lord Tankerville's in St.
James's- fquare [now deftroyed]. It repre-
fented ftories of Achilles, Telemachus and
Tirefias. When he was to be paid, he pro-
duced bills of workmen for fcaffolding, &c.
amounting to ninety pounds, and afked no
more ; content, he faid, with the opportunity
of mowing what he could do. The peer gave
him 200 /. more. Amiconi then was em-
ployed on the ftaircafe at Powis-houfe in
Great Ormond-ftreet, which he decorated

with

Painters in the Reign of George II. 131

with the ftory of Holofernes, but with the
additional fault of beftowing Roman drefTes
on the perfonages. His next work was a
picture of Shakefpeare and the mufes over
the orcheftra of the new theatre in Covent-
garden. But as portraiture is the one thing
necefiary to a painter in this country, he
was obliged to betake himfelf to that em-
ployment, * much »againft his inclination j
yet the Englifh never perhaps were lefs in
the wrong in infilling that a painter of his-
tory fhould turn limner; the barrenefs of
Amiconi's imagination being more fuited
to the inactive tamenefs of a portrait than
to groupes and expreffion. The duke of
Lorrain, afterwards emperor, was then at
London and fat to him. He drew the
queen and the three eldeft princeffes, and
prints were taken from his pictures, which
he generally endeavoured to emblematicize
by genii and Cupids. In 1736 he made a.

* For a whole length he was paid fixty guineas.

I 1 journey

132 Painters in the Reign of George II .

journey to Paris with the celebrated finger
Farinelli and returned with him in the Oc-
tober following. His portrait of Farinelli
was engraved. He then engaged with Wag-
ner, an engraver, in a fcheme of prints
from Canalletti's views of Venice, and hav-
ing married an Italian finger* returned to
his own country in ^1739, having acquired
here about 5000/. At laft he fettled in
Spain, was appointed painter to the king,
and died at Madrid, September i752.*Ami-
coni's daughters, the Signora Belluomini
and the Signora Caftellini, the latter a pain-
trefs in crayons, were living at Madrid in
i'773. Twifs's Travels, p. 167. 4-to. 1775.
Brunetti, an Italian, who had arrived before
Amiconi, and was a painter of architecture
and ornaments, afiifted the latter at lord
Tankerville's and other places, and painted
fcenes for the opera. He etched fome
plates of grotefque ornaments, but left
England for want of bufinefs.

JAMES

Painters in the Reign of George II. 133

JAMES SE Y MOUR1

Was thought even fuperior to Wootton in
drawing a horfe, but was too idle to apply
himfelf to his profeflion, and never attained
any higher excellence, He was the only
fon of Mr. James Seymour, a banker and
great virtuofo, who drew well himfelf and
had been intimate with Faithorne, Lely,
Simon, and fir Chriflopher Wren, and died
at the age of eighty- one, in 1739 ; tne ^on
in 1752, aged fifty. *

* Charles, the old haughty duke of Somerfet, fent
for Seymour to Petvvorth to paint a room with portraits
of his running horfes, and one day at dinner drank to
him with a fneer, " Coufin Seymour, your health. !'
The painter replied, " My Lord, I really do believe
that I have the honour of being of your grace's fa-
mily." The duke offended, rofe from table, and
fent his fteward to pay Seymour, and difmifshim. An-
other painter of horfes was fent for, who finding him-
felf unworthy to finiih Seymour's work, honeftly told
the duke-fo, and humbly recommended to him to re-
call Seymour. The haughty peer did condefcend to
fummon bis coufin once more — Seymour anfwered tha
mandate in thefe words, " My Lord, I will now prove
I am of your grace's family, for I won't come."

I 3 JOHN

1 34 Painters in the Reign of George II.

JOHN BAPTIST VANLOO,

Brother of Carlo Vanloo, a painter in great
efteem at Paris, ftudied in the academy at
Rome, and became painter to the king of
Sardinia, in whofe court he made a consi-
derable fortune, but loft it all in the Mifiif-
fipi, going to Paris in the year of that bub-
ble. He was countenanced by the regent,
and appointed one of the king's painters,
though inferior in merit to his brother. At
Paris he had the honour of drawing the por-
trait of king Staniflas. In 1737 he came to
England with his fon, when he was about
the age of fifty-five. His firft works here
were the portraits of Colley Cibber and
Owen Mac Swinney, whofe long filver-
grey hairs were extremely picturefque, and
contributed to give the new painter repu-
tation. Mac Swinney was a remarkable
perfon, * of much humour, and had been
formerly a manager of the operas, but for

* See more of him in Cibber 's apology for his own
life.

feveral

Painters in the Reign of George II. 135

feveral years had refided at Venice. He had
been concerned in a publication of prints
from Vandyck, ten whole lengths of which
were engraved by Van Gunft. He after-
wards engaged in procuring a fet of emble-
matic pictures, exhibiting the moll Ihining
a&ions of Englifh heroes, ftatefmen, and
patriots. Thefe were painted by the beft
mailers then in Italy, and pompous prints
made from them -3 but with indifferent fuc-
cefs, the ftories being fo ill told, that it is
extremely difficult to decypher to what in-
dividual fo many tombs, edifices and alle-
gories belong in each refpective piece. Se-
veral of thefe paintings are in the pofleflion
of his grace the duke of Richmond.

Vanloo foon bore away the chief bufinefs
of London from every other painter. His
likeneflfes were very ftrong, but not favour-
able, and his heads coloured with force.
He executed very little of the reft of his
pi&ures, the draperies of which were fup-
plied by Vanaken, and Vanloo's own dif-
I 4 ciples

136 Painters in the Reign of George II.

ciples Eccardt * and Root. However, Van-
loo certainly introduced a better ftylej his
pictures were thoroughly finifhed, natural,
and no part neglected. He was laborious,
and demanded five fittings, from each per-
fon. But he foon left the palm to be again
contended for by his rivals. He laboured
under a complication of diftempers, and be-
ing advifed to try the air of his own coun^
try, Provence, he retired thither in Octo-
ber 1742, and died there in April 1746.

JOSEPH VANAKEN.

As in England almoft every body's picture
is painted, fo almoft every painter's works
were painted by Vanaken. He was born at

* Eccardt was a German, and a modeft worthy man.
He remained here after Vanloo's return to France,
and fucceeded to fome of his bufinefs ; but having mar-
ried the daughter of Mr. Duhamel, watchmaker, in
Henrietta-ftreet, with whom he lodged, he retired to
Chelfea, where he died in O&ober 1 779, leaving a fon,
whp is a clerk in the Cultom-houfe.

Antwerp,,

Painters in the Reign of George II. 137

Antwerp, and excelling in fattins, velvets,
lace, embroidery, &c. he was employed by
feveral confiderable painters here to draw
the attitudes and drefs the figures in their
pictures ; which makes it very difficult to
diftinguim the works of the feveral per-
formers. Hogarth drew the fuppofed fune-
ral of Vanaken, attended by the painters he
worked for, difcovering every mark of
grief and defpair. He died of a fever July 4,
1749, aged about fifty. He left a brother,
who followed the fame bufinefs.

There was another of the fame firname,
Arnold Vanaken, who painted fmall figures,
landfcapes, converfations, and publifhed a
fet of prints of fifhes, or the wonders of the
deep. Arnold had a brother who paint-
ed in the fame way, and fcraped mezzos
tintos.

CLER-

1 3$ Painters in the Reign of George II.

CLERMONT,

A Frenchman, was many years in England,
painted in grotefque, foliages with birds
and monkies, and executed feveral cielings
and ornaments of buildings in gardens;
particularly a gallery for Frederic prince of
Wales, at Kew ; two temples in the duke of
Marlborough's ifland near Windfor, called
from his grotefques, Monkey-ifland ; the
cieling of lord Radnor's gallery, and of my
Gothic library, at Twickenham ; the fides
of lord Strafford's eating-room in St.
James's-fquare, from Raphael's loggie in
the Vatican ; and a cieling for lord Nor-
thumberland at Sion. Clermont returned
to his own country in 1754.

CANAL-

Painters in the Reign of George II. 139

CANALLETTI,

The well-known painter of views of Venice
came to England in 1746, when he was
about the age of fifty, by perfuafion of his
countryman Amiconi, and encouraged by
the multitudes of pictures he had fold to or
fent over to the Engliih. He was then in
good circumflances, and it was faid came
to veft his money in our flocks. I think he
did not ftay here above two years. I have
a perfpeftive by him of the infide of King's-
college chapel.

JOLI,

I think a Venetian, was in England in this
reign, and painted ruins with hifloric fi-
gures, in the manner of Paolo Panini. At
Joli's houfe I faw one of thofe pictures, in

which

140 Painters in the Reign of George II.

which were arTembled as many blunders
and improprieties as could be well con-
tained in that compafs. The fubjecl was
Alexander adorning the tomb of Achilles—
on a grave-ftone was infcribed, Hie Jacet
M. Achille, P. P. i. e. pater patriae. The
Chriftian Latin, the Roman M. for Marcus,
the Pater Patriae, and the Italian termina-
tion to Achilles, all this confufion of igno-
rance, made the pidlure a real curiofity.

GEORGE LAMBERT.

In a country fo profufely beautified with the
amaenities of nature, it is extraordinary that
we have produced fo few good painters of
landfcape. As our poets warm their ima-
ginations with funny hills, or figh after
grottoes and cooling breezes, our painters
draw rocks and precipices and cancellated
mountains, becaufe Virgil galped for breath

at

Painters in the Reign of George I L 1 4.1

at Naples, and Salvator wandered amidfl:
Alps and Apennines. Our ever-verdant
lawns, rich vales, field of haycocks, and
hop-grounds, are neglected as homely and
familiar fubjects. The latter, which I never
faw painted, are very picturefque, particu-
larly in the feafon of gathering, when fome
tendrils are ambitioufly climbing, and
others dangling in natural fefcoons; while
poles, defpoiled of their garlands, are erect-
ed into eafy pyramids that contrafl with the
taper and upright columns. In Kent fuch
fcenes are often backed by fand-hills that
enliven the green, and the gatherers di£-
perfed among the narrow alleys enliven the
picture, and give it various diftances.

* Lambert, who was inftrufled by HalTel,
and at firft imitated Wootton, was a very

* There Is a print by Smith of one John Lambert,
Efq; painting an hiftoric piece, from a portrait done by
himfelf : I do not know whether he was related to
George Lambert.

5 good

142. "Painters in the Reign of George II.

good mailer in the Italian ftyle, and follow-
ed the manner of Galpar, but with more
richnefs in his compofitions. His trees
were in a great talle, and grouped nobly.
He painted many admirable fcenes for the
playhoufe, where he had room to difplay
his genius; and, in concert with Scott, exe-
cuted fix large pictures of their fettlements
for the Eaft-India company, which are
placed at their houfe in Leadenhall-ilreet.
He died Feb. i, 1765. He did a few land-
fcapes in crayons.

THOMAS WORLIDGE

For the greater part of his life painted por-
traits in miniature : he afterwards with worfe
fuccefs performed them in oil 3 but at laft
acquired reputation and money by etchings
in the manner of Rembrandt, proved to be
a very eafy talk by the numbers of men who

have
3

Painters in the Reign of George II. 14 j

have counterfeited that matter fo as to de-
ceive all thofe who did not know his works
by heart. Worlidge's imitations and his
heads in black-lead have grown aftonifh-
ingly into fafhion. His beft piece is the
whole length of fir John Aftley, copied from
Rembrandt : his print of the theatre at Ox-
ford and the act there, and his ftatue of
lady Pomfret's Cicero, are very poor per-
formances. His laft work was a book of
gems from the antique. He died Sept. 23,
1766, at Hammerfmith, though latterly he
refided chiefly at Bath. The following com-
pliment to his wife, on feeing her copy a
landfcape in needle-work, was printed in
the Public Advertifer j

At Worlidge's as late I faw
A female artifl: fketch and draw,
Now take a crayon, now a pencil,
Now thread a needle, ftrange utenfil !
J hardly could believe my eyes,
To fee hills, houfes, fteeples rife ;

While

144 Painters in the Reign of George II.

While crewel o'er the canvafs drawn

Became a river or a lawn.

Thought I — it was not faid thro' malice,

That Worlidge was oblig'd to Pallas J

For fure fuch art can be difplay'd

By none except the blue-ey'd maid !

To him the prude is tender hearted—

The paintrefs from her eafel ftarted —

fl Oh 1 fir, your fervant — pray fit down :

My hufband's charm'd you're come to town."— »

For wou'd you think it ? — on my life,

*Twas all the while the artift's wife.

I chofe to infert thefe lines, not only in juf-
tice to the lady celebrated, but to take no-
tice that the female art it records, has of
late placed itfelf with dignity by the fide of
painting, and actually maintains a rank
among the works of genius. Mifs Gray
was the firft who diftinguifhed herfelf by fo
bold an emulation of painting. She was
taught by a Mr. Taylor, but greatly excel-
led him, as appears by their works at lord
Spencer's at Wimbledon. His reprefents.
an old woman felling fruit to a Flemifli wo-

" man,

Painters in the Reign of George II. 14$

man, after Snyder : hers a very large pic-
ture of three recruiting-officers and a pea-
fant, whole lengths— in each, the figures are
as large as life. This gentlewoman has been
followed by a very great miftrefs of the art,
Caroline cOuntefs of Ailefbury, who has not
only furpaiTed feveral good pictures that fhe
has copied, but works with fuch rapidity and
intelligence, that it is almoft more curious
to fee her pictures in their progrefs, than
after they are finilhed. Befides feveral
other works, Hie has done a picture of fowls,
a water-dog and a heron, from Oudry, and
an old woman fpinning, whole length, from
Velafco, that have greater force than the
originals. As fome of thefe mafterly per-
formances have appeared in our public ex-
hibitions, I venture to appeal to that pub-
lic, whether juftice or partiality dictated this
encomium.

Vol, IV. K ANEC

ANECDOTES

O F

PAINTING, H£

C H A P. IV.

Painters in the Reign of King George II,

WILLIAM HOGARTH.*

HAVING difpatched the herd of our
painters in oil, I referved to a clafs
by himfelf that great and original genius,
Hogarth i confidering him rather as a wri-
ter

* Since the firft edition of this work, a much ampler
account of Hogarth and his works has been given by

, Mr.

■

Painters in the Reign cf George II. 147

ter of comedy with a pencil, than as a pain-
ter. If catching the manners and follies of
an age living as they rife, if general fatire on
vices and ridicules, familiarized by ftrokes
of nature, and heightened by wit, and the
whole animated by proper and juft expref-
fions of the paffions, be comedy, Hogarth
compofed comedies as much as Moliere : in
his marriage alamode there is even an in-
trigue carried on throughout the piece. He
is more true to character than Congrevej
each perfonage is diftihcl from the reft, a£h
in his fphere, and cannot be confounded
with any other of the dramatis perfon^e.
The alderman's footboy, in the laft print of
the fet I have mentioned, is an ignorant

Mr. Nichols, which is not only more accurate, but
much more fatisfattory than mine ; omitting nothing
that a collector would vvifh to know, either with re-
gard to the hiftoryof the painter himfelf, or to the cir-
cumftances, different edit/ions and variations of his
prints. I have compleated my lift of Hogarth's works
.from that fource of information.

K 1 ruftic ;

148 Painters in the Reign of George II.

ruftic ; and if wit is {truck out from the
chara&ers in which it is not expected, it is
from their acting conformably to their fitu-
ation and from the mode of their paffions,
not from their having the wit of fine gen-
tlemen. Thus there is wit in the figure of
the alderman, who when his daughter is ex-
piring in the agonies of poifon, wears a face
of follicitude, but it is to fave her gold
ring, which he is drawing gently from her
finger. The thought is parallel to Mo-
liere's, where the mifer puts out one of the
candles as he is talking. Moliere, inimit-
able as he has proved, brought a rude thea-
tre to perfection. Hogarth had no model
to follow and improve upon. He created
his arts and ufed colours inftead of lan-
guage. His place is between the Italians,
whom we may confider as epic poets and
tragedian*, and the Flemifh painters, who
are as writers of farce and editors of bur-

lefque

Painters in the Reign of George II. 149

lefque nature. * They are the Tom Browns
of the mob. Hogarth refembles Buttler,
but his fubjetts are more univerfal, and
amidft all his pleafantry, he obferves the

* When they attempt humour, it is by making" a
drunkard vomit ; they take evacuations for jokes, and
when they make us fick, think they make us laugh. A
boor hugging a frightful frow is a frequent incident
even in the works of Teniers, If there were painters
in the Alps, I fuppofe they would exhibit Mars and
Venus with a conjunction of fwelled throats. I cannot
deny myfelf the pleafure of obferving that we adlualfy
pofTefs a painter, who finilhing as exquifitely as the
Flemilh, is a true mafter of comic nature. Need I fay
his name is ZofFanii ?

I have been blamed for cenfuring the indelicacies of
Flemilh and Dutch painters, by comparing them with
the furity of Hogarth, againft whom are produced
many inftances of indelicacy, andfome repetitions of the
fame indelicacy. I will not defend myfelf by pleading
that thefe inftances are thinly fcattered through a great
number of works, and that there is at leaft humour in
raoft of the incidents quoted, and that they infinuate
fome reflection, which is never the cafe of the foreign-
ers— but can I chufe but fmile when one of the naftieft,
examples fpecified is from the burlefque of Paul before
Felix, profefledly in ridicule of the grofs images of the
Dutch ?

K 3 true

150 Painters in the Reign of George II.

true end of comedy, reformatibn ; there is
always a moral to his pictures. Sometimes
he rofe to tragedy, not in the cataftrophe of
kings and heroes, but in marking how vice
conducts infenfibly and incidentally to mi-
fery and fhame. He warns againft encou-
raging cruelty and idlenefs. in young minds,
and difcerns how die. different vices of- the
great and the vulgar lead by various paths
to the fame unhappinefs. The fine lady in
Marriage Alamode, and Tom Nero in the
Four Stages of Cruelty, terminate their
frory in blood — fhe occafions, the murder
of her hufband, he affaflinates his miftrefs.
How delicate and fuperior too is his fatire,
when he intimates in the College of Phyfi-
cians and Surgeons that prefide at a diffec-
tion, how the legal habitude of viewing
fhocking fcenes hardens the human mind,
and renders it unfeeling. The prefident
maintains the dignity of infenfibility over
an executed corpfe, and confiders it but as

the

V timers . In the Reign of George 1 1. E£fl

tVe object of a lecture. In the print of the
Sleeping Judges, this habitual indifference
only excites our laughter.

It is to Hogarth's honour that in fo many
fcenes of fatire or ridicule, it is obvious
that ill-nature did not guide his pencil.
His end is always reformation, and his- re-
. proofs general. Except in the print of the
Times, and the two portraits of Mr. Wilkes
and Mr. Churchill that followed, no ^an
amidft fuch a profufion of charade riflic
faces, ever pretended to difcover or charge
him with the caricatura of a * real perfon 3

• "If he indulged his fpirit of ridicule in perfonali-
ties, it f never proceeded beyond /ketches and draw-
ings ; his prints touched the folly, but fparcd the per-
fon. Early he drew a noted mifer, one of the fheriffs,
trying a mafiiffthat had robbed his kitchen, but the
magiftrate's fon went to his houfe and cut the picture to
pieces.

■J- I have been reproved for this afiertion, and inftances have been
Jointed out that contradict me. I am far from perfevering in -an
eiror, and do allow that my pofition was too pofitive. Still iome of
the inftances adduced were by no means caricaturas. SirJohnGonfon
and Dr. Mifaubinin theHarlofsProgrefswereratherexamplesideri-
tified than fatires. Others, as Mr. Pine's, were meer portraits, in-
troduced by their own defire; or with their confent.

K 4 except

i$2 Painters in the Reign of George II.

except of fuch notorious characters as Chan-
tres and mother Needham, and a very few
more, who are acting officially and fuitably
to their profefiions. As he muft have ob-
ferved fo carefully the operation of the paf-
fions on the countenance, it is even wonder-
ful that he never, though without intention,
delivered the very features of any indentical
perfon. It is at the fame time a proof of his
intimate intuition into nature: but had he
been too fevere, the humanity of endea-
vouring to root out cruelty to animals
would atone for many fatires. It is another
proof that he drew all his ftores from na-
ture and the force of his own genius, and
was indebted neither to models nor books
for his ftyle, thoughts or hints, that he ne-
ver fucceeded when he defigned for the
works of other men. I do not fpeak of his
early performances at the time that he was
engaged by bookfellers, and rofe not above
thofe they generally employ ; but in his ma-

turer

Painters in the Reign of George II. 153

turer age, when he had invented his art,
and gave a few defigns for fome great au-
thors, as Cervantes, Gulliver, and even Hu-
dibras, his compofitions were tame, fpirit-
lefs, void of humour, and never reach the
merits of the books they were defigned to
illuftrate. He could not bend his talents
to think after any body elfe. He could
think like a great genius rather than after
one. I have a fketch in oil that he gave
me, which he intended to engrave. It was
done at the time * that the Houfe of Com-
mons appointed a committee to enquire into
the cruelties exercifed on prifoners in the
Fleet to extort money from them. The
fcene is the committee j on the table are
the inftruments of torture. A prifoner in
rags half ftarved appears before them j the
poor man has a good countenance that adds
to the intereft. On the other hand is the
inhuman gaoler. It is the very figure that

* In 1729. v. Brit. Topogr. vol. i, 636.

Salvator

154 Painters in the Reign of George II.

Salvator Rofa would have drawn for Iago
in the moment of detection. Villany, fear,
and confcience are mixed in yellow and
livid on his countenance, his lips are con-
tracted by tremor, his face advances as
eager to lie, his legs ftep back as thinking
to make his efcape ; one hand is thruft
precipitately into his bofom, the fingers
of the other are catching uncertainly at his
button-holes. If this was a portrait,* it is>
the molt fpeaking that ever was drawn ; if
it was not, it is ftill finer.

It is feldom that his figures do not ex-
prefs: the character he intended to give
them. When they wanted an illuftration
that colours could not beftow, collateral
circumflances, full of wit, fupply notes.
The nobleman in Marriage Alamode has
a great air — the coronet on his crutches,
and his pedigree ifTuing out of the bowels

* It was the portrait of Bambridge the Warden of
the Fleet -pcifon. Nichols.

Of

Painters hi the RJgn of George II. 1 55

of William the Conqueror, a,dd his charac-
ter. In the breakfaft the old ileward re-
flects for the fpectator. Sometimes a fhort
label is an epigram, and is never intro-
duced without improving the fti eject. Un-
fortunately fome cir.cumftarices, that were
temporary, will be loft to ppfterity,. the
fate of all comic authors;, and.if ever an
author wanted' a commentary that none
of his beauties might be loft, it is Ho-
garth—not from being obfcure, [for he
never was that but in two or three, of his
firft prints where- tranfient national follies,
as lotteries, free-mafonry, and the. South-
fea were his topics] but for the ufe of fo-
reigners, and from a multiplicity of little,
incidents, not efiential to, but always
heightening the principal action. Such is
the fpider's-web extended over the poor's
box in a parhn- church ; the blunders in
architecture in the nobleman's feat {em
through the window, in the firft print of

Marriage

x $6 Painters in the Reign of George II.

Marriage Alamode ; and a thoufand in the
Strollers drefling in a Barn, which for wit
and imagination, without any other end,
I think the beft of all his works : as for
ufeful and deep fatire, that on the Metho-
difts is the moft fublime. The fcenes of
Bedlam and the gaming-houfe, are inimit-
able reprefentations of our ferious follies or
unvoidable woesj and the concern ihown
by the lord-mayor when the companion of
his childhood is brought before him as a
criminal, is a touching picture, and big
with humane admonition and reflection.

Another inftance of this author's genius is
his not condefcending to explain his moral
leflbns by the trite poverty of allegory. If
he had an emblematic thought, he expreffed
it with wit, rather than by a fymbol. Such
is that of the whore fetting fire to the
world in the Rake's Progrefs. Once in-
deed he defcended to ufe an allegoric per-
fonage, and was not happy in it : in one of

his

Painters in the Reign of George II. 1 57

his election prints Britannia's chariot breaks
down, while the coachman and footman arc
playing at cards on the box. Sometimes
too, to pleafe his vulgar cuftomers, he
Hooped to low images and national fatire,
as in the two prints of France and Eng-
land, and that of the Gates of Calais. The
laft indeed has great merit, though the ca-
ricatura is carried to excefs. In all thefe
the painter's purpofe was to make his
countrymen obferve the eafe and affluence
of a free government, oppofed to the wants
and woes of flaves. In Beer-ftreet the F.ng-
liih butcher tolling a Frenchman in the air
with one hand, is abfolute hyperbole; and
what is worfe, was an afterthought, not be-
ing in the firft edition. The Gin-alley is
much fuperior, horridly fine, but difguft-
irig.

His Bartholomew-fair is full of humour 5
the March to Finchley, of nature : the En-
raged Mufician tends to farce. The Four

Parts

i$% Painfers in the Reign of 'George \L

■ ■ -

£arts of the Day, except the laft, are in-
ferior to few of his "works, llie Sleeping
Congregation, the Lecture on the Vacuum,
the Laughing Audience, the Confutation
of Phyficians as a coat of arms, and the
Cockpit, are perfefr in their feveral kinds,
"The prints of Induftry and Idlenefs have
more merit in the intention than execu-
tion.

Towards his latter end he now and then
repeated himfelf, but feldomer than moft
great authors who executed fo much.

It may appear fingular that of an author
whom 1 call comic, and who is fo cele-
brated for his humour, I mould fp'eak in
general in fo ferious a ftyle ; but it would
be fuppreffing the merits of his heart to
confider him only as a promoter of laugh-
ter. I think I have mown that his views
were more generous and extenfive. Mirth
coloured his pictures, but benevolence de-
signed them. He fmiled like Socrates,

that

Painters in the Reign of George II. 159

that men might not be offended at his lec-
tures, and might learn to laugh at their
own follies. When his topics were harm-
lefs, all his touches were marked with
pleafantry, and fun. He never laughed
like Rabelais at nonfenle that he impofed
for witj but like Swift combined inci-
dents that divert one from their unexpected
encounter, and illuftrate the tale he means
to tell. Such are the hens roofting on the
upright waves in the fcene of the Strollers,
and the devils drinking porter on the altar.
The manners or cdftume are more than ob -
ferved in every one of his works. The very
furniture of his rooms defcribe the charac-
ters of the perfons to whom they belong ;
a leflbn that might be of ufe to comic au-
thors. It was referved to Hogarth to
write a fcene of furniture. The rake's
levee-room, the nobleman's dining-room,
the apartments of the hufband and wife in
Marriage Alamode, the alderman's parlour,

the
9

1 60 Painters in the Reign of George II .

the poet's bedchamber, and many others,
are the hiftory of the manners of the age.

But perhaps too much has been faid o£
this great genius as an author, it is time to
ipeak of him as a painter, and to mention
the circumftances of his life, in both which
I fhall be more brief. His works are his
hiftory; as a painter, he had but flender
merit.

. He was born in the parifh of St. Bartho-
lomew, London, the fon of a low tradef-
mon, who bound him to a * mean engra-
ver of arms on plate j but before his time
was expired he felt the impulfe of genius,
and felt it directed him to painting, though
little apprized at that time of the mode na-
ture had intended he mould purfue. His
apprenticefhip was no fooner expired, than
he entered into the academy in St. Mar-
tin's-lane, and ftudied drawing from the

* This is wrong ; it was to Mr. Gamble, an emi-
nent ulverimith. Nichols's Biogr. Remarks.

life,

4

Painters in the Reign of George II. 1 6 1

life, in which he never attained to great
excellence. It was character, the paflions,
the foul, that his genius was given him to
copy. In colouring he proved no greater a
matter: his force lay in expreflion, not in
tints and chiaro fcuro. At firft he worked
for bookfellers, and defigned and engraved
plates for feveral books j and, which is ex-
traordinary, no fymptom of genius dawned
in thofe plates. His Hudibras was the firft
of his works that marked him as a man
above the common ; yet what made him
then noticed, now furprizes us to find fo
little humour in an undertaking fo congenial
to his talents. On the fuccefs however of
thofe plates he commenced painter, a painter
of portraits 3 the moft ill-fuited employment
imaginable to a man whofe turn certainly
was not flattery, nor his talent adapted to
look on vanity witjiout a fneer. Yet his fa-
cility in catching a likenefs, and the method
he chofe of painting families and conven-
tions in fmall, then a novelty, drew him pro-
Vol. IV. L digious

1 62 Painters in the Reign of George II.

digious bufinefs for fome time. It did not
laft, either from his applying to the real
bent of his difpofition, or from his cuf-
tomers apprehending that a fatirift was too
formidable a confeffor for the devotees of
felf-love. He had already dropped a few
of his fmaller prints on fome reigning fol-
lies, but as the dates are wanting on moft of
them, I cannot afcertain which, though thofe
on the South- fea and Rabbit- woman prove
that he had early difcovered his talent for
ridicule, though he did not then think of
building his reputation or fortune on its
powers.

His Midnight Modern Converfation was
the firft work that mowed his command of
character : but it was the Harlot's Pro-
grefs, publifhed in 1729 or 1730 that efta-
blilhed his fame. The pictures were fcarce
finifhed and no fooner exhibited to the pub-*
lie, and the fubfeription opened, than above
twelve hundred names were entered on his
book. The familiarity of the fubjecl, and the

propriety

Painters in the Reign of George II. 163

propriety of the execution, made it tafted
by all ranks of people. Every engraver fet
himfelf to copy it, and thoufands of imita-
tions were difperfed all over the kingdom.
It was made into a pantomime, and perform-
ed on the ftage. The Rake's Progrefs,
perhaps fuperior, had not fo much fuccefs,
from want of novelty ; nor indeed is the
print of the Arreft equal in merit to the
others.

The curtain was now drawn afide, and
his genius flood difplayed in its full luftre.
From time to time he continued to give
thofe works that mould be immortal, if die
nature of his art will allow it. Even the re-
ceipts for his fubfcriptions had wit in them.
Many of his plates he engraved himfelf, and
often expunged faces etched by his affifl-
ants when they had not done juftice to his
ideas.

Not content with mining in a path un-
trodden before, he was ambitious of diftin-
guifhing himfelf as a painter of hiftory.
L a But

164 Painters in the Reign of George II.

But not only his colouring and drawing
rendered him unequal to the tafk ; the ge-
nius that had entered fo feelingly into the
calamities and crimes of familiar life, de-
ferred him in a walk that called for dignity
and grace. The burlefque turn of his
mind mixed itfelf with the moft ferious fub-
jefls. In his Danae the old nurfe tries a
coin of the golden fhower with her teeth, to
fee if it is true gold : in the Pool of Bethefda
a fervant of a rich ulcerated lady beats back
a poor man that fought the fame celeflial re-
medy. Both circumftances are juftly thought,
but rather too ludicrous. It is a much more
capital fault that Danae herfelf is a meer
nymph of Drury. He feems to have con-
ceived no higher idea of beauty.

So little had he eyes to his own deficien-
cies, that he believed he had difcovered the
principle of grace. With the enthufiafm of
a difcoverer he cried, Eureka ! This was
his famous line of beauty, the ground-work
of his Analyfis, a book that has many fen-

fible

Painters in the Reign of George II. 165

fible hints and obfervations, but that did
not carry the conviction nor meet the uni-
verfal acquiefcence he expected. As he
treated his cotemporaries with fcorn, they
triumphed over this publication, and imi-
tated him to expofe him. Many wretched
burlefque prints came out to ridicule his
fyftem. There was a better anfwer to it in
one of the two prints that he gave to illuf-
trate his hypothecs. In the Ball had he con-
fined himfelf to fuch outlines as compofe
awkwardnefs and deformity, he would have
proved half his affertion — but he has added
two famples of grace in a young lord and
lady, that are ftrikingly ftiff and affected.
They are a * Bath beau and a county-
beauty.

But this was the failing of a vifionary.
He fell afterwards into a grofler miftake.

* In the original plate that figure reprefented the
prefent king, then prince ; but he was deured to alter
it. The prefent figure was taken from the laft duke
of Kingfton ; yet, though like, is ftifF and far from
graceful.

L 3 From

1 66 Painters in the Reign of George II.

From a contempt of the ignorant virtuofi
of the age, and from indignation at the im-
pudent tricks of pictu re-dealers, whom he
faw continually recommending and vending
vile copies to bubble-collectors, and from
having never ftudied, indeed having feen,
few good pictures of the great Italian matters,
he perfuaded himfelf that the praifes beftow-
ed on thofe glorious works were nothing but
the effects of prejudice. He talked this
language till he believed it ; and having
heard it often averted, as is true, that time
gives a mellownefs to colours and improves
them, he not only denied the proportion,
but maintained that pictures only grew
black and worfe by age, not diftinguiihing
between the degrees in which the proportion
might be true or falfe. He went farther:
he determined to rival the ancients — and un-
fortunately chofe one of the fineft pictures in
England as the object of his competition.
This was the celebrated Sigifmonda of fir
Luke Schaybj now in the pofleffion of the

duke

Faint ers in the Reign of Getrge II. 167

duke of Newcaftle, faid to be painted by
Correggio, probably by Furino, but no mat-
ter by whom. It is impoilible to fee the
picture or read Dryden's inimitable tale, and
not feel that the fame foul animated both.
After many efiays Hogarth at laft produced
his Sigifmonda — but no more like Sigif-
monda, than I to Hercules. Not to men-
tion the wretchednefs of the colouring, it
was the reprefentation of a maudlin ftrumpet
juft turned out of keeping, and with eyes
red with rage and ufquebaugh, tearing
off the ornaments her keeper had given
her. To add to the difguft raifed by
iuch vulgar exprefiion, her fingers were
* bloodied by her loyer's heart that lay be-

* In the biographic Anecdotes of Hogarth it is faid,
that my memory muft have failed me, for that on re-
peated infpe&ion it is evident that the fingers are un-
stained with blood. Were they always fo ? I faw it
when firft painted, and bloody they were. In p. 46
it is confeffed that upon the criticifm of one connoiffeur
•or another the picture was fo altered, that an old friend
of Mr. Hogarth fcarce knew it again.

L 4 fore

1 68 Painters in the Reign of George II.

fore her like that of a fheep's for her dinner.
None of the fober grief, no dignity of fup-
preffed anguifh, no involuntary tear, no fet-
tled meditation on the fate fhe meant to
meet, no amorous warmth turned holy by
defpair -, in jfhort all was wanting that mould
have been there, all was there that fuch a
ftory would have banifhed from a mind
capable of conceiving fueh complicated
woe ; woe fo fternly felt and yet fo tender-
ly. Hogarth's performance was more ridi-
culous than any thing he had ever ridiculed.
He fet the price of 400 /. on it, and had it
returned on his hands by the perfon for
whom it was painted. He took fubfcrip-
tions for a plate of it, but had the fenfe at
laft to fupprefs it. I make no more apology
for this account than for the encomiums I
have beftowed on him. Both are dictated by
truth, and are the hiftory of a great man's
excellencies and errors. Milton, it is faid,
preferred his Paradife Regained to his im-
mortal poem.

The

Painters in the Reign of George II. 169

The laft memorable event of our artift's
life was his quarrel with Mr. Wilkes, in
which if Mr. Hogarth did not commence
direct hostilities on the latter, he at leaft
obliquely gave the firft offence by an attack
on the friends and party of that gentle-
man. This conduct was the more furpriz-
ing, as he had all his life avoided dipping
his pencil in political contefts, and had early
refufed a very lucrative offer that was made
to engage him in a fet of prints againfl the
head of a court -party. Without entering
into the merits of the caufe, I mail only
ftate the fact. In September 1762, Mr.
Hogarth publifhed his print of the Times.
It was anfwered by Mr. Wilkes in a fevere
North-Briton. On this the painter exhi-
bited the caricatura of the writer. Mr.
Churchill, the poet, then engaged in the
war, and wrote his epiftle to Hogarth, not
the brighter!: of his works, and in which the
fevereft ftrokes fell on a defect that the
painter had neither caufed nor could amend

—his

170 Painters in the Reign of George II.

—his age j and which however was neither
remarkable nor decrepit ; much lefs had it
impaired his talents, as appeared by his hav-
ing compofed but fix months before one of
his molt capital works, the fatire on the Me-
thodifls. In revenge for this epiftle, Hogarth
caricatured Churchill under the form of a
canonical bear, with a club and a pot of por-
ter— et vitula tu dignus & hie — never did
two angry men of their abilities throw mud
with lefs dexterity.

Mr. Hogarth, in the year 1730, married
the only daughter of fir James Thornhill,
by whom he had no children. He died of
a dropfy in his bread at his houfe in Leicef-
ter-fields, October 26, 1764.

He fold about twenty-four of his principal
pictures by auction in 1745. Mr. Vincent
Bourne addreffed a copy of Latin hendeca-
fyllables to him on his chief pictures ; and
Roquetti, the enameller, publifhed a French
explanation, though a fuperficial one, of
many of his prints, which, it was faid, he
10 had

Painters in the Reign of George II. 171 '

had drawn up for the ufe of marfhal Bclleifle3
then a prifoner in England.

As I am pofferTed of the mod compleat
collection of his prints that I believe exifls,
I fhall for the ufe of collectors give a cata-
logue of them. Moflof them were affembled
by Mr. Arthur Pond, and fome of them pro-
bably are now no where elfe to be found. I
have added every other print that I could difco-
ver to have been defigned or engraved by him.
He had kept no fuite himfelf, and had for-
gotten feveral in which he had been concern-
ed. He gave me what few fketches had not
been forced from him by his friends, particu-
larly the Committee above-mentioned, and
the firft thoughts for Induftry and Idlenefs,

&

Catalogue

172 Painters in the Reign of George II.

Catalogue of Mr. Hogarth's Prints.

Class i. Miscellaneous.

i.IIT HOGARTH, engraver, with
T * * two figures and two cupids,
April 28, 1720.

2. His own cypher, with his name under
it at length ; a plate he ufed for his books.

3. His own head in a cap, oval frame* a
pug dog, and a pallet with the line of beauty,
&c. infcribed Gulielmus Hogarth. Se ipfe
pinxit & fculpfit. 1749. A fquare print.

4. His own portrait, fitting and painting
the mufe of comedy. Head profile, in a cap.
The Analyfis of Beauty on the floor. W.
Hogarth ferjeant-painter to his majefty. The
face engraved by W. Hogarth, 1758.

5. The fame j the face retouched, but not
lb like as in the preceding. Comedy alfo

3 has

Painters in the Reign of George II. 173

has the face and mafk marked with black,
and infcribed, Comedy, 1764. No other in-
fcription but his name, William Hogarth.

* 5. His own head with a hat on j mezzo-
tinto. Weltdon and Hogarth, pinx. Charles
Townley fecit. 178 1.

6. People in a ihop, under the king's
arms : Mary and Ann Hogarth. A Ihop-
bill.

7. Small oval print for the Rape of the
Lock ; for the top of a fnurT-box.

8. An emblematic print reprefenting agri-
culture and arts. Seems to be a ticket for
fome fociety.

9. A coat of arms, with two flaves and
trophies. Plate for books.

10. A foreign coat of arms, fupporters a
favage and angel. Ditto.

1 1 . A grifon with a flag. A creft.

12. Another coat of arms, and two boys
as terms.

13. A Turk's head. Alhop-bill.

14. An

174 Painters in the Reign of George II.

14. An angel holding a palm in the left
hand. A fhop-bill.

15. A fmall angel, almoft the fame as the
preceding.

16. Lord Aylmer's coat of arms.

17. Two ditto of the duchefs of Kendal.

18. A fhop-bill, reprefenting trade and
arms of Florence.

19. A ticket for the benefit of Milward,
the tragedian.

20. A ticket for a burial.

21. A large oval coat of arms, with terms
of the four feafons.

22. Capt. Coram and the children of the
Foundling hofpital. A ticket.

23. Five Mufcovites. Small plate for a
book of travels.

24. Mufic introduced to Apollo by Mi-
nerva, 1727. Frontifpiece to fome book,
mufic, or ticket for a concert.

25. Minerva fitting and holding the arms
of Holland, four Cupids round her. Done for
the books of John Holland, herald-painter.

26. Chrift

Painters in the Reign of George II. 175

0.6. Chrift and his difciples ; perfons at
a diftance carried to an hofpital. In as
much as ye have done it unto one of the
leaft of thefe my brethren, ye have done it
unto me. St. Matt. xxv. ver. 40. W. Ho-
garth inv. C. Grignion fculp* Ticket for a
charity.

27. Another, almoft the fame as the pre-
ceding, but with a view of the London hof-
pital.

28. Another with the arms of the duke of
Richmond.

29. Seven fmall prints for Apuleius's Gol-
den Afs. W. Hogarth inv. & fculp. On
fome, W. Hogarth, fee.

36. Gulliver prcfented to the queen of
Babilary. W. Hogarth inv. Ger. Vander-
gucht fculp. It is the frontifpiece to the
Travels of Capt. John Gulliver.

37. Five fmall prints for the tranflation of
CafTandra. W. Hogarth inv. & fculp.

42. Six larger for Don Quixote. W. Ho-
garth inv. & fculp,

48. Tvvo

176 Painters in the Reign of George If.

48. Two fmall for Milton. W. Hogarth
inv. & fc.

50. Frontifpiece to Terrae-filius. W.
Hogarth fee.

51. Frontifpiece to Tom Thumb. W.
Hogarth inv. Ger. V.andergucht fc. There
is fome humour in this print.

52. Frontifpiece to the Humours of Ox-
ford. W. Hogarth inv. Ger. Vandergucht

53. Judith and Holofernes. Per vulnera
fervor, morte tua vivens. W. Hogarth inv.
Ger. Vandergucht fc. A fron apiece.

54. Perfeus, and Medufa dead, and Pega-
fus. Frontifpiece to the books of the en-
tertainment of Perfeus and Andromeda.
W. H. fee.

$$. A monk leading an afs with a Scotch
man and woman on it. Head-piece to the
Jacobite's Journal. Though this was done
in 1748, I place it here among his indiffe-
rent prints.

56. Twelve prints to Aubrey de la Mot-
ray's

Painters in the Reign of George II. 177

ray's Travels. His name to each. The 13th
has Parker fcuL

68. Fifteen head-pieces for Beavers's Mi-
litary Punifliments of the Ancients 3 but
fcarce any copies have thefe plates.

69. Impreflion from a bit of plate.

70. Frontifpiece to the Scots opera.

7 1 . Houfe at Chifwick ; etched by him-
fdf.

72. Buft of Hefiodj prefixed to Cook's
tranflation.

73. Another frontifpiece to Perfeus and
Andromeda, different from 54.

75. Two plates to Moliere.

Class 2. Portraits.

1. The right hon. Frances lady Byron.
Whole length, mezzotinto. W. Hogarth
pinx. J. Faber f&c. 1736.

2. The right hon. Guftavus lord vifcount
Boyne, &c. &c. Whole length, mezzo-

Vol. IV. M tinto.

178 Painters in the Reign of George IX,

tinto. W. Hogarth pinx. Andrew Miller
fecit. A very bad print,, done in Ireland.

3. Martin Folkes : half length : engraved.
Mine is a proof and has no infcription.

4. Sarah Malcolm, executed in 1732 for
murdering her miftrefs- and two other wo-
men f drawn in Newgate.. W. Hogarth
(ad vivum) pinxit & fculpfit. This woman
put on red to fit to him for her picture two
days before her Execution. I have the ori-
ginal.

5. Simon lord Lovat, drawn from the
life and etched in aquafortis by William
Hogarth, 1746.

6. Mr. Pine, in the manner of Rembrandt.
Mezzotinto, by Mc. Ardell.

7 . Another leaning on a cane, an unfmifh-;
td mezzotinto.

8. Captain Thomas Coram, who obtain-
ed the charter for the Foundling-hofpitaL
Mezzotinto, by Mc. Ardell.

9. Jacobus Gibbs, architectus. W. Ho-

1 garth.

Painters in the Reign of George II. 179

garth delin. J. Mc. Ardell fee. partly mez-
zotinto, partly graved.

10. Daniel Lock, efq; mezzotinto ; Wm.
Hogarth pinx. J. Mc. Ardell fecit.

11. Benjamin Hoadley, bifhop of Win-
chefter. W. Hogarth pinx. B. Baron fculp.

12. A fmall oval of ditto.

13. Thomas Herring, archbifhop of Can-
terbury. W. Hogarth p. B. Baron fc,

14. Mr. Garrick, * in the character of
Richard III. Painted by Wm. Hogarth ;
engraved by Wm. Hogarth and C. Grignion.

15. T. Morell, S. T. P. S. S. A. W.
Hogarth delin. James Bafire fculp.

16. Mr. Huggins, with a buft of Arioflo.
Small round.

17. Henry Fielding, setatis 48. W.Ho-
garth del. James Bafire fculp.

* Mr. Garrick had feveral of Hogarth's paintings,
and the latter defigned for him, as preiident of the
Shakefpeare club, a mahogany chair richly carved, on
the back of which hangs a medal of the poet carved by
Hogarth out of a piece of the mulberry-tree planted at
Stratford by Shakefpeare.

M 2 18. John

1 80 Painters in the Reign of George II.

18. John Wilkes, efq. Drawn from thd
life and etched in aquafortis by Wm. Ho^
garth.

1 9. The Bruifer, C. Churchill in the cha-
racter of a Ruffian Hercules, &c. A Dutch
dog piffing on the Epiftle to Hogarth : a
pallet, the North-Britons and a begging-box
to collect fubfcriptions for them. Defigned
and engraved by W. Hogarth.

20. The fame ; but over the pallet lies a
political print,, in which the painter is cor-
recting Churchill and Wilkes in the charac-
ters of a bear and a monkey. Other fatirical
emblems behind.

Class 3. Comic and Serious Prints.

1. A burlefque on Kent's altar-piece at
St. Clement's, with notes. It reprefents an-
gels very ill drawn, playing on various in-
ftruments.

2. A midnight modern conversion.

3. Twelve

Painters in the Reign of George II. 1 8 1

3. Twelve prints for Hudibras, the large
fet.

4. The finall fet, containing feventeen
prints with Butler's head.

5. A woman fwearing a child to a grave
citizen, with twelve Englifh verfes. W.
Hogarth pinx. J. Sympfon, jun. fculp. A
very bad print.

6. Mary Tofts, the rabbit- woman of
Godalmin, in labour. No name to it.

7. The Lilliputians giving a clyfter to
Gulliver. A fuppofed Lilliputian painter's
* name to it. Hogarth fculp.

8. An emblematic print on the South-
fea. Perfons riding on wooden horfes. The
devil cutting Fortune into collops. A man
broken on the wheel, &c. W. Hogarth inv.
& fc. There are four different impreflions
of this.

9. A mafquerade. There is much wit in
this print. Invented for the ufe of ladies

* Which contains the letters that form the name of
Jonathan Swift.

M 3 and

1 8 2 Painters in the Reign of George II.

and gentlemen by the ingenious Mr. H— — r.
(Heidegger.) Three different.^

io. Another, {mailer, on mafquerades and
operas. Burlington-gate, as in the follow-
ing. W, Hogarth inv. & fculp.

1 1 . The gate of Burlington-houfe, Pope
white-wafhing it, and befpattering the duke
of Chandos's coach. A fatire on Pope's
epiftle on tafte. No name.

12. The Lottery. Emblematic, and not
good. W. Hogarth inv. & fculp.

13. Tafte in high life. A beau and a
faihionable old lady. Painted by Mr. Ho^
garth. This was probably not publifhed by
himfelf.

14. Booth, Wilks and Cibber contriving
a pantomime. A fatire on farces. No name.

15. Charmers of the Age. A fatire on
ftage-dancers. A {ketch. No name. The
two laft very fcarce.

16. Henry VIII. and Anne Boleyn. Ho-
garth defign. & fculp. Very indifferent.

17. The Myftery of Mafonry brought to

Light

Painters in the Reign of George II. i8j

Light by the Gormogons. Stolen from Coy-
pel's Don Quixote. W. Hogarth inv. & fc.

1 8. Sancho ftarved at Dinner by his Phy-
fician. W. Hogarth inv. & fculp.

19. A very rare hieroglyphic print ia
Mr. Walpole's collection, reprefenting Roy-
alty, Epifcopacy, and Law, compofed of em-
blematic attributes, and no human features
or limbs ; with attendants of fimilar ingre-
dients. Beneath is this infcription ; Some
of the principal inhabitants of the moon, as
they were perfectly difcovered by a telefcope,
brought to the greatelt. perfection fince the
laft eclipfe j exactly engraved from the ob-
jects, whereby the curious may guefs at their
religion, manners, &c. Price Sixpence.

20. Boys peeping at Nature. The fub-
fciption-ticket to the Harlot's Progrefs.

21. The Harlot's Progrefs, in fix plates.

22. The Rake's Progrefs, in eight plates,. *

M 4 23. The

* The Rake's Progrefs was pirated by Boitard on
one very large iheet of paper, containing the feveraj

fcenep

1 84 Painters in the Reign of George II,

23. The fourth plate of the fame, with
variations.

24. Two prints Before and After.

25. The Sleeping Congregation, j-

fcenes reprefented by Mr. Hogarth. It came out about
a fortnight before the genuine fet, but was foon forgot-
ten. However this gave occafion to Hogarth to apply
for an aft of parliament to fecure the property of prints.
He applied to Mr. Huggins, who took for his model
the ftatute of queen Anne in favour of literary property.
The acl: parted ; but fome years after appeared to be
too locfely drawn, for on a caufe founded on it, which
came before lord Hardwick in chancery, he determined
that no aflignee, claiming under an aflignment from
the original inventor, could take any benefit by it. Ho-
garth immediately after the parting the acl, publifhed
a fmall print with emblematic devices, and an infcrip-
tion exprefiing his gratitude to the three branches of.
the legislature, This plate he afterwards made to ferve
for a receipt for fubfcriptions to the election prints.
VideNJ 58 of this clafs. J

f Sir Edward Walpole had the original picture. The
Clerk's head is admirably well painted and with great
force ; but he is dozing, and not leering at the young
woman near him, as in the print.

% Chancellor Hoadley wrote verfes to be placed under each plate
of the Rake's Progrefs : they are printed in the 5th volume of Dod-
iley's Collection of poems, p. 269.

26, Bar-,

Painters in the Reign of George II. 185

26. Bartholomew-fair.

27. A feftoon with a mafic, a roll of paper,
a pallet, and a laurel. Subfcription-ticket
for Garrick in Richard the Third.

28. The poor Poet.

29. The Lecture. Datur vacuum.

30. The laughing Audience.

31. Confultation of Phyficians. Arms of
the undertakers.

32. Rehearfal of an Oratorio. Singing
men and boys.

33. The four Parts of the Day.

34. Strolling ActrefTes dreffing in a Barn.

35. The Search-Night. W. Hogarth inv.
A very bad print, and I believe an impofi-
tion.

36. The enraged Mufician.

37. Characters and caricaturas, to fhow
that Leonardo da Vinci exaggerated the lat-
ter. The fubfcription-ticket to Marriage a
la Mode.

38. Marriage a la Mode, in fix prints.

39. The Pool of Bethefda, from the pic-

ture

1 86 Painters in the Reign of George II.

ture he painted for St. Bartholomew's hofpi-
tal, in which parifh he was born. Engraved
by Ravenet.

40. Ditto; large, by Ravenet and Picot.

41. The good Samaritan; ditto, by Ra-
venet and Delatre.

42. Orator Henley chriftening a child.
Mezzotinto.

43. A flage-coach. An elect ion-procef-
fion in the yard.

44. Induftry and Idlenefs, in twelve plates.

45. An auction of pictures, duplicates of
the fame pictures. This was a ticket to
admit perfons to bid for his works at his
auction.

46. The Gates of Calais. His own head
fketching the view. He was arretted as he
was making the drawing, but fet at liberty
when his purpofe was known.

47. A ftand of various arms, bagpipes,
&c. The fubfcription -ticket for the March
to Finchley.

4^. The March to Finchley ; dedicated to

the

Painters in the Reign of George II. 187

the king of Prufiia, in refentment for the late
king's fending for the picture to St. James's
and returning it without any other notice.

49. Beer-ftreet j two of them with varia-
tions j and Gin-lane.

50. The Stages of Cruelty, in four prints.

51. Paul before Felix, defigned and
fcratched in the true Dutch tafte by W. Ho-
garth. This is a fatire on Dutch pictures.

52. Paul before Felix, from the original
painting in Lincoln's-inn hall painted by
W. Hogarth. There is much lefs dignity
in this than wit in the preceding.

$3. The fame, as firft defigned, but the
wife of Felix was afterwards omitted, becaufe
St. Paul's hand was very improperly placed
before her.

54. Columbus breaking the egg. The
fubfcription-ticket to his Analyfis.

55. The two prints to the Analyfis. Two
other editions with variations.

56. France and England, two plates.

57. Two plates to Triftram Shandy.

58. Crowns,

1 88 Painters in the Reign of George II.

58. Crowns, mitres, maces, &x. The Sub-
fcription-ticket to the Election.

59. Four prints of an election.

60. The deeping Judges.

61. Ditto ; but with heads after L. da
Vinci.

62. The Cockpit.

6 3. Frontifpiece to the Farmer's Return
from London.

64. The Wigs and Head-drefTes at the
Coronation of George III.

6$. Credulity, Superftition and Fanati-
cifm. Satire on the Methodifls.

66. Frontifpiece to Kirby's Perfpective.
Satire on falfe perfpective.

67. Frontifpiece to Brook Taylor's Per-
spective. With an attempt at a new order.

68. Two fmall heads of men in profile in
one plate, etched by Mr. Ireland, from a
{ketch in his own collection.

69. Frontifpiece and tailpiece to the cata-
logue of pictures exhibited in 1 7 6 1 .

70.' Time blackening a picture. Sub-

fcription-

Painters in the Reign of George II. 189

fcription-ticket for his Sigifmunda. This
and the preceding tailpiece are iatires on
connoiffeurs.

71. Frontifpiece to a pamphlet againft the
Hutchinfonians, never publillied. It repre-
fents a witch fitting on the moon, and water-
ing on a mountain, whence ifTue mice who
are devouring fir Ifaac Newton's Optics :
one moufe lies dead on Hutchinfon's works,,
probably to imply being choaked. The
conundrum fignifies, Front-is-pifs.

72. Print of the weighing-houfe to Club's
Phyfiognomy; a humourous pamphlet in
quarto, publiihed in 1763, and dedicated to
Hogarth.

73. The Times.

74. Tailpiece to his works. Another fatire
on dealers in dark pictures. *

75. Rich \

* On this print which he calls Finis, and reprefents
the deftru&ion of all things, the following epigram,
afcribed to Charles Churchill the poet, was printed in
the General Advertifer in 1778, from the Mule's Mir-
rour j

1 90 Painters in the Reign of George II.

75. Rich's Glory. ^1

76. Beggar's Opera : doubtful.

77. Scene in an opera.

78. Orator Henley's Chapel : doubtful.

79. iEneas in a ftorm : ditto.

80. Wolfe's Monument : very doubtful.
8 1 . Heads from the cartoons : ditto.

82. The Frolick; a fmall copy of the
Search-Night, N° 35.

83. Mofes brought to Pharaoh's Daugh-
ter ; by Hogarth and Luke Sullivan.

84. Boys drawing from Nature, fubfeription
ticket to the above and Paul before Felix ; a
variation of N° 20.

On Hogarth's print of Bathos, or th« Art of Sinking in
Fainting.
All muft old Hogarth's gratitude declare,
Since he has nam'd old Chaos for his heir ;
And while his works hang round that Anarch' s throne,
The connoifieurs will take them for his own.

Prints

Painters in the Reign of George II. 191

Prints from Hogarth

Publifhed fince Mr. Nichols's Lift was
printed.

The Stay maker : and

Debates on Palmifby. Etched by Haynes
from defigns in the porTefllon of Mr. S. Ire-
land.

Henry Fox Lord Holland : and

James Caul field Earl of Charlemont. B\r
ditto from ditto.

The Shrimp-girl, a head, by Bartolozzi.

Two plates of Taylor, the boxer, wreftling
with Death ; by Livefay.

Mr. Benjamin Read j and

Mr. Gabriel Hunt. Members of a club
with Hogarth ; by ditto.

Nine prints to Hogarth's Tour, from draw-
ings by Hogarth and Scott ; by ditto.

Thefe laft fourteen prints were publifhed
by fubfcription by Mrs. Hogarth, in April
1782. Some few copies of the Tour were
printed by Mr. Nichols in the preceding year.

IG

192 Painters in the Reign of George IL

It was a party of pleafure down the river into
Kent undertaken by Mr. Hogarth, Mr. Scott,
and three of their friends, in which they intend-
ed to have more humour than they accom-
plifhed, as is commonly the cafe in fuch me-
ditated attempts. The Tour was defcribed in
verfe by one of the company, and the draw-
ings executed by the two painters, but with
little merit, except in the views taken by Mr.
Scott.

Additions flnce the former Edition.

Small Arms of Gamble : etched by Mr.
Ireland.

Title to Biographical Anecdotes : ditto.

Hogarth's Cot : ditto.

Hogarth's Creft : by Livefay.

Copy of the Rape of the Lock : by Mr.
Ireland.

Arms for the Foundling Hofpital : Livefay.

Coat of Arms, with four terms ; an impref-
fion from plate ; different from N° 21. Clafs 1.

Subfcription Ticket, intended for Sigif-
munda; doubtful.

Hogarth's

Painters in the Reign of George II. 193

Hogarth's Portrait.

Thomas Pellet, M. D. by Hall.

Bullock, the comedian : ditto.

Sir James Thornhill : by Mr. Ireland.

Hogarth: ditto.

Black Girl in bed : copied by ditto.

Variation of Orator Henley chriftening a
child : ditto.

Shepherd Boy : ditto.

The Politician : by Sherwin.

A Landfcape : by Mr. Ireland.

Jack in an Office : ditto.

Characters who frequented Button's Cof-
fee-houfe , four plates : ditto.

Woman's head, as Diana : ditto*

Head of a black Girl : ditto.

Hogarth, in his portrait-converfations,
was imitated by Phillips, a young man, who
acquired great bufinefs. He was fon of a
painter in oil, who died in 1741, aged about
fixty. The fon died much younger.

Yol. IV. N ANEC^

ANECDOTES

O F

PAINTING, €&

G H A P. V.

Painters in Enamel and Miniature, Statuaries 3.
and Medallifts, in the Reign of George II.

JOHN STEPHEN LIOTARD,

OF Geneva, * came over in the laft reign,
and flayed two years. He painted ad-
mirably well in miniature,, and -finely in ena-
mel,

* He was born in 1702, and was deiigned-for a mer-
chant. He went to ftudy at. Paris in 1725, and in
1738 accompanied the marquis de Puifieux to Rome,
who was going amhaffador to Naples. At Rome he
was taken notice of by the earls of Sandwich and Bef-
borough, then lord Duncannon, who engaged, Liotard

to

Painters in the Reign of George II. 195

mel, though he feldom practifed it. But he
is bed known by his works in crayons. His
likeneflfes were as exact as poffible, and too
like to pleafe thofe who fat to him j thus he
had great bufinefs the firft year, and very
little the fecond. Devoid of imagination, and
one would think of memory, he could render
nothing but what he faw before his eyes.
Freckles, marks of the fmall-pox, every
thing found its place -, not fo much from
fidelity, as becaufe he could not conceive the
abfence of any thing that appeared to him.
Truth prevailed in all his works, grace in
very few or none. Nor was there any eafe
in his outline j but the ftiffnefs of a burl in
all his portraits. Thence, though more faith-
ful to a likenefs, his heads want air and the
foftnefs of flefh, fo confpicuous in Rofalba's
pictures. Her bodies have a different fault ;
fhe gave to men an effeminate protuberance
about the breads j yet her pictures have

to go with them on a voyage to Conftantinople. See
Mitfeum Florent. vol. X. where lordDuncannon's name
is fpelt milord D'un Canon.

N 1 much

196 Painter sin the Reign of George 1%

much more genius. The earls of* Harringa
ton and Befborough have fome of his moft
capital works. At Conftantinople he be-
came acquainted with the late lord Edg-
cumbe, and fir Everard Fawkener, our am-
baffador, who perfuaded him to come to
England. On his way he paffed fome time
at Paris. In his journey to the Levant he
adopted the eaftern habit, and wore it here
with a very long beard. It contributed much
to the portraits of himfelf, and fome thought
to draw cuftomers- but he was really a painter
of uncommon merit. After his return, he
married a young f wife, and facrificed his
beard to Hymen. He came again to Eng-
land in 1772, and brought a collection of
pictures of different matters, which he fold

* The earl of Sefton has purchafed.thofe that vvere
In the collection of the late lord Harrington ; one re-
prefents Mademoifdle Gaucher, miftrefs of W. Anne
earl of Albemarle,- in a Turkifh drefs, fitting: the*
other, a lady at breakfaft and her maid.

f Maria Fargues, daughter of a merchant at Am-
iterdam,.

by*

Painters in the Reign of George II. 197

by auction.; and fome pieces of glafs painted
by himfelf with furprifing effect of light and
fhade, but a mere curiofity, as it was ne-
cefTary to darken the room before they
could be {een to advantage j he affixed too,
as ufual, extravagant prices to them. He
ftaid here about two years, as in his former
journey. He has engraved fome Turkifh
portraits., one of the emprefs queen and the
eldeft arch-duchefs, in Turkifh habits, and
the heads of the emperor and emprefs.

CHRISTIAN FREDERIC
ZINCKE,

Was born at Drefden about 1684, and came
to England in 1706, where he ftudied un-
der Boit, whom at length he not only fur-
pafTed, but rivalled Petitot. I have a head
of Cowley by him after fir Peter Lely, which
is allowed to excel any fingle work of that
charming enameller. The impaffioned glow
of fentiment, the eyes fwimming with youth
and tendernefs, and the natural fall of the
N 3 long

198 Painters in the Reign of George II.

long ringlets tnat flow round the unbuttoned
collar, are rendered with the moft exquifite
nature, and finifhed with elaborate care. For
a great number of years Mr. Zincke had as
much bufmefs as he could execute ; and
when at laft he raifed his price from twenty
to thirty guineas, it was occafioned by his
defire of leffening his fatigue, for no man, fo
fuperior in his profeffion, was lefs intoxicat-
ed with vanity. He was particularly patro-
nized by the late king and queen, and was
appointed cabinet-painter to the late prince
of Wales. Her royal highnefs princefs
Amelie has * many portraits of the royal fa-
mily by him of a larger than his ufual fize.
The late duke of Cumberland bought feveral
of his beft works, particularly his beautiful
copy of Dr. Meade's queen of Scots by Ifaac

* There are ten ; two of the late king, as many of
his queen, the duke of Cumberland when a boy, and
the five princeffes his fitters. Princefs Amelie had them
newly fet in two fine gilt frames and glaffes, and gave
them in 1783 to the prince of Wales.

8 Oliver.

Painters in the Reign of George II. 199

Oliver. He made a fhort vifit to his own
country m 1737, and about .1746, his eyes
failing, he retired from bufinefs to South-
Lambeth, with a fecond wife, by whom he
had three or four children. His firft wife
was a handfome woman, of whom he had
•been very fond -, there is a print of him and
her •, he had a fon by her, for whom he
bought a place in the fix clerks office, and
a daughter, who died a little before he re-
tired to Lambeth. After his quitting bufi-
nefs, madame Pompadour prevailed upon
him to copy in enamel a picture of the
king of France, which fhe fent over on pur-
pofe. Mr. Zincke died in March, 1767. *

* Zincke is recorded in the following lines of Dr.
Young's Love of Fame, Sat. 6.

You here in miniature your pictures fee,
Nor hope from Zincke more juftice than from me.
My portraits grace your mind as his your fide ;
His portraits will inflame, mine quench your pride.
His dear, you frugal ; chufe my cheaper lay,
And be your Reformation all my pay.

N 4 ROUQUET,

200 Painters in the Reign of George II .

R O U CL U E T,

A Swifs of French extraction, was many
years in England, and imitated Mr. Zincke
in enamel with fome fuccefs, He after-*
wards fettled at Paris and improved confi-
derably. He published a fmall tract on the
prefent flate of the arts in England j and
another, entitled, L'Art de la peinture en
fromage ou en ramequin, 120, 1755.* I
have mentioned his explanation of Hogarth's
prints.

GROT H,

A German, painted in water-colours and
enamel, but made no great proficience.

• V. La France litteraire, ou Di&ionaire des Au*
teurs Francois vivans. par M. Formey, 1757.

BERNARD

fainter s in the Reign of George II. 20 1

BERNARD LENS,

OF a family of artifts, whom I have men-
tioned in the Catalogue of Engravers, was
an admirable painter in miniature. He
painted fome portraits in that way, but
his excellence was copying the works of
great mafters, particularly Rubens and Van-
dyck, whofe colouring he imitated exactly.
He was painter to the crown by the title
of enameller, which was changed from lim-
ner, when Boit held the office. Lens pub-
lifhed fome views and drawing-books, as
he had many fcholars. He made two fales
of his pictures, and died at Knightfb ridge,
whither he had retired from bufinefs about
1741. He had three fons, two that follow-
ed his profeffion, of whom one is yet living.

JOSEPH

*LV2 Painters in the Reign of George II,

JOSEPH GOUPY

Was another fine painter in water-colon rs,
but in a different ftyle from Lens. The
latter ftippled the faces, and finifhed high-
ly i Goupy imitated the boldnefs of ftrokes
in oil. The latter too copied many pictures
of Italian * mailers, and excelled in imitating
Salvator Rofa, from whofe works he en-
graved fome prints. He had the honour of
teaching her royal highnefs the princefs of
Wales ; and was cabinet-painter to the
prince. His copies of the cartoons were
fold to the duke of Chandos for 300/. but
at the duke's fale produced not 17 guineas.
If the painter had exacted, the public had
ftill lefs juftice. Jofeph died the latter end
of 1747. His collection was fold by auc-
tion in' March 1765. There was a carica-
tura in crayons (from which there is a print)
of Handel with a fnout of a hog playing on

an

Painters in the Reign of George II. 203

an organ, and many fymbols of gluttony-
round him ; he and Goupy had quarrelled.
—There was alfo a piece in oil by Hamilton
with portraits of feveral artifts. Jofeph had
an uncle, born in France from whence the
family fprung, who came to England, and
had already a brother here a fan-painter.
Louis, of whom I fpeak, painted portraits
in oil, and afterwards worked in frefco and
crayons, and taught miniature. He had at-
tended lord Burlington into Italy. There
is a print of him by George White. His
nephew Jofeph, and Bernard Lens were two
of our beft miniature-painters, and their
works worthy of any cabinet.

JAMES DEACON,

A gentleman of great talents for mufic and
drawing, towards the end of his life en-
gaged profeiTedly in the bufinefs, took Mr.
Zincke's houfe in Covent-garden, and paint-
ed

S04 Painters in the Reign of George II.

ed portraits in miniature in a very mafterly
manner i but had fcarce embarked in the
profefiion, when he loft his life attending a
caufe at the Old Bailey, the day that the goal-
diftemper deftroyed the judge, the lord-
mayor, and fo many of the audience, in
JMay IT So.

SPENCER

Painted portraits in miniature, and laftly in
enamel, with fome merit. He died October
3°> 1763.

S TJt T CA

Statuaries in the Reign of George If. co£

STATUARIES.

). MICHAELRYSBRA CHr

The beft fculptor that has appeared in thefer
iflands fince Le Sceur, was born at Ant-
werp. His father was a landfcape-painter3
and had been in England, but quitted it
with Largilliere and went to Paris, where
he married, and returning to BrufTels and
Antwerp, died at the latter in 1726, at the
age of fourfcore. Michael his fon arrived
here in 1720, then about' the age of twenty-
fix, and began by modelling fmall figure?
in clay, to mow his fkill. The earl of Not-
tingham fat to him for his buft, in which;
the artift fucceeded fo well, that he began:
t) be employed on large works, particularly:
monuments. For fome time he was engaged
by Gibbs, who was fenfible of the young

man's

2o6 Statuaries in the Reign of George II.

man's merit, but turned it to his own ac-
count, contracting for the figures with the
perfons who bcfpoke the tombs, and gain-
ing the chief benefit from the execution.
Thus Gibbs received ioo/. apiece from
lord Oxford for the ftatues on Prior's monu-
ment, yet paid Ryfbrach but 35 /. each.
The ftatuary, though no vain man, felt his
own merit, and Ihook off his dependence
on the architect, as he became more known
and more admired. Bufinefs crouded upon
him, and for many years all great works
were committed to him ; and his deep
knowledge of his art and lingular induftry
gave general fatisfaction. His models
were thoroughly ftudied, and ably exe-
cuted ; and as a fculptor capable of fur-
mfhing flames was now found, our tafte in
monuments improved, which till Ryfbrach's
time had depended more on mafonry and
marbles than ftatuary. Gothic tombs owed
their chief grandeur to rich canopies, fret-
work,

Statuaries in the Reign of George II. 207

work, and abundance of fmall niches and
trifling figures. Biihops in cumbent atti-
tudes and crofs-legged templars admitted
no grace, nor required any. In the reigns
of queen Elizabeth and king James I. a
fingle figure reclining at length on the el-
bow in robes or ferjeant's gown, was com-
monly overwhelmed and furrounded by
diminutive pillars and obelifks of various
marbles ; and if particularly fumptuous, of
alabafter gilt. Gibbs, in the duke of New-
caftle's monument in the abbey, feems to
have had an eye to that kind of taftelefs ex-
pence. From the reign of Charles I. altar-
tombs or mural tablets with cherubims and
flaming urns, generally fatisfied the piety of
families. Bird indeed bellowed bufls and
bas-reliefs on thofe he decorated, but fir
Cloudefly Shovel's, and other monuments
by him, made men of tafte dread fuch ho-
nours. Now and then had appeared a ray
of fimplicity, as in fir Francis Vere's and

captain.

26 § Statuaries in the Reign of George It*

Captain Hollis's tombs. The abilities tff
Ryfbrach taught the age to depend on fta-^
tuary for its beft ornaments, and though he
was too fond of pyramids for back-grounds,
his figures are well difpofed, fnnple and
great. We feem fince to have advanced
into fcenery. Mr. Nightingale's tomb,
though finely thought and well executed*
is more theatric than fepulchral. The crouds
and clurlers of tombs in the abbey has im-
pofed hard conditions on our feulptors, who
have been reduced to couch obelifks in
flanting windows, and rear mafles into the
air, while St. Paul's remains naked of or-
naments ; though it had better remain fo,
than be fubjected to the indifcriminate ex-
pence of all who are willing to indulge their
vanity.

Befides numbers more, Ryfbrach execut-
ed the monument of fir Ifrac Newton and
of the duke of Marlborough at Blenheim,
and the equeftrian ftatue in bronze of king

"Willi ana

Statuaries in the Reign of George II. 209

William at Briftol in 1733, for which he
received 1800/. Scheemaker's model, which
was rejected, was however fo well defigned,
that the city of Briftol made him a prefent
of 50/. for his trouble. Ryfbrach made
alfo a great many bufts, and molt of them
very like, as of Mr. Pope, Gibbs, fir Robert
Walpole, the duke and duchefs of Argyle,
the duchefs of Marlborough, lord Boling-
broke, Wootton, Ben Johnfon, Butler, Mil-
ton, Cromwell, and himfelf j the ftatues of
king George I. and of king George II. at
the Royal-Exchange; the heads in the her-
mitage at Richmond, and thofe of the Eng-
lifli worthies in the Elyfian-fields at Stowe.

This enjoyment of deferved fame was at
length interrupted by the appearance of Mr.
Scheemaker's Shakefpeare in Weftminfter-
abbey, which befides its merit, had the ad-
ditional recommendation of Mr. Kent's
faihionable name. I mall fay fomething
hereafter on the defects of that defign. It

Vol. IV. O however

2,10 Statuaries in the Reign of George. II «

however hurt the vogue of Mr. Ryfbrachj
who, though certainly not obfcured, found
his bufmefs decline, as it was affected con-
fiderably afterwards by the competition of
Mr. Roubiliac ; and no merit can chain the.
ficklenefs of fafnion. Piqued at Mr. Schee-
maker's fuccefs, Ryfbrach produced his
three ftatues of Palladio, Inigo Jones, and
Fiamingo, and at laft his chef d'ceuvre, his
Hercules $ an exquifite fummary of his
ikill, knowledge, and judgment. This ath-
letic ftatue, for which he borrowed the head
of the Farnefian god, v/as compiled from
various parts and limbs of feven or eight of
the ftrongeft and beft made men in Lon-
don, chiefly the bruifers and boxers of the
then flourifhing amphitheatre for boxing,
the fculptor felecting the parts which were
the mod truly formed in each. The arms
Were Broughton's, the breaft a celebrated
coachman's, a bruifer, and the legs were
thofe of Ellis the painter, a great frequen-
ter

Statuaries in the Reign of George II. 211

terofthat gymnafium. As the games of
that Olympic academy frequently termi-
nated to its heroes at the gallows, it was
foon after fupprefTed by act. of parliament,
fo that in reality Ryfbrach's Hercules is the
monument of thofe gladiators. It was pur-
chafed by Mr. Hoare, and is the principal
ornament of the noble temple at Stourhead,
that beautiful aflemblage of art, tafte, and
landfcapes.

Mr. Ryfbrach, who had by no means
raifed a fortune equal to his deferts, before
his death made a public fale of his remain-
ing works and models, to which he added
a large collection of his own hiftoric draw-
ings, conceived and executed in the true
tafte of the great Italian mailers. Another
fale followed his death, which happened
January 8, 1770. fc

He had two brothers, Peter Andreas and

G. Ryfbrachs, who painted fifh, dead fowls

and landfcape, with confiderable merit;

O 2 parti-

212 Statuaries in the Reign of George II.

particularly the elder, who was born at
Paris in 1690, and died here of a confump-
tion in 1748. In one of Michael's fales
were fome pieces of hiftory by a Louis
Ryfbrach ; I do not know whether brother
or nephew of the ftatuary, probably the
latter ; Peter, the eldeft of all the brothers,
had feveral children.

He had a fcholar too, named Vander
Hagen, who carved heads in ivory.

L. F. R O U B I L I A C,

Born at Lyons in France, became a formi-
dable rival to Ryfbrach, and latterly was
more employed. He had little bufinefs till
fir Edward Walpole recommended him to
execute half the bufts at Trinity-college,
f,Dublin; and by the fame patron's intereft
he was employed on the monument of the
general, John duke of Argyle, in Weftmin-
fter-abbey, on which the ftatue of Eloquence

is

Statuaries in the Reign of George II. 213

is very mafterly and graceful. His ftatue
of Handel, in the garden at Vauxhall,
fixed Roubiliac's fame. Two of his prin-
cipal works are the monuments of the late
duke and duchefs of Montagu inNorthamp-
tonfhire, well performed and magnificent,
but wanting fimplicity. His ftatue of
George I. in the ftnate houfe at Cambridge
is well executed, and fo is that of their
chancellor Charles duke of Somerfet, ex-
cept that it is in a Vandyck drefs — which
might not be the fault of the fculptor. His
ftatue of fir Ifaac Newton in the chapel of
Trinity College is the beft of the three,
except that the air is a little too pert
for fo grave a man. This able artift
had a turn to poetry, and wrote fatires in
French verfe. He died January 11, 1762,
and was buried in the pariih of St. Martin's
where he lived. Mr. Scott of Crown-court,
Weftminfter, had a fketch of Roubiliac's
O 3 head

214 Statuaries in the Reign of George II.

head in oil by himfelf, which he painted a
little before his death.

Signor G U E L P H I,

A fcholar of Camillo Rufconi, was invited
to England by lord Burlington, for whom
he did many works in London and at Chif-
wick. He was fome time employed in re-
pairing the antiques at lord Pomfret's at
Eafton Nefton, now at Oxford. His tomb
of Mr Craggs in Weftminfter is graceful
and fimple, but fhows that he was a very
indifferent fculptor. After a refidence here
of near twenty years he returned to his na-
tive Bologna in 1734.

L. D E L V A U X

Worked with Plumiere, and then with Bird.
He went to Italy with Scheemaker in Au-

guft

Statuaries in the Reign cfGecrge II. 215"

guft 1728, ftaid four or five years, and then
returned to England j but fettled at laft at
BrufTels. There is a good gronpe by him
at Stowe. For the late earl of Tilney he
made a ftatue of Hercules ; and the figure
of Time for the duke of Buckingham's
monument in Weftminfter-abbey. The
duchefs's figure was executed by Schee-
maker.

%

A retainer of the art on a fmaller fcale

was

JAMES FRANCIS VERSKOVIS,

An excellent carver in ivory, born in Flan-
ders but fettled at Rome, where he was fb
much employed by Englifh travellers, that
he concluded he mould make a fortune in
England : he came over — and flarved. He
executed whole figures in fmall and vafes,
\vith perfect tafte and judgment, and carved
O 4 alfo

2i 6 Statuariers in the Reign of George II,

alfo in wood. He had a fon, who to the
fame arts added painting, but died young in
1749, before his father. The latter did not
furvive above a year.

It would be injuftice to omit the late Mr.
GofTet, and his nephew who has excelled
his uncle, and carried the art of taking
likenefles in wax to furprizing perfection.

MEDAL*

Medallifis in the Reign of George II. 217

MEDALLISTS.

JOHN DASSIER,

'"l^Hongh never in England, i§. certainly-
entitled to a place in this catalogue.
He was medallift to the republic of Geneva,
and afpiring to be employed in the mint
here, ftruck a feries of the kings of Eng-
land, in a better ftyle than our medals had
been of late years. Some of the heads in-
deed were not taken from true originals,
but the temples and monuments on the re-
verfes were well defigned and executed. He
publifhed them by fubfcription in 173 1, at
fix guineas for 33 medals in copper, and
fifteen in filver. His brother James had
been here three or four years before to en-
deavour to procure a place in our mint for
John, but none being vacant, fir Andrew
Fountaine, the celebrated virtuofo and pa,-
4 tron

21 8 Medallijls In the Reign of George II.

tron of artifts, and Mr. Conduit, who had
married fir Ifaac Newton's niece, and who
were the perfons then directing the mint,
offered a penfion of 50 /. a year to Daffier
till Mr. Croker mould die; but he was not
content with the offer. James Antony
Daffier, nephew of John, came over, and on
Croker's death in 1740, was next year ap-
pointed fecond engraver to the mint, and
returned to Geneva in 1745. The uncle
had executed a fet of the reformers in
fmaller brafs, and begun large medals of
fome of our great men then living; the
nephew did feveral more, which were fold
in copper at feven fhillings and fixpence
each, and are very good performances,
though inferior to the medals of the popes
by Hamerani, and more inferior to thole of
St. Urbain, medallift to the laft dukes of
Lorrain. There is a beautiful and numer-
ous fuite of Roman hiftory in fmall medals
of bronze by the younger Daffier.

J. CHRIS-

Medallifts in the Reign of George II. 219

J. CHRISTOPHER TANNER,

Of Saxe Gotha, came to- England about
1733, and had pra&ifed carving and grav-
ing for fnurT-boxes, gun-locks, and in mo-
ther of pearl. He was retained as a do-
meftic in the family of the prince of Wales,
and by Mr. Conduit employed in the mint,
where he rofe to be principal engraver on
the death of Mr. Croker. He did medals
of the prince and princefs of Orange and fir
Ifaac Newton, and the large family medal
of the late king and queen and all their
children.

LAURENCE NATTIER,

Of Biberach in Suabia, was a good engra-
ver of intaglias and medallifl. He. {truck
a fine medal of fir Robert Walpole, the re-
verfe of which was copied from lord Lei-
cefter's ftatue of Cicero. He had ftudied
in Italy, and afterwards refided feveral years

in

£20 Medallijis in the Reign of George II.

in England. In 1746 he went to Holland
to make a medal of the prince of Orange,
as in 1743 he had been in Denmark with
Marcus Toufcher, painter, architect and en-
graver, of Nuremberg, who arrived here
from Italy in 1741, and brought a high-
finilhed drawing of the great duke's en-
trance into Florence, which he alfo executed
with great labour for the emprefs-queen,
who however did not purchafe it. The king
of Denmark bought the plate of the entry,
and retained Toufcher in his fervice. Mr.
Nattier publifhed a well-known book on
ancient gems, was fellow of the royal and
antiquarian focieties, and died of an afthma
December 27, 1763, at St, Peter/burgh,
whither he had been invited as principal
engraver to the emprefs. There is a fmall
head of him from a medal executed by
himfelf, in the 2d volume of the memoirs
of Thomas Hollis, 4to, 1780, where alfo
is fome account of him.

AN EC*

ANECDOTES

O F

PAINTING, &c.

CHAP. VI.

Architects in the Reign of George II,

IT was in this reign that architecture re-
fumed all her rights. Noble publica-
tions of Palladio, Jones, and the antique,
recalled her to true principles and correct
tafte ; fhe found men of genius to execute
her rules, and patrons to countenance their
labours. She found more, and what Rome
could not bgaft, men of the firft rank who

contributed

122 Architects in the Reign of George It.

contributed to embellilh their country by
buildings of their own defign in the pureft
flyle of antique compofition. Before the
glorious clofe of a reign that carried our
arms and victories beyond where Roman
eagles ever flew, ardour for the arts had
led our travellers to explore whatever
beauties of Grecian or Latin tafte ftill fub-
fifted in provinces once Subjected to Rome ;
and the fine editions in confequence of
thofe refearches have eftablifhed the throne
of architecture in Britain, while itfelf lan-
guishes at Rome, wantons in tawdry imita-
tions of the French in other parts of Europe,
and llruggles in vain at Paris to furmount
their prepoiTemon in favour of their own
errors- — for fickle as we call that nation,
their mufic and architecture prove how long
their ears and eyes can be conftant to dif*
cord and difproportion.

GIACOMO

Architects in the Reign of George II. 11 j

GIACOMO LEON I,

A Venetian, who had been architect to the
elector Palatine, fettled in England, and
publifhed a fine edition of Palladio in 1742.
He was employed in building feveral houfes,
and died in 1746.

JOHN NICHOLAS SER-

VANDONI,

A celebrated architect, refided here fome
years, though having various talents, he was
bell known in his own country as a pain-
ter. He executed many fcenes for the
opera, and painted a ftaircafe (in conjunc-
tion with one Andrea) at Mr. Arundel's,
the corner of Burlington-ftreet, now Mr.
Townfhend's. He alio gave the defign of
the theatre of fireworks for the peace in
1746, foon after which he returned to Paris.

He

224 ArchiteBs in the Reign of George II.

He was born at Florence May 2, 1695,
fludied under Paolo Panini and Roffi, and
was created a knight of the order of Chrift.
His genius was particularly turned to thea-
tric machinery, of which he gave proofs at
Drefden and Lifbon, and efpecially at Paris,
where he was received into the academy of
painting and fculpture, and where he con-
trived magnificent ferious pantomimes in
the grande fale des machines, befides fine
decorations in feveral operas. An account
of thofe mows may be fecn in the fifth
volume of the Dictionaire des Theatres.
His capital work was the facade of St. Sul-
pice, but the enormous maffes of ftone
which he has heaped on the tops of the
towers, and which are confiderable enough
to disfigure the view of the city itfelf, de-
stroy the refult of fo fuperb a frontifpiece.

THOMAS

Architects in the Reign of George II. 2,25

THOMAS RIPLEY

Was born in Yorkihire, and executed fuch
confiderable works that he muft not be
omitted, though he wanted tafte and fell
under the laih of lafting fatire. Pope has
tvvie ementioned him,

Who builds a bridge, that never drove a pile ?
Should Ripley venture, all the world would fmile

And again,

And needs no rod but Ripley with a rule.
The truth is, politics and partiality con-
curred to help on thefe cenfures. Ripley
was employed by the minifler, and had not
the countenance of lord Burlington, the pa-
tron of Pope. It is no lefs true, that the ad-
miralty is a moft ugly edifice, and deferved-
ly veiled by Mr. Adam's handfome fcreen.
Yet Ripley, in the mechanic part, and in
the difpofition of apartments and conve-
niencies, was unluckily fuperior to the earl

Vol. IV. P himfclf.

llS Architects in the Reign of George II.

himfelf. Lord Orford's at Houghton, of
which Campbell gave the original defign,
but which was much improved by Ripley,
and lord Walpole's at Woolterton, one of
the beft houfes of the fize in England, will,
as long as they remain, acquit this artift of
the charge of ignorance. I mult mention a
more barbarous architect before I come to
the luminaries of the fcience. This was

BATTY L ANGLE Y,

Who endeavoured to adapt Gothic archi-
tecture to Roman meafuresj as fir Philip
Sidney attempted to regulate Englifh verfe
by Roman feet. Langley went farther, and
[for he never copied Gothic] invented five
orders for that ftyle. All that his books
atchieved, has been to teach carpenters to
mafTacre that venerable fpecies, and to give
occafion to thofe who know nothing of the
matter, and who miftake his clumfy efforts

for
1

Architetts in the Reign of George II. 1 27

for real imitations, to cenfure the produc-
tions of our anceftors, whofe bold and beau-
tiful fabrics fir Chriftopher Wren viewed
and reviewed with aftonifhment, and never
mentioned without efteem. Batty Langley
publifhed fome other works, particularly,
An accurate Defcription of Newgate, &c.
1724. A Defign for a new Bridge at Weft-
mi nfcer, 17 36 -, A Reply to Mr. James's Tract
on the fame fubjeft, * and an ufeful one on
the prices of work and materials for build-
ing. He alfo invented an artificial flone,
of which he made figures : an art lately
brought to great perfection.

HENRY HERBERT Earl of
PEMBROKE.

The foul of Inigo Jones, who had been pa-
tronized by his anceflors, feemed ftill to

* Vide Britilh Topogr. vol. i. p. 635. and 736.

P 2 hover

228 Architects in the Reign of George IL

hover over its favourite Wilton, and to have
aflifted the mufes of arts in the education
of this noble perfon. The towers, the
chambers,, the fcenes which Holbein, Jones
and Vandyck had decorated, and which
earl Thomas had enriched with, the fpoils
of the belt ages, received the laft touches
of beauty from earl Henry's hand. He
removed all that obftructed the views to or
from his palace, and threw Palladio's thea-
tric bridge over his river : the prefent lord
has crowned the fummit of the hill with
the equefrrian ftatue of Marcus Aurelius,
and a handfome^ arch defigned by fir Wil-
liam Chambers.

No man had a purer tafte in building
than earl Henry, of which he gave a few
fpecimens, befides his works at Wilton.
The new lodge in Richmond-park,, the
countefs of Suffolk's, houfe at Marble-hili
Twickenham, the water-houfe in lord Or-
ford's park at Houghton, are inconteftable

proofs

Archil efts in the Reign of George II. 229

proofs of lord Pembroke's tafte. It was
more than tafte, it was pafiion for the uti-
lity and honour of his country that engaged
his lordfhip to promote and afiiduoufly
overlook the conftruftion of Weftminfter-
bridge by the ingenious * monfieur La-
belye, a man that deferves more notice
than this flight encomium can beftow.

RICHARD BOYLE Earl of
BURLINGTON.

Never was protection and great wealth more
generoufly and more judicioufly diffufed

* Charles Labelye died a-t Paris in the beginning of
1762. I know no particulars of his life : a monument
he cannot want while the bridge exifts. In Gough's
Brit. Topogr. vol. i. p. 474, is mentioned a plan of
the intended harbour between Sandwich town and San-
down cattle, by Charles Labelye, as is his defcription of
Weftminfter-bridge, and his propofals for a fuller ac-
count, ib. 739. He was a native of Swifferland, was
naturalized in England, but retired to France for his
health,

P 3 than

230 Architects in the Reign of George XI.

than by this great perfon, who had every
quality of a genius and artift, except
envy. Though his own defigns were more
chafte and claffic than Kent's, he enter-
tained him in his houfe till his death, and
was more ftudious to extend his friend's
fame than his own. In thefe meets I have
mentioned many other inftances of the
painters and artifts he encouraged and re-
warded. Nor was his munificence confined
to himfelf and his own houfes and gardens.
He fpent great fums in contributing to
public works, and was known to chufe
that the expence ihould fall on himfelf,
rather than that his country mould be de-
prived of fome beautiful edifices. His en-
thufiafm for the works of Inigo Jones was
fo active, that he repaired the church of
Covent-garden becaufe it was the produc-
tion of that great matter, and purchafed a
gateway at Beaufort^garden in Chelfea, and
tranfported the identical ftones to Chifwick

with

Architects in the Reign of George II. 231

with religious attachment. With the fame
zeal for pure architecture he afiifted Kent
in publifhing the defigns for Whitehall, and
gave a beautiful edition of the antique baths
from the drawings of Palladio, whofe papers
he procured with great coft. Befides his
works on his own eftate at Lonfborough in
Yorkfhire, he new fronted his houfe in Pic-
cadilly, built by his * father, and added the
grand colonade within the court. As we
have few famples of architecture more an-
tique and impofing than that colonade, I
cannot help mentioning the effect it had on
myfelf. I had not only never feen it, but
had never heard of it, at leaft with any at-
tention, when foon after my return from
Italy, I was invited to a ball at Burlington-

* That lord Burlington being afked, why he built his
houfe fo far out of town ? replied, becaufe he was de-
termined to have no building beyond him, Little
more than half a century has fo inclofed Burlington-
houfe with new ftreets, that it is now in the heart of
that part of London.

P 4 houfe.

232 Architects in the Reign of George II.

houfe. As I patted under the gate by night,
it could not ftrike me. At day-break look-
ing out of the window to fee the fun rife, I
was furprifed with the vifion of the * colo-
nade that fronted me. It feemed one of
thofe edifices in fairy tales that are raifed
by genii in a night's time.

His lordfhip's houfe at Chifwick, the idea
of which is borrowed from a well-known
villa of Palladio, is a model of tafte, though
not without faults, fome of which are occa-
sioned by too ftricl: adherence to rules and
fymmetry. Such are too many correlpon-
dent doors in fpaces fo contracted ; chim-
nies between windows, and which is worfe,
windows between chimnies -, and veftibules,
however beautiful, yet too little fecured
from the damps of this climate. The truffes

* Campbell, in his Vitruvius Britannicus, affumes
to himfelf the new front of Burlington-houfe and the
gateway, but as he takes no credit for the colonade,
which is in a ftyle very fuperior to his defigns, we may
fafely conclude it was the earl's own,

tha|

Architects in the Reign of George II. 233

that fupport the cieling of the corner draw-
ing-room are beyond meafure mafiive, and
the ground apartment is rather a diminu-
tive catacomb, than a library in a northern
latitude. Yet thefe blemifhes, and lord
Hervey's wit, who faid the houfe was too
Jmall to inhabits and too large to hang to one's
watch, cannot depreciate the tafte that reigns
in the whole. The larger court, dignified
by picturefque cedars, and the claffic fcenery
of the fmall court that unites the old and
new houfe, are more worth feeing than
many fragments of ancient grandeur, which
our travellers vifit under all the dangers
attendant on long voyages. The gar-
den is in the Italian tafte, but diverted of
conceits, and far preferable to every ftyle
that reigned till our late improvements.
The buildings are heavy and not equal to
the purity of the houfe. The lavifh quan-
tity of urns and fculpture behind. the gar-
den-front fhould be retrenched.

Other

234 Architefts in the Reign of George II.

Other works defigned by lord Burlington,
were, the dormitory at Weftminfter-fchool,
the afTembly-room at York, lord Harring-
ton's * at Peterfham, the duke of Rich-
mond's houfe at Whitehall, and general
Wade's in Cork-ftreet. Both the latter
were ill-contrived and inconvenient, but the
latter has fo beautiful a front, that lord
Chefterfield faid, as the General could not live
in it to his eafe, he had better take a houfe
over againfi it and look at it. Thefe are
mere details relating to this illuftrious per-
fon's works.f His genuine praife is better
fecured in Mr. Pope's epiflle to him.

I ought not to omit that his countefs,
lady Dorothy Saville, had no lefs attach-
ment to the arts than her lord. She drew

* The oftagon buildings at each end were after*
wards added by Sheperd.

f Lord Burlington being confulted by the citizens for
a proper perfon to carve the bas-relief in the pediment
of the Manfion-houfe, his lordfhip replied, any body
could do well enough for fuch a building.

in

drchitefts in the Reign of George II. 235

in crayons, and fucceeded admirably in
likeneflfes, but working with too much,
rapidity, did not do juftice to her genius.
She had an uncommon talent too for cari-
catura.

WILLIAM KENT.

Under the aufpices of lord Burlington and
lord Pembroke, architecture, as I have faid,
recovered its genuine luftre. The former,
the A polio of arts, found a proper prieft in
the perfon of Mr. Kent. As I mean no
panegyric on any man, beyond what he de-
ferved, or what to the befl of my poffibly
erroneous judgment, I think he deferved, I
fhall fpeak with equal impartiality on the
merits and faults of Kent, the former of
which exceedingly, preponderated. He was
a painter, an architect, and the father of
modern gardening. In the firft character,
he was below mediocrity j in the fecond, he
was a reftorer of the fcience j in the laft,

an

2j6 ArchiteRs In the Reign of George II.

an original, and the inventor of an art that
realizes painting, and improves nature,
Mahomet imagined an Elyfium, but Kent
created many.

He was born in Yorkihire, and put ap-
prentice to a coach-painter, but feeling the
emotions of genius he left his mafter with-
out leave, and repaired to London ; where
lie ftudied a little, and gave indications
enough of abilities to excite a generous
patronage in fome gentlemen of his own
country, who raifed a contribution fufR*
cient to fend him to Rome, whither he ac*
companied Mr. Talman in 1710. In that
capital of the arts he ftudied under cavalier
jLuti, and in the academy gained the fecond
prize of the fecond clafs \ ftill without fuf-
pecting that there was a fifter art within
his reach, more congenial to his talents.
Though his firft refources were exhaufted,
he ftill found friends. Another of his coun-
trymen, fir William Went worth, allowed him

40/,

Architects in the Reign of George II. 237

40 /. a year for feven years. But it was at
Rome that his better ftar brought him ac-
quainted with lord Burlington, whofe faga-
city difcovered the rich vein of genius that
had been hid from the artift himfelf. On
their return to England in 17195 lord Bur-
lington gave him an apartment in his own
houfe, and added all the graces of favour
and recommendation. By that noble per-
fon's intereft Kent was employed in various
works, both as a painter of hiflory and por-
trait; and yet it muft be allowed that in
each branch partiality muft have operated
ftrongly to make his Iordfhip believe he
difcovered any merit in his friend. His
portraits bore little refemblance to the per-
lbns that fat for them j and the colouring
was worfe, more raw and undetermined
than that of the moft errant journeymen to
the profeflion. The whole lengths at Efher
are (landing evidences of this affertion. la
his cielings, Kent's drawing was as defec-
tive

238 Ar chit efts in the Reign of George II.

tive as the colouring of his portraits, and as
void of every merit. I have mentioned
Hogarth's parody, if I may call it fo, of his
picture at St. Clement's. The hall at Wan-
ftead is another proof of his incapacity.
Sir Robert Walpole, who was perfuaded to
employ him at Houghton, where he painted
feveral cielings and the ftaircafe, would not
permit him however to work in colours,
which would have been ftill more difgraced
by the prefence of fo many capital pictures,
but reftrained him to chiaro fcuro. If his
faults are thence not lb glaring, they are
fcarce lefs numerous. He painted a flair-
cafe in the fame way for lord Townfhend at
Rainham.

To compenfate for his bad paintings, he
had an excellent tafte for ornaments, and
gave defigns for molt of the furniture at
Houghton, as he did for feveral other per-
fons. Yet chafle as thefe ornaments were,
they were often unmeafurably ponderous.

His

Architects in the Reign of George II. 239

His chimney-pieces, though lighter than
thofe of Inigo, whom he imitated, are fre-
quently heavy ; and his conilant introduc-
tion of pediments and the members of archi-
tecture over doors, and within rooms, was
difproportioned and cumbrous. Indeed I
much queftion whether the Romans ad-
mitted regular architecture within their
houfes. At leaft the difcoveries at Hercu-
laneum teftify, that a light and fantafhc ar-
chitecture, of a very Indian air, made a
common decoration of private apartments.
Kent's ftyle however predominated authori-
tatively during his life ; and his oracle was
fo much confulted by all who affected tafte,.
that nothing was thought compleat without
his afiiftance. He was not only confulted
for furniture, as frames of pictures, glaffes,
tables, chairs, &c. but for plate, for a barge,
for a cradle. And fo impetuous was fafhion,
that two great ladies prevailed on him to
make defigns for their birth-day gowns. The

one

240 Architects in the Reign of George If.

one he drefTed in a petticoat decorated with
columns of the five orders : the other like a
bronze, in a copper-coloured fattin with or-
naments of gold. He was not more happy
in other works in which he mifapplied his
genius. The gilt rails to the hermitage at
Richmond were in truth but a trifling im-
propriety ; but his celebrated monument of
Shakefpeare in the abbey was prepofcerous.
What an abfurdity to place bufts at the
angles of a pedeftal, and at the bottom of
that pedeftal ! Whofe choice the bufts were
I do not know, but though queen Eliza-
beth's head might be intended to mark the
sera in which the poet floui ifhed, why were
Richard II. and Henry V. felected ? Are the
pieces under the names of thofe princes two
of Shakefpeare's moll capital works ? or
what reafon can be afligned for giving them
the preference ?

As Kent's genius was not univerfal, he
has fucceeded as ill in Gothic, The King's

bene h

Architects in the Reign of George II. 241

bench at Weftminfter, and Mr. Pelham's
houfe at Efher, are proofs how little he
conceived either the principles or graces of
that architecture. Yet he was fometimes
fenfible of its beauties, and publifhed a
print of Wolfey's noble hall at Hampton-
court, now crouded and ' half hidden by a
theatre. Kent gave the defign for the or-
naments of the chapel at the prince of
Orange's wedding, of which he alfo made
a print *

Such of the drawings as he defigned for
Gay's Fables, have fome truth and nature j
but whoever would fearch for his faults,
will find an ample crop in a very favourite
work of his, the prints for Spenfer's Fairy
Queen. As the drawings were exceedingly
cried up by his admirers, and difappoint-
ed the public in proportion, the blame

# His vignettes to the large edition of Pope's works
are in a good tafte.

Vol. IV. Q was

242 Architects in the Reign Of George II.

was thrown on the engraver, but fa far
unjuftly, that though ill executed, the
wretchednefs of drawing, the total igno-
rance of perfpe&ive, the want of variety,
the difproportjion of the buildings, and the
awkwardnefs of the attitudes, could have
been the faults of the inventor only. There
are figures ifiuing from cottages not fo
high as their fhoulders, caftles in which the
towers could not contain an infant, and
knights who hold their fpears as men dp
who are lifting a load fidewayr. The
landfcapes are the only tolerable parts, 'and
yet the trees are feldpm other than young
beeches to which Kent as a planter was ac~
cuftomed.

But in ar.chitecTaire his tafte was de-
fervedly admired; and without enumerat-
ing particulars, the ftaircafe at lady Ifa~.
bella Finch's in Berkeley-fquare is as beau-
tiful a -piece of fcenery, and confidering

the

Architects in the Reign of George II. 243

the fpace, of art, as can be imagined. The
temple of Venus at Stowe has fimplicky
and merit, and the great room at Mr. Pel-
ham's in Arlington-ftreet, is as remarkable
for magnificence. I do not admire equally
the room ornamented with marble and gild-
ing at Kenlington. The ftaircafe there is
the leaft defective work of his pencil ; and
his ceilings in that palace from antique
paintings, which he firfb happily intro-
duced, fhow that he was not too ridiculoufly
prejudiced in favour of his own hiftoric
compofitions.

Of all his works, his favourite produc-
tion was the earl of Leicefter's houfe at
Holkam in Norfolk. The great hall, with
the flight of fteps at the upper end, in
which he propofed to place a coloiTal Ju-
piter, was a noble idea. How the de»
ligns of that houfe, which I have feen an
hundred times in Kent's original drawings,
Qja came

244 j&chitetts in the Reign of George. II.

came to be publifhed under another name *,
and without the flighteft mention of the
real architect, is beyond comprehenfion.
The bridge, the temple, the great gate-
way, all built, I believe, the two firft cer-
tainly, under Kent's own eye, are alike
parTed off as the works of another \ and
yet no man need envy or deny him the
glory of having opprefTed a triumphal
arch with an Egyptian pyramid. Holkam
has its faults, but they are Kent's faults, and
marked with all the peculiarities of his
ftyle.

As I intend to confider him as the in-
ventor of modern gardening in a chapter by
kfelf, I will conclude, this account of him

* «* The plan and elevations of the late earl of Lel-
cefter's houfe at Holkam were engraved and publilhed,
Lond. 176;. fol. by Mr. Brettingham, architect, who
had not the modefty to own that it was built after the
defignof Kent," Gough's Brit. Topogr. vol. ii. p. 25.

with

ArthiteRs in the Reign of George II. 245

with the few remaining circumftances of
his life. By the patronage of the queen,
of the dukes of Grafton and Newcaftle, and
Mr. Pelham, and by the intereft of his
conllant friend, he was made mafter car-
penter, architect, keeper of the pictures,
and, after the death of Jervas, principal
painter to the crown ; the whole, including
a penfion of 100 /. a year, which was given
him for his works at Kenfington, pro-
ducing 600/. a year. In 1743 he had
a diforder in his eyes that was thought
paralytic, but recovered. But in March
1748 he had an inflammation both in his
bowels and foot, which turned to a gene-
ral mortification, and put an end to his
life at Burlington-houfe, April 12, 1748,
in the fixty-fourth year of his age. He was
buried in a very handfome manner in lord
Burlington's vault at Chifwick. His fortune,
which with pictures and books, amounted
0.3

246 Architects in the Reign of George II.

to about ten thoufand pounds, he divided
between his relations, and an a&refs with
whom he had long lived in particular friend-
fhip. *

* Henry Flitcroft was an artift much employed about
this period. He built the church of St. Giles in the
fields, the fteeple of which too much refembled that of
St. Martin. His too was the church of St. Qlave,
Southwark, reckoned the beft of the new erections, but
the tower was not finiihed, from the deficience of the al-
lotted fund. Flitcroft is buried in the church- yard at
Teddington, and againft the church is a fmalHablet
with a Latin infcription, which may be read from, the
road,

Anecdotes

ANECDOTES

O F

PAINTING, &c.

«

CHAP. VII.

On Modern Gardening.

GARDENING was probably one of the
firft arts that fucceeded to that of
building houfes, and naturally attended pro-
perty and individual poiTeflion. Culinary,
and afterwards medicinal herbs, were the ob-
jects of every head of a family: it became
convenient to have them within reach, with-
out feeking them at random in woods, in
Q^4 meadows,'

■2$% On modern Gardening.

meadows, and on mountains, as often as
they were wanted. When the earth ceafed
to furnifh fpontaneoufly all thefe primitive
luxuries, and culture became requifite, fe-
parate inclofures for rearing herbs . grew
expedient. Fruits were in the fame pre-
dicament, and thofe moil in ufe or that
demand attention, muft have entered into
and extended the domeflic inclofure. The
good man Noah, we are told, planted a
vineyard, drank of the wine, and was
drunken, and every body knows the con-
fequences. Thus we acquired kitchen-
gardens, orchards, and vineyards. I am
apprized that the prototype of all thefe
forts was the garden of Eden, but as that
Paradife was a good deal larger than any
we read of afterwards, being inclofed by
the rivers Pifon, Gihon, Hiddekel, and
Euphrates, as every tree that was pleafant
to the fight and good for food grew in it,
and as two other trees were likewife found

there,

Oft modem Gardening, 249

there, of which not a flip or fucker re-
mains, it does not belong to the prefent
difcufiion. After the fall no man living
was fuffered to enter into the garden -, and
the poverty and neceffities of our firft an-
ceftors hardly allowed them time to make
improvements on their ejlates in imitation of
it, fuppofing any plan had been preferved.
A cottage and a flip of ground for a cab-
bage and a goofeberry-bufh, fuch as we lee
by the fide of a common, were in all pro-
bability the earlieft feats and gardens: a
well and bucket fucceeded to the Pifon and
Euphrates. As fettlements increafed, the
orchard and the vineyard followed j and the
earlieft princes of tribes pollened juft the
neceflaries of a modern farmer.

Matters, we may well believe, remained
long in this fituation j and though the gene-
rality of mankind form their ideas from the
import of words in their own age, we have
no reafon to think that for many centuries

the

2$0 On modern Gardening.

the term garden implied more than a kit-
chen-garden or orchard. When a French*
man reads of the garden of Eden, I do not
doubt but he concludes it was fomething
approaching to that of Verfailles, with dipt
hedges, bereeaus, and trellis-work. If his
devotion humbles him fo far as to. allow
that, confidering who defigned it, there
might be a labyrinth full of ififop's fables,
yet he does not conceive that four of the
largeft rivers in the world were half fo
magnificent as an hundred fountains full
of ftatues by Girardon. It is thus that the
word garden . has at all times parted for
Whatever was underftood by that term in
different Countries. But that it meant no
more than a kitchen-garden or orchard for
feveral centuries, is evident from thofe few
defcriptions that are preferved of the moft
famous gardens of antiquity.

That of Alcinous, in the OdyfTey, is the

moft renowned in the heroic times. Is

io there

On modern Gardening. 251

there an admirer of Homer who can read
his defcription without rapture; or who
does not form to his imagination a fcene
of delights more picturefque than the land-
fcapes of Tinian or Juan Fernandez ? Yet
what was that boafted Paradife with which

the gods ordain'd
To grace Alcinous and his happy land ? Pope,

Why, diverted of harmonious Greek and
bewitching poetry, it was a fmall orchard
and vineyard, with fome beds of herbs and
two fountains that watered them, inclofed
within a quickfet hedge. The whole com-
pafs of this pompous garden inclofed — four
acres.

Four acres was th' allotted fpace of ground,
Fenc'd with a green inclofure all around.

The trees were apples, figs, pomegranates,
pears, olives, and vines.

Tall

i$i On modern Gardening.

Tall thriving trees confefs'd the fruitful mold ;
The redning apple ripens into gold.
Here the blue fig with lufcious juice o'erflows,
With deeper red the full pomegranate glows.
The branch here bends beneath the weighty pear,
And verdant olives flourim round the year.
*#♦###

Beds of all various herbs, for ever green,
In beauteous order terminate the fcene.

Alcinous's garden was planted by the poet,
enriched by him with the fairy gift of eter-
nal fummer, and no doubt an effort of
imagination furpaffing any thing he had
ever feen. As he has beftowed on the fame
happy prince a palace with brazen walls
and columns of filver, he certainly intended
that the garden mould be proportionably
magnificent. We are fure therefore that as
late as Homer's age, an inclofure of four
acres, comprehending orchard, vineyard
and kitchen-garden, was a ftretch of lux-
ury the world at that time had never be-
held;

The

On modern Gardening* "2 S3

The hanging gardens of Babylon were
a ftill greater prodigy. We are not ac-
quainted with their difpofition or contents,
but as they are fuppofed to have been
formed on terrafTes and the walls of the
palace, whither foil was conveyed on pur-
pofe, we are very certain of what they
were notj I mean they muft have been
trifling, of no extent, and a wanton in-
ftance of expence and labour. In other
words they were what fumptuous gardens
have been in all ages till the prefent, un^
natural, enriched by art, poflibly with
fountains, ftatues, baluftrades, and fummer-
houfes, and were any thing but verdant
and rural.

From the days of Homer to thofe of
Pliny, we have no traces to lead our guefs
to what were the gardens of the intervening
ages. When Roman authors, whofe cli-
mate inftilled a wifh for cool retreats, fpeak
of their enjoyments in that kind, they figh

for

454 On modern Gardening,

for grottos, eaves, and the refrefhing hol-
lows of mountains, near irriguous and fhady
founts ; or boaft of their porticos, walks of
planes, canals, baths and breezes from the
fea. Their gardens are never mentioned as
affording {hade and fhelter from the rage of
the dog-ftar. Pliny has left us defcriptions
of two of his villas. As he ufed his Lau*
rentine villa for his winter retreat, it is not
ftirprifihg that the garden makes no con-
fiderable part of the account. All he lays
of it is, that the geftatio or place of exer-
ciie, which furrounded the garden (the lat-
ter confequently not being very large) was
bounded by a hedge of box, and where
that was perifhed, with rofemary; that
there was a walk of vines, and that mod of
the trees were fig and mulberry, the foil
not being proper for any other forts.

On his Tufcan villa he is more difrufe,
the garden makes a confiderable part of the
defcription — and what was the principal

beauty

Oh modern Gardening. $.$$

beauty of that pleafure-ground ? Exa&ly
what was the admiration of this country
about threefcore years: ago -3 box-trees cut
int omonfters, animals, letters, and the
names of the matter and the artificer. In
an age* when architecture di'fplayed all its
grandeur, all its purity, and all its tafte;
when arofe Vefpafian's amphitheatre, the
temple of "Feace, Trajan's forum, Domi-
rian's baths, and Adrian's villa, the ruins and
veftiges of which ftill excite our aftonifh-
ment and curiofityj a Roman conful, a po-
Hihed emperor's friend, and a man of elegant
litterature and tafte, delighted in what the
mob now fcarce admire in a college-garden,
AH the ingredients of Fliny's correfponded
exactly with thofe laid out by London and
Wife on Dutch principles. He talks of {lopes,.
temuTes, a wildernefs, fhrubs methodically
trimmed, a marble bafon, * pipes fpout-

ing

; * The Englifh gardens defcribed by Hentzner in the
feign of Elizabeth, arc exact copies of thofe of Plinyv

la

H$$ On modern Gardening.

ing water, a cafcade falling into the bafon,
bay-trees, alternately planted with planes,
and a ftrait walk, from whence iflued
others parted off by hedges of box, and
apple-trees, with obelifks placed between
every two. There wants nothing but the
embroidery of a parterre,, to make a garden
in the reign of Trajan ferye for a defcrip-
tion of one in that of king William *.' In
one paffage above Pliny feems to have con-
ceived

In that at Whitehall was a fun-dial and jet-d'eau,
which on turning a cock fpurted out water and
fprinkled the fpe&ators. -In lord Burleigh's at Theo-
bald's were obelifks, pyramids, and circular porticos,
with cifterns of lead for bathing. At Hampton-court
the garden walls were covered with rofemary, a cuftom,
he fays, very common in England* At Theobald's was
a labyrinth alfo, an ingenuity I (hall mention prefently
to have been frequent in that age.
\*Dr. Plot, in his natural hiftory of Oxfordfhire,
p. 380, feems to have been a great admirer of trees
carved into the moft heterogeneous forms, which he
calls topiary works, and quotes one Laurembergius for
laying that the Englifh are as expert as moft nations in
that kind of fculptuxe ; for which Hampton-court was

particularly

On modern Gardening. 257

ceived that natural irregularity might be a
beauty ; in opere urbaniflimo, fays he,
fubita velut illati ruris imitatio. Some-
thing like a rural view was contrived amidft
fo much polifhed compofition. But the
idea foon vanifhed, lineal walks immedi-
ately enveloped the flight fcene, and names
and infcriptions in box again fucceeded to
compenfate for the daring introduction of
nature.

In the paintings found at Herculaneum
are a few traces of gardens, as may be feen
in the fecond volume of the prints. They
are fmall fquare inclofures formed by trellis-
work, and efpaliers, * and regularly orna-

particularly remarkable. The Do&or then names
other gardens that flourilhed with animals and caftles,
formed arte topiaria, and above all a wren's neft that
was capacious enough to receive a man to fit on a feat
made within it for that purpofe.

# At Warwick-cattle is an ancient fuit of arras, in
which there is a garden exactly refembling thefe pic-
tures of Herculaneum.

Vol. IV. R mented

258 Qn modern Gardening.

merited with vafes, fountains and careatides*
elegantly fymmetrical, and proper for the
narrow fpaces allotted to the garden of a
houfe in a capital city. From fuch I would
not banifh thofe playful waters that refrefh.
a fultry manfion in town, nor the neat trel-
lis, which preferves its wooden verdure bet-
ter than natural greens expofed to duft,.
Thofe treillages in the gardens at Paris*
particularly on the Boulevard, have a gay
and delightful effect. — They form light
corridores, and tranfpicuous arbours through
which, the fun-beams play and chequer the
ihade, fet off the ftatues, vafes and flowers,
that marry with their gaudy hotels, and fuit
the gallant and idle fociety who paint the*
walks between their parterres, and realize
the fantaftic fceaes of Watteau and
Durfe.

From what I have faid, it appears how na-
turally and infenfibly the Idea of a kitchen-
garden Aid into- that which has for fo< many

On modern Gardening. a$$

ages been peculiarly termed a garden, and
by our anceftors in this country, diftin-
guifhed by the name of a pleafure-garden.
A fquare piece of ground was originally
parted off in early ages for the ufe of the
family — to exclude cattle and afcertain the
property it was feparated from the fields
by a hedge. As pride and defire of pri-
vacy increafed, the inclofure was dignified
by walls ; and in climes where fruits were
not lavifhed by the ripening glow of nature
and foil, fruit-trees were afilfted and fhel-
tered from furrounding winds by the like
expedient ; for the inundation of luxuries
which have fwelled into general necefiities,
have almoft all taken their fource from the
fimple fountain of reafon.

"When the cuftom of making fquare gar-
dens inclofed with walls was thus eftablifh-
ed, to the exclufion of nature and * profpeft,

pomp

• It was not uncommon, after the circum adjacent

R 2 country

a6o On modern Gardening.

pomp and folitude combined to call for
fomething that might enrich and enliven
the infipid and unanimated partition. Foun-
tains, firft invented for ufe, which grandeur
loves to difguife and throw out of the ques-
tion, received embellifhments from coftly
marbles, and at laft to contradict utility,
tofTed their wafte of waters into air in
fpouting columns. Art, in the hands of
rude man, had at firft been made a fuc-
cedaneum to nature ; in the hands of often-
itations wealth, it became the means of op-
pofing nature; and the more it traverfed
the march of the latter, the more nobility
thought its power was demonftrated. Ca-
nals meafured by the line were introduced
in lieu of mseandring ftreams, and terrafles
were hoifted aloft in opposition to the fa-
cile flopes that imperceptibly unite the

country had been fhut out, to endeavour to recover it
by railing large mounts of earth to peep over the wails
of the gar den.

valley

On modern Gardening. 16 1

valley to the hill. Balauftrades defended
thefe precipitate and dangerous elevations,
and flights of fteps rejoined them to the
fubjacent flat from which the terrafs had
been dug. Vafes and fculpture were add-
ed to thefe unnecefiary balconies, and fta-
tues finifhed the lifelefs fpot with mimic
reprefentations of the excluded fons of
men. Thus difficulty and expence were
the conftituent parts of thofe fumptuous
and felfifh folitudes ; and every improve-
ment that was made, was but a ftep far-
ther from nature. The tricks of water-
works to wet the unwary, not to refrefh
the panting fpe&ator, and parterres em-
broidered in patterns like a petticoat,
were but the childifli endeavours of famion
and novelty to reconcile greatnefs to what
it had furfeited on. To crown thefe im-
potent difplays of falfe tafte, the fheers
were applied to the lovely wildnefs of form
with which nature has diftinguilhed each
R 3 various

a6i On modern Gardening.

various fpecies of tree and fhrub. The ve-
nerable oak, the romantic beech, the ufe-
ful elm, even the afpiring circuit of the
lime, the regular round of the chefnut, and
the almoft moulded orange-tree, were cor-
rected by fuch fantaftic admirers of fym-
metry. The compafs and iquare were of
more ufe in plantations than the nurfery-
man. The mearyred walk, the quincunx,
and the etoile impofed dieir unfatisfying
famenefs on every royal and noble garden.
Trees were headed, and their fides pared
away j many French groves feem green
chefts fet upon poles. Seats of marble, ar-*
bours and fummer houfes, terminated every
vifto y and fymmetry, even where the fpace
was too large to permit its being remarked
at one view, was fo eflential, that, as Pop§
obferved,

' T-each alley has a brother,
And half the garden juft refle&s the other,

Knots of flowers were more defenfibly fub-

je&eci

On modern Gardening, 263

je&ed to the fame regularity. Leifure, as
Milton expreffed it.

in trim gardens took his pleafure.

In the garden of marmal de Biron at Paris,
confifling of fourteen acres, every walk is
buttoned on each fide by lines of flower-
pots, which fucceed in their feafons. When
I faw it, there were nine thoufand pots of
Afters, or la Reine Marguerite.

We do not precifely know what our an-
ceflors meant by a bower, it was probably
an arbour ; fometimes it meant the whole
frittered inclofure, and in one inftance it
certainly included a labyrinth. Rofamond's
bower was indifputably of that kind, though
whether compofed of walls or hedges we
cannot determine. * A fquare and a round

labyrinth

* Drayton in a note to his Epiftle of Rofamond,

fays her labyrinth was built of vaults under ground,

arched and walled with brick and ftone — but, as Mr.

R 4 Gough

264 On modern Gardening.

labyrinth were fo capital ingredients of a
garden formerly, that in Du Cerceau's
architecture, who lived in the time of
Charles IX. and Henry III. there is fcarce
a ground-plot without one of each. The
enchantment of antique appellations has
confecrated a pleafing idea of a royal refi-
dence, of which we now regret the ex-
tinction. Havering in the Bower, the join-
ture of many dowager queens, conveys to
us the notion of a romantic fcene.

In Kip's views of the feats of our no-
bility and gentry, we fee the fame tire-
fome and returning uniformity. Every
houfe is approached by two or three gar-
dens, confiding perhaps of a gravel-walk
and two grafs-plats, or borders of flowers.
Each rifes above the other by two or three

Gough obferves, he gives no authority for that alTerr.
tion, v. pref. to 2d edit. of Britiih. Topography, p. xxx.
Such vaults might remain to Drayton's time, but did
r.ot prove that there hid been no luperflru&ure,

fteps,

On modern Gardening, 265

fteps, and as many walls and terralfes j and
fo many iron-gates, that we recoiled thofe
ancient romances, in which every entrance
was guarded by nymphs or dragons. At
lady Orford's at Piddletown in Dorfctmire,
there was, when my brother married, a
double inclofure of thirteen gardens, each I
fuppofe not much above an hundred yards
fquare, with an enfilade of correfpondent
gates ; and before you arrived at thefe, you
parTed a narrow gut between two ftone ter-
rains, that rofe above your head, and which
were crowned by a line of pyramidal yews.
A bowling-green was all the lawn admitted
jn thofe times, a circular lake the extent of
magnificence, j

Yet though thefe and fach prepofterous
jnconveniencies prevailed from age to age,
good fenfe in this country had perceived
the want of fomething at once more grand
$nd more natural. Thefe reflections and the

bounds

266 On modern Gardening.

bounds kt to the wafle made by royal
fpoilers gave origine to parks. They were
contracted forefts, and extended gardens.
Hentzner fays, that according to Rous of
Warwick the firft park was that at Wood-
ftock. If fo, it might be the foundation
of a legend that Henry II. fecured his
miftrefs in a labyrinth : it was no doubt
more difficult to find her in a park than in
a palace, when the intricacy of the woods
and various lodges buried in covert might
conceal her actual habitation.

It is more extraordinary that having Co
long ago {tumbled on the principle of
modern gardening, we fhould have per-
filled in retaining its reverfe, fymmetrical
and unnatural gardens. That parks were
rare in other countries, Hentzner, who
travelled over great part of Europe, leads
us to fuppofe, by obferving that they were
common in England. In France they re-
tain the name, but nothing is more diflfe-
io rens

On modern Gardening. 267

rent both in compafs and difpofition. Their
parks are ufually fquare or oblong in-
clofures, regularly planted with walks of
chefnuts or limes, and generally every
large town has one for its public recrea-
tion. They are" exactly like Burton's court
at Chelfea-college, and rarely larger.

One man, one great man we had, on
whom nor education nor cuftom could im-
pofe their prejudices ; who, on evil days
though fallen, and with darknefs and Jolituds
fompajfed rounds judged that the miftakeh
and fantaftic ornaments he had feen in
gardens, were unworthy of the almighty
hand that planted the delights of Paradife.
Jrle feems with the prophetic eye of tafte
[as I have heard tafte well * defined] to
have conceived, to have forefeen modern
gardening j as lord Bacon announced the

* By the great lord Chatham, who had a good tafte
himfejf in modern gardening, as he fhevved by his own
villas in Enfield Chace and at Hayes.

difcoveries

268 On modern Gardening.

difcoveries fince made by experimental phi-
lofophy. The defcription of Eden is a
warmer and more juft picture of the pre-
fent ftyle than Claud Lorrain could have
painted from Hagley or Stourhead. The
firft lines I mall quote exhibit Stourhead
on a more magnificent fcale.

Thro' Eden went a river large,
Nor chang'd his courfe, but thro' the fhaggy hill,
Pafs'd underneath ingulph'd, for God had thrown
That mountain as his garden-mound, high rais'd
Upon the rapid current

Hagley feems pictured in what follows,

which thro' veins
Of porous earth with kindly thirft updrawn,
Rofe a frefh fountain, and with many a rill
Water'd the garden

What colouring, what freedom of pencil,
what landfcape in thefe lines,

-— — from

On modern Gardening. 26a

from that faphire fount the crifped brooks-,
Rolling on orient pearl and fands of gold,
With mazy error under pendent fhades
Ran necTar, vifiting each plant, and fed
Flow'rs worthy of Paradife, which not nice art
In beds and curious knots, but nature boon
Pour'd forth profufe on hill and dale and plain,
Both where the morning fun firft warmly fmote
The open field, and where the unpierc'd fhade
Imbrown'd the noon-tide bow'rs. — Thus ixas this

place
A happy rural feat of various view.

Read this tranfporting defcription, paint to
your mind the fcenes that follow, contrail
them with the favage but refpe&able terror
with which the poet guards the bounds of
his Paradife, fenced

■ - with the champain head
Of a fteep wildernefs, whofe hairy fides
With thicket overgrown, grotefque and wild
Accefs denied ; and over head upgrew
Infuperable height of loftieft fhade,
Cedar and pine, and fir, and branching palm,
A fylvan fcene, and as the ranks afcend,

Shade

iyo On modern Gardening.

Shade above made, a woody theatre
Of ftatelieil view

and then recoiled that the author of this
fublime vifion had never {een a glimpfe of
any thing like what he has imagined, that
his favourite ancients had dropped not a
hint of fuch divine fcenery, and that the
conceits in Italian gardens, and Theobalds
and Nonfuch, were the brighter! originals
that his memory could furnifh. His intel-
lectual eye faw a nobler plan, fo little did
he fuffer by the lofs of fight. It fufficed
him to have feen the materials with which
he could work. The vigour of a boundlefs
imagination told him how a plan might be
difpofed, that would embellifh nature, and
reftore art to its proper office, the juft im-
provement or imitation of it. *

* Since the above was written, T have found Milton
praifed and fir William Temple cenfured, on the fame
foundations, in a poem called, The Rife and Progrefs
of the prefent Tafte in Planting, printed in 1767.

It

On modern Gardening, 0.J1

It is necefiary that the concurrent tefti-
mony of the age fhould fwear to poflerity
that the defcription above-quoted was writ-
ten above half a century before the intro-
duction of modern gardening, or our incre-
dulous defcendants will defraud the poet of
half his glory, by being perfuaded that he
copied fome garden or gardens he had
feen — fb minutely do his ideas correfpond
with the prefent ftandard. But what fhall
we fay for that intervening half century who
could read that plan and never attempt to
put it in execution ?

Now let us turn to an admired writer,
posterior to Milton, and fee how cold, how
mfipid, how taftelefs is his account of what
he pronounced a perfect garden. I fpeak
not of his ftyle, which it was not necefiary
for him to animate with the colouring and
glow of poetry. It is his want of ideas, of
imagination, of tafte, that I cenfure, when
he dictated on a fubjett that is capable of

all

XJ2 On modern Gardening.

all the graces that a knowledge of beautiful
nature can bellow. Sir William Temple
was an excellent man ; Milton, a genius of
the firft order.

We cannot wonder that fir William de-
clares in favour of parterres, fountains and
ftatues, as neceffary to break the famenefs
of large grafs-plats, which he thinks have
an ill effect upon the eye, when he acknow-
ledges that he difcovers fancy in the gar-
dens of Alcinous. Milton itudied the an-
cients with equal enthufiafm, but no bigo-
try, and had judgment to diflinguifh be-
tween the want of invention and the
beauties of poetry. Compare his Paradife
with Homer's garden, both afcribed to a
celeftial defign. For fir William, it is juft
to obferve, that his ideas centred in a fruit-
garden. He had the honour of giving to his
country many delicate fruits, and he thought
of little elfe.than difpofing them to the belt
advantage. Here is the paflfage 1 propofed

to

On modern Gardening. 273

to quote j it is long, but I need not make
an apology to the reader for entertaining
him with any other words inftead of my
own.

cc The beft figure of a garden is either
a fquare or an oblong, and either upon a
flat or a defcent : they have all their beau-
ties, but the belt I efteem an oblong upon
a defcent. The beauty, the air, the view
makes amends for the expence, which is
very great in fmifhing and fupporting the
terras-walks, in levelling the parterres, and
in the ftone- flairs that are neceflary from
one to the other.

f c The perfeclefl figure of a garden I ever
faw, either at home or abroad, was that of
Moor-park in Hertfordfhire, when I knew
it about thirty years ago. It was made by
the countefs of Bedford, efleemed among
the greateft wits of her time, and celebrated
by doclor Donne ; and with very great care,
excellent contrivance, and much coft ; but

Vol. IV. S greater

274 On modern Gardenings

greater fums may be thrown away without
effect or honour, if there want fenfe in pro-
portion to money, or if nature he not follow-
ed, which I take to be the great rule in this,
and perhaps in every thing elfe, as far as the
conduct not only of our lives, but our go^
vernments." [We Ihall fee how natural
that admired garden was.]

" Becaufe I take * the garden- I have
named to have been, in all kinds the moft
beautiful and perfect, at leaft in the figure
and difpofition that I Have ever feen, I wilk
defer ibe it for a model to thofe that meet
with fuch a fituation, and are above the
regards of common expence. It lies on:
the fide of a hill, upon which the houfe
ftands, but not very fteep. The length of
the houfe, where the beft rooms and of

* This girden feems to have been made after the
plan laid down by lord Bacon iir*his 46th eflay, to
which, that I may not multiply quotations, I wilL
refer the reader.

moll

On modern Gardening. 27$

mod ufe or pleafure are, lies upon the
breadth of the garden •, the great parlour
opens into the middle of a terras gravel-
walk that lies even with it, and which may
lie, as I remember, about three hundred
paces long, and broad in proportion -, the
border fet with ftandard laurels and at large
diftances, which have the beauty of orange-
trees out of flower and t fruit. From this
walk are three defcents by many ftone
Heps, in the middle and at each end, into
a very large parterre. This is divided into
quarters by gravel-walks, and adorned with
two fountains and eight ftatues in the feve-
ral quarters. At the end of the terras -
walk are two fummer-houfes, and the fides
of the parterre are ranged with two large
cloifters open to the garden, upon arches
of ftone, and ending with two other fum-
mer-houfes even with the cloifters, which
are paved with ftone, and defigned for
walks of fhade, there being none other in
S 2 the

276 On modern Gardening,

the whole parterre. Over thefe two clois-
ters are two terraffes covered with lead and
fenced v/ith balufters -, and the paflage into
thefe airy walks is out of the two fummer-
houfes at the end of the firft terras-walk.
The cloifter facing the fouth is covered with
vines, and would have been proper for an
orange-houfe, and the other for myrtles or
other more common greens, and had, I
doubt not, been caft for that purpofe, if this
piece of gardening had been then in as
much vogue as it is now.

" From the middle of this parterre is a
defcent by many fteps flying on each fide
of a grotto that lies between them, covered
with lead and flat, into the lower garden
which is all fruit-trees ranged about the
feveral quarters of a wildernefs which is
very fhady ; the walks here are all green,
the grotto embellifhed with figures of fhell-
rock-work, fountains, and water-works.
If the hill had not en4ed with the lower

garden,

On modern Gardening. 277

garden, and the wall were not bounded by
a common way that goes through the park,
they might have added a third quarter of
all greens j but this want is fupplied by a
garden on the other fide the houfe, which
is all of that fort, very wild, fhady, and
adorned with rough rock-work and foun-
tains.

" This was Moor-park, when I was
acquainted with it, and the fweetefl place,
I think, that I have feen in my life, either
before or fince, at home or abroad." —

I will make no farther remarks on this
defcription. Any man might defign and
build as fweet a garden, who had been born
in and never ftirred out of Holbourn. It
was not peculiar to fir William Temple to
think in that manner. How many French-
men are there who have fcen our gardens,
and ftill prefer natural flights of fteps and
fhady cloifters covered with lead \ Le Nau-
tre, the architect of the groves and grot-
S 3 to.s

27 8 On modern Gardening.

toes at Verfailles, came hither on a miflion
to improve our tafte. He planted St.
James's and Greenwich parks— no great
monuments of his invention.

To do farther juftice to fir William
Temple, I mud not omit what he adds.
" What I have faid of the beft forms of
gardens, is meant only of fuch as are in
fome fort regular ; for there may be other
forms wholly irregular, that may, for aught
I know, have more beauty than any of the
others j but they mufl owe it to fome ex-
traordinary difpofitions of nature in the1
feat, or fome great race cf fancy or judg-
ment in the contrivance^ which may re-
duce many difagreeing parts into fome
figure, which fhall yet, upon the whole, be
very agreeable. Something of this I have
feen in fome places, but heard more of it
from others, who have lived much among
the Chinefe, a people wKofe way of thinks
ing feems to. lie as wide of ours in Europe,
10 as

On modern Gardening. 279

as their country does, — Their greateft reach
•of imagination is employed in contriving
figures, where the beauty mall be great and
-ftrike the eye, but without any order or
•difpofition of parts, that fhall be commonly
or eafily obferved. And though we have
hardly any notion of this fort of beauty,
yet they have a particular word to exprefs
it; and where they find it hit their eye at
firft fight, they fay the Sharawadgi is fine
or is admirable, or any fuch exprsflion of
efteem— but I mould hardly advife any of
thefe attempts in the figure of gardens
among us, they are adventures of too hard
achievement for any common hands : and
though there may be more honour if they
jfucceed well, yet there is more difhonour
if they fail, and it is twenty to one they
will ; whereas in regular figures it is hard
;to make any great and remarkable faults."

S 4 Fortunately

2 So On modern Gardening.

Fortunately Kent and a few others were
not quite £o timid, or we might flill be go-
ing up and down-fbairs in the open air.

It is true, we have heard much lately,
as fir William Temple did, of irregularity
and imitations of nature in the gardens or
grounds of the Chinefe. The former is
certainly true ; they are as whimfically ir-
regular as European gardens are formally
uniform,, and unvaried — but with regard
to nature, it feems as much avoided, as in
the fquares and oblongs and ftrait lines of
our anceftors. An artificial perpendicular
rock ftarting out of a flat plain, and con^.
nected with nothing, often pierced through
in various places with oval hollows, has no
more pretention to be deemed natural than
a lineal terrafs or a parterre. The late Mr.
Jofeph Spence, who had both tafte and zeal
for the prefent ftyle, was fo perfuaded of
the Chinefe emperor's pleafure-ground be-
ing laid oi^t on principles refernbling ours,

that

On modern Gardening. lH l

that he tranflated and publifhed, under the
name of fir Harry Beaumont, a particular
account of that inclofure from the collection
of the letters of the Jefuits. I have looked
it over, and except a determined irregula-
rity, can find nothing in it that gives me
any idea of attention being paid to nature.
It is of vaft circumference and contains 200
palaces, befides as many contiguous for the
eunuchs, all gilt, painted and varnifhed.
There are raifed hills from 20 to 60 feet
high, ftreams and lakes, and one of the
latter five miles round. Thefe waters are
paffed by bridges— but even their bridges
muft not be (trait — they ferpentize as much
as the rivulets, and are fometimes fo long
as to be furnifhed with refting-places, and
begin and end with triumphal arches,, Me-
thinks a ftrait canal is as rational at leaft as
a maeandring bridge. The colonades un-
gulate in the fame manner. In fhort, this

pretty

2 3' 2 On modern Gardening.

pretty gaudy fcene is the work of caprice
and whim ; and when we reflect on their
buildings, prefents no image but that of
unfubftantial iawdrinefs. Nor is this all.
Within this fantaftic Paradife is a fquare
town, each fide a mile long. Here the
eunuchs of the court, to entertain his im-
perial majefty with the buftle and bufinefs
of the capital in which he refides, but which
it is not of his dignity ever to fee, act mer-
chants and all forts of trades, and even de-
signedly exercife for his royal amufement
every art of knavery that is practifed under
his aufpicious government. Methinks this
is the childim folace and repofe of gran-
deur, not a retirement from affairs to the
delights of rural life. Here too his ma-
jefty plays at agriculture j there is a quar-
ter fet apart for that purpofe ; the eunuchs
fow, reap, and carry in their harveft in the
Imperial prefencej and his majefty returns

m

On modern Gardening. 283

to Pekin, perfuaded that he has been in th«
country. *

Having

• The French have of late years adopted our ftyle
in gardens, but chufing to be fundamentally obliged
to more remote rivals, they deny us half the merit,
or rather the originality of the invention, by afcribing
the difcovery to the Chinefe, and by calling our tails-
in gardening Le Gout Anglo-Chinois. I think I have
fhevv'n that this is a blunder, and that the Chinefe have
parted to one extremity of abfurdity, as the French and
all antiquity had advanced to the other, both being
equally remote from nature ; regular formality is the
oppofite point to fantaftic Sharawadgis. The French,
indeed, during the fashionable paroxyfm of philofophy,
have furpafTed us, at leaft in meditation on the art.
I have perufed a grave treatifc of recent date, in which
the author, extending his views beyond mere luxury
and amufement, has endeavoured to infpire his coun-
trymen, even in the gratification of their expensive
pleafures, with benevolent projects. He propofes to
them to combine gardening with charity, and to make
every ftcp of their walks an acl: of generofity and a lef.
fon of morality. Inftead of adorning favourite points
with a heathen temple, a Chinefe pagoda, a Gothic
tower, or fictitious bridge, he propofes to them at the
firft refting-place to ereft a fchool ; a little farther to

found

2S4 On modern Gardening.

Having thus cleared my way by afcer

on gar
dening

taining what have been the ideas on gar-

c>

found an academy ; at a third diftance, a manufac-
ture ; and at the termination of the park to endow an
hofpital. Thus, fays he, the proprietor would be led
to meditate, as he faunters, on the different flages of
human life, and both his expence and thoughts would
march in a progreflion of patriotic acts and reflections,
When he was laying out fo magnificent, charitable,
and philofophic an Utopian villa, it would have cofl no
3iore to have added a foundling-hofpital, a fenate-
houfe, and a burying-ground. — If I fmile at fuch vi-
fions, ftill one mufl be glad that in the whirl of fa-
fhions, beneficence fhould have its turn in vogue ; and
though the French treat the virtues like every thing
elfe,but as an object of mode, it is to be hoped that they
too will, every now and then, come into fafhion again.
The author I have been mentioning reminds me of a
French gentleman, who fome years ago made me a
vifit at Strawberry -hill. He was fo complaifant as to
eommend the place, and to approve our tafte in gar-
dens— but in the fanis ftyle of thinking with the above
eited author, he faid, "I do not like your imaginary
temples and fictitious terminations of views : I would
have real points of view with moving objefts ; for in-
#ance, here I would have-^-( I forget what) — and'

there

On modern Gardening. 285

dening in all ages, as far as we have mate-
rials to judge by, it remains to fhow to
what degree Mr. Kent invented the new
ftyle, and what hints he had received to
fuggeft and conduct his undertaking.

We have feen what Moor-park was,
when pronounced a ftandard. But as no
fucceeding generation in an opulent and
luxurious country contents itfelf with the
perfection eftablifhed by its anceftors, more
perfect perfection was ftill fought -, and im-
provements had gone on, till London and
Wife had flocked our gardens with giants,

there a watering-place." " That is not fo eafy, I
replied 5 one cannot oblige others to affenrble at fuch
or fuch a fpot for one's amufernent — however, I am
glad you would like a watering-place, for there hap-
pens to be one ; in that creek of the Thames the in-
habitants of the village do actually water their horfes ;
but I doubt whether, if it were not convenient to them
to do fo, they would frequent the fpot only to enliven
my profpedl." — Such Gallo-Chinois gardens, I appre-
hend, will rarely be executed.

animals,

2^6 On modern Gardening,

animals, monfters, * coats of arms and mot-
toes in yew, box and holly. Abfurdity
could go no farther, and the tide turned.
Bridgman, the next fafhionable defigner of
gardens, was far more chafte j and whether
from good fenfe, or that the nation had
been ftruck and reformed by die admirable
paper in the Guardian, N° 173, he ba-
nifhed verdant fculpture, and did not even
revert to the fquare precifion of the forego-
ing age. He enlarged his plans, difdained
to make every divifion tally to its oppofite,
and though he ftill adhered much to ftrait
walks with high clipped hedges, they were
only his great lines ; the reft he diversi-
fied by wildernefs, and with loofe groves
of oak, though ftill within furrounding

* On the piers of a garden-gate not far from Paris
I obferved two very coquet fphinxes. Thefe lady
monfters had ftravv hats gracefully fmart on one fide
of their heads, and fllken cloaks half veiling their
necks ; all executed in ftone.

hedges.

On modern Gardening, 287

Hedges. I have obferved in the garden *
at Gubbins in Hertfordfhire many detach-
ed thoughts, that flrongly indicate the dawn-
of modern tafte. As his reformation gained
footing, he ventured farther, and in the
royal garden at Richmond dared to intro-
duce cultivated fields, and even morfels of
a. forefl appearance, by the fides of thofe
endlefs and tirefome walks, that ftretched
out of one into another without intermit-
fion. But this was not till other innova-
tors had broke loofe too from rigid fym-
metry.

But the capital ftroke, the leading ftep'
to all that has followed, was [I believe the
firft thought was Bridgman's] the deftruc-

* The feat of the late fir Jeremy Sambroke. It had
formerly belonged to lady More, mother-in-law of fir
Thomas More, and had been tyrannically wrenched
from her by Henry VIII. on the execution of fir Tho-
mas, though not her fon, and though her jointure
from a former hufband,

lion.

•288 On modem Gardening.

tion of walls for boundaries, and the inven-
tion of fofses — an attempt then deemed fo
aftonifhing, that the common people called
them Ha ! Ha's ! to exprefs their furprize
at finding a fudden and unperceived check
to their walk.

One of the firfi: gardens planted in this
fimple though ftill formal ftyle, was my
father's at Houghton. It was laid out by
Mr. Eyre, an imitator of Bridgman. It
contains three-and-twenty acres, then reck-
oned a considerable portion.

I call a funk fence the leading ftep, for
thefe reafons. No fooner was this fimple
enchantment made, than levelling, mowing
and rolling, followed. The contiguous
ground of the park without the funk fence
was to be harmonized with the lawn with-
in s and the garden in its turn was to be fet
free from its prim regularity, that it might
aflbrt with the wilder country without. The
funk fence afcertained the fpecific garden,

but

On modern Gardening* 289

but that it might not draw too obvious a
line of diftinction between the neat and the
rude, the contiguous out-lying parts came
to be included in a kind of general defign :
and when nature was taken into the plan,
under improvements, every ftep that was
made, pointed out new beauties and in-
fpired new ideas. At that moment ap-
peared Kent, painter enough to tafte the
charms of landfcape, bold and opinionative
enough to dare and to dictate, and born
with a genius to flrike out a great fyftem
from the twilight of imperfect effays. He
leaped the fence, and faw that all nature
was a garden. He felt the delicious con-
trail of hill and valley changing impercep-
tibly into each other, tafted the beauty ot
the gentle fwell, or concave fcoop, and re-
marked how loofe groves crowned an eafy
eminence with happy ornament, and while
they called in the diftant view between their
Vol, IV. T graceful

2qo On modern Gardening.

graceful ftemsj removed and extended the-
perspective by dclufivc comparifon.

Thus the pencil of his imagination be-
llowed' all the arts of landfcape on the
icenes- he handled. The great principles
on which he worked were perfpective, and
light and fhade. Groupes of trees broke
too uniform or too extenfive a lawn ; ever-
greens and woods were oppofed to the glare
of the champain., and where the view was
lefs fortunate, or fo much expofed as to
be beheld at once, he blotted out feme
parts by thick fhades, to divide it into va-
riety, or to make the richeft- fcene more
enchanting by referving it to a farther ad-
vance of the fpedtator's ftep., Thus felecl>
ing favourite objects, and veiling deformi-
ties by fcreens of plantation j fometimes
allowing the rudeft wafle to add its foil to-
-the richeft theatre, he realized the com-
•pofitions of the greateft matters in painting.
Where objects were wanting to animate his

horizon,,

6

On modem Gardening. 291

horizon, his tafte as an architect could
beftovv immediate termination. His build-
ings, his feats, his temples, were more the
works of his pencil than of his compares.
We owe the reftoration of Greece and the
diffufion of architecture to his fkill in land-
scape.

But of all the beauties he added to the
face of this beautiful country, none furpalTed
his management of water. Adieu to ca-
nals, circular bafons, and cafcades tum-
bling down marble fteps, that laft abfurd
magnificence of Italian and French villas.
The forced elevation of cataracts was no
more. The gentle ftream was taught to
ferpentize feemingly at its pleafure, and
where difcontinued by different levels, its
courfe appeared to be concealed by thic-
kets properly interfperfed, and glittered
again at a diftance where it might be fup-
pofed naturally to arrive. Its borders were
fmoothedj but preferved their waving irre-
T 2 gularity,

2yl On modem Gardening.

gularity. A few trees fcattered here and
there on its edges fprinkled the tame bank
that accompanied its maeanders j and when
it difappeared among the hills, fhades de-
fcending from the heights leaned towards
its progrefs, and framed the diftant point
of light under which it was loft, as it
turned afide to either hand of the blue ho-
rizon.

Thus dealing in none but the colours of
nature, and catching its moft favourable fea-
lures, men faw a new creation opening
before their eyes. The living landfcape
was chaftened or polifhed, not transformed.
Freedom was given to the forms of trees ;
.they extended their branches unreftritled,
and where any eminent oak, or mailer
beech had efcaped maiming and furvived
the'foreft, bum and bramble was removed,
and all its honours were reftored to diftin-
guifh and fhade the plain. Where the
united plumage of an ancient wood ex-
tended

Oil modern Gardening. 2.93

tended wide its undulating canopy, and
flood venerable in its darknefs, Kent thin-
ned the foremoft ranks, and left but fo
many detached and fcattered trees, as fof-
tened the approach of gloom, and blended
a chequered light with the thus lengthened
lhadows of the remaining columns. ,

Succeeding artifts have added new maf-
ter-ftrokes to thefe touches; perhaps im-
proved or brought to perfection fome that
I have named. The introduction of fo-
reign trees and plants, which we owe prin-
cipally to Archibald duke of Argyle, con-
tributed efTentially to the richnefs of colour-
ing fo peculiar to our modern landfcape.
The mixture of various greens, the contrail
of forms between our foreft-trees and the
northern and Weft-Indian firs and pines,
are improvements more recent than Kent,
or but little known to him. The weeping-
willow and every florid fhrub, each tree of
delicate or bold leaf, are new tints in the
T 3 com-

294 ®n modern Gardening.

compofition of our gardens. The lafl
century was certainly acquainted with many
of thofe rare plants we now admire. The
Weymouth pine has long been naturalized
here; the patriarch plant ftill exifts at
J^ongleat. The light and graceful acacia
was known as early ; witnefs thofe ancient
ftems in the court of Bedford-houfe in
Bloomfbury-fquare ; and in the bifhop of
London's garden at Fulham are many exo-
tics of very ancient date. I doubt there-
fore whether the difficulty of preferving
them in a clime fo foreign to their nature
did not convince our ancestors of their in-
utility in general j unlefs the fhapelinefs of
the lime and horfe-chefnut, which accorded
fo well with eftablifhed regularity, and
which thence and from their novelty grew
in fafhion, did not occafion the negled of
the more curious plants.

B\it juft as the encomiums are that I
have bellowed on Kent's difcoveries, he

was

On modern Gardening. 295

was neither without afliitance or faults.
Mr. Pope undoubtedly contributed to form
his tafte. The defign of the prince of
Wales's garden at Carkon-houfe was evi-
dently borrowed from the poet's at Twick-
enham. There was a little of affected mo-
defty in the latter, when he faid, of all his
works he was moft proud of his garden.
And' yet it was a fmgular effort of art
and tafte to imprefs fo much variety and
fcenery on a fpot of five acres. The paf-
fing through the gloom from the grotto to
•the opening day, the retiring and again
affembling fhades, the dufky groves, the
larger lawn, and the folemnity of the ter-
mination at the cypreiTes that lead up to
his mother's tomb, are managed with ex-
quifite judgment ; and though lord Peter-
borough affifted him

To form his quincunx and to rank his vines,

thofe were not the moil pleafing ingredients
of his little perfpeclive.

T 4 I do

0.^6 On modem Gardening.

I do not know whether the difpofition
of the garden at Roufham, laid out for ge-
neral Dormer, and in my opinion the moft
engaging of all Kent's works, was not plan-
ned on the model of Mr. Pope's, at leaft in
the opening and retiring fhades of Venus's
vale. The whole is as elegant and antique
as if the emperor Julian had felected the
moft pleafing folitude about Daphne to en-
joy a philofophic retirement.

That Kent's ideas were but rarely great,
was in fome meafure owing to the novelty -
of his art. It would have been difficult
to have tranfported the ftyle of gardening
at once from a few acres to tumbling of
forefts : and though new falhions like new
religions, [which are new fafhions] often
lead men to the moft oppofite excefTes, it
could not be the cafe in gardening, where
the experiments would have been fo ex-
penfive. Yet it is true too that the fea-
tures in Kent's landfcapes were feldom ma-

jeftic.

On modern Gardening. 297

jeftic. His clumps were puny, he aimed
at immediate effect, and planted not for
futurity. One fees no large woods fketch-
cd out by his direction, Nor are we yet
entirely rifen above a too great frequency
of fmall clumps, efpecially in the elbows
offerpentine rivers. How common to fee
three or four beeches, then as many larches,
a third knot of cyprerTes, and a revolution
of all three ! Kent's laft defigns were in a
higher ftyle, as his ideas opened on fuccefs.
The north terras at Claremont was much
fuperior to the reft of the garden.

A return of fome particular thoughts was
common to him with other painters, and
made his hand known. A fmall lake edged
by a winding bank with fcattered trees that
led to a feat at the head of the pond, was
common to Claremont, Eflier, and others
of his defigns. At Eiher,

Where Kent and nature vied for Pelham's love,

the proipe&s more than aided the pain-
ter's

29$ On modern Gardcnh

o

ter*s genius — they marked out the points
where his art was necelTary or not ; but
thence left his judgment in poiTefiion of all
its glory.

Having routed profejfed art, for the mo-
dern gardener exerts his talents to conceal
his art, Kent, like other reformers, knew
not how to Hop at the juft limits. He
had followed nature, and imitated her fo
happily, that he began to think all her
works were equally proper for imitation.
In Kenfington-garden he planted dead trees,
to give a greater air of truth to the fcene—
but he was foon laughed out of this ex-
cefs. His ruling principle was, that nature
abhors a firait line — His mimics, for every
genius has his apes, feemed to think that
ihe could love nothing but what was crook-
ed. Yet fo many men of tafle of all ranks
devoted themfelves to the new improve-
ments, that it is furprizing how much
beauty has been ftruck out, with how few

abfurdities.

On modern Gardening. 299

abfurdities. Still in fome lights the refor-
mation feems to me to have been pnibed
too far. Though an avenue crofiing a park
or feparating a lawn, and intercepting views
from the feat to which it leads, are capital
faults, yet a great avenue * cut through
woods, perhaps before entering a park, has
a noble air, and

Like footmen running before coaches
To tell the inn what lord approaches,

announces the habitation of fome man of
distinction. In other places the total ba-
nifhment of all particular neatnefs imme-

* Of this kind one of the moll noble is that of Stan-
ftead, the feat of the earl of Halifax, traverfing an
ancient wood for two miles and bounded by the fea.
The very cxtenfive lawns at that feat, richly inclofed
by venerable beech woods, and chequered by fmgle
beeches of valt fize, particularly when you ftand in
the portico of the temple and furvey the landfcape
that wades itfelf in rivers of broken fea, recall fuch
exad pictures of Claud Lorrain, that it is difficult
to conceive that he did not pain!: them from this very
fpot.

diately

300 " On modern Gardening.

diately about a houfe, which is frequently
left gazing by itfelf in the middle of a
park, is a defe6l. Sheltered and even clofe
walks in fo very uncertain a climate as
ours, are comforts ill exchanged for the
few picturefque days that we enjoy : and
whenever a family can purloin a warm and
even fomething of an old-fafhioned garden
from the landfcape defigned for them by
the undertaker in fafhion, without inter-
fering with the picture, they will find fatis-
factions on thofe days that do not invite
itrangers to come and fee their improve-
ments.

Fountains have with great reafon been
banifhed from gardens as unnatural \ but it
furprizes me that they have not been allot-
ted to their proper pofitions, to cities,
towns, and the courts of great houfes, as
proper accompaniments to architecture, and
as works of grandeur in themfelves. Their
decorations admit the utmoft invention,

and

On modern Gardening. 301

and when the waters are thrown up to dif-
ferent ftages, and tumble over their border,
nothing has a more impofing or a more re-
frefhing found. A palace demands its ex-
ternal graces and attributes, as much as a
garden. Fountains and cyprefTes peculiarly-
become buildings, and no man can have
been at Rome, and feen the vafr. bafons of
marble dafhed with perpetual cafcades in
the area of St. Peter's, without retaining an
idea of tafte and fplendor. Thofe in the
piazza Navona are as ufeful as fublimely
conceived.

Grottos in this climate are recefTes only
to be looked at tranfiently. When they
are regularly compofed within of fymmetry
and architecture, as in Italy, they are only
iplendid improprieties. The mofl judi-
cioufly, indeed moft fortunately placed
grotto, is that at S tour head, where the river
burfts from the urn of its god, and pafles
on its courfe through the cave.

But it is not my bufinefs to lay down

rules

302 On modern Gardening,

rules for gardens, but to give the hiftory
of them. A fyftem of rules pufhed to a
great degree of refinement, and collected
from the beft examples and practice, has
been lately given in a book intituled, Ob-
Jervations on 'modern Gardening. The work
is very ingenioufly and carefully executed,
and in point of utility rather exceeds than
omits any necefiary directions. The au-
thor will excufe me if I think it a little
excefs, when he examines that rude and
unappropriated fctnc of Matlocke-bath, and
criticizes nature for having beftowed on
the rapid river Derwent too many cafcades.
How can this cenfure be brought home to
gardening ? The management of rocks is a
province can fall to few directors of gar-
dens ; dill in our diftant provinces fuch a
guide may be necefTary.

The author divides his fubject into gar-
dens, parks, farms, and ridings, I do not
mean to find fault with this divifion. Di-
rections

On modem Gardening. 303

regions are requifite to each kind, and
each has its department at many of the
great fcenes from whence he drew his ob-
fervations. In the hiftoric light, I diftin-
guifh them into the garden that connects
itfelf with a park, into the ornamented
farm, and into the foreft or favage garden.
Kentj as I have fhown, invented or efta-
biifhed the firft fort. Mr. Philip Southcote
founded the fecond or ferme ornee *, of
which is a very juft defcription in the author
I have been quoting. The third I think
he has not enough diftinguiihed. I mean
that kind of alpine fcene, compofed almoft
wholly of pines and firs, a few birch, and
fuch trees as aflimilate with a favage and
mountainous country. Mr. Charles Hamil-
ton, at Pain's-hill, in my opinion has given
a perfect example of this mode in the ut-
moft boundary of his garden. All is great
and foreign and rude j the walks feem not

f At Wobourn-farm in Surry.

defigned,

504 On modern Gardening.

defigned, but cut through the wood of
pines j and the flyle of the whole is To
grand, and conducted with fo ferious an
air of wild and uncultivated extent, that
when you look down on this feeming fo-
reft, you are amazed to find it contain a
very few acres. In general, except as a
fcreen to conceal fome deformity, or as a
fhelter in winter, I am not fond of total
plantations of ever-greens. Firs in parti-
cular form a very ungraceful fummit, all
broken into angles.

Sit Henry Englefield was one of the firft
improvers on the new ftyle, and felected
with fingular tafte that chief beauty of all
gardens, proipecl and fortunate points of
view : we tire of all the painter's art when
it wants thefe finifhing touches. The faireft
fcenes, that depend on themfelves alone,
weary when often feen. The Doric portico,
• the Palladian bridge, the Gothic ruin, the
Chinefe pagoda, that furprize the Arranger,
foon lofe their charms to their furfeited

mafter.

On modern Gardening, 305

mafter. The lake that floats the valley is
flill more lifelefs, and its lord feldom en-
joys his expence but when he mows it to a
vifitor. But the ornament whofe merit
fooneft fades, is the hermitage or fcene
adapted to contemplation. It is almoft
comic to fet afide a quarter of one's gar-
den to be melancholy in. Profpedt, ani-
mated prolpecl:, is the theatre that will al*
ways be the moil frequented. Profpefts
formerly were facrificed to convenience and
warmth. Thus Burleigh Hands behind a
hill, from the top of which it would com-
mand Stamford. Our ancestors who refided
the greater! part of the year at their feats,
as others did two years together or more,
had an eye to comfort firft, before expence*
Their vaft manfions received and harboured
all the younger branches, the dowagers and
ancient maiden aunts of the families, and
other families vifited them for a month to-
gether. The method of living is now to-
Vol. IV. U tally

jg6 On modern Gardening*.

tally changed, and yet the fame fuperb pa-
laces-are ftill created, becoming a pompous,
fblftude to the owner, and a tranfient en-
tertainment to a few travellers.

If any incident abolifhes or reftrains the
modern ftyle of gardening, it will be this
circumftance of folitarinefs. The greater
the fcene, the more diftant it is probably
from the capital •> in the neighbourhood of
which land is too dear to admit consider-
able extent of property. Men tire of ex-
pence that is obvious to few fpectators.
Still there is a more imminent danger that
threatens the prefent, as it has ever done,
all tafte. I mean the purfuit of variety. A
modern French writer has in a very affected
phrafe given a juft account of this, I will
call it, diftemper. He fays, V ennui du beau
amene le gout du fingulier. The noble fim-
plicity of the Auguftan age was driven out
by falfe tafte. The gigantic, the puerile,
the quaint, and at laft the barbarous and
the monkifb, had each their fucceflive ad-
mirers.

On modern Gardening, 307

mirers. Mufic has been improved, till it is
a fcience of tricks and flight of hand : the
fober greatnefs of Titian is loft, and paint-
ing fince Carlo Maratti has little more re-
lief than Indian paper. Borromini twifted
and * curled architecture, as if it wasfubjeft:
to the change of fafhions like a head of hair.
If we once lofe fight of the propriety of
landfcape in our gardens, we fhall wander
into all the fantaftic fharawadgis of the Chi-
nefe. We have difcovered the point of
perfection. We have given the true model
of gardening to the world ; let other coun-
tries mimic or corrupt our tafte j but let it
reign here on its verdant throne, original
by its elegant fimplicity, and proud of no
other art than that of foftening nature's
harfhneffes and copying her graceful touch.
The ingenious author of the Obfervations
on modern Gardening is, I think, too rigid
when he condemns fome deceptions, be-

* In particular) he inverted the volutes of the Tonic
order,

U a cauie

3°8 On modern Gardening*

caufe they have been often ufed. If thofc
deceptions, as a feigned fteeple of a diftant
church, or an unreal bridge to difguife the
termination of water, were intended only
to furprife, they were indeed tricks that
would not bear repetition j but being in-
tended to improve the landfcape, are no
more to be condemned becaufe common,
than they would be if employed by a pain-
ter in the compofition of a picture. Ought
one man's garden to be deprived of a happy
object, becaufe that object has been em-
ployed by another ? The more we exact
novelty, the fooner our tafte will be vitiat-
ed. Situations are every where fo various,
that there never can be a famenefs, while
the difpofition of the ground is ftudied and
followed, and every incident of view turned
to advantage.

In the mean time how rich, how gay,
how picturefque the face of the country !
The demolition of walls laying open each

improve-

On modern Gardening. JO9

improvement, every journey is made through
a fucceflion of pictures ; and even where tafte
is wanting in the fpot improved, the gene-
ral view is embellifhed by variety. If no
relapfe to barbarifm, formality, and feciu^
fion, is made, what landfcapes will dignify
every quarter of our ifland, when the daily
plantations that are making have attained
venerable maturity ! A fpeeimen of what
our gardens will be, may be feen at Pet-*
worth, where the portion of the park nearefl
the houfe has been allotted to the modern
flyle. It is a garden of oaks two hundred
years old. If there is a fault in fo auguft a
fragment of improved nature, it is, that the
fize of the trees are out of all proportion to
the fhrubs and accompanyments. In truth,
ihrubs fhould not only be referved for par-
ticular fpots and home delight, but are
pafied their beauty in lefs than twenty
years.

Enough has been done to eftabliih fuch
U 3 . a fchool

jio On modern Gardening.

a fchool of landfcape, as cannot be found on
the reft of the globe. If we have the feeds
of a Claud or a Gafpar amongft us, he
muft come forth. If wood, water, groves,
valliesj glades, can infpire or poet or pain-
ter, this is the country, this is the age to
produce them. The flocks, the herds, that
now are admitted into, now graze on the
borders of our cultivated plains, are ready
before the painter's eyes, and groupe them-
felves to animate his picture. One misfor-
tune in truth there is that throws a diffi-
culty on the artift. A principal beauty in
our gardens is the lawn and fmoothnefs of
turf: in a picture it becomes a dead and
uniform fpot, incapable of chiaro fcuro, and
to be broken infipidly by children, dogs,
and other unmeaning figures.

Since we have been familiarized to the
fkudy of landfcape, we hear lefs of what de-
lighted our fportfmen-anceflors a jine of en
tomtry. Wiltfhire, Dorfetfhire, and fuch

ocean-*

3

On modem Gardening. 31*

ocean-like extents were formerly preferred
to the rich blue profpecls of Kent, to the
Thames-watered views in Berkfnire, and to
the magnificent fcale of nature in York-
shire. An open country is but a canvafs
On which a landfcape might be defigned.

It was fortunate for the country and Mr.
Kent, that he was fucceeded by a very able
mafter ; and did living artifts come within
my plan, I fhould be glad to do juftice to
Mr. Brown ; but he may be a gainer, by
being referved for fome abler pen.

In general it is probably true, that the
porTeflbr, if he has any tafte, -mu'ft be -the
beft defigner of his own improvements.
He fees his fimation in all fealbns of the
year, at all times of the day. He knows
where beauty will not clafh with conveni-
ence, and obferves in his iilent walks or ac-
cidental rides a thoufand hints -that muft
efcape a perfon who in a few days fketches
out a pretty picture, but has not had leifure
U4 to

3 1 2 On modern Gardening.

-to examine the details and relations of every
part.

Truth, which after the oppofition given
to mofl revolutions, preponderates at laft,
will probably not -carry our ilyle of garden
into general ufe on the continent. The
expence is only fuited to the opulence of a
free country, where emulation reigns among
many independent particulars. The keep-
ing of our grounds is an obftacle, as well
as the coft of the firft formation. A flat
country, like Holland, is incapable of land-
fcape. In France and Italy the nobility
do not refide much, and make fmall ex-
pence at their villas. I fhould think the
little princes of Germany, who fpare no
profufion on their palaces and country-
houfes, moft likely to be our imitators ;
efpecially as their country and climate bears
in many parts refemblance to ours. In
France, and ftill lefs in Italy, they could
with difficulty attain that verdure which

the

On modern Gardening, 313

the humidity of our clime beftows as the
ground-work of our improvements. As
great an obftacle in France is the embargo
laid on the growth of their trees. As after
a certain age, when they would rife to bulk,
they are liable to be marked by the crown's
furveyors as royal timber, it is a curiofity
to fee an old tree, A landfcape and a
Crown -furvey or are incompatible.

I have thus brought down to the conclu-
fion of the laft reign [the period I had
marked to this work] the hiftory of our arts
and artifts, from the earlieft aera in which
we can be faid to have had either. Though
there have been only gleams of light and
flafhes of genius, rather than progreflive
improvements, or flourifhing fchools j the
inequality and infufficience of the execu-
tion have flowed more from my own de-
feds than from thofe of the fubjed. The
merits of the work, if it has any, are owing
to the indefatigable induftry of Mr. Ver-

tue

314 ®n modern Gardening.

tue in amafilng all poflible materials. As
my tafk is finiihed, it will, I hope, at leaft
excite others to collect and preferve no-
tices and anecdotes for fome future conti-
nuator. The asra promifes to furnifh a
nobler harveil. Our exhibitions, and the
'inftitution of a royal academy, infpire the
artifts with emulation, diffufe their reputa-
tion, and recommend them to employ-
ment. The public examines and reafons
on their works, and fpectators by degrees
become judges. Nor are perfons of the
firft rank meer patrons. * Lord Harcourt's
etchings are fuperior in boldnefs and free-
dom of flroke to any thing we have feen
from eftablifhed artifts. Gardening and
architecture owe as much to the nobility
and to men of fortune as to the profeflbrs.
I need but name general Conway's ruftic
bridge at Park-place, of which every flone
was placed by his own direction in one of

* George Simon, fecond earl of Harcourt.

the

On modern Gardening. ji 5

the molt beautiful fcenes in nature j and
the theatric ITaircafe defigned and juft erect-
ed by * Mr. Chute at his feat of the Vine
■in Hampfhire. If a model is fought of the
moil perfect tafte in architecture, where
grace foftens dignity, and lightnef; attem-
pers magnificence ; where proportion re-
moves every part from peculiar obferva-
tion, and delicacy of execution recalls every
part to notice j where the pofition is the
moil happy, and even the colour of the
ilone the moil harmonious ; the virtuofo
fhould be directed to the new j- front of
Wentworth-caftle : the refult of the fame
elegant judgment that had before diftri-
buted fo many beauties over that domain,
and called from wood, water, hills, prof-

* John Chute, laft male-heir of that family, de-
fcended from Chaloner Chute, fpeaker to Richard
Cromwell's parliament.

f The old front, ftill extant, was eretted by Tho-
mas Wentworth late earl of Strafford ; the new on?
was entirely defigned by the prefent earl William
himfelf.

peds

3i6 Oft modem Gardening.

pedis and buildings, a compendium of pic-
turefque nature, improved by the chaftity
of art. Such an asra will demand a better
hiftorian. With pleafure therefore I refign
my pen j prefuming to recommend nothing
to my fucceffor, but to obferve as llrict im-
partiality.

Auguft 2, 1770.

FINIS.

ADDENDA.

ADDEND A.

HP HE following notices relating to va-
rious artifts have occurred fince the
former publication of thefe volumes, but
not being considerable enough to furnilh
feparate articles, are here added for the in-
formation of thofe who would form a more
complete catalogue, or continue thefe vo^
lumes.

Alan de Walfingham was one of the
architects of the cathedral of Ely. Vide
Bentham's Hift. of Ely, p. 283.

John Helpftone, a mafon, built the new
tower at Chefter in 1322.

John Druel and Roger Keyes were em-
ployed as furveyors and architects by arch-
bifhop Chichele. V. Life of that prelate,

P. "71-

Robert Smith, a martyr, was a painter
for his amufement. Life of fir Thomas
Smith, p. 66.

Sir

A D D E N D A,

Sir Thomas Smith built Hill-iiall in EC-
fix, Richard Kirby was the architect, ib.
p. 11%.

Sir Thomas. T refrain is mentioned by
Fuller in his Worthies of Northampton-
Shire, as a great builder and architect, p. 300.

Francis Potter, fellow of Trinity college,
Oxford, painted a pi&ure of Sir Th. Pope.
V. Wharton's Life of Sir Th. 2d. edit. p.
164.

In the hall of Trinity college, Oxford, is

a picture of J. Hayward by Francis Potter,

ib. p. 16 t ; where it is aifo faid that one

'Butler painted at Hatfield, p. 7 8. A glafs-

painter and his prices mentioned, ib.

Cornelius de Zoom drew the portrait of
Sir W. Cordali in St. John's college, ib. p,
227.

James Nicholfon, a glafs-pamter, ib*
p. 16.

Dr. Monkhoufc, of Queen's college, Ox-
ford, lias a fmall picture on board, 4 £

inches

A 2> 2> E N D A.

inches by 3 i, containing two half-length
portraits neatly executed. The one has a
pallet in his hand, the other a lute j the
date 1554, and over their heads the two
following infcriptions s

Talis erat facie Gerlachus Fliccius, ipfa
Londonia quando Piclor in urbe fuit.

Hanc is ex fpecuio pro caris pinxit amicis,
Pofl obitum poffint quo meminifle fui.

Strangwifli thus ftrangely depi&ed is ;

One prifoner for thother has done this.

Gerlin hath garnifht for his delight

This woorck whiche you fe before your fight.

It is conjectured that thefe perfons were pri-
foners on the account of religion in the
reign of queen Mary.

Some Englifh painters, of whom I find
no other account, are mentioned in the aca-
demy of Armory by Randle Holme ; print-
ed at Chefter, in fol. 1688. " Mr. Richard
Blackborne, a poet, for a flemy face ; Mr.
Bloomer for country fwains and clowns -,
Mr, Calthorpe, painter from life % Mr.

Smid£

ADDENDA

Smith for fruit; Mr. Moore for general
painting j Pooley for a face ; Servile for
drapery ■> Mr. W, Bumbury, Wilcock and
Hodges from life ; Mr. Poines for draught
and invention ; and Mr. Tho. Arundel for
good draught and hiftory." Vide book iii.
chap. 3. p. 156.

In the collection of the earls of Peter-
borough at Drayton was a portrait of the
firft earl of Sandwich by Mrs. Creed, and a
view of the houfe by Carter.

I have a poem printed on tv/o fides of.
half a folio fheet of velom by Laurence
Eufden, addrefled to Mr. John Saunders,
on feeing his paintings in Cambridge. I
fuppofe die paintings and poetry were much
on a level.

A picture of the Court of Chancery m
the time of lord Chancellor Macclesfield,,
and given to the earl of Hardwicke by Dr.
Lort, was painted by Farrars ; to whom is
a poem addrefTed by Vincent Bourne, print-
ed in the works of the latter.

Charles

ADDENDA.

Charles Lucy ftudied at Rome, and was
fcholar of Carlo Cignani, and was aged 12
in 17 1 5. A copy by him from his mafter
was fold at Mr. Gouge's auction in that
year.

The collection of pictures by himfelf and
others, of Mr. Comyns, was fold by auction
at Monmouth-houfe, Soho-fquare, Feb. 5,
1717.

Nicolo Cafana, of Genoa, died here in
the reign of queen Anne. Vide Lives of
Genoefe painters, vol. ii. p. 16. Csefar
Corte, of the fame city, was here in the
reign of queen Elizabeth. V*. Soprani's
Vite di Pittori Genovefi, vol. i. p. 101.
edit, of 1768.

In June 1733, was a fale of the collection
of pictures of — • — Sykes, portrait-painter,
then lately deceafed, at his houfe in Lin-
coln's-inn-fields -, and

In March 1738, were fold the pictures
of Walter Grimbaldfon, landfcape-painter,

Vol, IV. X and

ADDENDA.

and probably a very indifferent one, for
three of his landfcapes fold for lefs than a
guinea.

John Nicolas Servandoni, knight of the
order of Chrift, was born at Florence, May-
ad, 1695, diftinguifhed himfelf by his fkill
in architecture and tafte in theatric repre-
fentations. His principal work in the for-
mer is the new front of St. Sulpice at Paris.
He was in England in the late reign, and
defigned the facade for the fire-works on
the peace in 1748, in the Green-park, St.
James's. There is a long account of him
in the Diclionaire des Theatres, vol. v. p>

*33-

Edward Seymour, portrait-painter, died
in Jan. 1757, and is buried in the church-
yard of Twickenham, Middiefex, before
the north door, with his two daughters and
his fon Charles.

— — Lacon, a young painter in water-
colours, died about 1757. He.fet up a

puppet-

A D D E N D A.

puppet-fhow at Bath, which was much in
fafhion. Mr. Scott, of Crown-court, Weft-
minfter, had his head painted by himfelf.

Sanderfon Miller, efq; of Radway, was
fkilled in Gothic architecture, and gave fe-
veral defigns for buildings in that ftyle in
the reign of George 2d.

John Kirk, medallift and toyman, in St.
Paul's church-yard, died Nov. 19, 176 1,
aged 61. Thorefby mentions the art of
limning by Th. Kirke. Due. Leod. p. 526.

— Palmer, a painter, died at Hoxton,
May 15, 1762.

— Tull, who was a fchoolmafter, and
painted landfcapes for his amufement, died
young in 1762, or beginning of 1763.
His prints were fold by auction in March
1763.

Edward Rowe, painter on glafs, died in
the Old Bailey, April 2, 1763.

The pictures of Mr. Schalk, landfcape-
painter, going abroad, were fold in April^
1763.

X 2 Mr.

ADDENDA

Mr. Miller, a limner, died irr Southamp>
ton-ftreet, Bloomfbury, Jan. 8, 1764.

The prints, drawings, graving-tools, and
etchings of Englifh matters, of Mr. James
Wood, engraver, of JRames-ftreet, Covens
garden, were fold by auclion, at Darres*s
print-mop in Coventry-ftreet, March rj&,
1764, and the feven following evenings.

— Van Bleek, painter, died July 1764-,
having quitted his bufinefs on account of
bad health. There is a fine mezzotinto of
Johnfon and Griffin, the players,, after a
painting of Van Bleek.

— Kelberg was a German painter, who-
came over in the reign of George ift. He
drew a whole length of prince William,
afterwards duke of Cumberland, in the robes
of the order of the Bath ; and another of
Ulric, a favourite Hungarian;, and, I be-
lieve, a half-length. of the. fame perfon.in my
poiTeiTion..

John Smith, of Chichefter, landfcape-
painter, died July 29, 17,64.

William,

ADDENDA,

William Smith, the eldefl brother, who
had begun with portraits, then too"k to land-
fcape and laftly to painting fruit and
Mowers, died at his houfe at Shopwich,
near Chichefler, October 4, 1764.

George, the third brother, likewife a
kndfcape painter at Chichefler, publifhed
in 1770, fix paftorals and two pafloral
fongs in quarto, and died at Chichefler,
September 7, 1776. He painted for the
premium only three times, and obtained it
each time; viz. in the years 1760, 1762,
1764.

Francis Perry, engraver, who had begun
to engrave a fet of Englifh medals, and had
publiihed three or four numbers, died
Jan. 3. 1765, ki Carter's-lane, Doctor's
Commons.

Charles Spooner, engraver m mezzotint©,
died Dec. 5, 1767.

Mr. Barbor, painter in miniature and
-enamel, in the Hay-market, St. James's,
<fied Nov. 7. 1767.

X 3 Maccourt.

ADDENDA.

Maccourt, a German, painter and mez-
zotinter, died in Jan. 1768.

Mr. Huffey, who had been afurgeon and
apothecary in Covent Garden, but had re-
linquished that profeflion and turned pain-
ter, particularly of race-horfes, died in
Southwark, Auguft 16, 1769. This was
a different perfon from Mr, Giles Huffey,
whofe drawings are fo defervedly admired.

— Pitfala, an Italian limner, died in
Wardour-ftreet, Nov. 10, 1769.

David Morier of Berne in SwifTerland,
died in January 1770, and was buried in
St. James's, Clerkenwell. After the battle
of Dettingen, he was prefented by Sir Eve-
rard Falkener to William duke of Cumber-
land, who gave him a penfion of 200 /. a
year, which he enjoyed to that prince's
death. He painted managed horfes, field-
pieces, &c. and drew both the late king
and the prefent.

Mifs Anne Ladd, paintrefs of portraits

and fruits, died of the fmall-pox in Hen-

4 rietta-

ADDENDA.

rietta-ftreet, Covent-garden, Feb. 3, 1770,
aged 24.

Mr. Stamford, portrait-painter in Picca-
dilly, died Feb. 12, 1770.

Monf. Benoit, an engraver, brought over
by Du Bofch, and known for his print of
the Mock Mafons, died in Augufl, 1770.

Ifaac Spackman of Iflington, painter of
birds, died Jan. 7, 177 1.

John Collet, fenior, portrait-painter, re-
tired from bufinefs, died Jan. 17, 177 1, at
his houfe in Chelfea.

John Heins, painter in oil and miniature,
died in Danvers-ftreet, Chelfea, in 1771, and
his collection was fold by auction at Exeter-
change in May of that year.

Edward Ryland, engraver, died in the
Old Bailey, July 26, 177 1. He was rather
a printer than engraver, and was father of
the well-known artift, fince dead. Many of
his unfinifhed plates were fold by auction by
Chrifrie, April 7, 1784, as others had been
before.

X 4 Theodore

ADDENDA.

Theodore Jacobfon, efq; was architect of
the Foundling-hofpital in London, and of
the Royal-hofpital at Gofport. He was
fellow of the royal and antiquarian focie-
ties, and member of the arts and fciences.
He died in May 1772, and was buried in
the vault of his family in Allhallow's-church,
Thames-ftreet, London.

J. Sigifmond Tanner, efq; who had been
engraver of the mint for forty years, and
had been appointed chief grayer in 1740,
but had retired from bufinefs, died at his
houfe in Edward-ftreet, Cavendilh-fquare,
March 16, 1773,

Mr. Ravenet, engraver, died at Kentifh-
town, April ad, 1774,

Mr. Barnaby Mayo, engraver and pain-
ter, died July 8, 1774.

Mr. Rooker, engraver and Hariequin,
died Nov. 22, 1774.

Mr. John Kirk, engraver of medals and
feals, died in Piccadilly, November 27,

John.

ADDENDA

John Fergufon, the aftronomer, fupport-
ed himfelf for fome time by drawing heads
in black lead. V. Ann. Regifter for 1776,
in the chara&ers,

— Canot, an engraver of views, and par-
ticularly excellent in fea-pieces, died at
Kentilh-town, in 1777, worn out by the
fatigue he underwent in engraving Mr.
Paton's four pictures of the engagements
between the Ruffians and Turks. Gough's
Topog. 2,289,

Thomas Lauranfon, the father, painted
portraits in oil, and drew and publifhed the
large prints of Greenwich hofpital. He
died about the year 1778.

John Mortimer, died of a fever in Nor-
folk-ftreet, Feb. 4, 1779.

Mr. Henry, engraver, died in October,

J779-

Mr. Charles White, flower-painter, died

at Chelfea, Jan 9, 1780.

Mr.

ADDENDA.

Mr. Play ford, of Lamb's-conduit-ftreet,
miniature-painter, died October 24, 1780.

John Paxton, painter of hiftory and por-
traits, died at Bombay in 1780.

Mr. Weightman, miniature-painter, died
January 23, 1 781, in Red-lion-ftreet, Hol-
born.

In Les Tables hiftoriques & chronolo-
giques des plus fameux Peintres anciens &
moderne, par Antoine Frederic Harms, a
Bronfwic, 1742, fol. are thefe notices of
foreigners who have painted in England.

Table

V. Bernard Van Orley, painted" at
Antwerp and London, about
1550.
vr. Lucas Cornelifz.
yn. Jerome da Trevifi, about 1540.
xiy. ^Horatio Gentilefchi.

xvii. Egidius

A D D E N D A.

xvn. Egidius Van Tilbourg, about 1650:

converfations of peafants.
xix. Janfzon Van Keulen, painted por^
traits here about the fame time,
xx. John Lievens : hiftories and por-».

traits.
-— - Gerard Peter Van Zyl : gay con-
verfations.
xxi. Gerard Terburg: portraits, about
1670. He mentions Dobfon,
and calls Holbourn, Holbrons,
which he probably took for an
Englifh town,
xxiv. Gonzalez Coques : portraits in
little.
xxviii. John de Baan : portraits, about
1680.
xxxi. James Vander Roer : portraits,
about 1700.
xxxiv. Simon Vander Doos : Landfcapes
with animals,
xxxv. Antony Beliucci : hiftory.

xxxvi. Simon

A D D E N D A,

•xxxvi. Simon Hardime : flowers.
xxxvin, Scheffers : hiftory.
-— — Tyffen of Antwerp : fowls and

*— — — De Heem, of the Hague : fruit-
pieces.
xl. Ernft Theodore Andre, of Cour-
land; hiftory.

INDEX

INDEX

Q.F

NAMES of ARTISTS
in t'hjs volume,

Ranged according to the Times in whicb
they lived.

In the Reign of
GEORGE I.

LOUIS Laguerre, p..6..
— Lanfcroon, iq,
Michael Dahl, 12.
Peter Angelis, 16.
Antony Ruffel, 18.
Luke Cradock, 19.
Peter Cafteels> 2:*

■ Dagar, 22.
Charles Jervas, 23.
Jonathan Richardfon, %q,

■ 1 j 1 Grifoni, 39.
"William Aikman, do.
John Alexander, 41.

Sir James Thornhill, 42.
Robert Brown, 48-
■ Bellucci, 49.

Balthazar Denner, 51.
Francis Ferg, 53.
Thomas Gibfon, <«.

Hill, 56.

P.. Monamy, do.
James Van Huyfum, 571
James Maubert, $8>
**— Eefoe, 59,

John Stevens, 59;
John Smibert, 6o>»
— — Trevett, 63.
Henry Trench, do-
Peter Tillemans, 64.-
John Vandrebank, 67V
Samuel Barker, 68.
Peter Van Bleeck, do-
H. Vandermijn, 70.
Enoch Zeeman, 72,
Watteau, 73.
Robert Woodcock, 7$.
Ifaac Whood, 7&.

— Vogelfang-, 77,
— — Zurich, do.
Chriftian Richter, 78-
J. Antoine Arlaud, 79*
Mrs. Hoadley, 8z«-

Architects, &CV

Mr. Archer, 85.

Wakefield, 86%

Nich. Hawkfmoor, do.
James Gibbs, 90.
Colin Campbell, 97>
John James, 98,

Carp**-

INDEX.

. i ■ Carpentiere, 99.
Chriftian Reifen, do.

Thomas Worlidge, 142*
William Hogarth, 146.

GEORGE II.

Hans Huyffing, 109.
Charles Collins, do.

■ Cooper, 110,
Barthol. Dandridge, do.
.. 1 Damini, do.
Jeremiah Davifon, 11 1
John Ellis, 112.
Philip Mercier, do.

J. Francis Nollikins,
> Robinfon, 115.

Andrea Soldi, 116.
Chevalier Rufca, do.
Stephen Slaughter, 1 17,
James Worfdale, do. (
Ranelagh Barrett, 119,
John Wootton, do.
Jofeph High more, 121.
Thomas Hudfon, 122.
Francis Hayman, 124.
Samuel Scott, 125.
Mr. Taverner, 126.
George Knapton, 127.
Francis Cotes, do.
William Oram, 128.
John Shackleton, 129.
Giacomo Amiconi, do.
. Brunetti, 132.

James Seymour, 133.
J. Baptift Vanloo, 134.
Jofeph Vanaken, 136.

■ Clermont, 138.

■ Canalletti, 139.
— — Joli, do.
George Lambert, 140.

14.

Painters in Enameje.
and Miniature.

J. S. Liotard, 194.

C. Frederic Zincke,- 197.

■ Rouquet, 2C0.

■ Groth, do.

Bernard Lens, 201.
Jofeph Goupy, 202.
James Deacon, 203.
■■' Spencer, 204.

Statuaries.

J. Michael Ryfbrach, 205.
L. F. Roub'liac, 212.

■ Giielphi, 214.
L. Delvaux, do.

J. Francis Verfkovis, 215.

Medallist s'.

John Daffier, 217.

J. Chriftopher Tanner, ai<j*

Laurence Nattier, do.

Architects.

Giacomo Leoni, 223.

J. Nicholas Servandoni, do.

Thomas Ripley, 225.

Batty Langley, 226.

H. Earl of Pembroke, 227.,

R. Earl of Burlington, 22g.

Charles Labelye, do.*

William Kent, 235.

Henry Flitcroft, 246.

INDEX

INDEX

O F

NAMES of ARTISTS

Ranged alphabetically.

AIKMAN, William, p. 39.
Alexander, John, 41,
Amiconi, Giacomo, 149.
Angelis, Peter, 16.
Archer, Mr. 85.
Arlaud, J. Antoine, 79.

B.

Barker, Samuel, 63.
Barrett, Rahelagh, 119.
Bellucci, ', 49.

Brown, Robert, 48.

Brunetti, , 132.

Burlington, Earl of, 229.

C.

Campbell, Colin, 97.
Canalletti, — — , 139.
Carpentiere, — — , 99.
Cafteels, Peter, 2i.
Clermont, — — , 138.
Collins, Charles, iog»

Cooper, , no.

Cotes, Francis, 127.
Cradock, Luke, 19..

D.

Dagar, , 22.

Dahl, Michael, 12.
Damini, — — , ij.o.

Dandridge, Barth. no.
Daflier, John, 217.
Davifon, Jeremiah, tlt»
Deacon, James, 203.
Delvaux, L. 214.
Denner, Balthazar, 51,

E.

Ellis, John, 112.
F.

Ferg, Francis, 53.
Flitcroft, Henry, 2461,

G.

Gibbs, James, 90.
Gibfon, Thomas, 55*
Goupy, Jofeph, 202.

Grifoni, , 39.

Groth, — — , 20c
Guelphi, , 214.

H.

Hawkfmoor, Nich. 87.
Hayman, Francis, 124.
Highmore, Jofeph, 121.

Hill, ., 56.

Hoadley, Mrs. 82.
Hogarth, William, 146.
Hudfon, Thomas, 122.
Huyfiing, Hans, 109.

J. James

INDEX.

Jame«, John, 98.
Jervas, Charles, 23.
Joli, , 139.

K.
Kent, William, 235.
Knapton, George, 127.

L,

Labelye, Charles, 229.
Laguerre, Louis, 6.
Lambert, George, 140.
Langley, Batty, 226.
Lanfcroon, — — , 10.
Lens, Bernard, 201.
Leoni, Giacomo, 223.
Liotard, J. S. 194.

M.
Maubert, Ja:me«, 58.
Mercier, Philip, 112.
Monamy, P. 56.

N.
Nattier, Laurence, 219.
Nollikins, J. Francis, 114.

O.

Oram, William, 128.

P.
Pembroke, Earl of, 227.
Pefne, , 59.

R.

Reifen, Chriftian, 99.
Richardfon, Jonathan, 30.
Richter, Chriftian, 78.
Ripley, Thomas, 225.
Robinion, — — , 115.
Roubiliac, L. F. 212.

Rouquet, >-, 200.

Rufca, Chevalier, 116.

RufTel, Antony, If 8,
Ryfbrach, J. M. 205.

Scott, Samuel, 125.
Servandoni, J. Nicholas, 223*
Seymour, James, 133.
Shackleton, John, 129.
Slaughter, Stephen, 117,
Srhibert, John, 60.
Soldi, Andrea, 116.

Spencer, , 204.

Stevens, John, 59.

T.
Tanner, J. Chriftopher, 219%
Taverner, Mr. 126.
Thornhill, Sir James, 42.
Tillemans, Peter, 64.
Trench, Henry, 63.
Trevett, , do.

Vanaken, Jofeph, 136.
Van Bleeck, P. 68.
Vandermijn, H. 70.
Vandrebank, John, 67.
Van Huyfum, James, 57.
Vanloo, J. Baptift, 134.
Verikovis, J. Francis, 215.
Vogelfang, , 77.

W.

Wakefield, 86.
Watteau, 73.
Whood, Ifaac, 76.
Woodcock, Robert, 75.
Wootton, John, 119.
Worlidge, Thomas, 142.
Worfdale, James, 1:7.

Zeeman, Enoch, 71.
Zincke, C. Frederic, 197.
Zurich, , 77,

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