MEMORANDA,

FOUNDLING HOSPITAL.

SIR ROBERT STRANGE in his "Enquiry into the rise and Establishment of the Royal Academy of Arts," makes the following remark.—

"The donations in painting, which several artists presented to the Foundling Hospital, were among the first objects of this nature, which had engaged the attention of the public. The artists, observing the effects that these paintings produced, came, in the year 1760, to a resolution to try the fate of an exhibition of their works. This effort had its desired effect the public were entertained, and the artists were excited to emulation."_

And again in his "Conduct of the Royal Academicians," he says,

"Accident has often been observed to produce, what the utmost efforts of industry have failed to accomplish; and something of that kind seems to have happened here. As liberty has ever been considered the friend and parent of the fine arts, it is natural for their professors to revere the memory of all those

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who were the champions and assertors of that invaluable blessing, particularly those of our own country on this principle it was, that the artists we are now speaking of, had an annual meeting at the Foundling Hospital, to commemorate the landing of King William. To this charity, several of their body had made donations in Painting, Sculpture, &c. which being accessible to the public, made those artists more generally known than others; and this circumstance it was, that first suggested an exhibition; which was no sooner proposed than approved; the Committee consequently, who were the proposers, received directions to issue proper notices of the intention; the performances of many ingenious men, hitherto unknown, were received, and on the 21st day of April, 1760, an exhibition was opened in the great room, belonging to the Society of Arts, Manufactures and Commerce, in the Strand; on which it will be sufficient to observe, that the success was equal to the most sanguine expectations; the public were pleased, and the artists applauded; those already known received additional reputation, and such as were not, became the immediate acquaintance of the public.”

Edwards also in his anecdotes, of Painters, speaking of the unsuccessful attempts made to form an Academy, says,

"Although these endeavours of the artists had not succeeded, they were far from being so discouraged as not to continue their meetings, as well as their studies; and the next effort they made, towards

acquiring the attention of the public, was connected with the Foundling Hospital.

"This Institution, so humane in its primitive intention, whatever may be thought of its effects, was incorporated by Charter, dated 1739. A few years after that period, the present building was erected; but as the income of the Charity could, with no propriety, be expended upon decorations, many of the principal artists of that day voluntarily exerted their talents for the purpose of ornamenting several of the apartments of the Hospital, which otherwise must have remained without decoration. The pictures thus produced, and generously given, were permitted to be seen by any visitor, upon proper application. The spectacle was so new, that it made a considerable impression upon the public, and the favorable reception these works experienced, impressed the artists with an idea of forming a public exhibition."

Of the period referred to, Smollett, in his History of the Reign of George II. remarks,

"The British soil, which had hitherto been barren in the article of painting, now produced some artists of extraordinary merit. Hogarth excelled all the world in exhibiting the scenes of ordinary life; in humour, character, and expression. Hayman became eminent for historical designs and conversation pieces. Reynolds and Ramsay distinguished themselves by their superior merits in portraits; a branch that was successfully cultivated by many other English painters. Wootton was famous for representing live animals in general; Seymour for race

horses; Lambert and the Smiths for landscapes ; and Scott for sea peices. Several spirited attempts were made on historical subjects, but little progress was made in the sublime parts of painting. Essays of this kind were discouraged by a false taste, founded upon a reprobation of British genius. The art of engraving was brought to perfection by Strange, and laudably practised by Grignon, Baron, Ravenet, and several other masters: great improvements were made in mezzotinto, miniature and enamel. Many fair monuments of sculpture or statuary were raised by Rysbrach, Roubilliac and Wilton.

Architecture, which had been cherished by the elegant taste of Burlington, soon became a favourite study, and many magnificent edifices were reared in different parts of the kingdom."

Another writer has said, "that it is within the Walls of the Foundling the curious may contemplate the state of British art previously to the epoch when George the III. first countenanced the historical talent of West.'

With such evidence as is afforded by these statements of the peculiar interest attached to the progress of the arts in the Reign of George the II., and of their partial association with the institution of the Foundling Hospital, it seems right that if any thing remains to be told on such a subject (however small), it should not be withheld.

It is therefore with a view of collecting together a few scattered materials not hitherto published, and of recording in a concentrated form, events long