scenes.

was much employed by Fleetwood, the proprietor of Drury Lane Theatre, for whom he painted many In the pursuit of his profession, he was not extremely assiduous, being more convivial than studious, yet he acquired a very considerable degree of power in his art, and was unquestionably the best historical painter in the kingdom, before the arrival of Cipriani. It was this superiority of talent that introduced him to the notice of Mr. Jonathan Tiers, the founder and proprietor of Vauxhall, by whom he was much employed in decorating the gardens of that place. Walpole says, that the aforementioned works recommended him to much practice in making designs for books; the truth is, that his reputation as an artist was at that time very considerable, and this circumstance led the booksellers to employ him much in making drawings for the prints with which they chose to decorate their publications. When the artists were incorporated by charter, Lambert was appointed first President, but he dying shortly after, Hayman was chosen in his stead, in which office he remained till 1768, when, owing to the proceedings of the majority of the members of the Society he was no longer continued in that station. For this exclusion he was amply recompensed by the immediate foundation of the Royal Academy, of which he was chosen a member, and soon after appointed the librarian. This place he held till his death, which happened on February 2nd, 1776, in the 68th year of his age.

No. 4.

MOSES BROUGHT TO PHAROAH'S DAUGHTER.

"And the child grew, and she brought him unto Pharoah's daughter, and he became her son. And she called his name Moses."

BY HOGARTH.

"The subject of this picture," says Nichols, "is taken at the point of time when the child's mother, whom the princess considers as merely its nurse, has brought him to his patroness, and is receiving from the treasurer the wages of her services.

"The little foundling naturally clings to his nurse, though invited to leave her by the daughter of a monarch; and the eyes of an attendant and a whispering Ethiopian, convey an oblique suspicion that the child has a nearer affinity to their mistress than she chooses to acknowledge.

"On the merits of this painting, two excellent critics have recorded very opposite opinions.

"Mr. John Ireland, who well understood the subject on which he treats, but had weighty reasons for bestowing praise on Hogarth, rather than censure, observes that, considered as a whole, this picture has a more historic air than we often find in the works of Hogarth. The royal Egyptian is graceful, and, in some degree, elevated; the treasurer is marked with austere dignity, and the jewess and child with nature. The scene is superb, and the distant prospect of pyramids, &c. highly picturesque

and appropriate to the country. To exhibit this scene, the artist has placed the group at such a distance as to crowd the corners, and leave the centre unoccupied. As the Greeks are said to have received the rudiments of art from Egypt, the line of beauty on the base of a pillar is properly introduced. A crocodile creeping from under the stately chair, may be intended to mark the neighbourhood of the Nile, but is a poor and forced conceit.

"Mr. Stevens, whose discriminating taste is indisputable, but who scrutinized the works of Hogarth with an asperity somewhat too severe, says, 'The daughter of the Egyptian monarch appears to more advantage in the print than on the canvass ; and the colouring is beneath criticism.'

"I have been told that the head of Pharaoh's daughter was copied from one Seaton. Hogarth could not, like Guido, draw a Venus from a common porter."

On each side of these large pictures are smaller ones, of a circular form, representing the principal Hospitals of the day, viz.—

GREENWICH HOSPITAL.-CHRIST'S HOSPITAL.

ST. THOMAS'S HOSPITAL.

BY SAMUEL WALE, R.A.

Wale was born in London, and brought up as an engraver of plate; he afterwards studied design in the academy of St. Martin's Lane. He also practised painting, in which he imitated the manner of

Hayman, and executed several decorative pieces for ceilings but his chief employment was among the booksellers, for whom he made many designs, the principal part of which were engraved by Mr. Grignion. He understood architecture and perspective, and greatly assisted Mr. Gwynn in the decorations of his architectural drawings, particularly in the section of St. Paul's, and was of service to him in the literary part of his publications. At the establishment of the Royal Academy, Wale was chosen one of the members, and appointed the first professor of perspective in that institution. Upon the death of Mr. R. Wilson, he was also made librarian, both of which places he held till his death, which was on the 6th of February, 1786. For many years before his death, he was so infirm as not to be able to read his lectures in the academy, and was therefore permitted to give private instructions to the students at his own house.

CHELSEA AND BETHLEM HOSPITALS.

BY HAYTLEY.

This painter, who has considerable merit, and obtained some distinction amongst his brethren, is without a biographer, so that the particulars of his life and the date of his death are unknown. He was, however, made a governor of the Foundling Hospital in 1746, for his artistical donations, and was present at the festivals held annually by the artists in-that establishment.

THE CHARTERHOUSE.

BY THOMAS GAINSBOROUGH, R. A.

This excellent artist was born in 1727, at Sudbury, in Suffolk. His father was a clothier in that town, and Thomas was the youngest of three sons. At a proper age he was sent to London, and placed under the tuition of Hayman, with whom he, however, stayed but a short time. After quitting his master, he for some time resided in Hatton Garden, and practised painting of portraits of a small size, and also pursued his favourite subject, landscape. After residing a short time in London, he married a young lady who possessed an annuity of two hundred pounds, and then retired to Ipswich, in Suffolk. From Ipswich Gainsborough removed to Bath, where he settled about the year 1758, and began his career as a portrait-painter, at the low price of five guineas for a three-quarter canvas: however, his great facility in producing a likeness, increased his employment and fame, and he soon raised his price from five to eight guineas. At Bath he resided several years, occasionally sending his works to the exhibition in London, which he did, for the first time in 1761. In 1774, he quitted Bath, and settled in London, in a part of the large house in Pall Mall, which was originally built by the Duke de Schomberg. In this respectable situation, possessed of fame, and in the acquisition of fortune, he was disturbed by a complaint in his neck, which was not much noticed upon the first attack, nor was it appre