hended to be more than a swelling in the glands of the throat, which it was expected would subside in a short time; but it was soon discovered to be a cancer, which baffled the skill of the first medical professors. Finding the danger of his situation, he settled his affairs, and composed himself to meet the fatal moment, and calmly expired on the 2nd of August, 1788, in the sixty-first year of his age, and was buried, according to his own request, near the remains of his former friend, Mr. Kirby, in Kew Churchyard. His funeral was attended by Sir J. Reynolds, Sir William Chambers, Mr. P. Sandby, Mr. West, Mr. Bartolozzi, and Mr. Samuel Cotes.

ST. GEORGE'S HOSPITAL, AND FOUNDLING HOSPITAL.

BY RICHARD WILSON, R. A.

This eminent artist, it is believed, was born in Montgomeryshire, where his father, a clergyman, possessed a small benefice, but was afterwards collated to the living of Mould, in Flintshire, while the son was very young. His connections were highly respectable, being materaally related to the Lord Chancellor Camden, who acknowledged him as his cousin. At the time of life when it was necessary to fix on some profession, young Wilson was sent to London and placed under the tuition of T. Wright, a portrait-painter of very slender abilities. Wilson, however, acquired so much knowledge from his master, as to become a painter of portraits equal to

most of his contemporaries. He must also have acquired a degree of rank in his profession; for about the year 1749, he painted a large picture of George the Third (then Prince of Wales), with his brother the Duke of York, for Dr. Hayter, Bishop of Norwich, at that time tutor to the princes. After having practised some years in London, he went to Italy, and was at Rome at the same time with several English artists, who afterwards became the ornaments of their country. In Italy he continued to study portrait-painting, though not with the same success as attended Sir Joshua Reynolds; for he was then unacquainted with the peculiar bias of his talents, and might probably have remained long ignorant of his latent powers, but for the following accident:

While Wilson was at Venice, he painted a small landscape, which, being seen by Zuccarelli, that artist was so much struck with the merit of the piece, that he strongly urged Wilson to pursue that branch of the art, which advice Wilson followed, and became one of the first landscape painters in Europe. His studies in landscape must have been attended with rapid success, for he had some pupils in that line of art while at Rome, and his works were so much esteemed, that Mengo painted his portrait, for which Wilson, in return, painted a landscape.

It is not known at what time he returned to England, but he was in London in 1758, and resided over the north arcade of the Piazza, Covent Garden,

at which time he had obtained great celebrity as a landscape painter.

To the first exhibition of 1760, he sent his picture of Niobe, which confirmed his reputation.

In 1765, he exhibited (with other pictures) a view of Rome from the Villa Madama, which was purchased by the then Marquis of Tavistock.

Though he had acquired great fame, yet he did not find that constant employment which his abilities deserved. This neglect might probably result from his own conduct, for it must be confessed that Wilson was not very attentive to his interest; and though a man of strong sense and superior education to most of the artists of his time, he did not possess that suavity of manners which distinguished many of his contemporaries. On this account his connections and employment insensibly diminished, and left him in the latter part of his life in comfortless infirmity. When the Royal Academy was instituted, he was chosen one of the members, and after the death of Hayman, made the librarian, which situation he retained until his decayed health compelled him to retire into Wales, where he died in May, 1782, aged sixty-eight.

Over the mantle-piece of the Court-room is a beautiful basso-relievo,

BY RYSBRACK,

representing children engaged in navigation and husbandry, being the employments to which the children of the Hospital were supposed to be destined.

John Michael Rysbrack, was born at Brussels, and was the son of a landscape-painter. He studied under Theodore Balant, a famous sculptor; came to England in 1720, and resided in Vere Street, Oxford Street, where he had extensive workshops, which his great run of business required. On these premises he died, and was buried in Marylebone Churchyard, 11th January, 1770. After his decease, there were sales by auction held at his house, in one of which was an immense number of his own drawings mounted with uniform borders, executed in bister; and some of the most excellent of them are still to be found in the portfolios of collectors. Rysbrack executed many busts for noblemen and others, and was much employed on mural and other monuments.

The side table, of Grecian marble, is supported by carved figures in wood, representing children playing with a goat, and was presented by Mr. John Sanderson (architect), who was employed with others in the erection of the Hospital.

There are also two fine busts, casts from the Antique, one of Caracalla and the other of Marcus Aurelius. They were given by Mr. Richard Dalton, who held several important offices connected with the arts, and was sent to Italy by George III. to collect articles of vertu to enrich His Majesty's collection.

The ornamented ceiling was done by Mr. Wilton, the father of the eminent sculptor.

COMMITTEE ROOM.

THE MARCH TO FINCHLEY.

BY HOGARTH.

The following is considered the most authentic account of this celebrated picture, and is from the pen of Mr. Justice Welsh, the intimate friend and companion of Hogarth.

"The scene of this representation is laid at Tottenham Court Turnpike; the King's Head, Adam and Eve, and the turnpike house, in full view; beyond which are discovered, parties of the guards, baggage, &c. marching towards Highgate, and a beautiful distant prospect of the country; the sky finely painted. The picture, considered together, affords a view of a military march, and the humours and disorders consequent thereupon. Near the centre of the picture, the painter has exhibited his principal figure, which is a handsome young grenadier, in whose face is strongly depicted repentance mixed with pity and concern; the occasion of which is disclosed by two females putting in their claim for his person, one of whom has hold of his right arm, and the other has seized his left. The figure upon his right hand, and perhaps placed there by the painter by way of preference, as the object of love is more desirable than that of duty, is a fine young girl in her person, debauched, with child, and reduced to the miserable employ of selling ballads, and who, with a look full of love, tenderness, and