188.

THE Figure of a Gentleman sitting in a Chair, was lent to Rackstraw, to be put in the Exhibition Room, for a Month, during the Exhibition. The said Figure is since taken away by the said Rackstraw, and put in a Room, in the Paflage, leading from the said Exhibition, where the said Rackstraw expofes the Figure for Money, without the Consent of the Proprietor of the fame, nor knowing any Widow that required such Relief.

To the PRINTER.

THE royal academy of polite arts at Parma, in the distribution of prizes this year to the several artiils in their particular professions, have, in a very distinguifhing manner, honoured an Englishman with their approbation of his exibition in architecture; the subject given by the said academy, was a public gallery for statues, pictures, &c; drawings were received from all parts of Italy, and for some time expofed in a public hall for criticism, till final judgment should be given: many architects of great merit exhibited their performances, and at length the premium, which is a gold medal weighing two ounces and an half, was adjudged to our countryman, now refiding at Rome, and was sent to him there with very high compliments. For the honour of Old England, I imagine, you will not refuse a place in the Gazetteer for the following extract from a printed paper published by the royal academy at Parma.

DISTRIBUTIONE DE' PREMJ.

Celebra ta l' anno 1763, in Parma dalla reale accademia delle belle arti.

Fra i dègni di architettura quello, che portava per divisa mihi turpe relinqui eſt, me-

ritamente è flato coronato per la faggezza, e la beltà di tutte le fue forme, e per la grandezza, e proporzione dell' edificio rappre entato il quale ci richiama, ed offre agli occhi i pomoli monumenti degli antichi, e quell' ottimo gufto, che mette vano nelle loro decrazioni. Non può l'autore, abbastanza iodarli per lo studio, e per la felice fcelta ſpra ſi lodarli emplari. Tutto nel fuo difegno ſi trova meſſo al fuo luogo. Non ſi ſaprebb, che toglere, ne che aggiugnere agli ornamenti: loro numerofi ſenz. confufione, convenivoli al faglio, ed i ſoli, che dovrano ſempre rispetarli dalla mode, e dai caprici degli nomini, etrovarli ſempre i mighori, potrebbe cito non oftante, defiderarli, che in questa galleria le fineſtue ſuſſero meno rinferrate, onde le flatue, ed i quadri in eſſa diſpoſi riceveſſero un laze piu vivo, e piu ſtelo, quando per cito ſeffe fattibilo, ſenza cangiar nulla nell' ordinanza del piano. L'autore ſi è

Il Signor Giorgio Dance Ingleſe.

In English thus.

Among the drawings of architecture, one bearing the motto Mihi turpe relinqui eſt, hah moſt defervedly met with the general applause for the tafle and beauty of all its parts, as well as for the grandeur and proportion of the building which it repreſents, as it puts us in mind, and preſents to our view the moſt ſubject monuments of the ancients, and gives us an idea of the reſiſed tafle that is to be met with in all the r works. It's author can never be ſuſſic entirely praſed for his ſtudy, and for his good choice of ſuch ſublime models. Nothing can be added to, nor taken from the ornament. I parts; they being abundant without confusion, intirely well adapted to the ſubject, and ſuch as will always lead the ſaſſion, and rule the ſan of men, and be for ever judged the best. Notwithſtand ing we could with that the windows in the galler, were a little more ſpacious, that the pietures and ſtatues which are placed in it might receive a more brilliant and extenſive light, p[ro]-vided it could be done without al[ering the diſpoſition of the whole.

The Author is Mr. George Dance, in Englishman.

Last Night the Theatre Royal in Covent Garden was opened with The Busy Body, to a moſt crowded and brilliant Audience. Mr. Woodward's Prologue was loudly called for; but he made a genteel Apology, and the Audience immediately ſuffered the Play to go on without it. There were alſo ſeveral new Scenes exhibited, which were greatly admired and much applauded; particularly an elegant Chamber by Dahl, and a fine View of St. James's Park by Lambert.

Yesterday two capital Pietures, repreſent-
ing ſtatuary Figures of St. Peter and St.
Paul, juſt finiſhed by the Chevalier Caſſali,
were put up in the two Niches over the Al-
tar Piece in St. Margaret's Church, West-
minſter.

† A certain nobleman of high diffiſtinction, has employed the celebrated Mr. Reynolds to draw his portrait, together with that of his Secretary, in which the latter is reſrefented with a ſcrol in his hand, to denote his preſenting him with the preliminaries of peace.
St. James's Chron. † Word and Writings of

Saturday March 17. 1764.

Thursday the Committee, appointed by
Common-Council, went to View his prefont
Majesty's Statue at Mr. Wilton's, Statuary,
near Cavendish-Square; and we hear the
fame is ordered to be directly placed amonst
thofe of the former English Kings, upon the
Royal-Exchange.

MINIATURE PAINTING.

MR. BEAUVAIS, who is lately
returned from Tunbridge Wells to his Lod-
ings at Mr. Benoist's in St. Martin's-Street, facing to
Long's Court, near Leicester Fields, begs Leave to ac-
quaint the Nobility, Gentry, and others, that he con-
tinues to paint Portraits in Miniature in Water Colours
or Indian Ink, at reasonable Prices, in which he has
hitherto in general given entire Satisfaction : He teaches
also Drawing in all its Branches and Painting.

He has likewise a large Number of Capital
Prints and Drawings purchased out of the best Collec-
tions to dip his of.

We hear that Mr. Carlini, an Italian Art-
tist, has finished an elegant Statue, a whole
Length Figure, of the late Dr. Ward; two
Figures of Children are to be added, emble-
matical of the Doctor's charitable Dispo-
fition; and the Whole set up as a Monu-
ment to his Memory in Westminfter-abbey.

April 2, 1764.

We hear that Mr. Dance, the celebrated
English painter at Rome, and son of Mr. Dance,
City Surveyor, has painted lately his Royal
Highnefs the Duke of York, Lord and Lady
Spencer, and Mr. Garrick; and that they are
effected most finished performances.

We hear from Wilthire, that, on Home Hill, in Bowwood Park, an eminence which commands a view of a great part of North Wilthire, a most beautiful and noble Maufolem, designed by Robert Adam, Eq; is nearly finished, and will soon be fit to receive the Remains of the late John Petty (otherwife Fitzmaurice) Earl of Shelbourne. Having often reflected on the diff'rent state of several villages around, whose inhabitants had no parochial Church to reform to, nor minifter to perform religious offices among them, the place being part of an ancient forest: to remedy this evil, he, on his death-bed, directed that his remains should be depolited on Home Hill, in his Park, and withed that a chapel should be there built for the conveniency of the inhabitants around. In consequence of whom pious desire, his Countef, Dowager, Mary, daughter to the late Hon. Colonel William Fitzmaurice, Brother to Thomas late Earl of Kerry, hath, entirely at her own expence, e-reft this Maufolem to his memory; and is carrying into execution a convenient and beatiful Chapel, built with white hew'd stone, equally usefull to the Services of Religion, and ornamental to the whole country. As her Ladyship spares no expence to make this work perfect, her son, the prefent Earl of Shelbourne, is pleased to endow it, and fix a Chiplain therein.

Last week died Mr. Van Bleck, painter, who
fome years ago retired from buſineſs on account
of his ill state of health.

Mr. Lucius Barbor, Portrait Painter in
Enamel, is removed from Piccadilly to the
next Door to the Golden Head, in Greek-
street Soho.

1764. IRELAND.

Dublin, April 3. There is a Statue mak-
ing at Mr. Van Noft's of Sir Edward Hawke,
for the Earl of Inchiquin, to be fixed up at
his Lordship's Seat at Rofſellan.

April 4. 1764.

We hear from Rome, that Mr. Hamilton, an
Englishman, has painted there ſome pieces which
are admired even by the Italians. He has lately
finished a large one representing Achilles drag-
ing the body of Hector round the walls of Troy.
In this piece nothing bloody is admitted : the
chariot of Achilles occupies the fore ground :
the horſes are drawn in the inſant of their fet-
ting off. Achilles is ſtanding in his chariot :
his attitude is firm ; and the pleafure he feels
in revenging himſelf is ſeen in the air of joy and
ferté that appears in his countenance. The body
of Hector, beautiful though lifeleſ, is dragging
on the ground, all but the feet, which are fat ſened
to the chariot by the heels : towards his head is
a Greek fold er, whoſe eyes are turned towards
a tower on the walls of Troy, where Androma-
che is fainting away in the arms of her women,
amidst a cruc of Trojans, ſome feized with fear
and terror, and others penetrated with the deepeſ
ſorrow. This picture is truly dramatic ; inſpir-
ing at once both compaſſion and horror.

The fame artift has alſo painted the death of
Lucretia. This ſubject, which has been ſo
often repeated, is treated in a new manner.
Lucretia is repreſented juſt expiring; her huf-
band ſupports her head, and is inſenble to every
thing but her, whilſt the affliction of her father
feems ſuspended, and he appears to mind only
Brutus, who, holding in one hand the poignard
he had juſt drawn out of Lucretia's wound, lifts
up his eyes to heaven, and ſeems to pronounce
the oath that he will revenge her death on the
Taragins.

232. Public Advertiser Dec. 15. 1964.

The following EPIGRAM was written some
Years ago by the late Mr. HOGARTH, on a
Dispute between two famous Actors.

YOUR servant, Sir, 'says furly Queen;
"Sir, I am your's," replies Meldyn.

Why you're the very Jew you play,
'Your face performs the task well';

"And you are Sir John Brute, they say,
"A most accomplished Maskell.

Says Rich, who heard the sneering elves,
And knew their horrid hearts,

Acting too much your very felves,
'You over-do your parts.'

Memoirs of the late ingenious Mr. WILLIAM
HOGARTH.

THE ingenious man who makes the
subject of this flight memoir, was one
of those whose life affords little variety to
the hiftorian, and whose chief history lies in
that of his own productions.

Mr. Hogarth was born in London, in the
parish of St. Bartholomew; to which he was
afterwards, as far as lay in his power, a be-
nefactor. His father, being one of the lower
orders of tradesmen, had no higher views
for his son than binding him apprentice to
an Engraver of pewter p's, which, it must
be owned, is, of all the species of the paint-
ing art, the lowest. In this humble situa-
tion Hogarth wrought through his appren-
ticehip, and seemed, through the whole of
his time, to have no higher views than those
of his contemptible employment.

Upon leaving his apprenticeship, he re-
folved upon higher aims, and purfued every
method of improving himself in the art of
drawing, of which his former master had
given him but a very rude conception. The
ambition of the poor is ever productive of
difrefs; so it was with Hogarth, who, while
he was furnifhing the materials for his sub-
sequent excellence, felt all that contempt
and indigence could produce. I have heard
it from an intimate friend of his, that being
one day arreled for so trifling a fum as
twenty fillings, and being bailed by one
of his friends, in order to be revenged of
the woman who arreled him (for it was his
landlady,) he drew her picture as ugly as
possible, or, as Painters expreſs it, in cari-
catura; and in that single figure gave marks
of the dawn of superior genius.

How long he continued in this state of in-
digence and obſcurity, we cannot learn;
but the first piece in which he diſtinguified
himself as a Painter, was in the Figures of the
Wandsworth Affemblry. These are drawn from
the life, and without any circumftances of
his burſeque manner. The faces are ſaid to
be extremely like, and the colouring is ra-
ther better than in ſome of his best ſub-
quent pieces. But we must obſerve in ge-
neral of this excellent Painter, that his co-
louring is dry and displeasing, and that he
could never get rid of the appellation of a

manerſt, which was given him early in life.
His next piece was probably that excellent
picture of the Pool of Bethesda, which he pre-
fented to St. Bartholomew's hospital, in
which parifh, as we have already ſaid, he
was born.

We have hitherto only seen him in grave
hifhry paintings; a walk in which he has
many competitors; but he ſoon launched
out into an unbeaten track, "in which he ex-
celled all that ever came before, or have
ſince ſucceeded him. His being first employed
to draw defigms for a new edition of Hudi-
bras, was the inlet to his future excellence
in the burſeque. We mean in his life-
pictures, for ſuch we will venture to call
them. It is unjuſt to give theſe the charac-
ter either of burſeque or grotesque pieces,
ſince both the one and the other convey to
us a departure from nature, to which Ho-
garth almost always strictly adhered. That
work of this kind, which first appeared
was his Harlot's Progrefis. The ingenious
Abbé Du Bos has often complained, that no
Hiftory Painter of his time went through a
feries of actions, and thus, like an Hifto-
rian, painted the ſuccedive fortunes of an
Hero, from the cradle to the grave. What
Du Bos wifhed to fee done, Hogarth per-
formed. He launches out his young ad-
ventuier a ſimple girl upon the town, and
conducts her through all the viciffitudes of
wreachedneſs to a premature death. This
was painting to the reaſon and to the heart:
none had ever before made the art ſubfer-
vient to the purpofes of morality and in-
ſtruction; a book like this is fitted to every
foil and every obſerver, and he that runs
may read.

The Rake's Progrefi succeeded the former,
which, though not equal to it, yet came ſhort
only of that ſingle excellence, no other could
come near him in that way. His great ex-
cellence confited in what we may term the
furniture of his pieces; for as in ſublime
subjeſts, and hiftory pieces, the fewer little
circumftances there are to divide the ſpec-
tator's attention from the principal figures,
is reckoned a merit; ſo in life-painting,
the greater variety there is of those little do-
meſtic images, to give the whole a greater
degree of force and ſemblance. Thus in
the Harlot's Progrefis we are not displeafed
with James Dalton's wig-box, on the be-
tefter in her lodgings in Drury-lane; parti-
cularly too if it be remembered that this
James Dalton was a noted Highwayman of
that time. In the pieces of Marriage, Ala-
mode, what can be more finely or fatrically
conceived, than his introducing a gouty
Lord, who carries his pride even into his
infirmities, and has his very crutches marked
with a coronet.

But a comment or panegyric on pichures,
is of all ſubjects the mott displeaſing; and
yet the life before us ſcarce offers little eſe.
We may indeed, in the manner of Biogra-
phers, obſerve, that he travelled to Paris
for improvement; but ſcarce any circum-
ſtance remains by which he was diſtinguified

in this journey from the reſt of mankin-
who go thither without design, and return
without remark. Perhaps his general cha-
tacter of the French may be thought worth
remembering; which was, that their houses
were gift and b--t.

About the year 1750 he rufiſhed his
Maffin of Beauty, which, though it was ſtrongly
opposed, yet was reſplece with those fireſes
which ever characterife the works of genius.

In this performance he ſlows, by a variety
of examples, that round ſwelling ſigures are
mott pleasing to the eye; and the truth of
his has of late been further confirmed by an

ingenious Writer on the fame ſubject.

Little eſſe remains of the circumſtances of
this admirable man's life, except his late con-
test with Mr. Churchill: the circumſtances
of this are too recent in every memory to be
repeated. It is well known that both met
at Wellminſter-Hall; Hogarth, to catch a
ridiculous likenes of the Poet; and
Churchill to furnish a natural defcription of
the Painter. Hogarth's picture of Churchill
was but little eleſemed, and Churchill's
letter to Hogarth has died with the ſubjeſt;
but the latter's heart; but this we can, from

good authority, ſay is not true; indeed, the
report falls of itself; for we may as well
ſay that Hogarth's pencil was as efficacious
as the Poet's pen, ſince neither long ſurv-
ved the context.

1765

31.

On Saturday next his Majesty's Royal Charter panted the Great Seal, for incorporating the Society of Arts (Bailiffs in Spring-Gardens) by the Name of The Society of Arts of Great Britain.

January 20. 1767.

To the Printer of the Public Advertiser.

SIR.

BY inferting the following Lines in your Paper, you will oblige one, who is proud to
subscribe himself

An ADMIRER of MERIT.

WHILE fair Angelica, with matchless
Grace,
Paints Conway's lovely Form, and Stanhope's
Face,
Our Hearts to Beauty willing Homage pay,
We Praife, admire, and gaze our Souls away.
But when the Likenes she has done for thee,
O, Reynolds, wi h Altonifhment we fee;
Fore'd to SUBMIT with all our Pride, we own
such Strength, such Harmony, excell'd by
none,
And thou art rivall'd by Thyfelf alone.

THE following Lines are an Imitation of
some Verfes which appeared in the Public
Advertiser of Tuesday last, on the Portrait of
Mr. Reynolds, painted by Angelica. If Mr.
Woodfall pleafes, he may give them a Place in
his Paper.

SYNTAX.

Præmia jamdudum palmæ, Renolde, tulifsi
Solus Appelleæ, Victor in arte tua.

Ne palman expectes ultia, certamine in ullo.

Nunc vetat Angelica pieta tabella manu.

Certamen dubium facit hæc, quæ vivit, image;

Tuque es Rivalis maximus ipse tibi.

For the Public Advertiser.

A REGULAR ODE on Mr. COATS.

I CAN'T find out, upon my Word,
What makes the People so absurd

In cramming down our Throats

The Praifes of a foreign Dame,

Forgetting one so dear to Fame

As our own Mr. Coats.

It's true, indeed, they do pretend

In Latin Verfes to commend
Reynolds who her promotes,

Them who can read them, tho', will find

They've not to him been over kind,
More than to Mr. Coats.

What tho' she paints with heavenly Grace,
Ador'd Louiſa's charming Face,
Which gentle Hope denotes ;

And tho' the Town in Raptures ipeak,
I yet muſt hope some Lines in Greek
On charming Mr. Coats.

So Maſter Woodfall I beſeech,

As soon as they your Hands ſhall reach,
You leave all Anecdotes ;

And in your Paper ſtrait commend

The riling Painter's warmelt Friend,
The generous Mr. Coats.

January 23. For the Public Advertiser. 1767.

An ADDRESS from BRITANNIA to the celebrated
ANGEBICA.

HAIL, beauteous Stranger! welcome to my
Shore,

To Liberty's fair Ife; her Shrine adore :

She, heav'nly Goddeſs, loves the nobler Arts,
Which charm our Eyes, and captivate our
Hearts.

How have I griev'd, in Ages past, to find

No Artift of my own, Genius refin'd,

To trace the Features of my godlike Race,

And emulate the Tints of a fair British Face !

Holben, Vandyke, Rubens, and Lely, came

To prefent Fortune, and immortal Fame ;

But none e'er croſſ'd my all-surrounding Sea,
So dear to my fair Daughters and to me.

How juſtly præife thy Pencil, charming
Maid?

What wonderful Effects from Light and Shade !

Such Colouring was ne'er since Rubens ſhown,

And great Vandyke, his Graces all thy own.

Proud Man, no longer boaſt thy Strength of
Mind,

And Genius tow'ring 'bove the female Kind :

A tender Maiden, in the nobleft Art,

Acf't a ſublime and well-ſupplied Part.

In this my Land, how fair a Field for Fame !

Models how fine ! to gain a deathleſs Name :

The Loves and Graces in their Features play,

Which Genius like to thine can well display.

But chief in my own Brunſwic's Royal Line,

Invoke, my Fair, that Energy divine,

Enthusiastic Warmth diſcreetly bold,

Which Bards inſpir'd, and Painters too of old ;

To draw in vivid Tints th' illuſtrious Race,

Inflinſt with Life be ev'ry lovely Face :

Bring Piety and Goodneſs forth to Sight,

And all the Virtues which Mankind delight.

But, O my Daughters ! tho' your Charms
demand

A Guido's or a Raphael's nicell Hand,

Respect the Art; leave her some vacant Space,

The Actions of the Good and Great to trace.

My Sons in deepeſt Science have outſhone

The Nations round: My Poets yield to none.

Late, late indeed, the Peneil's mimic Art,

By Genius nurſd; hath touch'd the feeling
Heart.

Reynolds, with Talents, as with Candor bleſſ,
Admires thy Works :—Hail then, a pleafing

Gueſt.

SIR,

BY inferting the following Italian Verſes in
your Paper, you will obſige Jean Jacques
Rouſſeau himself, who has always been an
Admirer of Merit, and ſweet Names, as
Angelica in Italian, and ſulie in French.

To Mr. REYNOLDS.

RINALDO, agli occhi miei ſoave incanto
E'l mirarti da Angelica dipinto,
Da lei che ſin ſul ſebbro ottenne il vanto,
Che ogni altro Apelle al paragon ſia vinto.

Ma quanto piu ſa lufingar le ciglia !

La tela ov'e la dolce imago imprefſſa

Di Conway, d'alto Eroe immortal figlia.

Ad Angelica man ſolo conceffa.

E l'arte d'imitar quel caro volto,

Ch'ogni fior di bellezza ha in ſe raccolto.

* Vedi L'Arioſto.

For the Public Advertiser.

VERSES writ in a Cottage belonging to GENERAL CONWAY, at Park-Place, near Henley in Berkshire.

THE Works of Art let others Praife,
Where Pride her Wale of Wealth be-
trays;

And Fashion, independent grown,
Ufurps her Parent Nature's Throne;
Lays all her fair Dominions wale,
And calls the Depredations—Tale.
But I, who ne'er, with servile Awe,
Give Fashion's Whims the Force of Law,
Scorn all the Glitter of Expence,
When deftitude of Ufe and Senfe;
More pleas'd to fee the wanton Rill,
Which trickles from fome craggy Hill,
Free thro' the Valley wind its Way,
Than when immur'd in Walls of Clay,
It frives in vain its Bonds to break,
And flagnates in a crooked Lake.

With Sighs I fee the native Oak
Bow to th' inexorable Stroke,
Whillft an exotic puny Race

Of upfart Shrubs ufurps its Place;
Which, born beneath a milder Sky,
Shrink at a wintry Blaft, and die.

I can't behold without a Smile
The venerable Gothic Pile

(Which in our Father's wiser Age
Was shelter'd from the Tempeft's Rage)
Stand to the dreary North expos'd,
Within a Chineſe Fence inclos'd.

For me, each leaden God may reign
In Quiet o'er his old Domain;
(Their Claim is good by Poets Laws,
And Poets muſt ſupport their Caufe.)

Let Pan be plac'd in Paſures fair,
And feem to watch his fleecy Care;
Amidst her Flow'rs let Flora ſtand;
Let Ceres guard her cultur'd Land;
Their Oaks let Dryads fill defend;
Let Naiads fill their Springs attend:

But when old Neptune's fifth-tail'd Train
Of Tritons haunts an upland Plain,

And Dian ſeems to urge the Chace
In a ſnug Garden's narrow Space;

When Mars, with Inſult rude, invades
The Virgin Mufeſe peaceful Shades;

With Lightning arm'd, when angry Jove
Scares the poor Tenants of the Grove,
I cannot blindly league with thofe,
Who thus the Poets Creed oppoſe.

To Nature, in my earlieſt Youth,
I vow'd my Conſtancy and Truth,
When in her Hardwick's much-lov'd Shade,
Enamour'd of her Charms, I Itray'd;
And, as I rov'd the Woods among,
Her Praife in lifping Numbers ſung:
Nor will I now reſign my Heart

A Captive to her Rival Art.

Far from the pageant Scènes of Pride,
She fill my careleſs Steps ſhall guide;

Whether, by Contemplation led,
The rich romantic Wild I tread,
Where Nature, for her Pupil Man,
Has Itruck out many a noble Plan;
Or whether, from yon wood-crown'd Brow,
I view the lovely Vale below;
For when, with more than common Care,
Nature had ſtretch'd the Landſcape there,
Her CONWAY caught the fair Deſign,
And ſofren'd ev'ry harſher Line;
In pleafing Lights each Object plac'd,
And heighten'd all the Piece with Tafle.

O, CONWAY ! while the public Voice
Applauds our Sov'reign's well-weigh'd Choice,
And Albion's Friends, exulting, fee
Her Fame, her Int'reſt, rife with thee;
Fain would my patriot Mufe proclaim
The Stateſman's and the Soldier's Fame,
And bind immortal on thy Brow
The Civic Crown, and Laurel Bough.
But, tho' unſkill'd to join the Choir,
Who aptly tune the courtly Lyre;
Tho', with the Vaffals of thy Srate,
I never at thy Levee wait;
Yet be it oft my happier Lot
To meet thee in this rural Cot;
To fee thee here, thy Mind unbend,
And quit the Stateſman for the Friend;
While Smiles unbought, and void of Art,
Spring genuine from the ſocial Heart.

Happy the Mufe, which, here retir'd,
By Gratitude like mine inſpir'd,
Dupe to no Party, loves to pay
To Worth like thine her grateful Lay;
And, in no venal Verſe, commend
The Man of Tafle, and Nature's Friend.

Cottare, July, 1766.

In the State papers at Caminſons the meſpenger,
some relating to Richard 3d.

The mark of Crispin Pas. He died 1626.
v. marks of King ravers.

Charles Blunt Earl of Deven. two.

A Vol. of Crispin Books.

A Falkland Father.

My print of Rohem. family by Mr. Popham.
Mr. Wark's picture of Henricus. family by
W. Rogers.

Pindariſc ador painting, addressed to ſothua
Reynolds; in quarto. published in may. 1768.

Bowager Lady Shelburne has the portraits of Mr.
William Petty, his Wife, by Cooper. Mr. William is
one of the finest of his Works, in the whole highly finished.