bbing of
numberless foul jackets, was an indisputable picture by the renowned
Hogarth. It represented the meeting of the committee of the {413} South
Sea Company, and doubtless the figures were all portraits. It was
painted in his roughest manner; but every head was stamped with that
character for which he stood unrivalled. I have since heard that, when
the house was pulled down, this picture was sold as one of the lots, in
the sale of furniture, and bought by a dealer. It was painted on the
wall, like a fresco; and how to remove it was the difficulty. On
sounding the wall it was found to be lath and plaster, with timber
framework (the usual style of building in the reign of Elizabeth). It
was therefore determined to cut it out in substance, which was
accordingly performed; and by the help of chisels, thin crowbars, and
other instruments, it was safely detached. The plaster was then removed
from the back down to the priming, and the picture was backed with
strong canvas. It was then cleaned from all its defilement, and, on
being offered for sale at a good price, was bought by a nobleman, whose
name I have not heard, and is now in his collection.

I do not know whether your correspondent has heard of Hogarth's portrait
of Fielding. The story, as I have heard or read it, is as
follows:--Hogarth and Garrick sitting together after dinner, Hogarth was
lamenting there was no portrait of Fielding, when Garrick said, "I think
I can make his face."--"Pray, try my dear Davy," said the other. Garrick
then made the attempt, and so well did he succeed, that Hogarth
immediately caught the likeness, and exclaimed with exultation, "Now I
have him: keep still, my dear Davy." To work he went with pen and ink,
and the likeness was finished by their mutual recollections. This sketch
has been engraved from the original drawing, and is preserved among
several original drawings and prints in the _illustrated_ copy of
Lysons's _Environs_, vol. i. p. 544., in the King's Library, British
Museum.

While I am writing about unnoticed pictures by what may be called
_erratic_ artists, I may mention that in the parlour of the "King's
Head," corner of New Road and Hampstead Road, on the panel of a
cupboard, is a half-length of a farmer's boy, most probably the work of
G. Morland, who visited this house on his way to Hampstead, and probably
paid his score by painting this picture; which is well known to have
been his usual way of paying such debts.