205. Portrait of Thomson, the Poet. _Hogarth._ The well-known
picture. How fond poets of the last century were of their
_dishabille_ in portraits: they had their day as well as nightcaps.

217. Johnny Gilpin. _Stothard._ This lively composition is well
known, as it deserves to be; but it may not so well be remembered that
the popularity of John Gilpin was founded by a clever lecturer, who
recited the "tale in verse" as part of his entertainment. (_See page
367._) What would an audience of the present day say to such
puerility; though it would be certainly more rational than people
listening to a French play, or an Italian or German opera, not a line of
which they understand.

229. Portrait of R.B. Sheridan. The well-known picture, by
_Reynolds_, whence is engraved the Frontispiece to Moore's Life of
the Statesman and Dramatist. Here is the "man himsel," in the formal cut
blue dress-coat and white waistcoat of the last century. The face may
be accounted handsome: the cheeks are full, and, with the nose, are
rubicund--_Bacchi tincti_; the eyes are black and brilliantly
expressive;--and the visiter should remember that Sir Joshua Reynolds,
in painting this portrait, is said to have affirmed that their pupils
were larger than those of any human being he had ever met with. They
retained their beauty to the last, though the face did not, and the body
became bent. How much it is to be regretted that Sheridan with such fine
eyes had so little foresight. There is in the gallery a younger portrait
of him, in a stage or masquerade dress, which is unworthy of comparison
with the preceding.

231. Scene in Covent Garden Market. One of the best views of the old
place, by _Hogarth_; and one of the last sketches before the recent