remarkable performances are, strictly speaking, the history of certain
vices, to a foreign eye often a little overcharged, but always full of
wit and novelty. He understands in his compositions how to make pleasant
pretext for satirising the ridiculous and the vicious, by firm and
significant strokes, all of which are prompted by a lively, fertile and
judicious imagination."

From History Painting to Portrait in Oil, the title given by M. Rouquet
to his next chapter, transition is easy. Some of the artists mentioned
above were also portrait painters. Besides Captain Coram, for example,
Hogarth had already executed that admirable likeness of himself which is
now at Trafalgar Square, and which Rouquet must often have seen in its
home at Leicester Fields. Highmore too had certainly at this date
painted more than one successful portrait of Samuel Richardson, the
novelist; and even Hayman had made essay in this direction with the
picture of Lord Orford, now in the National Portrait Gallery. A good
many of the painters of the last reign must also, during Rouquet's
residence in England, have been alive and active, _e.g._ Jervas, Dahl,
Aikman, Thornhill and Richardson. But M. Rouquet devotes most of his
pages in this respect to Kneller, whose not altogether beneficent
influence long survived him. Strangely enough, Rouquet does not mention
that egregious and fashionable face-painter, Sir Joshua's master, Thomas
Hudson, whose "fair tied-wigs, blue velvet coats, and white satin
waistcoats" (all executed by his assistants) reigned undisputed until he
was eclipsed by his greater pupil. The two artists in portraiture
selected by Rouquet for special notice are Allan Ramsay and the younger
Vanloo (Jean Baptiste). Both were no doubt far above their predecessors;
but Ramsay would specially appeal to Rouquet by his continental
training, and Vanloo by his French manner and the superior variety of
his attitudes.[20] The only other name Rouquet recalls is that of the