IS DESCRIPTIVE CATALOGUE O F THIRTY-SIX PICTURES, PAINTED BY GEORGE MORLAND. A DESCRIPTIVE CATALOGUE OF THIRTY-SIX PICTURES, PAINTED BY GEORGE MORLAND, DEDICATED WITH PERMISSION TO HIS ROYAL HIGHNESS THE PRINCE OF WALES, AND PATRONIZED BY MANY OF THE ROYAL FAMILY. THET ARE TO BE ENGRAVED BY SUBSCRIPTION, BY AND UNDER THE DIRECTION OF J. R. SMITH, At whofe Houfe, No. 31, King's-street, Covent Garden, the Pictures are now on Exhibition, from Eleven till Four o'clock each Day. Thefe Pictures are to be Sold. — Half the Money to be paid at the Time of Purchafe, and the Remainder on Delivery of the Pictures, which will be as foon as the Number to which each belongs is engraved. PRICE ONE SHILLING. MORLAND'S PICTURES. INTRODUCTION. <* Thou, Nature, art my Goddefs." Shakespeare. Or the late Mr. Gainlborough, it was juftly faid, that the woods of Suffolk were his academy, and the ploughmen and gypfies of his own country, his leading models. The fources from which Mr. Morland has drawn his figures, and copied his fcenes, he has explored with equal attention, and reprefented with a pencil equally faithful. In the works of other artifts w r e fometimcs fee what are profejfedly Englifh landfcapes, with foreign animals. The cows, goats, and pigs, are transferred from the canvas of Berghem and Teniers ; the horfes from Wouvermans, and the dogs from Snyders. For human figures, every corner of the continent is ranfacked, and the picture peopled with the boors of every country in Europe, except Britain. To this fecond-hand puree of art the author of thefe paintings has never reforted ; nor has he imitated the fantaftic graces, Arcadian nymphs, and paftoral fwains of I ^cna, Watteau,. or any other artift. He neither refers to artificial manners, nor perplexes with obfeure allegory : his fcenery, an:. rials,, and figures, are invariably his own. He never introduces an B exotic. INTRODUCTION*. exotic, and his piftures are not only marked with nature, but with Englifh nature. His failors are Britifh, and have braved many aftorm. His peafants have all the hardihood of their order. His fiihermen, poft-boys, and oftlers, are properly and pointedly discriminated, and Englifh — 'Englifh Sirs, from top to toe. In all their attributes, his wo- men are of the clafs from which they are painted, and wear their coarfe draperies with an eafy and natural air. His trees are fuch as grow in our own provinces, and his animals, fuch as we fee in our own country. Neither Teniers, nor Gainlborough, have ever painted the briftled brute of the ftye, or the long eared animal that brays upon the common, with more truth. The greyhound, fpaniel, pointer, fet- ting-dog, and bull-dog, are on his canvas, as in nature, of their diftin£t and peculiar tribe. His horfes are evidently ftudied from the fkeleton, and he has afterwards covered the bones. The poft chaife horfe, butcher's horfe, and hackney, in his pictures, are in the mod minute particulars, of the clafs to which they belong, and fuited to their fe- veral employments. In many of the landfcapes which we have feen by other artifts, the figures overbear the landfcape, or the landfcape over- bears the figures ; here the figures, forms, and colours are ever in uni- fon ; always adapted to the fcene, and impreft with one general fenti- ment, that gives a congruity to every part, and forms a whole — the leading chara&eriftic of which is simplicity. Not that modern antique fimplicity which has given to the figures of fome eminent painters the air of bufts, drefled in European habits, but the genuine unadulterate fimplicity of nature. In his colouring, there is a flowing fweetnefs that gives inexpreflible harmony to all his pi&ures ; one tender predominant tint breathes over the whole mafs, and pervades every obje6l that is delineated. He has INTRODUCTION. 3 lias been called the Engli/Jo Tenters; but though the delicacy with which that great painter touched the extremities, will perhaps never be equalled, yet Morland, in his forms, choice of fubjefts, and feleftion of attitudes, is infinitely more pidturefque. The pictures now exhibited, prove that his pencil is always in uni- fon with his imagination : he paints with the bold firmnefs of a man acquainted with every ftep of the ground he travels. In the drawing, there are no marks of either doubt or timidity ; and added to all, they have a firm precifion of touch, that never goes over a figure twice. To this we may in a degree attribute the unexampled facility with which every pi6lure has been painted. Their chara6teriftic features, and leading excellencies, it will be the Engraver's ambition and endea- vour to imitate, A DESCRIP- Digitized by the Internet Archive in 2014 https://archive.org/details/descriptivecatalOOsmit A DESCRIPTIVE CATALOGUE O F Mr. MORLAND'S PICTURES. A- SAILORS' CONVERSATION. TThE general air of this picture bears a ftriking refemblance to fome of the tableaus. of Teniers, but the figures with which it is peopled, are neither Dutch Filhermen, nor Flemifh Boors ; they are, in every charafteriftic mark, Englifh. The eager attention of a girl liften- ing to three Tars, who, while drinking their grog a-Jhore, recite their hair breath '/capes, is happily reprefented ; and the figure, reclined in a corner, tird of wars alarms, nurfing a gin-keg, and fullenly folacing himfelf with his favourite liquor, is in an attitude Angularly eafy and natural. There is peculiar propriety in placing thefe bulwarks of Bri- tain at the fign of the Mortar. THE ( « ) THE COUNTRY BUTCHER. If the merit of a plcSfure confifis in corre6lnefs of drawing, clear- nefs, and harmony of colouring, and fuch attention to the fubordi- nate obje6ts, that every atom of every figure, and every accompaniment is appropriate to the fubjedt, this painting is entitled to a very large portion of praife. It is accurate without being hard, delicate without being feeble, and unites with the tendernefs of a miniature, the force and fpirit of a fketch. A Tippling Village Butcher is the prominent figure. — From his red nofe we are certain that water, except it be ftrong water, is not his favourite liquor. Though he dees not entwine, the Myrtle of Venus with Bacchus s Vine, his heart is as vulnerable as the hearts of his betters ; — he is evidently making love, and every dram he drinks adds fuel to his flame. Buckles of two colours, fingle fpur, varnifhed hat, and in- deed every part of his habit, are precifely in character. The horfe is as well caparifoned for the Butcher, as the Butcher for the horfe ; and as one is drefled, fo is the other bridled, faddled, and fhod, in a ftile well worthy of his rider. The horfe's back has been hurt, and the faddle is llufPd ; the foot has been battered, and he is fhod accordingly : — in make, mane, condition, and all his attributes, he is completely a Butcher s horfe ; and for corre<5tnefs of the anatomy, — admirable. The woman is inimitably painted ; and the bull-dog, fit beajl for Jlaughter- man, has all the fullennefs of the fpecies to w r hich he belongs. The contents of a Butcher's tray are coloured with as much attention to truth and nature, as was ever difplayed by the be ft Flemifh Artift. On the whole it may be truly faid, and it is not eafy to give higher praife, that this pi6ture is a genuine Morland, in Morland's very bed manner ! DOG ( 7 ) DOG AND CAT. A CONTEST between a Dog and Cat was among the Dutch Painters, a favourite fubjeft, and many a weary week have they w r afted in de- lineating the different ftages of the quarrel. This reprefentation is as faithful and as fpirited as the beft of them ; but from the fize and ap- parent ftrength of the canine quadruped, we are apprehenfive, that not- withftanding her talons, the feline animal is likely to have the word of it. B. * FIGHTING DOGS. PoRTRAITS of Dogs, like portraits of Horfes, are ufually as tame as if they were fitting, or {landing for their piftures. When intended to be given in an original a6lion, we not unfrequently recognize an old acquaintance, copied from an old print to a new canvas ; but as we fometimes fee the fpirit of a good poem evaporate in a tranfiation, we Jometimes find the quadruped lofes a little of his fpirit by the transfer. From any fuch cenfure the pi6lure before us is exempted. The Do£S are drawn with anatomical correftnefs, and touched with fuch animation and vigour of pencil, as we feldom fee equalled, and was never excelled. From the rocky fcenery, the Artift feems to intend giving a reprefentation of two animals that were not much accuftomed to frequent the bufy haunts of men — and had neither been tamed by cor- rection, nor rendered focial by domeftic intercourfe. WATERING ( 8 ) B. WATERING THE CART HORSE. Though the fubjeft is fimple, the lupine and idle attitude of a boy leaning upon the withers of an animal — the horfe evidently funk into the mud — the foliage on the fore ground, and general ma- niagement of the whole, are marked with a truth and nature that realizes the fcene, anddifplays the objefts as in a mirror. Added to every other excellence, this picture muft particularly draw the atten- tion of both Artifts and Connoifleurs, from the fobsr tone of colour- ing, breadth of light, and judicious touch of pencils * # & RUBBING DOWN THE POST HORSE. Though this title may be ftriftly confonant to the vocabulary of the ftable, there are thofe who might call it rubbing up the Pcjl Horfe. Be that as it may, every, the moft minute action that conftitutes and belongs to the character, is introduced into this pifture: — -the horfe hangs back,- — the tail is twitched in ; all the limbs are highly agitated^ and every motion is jufh The Artift muft have feen what he fo accu- rately delineates, and feen it with the eye of a painter, capable of catch- ing a momentary action, and transferring it to his canvas with a fidelity only equalled by its fpirit* THE ( * ) c. THE FARM-YARD. The general tone of colour that pervades this piiture, has a very finking fimilarity to Rubens. It is eminently fplendid, without being in any degree gaudy; and attracts by the richnefs of its tints, without any of that glittering beamy brightnefs, which while it dazzles, fatigues the eye. The man in fhadow is penciled with a clearnefs and tranfpa- rency that Rubens only could have equalled. White is the colour of the principal horfe ; and we fee by the dropt lip, rough coat, and in- deed every mark, that it is the whitenefs of age. Anatomically confi- dered, it will bear the moft minute infpeftion ; every bone is in its proper place ; every mufcle is underftood. To heighten this ancient feeble animal by a ftriking contrail, the artift has properly introduced a very handfome fpaniel in the fore-ground. Though we fee only a fmall part of the pig's head, it is evident that he is in the a6Hon of churning his food. c. * THE FARMER'S STABLE. TTYlIS is evidently a portrait of the fame horfe that is in the preced- ing pi£hire, and painted with the moft precife anatomical exa6lnefs. The goats (particularly one of them) are in fpirit and chara6ler equal to Rofa of Tivoli, and in penciling not inferior to Berghem. The far- mer's fervant bringing in a fack of corn is appropriate to the fituation : the lantern, faddle, and other accompaniments, give an air of reality to the fcene, and are finifhed with uncommon clearnefs and truth, C THE ( >° ) D. THE FISHERMAN'S HUT. The fcene given in this pifture is fimple and natural. It repre- fents a Fifherman returned from his coafting voyage, difplaying the profitable produft of his net to his pleafed family. The figures are well painted, and a falmon, which lies on the ground, is marked with that fharp and yet tender touch which was never attained by any but a mafter. D.* SELL ING FISH. W HEN the Prince of Wales condefcended to look at many of the paintings now exhibited, his Royal Highnefs gave an opinion of this captivating picture in terms which, at the fame time that they evinced the corredlnefs and elegance of his own tafte, were in the higheft degree flattering to the talents of the Artift. In firmnefs of touch, united with delicacy of pencil, clear and brilli- ant tranfparency of colour, and general air, it is in an uncommon de- gree pleafing. The figures are correctly drawn, and chara6leriftically marked ; the filh, and little accompaniments, touched with great fpirit, and the clofeft attention to nature ; the rocks, and furrounding fcenery have fome refemblance to the manner of Dietriche, but are fuperior. Confidered as a whole , it is a chef d'ceuvre. FISHERMEN. { » ) E FISHERMEN. The cool tone, cloudy fky, light, liquid touching of the fpray, and general hue of this pi6ture, are in Brooking's beft manner. The long eared animal, like all the animals Morland paints, is very corre&ly drawn, and marked with the proper charafter of this ill treated tribe. A few bright tints on the figures, which form the principal group, give a ftrong proof of the Artift's judgment ; and their guarding themfelves while retreating from the dafhing fpray, is one of the few inftances where an Artift catches and delineates the action of a moment in a manner that gives motion to all his figures. E. » SMUGGLERS. The general air of this pi6lure reminds the fpeftator of Vernet, but the fcene is Englifh ; and the figures are of that hardy rough- hewn race that haunt the coaft, laugh at the prohibitions of Go- vernment, and run every hazard to fupply their fellow-fubjefts with the undulterated fpirits of other nations, at a price very little above what they might be purchafed for from the fair trader. They are here landing their cargo, grouped with great propriety, and every figure, particularly that of the man rolling forward a hogfhead, is C 2 adapted ( 12 ) adapted to his employment, and in an attitude exa£lly appropriate to his action. The Cart and Horfes are painted with the greateft attention to na- ture, and the Dog is perfeftly qualified to guard goods that have not paid the duty. The water is liquid, the general colouring tranfparent and harmonious ; and though there are a multiplicity of parts, in the whole, there is a breadth and fimplicity, which is evi- dently produced by a general tafte, rather than any particular rule. F. STABLE AMUSEMENT. In the hand of a matter, the rudeft materials produce an effe6t, which plodding dulnefs cannot give to the moft elegant fubjefts. It is not eafy to conceive a fcene lefs abounding with pi£iurefque ob- je<5ts than the infide of a liable at an inn, where the dramatis perfona confift of an oftler and his helper, a poftillion, a hackney, and two dogs, — who, for the amufement of thefe lords of the creation, are fet on to worry each other. The figures are all well drawn, and the hackney is as perfect a fpecimen of that clafs of horfes as perhaps was ever painted. The light and fhade are judicioufly diftributed, and the perfpedtive is perfectly underftood ; the maffes are folid 3 and the whole natural. THE ( *3 ) F * THE PUBLIC HOUSE DOOR. FrOM the infide of a ftable, we are brought to the outfide of a public-houfe, near the door of which a traveller, having torn his boot, is waiting while a repairer of damaged foles redoxes it. The highly gratified and whimfical countenance which Crifpin difplays on being afked to drink, is admirably reprefented, and well con- trafted by a pleafing girl to whom the other horfeman is evidently making love. The tout enfemble gives a very perfect idea of fcenes we frequently fee, and the air of the figures is fuitable to their rank and employment. In the penciling, every touch tells — and the whole has a pleafing effect. G. THE LABOURER'S LUNCHEON. TPhE titles of pictures painted by artifts of no mean name, fre- quently inform us that the fcene is taken from nature, and by the ftile of their delineations, prove not only the propriety, but the truth of their affertion ; their fcenery, figures, and animals, are fo diftant from nature, that the originals, if fuch there were, mull have been made by fome of her journeymen. This little converfation is in no degree open to fuch a cenfure ; it is a fimple and natural delineation of Englilh boors ; that which is reclining is in an attitude peculiarly eafy, and extremely well drawn. The dog afking for a crufi, in that univerfal language which all nations underftand, is well intro- duced, ( H ) duced, and the furrounding fcenery exquifitely painted. Though this artift rarely introduces a diftance, the tender yet fpirited ftile in which it is here touched, prove that his eye is faithful to general as well as particular effe6ts ; and his hand, obedient to his conceptions, can faithfully reprefent whatever he choofes to delineate. The whole pi6ture has what painters call a pleafmg eye, and is brilliantly and beautifully coloured ; every tint is kept in proper bounds, and the union produces perfe£t harmony. G. * THE PEASANT'S REPAST. The colouring of this picture is in the ftile of Morillio. The old man has that favage grandeur which Salvator Roi'a gives to his ban- ditti; he feems jealous of the boy's drinking too deep ; and in truth the lad is determined to go to the bottom, if it were a mile ; for every fenfe is abforbed in the bufinefs he is engaged in. He drinks at every pore; and by the way, in the action of every limb being con- fonant, Mr. Morland has an accuracy of attention which feme of our fafhionable auctioneers would poffibly call unique. You would know that this figure is drinking from his general air and action, without looking at the veffel which is glued to his mouth. The trees have not that refemblance to fried parfley, which marks feme of the Flemifh landfcapes, nor have they the neat minutenefs that diftinguilhes the drawings of a Dutch botanical painter : they appear on this canvas as they appear in the field or the foreft ; and prove that this Artift paints, as the author of the Seafons wrote, from obje<5ts that he has feen and ftudied, rather than from the hacknied ftile and beaten walk of other matters. THE ( >5 ) H. ALEHOUSE DOOR. The little groups of Teniers have been fo frequently transferred from his canvas to the copper, that we have all of us a perfect idea of the polite company that affemble at the door of a Dutch Alehoufe ; but this fcene has been lb feldom thought fufficiently elevated for the paftoral painters of our own country, that we have feldom feen them attempt its delineation. Fielding was the painter of Englifh nature ; and as that great author difregarded the models of romance, which had been the fafhion of preceding writers, where all the characters are in high life, Morland has chofen his fcenes from the fame fource, and narrated them with equal fidelity. The figures are well drawn ; he does not attempt to drefs them in what he thinks graceful habits ; neither does he, as we have fometimes marked in other Artifts, confider what Nature ought to be, but what Jhe is. The penciling is neat and fpirited, — the colouring clear, and in perfedt harmony. h. * ALEHOUSE kitchen. From the door of a Country Alehoufe, which was the fubje6l of the laft picture, the Artift takes us into the kitchen ; all the attri- butes of which are here given with a truth and minutenefs almoft microfcopic. ( Iff ) microfcopic, The poft-boy puffing out the bland vapour, and liften- ing to an old man feated at the fire, the articles on the chimney- piece, and indeed every thing in the pifture realize the fcene, which it muft be acknowledged is not very pi&urefque in itfelf, but by the Artift's management of the whole, is rendered extremely pleating : the figures have neither elevation nor dignity ; but in this as in his other works they are marked with what is much better, Truth and Nature, and by thofe who are fond of fimplicity, muft be admired. H. * * SPORTSMEN REFRESHING. A N O T H E R fign of the BelL to which there is as pert and fmirking a landlady as ever chalked up mugs of ale, at any Bell in ■Chriftendom. It is not that branch of art which aims more at beauty than nature, but a fimple village fcene, which by the way has an infinitely more pifturefque effeft than the reprefentations we often fee of fmooth gardens with parallel rolled walks, and fmooth banks of a fmooth ftream, that fteals in a ftraight line through the centre, and is planted with trees trimmed with nice art, and denominated a view of a gentleman s villa. Thefe fort of obje6ts have, when contrafted by the furrounding fcenery in a ruder ftile, an effeft that pleafes the eye, but feparated from their accompaniments, make a villainous ap- pe ranee upon canvas ; for fuch fubjefe this painter has no tafte ; he has here given us a fet of figures well drawn, well grouped, and well employed. The horfes are of their proper clafs, and reprefented with ( «7 ) with his ufual accuracy ; both pointer and fpaniel are delineated with an attention to the peculiar fpecies of each, which could not have been more diftinftly obferved by a botanical painter, when making drawings of the varieties of plants ; notwithftanding this, they, (and indeed every other objes ) I: COTTAGE FAMILY. This Artift, like the Author of the Seafons, delineates Nature in all her varieties. He has here given us a chilling winter fcene ; and by the tea-kettle, now a part of the furniture of almoft every cottage in the kingdom, we are led to fuppofe the time i£ morning, and this little family are fetching water to furnifh their matin meal. The view, tho* dreary, is not diftrefling ; the family carry an appearance of comfortable quiet happinefs, and though not cloathed in furs, are fufficiently defended from the cold: the jug and tea-kettle are painted with as much attention to truth as any other parts of the picture. i. * SHEPHERDS' MEAL. In Lord Lyttelton's Dialogues of the Dead, Mercury tells thofe diftinguiihed epicures Apicius and Darteneuf, that he knew two men, one of whom lived in ancient, and the other in modern times, that had more pleafure in eating than either of them. Apicius, pre- fumes one of thefe, was a Sybarite, and the other a French gentle- man, fettled in the Weft Indies, but is informed that the firft was a Spartan foldier, and the fecond an Englifh peafant. The latter o£ thefe ( I thefe characters are here rcprcfented, highly reliftiing their meal, and without knowing the art of Cookery, fwallowing their coarle fare with all the gout that the noble writer defcribes. The figures are well drawn, and the whole admirably coloured. K. THE STORM. This is a Land Storm, and what we rarely fee reprefented on canvas, a fummer ftorm ; in conception, compofition, and co- louring it may be truly called a Bravura Picture* The fcene is very happily imagined : and the a6tion of the man admirably chofen ; while he boldly faces the ftorm, the woman and girl naturally fhrink from it. The horfe fnuffs the wind, and the trees are agitated to a degree, that they appear in motion ; the iky is properly coloured, and the whole fmgularly fpirited. K. * THE DRAM. THE fcene is laid at the Black-horfe ; the girl pouring out trie Dram, is in action and attitude Angularly eafy. Arraying the fellow in a white fmock frock, is a proper choice of colouring : it effentially encreafes the brilliancy of the Pi6ture, and fo judicioufly does he I eak his colours, and harmonize the ftrongeft contrafts, that the black dog does not in any degree difturb it. D 2 FISHERMEN < 20 ) L. FISHERMEN GOING OUT. The Female is inimitably painted ; a figure in a red cap, in the general form and colouring, is much in the manner of that great mafter Titian. It has a chafte fimplicity which is feldom pour- trayed by any other Artift. The effecft of a morning Sun upon the figures, dragging their nets, has a ftrong refemblance to fome of Lou- therbourgh's beft Pictures, but the pencilling can only belong to Morland. L. * FISHERMEN COMING IN. JLhIS is a moft fpirited and captivating Pi6lure : the action of the woman incomparably chofen, and the Fifhermen exa6lly of their proper clafs. The bafket, tub, and every little fubordinate objeft, is painted with the delicacy of Tenier's, to whom the general tone of the whole, efpecially that part which is in ihadow, has a ftriking refemblance ; but the reclining figure has more pifturefque grace than that artift ever gave. The dog, like moft of his animals, is pencilled in a ftile moft inimitably mafterly. M. MILK-MAID AND COW-HERD. It might be denominated the Cowherd's Courtfhip ; and though this interview between Hobbinol and Gandaeretta is in the open air, forms ( 21 ) forms a converfation rural and pi6turefque. It may not have the mafies of Adrian Vandevelde, but has a ftriking fimilarity, and equal, or fuperior merit to many of the fcenes which he has painted. The Cows are touched with a pencil not inferior to Cuyp ; and of the briftled animals, it is not neceffary to fay more, than that they are in the beft ftile of the mafter. M. * BREAKING THE ICE. j/\.NOTHER Winter Scene, and truly Englifh : like the preceding, it is fraught with nature, and pencilled with a delicacy that would do honour to the beft Artifts of Flemilh fchool. It was faid of Hogarth's Enraged Mufician, that it almoft deafened one to look at it : fuch a view as this by fuch a pencil, has a tendency to chill the fpeclator. N. PEASANT AND PIGS. The Child afking its ruftic father (whofe attention is marked with true fimplicity,) if the Dog may eat what is brought for the Pig, is well imagined ; and the contraft between this mifhapen voracious animal, and a handfome fpaniel, well chofen, and given with a propriety, of which more dignified fubje6ls are frequently deftitute. The Pig-trough, tub, and trunk of a tree, have as good an efFe6l as the beft Flemifii mafters ever gave. A CONVER- ( Pf ) N. * A CONVERSATION. The principal Performers in this Converfaxione are a dog and a boy, and it would puzzle Lavater to determine from character of counte- nance, whether the biped or quadruped was the greateft Philosopher. An Afs and a Pig make up the audience ; the former feems liftening with that fober, quiet attention which marks this grave and decorous animal, while the latter voluptuous brute, difliking either morality or politics, makes his exit, with a fonorous grunt of difapprobation. o. THE CORN BIN. Nothing can be better imagined than the fudderi turn of the White Horfe, on hearing the opening of the Corn Bin : the eagernefs with which he expects his food is mod happily exprefled ; the other from the fame caufe is properly in an a6tion nearly fimilar, and hopes that his turn will come firft. The perfpeftive of the rack, manger, &c. evinces a perfedl knowledge of the art ; and a /ombre dearnefs given to the dark fide of the ftable, happily relieves the plain fimplicity of the fcene, and renders the fubje6l pifturefque and pleafing. The two men at a Corn Bin are in a6tion and air fo exa6t- ly confonant to their employment, — fo precifely proper for their fituation, that we are almoft tempted to fay, this is not an imitation of Nature — but Nature itfelf. THE ( *3 ) o* THE HORSE FEEDER. The adiion of a fearful Colt is in this Picture o-iven with a minute and clofe attention to Nature, and the animal is drawn with anato- mical corre&nefs. The Man's waiftcoat being red, gives a fplendid brilliancy to the Plciure, that proves the artift's choice and tafte ;n colouring, to be mafterly and judicious, and the Horfe Feeder has the rufticity, which is proper for fuch a character, and looks like a man that would be kind and merciful to his beaft, and to whom his beaft would fhew a confequent gratitude. p. FEEDING THE PIGS. Wf. have here a proof that Mr. Morland's powers are not con- fined to this animal as an adult, but that he can delineate it in an infantine ftate ; this picture reprefents a girl feeding a litter of pigs. The fellow harnefling the horfe, and eying the girl at the fame mo- ment, is a trait of nature. P * RETURN FROM MARKET. By the chara6ter of feveral girls in the cart, one is led to imagine that they are neither ftridtly pajloral, nor regularly rural; — they have the airs and graces of the ftreet rather than the field — of the town rather than the village. As to the Lubin who has picked up this gang of Gander ettas, he never dreamt of love. The grouping is mafterly, and the whole calculated to make an admirable print. GATHERING ( *4 ) o. GATHERING WOOD. This little fcene is given in a ftile, which, though Ample, is Angu- larly pleafing. The foliage of the trees, foreground, and figures, are natural, and the colouring is lively and tranfparent. The figures feem got into the middle of a wood ; a fcene which few Artifts have ever ventured to delineate. e * GATHERING FRUIT. The little Elfins with which this pi6hire is peopled, are in an employment adapted to their tqfte, and fitted to their powers : they feem to enter into the fpirit of their bufinefs ; and if the fruit is ftolen, which feems a fair conjecture, it will have infinitely more fweetnefs than that which is obtained in a regular way. It forms a good Companion to the preceding little picture, is well pencilled, and brilliantly coloured. g£f- Where the writer of this Catalogue has remarked, that fome of Mr. Morland's Piftures bear a refemblance to the works of others ; it muft be underftood with fome limitation, for it will not be eafy to find an Artift that has paid fo little attention to the manner of an- cient or modern matters, or, is in more particulars, an original ; but as his ftile is various, it muft necelTarily fometimes remind the fpe&ator of thofe who have drawn their objects from the fame fource. Errata. — Page 16, laft line, — for horfes, read dogs.