De Loutherbourg died on the 11th March, 1812, at the house in Hammersmith Terrace, which had been the scene of his exploits as an inspired physician. He was buried in Chiswick churchyard, near the grave of William Hogarth.
NOTES:
[16] 'I decidedly concur with Malone in the general conclusion that painted moveable scenery was unknown on our early stage; and it is a fortunate circumstance for the poetry of our old plays that it was so: the imagination of the auditor only was appealed to, and we owe to the absence of painted canvas many of the finest descriptive passages in Shakespeare, his contemporaries, and immediate followers. The introduction of scenery gives the date to the commencement of the decline of our dramatic poetry.'—Annals of the Stage, by J. Payne Collier, vol. iii. p. 366.
[17] Mr. Puff in the Critic, giving a specimen of 'the puff direct' in regard to a new play, says: 'As to the scenery, the miraculous powers of Mr. De Loutherbourg are universally acknowledged. In short, we are at a loss which to admire most, the unrivalled genius of the author, the great attention and liberality of the managers, the wonderful abilities of the painter, or the incredible exertions of all the performers.'
[18] 'July 25th, 1798. Went with Geiseveiller to see the picture of the "Siege of Valenciennes" by Loutherbourg. He went to the scene of action accompanied by Gilray, a Scotchman, famous among the lovers of caricature; a man of talents, however, and uncommonly apt at sketching a hasty likeness. One of the merits of the picture is the portraits it contains, English and Austrian. The Duke of York is the principal figure as the supposed conqueror; and the Austrian general, who actually directed the siege, is placed in a group, where, far from attracting attention, he is but just seen. The picture has great merit; the difference of costume, English and Austrian, Hulan, etc., is picturesque. The horse drawing a cart in the foreground has that faulty affected energy of the French school, which too often disgraces the works of Loutherbourg. Another picture by the same artist, as a companion to this, is the victory of Lord Howe on the first of June; both were painted at the expense of Mechel, printseller at Basle, and of V. and R. Green, purposely for prints to be engraved from them. For the pictures they paid £500 each, besides the expenses of Gilray's journeys to Valenciennes, Portsmouth, etc'—Diary of THOMAS HOLCROFT.
THE STORY OF AN ENGRAVER.
he father of John Keyse Sherwin was a hard-working man, living humbly enough at Eastdean, Sussex, earning his subsistence by cutting and shaping wooden bolts for shipbuilders. Up to his seventeenth year the son, born in 1751, helped the father in his labours. A fine, sturdy, well-grown lad, with abundant self-confidence, young Sherwin seems to have acquired, now one knows exactly how, an inclination for art. Shown one day, at the house of a rich employer, a miniature painting of some value, the youth stoutly asserts his conviction that, if provided with proper materials, he can produce a fair imitation of the work before him. Drawing-paper is given him, and a pencil is thrust into a hand that has grown so hard and horny with constant hewing of wood that it scarcely possesses sensitiveness sufficient to grasp and ply the slim little art-implement. The young fellow perseveres, however, and finally produces a tolerable copy of the picture.