been seen here, or haply (except rarely) elsewhere on a mercenary theatre.”  At a later date, one Robert Aggas, a painter of some fame, is known to have executed scenes for the theatre in Dorset Garden.  Among other scene-painters of distinction, pertaining to a comparatively early period of the art, may be noted Nicholas Thomas Dall, a Danish landscape-painter, who established himself in London in 1760, was long occupied as scene-painter at Covent Garden Theatre, and became an Associate of the Royal Academy in 1771; Hogarth, who is reported to have painted a camp scene for the private theatre of Dr. Hoadley, Dean of Winchester; John Richards, a member of the Royal Academy, who, during many years, painted scenes for Covent Garden; Michael Angelo Rooker, pupil of Paul Sandby, and one of the first Associates of the Academy, who was scene-painter at the Haymarket; Novosielsky, the architect of the Opera House, Haymarket, who also supplied that establishment with many notable scenes, and, to pass over many minor names, De Loutherbourg, Garrick’s scene-painter, and one of the most renowned artists of his period.

It will be remembered that 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.”  Shortly after his arrival in England, about 1770, De Loutherbourg became a contributor to the exhibition of the Royal Academy.  In 1780 he was elected an Associate; in the following year he obtained the full honours of academicianship.  His easel-pictures were for the most part landscapes, effective and forcible after an unconventional fashion, and wholly at variance with the “classically-composed” landscapes then in vogue.  Turner, when, in 1808, he was appointed Professor of Perspective to the Royal Academy, is said to have taken up his abode at Hammersmith, in order that he might be near De Loutherbourg, for whose works he professed cordial admiration.  The old scene-painter’s bold and strong effects, his daring treatment of light and shade, his system of colour, bright even to gaudiness, probably arrested the attention of the younger artist, and were to him exciting influences.  Upon De Loutherbourg’s landscapes, however, little store is now placed; but as a scene-painter he deserves to be remembered for the ingenious reforms he introduced.  He found the scene a mere “flat” of strained canvas extending over the whole stage.  He was the first to use “set scenes” and “raking pieces.”  He also invented transparent scenes with representations of moonlight, sunshine, firelight, volcanoes, &c., and obtained new effects of colour by means of silken screens of various hues placed before the foot and side lights.  He discovered,