stroyed by the bigotry of the regent's fon, all Paris was ftruck with the performance. The duc de la Force gave twelve thousand livres for it, but the duke being a fufferer by the Miffiffipi [probably before the picture was paid for] reftored it to Arlaud, with 4000 livres for the time he had enjoyed it. In 1721 Arlaud brought this chef d'œuvre to London, but would not fell it---but fold a copy of it, says the same author, for fix hundred pounds fterling. This fact is quite incredible. The painter was at least so much admired, that he received many prefents of medals, which are still in the library of Geneva. But poor Leda was again condemned to be the victim of devotion---in 1738 Arlaud himself destroyed her in a fit of piety, yet still with so much parental fondness, that he cut her to pieces anatomically. This happened at Geneva. Monf. de Champeau, then refident there from France, obtained the head and one foot of the diffected; a lady got an arm. The comte de Lautrec, then at Geneva, and not quite fo fcrupulous, rated Arlaud for demolishing so fine a work. The painter died May 25, 1743. These particularities are extracted from the poems of Monf. de Bar, printed at Amsterdam in 3 volumes, 1750. In the third volume is an ode on the Leda in question. Vertue fpeaks incidentally of the noise this picture made in London, but says nothing of the extravagant price of the copy. The duchefs of Montagu has a head of her father when young, and another of her grandfather the great duke of Marlborough, both in water-colours by Arlaud. The celebrated count Hamilton wrote a little poem to him on his portrait of the pretender's fifter. See his works, vol. 4, p. 279. Mrs. Mrs. HOADLEY, whose maiden name was Sarah Curtis, was difciple of Mrs. Beal, and a paintress of portraits by profeffion, when she was fo happy as to become the wife of that great and good man, Dr. Hoadley, afterwards bishop of Winchester. From that time fhe only practiced the art for her amufement; though if we may judge of her talents by the print from her portrait of Whiston, the art loft as much as fhe gained----but oftentation was below the fimplicity of character that enobled that excellent family. She died in 1743. In the library at Chatsworth, in a collection of poems is one addreffed by a lady to Mrs. Sarah Hoadley, on her excellent painting. ANECDOTES ANECDOTES of PAINTING, &c. СНАР. II. Architects and other Artifts, in the Reign of George I. THE ftages of no art have been more diftinctly marked than those of architecture in Britain. It is not probable that our mafters the Romans ever taught us more than the conftruction of arches. Thofe, imposed on clusters of difproportioned pillars, composed the whole grammar of our Saxon ancestors. Churches and caftles were the only buildings, I fhould fuppofe, they erected of ftone. As no tafte was beftowed on the former, no beauty was fought in the latter. Maffes to refift, and uncouth towers for keeping watch, were all the conveniencies they demanded. As even luxury was not fecure but in a church, fucceeding refinements were folely laid out on religious fabrics, till by degrees was perfected the bold scenery of Gothic architecture, with all its airy embroidery and penfile vaults. Holbein, as I have shown, checked that falfe, yet venerable style, and first attempted to fober it to claffic measures; but not having gone far enough, his imitators, without his tafte, compounded a mungrel fpecies, that had no boldness, no lightness, and no fyftem. This lafted till Inigo Jones, like his countryman VOL. IV. L and |