When Tom was employ’d to construct the Pond Head, As he ponder’d the task, to himself thus he said: “Since a head I must make, what’s a head but a noddle? So I think I had best take my own for a model.” Derry down, etc. 2. Then his work our projector began out of hand, The outside he constructed with rubbish and sand; But brains on this head had been quite thrown away, Those he kept for himself, so he lined it with clay. 5. But the water at length, to his utter dismay, A bankruptcy made, and his head ran away;-- ’Twas a thick head for certain; but, had it been thicker, No head can endure that is always in liquor. 12. Hence, by way of a Moral, the fallacy’s shown Of the maxim that two heads are better than one;-- For none e’er was so scurvily dealt with before, By the head that he made and the head that he wore. Derry down, etc. [Illustration: FRANCIS GROSE “A chiel’s amang ye takin’ notes.”] For many years the back parlour of the “Feathers”[184] public-house (a sign complimentary to its neighbour, Frederick, Prince of Wales, who inhabited Leicester House), which stood on the side of Leicester Fields, had been frequented by artists, and several well-known amateurs. Among the former were Stuart,[185] the Athenian traveller; Scott,[186] the marine painter; old Oram, of the Board of Works;[187] Luke Sullivan,[188] the miniature painter, who engraved that inimitable print from Hogarth’s picture of the “March to Finchley,” now in the Foundling Hospital; Captain Grose,[189] the author of _Antiquities of England_, _History of Armour_,[190] etc.; Mr. Hearne,[191] the elegant and correct draughtsman of many of England’s Antiquities (so beautifully engraved by his amiable friend Byrne), Nathaniel Smith, my father, etc. The amateurs were Henderson, the actor; Mr. Morris, a silversmith; Mr. John Ireland, then a watchmaker in Maiden Lane, and since editor of Boydell’s edition of Dr. Trusler’s work, _Hogarth Moralized_; and Mr. Baker, of St. Paul’s Churchyard, whose collection of Bartolozzi’s works was unequalled.[192] When this house, the sign of the “Feathers,” was taken down to make way for Dibdin’s Theatre, called the “Sans Souci,” several of its frequenters adjourned to the “Coach and Horses” public-house in Castle Street, Leicester Fields; but in consequence of their not proving customers sufficiently expensive for that establishment, the landlord one evening venturing to light them out with a farthing candle, they betook themselves to Gerard Street, and thence to the “Blue Posts” in Dean Street, where the club dwindled into two or three members, viz. Edridge, the portrait draughtsman; Alexander, of the British Museum; and Edmunds, the upholsterer, who had been undertaker to the greater part of the club.[193]