Yet the plan of an academy, though it had met with very inconsiderable encouragement, was not suffered to die out absolutely; somehow the thing took root, and even grew, in a measure, making no very great sign of vitality however. But it produced a pamphlet now and then--found unexpected advocates here and there, dragged on a sickly, invalid sort of existence. In 1755, a committee of artists resumed the idea, but this time they appeared to the sympathies of the general public, proposing to raise an academy as charitable institutions are established, by aid of popular benevolence, and to apply for a charter of incorporation from the Crown, the terms of the charter being formally drawn up, and even published. The prospectus made handsome mention of the pecuniary assistance which had been some time before proffered by the Dilettanti Society; whereupon the society renewed its promise of support, and re-opened negotiations with the committee of artists. But difficulties again arose. Sir Robert Strange, who attended the meetings of the parties, found on the part of the Dilettanti Society 'that generosity and benevolence which are peculiar to true greatness;' but on the side of the majority of the artists, he regretted to observe 'motives apparently limited to their own views and ambition to govern.' Again the negotiation was broken off, the project went to pieces, and now the hope of establishing a national academy in England seemed in its worst plight--hopeless--gone down to zero. In 1757, Hogarth, on the resignation of his brother-in-law, Mr. Thornhill, was appointed, in the sixtieth year of his age, painter to the king. Hogarth, it may be noted, had always opposed the attempt to found an academy. He supported the plan of an art-school, deeming such an institution of practical value to the painter. But he appears to have thought that an academy would only multiply portrait painters, of whom there was quite a sufficiency, would not create a demand for works of real art-value, or improve the taste of patrons in that respect. In 1758, Hogarth's idea of an art-school met with unexpected support in the opening of the Duke of Richmond's Gallery of Casts and Statues at Whitehall. Invitation to students was given by public advertisements. For a time Cipriani gave instruction in the gallery, and it is recorded that the result was a purer taste among British artists in the drawing of the human figure than they had previously displayed.