Painting_,’ vide his ‘_Works_,’ edit. London, 1798-1822, quarto, volume iii., page 72, note. ‘The father of the Lord Treasurer Oxford’--says the noble author in that place,--‘passing over London Bridge, was caught in a shower; and stepping into a goldsmith’s shop for shelter, he found there a picture of Holbein,--who had lived in that house,--and his family. He offered the goldsmith £100. for it, who consented to let him have it, but desired first to shew it to some persons. Immediately after, happened the fire of London, and the picture was destroyed.’ Another famous Artist of London Bridge, who is mentioned in both the works which I last cited, was Peter Monamy; so excellent a painter of marine subjects, as to be considered but little inferior to Vandevelde himself. Lord Orford says of him, at page 421, that he ‘received his first rudiments of drawing from a sign and house-painter on London Bridge;’--and that ‘the shallow waves, that rolled under his window, taught young Monamy what his master could not teach him, and fitted him to paint the turbulence of the ocean.’ This artist died at Westminster in 1749. We are also informed, by Edward Edwards, in his ‘_Continuation of Walpole’s Anecdotes of Painting_,’ London, 1808, quarto, page 214, that Dominic Serres, the Marine Painter, who died in 1793, also once kept a shop upon London Bridge. To these celebrated men, the author of ‘_Wine and Walnuts_’ adds Jack Laguerre, the Engraver, ‘a great humourist, wit, singer, player, caricaturist, mimic, and a good scene-painter,’ son to that Louis, who painted stair-cases and saloons, where, as Pope says, ‘sprawl the saints of Verrio and Laguerre.’ His residence, according to our lively author, who states that he received his information from ‘old Dr. Monsey and others,’ was on the first floor of the dwelling of a waggish bookseller, and author of all-work, named Crispin Tucker; the owner of half-a-shop on the East side, under the Southern gate. The artist’s _studio_ was, chiefly, in a bow-windowed back room, which projected over the Thames, and trembled at every half-ebb tide; in which Hogarth had resided in his early life, when he engraved for old John Bowles, of the Black Horse in Cornhill. It resembled, we are told, on page 135 of the work and volume which I have already quoted, one of the alchemist’s laboratories from the pencil of the elder Teniers. It was ‘a complete smoke-stained confusionary, with a German-stove, crucibles, pipkins, nests of drawers, with rings of twine to pull them out; here a box of asphaltum, there glass-stoppered bottles, varnishes, dabbers, gravers, etching-tools, walls of wax, obsolete copper-plates, many engraved on both sides, caricatures, and poetry scribbled over the walls; a pallet hung up as an heir-loom, the colours dry upon it, hard as stone; an easel; all the multifarious _arcanalia_ of engraving, and, lastly, a Printing-press!’ This curious picture is also from the information of Dr.