Mrs. Hogarth herself died in 1789. Six years before her death she had a next-door neighbour in the Fields, who, in his way, was as illustrious as Hogarth or Reynolds. This was John Hunter, who, in 1783, became the tenant of No. 28, * and at once began extending it backward towards Castle Street (now the Charing Cross Road) to receive his famous museum of Comparative and Pathological Anatomy. * At present (1897) being rebuilt by the Alhambra Company as part of their premises. Hogarth had then been dead for nearly twenty years; and it is unlikely that the painter knew much of the young surgeon who was subsequently to become so celebrated; but he was probably acquainted with his brother, William Hunter of Covent Garden, who attended Fielding in 1754. William Hunter had just died when John Hunter came to Leicester Fields. He lived there ten years in the height of his activity and fame, and it was during this period that Reynolds painted that portrait of him in a reverie (now in the Council Room of the College of Surgeons), which was engraved by William Sharp. He survived Sir Joshua but one year. The house of Reynolds was at the opposite side of the Square, at No. 47, now Puttick and Simpson's auction rooms. He occupied it from 1760 to 1792. We are accustomed to think of Hogarth and Reynolds as contemporaries. But Reynolds was in the pride of his prime when he came to Leicester Fields, while Hogarth was an old and broken man, whose greatest work was done. Apart from this, there could never have been much real sympathy between them. Hogarth, whose own efforts as a portrait-painter were little appreciated in his life time, must have chafed at the carriages which blocked up the doorway of his more fortunate brother; while Reynolds, courtly and amiable as he was, capable of indulgence even to such a caricaturist as Bunbury, could find for his illustrious neighbour, when he came to deliver his famous Fourteenth Discourse, no warmer praise than that of 'successful attention to the ridicule of life.' These things, alas! are the commonplaces of literature and art. It is pleasanter to think of No. 47 filled with those well-known figures of whom we read in Boswell and Madame D'Arblay;--with Burke and Johnson and Goldsmith and Gibbon and Garrick;--with graceful Angelica, and majestic Siddons, and azure-stockinged Montagu;--with pretty Nelly O'Brien and charming Fanny Abington;--with all the crowd of distinguished soldiers, sailors, lawyers and literati who by turns filled the sitter's chair * in the octagonal painting-room, or were ushered out and in by the silver-laced footmen. * This, with the carved easel given to him by Gray's friend Mason, is preserved at the Royal Academy. His palette is said to be in the possession of Messrs. Roberson and Co., of 99, Long Acre.