"Let travellers devote one entire morning to inspecting the Arcos and the Mai das agoas, after which they may repair to the English church and cemetery, Pere-la-chaise in miniature, where, if they be of England, they may well be excused if they kiss the cold tomb, as I did, of the author of "Amelia," the most singular genius which their island ever produced, whose works it has long been the fashion to abuse in public and to read in secret." Borrow's book was first published in 1843. Of late years the tomb had been somewhat neglected; but from a communication in the _Athenaeum_ of May 1879, it appears that it had then been recently cleaned, and the inscriptions restored, by order of the present chaplain, the Rev. Godfrey Pope. There is but one authentic portrait of Henry Fielding. This is the pen- and-ink sketch drawn from memory by Hogarth, long after Fielding's death, to serve as a frontispiece for Murphy's edition of his works. It was engraved in _facsimile_ by James Basire, with such success that the artist is said to have mistaken an impression of the plate (without its emblematic border) for his own drawing. Hogarth's sketch is the sole source of all the portraits, more or less "romanced," which are prefixed to editions of Fielding; and also, there is good reason to suspect, of the dubious little miniature, still in possession of his descendants, which figures in Hutchins's _History of Dorset_ and elsewhere. More than one account has been given of the way in which the drawing was produced. The most effective, and, unfortunately, the most popular, version has, of course, been selected by Murphy. In this he tells us that Hogarth, being unable to recall his dead friend's features, had recourse to a profile cut in paper by a lady, who possessed the happy talent which Pope ascribes to Lady Burlington. Her name, which is given in Nichols, was Margaret Collier, and she was possibly the identical Miss Collier who figures in Richardson's _Correspondence_. Setting aside the fact that, as Hogarth's eye-memory was marvellous, this story is highly improbable, it was expressly contradicted by George Steevens in 1781, and by John Ireland in 1798, both of whom, from their relations with Hogarth's family, were likely to be credibly informed. Steevens, after referring to Murphy's fable, says in the _Biographical Anecdotes of William Hogarth_, "I am assured that our artist began and finished the head in the presence of his wife and another lady. He had no assistance but from his own memory, which, on such occasions, was remarkably tenacious." Ireland, in his _Hogarth Illustrated_, gives us as the simple fact the following:--"Hogarth being told, after his friend's death, that a portrait was wanted as a frontispiece to his works, sketched this from memory." According to the inscription on Basire's plate, it represents Fielding at the age of forty-eight, or in the year of his death. This, however, can only mean that it represents him as