The taste for music fostered by the royal family drew many professional players into the neighbourhood, mostly foreigners, such as J. C. Bach, son of the great composer; Abel, the viol da gamba player; and Fischer, Gainsborough’s son-in-law, celebrated for his performances on the oboe, all of whom were well known to Mrs. Papendiek as an amateur in their art. The arts of design were also well represented by foreigners, at a period when John Bull affected the pride of being still rather stockish and shy with the Muses. We hear of Mr. Englehart as living on the road to Richmond, one of several of the name who rose to note as artists or engravers. Another German, who practised as a limner or miniature-painter--the photographers of that day--and who appears to have designed the coinage of that reign, was Jeremiah Meyer, so thriving as to have a home at Kew as well as one in town. Mrs. Papendiek states that he caught his death by a dutiful visit of inquiry at Kew House after the King’s first serious illness; Meyer had himself been ailing, and on that errand he suffered from the ill-humour of the page Ernst--once George’s favourite attendant, but about this time in disgrace--who “kept poor Meyer waiting for him in a room that had just been washed, and which was therefore cold and damp. He returned home in haste, but fresh cold succeeded. A relapse came on, and poor Meyer was no more.” He has a monument in Kew Church, with an epitaph by Hayley. Mrs. Papendiek’s chief friends among the artistic colony settled hereabouts were the Zoffanys, who had a house at Strand on the Green, where indeed the master was not always at home. That erratic German genius, John Zoffany, having studied art in Italy, sought fortune in London, like other esurient foreigners. After an ordeal of poverty, he rose to note by his theatrical portraits, and came for a time into the sun of Court patronage. His speciality was portrait groups like that which was to include with the Vicar of Wakefield’s family “as many sheep as the painter would put in for nothing.” He painted one such of George III. and his family, and a notable one of his brethren in the then young Royal Academy, founded under this King, who was an interested, if not very discriminating, patron of art. Another of his celebrated pictures, _The Last Supper_--in which St. Peter is said to be his own portrait, and for the rest of the Apostles Thames-side fishermen sat as models--he gave for an altar-piece to the church at Brentford.