Thornhill died at his seat, “Thornhill,” near Weymouth, in 1734.[13] He had transferred his academy or drawing-school, call it what you will, from Covent Garden to St. Martin’s Lane; and to Hogarth he bequeathed all his casts and bustos, all his easels and drawing-stools, all the paraphernalia of his studio. These William ultimately presented to the academy held in St. Peter’s Court St. Martin’s Lane, in premises that had formerly been the studio of Roubiliac the sculptor. I told you that at about the time of his marriage our artist took summer lodgings at Vauxhall, and first made the acquaintance of Mr. Jonathan Tyers, the “enterprizing” lessee of the once famous “Royal Property.” With Tyers he ever maintained a fast friendship, and he materially and generously assisted him in the decoration of the gardens; for, frugal tradesman as Hogarth was, and sturdily determined to have the rights he had bargained for, he was continually giving away something. We have noticed his donation to the Petro-Roubiliac Academy; to St. Bartholomew’s Hospital, of which he was a governor, he gave the picture of the _Pool of Bethesda_; and the governors of the Foundling Hospital know how nobly munificent was this honest Christian man to the nascent charity. He gave them handsome pictures; he gave them a large proportion in the shares of other picture-auctions—shares as good as money: he painted a splendid portrait of Thomas Coram, the grand old sea-captain, who spent his fortune in cherishing deserted children, and in his old age was not ashamed to confess that he had spent his all in doing good; that his fortune was funded in Heaven—let us trust he is drawing his dividends now; and that here below he was destitute.[14] His example incited many more notable artists to contribute pictures to the charity: and the halls of the Foundling became the chief art-lounge in London. The Royal Academy Exhibition, even, with its annual revenue of infinite shillings, sprang from this odd germ. The Foundling Hospital, I have heard, has wandered from its original purpose; and few of its first attributes are now recognizable in its constitution; but I hope they still teach every little boy and girl foundling to murmur a prayer for Thomas Coram and William Hogarth. For the embellishment of the supper-boxes at Vauxhall, William made several designs; but there is not much evidence to prove that he _painted_ any of them with his own hand. The paintings were mostly executed by Hogarth’s fast friend, Frank Hayman, and perhaps by Lanscroon, singer and scene-painter, son of old Lanscroon, Riario’s condisciple with Laguerre’s son-in-law Tijou, and the author of a meritorious set of prints illustrating _Hob at the Well_. For Vauxhall, Hogarth made the designs of the _Four Parts of the Day_, which he afterwards himself engraved, and which had great success.