representation of our great dramatic poet was sold for a trifle to Mason the broker in Lower Grosvenor Street, where it stood at his door for several years, until it was totally destroyed by the weather and other accidents.[50] The universal use of signboards furnished no little employment for the inferior rank of painters, and sometimes even to the superior professors. Among the most celebrated practitioners in this branch was a person of the name of Lamb, who possessed considerable ability. His pencil was bold and masterly, and well adapted to the subjects on which it was generally employed. There was also Gwynne, another coach-painter, who acquired some reputation as a marine painter, and produced a few good signs. Robert Dalton, keeper of the pictures of King George III., had been apprenticed to a sign and coach-painter; so were Ralph Kirby, drawing-master to George IV. when Prince of Wales, Thomas Wright of Liverpool, the marine painter, Smirke, R.A., and many artists who acquired considerable after-reputation. Peter Monamy (_ob._ 1749) was apprenticed to a sign and house-painter on London Bridge. It was this artist who decorated the carriage of Admiral Byng with ships and naval trophies, and painted a portrait of Admiral Vernon’s ship for a famous public-house of the day, well known by the sign of the _Portobello_, a few doors north of the church in St Martin’s Lane.[51] Besides these, we have the “great professors,” as Edwards calls them, who occasionally painted a sign for a freak. At the head of these stands Hogarth, whose Man loaded with Mischief is still to be seen at 414 Oxford Street, where it is a fixture in the alehouse of that name. Richard Wilson, R.A., (_ob._ 1782,) painted the Three Loggerheads for an alehouse in North Wales, which gave its name to the village of Loggerheads, near the town of Mould. The painting was still exhibited as a signboard in 1824, though little of Wilson’s work remained, as it had been repeatedly touched up. George Morland painted several; the Goat in Boots on the Fulham Road is attributed to him, but has since been painted often over; he also painted a White Lion for an inn at Paddington, where he used to carouse with his boon companions, Ibbetson and Rathbone; and in a small public-house near Chelsea Bridge, Surrey, there was, as late as 1824, a sign of the Cricketers painted by him. This painting by Morland, at the date mentioned, had been removed inside the house, and a copy of it hung up for the sign; unfortunately, however, the landlord used to travel about with the original, and put it up before his booth at Staines and Egham races, cricket matches, and similar occasions. Ibbetson painted a sign for the village alehouse at Troutbeck, near Ambleside, to settle a bill run up in a sketching, fishing, and _dolce-far-niente_ expedition; the sign represented two faces, the one thin and pale, the other jolly and rubicund; under it was the following rhyme:--