Gainsborough's fondness for fresh instruments is alluded to by Philip Thicknesse, who says that during his residence at Bath, Gainsborough offered him one hundred guineas for a Viol da Gamba, dated 1612. His offer was declined, but it was ultimately agreed that he should paint a full-length portrait of Mr. Thicknesse for the Viol da Gamba. Gainsborough was delighted with the arrangement, and said "Keep me hungry; keep me hungry! and do not send the instrument until I have finished the picture." The Viol da Gamba was, however, sent the next morning, and the same day the artist stretched a canvas. He received a sitting, finished the head, rubbed in the dead colouring, &c., and then it was laid aside--no more was said of it or done to it, and he eventually returned the Viol da Gamba. Jackson tells us that Gainsborough "disliked singing, particularly in parts. He detested reading; but was so like Sterne in his letters, that, if it were not for an originality that could be copied from no one, it might be supposed that he had formed his style upon a close imitation of that author. He had as much pleasure in looking at a Violin as in hearing it. I have seen him for many minutes surveying, in silence, the perfections of an instrument, from the just proportion of the model and beauty of workmanship. His conversation was sprightly; his favourite subjects were music and painting, which he treated in a manner peculiarly his own. He died with this expression--'We are all going to heaven, and Vandyke is of the party.'" GARRICK AND CERVETTO.