Lorraine Smith in Leicestershire. He was apprehended as a spy at Yarmouth. He painted the sign of an inn called the Black Bull, somewhere on the road between Deal and London. In November 1799, Morland was at last arrested for debt, but was allowed to take lodgings 'within the rules,' and these became the rendezvous of his most discreditable friends. During this mitigated confinement he sank lower and lower. He is said to have often been drunk for days together, and to have generally slept on the floor in a helpless condition. It is probable that these stories are exaggerated, for he still produced an enormous quantity of good work. 'For his brother alone,' says Redgrave, 'he painted 192 pictures between 1800 and 1804, and he probably painted as many more for other dealers during the same period, his terms being four guineas a day and his drink.' Another account says that 'during his last eight years he painted 490 pictures for his brother, and probably three hundred more for others, besides making hundreds of drawings. His total production is estimated at no less than four thousand pictures. In 1802, he was released under the Insolvent Debtors Act, but his health was ruined and his habits irremediable. About this time he was seized with palsy and lost the use of his left hand, so that he could not hold his palette. Notwithstanding he seems to have gone on painting to the last, when he was arrested again for a publican's score, and died in a sponging-house in Eyre Street, Cold Bath Fields, on 27 October 1804. His wife died three days afterwards, and both were buried together in the burial-ground attached to St. James's Chapel in the Hampstead Road. Works The finest of Morland's pictures were executed between 1790 and 1794, and amongst them his picture The inside of a stable (Tate Britain, London) may be reckoned as a masterpiece. In the last eight years of his life Morland produced some nine hundred paintings, besides over a thousand drawings. He exhibited regularly at the Royal Academy from 1784 down to 1804. Amongst these was the remarkable 1788 picture Execrable Human Traffic or the Affectionate Slaves. Two years later he exhibited a companion picture showing Africans caring for shipwrecked Europeans. They were subsequently published as prints and served to promote abolitionism. Morland was a close friend of fellow artist William Armfield