Stable,' now in the National Gallery, which was exhibited at the Royal Academy in 1791. The stable is said to be that of the White Lion Inn at Paddington, opposite to which he lived. At this time he was at the plenitude of his power, and dissipation had not impaired the sureness of his touch, his unusually fine sense of colour, or the refinement of his artistic feeling. He exhibited again in 1793 and 1794, but though he still painted finely he had become completely the prey of the dealers, painting as it were from hand to mouth to supply himself with funds for his extravagances. His art was so popular that, comparatively small as was the price which he actually received for his labour, he might have easily lived for a week on the earnings of a day. He was besieged by dealers who came to him, as it is said, with a purse in one hand and a bottle in the other. The amount of work he got through was prodigious. He would paint one or two pictures a day, and once painted a large landscape with six figures in the course of six hours. Every demand that was made upon him, whether a tavern score or the renewal of a bill, was paid by a picture. And they were good pictures too, generally worth many times the value of the account to be settled, and always popular in engravings. Career From 1788 to 1792 inclusive, over a hundred engravings after Morland were published. They included 'A Visit to the Child at Home' and 'A Visit to the Boarding School,' two compositions of remarkable refinement and elegance, and a number of charming scenes of children's sports, like 'Children Birdnesting,' 'Juvenile Navigation,' 'The Kite entangled,' 'Blind Man's Buff,' and 'Children playing at Soldiers.' Equalling if not exceeding these in popularity were scenes of moral contrast, like 'The Fruits of early Industry and Economy' (1789) and 'The Effects of Extravagance and Idleness' (1794), the 'Miseries of Idleness' and the 'Comforts of Industry,' both published in 1790, and subjects appealing to national sentiment, like 'The Slave Trade' (1791) and 'African Hospitality.' Five hundred copies of the engraving of 'Dancing Dogs' (1790) were sold in a few weeks, and one dealer gave an order for nine dozen sets of the four plates of 'The Deserter' (1791). Elegant and refined subjects gradually gave