William Ward and Morland's sister Maria. The two newly married couples set up house together in High Street, Marylebone, and Morland for a while appeared to have become a reformed character. He was now becoming known by such engravings from his pictures as the large 'Children Nutting' (1783), and several smaller and more sentimental subjects published in 1785, like the ' Lass of Livingston.' To 1786, the year of his marriage, is said to belong the series of 'Letitia or Seduction' (well known from the engravings published in 1789), in which with much of the narrative power of Hogarth, but with softer touches, the 'Progress' of Letitia is told in six scenes admirable in design, and painted with great skill, finish, and refinement. About this period he was fond of visiting the Isle of Wight, where he painted his best coast scenes, and studied life and character in a low public-house at Freshwater Gate, called the Cabin. In 1786 he painted The Wreck of the Haswell, an oil on canvas. It shows women and children clutching what little of the ship remains afloat while a crewman's eyes tell the eventual fate of his half-submerged body. It clearly conveys the terror and hopelessness that must grip people when they know they're taking their last breath. Later life After three months the double household was broken up by dissensions between the ladies, and Morland took lodgings in Great Portland Street, and afterwards moved to Camden Town, where he lived in a small house in Pleasing Passage, at the back of the tavern known as Mother Black Cap. The attractions of the neighbouring inns, and of the Assembly Rooms at Kentish Town, now proved too strong for him, and he returned to all his bad habits. A long illness of his wife, following her confinement and death of the child, further weakened the influence of home, and he neglected and ultimately left his wife, though he seems to have made her an allowance as long as he lived. When he finally separated from her it is not easy to determine, and his course afterwards was so erratic that it is difficult to trace it with minuteness and order. He moved from Pleasing Passage to Warrens Lane, and seems for some time to have made his headquarters at Paddington. It was here probably that he painted the celebrated picture of 'The Inside of a