Thomas Worlidge (1700−1766) was an English painter and etcher. Life He was born in Peterborough of Roman Catholic parents, and studied art in London as a pupil of the Genoese refugee Alessandro Maria Grimaldi (1659−1732). He painted portraits of his master Grimaldi and his master's wife about 1720. He married Grimaldi's daughter, and remained on close terms with Alexander Grimaldi, his master's son. Subsequently, he received instruction from Louis Peter Boitard. About 1736 Worlidge and the younger Grimaldi are said to have visited Birmingham, where Worlidge reintroduced the art of painting on glass. For a time, too, he seems to have practised portrait painting at Bath, Somerset. About 1740 Worlidge settled in London in the neighbourhood of Covent Garden, where he remained for the rest of his life. At one time Worlidge's address was ‘at the Piazza, Covent Garden.’ He afterwards resided in Bedford Street and King Street in the same neighbourhood. In 1763 he settled in Great Queen Street in a large house built by Inigo Jones, adjoining the later site of the Freemasons' Tavern. Worlidge became obese and a drinker in later life, and suffered from gout. In his last years he spent much of his leisure in a country house situated in Messrs. Kennedy & Leigh's nursery-ground at Hammersmith. There he died on 23 September 1766, and was buried in Hammersmith church. A plain marble slab, inscribed with verses by William Kenrick, was placed on the wall of the church; it is now at the east end of the south aisle. Works His portraits in oil and pastel enjoyed some vogue, his first reputation was made by his miniature portraits. In middle life his most popular work consisted of heads in blacklead pencil, for which he charged two guineas; leaders of fashionable society employed him to make these drawing. Later he concentrated his energies on etching in the style of Rembrandt, using a dry-needle with triangular point. He copied some of Rembrandt's prints, among them the artist's portrait of himself and the hundred-guelder plate. An etching after Rembrandt's portrait of Sir John Astley was described by Horace Walpole as Worlidge's ‘best piece.’ Worlidge drew a pencil portrait of himself, which is reproduced in Walpole's Anecdotes (edition by Ralph Nicholson Wornum). Examples of Worlidge's drawings and etchings are in the British Museum print-room. There is also there a priced catalogue of a selection of his etchings. One of