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 Painting in England. 607 and the four different stages of the Election of a Member of Parliament ; as the dramatic story in the one, and the varied scenes of an electioneering contest in the other, would each require a volume to describe. In 1750 appeared the celebrated March of the Guards to Finchley, which is full of humour, and strewn over with absurd- ities. The original painting, on publication of the print, was disposed of by a lottery. Hogarth presented some tickets to the Foundling Hospital, and the winning card was drawn by that fortunate institution. The last work of Hogarth, worthy of his genius, and known by the title of Credulity, Superstition, and Fana- ticism, was issued early in 1764. Shortly afterwards, his health began to decline. He was aware of this, and purchased a small house at Chiswick, to which he retired during the summer, amusing himself by making slight sketches, and retouching his plates. He left Chiswick in October of the same year, and returned to his residence in Leicester Square. On the very next day he was seized with a sudden illness, and, after two hours of suffering, expired. Hogarth was buried without any ostentation in the churchyard at Chiswick ; where a monument was erected to his memory. Richard Wilson (1714—1782) was the third son of a clergyman at Pinegas in Montgomeryshire. Owing to the influence of his uncle, Sir George Wynn, who took him to London when quite young, he received a certain amount of tuition in art from a painter of little note, named Wright. In 1749 the young artist was considered worthy to paint portraits of the Prince of Wales and the Duke of York. At the age of thirty-six, he had managed to save sufficient money to enable him to go to Italy, and it was