ainter at Covent Garden Theatre, and became an
Associate of the Royal Academy in 1771; Hogarth, who is reported to
have painted a camp scene for the private theatre of Dr. Hoadley, Dean
of Winchester; John Richards, a member of the Royal Academy, who,
during many years, painted scenes for Covent Garden; Michael Angelo
Rooker, pupil of Paul Sandby, and one of the first Associates of the
Academy, who was scene-painter at the Haymarket; Novosielsky, the
architect of the Opera House, Haymarket, who also supplied that
establishment with many notable scenes, and, to pass over many minor
names, De Loutherbourg, Garrick's scene-painter, and one of the most
renowned artists of his period.

It will be remembered that Mr. Puff, in "The Critic," giving a
specimen of "the puff direct" in regard to a new play, says: "As to
the scenery, the miraculous powers of Mr. De Loutherbourg are
universally acknowledged. In short, we are at a loss which to admire
most, the unrivalled genius of the author, the great attention and
liberality of the managers, the wonderful abilities of the painter, or
the incredible exertions of all the performers." Shortly after his
arrival in England, about 1770, De Loutherbourg became a contributor
to the exhibition of the Royal Academy. In 1780 he was elected an
Associate; in the following year he obtained the full honours of
academicianship. His easel-pictures were for the most part landscapes,
effective and forcible after an unconventional fashion, and wholly at
variance with the "classically-composed" landscapes then in vogue.
Turner, when, in 1808, he was appointed Professor of Perspective to
the Royal Academy, is said to have taken up his abode at Hammersmith,
in order that he might be near De Loutherbourg, for whose works he
professed cordial admiration. The old scene-painter's bold and strong
effects, his daring treatment of light and shade, his system of
colour, bright even to gaudiness, probably arrested the attention of
the younger artist, and were to him exciting influences. Upon De
Loutherbourg's landscapes, however, little store is now placed; but as
a scene-painter he deserves to be remembered for the ingenious reforms
he introduced. He found the scene a mere "flat" of strained canvas
extending over the whole stage. He was the first to use "set scenes"
and "raking pieces." He also invented transparent scenes with
representations of moonlight, sunshine, firelight, volcanoes, &c., and
obtained new