shown were—Stanfield’s “Chasse Marée off the Gulf-stream Light,” “The Privy Council,” by Wilkie; portraits of men and dogs, by Landseer; “The Pifferari,” “Phryne,” and “Banishment of Ovid,” by Turner; “A Bacchante,” by Etty; “Gaston de Foix,” by Eastlake; Allan’s “Slave Market,” Leslie’s “Dinner Scene from the Merry Wives of Windsor;” “A View on the Rhine,” by Callcott; Shee’s portrait of Sir Francis Burdett; portraits by Pickersgill; Maclise’s “Christmas in the Olden Time,” and “Olivia and Sophia fitting out Moses for the Fair;” “The Massacre of the Innocents,” by Hilton; and a picture by Uwins.[132]

Angelica Kauffmann and Biaggio Rebecca helped to decorate the Academy’s old council-chamber at Somerset House. The paintings still exist. Rebecca was an eccentric, conceited Italian artist, who decorated several rooms at Windsor, and offended the worthy precise old king by his practical jokes. On one occasion, knowing he would meet the king on his way to Windsor with West, he stuck a paper star on his coat. The next time West came, the king was curious to know who the foreign nobleman was he had seen—“Person of distinction, eh? eh?”—and was doubtless vexed at the joke.

Rebecca’s favourite trick was to draw a half-crown on paper, and place it on the floor of one of the ante-rooms at Windsor, laughing immoderately at the eagerness with which some fat courtier in full dress, sword and bag, would run and scuffle to pick it up.[133]

Fuseli took his place as Keeper of the Academy in 1805. Smirke had been elected, but George III., hearing that he was a democrat, refused to confirm the appointment. Haydon, who