admirably in character with his face. Fuseli, severe as he certainly was in his remarks upon modern art, was extremely serviceable to Harlow, particularly in his picture of the Kemble Family, which gained him so much fame, in consequence of its extensive dissemination in the print so beautifully engraved by Clint. When Fuseli first saw this picture, which then contained thirty-one figures, they were all without feet, but by his advice, Harlow immediately altered it, and also introduced the back figure of a boy in a diagonal direction across the picture, suggested and actually drawn for him by Fuseli, which immediately produced a connexion, and perfected the composition. Harlow was unquestionably an artist of very high talent, but owing to some circumstances, he did not make his way into the Royal Academy, though he, like all other Waltonites, attempted to tickle the trout, by painting portraits of some of its members. In addition to the one already mentioned of Fuseli, he produced a capital likeness of Northcote, of which Lewis has made an admirable print: he also painted the one of Stothard, so well engraved by Worthington; and he began one of Nollekens, which was never completed. Harlow, unlike the generality of his brother artists, was so ridiculously foppish in his atten-
