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Updated: May 27, 2025
At the Fancy, we saw "Harlequin Hamlet, or Daddy's Ghost and Nunky's Pison," which is all very well but, gentlemen, if you don't respect Shakspeare, to whom will you be civil? The palace and ramparts of Elsinore by moon and snowlight is one of Loutherbourg's finest efforts.
Crowds flocked to the new entertainment; the artist world especially delighting in it. Sir Joshua Reynolds, who was a frequent visitor, loudly extolled Mr. De. Loutherbourg's ingenuity; recommending him to the patronage of the most eminent men of the time, and counselling all art-students to attend the exhibition as a school of the wonderful effects of nature.
For the higher purposes of art, his composition was too defective, his drawing not masterly enough, and his execution too small and delicate. But Dayes greatly admired De Loutherbourg's 'Review of Warley Camp, in the Royal Collection; especially praising the animals introduced, and the cool grey of the general effect; the painter as a rule being prone to a somewhat coppery tone of colour.
Then we read 'De Loutherbourg's genius was as prolific in imitations of nature to astonish the ear as to charm the sight.
Gainsborough's ready sympathies were completely enlisted. For a time, after his manner, he could talk of nothing else, think of nothing else; and he passed evening after evening at the exhibition. He even constructed a miniature Eidophusikon of his own moved thereto by De Loutherbourg's success and the beauty of a collection of stained glass, the property of one Mr.
At the Fancy, we saw "Harlequin Hamlet, or Daddy's Ghost and Nunky's Pison," which is all very well but, gentlemen, if you don't respect Shakspeare, to whom will you be civil? The palace and ramparts of Elsinore by moon and snowlight is one of Loutherbourg's finest efforts.
De Loutherbourg's dashing sea-views and stormy landscapes, although they might savour a little of the lamp and the theatre, did service in hindering the further production of the 'classical compositions' of the last century. De Loutherbourg died on the 11th March, 1812, at the house in Hammersmith Terrace, which had been the scene of his exploits as an inspired physician.
I never see those wings slide on but I feel as if seeing my old acquaintance unexpectedly. Of the particular plays assisted by De Loutherbourg's brush, small account has come down to us. They were, no doubt, chiefly of a pantomimic and ephemeral kind.
But then it must be remembered that they were, for the most part, distinctly the inventions of De Loutherbourg, and, upon their first introduction, were calculated to impress the public of his day very remarkably. For two seasons De Loutherbourg's Eidophusikon, exhibited at the Patagonian Theatre in Exeter Change, and afterwards at a house in Panton Square, was attended with singular success.
De Loutherbourg's treatment of the patients who flocked to him was undoubtedly founded on the practice of Mesmer, though Horace Walpole appears to draw a distinction between the curative methods of the two doctors, when he writes to the Countess of Ossory in July 1789: 'Loutherbourg the painter is turned an inspired physician, and has three thousand patients.
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