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, brother to the preceding, keeper of the pictures, medals, &c. and antiquary to his majesty, was originally apprenticed to a coach-painter in Clerkenwell, and after quitting his master, went to Rome to pursue the study of painting, where, about the year 1749, an invitation was given him by Roger Kynaston, esq. of Shrewsbury, in company with Mr. (afterwards sir John) Frederick, to accompany them to Naples. From that city they proceeded in a felucca, along the coast of Calabria, crossed over to Messina, and thence to Catania, where they met with lord Charlemont, Mr. Burton, afterwards lord Cunningham, Mr. Scott, and Mr. Murphy. They then sailed together in a ship, hired by lord Charlemont and his party, from Leghorn, with the intention of making that voyage; the felucca followed first to Syracuse, then to the isle of Malta, and afterwards separated; but Mr. Dalton, accompanying the party in the ship, made the voyage to Constantinople, several parts of Greece, and Egypt. This voyage led to his publication, which appeared in 1781, called, “Explanation of the set of prints relative to the manners, customs, &c. of the present inhabitants of Egypt, from discoveries made on the spot, 1749, etched and engraved by Richard Daiton, esq.” On his return to England, he was, by the interest of his noble patron lord Charlemont, introduced to the notice of his present majesty, then prince of Wales, who, after his accession to the throne, appointed him his librarian, an office for which it would appear he was but indifferently qualified, if Dr. Morell’s report be true. Soon after, it being determined to form a noble collection of drawings, medals, &c. Mr. Daltou was sent to Italy in 1763, to collect the various articles suited to the intention. The accomplishment of that object, however, was unfortunately attended with circumstances which gave rise to sir Robert Strange’s memorable letter of complaint to the earl of Bute, in which he says, indignantly, although not altogether unjustly, that “persecution haunted him, even beyond the Alps, in the form of Mr. Dalton.” On this subject it may here be necessary only to refer to sir Robert’s letter, and to the authorities in the note.

, a painter of this country, more known from the praises of Pope, who took instructions from him in the art of painting, and other wits, who were influenced probably by the friendship of Pope, than for any merits of his own, was a native of Ireland, and studied for a year under sir Godfrey Kneller. Norris, framer and keeper of the pictures to king William and queen Anne, was the first friend who essentially served him, by allowing him to study from the pictures in the royal collection, and to copy them. At Hamptou-cour the made small copies of the cartoons, and these he sold to Dr. George Clark of Oxford, who then became his protector, and furnished him with money to visit France and Italy. In the eighth number of the Tatler, (April 18, 1709), he is mentioned as “the last great painter Italy has sent us.” Pope speaks of him with more enthusiasm than felicity, and rather as if he was determined to praise, than as if he felt the subject. Perhaps some of the unhappiest lines in the works of that poet are in the short epistle to Jervas. Speaking of the families of some ladies, he says,

, an ingenious artist, was born in Yorkshire, in 1685, and put apprentice to a coach-painter, but, feeling the superiority of his talents, he left his master, and came up to London, where he soon proved himself worthy of encouragement and patronage. In 1710 he was sent, by the munificence of some gentlemen of his own country, to Rome, whither he accompanied Mr. Tallman. There he studied under Cavalier Luti, and in the academy gained the second prize of the second class. He also became acquainted with lord Burlington, whose sagacity discovered the rich vein of genius that had been hid even from himself; and, on their return to England in 1719, lodged him in his own house, and shewed for him all the marks of the most disinterested friendship. By his interest he was employed in various works, both as a painter in history and portrait; and yet there appear but very faint traces of that creative talent he displayed in a sister art. His portraits did not resemble the persons that sat for them. His colouring was worse than that of the most errant journeyman to the profession; and his drawing was defective, witness the hall at Wanstead, and his picture at St. Clement’s. Fie designed some of the drawings of Gay’s Fables, the prints for Spenser’s Fairy Queen, and the vignettes to the large edition of Pope’s works. In architecture, however, of the ornamental kind, he was deservedly admired he executed the temple of Venus at Stowe the earl of Leicester’s house at Holkham in Norfolk; the great hall at Mr. Pelham’s, Arlington-street; and the stair-case at lady Isabella Finch’s in Berkeley-square. Mr. Walpole considers him likewise as the inventor of modern gardening, in which it is certain that he excelled, and every thing in that branch has been since his time more natural, graceful, and pleasing. By the patronage of the dukes of Grafton and Newcastle, Mr. Pelham, and the earl of Burlington, he was made master-carpenter, architect, keeper of the pictures, and, after the death of Jervas, principal painter to the crown; the whole, including a pension of 100l. a year, which was given him for his works at Kensington, produced 600l. a year. In 1743 he was disordered in his eyes, but recovered, and in March 1748 an inflammation in his bowels put an end to his life at Burlington-house, April 12, 1748, aged sixty-three years. He was buried in lord Burlington’s vault at Chiswick.