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Collection, which is painted with a truth and simplicity, a reserve 
and a dignity that are beyond all praise. His portraits are not, I 
believe, common,* nor are those of his contemporary, Hutchisson, 
and I shall be glad to know of any work by either of these artists, 
or by a third, S. T. Roche, who also worked here at the end of 
the last century. The only miniature of Hutchisson’s that I 
know, I am enabled by the kindness of Mr. J. D. Harris to show 
you, it is a portrait of V. Rauzzini, the musician (well-known as a 
Bath worthy), which was engraved by Hancock—then residing at 
Bristol—and published in Bath in 1800. Other plates were 
engraved after Hutchisson, among them being a portrait of the 
Rev. Wm. Jay, by Hancock, and portraits of Michael Kelly, and 
Mrs. Crouch, by Ridley ; but of the artist himself I know nothing 
save that he lived on Westgate Buildings, and that his work is 
good and dignified. Either he or his son drew lithographic 
portraits, as mentioned by Mr. Emanuel Green, which are 
clever and characteristic. 
Of Sampson Towgood Roche again, I know little. He exhibited 
at the Academy only in 1817, but he was painting miniatures in 
1782, and his reputation appears to have been high, though it is 
said that his practice was purely local. However, Royalty sat to 
him, and miniatures by him were exhibited at South Kensington 
in 1865, and at the Burlington Fine Arts Club in 1889, but not 
having seen these I am unable to speak of his style. 
Daniell, of Bath, may be said to have been succeeded by 
Charles Jagger, also known as “of Bath.” His portraits are 
numerous and unequal in merit, and many of them have been 
engraved, including (as well as the one on the tabley) the Duke 
of Clarence and Sir John Grey Egerton. It was while sitting to 
Jagger that the Duke asked “ Why are my portraits always so 
thick about the chops?” a poser for the unfortunate artist! 
* Daniell’s miniature of Dr. Falconer was engraved by J. Fittler. 
+ The Rev. Harvey Marriott, of Claverton, a mezzotint. 
