called the Turk, an eminent painter, was born at Geneva in 1702, and was intended by his father to be a merchant; but, by the persuasion of his friends, who observed the genius of the young man, he was permitted to give himself up to the art of painting. He went to Paris in 1725, and in 1738 accompanied to Rome the Marquis de Puiseieux, who was going as ambassador to Naples. At Rome he was taken notice of by the Earls of Sandwich and Besborough, who engaged Liotard to attend them in a voyage to Constantinople. There he became acquainted with Lord Edgecumbe, and with Sir Everard Fawkener, our ambassador, who persuaded him to proceed to England, where he staid two years. In his journey to the Levant he had adopted the eastern habit, and wore it here with a very long beard. It contributed much to the portraits which he drew of himself, and, some thought, to draw customers; but he was really a painter of uncommon merit. After his return to the Continent, he married a young wife, and sacrificed his beard to Hymen. He came again to England in 1772, and brought a collection of pictures of different masters, which he sold by auction, and some pieces of glass painted by himself, with surprising effect of light and shade, but which were a mere curiosity, as it was necessary to darken the room before they could be seen to advantage. He remained here about two years, as in his former journey. He has engraved some Turkish portraits, one of the empress queen, and the eldest archduchess, in Turkish habits, besides the heads of the emperor and empress. He painted well in miniature, and also in enamel, though he seldom practised it. But he is best known by his works in crayons. His likenesses were as exact as possible, sometimes too like to please those who sat to him. Being devoid of imagination, he could render nothing but what he saw before his eyes. Freckles, marks of the smallpox, every thing found its place; not so much from fidelity, as because he could not conceive the absence of any thing that appeared to him. Truth prevailed in all his works, grace in few or none. Nor was there any case in his outline; the stiffness of a bust prevailed in all his portraits.