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diff --git a/41824.txt b/41824.txt deleted file mode 100644 index fc6be0d..0000000 --- a/41824.txt +++ /dev/null @@ -1,1811 +0,0 @@ -The Project Gutenberg EBook of Hogarth, by C. Lewis Hind - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Hogarth - -Author: C. Lewis Hind - -Release Date: January 12, 2013 [EBook #41824] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK HOGARTH *** - - - - -Produced by sp1nd, Matthew Wheaton and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - MASTERPIECES IN COLOUR - - EDITED BY--T. LEMAN HARE - - - HOGARTH - - (1697--1764) - - - "MASTERPIECES IN COLOUR" SERIES - - - ARTIST. AUTHOR. - - VELAZQUEZ. S. L. BENSUSAN. - REYNOLDS. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - ROMNEY. C. LEWIS HIND. - GREUZE. ALYS EYRE MACKLIN. - BOTTICELLI. HENRY B. BINNS. - ROSSETTI. LUCIEN PISSARRO. - BELLINI. JAMES MASON. - REMBRANDT. JOSEF ISRAELS. - LEIGHTON. A. LYS BALDRY. - RAPHAEL. PAUL G. KONODY. - HOLMAN HUNT. MARY E. COLERIDGE. - TITIAN. S. L. BENSUSAN. - MILLAIS. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - GAINSBOROUGH. MAX ROTHSCHILD. - TINTORETTO. S. L. BENSUSAN. - LUINI. JAMES MASON. - FRANZ HALS. EDGCUMBE STALEY. - VAN DYCK. PERCY M. TURNER. - LEONARDO DA VINCI. M. W. BROCKWELL. - RUBENS. S. L. BENSUSAN. - WHISTLER. T. MARTIN WOOD. - HOLBEIN. S. L. BENSUSAN. - BURNE-JONES. A. LYS BALDRY. - VIGEE LE BRUN. C. HALDANE MACFALL. - CHARDIN. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - MEMLINC. W. H. J. & J. C. WEALE. - CONSTABLE. C. LEWIS HIND. - RAEBURN. JAMES L. CAW. - JOHN S. SARGENT. T. MARTIN WOOD. - LAWRENCE. S. L. BENSUSAN. - DUeRER. H. E. A. FURST. - MILLET. PERCY M. TURNER. - WATTEAU. C. LEWIS HIND. - HOGARTH. C. LEWIS HIND. - MURILLO. S. L. BENSUSAN. - WATTS. W. LOFTUS HARE. - INGRES. A. J. FINBERG. - - _Others in Preparation._ - - - [Illustration: PLATE I.--THE SHRIMP GIRL. Frontispiece - - (In the National Gallery, London) - - This brilliant, impressionist sketch, done long before the era - of impressionism, is something of a marvel. "The Shrimp Girl" - cries out from Hogarth's works, a _tour de force_, done without - premeditation, in some happy hour when the unerring hand - unerringly followed the quick eye.] - - - - - HOGARTH - - BY C. LEWIS HIND - - - ILLUSTRATED WITH EIGHT - REPRODUCTIONS IN COLOUR - - [Illustration: IN SEMPITERNUM.] - - LONDON: T. C. & E. C. JACK - NEW YORK: FREDERICK A. STOKES CO. - - - The plates are printed by BEMROSE & SONS, LTD., Derby and London - - The text at the BALLANTYNE PRESS, Edinburgh - - - - - CONTENTS - - - Page - - I. An Auction and a Conversation 11 - - II. Hogarth as Deliverer 19 - - III. Two Books about Hogarth 29 - - IV. Who was William Kent? 38 - - V. Hogarth as Painter 45 - - VI. Some Pictures in National Collections 57 - - VII. The Soane Museum and Foundling Hospital 66 - - VIII. The "Villakin" at Chiswick, and the End 73 - - - - - LIST OF ILLUSTRATIONS - - - Plate - - I. The Shrimp Girl Frontispiece - In the National Gallery, London - Page - - II. Hogarth's Sister 14 - In the National Gallery, London - - III. Miss Fenton 24 - In the National Gallery, London - - IV. James Quin 34 - In the National Gallery, London - - V. Marriage a la Mode 40 - In the National Gallery, London - - VI. Sarah Malcolm 50 - In the National Gallery of Scotland, - Edinburgh - - VII. Simon Fraser, Lord Lovat, 1666-1747 60 - In the National Portrait Gallery, - London - - VIII. Peg Woffington 70 - In Sir Edward Tennant's Collection - - - - -I - -AN AUCTION AND A CONVERSATION - - -The auction was proceeding leisurely and without excitement. It was an -"off day." I was present because these pictures of the Early British -School included a "Conversation Piece" ascribed to Hogarth, and a -medley of prints after him, worn impressions, the vigour gone, merely -the skeletons of his bustling designs remaining. They fetched trivial -prices: they were not the real thing. And there was little demand for -the portraits by half-forgotten limners of the period, portraits of -dull gentlemen in eighteenth-century costume, examples of wooden -Thomas Hudson, famous as the master of Sir Joshua Reynolds, and of -such mediocrities as Knapton and Shackleton. Yet they evoked a sort of -personal historical interest, recreating, as portrait after portrait -passed before our eyes, the level highway of art of those days before -Hogarth delivered it from the foreign thraldom. - -Tranquilly I contemplated the procession of lifeless portraits, noting -with amusement the contrast between the grimy but very real hands of -the attendant who supported the canvases upon the easel, and the -painted hands in the pictures. The attendant's body was hidden by the -canvas, but his hands appeared on either side of the frame clutching -it. I indicated the contrast to my companion, a connoisseur, but he -saw no humour in the comparison. He was almost sulky. A decorative -Francis Cotes, and a luminous Richard Wilson, that he hoped to acquire -for a few pounds, had gone into the fifties. He indignantly refused to -make a bid for the "Conversation Piece" ascribed to Hogarth. "What -a period! what an outlook!" he cried. "William Kent the arbiter of -taste, portraits with the clothes done by drapery men. Conversation -Pieces with stupid gentlemen and stupid ladies doing nothing stupidly, -and Hogarth flooding the town with his dreadful moralities. Pah!" He -shook himself, emitted an exclamation of disgust that made the -auctioneer glance quickly in his direction, and then said brusquely, -"What do you think of Matisse?" - - [Illustration: PLATE II.--HOGARTH'S SISTER - - (In the National Gallery, London) - - This dashing and brilliant portrait probably represents Ann - Hogarth, the artist's younger sister, who died, unmarried, in - 1771. Note the vivacious and original way in which Hogarth has - handled this sympathetic subject, and the skill with which he - has, as it were, "substituted light and colour for paint."] - -I was not going to be drawn into that. I knew that Matisse was _le -dernier cri_, the newest "master," the idol of the moment among the -"advanced," who had passed beyond the re-discovery of Cezanne and Van -Gogh. Hogarth, the painter Hogarth, not the "pictur'd moralities" -Hogarth, had also had his period of re-discovery. Perhaps it began -that day in the eighties when Whistler was admiring, "almost -smelling," the Canalettos in the National Gallery, while his -companion, Mr. Pennington, was seeing for the first time Hogarth's -"Marriage a la Mode" series, "fairly gasping for breath," to quote his -own words. - -"Come over here, quickly," cried Pennington. "What's the matter?" said -Whistler, turning round. "Why! Hogarth! He was a great painter!" -"Sh--sh," said Whistler (pretending he was afraid that some one would -overhear), "Sh--sh. Yes! _I know it.... But don't you tell 'em._" - -Whistler had known that Hogarth was a great painter for years. His -appreciation of the pugnacious little man of genius, with "a sort of -knowing jockey look," to quote Leigh Hunt, dated from his boyhood. -"From then until his death," says Mr. Pennell, "Whistler always -believed Hogarth to be the greatest English artist who ever lived, and -he seldom lost an opportunity of saying so." - -Well, it is a long time since the eighties, and to-day the fame of -Hogarth as a painter is as great as was his fame as a moralist and -satirist in the eighteenth century. Indeed I observe that some writers -are beginning to resent praise of Hogarth as a painter, considering -that the incident is closed, that all are agreed. That is not so. My -friend, the connoisseur, who sat by my side at the auction sale, -dissents. When he asked me fiercely what I thought of Matisse, I -countered with the question--"What do you think of Hogarth?" - -His answer was short and to the point. "There are only two of his -things that interest me. They're great. I mean, of course, 'The -Shrimp Girl,' and 'The Stay Maker.' No! I don't care about his -moralities, and satires, and progresses. Single figures and incidental -passages are charming, as good as the best episodes in Frith, but as a -whole they're dowdy, and every one of them shouts. I object to shouts -and screams in art. Exaggeratedly exact and humorous records of -eighteenth-century life and topography they may be, but I don't want -to be reminded of the eighteenth century. Give me the present or the -real past, not the past of yesterday. It's too near, too like us in -our Bank Holiday moods, to be pleasant. Whistler called him the -greatest English artist, did he? Merely another example of Whistler's -extravagance. Hogarth has his place. Let us keep cool and keep him -there." - -"But consider his portraits," said I, "and the charm and skill of his -oil paintings. Consider them apart altogether from the engravings, -which do not do the pictures any sort of justice. 'The Stay Maker,' I -remember, was hung at the Old Masters in 1908 with twenty-eight other -Hogarths. What a display that was. Consider 'Garrick and his Wife,' -'Mary Hogarth,' 'Miss Lavinia Fenton,' 'The Servants,' the superb -'Marriage a la Mode,' 'Captain Coram,' 'Peg Woffington,' 'The Fishing -Party,' 'Pall Mall,' 'George II. and his Family,' at Dublin, the water -piece from the 'Idle Apprentice' series. And above all consider the -time when he lived--you _must_ consider that. He was born in 1697. -Like Giotto and Watteau, he was a pioneer." - -"I don't take the slightest account of an artist's period," said my -companion, as we moved away from the auction room. "The date of his -birth doesn't interest me in the least. I ask myself only, Was he a -great artist? Call Hogarth the Father of English Painting if you like, -say that he set the ball rolling, that he gave life to dry bones, then -recall his achievement, and where does he stand? What are his six best -works against Gainsborough's best six? What is his 'Captain Coram' to -Reynolds's 'Lord Heathfield,' and much as I admire his 'Stay Maker,' -what is it to Watteau's 'Gersaint's Sign'? Compliment Hogarth as much -as you like, say that he was half-a-dozen men in one--satirist, -publicist, draughtsman, engraver, moralist, caricaturist, painter--but -keep him in his place. I admit that he had an extraordinary gift for -putting on the colour clean, swift, and straight, but don't magnify -his gifts. Hogarth was a fighting preacher, an eighteenth-century Dr. -Clifford with a natural aptitude for drawing and painting. He was half -publicist, half artist. Now Matisse was artist all through. Maurice -Denis understands him perfectly, and that article of Denis's in -'L'Occident' was--But you haven't told me what you think of Matisse?" - - - - -II - -HOGARTH AS DELIVERER - - -I refused absolutely to consider Matisse. Let all thought of Matisse -be banished. The subject of this little book is Hogarth, and in -studying him or any other artist, I entirely disagree with my friend, -the connoisseur, that one must disregard his period, ignore his -birth-date, and consider only his achievement. Hogarth was born in -1697, and being an original he turned his back upon convention and -faced realities. But although he reproduced, with consistent -forcefulness, the life of his day, now and again he suffered himself -to be influenced by convention. Did not he write: "I entertained some -hopes of succeeding in what the puffers in books call the _first style -of history painting_: so that without having a stroke of this _grand_ -business before, I quitted small portraits and familiar conversations, -and with a smile at my own temerity commenced history painting, and on -a great staircase at St. Bartholomew's Hospital painted the Scripture -stories, 'The Pool of Bethesda' and 'The Good Samaritan,' with figures -seven feet high." These are his failures, because he was looking not -at life, but at picture-land. A failure, too, was the altar-piece for -St. Mary Redcliffe at Bristol, painted as late as 1756, when he was -fifty-nine. For this huge altar-piece, in three compartments, he -received five hundred and twenty-five pounds. Removed in 1858 to the -Bristol Fine Arts Academy, this immense triptych was last year sent to -London for sale, which seems unkind, if not cruel, to the memory of -Hogarth. He painted these "grand manner" canvases because, as he says, -"I was unwilling to sink into a _portrait manufacturer_." Had Hogarth -succeeded in "the first style of history painting," had he continued -in that facile convention, he would never have been hailed as the -Father of English Painting, and Sir Walter Armstrong would assuredly -never have written in his survey of "Art in Great Britain and Ireland" -these words: "At the end of the seventeenth century fortune sent a -deliverer." - -A deliverer from what? From the thraldom of foreign artists, and -artists of foreign extraction, and from the monotonous level of -mediocrity into which British art had sunk after the "Kneller -tyranny." Perhaps two parallel lists of portrait painters will be the -best exemplification, one beginning with Holbein, who was born just -two hundred years before Hogarth, the other with Hogarth--the -deliverer. Many minor names are, of course, omitted. - - BEFORE HOGARTH ENTER HOGARTH - Holbein 1497-1543 Hogarth 1697-1764 - Bettes ?1530-1573 Hudson 1701-1779 - Jonson 1593-1664 Ramsay 1713-1784 - Van Dyck 1599-1641 Reynolds 1723-1792 - Dobson ?1600-1658 Cotes 1725-1770 - Walker 1610-1646 Gainsborough 1727-1788 - Lely 1618-1680 Romney 1734-1802 - Mary Beale 1632-1697 Raeburn 1756-1823 - Kneller 1646-1723 Hoppner ?1758-1810 - Richardson 1665-1745 Opie 1761-1801 - Thornhill 1675-1734 Lawrence 1769-1830 - Vanloo 1684-1745 - -In pre-Hogarthian days first Holbein and later Van Dyck dominated -British art, Van Dyck's being by far the stronger influence. Indeed -it has lasted until to-day. Dobson, a sterling painter, was a pupil of -Van Dyck's. Lely was born at Soest near Utrecht, Kneller at Luebeck, -and Vanloo at Aix. The residuum of native-born painters is not very -important, and although one might add a score of names to those -included in the pre-Hogarthian list, it is obvious that before the day -of the "sturdy little satirist," with his hatred of all things -foreign, including the "black old masters," and his love of all things -English, except William Kent and his circle, and such folk as happened -to annoy him, art in England had no independent growth. It certainly -was not racial, and it was not characteristic in any way of the -English temperament or the English vision. After Hogarth, excluding -his minor contemporaries, Hudson, Ramsay, and Cotes, the art of Great -Britain was illumined by the light of genius, native born, which began -with Reynolds and Gainsborough, and spread out in varying and -decreasing splendour down to the prettinesses of Lawrence. - -Had Hogarth any influence? In one way he had. He was the founder of -the anecdotic school. But, in the eighteenth century, he was -regarded as a satirist, as a maker of "moral pieces," and, with a -few exceptions, he won small esteem as a painter. Sir Joshua hardly -mentions him, although they both lived for years in Leicester Fields, -and Sir Joshua must have known his portraits well, and must often have -seen the little man, twenty-six years his senior, walking within the -enclosure "in a scarlet _roquelaure_ or 'rockelo,' with his hat cocked -and stuck on one side, much in the manner of the Great Frederick of -Prussia." - - [Illustration: PLATE III.--MISS FENTON (In the National - Gallery, London) - - Here we have the famous actress, Miss Lavinia Fenton, as "Polly - Peachum" in the "Beggar's Opera." Born in 1708, she married, as - his second wife, Charles Paulet, third Duke of Bolton: she died - in 1760. The "Beggar's Opera" was produced at Lincoln's Inn - Fields in 1728.] - -Whatever private admiration Sir Joshua may have had for Hogarth as a -painter, there are few signs of it in his public utterances. Was it -because "our late excellent Hogarth imprudently, or rather -presumptuously, attempted the great historical style"? But Hogarth had -some praise from the President in the Fourteenth Discourse, delivered -on December 10, 1788, twenty-four years after Hogarth's death. He is -accredited with "extraordinary talents," with "successful attention to -the ridicule of life," with the "invention of a new species of -dramatic painting." Lamb, dear Lamb, took up the cudgels for Hogarth -even as a historical painter, arguing that "they have expression of -_some sort or other_ in them. 'The Child Moses before Pharaoh's -Daughter,' for instance, which is more than can be said of Sir Joshua -Reynolds's 'Repose in Egypt.'" Well, it does not matter either way. -Neither Hogarth nor Sir Joshua live by their "excursions into the Holy -Land." - -The point I wish to labour is that the admiration of Hogarth's -contemporaries was almost entirely for his "pictur'd morals," not for -his paintings. It was his engravings that made him known; few saw the -paintings, and it was only when the paintings began to be studied long -after his death, that his greatness was revealed. Selections of his -works were brought together in 1814, 1817, and 1862. By the latter -date connoisseurs acknowledged that Hogarth "was really a splendid -painter." - -Who can be surprised that the "pictur'd moral" engravings were -popular--"The Harlot's Progress," "The Rake's Progress," "Marriage a -la Mode"? They were a new thing in British art. Here was the life of -the day reproduced, accented stridently and humorously. The people -were interested, bought the engravings, found their satire amusing, -and remained unregenerate. The pirates copied them, Hogarth fought the -pirates, and he found that the success of "these pictures on canvas -similar to representations on the stage," enabled him to meet the -expenses of his family, which portraits and "Conversation Pieces" had -failed to do. It was the engravings that were popular, that sold. The -pictures themselves brought him little fame and little money. It was -six years before the "Marriage a la Mode" series found a purchaser. In -1751, Mr. Lane of Hillingdon bought the set for one hundred and twenty -pounds at the queer sale devised by Hogarth, one of the stipulations -being that no dealers in pictures were to be admitted as bidders. -There was no crush. Only three people were present at the -sale--Hogarth, Dr. James Parsons, and Mr Lane, the buyer. - -Connoisseurship in painting was at a low ebb in the first half of the -eighteenth century. The old masters, the "old dark masters," whom -Hogarth attacked so vigorously, were supposed to have said the last -word in painting. There was no national collection, and no display of -pictures until Hogarth originated the exhibition at the Foundling -Hospital in 1740 with the presentation to the institution of his -"Captain Coram." Between 1717 and 1735, when "The Rake's Progress" -appeared, Hogarth had issued a vast number of prints, and he -continued to do so until the end of his life, closing the amazing -series with "The Bathos," done with cynical humour just before his -death. - -Walpole asserted that "as a painter Hogarth had but slender merit," -Churchill called him a "dauber," and Wilkes spoke of his portraits as -"almost beneath all criticism," but these gentlemen were prejudiced. -Lamb made the neat remark that we "read" his prints, and "look" at -other pictures; Northcote said, "Hogarth has never been admitted to -rank high as a painter;" but Walter Savage Landor atoned for these -depreciations by proclaiming that "in his portraits he is as true as -Gainsborough, as historical as Titian," which is neither true nor good -sense. - -To-day, of course, everybody, with a few exceptions, extols Hogarth as -a painter, and students of the manners of the eighteenth century -continue to peer at his engravings. - -Hogarth, of course, thought well of himself. - -"That fellow Freke," he said once, "is always shooting his bolt -absurdly one way or another." - -"Ay," remarked his companion, "but at the same time Mr. Freke declared -you were as good a portrait-painter as Van Dyck." - -"_There_ he was in the right," quoth Hogarth. - -And Mrs. Hogarth thought well too of the painter quality in her -"sturdy, outspoken, honest, obstinate, pugnacious little man," -who--one is glad to believe--once pummelled a fellow soundly for -maltreating the beautiful drummeress who figures in "Southwark Fair." -In one of his "Eighteenth Century Vignettes," Mr. Austin Dobson tells -us that Mrs. Hogarth, who survived her husband twenty-five years, -thought that his pictures had beautiful colour, and that he was more -than a painter of morals. - -Mrs. Hogarth had insight, or perhaps she remembered what the little -man of genius must often have told her. He knew what he was worth, he -knew the illuminating power of his light, and it was not his way to -hide it under a bushel. - - - - -III - -TWO BOOKS ABOUT HOGARTH - - -Tardily, perhaps, I mention Mr. Austin Dobson's name. In writing of -Hogarth and the vigorous part he played in the art life of the -"worst-mannered" century, as it has been called, Mr. Dobson is as -indispensable as a Blue Book to a politician. But unlike Blue Books, -his writings are delightful. He _is_ the eighteenth century, and his -volume on William Hogarth is definitive. Originally published, I -believe, in 1879, it has passed through several editions, being -continuously improved and enlarged. One of its avatars was the stately -and sumptuous art monograph of 1902, with some prefatory pages by Sir -Walter Armstrong on the painter's technique. The volume has now -reached a new, enlarged, and small edition, a combination of -Hogarthian lore, apt gossip, and reference book. - -The text--well, the text is by Mr. Dobson; just to say that suffices. -And at the end are thirty-five pages of a Bibliography of Books, &c., -relating to Hogarth; thirty pages of a Catalogue of Paintings by or -attributed to Hogarth; and sixty-three pages of a Catalogue of the -Principal Prints by or after Hogarth. As a postscript to the Catalogue -of Prints is this note: "It has also been thought unnecessary to -include several designs, the grossness of which neither the ingenuity -of the artist nor the coarse taste of his time can now reasonably be -held to excuse." There you have the eighteenth century of which -Hogarth was child and master. - -In writing of him it would be agreeable to confine one's remarks -entirely to his paintings, but that must not be. And why should it be? -The more one peers into that busy, brutal, bewildering eighteenth -century, the more interesting it becomes. Names start out. You dip -here and there, and the names become clothed with personality. Mr. -Dandridge, for example, who painted William Kent. Of them more anon. -The first entry in Mr. Dobson's Bibliography contains a mention of -Dandridge, under the date 1731, when Hogarth was thirty-four. I copy -it. The extract opens a fuzzy window to the eighteenth century. - - "Three Poetical Epistles. To Mr. Hogarth, Mr. Dandridge, and - Mr. Lambert, Masters in the Art of Painting. Written by Mr. - Mitchell. _Dabimus, capimusque vicissim._ London: Printed for - John Watts, at the Printing Office in Wild-Court near Lincoln's - Inn Fields. MDCCXXXI. Price sixpence. 4to. - - "The epistle to Hogarth, whom the poet styles his friend, and - 'Shakspeare in Painting,' occupies pp. 1-5, and is dated 'June - 12th, 1730.' Passages are quoted at p. 32. The following, from - that to the 'eminent Face Painter,' Bartholomew Dandridge, p. - 6, gives the names of Hogarth's artistic contemporaries:-- - - 'Nor wou'd I, partial or audacious, strive - To show what artists most excel alive: ... - How Thornhill, Jervas, Richardson and Kent, - Lambert and Hogarth, Zinks (Zincke) and Aikman paint; - What Semblance in the Vanderbanks I see, - And wherein Dall (Dahl) and Highmore disagree; - How Wooten, Harvey, Tilliman and Wright, - To one great End, in diff'rent Roads delight,' &c." - -The verse is sorry stuff, is it not? One might go on for pages quoting -from this bovrilised Bibliography. Under the date 1753 is the -announcement of Hogarth's unfortunate experiment in aesthetics--"The -Analysis of Beauty. Written with a view of fixing the fluctuating -ideas of Taste." It would be pleasant to contrast Lamb's eulogy from -the famous essay in "The Reflector" with Mrs. Oliphant's sorrowful -comments. Space permits a few words only. "I contend," says Lamb, -"that there is in most of his subjects that sprinkling of the better -nature, which, like holy-water, chases away and disperses the -contagion of the bad." Says Mrs. Oliphant: "Before his pictures the -vulgar laugh, and the serious spectator holds his peace, gazing, often -with eyes awestricken, at the wonderful unimpassioned tragedy. But -never a tear comes at Hogarth's call. It is his sentence of -everlasting expulsion from the highest heaven of art." - - [Illustration: PLATE IV.--JAMES QUIN - - (In the National Gallery, London) - - Quin, the actor, was Garrick's portly rival. Note the eloquent - eye and the voluble mouth. This hearty, eighteenth-century - mummer wears a full-bottomed grey wig, and is dressed in a - brown coat richly frogged with gold. The portrait is inscribed - "Mr. Quin."] - -The serious spectator may hold his peace before Hogarth's pictures, -and I am quite prepared to admit that never a tear comes at Hogarth's -call, or, for the matter of that, at the call of any other artist, -great or small. Plays or books may make us cry, but pictures never. -Alfred Stevens remarked that. The serious spectator, if he has been -well brought up, certainly holds his peace before Hogarth's pictures, -that is his paintings, but if he be a connoisseur his peace passes -into joy at the pure colour, the fresh technique, the impulse and the -vision of this great painter, whose fate it was to be regarded for so -long as a mere moralist, and to be refused "the highest heaven of -art," where Raphael and Correggio--yes! and the eclectics of -Bologna--reigned. But the world has grown older and taste has -improved, has changed very much since the day of the "notorious Mr. -Trusler," whose name appears, with two other eighteenth-century -authors, on the title-page of another book on Hogarth that I possess. - -I bought it years ago for a few pence at a second-hand book shop. It -is a "popular" edition, undated, written and compiled by John Trusler, -John Nichols, and John Ireland, and is no doubt based upon "The Works -of Mr. Hogarth Moralised (1768), with Dedication by John Trusler." It -was Mrs. Hogarth herself who, after her husband's death, "engaged a -Gentleman to explain each Print and moralise on it in such a Manner as -to make them as well instructive as entertaining." - -Many in their youth must have gained their knowledge of Hogarth from -this curious, informing volume, or from one of the many other -compilations based upon the 1768 edition. The title of my volume -precisely describes it--"The Works of William Hogarth: One hundred and -fifty plates with Explanations." On each left-hand page is the -picture, filling the page; on each right-hand page is the description -and explanation, usually filling the page. The blocks are worn, -travesties of the original prints; the letterpress is no doubt just -what Mrs. Hogarth desired when she "engaged a Gentleman to explain -each Print and moralise upon it." - -The book is a monument to Hogarth's fecundity as draughtsman, -observer, and satirist, but it gives no hint of his capacity as -painter. Here is the dainty "Marriage a la Mode" pageant in a series -of battered _cliches_; here is "The Shrimp Girl," a mere dull -illustration of a type in the same _genre_ as "The Milk Maid" and "The -Pie Man." I knew them well as a youth under the moral guidance of the -Rev. Dr. Trusler; knew them without love, without emotion. Then one -day at the National Gallery I saw the paintings of the "Marriage," -"The Shrimp Girl," and his "Sister," saw "Polly Peachum" and "Peg -Woffington," and himself painting the Comic Muse, and lo! I discovered -that Hogarth was a painter, here bold, there exquisite, according to -the demands of the subject. - -Something perilous was it for an imaginative boy to pore over the -plates in the Trusler-Nichols-Ireland book, in the propriety of a -well-ordered home. Had life ever been so odd, so ugly, so crowded, so -forced? Did that terrible madhouse scene in "The Rake's Progress" ever -really happen? Did God permit such a travesty of love and life as the -"Gin Lane" episode, or such ghastly horrors as "The Four Stages of -Cruelty"? But there were some engravings that the boy thought -infinitely amusing. One was "Time Smoking a Picture," and another was -the delightful "False Perspective." The twelve plates of "Industry and -Idleness" fascinated him (he was too young to understand the moral of -"The Harlot's Progress"), but "A Woman Swearing her Child to a Rich -Citizen" seemed so enigmatically stupid that he never looked at it -again. "The Altar-piece of St. Clement Danes Church" puzzled him. He -knew enough of art to be aware that Hogarth was a strong and powerful -draughtsman. Why, then, had he made and published this silly, weak -illustration of angels and harps? The boy addressed the question to -his uncle, and that gentleman, having perused the accompanying text, -answered, "It was a burlesque of William Kent's altar-piece." - -Whereupon the boy put the obvious question: "Who was William Kent?" - -Uncle was silent, because, like the Master of Balliol on a certain -occasion, he had nothing to say. - - - - -IV - -WHO WAS WILLIAM KENT? - - -Who was William Kent? What is the record of the plump, self-satisfied -dandy whose likeness may be seen at the National Portrait Gallery? - - [Illustration: PLATE V.--MARRIAGE A LA MODE - - (In the National Gallery, London) - - Scene II. of this matchless series, the finest pictorial satire - of the century. It is called "Shortly after Marriage." We are - in the peer's breakfast-room. The clock marks twenty minutes - after twelve in the morning, the candles beneath the portraits - of the four saints in the inner room are guttering, a dog - sniffs at a lady's cap protruding from the husband's pocket, - and the book peeping from the coat of the old steward is called - "Regeneration." Hogarth never stayed his hand. The details are - innumerable, amusing, italicised. What could be more exquisite - than the characterisation of the lady, her pretty, dissolute, - provocative face, and the abandon of the peer, too bored and - tired, after his night's debauch, even to think of remorse. - This "pictur'd moral" series, containing six scenes, was - painted by Hogarth in 1745, and was purchased by Mr. Lane of - Hillingdon in 1751 for L126.] - -Do you like this ruddy round-faced man with the eloquent eye, the -double chin, and the thick lips? His clothes are certainly -attractive--the red velvet turban and the fawn-coloured jacket open at -the front showing the frilled shirt. Bartholomew Dandridge, that -"eminent face painter," painted this portrait. - -Yes; this is a striking presentment of William Kent, 1684-1748, who -had many friends and many enemies. Among the enemies was William -Hogarth, who hated Kent. - -When you visit the National Portrait Gallery, turn your gaze slightly -to the left, and you will see the representation of Hogarth at his -easel, painted by himself. What would Hogarth say if he could know -that the portrait of his old enemy now hangs near his? Perhaps he -would smile a welcome, for anger is subdued by Death the Reconciler. - -I return to the question: "Who was William Kent?" The legend beneath -his portrait says: "Painter, sculptor, architect, and landscape -gardener." He was all these and much more--decorator, designer of -furniture, man milliner, arbiter of taste, and general adviser on art -and decoration to the fashionable world. Indeed, the name of William -Kent flings wide the doors of the eighteenth century, which lives in -all its crowded unattractiveness in Hogarth's unapproachable pictur'd -morals. - -Kent lives also in one of Hogarth's satirical prints, that called "The -Man of Taste, Burlington Gate," which does not strike me as either -very funny or very cruel. Our taste in satire has changed since -Hogarth's time. This same Burlington Gate or colonnade, which once -stood outside Burlington House in Piccadilly, may now, I believe, be -found somewhere in the wilds of Battersea Park. - -Let us try to draw a little nearer to Kent. The queer thing is that -this man who dominated his world does not seem to have been great in -any of his activities. - -As a painter, Hogarth said of him: "Neither England nor Italy ever -produced a more contemptible dauber." Horace Walpole remarked that his -painted ceilings were as "void of merit as his portraits." Walpole -also said that "Kent was not only consulted for furniture, frames of -pictures, glass, tables, chairs, &c., but for plate, for a barge, and -for a cradle, and so impetuous was fashion that two great ladies -prevailed on him to make designs for their birthday gowns." - -Did the ladies like their birthday gowns? The petticoat of one was -decorated with the columns of the five orders, the other was -copper-coloured satin with ornaments of gold. I have never seen the -altar-piece Kent painted for the Church of St. Clement Danes in the -Strand, but I seldom pass St. Clement's without thinking of that -"contemptible performance," as Hogarth called it. - -It seems to have offended many others besides Hogarth, who satirised -the altar-piece in the engraving that puzzled the boy mentioned in the -preceding chapter. Walpole called it a parody, a burlesque on Kent's -altar-piece. Hogarth maintained that it was neither; that it was but a -"fair and honest representation of a contemptible performance." -Terrible man, Hogarth, when he was on the war-path! - -Where is that altar-piece now? Mr. Wheatly says in his "Hogarth's -London" that it was "occasionally taken to the Crown and Anchor Tavern -in the Strand for exhibition at the music meetings of the -churchwardens of the parish." - -They had strange enjoyments in the worst-mannered period in our -history. - -Poor Kent! I try to plead for him. But it is difficult to be -enthusiastic. - -He was chosen to supply (delightful word that, supply!) the statue of -Shakespeare for the Poets' Corner in Westminster Abbey. There it -remains. It is no better than the marble effigies in the mason's -gardens in the Euston Road. - -Kent as an architect! There, surely, we have something sure and -admirable. Holkam in Norfolk, Devonshire House in Piccadilly, and the -Horse Guards are stated to be his work. That the Horse Guards from the -park is a noble pile nobody can doubt, but is it all Kent's? His hand -also may be traced inside Devonshire House. Mr. Francis Lenygon, -Kent's modern champion, says that the two state apartments in -Devonshire House are "certainly the finest in London, even if they can -be surpassed in any palace in Europe." - -Lord Burlington was Kent's champion during his lifetime. He met him -when the "arbiter of taste" was thirty-two, and gave him apartments in -his town house, now the Royal Academy, for the remainder of his life. -Kent came through. Hogarth, try as he would, could not wreck him. - -He died Master Carpenter to the King and Keeper of Pictures, and he -left a fortune. Kent came through. The man must have had extraordinary -gifts of persuasion and power, hinted at by his biographers when they -speak of his winning manners and gracious ways. - -I see nothing of charm in his portrait by Dandridge; but Dandridge was -no psychologist. He looks pompous; Hogarth looks pugnacious; so they -remain in death as in life; but their rivalry is over. Everybody -recognises Hogarth as the "father of English painting"; let us be kind -to Kent, and cherish him as the "father of modern gardening." Walpole -called him that. The ascription will offend nobody, not even Hogarth. -To that magnificent Londoner gardens were nought except perhaps the -garden of his villa at Chiswick. - - - - -V - -HOGARTH AS PAINTER - - -The versatility of Hogarth's genius is a recurring surprise. His -satires and moralities seem natural, the unforced expression of his -vigorous, observant nature. Natural, too, seem the less inspired of -his portraits, and the Conversation Pieces which employed the early -years of his life; but the technical qualities of the best of his -portraits and groups, and passages in the Progresses, are a recurring -surprise. "The Harlot's Progress" was finished in his thirty-fourth -year. The paintings of this series "were consumed in the fire which -burnt down Mr. Beckford's house at Fonthill in 1755," although there -seems to be some doubt if all six pictures were destroyed. - -The Progresses were a development of the Conversation Pieces, of which -"The Wanstead Assembly" was probably the first. This, which is now in -the South London Art Gallery, proves to be "The Dance," one of the -illustrations to the "Analysis of Beauty." I confess to finding the -stiff and elegant breeding of these Conversation Pieces more -attractive and certainly more amusing than many of his livelier -scenes. Almost any of the Conversation Pieces could appositely -illustrate a novel by Miss Ferrier. There was one at the Old Masters' -Exhibition of 1910, "The Misses Cotton and their Niece," quite -accurately described as "four ladies seated near a tea-table, with -their backs to the fireplace; a fifth is standing, and a servant on -the left is bringing a chair for her." Equally "nice," I am sure, -were "The Rich Family," "The Wood Family," "The Cock Family," and "The -Jones Family," and at the opposite pole to the bad Hogarth that was -exhibited in the same room at Burlington House, supposed to be a -memory of his five days' trip down the river to Sheppey. But it is -unfair to judge Hogarth by "The Disembarkation": that was a _jeu -d'esprit_, composed of "amusing incidents." - -The Conversation Pieces having novelty, succeeded for a few years. We -esteem them as the 'prentice work of a man of abounding energy and -versatility, who was as conspicuous for his taste as for his lack of -it. Hogarth seems to have had no particular prepossession towards -beauty, but beauty occurs again and again in his paintings. - -The face of the little wanton lady in the second scene of "Marriage a -la Mode" is a delight; some of the heads of his servants are haunting. -Leslie has drawn attention to the exquisite prettiness of Juno in -"Strolling Actresses Dressing in a Barn," and Mr. Dion Calthorp has -written a whole charming article on the handsome drummeress of -"Southwark Fair." Every student of Hogarth must have been struck by -his sudden statements of beauty in ugly places, and of atrocities of -bad taste anywhere. There is an episode in the "Night Scene, Charing -Cross," that is disgusting, and I confess that the gobbling alderman -in one of the "Industrious Apprentice" series gives me nausea. But he -is never commonplace or feeble. This astonishing man will paint a head -here with the finish of a Terburg, there with the gusto of a Raeburn. - -I never seem to get used to his incursions into beauty. The surprise -recurred in Paris at the exhibition of the "Cent Portraits de Femmes." -I walked round the galleries playing the game of suggesting the names -of the painters without referring to the catalogue. Among the -portraits was one quite small, the head of a girl, fresh as a lark's -song, an impromptu, a _premier coup_, colour simple, drawing gay. I -ascribed it to Raeburn. It was Hogarth's "Miss Rich," owned by M. Max -Michaelis. Then I paused and looked at the other Hogarths. Ah! there -was that rendering, one of the most delightful of his portraits, of -"Peg Woffington," lent by Sir Edward Tennant, not "dallying and -dangerous" on a couch as in the version at the Garrick Club, but very -charming, with a touch of primness that suits her. Here is Hogarth -as true artist, the vision clear, the treatment direct. Note the -daintiness of the flower in her bosom, the delicious colour of the -dress, and the importance of the accent of the knot of black ribbon -against the gleaming pearls. Oh yes! Hogarth knew his business! - - [Illustration: PLATE VI.--SARAH MALCOLM - - (In the National Gallery of Scotland, Edinburgh) - - A portrait of the notorious Sarah Malcolm, charwoman and - murderess, who was hanged near Mitre Court, Fleet Street, in - 1733, for a triple murder. She was painted by Hogarth, in the - condemned cell, two days before her execution. Mrs. Malcolm - looks rather an attractive if a somewhat cunning matron, and - her dress is certainly becoming. The painting, in tone and - characterisation, is very pleasant, and we can forgive her the - ostentatious display of the rosary.] - -He painted Mrs. Woffington eight times. This one, pretty, plain Peg, -with the rose in her corset, is my choice. The other two Hogarths at -the "Cent Portraits de Femmes" exhibition were "Miss Arnold" from the -Fitzwilliam Museum, Cambridge, a robust work, forceful and somewhat -heavy, and lacking the naivete and charm of "Peg Woffington," and the -notorious "Sarah Malcolm," charwoman and murderess, who was hanged -near Mitre Court, Fleet Street, on the 7th of March 1733, for a triple -murder. Says Dr. Trusler: "The portrait of this murderess was painted -by Hogarth, to whom she sat for her picture two days before -execution." Mrs. Malcolm is rather an attractive if a somewhat cunning -matron, and her dress is certainly becoming. The painting, in tone and -quiet characterisation, is very pleasant, and we can forgive her the -ostentatious display of the rosary. - -If only it had been possible to send "The Shrimp Girl" to Paris. That -brilliant impressionist sketch, done long before the era of -impressionism, would have astonished the French critics who are not -already acquainted with it. Indeed, "The Shrimp Girl" is something of -a miracle. She cries out from Hogarth's works, a _tour de force_, done -without premeditation, in some happy hour when the unerring hand -unerringly followed the quick eye. It is an inspiration. One may say -of it as Northcote said of Frans Hals: "He was able to shoot the bird -flying--so to speak--with all its freshness about it, which even -Titian does not seem to have done...." "The Shrimp Girl" was sold at -Mrs. Hogarth's sale in April 1790 for four pounds ten shillings, and -was purchased for the National Gallery in 1884 for two hundred and -sixty-two pounds ten shillings. After Mr. Sidney Colvin's eulogy in -_The Portfolio_, one may go to almost any extreme in expressing -admiration for "The Shrimp Girl" and other of Hogarth's paintings. -Said Mr. Colvin: "Even Reynolds and Gainsborough, colourists often of -an inexpressible loveliness, tenderness, and charm, were fumblers in -their method compared with Hogarth.... Without a school, and without -a precedent (for he is no imitator of the Dutchman), he has found a -way of expressing what he sees with the clearest simplicity, richness, -and directness." - -Simple, rich, and direct is his portrait of "Garrick and his Wife" at -Windsor Castle, a finished epic, quite unlike that lyrical sketch of -"The Shrimp Girl." "Garrick and his Wife" was painted in 1757, when -Hogarth was sixty. It is a flamboyant, decorative picture. Garrick, in -blue and gold, is seen seated at a table in a moment of inspiration, -pen in hand, cogitating the prologue to Foote's "Comedy of Taste." His -wife, in a pink dress and white fichu, stands behind him, preparing to -take the pen from his hand. She is alert and gay, he is invoking the -muse; a charming picture, but if you look closely you will observe -that Garrick's eyes are coarsely painted, "evidently by another hand." -Thereby hangs a tale, a typical Hogarthian tale of wars in words, and -in this case in deed too. Hogarth painted Garrick many times, -receiving as much as two hundred pounds for his fine portrait of the -"English Roscius" as Richard III.; but they quarrelled over the -"Garrick and his Wife," and Hogarth in a fit of irritation drew his -brush across the face, disfiguring the eyes. The picture was never -delivered, never paid for, and on Hogarth's death his widow generously -gave it to Garrick. It passed into the possession of Mr. Locker of -Greenwich Hospital, who sold it to George IV. In the memoirs of Mr. -Locker's son is the following passage: "This picture is so lifelike -that as little children we were afraid of it; so much so that my -mother persuaded my father to sell it to George IV." That is a strange -way for a picture to arrive in a royal collection. The King also owns -the quaint, merry, crowded, landscape conversation-picture called "A -View of the Mall, St. James's Park," but this evocation of the _beau -monde_ of the day promenading in cinnamon coats and peach-bloom -breeches, and the ladies in every Chanticler colour and vagary, has -been attributed by some authorities to Samuel Wale, R.A. - -Mr. Fairfax Murray is the fortunate owner of "A Fishing Party," a -small picture, nineteen by twenty-one and a half inches, which shows -that Hogarth, besides his other gifts, was a master in romantic -composition. On the border of a lake sit the fishing party--a charming -lady, a nurse, and a child in the full light, and a reflective -gentleman in the shade. The baby holds the rod, the pretty mother -guides it, and the float toys with the water. I protest that you -rarely if ever see in these days so charming a portrait group -composition as this designed by the Father of English Painting, who -virtually had no forebears, and who turned from one branch of art to -another with something of the ease of myriad-minded Leonardo. I -suspect he studied the grace of Van Dyck's compositions. - -Some of the early Victorian members of the New English Art Club would -find it disadvantageous to pit themselves against the technical -accomplishment of his tight, highly-finished "Lady's Last Stake." The -subject is banal, and half-a-dozen Dutchmen could have painted this -interior with more quality of surface and closer observance of light, -but it is "done," and the paint has not faded and cracked as have so -many works painted two hundred years later. - -"The Lady's Last Stake" was a commission from Lord Charlemont. In -1757, in one of his periodical fits of vexation, Hogarth said he would -"employ the rest of his time in portrait painting," but three years -afterwards we find him, in weathercock mood, "determined to quit the -pencil for the graver." Lord Charlemont begged him, before he "bade a -final adieu to the pencil," to paint him one picture. The result was -this morality of the handsome, wicked officer, and the young and -virtuous married lady. Mrs. Thrale was wont to allege that she sat for -the fair gambler. - -"The Stay Maker" should hang beside Watteau's "Gersaint's Sign," each -a representation of a costumier's shop, each a masterpiece, but as it -is impossible to bring together these two works by these two geniuses -who were contemporaries, and who brought about the rebirth of art in -France and England, I am quite content that "The Stay Maker" should -remain where it is, helping to decorate an exquisite room in Mr. -Edmund Davis's house. There is only one other picture on the wall--a -Gainsborough portrait. "The Stay Maker" is a sketch, almost in -monochrome, showing a man-milliner measuring a lady, while another -mondaine kisses a baby fondly, but not on its chubby face. This little -picture (thirty-five by twenty-seven inches) is full of life and -gaiety, and is as delicate in its humour as "The Enraged Musician" at -Oxford is forcible. - -When I first saw the "George II. and his Family" at the Dublin -National Gallery, I had a thrill similar to that I experienced when I -first saw "Miss Rich." It is an unfinished sketch, made when Hogarth -was Sergeant Painter. Looking at it, again we wonder what heights this -man might have reached had he received the encouragement that is given -to eminent painters of our day. But, as it was, in spite of -everything, Hogarth boxed the compass, and when he wrote "genius is -nothing but labour and diligence," the "ingenious Mr. Hogarth," as -Fielding called him, did not take into account that something else -(which is genius) that was born in him, and that he struggled to -express, and succeeded in expressing so triumphantly. And the end of -all was "The Bathos," his last design, humorous, cynical, his finis, -inscribed to his old enemies, "the dealers in dark pictures." Game to -the end was William Hogarth! - - - - -VI - -SOME PICTURES IN NATIONAL COLLECTIONS - - -If it interests you to study the variety of Hogarth's achievement in -paint, his ladder-like progress, now up, now down, visit the Hogarth -Room at the National Gallery and turn from the prim and meticulous -handling of "A Family Group" (No. 1153) to the dash and brilliancy of -his "Sister" (No. 1663); from "Sigismonda Mourning over the Heart of -Guiscardo," painted late in life, in one of his reactionary, "grand -manner" moods, a commission that the patron, Sir Richard Grosvenor, -refused to take; turn from academic, tear-sprinkled Sigismonda to the -sparkle and impulse of "The Shrimp Girl." I have already expressed my -admiration for this amazing sketch, and Sir Walter Armstrong, in his -technical analysis of the painting of "Hogarth's Sister," has said all -there is to say on the vivacious and original way in which Hogarth -handled this sympathetic subject, and the skill with which he has, as -it were, substituted light and colour for paint. Sir Walter notes that -the system of colour is that followed by Eugene Delacroix a century -later, who was under the impression that he was the innovator; that -"the high lights and the deep shadows are in each case two primaries, -which unite to form a half tone. The dress which produces the effect -of yellow is yellow in the high lights, red in the deepest shadows, -and orange in the transitions; so with the scarf, the three tints -of which are yellow, green, and blue." - - [Illustration: PLATE VII.--SIMON FRASER, LORD LOVAT, 1666-1747 - - (In the National Portrait Gallery, London) - - Here is the chief of the Fraser clan (patriot or traitor, which - you like), a study in reds, browns, corpulency and craftiness, - in the act of narrating some of his adventures, or perhaps - detailing the various Highland clans on his fingers. Lord Lovat - was executed for high treason. Hogarth journeyed to St. Albans - to get "a fair view of his Lordship before he was locked up."] - -In no other painting of Hogarth's that I have seen does he make this -striking use of primaries and complementaries. He adopted a different -technique for the robust and cheerful portrait of "Miss Lavinia -Fenton" (who became Duchess of Bolton) as "Polly Peachum" in the -"Beggar's Opera," and also for the lively representation of a scene -from the opera which he saw at Lincoln's Inn Fields in 1723. This -vivacious development of the Conversation Piece genre hangs close to -"Hogarth's Sister," and to the right is the group of his -"Servants"--six heads rather less than life size, one of the most -quietly beautiful renderings of character, seen with the eyes of -affection, with which master has ever immortalised his dependents. -After this, the "Calais Gate," or "The Roast Beef of Old England," a -record of his collision with the Calais authorities, seems grotesque -and gratuitously ugly in spite of its Hogarthian _brio_ and beautiful -colour. The carrion crow on the top of the gate is an example of his -ingenuity in extricating himself from a difficulty. The picture, when -finished, fell down, and a nail ran through the cross above the gate. -Failing to conceal the rent, Hogarth substituted for the cross a -crow, and was quite pleased. In the engraving the cross appears in its -rightful place. Carrion crow or cross! It was all one to this capable, -confident, eighteenth-century Britisher, who would as lief paint a -murderess in the condemned cell as a miss in yellow and laces, a -Teniers-like "Distressed Poet" in a garret as a Velazquez-like "Scene -from The Indian Emperor," a "Right Reverend Father in God" as the -portrait of Quin the actor, Garrick's portly rival, in full-bottomed -grey wig, lace ruffle, and brown coat richly frogged with gold. There -can be no mistake as to the identity. The portrait is inscribed "Mr. -Quin." Note the eloquent eye and the voluble mouth of this hearty -eighteenth-century mummer. - -I have kept the most popular of the Hogarth National Gallery pictures -to the last--the famous "Marriage a la Mode" series. The detail of -this "pictur'd moral" is a source of unending interest and pleasure to -an endless procession of visitors. The eighteenth century may have -found in the series a "horrible warning" of the consequences that -follow profligacy in high life, but I am perfectly sure that no one in -the twentieth century deduces any moral from this melodrama in paint. -It is more than that, it is a minute and craftsmanlike record of the -rooms and decorative adjuncts of a wealthy and fashionable man's house -in Hogarth's day, with his manner of living pushed almost to -caricature, which was Hogarth's method of satire and fierce moral -rebuke. - -The engravings tell the fatal, foolish story; but to connoisseurs the -quality and clarity of the paint is the thing. What could be more -exquisite than the characterisation of the lady in Scene II., "Shortly -after Marriage," her pretty, dissolute, provocative face, the abandon -of her figure, and the haplessness of the peer, too bored and tired -after his night's debauch even to think of remorse. The clock marks -twenty minutes after twelve in the morning, the candles beneath the -portraits of the four saints on the wall of the inner room are -guttering, a dog sniffs at a lady's cap peeping from the husband's -pocket, and the book protruding from the coat of the old steward is -titled "Regeneration." Hogarth never stayed his hand. The details are -innumerable, amusing, italicised. I look and smile quietly, returning -always to the characterisation of those two figures, the husband and -wife, so delicately observed, so exquisitely painted. - -In the middle of the wall at the National Gallery, facing the -"Marriage a la Mode" series, painted in the same year when he was -forty-eight, is Hogarth's own portrait with his dog Trump. Blue-eyed, -watchful, sturdy, wearing a fur cap, with a scar over his left eye, he -has, indeed, "a sort of knowing, jockey look." He was not a modest -man. Why should he have been? In this portrait he allows himself great -company. The oval rests on three volumes labelled "Shakespeare," -"Milton," and "Swift," and in the lower left corner, drawn on a -palette in the corner, is a serpentine curve with these lines under -it, "The Line of Beauty," the flaunting inscription which gave rise to -his book, "The Analysis of Beauty." "No Egyptian hieroglyphic ever -amused more than it [the serpentine curve] did for a time," he tells -us. The requests for a solution of the enigma were so numerous that he -wrote "The Analysis of Beauty" to explain the symbol. The book, -although shrewd in parts, was a dire failure. "The world of -professional scoffers and virtuosi fell joyously upon its obscurities -and incoherencies." The obscurities may be divined from the text of -the book, which contains "the not very definite axiom," as Mr. Dobson -calls it, attributed to Michael Angelo--"that a figure should be -always Pyramidal, Serpentine, and multiplied by one, two, and three." - -I pause to take breath, and refresh myself with an epigram that -Hogarth wrote _apropos_ this ill-starred "solution of the enigma." - - "What!--a book, and by Hogarth! then twenty to ten, - All he gain'd by the _pencil_, he'll _lose_ by the pen." - "Perhaps it may be so--howe'er, miss or hit, - He will publish--_here goes_--_it's double or quit_." - -It was an old plate of his Portrait with dog Trump, on which the "Line -of Beauty" appears, that he converted into "The Bruiser Charles -Churchill" design, his answer to Churchill's "most virulent and -vindictive satire," called "An Epistle to William Hogarth." - -There are three works by him at the National Portrait Gallery--the -early, unimportant "Committee of the House of Commons examining -Bambridge"; the strong self-portrait, "Hogarth Painting the Comic -Muse"; and that specimen of relentless and amusing characterisation, -"Simon, Lord Lovat, painted by Hogarth before his Execution for High -Treason." Hogarth journeyed to St. Albans to get "a fair view of his -Lordship before he was locked up." Here is the chief of the Fraser -clan to the life (patriot or traitor, which you like!), a study in -reds, browns, corpulency, and craftiness, in the act of narrating some -of his adventures, or perhaps detailing the various Highland clans on -his fingers. This masterful, pawky Jacobite was tried before his peers -in 1747, found guilty, and beheaded on Tower Hill. We know more of him -from Hogarth's picture than from a whole book of documents and -descriptions. - -And of all self-portraits is there one more self-revealing than -"Hogarth Painting the Comic Muse"? He was then sixty-one. With his -short-cropped grey hair he looks like a pugilist, and a pugilist he -might have been had not Nature, so casual, so inexplicable in her -gifts, chosen to plant the seeds of real artistic genius in the soul -of belligerent, brave, preposterously British William Hogarth. - - - - -VII - -THE SOANE MUSEUM AND FOUNDLING HOSPITAL - - -The "Picture Room" of the Soane Museum in Lincoln's Inn Fields, that -hushed, dim, small apartment, lighted by a lantern light, approached -by a glazed door from the crowded corridor of this dignified house, -crowded to excess with works of art collected by Sir John Soane -(1753-1837), is virtually a Hogarth Room. You enter, and facing you, -hung frame to frame, are the eight paintings illustrating "The Rake's -Progress," purchased by Sir John Soane in 1802 for five hundred and -seventy guineas. You turn to the left and your eyes alight upon Nos. 1 -and 2 of the "Four Prints of an Election," called "The Entertainment," -and "The Canvassing for Votes"; you turn to the right and there are -the second pair, "The Polling," and "The Chairing of the Member." - -Reams have been written about these pictures. I will be -reticent--space compels it--and content myself with quoting one word, -the word "matchless," used by Charles Lamb to describe the first of -the Election series. There are passages of beauty in all the scenes, -as in "The Rake's Progress," but I find so large a meal as twelve -"pictur'd morals," hustling each other, a little difficult to digest. -The Hogarth surfeit, a well-known ailment, always assails me in this -lantern-lighted room of the Soane Museum. Perhaps it is the obsession -of the "movable planes." Opening at a touch, the walls slide away and -disclose more, more, and more works of art. But I do not suffer from -Hogarth surfeit at the Foundling Hospital, over which his fatherly -spirit ever seems to brood. - -The eighteenth century and the twentieth meet at the Foundling -Hospital; the art of Hogarth, the art of his contemporaries, of young -Mr. Joshua Reynolds, and the artless lives of the foundlings who -patter the note of a past day in revivified Bloomsbury. - -You will seek in vain for modernity at the Foundling Hospital. A -reproduction of a popular picture of our day called "For Ever and -Ever, Amen," was the only example of a modern work of art in the -playroom of the little girl foundlings at the Foundling Hospital where -I found myself one Sunday. - -Of course the little girls understood the picture. Their dawning minds -can grasp a simple representation of the human gamut of love, loyalty, -and grief from childhood to age. Not for them is Hogarth's forcible, -chaotic, amazingly clever "March to Finchley," that hangs in one of -the rooms. - -But the little girls understand Hogarth's bold and picturesque -"Captain Coram" displayed in the place of honour, even though the -gallant and charitable seaman may frighten them on darkening evenings -by his very life-likeness, Hogarth's great gift. - - [Illustration: PLATE VIII.--PEG WOFFINGTON - - (In Sir Edward Tennant's Collection) - - Delightful Peg, actress, daughter of a Dublin bricklayer, known - in staid biographies as Margaret Woffington. "Her beauty and - grace, her pretty singing and vivacious coquetry, and the - exquisite art, especially of her male characters, carried all - hearts by storm." Here she is, not "dallying and dangerous" on - a couch as in the version at the Garrick Club, but very - charming, with a touch of primness that suits her. Note the - daintiness of the flower in her bosom, the delicious colour of - the dress, and the importance of the accent of the knot of - black ribbon against the gleaming pearls. Oh yes! Hogarth knew - his business.] - -Captain Coram is very much alive, "all there." Another moment and he -will start from his chair. But this founder of the hospital will not -shout at the children. This big man had a big, kind heart. His life -was a long whisper of love to the fatherless. - -It was here, at the Foundling Hospital, that Hogarth was instrumental -in forming the first public collection of pictures in this country. -Long before the National Gallery was thought of, before the Royal -Academy was born, this Foundling Hospital collection was one of the -sights of London. It was the fashionable lounge in the reign of George -II.; here was held the first exhibition of contemporary portraits. And -Hogarth, a governor and guardian of the Foundling Hospital, originated -it. - -He started the collection by presenting this portrait of Captain Coram -in 1740, and he wrote, some years later, that it is "the best portrait -in the place, notwithstanding the first painters in the kingdom -exerted all their talents to vie with it." But "the first painters" -were not a very mighty lot; they were Allan Ramsay, Cotes, Hudson, -Shackleton, Wilson, Highmore, and a young man called Reynolds, who -twenty years after Hogarth had given his "Captain Coram" presented his -"Lord Dartmouth." It is a pretty piece of delicate work, but Reynolds -was not then in his prime, and I have a shrewd suspicion that when, in -1787, he produced his magnificent "Lord Heathfield," great Sir Joshua -had cast many a glance at Hogarth's "Captain Coram," painted -forty-seven years before. - -This is a problem for the elder foundlings. The mites are content with -"For Ever and Ever, Amen." - -I watched them, after the long service in the chapel, silently and -somewhat timorously enjoying their cold mutton and hot potatoes. -Sullen rows and rows of them, all stamped by that sad something that -characterises the homeless waif, something of degradation and the -menace of the fight to come all uphill. - -But as I mused sadly on this spectacle my eyes caught sight of a -tablet on the wall, a list of many names of foundlings who had died -for their country in the Boer War. - -Well, the tears do start still sometimes. Think of that leap! Here a -foundling by chance, later a hero by choice, one of that great -brotherhood, equal in death, equally adored, of the privileged and the -brave. "_Dulce et decorum est_----" - -I am sure that Hogarth, of whom Dr Trusler wrote, "Extreme partiality -for his native country was the leading trait of his character," would -approve that tablet, and so would Captain Coram. - - - - -VIII - -THE "VILLAKIN" AT CHISWICK, AND THE END - - -The "villakin" at Chiswick where, from 1749, Hogarth spent the -summers, is not very accessible. The most romantic, if the slummiest -route, is to walk from Hammersmith Bridge through riverside alleys and -by sedate Thames terraces to Chiswick Mall. Then turn up through the -village, virtually unspoilt, a lane of old London still treated with -respect. At the beginning of the village the churchyard flanks the -street, and if you look through the gates you will see Hogarth's -conspicuous, important, and ugly tomb. If you obtain admittance to the -churchyard you will find carved upon the tomb a mask, a laurel -wreath, maul-stick, palette, pencils, the title of his unfortunate -book, "The Analysis of Beauty," and his epitaph, written by Garrick:-- - - "Farewell, great painter of Mankind! - Who reach'd the noblest point of Art, - Whose _pictur'd Morals_ charm the Mind, - And through the Eye correct the Heart. - If Genius fire thee, Reader, stay: - If _Nature_ touch thee, drop a Tear; - If neither move thee, turn away, - For Hogarth's honour'd dust lies here." - -I do not think you will drop a tear. I do not think Hogarth's -"pictur'd morals" will ever correct your heart; but you may in passing -meditate upon the differences in epitaphs throughout the world--this -on Hogarth's tomb, for example, and that in a German churchyard copied -by a chance pilgrim:-- - - "I will awake, O Christ, when Thou callest me, but let me sleep - a little, for I am very tired." - -Tearless, heart uncorrected, yet you will uncover before the "honour'd -dust" of the Father of English Painting, forthright and forcible, who -endured to the end, and whose name is imperishable. Then you pass on -up Hogarth Lane to the "villakin," no longer in fields open to the -country and the river, but amidst a multitude of little dwellings and -little streets, noisy with children and the rumble of infrequent -traffic. The narrow, Georgian, red-brick house, the "villakin," stands -in a garden surrounded by a high wall. There, in the quiet, empty, -memory-haunted house, the spirit of Hogarth may be truly evoked. - -This place where the dead live is preserved, tended, and open to the -public through the generosity of Colonel Shipway, who, in 1902, -"presented it to the nation and to the Art World in memory of the -Genius that once lived and worked within its walls." Happy work, for -in Hogarth's time Chiswick was fresh and green, and the panelled rooms -of his summer lodging were reposeful, and there was, and is, a -hanging, projecting bay window on the first floor overlooking the -garden, where he would sit and talk with his friends, with Garrick, -and Fielding, and Townley, and plan and scheme diatribes in print and -pencil, and invent pictorial chronicles. The green space is smaller -than it was, and the studio has been pulled down, but the garden is -well tended and secluded. Four of the large trees, including the -hawthorn where the nightingales sang, are gone, but the ancient -mulberry still remains, with the fruit of which Hogarth was wont to -regale the children of rural Chiswick. Gone is the tomb of Pompey the -dog; and the stone with the carving recording the death of Dick the -bullfinch, inscribed with his own hand, "Alas! poor Dick! 1760. Aged -11," has also disappeared. - -The living rooms, one on the ground floor and three on the first -floor, are now hung with engravings of his works--fine proofs, ranging -from his first important essays, the unamusing "Burlington Gate" and -the masterly "Hudibras" series, published before he was thirty, to the -valedictory "Bathos." To those who know Hogarth only through the -piracies of his engravings and the worn impressions that have been -scattered through the land, these brilliant proofs are a revelation. -Rich, velvety, direct and accomplished in technique, the subjects have -little of the amenities that moderns have been trained to expect in -art-productions of a popular kind. Hogarth knew his own mind and his -public. His moralities, he said, "were addrest to hard hearts. I have -preferred leaving them _hard_, and giving the effect, by a quick -touch, to rendering them languid and feeble by fine strokes and soft -engraving, which require more care and practice than can often be -attained, except by a man of a very quiet turn of mind." - -He was not a man of a "quiet turn of mind." He was a fighter, and an -artist who never spared himself, and who went straight to his goal -without circumlocution. With a few strokes he could give -lasciviousness to a lip, desire to an eye, scorn and contempt often, -nobility rarely. His Industrious Apprentice is merely bland, merely -smug. But as a technician he was superb within his limits. The plates -bearing the words, "Inscribed, Printed, Engraved and Published by -William Hogarth," are magnificent. In them Hogarth the artist and -Hogarth the fighter and scorner mingle. I turn from the sentiment of -"The Distressed Poet," from the force of "The Enraged Musician," from -the daintiness of the second scene of "Marriage a la Mode," to the -contempt and scorn of "Portrait of John Wilkes," and to his amazing -misunderstanding of Rembrandt expressed in his burlesque of his own -"Paul Before Felix," with this legend: "Design'd and etch'd in the -rediculous manner of Rembrant [the spelling is his own], by William -Hogarth." But what a man he was! sure of himself, certain of his -power. His original sketches, many of which are at the British Museum, -antedate Rowlandson, whose manner may have been founded on Hogarth. - -Enduring to the end, Hogarth busied himself towards the close of his -life retouching and repairing his plates, one of which, "The Bench," -he was working upon at Chiswick the day before his death. It is said -that he had premonition of a coming breakdown. "Very weak, but -remarkably cheerful," he was conveyed on October 25, 1764, from -Chiswick to his town house in Leicester Fields, and if _in extremis_ -we do see, as in a timeless vision, the run of our past lives, Hogarth -in that jolting journey through eighteenth-century London, an ill man -of sixty-seven, may have recalled the salient scenes of his rushing -life. - -There was the memory of his father, school-master and corrector for -the press in Ship Court, Old Bailey, whose little son, great William, -was born in Bartholomew Close and baptized at the church of -Bartholomew the Great. There was his apprenticeship to the -silver-plate engraver Ellis Gamble; the development of his technical -memory for the forms of things; his growing power of swift drawing; -his first prints; his lawsuit against Morris, which was practically to -prove to the world that he was a painter as well as an engraver; his -runaway marriage with the daughter of Sir James Thornhill; the success -of the Progresses; his fight with the pirates; his scorn of -conventional connoisseurship; the visit of this hardened Britisher to -France, where "he pooh-poohed the houses, the furniture, the -ornaments, and in the streets was often clamorously rude"; his -serio-comic arrest at Calais; his progress in art and reputation; the -house in Leicester Fields; his appointment as Sergeant Painter; his -quarrel with Wilkes and Churchill--all the vicissitudes of that full, -fighting, hard-working, outstanding life; and now--is this the last -journey? - -"What will be the subject of your next print?" a friend asked Hogarth. - -"The End of All Things!" was his reply. - -That "Bathos" plate was prophetical. - -Well, the journey is over. He has arrived in Leicester Fields. That -night, going to bed, "he was seized with a vomiting, upon which he -rang his bell with such violence that he broke it [that was so like -Hogarth], and expired about two hours afterwards." - -His house, the last but two on the east side of Leicester Square, -became later the smaller half of the Sabloniere, or Jaquier's Hotel. -It is now Archbishop Tenison's school. From the windows you look down -upon the white bust by Joseph Durham, lean and watchful, that stands -in a corner of modern, spruce Leicester Square. - -I should like to see carved upon the bust the characteristic -concluding passage of Hogarth's disjointed autobiography:-- - -"This I can safely attest, I have invariably endeavoured to make those -about me tolerably happy, and my greatest enemy cannot say I ever did -an intentional injury: though, without ostentation, I could produce -many instances of men that have been essentially benefited by me. What -may follow, God knows." - -We know what has followed in this world--acknowledgment, admiration, -the title of the Father of British Painting, and the example of a man -who endured to the end, which is the most difficult of all the -enterprises of life. For the end approaches to most of us when we are -weakest. Hogarth broke the bell-rope. - - - - - -End of the Project Gutenberg EBook of Hogarth, by C. 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