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- color: black; - font-size:90%; - padding:0.5em; - margin-top:5em; - margin-bottom:5em; - font-family:sans-serif, serif; -} - -.transnote p {text-indent: 0em;} - -.customcover {visibility: hidden; display: none;} -@media handheld { - .customcover {visibility: visible; display: block;} -} - - </style> - </head> - -<body> - - -<pre> - -The Project Gutenberg EBook of Hogarth's Works, Volume 2 (of 3), by -John Ireland and John Nichols - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Hogarth's Works, Volume 2 (of 3) - With life and anecdotal descriptions of his pictures - -Author: John Ireland - John Nichols - -Release Date: May 3, 2016 [EBook #51978] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS, VOLUME 2 (OF 3) *** - - - - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - - -<div class="transnote"> -<p><strong>TRANSCRIBER'S NOTE</strong></p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Footnotes have been moved to the end of the book text, and before -the publisher's Book Catalog. Some Footnotes are very long.</p> - -<p class="screenonly">To avoid duplication, the page numbering in the publisher's Book -Catalog at the back of the book has a suffix C added, so that for -example page [23] in the Catalog is denoted as [23C].</p> - -<p>The 3-star asterism symbol in the Catalog is denoted by ⁂. On -some handheld devices it may display as a space.</p> - -<p class="customcover">The cover was created by the transcriber and is placed -in the public domain.</p> - -<p>More detail can be found at the <a href="#TN">end of the book</a>.</p> -</div> - - - -<hr class="chap pg-brk" /> - -<p class="p6" /> -<h1>HOGARTH'S WORKS:<br /> - -<span class="xs">WITH</span><br /> - -<span class="medium"><em>LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES.</em></span><br /> - -<span class="xl">—</span><span class="small">◆</span><span class="xl">—</span><br /> - -<span class="medium">SECOND SERIES.</span></h1> -<p class="p4" /> - - -<hr class="chap pg-brk" /> - -<p class="p2" /> -<div class="figcenter"> -<a name="FP" id="FP"></a> -<img src="images/i_frontis.jpg" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE I.</div> -</div> - - -<hr class="chap pg-brk" /> - -<div> -<p class="pfs180 lsp"> -HOGARTH'S WORKS:</p> -<br /> -<p class="pfs70">WITH</p> -<br /> -<p class="pfs120"><em>LIFE AND ANECDOTAL DESCRIPTIONS OF HIS PICTURES</em>.</p> -<br /> -<p class="pfs80">BY</p> -<br /> -<p class="pfs100"><span class="smcap">JOHN IRELAND and JOHN NICHOLS, F.S.A.</span></p> - -<div class="figcenter"><br /> -<img src="images/colophon-150.jpg" alt="" /><br /> -</div> - -<p class="pfs90"><em>THE WHOLE OF THE PLATES REDUCED IN EXACT<br /> -FAC-SIMILE OF THE ORIGINALS.</em></p> -<br /> -<p class="pfs100 lsp">Second Series.</p> -<br /> -<p class="pfs100 antiqua lsp">London:</p> -<p class="pfs120">CHATTO AND WINDUS, PUBLISHERS.</p> -<p class="pfs70">(<em>SUCCESSORS TO JOHN CAMDEN HOTTEN.</em>)</p> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - -<h2><span class="large">LIST OF PLATES</span></h2> - -<p class="pfs100">DESCRIBED IN THE SECOND SERIES.</p> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<div class="center fs90"> -<table border="0" cellpadding="4" cellspacing="4" width="95%" summary="List of Plates"> -<tr><td class="tdl"></td><td class="tdr xs">PAGE</td></tr> -<tr><td class="tdl"><span class="smcap">Marriage a la Mode—</span></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate I.</span> The Marriage Settlement,</td><td class="tdr wd15"><em><a href="#FP">Frontispiece</a></em></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate II.</span> The Viscount and his Lady at Home,</td><td class="tdr"><a href="#MM_II">24</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate III.</span> The Viscount's Visit to the Quack Doctor,</td><td class="tdr"><a href="#MM_III">28</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate IV.</span> The Countess's Morning Levee,</td><td class="tdr"><a href="#MM_IV">36</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate V.</span> The Husband killed in a Bagnio,</td><td class="tdr"><a href="#MM_V">40</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate VI.</span> Death of the Countess,</td><td class="tdr"><a href="#MM_VI">44</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">First Stage of Cruelty,</span></td><td class="tdr"><a href="#SC_I">54</a></td></tr> -<tr><td class="tdl"><span class="smcap">Second Stage of Cruelty,</span></td><td class="tdr"><a href="#SC_II">56</a></td></tr> -<tr><td class="tdl"><span class="smcap">Cruelty in Perfection,</span></td><td class="tdr"><a href="#SC_III">58</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Reward of Cruelty,</span></td><td class="tdr"><a href="#SC_IV">62</a></td></tr> -<tr><td class="tdl"><span class="smcap">Beer Street,</span></td><td class="tdr"><a href="#BS">66</a></td></tr> -<tr><td class="tdl"><span class="smcap">Gin Lane,</span></td><td class="tdr"><a href="#GL">68</a></td></tr> -<tr><td class="tdl"><span class="smcap">Paul before Felix</span> (Burlesqued),</td><td class="tdr"><a href="#PF">74</a></td></tr> -<tr><td class="tdl"><span class="smcap">Paul Preaching before Felix,</span></td><td class="tdr"><a href="#PP_I">76</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Same—Another Engraving,</span></td><td class="tdr"><a href="#PP_II">78</a></td></tr> -<tr><td class="tdl"><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span> - <span class="smcap">Moses and Pharaoh's Daughter,</span></td><td class="tdr"><a href="#MP">82</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">Four Prints of an Election—</span></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate I.</span> The Entertainment,</td><td class="tdr"><a href="#EL_I">88</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate II.</span> Canvassing for Votes,</td><td class="tdr"><a href="#EL_II">98</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate III.</span> The Polling,</td><td class="tdr"><a href="#EL_III">106</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate IV.</span> Chairing the Member,</td><td class="tdr"><a href="#EL_IV">112</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">The March to Finchley,</span></td><td class="tdr"><a href="#MF">122</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">The Invasion—</span></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate I.</span> France,</td><td class="tdr"><a href="#FE_I">140</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate II.</span> England,</td><td class="tdr"><a href="#FE_II">142</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">The Cockpit,</span></td><td class="tdr"><a href="#CP">146</a></td></tr> -<tr><td class="tdl"><span class="smcap">Credulity, Superstition, and Fanaticism,</span></td><td class="tdr"><a href="#CS">160</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Times—</span></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate I.,</span></td><td class="tdr"><a href="#TT_I">180</a></td></tr> -<tr><td class="tdl pad4"><span class="smcap">Plate II.,</span></td><td class="tdr"><a href="#TT_II">208</a></td></tr> -<tr><td></td></tr> -<tr><td class="tdl"><span class="smcap">John Wilkes, Esq.,</span></td><td class="tdr"><a href="#JW">222</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Rev. C. Churchill,</span></td><td class="tdr"><a href="#CC">228</a></td></tr> -<tr><td class="tdl"><span class="smcap">Boys Peeping at Nature</span> (2 Plates),</td><td class="tdr"><a href="#BP">244</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Laughing Audience,</span></td><td class="tdr"><a href="#LA">246</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Lecture,</span></td><td class="tdr"><a href="#LE">250</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Orchestra,</span></td><td class="tdr"><a href="#OR">254</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Company of Undertakers,</span></td><td class="tdr"><a href="#CU">258</a></td></tr> -<tr><td class="tdl"><span class="smcap">Character and Caricature,</span></td><td class="tdr"><a href="#DI">266</a></td></tr> -<tr><td class="tdl"><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span> - <span class="smcap">Sarah Malcolm,</span></td><td class="tdr"><a href="#SM">268</a></td></tr> -<tr><td class="tdl"><span class="smcap">Columbus Breaking the Egg,</span></td><td class="tdr"><a href="#CO">276</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Five Orders of Periwigs,</span></td><td class="tdr"><a href="#PE">284</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Bench,</span></td><td class="tdr"><a href="#BE">290</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Beggars' Opera,</span></td><td class="tdr"><a href="#BO">292</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Indian Emperor,</span></td><td class="tdr"><a href="#CM">300</a></td></tr> -<tr><td class="tdl"><span class="smcap">The Bathos,</span></td><td class="tdr"><a href="#BA">312</a></td></tr> -</table></div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_vii.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> - -<h2>HOGARTH ILLUSTRATED.</h2> - -<div class="figcenter"> -<img src="images/sep.jpg" alt="" /> -</div> - -<h3>MARRIAGE A LA MODE.</h3> - -<p class="pfs80">"'Tis from high life our characters are drawn."</p> - -<div> -<img class="drop-cap" src="images/dc_001.jpg" alt="" /> -</div> - -<p class="drop-cap">In his preceding prints Mr. Hogarth generally -pointed his satire at persons in a -subordinate situation, and took his examples -from the inferior ranks of society. From the -situation of his characters, and the minute precision -with which he displayed the scenes he professed to -delineate, we sometimes see little violations of that -decorum which is perhaps necessary in engravings -professedly designed for furniture. For this neglect -of delicacy some of his prints were censured; to -remove all apprehensions of this series being liable -to the same objections, they were thus announced -in the <cite>London Daily Post</cite> of April 7, 1743:—</p> - -<div class="blockquot"> - -<p>"Mr. Hogarth intends to publish, by subscription, -six prints from copperplates, engraved by the best -masters in Paris after his own paintings; the heads,<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span> -for the better preservation of the characters and -expressions, to be done by the author, representing -a variety of modern occurrences in high life, and -called 'Marriage à la Mode.'</p> - -<p>"Particular care is taken that the whole work shall -not be liable to exception, on account of any indecency -or inelegancy; and that none of the characters -represented shall be personal, etc."</p></div> - -<p>The artist has adhered to his engagement: he has -struck at an higher order, and displayed the follies -and vices which frequently degrade our nobility. He -has exhibited the prospect of a fashionable marriage, -where the gentleman is attracted by riches, and the -lady by ambition. That misery and destruction -succeeded an union founded upon such principles is -not to be wondered at; the progress of that misery, -and the final destruction of the actors, is so delineated -as to form a regular and well-divided tragedy. In -the first act are represented five principal characters; -and three of them, by a regular chain of incidents -naturally flowing from each other, fall victims to -their own vices. The young nobleman, for attempting -to revenge the violation of his wife's virtue, which -he never cherished, is killed by her paramour, who -for this murder suffers an ignominious death; and the -lady, distracted at the reflection of having been the -cause of their lives terminating in so horrid a manner, -makes her own quietus with a dose of laudanum.<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> -This is painting to the understanding, appealing to -the heart, and making the pencil an advocate in the -cause of morality. It is doing that poetical justice -which our dramatists have sometimes neglected, and -in which they have perhaps been justified by the -common events of human life; for it must be acknowledged, -that while virtue is frequently unfortunate, we -often see vice successful. Notwithstanding this, those -pictures are surely best calculated to encourage men -in the practice of the social duties which display -the evils consequent upon their violation. Whatever -poetical justice may allow, morality demands that -some examples should be held up to prove "that -the omission of a duty frequently leads to the perpetration -of a crime; and that crimes of so black a -dye as are here represented, almost invariably terminate -in wretchedness, infamy, and death."</p> - -<p>The original pictures were, on the 6th of June 1750, -purchased by Mr. Lane of Hillingdon, near Uxbridge, -for one hundred and twenty guineas!—a price so inadequate -to their merit, and to what it might have -been fairly presumed they would have produced even -at that time, that it becomes difficult to account for -it in any other way than by supposing that the strange -way in which Mr. Hogarth ordered the auction to -be conducted puzzled the public, who, not exactly -comprehending this new mode of bidding, declined -attending or bidding at all.</p> - -<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p> - -<p>The following particulars relative to the sale were -communicated by Mr. Lane to Mr. John Nichols:—</p> - -<p>"Some time after the pictures had been finished, -perhaps six or seven years, they were advertised to be -sold by a sort of auction, not carried on by personal -bidding, but by a written ticket, on which every one -was to put the price he would give, with his name -subscribed to it. These papers were to be received by -Mr. Hogarth for the space of one month, and the -highest bidder at twelve o'clock, on the last day of -the month, was to be the purchaser: none but those -who had in writing made their biddings were to be -admitted on the day that was to determine the sale. -This <i lang="fr" xml:lang="fr">nouvelle</i> method of proceeding probably disobliged -the public, and there seemed to be at that -time a combination against poor Hogarth, who, perhaps, -from the extraordinary and frequent approbation -of his works, might have imbibed some degree -of vanity, which the town in general, friends and foes, -seemed resolved to mortify. If this was the case (and -to me it is very apparent), they fully effected their -design; for on the memorable 6th of June 1750, which -was to decide the fate of this capital work, about -eleven o'clock, Mr. Lane, the fortunate purchaser, -arrived at the Golden Head, when, to his great surprise, -expecting (what he had been a witness to -in 1745, when Hogarth disposed of many of his -pictures) to have found his painting room full of noble<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -and great personages, he only found the painter and -his ingenious friend Dr. Parsons, secretary to the -Royal Society, talking together, and expecting a -number of spectators at least, if not of buyers. Mr. -Hogarth then produced the highest bidding, from a -gentleman well known, of £110. Nobody coming in, -about ten minutes before twelve, by the decisive clock -in the room, Mr. Lane told Mr. Hogarth he would -make the pounds guineas. The clock then struck -twelve, and Hogarth wished Mr. Lane joy of his -purchase, hoping it was an agreeable one. Mr. Lane -answered, 'Perfectly so.' Now followed a scene of -disturbance from Hogarth's friend the Doctor, and -what more affected Mr. Lane, a great appearance of -disappointment in the painter, and truly with great -reason. The Doctor told him he had hurt himself -greatly by fixing the determination of the sale at so -early an hour, when the people in that part of the -town were hardly up. Hogarth, in a tone and manner -that could not escape observation, said, 'Perhaps it -may be so!' Mr. Lane, after a short pause, declared -himself to be of the same opinion; adding, that the -artist was very poorly rewarded for his labour, and if he -thought it would be of service to him, would give him -till three o'clock to find a better purchaser. Hogarth -warmly accepted the offer, and expressed his acknowledgments -for this kindness in the strongest terms. -The proposal likewise received great encomiums from<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -the Doctor, who proposed to make it public. This -was peremptorily forbidden by Mr. Lane, whose concession -in favour of our artist was remembered by -him to the time of his death. About one o'clock, -two hours sooner than the time appointed, Hogarth -said he could no longer trespass on his generosity, -but that if he was pleased with his purchase, he himself -was abundantly so with the purchaser. He then -desired Mr. Lane to promise that he would not dispose -of the pictures without previously acquainting -him of his intention, and that he would never permit -any person, under pretence of cleaning, to meddle -with them, as he always desired to take that office -on himself. This promise was readily made by Mr. -Lane, who has been tempted more than once by Mr. -Hogarth to part with his bargain at a price to be -named by himself. When Mr. Lane bought the -pictures they were in Carlo Maratte frames, which -cost the painter four guineas a-piece."</p> - -<p>On the death of Mr. Lane the six pictures became -the property of his nephew Colonel Cawthorne, and -were in the summer of 1792 put up by auction at -Mr. Christie's, and the proprietor bought them in at -nine hundred guineas.</p> - -<p>They were a short time afterwards purchased by -Mr. Angerstein, at one thousand guineas, and are -now in his very fine collection.</p> - -<p>If considered in the aggregate,—in conception,<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -character, drawing, pencilling, and colouring,—it will -not be easy, perhaps not possible, to find six pictures -painted by any artist, in any age or country, in which -such variety of superlative merit is united.</p> - -<hr class="tb" /> - -<p>Since the publication of the first edition of these -volumes, the following description of "Marriage à la -Mode" was found among the papers of the late Mr. -Lane of Hillingdon; and his family believe it to be -Hogarth's Explanation, either copied from his own -handwriting, or given verbally to Mr. Lane at the -time he purchased the pictures. It is subjoined, that -the reader may form his own judgment:—</p> - - -<p class="p2 pfs100 lsp">EXPLANATION</p> - -<p class="p2 pfs70">OF THE PAINTINGS OF THE LATE MR. HOGARTH, CALLED</p> - -<p class="p1 pfs100 lsp">MARRIAGE A LA MODE.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Where Titles deign with Cits to have and hold,</p> -<p class="verse">And change rich blood for more substantial gold;</p> -<p class="verse">And honour'd trade from interest turns aside,</p> -<p class="verse">To hazard happiness for titled pride."—<span class="smcap">Garrick.</span></p> -</div></div> - - -<p class="p1 pfs100"><em>The First Picture.</em></p> - -<p>"There is always a something wanting to make men -happy: the great think themselves not sufficiently -rich, and the rich believe themselves not enough -distinguished. This is the case of the Alderman of<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -London, and the motive which makes him covet for -his daughter the alliance of a great lord; who, on his -part, does not consent thereto but on condition of -enriching his son;—and this is what the painter calls -marriage <i lang="fr" xml:lang="fr">à la mode</i>.</p> - -<p>"These sort of marriages are truly but too common -in England; and it is, moreover, not unfrequent -to see them unhappy as they are ill chosen. The two -figures of the Alderman and the Earl are in every -respect so well characterized that they explain themselves. -The Alderman, with an air of business, -counts his money like a man used to this employment; -and the Earl, full of his titles and the greatness -of his birth, which he lets you see goes as high -as William the Conqueror, is in an attitude which -shows him full of pride; you think you hear him say -<em>me</em>, <em>my</em> arms, <em>my</em> titles, <em>my</em> family, <em>my</em> ancestors: -everything about him carries marks of distinction; -his very crutches, the humbling consequence of his -infirmities, are decked with an earl's coronet; these -infirmities are introduced here as the usual consequence -of that irregularity of living but too frequent -among the great. The two persons who are betrothed, -on their parts are by no means attentive to -one another: the one looks at himself in the glass, is -taking snuff, and thinking of nothing; the other is -playing negligently with a ring, and seems to hear -with indifference the conversation of a kind of a<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -lawyer who attends the execution of the marriage -articles. Another lawyer is exclaiming with admiration -on the beauty of a building seen at a distance, -and upon which the Earl has spent his whole fortune, -and has not sufficient to finish the same. A number -of idle footmen, who are about the court of this -building, finish the representation of the ruinous -pageantry in which the Earl is engaged."</p> - - -<p class="p1 pfs100"><em>The Second Picture.</em></p> - -<p>"That indifference between the parties which preceded -marriage <i lang="fr" xml:lang="fr">à la mode</i> has not been wanting to -follow it. We unite ourselves by contract, and we -live separately by inclination. Tired and fatigued -one of another, such husbands and wives have nothing -in common but a house, tiresome to the husband, and -into which he enters as late as he can; and which -would not be less tiresome to the lady, was it not -sometimes the theatre of other pleasures, either in -entertainments or routs. There is here represented -a room where there has just been one of these routs, -and the company just separated, as you see by the -wax candles not yet extinguished. The clock shows -you it is noon; and this anticipation of the night -upon the day is not the slightest of those strokes -which are intended to show the disorder which reigns -in the house. Madam, who has just had her tea, -is in an attitude which explains itself perhaps too<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -much. Be that as it will, the painter's intention is -to represent this lady neglected by her husband, -under dispositions which make a perfect contrast with -the present situation of this husband, who is just -come home, and who appears in a state of the most -perfect indifference; fatigued, exhausted, and glutted -with pleasure. This figure of the husband, by the -novelty of its turn, the delicacy and truth of its -expression, is most happily executed. A steward of -an old stamp, one of those, if such there be, who are -contented with their salary, seizes this moment, not -being able to find another, to settle some accounts. -The disorder which he perceives gives him a motion -which expresses his chagrin, and his fear for the -speedy ruin of his master."</p> - - -<p class="p1 pfs100"><em>The Third Picture.</em></p> - -<p>"The bad conduct of the hero of the piece must be -shown here; the painter for this purpose introduces -him into the apartment of a quack, where he would -not have been but for his debauchery. He makes -him meet at the same time, at this quack's, one of -those women who, being ruined themselves long -since, make afterwards the ruin of others their occupation. -A quarrel is supposed to have arisen between -this woman and our hero, and the subject thereof -appears to be the bad condition, in point of health, of -a young girl, from a commerce with whom he had<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -received an injury. This poor girl makes here a -contrast, on account of her age, her fearfulness, her -softness, with the character of the other woman, who -appears a composition of rage, madness, and of all -other crimes which usually accompany these abandoned -women towards those of their own sex. The -doctor and his apartment are objects thrown in by -way of episode. Although heretofore only a barber, -he is now, if you judge by the appearance he makes, -not only a surgeon, but a naturalist, a chemist, a -mechanic, a physician, and an apothecary; and to -heighten the ridicule, you see he is a Frenchman. -The painter, to finish this character according to his -own idea, makes him the inventor of machines extremely -complicated for the most simple operations; -as, one to reduce a dislocated limb, and another to -draw the cork out of a bottle."</p> - - -<p class="p1 pfs100"><em>The Fourth Picture.</em></p> - -<p>"This piece is amusing by the variety of characters -therein represented. Let us begin with the principal; -and this is Madam at her toilette: a French <i lang="fr" xml:lang="fr">valet de -chambre</i> is putting the finishing stroke to her dress. -The painter supposes her returned from one of those -auctions of old goods, pictures, and an hundred other -things which are so common at London, and where -numbers of people of condition are duped. It is -there that, for emulation, and only not to give place<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -to another in point of expense, a woman buys at a -great price an ugly pagod, without taste, without -worth, and which she has no sort of occasion for. It -is there also that an opportunity is found of conversing, -without scandal, with people whom you cannot -see anywhere else. The things which you see on -the floor are the valuable acquisitions our heroine has -just made at one of those auctions. It is extremely -fashionable at London, to have at your house one -of those melodious animals which are brought from -Italy at great expense; there appears one here, -whose figure sufficiently distinguishes him to those -who have once seen one of those unhappy victims of -the rage of Italians for music. The woman there is -charmed, almost to fainting, with the ravishing voice -of this singer; but the rest of the company do not -seem so sensible of it. The country gentleman, -fatigued at a stag or a fox chase, is fallen asleep. -You see there, with his hair in papers, one of those -personages who pass their whole life in endeavouring -to please, but without succeeding; and there, -with a fan in his hand, you see one of those heretics -in love, a disciple of Anacreon. You see likewise, on -the couch, the lawyer who is introduced in the first -picture, talking to the lady. He appears to have -taken advantage of the indifference of the husband, -and that his affairs are pretty far advanced since the -first scene. He is proposing the masquerade to his<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -mistress, who does not fail to accept of it. The next -piece proceeds to present to you the frightful consequences -of this step."</p> - - -<p class="p1 pfs100"><em>The Fifth Picture.</em></p> - -<p>"The houses of bagnio-keepers are yet at Paris -what they were heretofore at London: but now the -bath is but the accessory, the appendix of the bagnio-keepers -of this country, and excepting two or three of -their houses, the others have for the principal view -of their establishment the reception of any couple, -well or ill sorted, who are desirous of a chamber, or a -bed, for an hour or a night. The price is fixed in -each house: there are some where you pay five -shillings, in others half a guinea: you enter both into -one and the other at any time with a great deal of -safety, and are received there with all the complaisance -imaginable. Nothing is better furnished, more clean, -and better conducted than these houses of debauchery. -The masqueraders often make assignations at these -places; and it is for such an assignation that our -heroine has accepted of the ticket which her lover -offers her in the former piece. A husband, whose -wife goes to the masquerade without him, is not -without his inquietudes; it is natural that ours here -has secretly followed his wife thither, and from thence -to the bagnio, where he finds her in bed with the -lawyer. They fight;—the husband is mortally<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -wounded: his wife, upon her knees, is making useless -protestations of her remorse. The watchmen enter; -and the lawyer, in his shirt, is getting out of the -window."</p> - - -<p class="p1 pfs100"><em>The Sixth Picture.</em></p> - -<p>"We are now at the house of the Alderman. London -Bridge, which is seen through the window, shows -the quarter where the people of business live. The -furniture of this house does not contribute to its -ornament;—everything shows niggardliness; and the -dinner, which is on the table, the highest frugality. -You see the tobacco-pipes set by in the corner: this, -too, is a mark of great economy. Some pictures you -see, upon very low subjects, to give you to understand -by this choice that persons who, like the Alderman, -pass their whole life in thinking of nothing but enriching -themselves, generally want taste and elegance. -Besides, everything here is contrasted with what you -saw at the Earl's: the pride of one, and the sordidness -of the other, are always equally ridiculous by -the odd subjects of the pictures which are there seen; -but generally in the choice of pictures, neither the -analogy, taste, or agreement one with another are -consulted. The broker only is advised with, who on -his part consults only his own interest, of which he -is much more capable of being a judge than he is of -painting; like a seller of old books, who knows how<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -to say, Here is an Elzevir Horace, or one of the -Louvre edition,—and who knows all this without -being acquainted with poetry, or capable of distinguishing -an epigram from an epic poem. There is -only one difference between a bookseller and a broker: -the first has certain marks by which he knows the -edition; and the other is obliged to have recourse to -inspiration, which is the only way whereby he is able -to judge infallibly, as he does, whether a picture is an -original or no. But to return to our subject. The -daughter of the Alderman, now a widow, is returned -to her father. Her lover has been taken and hanged -for the murder of her husband: this she has learned -from the dying speech which is at her foot upon the -floor. A conscience disturbed and tormented with -remorse is very soon driven to despair. This woman, -who by the consequence of her infidelity has destroyed -her husband, her lover, her reputation, and -her quiet, has nothing to lose but her life. This she -does by taking laudanum. She dies. An old servant -in tears makes her kiss her child, the melancholy -production of an unfortunate marriage. The Alderman, -more sensible of the least acquisition than of -the most tragical events, takes, without emotion, a -ring from the finger of his expiring daughter. The -apothecary is severely reprimanding the ridiculous -footman of the house who had procured the poison, -the effects of which finish the catastrophe."</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p> - -<p>Thus ends this explanation; and whether it was -copied from what Hogarth wrote, or, as is more probable, -made up from verbal remarks which he had -made at different times, it does not in any material -points differ from the following description of the -plates, which was published some years before the -editor saw or heard of the above paper.</p> - - -<p class="p2" /> -<h4>PLATE I.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">While the proud Earl of Rollo's royal race</p> -<p class="verse">Points to the peers his pompous parchment grace;</p> -<p class="verse">Builds all his honours on a noble name,</p> -<p class="verse">And on his father's deeds depends for fame;</p> -<p class="verse">The wary citizen, with heedful eye,</p> -<p class="verse">Inspects what's settled on posterity;</p> -<p class="verse">Pours out the pelf by rigid avarice pil'd,</p> -<p class="verse">To gain an empty title for his child.</p> -<p class="verse5">In vain the pomp, in vain the gold,</p> -<p class="verse5">Love cannot thus be bought and sold;</p> -<p class="verse5">Such sordid motives he disdains,</p> -<p class="verse5">Nor can be bound in Mammon's chains.</p> -<p class="verse">With cold contempt, disgust, and deadly hate,</p> -<p class="verse">The new-made wife regards her tawdry mate;</p> -<p class="verse">While he, Narcissus-like, with eager gaze,</p> -<p class="verse">Eyes those fine features which his glass displays,</p> -<p class="verse">In his own person centres all his pride,</p> -<p class="verse">And as his bride loves him, he loves his bride.</p> -<p class="verse4">Like Satan, whispering in the ear of Eve</p> -<p class="verse">(By nature form'd to ruin and deceive),</p> -<p class="verse">A black-rob'd, smooth-tongued son of Belial see,</p> -<p class="verse">That would betray his Saviour for a fee;</p> -<p class="verse">With base, insidious smile, and tender air,</p> -<p class="verse">Bend o'er the inexperienc'd, thoughtless fair,</p><span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -<p class="verse">Assaying by his devilish art to reach</p> -<p class="verse">The organs of her fancy, and to teach</p> -<p class="verse">Pernicious, wicked tenets, that would taint</p> -<p class="verse">The pure chaste virgin or the hallowed saint;</p> -<p class="verse">Tenets of baneful, deadly, sinful dye,</p> -<p class="verse">That lead to shame, remorse, and infamy.—E.</p> -</div></div> - -<p class="p1" /> -<p class="noindent">It has been observed that woman, among savages, -is a beast of burden; in the East, a piece of furniture; -and in Europe, a spoiled child. Under the last -denomination we may safely class the heroine of this -history. She has all the pouting humours of a boarding-school -girl. This alliance originated in her father -wishing to aggrandize his family, and the sire of the -Viscount wishing to clear his estate. These purposes -answered, the two patriarchs troubled themselves no -further. A similarity of disposition, or union of -hearts, the nobleman considered as too vulgar an -idea for a man of rank; and in the citizen's ledger of -happiness there were no such items. Their dispositions -are strongly marked by the different objects -which engage their attention.</p> - -<p>The portly nobleman, with the conscious dignity of -high birth, displays his genealogical tree, the root of -which is "William Duke of Normandy, and conqueror -of England." The valour of his great progenitor, -and the various merits of the collateral branches -which dignify his pedigree, he considers as united in -his own person, and therefore looks upon an alliance -with his son as the acme of honour, the apex of<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -exaltation. While he is thus glorying in the dust -of which his ancestors were once compounded, the -prudent citizen, who in return for it has parted with -dust of a much more weighty and useful description, -paying no regard to this heraldic blazonry, devotes -all his attention to the marriage settlement. The -haughty and supercilious Peer is absorbed in the -contemplation of his illustrious ancestry, while the -worshipful Alderman, regardless of the past, and considering -the present as merely preparatory for the -future, calculates what provision there will be for a -young family. Engrossed by their favourite reflections, -neither of these sagacious personages regards -the want of attachment in those who are to be united -as worthy a moment's consideration. To do the -Viscount justice, he seems equally indifferent; for -though evidently in love—it is with himself. Gazing -in the mirror with delight,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and in an affected style -displaying his gold snuff-box and glittering ring, he -is quite a husband <i lang="fr" xml:lang="fr">à la mode</i>. The lady, very well -disposed to retaliate, plays with her wedding-ring, -and repays this chilling coldness with sullen contempt;<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -her heart is not worth the Viscount's attention, -and she determines to bestow it on the first suitor. -An insidious lawyer, like an evil spirit ever ready to -move or second a temptation, appears at her right -hand. That he is an eloquent pleader, is intimated -by his name, Counsellor Silvertongue: that he can -make the worse appear the better cause, is only saying -in other words that <em>he is great in the profession</em>. -To predict that with such an advocate her virtue is -in danger, would not be sufficiently expressive. His -captivating tones and insinuating manners would -have ensnared Lucretia.</p> - -<p>Two dogs in a corner, coupled against their inclinations, -are good emblems of the ceremony which is to -pass.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - -<p>The ceiling of this magnificent apartment is decorated -with the story of Pharaoh and his host drowned -in the Red Sea. The ocean on a ceiling proves a -projector's taste,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> and attention to the costume; the -<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>sublimity of a painter is exemplified in the hero delineated -with one of the attributes of Jove. This -fluttering figure is probably intended for one of the -Peer's high-born ancestors, and is invested with the -Golden Fleece and some other foreign orders. To -give him still greater dignity, he is in the character of -Jupiter; while one hand holds up an ample robe, the -other grasps a thunderbolt. A comet is taking its -rapid course over his head; and in one corner of the -picture two of the family of Boreas are judiciously -blowing contrary ways. To some such supernatural<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -cause we must attribute the drapery and long peruke -flying in opposite directions. Immediately before -him a cannon is represented in the moment of explosion: -to leave the spectator no doubt of its being -intended for serious business, and not as a mere <i lang="fr" xml:lang="fr">feu-de-joie</i>, -the ball is seen in its progress. All this is -ridiculous enough, but not an iota more absurd than -many of the French portraits which Hogarth evidently -intended to burlesque by this parody.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> Their -painters have mistaken extravagance for spirit, and -violence for freedom. Fine as are many of their engravings,<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -they frequently give us lines that resemble -the flourishes of a writing-master more than the free -strokes of an artist.</p> - -<p>In the painting which represents Goliah slain by -David, the gigantic Philistine is stretched on the earth, -and, in truth, appears to cover many a rood. Beneath -is the <em>merciful</em> Judith: one hand grasps the sword -with which she decollated Holofernes, and the other -rests upon his bleeding head. The adjoining picture -exhibits a view of St. Sebastian pierced with arrows, -and that on the other side of the room displays -Prometheus and the vulture; beneath is a representation -of Cain slaying Abel. St. Lawrence upon the -gridiron is placed under a painting of Herod's cruelty. -As the ornament of a chandelier, over the sofa on -which the hymeneal pair are seated, is a relievo of -Medusa's head; both this and other <em>agreeable</em> subjects -may possibly have some covert allusions, but -to me they are not obvious.</p> - -<p>Hogarth's leading object in them all seems to be a -ridicule of those who gave these barbarous delineations -a preference to his own paintings.</p> - -<p>The self-important consequence of the noble inhabitant -of this mansion is displayed in every part of -his furniture. The coronet glitters not only upon -the canopy, but the crutches; is mounted upon the -frame of the mirror, and marked on the side of the -dog.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - -<p>Mr. Nichols observes, that "among such little circumstances -as might escape the notice of a careless -spectator, is the thief in the candle, emblematical of -the mortgage on his lordship's estate."—As the mortgage -is now paying, one thinks the thief might have -been spared. The artist, however, might mean to -intimate that his lordship's estate was run to waste -by the negligence and carelessness of the proprietor. -The same commentator properly remarks that the -unfinished edifice seems at a stand for want of money, -no workman appearing on the scaffolds, or near -them; and adds, that a number of figures which are -before the building were designed for "the lazy vermin -of his lordship's hall, who, having nothing else to -do, are sitting on the blocks of stone, or staring at -the building."</p> - -<p>The characters in this print are admirably marked. -Nothing can be better contrasted than the cautious, -calculating countenance of the Alderman, and the -haughty overbearing air of the Peer. To this may be -added the stare of the Serjeant, astonished at so magnificent -an edifice, and the cunning craft of the Usurer -delivering up the mortgage.</p> - -<p>The plate was engraved by G. Scotin, and published -April 1, 1745.</p> - - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> - -<p class="p2" /> -<h4>PLATE II.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">Behold how Vice her votary rewards,</p> -<p class="verse">After a night of folly, frolic, cards,</p> -<p class="verse">The phantom pleasure flies,—and in its place</p> -<p class="verse">Comes deep remorse and torturing disgrace,</p> -<p class="verse">Corroding care, and self-accusing shame,</p> -<p class="verse">A ruin'd fortune, and a blighted fame.—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="MM_II" id="MM_II"></a> -<img src="images/i_024fp.jpg" width="650" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE II.</div> -</div> - -<p class="noindent">Wearied, languid, and spiritless from the dissipations -of the night, with his sword broken in a riotous frolic, -the modish Viscount comes home at noon, and finds -his lady just arisen, and seated <i lang="fr" xml:lang="fr">en déshabillé</i> at her -matin meal. From the melancholy cast of his countenance, -and both hands being in his pockets, we may -infer that he has been unsuccessful at the gaming-table. -A cap and riband, which hang out of his coat -pocket, lead us to suppose that part of his night has -been passed in the company of a female; and from -the attention a dog pays to the cap, we are led to -suspect that he may have originally belonged to the -lady who is its proprietor.</p> - -<p>The Viscountess<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> has been contemplating her face -<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>in a pocket-mirror, and is scarcely recovered from -the fatigue of a rout, which by the cards, instruments, -and music book on the floor, we conclude to have -been the preceding night's amusement.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<p>An ungartered servant, who is yawning in the -background, pays little attention to his master or -mistress, and is totally regardless of a chair, which is -in great danger from the blaze of an expiring candle; -this, with those left burning in the sockets since the -conclusion of their nocturnal revelry, must give a -pleasing perfume to the breakfast-room.</p> - -<p>The old steward's attitude and countenance clearly -indicate that he foresees the gulf into which an<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -united torrent of dissipation will inevitably plunge -this infatuated pair. He has brought a great number -of bills for payment: to one, and only one, is a receipt, -which, being dated January 4, 1744, determines -the time when vulgar tradesmen are extremely -troublesome to men of rank.</p> - -<p>Of the paintings in this stately saloon, that of -which we see only a part is properly concealed by a -curtain. The four cartoons, very judiciously placed -in the same line, are, I believe, intended for the four -evangelists. Next to that which is opposite the -chandelier is a faint representation of another picture. -The lines are ambiguous, but seem intended to represent -a ship in a storm: a very proper emblem of the -wreck which is likely to succeed the negligence and -dissipation of this noble family. A marble head, in a -cut wig, perhaps intended for one of the Cæsars, with -the nose broken, to show that it is a genuine antique, -decorates the centre of the chimney-piece. In most -of the other grotesque and fantastic ornaments,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Gay china's unsubstantial forms supply</p> -<p class="verse">The place of beauty, strength, simplicity;</p> -<p class="verse">Each varied colour of the brightest hue,</p> -<p class="verse">The green, the red, the yellow, and the blue,</p> -<p class="verse">In every part the dazzled eyes behold,</p> -<p class="verse">Here streak'd with silver, there enrich'd with gold."</p> -</div></div> - -<p>A painting over the chimney-piece represents Cupid -playing upon the bagpipes. Both subject and frame -prove the classical taste of the proprietor. The<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -ornaments round a clock are equally elegant and -peculiarly appropriate. It is encompassed by a kind -of grove, with a cat on the summit and a Chinese -pagoda at the bottom. If the branches were tenanted -by the feathered tribe, it would be no more than we -see every day; it would be vulgar nature. To make -it uncommonly grand, and peculiarly magnifique, -they are occupied by two fishes.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p> - -<p>The crowned chandelier, candlesticks, chairs, footstool, -chimney-piece, and grate, are evidently made -from the designs of William Kent.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> To that fashionable -architect they are indebted for the plan of the -stupendous saloon, which has an air of grandeur and -magnificence that is not often seen in Mr. Hogarth's -works. It produces such a sensation as Pope describes -on seeing Timon's villa, "Where all cry out, -what sums are thrown away!"</p> - -<p>This plate was engraved by Baron, but the old -steward's face is, I think, marked by the burin of -Hogarth.</p> - - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> - -<p class="p2" /> -<h4>PLATE III.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"To Galen's great descendant list,—oh list!</p> -<p class="verse">Behold a surgeon, sage, anatomist,</p> -<p class="verse">Mechanic, antiquarian, seer, collector,</p> -<p class="verse">Physician, barber, bone-setter, dissector.</p> -<p class="verse">The sextons, registers, and tombstones tell,</p> -<p class="verse">By his prescriptions, what an army fell;</p> -<p class="verse">Med'cines—by him compos'd will stop the breath,</p> -<p class="verse">And every pill is fraught with certain death."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a>—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="MM_III" id="MM_III"></a> -<img src="images/i_028fp.jpg" width="650" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE III.</div> -</div> - -<p class="noindent">This has been said to be the most obscure delineation -that Hogarth ever published: how far the short -explanation copied from Mr. Lane's papers may contribute -to sanction my previous description, I do not -presume to judge. Hitherto there have certainly been -many different opinions as to the meaning of this -print, and Churchill is said to have asserted, that from -its appearing so ambiguous to him, he once requested -Hogarth to explain it, but that the artist, like many -other commentators, left his subject as obscure as he -found it. "From this circumstance," added the poet, -<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>"I am convinced he formed his tale upon the ideas -of Hoadley, Garrick, Townley, or some other friend, -and never perfectly comprehended what it meant."</p> - -<p>How it was possible for Hoadley, Garrick, and -Townley, or any other friend, to furnish Hogarth with -ideas to compose the third plate of an historical series, -I cannot comprehend.</p> - -<p>I can suppose it possible that the artist might not -choose to explain to Churchill what he himself -thought obvious, and therefore declined giving him -any explanation. I can suppose that, admirably as -Hogarth told a story with his pencil, he might not be -qualified to express his verbal meaning with equal -accuracy, and therefore be misunderstood; but, above -all, I can suppose it not only possible, but probable, -that this bitter satirist, making the declaration <em>after</em> -the publication of "Wilkes' Portrait," "The Bruiser," -and "The Times," might, from resentment to the artist, -be provoked to give a poetical colouring to the story -about the "Marriage à la Mode."</p> - -<p>I think it must be considered as a sort of episode, -no further connected with the main subject than as it -exhibits the consequences of an alliance entered into -from sordid and unworthy motives. In the two preceding -prints the hero and heroine of this tragedy -show a fashionable indifference towards each other. -On the part of the Viscount, we see no indication of -any wish to conciliate the affections of his lady.<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -Careless of her conduct, and negligent of her fame, -he leaves her to superintend the musical dissipations -of his house, and lays the scene of his own licentious -amusements abroad. The female heart is naturally -susceptible, and much influenced by first impressions. -Formed for love, and gratefully attached by delicate -attentions; but chilled by neglect, and frozen by -coldness,—by contempt it is estranged, and by -habitual and long-continued inconstancy sometimes -lost.</p> - -<p>To show that our unfortunate victim to parental -ambition has suffered this mortifying climax of provocation, -the artist has made a digression, and -exhibited her profligate husband attending a quack -doctor. In the last plate he appears to have dissipated -his fortune; in this he has injured his health. -From the hour of marriage he has neglected the -woman to whom he plighted his troth. Can we -wonder at her conduct? By the Viscount she was -despised; by the Counsellor adored. This insidious, -insinuating villain, we may naturally suppose acquainted -with every part of the nobleman's conduct, -and artful enough to make a proper advantage of his -knowledge. From such an agent the Countess would -probably learn how her lord was connected: from his -subtle suggestions, being aided by resentment, she is -tempted to think that these accumulated insults have -dissolved the marriage vow, and given her a right to<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -retaliate. Thus impelled, thus irritated, and attended -by such an advocate, can we wonder that this fair -unfortunate deserted from the standard of honour, -and sought refuge in the camp of infamy? To her -husband many of her errors must be attributed. She -saw he despised her, and therefore hated him; found -that he had bestowed his affections on another, and -followed his example. To show the consequence of -his unrestrained wanderings, the author, in this plate, -exhibits his hero in the house of one of those needy -empirics who play upon public credulity, and vend -poisons under the name of drugs. This quack being -family surgeon to the old procuress who stands at his -right hand, formerly attended the young girl, and -received his fee as having recovered his patient. That -he was paid for what he did not perform, appears by -the countenance of the enraged nobleman, who lifts -up his cane in a threatening style, accompanying the -action with a promise to bastinado both surgeon and -procuress for having deceived him by a false bill of -health. These menaces our natural son of Æsculapius -treats with that careless nonchalance which shows -that his ears are accustomed to such sounds; but the -haggard high priestess of the temple of Venus,<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -tenacious of her good name, and tremblingly alive to -any aspersion which may tend to injure her professional -reputation, unclasps her knife, determined to -wash out this foul stain upon her honour with the -blood of her accuser.</p> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - -<p>The nick-nackitory collection that forms this motley -museum is exactly described by Doctor Garth; one -would almost think Hogarth made the dispensary his -model in designing the print.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Here mummies lie, most reverently stale,</p> -<p class="verse">And there, the tortoise hung her coat of mail:</p> -<p class="verse">Not far from some huge shark's devouring head,</p> -<p class="verse">The flying fish their finny pinions spread;</p> -<p class="verse">Aloft, in rows, large poppy-heads were strung,</p> -<p class="verse">And near, a scaly alligator hung:</p> -<p class="verse">In this place, drugs in musty heaps decay'd,</p> -<p class="verse">In that, dry'd bladders and drawn teeth were laid."</p> -</div></div> - -<p>An horn of the sea unicorn is so placed as to give -the idea of a barber's pole; this, with the pewter -basin and broken comb, clearly indicate the former -profession of our mock doctor. The high-crowned -hat and antique spur, which might once have been -the property of Butler's redoubted knight, the valiant -Hudibras, with a model of the gallows, and sundry -nondescript rarities, show us that this great man, if -not already a member of the Antiquarian Society, -is qualifying himself to be a candidate. The dried -body<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> in the glass-case, placed between a skeleton -and the sage's wig-block, form a trio that might serve<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -as the symbol of a consultation of physicians. A -figure above the mummies seems at first sight to be -decorated with a flowing periwig, but on a close inspection -will be found intended for one of Sir John -Mandeville's <em>anthropophagi</em>, a sort of men "whose -heads do grow beneath their shoulders." Even the -skulls have character; and the principal mummy has -so majestic an aspect, that one is almost tempted to -believe it the mighty Cheops, king of Egypt, whose -body was certainly to be known, being the only one -entombed in the large pyramid.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> - -<p>By two machines, constructed upon the most complicated -principles, though intended for performing -very simple operations, we discover that our quack -studies mechanics. On one of them lies a folio -treatise descriptive of their uses; by which we are -informed that the largest is to reduce a dislocated -limb, the smallest is to draw a cork!—each of them -invented by Monsieur De la Pilulæ, and inspected -and approved by the Royal Academy of Paris.</p> - - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p class="p2" /> -<h4>PLATE IV.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">The new-made Countess treads enchanted ground,</p> -<p class="verse">And madly whirls in pleasure's airy round;</p> -<p class="verse">From Circe's cup delicious poison quaffs,</p> -<p class="verse">And, drunk with pomp, at cold discretion laughs.</p> -<p class="verse">While the soft warbling of a senseless song,</p> -<p class="verse">Pour'd from a neutral nothing,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> charms the throng;</p> -<p class="verse">To love's fond tale the fair her ear inclines,</p> -<p class="verse">To Satan's agent all her soul resigns.</p> -<p class="verse5">Beware his soft insidious smiles,</p> -<p class="verse4">Fly from his glance, and shun his wiles;</p> -<p class="verse4">Avoid the serpent's poisonous breath,</p> -<p class="verse4">'Tis fraught with infamy and death.—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="MM_IV" id="MM_IV"></a> -<img src="images/i_036fp.jpg" width="650" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE IV.</div> -</div> - -<p class="noindent">By the old Peer's death our fair heroine has attained -the summit of her wishes, and become a Countess. -Intoxicated by this elevation, and vain of her new -dignity, she ranges through the whole circle of frivolous -amusements, and treads every maze of fashionable -dissipation. Her excesses are rendered still -more criminal by the consequent neglect of domestic -duties; for, by the coral on the back of her chair, we -are led to suppose that she is a mother. Her morning -levee is crowded with persons of rank, and attended -by her paramour, and that contemptible shadow of -man, an Italian singer, with whose dulcet notes two -of our right honourable group seem in the highest -degree enraptured. This bloated animal, carelessly -and consequentially leaning back in his chair, is<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -dressed in a richly embroidered coat, and every finger -is loaded with a diamond. Though in a morning, his -solitaire, kneebands, and shoes are decorated with -gems.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> He is quavering,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The seeming echo of what once was song,</p> -<p class="verse">Sweet by defect, and impotently strong."</p> -</div></div> - -<p>That our extravagant Countess purchased the pipe -of this expensive exotic in mere compliance to the -fashion of the day, without any real taste for his -mellifluous warblings, is intimated by the absorbed -attention which she pays to the Advocate, who, with -the luxuriant indolent grace of an Eastern effendi, is -lolling on a sofa at her right hand. By his pointing -to the folding screen, on which is delineated a -masquerade revel,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> at the same time that he shows -his infatuated <i lang="it" xml:lang="it">inamorato</i> a ticket of admission, we see -<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>that they are making an assignation for the evening. -The fatal consequences of their unfortunate meeting -is displayed in the two succeeding plates. A Swiss -servant, who is dressing her hair, has all the grimace -of his country; he is the complete Canton of the -<cite>Clandestine Marriage</cite>. The contemptuous leer of a -black footman, serving chocolate, is evidently directed -to the singer, and forms an admirable contrast to the -die-away lady seated before him,<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> who, lost to every -sense but that of hearing, is exalted to the third heaven -by the enchanting song of this pampered Italian. On -the country gentleman,<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> with a whip in his hand, it has -quite a different effect; with the echoing "Tally ho!" -he would be exhilarated; by the soft sounds of Italia, -his soul is lulled to rest. The <em>fine feeling</em> creature, -with a fan suspended from <em>its</em> wrist, is marked with -that foolish face of praise which understands nothing, -but admires everything that it is the <i lang="fr" xml:lang="fr">ton</i> to admire! -The taper supporters of Monsieur <i lang="fr" xml:lang="fr">en papillote</i> are -admirably opposed to the lumbering pedestals of our -mummy of music. The figure behind him<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> blows a -flute with every muscle of his face. A little black -boy in the opposite corner, examining a collection -of grotesque china ornaments which have been purchased -at the sale of Esquire Timothy Babyhouse, pays -<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>great attention to a figure of Acteon, and with a very -significant leer points to his horns. Under a delineation -of Jupiter and Leda, on a china dish, is written, -"Julio Romano!" The fantastic group of hydras, -gorgons, and chimeras dire, which lie near it, are an -admirable specimen of the absurd and shapeless -monsters which disgraced our drawing-rooms until -the introduction of Etrurian ornaments. By the fantastic -decorations upon a chimney-piece in the second -plate, we saw that our fashionable pair had a taste, -and this taste may have been one source of their embarrassments. -Another of their follies which, when -gaming is united to it, will level their lofty forests and -lay their proudest mansions in the dust, is displayed -in the cards of invitation scattered on the floor. They -afford a good specimen of polite literature, and the -writers deserve a niche in the catalogue of royal and -noble authors. The list follows:—</p> - -<p>"Count Basset desire to no how Lady Squander -sleep last nite."</p> - -<p>"Lord Squander's company is desired at Lady -Townley's drum. Monday next."</p> - -<p>"Lady Squander's company is desired at Miss -Hairbrain's rout."</p> - -<p>"Lady Squander's company is desired at Lady -Heathen's drum-major. Sunday next."</p> - -<p>The pictures in this dressing-room are well suited to -the profligate proprietor, and may be further intended<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -as a burlesque on the strange and grossly indelicate -subjects so frequently painted by ancient masters: -Lot and his daughters; Ganymede and the Eagle;<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> -Jupiter and Io; and a portrait of the young Lawyer, -who is the favourite—the <i lang="it" xml:lang="it">cicisbeo</i>—or more properly, -the seducer of the Countess.</p> - -<p>This print was engraved by Ravenet, who has preserved -the characters.</p> - - -<p class="p2" /> -<h4>PLATE V.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">Her dream of dissipation o'er,</p> -<p class="verse">The bubble pleasure charms no more;</p> -<p class="verse">The spell dissolv'd—broken the chain,</p> -<p class="verse">Reason too late resumes her reign.—</p> -<p class="verse">In vain the tear and contrite sigh,</p> -<p class="verse">In vain the poignant agony.—</p> -<p class="verse4">Henceforth—thy portion is despair,</p> -<p class="verse">Remorse, and deep corroding care;</p> -<p class="verse">Misery!—to madness near allied,</p> -<p class="verse">And ignominious suicide,</p> -<p class="verse">Thy minion's meed, by law's decree,</p> -<p class="verse">Is death—a death of infamy!—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="MM_V" id="MM_V"></a> -<img src="images/i_040fp.jpg" width="650" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE V.</div> -</div> - -<p class="noindent">Our exasperated Peer, suspecting his wife's infidelity, -follows her in disguise to the masquerade, and from -thence traces these two votaries of vice to a bagnio. -Finding they are retired to a bedroom, he bursts open -the door, and attacks the spoiler of his honour with a<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -drawn sword. Too much irritated to be prudent, and -too violent to be cautious, he thinks only of revenge; -and, making a furious thrust at the Counsellor, neglects -his own guard, and is mortally wounded. The -miscreant who had basely destroyed his peace and -deprived him of life is not bold enough to meet the -consequences. Destitute of that courage which is the -companion of virtue, and possessing no spark of that -honour which ought to distinguish the gentleman; -dreading the avenging hand of offended justice, he -makes a mean and precipitate retreat. Leaving him -to the fate which awaits him, let us return to the deluded -Countess. Feeling some pangs from a recollection -of her former conduct, some touches of shame at -her detection, and a degree of horror at the fate of -her husband, she kneels at his feet, and entreats forgiveness.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Some contrite tears she shed."</p> -</div></div> - -<p>There is reason to fear that they flow from regret -at the detection rather than remorse for the crime; a -woman vitiated in the vortex of dissipation is not -likely to feel that ingenuous shame which accompanies -a good mind torn by the consciousness of -having deviated from the path of virtue.</p> - -<p>Alarmed at the noise occasioned by this fatal <i lang="fr" xml:lang="fr">rencontre</i>, -the inmates of the brothel called a watchman: -accompanied by a constable, this nocturnal guardian -<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>is ushered into the room by the master of the house, -whose meagre and trembling figure is well opposed -to the consequential magistrate of the night. The -watchman's lantern we see over their heads, but the -bearer knows his duty is to follow his superiors; conscious -that though the front may be a post of honour, -yet in a service of danger the rear is a station of -safety.</p> - -<p>Immediately over the door is a picture of St. Luke; -this venerable apostle being a painter, is so delineated -that he seems looking at the scene now passing, and -either making a sketch or a record of the transaction. -On the hangings is a lively representation of Solomon's -wise judgment.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> The countenance of the sapient -monarch is not sagacious, but his attitude is in an<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -eminent degree dignified, and his air commanding -and regal. He really looks like a tyrant in old -tapestry; and the arm of a chair is ornamented by -a carving fraught with that terrific grace peculiar to -the ancient masters. We cannot say that the Hebrew -women who attend for judgment are either comely -or fair to look upon. Were not the scene laid in -Jerusalem, they might pass for two of the silver-toned -Naiades of our own Billingsgate.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">The grisly guards, with faces all awry,</p> -<p class="verse">Like Herod's hang-dogs in old tapestry:</p> -<p class="verse">Each man an Askapart, with strength to toss</p> -<p class="verse">For quoits, both Temple-bar and Charing-cross.</p> -</div></div> - -<p>The grisly guards have a most rueful and tremendous -appearance. The attractive portrait of a Drury<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -Lane Diana,<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> with a butcher's steel in one hand and -a squirrel perched on the other, is hung in such a -situation that the Herculean pedestals of a Jewish -soldier may be supposed to be a delineation of her -legs continued below the frame.</p> - -<p>Our Counsellor's mask lies on the floor, and grins -horribly, as if conscious of the fatal catastrophe. -Dominoes, shoes, etc., scattered around the room, -show the negligence of the ill-fated Countess, unattended -by her <i lang="fr" xml:lang="fr">femme de chambre</i>. From a faggot -and the shadow of a pair of tongs, we may infer that -there is a fire in the room.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> A bill near them implies -that this elegant apartment is at the Turk's Head -bagnio.</p> - -<p>The dying agony of the Earl (whose face is evidently -retouched by Hogarth), the eager entreaty of the -Countess, the terror of mine host, and the vulgar -inflected dignity of Mr. Constable, are admirably discriminated.</p> - -<p>I have stated in the former editions that the background -of this plate was engraved by Ravenet's wife, -<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>but am since informed by Mr. Charles Grignion, the -engraver, that this is a mistake. See vol. iii. of this -work.</p> - - -<p class="p2" /> -<h4>PLATE VI.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">Forlorn, degraded, and distrest,</p> -<p class="verse4">The furies tear her tortur'd breast.</p> -<p class="verse4">Remorse, with agonizing sigh,</p> -<p class="verse4">And sullen shame with downcast eye;</p> -<p class="verse4">Anguish,—by cold reflection fed,</p> -<p class="verse4">And wan despair, and trembling dread,</p> -<p class="verse4">In guise terrific hover round,</p> -<p class="verse4">And ring the knell of thrilling sound.</p> -<p class="verse4">Scar'd Reason totters on her throne,</p> -<p class="verse4">And Hope is fled!—and Peace is gone.</p> -<p class="verse">Shuddering at phantoms ever in her sight,</p> -<p class="verse">Hating the garish sun, and trembling at the night;</p> -<p class="verse">To poison,—sad resort! she frantic flies,</p> -<p class="verse">And, self-destroy'd, the wretched Countess dies!—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="MM_VI" id="MM_VI"></a> -<img src="images/i_044fp.jpg" width="650" alt="" /> -<div class="caption">MARRIAGE A LA MODE. PLATE VI.</div> -</div> - -<p class="noindent">The last sad scene of our unfortunate heroine's life is -in the house of her father, to which she had returned -after her husband's death. The law could not consider -her as the primary cause of his murder; but -consciousness of her own guilt was more severe -punishment than that could have inflicted. This, -added to her father's reproaches, and the taunts of -those who were once her friends, renders society -hateful, and solitude insupportable. Wounded in -every feeling, tortured in every nerve, and seeing no -prospect of a period to her misery, she takes the horrid -resolution of ending all her calamities by poison.</p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">"Dreadful deed, unbidden thus</p> -<p class="verse">To rush into the presence of her Judge,</p> -<p class="verse">And challenge vengeance. 'Tis said</p> -<p class="verse">Unheard-of tortures are reserved</p> -<p class="verse">For murderers of themselves. They herd together:</p> -<p class="verse">The common damn'd shun their society,</p> -<p class="verse">As fiends too foul for converse."</p> -</div></div> - -<p>Dreadful as is this resolve, she puts it in execution -by bribing the servant of her father to procure her a -dose of laudanum. Close to the vial, which lies on -the floor, Hogarth has judiciously placed Counsellor -Silvertongue's last dying speech, thus intimating that -he also has suffered the punishment he justly merited.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> -The records of their fate being thus situated, seems to -imply, that as they were united in vice, they are companions -in the consequences. These two terrific and -monitory testimonies are a kind of propitiatory sacrifice -to the manes of her injured and murdered lord.</p> - -<p>Her avaricious father, seeing his daughter at the -point of death, and knowing the value of her diamond -ring, determined to secure this glittering gem from -the depredations of the old nurse, coolly draws it from -her finger. This little circumstance shows a prominent -feature of his mind. Every sense of feeling -absorbed in extreme avarice, he seems at this moment -calculating how many carats the brilliants weigh.</p> - -<p>From a gown hung up near the clock we know him<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -to be an alderman; and from his sleek appearance, -we have some right to infer that he is constant in his -attendance at city feasts, for so comely a countenance -could never be supported by the scanty and meagre -viands of his own table. His domestic care is intimated -by the gaunt and hungry appearance of a dog, -who, taking advantage of this general confusion, seizes -the brawn's head.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> - -<p>A rickety child, heir to the complaints of its father, -shows some tenderness for its expiring mother; and -the grievous whine of an old nurse is most admirably -described. These are the only two of the party who<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -exhibit any marks of sorrow for the death of our -wretched Countess. The smug apothecary, indeed, -displays some symptoms of vexation at his patient -dying before she has taken his julap, the label of -which hangs out of his pocket. Her constitution, -though impaired by grief, promised to have lasted -long enough for him to have marked many additional -dittos in his day-book. Pointing to the dying speech, -he threatens the terrified footboy with a punishment -similar to that of the Counsellor for having bought -the laudanum. The fellow protests his innocence, -and promises never more to be guilty of a like offence. -The effects of fear on an ignorant rustic cannot be -better delineated; nor is it easy to conceive a more -ludicrous figure than this awkward retainer, dressed -in an old full-trimmed coat, which in its better days -had been the property of his master. By the physician -retreating, we are led to conceive that, finding -his patient had dared to quit the world in an irregular -way, neither abiding by his prescriptions nor waiting -for his permission, he cast an indignant frown on all -present, and exclaimed in style heroic,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">" 'Fellow, our hat!'—no more he deign'd to say,</p> -<p class="verse">But stern as Ajax' spectre, stalk'd away."</p> -</div></div> - -<p>The leathern buckets immediately over the Doctor's -head were, previous to the introduction of fire-engines, -considered as proper furniture for a merchant's hall.<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -Every ornament in his parlour is highly and exactly -appropriate to the man. The style of his pictures, -his clock, a cobweb over the window, repaired chair, -nay, the very form of his hat, are characteristic. A -silver cup upon the table, and jug on the floor, show -us his style of living. The scantiness of his own table -is well contrasted by the plenty exhibited in the -picture over the old nurse's head, where iron pots, -brass pans, cabbages, and lanterns, are indiscriminately -huddled together, with no other meaning than -to show how highly a Flemish artist could <em>finish</em>. -The <em>attic</em> delicacy of this patient and laborious -school is displayed in the adjoining picture; and -their humour, in that of a fellow wittily lighting his -tobacco-pipe by the red nose of his companion.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> The -pipe and bottle placed under the day-book and ledger, -and the whole crowned by a broken punch-bowl, -intimate that this venerable gentleman united business -with pleasure. The view through an open -window marks the situation of our plodding merchant's -house to be near London Bridge, and represents -that absurd and ill-contrived structure in its -original state, loaded with houses. A clock points -the hour to be a little after eleven, which at this -highly polished and refined period would be deemed<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> -an early hour for a citizen's breakfast; at that, it was -his hour of dinner!</p> - -<p>Thus has our moral dramatist concluded his tragedy, -and brought his heroine from dissipation and vice to -misery and shame, terminating her existence by suicide!</p> - -<p>The drama of Shakspeare has been said to be the -mirror of life, which to-day we see lighted up with -gaiety, and to-morrow clouded with sorrow. Shakspeare -had the power of exciting laughter or grief, not -only in one mind, but in one composition. That -Hogarth had the same power, and exerted it with -the same disdain of the little cavils of little minds, is -evinced in this series of prints; from the study of -which, a peasant, who has never strayed beyond the -precincts of his own cottage, may calculate the consequences -of dissipation; and he who has lived -secluded from society, may form an estimate of the -value of riches and high birth when abused by prodigality -or degraded by vice.</p> - -<p>In the year 1746 was published a coarse and vulgar -poem, in doggerel verse, with the following title: -"<cite>Marriage à la Mode</cite>, an humorous tale in six cantos, -in Hudibrastic verse, being an Explanation of the six -Prints lately published by the ingenious Mr. Hogarth. -London, printed for Weaver Bickerton, in Temple -Exchange Passage, Fleet Street. Price One Shilling."</p> - -<p>The <cite>Clandestine Marriage</cite> is professedly formed -upon the model of these prints.</p> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p> - -<h3>THE FOUR STAGES OF CRUELTY.</h3> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The poorest beetle that we tread upon,</p> -<p class="verse">In corporal sufferance feels a pang as great</p> -<p class="verse">As when a giant dies."</p> -</div></div> - -<div> -<img class="drop-cap" src="images/dc_050.jpg" alt="" /> -</div> - -<p class="drop-capx">This pathetic lesson of humanity is given by -the poet of nature. Aiming at the same -end by different means, our benevolent -artist here steps forth as the instructor of youth, the -friend to mercy, and advocate of the brute creation.</p> - -<p>In the prints before us, an obdurate boy begins his -career of cruelty by tormenting animals; repeated -acts of barbarity sear his heart, he commits a deliberate -murder, and concludes in an ignominious death. -These gradations are natural, I had almost said inevitable; -and that parent who discovers the germ of -barbarity in the mind of a child, and does not use -every effort to exterminate the noxious weed, is an -accessory to the evils which spring from its baneful -growth. To check these malign propensities becomes -more necessary from the general tendency of our -amusements. Most of our rural and even infantine -sports are savage and ferocious. They arise from the -terror, misery, or death of helpless animals. A child<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -in the nursery is taught to impale butterflies and -cockchafers. The schoolboy's proud delight is clambering -a tree</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"To rob the poor bird of its young."</p> -</div></div> - -<p>Grown a <em>gentle</em> angler, he snares the scaly fry, and -scatters leaden death among the feathered tenants of -the air. Ripened to man, he becomes a mighty -hunter, is enamoured of the chase, and crimsons his -spurs in the sides of a generous courser, whose wind -he breaks in the pursuit of an inoffensive deer or -timid hare.</p> - -<p>Many of our town diversions have the same -tendency. The bird, whose melodious warblings -echo through the grove, is imprisoned in a sort of a -<i lang="fr" xml:lang="fr">Bastille</i>, where, like an unplumed biped in a similar -situation, it frequently perishes through anguish or -want of food. The high-crested chanticleer, whose -courage is innate, and only vanquished by death, is -furnished with weapons of pointed steel, when, set in -opposition to one of the same species, armed in a -similar style, these two champions, for the diversion -of the <em>humane</em> lords of the creation, lacerate each -other until one or both of them are slain.</p> - -<p>The faithful dog, whose attachment and gratitude -are exemplary, and worthy the imitation of man, -when in the possession of a farmer, or country 'squire, -is well fed, and has no great cause of complaint,<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -except his ears and tail being lopped to <em>improve -nature</em>, and having a rib now and then broken by a -gentle spurn; but if the poor quadruped falls into -the hands of a tanner, a surgeon, or an <em>experimental</em> -philosopher, of what avail are his good qualities?<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p> - -<p>The Abyssinian cruelties of our slaughter-houses<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> -and kitchens<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> I do not wish to enumerate. The -catalogue would fill a volume. Humanity demands -that the brute creation should be protected by the -Legislature.</p> - -<p>The Mosaic Law, to guard against tortures being -inflicted on animals which were slaughtered for -sustenance, ordained them to die by a highly polished -<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>and pointed instrument; if the bone was pierced, -or the beast mangled, it was deemed unclean, and -burnt.</p> - - -<p class="p2" /> -<h4>FIRST STAGE OF CRUELTY.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"While various scenes of sportive woe</p> -<p class="verse4">The infant race employ;</p> -<p class="verse">And tortur'd victims bleeding, show</p> -<p class="verse4">The tyrant in the boy.</p> -</div> -<div class="stanza"> -<p class="verseq">"Behold a youth of gentler heart!</p> -<p class="verse4">To spare the creature's pain,</p> -<p class="verse">O take, he cries—take all my tart,</p> -<p class="verse4">But tears and tart are vain.</p> -</div> -<div class="stanza"> -<p class="verseq">"Learn from this fair example, you</p> -<p class="verse4">Who savage sports delight,</p> -<p class="verse">How cruelty disgusts the view,</p> -<p class="verse4">While pity charms the sight."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="SC_I" id="SC_I"></a> -<img src="images/i_054fp.jpg" width="550" alt="" /> -<div class="caption">FIRST STAGE OF CRUELTY.</div> -</div> - -<p class="noindent">Let us suppose a disciple of Pythagoras to contemplate -this print, how would it affect him? He would -imagine it to represent a group of young barbarians -qualifying themselves for executioners; would raise -his voice to Heaven, and thank the God of mercy -that he is not an inhabitant of such a country; would -lament that these degenerate little beings should not -have been informed that the animals on whom they are -now inflicting such tortures, might, previous to transmigration, -have been their fathers, brothers, friends.</p> - -<p>The delineation of such scenes must shock every<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> -feeling heart, and their enumeration disgust every -humane mind. I hope, for the honour of our nature -and our nation, that they are not so frequently practised -as when these prints were published.</p> - -<p>The hero of this tragic tale is Tom Nero: by a -badge upon his arm, we know him to be one of the -boys of St. Giles' Charity School. The horrible -business in which he is engaged was, I hope and -believe, never realized in this or any other country. -The thought is taken from Callot's "Temptation of -St. Anthony." A youth of superior rank, shocked at -such cruelty, offers his tart to redeem the dog from -torture. This Hogarth intended for the portrait of -an illustrious personage, then about thirteen years -of age; the compliment was rather coarse, but well -intended. A lad chalking on a wall the suspended -figure, inscribed <span class="smcap">Tom Nero</span>, prepares us for the -future fate of this young tyrant, and shows by anticipation -the reward of cruelty.</p> - -<p>Throwing at cocks might possibly have its origin in -what some of our sagacious politicians call a natural -enmity to France, which is thus <em>humanely</em> exercised -against the allegorical symbol of that nation. A boy -tying a bone to the tail of his dog, while the kind-hearted -animal licks his hand, must have a most -diabolical disposition.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> Two little imps are burning -<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>out the eyes of a bird with a knitting-needle. A -group of embryotic Domitians, who have tied two -cats to the extremities of a rope and hung it over a -lamp-iron, to see how <em>delightfully</em> they will tear each -other, are marked with grim delight. The link-boy -is absolutely a Lilliputian fiend. The fellow encouraging -a dog to worry a cat, and two animals of -the same species thrown out of a garret window -with bladders fastened to them, completes this mortifying -prospect of youthful depravity.</p> - - -<p><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> - -<p class="p2" /> -<h4>SECOND STAGE OF CRUELTY.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"The generous steed in hoary age,</p> -<p class="verse4">Subdued by labour lies,</p> -<p class="verse">And mourns a cruel master's rage,</p> -<p class="verse4">While nature strength denies.</p> -</div> -<div class="stanza"> -<p class="verseq">"The tender lamb, o'er-drove and faint,</p> -<p class="verse4">Amidst expiring throes,</p> -<p class="verse">Bleats forth its innocent complaint,</p> -<p class="verse4">And dies beneath the blows.</p> -</div> -<div class="stanza"> -<p class="verseq">"Inhuman wretch! Say, whence proceeds</p> -<p class="verse4">This coward cruelty?</p> -<p class="verse">What interest springs from barbarous deeds?</p> -<p class="verse4">What joy from misery?"</p> -</div></div></div> - - -<div class="poetry-container"><div class="poetry"> -<p class="verse">If, as the Samian taught, the soul revives,</p> -<p class="verse">And shifting seats, in other bodies lives,</p> -<p class="verse">Severe shall be the brutal coachman's change,</p> -<p class="verse">Doom'd in a hackney horse the town to range;</p> -<p class="verse">Carmen, transform'd, the groaning load shall draw,</p> -<p class="verse">Whom other tyrants with the lash shall awe!</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="SC_II" id="SC_II"></a> -<img src="images/i_056fp.jpg" width="550" alt="" /> -<div class="caption">SECOND STAGE OF CRUELTY.</div> -</div> - -<p class="noindent">Tom Nero is now a hackney coachman, and displaying -his disposition in his conduct to a horse. Worn -out by ill-usage, and exhausted by fatigue, the poor -animal has fallen down, overset the carriage, and -broken his leg. The scene is laid at Thavie's Inn -gate:<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> four brethren of the brawling bar, who have -joined to pay threepence each for a ride to Westminster -Hall, are in consequence of the accident -<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>overturned, and exhibited at the moment of creeping -out of the carriage. These ludicrous periwig-pated -personages were probably intended as portraits of -advocates eminent in their day; their names I am -not able to record.</p> - -<p>A man taking the number of the coach is marked -with traits of benevolence, which separate him from -the savage ferocity of Nero or the guilty terror of -these affrighted lawyers.</p> - -<p>As a further exemplification of extreme barbarity, -a drover is beating an expiring lamb with a large -club. The wheels of a dray pass over an unfortunate -boy, while the drayman, regardless of consequences, -sleeps on the shafts.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> - -<p>In the background is a poor overladen ass: the -master, presuming on the strength of this patient and -ill-treated animal, has mounted upon his back, and -taken a loaded porter behind him. An over-driven -bull, followed by a crowd of heroic spirits, has tossed -a boy.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> Two bills pasted on the wall advertise cock-fighting -<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>and Broughton's Amphitheatre<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> for boxing, -as further specimens of national civilisation.</p> - -<p>Parts of this print may at first sight appear rather -overcharged, but some recent examples convince us -that they are not so. In the year 1790, a fellow was -convicted of lacerating and tearing out the tongue of -a horse; but there being no evidence of his bearing -any malice towards the proprietor, or doing it with a -view of injuring <em>him</em>, this diabolical wretch, not having -violated any then existing statute, was discharged -without punishment.</p> - - -<p class="p2" /> -<h4>CRUELTY IN PERFECTION.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"To lawless love, when once betray'd,</p> -<p class="verse4">Soon crime to crime succeeds;</p> -<p class="verse">At length beguil'd to theft, the maid</p> -<p class="verse4">By her beguiler bleeds.</p> -</div> -<div class="stanza"> -<p class="verseq">"Yet learn, seducing men, not night,</p> -<p class="verse4">With all its sable cloud,</p> -<p class="verse">Can screen the guilty deed from sight:</p> -<p class="verse4">Foul murder cries aloud!</p> -</div> -<div class="stanza"> -<p class="verseq">"The gaping wounds, the blood-stain'd steel,</p> -<p class="verse4">Now shock his trembling soul;</p> -<p class="verse">But ah! what pangs his breast must feel</p> -<p class="verse4">When death his knell shall toll!"</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="SC_III" id="SC_III"></a> -<img src="images/i_058fp.jpg" width="550" alt="" /> -<div class="caption">CRUELTY IN PERFECTION.</div> -</div> - - -<p><span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span></p> - -<p class="noindent">An early indulged habit of wanton cruelty strengthens -by time, chokes every good disposition, corrupts the -mind, and sears the heart. We cannot say to the -malevolent passions,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Thus far shall ye go, and no further."</p> -</div></div> - -<p>The hero of this print began by torturing a helpless -dog; he then beat out the eye of an unoffending -horse; and now, under the influence of that malignant -rancorous spirit, which by indulgence is become -natural, he commits murder—most foul and aggravated -murder!—for this poor deluded girl is pregnant -by the wretch who deprives her of life. He tempts -her to quit a happy situation; to plunder an indulgent -mistress, and meet him with the produce of her -robbery. Blinded by affection, she keeps the fatal -appointment, and comes loaded with plate. This -remorseless villain, having previously determined to -destroy her, and by that means cancel his promise of -marriage, free himself from an expected encumbrance, -and silence one whom compunction might at a future -day induce to confess the crime and lead to his detection, -puts her to death!</p> - -<p>This atrocious act must have been perpetrated with -most savage barbarity, for the head is nearly severed, -and the wrist cut almost through. Her cries are -heard by the servants of a neighbouring house, who -run to her assistance. 'Tis too late. The horrid deed<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -is done! The ethereal spirit is forced from its earthly -mansion,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Unhousell'd, unappointed, unaneal'd!"</p> -</div></div> - -<p class="noindent">but the murderer, appalled by conscious guilt, and -rendered motionless by terror, cannot fly. He is -seized without resistance, and consigned to that -punishment which so aggravated a violation of the -laws of nature and his country demand.</p> - -<p>The glimpses of the moon, the screech-owl and bat -hovering in the air, the mangled corpse, and above -all, the murderer's ghastly and guilty countenance, -give terrific horror to this awful scene.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p> - -<p>By the pistol in his pocket and watches on the -ground, we have reason to infer that this callous -wretch has been committing other depredations in -the earlier part of the evening. The time is what -has been emphatically called "the witching hour!"—the -iron tongue of midnight has told <span class="fs80">ONE</span>!</p> - -<p>The letter found in his pocket gives a history of the -transaction; it appears to be dictated by the warmest -affection, and written by the woman he has just -murdered, previous to her elopement:—</p> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p><div class="blockquot"> - -<p>"<span class="smcap">Dear Tommy</span>,—My mistress has been the best -of women to me, and my conscience flies in my face -as often as I think of wronging her; yet I am resolved -to venture body and soul to do as you would -have me; so do not fail to meet me as you said you -would, for I shall bring along with me all the things I -can lay my hands on. So no more at present; but -I remain yours till death.</p> - -<p class="right smcap">"Ann Gill."</p> -</div> - -<p>This is the simple effusion of a too credulous heart; -whatever would lessen the solemnity of the scene is -carefully avoided; neither bad spelling, nor any other -ridiculous circumstances that might create laughter -are introduced.</p> - - -<p class="p2" /> -<h4>THE REWARD OF CRUELTY.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"Behold, the villain's dire disgrace,</p> -<p class="verse4">Not death itself can end;</p> -<p class="verse">He finds no peaceful burial-place,</p> -<p class="verse4">His breathless corpse—no friend.</p> -</div> -<div class="stanza"> -<p class="verseq">"Torn from the root that wicked tongue,</p> -<p class="verse4">Which daily swore and curst;</p> -<p class="verse4">Those eye-balls from their sockets wrung,</p> -<p class="verse">That glow'd with lawless lust.</p> -</div> -<div class="stanza"> -<p class="verseq">"His heart exposed to prying eyes,</p> -<p class="verse4">To pity has no claim;</p> -<p class="verse">But dreadful! from his bones shall rise</p> -<p class="verse4">His monument of shame."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="SC_IV" id="SC_IV"></a> -<img src="images/i_062fp.jpg" width="550" alt="" /> -<div class="caption">THE REWARD OF CRUELTY.</div> -</div> - -<p class="noindent">The savage and diabolical progress of cruelty is now -ended, and the thread of life severed by the sword of<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -justice. From the place of execution the murderer is -brought to Surgeons' Hall, and now represented under -the knife of a dissector. This venerable person, as -well as his coadjutor, who scoops out the criminal's -eye, and a young student scarifying the leg, seem to -have just as much feeling as the subject now under -their inspection.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> A frequent contemplation of sanguinary -scenes hardens the heart, deadens sensibility, -and destroys every tender sensation.</p> - -<p>Our legislators, considering how unfit such men are -to determine in cases of life and death, have judiciously -excluded both surgeons and butchers from -serving upon juries.</p> - -<p>Hogarth was most peculiarly accurate in those little -markings which identify. The gunpowder initials T. -N. on the arm, denote this to be the body of Thomas -Nero. The face being impressed with horror has been -objected to. It must be acknowledged that this is -rather "o'er-stepping the modesty of nature;" but he -so rarely deviates from her laws, that a little poetical -licence may be forgiven where it produces humour or -heightens character.</p> - -<p>The skeletons on each side of the print are inscribed -<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>"James Field" (an eminent pugilist), and -"Maclean" (a notorious robber). Both of these -worthies died by a rope. They are pointing to the -physician's crest which is carved on the upper part of -the president's<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> chair, viz. a hand feeling a pulse; -taking a guinea would have been more appropriate to -the practice. The heads of these two heroes of the -halter are turned so as to seem ridiculing the president, -"Scoffing his state, and grinning at his pomp." -Every countenance in this grisly band is marked with -that medical importance which dignifies the professors. -Some of them we discover to be "from Caledonia's -bleak and barren clime."</p> - -<p>A fellow depositing the intestines in a pail, and a -dog licking the murderer's heart, are disgusting and -nauseous objects. The vessel where the skulls and -bones bubble-bubble, gives some idea of the infernal -caldron of Hecate.</p> - -<p>Of this print, and that preceding it, there are<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -wooden blocks engraved upon a large scale, invented -and published by "William Hogarth, Jan. 1, 1750; J. -Bell, sculpt." They were executed by order of Mr. -Hogarth, who wished to circulate the salutary examples -they contain, by making the price low enough -for a poor man's purse; but finding engraving on -wood much more expensive than he had calculated, -he altered his plan, and engraved them on copper.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_064.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<h3>BEER STREET AND GIN LANE.</h3> - -<p class="fs80">"The nature and use of aliments maketh men either chaste or incontinent; -either courageous or cowardly; either meek or quarrelsome: -let those who deny these truths come to me; let them follow my counsel -in eating and drinking, and I promise them they will find great helps -thereupon towards moral philosophy. They will acquire more prudence, -more diligence, more memory."—<span class="smcap">Galen.</span></p> - -<div> -<img class="drop-cap" src="images/dc_065.jpg" alt="" /> -</div> - -<p class="drop-capx">Fully impressed with the truth of this -axiom, Mr. Hogarth engraved the two following -prints, in which he has considered -porter as the liquor natural to an English constitution; -and that villanous distillation, gin, as pernicious -and poisonous. While that noble beverage properly -termed British Burgundy<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> refreshes the weary,<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> -exhilarates the faint, and cheers the depressed, an -infernal compound of juniper and fiery spirits debases -the mind, destroys the constitution, and brings its -thirsty votaries to an untimely grave.</p> - -<p>These, as well as the four preceding prints, are -calculated for the lower orders of society, and exhibit -such a contrast as must strike the most careless observer. -In the first, we see healthy and happy beings -inhaling copious draughts of a liquor which seems -perfectly congenial to their mental and corporeal -powers; in the second, a group of emaciated wretches -who, by swallowing liquid fire, have consumed both.</p> - - -<p class="p2" /> -<h4>BEER STREET.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"Beer, happy product of our isle,</p> -<p class="verse4">Can sinewy strength impart;</p> -<p class="verse">And wearied with fatigue and toil,</p> -<p class="verse4">Can cheer each manly heart.</p> -</div> -<div class="stanza"> -<p class="verseq">"Labour and art, upheld by thee,</p> -<p class="verse4">Successfully advance;</p> -<p class="verse">We quaff the balmy juice with glee,</p> -<p class="verse4">And water leave to France.</p> -</div> -<div class="stanza"> -<p class="verseq">"Genius of health, thy grateful taste</p> -<p class="verse4">Rivals the cup of Jove;</p> -<p class="verse">And warms each English, generous breast,</p> -<p class="verse4">With liberty and love."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="BS" id="BS"></a> -<img src="images/i_066fp.jpg" width="550" alt="" /> -<div class="caption">BEER STREET.</div> -</div> - -<p class="noindent">This admirable delineation is a picture of John Bull -in his most happy moments. In the left corner, a -butcher and a blacksmith are each of them grasping -<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>a foaming tankard of porter. By the <cite>King's Speech</cite> -and the <cite>Daily Advertiser</cite> upon the table before them, -they appear to have been studying politics, and -settling the state of the nation. The blacksmith -having just purchased a shoulder of mutton, is triumphantly -waving it in the air. Next to him a -drayman is whispering soft sentences of love to a -servant-maid, round whose neck is one of his arms; -in the other hand a pot of porter. Two fish-women, -furnished with a flagon of the same liquor, are chaunting -a song of Mr. Lockman's<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> on the British Herring -Fishery. A porter having put a load of waste-paper<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> -on the ground, is eagerly quaffing this best of barley -wine.</p> - -<p>On the front of a house in ruins, is inscribed -"Pinch, pawnbroker," and through a hole in the door -a boy delivers a full half-pint. In the background -are two chairmen.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> They have joined for threepenny-worth -to recruit their spirits, and repair the fatigue -they have undergone in <em>trotting between two poles</em> -<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>with a ponderous load of female frailty. Two paviors -are washing away their cares with a heart-cheering -cup. In a garret window a trio of sailors are employed -in the same way; and on a house-top are four -bricklayers equally joyous. Each of these groups -seem hale, happy, and well clothed; but the artist, -who is painting a glass bottle from an original which -hangs before him, is in a truly deplorable plight, at the -same time that he carries in his countenance a perfect -consciousness of his talents in this creative art.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p> - - -<p class="p2" /> -<h4>GIN LANE.</h4> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"Gin, cursed fiend! with fury fraught,</p> -<p class="verse4">Makes human race a prey;</p> -<p class="verse">It enters by a deadly draught,</p> -<p class="verse4">And steals our life away.</p> -</div> -<div class="stanza"> -<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -<p class="verseq">"Virtue and Truth, driv'n to despair,</p> -<p class="verse4">Its rage compels to fly;</p> -<p class="verse">But cherishes with hellish care,</p> -<p class="verse4">Theft, murder, perjury.</p> -</div> -<div class="stanza"> -<p class="verseq">"Damn'd cup! that on the vitals preys,</p> -<p class="verse4">That liquid fire contains;</p> -<p class="verse">Which madness to the heart conveys,</p> -<p class="verse4">And rolls it thro' the veins."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="GL" id="GL"></a> -<img src="images/i_068fp.jpg" width="550" alt="" /> -<div class="caption">GIN LANE.</div> -</div> - -<p class="noindent">From contemplating the health, happiness, and -mirth flowing from a moderate use of a wholesome -and natural beverage, we turn to this nauseous contrast, -which displays human nature in its most -degraded and disgusting state. The retailer of gin -and ballads,<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> who sits upon the steps with a bottle in -one hand and a glass in the other, is horribly fine. -Having bartered away his waistcoat, shirt, and stockings, -and drank until he is in a state of total insensibility; -pale, wan, and emaciated, he is a perfect -skeleton. A few steps higher is a debased counterpart -of Lazarus, taking snuff; thoroughly intoxicated, and -negligent of the infant at her breast, it falls over the -rail into an area, and dies an innocent victim to the -baneful vice of its depraved parent. Another of the -fair sex has drank herself to sleep. As an emblem -of her disposition being slothful, a snail is crawling -from the wall to her arm. Close to her we discover -one of the lords of the creation gnawing a bare bone,<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -which a bull-dog, equally ravenous, endeavours to -snatch from his mouth. A working carpenter is -depositing his coat and saw with a pawnbroker. A -tattered female offers her culinary utensils at the -same shrine: among them we discover a tea-kettle -pawned to procure money to purchase gin.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> An old -woman, having drank until she is unable to walk, -is put into a wheel-barrow, and in that situation a -lad solaces her with another glass. With the same -poisonous and destructive compound, a mother in the -corner drenches her child. Near her are two charity-girls -of St. Giles', pledging each other in the same -corroding compound. The scene is completed by a -quarrel between two drunken mendicants, both of -whom appear in the character of cripples. While one -of them uses his crutch as a quarterstaff, the other -with great goodwill aims a stool, on which he usually -sat, at the head of his adversary. This, with a crowd -waiting for their drams at a distiller's door, completes -the catalogue of the <em>quick</em>. Of the <em>dead</em> there are -two, besides an unfortunate child whom a drunken -madman has impaled upon a spit.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> One a barber, -who, having probably drank gin until he has lost his -reason, has suspended himself by a rope in his own -ruinous garret; the other a beautiful woman, whom by -<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>direction of the parish beadle two men are depositing -in a shell. From her wasted and emaciated appearance, -we may fairly infer she also fell a martyr to -this destructive and poisonous liquid. On the side of -her coffin is a child lamenting the loss of its parent.</p> - -<p>The large pewter measure hung over a cellar, on -which is engraved "Gin Royal," was once a common -sign; the inscription on this cave of despair, "Drunk -for a penny, dead drunk for twopence, clean straw -for nothing," is worthy observation; it exhibits the -state of our metropolis at that period.</p> - -<p>The scene of this horrible devastation is laid in a -place which was a few years since properly enough -called the Ruins of St. Giles'.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> Except the pawnbroker's, -distiller's, and undertaker's, the houses are -literally ruins! These doorkeepers to Famine, Disease, -and Death, living by the calamities of others, are -in a flourishing state.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p> - -<p>Mr. Hogarth seems to have received the first idea -of these two prints from a pair by Peter Breughel -(frequently called <i lang="fr" xml:lang="fr">Breughel d'enfer</i>), which exhibit a -<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>similar contrast. In the one entitled "La Grosse" are -a number of comely and well-fed personages; in the -other, which is baptized "La Maigre Cuisine," the -characters are meagre and wasted: seated on a straw -mat are a mother and child, which very much resemble -the wretched female we see upon the steps in the print -under consideration.</p> - -<p>To the perspective little attention is paid, but the -characters are admirably discriminated. The emaciated -retailer of gin is well drawn. The woman -with a snuff-box has all the mawkish marks of debasement -and drunkenness. The man gnawing a -bone, a dog tearing it from him, and the pawnbroker, -have countenances in an equal degree hungry and -rapacious.</p> - -<p>A print entitled the "Gin Drinkers," which bears -strong marks of being one of Hogarth's early productions, -may perhaps have been the first thought on -which this print was built.</p> - -<p>On the subject of these plates was published a -catchpenny compilation from Reynolds' "God's Revenge -against Murder," entitled "<cite>A Dissertation on -Mr. Hogarth's six prints—'Gin Lane,' 'Beer Street,' -and the 'Four Stages of Cruelty.'</cite>"</p> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p> - -<h3>PAUL BEFORE FELIX.</h3> - -<p class="negin2 fs90"><em>Designed and etched in the ridiculous manner of Rembrandt, by -William Hogarth. Published according to the Act of -Parliament, May 1, 1751.</em></p> - -<p class="pfs80">"Each hero is a pillar of darkness, and the sword a beam of fire."<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a>—<span class="smcap">Fingal</span>, -Book <span class="fs80">I.</span> p. 21.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="PF" id="PF"></a> -<img src="images/i_074fp.jpg" width="650" alt="" /> -<div class="caption">PAUL BEFORE FELIX.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_073.jpg" alt="" /> -</div> - -<p class="drop-capx">For the etchings of Rembrandt, and a herd of -servile imitators who, without any of his -genius, copied his defects, Hogarth had the -most sovereign contempt. He considered their productions -as unmeaning scratches, as dingy and violent -combinations of light and darkness, which would not -bear to be tried by the criterion of either nature or -art. How far he was right in his opinion is not my -inquiry; but certain it is, that at the time of this -publication they had the sanction of those who were -deemed good judges, and produced most enormous -prices. To correct this vitiated taste, and bring men<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -back to reason and common sense, our whimsical -artist etched this very grotesque print.</p> - -<p>The Apostle, conformable to the general practice -of the Flemish school, is represented as a mean and -vulgar character. Among the Lilliputians he might -have been a giant; among the Romans he must have -been a dwarf. In the true spirit of Dutch allegory, -a figure fat enough for a burgomaster, invested with -wings "that clad each shoulder broad," is seated on -the floor behind him as a guardian angel. At this -unpropitious moment the guardian angel is asleep, -and a little imp of darkness,<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> ever active in mischief, -is busily employed with a hand-saw cutting through -the leg of the Apostle's stool, which falling, must inevitably -bring the orator to the ground, where he will -probably be seized by the snarling dog on whose -collar is engraved "Felix," and who seems to have -an eye to the saint, though his nose is evidently -pointed at his appalled master. Seated in a wicker -chair, with the Roman eagle over his head, and the -fasces at his left hand, Felix indeed trembles. On -an adjoining seat is the all-accomplished Drusilla -and her lap-dog. Her olfactory nerves, as well as -those of her companion, are violently affected. With -a sacrificing knife in his right hand, his left clenched, -<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>and a countenance irritated almost to madness, the -High Priest appears ready to leap from the bench and -put the Apostle to death, but is prevented by a more -prudent senator. The audience are worthy of the -judges; male and female, young and old, are in dress, -deportment, and feature, perfectly Dutch. Of the -same school is the statue of Justice, with a bandage -over one eye, and grasping, in the place of a flaming -sword, a butcher's knife.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> She stands in awful state, -laden with bags of gold, the rewards of legal decisions.</p> - -<p>At a table beneath the bench are five curious -characters. The first, maugre the thundering eloquence -of St. Paul, is asleep; the next, mending a -pen; two adjoining are highly offended with a noxious -effluvia, while their bearded associate is grinning and -pointing at the cause from which it emanates. Regardless -of all other objects, an Hebrew counterpart -of Shylock is expanding his hands in astonishment -at the unguarded vehemence of the preacher. Not -less exasperated is Tertullus, who, arrayed in the habit -of an English serjeant-at-law,<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> has nothing Roman -<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>but his nose. Boiling with rage, and irritated almost -to madness, he tears his brief: this, a devil, who to -give him peculiar distinction has three horns, is carefully -picking up and joining the remnants together.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> -The vase, and silver plates in a recess, the violent -stream of light which dazzles the eyes of a priest -<em>who stands with his back to it</em>, the boat, bark, and -white sail glittering in the wave, and a village and -windmill in the distance, are all of Rembrandt's -school.</p> - -<p>The plate was originally intended as a receipt-ticket -to the large "Paul before Felix," and "Pharaoh's -Daughter;" and the artist stained many early impressions -with that yellow tint which time gives to old -prints. For the Paul, and Moses, he afterwards engraved -another design, and presented this to any of -his friends who requested it; but finding applications -increase, he fixed the price at five shillings.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p> - - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p class="p2" /> -<h4>PLATE I.</h4> - -<p class="negin2 fs90"><em>Engraved by William Hogarth, from his original painting -in Lincoln's-Inn Hall, and published as the Act directs, -Feb. 5, 1752.</em></p> - -<p class="pfs80">"And as he reasoned of righteousness, temperance, and judgment to -come, Felix trembled."</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="PP_I" id="PP_I"></a> -<img src="images/i_076fp.jpg" width="650" alt="" /> -<div class="caption">PAUL PREACHING BEFORE FELIX.</div> -</div> - -<p class="noindent">This print Mr. Hogarth intended as a serious and -sublime representation of the scene which he had so -inimitably burlesqued; yet so little are we qualified -to judge of our own powers, that he has here produced -a print as destitute of elevation and sentiment as are -the works of those masters he so successfully ridiculed. -With the Roman eagle he could not soar, and -has drawn the royal bird like a sparrow-hawk, nailed -to the bottom of a writing-desk. The Apostle, with -his right foot resting on a lower step than the left, -has neither grace, dignity, nor firmness. Felix has -the appearance of a vinegar-faced apothecary feeling -the pulse of a nervous female patient, and shocked at -the velocity of our circulation, dropping the prescription -from his left hand. The haughty High Priest -biting his nails, is deficient in everything except his -drapery: the Jew immediately behind him bears a -strong resemblance to an old-clothes-man. The -standard-bearer, and woman with her hands closed, -are a degree better; but the Herculean advocate,<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> -with a brief in his right hand, looks like a journeyman -hatter that has drank porter till he is drowsy; by -the strength of his muscles and the stupidity of his -countenance, he seems better fitted for a bruiser than -a pleader.</p> - -<p>The listening soldier, at the opposite corner, is -meanly conceived and ill drawn.</p> - -<p>At the bottom of one of the copies I once saw the -following memorandum in the handwriting of Hogarth: -"A print of the plate that was set aside as insufficient. -Engraved by W. H."</p> - - -<p class="p2" /> -<h4>PLATE II.</h4> - -<p class="pfs90"><em>From the original painting in Lincoln's-Inn Hall, painted -by Wm. Hogarth.</em></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="PP_II" id="PP_II"></a> -<img src="images/i_078fp.jpg" width="650" alt="" /> -<div class="caption">PAUL PREACHING BEFORE FELIX.</div> -</div> - -<p class="noindent">This is engraved from the same design as the former, -but the situation of the figures is reversed, and -Drusilla omitted, it being thought that St. Paul's -hand was rather improperly placed.</p> - -<p>It is somewhat superior to the former, but the light -is ill distributed, and the characters too individual for -the dignity of historical composition.</p> - -<p>Upon this and the following print Doctor Joseph -Warton, in his <cite>Essay on the Genius and Writings of -Pope</cite>, made the following remark. Trusting to his -memory, he confounded two prints together, and -<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>remembering to have seen a dog snarling at a cat in -the fourth print of "Industry and Idleness," from an -error in recollection, transferred them to the "Paul -before Felix:"—</p> - -<p>"Some nicer virtuosi have remarked, that in the -serious pieces into which Hogarth has deviated from -the natural bias of his genius there are some strokes -of the ridiculous discernible, which suit not with the -dignity of his subject. In his Preaching of St. Paul, a -dog snarling at a cat; and in his Pharaoh's Daughter, -the figure of the infant Moses, who expresses rather -archness than timidity, are alleged as instances that -this artist, unrivalled in his walk, could not resist the -impulse of his imagination towards drollery. His -picture, however, of Richard <span class="fs80">III.</span> is pure and unmixed, -without any ridiculous circumstances, and strongly -impresses terror and amazement."</p> - -<p>On the publication of this criticism, Hogarth engraved -the whole quotation under the two prints -alluded to without any comment; but on the appearance -of the following very ample and candid -apology, erased them:—</p> - -<p>"The author gladly lays hold of the opportunity -of this third edition of his work to confess a mistake -he had committed with respect to two admirable -paintings of Mr. Hogarth,—his Paul Preaching, and -his Infant Moses,—which on a closer examination are -not chargeable with the blemishes imputed to them.<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -Justice obliges him to declare the high opinion he -entertains of the abilities of this inimitable artist, who -shines in so many different lights and on such very -dissimilar subjects, and whose works have more of -what the ancients called the <span title="ÊThOS">ΗΘΟΣ</span> in them than the -compositions of any other modern. For the rest, the -author begs leave to add, that he is so far from being -ashamed of retracting his error, that he had rather -appear a man of candour than the best critic that -ever lived."</p> - -<p>Hogarth did not understand Greek, and was for -some time doubtful whether the <span title="ÊThOS">ΗΘΟΣ</span> was meant as -complimentary or satirical.</p> - -<p>If the original painting in Lincoln's-Inn Hall were -destroyed, Hogarth's reputation would not be diminished.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_080.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p> - -<h3>MOSES BEFORE PHARAOH'S DAUGHTER.</h3> - -<p class="fs90">"And the child grew, and she brought him unto Pharaoh's daughter, -and he became her son. And she called his name Moses."—<span class="smcap">Exodus -ii. 10.</span></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="MP" id="MP"></a> -<img src="images/i_082fp.jpg" width="650" alt="" /> -<div class="caption">MOSES BEFORE PHARAOH'S DAUGHTER.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_081.jpg" alt="" /> -</div> - -<p class="drop-capx">Among the many benevolent institutions -which do honour to this nation, the hospital -for maintaining exposed and deserted -infants may be ranked as one of the most humane -and political. Let the austere enthusiast censure it -as an encouragement to vice, and the rigid moralist -declaim against giving sanction to profligacy, it is still -an useful and a benevolent foundation.</p> - -<p>To protect the helpless, give refuge to the innocent, -and render that unoffending being a useful member -of society whose parents may be too indigent to give -it proper sustenance, or wicked enough to destroy it, -is fulfilling one great precept of religion, and must -afford a pure and exalted gratification to every -philanthropic mind.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p> - -<p>That it is found necessary to restrict the plan, and<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> -confine the charity in such narrow limits, is much to -be lamented. Compassion and policy demand that -the doors should be open to every proper object.</p> - -<p>To this asylum for deserted infancy Mr. Hogarth -was one of the earliest benefactors,<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> and to their -institution presented the picture from which this print -is engraved; there is not perhaps in holy writ another -<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>story so exactly suitable to the avowed purpose of -the foundation.</p> - -<p>The history of Moses being deserted by his mother, -exposed among the bulrushes, and discovered and -protected by the daughter of Pharaoh, is known to -every one who has read the Bible: those who have -not, may find it there recorded, with many other -things well worthy their attention. At the point of -time here taken, the child's mother, whom the Princess -considers as merely its nurse, has brought him to his -patroness, and is receiving from the treasurer the -wages of her services. The little foundling naturally -clings to his nurse, though invited to leave her by the -daughter of a monarch. The eyes of an attendant, -and a whispering Ethiopian, convey an oblique suspicion -that the child has a nearer affinity to their -mistress than she chooses to acknowledge.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p> - -<p>Considered as a whole, this picture has a more -historic air than we often find in the works of Hogarth. -The royal Egyptian is graceful, and in some degree -elevated.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> The treasurer is marked with austere -dignity, and the Jewess and child with nature. The -<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>scene is superb, and the distant prospect of pyramids, -etc. highly picturesque and appropriate to the country. -To exhibit this scene, the artist has placed the -groups at such a distance as crowd the corners and -leave the centre unoccupied. As the Greeks are said -to have received the rudiments of art from Egypt, -the line of beauty on the base of a pillar is properly -introduced. A crocodile creeping from under the -stately chair may be intended to mark the neighbourhood -of the Nile, but is a poor and forced conceit.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_084.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p> - -<h3>FOUR PRINTS OF AN ELECTION.</h3> - -<div> -<img class="drop-cap" src="images/dc_085.jpg" alt="" /> -</div> - -<p class="drop-cap">I think it is Voltaire who observes that the -English nation are mad every seven years: -he might have added that there are local -fits which seize some parts of the country at other -times; but this madness, like the fermentation of -liquors, proves the spirit of the people.</p> - -<p>In the following series of prints Mr. Hogarth has -delineated the progress of this malady, in four of its -most remarkable stages, with that broad and characteristic -humour peculiar to himself. He has presented -us with the mirror of a contested election, the British -Saturnalia; in which is displayed what Abbé Raynal -most emphatically calls "the majesty of the people!"—an -expression, says the same writer, "which would -alone consecrate a language."</p> - -<p>The first print was published February 24, 1755, -and inscribed to the Right Hon. Henry Fox.—Plate -II., February 20, 1757, to Sir Charles Hanbury Williams, -Ambassador to the Court of Russia.—Plate -III., February 20, 1758, to the Hon. Sir Edward -Walpole, Knight of the Bath.—Plate IV., January 1,<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -1759, to the Hon. George Hay, one of the Lords -Commissioners of the Admiralty.</p> - -<p>The original pictures are now in the possession of -Mrs. Garrick, at Hampton.</p> - -<p>It appears from the <cite>Grub Street Journal</cite> of June -13, 1734, that the same subject had been previously -attempted by another artist, under the title of "The -Humours of a Country Election." It must be acknowledged -that the inscriptions to some of the compartments -have a striking similarity to the scenes -represented by Hogarth. "The candidates very -complaisant to a country clown," etc. "The candidates -making an entertainment for the electors and -their wives; at the upper end of the table the parson -of the parish," etc.</p> - -<p>In 1759 was published, in four cantos, a poetical -description of these prints, introduced by the following -remarkable advertisement, dated</p> - -<div class="blockquot"> -<p class="right">"<span class="smcap">Cheapside</span>, <em>March 1, 1759</em>.</p> - -<p>"For the satisfaction of the reader, and in justice to -the concealed author, I take the liberty, with the permission -of Mr. Hogarth, to insert in this manner that -gentleman's opinion of the following cantos, which is—That -the thoughts entirely coincide with his own; -that there is a well-adapted vein of humour preserved -through the whole; and that though some of his -works have been formerly explained by other hands,<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -yet none ever gave him so much satisfaction as the -present performance.</p> - -<p class="right smcap">"John Smith."</p> -</div> - -<p>Had Mr. Hogarth's taste for poetry been in any -degree equal to his skill in painting, he would scarcely -have given so strong a sanction to this wretched attempt -at Hudibrastic humour, which is coarse, dull, -mean, and very unworthy of the scenes which it professes -to celebrate.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p> -<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p> - - -<p class="p2" /> -<h4>PLATE I.</h4> - -<p class="pfs70">AN ELECTION ENTERTAINMENT.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Here tumult wild and rude confusion reign,</p> -<p class="verse">And hoodwink'd party heads the senseless train;</p> -<p class="verse">Here meets her motley tribe—here holds her court,</p> -<p class="verse">For pamper'd Gluttony, the grand resort.</p> -<p class="verse">From orgies so profane—stern Freedom flown,</p> -<p class="verse">Corruption mounts her abdicated throne.</p> -<p class="verse">Unhappy Britain—thy degenerate tribe,</p> -<p class="verse">Like Esau, barter birthright for a bribe."—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="EL_I" id="EL_I"></a> -<img src="images/i_088fp.jpg" width="650" alt="" /> -<div class="caption">THE ELECTION, PLATE I. THE ENTERTAINMENT.</div> -</div> - -<p class="noindent">The first act of this popular farce is very properly a -dinner, which in all public transactions ought to precede -every other business.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> The scene is laid in a -country town, at an inn, which in these piping times -of peace is kept open for the friends of the Court -candidate. All the party, except the divine and the -mayor, have ended their repast; but episcopal dignity, -<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>or prætorian distinction, gives a right to more indulgence -than is allowed to the unhallowed multitude.</p> - -<p>The highly polished and accomplished gentleman<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> -who aspires to the honour of a seat in the British -senate demands our first notice. He has what an -Hibernian would call a face of much promise. His -dress, air, and grace proclaim that he has travelled. -Pope has described him exactly as if he had sat for -the picture:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"He saunter'd Europe round,</p> -<p class="verse">And gathered every vice on Christian ground,</p> -<p class="verse">Saw every court, heard every king declare</p> -<p class="verse">His royal sense of operas, or the fair.—</p> -<p class="verse">See now half-cured, and perfectly well-bred,</p> -<p class="verse">With nothing but a solo in his head,</p> -<p class="verse">As much estate, and principle, and wit,</p> -<p class="verse">As Jansen, Fleetwood, Cibber, shall think fit;</p> -<p class="verse">Stol'n from a duel, follow'd by a nun,</p> -<p class="verse">And if a Borough choose him,—not undone," etc.</p> -</div></div> - -<p>At this time of general equality and universal<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -levelling, when knight and vassal, esquire and mechanic, -are of equal rank, our paragon of politeness is -lending an attentive ear to a disgusting old beldam, -who from her rotundity may be a descendant of Sir -John Falstaff's. In her hand, which is behind him, -she holds a letter directed to Sir Commodity Taxem; -this we may naturally suppose contains either a -request of a favour or an offer of a service, in the sure -and certain hope of a return to it. Be that as it may, -the gallant knight shows her every attention, and has -stretched his long arm half round her ample waist:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Thus the bold eagle leaves his azure way,</p> -<p class="verse">And takes the carrion carcase for his prey;</p> -<p class="verse">There dips his beak—but when the banquet's done,</p> -<p class="verse">Replumes his wings, and rises to the sun."</p> -</div></div> - -<p>While a little girl dazzled with the splendour of his -brilliant ring attempts to make it a prize, a fellow -who stands upon a chair behind him, with all that -easy familiarity which the time warrants, strikes the -Baronet's head against that of the old woman, and -shakes the ashes out of his tobacco-pipe upon his -powdered hair. This is election wit.</p> - -<p>The next group form a trio, and are made up by a -grinning cobbler, a dirty-faced barber, and a mawkish -gentleman, whose hand the son of St. Crispin grasps -with an energy that almost cracks the bones. The -barber, equally friendly, pinches his arm, and resting<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> -one hand upon his shoulder blows the hot fumes from -a short tobacco-pipe into his eye. This also is -election wit.</p> - -<p>A pyramidical group behind is composed of an -officer, a drunken counsellor, and a pleasing young -woman, over whose head the maudlin advocate, -flourishing a bumper of wine, roars out an obscene -toast. This is the third and most finished specimen -of election wit. At a table a little beneath, stewing -"the last lov'd remnant of the forest haunch," sits an -oily divine,<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> holding his canonical periwig in his -right hand, and wiping his forehead with the left.<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -Behind him is a Scotch bagpiper, who, at the same -time that he is pressing out his harsh and unmusical -tones, enjoys the <em>royal</em> luxury of scratching.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> A -female player on the violin,<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> and a most consequential -performer on the bass viol, when aided by the Caledonian -pipe, must form a most melodious concert.</p> - -<p>A fourth votary of St. Cecilia holds his musical instrument -under his arm, ceasing all dulcet sounds, -while he drinks a glass of Burgundy with a gentleman -who seems much gratified at seeing a chin of more -extravagant length than his own. Adjoining are two -country fellows delighted beyond measure at a person<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> -making the representation of a face by wrapping -a napkin round his hand, and singing, "An old woman -clothed in grey," etc. This face, ingeniously designed -with charcoal blots for eyes and mouth, bears a -strong resemblance to the poor gouty old fellow on -his left hand, whose violent contortions lead us to -suspect that he feels some disagreeable internal -emotion. Behind, is a fellow pouring the contents of -<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span>a vessel through a window amongst a crowd made up -of the opposite party, in return for a shower of stones -they are hurling into the room. To annoy and repel -these troublesome assailants, a man at the opposite -corner throws out a three-legged stool. At the upper -end of the table sits a gentleman in a tye-wig, whom -we presume to be the Right Worshipful Mr. Mayor. -He has ate oysters until his breath is stopped, and -is now under the hands of a barber-surgeon. This -village <em>Sangrado</em> attempts to breathe a vein; "But -ah! the purple tide no more will flow."</p> - -<p>Notwithstanding this suspension of vital powers, -our absolute monarch of his own corporation, true to -the cause, and actuated by his ruling passion, even in -death, grasps a fork, on which he has impaled an -oyster. Immediately behind him an electioneering -agent offers a bribe to a puritanic tailor; but this -conscientious wielder of the needle, lifting up his eyes -with horror, refuses the money, maugre the terrific -threats of his <em>amiable</em> wife, who, while she raises her -right fist in a menacing style, rests her left hand on -the head of their barefooted boy.</p> - -<p>On an opposite chair is an unfortunate man of the -law, who, intent on casting up the sure and doubtful -votes, is, like the mighty Goliah, struck in the forehead -with a stone, and falls prostrate to the floor. -"Where be his quirks and quiddits now?"</p> - -<p>A champion of the same party, generally called a<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -bludgeon-man,<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> having met with a similar accident -in the cause of his country, is taken in hand by a -patriotic butcher, who, assuming the office of surgeon, -pours gin into the wound. A little boy filling a -mashing-tub with punch,<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> and a trading Quaker reading -a promissory note, conclude the catalogue. This -note is from the candidate to Mr. Abel Squat for -fifty pounds, payable six months after date, and -probably offered in payment for ribands, gloves, etc., -which are to be presented to the electors' wives and -daughters. With this note honest Abel is much -dissatisfied; and by the manner one hand is laid upon -his little bale of goods, it does not seem probable that -he will part with them for paper security.</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p> - -<p>Coming in at the door we see a band of assailants -from the opposite party, determined to attack the -enemy in their entrenchments; most of them flourish -their cudgels, but one of the heroes brandishes a -sword. The stag's horns over the door may perhaps -be intended to convey some allusion to the trembling -Puritan. A party, whom their enemies at that time -distinguished by the name of Jacobites, to show <em>their</em> -respect for Revolution principles, have mangled the -portrait of King William the Third. The escutcheon -with the Elector's arms, <span class="fs80">A CHEVRON SABLE BETWEEN -THREE GUINEAS OR</span>, with the crest of a gaping mouth, -and motto "Speak and Have," is very applicable to a -parliamentary canvas. The landscape over the candidate's -head may, it has been observed, be intended -as a representation of the town where this business -is transacting. On the flag, which is entwined with -laurels, is inscribed "Liberty and Loyalty," which -cabalistic words, like the Abracadabra, are a sort of -charm to the eyes of your Englishman. On another -flag, which lies upon the ground, is written, "Give -us our Eleven Days."<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> In the tobacco tray is a paper -of Kirton's best,<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> and a slip from the Act against -<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>Bribery and Corruption is torn to light pipes with. -A lobster appears to be creeping towards a mutton -chop, which lies unheeded in a corner. A procession -in the street are following an effigy,<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> on the breast -of which is inscribed, "No Jews." The mottoes on -their flags are equally curious: "Liberty and Property, -and no Excise;" and, "Marry and Multiply, -in spite of the devil."</p> - -<p>An inscription on the butcher's cockade is infinitely -more classical and elegant: "Pro Patriæ" has a chance -of general admiration, because it is not generally -understood.</p> - -<p>As to the characters of the <i lang="la" xml:lang="la">dramatis personæ</i>. -The face and air of the Baronet are perfectly of -Lord Chesterfield's school; a fellow scattering -ashes on his head, and the cobbler at the table, -are marked with mischief. The fat old woman is -of Mother Cole's family; and the divine has the -corpulence and consequence of a bishop. He must -"lard the lean earth as he walks along." The two -country fellows looking with delighted eyes at Mr. -Parnell, and an old man tortured by the gout, are -admirably discriminated. The barber-surgeon and -his brother butcher have so much <i lang="fr" xml:lang="fr">sang froid</i>, and -display so little feeling for their suffering patients,<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -that we naturally infer each of them is in great -practice.</p> - -<p>Hogarth was fond of making experiments; and -it has been said, that when engraving this plate he -determined to attempt what no artist had ever performed, -<em>i.e.</em> to finish the plate without taking a single -proof during the process. The consequence was such -as might be expected; he made some mistakes that -it was scarcely possible to rectify, and on discovering -the errors, violently exclaimed that he was ruined. -On his passion subsiding, a brother engraver assisted -him to correct the faults occasioned by trying to -perform an impossibility. It is, however, the highest -finished print he ever engraved.</p> - -<p>In the first state of the plate were some lemons -and oranges lying on a paper by the side of the tub; -but Hogarth being informed that vitriol and cream -of tartar are the usual acids in election punch, erased -them from the copper.</p> - - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p> - -<p class="p2" /> -<h4>PLATE II.</h4> - -<p class="pfs70">CANVASSING FOR VOTES.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Although bare merit might in Rome appear</p> -<p class="verse">The strongest plea for favour,—'tis not here;</p> -<p class="verse">We form our judgment in another way,</p> -<p class="verse">And he will best succeed who best can pay."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="EL_II" id="EL_II"></a> -<img src="images/i_098fp.jpg" width="650" alt="" /> -<div class="caption">THE ELECTION, PLATE II. CANVASSING FOR VOTES.</div> -</div> - -<p class="noindent">The centre group in this print represents a rustic -freeholder between two innkeepers, each of whom, -as agents for their respective parties, are dropping -money into his hands. From the arch and significant -cast of his eye, we see that though interest induces -him to take all that either of them will give, <em>conscience</em> -obliges him to vote for the best paymaster.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> -One of the candidates, considering how necessary it -is to conciliate the favour of the fair, is purchasing -trinkets from a Jew pedlar for two ladies, who express -their virtuous wishes in a balcony. Though neither -of them have votes, their interest may be very extensive. -By the direction upon a letter which a porter, -in the hope of a more liberal gratuity, delivers with a -bended knee, we perceive that this gentleman is of -the numerous and ancient family of the party tools, -<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>who have flourished in this island ever since the -Revolution. A packet on the ground consists of -printed bills to be dispersed among the electors, intimating -that Punch's theatre is opened,<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> the company -of the worthy electors humbly<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> and earnestly requested, -etc. etc. In election business, eating is a -leading article; of this, two hungry countrymen in -the Royal Oak larder seem perfectly sensible. One -<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>of them is voraciously devouring a fowl, and the other -slashing away a round of beef. Seated upon an old -stern of a ship, which is placed as a kind of national -trophy at the inn door, and represents the British lion -swallowing the lily of France, is the buxom landlady -(at this time a very important personage), counting -the money she has received for <em>her</em> interest in the -borough; a grenadier watches her with that kind of<span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span> -eagerness which seems to intimate a desire of dividing -the spoil. Settling the nation while they drink their -ale, a barber and a cobbler are engaged in a dispute -upon politics at the door of the Portobello<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> alehouse. -The former seems describing, with pieces of broken -tobacco-pipes, the great exploits of Admiral Vernon -with six ships only. In the progress of this voluble -harangue he has advanced something contrary to the -cobbler's creed, and Crispin, being no great orator,<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -offers to back his opinion by a wager. This the -eloquent flourisher of a razor is either unwilling or -unable to answer, and the self-important mender of -bad soles triumphantly sweeps his cash from the table -to his pocket. A fellow mounted on a cross-beam at -the end of the Crown signpost deserves particular -notice. Eagerly exercising his hand-saw, he strains -every nerve to cut through the beam, totally negligent -of his own situation, and forgetting that when -the Crown drops—he must fall. To accelerate this -operation, and bring the business to a more speedy -crisis, two zealous coadjutors are exerting all their -strength in pulling at a rope which is tied round the -beam. This is one of the neatest pieces of allegory -that Hogarth has delineated.</p> - -<p>The crowd beneath are a fair representation of what -we had occasion to notice before—the majesty of the -people. Delighting in devastation, and blind to its -consequences, they with one voice "cry havoc, and -let slip the dogs of war." The landlord, enraged at -this wanton attack upon his <em>castle</em>, opens his window -and discharges a blunderbuss amongst the assailants. -Painted on the upper part of a show-cloth, and hung -before the sign of the Royal Oak,<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> is a view of the<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -Treasury, out of which a stream of gold is poured into -a bag, which, when filled, will be hoisted into a large -waggon now loading with guineas to defray the expense -of the approaching elections. Next to this is a -view of that <em>solid</em> specimen of Mr. Ware's taste and -talents in architecture, the Horse Guards. To the -cupola of this ponderous pile the artist has, with -very little exaggeration, given the form of a beer -barrel. In the centre arch the builder forgot proportion -and neglected utility, so that the state coach -could not pass through until the ground was lowered. -To satirize this violation of the laws of Palladio, and -inattention to the dictates of common sense, Hogarth -has represented the royal carriage on the point of -entering the arch, and the king's <em>body-coachman</em> without -a head.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> Beneath is delineated that ancient -favourite of a puppet-show, the facetious Mr. Punch, -with a barrow full of guineas, which, with a wooden -ladle, he tosses up and scatters in the air, to the -great delight of two sylvan freeholders who attempt<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> -to catch them in their hats. One of these <em>simple</em> -swains,<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a> having had his head broken with the gold, -endeavours to guard his <em>caput</em> from future mishaps. -An old woman standing behind them with a magic -wand, I suppose to be Mrs. Punch. Underneath is a -very applicable inscription, "Punch, a candidate for -Guzzledown." A view in the background, between -the Crown and Portobello, of a cottage embosomed<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span> -in a wood, and a village in the distance, is highly -picturesque. The tree, which spreads its foliage -before the walls of the Royal Oak, has one withered -bough; and enveloped by the luxuriant branches of -a vine, hangs a wooden bunch of grapes.</p> - -<p>The characters are admirable. Nothing can be -superior to the haughty and oracular self-importance -of the cobbler; the barber has all his professional -volubility; and the leer of the countryman lets you -into his whole soul. It is evidently directed to mine -host of the Oak,<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> who, added to his superior weight -of <em>metal</em>, has a superior weight of body, and a much -more persuasive aspect. The Jew has the true countenance -of his tribe. Of his customer, we may say in -the language of Shylock,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"How like a fawning publican he looks!"</p> -</div></div> - - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<p class="p2" /> -<h4>PLATE III.</h4> - -<p class="pfs70">THE POLLING.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Time was,—our freeholders, a stout rustic band,</p> -<p class="verse">Inhal'd the fresh breeze as they till'd their own land;</p> -<p class="verse">Their hearts beam'd with honour, their faces with health,</p> -<p class="verse">Their toil gave them strength, and their diligence wealth.</p> -<p class="verse">But these sons of misery, disfranchis'd by fate,</p> -<p class="verse">Resemble a group at an hospital gate,</p> -<p class="verse">All huddled together in one little clan,</p> -<p class="verse">To display the calamities common to man.</p> -<p class="verse">Yet deaf, blind, or lame, we must trust to their choice;</p> -<p class="verse"><em>Sans</em> ears, eyes, or hands,—each may have a good voice.</p> -<p class="verse">And—gasping for breath,—it deserves special note,</p> -<p class="verse">The <em>expiring Elector</em> is deem'd a <em>dead vote</em>."—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="EL_III" id="EL_III"></a> -<img src="images/i_106fp.jpg" width="650" alt="" /> -<div class="caption">THE ELECTION, PLATE III. THE POLLING.</div> -</div> - -<p class="noindent">With the glorious ambition of serving their country, -added to an eagerness of displaying their own importance, -the maimed, the lame, the blind, the deaf, and -the sick, hasten to the hustings to give their <em>independent</em> -votes.<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> The contending candidates, seated at the -back of the booth, anticipate the event. One of them, -coolly resting upon his cane in a state of stupid -satisfaction, appears to be as happy as his nature will -<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>admit, in the certainty of success. Very different are -the feelings of his opponent, who, rubbing his head -with every mark of apprehensive agitation, contemplates -the state of the poll, and shudders at the heavy -expense of a contest in which he is likely to be the -loser. Such are the cares of a candidate.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"A man, when once he's safely chose,</p> -<p class="verse">May laugh at all his furious foes,</p> -<p class="verse4">Nor think of former evil:</p> -<p class="verse">Yet good has its attendant ill,</p> -<p class="verse">A seat is no bad thing,—but still,</p> -<p class="verse4">A contest is the Devil."</p> -</div></div> - -<p>The first person that tenders his oath to the swearing -clerk is an old soldier, and probably a brave one, -for he has lost a leg, an arm, and a hand, in the -service of his country. They were severed by the -sword of an enemy, but the trunk and heart remain -entire, and are entitled to more respect than is paid -them by the brawling advocate, who, with that loud -and overbearing loquacity for which Billingsgate and -the bar are so deservedly eminent, puts in a protest -against his vote. The objection is not founded upon -this heroic remnant of war having forfeited his franchise<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -by any improper conduct, but upon the letter, -the black letter of the law, "which," says our quibbling -counsellor, "ordains, 'that the person who -makes an affidavit shall lay his right hand upon the -book.' Now, this man having had his right hand -severed from his arm, and, as he informs us, left it in -Flanders, cannot comply with the letter of the law, -and therefore is not competent to make an affidavit; -that being once admitted, which I do contend must -be admitted, he cannot be deemed competent to -vote." "That," replies another gentleman of the -black robe, "I most pointedly deny; for though this -valiant veteran, who is an half-pay officer, has lost -much of his blood and three of his limbs in the -service of his king, and defence of his fellow-subjects, -yet the sword which deprived him of his hand has -not deprived him of his birthright. God forbid it -should! It might as well be argued and asserted, -that this gentleman is excluded from the rites of -matrimony because he cannot pledge his hand. -Thanks to our religion and our constitution, neither -law nor gospel holds such language, and it is beneath -me to waste any more words in the confutation of it. -I will only add,—and I do insist upon my opinion -being confirmed by every statute upon the case,—that -the law must and will consider this substitute for a -hand to be as good as the hand itself; and his laying -that upon the book is all which the law ought to<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> -require,—all the law can require,—all the law does -require."</p> - -<p>Leaving these two bright luminaries of their profession -to throw dust, and render that obscure which -without their explanation would have been perfectly -clear, let us attend to the son of Solomon, who is -fastened in his chair and brought to give his voice -for a fit person to represent <em>him</em> in Parliament. This -is evidently a deaf idiot, but he is attended by a man -in fetters,<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> very capable of prompting him, who is at -this moment roaring in his ear the name of the -gentleman for whom he is to vote. Behind him are -two fellows carrying a man wrapped in a blanket, -apparently in so languid a state, that he cannot be -supposed to feel much interest in the concerns of a -world he is on the point of leaving.<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> The catalogue -of this motley group of electors is concluded by a -<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>blind man and a cripple, who are slowly and cautiously -ascending the steps that lead to the hustings. -In the group an artist is drawing a profile of one of -the candidates, and in both air and character this -Sayers of his day has given a very striking resemblance -of his original. The constable, fatigued by -double duty, is at peace with all mankind—a deep -sleep is upon him. Many of the crowd are attentively -listening to the soft sounds of a female siren, warbling -forth a brown paper libel on one of the candidates in -that universal language which those that cannot read -may yet understand,—the hero of this satire being -delineated as suspended to a gibbet on the top of the -ballad.</p> - -<p>In the sinister corner is a view of Britannia's -chariot oversetting, while the coachman and footman -are playing at cards on the box. Here is one of the -few instances where Hogarth has mounted into the -cloudy heights of allegory; and here, as Mr. Walpole -justly observes, he is not happy: it is a dark and -dangerous region, in which almost every aeronaut of -the arts has lost himself, and confused his earth-born -admirers. On a bridge in the background is a -carriage, with colours flying, and a cavalcade composed -of worthy and independent freeholders advancing -to give their suffrages with all possible <i lang="fr" xml:lang="fr">éclat</i>.</p> - -<p>The village in the distance has a pretty effect. Of -the church we may fairly say, as Charles the Second<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> -did of that at Harrow on the Hill, "It is the <em>visible</em> -church."</p> - -<p>Part of this plate was engraved by Morrilon le -Cave, who was a scholar of Picart's. In the year -1733, he engraved from Hogarth's design a small -print of Captain Coram, etc., as the headpiece to a -power of attorney for the Governors of the Foundling -Hospital: he also engraved a head of Doctor Pococke, -which is the frontispiece to Twell's edition of the -Doctor's works.</p> - - -<p class="p2" /> -<h4>PLATE IV.</h4> - -<p class="pfs70">CHAIRING THE MEMBER.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">When Philip's warlike and victorious son</p> -<p class="verse">A kingdom conquer'd or a battle won,</p> -<p class="verse">His legions bow'd the head, and bent the knee,</p> -<p class="verse">And cried, exulting,—Lo, a Deity!</p> -<p class="verse">Bore him triumphant in a glittering car,</p> -<p class="verse">While thundering plaudits rent the echoing air.</p> -<p class="verse4">So,—the Election being finish'd,</p> -<p class="verse">His borough gain'd, his coin diminish'd,</p> -<p class="verse">Our Knight in mock heroic state</p> -<p class="verse">Is now exalted,—but not great.</p> -<p class="verse4">Beyond all doubt the people's choice,</p> -<p class="verse">Ah!—could he check the people's voice?</p> -<p class="verse">For some exclaim,—A venal knave!</p> -<p class="verse">And others,—A time-serving slave!</p> -<p class="verse">While this roars out,—A party tool!</p> -<p class="verse">That, sneering cries,—A party fool!</p> -<p class="verse4">These are hard words, and grating tones;</p> -<p class="verse">But what are words to broken bones?</p> -<p class="verse">And broken bones he'll soon bewail,</p> -<p class="verse">For there's no fence against a flail.</p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -<p class="verse">Oh hapless wight!—ah, luckless fray,</p> -<p class="verse">Down drops this pageant of the day.</p> -<p class="verse4">Thus, he most raised above his fellows,</p> -<p class="verse">By one rude blast from Fortune's bellows,</p> -<p class="verse">Falls, like a tempest-riven tower,</p> -<p class="verse">From pomp, pride, circumstance, and power.—E.</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="EL_IV" id="EL_IV"></a> -<img src="images/i_112fp.jpg" width="650" alt="" /> -<div class="caption">THE ELECTION, PLATE IV. CHAIRING THE MEMBERS.</div> -</div> - -<p class="noindent">The polling being concluded, the books cast up, and -the returning-officer having declared our candidate<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> -duly elected, he is now exhibited in triumph. Seated -in an arm-chair, and exalted upon the shoulders of -four tried supporters of the constitution, he is borne -through the principal streets, which are promiscuously -crowded with enemies as well as friends. In this -aerostatic voyage there seems to be some danger of -a wreck; for a thresher having received an insult from -a sailor, in the act of revenging it flourishes his flail -in as extensive an orbit as if he were in his own -barn. The end of this destructive instrument coming -in contact with the skull of a bearer of our new-made -member, the fellow's head rings with the blow, his -eyes swim, his limbs refuse their office, and at this -inauspicious moment the effects of the stroke, like an -electric shock, extend to the exalted senator. He -trembles in every joint; the hat flies from his head—and—without -the intervention of Juno or Minerva, -he must fall from the seat of honour to the bed of -stone. Terrified at his impending danger, a nervous -<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>lady, who with her attendants is in the churchyard, -falls back in a swoon. Regardless of her distress, two -little chimney-sweepers upon the gate-post are placing -a pair of gingerbread spectacles on a death's head. -Their sportive tricks are likely to be interrupted by -a monkey beneath, who, arrayed <i lang="fr" xml:lang="fr">en militaire</i>, is -mounted upon a bear's back. The firelock slung -over this little animal's shoulder, in a fray between -the bear and a biped, is accidentally discharged in a -direction that, if loaded, must carry leaden death to -one of the gibing soot merchants above.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p> - -<p>The venerable musician, delighted with his own -harmony, neither takes a part nor feels an interest in -the business of the day. Let not his neutrality be -attributed to a wrong cause; nor be it supposed that, -in a country where every good citizen must espouse -some party,<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> this ancient personage would remain an -indifferent spectator were he not totally blind. At -<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>an opposite corner a naked soldier is taking a few -refreshing grains of best Virginia, and preparing to -dress himself after the performance of a pugilistic -duet. On the other side of the rails a half-starved -French cook, a half-bred English cook, and a half-roasted -woman cook, are carrying three covers for -the lawyers' table. Near them is a cooper inspecting -a vessel that had been reported leaky, and must -speedily be filled with home-brewed ale for the gratification -of the populace. Two fellows are forcing -their way through the crowd in the background with -a barrel of the same liquor. Coming out of a street -behind them, a procession of triumphant electors hail -the other successful candidate, whose shadow appears -on the wall of the court-house. In Mr. Attorney's<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> -first floor are a group of the defeated party glorying -in their security, and highly delighted with the confusion -below. One of these, distinguished by a riband,<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span> -is said to be intended for the late Duke of Newcastle, -who was eminently active on these occasions. A -poor old lady is unfortunately thrown down by a -litter of pigs, which, followed by their <em>mamma</em>, rush -through the crowd with as much impetuosity as if -the whole herd were possessed. One of this agreeable -party has leaped, not into the ocean, but the brook, -and the whole family are on the point of following -its example.</p> - -<p>Hogarth had surely some antipathy to tailors; in -the background he has introduced one of these -knights of the needle disciplined by his wife for -having quitted the shop-board to look at the gentlemen. -In Le Brun's "Battle of the Granicus," an eagle -is represented as hovering over the plumed helmet -of Alexander; this thought is very happily parodied -in a goose,<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> flying immediately over the tye-wig of -our exalted candidate.</p> - -<p>Mr. Nichols, in his <cite>Anecdotes of Hogarth</cite>, very -shrewdly observes that "the ruined house adjoining -to the attorney's is a stroke of satire that should -not be overlooked, because," adds the same writer, "it -intimates that nothing can thrive in the neighbourhood<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> -of such vermin."<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> In this inference I most sincerely -join, but am afraid that in the present instance -we cannot establish our data. The house is not in -ruins from the inhabitant having been unable to keep -it in repair, neither has it been torn by the teeth of -time; for it is apparently the wreck of a modern -edifice, which has been thus destroyed by a riotous -mob, because it belonged to one of the opposite -party.</p> - -<p>An inscription on the sun-dial, when joined to the -mortuary representation on the church gate-post, has -been supposed to imply a pun hardly worthy of -Hogarth, but which yet I am inclined to suspect -he intended. "We must,"<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> on the sun-dial, say some -of his illustrators, means—We must die all (<em>dial</em>).</p> - -<p>All the incidents in this very whimsical plate are -naturally and yet skilfully combined: the whole is -in the highest degree laughable, and every figure -stamped with its proper character. The apprehensive -terror of the unwieldy member, the Herculean -strength of the exasperated thresher, and the energetic -attitude of the maimed sailor, deserve peculiar praise.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>Previous to the publication of this series, Mr. -Hogarth's satire was generally aimed at the follies -and vices of individuals. He has here ventured to -dip his pencil in the ocean of politics, and delineated -the corrupt and venal conduct of our electors in the -choice of their representatives. That these four plates -display a picture in any degree applicable to the -present times must not be asserted, because it might, -by the help of <em>innuendo</em>, be construed into a libel on -the present upright and independent House of Commons: -but from the floating memorials of some little -transactions that took place some thirty or forty -years ago, there is reason to think that the people -of Great Britain were so far from being influenced by -a reverence for public virtue, that they began to -suspect it had no existence. Their faith in violent -professions of the <i lang="la" xml:lang="la">amor patriæ</i> had been staggered -by several recent instances of political depravity. -They had a few years before seen a William Pulteney, -the champion of patriots, the idol of the -people, the dread of ministers, desert from the party -of which he was a leader, quit the cause for which -he had been the most violent advocate, and accept a -peerage. This, and some similar circumstances, gave -an example and an apology for universal venality.</p> - -<p>How different was the spirit which actuated the -Earl of Bath, from that independent dignity, that -patriotic ardour, that holy enthusiasm, which has<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -emblazoned the name of Andrew Marvel<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> with a -saint-like glory! Let his name be consecrated by -the reverence and the gratitude of every Englishman,<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> -and may we live to see a band of senators who will -emulate his virtues! Could we have faith in speeches, -many which we have heard and read are of much<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span> -promise; let us hope that the day of performance -is at hand.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_120.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span></p> - -<h3>THE MARCH TO FINCHLEY.</h3> - -<p class="fs80">"Now I behold the chiefs in the pride of their former deeds; their -souls are kindled at the battles of old, and the actions of other times. -Their eyes are like flames of fire, and roll in search of the foes of the -land. Their mighty hands are on their swords, and lightning pours -from their sides of steel. They came like streams from the mountains; -each rushed roaring from his hill. Bright are the chiefs of battle in the -arms of their fathers."<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a>—<span class="smcap">Fingal</span>, Book <span class="fs80">I.</span> p. 7.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="MF" id="MF"></a> -<img src="images/i_122fp.jpg" width="650" alt="" /> -<div class="caption">THE MARCH TO FINCHLEY.</div> -</div> - - -<p>That so admirable a representation of the -manners of England should be dedicated -to the King of Prussia,<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> is one of those odd -circumstances which must surprise a man who is not -acquainted with the history of the plate. Before publication -it was inscribed to his late Majesty, and the -picture taken to St. James's, in the hope of royal approbation. -George the Second was an honest man and a -soldier, but not a judge of either a work of humour or -a work of art. The corporal or sergeant he considered -<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>as employed in a way which dignified their nature, -and gave them a title to the name and rank of gentlemen. -The painter or engraver, however exquisite -their skill, however elevated their conceptions, were -on the King's scale mere mechanics.</p> - -<p>When told that Hogarth had painted a picture of -the Guards on their march to Finchley, and meant -to dedicate a print engraved from it to the King of -Great Britain, his Majesty probably expected to see -an allegorical representation of an army of heroes -devoting their lives to the service of their country; -and their sovereign, habited like "the mailed Mars," -seated upon a cloud, where he might,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"With a commanding voice,</p> -<p class="verse">Cry havoc, and let slip the dogs of war."</p> -</div></div> - -<p>If such was his expectation, we may readily conceive -his disappointment on viewing this delineation. His -first question was addressed to a nobleman-in-waiting: -"Pray, who is this Hogarth?" "A painter, my -liege." "I hate <em>bainting</em>; and <em>boetry</em> too! neither the -one nor the other ever did any good! Does the fellow -mean to laugh at my Guards?" "The picture, -an please your Majesty, must undoubtedly be considered -as a burlesque." "What! a <em>bainter</em> burlesque -a soldier? he deserves to be picketed for his insolence! -Take his trumpery out of my sight."</p> - -<p>The print was returned to the artist, who, completely -<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>mortified at such a reception of what he very -properly considered as his first work, immediately -altered the inscription, inserting, instead of the King -of England, the King of Prussia (as an encourager of -the arts).</p> - -<p>Though the fine arts were never much encouraged -in Prussia, the painter received a <ins class="corr" title="Transcriber's Note—Original text: 'handsome ackowledgment'">handsome acknowledgment</ins> -for his dedication, and afterwards circulated -proposals for publishing his print by subscription. -Thus was it announced in the <cite>General Advertiser</cite> of -April 14, 1750:—"Mr. Hogarth is publishing by -subscription a print, representing 'The March to -Finchley' in the year 1746; engraved on a copperplate -22 inches by 17: the price, 7s. 6d.</p> - -<p>"Subscriptions are taken in at the Golden Head, -in Leicester Fields, till the 30th of this instant, and -no longer, to the end that the engraving may not be -retarded.</p> - -<p>"<em>Note.</em>—Each print will be half a guinea after the -subscription is over.</p> - -<p>"In the subscription-book are the particulars of a -proposal, whereby each subscriber of three shillings -over and above the said seven shillings and sixpence -for the print will, in consideration thereof, be entitled -to a chance of having the original picture, which shall -be delivered to the winning subscriber as soon as the -engraving is finished."</p> - -<p><cite>General Advertiser</cite>, May 1, 1750.—"Yesterday Mr.<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -Hogarth's subscription was closed: eighteen hundred -and forty-three chances being subscribed for, Mr. -Hogarth gave the remaining hundred and sixty-seven -chances to the Foundling Hospital, and the same -night delivered the picture to the Governors."</p> - -<p>By the fortunate number being among those presented -to a charity which he so much wished to serve, -the artist was highly gratified. In a private house it -would have been in a degree secluded from the public, -and by the lapse of time have been transferred to -those who could not appreciate its merit, and from -either negligence or ignorance, might have been -destroyed by damp walls, or effaced from the canvas -by picture-cleaners. Here, it was likely to remain a -permanent and honourable testimony of his talents -and liberality. Notwithstanding all this, Hogarth -soon after waited upon the treasurer of the hospital, -and acquainted him, that if the trustees thought -proper, they were at liberty to dispose of the picture -by auction. His motives for giving this permission -it is not easy to assign. They might have their origin -in his desire to enrich a foundation which had his -warmest wishes, or a natural though ill-judged ambition -to have his greatest work in the possession of -some one who had a collection of the old masters, -with whom he in no degree dreaded a competition. -Whether his mind was actuated by these or other -causes is not important; certain it is that his opinion<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span> -changed—he requested the trustees would not dispose -of it, and never afterwards consented to the measure -he himself had originally proposed. The late Duke -of Ancaster's father wished to become a purchaser, -and once offered the trustees three hundred pounds -for it. I have been told that a much larger sum was -since proffered by another gentleman.</p> - -<p>The scene is laid before the Adam and Eve, in -Tottenham Court Road, and entitled, "A Representation -of the March of the Guards towards Scotland -in the year 1745."</p> - -<p>A handsome young grenadier has been denominated -the principal figure, but may with more propriety -be called the principal figure of the principal -group. His countenance exhibits a strong contest -between affection and duty; for the manner in which -his Irish helpmate clings to his arm, and at the same -time with threatening aspect lifts up her right hand -grasping the <cite>Remembrancer</cite>,<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> proves to a moral -certainty that to her he has made a matrimonial -vow; while the tender, entreating distress of the poor -girl at his right hand, seems to intimate that, though -she possesses his heart, she can make no claim except -to his gratitude and affection, both of which her -present situation seems to demand. Her face forms -a strong contrast to that of the fury who is on the<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span> -other side; for while one is marked with grief and -tender regret, the other has all the savage ferocity of -an unchained tiger: she is an accomplished masculine -tramp, perfectly qualified to follow a regiment, -and would be as ready to plunder those that are -slaughtered as to scold those who escape: being by -no means of the class described by Dr. Johnson when, -speaking of superfluous epithets, he says, "they are -like the valets and washerwomen that follow an army, -who add to the number without increasing the force." -The papers of which these two claimants are the -vendors determine their principles. The mild-tempered, -soft-featured <em>gentlewoman</em> with a cross upon a -cloak, is evidently a hawker of the <cite>Jacobites' Journal</cite>, -<cite>Remembrancer</cite>, and <cite>London Evening Post</cite>, papers -remarkable for their inflammatory tendency; while a -portrait of the gallant Duke of Cumberland, and the -now popular ballad of <em>God save the King</em>, hang upon -the basket of her rival.</p> - -<p>An old woman immediately behind, with a pipe in -her mouth and a child on her back, appears to have -grown rather ancient in the service; but notwithstanding -her load and her poverty, puffs away care, and -carries a cheerful countenance.</p> - -<p>Near the child's head a meagre Frenchman is -whispering an old fellow, whom Mr. Thornton in his -description of the plate calls an Independent; but as -in the original painting part of a plaid appears under<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> -his greatcoat, the artist most probably intended it -for an old Highlander in disguise. Rouquet, who -perhaps had his explanation from Hogarth, describes -it as follows:—</p> - -<p lang="fr" xml:lang="fr">"A droite du principal group paroit une figure de -François, qu'on a voulu représenter comme un homme -de quelque importance, afin de lui donner plus de -ridicule; il parle à un homme dont la nation est indiquée -par l'étoffe de sa veste, qui est celui dont -s'habillent les habitans des montagnes d'Ecosse: le -François semble communiquer à l'Ecossois des lettres -qu'il vient de recevoir, et qui ont rapport à l'évenement -qui donne lieu à cette marche. Les Anglois ne -se réjouissent jamais bien sans qu'il en coute quelque -chose aux François: leur théatre, leur conversation, -leurs tableaux, et sur tout ceux de notre peintre, -portent toujours cette glorieuse marque de l'amour -de la patrie: les Romans même sont ornés de traits -amusans sur cet ancien sujet; l'excellent auteur de -<cite>Tom Jones</cite>, a voulu aussi lâcher les siens. Mais le -prétendu mépris pour les François dont le peuple de -ce pais-ci fait profession, s'explique selon moi d'une -façon fort équivoque. Le mépris suppose l'oubli; -mais un objet dont on médit perpétuellement occupé: -la satire constitue une attention qui me feroit soupçonner -qu'on fait aux François l'honneur de les haïr -un peu."</p> - -<p>A drummer, sick of the remonstrances of his wife<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -and child, each of whom made a forcible seizure of -his person, actuated by a spirit similar to that of our -third Richard, beats a thundering tattoo upon his -own warlike instrument; and aided by the ear-piercing -fife<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> at his right hand, drowns the noise of the tell-tale -woman who thus endeavours to check his ardour and -impede his march. A war-worn soldier contemplating -a quack-doctor's bill, and a woman peeping out of a -pent-house above, end the group at the left corner.</p> - -<p>Under a sign of the Adam and Eve a crowd are -gathered round two combatants, who appear to be -adepts in the noble science of boxing.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Amid the circle now each champion stands,</p> -<p class="verse">And poises high in air his iron hands;</p> -<p class="verse">Hurling defiance; now they fiercely close—</p> -<p class="verse">Their crackling jaws re-echo to the blows."</p> -</div></div> - -<p>A man, who from his dress seems to be of a rank -superior to the crowd, inflamed with a love of glory, -enters with great spirit into the business now going -on, and tries to inspire the combatants with a noble -contempt of bruises and broken bones. This is said -to be a portrait of Lord Albemarle Bertie, who is -again exhibited in "The Cockpit." The scene being -laid in the background, the figures are diminutive;<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> -but every countenance is marked with interest, and -no one more than a little fellow<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> of meagre frame -but undaunted spirit, who with clenched fists and -agitated face deals blow for blow with the combatants. -Somerville, in his <cite>Rural Games</cite>, has well -described the passions which agitate the audience in -a similar scene at a country wake:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Each swain his wish, each trembling nymph conceals</p> -<p class="verse">Her secret dread; while every panting breast</p> -<p class="verse">Alternate fears and hopes depress or raise.</p> -<p class="verse">Thus, long in dubious scale the contest hung," etc.</p> -</div></div> - -<p>With a humour peculiar to himself, the painter has -exhibited a figure shrinking under the weight of a -heavy burden, who, preferring the gratification of -curiosity to rest, is a spectator, and in this uneasy -state waits the issue of the combat.</p> - -<p>Upon the sign-board of the Adam and Eve is inserted, -"Tottenham Court Nursery," allusive to a -booth for bruising in the place, as well as a nursery -for plants, and the group of figures beneath.</p> - -<p>A carriage laden with camp equipage, consisting of -drums, halberds, tent-poles, and hoop petticoats, is -passing through the turnpike gate. Upon this, two<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span> -old female campaigners are puffing their pipes, and -holding a conversation in fire and smoke. These -grotesque personages are well contrasted by an elegant -and singularly delicate figure upon the same -carriage, suckling her child; which, it has been said, -proves that the painter is as successful in portraying -the graceful as the humorous. This very beautiful -figure is, however, almost a direct copy from Guido's -"Madonna." To show that a little boy at her feet is of -an heroic stock, the artist has represented him blowing -a small trumpet. The sergeant on the ground beneath -seems exerting the authority with which his post -vests him in calling his men to order: he has a true -roast-beef countenance, and is haughty enough for a -general.</p> - -<p>The foreground in the centre is occupied by a -group of figures, which tell their own story in a -manner that perhaps no other artist of any age could -have equalled. While an officer is kissing a milk-maid, -an arch soldier, taking advantage of her -neglected pails, fills his hat with milk: this is observed -by a little chimney-sweeper, who, with a grin -upon his face, entreats that he may have a share -in the plunder, and fill his cap. Another soldier -pointing out the jest to a fellow who is selling pies, -the pastry-cook, gratified by the mischief, forgets the -<ins class="corr" title="Transcriber's Note—Original text: 'luscious cates'">luscious cakes</ins> in the tray on his head, and the -military Mercury seems likely to convey them all to<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> -his own pocket. The faces of this group are in a -most singular degree descriptive of their situations, -and consonant to their mischievous employments.</p> - -<p>An old soldier, divested of one spatterdash, near -losing the other, and felled to the ground by all-potent -gin, is now calling for more; his uncivil comrade, -supporting him with one hand, endeavours to -pour water into his mouth with the other; this the -veteran toper rejects with disdain, and lifts up a hand -to his wife, who is bearer of the arms and the bottle, -and being well acquainted with his taste, fills another -quartern.</p> - -<p>A child with emaciated face extends its little arms, -and wishes for a taste of that poisonous potion it is -probably accustomed to swallow: "And here" (says -Mr. Thornton in the <cite>Student</cite>), "not to dwell wholly -upon the beauties of this print, I must mention an -error discovered by a professed connoisseur in painting. -'Can there,' says this excellent judge, 'be a greater -absurdity than introducing a couple of chickens so -near such a crowd; and not only so, but see their -direction is to objects it is natural for them to shun.—Is -this knowledge of nature? Absurd to the last -degree!' And here, with an air of triumph, ended -our judicious critic. How great was his surprise, -when it was pointed out that the said chickens -were in pursuit of the hen, which appears to have a -resting-place in a sailor's pocket!"</p> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<p>An honest tar, throwing up his hat, is crying "God -save our noble King, God save the King:" immediately -before him an image of drunken loyalty -vows de—de—destruction on the heads of the rebels.</p> - -<p>A humane soldier perceiving a fellow heavy laden -with a barrel of gin, and stopped by the crowd, bores -a hole in the head of his cask, and kindly draws off a -part of his burden. Near him is a figure of what -may, in the army, be called a fine fellow.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> As I -suppose the painter designed him without character, -I shall only observe that he is a very pretty gentleman; -and happily the contemplation of his own dear -person guards him from the attempts of the wicked -woman on his right hand.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a></p> - -<p>The invention of a new term must be pardoned—I -shall include the whole King's Head in the word -Cattery; the principal figure is a noted fat Covent -Garden lady,<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> who, with pious eyes cast up to heaven, -prays for the army's success, and the safe return of -many of her babes of grace. An officer having placed -a letter on the end of his pike, presents it to one of -<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>the beauties in the first floor; but the fair <i lang="it" xml:lang="it">enamorata</i>, -evidently disgusted at the recollection of some part -of his former conduct, flutters her fan and rejects it -with disdain. Above her, a charitable girl of an -inferior order is throwing a piece of coin to a cripple, -while another kindly administers a glass of comfort -to her companion as a sure relief against reflection. -The rest of the windows are crowded with similar characters, -and upon the house-top is a Cat coterie, a fair -emblem of the company in the apartments beneath.</p> - -<p>The substance of the preceding remarks are, in this -as in the first edition, taken from the <cite>Student</cite>, vol. ii. -p. 162, and were made by the late Bonnell Thornton. -In the <cite>Old Woman's Magazine</cite>, Doctor Hill has given -an explanation which places it in a point of view somewhat -different; I have therefore subjoined the greatest -part of it.</p> - -<div class="blockquot"> - -<p class="center"><em>To the Editor.</em></p> - -<p>"<span class="smcap">Sir</span>,—As you desire my sentiments on Mr. -Hogarth's picture, I shall begin with pointing out -what is most defective. Its first and greatest fault, -then, is its being new, and having too great a resemblance -to the objects it represents: if this appears -a paradox, you ought to take particular care of confessing -it. This picture has yet too much of that -lustre,—that despicable freshness which we discover -in nature, and which is never seen in the celebrated -cabinets of the curious. Time has not yet obscured<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -it with that venerable smoke, that sacred cloud which -will one day conceal it from the profane eyes of the -vulgar, that its beauties may only be seen by those -who are initiated in the mysteries of art. These are -its most remarkable faults: and I am next going to -give you an idea of the subject, which is the march of -some companies of the foot guards to their rendezvous -at Finchley Common, when sent against the Scottish -rebels, who were advancing on that side.</p> - -<p>"Mr. Hogarth, who lets no opportunity escape him -of observing the picturesque scenes which numerous -assemblies frequently furnish, has not failed to represent -them on the spot where he has drawn the scene -of his picture.</p> - -<p>"The painter is remarkable for a particular sagacity -in seizing a thousand little circumstances which escape -the observation of the greatest part of the spectators, -and it is a collection of a number of those circumstances -which has composed, enriched, and diversified -his work.</p> - -<p>"The scene is placed at Tottenham Court, where, -in a distant view, is seen a file of soldiers marching in -tolerable order up the hill. Discipline is less observed -in the principal design; but if you complain of this, I -must ingeniously inform you, that order and subordination -belong only to slaves; for what everywhere -else is called licentiousness, assumes here the venerable -name of liberty.</p> - -<p><span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span></p> - -<p>"A young grenadier, of a good mien, makes the -principal figure in the first group; he is accompanied, -or rather seized and beset, by two women, one of whom -is a ballad-singer, and the other a news-hawker: they -are both with child, and claim this hero as the father, -and except this circumstance they have nothing in -common; for their figures, their humours, their characters, -appear extremely different: they are even of -opposite parties, for the one disposes of works in -favour of the Government, and the other against it.</p> - -<p>"On the left hand of this group is an officer embracing -a milk-woman; but her greatest misfortune -is, not her being hugged by a young cavalier, but in -having one of her milk-pails seized by a wag, who -pours her milk into a hat, while he is pretending to -defend her. Near them is a pieman, who is mightily -rejoiced at this roguery; while a soldier, who is fleering -in his face, slily steals the pies he carries on his -head. The humour of this group is greatly heightened -by a chimney-sweeper's boy, who comes laughing to -receive some of the milk into his hat, which he carries -in his hand.</p> - -<p>"On the right hand of the principal group is a -Frenchman, who, to give him a more ridiculous appearance, -is represented as a man of some importance. -He is speaking to a very odd person, to whom he -seems communicating the contents of some letters -relative to the event which is the cause of this march.</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p> - -<p>"Behind the Frenchman just mentioned is seen an -old sutler, who carries her child at her back, and is -smoking a short pipe. In the front, at a small distance, -is a drummer, who by the noise of his drum -seems to endeavour to stun all thoughts of the fate of -his family, who seek in vain to soften him by taking -a tender leave.</p> - -<p>"One of the young pipers whom the Duke of -Cumberland has introduced into several regiments, -joins his noise to that of the drum, and by the agreeable -appearance of his little person, is a contrast to -the rudeness of the objects who are near him, etc. etc."</p></div> - -<p>To the dramatic effect of the picture, the late Mr. -Arthur Murphy, whose acknowledged judgment give -weight to his praise, bears the following honourable -testimony in the <cite>Gray's Inn Journal</cite>, vol. i. No. 20:—</p> - -<div class="blockquot"> - -<p>"The era may arrive, when, through the instability -of the English language, the style of <cite>Joseph Andrews</cite> -and <cite>Tom Jones</cite> shall be obliterated, when the characters -shall be unintelligible, and the humour lose its -relish; but the many personages which the manner-painting -hand of Hogarth has called forth into mimic -life will not fade so soon from the canvas, and that -admirable picturesque comedy, 'The March to -Finchley,' will perhaps divert posterity as long as the -Foundling Hospital shall do honour to the British -nation."</p></div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<h3>THE INVASION; OR, FRANCE AND ENGLAND.</h3> - -<div> -<img class="drop-cap" src="images/dc_137.jpg" alt="" /> -</div> - -<p class="drop-cap">In the two following designs Mr. Hogarth -has displayed that partiality for his own -country, and contempt for France, which -formed a strong trait in his character. He neither -forgot nor forgave the insults he suffered at Calais, -though he did not recollect that this treatment originated -in his own ill-humour, which threw a sombre -shade over every object that presented itself. Having -early imbibed the vulgar prejudice that one Englishman -was a match for four Frenchmen,<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> he thought it -would be doing his country a service to prove the<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -position. How far it is either useful or political to -depreciate the power or degrade the character of that -people with whom we are to contend, is a question -which does not come within the plan of this work. -In some cases it may create confidence, but in others -leads to the indulgence of that negligent security by -which armies have been slaughtered, provinces depopulated, -and kingdoms changed their rulers.</p> - -<p>These two glaring contrasts were designed at a -time when there was a rumour of an invasion from -France. The sober politician treated this idle report -with contempt; but by the credulous it was believed, -and the timid trembled when they heard it. To -dispel this phantom of the day was one motive for -Hogarth's publication of these prints. They are not -addressed to the philosopher or the legislator, but -to the soldier and the sailor. They are not designed -for the contemplation of the informed and travelled -man, who considers himself as a citizen of the world; -but for the true-born and true-bred Briton, that -believes this to be the only country where man can -enjoy happiness, and thinks an Englishman is the -boast of the universe, the glory of creation, and the -paragon of nature!</p> - - -<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p> - -<p class="p2" /> -<h4>PLATE I.</h4> - -<p class="pfs70">FRANCE.</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"With lantern jaws, and croaking gut,</p> -<p class="verse">See how the half-starv'd Frenchmen strut,</p> -<p class="verse4">And call us English dogs!</p> -<p class="verse">But soon we'll teach these bragging foes,</p> -<p class="verse">That beef and beer give heavier blows</p> -<p class="verse4">Than soup and roasted frogs.</p> -</div> -<div class="stanza"> -<p class="verse">"The priests, inflam'd with righteous hopes,</p> -<p class="verse">Prepare their axes, wheels, and ropes,</p> -<p class="verse4">To bend the stiff-neck'd sinner;</p> -<p class="verse">But should they sink in coming over,</p> -<p class="verse">Old Nick may fish 'twixt France and Dover,</p> -<p class="verse4">And catch a glorious dinner."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="FE_I" id="FE_I"></a> -<img src="images/i_140fp.jpg" width="650" alt="" /> -<div class="caption">FRANCE PLATE I.</div> -</div> - -<p class="noindent">The scenes of all Mr. Hogarth's prints, except "The -Gate of Calais" and that now under consideration, are -laid in England. In this, having quitted his own -country, he seems to think himself out of the reach of -the critics, and in delineating a Frenchman, at liberty -to depart from nature, and sport in the fairy regions -of caricature. Were these Gallic soldiers naked, each -of them would appear like a forked radish, with a -head fantastically carved upon it with a knife. So -forlorn! that to any thick sight he would be invisible! -To see this miserable woe-begone refuse -of the army, who look like a group detached from -the main body and put on the sick-list, embarking to -conquer a neighbouring kingdom, is ridiculous enough,<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> -and at the time of publication must have had great -effect. The artist seemed sensible that it was necessary -to account for the unsubstantial appearance of -these shadows of men, and has hinted at their want -of solid food, in the bare bones of beef hung up in -the window, the inscription on the alehouse sign, -"<span lang="fr" xml:lang="fr">Soup maigre à la sabot Royal</span>," and the spider-like -officer roasting four frogs which he has impaled upon -his sword. Such light and airy diet is whimsically -opposed by the motto on the standard, which two of -the most valorous of this ghastly troop are hailing -with grim delight and loud exultation. It is indeed -an attractive motto, and well calculated to inspire -this famishing company with courage: "<span lang="fr" xml:lang="fr">Vengeance, -avec le bon bier, et bon beuf d'Angleterre.</span>" However -meagre the military, the church militant is in no -danger of starving. The portly friar is neither emaciated -by fasting, nor weakened by penance. Anticipating -the glory of extirpating heresy, he is feeling -the sharp edge of an axe to be employed in the -decollation of the enemies to the true faith, which if -any one doubt, he shall die the death. A sledge is -laden with whips, wheels, ropes, chains, gibbets, and -other inquisitorial engines of torture, which are admirably -calculated for the propagation of a religion -that was established in meekness and mercy, and -inculcates universal charity and forbearance. On the -same sledge is an image of St. Anthony, very properly -<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>accompanied by his pig, and the plan of a monastery -to be built at Blackfriars.</p> - -<p>In the background are a troop of soldiers so averse -to this English expedition, that their sergeant is -obliged to goad them forward with his halberd. To -intimate that agriculture suffers by the invasion having -engaged the masculine inhabitants, two women -ploughing a sterile promontory in the distance complete -this catalogue of wretchedness, misery, and -famine.</p> - - -<p class="p2" /> -<h4>PLATE II</h4> - -<p class="pfs70">ENGLAND.</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verseq">"See John the Soldier, Jack the Tar,</p> -<p class="verse">With sword and pistol arm'd for war,</p> -<p class="verse4">Should <em>Mounseer</em> dare come here;</p> -<p class="verse">The hungry slaves have smelt our food,</p> -<p class="verse">They long to taste our flesh and blood,</p> -<p class="verse4">Old England's beef and beer!</p> -</div> -<div class="stanza"> -<p class="verseq">"Britons, to arms! and let 'em come;</p> -<p class="verse">Be you but Britons still, strike home,</p> -<p class="verse4">And lion-like attack 'em,</p> -<p class="verse">No power can stand the deadly stroke</p> -<p class="verse">That's given from hands and hearts of oak,</p> -<p class="verse4">With liberty to back 'em."</p> -</div></div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="FE_II" id="FE_II"></a> -<img src="images/i_142fp.jpg" width="650" alt="" /> -<div class="caption">ENGLAND PLATE II.</div> -</div> - -<p class="noindent">From the unpropitious regions of France, our scene -changes to the fertile fields of England.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"England! bound in with the triumphant sea,</p> -<p class="verse">Whose rocky shores beat back the envious siege</p> -<p class="verse">Of wat'ry Neptune."</p> -</div></div> - -<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p> - -<p class="noindent">Instead of the forlorn and famished party who were -represented in the last plate, we here see a company -of well-fed and high-spirited Britons, marked with all -the hardihood of ancient times, and eager to defend -their country.</p> - -<p>In the first group, a young peasant who aspires to -a niche in the Temple of Fame, preferring the service -of Mars to that of Ceres, and the dignified appellation -of soldier to the plebeian name of farmer, offers to -enlist. Standing with his back against the halberd -to ascertain his height, and finding he is rather under -the mark,<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> he endeavours to reach it by rising on -tiptoe. This artifice, to which he is impelled by -<em>towering ambition</em>, the sergeant seems disposed to -connive at—and the sergeant is a hero, and a great -man in his way; "your hero always must be tall, -you know."</p> - -<p>To evince that the polite arts were then in a -flourishing state, and cultivated by more than the -immediate professors, a gentleman artist, who to -common eyes must pass for a grenadier, is making a -caricature of <i lang="fr" xml:lang="fr">le Grand Monarque</i>. The sovereign of -France was in that day as general a subject for -copper satire as Mr. Fox is in this. I have seen -<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>engravings, where his Gallic Majesty made one of the -party, that were not a degree better than the grenadier's -drawing, where, to render the meaning obvious, -and supply the want of character, or story, every -figure had a label hanging to its mouth. That given -to this king of shreds and patches is worthy the -speaker, and worthy observation: "You take a my -fine ships: you be de pirate; you be de teef: me -send my grand armies, and hang you all."</p> - -<p>The action is suited to the word, for with his left -hand this most Christian potentate grasps his sword, -and in his right poises a gibbet. The figure and -motto united, produce a roar of approbation from the -soldier and sailor, who are criticising the work. It -is so natural, that the Helen and Briseis of the camp -contemplate the performance with apparent delight; -and while one of them with her apron measures the -breadth of this Herculean painter's shoulders, the -other, to show that the performance <em>has some point</em>, -places her forefinger against the prongs of a fork. -The little fifer, playing that animated and inspiring -tune "God save the King," is an old acquaintance: -we recollect him in "The March to Finchley." In -the background is a sergeant teaching a company -of young recruits their manual exercise.</p> - -<p>This military meeting is held at the sign of the -gallant Duke of Cumberland, who is mounted upon -a prancing charger,</p> - -<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"As if an angel dropt down from the clouds,</p> -<p class="verse">To turn and wield a fiery Pegasus,</p> -<p class="verse">And witch the world with noble horsemanship."<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a></p> -</div></div> - -<p>Underneath is inscribed, "Roast and boiled every -day;" which, with the beef and beverage upon the -table, forms a fine contrast to the <i lang="fr" xml:lang="fr">soup maigre</i>, bare -bones, and roasted frogs, in the last print. The -bottle painted on the wall, foaming with liquor -which, impatient of imprisonment, has burst its cerements, -must be an irresistible invitation to a thirsty -traveller. The soldier's sword laid upon the round -of beef, and the sailor's pistol on the vessel containing -the ale, intimate that these great bulwarks of our -island are as tenacious of their beef and beer as of -their religion and liberty.</p> - -<p>These two plates were published in 1756; but in -the <cite>London Chronicle</cite> for October 20, 1759, is the -following advertisement:—</p> - -<div class="blockquot"> - -<p>"This day are re-published, price 1s. each, Two -prints designed and etched by William Hogarth: one -representing the preparations on the French coast -for an intended invasion; the other, a view of the -preparations making in England to oppose the wicked -designs of our enemies; proper to be stuck up in<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span> -public places, both in town and country, at this -juncture."<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a></p></div> - -<p>The verses which are inserted under each print, -and subjoined to this account, are, it must be acknowledged, -coarse enough. They were, however, written -by David Garrick, who, had he thought the subject -worthy of his muse, could, I believe, have produced -more elegant stanzas.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_145.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span></p> - -<h3>THE COCKPIT.</h3> - -<div class="blockquot"> - -<p>"It is worth your while to come to England, were it only to see an -election and a cock-match. There is a celestial spirit of anarchy and -confusion in these two scenes that words cannot paint, and of which -no countryman of yours can form even an idea."—<cite>Sherlock's Letters to a -friend at Paris.</cite></p></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="CP" id="CP"></a> -<img src="images/i_146fp.jpg" width="650" alt="" /> -<div class="caption">THE COCKPIT.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_146.jpg" alt="" /> -</div> - -<p class="drop-capy">Mr. Sherlock is perfectly right in his -assertion, that neither of these scenes can -be described by words; but where the writer -must have failed, the artist has succeeded, and the -Parisian who has never visited England may, from -Mr. Hogarth's Prints, form a tolerably correct idea -of the anarchy of an election, and the confusion of -a cockpit. To the right learned and laborious successors -of Master Thomas Hearne, it would be matter -of curious speculation, and worthy of deep research, -to inquire which of these "popular sportes was fyrste -practysed in fair Englonde." To their grave and useful -investigations I leave the decision of this knotty -point. The earliest information of this <em>gentile</em> and -<em>royal</em> game which my reading supplies, I find in a -treatise, published in 1674, and entitled <cite>The Complete -Gamester</cite>, containing instructions how to play at -<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>Billiards, Trucks, Bowls, Chess, etc. "To which is -added, The Artes and Mysteries of Riding, Racing, -Archery, and Cock Fighting. Printed by A. M. for -R. Cutler, and to be sold by Henry Brome, at the -Gun, at the west end of St. Paul's." To this curious -little <i lang="la" xml:lang="la">vade mecum</i> there is a frontispiece divided into -five compartments. One of them represents a cockpit, -in the centre of which two of the feathered tribe, -not unlike ducks, are fighting. The pit is surrounded -by a company of crop-eared figures in round hats, -with faces as demure and sanctified as are to be seen -at a Quakers' meeting. Before many of these most -sedate personages are heaps of gold, and (alluding to -the print) the following sublime verses:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"After these three, the cockpit claims a name;</p> -<p class="verse">A sport <em>gentile</em>, and call'd a royal game.</p> -<p class="verse">Now see the gallants crowd about the pit,</p> -<p class="verse">And most are stock'd with money more than wit;</p> -<p class="verse">Else sure they would not, with so great a stir,</p> -<p class="verse">Lay ten to one on a cock's faithless spur."</p> -</div></div> - -<p>To the respect which our ancestors had for this -<em>kingly</em> amusement, the author beareth ample testimony -in his 38th chapter, some extracts from which -I venture to insert, with the hope that they will be -both pleasant and profitable to the lovers of this -very refined and humane divertisement:—</p> - -<div class="blockquot"> - -<p>"It is a sport or pastime so full of delight and -pleasure, that I know not any game in that respect<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -is to be preferred before it; and since the fighting -cock hath gained so great an estimation among the -gentry, in respect to this noble recreation, I shall -here propose it before all the other games of which I -have afore succinctly discoursed. That, therefore, I -may methodically give instructions to such as are -unlearned, and add more knowledge to such who -have already gained a competent proficiency in this -pleasing art, I shall, as briefly as I can, give you -information how you shall choose, breed, and diet -the fighting cock, with what choice secrets are thereunto -belonging, in order thus:—</p> - -<p>"In the election<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> of a fighting cock, there are four -things principally to be considered; and they are: -shape, colour, courage, and a sharp heel.</p> - -<p>"Observe the crowing of your chickens; if you find -them crow too soon, that is, before six months old, -or unseasonably, and that their crowing is clear and -loud, fit them as soon as you can for the pot or spit, -for they are infallible signs of cowardice and falsehood: -on the contrary, the true and perfect cock is -long before he obtaineth his voice, and when he hath -got it, observeth his hours with the best judgment."</p></div> - -<p>After much more which I have not room to insert, the<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -author addeth, "To conclude, make your choice of -such a one that is of shape strong, of colour good, of -valour true, and of heel sharp and ready."</p> - -<p>Leaving the book to the study of those whom it -may concern, let us now attend to the plate.</p> - -<p>The scene is probably laid at Newmarket;<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> and in -this motley group of peers, pickpockets, butchers, -jockeys, ratcatchers, gentlemen,—gamblers of every -denomination,—Lord Albemarle Bertie,<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> being the -principal figure, is entitled to precedence. In a former -print<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> we saw him an attendant at a boxing -match; and here he is president of a most respectable -society assembled at a cockpit. What rendered his -Lordship's passion for amusements of this nature very -singular, was his being totally blind. In this place -he is beset by seven steady friends, five of whom at -the same instant offer to bet with him on the event of -the battle. One of them, a lineal descendant of Filch, -taking advantage of his blindness and negligence, -endeavours to convey a bank note, deposited in our -dignified gambler's hat, to his own pocket. Of this -<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>ungentleman-like attempt his Lordship is apprised -by a ragged postboy and an honest butcher: but so -much engaged in the pronunciation of those important -words, "Done! done! done! done!" and the -arrangement of his bets, that he cannot attend to -their hints; and it seems more than probable that -the stock will be <em>transferred</em> and the note <em>negotiated</em> -in a few seconds.</p> - -<p>A very curious group surround the old nobleman, -who is adorned with a riband, a star, and a pair of -spectacles. The whole weight of an overgrown carpenter -being laid upon his shoulder, forces our illustrious -personage upon a man beneath; who being -thus driven downward, falls upon a fourth; and the -fourth, by the accumulated pressure of this ponderous -trio—composed of the <em>upper and lower house</em>—loses -his balance, and tumbling against the edge of the -partition, his head is broke, and his wig, shook from -the seat of reason, falls into the cockpit.</p> - -<p>A man adjoining enters into the spirit of the battle—his -whole soul is engaged. From his distorted -countenance and clasped hands, we see that he feels -every stroke given to his favourite bird in his heart's -core, ay, in his heart of hearts! A person at the old -Peer's left hand is likely to be a loser. Ill-humour, -vexation, and disappointment are painted in his countenance. -The chimney-sweeper above is the very -quintessence of affectation. He has all the airs and<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span> -graces of a boarding-school miss. There are those -who remember the man, and declare that his character -is not heightened in the portrait. The sanctified -Quaker adjoining, and the fellow beneath, who, by the -way, is a very similar figure to Captain Stab in "The -Rake's Progress," are finely contrasted.</p> - -<p>A French marquis, on the other side, astonished -at this being called amusement, is exclaiming <i lang="fr" xml:lang="fr">Sauvages! -sauvages! sauvages!</i> Engrossed by the scene, -and opening his snuff-box rather carelessly, its contents -fall into the eyes of a man below, who, sneezing -and swearing alternately, imprecates bitter curses on -this devil's dust, that extorts from his inflamed eyes -"a sea of melting pearls, which some call tears."</p> - -<p>Adjoining is an old cripple with a trumpet at his -ear, and in this trumpet a person in a bag-wig roars in -a manner that cannot much gratify the auricular nerves -of his companions; but as for the object to whom -the voice is directed, he seems totally insensible to -sounds, and if judgment can be formed from appearances, -might very composedly stand close to the clock -of St. Paul's Cathedral when it was striking twelve.</p> - -<p>The figure with a cock peeping out of a bag is said -to be intended for Jackson, a jockey. The gravity of -this experienced veteran, and the cool sedateness of a -man registering the wagers, are well opposed by the -grinning woman behind, and the heated impetuosity -of a fellow, stripped to his shirt, throwing his coin<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -upon the cockpit, and offering to back Ginger against -Pye for a guinea.</p> - -<p>On the lower side, where there is only one tier of -figures, a sort of an apothecary, and a jockey, are -stretching out their arms and striking together the -handles of their whips in token of a bet. An hiccuping -votary of Bacchus, displaying a half-emptied purse, -is not likely to possess it long; for an adroit professor -of legerdemain has taken aim with an hooked stick, -and by one slight jerk will convey it to his own -pocket. The profession of a gentlemen in a round -wig is determined by a gibbet chalked upon his coat. -An enraged barber, who lifts up his stick in the corner, -has probably been refused payment of a wager by -the man at whom he is striking.</p> - -<p>A cloud-capt philosopher at the top of the print, -coolly smoking his pipe, unmoved by this crash of -matter and wreck of property, must not be overlooked: -neither should his dog be neglected; for the -dog, gravely resting his fore-paws upon the partition,<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -and contemplating the company, seems more interested -in the event of the battle than his master.</p> - -<p>Like the tremendous Gog and terrific Magog of -Guildhall, stand the two cock-feeders; a foot of each -of these consequential purveyors is seen at the two -extremities of the pit.</p> - -<p>As to the birds whose attractive powers have drawn -this admiring throng together, they deserved earlier -notice—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Each hero burns to conquer or to die,</p> -<p class="verse">What mighty hearts in little bosoms lie!"</p> -</div></div> - -<p><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span></p> - -<p>Having disposed of the substances, let us now -attend to the shadow on the cockpit, and this it seems -is the reflection of a man drawn up to the ceiling in -a basket, and there suspended<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a> as a punishment for -having betted more money than he can pay. Though -suspended, he is not reclaimed; though exposed, not -abashed; for in this degrading situation he offers to -stake his watch against money in another wager on -his favourite champion.</p> - -<p>The decorations of this curious theatre are, a -portrait of Nan Rawlins,<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> and the King's arms.</p> - -<p>In the margin at the bottom of the print is an oval, -with a fighting cock, inscribed "Royal sport," and -underneath it is written, "Pit ticket."</p> - -<p>Of the characteristic distinctions in this heterogeneous -assembly, it is not easy to speak with -sufficient praise. The chimney-sweeper's absurd -<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>affectation sets the similar airs of the Frenchman in a -most ridiculous point of view. The old fellow with a -trumpet at his ear has a degree of deafness that I -never before saw delineated; he might have lived in -the same apartment with Xantippe, or slept comfortably -in Alexander the coppersmith's first floor. As -to the nobleman in the centre, in the language of -the turf, he is a mere pigeon; and the Peer, with a -star and garter, in the language of Cambridge, we -must class as—a mere quiz. The man sneezing, you -absolutely hear; and the fellow stealing a bank note -has all the outward and visible marks of a perfect and -accomplished pickpocket; Mercury himself could not -do that business in a more masterly style.</p> - -<p>I hope it will not be thought irrelevant to my -subject if I here name a man whose periods have -polished the English language, and given to poesy a -harmony before unknown.</p> - -<p>To Alexander Pope, Hogarth had an early dislike. -Pope was the friend of Lord Burlington,—Lord -Burlington was the patron of Kent, and Kent was the -rival of Sir James Thornhill, who was the father-in-law -of William Hogarth. In two of his miscellaneous -prints, our mellifluous poet is exhibited in very -degrading situations. In one<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> he is represented as -whitewashing the gate of Burlington House, and in<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span> -the violence of his operation bespattering the carriage -of his Grace of Chandos, etc.; and in the other, picking -John Gay's<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> pocket.</p> - -<p>Had the artist been acquainted with a circumstance -mentioned by Mr. Tyers in his <cite>Rhapsody</cite>, our British -Horace would very probably have had a place in this -group. Tyers tells us that "Pope, while living with -his father at Chiswick, before he went to Binfield, took<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span> -great delight in cock-fighting, and laid out all his -schoolboy money, and little perhaps it was, in buying -fighting cocks. From this passion, but surely not the -play of a child, his mother had the dexterity to wean -him."</p> - -<p>Admitting the fact, for which I have no other -authority than the pamphlet above quoted, it does not -tell in favour of that delicate and tender humanity -which this elegant poet so much affected. On his -conduct to Lady Mary Wortley Montagu, Lord -Bolingbroke, Mr. Addison, and Mr. Broome, I will -make no comment; but his bitter satire on the Duke -of Chandos,<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> while it exalts his poetical powers, dishonours -his moral character. The animation, energy, -and elegance of the stanzas would atone for almost -anything—but <em>ingratitude</em>!</p> -<p><span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p> -<p>Lord Orrery observes: "If we may judge of Mr. -Pope from his works, his chief aim was to be esteemed -a man of virtue." When actions can be clearly ascertained, -it is not necessary to seek the mind's construction -in the writings; and I regret being compelled to -believe that some of Mr. Pope's actions, at the same -time that they prove him to be querulous and petulant, -lead us to suspect that he was also envious, malignant, -and cruel. How far this will tend to confirm the -assertion, that when a boy he was an amateur<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> of this -royal sport,<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> I do not pretend to decide: but were a -child in whom I had any interest cursed with such a -propensity, my first object would be to correct it; if -that were impracticable, and he retained a fondness -for the cockpit, and the still more detestable amusement -<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>of Shrove Tuesday,<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> I should hardly dare to -flatter myself that he could become a merciful man. -The subject has carried me further than I intended. -I will, however, take the freedom of proposing one -query to the consideration of the clergy, should any -of that sacred order do me the honour of perusing -this volume. Might it not have a tendency to check -that barbarous spirit, which has more frequently its -source in an early acquired habit arising from the -prevalence of example than in natural depravity, if -every divine in Great Britain were to preach at least -one sermon every twelve months on our universal -insensibility to the sufferings of the brute creation?<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a></p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_159.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p> - -<h3>CREDULITY, SUPERSTITION, AND FANATICISM.</h3> - -<p class="pfs70">A MEDLEY.</p> - -<p class="fs80">"Believe not every spirit, but try the spirits whether they are of -God; because many false prophets are gone out into the world."—1 -<span class="smcap">John IV.</span> 1.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="CS" id="CS"></a> -<img src="images/i_160fp.jpg" width="600" alt="" /> -<div class="caption">CREDULITY SUPERSTITION AND FANATICISM.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_160.jpg" alt="" /> -</div> - -<p class="drop-capy">Whoever reads history with a view of -tracing the progress of the human mind,—which, -by the way, is the great object that -renders history useful,—whoever reads history with -that regard, must be astonished and shocked at the -slow progress of philosophy, and the universal prevalence -of credulity, superstition, and fanaticism. If -antiquity would give a claim to reverence, this destructive -band have a date prior to Christianity; their -united power shed baneful influence on the earliest -ages.</p> - -<p>In the pagan temples there was a kind of incantation -for conjuring down deities, to whom were assigned -niches according to their different degrees of rank. -The histories of Greece and Rome (for the sake of -human nature, I wish that the parallel did not reach -<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>modern times) display an innumerable host of all ages, -sexes, descriptions, and characters, enlisted under the -banner of the priesthood, together with a select <i lang="fr" xml:lang="fr">corps -de reserve</i> of augurs and soothsayers, who, by inspecting -the entrails of beasts, foretold future events, -and from the flight of birds the defeat of armies. -Succeeding ages beheld their heathen temples solemnly -consecrated; and being thus metamorphosed -into Christian churches, the sculptures representing -Jupiter, Minerva, Venus, and Diana, by virtue of a -new baptism, became saints.<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a></p> - -<p>Here also were a legion of arrogant priests, who -insolently dictated the terms of salvation, fixed a -standard for universal belief, and introduced their -own inventions as divine precepts; who forced -monarchs to pay tribute by ecclesiastical privilege, -assumed the dominion of empires by divine right, -and claimed three-fourths of the known world as -heirs-at-law to St. Peter. To secure their acquisitions, -they entrenched themselves behind ramparts -raised on the credulity and folly of mankind. He -who attempted to scale these hallowed mounds was<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span> -deemed guilty of sacrilege; he who questioned the -catholic infallibility was an atheist; and whosoever -doubted the divine mission of a priest—an infidel.<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a></p> - -<p>Finding the multitude were so well inclined to believe -that whatever they could not comprehend was -supernatural, they construed each phenomenon of -nature into a portentous menace from Heaven. An -eclipse became the omen of a revolution; an inundation -the prognostic of a defeat; and an hurricane -foretold the fall of every power that made any opposition -to papal authority. By arts like these, the -people were brought into a mental vassalage; and the -powerful Baron having previously enslaved their persons, -they readily gave the care of their souls to the -confessor. To him they applied as the proper interpreter -of every difficult case; and fraught with a full -portion of credulity, each individual considered every -cloud that passed over the sun, and every raven that -expanded its ebon wing, as bearing some particular -direction to himself. Hence arose the doctrine of -demonology; and apparitions, witches, dreams, and -divinations, formed a creed of superstition. On this -was built that notable system, properly enough called -"The Philosophy of the Distaff." This mythology -of weak minds has been carried through every<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> -age and country by oral tradition and unfounded -record.</p> - -<p>Our earliest histories abound in augury and prediction; -the most fabulous tales had credence, not -only with the unlearned and ignorant, but with the -educated and sagacious. The grave Duke de Sully -seriously narrates those which had relation to Henry -the Fourth.</p> - -<p>It is recorded by Victorius Sirri, that Louis the -Thirteenth was from his infancy surnamed Just,—"because -he was born under the sign of the Balance!"</p> - -<p>Even sorcery was made a leading branch of religion; -and one of a priest's duties was to exorcise ghosts -by talking Latin, which was considered as a never-failing -antidote for a troublesome spirit, and invariably -concluded by the ghost being <em>laid in the Red Sea</em>.</p> - -<p>Some of these glaring errors have been obliterated, -but absurdities of equal magnitude have supplied -their place; and modern credulities are nearly as -destructive to the interests of society as ancient superstitions.</p> - -<p>Though this nation, as well as others, was at an -early period enveloped by ignorance, superstition, -and their consequent accompaniments, we had some -right to expect the clouds would have been dispelled -by the Reformation; but credulity kept its ground, -and at a still later period—when we had a most -learned and sedate monarch, and a most sententious<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -and grave Parliament—an Act was passed for the -punishment of witchcraft! By this sagacious union -of royal and national wisdom, if a woman lived to a -greater age than her neighbour, she was tried, proved -guilty of commercing with a familiar in the shape of -a tabby cat, and eased of all her sufferings by the -ordeal of fire or water.</p> - -<p>It is not many years since a fanatic in one of our -colonies took a fancy to accuse a neighbour of witchcraft: -the crime was clearly proved, and the poor -culprit suffered according to law. In credulity and -superstition there is something epidemical. The contagion -spread; and this being found a summary process -for removing a competitor in trade, or revenging -an insult, informations for sorcery became frequent. -Their sessions-house was crowded with witches, as is -that at the Old Bailey with pickpockets. It however -brought fees, and so far was well: but these sapient -legislators at length discovered that the province was -likely to be depopulated; and what affected them -still more, their own fraternity were liable to the -consequences. A man, who had been cheated by -his lawyer, made an affidavit that said lawyer was -a wizard. This was too much: the court had a -special meeting, and unanimously determined that -they would not receive any more informations against -wizards. The bye-law had the effect of a charm, -and sorcery was no more!</p> - -<p><span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span></p> - -<p>Lord Bacon somewhere remarks that superstition -is worse than atheism. It takes from religion every -attraction, every comfort; and the place of humble -hope and patient resignation is supplied by melancholy, -despair, and madness!</p> - -<p>To the best minds, credulity is the source of much -misery. Our first Charles, who, with all his errors as -a king, had the manners and mind of a gentleman, -was so much under its influence, that he never enjoyed -a day's happiness after consulting the <cite lang="la" xml:lang="la">Sortes -Virgilianæ</cite>.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a></p> - -<p>In our age—an age in many respects enlightened -by the beams of philosophy—the effects resulting from -credulity, superstition, and fanaticism are dreadful; -but while the evils are contemplated with horror, the -system is too ridiculous for sober reasoning. It induces -the infatuated votary to believe that being in -the pale of a particular church will ensure his salvation. -The ignorant are confounded with metaphysical -subtleties which the wisest cannot comprehend; -and by combining different texts of holy writ, we<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> -are insulted with conclusions contrary to common -sense.<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a></p> - -<p>To check this inundation of absurdity, which deemed -carnal reason profane, and was not to be combated by -argument, Mr. Hogarth engraved this print; it contains -what must ever operate as a complete refutation -of those who, because they were his opponents in -politics, have impudently asserted that he lost his -talents in the decline of life: for though the delineation -was made in his sixty-fourth year, in satire, wit, -and imagination, it is superior to any of his preceding -works.</p> - -<p>The text "I speak as a fool" is a type of the -preacher, whose strength of lungs is a convenient -substitute for strength of argument. He is literally a<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -Boanerges; his tones rend the region, and the thunder -of his eloquence has cracked the sounding-board. His -right hand poises a witch astride upon a broom-stick, -and in his left he suspends an emissary of Satan: this -embryotic demon wields a gridiron as a terror to the -ungodly, and at the witch's breast is an incubus in the -shape of a cat.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> Considering action as the first requisite -of an orator, our ecclesiastical juggler throws -his whole frame into convulsions: he shakes as the -lofty cedar in a storm. Like Milton's devil,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"With head, hands, wings, or feet, he works his way,</p> -<p class="verse">And swims, or sinks, or wades, or creeps, or flies."</p> -</div></div> - -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span></p> - -<p>By these violent agitations his gown flies open, and -discovers that this Proteus of the pulpit is arrayed in -a Harlequin's jacket; and his wig falling off, displays -the shaven crown of a Jesuit. But the loss of -a periwig is not attended to, his denunciations are -redoubled, his fulminations hurled indiscriminately -around; he scatters about firebrands; and darts, -pointed with destruction, and barbed with death, -pierce the hearts of his terrified hearers. Wrought -up to the highest pitch of seraphic fervour, fevered -by the heat of his own ecstasies,—the whole man is -inspired,—and mounted upon the clouds of mystery, -he soars through the dark regions of superstition, -settles in the third heaven, and breathes empyreal air.</p> - -<p>The train is fired,—the contagion spreads, the cup -of delusion is filled to the brim, and each of his infatuated -auditors intoxicated with the fumes of enthusiastic -madness.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse5">"Broken each link of reason's chain,</p> -<p class="verse">Witchcraft and magic hold their reign;</p> -<p class="verse">Terror and comfortless despair,</p> -<p class="verse">And fond credulity is there.</p> -<p class="verse">Circling all nature's vast profound,</p> -<p class="verse">Imagination takes her round,</p> -<p class="verse">Starting at spectres,—painting fairies,</p> -<p class="verse">Fancy, with all her wild vagaries,</p> -<p class="verse">Dances on enchanted ground.</p> -<p class="verse">Now with wings sublime she flies</p> -<p class="verse">Where planets roll in azure skies;</p> -<p class="verse">Now o'er clouds where tempests low'r,</p> -<p class="verse">To where the rushing waters pour:</p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span> -<p class="verse">Thence through the vasty void descends,</p> -<p class="verse">Where Chaos warring atoms blends,</p> -<p class="verse">To darksome caves of deepest hell,</p> -<p class="verse">Where sullen ghosts and torturing demons dwell."</p> -</div></div> - -<p>With a postboy's cap upon his head, to denote that -he is a special messenger from above, a little cherubimic -Mercury flies through the clouds, and bears in -his mouth an express directed to Saint Money Trapp.</p> - -<p>Immediately beneath the pulpit are two lambs of -the flock in an ecstasy. The young man with a round -head of hair is probably a lay preacher; for though -he has not a sable coat, he has a black collar. Piously -entreating a young maiden, who meets his advances -with an holy zeal, he puts the waxen model of a -female saint down her bosom.</p> - -<p>In the same pew are two fellows very differently -affected: one of them, with a despairing countenance, -sheds iron tears; the other, like the wet sea-boy on -the mast, sleeps through the terrors of the storm, -though a malignant imp of darkness, envying his -serenity, endeavours to awake him by a whisper,<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> that -he also may share such curses as would serve for a -supplement to St. Ernulphus.<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> - -<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p> - -<p>Between two duck-winged cherubs, who are studying -the laughing and crying gamut, is the harpy clerk. -This crook-mouthed echo of absurdity, and associate -in villany, has the true physiognomy of a Tartuffe: -every feature is charged with hypocrisy.</p> - -<p>The congregation,<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> many of whom have been imported -from Liffey's verdant banks, bear their parts -in this enchanting serenade; and the bull roar of the -preacher, combined with a chorus of sighs, groans, -and shrieks, must produce a symphony that might -vie with the Irish howl or Indian war-whoop.</p> -<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p> -<p>Among the crowd we discover a youthful convert -under the guidance of his spiritual confessor,<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> who, -pointing to Brimstone Ocean, unfolds a tale which -terrifies his disciple to a degree that</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Must harrow up his soul; freeze his young blood;</p> -<p class="verse">Make his two eyes like stars start from their spheres;</p> -<p class="verse">His knotty and combined locks to part,</p> -<p class="verse">And each particular hair to stand on end,</p> -<p class="verse">Like quills upon the fretful porcupine."</p> -</div></div> - -<p>The sanguinary Jew, while he leans upon an altar, -on which lies a knife inscribed "bloody," sacrifices to -his revenge an unfortunate insect which he caught -carelessly wandering on the environs of his head.</p> - -<p>Beneath is Mrs. Tofts, of Godalming, well known -in the annals of credulity; in the violence of her -paroxysm, she breaks a dram glass with her teeth.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a></p> - -<p><span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span></p> - -<p>Next to Mrs. Tofts is a possessed shoeblack, coolly -clearing his stomach of a quantity of hob-nails and -iron staples.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> In his hand he holds a quart bottle, -in which the model of a spirit is closely cribbed—confin'd;<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span> -but the imprisoned sprite forcing the cork, -mounts into the regions of air with a lighted taper -in its hand.<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> The book on which our sable professor -of necromancy has deposited his basket, is King -James's <cite>Demonology</cite>;<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> this, with Whitfield's <cite>Journal</cite>, -which lies among the implements of his art, covertly -intimate the sources where he had sought and found -inspiration.</p> - -<p>The ridicule is wound up by a Turk, whom we see -through a window smoking his tube of Trinidado; -lifting up his eyes with astonishment at the scene, -he breathes a grateful ejaculation, and thanks his -Maker that he was early initiated in the divine truths -<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>of the Koran, is out of the pale of this church, and -has his name engraven on the tablets of Mahomet.</p> - -<p>As all the decorations which are displayed in this -temple of credulity, superstition, and fanaticism are -suitable to the congregation, the carved figures on -the pulpit are worthy of the preacher. We are in -the first compartment presented with the apparition -which warned Sir George Villiers of the Duke of -Buckingham's danger from the knife of Felton;<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> in -the second, with Julius Cæsar's ghost reproaching -Brutus; and in the third, with the ghost of Mrs. Veale, -which appeared to Mrs. Bargrave,<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a>—because a very -large impression of <cite>Drelincourt upon Death</cite> lay in the -bookseller's warehouse, and would not move without -a marvellous relation of an apparition.</p> - -<p>Beneath is a figure of the Tedworth drummer, who -so wickedly disturbed the family of Mr. Mompesson;<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> -<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>and in the frame below, a representation of Fanny, -the phantom of Cock Lane, with her hammer in her -right hand. These two notable memorials of credulity -are placed as a kind of headpiece to a mental thermometer, -which ascertains the different degrees of -heat in the blood of an enthusiast. When the liquid<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span> -ascends, it rises from lukewarm to love-heat,—ecstasy! -convulsion fits,—madness,—and terminates -in raving, which is properly obscured by clouds, and -above the ken of human comprehension. In its falling -state, the progress of religious depression is most accurately -marked. From low spirits it sinks to sorrow, -agony, settled grief, despair, madness,—suicide! The -whole rests on Wesley's <cite>Sermons</cite>, and Glanville <cite>On -Witches</cite>.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a></p> - -<p>On the preacher's left hand, suspended to a ring<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span> -inserted in a human nostril, hangs the scale of vociferation. -A <em>natural tone</em> is at the bottom, but the -<em>speaker's tone</em> is described by the distended mouth -above the scale, crying Blood! blood! blood! and -inscribed "Bull roar."</p> - -<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span></p> - -<p>To the hook of the chandelier hangs a small sphere, -on which is engraven, "Desarts of new Purgatory." -On the globe, out of which spring the branches -for candles, is written, "A globe of hell, as newly<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -drawn by R——ne" (Romaine). It is so formed as -to give the caricature of a human face, and baptized -"Horrid Zone." Round one of the eyes is inscribed -"The Bottomless Pit;" round the other, "Molten-lead -Lake." On one cheek is "Brimstone Ocean;" on -the other, "Parts Unknown;" and round the mouth, -"Eternal Damnation Gulf." Horribly profane as are -these mottoes, they are mere copies of Tabernacle -phraseology. In the same class comes the hymn, -which is placed before the clerk:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Only <em>love</em> to us be given;</p> -<p class="verse">Lord, we ask no other heaven."<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a></p> -</div></div> - -<p>The poor's box is a mouse-trap, which very fairly -intimates that whatever money is deposited will be -secured for the <em>faithful collectors</em>. It may be further -meant to insinuate, that whosoever is caught in this -necromantic snare will be in the state of Sterne's -starling, and cannot get out, for it is planted with -pointed steel, and tears in pieces those who attempt -an escape.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_179.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p> - -<h3>THE TIMES.</h3> - -<p class="p2" /> -<h4>PLATE I.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The gods of old were logs of wood,</p> -<p class="verse4">And worship was to puppets paid:</p> -<p class="verse">In antic dress the puppet stood,</p> -<p class="verse4">And priests and people bow'd the head."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="TT_I" id="TT_I"></a> -<img src="images/i_180fp.jpg" width="650" alt="" /> -<div class="caption">THE TIMES. PLATE I.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_180.jpg" alt="" /> -</div> - -<p class="drop-capx">There are three things of which your -Englishman deems himself the best of all -possible judges: the art of stirring a -fire, religion, and politics. His infallibility in the -first no one will presume to question, except his wife; -and with her he will dispute as long as disputing is -good. The mysteries of the second he understands -better than the Archbishop of Canterbury. As to the -intricacies of the third, which thinking men are apt -to consider in some degree hidden from those who are -not admitted into the arcana, he can unravel them -with more ease, and point out with more precision -what steps ought to be taken, than can the Prime -Minister, with all the aggregate wisdom of the -Cabinet.</p> - -<p>So many of his Majesty's good subjects being thus -gifted with an intuitive knowledge of state affairs, it -<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>is no wonder that Britain holds so high a rank among -the nations; for each act of government is stated and -debated, not only in the two Houses of Parliament, -but in every tavern, coffeehouse, and porter-house in -the metropolis.</p> - -<p>To these eloquent leaders of the numerous clubs, -we may add a myriad of political writers, who are all -but inspired. Without studying either Machiavel, -Locke, or Sidney, they pour forth a torrent of -lucubrations on the floating subjects of the hour; -that hour past, their letters, replies, remarks, and -rejoinders are heard of no more.</p> - -<p>In the hope of giving their puny offspring a longer -life, some of these learned Thebans, or their booksellers, -called in the aid of artists, to adorn their -labours with <em>taking</em> frontispieces. These graphic -ornaments were in general about as <em>lively</em> as the -pamphlets they decorated; and it was found that the -united efforts of author, printer, painter, engraver, and -publisher, could not ensure immortality. Notwithstanding -this general failure in their intended operation, -they had one very awkward effect. A sort of -political influenza was communicated to our engravers, -and they also became deep statesmen and profound -politicians. While part of this band sharpened their -burins, and defaced much good copper in caricaturing -the members of administration, their opponents were -equally industrious, and equally pointed, in <em>taking off</em><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span> -the <em>honourable gentlemen</em> on the other side of the -house.</p> - -<p>The buzzing of these insects of a day was little -attended to: their dulness preserved them from -laughter, their weakness protected them from resentment; -they excited no passion except contempt.</p> - -<p>Very different was the public expectation when it -was found that Hogarth intended to publish a series -of political prints. From his former productions they -knew his powers, and considered him as able to throw -any party into ridicule. That which he was expected -to attack dreaded the strength of his aquafortis, -which they apprehended would have the effect of a -caustic, not only on his copper, but on the objects of -his satire.</p> - -<p>Previous to the publication of "The Times," Mr. -Wilkes, who was then at Aylesbury, was informed -that the print was political, and that Lord Temple, -Mr. Pitt, Mr. Churchill, and himself, were the leading -characters held up to ridicule. Under the impression -which this intelligence conveyed, he sent Mr. Hogarth -a remonstrance, stating the ungenerous tendency of -such a proceeding; which would be more glaringly -unfriendly, as the two last-mentioned gentlemen and -the artist had always lived upon terms of strict -intimacy. This produced a reply, in which Hogarth -asserted that neither Mr. Wilkes nor Mr. Churchill -were introduced, but Lord Temple and Mr. Pitt were,<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span> -and the print should be published in a few days. To -this it was answered, that Mr. Wilkes would hardly -deem it worth while to notice any reflections on himself; -but if his friends were attacked, it would wound -him in the most sensible part, and, well as he was -able, he should revenge their cause. This was a -direct declaration of war: the black flag was hoisted -on both sides, and never did two angry men of their -abilities throw mud with less dexterity.</p> - -<p>"The Times" was soon after published, and on the -Saturday following, in No. 17 of the <cite>North Briton</cite>, a -most unmerciful attack was directed against the King's -Serjeant Painter. Since that period, marvellous have -been the variations of the patriotic needle; the -Colonel of the Buckinghamshire Militia has filled the -first offices in the city of London, and is now become -chamberlain. Having in these situations seen the -errors of his former politics, he would, I must think, -be the first to acknowledge that the attack was not -only unmerciful, but in many respects unjust. The -hand of time having worn down political asperities, I -hope—I believe—Mr. Wilkes will have no objection -to this nettle, forced in the hotbed of a party, being -plucked from that hallowed sod which covers the dust -of William Hogarth.</p> - -<p>Should the artist and the chamberlain meet in -Elysium, why may they not drink oblivion to former -feuds in a glass of Lethe? The chamberlain would,<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span> -I fancy, prefer champagne; but when a gentleman -travels in a strange country, he must take up with -such beverage as the place affords.</p> - -<p>The attack commences with a ridicule of the -<cite>Analysis of Beauty</cite>, or rather of Hogarth's honesty -in acknowledging that he was indebted to a friend -for a third part of the wording. The artist was -sensible of his own strength; but what is much more -rare, he was conscious of his own weakness. He knew -the principles of his art; but not being accustomed to -explaining them with a pen, very prudently asked -the aid of those who were, to give his ideas such -language as would render them worthy public attention. -This was at least honest; but as the author -of the <cite>North Briton</cite> presents us with only part of the -apology, let us do the artist justice by inserting the -whole.</p> - -<p>After some leading remarks on the system which it -was his wish to establish, he continues as follows:—</p> - -<p>"But observing in the fore-mentioned controversies -that the torrent generally ran against me, and that -several of my opponents had turned my arguments -into ridicule, yet were daily availing themselves of their -use, and venting them even to my face as their own, I -began to wish the publication of something on this -subject; and accordingly applied myself to several -of my friends, whom I thought capable of taking up -the pen for me, offering to furnish them with materials<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -by word of mouth. But finding this method not practicable, -from the difficulty of one man's expressing -the ideas of another, especially on a subject which he -was either unacquainted with, or was new in its kind, -I was therefore reduced to an attempt of finding such -words as would best answer my own ideas, being -now too far engaged to drop the design. Hereupon, -having digested the matter as well as I could, and -thrown it into the form of a book, I submitted it to -the judgment of such friends whose sincerity and -abilities I could best rely on, determining on their -approbation or dislike to publish or destroy it. But -their favourable opinion of the manuscript being publicly -known, it gave such a credit to the undertaking -as soon changed the countenances of those who had -a better opinion of my pencil than my pen, and turned -their sneers into expectation, especially when the -same friends had kindly made me an offer of conducting -the work through the press; and here I must acknowledge -myself particularly indebted to one gentleman -for his corrections and amendments of at least -a third part of the wording. Through his absence -and avocation, several sheets went to the press without -any assistance, and the rest had the occasional -inspection of one or two friends. If any inaccuracies -shall be found in the writing, I shall readily acknowledge -them all my own, and am, I confess, under no -great concern about them, provided the matter in<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span> -general may be useful and answerable, in the application -of it, to truth and to nature; in which material -points if the reader shall think fit to rectify any -mistakes, it will give me a sensible pleasure, and be -doing great honour to the work."—<cite>Preface to Analysis</cite>, -p. 20, edit of 1772.</p> - -<p>The author of the <cite>North Briton</cite> continues: "We all -titter the instant he takes up a pen, but we tremble -when we see the pencil in his hand."</p> - -<p>As this essay was written in consequence of the -artist giving a pictured shape, it seems rather extraordinary -that so good a logician as Mr. Wilkes should -drag in Hogarth's pen merely to titter at, and acknowledge -that he trembles at his pencil, which instrument, -by the way, drew forth this paper:—</p> - -<p>"I will do him the justice to say, that he possesses -the rare talent of gibbeting in colours, and that in -most of his works he has been a very good moral -satirist." That he has, it is most true. "His forte is -there, and he should have kept it. When he has at -any time deviated from his own peculiar walk, he -has never failed to make himself perfectly ridiculous. -I need only make my appeal to any one of his historical -or portrait pieces, which are now considered -as almost beneath all criticism."</p> - -<p><em>Some</em> of his portraits might have been exempted -from this censure: what does Mr. Wilkes think of -Captain Coram, now in the Foundling Hospital?</p> - -<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p> - -<p>"The favourite 'Sigismunda,' the labour of so -many years, the boasted effort of his art, was not -human. If the figure had a resemblance of anything -ever on earth, or had the least pretence to -meaning or expression, it was what he had seen, or -perhaps made, in real life, his own wife in an agony -of passion, but of what passion no connoisseur could -guess."</p> - -<p>After asserting that the figure was not human, -this is rather too much! From any gentleman, the -daughter of Sir James Thornhill had a claim to more -politeness; but that so gallant a man as Colonel -Wilkes—a perfect knight-errant in all that related -to the sex—should make an estimable and respectable -woman a party "in the poor politics of the day, and -descend to low personal abuse" (I use his own language), -because her husband had in these poor politics -adopted an opposite creed, excites astonishment!</p> - -<p>Had this transaction passed in the year 1791, instead -of the year 1762, it would have been less extraordinary; -for, alas,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"The days of chivalry are no more."<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a></p> -</div></div> - -<p>"All his friends remember what tiresome discourses -were held by him, day after day, about the transcendent -merit of this 'Sigismunda,' and how the great -names of Raphael, Vandyke, and others, were made<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span> -to yield the palm of beauty, grace, expression, etc. to -him, for this long-laboured yet uninteresting single -figure. The value he himself set on this, as well as -on some other of his works, almost exceeds belief; -yet from politeness, or fear, or some other motives, -he has actually been paid the most astonishing sums, -as the price, not of his merit, but of his unbounded -vanity."</p> - -<p>That the artist demanded too high a price for his -painting of "Sigismunda," I am free to acknowledge; -but it has not been peculiar to Mr. Hogarth to mistake -his talents, and overrate his worst performances. -Mr. Wilkes must know that Milton, and many other -great men, have erred in the same way. I do not -think that "Sigismunda" was worth what he required; -but that he has actually been paid the most -astonishing sums for his other pictures, as the price, -not of his merit, but of his unbounded vanity, I am -yet to learn. The remuneration he received for many -of his works is to be found in these volumes; it was -seldom in any degree equal to their merits. The -painter is no more, but several of his pictures remain; -and were the "Marriage à la Mode," "Rake's -Progress," etc., now upon sale, the present age would, -I am persuaded, sanction my opinion, and the pictures -produce much more astonishing sums than were -originally paid to the artist.</p> - -<p>"He has succeeded very happily in the way of<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span> -humour, and has miscarried in every other attempt; -this has arisen in some measure from his head, but -much more from his heart. After 'Marriage à la -Mode,' the public wished for a series of prints of a -Happy Marriage. Hogarth made the attempt; but -the rancour and malevolence of his mind made him -soon turn away with envy and disgust from objects of -so pleasing contemplation, to dwell, and feast a bad -heart, on others of a hateful cast, which he pursued, -for he found them congenial, with the most unabating -zeal and unrelenting gall."</p> - -<p>Should any one assert that the strength of colouring, -and astonishing powers, which gave the name of -Churchill so exalted a rank among satirists, originated -in malevolence and rancour, and that he could not -write a panegyric because he delighted in feasting a -bad heart on a bad theme, Mr. Wilkes would, I am -certain, be the first to defend him from such an -aspersion.</p> - -<p>That he did not succeed in an attempt to delineate -a Happy Marriage, I can readily believe. Hogarth -was a painter of manners as they were, not as they -ought to be. He considered nature in the abstract, -and usually adhered to what he saw. Among those -friends with whom Hogarth lived in habits of intimacy, -and whose domestic situations he had the best -opportunity of studying,—though Mr. Churchill and -the Colonel were of the number,—he might not<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span> -know a family from whence such a scene could be -copied.</p> - -<p>"I have observed some time his setting sun. He -has long been very dim, and almost shorn of his -beams."</p> - -<p>For a confirmation of the above assertion, see the -print of "The Medley," published this very year. My -opinion of it the reader is already in possession of, -and that opinion corresponds with an authority which, -I believe, even Mr. Wilkes will consider as very high:—"For -useful and deep satire, 'The Medley' is the -most sublime of all Hogarth's works."—<em>Walpole.</em></p> - -<p>"He seems so conscious of this (<em>i.e.</em> that his sun is -setting, etc.) that he now glimmers with borrowed light. -'John Bull's house in flames' has been hackneyed in -fifty different prints; and if there is any merit in the -figure on stilts, and the mob prancing around, it is -not to be ascribed to Hogarth, but to Callot."</p> - -<p>Callot's was, I acknowledge, the first thought, but -Sir Joshua Reynolds will tell Mr. Wilkes that happy -appropriation is not plagiarism.</p> - -<p>"I own, too, that I am grieved to see the genius of -Hogarth, which should take in all ages and countries, -sunk to a level with the miserable tribe of party-etchers, -and now in his rapid decline entering into the -poor politics of the faction of the day, and descending -into low personal abuse, instead of instructing the -world, as he could once, by manly moral satire."</p> - -<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p> - -<p>I too am grieved that Hogarth, or any other man -of talents, should descend to the poor politics of the -faction of the day. But be it remarked, that this -was the first political print he designed; and if so -contemptible as it was before stated to be, it is rather -singular that this one little satire, the first he engraved -on the subject, and "destitute of every kind of original -merit, in every part confused, perplexed, and embarrassed, -where the story is not well told to the -eye, and where we cannot discover the faintest ray -of genius," should excite so warm a resentment.</p> - -<p>Mr. Wilkes goes on to ask, "Whence can proceed -so surprising a change? Is it from the frowardness of -old age? or is it that envy and impatience of resplendent -merit in every way, at which he has always -sickened? How often has he been remarked to droop -at the fair and honest applause given even to a friend?" -etc.</p> - -<p>I am told, by those who lived in habits of intimacy -with Mr. Hogarth—never! But let us remember, that -what is deemed fair and honest applause by the person -who receives it, may by an impartial spectator be -thought more than he is entitled to.</p> - -<p>"It is sufficient that the rest of mankind applaud; -from that moment he begins the attack, and you never -can be well with him, till he hears an universal outcry -against you, and till all your friends have given you -up."</p> - -<p><span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span></p> - -<p>That Hogarth should have wished to render a man -infamous in the eyes of society, before he would admit -him to the honour of his regards, is a paradox I -cannot solve. I believe this kind of preparation for -friendship was never practised by any other person, -of any age or country.</p> - -<p>"The public had never the least share of Hogarth's -regard, or even goodwill. Gain and vanity have -steered his little bark quite through life. He has -never been consistent but with respect to these two -principles."</p> - -<p>Hogarth was no hypocrite. By the word "public," -is frequently meant that party who are immersed in -the violent factions of the day. For them he never -professed goodwill. But if by the public is meant -society in its various branches and different ranks, -almost all his works had as great a tendency to -make the world wiser and better, as had those of -men who made more violent professions. His little -bark having been steered through life by gain and -vanity, I hardly know how to understand. He lived -a long and laborious life; he was admitted to be -the first, the very first, in his walk; and died worth -a sum that a Jew broker will acquire before breakfast. -As to vanity,—of talents superior to any other artist,—he -had a right to be vain.</p> - -<p>"But all genius was not born, nor will it die, with -Mr. Hogarth; and notwithstanding all his ungenerous<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> -efforts to damp or chill it in another, I will trust to a -discerning and liberal spirit in the English nation to -patronize and reward all real merit. It will in the -end rise superior to the idle laugh of the hour," etc.</p> - -<p>Of this discerning and liberal spirit there is not -a stronger instance than the estimation in which -Hogarth's works, not excepting the <cite>Analysis</cite> (however -it may be worded), are held thirty years after -the publication of the <cite>North Briton</cite>.</p> - -<p>"In the year 1746, when the Guards were ordered -to march to Finchley on the most important service -they could be employed in,—the extinguishing a -Scottish rebellion which threatened the entire ruin of -the illustrious family on the throne, and, in consequence, -of our liberties,—Mr. Hogarth came out with a -print to make them ridiculous<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a> to their countrymen, -and to all Europe; or, perhaps, it rather was to tell the -Scots, in his way, how little the Guards were to be -feared, and that they might safely advance. That the -ridicule might not stop here, and that it might be as -offensive as possible to his own sovereign, he dedicated -the print to the King of Prussia, as an encourager of -arts. Is this patriotism? In old Rome, or in any of -the Grecian States, he would have been punished as a -profligate citizen, totally devoid of all principle."</p> -<p><span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span></p> -<p>These are heavy charges; but mark how a plain -tale shall put them down. From the effects which -are described as likely to result from this most seditious -print, we are tempted to think it must have -been designed, etched, engraved, printed off, and dispersed -with so much expedition as to arrive in Scotland -before the Guards whom it holds up to ridicule; -for one of its designs was "to tell the Scots, in his -way, how little the Guards were to be feared, and that -they might safely advance." The march was in 1746, -and the publication of this print in 1750; therefore<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a> -it could not have these most direful and dangerous -effects! That he dedicated it to the King of -Prussia, as an encourager of arts, is true; but this -dedication was not inserted until another had been -rejected, because it was misunderstood by the King -of England; and George the Second, with all his -virtues, was neither a judge of humour nor an encourager -of the arts. These premises granted, I -think we may fairly draw this conclusion: Had old -Hogarth been a citizen of old Rome, or a member -of any of the Grecian States, and published such a -representation of his own times, he would not have -been punished as a profligate citizen: he would -neither have been flagellated, impaled, decollated, nor -thrown from the Tarpeian rock; but his print would -have been laughed at by every member of the State<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span> -who had the least ray of humour, though—as in -some cases that we have seen—the length of a grave -orator's beard might hide the risible emotions of his -muscles, and the amplitude of his robe conceal the -shaking of his sides.</p> - -<p>To detail the conclusion of this paper, about the -dishonour of his being appointed pannel-painter to -the King, never suffered to caricature any of the royal -family, etc., is scarcely necessary. If the appointment -was less respectable than his merits demanded, the -disgrace did not fall upon him; but be it remarked, -that the office was afterwards held by Sir Joshua -Reynolds; and however elevated his taste, however -superior his talents, his genius was long distinguished -and admired by the public before he had -the honour of taking the portraits of their Majesties.</p> - -<p>Trusting that Hogarth's own works will sufficiently -ascertain his character, I shall not attempt his further -vindication, but proceed to the print.</p> - -<p>A globe, which must here be considered as the -world, though it appears to be no more than a tavern -sign, is represented on fire, and Mr. Pitt, exalted on -stilts, which are held by the surrounding multitude, -blowing up the flames with a pair of large bellows.<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span> -His attendants are composed of butchers, with marrow-bones -and cleavers, an hallooing mob armed with<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span> -clubs, and a trio of London aldermen in the act of -adoration. From the neck of this idol of the populace<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span> -is suspended a millstone, on which is inscribed -£3000 per annum, allusive to his pension, and intimating -that so ponderous a load must in time sink<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span> -his popularity.<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> While he is thus increasing the -conflagration, a number of Highlanders,<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> grenadiers, -sailors, etc., are busily working a fire-engine to extinguish -it. The pipe is guided by a Union Office -fireman at the top. Defended by an iron cap, and -decorated with a badge inscribed "G. R.," this intrepid -engineer pays no regard to three streams of -water which are furiously driven at his rear from the -windows of the Temple Coffeehouse. The Liliputian -engines, through which these tiny showers descend, -are directed by a nobleman and two garretteers. An -<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>inscription over the door determines the title of the -former, who is delineated without features: the two -gentlemen in the attic were, I believe, originally -intended for Mr. Wilkes and Mr. Churchill, but -previous to publication the faces were altered.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> A -surplice is still left on the figure over Lord Temple, -and the Colonel's coat is lapelled. Upon a sign-iron -beneath them is a slaughterman,<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a> with a lighted -candle in his hat, and a large knife in his pocket; -thus intimating that he is ready either to fire a city -or murder a citizen. Mounted to the situation he -now occupies by a ladder, he is drawing up a sign -of the Patriot's Arms, and in this good work is -assisted by two strong-sinewed coadjutors, who are -dragging the ropes to which it is suspended. The -blazonry is four clenched fists in opposition to each -other; the date, 1762.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a> This curious delineation will -be placed in the front of the Temple Coffeehouse, -<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>for <em>the world to wonder at</em>. The Newcastle Arms, -nearly broken down, bears allusion to the Duke's -resignation.<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> A Highlander, carrying two buckets -of water from the fire-plug to the engine, is likely -to be impeded by a fellow with a wheelbarrow full -of political papers, which are intended to feed the -flames. This type of the distressed poet, said to be -intended as a representative of the Duke of Newcastle, -endeavours to overset the Scot, and burst the -engine-pipe by the same operation.</p> - -<p>Wholly engrossed by avarice, the crafty Dutchman, -with a hand in each pocket and a pipe in his mouth, -sits on his bales of goods, and laughs at the destruction -raging around him. A fox, fair emblem of -his cunning, is creeping out of a kennel beneath.</p> - -<p>Close to him is a patriotic trumpeter, blowing the -spirit-stirring tube, and pointing to a show-cloth, on -which is painted a wild Indian. By the magisterial -robe in which this trumpeter is arrayed, and the city -arms on the banner of his windy instrument, he is decisively -intended to personify Mr. Alderman Beckford,<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span> -thrice Lord Mayor of London. Beneath the savage -to whom he points, is written, "Alive from America." -This grotesque figure is placed before two tobacco -hogsheads, grasps in each hand a purse inscribed -"£1000," and has tied round him, so as to form a -sort of Indian dress, eight or ten little bags equally -well filled. His countenance leads us to judge that -he delights in the devastation by which he is a gainer; -and seems to imply that our American brethren, like -our Amsterdam allies, were eager to furnish friend or -foe with the product of their respective countries. It -may further intimate the Alderman's immense riches, -and that a leading article of his trade was tobacco.</p> - -<p>A table clock, inscribed "Airs by Harrington," -representing a company of soldiers in a regular -march, has an evident allusion to the military doctrine -of man being a machine. "The Norfolk jig, -G. T. <i lang="la" xml:lang="la">fecit</i>," hints at the Norfolk Militia, and Mr. -George Townshend, who paid unremitting attention -to the discipline and appearance of the corps raised -in Norfolk.</p> - -<p>"The Post Office," painted on a cracked board -fastened against the wall, may possibly signify the -office of Postmaster-General being then divided.<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a></p> - -<p>In the opposite corner of the print, surrounded by<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span> -his miserable and famished subjects, sits the heroic -Frederick of Prussia. Regardless of their distress, and -unmoved by their cries, tears, and execrations—like -Nero, who fiddled while Rome burnt—he is lost to -every feeling, except those which arise from the fine -tones of his Cremona. The effects resulting from his -insatiable thirst of glory are not confined to his own -subjects. Fired by vaulting ambition, he scatters -destruction through surrounding states; depopulates -provinces, and lays waste kingdoms, to prove himself—a -philosopher.</p> - -<p>How far the rest of the figures in this group may -refer to particular persons or nations, I cannot determine. -The female, with clasped hands and eyes -raised to heaven, has been supposed to be intended -for the Empress Queen; a venerable matron, stealing -away with a trunk under her arm, for the late Empress -of Russia, Frederick's most inveterate enemy, -who ended her earthly reign on the 2d of January -1762. They may be so intended, though I must -acknowledge I do not discover anything which will -wholly establish the supposition, but am more inclined -to consider them as merely exemplifying the horrors -of war.</p> - -<p>The <i lang="fr" xml:lang="fr">fleur-de-lis</i> hung from one of the houses in -flames, and the black eagle from the other, sufficiently -indicate the powers intended to be pointed out. The -sign of the Salutation alludes to the treaty between<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span> -France and Spain, for the dexter figure is Louis -Baboon; and the sinister, Lord Strut.</p> - -<p>The flames rage with so much violence as to prevent -the fluttering dove from alighting on any of the -buildings; notwithstanding which, this bird of peace, -with an olive branch, hovers over them in the midst -of ascending smoke.</p> - -<p>The exact point of time is determined by the -waggon, inscribed "Hermione," in the background.<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a></p> - -<p>Such is my general idea of the preceding plate;<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> -<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>there may be those who will discover many things -which I do not see, and which possibly never entered -into the contemplation of the artist. As the whole -alludes to the politics of his own day, all the characters -introduced were his contemporaries, and several -of them had been his intimate friends, he might<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> -intentionally leave some parts obscure;<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a> or conceiving -his meaning sufficiently obvious to those who lived at -the time, forget that it would become impervious to -posterity.</p> - -<p>I have before observed that in allegory he was not -happy; and the dissimilar combinations here brought -together are a proof of the assertion. Soldiers and -sailors, whose business it is to increase the flames of -war, carrying water to extinguish them, is not quite -consonant to our general ideas of their dispositions.<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span> -Highlanders, being universally considered as the soldiers -of Europe, make but an awkward appearance in -the character of peacemakers.</p> - -<p>A sign of the globe on fire, flames bursting out of -the Globe Tavern and three other buildings, with -each an alehouse sign, to explain what nations are -meant, borders upon the bathos. Another nation -personified by the sovereign fiddling to his expiring -subjects, is not a bad thought, but here it is incongruous. -It has not that general unison with the other -parts of the picture which either writing or painting -demands. Separated from the accompaniments, this -group might have made a good print; with the -Globe Tavern, the Temple Coffeehouse, the garretteers, -and the aldermen, it does not assimilate.</p> - -<p>My last remark I shall take the liberty of borrowing -from Mr. Wilkes, for in this one point I have the -honour of agreeing with him: "The print is too much -crowded with figures."</p> - - -<p class="p2" /> -<h4>PLATE II.</h4> - -<p class="pfs80">"The Times are out of joint."</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="TT_II" id="TT_II"></a> -<img src="images/i_208fp.jpg" width="650" alt="" /> -<div class="caption">THE TIMES. PLATE II.</div> -</div> - -<p class="noindent">A painter engaging in the political disputes of his -day, is in a situation similar to a gentleman beginning -to rebuild a family mansion. The pencil of one, -dipped in these troubled streams, or the fingers of<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -the other but touch-brick and mortar,—it is not in the -tables of De Moivre to calculate the conclusion of their -labours. Each of them sets out upon a certain plan, -determines that he will go so far, and no further: but -the gentleman is induced to make a first addition to -his original plan, because it will be more convenient; -a second, because it will be <i lang="fr" xml:lang="fr">magnifique</i>; and a third -and fourth <em>must be</em>, because without them the building -will not be uniform.</p> - -<p>The artist engraves a political print, which raises -an host of enemies, who buzz about him like a nest -of disturbed hornets. To them, wording not being -the painter's province, he replies by a second print, -which produces a second volume of abuse; "another -and another still succeeds," and he must either sink -under this load of obloquy, or devote the residue of -his days to the defence of his character. Such at -least was the political progress of Hogarth.</p> - -<p>By his first print of "The Times" he roused two -very formidable adversaries, and they treated him -with as much ceremony as two deputies from the -Bow Street magistrates would an incendiary or an -assassin. They did not consider him as a man -whose conduct it was needful to investigate, or whose -opinions it was necessary to confute, but as a criminal, -whose aggravated crimes had outraged every law -of society, and whom they would therefore drag to the -place of execution. To defend himself from these -<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>furious assailants, he had no shield but a copperplate, -no weapons but a pencil and a burin. The use -he made of them may be seen in the two last prints; -but though this was engraved during the time of -the contest, it was not published while he lived. -Whether a sudden change in politics, a supposed -ambiguity in part of his design, or the advice of -judicious or timid friends, induced him to suppress -his work, cannot now be ascertained; but whatever -were the reasons, his widow's respect for his memory -induced her to adopt the same conduct. She retained -a reverence for even the dust of her husband, and -dreaded its being raked from the sepulchre where -he had been quietly inurned, mixed with the poisonous -aconite of party, and by sacrilegious hands cast -into the agitated cauldron of politics. If we add to -this the specimen of political candour which she had -experienced in her own person, can we wonder that -she cautiously avoided whatever could be tortured -into a provocation to the renewal of hostilities? From -these considerations she never suffered more than one -impression to be taken, and that was struck off at the -earnest request of Lord Exeter.</p> - -<p>In withholding this plate from the public she acted -prudently; in attempting to describe it, I may be -thought to act otherwise. To enter into a discrimination -of characters who now live, "or step upon -ashes which are not yet cold," is liable to invidious<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span> -construction. Let it be remembered, that though I -have endeavoured to point out the characters delineated -by Hogarth, it does not follow that my -explanation will always be right.</p> - -<p>Though several of the figures are marked in a -style so obtrusive that they cannot be mistaken, -there are others where I can only guess at the originals. -From those who were engaged in the politics -of that day I have sought information, but their -communications have been neither important nor -consistent with each other. They generally ended in -an acknowledgment, that "in thirty years they had -forgotten much which they once knew, and which, if -now recollected, would materially elucidate." To -this was added what I am compelled to admit, that -parts of the print are obscure. I have before -observed that neither politics nor allegory were -Hogarth's <i lang="la" xml:lang="la">forte</i>, and this delineation was made under -the impression of resentment.</p> - -<p>The exact time of its being engraved I cannot -positively ascertain, but conjecture it must have been -some time in the year 1762. A small part of the sky -was left unfinished, and in that state still remains, as -the present proprietors would not suffer any other engraver -to draw a line on the copperplate of Hogarth.</p> - -<p>On a pedestal in the centre of the print is a statue -of the present King in his coronation robes, inscribed -"A Ramsay delt;" his right hand is placed on his<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span> -side, and the left leans upon a plummet, which seems -to have been Mr. Ramsay's guide in the delineation; -for the drapery is in squares, decided as the ground -glass stopper of a decanter, and the whole figure is -composed of straight lines. Of these upright figures -Hogarth had given his opinion in the <cite>Analysis</cite>;<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a> and -Mr. Ramsay being portrait-painter to his Majesty, a -post Hogarth thought himself better qualified to fill, -he took this opportunity of throwing his manner into -ridicule.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a> The head of a lion in <em>bas relief</em> with a -leaden pipe in his mouth,<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a> being on the front of the -pedestal, intimates its connection with a reservoir; -and the royal statue on the top denotes this to be the -fountain of honour. The able-bodied figure turning -a fire-plug is evidently intended for Lord Bute; his -<span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>employment seems to intimate that he has the power -of accelerating or retarding the stream of royal -bounty, and wheresoever he willeth it shall flow, -there it floweth. A baronial escutcheon, keys, stars, -coronets, croziers, mitres, maces, lie close to the -pedestal, around which are placed a number of garden -pots with shrubs. Two rose trees most plentifully -sprinkled by streams from the fountain of favour -have been originally inscribed "James <span class="fs80">III.</span>;" but -James being now blotted out, George is put above it, -and by a little hyphen beneath the lowest figure, -marked as belonging to the lowest line. Three -orange trees have the initials "G. R.," and beneath -the letters is inscribed "Republican." These also -receive drops of favour; but a large laurel planted -in a capacious vase, raised upon the base of a pillar, -and inscribed "Culloden," is watered by the dew of -heaven,—by a copious shower poured from the urn -of Aquarius. Besides these six flourishing plants, -there are a number of yew and box trees, clipped -into true taste by a Dutch gardener. Some of them -retain their old situations, but an active labourer -is busily clearing the grounds of all these ancient -formalities. Many of them he has already wheeled -out of their places, and thrown into the ditch that -surrounds the platform, into which situation he is -now tumbling two venerable box trees of a most -orderly and regular cut: each of them having the<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> -letters G. R., may apply to the favourites either of -George the First or Second. This I suppose is -meant to express, by an allegorical figure, the great -number of old place-men who resigned on the accession -of his present Majesty.</p> - -<p>The late Henry Fox, afterwards Lord Holland, -being at that time a leading character in the House -of Commons, and deemed the partisan of Lord Bute, -is here represented as removing these antiquated -plants from the vivifying hothouse of royalty to the -cold and dank ditch of despair. Hogarth, not thinking -a sable countenance and ebon eyebrows would -sufficiently indicate the person meant, has given the -outline of a fox's head to his cap. In his reforming -business he is somewhat impeded by a garden roller, -on which is written "£1,000,000,000," meaning possibly -the national debt. On the platform lies a -broom, shovel, and rake, necessary implements in -clearing gardens; and in the surrounding <i lang="la" xml:lang="la">fosse</i> such -a collection of fantastic <em>nevergreens</em>, as decked the -pleasure-grounds of our ancient sovereigns, "trimm'd -with nice art," and cut into the shapes of pyramids, -fortifications, globes, and birds. On one of them, -clipped into the form of a human head, is a mask, -well expressing the taste of our ancestors.</p> - -<p>It is observable that Lord Bute and Mr. Henry -Fox are the only persons on the platform: one of -these gentlemen was, I believe, supposed to have the<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> -highest confidence of his sovereign; and the other, -a most powerful influence over the people's representatives.</p> - -<p>A group in the dexter corner is principally made -up of members of the Upper House. A senatorial -figure in the chair under the king's arms is intended -for Sir John Cust, then Speaker. That beneath him, -wiping his forehead, evidently from perturbation of -mind, for William Duke of Cumberland. Below him -is Lord Mansfield, and still lower Lord Temple, -presenting his snuff-box to his Grace of Newcastle, -who had a short time before joined the opposition. -We also recognise Earl Winchelsea, and George -Doddington, afterwards Lord Melcombe.</p> - -<p>Who are intended to be hinted at by a number -of persons asleep, I do not know: it, however, proves -that there were at that period men who were not -to be kept awake by the most important interests -of their country. Had this print borne relation to -the orators of 1790 instead of the speakers of 1762, -there would have been no cause for astonishment. -Considering the hour at which our present race of -senators meet to do business, and that one oration -frequently lasts from the twilight of evening to the -crowing of the cock, could it excite wonder if half -the assembly were under the dominion of Somnus -before what one of our fashionable prints so familiarly -calls the peroration?</p> - -<p><span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span></p> - -<p>On the other side of a rail, intended, I believe, to -divide the Commons from the Lords, are a number -of figures firing at the emblem of Peace, which is -fluttering in the air near the signs of the zodiac. Mr. -Pitt we are enabled to identify, not only by his -features, but by his gouty legs. His gun has much -the longest barrel, and while he fires it off he prudently -turns away his face, fearing a flash in the pan -may scorch his eyebrows; or perhaps acting as a -waterman, looking one way and rowing another. A -figure behind him discharges a blunderbuss; and in -the sinister hand of one immediately before him is -a horse-pistol. The household artillery of all the -band (and from the smoke which is diffused over the -centre of the group it appears they are numerous) -is directed to the same object. One prudent personage, -a little before Mr. Pitt, seems to be in the -act of desertion; for though yet seated on the gunpowder -bench, he has got his head under the rail, -and is half on the other side. This may be pointed -at one of that class who go under the denomination -of Trimmers, or may intimate that the gentleman -is in the way of getting a place or a peerage; but -what is his name, or was his future title, I am not -enough read in the red book<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a> to determine. The<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span> -next figure resembles Henry Bilson Legge. A hand -with an ear-trumpet may perhaps allude to Lord -Chesterfield, whose deafness was at this period proverbial. -Two figures above him are distinguished, -one by a muff, and the other by a pair of spectacles; -"to whom related, or by whom begot," baffles my -conjecture: the lowest figure has a resemblance to -the first Lord Holland, but <em>he</em> is exhibited on the -platform. A dog immediately behind Lord Bute, -having his eye fixed on the urn of Aquarius, I suppose -to be barking at the shower which pours on the -laurel inscribed "Culloden." He is a Caledonian -cur, and on his collar is written the word "Mercy," -allusive, perhaps, to the cruelties said to have been -exercised in Scotland in 1745, which accounts for -the natives of that country thinking the Duke had -more liberal rewards and more distinguished honours -than he fairly merited.</p> - -<p>Thus much must suffice for the dignified personages -who then drove the state machine: to regret that I -cannot point out more of the characters would be -useless. I am not deeply studied in the political -history of that day; to those who are, must be delegated -the task of more particular explanation.</p> - -<p>The two most distinguished persons in the opposite -group are exalted to the pillory. Over a figure of -Fanny the Phantom, who is dressed in a white sheet, -the engraver has written "Conspiracy." In one hand<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span> -she holds a small hammer, and in the other a lighted -taper, with which she sets fire to a <cite>North Briton</cite> that -is fastened on the breast of Esquire Wilkes, above -whose head is written "Defamation." The patriot is -depicted with a most rueful countenance and empty -pockets. On the steps below are such a company as -we generally see assembled on these great occasions. -Two Highlanders, one of whom is grasping a purse, -and with most significant grin pointing to the <em>profane -cheeld</em> who had dared to abuse his clan, and -reprinted Howell's <cite>Description of Scotland</cite>:<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a> by his -belt and lapels he appears to be military, and is perhaps -meant for Colonel Martin. Close to him is a -Liliputian chimney-sweeper, and a fellow blowing a -cow's horn with force that gives a Boreas-like distension -to his cheeks.<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a> This resounding clangour is -softened by the cheering notes of the sweet-sounding -violin, while the growling bagpipe gives a thorough -bass to the whole. Still further to keep up the spirits -of the company, a woman is retailing gin from a keg -inscribed with the two initials "J. W.," and a schoolboy -amusing himself, <i lang="fr" xml:lang="fr">à la Teniers</i>, with Mr. Wilkes' -shoes. To complete his degradation, the Bishop's -Abigail so skilfully trundles her well-soaked mop, -<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>that he enjoys the full benefit of her mud-coloured -drops.</p> - -<p>The group behind is partly made up of British -sailors and soldiers, each of whom exhibit a most -melancholy spectacle of the fortune of war. One -lion-hearted veteran, having had both legs and arms -lopped off in the service of his country, has his oak-like -trunk borne to the borders of the platform upon -a porter's knot,<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> where, with three other disabled warriors, -he waits in the hope of catching a few drops -from the fountain of honour; but alas! the stream -which ascends from a fire-plug behind the gate falls -on the heads of a mob who are in the background. -Some of these may possibly be cripples, for a crutch -as well as several bludgeons is flourished in the air. -At a window, over which is painted "Dr. Cant's," and -"Man Midwife," a bishop is confirming two adults by -the imposition of hands. Whether by this representation -the artist intended to hint that this father of -the church confirmed them in their political errors, -the reader must determine according to his political -creed; but thus far we may venture to decide, Doctor -Thomas Seeker, then Archbishop of Canterbury, was -the person intended to be delineated. At the rooms -where the Society for Encouragement of Arts, Manufactures, -and Commerce then met, a number of<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span> -persons, by the help of a crane, are dragging up a -large silver palette, on which is written "Premium." -The man instructing the workmen is, I believe, -intended for Mr. Peter Templeman, then Secretary to -the Society; as one of the figures in the first floor is -probably Lord Romney, then their President.</p> - -<p>Behind this we discover the New Church in the -Strand; and on the opposite side a triumphal column; -a structure with the word "Hospital" inscribed on the -front, and a scaffolding, with workmen completing -a very large new building. These, I apprehend, -Hogarth intended as descriptive of the great things -which were to be undertaken and carried on during -the reign of a monarch who gloried in the name -of Briton. That the workmen and scaffolding bear -allusion to those extensive and ponderous premises -now known by the name of Somerset Place, there can -be little doubt: the artist, with an eye of prophetic -anticipation, has placed his scaffolding nearly on the -spot where the building now stands;<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> and conscious -of the time it must take to pile up such a quantity of -stone, has not represented it built, but building.</p> - -<p>The figure of Lord Bute is a strong likeness, and -in the turn of head very similar to Ramsay's portrait -which Mr. Ryland engraved. Pointing out the first<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span> -Lord Holland by making the outline of his cap in -the form of a fox's head, is a whimsical idea. Even -the sculptured lion's shaggy front has strong markings. -He is by no means pleased with the distribution of -those honours that he is made a party in bestowing, -but goes through his business with a very wry face. -To the poor maimed sailors and soldiers, Callot could -not have given much more spirit. Though upon so -small a scale, they have all the hardihood of their -order; and both in them and the elevated party<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a> on -the opposite side, variety and distinction of character -is accurately and nicely discriminated.</p> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p> - -<h3>JOHN WILKES, <span class="smcap">Esq.</span></h3> - -<p class="negin2 fs90"><em>Drawn from the Life, and etched in aquafortis, by William -Hogarth. Published according to Act of Parliament, -May 16, 1763.</em></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Enough of Patriots,—all I ask of man</p> -<p class="verse">Is only to be honest as he can.</p> -<p class="verse">Some have deceiv'd, and some may still deceive,</p> -<p class="verse">'Tis the fool's curse at random to believe.</p> -<p class="verse">Would those who, by opinion plac'd on high,</p> -<p class="verse">Stand fair and perfect in their country's eye,</p> -<p class="verse">Maintain that honour,—let me in their ear</p> -<p class="verse">Hint this essential doctrine—<span class="fs80">PERSEVERE</span>."</p> -<p class="verse16">—<span class="smcap">Churchill.</span></p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="JW" id="JW"></a> -<img src="images/i_222fp.jpg" width="500" alt="" /> -<div class="caption">JOHN WILKES ESQ<sup>R</sup>.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_221.jpg" alt="" /> -</div> - -<p class="drop-capx">The bitter satire upon Hogarth's domestic -habits, talents, taste, originality, and orthography, -which has been before noticed, -would have discomposed a less irritable man, and -warranted any retaliation in the power of the pencil; -but he seems to have felt little uneasiness, and under -a conviction that the overcharged blunderbuss which -had been aimed at him had burst in the explosion -and wounded his assailant more than himself, did not -think it necessary to point fire-arms at an adversary -whose intemperate zeal had defeated his avowed purpose. -Under the influence of these impressions, the<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> -artist has not attempted to be severe; nor can I comprehend -upon what ground this plate has been denominated -a satire, for it is not a caricature, but a very -accurate and striking resemblance, with the identical -accompaniments which I most firmly believe Mr. -Wilkes would at that time have chosen as the decorations -of his portrait. The cap of liberty, "Heaven-descended, -godlike liberty," above his head, and two -political papers which he acknowledged himself to -have written, on his right hand. One of these papers -is marked with that memorable number, which was -in its day a kind of shibboleth to the party.<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a> On the -same table with the two <cite>North Britons</cite> is a pen and -ink, importing that the person delineated is an author, -a character the Colonel could hardly be ashamed of. -These premises granted to the artist,—and</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The very head and front of his offending</p> -<p class="verse">Hath this extent, no more,"—</p> -</div></div> - -<p class="noindent">what crime has he committed? He has given an -engraving, which cannot indeed be considered as a -compliment, because it is not a flattering likeness; but -I do not see why it should have been received as a -sarcasm. If we add to this the time when, and place -<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>where, it was taken; if we consider how glorious the -situation!—how interesting the moment!—it is delineating -a general at the instant of victory; and so -far from bearing any marks of satire, that it might be -almost mistaken for a panegyric. To say the truth, -though his friend Churchill has thrown the picture -into shadow, and given only the dark tints, Mr. -Wilkes seemed willing enough to receive it as such;<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a> -and I am informed, frequently told his friends that -he every day grew into a stronger resemblance. The -pleasant and philosophic indifference with which he -spoke of it at the time, did honour to his good humour -and his good sense. He declared himself very little -concerned about the case of his soul, as he was only -tenant for life, and that the best apology for his person -was, that he did not make himself.<a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a></p> - -<p>Such was the style of Mr. Wilkes. As to Mr. -<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>Churchill, his temper must have forsaken him; and -every circumstance taken into the account, when describing -this transaction, he seems to have forgotten -that satire ought to be at least seasoned with truth. -Brilliant diction, animated verse, and high-sounding -words, are very apt to impose. Churchill's is a muse -of fire, and dazzles the eye like the sun in its meridian -splendour; it fascinates the mind, and carries the most -sober reason into the airy regions of imagination. -This considered, before I insert his bitter satire, it -will be but fair to give a candid and dispassionate -relation of that which provoked it.</p> - -<p>When Mr. Wilkes was the second time brought -from the Tower to Westminster Hall, and had in one -day an honourable acquittal, an universal acclamation, -and a proud triumph, Mr. Hogarth attended in the -court of Common Pleas, and, as was his constant custom, -carried a port-crayon in his pocket. Surrounded -by a crowd of spectators, who came to see how the -cause would terminate, he took a portrait of Mr. -Wilkes: delineated a patriot at the moment when he -was in his own person asserting the cause of liberty, and -by his own trial ascertaining the law of his country. -But, replies an advocate for Mr. Wilkes, "Hogarth<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span> -certainly intended to make a caricature."<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a> To this -I have no other answer than pointing to the print, -which, being compared with the original, will prove -to every dispassionate inquirer what it is my wish to -establish, <em>i.e.</em> that it has been mistaken for a caricature, -from the world knowing the provocation which -Hogarth had previously received, and which every -man felt would have justified the most severe retaliation.</p> - -<p>What! Consider it as a satire to hand down to -posterity a patriot at the moment of inspiration! -"While every breast caught the holy flame of liberty, -and all his fellow-citizens were animated in his cause, -for they knew it to be their own cause, that of their -country, and of its laws. It was declared to be so -a few hours afterwards by the unanimous sentence -of the Judges of that Court; and they were all present."</p> - -<p>From the style in which the bard relates this transaction, -a plain reader would be tempted to think -that Hogarth had stolen into Westminster Hall with -a quiver full of poisoned arrows hung to his girdle, -and, like a murderous ruffian, hid himself behind the -arras, that he might seize the first opportunity of -assassinating this paragon of patriotism.</p> -<p><span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span></p> -<div class="poetry-container"><div class="poetry"> -<p class="verse4">"When Wilkes, our countryman, our common friend,</p> -<p class="verse">Arose, his king, his country to defend;</p> -<p class="verse">When tools of power he bar'd to public view,</p> -<p class="verse">And from their holes the sneaking cowards drew;</p> -<p class="verse">When Rancour found it far beyond her reach,</p> -<p class="verse">To soil his honour, and his truth impeach,—</p> -<p class="verse">What could induce thee, at a time and place</p> -<p class="verse">Where manly foes had blush'd to show their face,</p> -<p class="verse">To make that effort which must damn thy name,</p> -<p class="verse">And sink thee deep, deep in the grave with shame!</p> -<p class="verse">Did Virtue move thee? no, 'twas pride, rank pride,</p> -<p class="verse">And if thou hadst not done it, thou hadst died.</p> -<p class="verse">Malice (who, disappointed of her end,</p> -<p class="verse">Whether to work the bane of foe or friend,</p> -<p class="verse">Preys on herself, and driven to the stake,</p> -<p class="verse">Gives virtue that revenge she scorns to take)</p> -<p class="verse">Had killed thee, tottering on life's utmost verge,</p> -<p class="verse">Had Wilkes and Liberty escaped thy scourge.</p> -<p class="verse4">"When that great charter which our fathers bought</p> -<p class="verse">With their best blood, was into question brought;</p> -<p class="verse">When big with ruin, o'er each English head,</p> -<p class="verse">Vile Slavery hung suspended by a thread;</p> -<p class="verse">When Liberty, all trembling and aghast,</p> -<p class="verse">Fear'd for the future, knowing what was past;</p> -<p class="verse">When every breast was chill'd with deep despair,</p> -<p class="verse">Till reason pointed out that <span class="smcap">Pratt</span> was there.</p> -<p class="verse">Lurking most ruffian-like behind a screen,</p> -<p class="verse">So plac'd all things to see, himself unseen,</p> -<p class="verse">Virtue with due contempt saw<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> Hogarth stand,</p> -<p class="verse">The murderous pencil in his palsied hand.</p> -<p class="verse">What was the cause of Liberty to him,</p> -<p class="verse">Or what was Honour! let them sink or swim,</p> -<p class="verse">So he may gratify without control,</p> -<p class="verse">The mean resentments of his selfish soul,</p> -<p class="verse">Let Freedom perish, if, to Freedom true,</p> -<p class="verse">In the same ruin Wilkes may perish too."</p> -</div></div> - -<p><span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span></p> - -<p>This animated and high-coloured rhapsody, beautiful -and fervid as it is, when reduced to plain prose, -ends in Liberty, Virtue, and Honour being all aghast, -because Hogarth took Mr. Wilkes' portrait without -the customary fee! But my readers may be weary -of the subject. Enough—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Enough of Wilkes,—to good and honest men</p> -<p class="verse">His actions speak much stronger than my pen."</p> -<p class="verse16">—<span class="smcap">Churchill.</span></p> -</div></div> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_227.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span></p> - -<h3>THE BRUISER, CHARLES CHURCHILL -(ONCE THE REVEREND),</h3> - -<p class="negin2 fs90"><em>In the Character of a Russian Hercules, regaling himself after -having killed the Monster Caricatura, that so sorely galled -his virtuous friend, the heaven-born Wilkes.—Published -Aug. 1, 1763.</em></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"But he had a club,</p> -<p class="verse">This dragon to drub,</p> -<p class="verse">Or he had ne'er don't, I warrant ye."</p> -<p class="verse12">—<cite>Dragon of Wantley.</cite></p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="CC" id="CC"></a> -<img src="images/i_228fp.jpg" width="500" alt="" /> -<div class="caption">THE REV. C. CHURCHILL.</div> -</div> - -<div> -<img class="drop-cap" src="images/dc_228.jpg" alt="" /> -</div> - -<p class="drop-capx">Enraged by the publication of Mr. Wilkes' -portrait, Mr. Charles Churchill drew his -gray goose quill, and wrote a most virulent -and vindictive satire, which he entitled <cite>An Epistle to -William Hogarth</cite>. The painter might be a very -good Christian, but he was not blest with that meek -forbearance which induces those who are smote on -one cheek to turn the other also. He was an old -man, but did not wish to be considered as that feeble, -superannuated, helpless animal which the poet had -described. He scarcely wished to live</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"After his flame lack'd oil, to be the snuff</p> -<p class="verse">Of younger spirits."</p> -</div></div> - -<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p> - -<p>Apprehensive that the public might construe his -delaying a reply to proceed from inability, he did not -wait the tedious process of a new plate, but took a -piece of copper on which he had, in the year 1749, -engraven a portrait of himself and dog, erased his -own head, and in the place of it introduced the divine -with a tattered band and torn ruffles,—"No Lord's -anointed, but a Russian bear."</p> - -<p>In this I must acknowledge there was more ill-nature -than wit.<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a> It is rather caricature than character, -and more like the coarse mangling of Tom -Browne than the delicate yet wounding satire of -Alexander Pope. For this rough retort he might, -however, plead the poet's precedent. His opponent -had brandished a tomahawk; and Hogarth, old as -he was, wielded a battle-axe in his own defence. A -more aggravated provocation cannot well be conceived. -The attack was unmerciful, unmanly, unjust. -Let the following extracts speak for themselves:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Amongst the sons of men, how few are known</p> -<p class="verse">Who dare be just to merit not their own!</p> -<p class="verse">Superior virtue and superior sense,</p> -<p class="verse">To knaves and fools will always give offence:</p> -<p class="verse">Nay, men of real worth can scarcely bear—</p> -<p class="verse">So nice is jealousy—a rival there."</p> -</div></div> - -<p>Such is the introduction to Churchill's Epistle, and I<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> -believe the reader will grant that it is quite as applicable -to the poet as the painter. After some lines -which would apply to any other subject as well as -that under consideration, he thus proceeds:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Hogarth,—I take thee, Candour, at thy word,</p> -<p class="verse">Accept thy proffer'd terms, and will be heard;</p> -<p class="verse">Thee have I heard with virulence declaim,</p> -<p class="verse">Nothing retained of Candour but the name;</p> -<p class="verse">By thee have I been charg'd in angry strains,<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a></p> -<p class="verse">With that mean falsehood which my soul disdains."</p> -</div></div> - -<p>How furious the onset! but if the lines are brought -back to plain prose, they will run thus: "Hogarth, -thy word is candour. I adopt the same word, and -having heard <em>thee</em> declaim with a virulence that retained -nothing of candour but the name, thou shalt -hear me declaim in the same style."</p> - -<p>That this is the precise meaning which the poet -intended, I will not presume to assert; but that he -has pursued his theme in a manner that amply -justifies my supposition, the following lines will -abundantly prove:—</p> - -<p><span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Hogarth, stand forth,—nay, hang not thus aloof,</p> -<p class="verse">Now Candour, now thou shalt receive such proof,</p> -<p class="verse">Such damning proof, that henceforth thou shalt fear</p> -<p class="verse">To tax my wrath, and own my conduct clear.</p> -<p class="verse">Hogarth, stand forth,—I dare thee to be try'd</p> -<p class="verse">In that great court where Conscience must preside:</p> -<p class="verse">At that most solemn bar hold up thy hand;</p> -<p class="verse">Think before whom, on what account you stand.</p> -<p class="verse">Speak, but consider well—from first to last</p> -<p class="verse">Review thy life, view every action past:</p> -<p class="verse">Nay, you shall have no reason to complain,—</p> -<p class="verse">Take longer time, and view them o'er again:</p> -<p class="verse">Canst thou remember from thy earliest youth,—</p> -<p class="verse">And as thy God must judge thee, speak the truth,—</p> -<p class="verse">A single instance where, self laid aside,</p> -<p class="verse">And justice taking place of fear and pride,</p> -<p class="verse">Thou with an equal eye didst genius view,</p> -<p class="verse">And give to merit what was merit's due?</p> -<p class="verse">Genius and merit are a sure offence,</p> -<p class="verse">And thy soul sickens at the name of sense."</p> -</div></div> - -<p>If Hogarth had so marked an aversion to all genius, -merit, and sense, it is rather singular that he should -have lived on such intimate terms with Mr. Churchill -and Mr. Wilkes.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Is any one so foolish to succeed?</p> -<p class="verse">On Envy's altar he is doomed to bleed.</p> -<p class="verse">Hogarth, a guilty pleasure in his eyes,</p> -<p class="verse">The place of executioner supplies:</p> -<p class="verse">See how he gloats, enjoys the sacred feast,</p> -<p class="verse">And proves himself by cruelty a priest."</p> -</div></div> - -<p>What does the bard prove himself?</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Whilst the weak artist to thy whims a slave,</p> -<p class="verse">Would bury all those powers which nature gave,</p> -<p class="verse">Would suffer blank concealment to obscure</p> -<p class="verse">Those rays that jealousy could not endure;</p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span> -<p class="verse">To feed thy vanity would rust unknown,</p> -<p class="verse">And to secure thy credit, blast his own:</p> -<p class="verse">In Hogarth he was sure to find a friend;</p> -<p class="verse">He could not fear, and therefore might commend.</p> -<p class="verse">But when his spirit, rous'd by honest shame,</p> -<p class="verse">Shook off that lethargy, and soar'd to fame;</p> -<p class="verse">When with the pride of man resolv'd and strong,</p> -<p class="verse">He scorn'd those fears which did his honour wrong;</p> -<p class="verse">And on himself determin'd to rely,</p> -<p class="verse">Brought forth his labours to the public eye,</p> -<p class="verse">No friend in thee could such a rebel know,</p> -<p class="verse">He had desert, and Hogarth was his foe."</p> -</div></div> - -<p>He must be a very weak artist indeed who would -bury the talents which Nature gave, to gratify the -whims of another man; but admitting a painter had -been found "who suffered blank concealment to obscure -those rays which jealousy could not endure," -I cannot comprehend how it concerned Hogarth. -His walk was all his own: even now he need not -dread a rival there. Mr. Churchill acknowledges that -in walks of humour</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Hogarth unrivall'd stands, and shall engage</p> -<p class="verse">Unrivall'd praise to the most distant age!"</p> -</div></div> - -<p>Being unrivalled, I do not see why he should dread -a rival; nor can I conceive he could be jealous of -talents which he must be conscious were inferior to -his own.</p> - -<p>After some very harsh lines on envy, in no degree -applicable to Hogarth, and the rhapsody about -Wilkes and Liberty, which I have noticed in the<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span> -preceding plate, this high priest of the Temple of -Cruelty, rejoicing in his strength and triumphing in -the pride of his youth, without any reverence for gray -hairs or respect for superior talents, sets up the war-whoop, -and springs upon a feeble old man with the -ferocity of a hungry cannibal:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"With all the symptoms of assur'd decay,</p> -<p class="verse">With age and sickness pinch'd and worn away,</p> -<p class="verse">Pale quivering lips, lank cheeks, and faltering tongue,</p> -<p class="verse">The spirits out of tune, the nerves unstrung,</p> -<p class="verse">The body shrivell'd up, the dim eyes sunk</p> -<p class="verse">Within their sockets deep; the weak hams shrunk,</p> -<p class="verse">The body's weight unable to sustain,</p> -<p class="verse">The stream of life scarce trembling through the vein:</p> -<p class="verse">More than half kill'd by honest truths which fell,</p> -<p class="verse">Through thy own fault, from men who wish'd thee well;</p> -<p class="verse">Canst thou e'en thus thy thoughts to vengeance give,</p> -<p class="verse">And dead to all things else, to malice live?</p> -<p class="verse">Hence, dotard, to thy closet; shut thee in,</p> -<p class="verse">By deep repentance wash away thy sin;</p> -<p class="verse">From haunts of men, to shame and sorrow fly,</p> -<p class="verse">And on the verge of death learn how to die."</p> -</div></div> - -<p>That a man in the vigour of life—for Churchill -was not much more than thirty years old—should -draw so pitiable a picture of age and decrepitude, and -then attack that age and decrepitude with a barbarity -so savage, is horrible! But the baleful spirit of party -overthrows the barriers of truth, eradicates philanthropy, -and severs those social, I had almost said -sacred, bonds which ought to unite and attach men -of genius to each other. Had Churchill felt his own<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> -beautiful apostrophe, he would have blotted the lines -with his tears:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Ah! let not youth to insolence allied,</p> -<p class="verse">In heat of blood, in full career of pride,</p> -<p class="verse">Possessed of genius, with unhallowed rage,</p> -<p class="verse">Mock the infirmities of reverend age.</p> -<p class="verse">The greatest genius to this fate may bow."</p> -<p class="verse12">—<cite>Churchill's Epistle to Hogarth.</cite></p> -</div></div> - -<p>After advising the painter to learn how to die, the -bard proceeds; repeats and amplifies what he had -before written on Hogarth's envy, gives a metrical -version of that <cite>North Briton</cite> which ridicules the -artist's love of flattery, and beautifully versifies Mr. -Wilkes' prosaic abuse of poor "Sigismunda."</p> - -<p>In the lines which follow, he first throws the gauntlet, -and then draws such a picture of the man he has -challenged as must have subdued the rancour of an -assassin; so far from being a stimulus to revenge, it -excites pity, and concludes in the form of an apology:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"For me, who, warm and zealous for my friend,</p> -<p class="verse">In spite of railing thousands, will commend;</p> -<p class="verse">And no less warm and zealous 'gainst my foes,</p> -<p class="verse">Spite of commending thousands will oppose;</p> -<p class="verse">I dare thy worst, with scorn behold thy rage,</p> -<p class="verse">But with an eye of pity view thy age;</p> -<p class="verse">Thy feeble age, in which as in a glass</p> -<p class="verse">We see how men to dissolution pass.</p> -<p class="verse">Thou wretched being, whom on reason's plan,</p> -<p class="verse">So chang'd, so lost, I cannot call a man,</p> -<p class="verse">What could persuade thee at this time of life</p> -<p class="verse">To launch afresh into this sea of strife?</p><span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span> -<p class="verse">Better for thee, scarce crawling on the earth,</p> -<p class="verse">Almost as much a child as at thy birth,</p> -<p class="verse">To have resign'd in peace thy parting breath,</p> -<p class="verse">And sunk unnotic'd in the arms of death.</p> -<p class="verse">Why would thy gray, gray hairs resentment brave,</p> -<p class="verse">Thus to go down with sorrow to the grave?</p> -<p class="verse">Now by my soul it makes me blush to know</p> -<p class="verse">My spirits could descend to such a foe.</p> -<p class="verse">Whatever cause thy vengeance might provoke,</p> -<p class="verse">It seems rank cowardice to give the stroke."</p> -</div></div> - -<p>Seems, Churchill!—nay, it is!</p> - -<p>The following address to the artist may, with -infinitely more propriety, be applied to the bard; -whose name I have therefore ventured to insert in the -place where he has left the name of Hogarth:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"With so much merit, and so much success,</p> -<p class="verse">With so much power to curse, so much to bless,</p> -<p class="verse">Would he have been man's friend instead of foe,</p> -<p class="verse">Churchill had been a little god below.</p> -<p class="verse">Why, then, like savage giants fam'd of old,</p> -<p class="verse">Of whom in Scripture story we are told,</p> -<p class="verse">Dost thou in cruelty that strength employ,</p> -<p class="verse">Which Nature meant to save, not to destroy?</p> -<p class="verse">Why dost thou, all in horrid pomp array'd,</p> -<p class="verse">Sit grinning o'er the ruins thou hast made?</p> -<p class="verse">Most rank ill-nature must applaud thy art,</p> -<p class="verse">But even Candour must condemn thy heart."</p> -<p class="verse16">—<cite>Epistle to Hogarth.</cite></p> -</div></div> - -<p>The whole of this unfeeling composition is dictated -by the same spirit, and written in much the same -style, as the lines I have quoted; it reflects more -dishonour on the satirist than on the subject of his -abuse.</p> - -<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p> - -<p>To enumerate further examples would be painful -as well as tedious: the <em>graven image</em> must be attended -to.</p> - -<p>It represents Mr. Churchill in the character of a -bear hugging a foaming tankard of porter,<a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> and like -another Hercules, armed with a knotted club, to -attack hydras, destroy dragons, and discomfit giants!</p> - -<p>From the two letters "N. B." inscribed on the club, -it appears that the painter considered Churchill as a -writer in the <cite>North Briton</cite>; and from the words "infamous -fallacy, Lie the 1st, 2d, 3d, 4th," etc., on each -of the knots, that he also considered him as a poet -who did not pay the strictest regard to truth.</p> - -<p>To designate more positively the object of his ridicule, -and render this rude representative still more -ludicrous, it is decorated with a band and a pair of -ruffles; and with these characteristic ornaments, -though it remains a good bear, it becomes a sort of -overcharged portrait of the reverend satirist, and I -really think resembles him.</p> - -<p>Hogarth's favourite dog Trump, who had been his -companion in the portrait from which this is altered, -retains his original situation on the outside of the picture -frame, but is now contemptuously treating and -trampling upon the Epistle to his master. Near him<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span> -lie two books, on one of which is written, "<cite>A New -Way to Pay Old Debts</cite>, a comedy, by Massinger:" -on the other, "<em>A List of Subscribers to the North -Briton</em>." To intimate the poverty of those who -wrote it, the pyramid is crowned by a begging-box; -and beneath, as emblems of art, lie a pencil and -palette.</p> - -<p>In this state the print was published; but the -gentleman whom it offended asserting that it proved -the painter in his dotage, he refuted their calumny -by the following spirited addition:—</p> - -<p>In the form of a framed picture on the painter's -palette, is placed a small drawing, which may serve -as a sort of political postscript to his first plate of -"The Times," or a kind of prelude to the second. It -represents Mr. Pitt reclining in a similar position to -that of Sir Isaac Newton in Westminster Abbey, and -is probably meant as allusive to his having retired -from public business, to enjoy the <i lang="la" xml:lang="la">otium cum dignitate</i>, -a short time before. The background is composed of -a pyramidical piece of marble, from the top of which -is suspended a millstone, inscribed "£3000," in allusion -to his saying that "Hanover was a millstone -round the neck of England," and afterwards increasing -the public burdens by accepting a pension of -£3000 a year. It is suspended by a thread, and -must, if it falls, dash him to pieces. This was -Hogarth's idea of crushing popularity. To heighten<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span> -the ridicule, though recumbent, he is firing a mortar -at the symbol of peace, "a dove with an olive branch" -perched on the standard of England; but his artillery -is not powerful enough to reach the mark; the powder -fails in its effect, the ball falls short of its object. In -most of his measures Mr. Pitt was supported by the -city of London, and to this our great metropolis -Hogarth appears to allude, in making the two Guildhall -giants, with each of them a pipe of tobacco in -his mouth, supporters of the Monument. The tubes -with Indian weed evidently hint at his great Creolian -friend, Mr. Alderman Beckford. To denote that Mr. -Pitt was the sovereign of their affections, and kept -the master-key of their iron chests, one of these representatives -of the city is giving him supreme rule, by -placing upon his head "the likeness of a kingly -crown." The other holds a shield, on which is emblazoned -the arms of Austria, which the statesman -indignantly spurns. At an opposite corner, the -painter has exhibited himself, in the humble character -of a showman, drilling Messrs. Churchill and -Wilkes through the varying steps of a political -minuet. The first he has represented under the type -of a bear in a laced hat, and the last as a monkey -astride upon a mop-stick, with the cap of liberty at -the top of it. In his left hand he holds a check-string, -which being fastened to his two pupils, answers -the purpose of a bridle, and in his right brandishes a<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span> -cat-o'-nine-tails. That the two quadrupeds may -dance to some tune, a figure without features, intended -as a second delineation of Earl Temple, is -playing on the fiddle.<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a></p> -<p><span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span></p> -<p>Such is Hogarth's representation; and in the poem -of <cite>Independence</cite>, which Churchill <ins class="corr" title="Transcriber's Note—Original text: 'published in Septemper'">published in September</ins> -1764, he admirably parries the caricature by -a most spirited description of himself. In this he -has evidently taken Hogarth's print for his model. -Having described a lean, long, lank, and bony figure, -designed for a then unpopular nobleman, he thus -proceeds:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Such was the first. The second was a man</p> -<p class="verse">Whom Nature built on a quite different plan:</p> -<p class="verse">A bear, whom from the moment he was born,</p> -<p class="verse">His dam despis'd, and left unlick'd in scorn:</p> -<p class="verse">A Babel, which, the power of art outdone,</p> -<p class="verse">She could not finish when she had begun:</p> -<p class="verse">An utter chaos, out of which no might</p> -<p class="verse">But that of God could strike one spark of light.</p> -<p class="verse">Broad were his shoulders, and from blade to blade</p> -<p class="verse">A H—— might at full length have laid.</p> -<p class="verse">Vast were his bones; his muscles twisted strong;</p> -<p class="verse">His face was short, but broader than 'twas long.</p> -<p class="verse">His features, though by nature they were large,</p> -<p class="verse">Contentment had contrived to overcharge,</p> -<p class="verse">And bury meaning; save that we might spy</p> -<p class="verse">Sense low'ring on the pent-house of his eye,<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a></p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span> -<p class="verse">His arms were two twin oaks; his legs so stout,</p> -<p class="verse">That they might bear a mansion-house about.</p> -<p class="verse">Nor were they,—look but at his body there,</p> -<p class="verse">Design'd by fate a much less weight to bear.</p> -<p class="verse4">"O'er a brown cassock, which had once been black,</p> -<p class="verse">Which hung in tatters on his brawny back,</p> -<p class="verse">A sight most strange and awkward to behold,</p> -<p class="verse">He threw a covering of blue and gold.</p> -<p class="verse4">"Just at that time of life when man by rule</p> -<p class="verse">The fop laid down, takes up the graver fool,</p> -<p class="verse">He started up a fop, and fond of show,</p> -<p class="verse">Look'd like another Hercules turn'd beau;</p> -<p class="verse">A subject met with only now and then,</p> -<p class="verse">Much fitter for the pencil than the pen.</p> -<p class="verse">Hogarth would draw him, Envy must allow,</p> -<p class="verse">Ev'n to the life,—were Hogarth living now."<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a></p> -</div></div> - -<p>In the following letter written to his friend Mr. -Wilkes, and dated August 3, 1763, Churchill considers -Hogarth as already dead:—</p> - -<div class="blockquot"> - -<p>"I take it for granted you have seen Hogarth's -print against me. Was ever anything so contemptible? -I think he is fairly <i lang="la" xml:lang="la">felo de se</i>. I think not to<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span> -let him off in that manner, although I might safely leave -him to your notes.<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a> He has broken into my pale of -private life, and set that example of illiberality which -I wished; of that kind of attack which is ungenerous -in the first instance, but justice in return.<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a> I intend -an elegy on him, supposing him dead; but *—— -*—— tells me, with a kiss, he will be really dead -before it comes out; that I have already killed him, -etc. How sweet is flattery from the woman we love!<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a> -and how weak is our boasted strength, when opposed -to beauty and good sense with good-nature."</p></div> - -<p>Mr. Churchill died at Boulogne in his thirty-second -year, and was in November 1764 buried at Dover: -at which place, on a small stone in the old churchyard, -formerly belonging to the collegiate Church of -St. Martin, is the following inscription:</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"Life to the last enjoy'd, here Churchill lies."</p> -</div></div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<h2><span class="lsp">APPENDIX</span>,</h2> - -<p class="pfs80">CONSISTING OF</p> - -<p class="p1 pfs100">ENGRAVED HEADPIECES FOR RECEIPTS, ETC.</p> - -<div class="figcenter"> -<img src="images/sep.jpg" width="60" alt="" /> -</div> - -<div> -<img class="drop-cap" src="images/dc_243.jpg" alt="" /> -</div> - -<p class="drop-capx">At the time that Hogarth lived, we were not -compelled to have our receipts sanctioned -with a royal stamp; but upon the receipts -given by Hogarth, there was "the stamp of genius, -the broad seal of nature!" Whoever paid a subscription -had a written acknowledgment beneath a little -print. This invariably abounded in wit, but had -seldom any immediate allusion to the series with -which it was presented.<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a> His great works I consider -as giving not only a general mirror of the human -mind, but a history of the local and temporary customs -of the day when they were published. I have -therefore arranged them in the order they were -engraved; and thinking that the receipts, or less -important prints, would break the chain by which -they are in a degree connected, I have reserved the -following short memoranda for an appendix:—</p> - -<p><span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span></p> - -<h3>BOYS PEEPING AT NATURE.<a name="FNanchor_171_171" id="FNanchor_171_171"></a> - <a href="#Footnote_171_171" class="fnanchor"><span class="xs">[171]</span></a></h3> - -<p class="pfs80">"Thou, Nature, art my goddess."</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="BP" id="BP"></a> -<img src="images/i_244fp.jpg" width="400" alt="" /> -<div class="caption">BOYS PEEPING AT NATURE.</div> -</div> - -<p class="noindent">This plate was engraved in 1733, and intended as -the subscription-ticket to "The Harlot's Progress;" -but in the original design Nature was habited in -a petticoat, and the boy who now points to a three-quarters -portrait was placed before her, and represented -as curiously stooping down to examine the -fringe. Some of the artist's friends, suggesting that -this was too ludicrous an idea for the public, the -copper was thrown aside.</p> - -<p>In the year 1751, Hogarth etched his burlesque -"Paul," as a receipt-ticket to the large "Paul before -Felix." In a printed catalogue of his works, dated -1754, I find "Paul before Felix" marked £0, 7s. 6d., -and "Paul before Felix, in the manner of Rembrandt," -£0, 0s. 0d. Applications for the gratis etching were -very frequent; and he found, to his great mortification, -that the public were more eager to possess his -little print than either of the large ones. To punish -their want of taste, he gave away no more, but fixed -the price at two-thirds of the sum at which he published -the large print.</p> - -<p>This alteration of his first plan left the great -"Paul" without a ticket. To have given him the -<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>"Peeping Boys" in their original state, would have -been a species of sacrilege; they were chastened, -grouped as they now are, and transferred from the -"Harlot" to the "Apostle."</p> - -<p>Though the circumstance from which it received a -name was done away, and very little either novel or -striking remains, he retained the original title of -"Boys Peeping at Nature."<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a></p> - - -<p class="p2" /> -<h3>FIVE GROUPS OF HEADS.</h3> - -<h4>THE LAUGHING AUDIENCE.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Let him laugh now, who never laugh'd before;</p> -<p class="verse">And he who always laugh'd, laugh now the more."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="LA" id="LA"></a> -<img src="images/i_246fp.jpg" width="600" alt="" /> -<div class="caption">THE LAUGHING AUDIENCE.</div> -</div> - -<p class="noindent">From the first print that Hogarth engraved to the -last that he published, I do not think there is one in -which character is more displayed than in this very<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span> -spirited little etching. It is much superior to the -more delicate engravings from his designs by other -artists, and I prefer it to those that were still higher -finished by his own burin.</p> - -<p>The prim coxcomb with an enormous bag, whose -favours, like those of Hercules between Virtue and -Vice, are contended for by two rival orange girls, -gives an admirable idea of the dress of the day; -when, if we may judge from this print, our grave -forefathers, defying nature and despising convenience, -had a much higher rank in the temple of Folly than -was then attained by their ladies. It must be acknowledged -that since that period the softer sex -have asserted their natural rights; and, snatching -the wreath of fashion from the brow of presuming -man, have tortured it into such forms—that were it -possible, which certes it is not, to disguise a beauteous -face!—But to the high behest of fashion all must -bow.</p> - -<p>Governed by this idol, our beau has a cuff that for a -modern fop would furnish fronts for a waistcoat, and -a family fire-screen might be made of his enormous -bag. His bare and shrivelled neck has a close resemblance -to that of a half-starved greyhound; and -<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>his face, figure, and air, form a fine contrast to the -easy and <i lang="fr" xml:lang="fr">degagée</i> assurance of the grisette whom he -addresses.</p> - -<p>The opposite figure, nearly as grotesque, though -not quite so formal as <em>its</em> companion, presses <em>its</em> left -hand upon <em>its</em> breast,<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a> in the style of protestation, -and eagerly contemplating the superabundant charms -of a beauty of Rubens' school, presents her with a -pinch of comfort.<a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a> Every muscle, every line of his -countenance, is acted upon by affectation and grimace, -and his queue bears some resemblance to an ear-trumpet.</p> - -<p>The total inattention of these three polite persons -to the business of the stage, which at this moment -almost convulses the children of Nature who are -seated in the pit, is highly descriptive of that refined -apathy which characterizes our people of fashion, and -raises them above those mean passions that agitate -the groundlings.</p> - -<p>One gentleman, indeed,<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a> is as affectedly unaffected -as a man of the first world. By his saturnine cast of -<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>face and contracted brow, he is evidently a profound -critic, and much too wise to laugh. He must indisputably -be a very great genius; for, like Voltaire's -Poccocurante, nothing can please him; and while -those around open every avenue of their minds to -mirth, and are willing to be delighted, though they -do not well know why, he analyzes the drama by the -laws of Aristotle, and finding those laws are violated, -determines that the author ought to be hissed instead -of being applauded. This it is to be so excellent a -judge; this it is which gives a critic that exalted -gratification which can never be attained by the -illiterate: the supreme power of pointing out faults -where others discern nothing but beauties, and preserving -a rigid inflexibility of muscle while the sides -of the vulgar herd are shaking with laughter. These -merry mortals, thinking with Plato that it is no proof -of a good stomach to nauseate every aliment presented -them, do not inquire too nicely into <em>causes</em>; -but, giving full scope to their risibility, display a set -of features more highly ludicrous than I ever saw in -any other print. It is to be regretted that the artist -has not given us some clue by which we might have -known what was the play which so much delighted -his audience: I should conjecture that it was either -one of Shakspeare's comedies, or a modern tragedy. -Sentimental comedy was not the fashion of that day.</p> - -<p>The three sedate musicians in the orchestra, totally<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span> -engrossed by minims and crotchets, are an admirable -contrast to the company in the pit.</p> - - -<p class="p2" /> -<h4>THE LECTURE.</h4> - -<p class="pfs70">DATUR VACUUM.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"No wonder that science, and learning profound,</p> -<p class="verse">In Oxford and Cambridge so greatly abound,</p> -<p class="verse">When so many take thither a little each day,</p> -<p class="verse">And we see very few who bring any away."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="LE" id="LE"></a> -<img src="images/i_250fp.jpg" width="600" alt="" /> -<div class="caption">THE LECTURE.</div> -</div> - -<p class="noindent">I was once told by a fellow of a college that he would -never purchase Hogarth's works, because Hogarth -had in this print ridiculed one of the Universities. -I endeavoured to defend the artist, by suggesting -that this was not intended as a picture of what Oxford -is now, but of what it was in days long past: that it -was that kind of general satire with which no one -should be offended, etc. etc. His reply was too -memorable to be forgotten: "Sir, the Theatre, the -Bench, the College of Physicians, and the Foot -Guards, are fair objects of satire; but those venerable -characters who have devoted their whole lives to feeding -the lamp of learning with hallowed oil, are too -sacred to be the sport of an uneducated painter. Their -unremitting industry embraced the whole circle of the -sciences, and in their logical disputations they displayed -an acuteness that their followers must contemplate -with astonishment. The present state of<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span> -Oxford it is not necessary for me to analyze, as you -contend that the satire is not directed against that."</p> - -<p>In answer to this observation, which was uttered -with becoming gravity, a gentleman present remarked -as follows: "For some of the ancient customs of this -seminary of learning I have much respect; but as to -their dry treatises on logic, immaterial dissertations -on materiality, and abstruse investigations of useless -subjects, they are mere literary legerdemain. Their -disputations being usually built on an undefinable -chimera, are solved by a paradox. Instead of exercising -their power of reason, they exert their powers -of sophistry, and divide and subdivide every subject -with such casuistical minuteness, that those who are -not convinced are almost invariably confounded. -This custom, it must be granted, is not quite so prevalent -as it once was: a general spirit of reform is -rapidly diffusing itself; and though I have heard -cold-blooded declaimers assert that these shades of -science are become the retreats of ignorance and -the haunts of dissipation, I consider them as the -great schools of urbanity, and favourite seats of the -<i lang="fr" xml:lang="fr">belles lettres</i>. By the <i lang="fr" xml:lang="fr">belles lettres</i> I mean history, -biography, and poetry; that all these are universally -cultivated, I can exemplify by the manner in which -a highly accomplished young man, who is considered -as a model by his fellow-collegians, divides his hours.</p> - -<p>"At breakfast I found him studying the marvellous -<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>and eventful history of <cite>Baron Munchausen</cite>; a work -whose periods are equally free from the long-winded -obscurity of Tacitus, and the asthmatic terseness -of Sallust. While his hair was dressing, he enlarged -his imagination and improved his morals by studying -Doctor what's his name's <cite>Abridgment of Chesterfield's -Principles of Politeness</cite>. To furnish himself -with biographical information, and add to his stock -of useful anecdote, he studied the <cite>Lives of the Highwaymen</cite>; -in which he found many opportunities of -exercising his genius and judgment in drawing parallels -between the virtues and exploits of these modern -worthies, and those dignified and almost deified -ancient heroes whose deeds are recorded in Plutarch -and Nepos.</p> - -<p>"With poetical studies he is furnished by the English -operas, which, added to the prologues, epilogues, -and odes of the day, afford him higher entertainment -than he could find in Homer or Virgil: he has not -stored his memory with many epigrams, but of puns -has a plentiful stock, and in <i lang="la" xml:lang="la">conundra</i> is a wholesale -dealer. At the same college I know a most striking -contrast, whose reading"—— But as his opponent -would hear no more, my advocate dropped the subject; -and I will follow his example.</p> - -<p>It seems probable that when the artist engraved -this print he had only a general reference to an university -lecture; the words <i lang="la" xml:lang="la">datur vacuum</i> were an<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span> -after-thought. I have seen prints without the inscription, -and in some of the early impressions it is -written with a pen.</p> - -<p>The scene is laid at Oxford, and the person reading, -universally admitted to be a Mr. Fisher of Jesus -College, <em>registrat</em> of the university, with whose consent -this portrait was taken, and who lived until the 18th -of March 1761. That he should wish to have such -a face handed down to posterity in such company -is rather extraordinary; for all the band, except one -man, have been steeped in the stream of stupidity. -This gentleman has the profile of penetration; a -projecting forehead, a Roman nose, thin lips, and a -long pointed chin. His eye is bent on vacancy: it -is evidently directed to the moon-faced idiot that -crowns the pyramid, at whose round head, contrasted -by a cornered cap, he with difficulty supresses a laugh. -Three fellows on the right hand of this fat, contented -"first-born transmitter of a foolish face," have most -degraded characters, and are much fitter for the -stable than the college. If they ever read, it must -be in Bracken's <cite>Farriery</cite>, or <cite>The Country Gentleman's -Recreation</cite>. Two square-capped students a little -beneath the top, one of whom is holding converse -with an adjoining profile, and the other lifting up -his eyebrows and staring without sight, have the -same misfortune that attended our first James—their -tongues are rather too large. A figure in the left-hand<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span> -corner has shut his eyes to think; and having, -in his attempt to separate a syllogism, placed the -forefinger of his right hand upon his forehead, has -fallen asleep. The professor, a little above the book, -endeavours by a projection of his under lip to assume -importance; such characters are not uncommon: they -are more solicitous to look wise than to be so. Of -Mr. Fisher it is not necessary to say much: he sat -for his portrait for the express purpose of having it -inserted in the "Lecture!"—We want no other testimony -of his talents. To the whole tribe I bid a long -and last adieu.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Ye dull deluders, truth's destructive foes,</p> -<p class="verse">Cold sons of fiction, clad in stupid prose;</p> -<p class="verse">Ye treacherous leaders, who, yourselves in doubt,</p> -<p class="verse">Light up false fires, and send us far about;</p> -<p class="verse">Still may the spider round your pages spin,</p> -<p class="verse">Subtle and slow, her emblematic gin!</p> -<p class="verse">Buried in dust, and lost in silence dwell,</p> -<p class="verse">Most potent, grave, and reverend friends—farewell!"</p> -</div></div> - - -<p class="p2" /> -<h4>REHEARSAL OF THE ORATORIO OF JUDITH.</h4> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"O cara, cara! silence all that train;</p> -<p class="verse">Joy to great chaos! let division reign."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="OR" id="OR"></a> -<img src="images/i_254fp.jpg" width="600" alt="" /> -<div class="caption">THE ORCHESTRA.</div> -</div> - -<p class="noindent">The oratorio of <cite>Judith</cite> was written by Esquire -William Huggins,<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a> honoured by the music of William<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span> -de Fesch, aided by new painted scenery and <i lang="fr" xml:lang="fr">magnifique</i> -decoration, and in the year 1733 brought upon the -stage. As De Fesch<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a> was a German and a genius, -we may fairly presume it was well set; and there -was at that time, as at this, a sort of musical mania, -that paid much greater attention to sounds than to -sense. Notwithstanding all these points in her favour, -<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>when the Jewish heroine had made her theatrical -<i lang="fr" xml:lang="fr">début</i>, and so effectually smote Holofernes,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse12">"As to sever</p> -<p class="verse">His head from his great trunk for ever, and for ever,"</p> -</div></div> - -<p class="noindent">the audience compelled her to make her exit. To -set aside this partial and unjust decree, Mr. Huggins -appealed to the public, and printed<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a> his oratorio. -Though it was adorned with a frontispiece designed -by Hogarth and engraved by Vandergucht, the -world could not be compelled to read, and the unhappy -writer had no other resource than the consolatory -reflection, that his work was superlatively -excellent, but unluckily printed in a tasteless age:<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a> a -comfortable and solacing self-consciousness, which -hath, I verily believe, prevented many a great genius -from becoming his own executioner.</p> - -<p>To paint a sound is impossible; but as far as art -can go towards it, Mr. Hogarth has gone in this print. -The tenor, treble, and bass of these ear-piercing -choristers are so decisively discriminated, that we all -but hear them.</p> - -<p>The principal figure, whose head, hands, and feet -<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span>are in equal agitation, has very properly tied on his -spectacles; it would have been prudent to have tied -on his periwig also, for by the energy of his action -he has shaken it from his head, and, absorbed in an -eager attention to true time, is totally unconscious of -his loss.</p> - -<p>A <em>gentleman</em>—pardon me, I meant <em>a singer</em>—in a -bag-wig, immediately beneath his uplifted hand, I -suspect to be of foreign growth. <em>It</em> has the engaging -air of <em>an importation from Italy</em>.</p> - -<p>The little figure in the sinister corner is, it seems, -intended for a Mr. Tothall, a woollen-draper, who lived -in Tavistock Court, and was Hogarth's intimate -friend.</p> - -<p>The name of the performer on his right hand,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"Whose growling bass</p> -<p class="verse">Would drown the clarion of the braying ass,"</p> -</div></div> - -<p class="noindent">I cannot learn; nor do I think that this group were -meant for particular portraits, but a general representation -of the violent distortions into which these -crotchet-mongers draw their features on such solemn -occasions.</p> - -<p>Even the head of the bass viol has air and character: -by the band under the chin, it gives some idea -of a professor,<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a> or what is I think called a Mus. D.</p> -<p><span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span></p> -<p>The words now singing, "The world shall bow -to the Assyrian throne," are extracted from Mr. -Huggins' oratorio; the etching is in a most masterly -style, and was originally given as a subscription-ticket -to "The Modern Midnight Conversation."</p> - -<p>I have seen a small political print on Sir Robert -Walpole's administration, entitled, <cite>Excise, a new -Ballad Opera</cite>, of which this was unquestionably the -basis. Beneath it is the following learned and -poetical motto:</p> - -<div class="poetry-container"><div class="poetry"> -<div class="stanza"> -<p class="verse8">"Experto crede Roberto."</p> -</div> -<div class="stanza"> -<p class="verseq">"Mind how each hireling songster tunes his throat,</p> -<p class="verse">And the vile knight beats time to every note:</p> -<p class="verse">So Nero sung while Rome was all in flames,</p> -<p class="verse">But time shall brand with infamy their names."</p> -</div></div></div> - - -<p><span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span></p> - -<p class="p2" /> -<p class="pfs70">ET PLURIMA MORTIS IMAGO.</p> - -<h4>THE COMPANY OF UNDERTAKERS,</h4> - -<p class="p2" /> -<div class="figcenter"> -<a name="CU" id="CU"></a> -<img src="images/i_258fp.jpg" width="550" alt="" /> -<div class="caption">THE COMPANY OF UNDERTAKERS.</div> -</div> - -<p class="noindent">"Beareth sable, an urinal proper, between twelve -quack heads of the second, and twelve cane heads <span class="fs80">OR</span>, -consultant. On a chief<a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a> nebulæ,<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a> ermine, one complete -doctor<a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a> issuant checkie, sustaining in his right -hand a baton of the second. On his dexter and -sinister side, two demi-doctors, issuant of the second, -and two cane heads issuant of the third: the first -having one eye couchant, towards the dexter side of -the escutcheon; the second faced per pale proper, -and gules guardant, with this motto, 'Et plurima -mortis imago.'"</p> - -<p>It has been said of the ancients, that they began -by attempting to make physic a science, and failed; -of the moderns, that they began by attempting to -make it a trade, and succeeded. This company are -moderns to a man; and if we may judge of their -capacities by their countenances, are indeed a most -<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>sapient society. Their practice is very extensive, and -they go about taking guineas,</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Far as the weekly bills can reach around,</p> -<p class="verse">From Kent Street end, to fam'd St. Giles's pound."</p> -</div></div> - -<p class="noindent">Many of them are unquestionably portraits;<a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a> but as -these grave and sage descendants of Galen are long -since gone to that place where they before sent their -patients, I am unable to ascertain any of them, except -the three who are for distinction placed in the chief -or most honourable part of the escutcheon. Those -whom, from their exalted situation, we may naturally -conclude the most distinguished and sagacious leeches -of their day, have marks too obtrusive to be mistaken. -He towards the dexter side of the escutcheon is -determined by an eye in the head of his cane to be -the all-accomplished Chevalier Taylor,<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a> in whose -<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>marvellous and surprising history, written by his own -hand, and published in 1761, is recorded such events -relative to himself and others<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a> as have excited more -astonishment than that incomparable romance, <cite>Don -Belianis of Greece</cite>, <cite>the Arabian Nights</cite>, or <cite>Sir John -Mandeville his Travels</cite>.</p> - -<p>The centre figure, arrayed in a harlequin jacket, -with a bone, or what the painter denominates a baton, -in the right hand, is generally considered designed -for Mrs. Mapp, a masculine woman, daughter to one -Wallin, a bone-setter at Hindon, in Wiltshire. This -female Thalestris, incompatible as it may seem with -<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>her sex, adopted her father's profession, travelled about -the country, calling herself <em>crazy Sally</em>; and like another -Hercules, did wonders by strength of arm! An -old gentleman, who knew this lady, assures me, that -notwithstanding all the unkind things which her medical -brethren said of her ignorance, etc., she was entitled -to an equal portion of professional praise with many -of those who decried her; for not more than nineteen -out of twenty of her patients died under her hands.</p> - -<p>The <cite>Grub Street Journal</cite>, and some other papers -of that day, are crowded with paragraphs<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a> relative to -her cures and her consequence.</p> - -<p><span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span></p> - -<p>On the <ins class="corr" title="Transcriber's Note—Original text: 'sinster side is Doctor'">sinister side is Doctor</ins> Ward, generally called -Spot Ward, from his left cheek being marked with -a claret colour. This gentleman was of a respectable -family,<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a> and though not highly educated, had -talents very superior to either of his coadjutors.</p> -<p><span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span></p> -<p>For the chief, this must suffice; as for the twelve -quack heads and twelve cane heads <span class="fs80">OR</span>, consultant, -united with the cross-bones at the corners, they have -a most mortuary appearance, and do indeed convey -a general image of death.</p> - -<p>In the time of Lucian, a philosopher was distinguished<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span> -by three things: his avarice, his impudence, -and his beard. In the time of Hogarth, medicine was -a mystery,<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a> and there were three things which distinguished -the physician: his gravity, his cane head, and -his periwig. With these leading requisites, this venerable -party are most amply gifted. To specify every -character is not necessary; but the upper figure on the -dexter side, with a wig like a weeping willow, should -not be overlooked. His lemon-like aspect must curdle -the blood of all his patients. In the countenances of -his brethren there is no want of acids; but however -sour each individual was in his day—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"A doctor of renown,</p> -<p class="verse">To none but such as rust in health unknown,</p> -<p class="verse">And save or slay, this privilege they claim,</p> -<p class="verse">Or death, or life, the bright reward's the same."<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a></p> -</div></div> - -<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p> - -<p class="noindent">Ward, Taylor, and Mapp were considered as a proper -trio by other persons besides Hogarth: some lines -beginning as follows, were written about the latter end -of 1736:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"In this bright age three wonder-workers rise,</p> -<p class="verse">Whose operations puzzle all the wise;</p> -<p class="verse">To lame and blind, by dint of manual slight,</p> -<p class="verse">Mapp gives the use of limbs, and Taylor sight.</p> -<p class="verse">But greater Ward," etc.</p> -</div></div> - - -<p class="p2" /> -<h4>GROUP OF HEADS</h4> - -<p class="pfs70">INTENDED TO DISPLAY THE DIFFERENCE BETWIXT CHARACTER -AND CARICATURE.</p> - -<p class="pfs80">For a further explanation of this difference, see the Preface to -<cite>Joseph Andrews</cite>.<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="DI" id="DI"></a> -<img src="images/i_266fp.jpg" width="650" alt="" /> -<div class="caption">CHARACTERS<span class="pad4">CARICATVRAS</span></div> -</div> - -<p class="noindent">"In Lairesse; still more in Poussin; and most of all -in Raphael; simplicity, greatness of conception, tranquillity,<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span> -superiority, sublimity the most exalted! -Raphael can never be enough studied, although he -only exercised his mind on the rarest forms, the -grandest traits of countenance.</p> - -<p>"In Hogarth, alas, how little of the noble, how -little of beauteous expression, is to be found in this, -I had almost said, false prophet of beauty! But what -an immense treasure of features, of meanness in excess, -vulgarity the most disgusting, humour the most -irresistible, and vice the most unmanly!"—Lavater's -<cite>Essays on Physiognomy</cite>.</p> - -<p>In this rhapsody there is some truth; but the -philosopher of Zurich should have recollected that -Hogarth could not be expected to attain what he never -attempted. Sublimity exalted, simplicity angelic, -and the ideal grandeur of superior beings, he left to -those who delineated subjects which demanded such -characters; and contented himself with representing -Nature, not as it ought to be, but as he found it. -That he had little reverence for the dreams of those -who portrayed imaginary beings, I have had occasion -to remark; but that he respected their waking thoughts -is evinced in this print, where the heads of three -figures from Raphael's Cartoons are introduced under -<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span>the article character, in opposition to the fantastic caricatures -of Cavalier Chezze, Annibal Characi,<a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a> and -Leonard da Vinci: the last of whom, I am very sorry -to see so classed; for to his anatomical knowledge -the late Dr. Hunter gave the strongest testimony, by -declaring his intention to publish a volume illustrated -by the designs of this artist, as anatomical studies.</p> - -<p>I have often seen three engravings from the same -picture, by an Italian, an English, and a French artist, -which, with a tolerable correctness of outline, have -in their general characters a dissimilarity that is -astonishing. Each engraver gives his national air. -The three heads from Raphael, at the bottom of this -print, are etched by Hogarth, and sufficiently marked -to determine the master from whence they are copied; -but their grandeur, elevation, and simplicity is totally -evaporated.</p> - -<p>With angels, apostles, and saints, he was not -happy. In the group placed above them he has been -more successful. Hogarth was less of a mannerist -than almost any other artist; for though there are -above a hundred profiles, I discover no copy from -another painter; no repetition of his own works: -they are all delineated from nature, and the most -careless observer must discover many resemblances: -to the physiognomist, they are an inexhaustible -study.</p> -<p><span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span></p> -<p>This print was given <ins class="corr" title="Transcriber's Note—Original text: 'as a subscripton-ticket'">as a subscription-ticket</ins> to the -six plates of "Marriage à la Mode."</p> - - -<p class="p2" /> -<h3>SARAH MALCOLM.</h3> - -<p class="negin2 fs90"><em>Executed opposite Mitre Court, Fleet Street, on the 7th of -March 1733, for the murder of Mrs. Lydia Duncombe, -Elizabeth Harrison, and Anne Price.</em></p> - -<p class="pfs80">"How shalt thou hope for mercy, rendering none?"</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="SM" id="SM"></a> -<img src="images/i_268fp.jpg" width="650" alt="" /> -<div class="caption">SARAH MALCOLM.</div> -</div> - -<p class="noindent">The portrait of this sanguinary wretch Mr. Hogarth -painted in Newgate; and to Sir James Thornhill, who -accompanied him, he made the following observation: -"I see by this woman's features that she is capable of -any wickedness."</p> - -<p>Of his skill in physiognomy I entertain a very high -opinion; but as Sarah sat for her picture after condemnation, -I suspect his observation to resemble -those prophecies which were made after the completion -of events they professed to foretell. She has a -locked-up mouth, wide nostrils, and a penetrating eye, -with a general air that indicates close observation -and masculine courage; but I do not discover either -depravity or cruelty; though her conduct in this, as -well as some other horrible transactions,<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a> evinced an -<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>uncommon portion of both, and proved her a Lady -Macbeth in low life.</p> - -<p>Her infatuation in lurking about the Temple after -perpetration of the crime for which she suffered, it is -difficult to account for upon any other principle than -that general remorse and horror which tortures the -minds of those who shed a brother's blood; and that -overruling Providence, which by means most strange -brings their guilt to light and their crimes to punishment;</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"For murder, though it have no tongue, will speak</p> -<p class="verse">With most miraculous organ."</p> -</div></div> - -<p>The circumstances which attended her commitment -and execution were briefly as follows:—</p> - -<p>At noon, on Sunday the fourth of February 1733, -Mrs. Duncombe, a widow lady, upwards of eighty -years old (who lived up four pair of stairs, next staircase -to the Inner Temple library); Elizabeth Harrison, -another elderly person who was her companion; -and Anne Price, her servant, about seventeen years of -age, were found murdered in their beds. The maid-servant, -who was supposed to be murdered first, had -her throat cut from ear to ear; but by her cap being -off, and her hair much entangled, it was thought she<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span> -had struggled. The companion, it was supposed, was -strangled; though there were two or three wounds in -her throat that appeared as if they had been given -by a nail. Mrs. Duncombe was probably smothered, -and killed last, as she was found lying across the -bed with a gown on; though the others were in bed. -A trunk in the room was broke open and rifled.</p> - -<p>About one o'clock at night, a Mr. Kerrell, who had -chambers on the same staircase, came home, and to -his great surprise found Sarah Malcolm, who was his -laundress, in his room: he asked her how she came -to be there at so unseasonable an hour, and if she -had heard of any one being taken up for the murder? -She replied, "that no person had yet been taken up; -but a gentleman who had chambers beneath, and -had been absent two or three days, was violently suspected." -"Be that as it may," said Mr. Kerrell, "you -were Mrs. Duncombe's laundress, and no one who -knew her shall ever come into these chambers until -her murderer is discovered: pack up your things and -go away." While she was thus employed, Kerrell -observing a bundle upon the floor, and thinking her -behaviour suspicious, called a watchman to whom he -gave her in charge. When she was taken away, -and he searched his rooms with more care, he found -several bundles of linen, and a silver pint tankard, -with the handle bloodied. This confirmed his suspicions, -and, accompanied by a friend, he went down<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span> -stairs, and asked the watchman where he had taken -Malcolm? This faithful guardian of the night very -coolly replied, "that she had promised to come again -next day, and he had let her go." Mr. Kerrell declaring -that if she was not immediately produced he -would commit him to Newgate in her stead, the -fellow went in search of her; and though her lodging -was in Shoreditch, he found this infatuated woman -sitting between two other watchman at the Temple -gate. She was then committed to Newgate; and -there was found concealed in her hair, eighteen -guineas, twenty moidores, five broad pieces, five -crown pieces, and a few shillings.<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a></p> - -<p>On her examination before Sir Richard Brocas, -she confessed to sharing in the produce of the robbery, -but declared herself innocent of the murders; -asserting upon oath, that Thomas and James Alexander, -and Mary Tracy, were principal parties in -the whole transaction. Notwithstanding this, the -coroner's jury brought in their verdict of wilful -murder against Sarah Malcolm only, it not then -appearing that any other person was concerned. -Her confession they considered as a mere subterfuge, -none knowing such people as she pretended -were her accomplices.</p> -<p><span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span></p> -<p>A few days after, a boy about seventeen years of -age was hired as a servant by a person who kept the -Red Lion alehouse at Bridewell Bridge; and hearing -it said in his master's house that Sarah Malcolm -had given in an information against one Thomas -and James Alexander, and Mary Tracy, said to his -master, "My name is James Alexander, and I have -a brother named Thomas, and my mother nursed a -woman where Sarah Malcolm lived." Upon this -acknowledgment, the master sent to Alstone, turnkey -of Newgate; and the boy being confronted with -Malcolm, she immediately charged him with being -concealed under Mrs. Duncombe's bed, previous to -letting in Tracy and his brother, by whom and himself -the murders were committed. On this evidence -he was detained; and frankly telling where his -brother and Tracy were to be found, they also were -taken into custody, and brought before Sir Richard -Brocas. Here Malcolm persisted in her former asseverations; -but the magistrate thought her unworthy -of credit, and would have discharged them; but -being advised by some persons present to act with -more caution, committed them all to Newgate. Their -distress was somewhat alleviated by the gentlemen -of the Temple Society, who, fully convinced of -their innocence, allowed each of them one shilling -per diem during the time of their confinement. -This ought to be recorded to the honour of the<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span> -<em>law</em>, as it has not often been the <em>practice</em> of the -profession.</p> - -<p>Though Malcolm's presence of mind seems to have -forsaken her at the time when she lurked about the -Temple, without making any attempt to escape, and -left the produce of her theft in situations that rendered -discovery inevitable, she by the time of trial -recovered her recollection, made a most acute and -ingenious defence,<a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a> and cross-examined the witnesses -with all the black-robed artifice of a gentleman bred -up to the bar. The circumstances were, however, -so clear as to leave no doubt in the minds of the -court, and the jury brought in their verdict—guilty.</p> - -<p>On Wednesday the 7th of March, about ten in the -morning, she was taken in a cart from Newgate to -the place of execution, facing Mitre Court, Fleet -Street,<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a> and there suffered death on a gibbet erected -for the occasion. She was neatly dressed in a crape -mourning gown, white apron, sarcenet hood, and -black gloves: carried her head aside with an air of -affectation, and was said to be painted. She was -<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>attended by Doctor Middleton of St. Bride's, her -friend Mr. Peddington, and Guthrie, the ordinary of -Newgate. She appeared devout and penitent, and -earnestly requested Peddington would print a paper -she had given him<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a> the night before, which contained, -not a confession of the murder, but protestations of -her innocence; and a recapitulation of what she had -before said relative to the Alexanders, etc. This -wretched woman, though only twenty-five years of -age, was so lost to all sense of her situation, as to -rush into eternity with a lie upon her lips. She much -wished to see Mr. Kerrell, and acquitted him of every -imputation thrown out at her trial.</p> - -<p>After she had conversed some time with the ministers, -and the executioner began to do his duty, she -fainted away; but recovering, was in a short space -afterwards executed. Her corpse was carried to an -undertaker's on Snow Hill, where multitudes of -people resorted, and gave money to see it: among -the rest, a gentleman in deep mourning kissed her, -and gave the attendants half-a-crown.</p> - -<p>Professor Martin dissected this notorious murderess, -and afterwards presented her skeleton, in a glass case, -to the Botanic Gardens at Cambridge, where it still -remains.</p> -<p><span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span></p> -<p>The portrait from which this print was engraved -is remarkably well painted, and now in the possession -of Mr. Josiah Boydell, at West End. It was probably -copied from that which was painted in Newgate, -which was in the collection of Mr. Horace Walpole, -at Strawberry Hill. It will not appear extraordinary -that Hogarth should have delineated her twice, when -we consider, that from the print he published there -were four copies, besides one in wood, which was -engraved for the <cite>Gentleman's Magazine</cite>.</p> - -<p>Thus eager were the public to possess the portrait -of this most atrocious woman. All these delineations -were what the painters call half-lengths; her whole -figure was never engraved, except for this work.</p> - - -<p class="p2" /> -<h3>COLUMBUS BREAKING THE EGG.</h3> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Why on these shores are we with pride survey'd,</p> -<p class="verse">Admir'd as heroes, and as gods obey'd!</p> -<p class="verse">Unless great acts superior merit prove,</p> -<p class="verse">And vindicate the bounteous powers above;</p> -<p class="verse">That when, with wond'ring eyes, our martial bands</p> -<p class="verse">Behold our deeds transcending our commands,</p> -<p class="verse">Such, they may cry, deserve the sov'reign state,</p> -<p class="verse">Whom those that envy dare not imitate?"</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="CO" id="CO"></a> -<img src="images/i_276fp.jpg" width="650" alt="" /> -<div class="caption">COLUMBUS AND THE EGG.</div> -</div> - -<p class="noindent">Such is the animated apostrophe of Sarpedon in the -energetic numbers of Alexander Pope, and it is not -more appropriate to Glaucus than to the illustrious -character who gives the subject of this print. Had<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span> -a Greek discovered America, Sculpture would have -erected statues and raised altars to his honour; -Architecture built temples to perpetuate his fame; -and by Poetry he must have been deified.</p> - -<p>The new creation of Columbus—for a new creation -it may be denominated—absorbed every former discovery, -and sunk to insignificance the boasted conquests -of Alexander. Previous to this voyage a world -of water formed what was deemed an insurmountable -barrier between the inhabitants of one planet;—"He -spread his canvas wings, and pass'd the mound."</p> - -<p>As our own Newton unveiled the celestial globe,<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a> -and removed that cloud which had before shadowed -the face of heaven, Columbus, from the bare inspection -of a map of one world, concluded that there must be -another. He sailed west, brought together continents -that nature had severed, and was the first adventurer -in a voyage which, from its consequent enterprises, -has added more square miles to the dominions of -European powers than the sovereigns by whom he -was employed possessed acres.<a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a> His perseverance -<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span>must have been equal to his genius; for he had to -struggle with the rooted prejudices of his contemporaries,<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a> -as well as the freezing indifference of those -monarchs to whom he tendered his service.</p> - -<p>Genoa, which was his native country, treated his -scheme as visionary. Our seventh Henry, mean, cold-blooded, -and avaricious, would not hazard the loss of -that treasure which he adored; and the Emperor -had neither gold to fit out a fleet nor harbours to -receive shipping. The attention of John the Second<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span> -of Portugal was engrossed by the coast of Africa, and -Charles the Eighth of France was in his minority. -The Venetians had maritime power, and maritime -spirit; but Columbus was a Genoese, and had too -much of the <i lang="la" xml:lang="la">amor patriæ</i> to throw such advantages as -he foresaw would accrue to those who prosecuted his -plan into the hands of the rivals and enemies of his -country. He fixed his hopes on the court of Spain, -and his hopes were not disappointed. Ferdinand of -Aragon and Isabella of Castile had by their marriage -united all Spain under one dominion: to them he -applied; and, with a perseverance that could only be -supported by a conscious certainty that his project, -if undertaken, must be successful, attended their court -eight tedious years! At the end of this time, two -merchants, trusting to royal security, and advancing -seventeen thousand ducats towards fitting out the -vessels, Columbus received his patent; and on the -23d of August 1492 set sail, with three ships only, -from the port of Palos in Andalusia.<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a></p> - -<p>In less than a month after his departure from the -Canaries, he discovered the first island in America;<a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a> -<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>and like our immortal Admiral Drake, found the fair -harvest he had hoped to reap in great danger of -being blighted by the murmuring and discontent of -his crew. To check this mutinous spirit required both -resolution and address, and in Columbus they were -united. He quieted his companions, and, with true -catholic formality, baptized his new discovery St. Salvadore. -He soon after made the Lucayan Islands, -together with those of Cuba and Hispaniola, now -called St. Domingo; and, at the end of nine months, -returned with some of the natives, a quantity of gold, -and sundry curious productions of the places he had -visited,—all of which he laid at the feet of Isabella -and Ferdinand.</p> - -<p>Their Majesties were neither insensible of his merit -nor ungrateful for his services: they suffered him to -be seated, and added a privilege heretofore confined -to grandees—the honour of being covered in their<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span> -presence; and crowned their favours by creating him -admiral and viceroy of whatever he should add to -their dominions.</p> - -<p>Columbus having found a new empire, and explored -a new world, was now considered as more -than mortal. Those who had loudly decried his -plan as the chimerical project of a madman, were -most eager to patronize the heaven-born navigator, -and embark under his command. He a second time -set sail, not with three small vessels, but an armament -of seventeen ships, manned by a crew who -almost adored him, and discovered Jamaica, the -Caribbees, and several other islands.</p> - -<p>His elevation had been too sudden <ins class="corr" title="Transcriber's Note—Original text: 'to be permament'">to be permanent</ins>; -his talents were too transcendent to be -seen without envy. Notwithstanding the services -which he had rendered to Spain, the dignities with -which he was invested, and the flattering prospects -with which he set sail, he was brought home prisoner, -by judges who had been sent on board the same -vessel as spies upon his conduct; and arrived at the -court where he had a short time before been covered -with laurels—loaded with chains.</p> - -<p>For this mortifying degradation he was indebted -to Fonseca, Bishop of Burgos, the intendant of the -expedition. Isabella, ashamed of seeing a man to -whom she was indebted for the brightest jewel in her -crown thus dishonoured, ordered him to be imme<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span>diately -set at liberty; but it does not appear that -either queen or king punished the person by whose -machinations he had been so ignominiously treated. -Whether his royal protectors feared that he would -retain whatever he might acquire, wished personally -to scrutinize his actions, or had any other inducement, -he was not suffered to leave Spain for upwards of four -years. At the expiration of that time he was sent -upon another voyage, discovered the continent at -six degrees distant from the equator; and saw that -part of the coast on which Carthagena has been since -built.</p> - -<p>After several years' absence he returned to Spain, -and in the year 1506 died at Valladolid. By the -king's command, he was honoured with a magnificent -funeral; and on the marble which covered his -remains was the following concise and characteristic -epitaph: <span class="smcap">Columbus gave Castile and Leon a -New World</span>.</p> - -<p>By the success of his first voyage, doubt had been -changed into admiration; from the honours with -which he was rewarded, admiration degenerated into -envy. To deny that his discovery carried in its train -consequences infinitely more important than had -resulted from any made since the creation, was impossible. -His enemies had recourse to another -expedient, and boldly asserted that there was neither -wisdom in the plan nor hazard in the enterprise.</p> - -<p><span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span></p> - -<p>When he was once at a Spanish supper, the company -took this ground; and being by his narrative -furnished with the reflections which had induced him -to undertake his voyage, and the course that he had -pursued in its completion, sagaciously observed, that -"it was impossible for any man a degree above an -idiot to have failed of success. The whole process -was so obvious, it must have been seen by a man who -was half blind! Nothing could be so easy!"</p> - -<p>"It is not difficult, now I have pointed out the -way," was the answer of Columbus; "but easy as it -will appear, when you are possessed of my method, I -do not believe that, without such instruction, any -person present could place one of these eggs upright -on the table." The cloth, knives, and forks were -thrown aside, and two of the party, placing their eggs -as required, kept them steady with their fingers. One -of them swore there could be no other way. "We will -try," said the navigator; and giving an egg, which he -held in his hand, a smart stroke upon the table, it -remained upright.<a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a> The emotions which this excited -in the company are expressed in their countenances. -In the be-ruffed booby at his left hand, it raises -astonishment; he is a <span class="fs80">DEAR ME!</span> man, of the same<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span> -family with Sterne's Simple Traveller, and came -from <em>Amiens only yesterday</em>. The fellow behind him, -beating his head, curses his own stupidity; and the -whiskered ruffian, with his forefinger on the egg, is in -his heart cursing Columbus. As to the two veterans -on the other side, they have lived too long to be -agitated with trifles: he who wears a cap exclaims, -"Is this all!" and the other, with a bald head, "By -St. Jago, I did not think of that!" In the face of -Columbus there is not that violent and excessive -triumph which is exhibited by little characters on -little occasions: he is too elevated to be overbearing; -and, pointing to the conical solution of his problematical -conundrum, displays a calm superiority, and -silent internal contempt.</p> - -<p>Two eels, twisted round the eggs upon the dish, are -introduced as specimens of the line of beauty; which -is again displayed on the table-cloth, and hinted at -on the knife blade. In all these curves there is -peculiar propriety; for the etching was given as a -receipt-ticket to the <cite>Analysis</cite>, where this favourite -undulating line forms the basis of his system.<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a></p> - -<p>In the print of Columbus there is evident reference -to the criticisms<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a> on what Hogarth called his own -<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>discovery; and in truth the connoisseurs' remarks on -the painter were dictated by a <ins class="corr" title="Transcriber's Note—Original text: 'similiar spirit'">similar spirit</ins> to those -of the critics on the navigator: they first asserted -there was no such line, and when he had proved that -there was, gave the honour of discovery to Lomazzo, -Michael Angelo, etc. etc.</p> - - -<p class="p2" /> -<h3>THE FIVE ORDERS OF PERIWIGS.</h3> - -<p class="pfs70">AS THEY WERE WORN AT THE LATE CORONATION, MEASURED -ARCHITECTONICALLY.</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="PE" id="PE"></a> -<a href="images/i_284fp-large.jpg"> -<img src="images/i_284fp.jpg" width="500" alt="" /></a> -</div> - -<p class="center"><em>Advertisement (inserted under the Print).</em></p> - -<div class="blockquot"> - -<p class="noindent">"In about seventeen years<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a> will be completed, in -six volumes folio, price fifteen guineas, <cite>The Exact -<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>Measurements of the Periwigs of the Ancients</cite>; taken -from the Statues, Bustos, and Basso Relievos of -Athens, Palmyra, Balbec, and Rome; by Modesto, -Periwig-meter, from Lagado. <em>N.B.</em>—None will be -sold but to Subscribers.—Published as the Act directs, -Oct. 15, 1761, by W. Hogarth."</p></div> - -<p>Previous to this print being published, Mr. Stuart, -generally denominated Athenian Stuart, advertised -that he intended to publish by subscription a book, -entitled <cite>The Antiquities of Athens</cite>, measured and -delineated by himself and Nicholas Revitt, painters -and architects.<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a> The first volume of this excellent -work was published in 1762; it received, and we may -add it deserved, approbation from every man who -had taste enough to relish those stupendous monuments -of ancient art, which the barbarians who now -possess the country either destroy or suffer to moulder -into dust. "To leave a trace behind" was the object -of Stuart's book; but Hogarth had so long accustomed -himself to laugh at the grand gusto of the -Grecian school, that I can readily suppose he at -length thought any plan which might damp the -public ardour for antiquity would be a correction of -national taste.<a name="FNanchor_212_212" id="FNanchor_212_212"></a><a href="#Footnote_212_212" class="fnanchor">[212]</a> With this view he published the -<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>print now under consideration; and if ridicule were -a test of truth, it must have effected his purpose. -Minute accuracy is the leading feature of Stuart's -book; minute accuracy is the leading point in -Hogarth's satire.</p> - -<p>Under the shadowy umbrage of his remarkable -wigs he has introduced several remarkable characters.</p> - -<p>Two profiles in the upper row, under the title -"Episcopal," or "Parsonic," are said to be intended -for Doctor Warburton, late Bishop of Gloucester, and -Doctor Samuel Squire, then Bishop of St. David's.</p> - -<p>The next row is inscribed "Old Peerian," or -"Aldermanic;" the first face, in every sense <em>full</em>, is -said to be meant for Lord Melcombe; but considering -the class he is placed in, may as well represent some -sagacious alderman of the day. At the opposite end -of the same line is that remarkable winged periwig, -worn by Sir Samuel Fludyer, Lord Mayor of London, -at the coronation.</p> - -<p>A row beneath is made up of the "Lexonic," and -under it is the "Composite," or half-natural, and the -"Queerinthian," or Queue de Renard. Even with -them is a barber's block, crowned with a pair of compasses, -and marked "Athenian measure." This I -believe was intended as a caricature of Mr. Stuart, -and considered as such is an overcharged resemblance.<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span> -Above the block is a table of references, and facing -it a scale, divided into nodules, or noddles; nasos, or -noses; and minutes. To enter fully into the spirit of -this whimsical print, the spectator must be acquainted -with the terms of architecture.</p> - -<p>At the bottom is a portrait of her Majesty, distinguished -by the simplicity of her head-dress, and -five right honourable ladies, whose different ranks are -pointed out by their coronets, and who all wear the -<em>tryglyph membretta</em> drop, or neck-lock. Those who -knew their persons will find no difficulty in ascertaining -their respective titles. The bed-chamber -ladies in 1761 were—Duchess of Ancaster, Duchess -of Hamilton, Countess of Effingham, Countess of -Northumberland, Viscountess Weymouth, Viscountess -Bolingbroke.<a name="FNanchor_213_213" id="FNanchor_213_213"></a><a href="#Footnote_213_213" class="fnanchor">[213]</a> About the centre of the print is the -following inscription:—</p> - -<p>"Lest the beauty of these capitals should chiefly<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span> -depend as usual on the delicacy of the engraving, the -author hath etched them with his own hand."</p> - -<p>They are etched with spirit, and in spelling—incorrect -as can be desired by Mr. Hogarth's greatest -enemy. The word Advertisement is, in latter impressions, -corrected by an <em>e</em> being inserted on the -Countess of Northumberland's left shoulder.</p> - - -<p><span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span></p> - -<p class="p2" /> -<h3>THE BENCH.</h3> - -<p class="pfs70">"CHARACTER, CARICATURE, AND OUTRE."</p> - -<p class="p2" /> -<div class="figcenter"> -<a name="BE" id="BE"></a> -<img src="images/i_290fp.jpg" width="650" alt="" /> -<div class="caption">THE BENCH.</div> -</div> - -<p class="noindent">"There are hardly any two things more essentially -different than character and caricature; nevertheless -they are usually confounded and mistaken -for each other, on which account this explanation is -attempted.</p> - -<p>"It has ever been allowed, that when a character -is strongly marked in the living face, it may be considered -as an index of the mind, to express which -with any degree of justness in painting, requires the -utmost efforts of a great master. Now, that which -has of late years got the name of caricature, is, or -ought to be, totally divested of every stroke that hath<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span> -a tendency to good drawing; it may be said to be a -species of lines that are produced rather by the hand -of chance than of skill: for the early scrawlings of a -child, which do but barely hint an idea of a human -face, will always be found to be like some person or -other, and will often form such a comical resemblance, -as in all probability the most eminent caricatures of -these times will not be able to equal with design; -because their ideas of objects are so much the more -perfect than children's, that they will unavoidably -introduce some kind of drawing: for all the humorous -effects of the fashionable manner of caricaturing -chiefly depend on the surprise we are under at finding -ourselves caught with any sort of similitude in objects -absolutely remote in their kind. Let it be observed, -the more remote in their nature, the greater is the -excellence of these pieces. As a proof of this, I -remember a famous caricature of a certain Italian -singer, that struck at first sight, which consisted only -of a straight perpendicular line, with a dot over it. -As to the French word <i lang="fr" xml:lang="fr">outré</i>, it is different from the -foregoing, and signifies nothing more than the exaggerated -outline of a figure, all the parts of which may -be in other respects a perfect and true picture of -human nature. A giant or a dwarf may be called a -common man <i lang="fr" xml:lang="fr">outré</i>; so any part, as a nose, or leg, -made bigger or less than it ought to be, is that part -<i lang="fr" xml:lang="fr">outré</i>, which is all that is to be understood by this -<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>word, injudiciously used to the prejudice of character."—<em>See</em> -Excess, <cite>Analysis of Beauty</cite>, chap. 6.</p> - -<p>The unfinished group of heads in the upper part of -this print was added by the author in October 1764, -and was intended as a further illustration of what is -here said concerning character, caricature, and <i lang="fr" xml:lang="fr">outré</i>. -He worked upon it the day before his death, which -happened the 26th of that month.</p> - -<p>The system which Mr. Hogarth has laboured to -establish in the above inscription, and which I think -the genuine system, he has not illustrated with his -usual felicity in the print to which it is annexed.</p> - -<p>It was published in 1758, and in its first state exhibited -a view of the Court of Common Pleas, and -portraits of the four sages who then sat on that Bench.<a name="FNanchor_214_214" id="FNanchor_214_214"></a><a href="#Footnote_214_214" class="fnanchor">[214]</a> -Lord Chief-Justice Sir John Willes is the principal -figure; on his right hand is Sir Edward Clive, and on -his left Mr. Justice Bathurst, and the Honourable -William Noel.</p> - -<p>In this state the print gave character only; for -though the robes of my Lord Chief-Justice may have -a shade of the <i lang="fr" xml:lang="fr">outré</i>, they in no degree approach to -that caricature which the unfinished group added to -the plate in 1764 was intended to display. Had the -artist lived to finish them, they might have given -weight to his assertions, but in their present state do -not much illuminate his doctrine.</p> -<p><span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span></p> -<p>The picture, from which each of the prints considerably -vary, was originally the property of Sir -George Hay, and is now in the possession of Mr. -Edwards.</p> - - -<p class="p2" /> -<h3>THE BEGGARS' OPERA.</h3> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"The charge is prepar'd; the lawyers are met;</p> -<p class="verse4">The judges all rang'd (a terrible show!)</p> -<p class="verse">I go undismayed,—for death is a debt,</p> -<p class="verse4">A debt on demand,—so take what I owe.</p> -<p class="verse">Then farewell, my love,—dear charmers, adieu;</p> -<p class="verse">Contented I die,—'tis the better for you.</p> -<p class="verse">Here ends all dispute the rest of our lives,</p> -<p class="verse">For this way at once I please all my wives."</p> -</div></div> - -<p class="p2" /> -<div class="figcenter"> -<a name="BO" id="BO"></a> -<img src="images/i_292fp.jpg" width="650" alt="" /> -<div class="caption">BEGGARS' OPERA ACT III.</div> -</div> - -<p class="noindent">From the third act of this very instructive and popular -opera, Mr. Hogarth has selected the subject of this -print. The scene is laid in Newgate, and the point of -time seems to be about the fifty-third air, which is -sung by the elegant and accomplished</p> - - -<p class="p2 pfs70">CAPTAIN MACHEATH.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Which way shall I turn me? how shall I decide?</p> -<p class="verse">Wives, the day of our death, are as fond as a bride.</p> -<p class="verse">One wife is too much for most husbands to hear;</p> -<p class="verse">But two at a time, there's no mortal can bear.</p> -<p class="verse">This way, and that way, and which way I will,</p> -<p class="verse">What would comfort the one, t'other wife would take ill.</p> -</div></div> - -<p class="p2 pfs70">POLLY.</p> - -<p class="fs80">"But if his own misfortunes have made him insensible to mine,—a -father, sure, will be more compassionate. Dear, dear sir, sink the -<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>material evidence, and bring him off at his trial,—Polly upon her -knees begs it of you.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"When my hero in court appears,</p> -<p class="verse4">And stands arraign'd for his life,</p> -<p class="verse">Then think of poor Polly's tears,</p> -<p class="verse4">For ah! poor Polly's his wife.</p> -<p class="verse">Like the sailor he holds up his hand,</p> -<p class="verse4">Distress'd on the dashing wave;</p> -<p class="verse">To die a dry death at land</p> -<p class="verse4">Is as bad as a wat'ry grave.</p> -<p class="verse">And alas, poor Polly!</p> -<p class="verse4">Alack, and well-a-day!</p> -<p class="verse">Before I was in love,</p> -<p class="verse4">Oh! every month was May.</p> -</div></div> - -<p class="p2 pfs70">LUCY.</p> - -<p class="fs80">"If Peachum's heart is hardened, sure you, sir, will have more -compassion on a daughter: I know the evidence is in your power. -How then can you be a tyrant to me?</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"When he holds up his hand, arraign'd for his life,</p> -<p class="verse">O think of your daughter, and think I'm his wife!</p> -<p class="verse">What are cannons, or bombs, or clashing of swords?</p> -<p class="verse">For death is more certain by witnesses' words.</p> -<p class="verse">Then nail up their lips: that dread thunder allay;</p> -<p class="verse">And each month of my life will hereafter be May."</p> -</div></div> - -<p>For more of Mr. Gay's moral dialogue I have not -room.</p> - -<p>In the year 1727, it was performed sixty-three -nights successively, and in the year 1791 retains its -primitive attractions, and is become what the Drury -Lane diary styles a stock play.</p> - -<p>That it is countenanced by the public is an apology -for the managers:</p> - -<p class="pfs80">"For they who live to please, must please to live;"</p> - -<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p> - -<p class="noindent">but that it should have the sanction of the Chamberlain -is astonishing.<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a></p> - -<p>We are told in Mr. Boswell's <cite>Johnson</cite>, that when -Gay showed this opera to his patron, the late worthy -Duke of Queensberry, his Grace's observation was, -"This is a very odd thing, Gay; it is either a very -good thing, or a very bad thing." It proved the -former, beyond the warmest expectations of the -author or his friends; though Quin, whose knowledge -of the public taste cannot be questioned, was so doubtful -of its success, that he refused to play the part of -Macheath, which was therefore given to Walker. In -the same volumes I learn that Dr. Johnson did not -apprehend that the performance of this opera had the -pernicious influence which is ascribed to it.<a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a> For the -Doctor's talents and virtues I have a reverence bordering -upon idolatry: in questions of morality he can -<span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span>seldom be contradicted, and without the strongest conviction -that in this point he is wrong, I should tremble -to dissent from his opinion; but my deductions are -drawn from examples that to me are conclusive. -With three instances that I had an accidental opportunity -of seeing, I was very forcibly impressed. Two -boys, under nineteen years of age, children of worthy -and respectable parents, fled from their friends, and -pursued courses that threatened an ignominious termination -to their lives. After much search they were -found engaged in midnight depredations, and in -each of their pockets was the <cite>Beggars' Opera</cite>.</p> - -<p>A boy of seventeen, some years since tried at the -Old Bailey for what there was every reason to think -his first offence, acknowledged himself so delighted -with the spirited and heroic character of Macheath, -that on quitting the theatre he laid out his last guinea -in the purchase of a pair of pistols, and stopped a -gentleman on the highway.<a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_217_217" class="fnanchor">[217]</a></p> -<p><span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span></p> -<p>The accumulation of similiar facts is not necessary. -Those who think that lively dialogue, and natural -though vulgar repartee, can atone for what gives new -attractions to vice, will, I suppose, continue to sanction -this performance by attending the representation. If -anything could balance the baneful influence it is calculated -to disseminate, Gay must be allowed the praise -of having attempted to stem Italia's liquid stream, -which at that time meandered through every alley, -street, and square in the metropolis; the honour of -having almost silenced the effeminate song of that -absurd exotic, Italian opera, which a little previous to -this time was the grand pursuit of the fashionable -world. For to the dishonour of true taste, to the disgrace -of common sense, the discords and jarrings of -Cuzzoni, Faustina, and Senesino, excited as much attention, -and were entered into with as much party zeal, -as were the political contests between Lord Chatham -and Sir Robert Walpole, or those still more recent, -between Mr. Charles Fox and Mr. William Pitt.<a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a></p> - -<p>The method Gay took to rout this army of unnatural -auxiliaries does great honour to his generalship. -A new disorder had been imported from the -Continent, and like the plague which was wont to be<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span> -imported from Turkey, infected our capital. To lay -an embargo upon sound was impossible; to make -an echo perform quarantine, ridiculous!—he took a -better mode, drew up song against sing-song, and to -the soft sonnetteering stanza of Italy, opposed the -nervous old ballad of Britain. He brought into the -field the whole force of three kingdoms, and took his -tunes from the most popular songs of the ancient -bards of England, Scotland, and Wales. <cite>Britons -strike home</cite> was the word; <cite>Chevy Chase</cite> led the van, -was followed by a <cite>Soldier and a Sailor</cite> singing <cite>All -Joy to great Cæsar</cite>, and chorussed by <cite>Shenkin of a -Noble Race</cite>; when <cite>An old Woman clothed in Gray</cite>, -with a <cite>Bonny Broom</cite> in her hand, swept the whole -swarm of buzzing caterpillars <cite>Over the Hills and far -away</cite>. Goldoni's opera, <span class="smcap">i Viaggiatori Ridicoli -tornati in Italia</span>,<a name="FNanchor_219_219" id="FNanchor_219_219"></a><a href="#Footnote_219_219" class="fnanchor">[219]</a> was in a degree realized.<a name="FNanchor_220_220" id="FNanchor_220_220"></a><a href="#Footnote_220_220" class="fnanchor">[220]</a></p> - -<p>For Italian music, William Hogarth had about as -<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span>much respect as John Gay, and was therefore so well -pleased with a subject which threw it into ridicule, -that he not only painted it three times, but has in -several of his miscellaneous prints made these senseless -sounds one great object of his satire.</p> - -<p>The picture from which this is copied was painted -in the year 1729, for Mr. Rich of Covent Garden -Theatre; at the sale of his effects in 1762, it was -purchased by the late Duke of Leeds,<a name="FNanchor_221_221" id="FNanchor_221_221"></a><a href="#Footnote_221_221" class="fnanchor">[221]</a> and is at this -time (1806) in the collection of the noble peer who -now bears that title. When the late Duke permitted -Messrs. Boydell to copy it, the print was engraved by -Mr. Blake. To these volumes is annexed an outline -descriptive of the characters, which it is therefore unnecessary -to enumerate in this page.<a name="FNanchor_222_222" id="FNanchor_222_222"></a><a href="#Footnote_222_222" class="fnanchor">[222]</a> They afford a -good example of the dresses, and what was then called -the dignified manner, of the old school. That any -woman should admire such a figure as Mr. Walker in -Macheath, must excite a degree of astonishment; but -to believe for a moment that so attractive a female as -<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>Miss Fenton would choose such an Adonis,<a name="FNanchor_223_223" id="FNanchor_223_223"></a><a href="#Footnote_223_223" class="fnanchor">[223]</a> must, -even in the year 1727, require a very large portion of -dramatic faith. Her charms have fascinated the -Duke of Bolton: his eye is fixed on her face, and his -mind wholly engrossed by the contemplation of that -beauty which he afterwards made his own. Mr. Rich, -and Mr. Cock the auctioneer, are properly enough -represented as totally inattentive to the scene. The -poet immediately behind them, saturated by public -approbation, pays no greater regard to the performance -than is displayed by the manager. It had -made <em>Gay rich</em>, and <em>Rich gay</em>, and that was sufficient.</p> - -<p>As Hogarth was invariably faithful in delineating -what he saw, I dare believe the characters are represented -as they were. Considered in that point, without -regard to other merit, it has quite as much value -as many groups of portraits which are published in -this our day, and denominated "Historical Pictures."</p> - -<p>In the beginning of the year 1729, Hogarth painted -for a Sir Archibald Grant two original pictures, "The -Committee,"<a name="FNanchor_224_224" id="FNanchor_224_224"></a><a href="#Footnote_224_224" class="fnanchor">[224]</a> and the "Beggars' Opera;" but though -Sir Archibald paid half-price for them at the time he -<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>gave the order, I cannot positively assert that they -were ever in his possession, for they afterwards got -into the hands of Mr. Huggins, at the sale of whose -effects the latter was purchased by Doctor Monkhouse, -of Queen's College, Oxford. It has a frame with a -carved bust of Gay at the top. The late Horace -Lord Orford had a sketch of a scene in the same -play.</p> - - -<p class="p2" /> -<h3>THE INDIAN EMPEROR; OR, THE -CONQUEST OF MEXICO:</h3> - -<p class="p2" /> -<div class="figcenter"> -<a name="CM" id="CM"></a> -<img src="images/i_300fp.jpg" width="650" alt="" /> -<div class="caption">THE CONQUEST OF MEXICO.</div> -</div> - -<p class="center"><em>As performed at Mr. Conduit's, Master of the Mint, before -the Duke of Cumberland, etc.</em></p> - - -<p class="p2 pfs90">DRAMATIS PERSONÆ.</p> - -<p class="pfs90 smcap">Cortez.<span class="pad2">Cydaria.</span><span class="pad2">Almeria.</span><span class="pad2">Alibeck.</span></p> - -<p class="pfs90"><span class="smcap">Act. IV.</span>—<span class="smcap">Scene</span> 4th.—<em>A Prison.</em></p> - -<p class="p2 pfs70">CYDARIA.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"More cruel than the tiger o'er his spoil,</p> -<p class="verse">And falser than the weeping crocodile;</p> -<p class="verse">Can you add vanity to guilt, and take</p> -<p class="verse">A pride to hear the conquests which you make?</p> -<p class="verse">Go; publish your renown, let it be said</p> -<p class="verse">You have a woman, and that lov'd betray'd."</p> -</div></div> - -<p class="p2 pfs70">CORTEZ.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"With what injustice is my faith accused!</p> -<p class="verse">Life! freedom! empire! I at once refus'd;</p> -<p class="verse">And would again ten thousand times for you."</p> -</div></div> - -<p><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p> - -<p class="p2 pfs70">ALMERIA.</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"She'll have too great content to find him true;</p> -<p class="verse">And therefore since his love is not for me,</p> -<p class="verse">I'll help to make my rival's misery.</p> -<p class="verse">Spaniard, I never thought you false before;</p> -<p class="verse">Can you at once two mistresses adore?</p> -<p class="verse">Keep the poor soul no longer in suspense,</p> -<p class="verse">Your change is such, it <ins class="corr" title="Transcriber's Note—Original text: 'does not not need defence'">does not need defence</ins>."</p> -</div></div> - -<p class="noindent">The scene of Hogarth's last drama was Newgate; -and in this it is a Mexican prison, where his pigmy -personages are playing their little parts in one of -Dryden's heroic tragedies.</p> - -<p>That these minor performers should prefer rhyme -to prose, I can readily conceive—the jingling of verse -is a great help to your short memory; but that -Dryden, "the great high priest of all the Nine," -should so far deviate from nature and outrage common -sense as thus to fetter his dramatic dialogue, -is to be accounted for on no other principle than -the vile taste of Charles the Second's vile Court. The -play is dedicated to the most excellent and most -illustrious Princess Anne, Duchess of Monmouth and -Buccleuch, wife to the most illustrious and high-born -James Duke of Monmouth; and by that dedication<a name="FNanchor_225_225" id="FNanchor_225_225"></a><a href="#Footnote_225_225" class="fnanchor">[225]</a><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span> -appears to have been warmly patronized by the most -eminent persons of wit and honour.</p> - -<p>It is a sequel to the <cite>Indian Queen</cite>, written by -Dryden and Sir Robert Howard, which was published -two years before. Of this connection between the -two tragedies, notice was given to the audience by -printed bills distributed at the door,<a name="FNanchor_226_226" id="FNanchor_226_226"></a><a href="#Footnote_226_226" class="fnanchor">[226]</a>—an expedient<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span> -which the Duke of Buckingham very happily ridicules -in <cite>The Rehearsal</cite>, when Bayes boasts of the number -of bills he has printed, to instil into the audience some -conception of his plot. By the age of the warlike -William of Cumberland, I conjecture that these embryotic -heroes and heroines strutted away their little -hour about the year 1731; and though the play -which they are enacting is beneath the blazing genius -of John Dryden, it is well worthy the puny powers -of these puny performers.<a name="FNanchor_227_227" id="FNanchor_227_227"></a><a href="#Footnote_227_227" class="fnanchor">[227]</a> Lady Sophia Fermor,<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span> -who plays the part of Almeria, in 1744 married Lord -Granville, and died in 1750. The prompter was a -Mr. T. Hill; and though this reverend gentleman is -in rather too conspicuous a situation, he is not quite -so obtrusive an object as the prompter at the Opera -House. The governess playing with one of the children -was Lady Deloraine. Miss Conduit, who appears as -Alibeck, was daughter to Catherine, the niece of Sir -Isaac Newton, and in 1740 married Lord Lymington, -eldest son to John first Earl of Portsmouth.</p> - -<p>The names and additions of three of the auditors are<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span> -inserted under the small print. One of the figures -has a resemblance to the courtly Lord Chesterfield. -Upon the chimney-piece is the bust of Sir Isaac -Newton, and it is fair to conjecture that the two -framed portraits represent Mr. and Mrs. Conduit.</p> - -<p>The figure leaning on the back of a chair is said to -be intended for the Duke of Montagu; and the two in -the background, for the Duke and Duchess of Richmond.</p> - -<p>Hogarth's original painting is the property of -Lord Holland.</p> - -<p class="p4" /> -<div class="figcenter"> -<img src="images/end_305.jpg" alt="" /> -</div> - - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span></p> - -<h3>THE END.</h3> - -<div> -<img class="drop-cap" src="images/dc_306.jpg" alt="" /> -</div> - -<p class="drop-capx">The writer of this catalogue is now come to -his last chapter, and has before him the -last plate that Hogarth engraved, which is -properly denominated the <i lang="fr" xml:lang="fr">Finis</i> to that great painter's -works.</p> - -<p>Of the various opinions which the numerous readers -of these his volumes will form at this his conclusion, -he can have no certain judgment; but fears that some -of them may be thus anticipated.</p> - -<p>The votary of comedy, who considers Hogarth as a -mere burlesque painter, with whom he only wishes to -laugh, will deem this book too grave; while the saturnine -spirit, that looks at him as a mere sermonic -moralist, will say it is not grave enough. The man -who supposes that every character was individual, -and expects the scandalous chronicle of those who -were satirized by the artist, will probably complain -that there is too little anecdote; while he that considers -this as a frivolous, gossiping, and anecdotish -age, will say there is too much.</p> - -<p>Some will observe that these volumes are too long, -and in the style of a tired mariner, exult that they see<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span> -land. In this their exultation the writer most sincerely -participates, but at the same time acknowledges -(so predominant is vanity) that he trusts there are -who would not regret if the work were still longer, -who will correct what they find erroneous without -triumphing in their superior sagacity, and candidly -forgive the writer's weakness without too much glorying -in their own strength.</p> - -<p>From the pedantic and quizzical connoisseur I expect -no mercy, but suppose that the book and the -writer will be arraigned and condemned in manner -and form following:—</p> - -<p>"I took up these volumes with the expectation of -seeing all the characters that Hogarth introduced determined, -and all his variations recorded. With respect -to the characters, some are mistaken, and others -are omitted; and as to the variations, few are noticed.<a name="FNanchor_228_228" id="FNanchor_228_228"></a><a href="#Footnote_228_228" class="fnanchor">[228]</a> -Concerning a multitude of invaluable prints, which -have singly produced three times as much as the -volume of his prints in their present state sells for, -there is not even a catalogue; there are many pages -of extraneous matter, which I had not patience to -read; every iota of Hogarth I understood without -the assistance of this book."</p> -<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></p> -<p>With all possible humility the author declareth, -that for your use or benefit he did not compile it.</p> - -<p class="pfs80">"Laugh where you may, be candid where you can."</p> - -<p>That you may know some of the characters of -which the writer is ignorant, he willingly acknowledges; -that you may guess at many, where he sees -no ground for conjecture, he cheerfully admits; and -that both you and himself are very frequently mistaken, -he firmly believes.</p> - -<p>The prints are described as they are copied from -the present state of the plates, and the material -alterations incidentally noticed. However great the -merit of the tankards and teapots, the waiters and -coats of arms, to reduce them did not come into the -present plan; to commemorate them was unnecessary.<a name="FNanchor_229_229" id="FNanchor_229_229"></a><a href="#Footnote_229_229" class="fnanchor">[229]</a> -The author of these volumes, from the day -he has written man, inspected the works of Hogarth -<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span>with delight, but was not fully conscious of their -superlative merit until the compilation of these remarks,<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span> -in the progress of which his duty to the public -obliged him to examine their design, and endeavour<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span> -to illustrate their tendency. In this he has engaged -with the consciousness that there would be error,—which -to such a work is necessarily attached.</p> - -<p>To those readers who are not too fastidious to -peruse it with this allowance, or who have not hitherto -looked at Hogarth with the attention he merits, it -is addressed. If it impels them to more minute inspection -of his works, the purpose is answered.</p> - -<p>Yes, great and unrivalled genius! every contemplation -of thy works must be succeeded by admiration!</p> - - -<p class="p2" /> -<h4>THE BATHOS, OR MANNER OF SINKING IN -SUBLIME PAINTINGS.<a name="FNanchor_231_231" id="FNanchor_231_231"></a> - <a href="#Footnote_231_231" class="fnanchor"><span class="xs">[231]</span></a></h4> - -<p class="pfs90"><em>Inscribed to the dealers in dark pictures.</em></p> - -<p class="p2" /> -<div class="figcenter"> -<a name="BA" id="BA"></a> -<img src="images/i_312fp.jpg" width="650" alt="" /> -<div class="caption">THE BATHOS.</div> -</div> - -<p class="noindent">In five compartments beneath the title are the following -inscriptions:—</p> - -<p>In the dexter corner is a pyramidical shell inscribed: -"The conic form in which the Goddess of -Beauty was worshipped by the ancients at Paphos -in the Island of Cyprus. See the medal struck when -a Roman emperor visited the temple."</p> - -<p>"<span lang="la" xml:lang="la">Simulacrum Deæ non effigie humana, continuus -orbis latiori initio tenuem in ambitum meta modo, -exsurgens et ratio in obscuro.</span>"—<span class="smcap">Tacit.</span> <em>Hist.</em> lib. 2.</p> -<p><span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span></p> -<p>In the sinister corner is a white pyramid, round -which is twisted the favourite serpentine line inscribed:—</p> - -<p>"A copy of the precise line of Beauty, as it is -represented on the first explanatory plate of the -'Analysis of Beauty.'"</p> - -<p>"Venus a Paphiis colitur, cujus simulacrum nulli rei -magis assimile, quam albæ Pyramidi."—<span class="smcap">Maximus -Tyrius</span>, <em>Ann.</em> 157.</p> - -<p class="p1" /> -<p>"<em>Note.</em>—The similarity of these two conic figures -did not occur to the author till two or three years -after the publication of the <cite>Analysis</cite> in 1754."</p> - -<p class="p1" /> -<p>Thus conclude the inscriptions. We will next inquire -into the motives by which the artist was actuated, -and the subjects he has intended to satirize in this -his concluding enigmatical and pun-ical print.</p> - -<hr class="tb" /> - -<p>The labours of this great painter to the passions -are now at an end; and this is the last page of his -eventful and instructive histories. Those which he -had formed into a series, added to the single prints, -portraits, etc., had become so numerous as to form -a large volume. A concluding plate seemed necessary; -and we are told that, a few months before he -was seized with that malady which deprived society -<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>of one of its greatest ornaments, he had in contemplation -a last engraving. After a dinner with a few -social friends at his own table, enjoying</p> - -<p class="pfs80">"The feast of reason, and the flow of soul,"</p> - -<p class="noindent">the board crowned with wine, and each glass circulating -convivial cheerfulness, he was asked, "What -will be the subject of your next print?" "The end -of all things!" was his reply. "If that should be the -case," added one of his friends, "your business will -be finished, for there will be an end of the painter." -With a look that conveyed a consciousness of approaching -dissolution, and a deep sigh, he answered, -"There will so; and therefore, the sooner my work -is done the better." With this impulse he next day -began this plate, and seeming to consider it as a terminus -to his fame, never turned to the right or left -until he arrived at the end of his journey.</p> - -<p>The aim of this <em>Omega</em> to his own alphabet was -twofold; to bring together every object which denoted -the end of time, and throw a ridicule upon the -bathos and profundity of the ancient masters.</p> - -<p>That the bathos is not confined to the poet, but -hath at sundry times and in divers manners been of -sovereign use to the painter, I am well convinced. -My opinion was originally formed upon the inspection -of many ancient and modern pictures, innumerable -volumes of ancient and modern prints, and an annual<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span> -attendance at the Royal Exhibition: it was confirmed -by the perusal of some papers on the arts, which -came into my possession by one of those fortunate -accidents that happen to few men above once in their -lives. Walking some years ago through Harp Alley, -I observed a porter carrying an old trunk without -a cover, in which was a little picture in a broad and -deep ebony frame, a few mutilated pamphlets, a parcel -of prints, and an old manuscript volume bound in -vellum. He laid down his load at a broker's shop; -I inspected it, and seeing the book inscribed "Mart. -Scrib.," purchased the whole lot, took a hackney coach, -and joyfully conveyed my prize home. Eagerly inspecting -the contents, I found the picture was Dutch, -and turned to a tint sombre as the frame: by the -help of clear water I brought out the colours, and—</p> - -<p class="pfs80">"Oh! Jephtha, judge of Israel,—what a treasure!"</p> - -<p class="noindent">To have painted it, must have been the labour of -a long life. Such a green stall!—such a cabbage!—a -cauliflower!—a string of Spanish onions!—a -bunch of carrots!—a lobster!—a brass kettle!—and -a sunflower!—I never beheld before. So clear! -transparent! vivid!—It was forcible as Rembrandt! -brilliant as Rubens!—and for finishing—the most -accurate works of Denner!—the most delicate pencilling -of the Chevalier Vanderweff!—compared with -this charming <i lang="fr" xml:lang="fr">tableau</i>, would appear hasty sketches.</p> - -<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p> - -<p>The pamphlets were German, and touched of the -transmutation of metals; to discover which, who -can calculate the loads of charcoal that have been -burnt, the retorts that have been burst, or the heads -that have been turned? That this grand arcanum of -nature will at some future day be revealed, I have -no doubt; and there is little reason to fear but the -benefit of the discovery will be reaped by this island;—because, -Britain is highly favoured by the gods; -and several great calculators have clearly proved, -that without some such miraculous assistance, Britain -must be undone by her enormous national debt.</p> - -<p>The prints were Flemish; but these subjects are -foreign to my manuscript. First craving pardon for -the digression, to that I proceed.</p> - -<p>By time<a name="FNanchor_232_232" id="FNanchor_232_232"></a><a href="#Footnote_232_232" class="fnanchor">[232]</a> it was turned to the colour of old parchment, -but that it was written by the righte cunnynge -hand of Martinus Scriblerus there can be little doubt.</p> - -<p>When he sent some literary memoranda to Arbuthnot,<a name="FNanchor_233_233" id="FNanchor_233_233"></a><a href="#Footnote_233_233" class="fnanchor">[233]</a> -he recommended to the Doctor "the recovery of -others which lay straggling about the world."<a name="FNanchor_234_234" id="FNanchor_234_234"></a><a href="#Footnote_234_234" class="fnanchor">[234]</a></p> - -<p>Let it be also remembered, that though this prodigy -<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span>of science presented to our English Cervantes -numerous tracts, he might not think the Doctor -would have a proper value for those on painting. -That Martinus was a competent judge of the fine -arts, is proved by his fifth chapter on Sinking in -Poetry. Now as the family of the Scribleri, with -all their alliances and collateral relations, have time -immemorial been distinguished for the <i lang="la" xml:lang="la">cacoëthes scribendi</i> -of whatever he was a judge, certes he would -write, and that which he hath written I have happily -preserved. A few extracts<a name="FNanchor_235_235" id="FNanchor_235_235"></a><a href="#Footnote_235_235" class="fnanchor">[235]</a> which I have inserted -will give a general idea of the whole, which is entitled, -<span class="smcap">The Art of Sinking in Painting</span>; and is thus -introduced in the <cite>Prolegomena</cite>:—</p> - -<div class="blockquot"> - -<p>"Great and manifold have been the benefits (my -dear countryman) which poesy hath derived from -that innumerable army of critics and commentators, -who fabricated fences to keep her in bounds, and -bore blazing torches to irradiate her path. Lamentable -is it to consider how few lights have been held -out to her sister art; who, notwithstanding an equal -or prior claim, hath been suffered to wander through -her dreary night with no other illumination than the -glow-worm on the bank, or the <i lang="la" xml:lang="la">ignis fatuus</i> in the -ditches. For the use and service of the poet there is<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span> -an ocean of commentary; while the painter hath no -other stream in which to slake his thirst for instruction -than that which creeps among the weeds in the -meadow, or gurgles over the pebbles in the valley.</p> - -<p>"From intense application to the mysterious tablets -of my great ancestors, for ages professors of astrology -and chemistry in the universities of Germany, I am -empowered to see by anticipation.</p> - -<p>"For me it is decreed to strike the rock of nature -with the rod of science, and liberate the fountain of -truth, whose waters shall fertilize this ungenial isle. -Ye whose well-poised pinions enable you to soar -above this our terrestrial globe, and dip your pencils -in the rainbow! come and contemplate the magic -mirror of Martinus Scriblerus.</p> - -<p>"Conscious am I that this our divine muse, who -hath not unaptly been styled journeywoman to -Nature, is now in a profound sleep; but in the coming -century she shall awake from her trance, shake -the dust from her many-coloured mantle, and dazzle -the surrounding nations. Blest with the power of -penetrating the cloud of time, which is impervious to -vulgar sight, I see, as in a vision, the wonders of -another age; and should these my lucubrations be -neglected by my contemporaries, happy am I in the -confidence that by their posterity they will be properly -estimated, and sought for as were the Sibyl's -leaves, regarded as the oracles of Apollo, and con<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span>sidered -as the touchstone of true taste. To the age -of whom they are worthy, and who are worthy of -them, I dedicate these my labours.</p> - -<p>"The few who have written upon the fine arts -have endeavoured to inculcate simplicity of action, -anatomical correctness, symmetry of parts, harmony -of colouring, easy folding of drapery, and due attention -to the grouping of figures. These rules can only -be classed among the idle dreams of visionary speculation; -resign yourselves unto my guidance, and -listen unto the lessons of truth.</p> - -<p>"In every animal there is an original instinct, tending -towards that for which it was by nature designed. -In man, there is a natural bias to the bathos; but -he must be instructed, or rather compelled into any -relish or taste for what is denominated the sublime.</p> - -<p>"To prove this my position, show a collection of -drawings or paintings to a child: it will be irresistibly -attracted by glittering colours, forced expressions, -and grotesque, or what are commonly called caricatured -countenances. Let the savage, who is not -vitiated by idle rules, and has never seen painted -canvas, be taken into a picture-gallery,—his natural -taste will lead him to similar objects. What the -artists call a quiet picture, he will quietly pass; but -let the figures be crowded, the attitudes extravagant, -and the colours gaudy,—his attention and admiration -are ensured.</p> - -<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p> - -<p>"These facts being admitted, and they cannot be -denied, why should we not take the genuine undebauched -disposition of man in his original state of -simplicity, as a better criterion of truth than that -ideal nature which hath misled many painters and -writers; of whose fantastic dogmas I cannot too -strongly caution you to beware. Should you, in the -course of your early studies, have contracted any of -this ancient <i lang="la" xml:lang="la">ærugo</i>,—it is corrosive,—consider it as -the dross of science, and scatter it in the air, for with -my precepts it cannot coalesce. Ideal beauty is a -childish absurdity. Painting is, or ought to be, an -imitation of nature; and that can never be a good -picture which representeth things that never did or -can exist."</p></div> - -<p>After many more pages to the same purport, this -great philosopher divideth his subject. The table of -contents to a few of his chapters, which will give a -general idea of his plan, is hereunto annexed:—</p> - -<div class="blockquot"> - -<p class="center">"<span class="smcap">Chap. 1.</span>—<em>Of the Story.</em></p> - -<p>"The principal character in your piece should be -an illustrious person; but as great men may sometimes, -for their recreation and diversion, or worse -purposes, be taken up in mean and trivial matters, in -such situations, it is proved from many right worthy -examples, they may and ought to be delineated. -The Emperor Domitian should be represented killing<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span> -flies; Nero, playing upon the fiddle; Julius Cæsar, -kicking a football; and Commodus, at a bull-baiting.</p> - - -<p class="center">"<span class="smcap">Chap. 2.</span>—<em>Relateth unto the Allegory.</em></p> - -<p>"To raise an historical picture above vulgar expression, -it should be seasoned with allegory, and -elevated with metaphorical allusions and figures.</p> - - -<p class="center">"<span class="smcap">Chap. 3.</span>—<em>Of the Time.</em></p> - -<p>"In this there should be variety; and if your story -have not a sufficient number of great and famous -persons to render it important and interesting, you -may embellish it with such portraitures as suit your -purpose. Their not having lived in the same age or -nation is of little import.</p> - - -<p class="center">"<span class="smcap">Chap. 4.</span>—<em>Of the Machinery.</em></p> - -<p>"The machinery, <i lang="la" xml:lang="la">id est</i>, the celestial and infernal -powers, must be brought into your picture on every -great or difficult occasion. This will not only give -your delineation a classical and learned air, but account -for any wonderful action which the world -might think your hero could not perform without -supernatural assistance.</p> - - -<p class="center">"<span class="smcap">Chap. 5.</span>—<em>Treateth of the Episode.</em></p> - -<p>"To vary the pleasure of the spectator, an historical -picture should be diversified with an episode; especial<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span> -care being taken that it have no congruity with the -main subject; for the name deriveth from that which -is superadded to the original plan, and ought no more -to appear a part of it than an insect appeareth as a -part of the animal unto which it adhereth.</p> - - -<p class="center">"<span class="smcap">Chap. 6.</span>—<em>Describeth the nature and end of the -Hyperbola, or Impossible.</em></p> - -<p>"This image is of eminent use in giving a cast of -grandeur and greatness to what would, without it, -appear trivial and mean. It excites astonishment; -and the majority of mankind being most delighted -with that which is most marvellous, is a good and -sufficient cause for your works being well strewed -with wonders."</p></div> - -<p>For the contents of eighteen succeeding chapters, -treating of the cumbrous, the inflated, the glittering, -the infantine, the pun-ical, the vulgar, and sundry -other styles, I have not room, but quitting the bathos -of Martinus Scriblerus, must proceed unto that of -William Hogarth.</p> - -<p>It is well worthy of the title, for a more heterogeneous -compound of ludicrous and serious objects -was never displayed in one print.</p> - -<p>Some of his images the artist has gleaned from the -common field of the poor company of punsters, and -for others hath soared into the lofty regions of mythological -allegory. He ascends from an inch of candle<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span> -setting fire to a print, to the chariot of the sun, which, -with Apollo Pæan and his three fiery coursers, sinks -into endless night. Mounts from the cobbler's end, -twisted round a wooden last, to the world's end, elegantly -exemplified by a bursting globe on an alehouse -sign. He has contrasted the worn-out brush -with the broken crown; and opposed to the empty -purse a commission of bankrupt, which, sanctioned -with the great seal of a hero upon a white horse, is -issued and awarded against Nature,—by Heaven -knows who! He has joined the huge cracked bell of -the cathedral to the broken bottle of the tavern; and -set in opposition to the mutilated column and capital -of Ionia, the rope's end of a man-of-war. The bow -which, drawn by the old English archer, gave force -fraught with death to the barbed arrow, is unstrung -and broken. The mutilated firelock, divested of its -tube, shall no more thin the ranks of contending -armies. The tottering tower, funeral yew, death's -head, cross-bones, and "<i lang="la" xml:lang="la">Hic jacet</i>" of a country -churchyard, are opposed by the hard-worn besom, -blighted oaks, falling sign-post, and unthatched cottage. -In what painters call the sky, we have not only -the son of Latona, but Luna in a veil: in the distance -a ship is sinking into the bed of the ocean, and a -gibbet is erected on the shore; to this, in conformity -with the wise institutions of our polished ancestors, -and for the luxury of those strong-beaked birds that<span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span> -feast their young with blood,—a lord of the creation -is suspended.<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footnote_236_236" class="fnanchor">[236]</a> <span class="smcap">Once</span>,—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse6">"On our quick'st decrees</p> -<p class="verse">The inaudible and noiseless foot of Time</p> -<p class="verse">Stole, ere we could effect them."</p> -</div></div> - -<p class="noindent"><span class="smcap">Now</span>,—his scythe, tube, and hour-glass being broken, -his progress is ended! his sinews are unstrung! his -hour of dissolution arrived!—and with those five <em>capital -letters</em> that have concluded the labours of so many -learned authors, and which conjoined form the word -<span class="fs80">FINIS</span>,—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">"He ends his mortal coil, and breathes his last!"</p> -</div></div> - -<p>By his will,—The great globe itself, and all which -it inherits, is bequeathed to Chaos,—appointed sole -executor;—and this, his last act, is witnessed by the -<i lang="la" xml:lang="la">Parcæ</i>.</p> - -<p>The print of "The Times," that gave rise to so -much unmerited abuse of this wonderful painter and -excellent man, is in a blaze. The palette on which -he spread the varying tints of many-coloured life—broken;—the -whip of satire, armed with which he</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse10">"Dar'd the rage</p> -<p class="verse">Of the bad men of this degenerate age,"</p> -</div></div> - -<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span></p> - -<p class="noindent">and scourged those that were safe from the law, and -laughed at the gospel;—the whip of satire—divested -of its lash, lies unheeded on the earth.</p> - -<p>The book of Nature, in which he was so deeply -read, and from whence he drew all his images, is open -at the last page. The characters that compose his -pictured tragi-comedies have passed in review before -us, and with the words engraven on the last leaf of -that volume which he so well studied, I will conclude -this—</p> - - -<p class="center smcap">Exeunt Omnes.</p> - -<p class="p2" /> -<div class="figcenter"> -<img src="images/i_324.jpg" width="200" alt="" /> -<div class="caption"><em><span class="smcap">Hogarth's Crest.</span></em></div> -</div> - - -<div class="footnotes pg-brk"> -<h2>FOOTNOTES:</h2> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> From some late examples in our courts of justice, I have thought -it barely possible that this dignified descendant of crowned heads, at -the same time that he is admiring his own person, may be observing -the Counsellor's attention to his lady, and hoping that he shall find -some future opportunity of detecting her infidelity and obtaining a -divorce. But this is merely conjecture. I wish, for the honour of -human nature, that there had been no example to justify such a suspicion.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The following whimsical imitation of Chaucer was written, I -believe, by Hermes Harris:—</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Right welle my lerned clerkis it is said,</p> -<p class="verse">That womanhoode for manne his use was made;</p> -<p class="verse">But naughtie manne liketh not one, or soe,</p> -<p class="verse">But wisheth aye unthriftilie for mo;</p> -<p class="verse">And when by holie church to one he's tied,</p> -<p class="verse">Then for his soule he cannot her abide.</p> -<p class="verse4">Thus when a dogge first lighteth on a bone,</p> -<p class="verse">His taile he waggeth,—gladde thereof y-growne;</p> -<p class="verse">But if thilke bone untoe his taile thou tie,</p> -<p class="verse">Pardie, he fearing it, away doth flie."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Hogarth might intend by this, and the improprieties and violations -of order in the unfinished building seen out of a window, to hint at the -absurdities of the then fashionable architect, William Kent. As a -painter Kent was beneath satire, as an architect he was above it; -but he was protected by Lord Burlington, patronized by Lord Pembroke, -and employed by all who aspired to a character for <i lang="it" xml:lang="it">virtu</i>. -Hogarth saw with disgust bordering upon indignation that his taste in -one art, modern gardening (of which he was the acknowledged father), -procured him the reputation of excellence in another, in which he was -grossly ignorant and glaringly erroneous. In some of the grounds laid -out by Kent's directions, he realized that Paradise which Milton had -described; his patrons saw that he could improve nature in their plantations, -and very kindly gave him credit for a power which he never -possessed—that of giving an imitation of nature on his canvas. By the -Dryades his sacrifice had been accepted; but the offering he laid upon -the altar sacred to the fine arts was rejected with disdain. It was the -praise of Hercules that he destroyed monsters and discomfited giants; -it was the praise of William Kent that he cleared our gardens of their -representatives. Before his time the plantations round the seats of our -nobility were a kind of vernal menagerie: the lion shook his shaggy -mane in yew; the dragon waved his wings in evergreen; and in box, -the wild boar displayed his bristled neck and tusks terrific. Our -disciple of true taste cleared away these fantastic forms, and in their -place gave us nature,—"nature to advantage dressed." But when -consulted about interior decorations, his taste evaporated. The heavy -canopy over the nobleman's head, the ponderous chairs and massy -frames which decorate the room, are from his designs. In some of -the old houses of our ancient nobility we see furniture of a similar -appearance, though the greatest part of it, after passing through the -purgatory of a broker's shop, has either been placed in very inferior -situations or consigned to the flames. -</p> -<p> -Of Kent's abilities as a painter the public thought so highly, that he -was absurdly enough opposed to Sir James Thornhill. This circumstance -might be one source of Hogarth's dislike; he, however, took an -early opportunity of showing it, by what is called a "Burlesque of Kent's -Altarpiece at St. Clement's Church," but which Hogarth declared to be -a fair delineation of the original. A reduced copy is in vol. iii. of this -work; see p. 17 of the 2d edition.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Some of the portraits of Louis <span class="fs80">XIV.</span> are quite as absurd. We are -told that he once sent to Rome for Poussin, to paint him in the character -of Jupiter. This great artist obeyed the summons, and prepared -his canvas and colours; when, to his extreme astonishment, the monarch -informed him that, although he was to be delineated as the representative -of Jove, etiquette did not permit him to appear without his major -peruke, and he must consequently be so painted. Poussin, not able to -conceive any way of giving appropriate dignity to the thunderer of -Olympus with this flowing appendage, declined beginning the picture, -and returned to Rome without making his <i lang="fr" xml:lang="fr">congé</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> By the loose negligence of her habit, and some circumstances, I am -inclined to think the artist intended to represent her as pregnant. It -has been said that after Baron had finished the plate, Mr. Hogarth -added a lock of hair with Indian ink, but after a few impressions were -taken off, inserted this supplemental ornament with the graver. In his -<cite>Analysis of Beauty</cite>, he makes a remark which in some degree accounts -for the introduction of this fascinating attraction:— -</p> -<p> -"It was once the fashion to have two curls of equal size, stuck at the -same height close upon the forehead, which probably took its rise from -seeing the pretty effect of curls falling loosely over the face. -</p> -<p> -"A lock of hair falling thus across the temples, and by that means -breaking the regularity of the oval, has an effect too alluring to be -strictly decent, as is very well known to the loose and lowest classes of -women; but being paired in so stiff a manner as they formerly were, -they lost the desired effect, and ill deserved the name of ornaments." -</p> -<p> -Moralists of different nations have considered hair as calculated to -entangle hearts, and one of our pious writers of the last century wrote -a furious treatise on the <em>un</em>loveliness of love-locks.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> A chair kicked down, an <cite>Essay on Whist</cite>, cards scattered on the -floor, and the general confusion of everything in the room, seem to -intimate that this <em>right honourable society</em> were actuated by passions -somewhat similar to those which inflame the gentlemen in the sixth -plate of "The Rake's Progress." Though a genuine gamester is not apt -to lose his presence of mind on slight occasions, yet when a man of -rank is stripped of sums that will draw into their vortex many anticipated -years of his revenue, he is liable to lose his temper, and on such -occasions apt to vent his spleen on inanimate objects. Such things -sometimes happen even now.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Absurd as this may seem, yet until Mr. Wedgwood introduced -those beautiful Etruscan forms which now decorate the rooms, and form -the taste of the possessors, these shapeless monsters disgraced the most -splendid apartments in the metropolis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> "Kent was not only consulted for furniture, as frames of pictures, -glasses, tables, chairs, etc., but for plate, for a barge, for a cradle. So -impetuous was fashion, that two great ladies prevailed on him to make -designs for their birthday gowns. The one he dressed in a petticoat -decorated with columns of the five orders; the other, like a bronze, in -copper-coloured satin, with ornaments of gold."—Walpole's <cite>Anecdotes</cite>, -2d edit., vol. iv. p. 239.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> This race still roll round the metropolis; and while some put their -trust in chariots, horses, and impudence, others depend on the credulity -of his Majesty's liege subjects. -</p> -<p> -The following epitaph was written for one of them:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse">Beneath lies lean old Fillgrave, once M.D.,</p> -<p class="verse">Who hunger felt much oft'ner than a fee;</p> -<p class="verse">These were the last, last words the doctor spoke</p> -<p class="verse">(And, believe me, sirs, the sentence was no joke),</p> -<p class="verse">"The world I leave, but can't the world forgive,</p> -<p class="verse">For by my patients I could never live."</p> -<p class="verse">In this rejoin'd a friend, "You'd but your due;</p> -<p class="verse">Your patients, doctor, ne'er could live by you."—E.</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> It is said to have been designed for the once celebrated Betty Careless, -and the remark is supposed to be countenanced by the initials -E. C. on her bosom. This woman, by a transmigration as natural as -is that of the chrysalis, from being one of the most fashionable of the -Cyprian corps, became keeper of a brothel; and after repeated arrests -and many imprisonments, was buried from the poorhouse of St. Paul's, -Covent Garden, April 22, 1752. In many of the elegant Latin odes of -Loveling her name is immortalized; and of her person and appearance -Fielding thus speaks in his <cite>Amelia</cite>:— -</p> -<p> -"I happened in my youth to sit behind two ladies in a side-box at a -play, where, in a balcony on the opposite side, was placed the inimitable -Betsy Careless, in company with a young fellow of no very formal or -indeed sober appearance. One of the ladies, I remember, said to the -other, 'Did you ever see anything look so modest and so innocent as -that girl over the way? What pity it is such a creature should be in the -way of ruin, as I am afraid she is by being alone with that young fellow.' -</p> -<p> -"Now this lady was no bad physiognomist: for it was impossible to -conceive a greater appearance of modesty, innocence, and simplicity -than what nature had displayed in the countenance of that girl, and yet, -all appearances notwithstanding, I myself (remember, critic, it was in -my youth) had, a few mornings before, seen that very identical picture -of those engaging qualities in bed with a rake at a bagnio, smoking -tobacco, drinking punch, talking obscenity, and swearing and cursing -with all the impudence and impiety of the lowest and most abandoned -trull of a soldier." -</p> -<p> -Hogarth noticed this woman in a former print: one of the madmen -in the last plate of "The Rake's Progress" has written "Charming -Betsy Careless" on the rail of the stairs, and wears her portrait suspended -to a riband tied round his neck. Mrs. Heywood's <cite>Betsy -Thoughtless</cite> was in <span class="fs80">MS.</span> entitled <cite>Betsy Careless</cite>; but, from the infamy at -that time annexed to the name, had a new baptism. There are those -who say that the letters upon this woman's bosom are not E. C. but -F. C., and intended to designate Fanny Cock, daughter of Mr. Cock -the auctioneer, with whom the artist had a casual disagreement. After -all these conjectures, I think it is probable that these gunpowder initials -are merely the marks of a woman of the lowest rank and most infamous -description.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> From the gallows, immediately over his head, we are led to suppose -the artist intended to hint that this gentleman died for the good of his -country; but from the records of some of our mortuary historians, it -appears that about the time this set of prints were published, a number -of bodies thus preserved, which had been exsiccated by some mode of -embalming at present unknown, were discovered in a vault in Whitechapel -Church.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> This royal mummy, being once the sole tenant of one of the -largest pyramids, might be more positively ascertained than any of -the Cleopatras. It was, however, profanely removed by a wild Arab, -who, after he had stolen it, sold it to the Consul of Alexandria, by whom -it was transmitted to England: and a right grave antiquary quotes a -passage in Sandys' <cite>Travels</cite> to prove its being genuine; where that -learned and accurate voyager assures us that he saw the sepulchre -empty, "which agrees exactly," saith he, "with the theft above -mentioned." He omits to observe that Herodotus tells the same thing -of it in his time.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Carestini.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> A short time before the publication of these prints, the greatest part -of our nobility acted as if they had been bitten by a tarantula. The -sums lavished upon exotic warblers would have supported an army; the -applause bestowed upon some of them would have turned the brain of a -saint. It was little short of adoration. Persons of inferior rank caught -this jingling contagion, and all orders of the people were infected with -a musical mania, totally foreign to our national taste, and highly dishonourable -to our national character. In one of Hogarth's former -prints is a list of the rich presents Signior Farinelli, the Italian singer, -condescended to accept from the English nobility and gentry for one -night's performance in the opera of <cite>Artaxerxes!</cite> comprising gold snuff-boxes, -diamond rings, diamond buckles, etc. That such presents were -actually made is ascertained by the newspapers of the day.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The group of which this is composed is worthy observation. The -Counsellor is pointing to a friar and a nun who are in close conversation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Mrs. Lane (afterwards Lady Bingley).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Fox Lane, her husband.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Weideman.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> This curious delineation is whimsically placed immediately over the -head of the Italian.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Of the wisdom displayed in this judgment much has been said; I -have sometimes thought that a decision of the great Frederick of -Prussia's was equally deserving of record. When a list of criminals, -who had forfeited their lives by violating the laws of their country, was -once brought to him to sign, he observed the name of a soldier convicted -of sacrilege.—"That a soldier of mine should be guilty of so -atrocious a crime," said the king, "astonishes and distresses me. I -will not, however, sign his death-warrant until I have examined him in -person." The man was accordingly brought into the royal presence, -and two monks, who were his accusers, declared that he had come -into their church during the time they were celebrating mass, and -placed himself under an image of the Virgin Mary, from whose shoes -he had privately taken two pearl bows, and carried them out of the -church: they pursued him, and found them in his pocket. The king, -turning to the criminal, desired to know what he had to say in his -defence? which was simply this: that he was a disbanded soldier, and -in great distress for a dinner: that he walked into the churchyard, and -earnestly prayed to the Virgin Mary that she would put him in the way -of getting one: that she appeared to him, and told him she heard his -supplications, and pitied his distress; to relieve which, she begged him -to accept of some pearls which were on the feet of her image in the -neighbouring church. When the doors opened, he walked into the -church and took them out of her shoes, with an intention of converting -them into money. "This," said the king, "alters the face of the -business; but tell me, most reverend fathers, for you undoubtedly -know, is it according to your canons possible that the Virgin could, to -relieve distress and preserve a life, appear to this poor man in the way -he describes?"—"Undoubtedly, my liege, she could, but it is not -probable that she did." "Is it possible?"—"Certainly." "Very -well. I will not let a soldier of mine suffer death upon probabilities. -He shall be discharged this time; but observe what I say to you, -young man; if at any future period I find that you accept another -present from either virgin, saint, or angel, you shall be hanged."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> It is said to be copied from the frontispiece to a twopenny history -of the notified Moll Flanders; but I do not remember seeing it among -Mr. Gulston's two-and-twenty thousand portraits of illustrious characters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> This is one among many proofs of Mr. Hogarth's close attention -to those little markings which have been generally disregarded by other -artists. By a fire in the room he fixes the time to be winter,—a season -in which those exotic amusements, masquerades, are most frequent in -the metropolis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> "If he do not become a cart as well as another man—a plague on -his bringing up!"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> A brawn's head, with an orange in its mouth, was at that time a -fashionable winter dish; and it was a standing dish which might be -marched from the pantry to the parlour, and give the semblance of -plenty for forty days. This was perhaps one reason for our votary of -Mammon making it the leading article in his bill of fare; the rest and -residue of his feast is made up by a solitary egg. -</p> -<p> -A boiled egg was the usual dinner of Sir Hans Sloane. When he -once complained to Dr. Mortimer that all his friends had deserted him, -the Doctor observed that Chelsea was a considerable distance from the -residence of most of them, and therefore they might be disappointed -when they came to find he had so slight a dinner. This gentle -remonstrance put the old Baronet in a rage, and he exclaimed, "Keep -a table! Invite people to dinner! Would you have me ruin myself? -Public credit totters already, and if (as has been presaged) there should -be a national bankruptcy, or a sponge to wipe out the national debt, -you may yet see me in a workhouse." His landed estate was at that -time very considerable, and his museum worth much more than the -twenty thousand pounds which was, however, given for it by Parliament. -</p> -<p> -Scanty as is our citizen's dinner, his table-cloth is ample. The -founder of Guy's Hospital, which is the first private foundation in the -world, was not so extravagant. His constant substitute for a table-cloth -was either a dirty proof sheet of some book or an old newspaper.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Let not any censure fall upon Mr. Hogarth for these indelicate -representations. He evidently means to burlesque the gross and -ridiculous absurdities of the Dutch painters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> These canine unfortunates are not only useful when living, but -frequently <em>die for the good of mankind</em>. Some have their throats -cut, to prove the efficacy of a styptic; others are bled to death for a -philosophical transfusion; and very many resign their breath in the -receiver of an air-pump. <em>Unhappy Dogs!</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> "It appears to have been a part of that curse which the disobedience -of the first man brought upon his posterity, that we were compelled to -stain our hands in blood, and to subsist on the destruction of other -animals. But surely, if the necessity of our nature obliges us to deprive -an innocent being of life, it ought to be done in the easiest and speediest -manner! and such was the custom among the peculiar people of God. -What shall we say to that luxury which, for a momentary gratification -of appetite, condemns a creature endued with feeling, perhaps with -mind, to languish in torments, and expire by a protracted and cruel -death?"—<cite>Sermons by George Gregory, D.D., F.A.S.</cite>, 2d edit. p. 100.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> How much are we the creatures of habit! Those who would -shudder at tying a lobster to a wooden spit, and roasting it alive, will -<em>coolly</em> place a dozen oysters between the bars of a slow fire; and yet -these oysters, notwithstanding their supposed torpor, may have an equal -degree of feeling with their armoured brother.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> I remember once seeing a practical lesson of humanity given to a -little chimney-sweeper, which had, I dare say, a better effect than a -volume of ethics. The young soot merchant was seated upon an alehouse -bench, and had in one hand his brush, and in the other a hot -buttered roll. While exercising his white masticators with a perseverance -that evinced the highest gratification, he observed a dog lying on -the ground near him. The repetition of "Poor fellow, poor fellow," -in a good-natured tone, brought the quadruped from his resting-place: -he wagged his tail, looked up with an eye of humble entreaty, and in -that universal language which all nations understand, asked for a morsel -of bread. The sooty tyrant held his remnant of roll towards him; but -on the dog gently offering to take it, struck him with his brush so violent -a blow across the nose as nearly broke the bone. A gentleman who, -unperceived, had been a witness to the whole transaction, put a sixpence -between his finger and thumb, and beckoned this little monarch of -May-day to an opposite door. The lad grinned at the silver, but on -stretching out his hand to receive it, the practical teacher of humanity -gave him such a rap upon the knuckles with a cane as made them ring. -His hand tingling with pain, and tears running down his cheeks, he -asked "What that was for?" "To make you feel," was the reply. -"How do you like a blow and a disappointment?—the dog endured -both! Had you given him a piece of bread, this sixpence should have -been the reward; you gave him a blow, I will therefore put the money -in my pocket."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> By a strange and inapplicable mistake, this has sometimes been -written Thieves Inn. It was at that time the longest shilling fare from -the great fountain of law in Westminster.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Though contrary to an express Act of Parliament, this is done -every day.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> To the dishonour of our police, the savage custom of driving cattle -through the streets, even at high noon, is still continued, though scarce -a week passes without a consequent accident. Might not the Fleet -Market be removed to Smithfield, and that for live cattle be held in -the skirts of the city, with a penalty upon any person driving a beast -through the streets after nine in the morning? This may be impracticable; -but the number of accidents which happen from the present -custom show the necessity of some reform.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Instead of Amphitheatres, these Gymnasia are now more elegantly -called Academies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> The scene has been said to be laid in Pancras Churchyard: I think -it bears more resemblance to that of Marybone. The building in the -background may be on the same eminence where now is the Jew's -Harp House. This is only conjecture, and as such let it be received.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Shakspeare saw this in its true light: -</p> - -<p>"<em>Hamlet.</em> Has this fellow any feeling of his business? -</p> -<p> -"<em>Horatio.</em> Custom hath made it in him a matter of easiness. -</p> -<p> -"<em>Hamlet.</em> Tis e'en so: the hand of little employment hath the -daintier sense."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> The president much resembles old Frieake, who was the master of -Nourse, to whom the late Mr. Potts was a pupil. -</p> -<p> -Mr. Frieake was originally a member of the Barbers' Company, and -lived in Salisbury Square. Being desirous of building a carriage on -the most reasonable terms, he employed a number of journeymen coachmakers -in his own garret. They performed their task, but found it -was not possible to get this appendage to modern practice into the -street by any other means than unroofing the house. This was done, -and a bricklayer's bill for re-covering the attic storey rendered his <em>saving</em> -scheme much more expensive than it would have been if he had employed -the king's coachmaker.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> The importance of the brewery to the revenue will appear by the -following statement:— -</p> -<p class="pfs70">MALT AND BREWERS.</p> -<p> -The duty on malt from July 5, 1785, to the same day 1786, produced -a million and a half of money, from a liquor which invigorates -the bodies of its willing subjects to defend the blessings they enjoy, -while that from Stygian gin enervates and incapacitates. -</p> -<p> -One of the brewers (or Chevaliers de Malte, as an impertinent Frenchman -styled Humphrey Parsons, when the King of France inquired -who he was) within one year contributed fifty thousand pounds to his -own share. The sight of a great London brewery exhibits a magnificence -unspeakable. The vessels evince the extent of the trade. Mr. -Meux of Liquorpond Street can show twenty-four vessels containing -thirty-five thousand four hundred barrels of wholesome liquor, which -enables our London porter-drinkers to perform tasks that ten gin-drinkers -would sink under.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> This gentleman has been very properly baptized the <em>Herring Poet</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> It is directed to the Trunkmaker, and contains five enormous folios, -titled as follows:—<cite>Lauder on Milton</cite>. <cite>Politics</cite>, vol. 999. <cite>Modern -Tragedies</cite>, vol. 12. <cite>Hill on the Royal Society</cite>, and <cite>Turnbull on Ancient -Paintings</cite>. The two last are worthy of a better fate, for one has some -wit, and the other many sensible remarks.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> It is not 400 years since a Baron of this realm was tried for high -crimes and misdemeanours, and one of the chief accusations exhibited -against him was, that he suffered himself to be carried about his garden -by two of his own species.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> It is said, I don't know upon what authority, to be intended as a -burlesque delineation of John Stephen Liotard, of whom Mr. Walpole -thus writes in p. 195 of his <cite>Anecdotes</cite>:— -</p> -<p> -"Devoid of imagination, and one would think of memory, he could -render nothing but what he saw before his eyes. Freckles, marks of -the small-pox, everything found its place; not so much from fidelity, -as because he could not conceive the absence of anything that appeared -to him." -</p> -<p> -This miserable personage may, however, be only intended to show the -state of the arts at that time, when an English painter, if not excellent -in portraits, had no other patronage than that of those gentlemen who -put out signs of Blue Lions, Green Dragons, and Red Harts. Thanks -to the talents of our immortal bard, it is not so now. Whether the -artists of the present day drain copious draughts of humble porter, or -fill their flagons with Falernian or French wines, let not the memory -of their patron poet be forgotten. "He merits all their wonder, all -their praise!"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> This wretched being was painted from nature. His cry was, "Buy -my ballads, and I'll give you a glass of gin for nothing."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> This <em>infernal broth</em> is vulgarly called "Strip-me-naked," and has -almost invariably that effect.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> This is an unnatural and violent exaggeration.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> The church in view is <em>St. George's, Bloomsbury</em>. Ralph, in his -<cite>Critical Review of the Buildings in London</cite>, properly observes that -"this structure is ridiculous and absurd even to a proverb. That the -builder mistook whim for genius, and ornament for taste, and that the -execrable conceit of displaying a statue of the king on the top of it -excites laughter in the ignorant, and contempt in the judge of architecture."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Two of these harpies have names highly descriptive of their professions—"Gripe" -and "Killman."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> I hope I shall not be censured for inserting a quotation from Fingal -as the motto to an imitation of Rembrandt. Both poet and painter -delighted in darkness, and each of them sometimes introduced a sublime -and majestic figure, which beamed through the gloom "like the -new moon seen through a gathered mist, when the sky pours down its -flaky snow, and the world is silent and dark."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> This little winged periwinkle is engraven in a very different style -from the rest of the plate, much of which is a sort of <em>aquæ</em> tint. Many -impressions were taken off without this figure.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> On the blade is engraven a dagger, the arms of our metropolis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> This has been generally thought intended for a portrait of Hume -Campbell, who, like some of his boisterous brethren of the present day, -distinguished himself by a sort of savage elocution more consonant to -Billingsgate than a court of law. Others have said it was designed for -Doctor William King, Principal of St. Mary Hall, Oxford, and in -proof of their assertion refer to an ascertained portrait in Worlidge's -view of "Lord Westmoreland's Installation," 1761, to which it has a -striking resemblance.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> On the scraps are inscribed, "We have found this man a pestilent -fellow, a mover of sedition among the Jews, ringleader of the sect," etc. -etc. etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> While the plate remained in the hands of Mrs. Hogarth impressions -were sold at that price, but were afterwards reduced to three shillings.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> With each infant was then sent some little memorial by which it -might be known at a future day. The following lines were written by -an unfortunate widow, and pinned to the breast of a child who was -received into the hospital: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Go, gentle babe, thy future life be spent</p> -<p class="verse">In virtuous purity and calm content;</p> -<p class="verse">Life's sunshine bless thee, and no anxious care</p> -<p class="verse">Sit on thy brow, and draw the falling tear;</p> -<p class="verse">Thy country's grateful servant may'st thou prove,</p> -<p class="verse">And all thy life be happiness and love."</p> -</div></div> - -<p> -Some fifteen or sixteen years ago, a person of respectable appearance -went to the hospital, and requested to see the chapel, great room, etc. -He then desired to speak with the treasurer, to whom he presented a -ten-pound bank note, expressing a wish that it might be recorded as a -small but grateful memorial from the first orphan who was apprenticed -by the charity. He added, "I was that orphan, and in consequence -of the education I here received, have had the power of acquiring an -independence with integrity and honour."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Several other pictures were presented to the hospital by the few -eminent painters who then lived in London. -</p> -<p> -"The donations in painting which several artists presented to the -Foundling Hospital were among the first objects of this nature which -engaged the public attention. The artists observing the effects that -these paintings produced, came, in the year 1760, to a resolution to -try the fate of a public exhibition of their works. This effort had its -desired effect. The public were entertained, and the artists were excited -to emulation."—<cite>Strange's Inquiry into the Rise and Establishment -of the Royal Academy</cite>, p. 63. -</p> -<p> -This gives Hogarth a right to be classed, if not among those who -were founders of the Royal Academy, as one of the first causes of its -establishment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Be this as it may, certain it is that the boy, who was afterwards -so great a Jewish legislator, bears a very strong resemblance to the -Egyptian princess. That the artist meant by this family likeness to -hint that he was of royal descent, I do not presume to assert.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> The head is said to be copied from a youth of the name of Seaton. -The attitude and general air very much resemble that of Delilah, in a -picture painted by Vandyke, of Samson seized by the Philistines, now -in the Emperor's gallery at Vienna.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> -These prints were promised to the subscribers <ins class="corr" title="Transcriber's Note—Original text: 'sooner than hey'">sooner than they</ins> -could be completed; and in consequence of their being delayed, the -following advertisement was inserted in the <cite>Public Advertiser</cite> of February -28, 1757:— -</p> - -<div class="blockquot"> - -<p>"Mr. Hogarth is obliged to inform the subscribers to his Election -prints that the three last cannot be published till about Christmas next, -which delay is entirely owing to the difficulties he has met with to procure -able hands to engrave the plates: but that he neither may have -any more apologies to make on such an account, nor trespass any -further on the indulgence of the public by increasing a collection already -sufficiently large, he intends to employ the rest of his time in portrait-painting; -chiefly this notice seems more necessary, as several spurious -and scandalous prints have lately been published in his name," etc.</p></div> - -<p> -This fretful appeal must have been written under the influence of -momentary spleen, which might possibly originate in his coadjutor's -disappointing, and by that means forcing him to violate his engagements -with the public. There is no other apology for his indulging a -thought of quitting that walk in which he indisputably led, for another -in which he must not only follow, but be far behind some of his contemporaries.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Sir George Saville saw this in its true light. One of the supporters -of the Bill of Rights <ins class="corr" title="Transcriber's Note—Original text: 'being desious'">being desirous</ins> of introducing Sir George's name -among the members of the society, made application to the worthy -Baronet for his permission to propose him. Sir George declined the -honour, and pleaded his engagements being so numerous that he had -not time to attend, etc. etc. "We do not expect your attendance," -replied his friend; "we do not expect your constant attendance; but -the sanction of your name would be a tower of strength to the society; -and as you see by the public prints, the manner we conduct ourselves, -and the business we do, you must approve, I think you cannot refuse us -your name." "I do not," said Sir George, "make any objection to -your conduct, which I have thought very regular and systematic, but I -really dislike the title you have adopted; I observe that you meet, read -a string of observations, and then make a motion for adjourning to -dinner in the next room; there each man drinks his two bottles to most -patriotic and constitutional toasts. In the next paper appear advertisements, -that on the following Monday the supporters of the Bill of -Rights will meet again. Dinner on table precisely at four o'clock. You -dine, and drink your wine; your secretary gives us the same information -in the succeeding prints, and again adds, that—dinner will be on -the table precisely at four o'clock. All these circumstances induce me -to think you should alter your title; instead of 'Supporters of the Bill -of Rights,' call yourselves what you really are, 'Supporters of the Bill -of Fare!'"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> This has been pronounced, I know not upon what authority, to be -intended for the late Thomas Potter, Esq.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> In page 21 of a quarto pamphlet published in 1755, and entitled, -"The Last Blow, or an unanswerable vindication of the society of Exeter -College, being a reply to the Vice-Chancellor, Dr. King, and the writers -of the <cite>London Evening Post</cite>," is the following paragraph:— -</p> - -<div class="blockquot"> - -<p>"The next character to whose merits we would do justice is the -Rev. Dr. C—ss—t (Cosserat). But as it is very difficult to delineate -this fellow in colours sufficiently strong and lively, it is fortunate for us -and the Doctor that Hogarth has undertaken the task. In the print of -'An Election Entertainment,' the public will see the Doctor represented -sitting among the freeholders, and zealously eating and drinking for the -sake of the new interest. His venerable and humane aspect will at -once bespeak the dignity and benevolence of his heart. Never did -aldermen at Guildhall devour custard with half such an appearance of -love to his country, or swallow ale with so much the air of a patriot. -These circumstances the pencil of Hogarth will undoubtedly make -manifest; but it is much to be lamented that his words also cannot -appear in this print, and that the artist cannot delineate that persuasive -flow of eloquence which could prevail upon copyholders to abjure their -base tenures and swear themselves freeholders. But this oratory (far -different from the balderdash of Tully and Doctor King, concerning -liberty and our country), as the genius of mild ale alone could inspire, -this fellow alone could deliver."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> I think it is recorded in Mr. Joseph Miller's <cite>Reports</cite>, that our -British Solomon often asserted that scratching was too great a luxury -for a subject to enjoy.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> This woman was remarkable for performing at fairs, country hops, -etc. in the neighbourhood of Oxford, and known by the name of -Fiddling Nan.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> This is a portrait of the present Sir John Parnell, nephew to the -poet. He was introduced into this print by his own request, declaring -at the same time that, from his being so generally known in Ireland, his -face would help the sale of the engraving.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> It is supposed to be the portrait of an Oxford bruiser who went by -the name of Teague Carter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> A mashing-tub seems a sufficiently capacious vessel, but sinks to -nothing when compared with a bowl which, it is recorded, was filled -with punch on the 15th of October 1694, at the expense of Admiral -Russel. The Admiral's punch was made in a fountain situated in the -centre of a large garden, the terminus to four long gravel walks, canopied -with orange and lemon trees. In each walk was a table the length of -the avenue, covered with a cold collation, consisting of every luxury -which the season produced; and in the basin of the fountain, which -the gallant seaman chose to call a little basin, for the entertainment of a -few friends, were the following ingredients:—Four hogsheads of brandy, -eight hogsheads of water, twenty-five thousand lemons, twenty gallons -of lime juice, thirteen hundredweight of fine Lisbon sugar, five pounds of -grated nutmegs, three hundred toasted biscuits, and lastly, a pipe of dry -mountain Malaga. Over the fountain was erected a large canopy to keep -off the rain, and in a little boat, built for the purpose, a boy belonging -to the fleet rowed round the basin, and served this cordial beverage to -the company. More than six thousand men partook of this mighty bowl.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> This alludes to the alteration of the style in the year 1752, a measure -which gave great umbrage, and excited a violent clamour among the -advocates for old customs and adherents to ancient forms.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> Kirton was a tobacconist in Fleet Street, but injured his circumstances -and destroyed his constitution by his active zeal in the Oxfordshire -election of 1754.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> This is said to be intended for the late Duke of Newcastle, his -Grace having exerted all his influence in support of the Naturalization -Bill: the nose of the effigy gives some probability to the conjecture.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> Under the portrait of a Mr. Cholmondeley of Vale Royal, in -Cheshire, engraved about the same time with these prints, are the -following quaint lines: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"In this plain garb a senator is shown,</p> -<p class="verse">Who never bought a vote, nor sold his own."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> This print undoubtedly gave the hint for a transaction in which -Punch was made the principal agent at a late Shaftesbury election.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> By the condescending humility of men of high rank, and the aspiring -ambition of men of no rank, they to all appearance become equal -at every general election. The following is one among the few instances -of an independent spirit in a candidate's address:— -</p> - -<div class="blockquot"> - -<p class="center">"<span class="smcap">To the Gentlemen, Clergy, and Freeholders of the -County of York.</span></p> - -<p> -"<span class="smcap">Gentlemen</span>,—I have had the honour to represent the county of -York in three successive Parliaments: I have been diligent in my -attendance, and have performed my duty with a clear and unbiassed -conscience. I have now an opposition declared against me, for what -reasons I do not know, except that I am not disposed to obey the -dictates of the associators at York. I do not wish to serve you upon -such terms. I will never go to Parliament in fetters; nor did I, nor -ever will I disguise my principles, which all go to the support of our -excellent constitution in Church and State. I avow myself an enemy to -tumults, sedition, and rebellion, and will never support any but a British -interest. Consistently with that, I am a friend to the people, and am -determined to preserve my independency, yielding neither to any influence -of ministers, nor to any clamours of a faction. -</p> -<p> -"Upon these principles I shall esteem it a high honour to be returned -for this great county, and shall be thankful for your support.—I am, -gentlemen, etc., -</p> - -<p class="right">"<span class="smcap">Edwin Lascelles</span>.</p> - -<p>"<em>September 12, 1780.</em>"</p></div> - -<p> -In Mr. Edmund Burke's speech to the electors of Bristol, on the 3d -of November 1774, he gave such cogent reasons for not signing any -engagement to obey in all cases the instructions of his constituents, that -I cannot resist the temptation of inserting an extract, for the contemplation -of those who are advocates of a contrary system:— -</p> -<p> -"Certainly, gentlemen, it ought to be the happiness and glory of a -representative to live in the strictest union, the closest correspondence, -and the most unreserved communication with his constituents. Their -wishes ought to have great weight with him; their opinion high respect; -their business unremitted attention. It is his duty to sacrifice his repose, -his pleasures, his satisfaction to theirs; and above all, ever and in all -cases to prefer their interest to his own. But his unbiassed opinion, -his mature judgment, his enlightened conscience, he ought not to -sacrifice to you, to any men, or to any set of men living. These he -does not derive from your pleasure; no, nor from the law and the constitution. -They are a trust from Providence, for the abuse of which -he is deeply answerable. Your representative owes you not only his -industry, but his judgment; and he betrays instead of serving you, if he -sacrifices it to your opinion. -</p> -<p> -"My worthy colleague says his will ought to be subservient to yours. -If that be all, the thing is innocent. If government were a matter of -will upon any side, yours, without question, ought to be superior. But -government and legislation are matters of reason and judgment, and not -of inclination; and what sort of reason is that in which the determination -precedes the discussion, in which one set of men deliberate and -another decide, and where those who form the conclusion are three -hundred miles distant from those who hear the argument? -</p> -<p> -"To deliver an opinion is the right of all men; that of constituents -is a weighty and respectable opinion, which a representative ought -always to rejoice to hear, and which he ought always most seriously to -consider. But authoritative instructions; mandates issued, which the -member is bound blindly and implicitly to obey, to vote, and to argue -for, though contrary to the clearest conviction of his judgment and conscience; -these are things utterly unknown to the laws of the land, -which arise from a fundamental mistake of the whole order and tenor -of our constitution. -</p> -<p> -"Parliament is not a congress of ambassadors from different and -hostile interests; which interests each must maintain, as an agent and -advocate against other agents and advocates; but Parliament is a deliberative -assembly of one nation, with one interest, that of the whole; -where not local purposes, not local prejudices ought to guide, but the -general good resulting from the general reason of the whole. You -choose a member, indeed; but when you have chosen him, he is not a -member of Bristol, but he is a member of Parliament. If the local -constituent should have an interest, or should form an hasty opinion, -evidently opposite to the real good of the rest of the community, -the member of that place ought to be as far as any other from -any endeavour to give it effect."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> In the year 1739 Admiral Vernon took Portobello with six ships -only. The public gratitude to him was boundless: he was sung in -ballads; at the ensuing general election in 1741 he was returned for -three different corporations; but above all, his portrait covered every -signpost; and he may be, figuratively, said to have sold the ale, beer, -and purl of all England for six years.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> This sign has a very whimsical appearance: it represents our merry -monarch in a great tree, enveloped in a black wig, decorated with a -point lace cravat, and environed with three crowns. Two Parliamentary -troopers, riding beneath the branches, do not perceive that this -faithless "Defender of the Faith," and so forth, is immediately above -them. This curious delineation is evidently copied from some country -sign, and gives a very exact representation of one I remember to have -seen in a village in Shropshire, with the following <em>poetical</em> inscription:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"This oak, the glory of the wood, may well be called a royal thing,</p> -<p class="verse">For once upon its branches there perched a great king;</p> -<p class="verse">And while the king was perched upon the branches so high,</p> -<p class="verse">The Roundhead rebels under him they all passed by."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> When Ware the architect was told of this piece of satire, he said -the artist must be a very foolish fellow; for if he had painted the coachman -as a shorter man, or made him stoop, he might have driven -through the gateway with his head upon his shoulders.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> John Shoreditch, in the reign of Edward <span class="fs80">III.</span>, sued the county of -Middlesex (for which he was returned to Parliament) to recover his -wages. In some letters from the dead to the living, published about -the year 1761, one signed with his name concludes as follows: -</p> - -<div class="blockquot"> - -<p>"If I was now upon earth—either nobleman or commoner—I -should choose peace and quiet, both public and private: I should be -happy in preserving religion and morality among my countrymen, instead -of suborning them to take the oath falsely about bribery and -corruption; debauching their minds, by giving them money that is of -no use to their families, and keeping them in continual drunkenness, -that renders them incapable of serving themselves or their country. -</p> -<p> -"To this I attribute the loss of that which was common in my time, -but in yours is found only in romances and novels—I mean simplicity -of manners among the country people. Rustic innocence was then as -common among the men as among the women; but there is scarce any -mode of vice or folly which is not at this period equally known and -practised by both sexes; and in the most obscure villages to as great a -degree as in the most polished cities. Let us consider that a million of -money was spent in treats and bribery at the last general election; and -if we take into the calculation the contested elections, for some of which -there were three or four candidates, and the money that is spent by their -friends on these occasions, we shall not find the computation too high. -What place, then, will not the influence of this immense sum extend to? -Not even the smallest hamlet can escape; and you may as well look -for purity of manners, innocence and simplicity, among the Capuans of -old, or in your Covent Garden, as in any place that an election guinea -has found its way to.—I am, etc."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> I am tasteless enough to prefer this to Garrick between Tragedy and -Comedy. From Hogarth the hint was indisputably taken; but exquisite -as is the face of Thalia, the countenance of the actor, from the contention -of two passions, has assumed a kind of idiotic stare, of which our -honest farmer has not an iota. In the true spirit of Falstaff, he says, -or seems to say, "D'ye think I do not know ye? Ha! ha! ha! -he! he! he!!"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> Swift boasted that he made it a rule never to give his voice for the -appointment of any man to any situation for which that man was not -better qualified than his opponent. Being once applied to for his -interest in the recommendation of a curate, because he was a very good -sort of man, though a very vile preacher, he said he would willingly, if -in his power, recommend him to be a bishop, because that was a -business in which preaching was not wanted, but in a curate it was -wanted every week. Being once asked by one of his parishioners -which of two candidates he would advise him to vote for as a Parliament -man, in a warmly contested Irish election, Swift desired he would -first consider what was the business of a Parliament man; and secondly, -which of the parties was best qualified for that business; and then he -would want no advice. If your vote, added he, could make a lord -or a duke, as they are people who need not do any business at all, -you might toss up a halfpenny, and vote for the man who came up -heads.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> By a letter we see out of his pocket, this appears to be Doctor -Shebbeare, who was put on the pillory, and confined in prison; not for -writing in the cause of his country, but for printing and publishing the -sixth letter to the people of England, in which he most impudently -and audaciously abuses George the First and the present royal family. -The Doctor frequently said in a public coffeehouse, that he would have -a pillory or a pension. In each of these points he was gratified; Lord -Mansfield complimented him with the first, and Lord Bute rewarded -him with the second. The honour he enjoyed long ago, the emolument -he died in the receipt of a very few years since.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> The late Doctor Barrowby persuaded a dying man, that being much -better he might venture with him in his chariot to the hustings in -Covent Garden, to poll for Sir George Vandeput. The unhappy voter -took his physician's advice, and in less than an hour after his return—expired.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> This sagacious-looking gentleman is said to be intended as a -portraiture of the late Bub Doddington, afterwards Lord Melcombe.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> It has been thought that this carries some allusion to a circumstance -which happened at the contested Oxfordshire election in 1754, when an -outrageous mob, in the old interest, surrounded a post-chaise and -attempted to throw it into the river; but Captain T——, who was -in the carriage, shot a chimney-sweeper that was a ringleader in the -assault, and his followers dispersed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> About the year 1740, when party disputes ran very high, a gentleman -of superior talents and undeviating integrity offered himself as a -candidate for a town in the West of England. The first person whose -vote he solicited asked him if he was a Whig or a Tory? "Neither," -was the reply; "I profess myself a moderate man, and when administration -act right, will vote with them,—when wrong, against them." -"And be these really thy principles!" said the elector; "be these really -thy principles! Then thou shalt not have my vote; but I'll give thee -a piece of advice. Thou seest my door; it leads into the street, the -right-hand side of which is for the Tories, the left for the Whigs; and -for a cold-blooded moderate man like thee, there is the kennel, and -in it I advise thee to walk, for thee be'st not decided enough for any -other situation."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> This must indisputably be considered as the lawyer's mansion, not -merely because it has a better appearance than any house we have seen -in the foregoing prints, but because a parchment label, which hangs out -of an upper window where a clerk is writing, is inscribed "Indintur." -Had the artist thought it worth while to have consulted Master Henry -Dilworth, or any other eminent schoolmaster, this orthography had -been corrected.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> When many of those gentleman who had been very active in the -Revolution, and materially contributed to the success of our great -deliverer, applied to a nobleman high in office for the first places in -the State, he answered their requests by referring them to the Roman -history: "There," says he, "you will find that geese twice saved the -Capitol; but I never heard that those geese were made Consuls."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> "Vermin" is a coarse phrase, but I think in a degree appropriate. -How similar are the effects attendant on a swarm of pettifogging -lawyers settling in a country town, to those resulting from a swarm of -noxious and destructive insects settling in a garden!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> A nobleman, whose name it is not necessary to record, was so -struck with the wit of this motto, that he had it inscribed upon a common -eight-day clock.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> The life of Andrew Marvel forms a fine contrast to the life of a -modern patriot. He was the son of a clergyman who resided at -Kingston-upon-Hull, in Yorkshire, at which town he was born in the -year 1624. His first appearance in public business was as an assistant -to John Milton, when that inspired poet was Latin secretary to the -Protector. A little before the Restoration he was chosen representative -for his native town, and afterwards re-elected for the same place, and -had a seat in that Parliament which began at Westminster, May 8, -1661. In this station he discharged his trust with the utmost fidelity, -and always displayed a particular regard for those by whom he was -elected; for he regularly sent the particulars of every proceeding in the -House to the heads of the town which he represented, and to these -accounts always joined his own opinion. This gained so much upon -their affections, that they allowed him an honourable pension during -the whole time he sat in Parliament, which was until his death. By -his actions and writings he rendered himself obnoxious to the ruling -powers; notwithstanding which, Charles the Second much delighted in -his company. Having one evening passed some hours with this good-humoured -monarch, his Majesty next morning sent Lord Treasurer -Danby to find out his lodgings. Mr. Marvel's apartments were up two -pair of stairs, in a little court in the Strand, where he was writing when -the Lord Treasurer rather abruptly opened the door. Surprised at so -unexpected a visitor, Mr. Marvel told his Lordship he believed he had -mistaken his way. Lord Danby replied, "Not, now I have found Mr. -Marvel;" adding, "I come with a message from his Majesty, who -wishes to know what he can do to serve you." "I know," replied -Marvel, "the nature of courts too well to lay myself under the obligation; -for whoever is distinguished by a prince's favours, is certainly -expected to vote in his interest." Lord Danby told him that his -Majesty was sensible of his merits, and on that account alone desired -to know if there were any place at Court which he would be pleased -with. These offers, though urged with the greatest earnestness, had -no effect. He told the nobleman, that to accept them with honour was -impossible; because, added he, "I must either be ungrateful to the -King in voting against him, or false to my country in giving in to the -measures of the Court. The only favour therefore which I beg of his -Majesty is, that he will esteem me to be as dutiful a subject as any he -has; and more in his proper interest by refusing these offers than if I -had accepted them." The Lord Danby, finding that no argument -would prevail, told him that the King had ordered him a thousand -pounds, which he requested him to receive as a token of royal favour. -This last offer was rejected with the same stedfastness as the first, -though, soon after the Lord Treasurer was gone, he was under the -necessity of sending to a friend to borrow a guinea. The greatest -temptations of riches or honours could never bribe him to depart from -what he thought the interest of his country, neither could the most -imminent dangers deter him from pursuing it. -</p> -<p> -He died, not without strong suspicions of being poisoned, August the -16th, 1678, in the fifty-eighth year of his age, and was interred in the -Church of St. Giles' in the Fields. Highly to the honour of the -inhabitants of Kingston-upon-Hull, they in the year 1683 contributed a -sum of money for a monument to the memory of this best of men and -most incorruptible of senators; but the then minister of St. Giles' -forbade its being erected in that church, on account of the following -epitaph which was inscribed on it:— -</p> -<p> -"Near this place lieth the body of Andrew Marvel, Esq., a man -so endowed by nature, so improved by education, study, and travel; -so consummated by experience and learning, that joining the most -peculiar graces of wit with a singular penetration and strength of -judgment, and exercising all these in the whole course of his life with -unalterable steadiness in the ways of virtue, he became the ornament -and example of his age; beloved by good men, feared by bad, admired -by all, though imitated, alas, by few, and scarce paralleled by any. -But a tombstone can neither contain his character, nor is marble -necessary to transmit it to posterity; it is engraved in the minds of this -generation, and will be always legible in his inimitable writings. -Nevertheless, he having served near twenty years successively in -Parliament, and that with such wisdom, dexterity, integrity, and -courage as became a true patriot, the town of Kingston-upon-Hull, -from whence he was constantly returned to that assembly, lamenting in -his death the public loss, have erected this monument of their grief and -gratitude. -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Heu fragile humanum genus! Heu terrestria vana!</p> -<p class="verse">Heu quem spectatum continet urna virum!"</p> -</div></div> - -<p> -In Mr. Mason's animated <cite>Ode to Independency</cite>, the dignified virtue of -this truly patriotic character is described -</p> -<p class="pfs80">"In thoughts that breathe, and words that burn."</p> -</div> - -<div class="footnote"> - -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> "Such were the words of the bards in the days of song, when the -king heard the music of harps, and the tales of other times."—<cite>Songs of -Selma</cite>, p. 302.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> In the early impressions it is spelt <em>Prusia</em>. It has been said with -great confidence, that after twenty-five were worked off, this error in -orthography was discovered and amended. I have seen at least fifty, -and think it probable that all which were subscribed for were delivered -before any alteration was made in the spelling.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> This word is explained in the <cite>Slang Dictionary</cite> as a cant expression -for the threat of a blow.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> The fifer is designed for the portrait of a young lad who was much -noticed by the late William Duke of Cumberland; and who, from the -propriety of his conduct, was first rewarded with a halberd, and afterwards -promoted to a pair of colours.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> This is said to be the portrait of a fellow known by the name of -Jockey James, a most frequent attendant on the nursery for bruising, -under the management of the mighty Broughton. Jockey had a son -who rendered himself eminent by boxing with Smallwood, and many -other athletic pugilists. The French pieman, grenadier, and chimney-sweeper, -are also taken from the life, and said, by those who recollect -their persons, to be very faithful resemblances of the persons intended.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> This gentleman displays the great difference between <em>an</em> officer, and -<em>a officer</em>: he comes under the latter description.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> This is Mr. Thornton's remark, and rather too severe. Lord North -once declared in the House of Commons that he saw no harm in the -officers of the Guards. "They have nothing to do," added he, "but -walk in the park, kiss the nursery-maids, and drink the children's milk."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> This figure is introduced in the very curious print of "Enthusiasm -Delineated," and in the eleventh print of "Industry and Idleness," and -was designed as a portrait of Mother Douglass of the Piazza.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> Lavater's character of this people is not exactly similar to Hogarth's -delineation; it is, however, curious: "The form of a Frenchman is -different from that of all other nations, and difficult to describe in words. -No other man has so little of the firm or deep traits, or so much motion. -He is all appearance, all gesture; therefore the first impression seldom -deceives, but declares who and what he is. His imagination is incapable -of high flights; and the sublime in all arts is to him offence. Hence -his dislike of whatever is antique in art or literature, his deafness to -true music, his blindness to the highest beauties of painting. His last -most striking trait is, that he is astonished at everything, and cannot -imagine how it is possible men should be any other than they are at -Paris."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Among the number of ingenious allusions which the seekers of -Hogarth's meanings have pointed out, I have never heard it remarked -that the standard waves immediately over this under-sized hero, who is -consequently <em>under the standard</em>!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> Let not the reader imagine that this quotation alludes to the Duke's -ponderous equestrian statue in Cavendish Square. That glittering -monument of burnished brass bears no very striking resemblance to -either an angel or a fiery Pegasus. It must, however, be considered as -a monument of the taste, vanity, and gratitude of Colonel Salter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Grotesque delineations have more influence upon the populace than -the philosopher is apt to imagine. Sir Robert Walpole inspected every -political print and political ballad that was published, and said that -from these vulgar effusions he could form a certain judgment of the -genuine spirit and local prejudices which actuated the multitude.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> Election is, I believe, in its general sense, the act of choosing. We -see by the application of the word in this book, it was not then confined -to choosing a member of Parliament, but applied indiscriminately to -either bird or beast.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> This is mere conjecture; but from Jackson the humpbacked jockey, -and some other sedate personages who were present, I think it is more -likely to be designed for that place than any other.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> A man of rank with these plebeian propensities might in the year -1759 be considered as a phenomenon: in this age of elegant accomplishment -and universal refinement, the thing is common. We now see -men of family and fortune ambitious of becoming umpires in battles -between Big Ben and the Ruffian!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> The "March to Finchley."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> When Garrick first came on the stage, and one very sultry evening -in the month of May performed the character of Lear, he in the first -four acts received the customary tribute of applause. At the conclusion -of the fifth, when he wept over the body of Cordelia, every eye caught -the soft infection—the big round tear ran down every cheek. At this -interesting moment, to the astonishment of all present, his face assumed -a new character, and his whole frame appeared agitated by a new passion: -it was not tragic, for he was evidently endeavouring to suppress -a laugh. In a few seconds the attendant nobles appeared to be affected -in the same manner; and the beauteous Cordelia, who was reclined -upon a crimson couch, opening her eyes to see what occasioned the -interruption, leapt from her sofa, and with the majesty of England, the -gallant Albany, and tough old Kent, ran laughing off the stage. The -audience could not account for this strange termination of a tragedy in -any other way than by supposing the <i lang="la" xml:lang="la">dramatis personæ</i> were seized with -a sudden frenzy; but their risibility had a different source. A fat -Whitechapel butcher, seated on the centre of the front bench in the pit, -was accompanied by his mastiff, who being accustomed to sit on the -same seat with his master at home, naturally thought he might enjoy -the like privilege here. The butcher sat very back, and the quadruped -finding a fair opening, got upon the bench, and fixing his fore-paws on -the rail of the orchestra, peered at the performers with as upright a -head and as grave an air as the most sagacious critic of his day. Our -corpulent slaughter-man was made of melting stuff, and not being -accustomed to a playhouse heat, found himself much oppressed by the -weight of a large and well-powdered Sunday peruke, which, for the -gratification of cooling and wiping his head, he pulled off, and placed -on the head of his mastiff. The dog being in so conspicuous, so obtrusive -a situation, caught the eye of Mr. Garrick and the other performers. -A mastiff in a churchwarden's wig (for the butcher was a -parish officer) was too much: it would have provoked laughter in Lear -himself, at the moment he was most distressed; no wonder, then, that -it had such an effect on his representative.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> In the second canto of a poem entitled <cite>The Gamblers</cite>, are the following -notes:— -</p> -<p> -"By the cockpit laws, the man who cannot or who will not pay his -debts of honour, is liable to exaltation in a basket." -</p> -<p> -"Stephen's exaltation in a basket, and his there continuing to bet -though unable to pay, is taken from a scene in one of Hogarth's prints, -humorously setting forth that there are men whom a passion for gaming -does not forsake, even in the very hour that they stand proclaimed -insolvents."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> Frequently called Deptford Nan, and sometimes dignified with a -title—Duchess of Deptford! She was a famous cock-feeder, well -known at Newmarket, and did the honours of the gentlemen's ordinary -at Northampton, while a bachelor presided at the table appropriated to -the ladies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> A small print published in the year 1732, of which there are three -copies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> I have inserted the name of Gay on the authority of Mr. Nichols' -<cite>Anecdotes</cite>, in page 177 of which is the following remark from a correspondent:— -</p> -<p> -"That Pope was silent on the merits of Hogarth (as one of your -readers has observed) should excite little astonishment, as our artist's -print on the South Sea exhibits the translator of Homer in no very -flattering point of view. He is represented with one of his hands in the -pocket of a fat personage, who wears a horn-book at his girdle. For -whom this figure was designed is doubtful; perhaps it was meant for -Gay, who was a fat man, and a loser in the scheme, etc. The horn-book -he wears at his girdle perhaps refers to the fables he wrote for the Duke -of Cumberland. The conclusion to the inscription under this plate—'Guess -at the rest, you'll find out more'—seems also to imply a consciousness -of such personal satire as it was not prudent to explain." -</p> -<p> -The conjecture that this is designed for Gay is fair, but I think not -quite conclusive. Hogarth would not have represented the translator -of Homer diving into the coat pocket of a brother bard for coin, and -Gay could not be robbed of anything else. May not the label with -A—B—, etc., be intended to point out Arbuthnot: he also was a fat -man, and so careless of fame, that he suffered Pope, and some other -eminent contemporary authors, to plunder him of the best part of his -writings, which they afterwards modestly published as their own; <i lang="la" xml:lang="la">vide</i> -a very large portion of <cite>Martinus Scriblerus</cite>, particularly Pope's own -edition, published in 1742. -</p> -<p> -Pope is again introduced in a print published about the year 1728, -entitled "Rich's Glory, or The Triumphant Entry into Covent Garden," -improperly said to be the production of Hogarth.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> This satire is wound up with a well-turned apology for the folly, -but even here a dart must be hurled at the Duke.—The dart recoils, -and returns to him who threw it; for although his Grace was vainly -ostentatious, and absurdly extravagant, he was kind-hearted and beneficent -to a fault:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Yet hence the poor are cloth'd, the hungry fed:</p> -<p class="verse">Health to himself, and to his infants bread,</p> -<p class="verse">The lab'rer bears: what his hard heart denies,</p> -<p class="verse">His charitable vanity supplies.</p> -<p class="verse">Another age shall see the golden ear</p> -<p class="verse">Embrown the slope, and nod on the parterre;</p> -<p class="verse">Deep harvests bury all his pride has plann'd,</p> -<p class="verse">And laughing Ceres re-assume the land."</p> -</div></div> - -<p> -It is a singular circumstance that the prophecy in the last four lines -(for a prophecy it must be called) should be fulfilled, I had almost said -in the poet's lifetime. A very few years after his death, when Hallet the -upholsterer purchased Canons, the park was ploughed up and sown -with corn. -</p> -<p> -I have somewhere seen an epigram, written soon after the publication -of this epistle:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"What Chandos builds let Pope no more deride,</p> -<p class="verse">Because he took not Nature for his guide,</p> -<p class="verse">Since, mighty Bard—in thy own form we see</p> -<p class="verse">That nature may mistake, as well as he."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> We have amateurs of boxing, and why not of cock-fighting?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> This noble diversion may with more propriety be called royal in -India than in England, for it is not peculiar to Great Britain, neither is -it confined within the narrow boundaries of Europe. In a picture which -Mr. Zoffani designed from nature, he has exhibited the Nabob of Oude, -and a crowd of his courtiers, dressed in their robes of state surrounding -a cockpit. The Asiatic Sovereign, his brother, and his attendants, -display as much eagerness for gain, and rapacity of physiognomy, as -is to be seen in the most notorious of our Newmarket gamblers.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> Throwing at cocks on this day is, I hope and believe, a less prevalent -custom than it once was. Our ancestors must have formed -strange notions of the duties that were acceptable to the Deity on -commencement of Lent, when they set apart the eve as a proper -time for the martyrdom of this inoffensive animal.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Wilt thou draw near the nature of the gods,</p> -<p class="verse">Draw near them then in being merciful;</p> -<p class="verse">Sweet mercy is nobility's true badge."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> "A beautiful Diana, with her trussed-up robes, the crescent alone -wanting, stands on the high altar to receive homage in the character of -St. Agnes, in a pretty church dedicated to her (<i lang="it" xml:lang="it">fuor della Porte</i>), where -it is supposed she suffered martyrdom: and why? Why, for not venerating -that very goddess Diana, and for refusing to walk in her procession -at the new moons, like a good Christian girl. Such contradictions put -one from oneself, as Shakspeare says."—Mrs. Piozzi's <cite>Letters</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> A catalogue of the massacres, slaughters, and assassinations which -have taken place for little differences of opinion, would fill a library. -Superstition has been the general cause of man destroying man.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> The infatuation of the lower order of the people during the drawing -of a lottery is hardly to be conceived. They cannot consult Virgil, -but they consult every star in the firmament, and every male and female -astrologer in the parish, to find out lucky numbers. Figures chalked -on the wall, and dreams, have great credit; and much respect is paid -to the year of their birth, a husband's or wife's death, etc. etc. The -destructive consequences of this thirst for divination it is not necessary -to enumerate,—they are recorded in the annals of Bethlehem Hospital -and the Newgate Calendar.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> A field preacher in one of the provinces, from the strength of his -lungs and length of his extemporary harangues, being for some months -attended by a more numerous congregation than the parson of the parish, -began to think himself the more orthodox man. Fraught with this idea, -he one Sunday evening went to the vestry-room, waited until the service -concluded, and then very rudely attacked the clergyman, telling him he -came to convince him, to confound him, and to convert him by the -word! This was followed by the recital of a thousand texts from various -parts of the Holy Scriptures, so combined as to prove whatever he -wished; and concluded by, "This is all from the Bible, and by the Bible -I desires to abide.—Answer me by the same book." The clergyman -being a man of some humour, after hearing him with much patience, -very coolly asked this labourer in the vineyard if he recollected a text -in the book of Kings, where it is written, "Then Ahithophel set his -house in order, and went and hanged himself." "Certainly," replied -the man, "I know it to be scripture." "Good," added the divine; -"examine the Gospel of St. Luke, and you will find it written, 'Go -and do thou likewise.' This I earnestly recommend, and so farewell."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> "Some witches, examined and executed at Mohra, in Sweden, in -1670, confessed that the devil gives them a beast about the bigness and -shape of a young cat, which they call a carrier, etc."—Glanville <cite>On -Witches</cite>, p. 494. -</p> -<p> -"For their being sucked by their familiar, we know so little of the -nature of demons and spirits, that it is no wonder we cannot certainly -divine the reason of so strange an action. And yet we may conjecture -at some things that may render it less improbable. For some have -thought that the Genii (whom both the Platonic and Christian antiquity -thought embodied) are re-created by the reeks and vapours of human -blood, and the spirits that proceed from them: which supposal (if we -grant them bodies) is not unlikely, everything being refreshed and -nourished by its like. And that they are not perfectly abstracted from -all body and matter; besides the reverence we owe to the wisest antiquity, -there are several considerable arguments I could allege to render it -probable: which things supposed, the devil's suckling the sorceress is -no great wonder, nor difficult to be accounted for. Or perhaps this -may be only a diabolical sacrament and ceremony to confirm the hellish -covenant."—<cite>Glanville</cite>, p. 10. -</p> -<p> -In the above, and any future quotations I may find it necessary to -make from this great and sagacious author, I beg it may be observed -that I quote from the fourth edition, published in 1726.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> Master Lilly remarketh that angels (and he must unquestionably -mean to include fallen angels) very rarely speak unto any one; but when -they do, it is like the Irish—very much in the throat.—<cite>Lilly's Life</cite>, p. 88.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> Curses are not peculiar to one church; John Boys, D.D., Dean of -Canterbury, 1629, educated at Clare Hall, in Cambridge, was famous -for his postils in defence of our liturgy, and was also much esteemed -for his good life. He gained great applause by turning the Lord's -Prayer into the following execration, when he preached at Paul's Cross:—"Our -Pope which art in Rome, cursed be thy name; perish may thy -kingdom; hindered may thy will be, as it is in heaven, so in earth. -Give us this day our cup in the Lord's Supper, and remit our monies -which we have given for thy indulgences, as we send them back unto -thee; and lead us not into heresy, but free us from misery, for thine is -the infernal pitch and sulphur, for ever and ever. Amen."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> "Several of the female devotees have waxen images in their hands. -Master Glanville observeth that the devil frequently bringeth unto -witches a waxen picture, which they, having christened it by the name -of the person they wish to torment, thrust pins into; using these words -as they perform their ceremonies, <em>Thout tout, a tout, tout, throughout -and about.—Rentum, tormentum, etc. etc.</em>"—<cite>Glanville</cite>, p. 297. -</p> -<p> -How wonderful has Shakspeare appropriated these idle tales in his -tragedy of <cite>Macbeth</cite>! He did not build upon the fables of Greece and -Rome; but leaving the mob of heathen deities to range over the classic -ground which gave them birth, leaving those writers who draw all their -supplies from the fountain of antiquity to take their copious draughts -unmolested, he adopted the creed of his own nation, and on the dim -legends of superstition, and oral traditions of credulity, raised a superstructure -which has stood the test of ages, become more admired as it -has been more minutely examined, and is now gazed at with an almost -idolatrous veneration.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> The influence of these men is astonishing. They have the mind, -body, and outward estate of their proselytes under their absolute direction; -all their assertions are considered as prophecies, and every request -has the force of a command. -</p> -<p> -Men seem to have a natural tendency to a belief in divination; and we -have many instances where the commanders of armies have made great -use of this easy faith. When Cromwell was in Scotland, a soldier stood -with Lilly's <cite>Almanac</cite> in his hand, and as the troops passed him, roared -out, "Lo! hear what Lilly saith: you are promised victory! Fight it -out, brave boys; and when you have conquered—read the month's -prediction."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Whosoever wisheth to know more of this Surrey Semiramis and -her brood of rabbits, may consult the <cite>Memoirs of M. St. Andre</cite>, and -some twelve or fifteen ingenious pamphlets, published about the year -1726, at which time a number of surgeons subscribed a guinea each -to Mr. Hogarth, for a print from a whimsical design he had previously -made on this very philosophical subject.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> The figure is, I believe, intended for the boy of Bilson, who, with -an ostrich-like appetite, swallowed as many tenpenny nails as would -have furnished a petty ironmonger's shop. This young gentleman, who -in his day deceived a whole county, was only thirteen years of age. -His extraordinary fits, agitations, and the surprising distempers with -which he seemed to be afflicted, induced those who saw him to believe -he was bewitched, and possessed with a devil. During the time he -was in fits, he appeared both deaf and blind; writhing, groaning, and -panting; and although often pinched, pricked with needles, tickled, -severely whipped, and otherwise corrected, never seemed sensible of -what was done to him. When he was thought to be out of his fits, he -digested nothing that was given him for nourishment, but would often -astonish those present by bringing up thread, straw, crooked pins, nails, -needles, etc. At this period his throat swelled, his tongue grew rigid, -and he appeared to be incapable of speaking. -</p> -<p> -This juvenile impostor accused a poor honest industrious old woman -of witchcraft, and asserted that she had bewitched him. By his artful -behaviour when she was brought into the room where he was, he raised -in the minds of those about him a strong presumption of his accusations -being founded. Under these impressions, the woman was tried at -Stafford assizes, but the jury had sense enough to acquit her. By the -judge's recommendation, the boy was committed to the care of the -Bishop of Lichfield and Coventry, who happened to be present in -court. His Grace took him to his palace at Eccleshall, and there, -having the previous advice of several physicians, intended to try the -effect of severity; but being in the meantime informed that the boy -always fell into violent agitations upon hearing that verse of St. John's -Gospel, "In the beginning was the Word," etc., resolved to try another -experiment. Assuming a grave and austere countenance, he thus -addressed him:— -</p> -<p> -"Boy, it is either thou thyself or the devil that abhorrest these words -of the Gospel; and if it be the devil, there is no doubt of his understanding -all languages, so that he cannot but know and show his -abhorrence when I recite the same sentence out of the Gospel in the -Greek text; but if it be thyself, then thou art an execrable wretch, who -playest the devil's part in loathing that portion of the Gospel of Christ, -which above all other scripture doth express the admirable union of -the Godhead in one Christ and Saviour, which union is the arch pillar -of man's salvation. Wherefore look unto thyself, for now thou art to -be put unto trial, and mark diligently whether it be the same scripture -which shall be read unto thee out of the Greek Testament, at the -reading whereof in the English tongue thou dost seem to be so much -troubled and tormented." -</p> -<p> -This experiment succeeded, for neither the boy nor the devil understood -the Greek version.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> It was deemed an approved remedy for witchcraft, to put a small -wax model of any one under this baneful influence into a quart bottle -with water, cork it up to confine the spirit, and place it before the fire. -Notwithstanding all these precautions, the spirit sometimes forced the -cork, and cast the contents of the bottle a considerable height.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> Of the writings of this paragon of English monarchs—so wise that -he was called the Solomon of Great Britain—it has been truly said, -"They are to be found in chandlers' shops even unto this day."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> A very grave historian relates, that the ghost of Sir George Villiers -appeared to one who had been his servant, charging him to inform his -son of the plan laid to destroy him! The servant obeyed his instructions, -and informed his Grace, but the Duke wanted faith—was negligent—and -was assassinated: though it does not seem probable that the crazed -enthusiast who committed the murder had sufficient coherence of mind -to lay any regular plan.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> Drelincourt's <cite>Defence against the Fears of Death</cite> is well written; -and in the confidence that a translation would sell, the bookseller struck -off a very large impression. They lay undisturbed in his warehouse -until Daniel Defoe added this ridiculous narrative, which carried the -book through one-and-twenty editions.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> This drummer was in the early part of his life a trooper in -Cromwell's army; and as almost all this regiment of saints considered -themselves in St. Paul's dragoons, our drummer occasionally preached, -exhorted, and expounded. When the Parliamentary army was disbanded, -or put under other commanders, the manners of the people had -a sudden and violent change; extreme strictness was succeeded by -universal dissipation, and the whole nation displayed their abhorrence -of their late rulers, and loyalty to their new sovereign, by general -licentiousness. A drum beat to a psalm tune would no longer attract -an audience; but still it was a favourite instrument, and our heroic -trooper, being free from military engagements, drummed his way -through the kingdom with a forged pass. Happening to beat up in the -neighbourhood of Tedworth, he attracted the notice of a Mr. Mompesson, -who seized the martial instrument, and punished the bearer. -From that time his ears were assailed by a perpetual drumming, and -his house for two or three years haunted by apparitions. It attracted -the notice of several of the neighbouring clergy, and his Majesty Charles -the Second, wishing to be satisfied about every particular, sent down a -number of persons to converse with this noisy spirit; but during the time -they stayed no spirit appeared, neither was the sound of a drum heard. -Notwithstanding this, poor dub-a-dub was tried at Salisbury assizes, -found guilty of being a wizard, and luckily escaped with only transportation -for life. -</p> -<p> -Upon this story was founded Addison's play of <cite>The Drummer, or the -Haunted House</cite>, which has too much good sense to be generally relished -at the theatres. -</p> -<p> -The Cock Lane ghost was engaged in scratching and hammering a -very short time before the plate was published. This ridiculous imposture -attracted the notice of many respectable characters. That one -man, whose writings are a mirror of truth and philosophy, and whose -life was an honour to human nature, should be so far under the influence -of superstition as to attend this nocturnal nonsense, draws a pitying -sigh.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> On the late John Wesley's particular opinions I do not presume to -make any comment; but his zealous and unremitting exertions in what -he deemed a good cause, added to the primitive simplicity of his -manners, entitled him to high respect. -</p> -<p> -Mr. Glanville was the patriarch of witchcraft, and therefore a very -proper high priest in the temple of credulity. As his book gained him a -good benefice, and as a number of his proselytes consider <cite lang="la" xml:lang="la">Sadducismus -Triumphatus</cite> entitled to equal credence with holy writ, I have subjoined -a few extracts for the edification of those who may not think the volume -from which they are taken worth perusal. It abounds with examples -of barbarity, flowing from a blind and bigoted credulity, at which -human nature shudders. -</p> -<p> -A relation of the strange witchcraft, discovered in the village of -Mohra, in Swedeland, about the year 1670:— -</p> -<p> -"The news of this witchcraft coming to the king's ear, his Majesty -was pleased to appoint commissioners, some of the clergy and some of -the laity, to make a journey to the town above mentioned to examine the -whole business. The commissioners met on the 12th of August at the -parson's house, and to them the minister and several people of fashion -complained, with tears in their eyes, of the miserable condition they -were in, and therefore begged of them to think of some way whereby -they might be delivered from that calamity. They gave the commissioners -very strange instances of the devil's tyranny among them: -how, by the help of witches, he had drawn some hundreds of children -to him, and made them subject to his power; how he hath been seen -to go in a visible shape through the country, and appeared daily to the -people; how he had wrought upon the poorer sort, by presenting them -with meat and drink, and this way allured them to himself; with other -circumstances to be mentioned hereafter. They therefore begged of the -Lords Commissioners to root out this hellish crew, that they might -regain their former rest and quietness; and the rather, because the -children, which used to be carried away in the country or district of -Esdaile, since some witches had been burnt there, remained unmolested. -</p> -<p> -"Examination being made, there were discovered no less than three-score -and ten witches in the village aforesaid; three-and-twenty of -which, freely confessing their crimes, were condemned to die; the rest, -one pretending she was with child, and the others denying, and pleading -not guilty, were sent to Faluna, where most of them were afterwards -executed. -</p> -<p> -"Fifteen children, which likewise confessed they were engaged in -this witchery, died as the rest; six-and-thirty of them, between nine -and sixteen years, who had been less guilty, were forced to run the -gauntlet: twenty more, who had no great inclination, yet had been -seduced to these hellish enterprises, because they were very young, were -condemned to be lashed with rods upon their hands for three Sundays -together, at the church door; and the aforesaid six-and-thirty were also -doomed to be lashed this way once a week for a whole year together. -The number of seduced children was about three hundred, etc. The -above narrative is taken out of the public register, where all this, with -more circumstances, is related."—<cite>Glanville</cite>, p. 494. -</p> -<p> -"At Stockholm, in the year 1676, a young woman accused her -mother of being a witch, and swore positively that she had carried her -away at night; whereupon both the judges and ministers of the town -exhorted the old woman to confession and repentance. But she stiffly -denied the allegations, pleaded innocence; and though they burnt -another witch before her face, and lighted the fire she was to burn in -before her, yet she still justified herself, and continued to do so till the -last; and remaining obstinate, was burnt. A fortnight or three weeks -after, her daughter, who had accused her, came to the judges in open -court (weeping and howling), confessed that she had accused her mother -falsely, out of a spleen she had against her for not gratifying her in a -thing she desired, and had charged her with a crime of which she was -perfectly innocent. Hereupon the judges gave orders for <em>her</em> immediate -execution."—Horneck's <cite>Introduction to a Narrative of Witchcraft, etc.</cite>—<cite>Glanville</cite>, -p. 481. -</p> -<p> -These are the horrid effects of credulity. For the dreadful devastations -made among the human race by superstition, we may read the -history of the Inquisition. Among myriads of examples, I was much -struck by the following:— -</p> -<p> -"Along with the Jews that were to be burnt at an <em>auto-da-fe</em>, there -was a girl not seventeen years of age, who, standing on that side where -the queen sat, petitioned for mercy. She was wonderfully pretty; and -looking at the queen, while her eyes streamed with tears, in a most -pathetic tone of voice exclaimed, 'Will not the presence of my sovereign -make an alteration in my fate? Consider how short a period I have -lived, and that I suffer for adherence to a religion which I imbibed -with my mother's milk. Mercy! mercy! mercy!' The queen turned -away her eyes,—was evidently moved by compassion, but—durst not -ask the holy fathers for even a respite."—<cite>M. d'Aunoy</cite>, p. 66. -</p> -<p> -What unlimited power! A queen dares not intercede for the pardon -of a young girl, guilty of no other crime than adhering to the faith of -her ancestors! -</p> -<p> -One of the most shocking circumstances that attend these consecrated -murders, is the indulgences which the Roman pontiffs have attached to -the executioners. Those who lead the poor condemned wretches to the -fire, and throw them into the flames, gain indulgences for one hundred -years. They who content themselves with only seeing them executed, -obtain fifty. What horror! The most detestable crimes, the most -unnatural cruelties, are made a means of obtaining pardons from the -God of mercy!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> Whitfield's <cite>Hymns</cite>, p. 130.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> See Mr. Burke's pamphlet on the French Revolution.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> This is a fair representation of what the Guards were then. The -highly-disciplined troop commanded by his Royal Highness of York -defy satire.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> See John Wilkes' history of the man after God's own heart.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> Hogarth seems to have thought that Mr. Pitt wished to be a perpetual -dictator; and, in truth, the Secretary's own assertion in some -degree justified the supposition: "He would not be responsible for -measures which he was no longer allowed to guide." Whether the -artist was right or wrong in his opinion, I do not presume to assert: I -have endeavoured to describe characters as he has delineated them; -but with respect to this great man, the safest way will be to quote his -contemporaries. I have subjoined two portraits, drawn in his own -day; let the reader adopt that which pleases him best. They prove -how difficult it is to ascertain what were the abilities of a statesman -from any accounts given during his life. One party assert that Mr. Pitt -unites, with the eloquence of Cicero and the force of Demosthenes, the -conciseness of Sallust and the polished periods of Isocrates! Another,—but -to extract a part is not doing justice to the writers. -</p> - -<p class="center"><span class="smcap">Chatham.</span></p> -<p> -"As this lord has long been dead to the world, we shall speak of -him as a man that has been. -</p> -<p> -"A remarkable reflection, arising from the character of Lord -Chatham, strikes us: No statesman was ever more successful, and no -statesman ever deserved less to have been so. -</p> -<p> -"This man entered into the army very early in life, and there he -ought to have remained. His enterprise, his rashness, and his scrupulous -sense of honour, were qualities extremely proper in the profession -of arms, and would have adorned any military station, except that of a -chief commander. But the field he renounced for the Cabinet, and -ceased to be a good soldier that he might be a bad statesman. In -nature, he was rash, impetuous, haughty, and uncontrollable; and these -dangerous properties were neither tempered nor improved by education. -To those advantages which are acquired by study, and those great -views which are communicated by habits of reflection, he was entirely -a stranger. His quickness was not corrected by judgment, and his -mind frequently was tired of the objects presented to it before it could -perceive or comprehend them. In a country where eloquence is little -known, his noise and vociferation acquired that name; and without -the experience of common sense, he was extolled as superior to Demosthenes -or Tully. His speeches were not wanting in fire, but they -were innocent of thought. He was perhaps the only man of his time -who could harangue for many hours without communicating one -distinct and well-digested idea to his audience. In estimating his own -merit he knew no bounds. His vanity was excessive: he saw every -man inferior to himself: on every man, therefore, he lavished his contempt. -Capricious to the most boyish excess, he was perpetually -forming resolutions, which he abandoned before he could put them in -execution. Yet his instability, through a fortuitous and whimsical -concurrence of circumstances, generally led the way to success. The -happy blunders of his administration procured him a reputation to -which he had no title. Every scheme he planned ought to have miscarried. -We admire his good fortune, not his wisdom. Popularity -was the idol to which he bowed—a certain proof that his conduct was -not influenced by those superior ideas which arise in high, liberal, and -virtuous minds. Yet to this idol he would have sacrificed everything: -it would have sacrificed everything to him. He possessed that intemperate -pride which, instead of guarding him from indecent errors, led -him to indiscretions; and a respectable character was seldom a security -from the licentious fury of his tongue. In private life he was restless, -fretful, unsocial, and perpetually affecting complaints which he did not -feel: in public life he was weak, headstrong, imprudent, and had no -quality of a good minister but enterprise. If he had continued in his -first profession, he might have served his country with honour; but his -ambition prompted him to assume the character of a statesman, and he -abused it. -</p> -<p> -"On the whole, he possessed virtues; but his passions hurried them -into excess, and he did not even wish to restrain them." -</p> - -<p class="p1" /> -<p>Hear the other side:—</p> - -<p class="center"><span class="smcap">Character of the late Earl of Chatham.</span></p> - -<p> -"The Secretary stood alone; modern degeneracy had not reached -him; original and unaccommodating—the features of his character had -the hardihood of antiquity. No State chicanery, no narrow system of -vicious politics, no idle contest for ministerial victories, sunk him to the -vulgar level of the great; but overbearing and persuasive, his object -was—England; his ambition—fame! Without dividing, he destroyed -party; without corrupting, he made a venal age unanimous. France -sunk beneath him. With one hand he smote the house of Bourbon, -and wielded with the other the democracy of England. The sight of -his mind was infinite; and his schemes were to affect, not England -and the present age only, but Europe and posterity. Wonderful were -the means by which these schemes were accomplished; always seasonable, -always adequate, the suggestion of an understanding animated by -ardour, and enlightened by prophecy. The ordinary feelings which -make life amiable and indolent—those sensations which allure and -vulgarize—were unknown to him. A character so exalted, so strenuous, -so various, so authoritative, astonished a corrupt age, and the -Treasury trembled at the name of Pitt through all her classes of venality. -Corruption imagined, indeed, that she found defects in this statesman, -and talked much of the inconsistency of his glory, and much of -the ruin of his victories; but the history of his country and the calamity -of his enemies answered and refuted her. Nor were his political abilities -his only talents; his eloquence was an era in the senate, peculiar -and spontaneous, familiarly expressing gigantic sentiments and instinctive -wisdom: not like the torrent of Demosthenes, or the conflagration -of Tully; it resembled sometimes the thunder and sometimes -the music of the spheres. He did not conduct the understanding -through the painful subtlety of argumentation; nor was he for ever on -the rack of exertion, but rather lightened on the subject, and reached -the point by the flashings of the mind, which, like those of his eye, -were felt, but could not be followed. Upon the whole, there was in -this man something that could create, reform, or subvert; an understanding, -a spirit, and an eloquence to summon mankind to society, or -to break the bonds of slavery asunder, and rule the wildness of free -minds with unbounded authority: something that could establish or -overwhelm empire, and strike a blow in the world that should resound -through the universe." -</p> -<p> -At the time of Lord Chatham being interred, it was intimated in the -public prints that an epitaph descriptive of his talents and services -was to be inscribed on his tombstone; and that any one writing such -an epitaph would render an acceptable service to the committee who -had the management of his monument. The following was sent, but -as it was unkindly rejected by them, it is here inserted:— -</p> - -<p class="pfs70"> -"<span class="smcap">HERE LIES THE BODY OF WILLIAM PITT, EARL OF CHATHAM;<br /> -A GREAT AND ELOQUENT STATESMAN,<br /> -WHOM THE KING DID NOT CONSULT OR EMPLOY,<br /> -AND WHOM THE KING WAS RESOLVED NEVER TO CONSULT<br /> -OR EMPLOY;<br /> -A MOST INFORMED AND ENLIGHTENED SENATOR,<br /> -A MOST CONVINCING AND PERSUASIVE ORATOR,<br /> -WHOSE OPINIONS AND ADVICE THE PARLIAMENT HEARD WITH MOST<br /> -ILLIBERAL IMPATIENCE,<br /> -AND WHOSE ARGUMENTS THEY TREATED WITH MOST<br /> -SOVEREIGN CONTEMPT.<br /> -THESE WERE THE SENTIMENTS,<br /> -AND THIS THE CONDUCT, OF BOTH KING AND PARLIAMENT.<br /> -TO PERPETUATE THE MEMORY OF HIS ABILITIES,<br /> -AND THEIR WISDOM,<br /> -THAT KING AND THAT PARLIAMENT HAVE<br /> -ERECTED THIS MONUMENT.</span>"<br /> -</p> -</div> - -<div class="footnote"> - -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> It has been generally called a Cheshire cheese. Having never seen -this pride of the English dairy with a hole bored through the middle, -I have ventured to pronounce it a millstone.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> Lord Bute is said to be personified by one of the Highlanders: as -I cannot ascertain which, my reader must discover it—if he can. The -fireman is probably intended for the Duke of Bedford.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> If Hogarth must be so unmercifully abused for what he inserted, -he is entitled to some credit for what he erased. I hope this blot in his -original design will not be considered as an additional blot on his -escutcheon.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> The small pyramid upon a little pedestal immediately behind him -is, I think, an afterthought. It much resembles the ornament inscribed -"Cyprus," which was painted on Hogarth's chariot, and might possibly -be intended to carry some allusion to himself, for the stream of -water from one of the garretteers just touches the point.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> Hogarth seems to have had a strong antipathy to the politics of -this year. In later impressions of Plate 8 of "The Rake's Progress" -will be found a halfpenny with the same date, in which Britannia is -represented in the character of a maniac, with dishevelled hair, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> If this sign of the Castle were not inscribed "<em>New</em>castle Inn," we -should take it for a very old castle indeed. Its being in so ruinous -a state, the frame shattered, and off one hook, describes the Duke's -interest at that time. His Grace might be termed a Father of the -Church, for he had promoted almost every bishop in the kingdom, and -during the continuance of his administration an archbishop's levee -could not have a more sable appearance. He resigned, or was turned -out, which the reader pleaseth; and at his succeeding levee—there was -not one ecclesiastic!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> Lord Besborough and the Honourable Robert Hampden were, I -think, joint Postmasters-General this year; a short time after, Lord -Egmont had the situation of Lord Besborough, but soon resigned.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> The Prince of Wales was born on the 12th of August 1762. Just -after her Majesty was safely in her bed, the waggons with the treasure -of the Hermione entered Saint James's Street, on which the king and -the nobility went to the window over the palace gate to see them, and -joined their acclamations on two such joyful occasions. From hence -the procession, consisting of twenty waggons, etc., proceeded to the -tower.—<cite>Annual Register, 1762, Art. August</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> In the <cite>London Magazine</cite> for September 1762, I find the following -explanation:— -</p> - -<div class="blockquot"> -<p> -"The subject of this print is, as its title expresses it, 'The Times.' -The first object is a quarter of the globe on fire, supposed to be Europe; -and France, Germany, and Spain, denoted by their respective arms, -are represented in flames, which appear to be extending themselves to -Great Britain itself. And this desolation is continued and increased by -Mr. P——, who is represented by the figure of Henry <span class="fs80">VIII.</span>, with a pair -of bellows blowing up those flames which others are endeavouring to -extinguish. He is mounted on the stilts of the populace. There is a -Cheshire cheese hanging between his legs, and round the same '£3000 -per annum.' The manager of the engine-pipe is L—— B——, who is -assisted in working the engine by sailors, English soldiers, and Highlanders; -but their good offices are impeded by a man with a wheel-barrow, -overladen with <cite>Monitors</cite> and <cite>North Britons</cite>, brought to be -thrown in to keep up the flame. The respectable body depictured -under Mr. P——, are the m—— of London, who are worshipping the -idol they had formerly set up; whilst a German prince, who alone is -sure to profit by the war, is amusing himself with a violin among his -miserable countrymen. It is sufficiently apparent who is meant by the -fine gentleman at the dining-room window of the Temple Coffeehouse, -who is squirting at the director of the engine-pipe, whilst his garretteers -are engaged in the same employment. The picture of the Indian alludes -to the advocates for the retaining our West India conquests, which, they -say, will only increase excess and debauchery; and the breaking down -the Newcastle Arms, and the drawing up the patriotic ones, refer to the -resignation of a noble Duke, and the appointment of a successor. The -Dutchman smoking his pipe, with a fox peeping out beneath him, the -emblem of cunning, waiting the issue; the waggon with the treasures of -the Hermione; the unnecessary marching of the militia, signified by the -Norfolk jig; the dove with the olive branch; and the miseries of war, -are obvious, and need no explication." -</p></div> - -<p> -In a newspaper of the day is the following whimsical description of -the characters the writer chooses to say were really intended:— -</p> - -<div class="blockquot"> -<p> -"The principal figure, in the character of Henry <span class="fs80">VIII.</span>, appears to be -not Mr. P——, but another person, whose power is signified by his -bulk of carcase, treading on Mr. P——, represented by 3000. The -bellows may signify his well-meant though ineffectual endeavours to -extinguish the fire by wind, which, though it will put out a small flame, -will cherish a large one. The guider of the engine-pipe I should think -can only mean his M——, who unweariedly tries, by a more proper -method, to stop the flames of war, in which he is assisted by all his -good subjects both by sea and land, notwithstanding any interruption -from <cite>Auditors</cite> or <cite>Britons</cite>, <cite>Monitors</cite> or <cite>North Britons</cite>. The respectable -body at the bottom can never mean the magistrates of London: Mr. -H—— has more sense than to abuse so respectable a body. Much less -can it mean the judges. I think it may as likely be the Court of Session -in Scotland, either in the attitude of adoration, or with outspread arms, -intending to catch their patron should his stilts give way. The -Frenchman may very well sit at his ease among his miserable countrywomen, -as he is not unacquainted that France has always gained by -negotiating what she lost in fighting. The fine gentleman at the window, -with his garretteers, and the barrow of periodical papers, refers -to the present contending parties of every denomination. The breaking -of the Newcastle Arms alludes to the resignation of a great personage; -and the replacing of them by the sign of the Four Clenched Fists may -be thought emblematical of the great economy of his successor. The -Norfolk jig signifies in a lively manner the alacrity of all his Majesty's -forces during the war; and G. T. (George Townshend) <i lang="la" xml:lang="la">fecit</i>, is an opportune -compliment paid to Lord Townshend, who, in conjunction with -Mr. Wyndham, published <cite>A Plan of Discipline for the use of the Norfolk -Militia</cite>, quarto, and had been the greatest advocate for the establishment -of our present militia. The picture of the Indian alive from America, -is a satire on our late uncivilised behaviour to the three chiefs of the -Cherokee nation who were lately in this kingdom, and the bags of -money set this in a still clearer point of view, signifying the sums gained -by showing them at our public gardens. The sly Dutchman with his -pipe seems pleased with the combustion, from which he thinks he shall -be a gainer; and the Duke of Nivernois, under the figure of a dove, is -coming from France to give a cessation of hostilities to Europe."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> In the first impressions, considering Mr. Pitt as a tyrant, he introduced -him in the character of Henry <span class="fs80">VIII.</span>; this was afterwards properly -altered.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> "There are strong prejudices in favour of straight lines, as constituting -true beauty in the human form, where they never should -appear. A middling connoisseur thinks no profile has beauty without -a very straight nose; and if the forehead be continued straight with it, -he thinks it is still more sublime. The common notion that a person -should be straight as an arrow, and perfectly erect, is of this kind. If a -dancing-master were to see his scholar in the easy and gracefully turned -attitude of the Antinous, he would cry shame on him, and tell him he -looked as crooked as a ram's horn, and bid him hold up his head as he -himself did."—<cite>Preface to the Analysis of Beauty</cite>, p. 8.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> Of Ramsay's manner, Churchill had an opinion similar to Hogarth's. -Speaking of Scotland, he says, -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"From thence the Ramsays, men of 'special note,</p> -<p class="verse">Of whom one paints as well as t'other wrote."</p> -<p class="verse"></p> -<p class="verse16">—<cite>Prophecy of Famine.</cite></p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> The British Lion seems by no means delighted at the distribution -he is forced to make. The strong arm, drawing a long lever, has -distorted his mouth, and, though gagged, his wry face shows his agony.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a> Among the admirable things recorded as Mr. Wilkes' jests, is a -remark upon this same <em>red</em> book: "Sir, it is the only book now red" -(<em>read</em>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a> See the <cite>North Briton</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a> As a paint-pot and brushes are placed in the corner, it is supposed -Hogarth intended to represent Himself as one of the group: perhaps -this may be the figure.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a> The porter with his knot upon his head, and a pipe in his mouth, -leans against the pillory.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a> Let it be observed, that in this, as well as in many more of Mr. -Hogarth's prints, the buildings are reversed: in the drawing from -whence the engraving was made they were right.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a> To be told that I am wrong in some of their names will not surprise -me. The figure presenting a snuff-box, I judged to be Earl Temple, -from his face having been originally etched without features, and a nose -and chin added. Another with a riband, whose back only is seen, from -its similarity to an engraving after the design of a noble marquis, I -have denominated Lord Winchelsea. A higher figure, on his left hand, -is possibly the Duke of Bedford; the interrogating profile, with a hat -on, somewhat lower, has the air of Mr. Rigby.<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a> I have conjectured -that a gentleman remarkably rotund is intended for Lord Melcombe; -the noble lord beneath him may be designed for the Duke of Devonshire; -and the grave senator in spectacles, above the ear-trumpet, is -perhaps Earl Bath.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> The rail, which I have said was perhaps intended to divide the -Commons from the Lords, might yet be designed to divide the men -most active in the Opposition from the Ministry. To either supposition -there are objections which I cannot solve.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156"><span class="label">[156]</span></a> A man in a porter-house, classing himself as an eminent literary -character, was asked by one of his companions what right he had to -assume such a title? the reply was remarkable: "Sir, I'd have you -know, I had the honour of chalking Number 45 upon every door -between Temple Bar and Hyde Park Corner."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157"><span class="label">[157]</span></a> The public must certainly have had the same opinion, for at that -period Mr. Wilkes was in the meridian of his popularity. Though not -exactly like Gay's hare in the fable, he had many friends, and Mr. -Nichols relates, that a copperplate printer informed him near four -thousand copies of this etching were worked off in a few weeks. These -must necessarily have been sold, and we may naturally infer were -bought by his friends.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158"><span class="label">[158]</span></a> Equally memorable was his reply to a friend who requested him to -sit to Sir Joshua Reynolds, and have his portrait placed in Guildhall, -being then so popular a character that the Court of Aldermen would -willingly have paid the expense. "No," replied he, "No! they shall -never have a delineation of my face, that will carry to posterity so -damning a proof of what it was. Who knows but a time may come -when some future Horace Walpole will treat the world with another -quarto volume of historic doubts, in which he may prove that the -numerous squinting portraits on tobacco papers and halfpenny ballads, -inscribed with the name of John Wilkes, are 'a weak invention of the -enemy,' for that I was not only unlike them, but, if any inference can -be drawn from the general partiality of the fair sex, the handsomest man -of the age I lived in."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159"><span class="label">[159]</span></a> If Hogarth at first intended it for a caricature, who knows but the -old lion might have repented himself, for he afterwards threw the -original drawing into the fire; it was snatched out by Mrs. Lewis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160"><span class="label">[160]</span></a> That Hogarth should be unseen by all, and yet seen by Virtue, if -not a blunder, is very nearly allied to it.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161"><span class="label">[161]</span></a> This remark extends no further than to the figure of Churchill. In -the little design on a palette, which was added some time after the print -was published, there is much wit.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162"><span class="label">[162]</span></a> These angry strains had, I suppose, their origin in Hogarth having -on some occasion charged Churchill with falsehood. The accusation -might probably allude to personal satire, and the bard's warmest admirers -must admit, that though his characters are highly drawn, and still more -highly coloured, they are rather political than historical, rather poetical -than biographical. An uneducated painter, who had not taste enough -to conceive that poetry, however animated, could make that truth -which he knew to be falsehood, might possibly give his opinion in very -displeasing terms.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163"><span class="label">[163]</span></a> Porter was the poet's favourite beverage; but though he quaffed -more <em>entire butt than bard beseems</em>, he drank still deeper draughts from -the fountain of Helicon. Many of his stanzas breathe inspiration.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164"><span class="label">[164]</span></a> Much wretched writing, in both verse and prose, concerning this -contest between the pencil and the pen, was inserted in the prints of the -day. The following explanation, indifferent as it may be thought, is -the best I happen to have seen:— -</p> -<p> -"The bear with a tattered band represents the former strength and -abilities of Mr. Hogarth; the full pot of beer likewise shows that he -was in a land of plenty. The stump of a headless tree, with the -notches, and on it written 'Lie,' signifies Mr. Hogarth's former art, and -the many productions thereof, wherein he has excelled even nature -itself, and which of course must be but lies, flattery, and fallacy, the -painter's prerogative; and the stump of a tree only being left, shows -that there can be no more fruit expected from thence, but that it only -stands as a record of his former services. The butcher's dog trampling -on Mr. Churchill's Epistle alludes to the present state of Mr. Hogarth, -who is now reduced from the strength of a bear to a blind butcher's dog, -not able to distinguish, but degrading, his best friends; or perhaps -giving the public a hint to read that Epistle, where his case is more fully -laid before them. The next matter to be explained is the subscription-box, -and under it is a book said to contain <em>A List of Subscribers to the -North Briton</em>, as well as one of <em>A New Way to Pay Old Debts</em>. Mr. -Hogarth mentioned the <cite>North Briton</cite> to avoid the censure of the rabble -in the street, who he knew would neither pity nor relieve him; and as -Mr. Churchill was reputed to be the writer of that paper, it would seem -to give a colour in their eyes of its being intended against Mr. Churchill. -Mr. Hogarth meant only to show his necessity, and that a book entitled -<em>A List of Subscribers to the North Briton</em> contained in fact a list of -those who should contribute to the support of Mr. Hogarth in old age. -By the book entitled <em>A New Way to Pay Old Debts</em>, he can only -mean this, that when a man is become disabled to get his livelihood -and much in debt, the only shift he has left is to go a-begging to his -creditors. -</p> -<p> -"There are likewise in this print some of his old tools, without any -hand to use them."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165"><span class="label">[165]</span></a> This thought might possibly be suggested by one of Shakspeare's -witches: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse4">"Sleep shall neither night nor day</p> -<p class="verse">Hang upon his pent-house lid,</p> -<p class="verse">He shall live a man forbid," etc.</p> -</div></div> - -<p> -How admirable a contrast is formed by Robert Lloyd's description -of an opposite character! -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Dull folly,—not the wanton wild,</p> -<p class="verse">Imagination's younger child,</p> -<p class="verse">Had taken lodgings in his face,</p> -<p class="verse">As finding that a vacant place."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166"><span class="label">[166]</span></a> "Little did the sportive satirist imagine that the power of pleasing -was so soon to cease in both! Hogarth died in four weeks after the -publication of this poem, and Churchill survived him but nine days. -In some lines which were printed in November 1764, the compiler of -these anecdotes took occasion to lament that -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verse8">"'Scarce had the friendly tear,</p> -<p class="verse">For Hogarth shed, escap'd the generous eye</p> -<p class="verse">Of feeling pity, when again it flow'd</p> -<p class="verse">For Churchill's fate. Ill can we bear the loss</p> -<p class="verse">Of Fancy's twin-born offspring, close allied</p> -<p class="verse">In energy of thought, though different paths</p> -<p class="verse">They sought for fame!—Though jarring passions sway'd</p> -<p class="verse">The living artists, let the funeral wreath</p> -<p class="verse">Unite their memory!'"</p> -<p class="verse"></p> -<p class="verse10">—<cite>Nichols' Biographical Anecdotes of Hogarth.</cite></p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167"><span class="label">[167]</span></a> In Mr. Churchill's will was the following item:— -</p> -<p> -"I desire my dear friend John Wilkes, Esq., to collect and publish -my works, with the remarks and explanations he has prepared, and any -other he thinks proper to make." -</p> -<p> -Could Mr. Churchill really think it was possible that notes by Mr. -Wilkes, or any other man, would justify his malignant attack upon -Hogarth?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168"><span class="label">[168]</span></a> What a satire upon himself! What an apology for Hogarth's print!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169"><span class="label">[169]</span></a> This is a very singular acknowledgment: it is, I believe, the first -instance of a person feeling himself flattered at being told that he had -murdered an old man.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170"><span class="label">[170]</span></a> He frequently engraved a ticket for one series of prints, and presented -it with another.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171"><span class="label">[171]</span></a> See the engraved title-page to vol. ii.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172"><span class="label">[172]</span></a> In the reduced copy I have ventured to abridge this title, though -the very ingenious baptisms of sundry modern prints would have given -ample countenance to the old inscription. For example: A girl hugging -a dog in her arms is, with great attention to analogy, called -"Nature;" and a woman with a large mallet in one hand, and a -tenpenny nail in the other, "Art." -</p> -<p> -A female with a consumptive curd-and-whey countenance, that would -not have got her a lover even in Otaheite, they have miscalled "Beauty;" -and a little gorged misshapen boy, with swollen cheeks, and a bow and -arrow, they kindly inform you is "Love." -</p> -<p> -A farmer's daughter with a basket on her arm, in which are two -pigeons quarrelling for a straw, and drawing it different ways, is -christened "Conjugal Peace;" and a very picturesque landscape, with -a crowd of figures in the background, baptized "Solitude!" -</p> -<p> -Innumerable other instances might be given; but these are sufficient -to prove, that in erroneous inscription Hogarth is not alone.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173"><span class="label">[173]</span></a> This good gentleman was undoubtedly designed to place his hand -upon his heart; but Hogarth had either heard of some examples similar -to one which was lately seen at Dr. John Hunter's, or has, as in many -other instances, reversed the drawing.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174"><span class="label">[174]</span></a> The Countess Spencer, who has dignified the arts by making several -very elegant drawings, has given a sanction to this baptism in a print -lately engraved by Bartolozzi.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175"><span class="label">[175]</span></a> The pit was formerly the seat of the critics, and dread of authors; -our critics of the present day have <em>taken to</em> the green boxes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176"><span class="label">[176]</span></a> The father of Huggins was warden of the Fleet Prison, and in that -office guilty of extortion, cruelty, breach of trust, and many other -crimes; he accumulated a considerable fortune, and died at ninety -years of age. His son William was educated for holy orders, and sent -to Magdalen College, Oxford, where he took the degree of M.A., but -on the death of his elder brother gave up all thoughts of entering into -the church. In 1757 some flattering verses were addressed to him on -his version of Ariosto: they are preserved in the <cite>Gentleman's Magazine</cite>, -vol. xxvii. p. 180; but, except by the author and the person to whom -they are written, were probably never read through. A specimen of -his translation from Dante, which was published in the <cite>British Magazine</cite> -for 1760, exhibits an unequivocal proof that Mr. Huggins was worthy -of his encomiast. He died the 2d of July 1761, and left to posterity -a <span class="fs80">MS.</span> tragedy, a <span class="fs80">MS.</span> translation of Dante, a <span class="fs80">MS.</span> farce, and though last, -not least in estimation—two thousand pounds per annum.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177"><span class="label">[177]</span></a> He was a respectable performer on the violin, some years chapelmaster -at Antwerp, and several seasons leader of the band at Marybone -Gardens. He published a collection of musical compositions, to -which was annexed a portrait of himself, characterized by three lines -from Milton: -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Thou honour'dst verse, and verse must lend her wing</p> -<p class="verse">To honour thee, the priest of Phœbus' quire,</p> -<p class="verse">That tun'st her happiest lines in hymn or song."</p> -</div></div> - -<p> -He died in 1750, aged seventy years, and gives one additional name -to a catalogue I have somewhere seen of very old professors of music, -who, saith my author, "generally live unto a greater age than persons -in any other way of life, from their souls being so attuned unto harmony, -that they enjoy a perpetual peace of mind." It has been observed, and -I believe justly, that thinking is a great enemy to longevity, and that, -consequently, they who think least will be likely to live longest. The -quantity of thought necessary to make an adept in this divine science -must be determined by those who have studied it.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178"><span class="label">[178]</span></a> In thus bringing to shame the ignorant or prejudiced audience who -could be blind to his genius, he hath been right worthily imitated by -sundry great writers in this our day.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179"><span class="label">[179]</span></a> I once saw the following <span class="fs80">MS.</span> note in the marginal leaf of this -oratorio: "If the writer of this <ins class="corr" title="Transcriber's Note—Original text: 'had his deserts'">had his desserts</ins>, -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Full soon would injur'd Judith slay him,</p> -<p class="verse">Or pious Jael, Siser-a him."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a> At a time when Doctor Shippen, I mean the astronomical Shippen, -was principal of Brazennose College, the musical professor died, and -the Doctor offered himself as a candidate for the place. To the science -he was a total stranger, but by strength of interest carried the election, -though opposed by a gentleman highly eminent for his musical abilities. -</p> -<p> -In less than twelve moons the professor of astronomy died, and the -electors, ashamed of their former conduct, went in a body to the -musical gentleman they had before rejected, and offered him the vacant -astronomical chair. He was weak enough to refuse; because, forsooth, -he did not understand astronomy, and died without place, pension, or -university honour. -</p> -<p> -Even now these things are managed in much the same way. A -nobleman who had the privilege of appointing a chorister to Christ -Church, Cambridge, sent them one who was not only ignorant of music, -but croaked like an old raven, because the fellow had a vote for a -Huntingdonshire borough. This gave rise to the following epigram:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"A singing man, and cannot sing!</p> -<p class="verse4">From whence arose your patron's bounty?</p> -<p class="verse">Give us a song!—Excuse me, sir,</p> -<p class="verse4">My voice is in another county."</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a> "A chief betokeneth a senatour, or honourable personage, borrowed -from the Greek, and is a word signifying a head; and as the head is -the chief part in a man, so the chief in the escocheon should be a reward -of such only, whose high merites have procured them chief places, -esteem, or love amongst men."—<span class="smcap">Guillim.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182"><span class="label">[182]</span></a> "The bearing of clouds in armes (saith Upton) doth import some -excellencie."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183"><span class="label">[183]</span></a> Originally printed <em>docter</em>, but altered.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184"><span class="label">[184]</span></a> One of them, but I know not which, is said to be intended for -Doctor Pierce Dod, physician to St. Bartholomew's Hospital, who died -August 6, 1754. Another for Doctor Bamber, a celebrated anatomist, -physician, and accoucheur, to whose estate the present Gascoyne family -succeeded, and by whose surname two of them have been baptized.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185"><span class="label">[185]</span></a> When very young, I was once in company with the Chevalier at -the house of a Doctor Cheyne Harte, in Shrewsbury, and I remember -his person having a strong resemblance to this print. I also recollect -that he carried his gold, silver, and copper coin in his coat pocket. He -had uncommon skill in his profession, but was ridiculously ostentatious, -and is said to have expended near a thousand guineas in a set of gold -instruments. At this species of foppery Hogarth has well hinted, in -the laced or Dresden ruffles with which he alone is decorated. His -portrait was painted at Rome by the Chevalier Riche. Beneath it is -the following inscription: "Joannes Taylor, Medicus in Optica expertissimus, -multisque in Academiis celeberrimis Socius."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186"><span class="label">[186]</span></a> To this volume there is the longest title I remember to have seen: -it might serve for a table of contents; and containing a sort of brief -abstract of his adventures, I have inserted it:— -</p> - -<div class="blockquot"> - -<p>"<cite>The Life and Extraordinary History of Chevalier John Taylor</cite>, Member -of the most celebrated Academies, Universities, and Societies of the -learned—Chevalier in several of the first courts of the world—illustrious -(by patent) in the apartments of many of the greatest Princes,<a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a> -Ophthalmiater Pontifical, Imperial, and Royal—to his late Majesty—to -the Pontifical Court—to the Person of her Imperial Majesty—to the -Kings of Poland, Denmark, Sweden, etc.—to the several Electors of -the Holy Empire—to the Royal Infant Duke of Parma—to the Prince -of Saxe-Gotha, Serenissime, brother to her Royal Highness the Princess -Dowager of Wales—to the Prince Royal of Poland—to the late Prince -of Orange—to the present princes of Bavaria, Modena, Lorraine, -Brunswick, Anspach, Bareith, Liege, Salzbourg, Middlebourg, Hesse -Cassel, Holstein, Zerbst, Georgia, etc.—Citizen of Rome, by a public -act in the name of the senate and people—Fellow of that College of -Physicians—Professor in Optics—Doctor in Medicine, and Doctor in -Chirurgery, in several universities abroad; who has been on his travels -upwards of thirty years, with little or no interruption, during which he -has not only been several times in every town in these kingdoms, but in -every kingdom, province, state, and city of the least consideration—in -every court,<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a> presented to every crowned head and sovereign prince in -all Europe, without exception: containing the greatest variety of the -most entertaining and interesting adventures, that, it is presumed, has -ever yet been published in any country or in any language."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187"><span class="label">[187]</span></a> When he was once enumerating the honours he had received -from the different princes of Europe, and the orders with which he -had been dignified by innumerable sovereigns, a gentleman present remarked -that he had not named the King of Prussia; and added, "I -suppose, sir, he never gave you any order?" "You are mistaken, -sir," replied the Chevalier: "he gave me a very peremptory order -to quit his dominions."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188"><span class="label">[188]</span></a> On his return from a tour on the Continent, he once met a plain -man, who, addressing him with great familiarity, was repulsed with a -cold formal frown,—and, "Sir, I really don't remember you." "Not -remember me! why, my goodness, Doctor! we both lodged on one floor -in Round Court." "Round Court,—Round Court,—Round Court?—Sir, -I have been in every court in Europe, but of such a court as -Round Court I have no recollection."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189"><span class="label">[189]</span></a> <em>September 16, 1736.</em> "On Thursday Mrs. Mapp's plate of ten -guineas was run for at Epsom. A mare, called Mrs. Mapp, won the -first heat, when Mrs. Mapp gave the rider a guinea, and swore, if he -won the plate she would give him a hundred." -</p> -<p> -<em>September 23, 1736.</em> "Mrs. Mapp continues making extraordinary -cures: she has now set up an equipage, and on Sunday waited on her -Majesty." -</p> -<p> -<em>October 19, 1736, London Daily Post.</em> "Mrs. Mapp being present at -the acting of <cite>The Wife's Relief</cite>, concurred in the universal applause of -a crowded audience. This play was advertised by the desire of Mrs. -Mapp, the famous bone-setter from Epsom." -</p> -<p> -<em>October 21, 1736.</em> "On Saturday evening there was such a concourse -of people at the Theatre Royal in Lincoln's-Inn Fields to see the famous -Mrs. Mapp, that several ladies and gentlemen were obliged to return -for want of room. The confusion at going out was so great, that several -ladies and gentlemen had their pockets picked, and many of the former -lost their fans, etc. Yesterday she was elegantly entertained by Doctor -Ward, at his house in Pall Mall." -</p> -<p> -"On Saturday, and yesterday, Mrs. Mapp performed several operations -at the Grecian Coffeehouse, particularly one upon a niece of Sir -Hans Sloane,<a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a> to his great satisfaction, and her credit. The patient -had her shoulder-bone out for about nine years." -</p> -<p> -<em>December 22, 1737.</em> "Died last week, at her lodgings near Seven -Dials, the much talked of Mrs. Mapp, the bone-setter, so miserably -poor, that the parish was obliged to bury her."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190"><span class="label">[190]</span></a> I have heard it suggested that this harlequin figure, received as Mrs. -Mapp, was really intended for Sir Hans Sloane.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191"><span class="label">[191]</span></a> He was originally in partnership with his brother, a drysalter in -Thames Street. By a fire which broke out in an adjoining house, their -joint property was destroyed, and Mr. Ward escaped by clambering -over the tops of several houses in his shirt. -</p> -<p> -In the year 1717 he was returned member for Marlborough, but by -a vote of the House of Commons declared not duly elected. It is -imagined that he was in some manner connected with his brother John -Ward (immortalized by Mr Pope) in the South Sea Bubble, for he left -England rather abruptly; and during his residence abroad, is supposed -to have turned Roman Catholic. -</p> -<p> -It was during his exile that he acquired such a knowledge of medicine -and chemistry as was afterwards the means of raising him to a state of -affluence. About the year 1733 he began to practise physic, and combated -for some time the united efforts of argument, jealousy, and ridicule, -by each of which he was opposed. By some lucky cures, and particularly -one on a relation of Sir Joseph Jekyl, Master of the Rolls, he -triumphed over his enemies; was, by a vote of the House of Commons, -exempted from being visited by the censors of the college, and called -in to the assistance of George the Second, whose hand he cured; and -in lieu of a pecuniary compensation, was, at his own request, permitted -to ride in his gaudy and heavy equipage through St. James's Park, an -honour seldom granted to any but persons of rank. Besides this, the -King gave a commission to his nephew, the late General Gansel. -</p> -<p> -He distributed medicine and advice to the poor gratis. There is as -bad a print as I have seen representing him thus employed. By such -conduct he acquired great popularity, and was, indeed, entitled to great -praise. -</p> -<p> -He died December 21, 1761, at a very advanced age, and left the -receipts for compounding his medicines to Mr. Page, member for -Chichester, who bestowed them on two charitable institutions, which -have derived considerable advantage from the profits attending their sale. -</p> -<p> -In the <cite>London Chronicle</cite> for February 27, 1762, is the following -intimation:— -</p> - -<div class="blockquot"> -<p> -"A monument is going to be erected in Westminster Abbey, next -to that of Mr. Dryden's, to the memory of Joshua Ward, of Whitehall, -Esq., on which will be placed a fine bust of the deceased, that had been -long in his possession."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192"><span class="label">[192]</span></a> The veil which was then spread over this science has been partly -removed by the publication of Doctor Buchan's <cite>Domestic Medicine</cite>,—a -treatise which I have frequently heard reprobated by gentlemen of the -Faculty, for laying open to the world, in language so perspicuous, those -mysterious secrets which had been before disguised in dog Latin: it -has, however, gone through more editions than any book in this language, -except <cite>Robinson Crusoe</cite> and the <cite>Pilgrim's Progress</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193"><span class="label">[193]</span></a> The poet, in this instance, laboureth under a mistake; for I am -informed by a gentleman learned in the law, that if a physician neglecteth -to receive his fees, and his patient recovereth, he hath no legal -claim, neither will an action lie; but if his patient dieth, an action -against the executors is good: the Court will admit the claim, and the -jury find a verdict, with full costs of suit. -</p> -<p> -This is very proper, and proveth that <em>law</em> and <em>equity</em> are the same; -and that if a physician <em>doth his business</em>, he can recover his reward; -but if he neglecteth, and <em>his patient doth not die</em>, why should he have -any remuneration?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194"><span class="label">[194]</span></a> What caricature is in painting, burlesque is in writing; and in -the same manner the comic writer and painter correlate to each other. -But here I shall observe, that as in the former the painter seems to -have the advantage, so it is in the latter infinitely on the side of the -writer; for the monstrous is much easier to paint than describe, and -the ridiculous to describe than paint. And though perhaps this latter -species doth not in either science so strongly affect and agitate the -muscles as the other, yet it will be owned, I believe, that a more -rational and useful pleasure arises to us from it. -</p> -<p> -"He who should call the ingenious Hogarth a burlesque painter, -would, in my opinion, do him very little honour; for sure it is much -easier, much less the subject of admiration, to paint a man with a nose or -any other feature of a monstrous size, or to expose him in some absurd -or monstrous attitude, than to express the affections of men on canvas. -It has been thought a vast commendation of a painter to say, his figures -seem to breathe; but surely it is a much greater and nobler applause, -that they appear to think." -</p> -<p> -This is Fielding's opinion, and the <em>fiat</em> of such a writer ought to have -great weight; for his characters and Hogarth's pictures are drawn -from the same source.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195"><span class="label">[195]</span></a> I have adhered to Hogarth's orthography.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196"><span class="label">[196]</span></a> She was suspected to have been concerned in the murder of Mr. -Nesbit in 1729, near Drury Lane, for which one Kelly, <em>alias</em> Owen, -suffered death. The only ground of his conviction was a bloodied -razor, that was known to be his property, being found under the -murdered man's head. Kelly died protesting his innocence, and -solemnly asserted that he had lent the razor to a woman whose name -and habitation he did not know.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197"><span class="label">[197]</span></a> It appeared on the trial that Mrs. Duncombe had only fifty-four -pounds in her box; and fifty-three pounds eleven shillings and sixpence -were found upon Malcolm.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198"><span class="label">[198]</span></a> One part of her defence was, it must be acknowledged, rather -weak: she declared that seventeen pounds of the money found in her -hair was sent to her by her father; but on inquiry, it was proved that -he lived in a state of extreme and pitiable poverty in the city of Dublin, -where she was born.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a> The crowd was so great, that a Mrs. Strangeways, who lived in -Fleet Street, near Serjeants' Inn, crossed the street from her own -house to Mrs. Coulthurst's, on the opposite side of the way, over the -heads and shoulders of the populace.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200"><span class="label">[200]</span></a> This paper he sold for twenty pounds; and the substance of it -was printed in the <cite>Gentleman's Magazine</cite> for 1733. Peddington died -September 18, 1734.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201"><span class="label">[201]</span></a> The late Mr. Barry, whose works are an honour to his age and -country, and would alone give celebrity and immortality to the English -school, in his picture of "Elysium," or the state of final retribution, -has introduced Sir Isaac Newton looking at the solar system, which -an angel is to him uncovering. This is one of the most sublime and -poetical thoughts I ever saw expressed upon canvas.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202"><span class="label">[202]</span></a> That his conquests have in their consequences rendered the people -he subdued unhappy, must be admitted, and is to be lamented. -Though I am inclined to suspect that the narrations of Bartholomew -de las Casas, and some other writers, are greatly exaggerated, we have -indisputable evidence of such oppression, murder, and massacre, as -must make every reader shudder. If the same system is still pursued,—and -I fear it has been but little softened,—the evil will correct itself; and -who will not rejoice at the total extirpation of these merciless tyrants, and -emancipation of that unhappy race whom they have so long enslaved? -Let us not, from this, censure the extension of commerce, or civilisation -of the savage; for both these great objects ultimately tend to make -men wiser, better, and happier. To the beardless philosopher, who -adopts the fascinating visions of Rousseau, is an advocate for the -blessings of barbarism, and contends for the superiority of the savage -to the civilised animal, I earnestly recommend the perusal of Mickle's -<cite>Introduction to the Lusiad</cite>. If the arguments adduced by that excellent -writer—and, from intimate personal knowledge, I venture to add, -excellent man—will not convince him, and he still languishes for pathless -wilds, let him retreat from civilised society to the frozen rocks of -Kamtschatka, or join the Aborigines of New Holland.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203"><span class="label">[203]</span></a> "When he promised a new hemisphere, it was insisted upon that -no such hemisphere could exist; and when he had discovered it, asserted -that it had been known long before. The honour was given to the -Carthaginians; and, to prove they deserved it, a book of Aristotle's was -quoted, which Aristole never wrote. It was further said, that one -Martin Behem went from Nuremburg to the Straits of Magellan, in -1460, with a patent from the Duchess of Burgundy, who, as she was -not alive at that time, could not issue patents."—<span class="smcap">Voltaire.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204"><span class="label">[204]</span></a> Some authors have said from the port of Gomera, and dated his -departure on the 6th of September. This <em>momentous</em> point must be -decided by those who study minute chronology; and we are so fortunate -as to live in the same age with a writer who can determine the day of -the month and day of the week when Adam was created: -</p> -<p> -"Adam created, Friday, October 28, 4004; died, 3034 before Christ, -aged 930."—Trusler's <cite>Chronology</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> Americus Vespucius, a merchant of Florence, had the honour of -giving his name to this new half of the globe, in which he did not -possess one acre of land; and pretended to be the first who discovered -the continent. Admitting it true that he first discovered it, the glory -is due to the man who had the penetration to see that the voyage was -practicable, and the courage to perform it. Columbus made three -voyages, as viceroy and admiral, five years before Americus made one -as a geographer; but Vespucius writing to his friends at Florence that -he had discovered a new world, they took his word, and the citizens -decreed that a grand illumination should be made before the door of his -house every three years, on the feast of All Saints. Such are the accidents -by which honours are attained. A merchant gives his name to -one half of the globe from happening to be on board a fleet that in 1489 -sailed along the coast of Brazil!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206"><span class="label">[206]</span></a> This story has been told of Brunelleschi, who improved the architecture -of Florence many years before Columbus was born, and it has -been since related of many others. These ambulatory anecdotes are -transferred from one traveller to another, like the wishing-cap of -Fortunatus, that was made to fit every head on which it was placed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207"><span class="label">[207]</span></a> "There is scarce an Egyptian, Greek, or Roman deity, but hath a -twisted serpent, twisted cornucopia, or some symbol winding in this -manner, to accompany it."—<cite>Preface to Analysis of Beauty</cite>, p. 18.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208"><span class="label">[208]</span></a> Some of these were in wood, and some in copper. The painter, -when once asked why he did not answer them, replied, that "he had -not seen one which promised to live so long as it would take to engrave -a plate." A few of these poignant satires I have seen; but they have -now attained a black letter value, and are seldom to be found except in -the cabinets of the curious. A series of six or eight, beginning with one -entitled "The Butifyer, or a Touch on the Times," Plate I., were designed -and engraved by an artist of deserved celebrity.<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a> With a frankness for -which he is remarkable, and which does him honour, he once acknowledged -to me, that being a very young man, he was deceived by the -loud clamours of certain veterans, at that time leaders in the arts; but -had he seen Hogarth's merit then as he does now, nothing should have -induced him to attempt the ridicule of such talents.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209"><span class="label">[209]</span></a> Mr. Paul Sandby.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210"><span class="label">[210]</span></a> This alludes to the time Hogarth thought would elapse before -Stuart's plan was completed; and the prediction was amply verified, for -the second volume of <cite>Athens</cite> was not published until 1789 or 90, -though the title-page is dated 1787.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211"><span class="label">[211]</span></a> Stuart being once questioned by Frank Hayman upon his right to -assume both these titles, said that "Poetry was his wife, and Architecture -his mistress." "You may call them so," said Hayman, "but I never -heard that you had living issue by either."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_212_212" id="Footnote_212_212"></a><a href="#FNanchor_212_212"><span class="label">[212]</span></a> The mortification Hogarth naturally felt at seeing more money -given for a drawing of an ancient pig-sty than he received for his most -capital work, was unquestionably the strongest inducement.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_213_213" id="Footnote_213_213"></a><a href="#FNanchor_213_213"><span class="label">[213]</span></a> A description of this print was published in <cite>The Beauties of all the -Magazines</cite> for 1761; part of it I have subjoined:— -</p> - -<div class="blockquot"> -<p> -"Over the first row is written the title Episcopal. The first capital -discovers only a forked nose, lips, and one eye; the rest of the face is -eclipsed by the wig's protuberance. The next three etchings are only -the hinder parts of heads; by these Mr. Hogarth satirizes the present -age for their immoralities, which are so notorious, that three-fifths of -the religious orders turn their backs upon us, not being able to behold -such wickedness. -</p> -<p> -"The last visage in the line is marked with true pedantic contempt; -the wig's fore-top is like the forked hill of Parnassus, and there is a roll -round the forehead, like a <span class="fs80">MS.</span> scroll; the eyelids are almost closed, -which denotes <em>the wise man's wink</em>, or that he can see the world with -half an eye. The muscles of the countenance are curled up into disdain, -and he seems to say, 'I despise ye, ye illiterati!' -</p> -<p> -"The immense quantity of grizzle which is wove into the wigs carries -a twofold design—for reverence and for warmth. The make of these -canonicals evinces the care this order take of themselves, for the sake of -those committed to their trust; and the profusion of curls or friz in each -denotes the wearer must be most learned, because, as the country folk -say, Why should they put a double coat of thatch upon a barn, without -there was a greater proportion than ordinary of grain housed therein? -</p> -<p> -"The next row is inscribed Aldermanic. The first wig has two ends, -exactly like the dropsical legs of some over-gorged glutton; and the -three-quartered face indicates Plenty, Porter, and Politics. On the -brow, domestical significancy is seated; a look necessary to each -master who dozes in his arm-chair on the Sunday evening, while his -lady reads prayers to the rest of the family. It is a countenance which -carries dignity with it even at the upper end of a table at a turtle-eating. -</p> -<p> -"The second has one lock dependent like a sheep's bushy tail. This -man could make speeches, knew the nature of debentures, and was -much harassed by cent. per cent. commerce. Many are the sleepless -nights he has passed in scheming how to fix, if for only half a day, the -fluctuating chances of 'Change Alley. -</p> -<p> -"The third wig is, as the sailors say, 'all aback.' By the swelling -of the full bottom, we have an idea of Magna Charta consequence, and -guess that the wearer would say something—if he could but see it. -</p> -<p> -"The next is parted triangular-wise, to fall each side the shoulders. -This design was originally taken from a nutting-stick. Thus one of our -finest capitals was delineated from a square tile, a weed, and a basket. -</p> -<p> -"With all modest conjecture we presume, from our intense application -to mathematics, that the semicircular sweep at the end of the last full -bottom signifies a gold chain. But as we are Englishmen, and will -have nothing to do with chains, we shall hasten to the wigs and chins -in the third, entitled 'Lexonical.' -</p> -<p> -"Great men are always celebrated for great things: Cicero for his -wart; Ovid for a nose almost equal to Slawkenbergius'; and this portrait -seems to be ushered into notice by the curvature of the chin. How -venerably elegant do these Lexonicals appear! Here is indeed law at -full length. Special pleadings in the fore-top; declarations, replications, -rejoinders, issues, and demurrers in every buckle. The knotty -points of practice in the intricacies of the twisted tail, and the depth of -the whole wig, emblematically express the length of a Chancery suit, -while the black coif behind looks like a blister."</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a> A term peculiarly appropriated to the Court of Common Pleas.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_215_215" id="Footnote_215_215"></a><a href="#FNanchor_215_215"><span class="label">[215]</span></a> To the honour of Sir John Fielding, he once attempted to prevent -its being performed, but the attempt failed. Since that time it has -been so completely disfigured by Mr. Charles Bannister being disguised -in the character of Polly, and Macheath personated by Mrs. Cargill, -etc. etc. etc., that no person who had the least pretensions to taste -would be seen at such a drama in masquerade.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_216_216" id="Footnote_216_216"></a><a href="#FNanchor_216_216"><span class="label">[216]</span></a> "<cite>Johnson.</cite> I am of opinion that more influence has been ascribed -to the <cite>Beggars' Opera</cite> than it in reality ever had; for I do not -believe that any man was ever made a rogue by being present at its -representation. At the same time, I do not deny that it may have some -influence, by making the character of a rogue familiar, and in some -degree pleasing." Then collecting himself, as it were to give a heavy -stroke; "There is in it such a labefaction of all principles, as may be -injurious to morality."—Boswell's <cite>Johnson</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a> A very eminent physician, whose discernment is as acute and penetrating -in judging of the human character as it is in his own profession, -remarked once at a club where I was, that a lively young man would -hardly resist a solicitation from his mistress to go upon the highway, -immediately after being present at the <cite>Beggars' Opera</cite>. I have been told -of an ingenious observation by Mr. Gibbon, that "the <cite>Beggars' Opera</cite> -may perhaps have sometimes increased the number of highwaymen, -but that it has had a beneficial effect in refining that class of men, -making them less ferocious, more polite, in short, more like gentlemen." -Upon this Mr. Courtenay said, that Gay was the Orpheus of highwaymen.—Note -upon Boswell's <cite>Johnson</cite>, vol. i. p. 488.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_218_218" id="Footnote_218_218"></a><a href="#FNanchor_218_218"><span class="label">[218]</span></a> Glory be to great Apollo! At that auspicious period his lyre should -have been new strung, and exalted in Britain; for her nobles were as -much interested in the disputes between a trio of Italian singers, as they -now are in those on which depends the salvation of the empire.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a> The Ridiculous Travellers returned to Italy. -</p> -<p> -An Italian I was once talking with upon this crotchet contest, concluded -an harangue, calculated to throw Gay's talents and taste into -ridicule, with "Saire, this simple signor did tri to pelt mine countrymen -out of England with <em>Lumps of Pudding</em>," another of the <cite>Beggars' Opera</cite> -tunes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_220_220" id="Footnote_220_220"></a><a href="#FNanchor_220_220"><span class="label">[220]</span></a> Doctor Arbuthnot, describing the declining state of operas (in a -letter printed in the <cite>Daily Journal</cite>), says, "I take the <cite>Beggars' Opera</cite> -to be the touchstone to try British taste on, and it has accordingly -proved effectual in discovering our true inclinations, which, how artfully -soever they may be disguised by a childish fondness for Italian -poetry and music, in preference to our own, will, in one way or other, -start up and disclose themselves."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_221_221" id="Footnote_221_221"></a><a href="#FNanchor_221_221"><span class="label">[221]</span></a> In the <cite>London Chronicle</cite> for April 6, 1762, is the following paragraph: -"On Friday last, at the sale of the late Mr. Rich's pictures, -jewels, etc., a clock by Graham was bought by the Right Honourable -the Earl of Chesterfield for £42; and a scene in the <cite>Beggars' Opera</cite>, -where Lucy and Polly are pleading for Macheath, painted by Hogarth, -was sold for £32, 14s. to his Grace the Duke of Leeds. The money -arising from the whole sale amounted to £683, 14s."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_222_222" id="Footnote_222_222"></a><a href="#FNanchor_222_222"><span class="label">[222]</span></a> The name of that right cunning workman, Filch, is not introduced -in the description of the outline; by an edition of the opera, published -in 1729, I find he was personated by a Mr. Clark.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_223_223" id="Footnote_223_223"></a><a href="#FNanchor_223_223"><span class="label">[223]</span></a> The part of this hero of the highway being originally cast for Quin, -intimates the style in which it was thought characteristic to play it. -Walker was praised for performing it with dignity!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a> In this are several portraits; one of Sir Francis Page of severe -memory, with a halter round his neck— -</p> - -<p class="pfs80">"Hard words or hanging, if your judge be Page."</p> -</div> - -<div class="footnote"> - -<p><a name="Footnote_225_225" id="Footnote_225_225"></a><a href="#FNanchor_225_225"><span class="label">[225]</span></a> In this, as in almost all his dedications, the poet is very lavish of -his panegyric. Thus does it begin:— -</p> -<p> -"<span class="smcap">May it please your Grace</span>,—The favour which heroic plays -have lately found upon our theatres, has been wholly derived to them -from the countenance and approbation they have received at Court. -The most eminent persons for wit and honour in the royal circle -having so far owned them, that they have judged no way so fit as -verse to entertain a noble audience or to express a noble passion. And -among the rest which have been written in this kind, they have been so -indulgent to this poem, as to allow it no inconsiderable place. Since, -therefore, to the Court I owe its fortune on the stage; so, being now -more publicly exposed in print, I humbly recommend it to your -Grace's protection, who by all knowing persons is esteemed a principal -ornament of the Court. But though the rank which you hold in the -royal family might direct the eyes of a poet to you, yet your beauty -and goodness detain and fix them," etc. etc. etc. -</p> -<p> -In the fourth act is the line about which Dryden has been so unmercifully -laughed at, and which I have invariably seen quoted: -</p> - -<p class="pfs80">"I follow fate, which does too fast pursue."</p> - -<p class="noindent"> -This might be, and has been defended, by supposing that the race was -run in a circle; but the line in a song, warbled by an Indian woman at -the side of a fountain, is as follows:— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"Ah, fading joy, how quickly art thou past!</p> -<p class="verse4">Yet we thy ruin haste:</p> -<p class="verse">As if the cares of human life were few,</p> -<p class="verse4">We seek out new,</p> -<p class="verse">And follow fate, which would too fast pursue," etc.</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_226_226" id="Footnote_226_226"></a><a href="#FNanchor_226_226"><span class="label">[226]</span></a> The following was given to me by a collector of dramatic curiosities, -who in the course of a long life has raked together as many -quires of ancient and modern play-bills as would cover every dead wall -in the metropolis, and I am assured that of the above-mentioned handbill -it is -</p> - -<div class="blockquot"> - -<p class="pfs80">A TRUE COPY.</p> - -<p>"Connection of the <cite>Indian Emperor</cite> to the <cite>Indian Queen</cite>. -</p> -<p> -"The conclusion of the <cite>Indian Emperor</cite> (part of which poem was -written by me) left little matter for another story to be built on, there -remaining but two of the considerable characters alive, viz. Montezuma -and Orazia: thereupon the author of this thought it necessary to produce -new persons from the old ones; and considering the late Indian -Queen, before she loved Montezuma, lived in clandestine marriage -with her great general Traxalla, from those two he has raised a son and -two daughters, supposed to be grown up to man and woman's estate, -and their mother Orazia (for whom there was no further use in the -story) lately dead. So that you are to imagine about twenty years -elapsed since the coronation of Montezuma, who in the truth of the -history was a great and glorious prince, and in whose time happened -the discovery and invasion of Mexico by the Spaniards (under the -command of Cortez), who joined with the Traxallan Indians, the -inveterate enemies of Montezuma, wholly subverted that flourishing -empire, the conquest of which is the subject of this dramatic poem. -</p> -<p> -"I have neither wholly followed the story, nor varied from it, and, -as near as I could, have traced the native simplicity and ignorance of -the Indians in relation to European customs: the shipping, armour, -horses, swords, and guns of the Spaniards, being as new to them as -their habits and manners were to the Christians. -</p> -<p> -"The difference of their religion from ours, I have taken from the -story itself; and that which you find of it in the first and fifth acts, -touching the sufferings and constancy of Montezuma in his opinions, I -have only illustrated, not altered from those who have written of it. -</p> - -<p class="right">"<span class="smcap">John Dryden.</span>"</p></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_227_227" id="Footnote_227_227"></a><a href="#FNanchor_227_227"><span class="label">[227]</span></a> Some eighteen or twenty years ago, a person of quality in the -neighbourhood of Lichfield, dragged together a shoal of little holiday -fry, to give an infantine exhibition of a new sentimental comedy. -</p> -<p> -A spacious Gothic gallery made an admirable theatre, and for scenery—there -was an excellent substitute, in many a mouldering breadth of -ancient tapestry, which represented in horrid guise the direful tale of -Herod's Cruelty. By the hour announced for the theatrical <i lang="fr" xml:lang="fr">début</i> of -these unfledged actors, the house overflowed. Though the circumstance -is not recorded by either Boswell or Sir John Hawkins, a late celebrated -moralist was one of the audience. To the beginning of the fifth act he -stayed with more patience than could have been expected; at this time -he exhibited evident marks of <i lang="fr" xml:lang="fr">ennui</i> and lassitude—yawned three times, -and attempted to make his exit. The lady of the mansion cut off his -retreat with, "'Pon honour, Doctor Johnson, you must not go! How -can you think of leaving the theatre when my Dicky is in so interesting -a situation?" "Madam," replied the sage, "with the plot of your play -I was unacquainted, and have waited thus long in the hope that it would -turn out a tragedy; I might then have seen how naturally little Dicky -and his dramatic associates would have died! I now perceive that the -author will neither introduce aconite nor a bare bodkin, and have no -prospect of a pathetic termination but in Herod or some of his tapestry -hang-dogs starting into life. Should these murderous ruffians once step -upon the stage, all your pretty innocents will most assuredly be put to -the sword!"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_228_228" id="Footnote_228_228"></a><a href="#FNanchor_228_228"><span class="label">[228]</span></a> In the third volume of this work, which was compiled from -Hogarth's manuscripts, and published some time after the two which -precede it, there is a catalogue of all his prints, and the editor has -endeavoured to add a more perfect list of the numerous variations than -has been hitherto given to the public.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_229_229" id="Footnote_229_229"></a><a href="#FNanchor_229_229"><span class="label">[229]</span></a> In a marginal leaf of the late Doctor Lort's <cite>Trusler</cite>, I found a piece -of a newspaper with the following remarks (neither the date nor title of -the paper were inserted): "Whether the late extraordinary sums paid -for the works of Hogarth at Mr. Gulston's sale are to be regarded on -the whole as proofs of our artist's merit, or of extravagance in our -modern collectors, I shall not venture to determine; and yet the -following statement of the rapid advance in the value of prints from -this celebrated master may furnish notices to assist the judgment of -your readers:— -</p> -<p> -"In 1780, Mr. Walpole obliged the world with a fourth volume of -his <cite>Anecdotes of Painting in England</cite>. In this entertaining performance -was comprised the first catalogue of Hogarth's pieces. I say the first, -for every preceding enumeration of them was defective in the extreme. -This was succeeded in 1781 by a publication from the ingenious and -accurate Mr. Nichols, who considerably enlarged and amended the -list made by his predecessor. -</p> -<p> -"In the same year, Mr. Bailley's collection, which would now be -deemed an imperfect one, was sold at Christie's for £61, 10s. In 1782 -it was resold, with some additions, at Barford's for £105. -</p> -<p> -"In 1785, the late Mr. Henderson of Covent Garden Theatre disposed -of his collection, by far less complete than either of the foregoing, -for £126. -</p> -<p> -"In 1786, Mr. Gulston's was sold piecemeal by Mr. Greenwood; -and though the condition of all such articles in it, as real taste and -common sense would style the most valuable, were very indifferent, the -whole series is reported to have brought in upwards of £600.<a name="FNanchor_230_230" id="FNanchor_230_230"></a><a href="#Footnote_230_230" class="fnanchor">[230]</a> At this -auction, the plates now to be particularized were knocked down at the -following rates, though taken altogether they were scarce worth the -money paid for the cheapest of them:— -</p> - -<table border="0" cellpadding="4" cellspacing="0" summary="Plates sold"> -<tr><td class="tdl">Two engravings on plate</td><td class="tdr">£4</td><td class="tdr">14</td><td class="tdr">6</td></tr> -<tr><td class="tdl">Three ditto</td><td class="tdr">3</td><td class="tdr">10</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Small arms of the Duchess of Kendal</td><td class="tdr">4</td><td class="tdr">0</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Large ditto</td><td class="tdr">6</td><td class="tdr">0</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Arms of Lord Aylmer</td><td class="tdr">7</td><td class="tdr">10</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Arms unknown, with women as terms</td><td class="tdr">6</td><td class="tdr">10</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Two ditto</td><td class="tdr">1</td><td class="tdr">11</td><td class="tdr">6</td></tr> -<tr><td class="tdl">Impression from a tankard</td><td class="tdr">10</td><td class="tdr">0</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Hogarth's shop-bill and another</td><td class="tdr">11</td><td class="tdr">15</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Rape of the Lock; impression from a gold snuff-box</td></tr> -<tr><td class="tdl"> presented to Mr. Pope</td><td class="tdr">33</td><td class="tdr">0</td><td class="tdr">0</td></tr> -<tr><td class="tdl">Scene of Evening, without the girl</td><td class="tdr">40</td><td class="tdr">8</td><td class="tdr">6</td></tr> -</table> - -<p> -"Should the celebrity of the delightful mock heroic poem, or the -rareness of an imperfect play tending to show that a complete design is -not always to be hit at once even by a Hogarth, furnish some apology -for the purchase of the two last articles, what excuse can be invented -for the collectors who bought the preceding trash on terms so ridiculously -high? Of all the trifling works of art, coats of arms must be reckoned -the most contemptible. These early productions of our author on silver -tea-tables, mugs, and waiters, have no sort of merit to recommend them, -nor were ever meant to be impressed on paper (except as in momentary -satisfaction to the engraver); for being there reversed, like the prayers -of witches, they must be read backwards. Besides, what taste or genius -can be manifested in the disposition of a cat's whiskers or a fox's tail; -in the emblazonry of a black swan with two necks, or a blue boar with -gilded tail? What abilities are requisite for the expansion of an old -woman's furred cloak (very pompously denominated a mantle) at the -back of a shield, or for inscribing some bright sentence or wretched -pun (yclep'd a motto) in Gothic Latin on a ribbon fantastically waved? -For the design in which nature and manners are displayed, no praise -can be too exalted; but as for his heraldry,—his representation of birds -and beasts that never had existence,— -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"A dragon, and a finless fish,</p> -<p class="verse">A clip-wing'd griffin, and a molten raven,</p> -<p class="verse">And such a deal of skimble-skamble stuff,"—</p> -</div></div> - -<p> -these can never be allowed to contribute a single leaf to the chaplet he -has so long and so deservedly worn. -</p> -<p> -"I have dwelt the more on these things, because I am assured there -are print-dealers now rummaging the books of our oldest engravers, in -the hope that a still greater number of useless and insignificant particulars -consisting of arms, etc., imputable to Hogarth, will be found; -nor are their hopes less sanguine that the madness of collectors will be -confirmed instead of cured by the examples hung out at the late auction -in Leicester Fields. -</p> -<p> -"Let me hope, however, that for the future every sensible collector -will think his assemblage of Hogarth's prints sufficiently complete, without -the foolish adjuncts already described and reprobated. For the -authenticity of these trifles being obvious to no kind of proof, they -principally tend to expose their purchasers to the frauds of designing -people, who will laugh at their credulity while they pocket their cash."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_230_230" id="Footnote_230_230"></a><a href="#FNanchor_230_230"><span class="label">[230]</span></a> A short time before this, the writer of these volumes had the honour -of furnishing his Royal Highness the Prince of Wales with a set of -Hogarth's works. They consisted of remarkably fine impressions from -his most valuable plates, many of the variations, and some which were -deemed scarce (though not one of either the large or small coat of -arms). For the two volumes he charged and received £84.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_231_231" id="Footnote_231_231"></a><a href="#FNanchor_231_231"><span class="label">[231]</span></a> See the manner of disgracing the most serious subjects in many -celebrated old pictures, by introducing low, absurd, and obscure, and -often profane, circumstances into them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_232_232" id="Footnote_232_232"></a><a href="#FNanchor_232_232"><span class="label">[232]</span></a> -</p> - -<div class="poetry-container"><div class="poetry"> -<p class="verseq">"What shall withstand old Time's devouring hand?</p> -<p class="verse">Where's Troy? and where's the Maypole in the Strand?"</p> -</div></div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_233_233" id="Footnote_233_233"></a><a href="#FNanchor_233_233"><span class="label">[233]</span></a> I may be told that this is a mistake, and that it was either to Pope -or Swift. It was the fate of Arbuthnot to twine laurel for the brows -of his friends. I know it was a partnership account, but surely the -Doctor was first in the firm.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_234_234" id="Footnote_234_234"></a><a href="#FNanchor_234_234"><span class="label">[234]</span></a> See the introduction to the <cite>Memoirs of Scriblerus</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_235_235" id="Footnote_235_235"></a><a href="#FNanchor_235_235"><span class="label">[235]</span></a> Should any Lord, Knight, Esquire, or spirited Bookseller, choose -to purchase the whole copy, I am ready to treat with him upon proper -terms.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_236_236" id="Footnote_236_236"></a><a href="#FNanchor_236_236"><span class="label">[236]</span></a> The writer of a modern book of travels, relating the particulars of -his being cast away, thus concludeth: "After having walked eleven -hours without tracing the print of a human foot, to my great comfort -and delight I saw a man hanging upon a gibbet: my pleasure at this -cheering prospect was inexpressible, for it convinced me that I was in a -civilised country!"</p></div> - -</div> - - -<p class="p4" /> -<hr class="full pg-brk" /> -<hr class="full" /> -<hr class="full" /> - - -<p><span class="pagenum"><a name="Page_1C" id="Page_1C">[1C]</a></span></p> - -<p class="p1 right fs80"><em>SEASON 1874.</em></p> - -<div class="figcenter"> -<img src="images/cat_001.jpg" width="200" alt="" /> -</div> - -<p class="pfs150 wsp">A LIST OF BOOKS</p> - -<p class="pfs70">PUBLISHED BY</p> - -<p class="pfs180 lsp wsp"><span class="smcap">Chatto & Windus</span></p> - -<p class="pfs100">(<em>Successors to John Camden Hotten</em>),</p> - -<p class="pfs90 wsp">74 & 75, PICCADILLY, LONDON, W.</p> - -<div class="figcenter"> -<img src="images/cat-sep.jpg" width="150" alt="" /> -</div> - -<p class="pfs80">THE FAMOUS FRASER PORTRAITS.</p> - -<p class="pfs120 lsp wsp">MACLISE'S GALLERY OF</p> - -<p class="pfs120">ILLUSTRIOUS LITERARY CHARACTERS.</p> - -<p class="pfs80">With Notes by the late WILLIAM MAGINN, LL.D.</p> - - - <div class="advert"> - -<p>Edited, with copious Notes, by <span class="smcap">William Bates</span>, B.A., Professor of -Classics in Queen's College, Birmingham. The volume contains the -whole 83 <span class="smcap">Splendid and most Characteristic Portraits</span>, now -first issued in a complete form. In demy 4to, over 400 pages, -cloth gilt and gilt edges, 31<em>s.</em> 6<em>d.</em>; or, in morocco elegant, 70<em>s.</em></p> - -<div class="blockquotx"> - -"What a truly charming book of pictures and prose, the quintessence, as it were, -of Maclise and Maginn, giving the very form and pressure of their literary time, -would this century of illustrious characters make."—<cite>Notes and Queries.</cite></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_2C" id="Page_2C">[2C]</a></span></p> - -<div class="figleft"> -<img src="images/cat_002.jpg" width="170" alt="" /> -</div> - -<p class="pfs90"><br />THE PRINCE OF CARICATURISTS.</p> - -<p class="pfs100">—————</p> - -<p class="pfs120 bold">THE WORKS OF<br /> -<span class="pfs135 lht">JAMES GILLRAY,</span></p> - -<p class="pfs120"><em>The Caricaturist</em>,</p> - -<p class="pfs100"><span class="lht">With the Story of his Life and Times, -and full and Anecdotal Descriptions -of his Engravings.</span></p> - -<p class="pfs100 lht">Edited by THOS. WRIGHT, Esq., -M.A., F.S.A.</p> - -<p><span class="lht">Illustrated with 90 full-page Plates, -and about 400 Wood Engravings. -Demy 4to, 600 pages, cloth extra, -31<em>s.</em> 6<em>d.</em>; or, in morocco elegant, -70<em>s.</em></span></p> - - -<hr class="fulla" /> -<p class="pfs180 lsp2 wsp bold">BEAUTIFUL PICTURES</p> -<p class="pfs135 wsp bold">BY BRITISH ARTISTS.</p> - -<p>A Gathering of Favourites from our Picture Galleries, 1800-1870. By -<span class="smcap">Wilkie</span>, <span class="smcap">Constable</span>, <span class="smcap">J. M. W. Turner</span>, <span class="smcap">Mulready</span>, Sir <span class="smcap">Edwin -Landseer</span>, <span class="smcap">Maclise</span>, <span class="smcap">Leslie</span>, <span class="smcap">E. M. Ward</span>, <span class="smcap">Frith</span>, Sir <span class="smcap">John -Gilbert</span>, <span class="smcap">Ansdell</span>, <span class="smcap">Marcus Stone</span>, Sir <span class="smcap">Noel Paton</span>, <span class="smcap">Eyre -Crowe</span>, <span class="smcap">Faed</span>, <span class="smcap">Madox Brown</span>. All Engraved in the highest style -of Art. With Notices of the Artists by <span class="smcap">Sydney Armytage</span>, M.A. -A New Edition. Imperial 4to, cloth gilt and gilt edges, 21<em>s.</em>; or, -in morocco elegant, 65<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs100 smcap">Uniform with "Beautiful Pictures."</p> - -<p class="pfs180 lsp wsp bold">COURT BEAUTIES OF THE</p> -<p class="pfs135 wsp bold">REIGN OF CHARLES II.</p> - -<p>From the Originals in the Royal Gallery at Windsor, by Sir -<span class="smcap">Peter Lely</span>. Engraved in the highest style of Art by <span class="smcap">Thomson</span>, -<span class="smcap">Wright</span>, <span class="smcap">Scriven</span>, <span class="smcap">B. Holl</span>, <span class="smcap">Wagstaff</span>, and <span class="smcap">T. A. Deane</span>. -With Memoirs by Mrs. <span class="smcap">Jameson</span>, Author of "Legends of the -Madonna." New and sumptuous "Presentation Edition." Imp. -4to, cloth gilt and gilt edges, 21<em>s.</em>; or, in morocco elegant, 65<em>s.</em></p> - -<div class="blockquotx"> - -"This truly beautiful and splendid production is equally a gem among the Fine -Arts and in Literature."—<cite>Quarterly Review.</cite></div> - - -<p><span class="pagenum"><a name="Page_3C" id="Page_3C">[3C]</a></span></p> -<hr class="fulla" /> -<p class="pfs100 smcap">Companion to the "History of Signboards."</p> - -<p><b><span class="fs160">Advertising: its History</span></b>, in all Ages and -Countries, with many very Amusing Anecdotes and Examples of -Successful Advertisers. Crown 8vo, with numerous Illustrations, -coloured and plain, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>In preparation.</em></p> - - -<hr class="fulla" /> -<p class="pfs100 smcap">Are You Engaged? If so, get</p> - -<div class="figleft"> -<img src="images/cat_003a.jpg" width="300" alt="" /> -</div> - -<p class="negin1"><b><span class="fs160">Advice to Parties</span> -About to Marry.</b> A Series -of Instructions in Jest and -Earnest. By the Hon. <span class="smcap">Hugh -Rowley</span>. With Humorous Illustrations. -Price 3<em>s.</em> 6<em>d.</em>, elegantly -bound, and enclosed in -tinted wrapper, beautifully -scented by <span class="smcap">Rimmel</span>.</p> - -<div class="blockquotx"> - -⁂ <em>Before taking the "awful plunge" -be sure to consult this little work. If it -is not a guarantee against life-long -misery, it will at least be found of -great assistance in selecting a partner -for life.</em></div> - - -<hr class="fulla" /> -<p class="negin1"><b><span class="fs160">American Happy Thoughts.</span></b> The -finest collection of American Humour ever made. Foolscap 8vo, -illustrated covers, 1<em>s.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_003b.jpg" width="170" alt="" /> -</div> - -<p class="negin1"><b><span class="fs160">Anacreon.</span></b> Illustrated by -the Exquisite Designs of <span class="smcap">Girodet</span>. Translated -by <span class="smcap">Thomas Moore</span>. Bound in vellum -cloth and Etruscan gold, 12<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A beautiful and captivating volume. The -well-known Paris house, Firmin Didot, a few years -since produced a miniature edition of these exquisite -designs by photography, and sold a large number at -£2 per copy. The Designs have been universally -admired by both artists and poets.</em></div> - - -<hr class="fulla" /> -<p class="negin1"><b>Armorial Register of the Order of -the Garter</b>, from Edward III. to the Present Time. The several -Shields beautifully emblazoned in Gold and Colours from the Original -Stall Plates in St. George's Chapel, Windsor. All emblazoned by -hand. A sumptuous volume, bound in crimson morocco, gilt, £20.</p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_4C" id="Page_4C">[4C]</a></span></p> - -<p class="pfs120 lsp">ARTEMUS WARD'S WORKS.</p> - -<div class="figleft"> -<img src="images/cat_004.jpg" width="250" alt="" /> -</div> - -<p class="negin1"><b><span class="fs160">Artemus Ward,</span> -Complete.</b> The Works of <span class="smcap">Charles -Farrer Browne</span>, better known as -"<span class="smcap">Artemus Ward</span>," now first collected. -Crown 8vo, with fine Portrait, -facsimile of handwriting, &c., -540 pages, cloth neat, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>Comprises all that the humourist has -written in England or America. Admirers -of Artemus Ward will be glad to possess -his writings in a complete form.</em></div> - -<p class="pfs70">—————————</p> - -<p class="negin1"><b><span class="fs160">Artemus Ward's</span> -Lecture at the Egyptian Hall</b>, -with the Panorama. Edited by the -late <span class="smcap">T. W. Robertson</span>, Author of "Caste," &c., and <span class="smcap">E. P. Hingston</span>. -Small 4to, exquisitely printed, bound in green and gold, with -<span class="smcap">numerous Tinted Illustrations</span>, 6<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Artemus Ward: his Book.</span></b> With Notes -and Introduction by the Editor of the "Biglow Papers." One of -the wittiest books published for many years. Fcap. 8vo, illustrated -cover, 1<em>s.</em></p> - -<div class="blockquotx"> - -The <cite>Saturday Review</cite> says:—"The author combines the powers of Thackeray -with those of Albert Smith. The salt is rubbed in by a native hand—one which has -the gift of tickling."</div> - -<hr class="r30a" /> -<p><b><span class="fs160">Artemus Ward: his Travels among</span> -the Mormons and on the Rampage.</b> Edited by <span class="smcap">E. P. Hingston</span>, -the Agent and Companion of <span class="smcap">A. Ward</span> whilst "on the -Rampage." New Edition, price 1<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>Some of Artemus's most mirth-provoking papers are to be found in this -book. The chapters on the Mormons will unbend the sternest countenance. As -bits of fun they are</em> <span class="fs70">IMMENSE</span>!</div> - -<hr class="r30a" /> -<p><b><span class="fs160">Artemus Ward's Letters to "Punch,"</span></b> -Among the Witches, and other Sketches. Cheap Popular Edition. -Fcap. 8vo, in illustrated cover, 1<em>s.</em>; or, 16mo, bound in cloth extra, 2<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>The volume contains, in addition, some quaint and humorous compositions -which were found upon the author's table after his decease.</em></div> - -<hr class="r30a" /> -<p><b><span class="fs160">Artemus Ward among the Fenians:</span></b> -with the Showman's Experiences of Life at Washington, and Military -Ardour at Baldinsville. Toned paper, price 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_5C" id="Page_5C">[5C]</a></span></p> - -<p><b><span class="fs160">Army Lists of the Roundheads and</span> -Cavaliers in the Civil War, 1642.</b> Second Edition, considerably -Enlarged and Corrected. Edited, with Notes, by <span class="smcap">Edward Peacock</span>, -F.S.A. 4to, half-Roxburghe, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx pad4"> - -⁂ <em>Very interesting to Antiquaries and Genealogists.</em></div> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_005a.jpg" width="300" alt="" /> -</div> - -<p class="negin1"><b><span class="fs160">The Art of Amusing.</span></b> -A Collection of Graceful Arts, -Games, Tricks, Puzzles, and -Charades, intended to amuse -everybody, and enable all to -amuse everybody else. By -<span class="smcap">Frank Bellew</span>. With nearly -300 Illustrations. Crown 8vo, -4<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -<p>⁂ <em>One of the most entertaining handbooks -of amusements ever published.</em></p></div> - -<p class="pfs70">——————————</p> - -<p class="negin1"><b><span class="fs160">Awful Crammers.</span></b> -A New American Joke Book. -Edited by <span class="smcap">Titus A. Brick</span>, -Author of "Shaving Them." -Fcap. 8vo, with numerous -curious Illustrations, 1<em>s.</em></p> - -<div class="blockquotx"> - -A <span class="smcap">Fine Edition</span> is also published, in crown 8vo, printed on toned -paper, and bound in cloth gilt, at 3<em>s.</em> 6<em>d.</em></div> - -<div class="blockquotx"> - -"Rarer than the phœnix is the virtuous man who will consent to lose a good -anecdote because it isn't true."—<span class="smcap">De Quincy.</span></div> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_005b.jpg" width="250" alt="" /> -</div> - -<p class="negin1"><b><span class="fs160">Babies and Ladders</span></b>: -<span class="lht">Essays on Things in General. By -<span class="smcap">Emmanuel Kink</span>. A New Work -of Irresistible Humour (not American), -which has excited considerable -attention. Fcap. 8vo, with -numerous Vignettes by <span class="smcap">W. S. -Gilbert</span> and others, 1<em>s.</em></span></p> - - -<hr class="fulla" /> -<p class="negin1"><b><span class="fs160">Bayard Taylor's Diversions</span> of the -Echo Club.</b> A Delightful Volume of Refined Literary Humour. -In 16mo, paper cover, with Portrait of the Author, 1<em>s.</em> 6<em>d.</em>; cloth -extra, 2<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_6C" id="Page_6C">[6C]</a></span></p> - -<div class="figcenter"> -<img src="images/cat_006a.jpg" width="500" alt="" /> -</div> - -<p class="pfs100 smcap">Uniform with Mr. Ruskin's Edition of "Grimm."</p> - -<p class="negin1"><b><span class="fs160">Bechstein's As Pretty as Seven</span></b>, and -other Popular German Stories. Collected by <span class="smcap">Ludwig Bechstein</span>. -With Additional Tales by the Brothers <span class="smcap">Grimm</span>. 100 Illustrations by -<span class="smcap">Richter</span>. Small 4to, green and gold, 6<em>s.</em> 6<em>d.</em>; gilt edges, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>One of the most delightful books for children ever published. It is, in every -way, a Companion to the German Stories of the Brothers Grimm, and the tales -are equally pure and healthful. The quaint simplicity of Richter's engravings -will charm every lover of legendary lore.</em></div> - - -<hr class="fulla" /> -<p class="negin1"><b><span class="fs160">The Biglow Papers.</span></b> By <span class="smcap">James Russell -Lowell</span>. The Best Edition, with full Glossary, of these extraordinary -Verses. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_006b.jpg" width="250" alt="" /> -</div> - -<p class="pfs100 smcap">Uniform with our "Rabelais."</p> - -<p class="negin1"><b><span class="fs160">Boccaccio's Decameron.</span></b> -Now fully translated into English, -with Introduction by <span class="smcap">Thomas Wright</span>, -F.S.A. Crown 8vo, with the <span class="smcap">Beautiful -Engravings</span> by <span class="smcap">Stothard</span> which -adorned Pickering's fine Edition, published -at £2 12<em>s.</em> 6<em>d.</em> This New -Edition is only 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A faithful translation, in which are -restored many passages omitted in former -Editions.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Book of Hall-Marks</span></b>; or, Manual of -Reference for the Goldsmith and Silversmith. By <span class="smcap">Alfred Lutschaunig</span>, -Manager of the Liverpool Assay Office. Crown 8vo, with -46 Plates of the Hall-Marks of the different Assay Towns of the -United Kingdom, as now stamped on Plate and Jewellery, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This work gives practical methods for testing the quality of gold and silver. -It was compiled by the author for his own use, and as a Supplement to "Chaffers."</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_7C" id="Page_7C">[7C]</a></span></p> - -<p><b><span class="fs160">Booksellers, A History of.</span></b> A Work -giving full Accounts of the Great Publishing Houses and their -Founders, both in London and the Provinces, the History of -their Rise and Progress, and descriptions of the special class of -Literature dealt in by each. Crown 8vo, over 500 pages, with frontispiece -and numerous Portraits and Illustrations, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"In these days, ten ordinary Histories of Kings and Courtiers were well exchanged -against the tenth part of one good History of Booksellers."—<span class="smcap">Thomas Carlyle.</span></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Booth's Epigrams</span></b>: Ancient and Modern, -Humorous, Witty, Satirical, Moral, and Panegyrical. Edited by -the Rev. <span class="smcap">John Booth</span>, B.A. A New Edition. Pott 8vo, cloth gilt, 6<em>s.</em></p> - - </div> - - -<hr class="fulla" /> -<div class="figcenter"> -<img src="images/cat_007.jpg" width="500" alt="" /> -</div> - -<p class="pfs70">"Is our civilization a failure, or is the Caucasian played out?"</p> - -<p class="pfs100 lsp">BRET HARTE'S WORKS.</p> - -<p class="pfs80"><em>Widely known for their Exquisite Pathos and Delightful Humour.</em></p> - -<hr class="r30a" /> - - <div class="advert"> - -<p><b><span class="fs160">Bret Harte's Complete Works</span></b>, in Prose -and Poetry. Now First Collected. With Introductory Essay by -<span class="smcap">J. M. Bellew</span>, Portrait of the Author, and 50 Illustrations. Crown -8vo, 650 pages, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><span class="pagenum"><a name="Page_8C" id="Page_8C">[8C]</a></span></p> - -<p><b><span class="fs160">Bret Harte's Luck of Roaring Camp</span></b>, -and other Stories. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Bret Harte's That Heathen Chinee</span></b>, -and other Humorous Poems. Fcap. 8vo, illustrated cover, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Bret Harte's Sensation Novels Condensed.</span></b> -Fcap. 8vo, illustrated cover, 1<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A most enjoyable book, only surpassed, in its special class, by Thackeray's -Burlesque Novels.</em></div> - - -<hr class="r30a" /> -<p><b><span class="fs160">Bret Harte's Lothaw</span></b>; or, The Adventures -of a Young Gentleman in Search of a Religion. By Mr. <span class="smcap">Benjamins</span> -(<em>Bret Harte</em>). Price 6<em>d.</em> Curiously Illustrated.</p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Bret Harte's East and West.</span></b> Fcap. -8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Bret Harte's Stories of the Sierras</span></b>, and -other Sketches. With a Wild Story of Western Life by <span class="smcap">Joaquin -Miller</span>, Author of "Songs of the Sierras." Illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs80">NEW EDITIONS OF SIR DAVID BREWSTER'S WORKS.</p> - -<p><b><span class="fs160">Brewster's More Worlds than One</span></b>, -the Creed of the Philosopher and the Hope of the Christian. -Eleventh Edition. Crown 8vo, cloth, very neat, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Brewster's Martyrs of Science</span></b>: -Galileo, Tycho Brahe, Kepler. Crown 8vo, cloth, very neat, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Brewster's The Kaleidoscope Practically</span> -Described.</b> Crown 8vo, with numerous Illustrations, -cloth, very neat, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Brewster's The Stereoscope Practically</span> -Described.</b> Crown 8vo, numerous Illustrations, cloth -neat, 4<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This was the great philosopher's last contribution to practical science.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_9C" id="Page_9C">[9C]</a></span></p> - -<p><b><span class="fs160">Bright's (Rt. Hon. J., M.P.) Speeches</span></b> -on Public Affairs of the last Twenty Years. Collated with the -best Public Reports. Royal 16mo, 370 pages, cloth extra, 1<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>A book of special interest at the present time, and wonderfully cheap.</em></div> - - -<hr class="fulla" /> -<p class="pfs80">COLMAN'S HUMOROUS WORKS.</p> - -<p><b><span class="fs160">Broad Grins.</span></b> My Nightgown and Slippers, -and other Humorous Works, Prose and Poetical, of <span class="smcap">George Colman</span> -the Younger. Now first collected, with Life and Anecdotes of -the Author, by <span class="smcap">George B. Buckstone</span>. Crown 8vo, 500 pp., 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>Admirers of genuine English wit and humour will be delighted with this -edition of George Colman's humorous works. As a wit, he has had no equal in -our time; and a man with a tithe of his ability could, at the present day, make -the fortune of any one of our so-called "comic journals," and bankrupt the rest.</em></div> - - -<hr class="fulla" /> -<p class="pfs100">NEW BOOK FOR BOYS.</p> - -<div class="figcenter"> -<img src="images/cat_009.jpg" width="500" alt="" /> -</div> - -<p><b><span class="fs160">The Conquest of the Sea</span></b>: A History -of Divers and Diving, from the Earliest Times to the Present Day. -By <span class="smcap">Henry Siebe</span>. Profusely Illustrated with fine Wood Engravings. -Small crown 8vo, cloth extra, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_10C" id="Page_10C">[10C]</a></span></p> - -<p class="pfs100 smcap">Uniform with the 2<em>s.</em> Edition of his Works.</p> - -<p><b><span class="fs160">Carlyle (T.) on the Choice of Books.</span></b> -With a New Life and Anecdotes of the Author. Brown cloth, -1<em>s.</em> 6<em>d.</em>; paper cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Chips from a Rough Log.</span></b> Fcap. 8vo, -illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Christmas Songs and Ballads.</span></b> Selected -and Edited by <span class="smcap">Joshua Sylvester</span>. A New Edition, beautifully -printed and bound in cloth, extra gilt, gilt edges, 3<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Clerical Anecdotes and Pulpit Eccentricities.</span></b> -An entirely New Gathering. Square 16mo, in illustrated -paper wrapper, 1<em>s.</em> 4<em>d.</em>; or cloth neat, 1<em>s.</em> 10<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Country of the Dwarfs.</span></b> By <span class="smcap">Paul -du Chaillu</span>. A Book of Startling Interest. Fcap. 8vo, illustrated -with full-page Engravings, in fancy wrapper, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p class="negin1"><b><span class="fs160">Cruikshank's Comic Almanack.</span></b> -<span class="smcap">First Series</span>, 1835-43. A Gathering of the <span class="smcap">Best Humour</span>, the -<span class="smcap">Wittiest Sayings</span>, the Drollest Quips, and the Best Things of -<span class="smcap">Thackeray</span>, <span class="smcap">Hood</span>, <span class="smcap">Mayhew</span>, <span class="smcap">Albert Smith</span>, <span class="smcap">A'Beckett</span>, -<span class="smcap">Robert Brough</span>, &c. With about One Thousand Woodcuts and Steel -Engravings by the inimitable <span class="smcap">Cruikshank</span>, <span class="smcap">Hine</span>, <span class="smcap">Landells</span>, &c. -Crown 8vo, cloth gilt, a very thick volume, price 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_010.jpg" width="500" alt="" /> -</div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_11C" id="Page_11C">[11C]</a></span></p> - -<p class="negin1"><b><span class="fs160">Cruikshank's Comic Almanack.</span></b> -<span class="smcap">Second Series</span>, 1844-53, Completing the work. Uniform with the -<span class="smcap">First Series</span>, and written and illustrated by the same humorists. -Crown 8vo, cloth gilt, a very thick volume, price 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_011a.jpg" width="400" alt="" /> -</div> - -<div class="blockquotx"> - -⁂ <em>The two volumes (each sold separately) form a most extraordinary gathering -of the best wit and humour of the past half-century. The work forms a "Comic -History of England" for twenty years.</em></div> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_011b.jpg" width="170" alt="" /> -</div> - -<p class="pfs80">THE BEST GUIDE TO HERALDRY.</p> - -<p><b><span class="fs160">Cussans' Handbook of</span> -Heraldry</b>; with Instructions for Tracing -Pedigrees and Deciphering Ancient MSS.; -also, Rules for the Appointment of Liveries, -&c., &c. By <span class="smcap">John E. Cussans</span>. Illustrated -with 360 Plates and Woodcuts. Cr. -8vo, cloth extra, gilt and emblazoned, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This volume, beautifully printed on toned paper, -contains not only the ordinary matter to be found -in the best books on the science of Armory, but several -other subjects hitherto unnoticed. Amongst -these may be mentioned</em>:—1. <span class="smcap">Directions for -Tracing Pedigrees.</span> 2. <span class="smcap">Deciphering Ancient -MSS., illustrated by Alphabets and Facsimiles.</span> -3. <span class="smcap">The Appointment of Liveries.</span> -4. <span class="smcap">Continental and American Heraldry, &c.</span></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_12C" id="Page_12C">[12C]</a></span></p> - -<p class="pfs80">VERY IMPORTANT COUNTY HISTORY.</p> - -<div class="figcenter"> -<img src="images/cat_012a.jpg" width="500" alt="" /> -</div> - -<p><b><span class="fs160">Cussans' History of Hertfordshire.</span></b> -A County History, got up in a very superior manner, and ranging -with the finest works of its class. Illustrated with full-page Plates -on Copper and Stone, and a profusion of small Woodcuts. Parts -I. to VI. are now ready, price 21<em>s.</em> each.</p> - -<div class="blockquotx"> - -⁂ <em>An entirely new History of this important County, great attention being -given to all matters pertaining to the Family History of the locality.</em></div> - - -<hr class="fulla" /> -<p class="pfs100 smcap">Uniform With the "Charles Dickens Edition."</p> - -<div class="figleft"> -<img src="images/cat_012b.jpg" width="200" alt="" /> -</div> - -<p><b><span class="fs160">Dickens: The Story</span> -of his Life.</b> By <span class="smcap">Theodore Taylor</span>, -Author of the "Life of -Thackeray." Uniform with the -"Charles Dickens Edition" of his -Works, and forming a Supplementary -Volume to that Issue. Cr. -8vo, crimson cloth, 3<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"Anecdotes seem to have poured in upon -the author from all quarters.... Turn where -we will through these 370 pleasant pages, -something worth reading is sure to meet the -eye."—<cite>The Standard.</cite></div> - -<p class="pfs90">Also Published:</p> - -<p><span class="smcap">The "Best Edition"</span> of the above Work, illustrated by Photographic -Frontispiece of "Dickens as Captain Bobadil," Portraits, -Facsimiles, &c. Crown 8vo, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">The "Cheap Edition,"</span> in 16mo, paper wrapper, with Frontispiece -and Vignette, 2<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_13C" id="Page_13C">[13C]</a></span></p> - -<p class="pfs100 smcap">Uniform with the "Charles Dickens Edition."</p> - -<p><b><span class="fs160">Dickens' Speeches</span></b>, Social and Literary, -now first collected. Uniform with, and forming a Supplementary -Volume to, the "<span class="smcap">Charles Dickens Edition</span>." Crown 8vo, -crimson cloth, 3<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"His speeches are as good as any of his printed writings."—<cite>The Times.</cite></div> - - -<p class="pfs90">Also Published:</p> - -<p><span class="smcap">The "Best Edition,"</span> in crown 8vo, with fine Portrait by Count -<span class="smcap">D'Orsay</span>, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">The "Cheap Edition,"</span> without Portrait, in 16mo, paper wrapper, -2<em>s.</em></p> - -<p><b>Dickens' Life and Speeches</b>, in One Volume, 16mo, cloth extra, -2<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs80">BALZAC'S CONTES DROLATIQUES.</p> - -<p><b><span class="fs160">Droll Stories, collected from the</span> -Abbeys of Touraine.</b> <span class="smcap">Now first Translated into English, -Complete and Unabridged</span>, with the whole 425 Marvellous, -Extravagant, and Fantastic Illustrations (the finest he has ever done) -by <span class="smcap">Gustave Doré</span>. Beautifully printed, in 8vo, cloth extra, gilt, -gilt top, 12<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_013.jpg" width="500" alt="" /> -</div> - -<div class="blockquotx"> - -⁂ <em>The most singular designs ever attempted by any artist. So crammed is -the book with pictures, that even the contents are adorned with thirty-three Illustrations.</em></div> - -<div class="blockquotx"> - -A few copies of the <span class="smcap">French Original</span> are still on sale, bound half-Roxburghe, -gilt top—a very handsome book—price 12<em>s.</em> 6<em>d.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_14C" id="Page_14C">[14C]</a></span></p> - -<p><b><span class="fs160">The Danbury Newsman.</span></b> A Brief but -Comprehensive Record of the Doings of a Remarkable People, under -more Remarkable Circumstances, and Chronicled in a most Remarkable -Manner. By <span class="smcap">James M. Bailey</span>. Uniform with Twain's -"Screamers." Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - -<div class="blockquotx center"> - -"A real American humorist."—<cite>Figaro.</cite></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Derby Day.</span></b> A Sporting Novel of -intense interest, by a well-known writer. Fcap. 8vo, illustrated -cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Disraeli's (Rt. Hon. B.) Speeches</span></b> -on the Conservative Policy of the last Thirty Years, including the -Speech at the Literary Fund Dinner, specially revised by the Author. -Royal 16mo, paper cover, with Portrait, 1<em>s.</em> 4<em>d.</em>; in cloth, 1<em>s.</em> 10<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">D'Urfey's ("Tom") Wit and Mirth;</span></b> -or, <span class="smcap">Pills to Purge Melancholy</span>: Being a Collection of the -best Merry Ballads and Songs, Old and New. Fitted to all Humours, -having each their proper Tune for either Voice or Instrument: -most of the Songs being new set. London: Printed by W. -Pearson, for J. Tonson, at Shakespeare's Head, over-against Catherine -Street in the Strand, 1719.</p> - -<div class="blockquotx"> - -An exact and beautiful reprint of this much-prized work, with the -Music to the Songs, just as in the rare original. In 6 vols., large -fcap. 8vo, antique boards, edges uncut, beautifully printed on laid -paper, made expressly for the work, price £3 3<em>s.</em>; or <span class="smcap">Large Paper -Copies</span> (a limited number only printed), price £5 5<em>s.</em></div> - -<div class="blockquotx"> - -⁂ The <span class="smcap">Pills To Purge Melancholy</span> <em>have now retained their celebrity for a -century and a half. The difficulty of obtaining a copy has of late years raised sets -to a fabulous price, and has made even odd volumes costly. Considering the classical -reputation which the book has thus obtained, and its very high interest as -illustrative of the manners, customs, and amusements of English life during the -half century following the Restoration, no apology is needed for placing such a work -more within the reach of general readers and students by re-issuing it for the first -time since its original appearance, and at about a tithe of the price for which -the old edition could now be obtained.</em></div> - -<div class="blockquotx"> - -<em>For drinking-songs and love-songs, sprightly ballads, merry stories, and political -squibs, there are none to surpass these in the language. In improvising such -pieces, and in singing them</em>, <span class="smcap">D'urfey</span> <em>was perhaps never equalled, except in our -own century by</em> <span class="smcap">Theodore Hook</span>. <em>The sallies of his wit amused and delighted -three successive English sovereigns; and while his plays are forgotten, his songs -and ballads still retain the light</em> abandon <em>and joyous freshness that recommended -them to the wits and beaux of Queen Anne's days. Nor can the warm and affectionate -eulogy of Steele and Addison be forgotten, and</em> <span class="smcap">D'urfey</span> <em>may now take his -place on the bookshelves of the curious, side by side with the other worthies of -his age</em>.</div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_15C" id="Page_15C">[15C]</a></span></p> - -<p><b><span class="fs160">The Earthward Pilgrimage</span></b>, from the -Next World to that which now is. By <span class="smcap">Moncure D. Conway</span>. -Crown 8vo, beautifully printed and bound, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Edgar Allan Poe's Prose and Poetical</span> -Works</b>; including Additional Tales and the fine Essays by this -great Genius, now <span class="smcap">First Published in this Country</span>. With -a Translation of <span class="smcap">Charles Baudelaire's</span> "Essay on Poe." 750 -pages, crown 8vo, with fine Portrait and Illustrations, cloth extra, -7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_015.jpg" width="350" alt="" /> -</div> - -<p class="pfs90"><span class="smcap">Poe's Cottage at Fordham.</span></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Mrs. Ellis's Mothers of Great Men.</span></b> -A New Edition of this well-known Work, with numerous <ins class="corr" title="Transcriber's Note—Original text: 'very beau-ful'">very beautiful</ins> -Portraits. Crown 8vo, cloth gilt, over 500 pages, 7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>In preparation.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">The Standard Work on the Subject.</p> - -<p><b><span class="fs160">Emanuel on Diamonds and Precious</span> -Stones</b>; Their History, Value, and Properties; with Simple -Tests for ascertaining their Reality. By <span class="smcap">Harry Emanuel</span>, F.R.G.S. -With numerous Illustrations, Tinted and Plain. A New Edition, -with the Prices brought down to the Present Time. Crown 8vo, full -gilt, 6<em>s.</em></p> - -<div class="blockquotx"> - -"Will be acceptable to many readers."—<cite>Times.</cite></div> - -<div class="blockquotx"> - -"An invaluable work for buyers and sellers."—<cite>Spectator.</cite></div> - -<div class="blockquotx"> - -⁂ <em>The present, which is greatly superior to the first edition, gives the latest -market value for Diamonds and Precious Stones of every size.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_16C" id="Page_16C">[16C]</a></span></p> - -<p><b><span class="fs160">The Englishman's House</span></b>, from a Cottage -to a Mansion. A Practical Guide to Members of Building -Societies, and all interested in Selecting or Building a House. By -<span class="smcap">C. J. Richardson</span>, Architect, Author of "Old English Mansions," -&c. Second Edition, Corrected and Enlarged, with nearly 600 -Illustrations. Crown 8vo, 550 pages, cloth, 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_016.jpg" width="350" alt="" /> -</div> - -<div class="blockquotx"> - -⁂ <em>This Work might not inappropriately be termed "A Book of Houses." It -gives every variety of house, from a workman's cottage to a nobleman's palace. -The book is intended to supply a want long felt, viz., a plain, non-technical -account of every style of house, with the cost and manner of building.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Our English Surnames</span></b>: Their Sources -and Significations. By <span class="smcap">Charles Wareing Bardsley</span>, M.A. -Crown 8vo, about 600 pages, cloth extra, 9<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Indispensable to every Household.</p> - -<p><b><span class="fs160">Everybody Answered.</span></b> A Handy Book -for All; and a Guide to the Housewife, the Servant, the Cook, the -Tradesman, the Workman, the Professional Man, the Clerk, &c., -&c., in the Duties belonging to their respective Callings. One -thick volume, crown 8vo, cloth gilt, 4<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>In preparation.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Family Fairy Tales</span></b>; or, Glimpses of Elfland -at Heatherstone Hall. Edited by <span class="smcap">Cholmondeley Pennell</span>, -Author of "Puck on Pegasus," &c. Adorned with beautiful -Pictures of "My Lord Lion," "King Uggermugger," and other -Great Folks, by <span class="smcap">M. Ellen Edwards</span>, and other artists. Handsomely -printed on toned paper, in cloth, green and gold, price 4<em>s.</em> 6<em>d.</em> -plain, 5<em>s.</em> 6<em>d.</em> coloured.</p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_17C" id="Page_17C">[17C]</a></span></p> - -<p><b><span class="fs160">Faraday's Chemical History</span> of a -Candle.</b> Lectures delivered to a Juvenile Audience. A New -Edition of this well-known volume, which has been so long out of -print, Edited by <span class="smcap">W. Crookes</span>, Esq., F.C.S., &c. Crown 8vo, -cloth extra, with all the Original Illustrations, price 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Faraday's Various Forces of Nature.</span></b> -A New Edition, with all the Original Illustrations, Edited by <span class="smcap">W. -Crookes</span>, Esq., F.C.S., &c. Crown 8vo, cloth extra, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs90">FLAGELLATION AND THE FLAGELLANTS.</p> - -<div class="figcenter"> -<img src="images/cat_017.jpg" width="400" alt="" /> -</div> - -<p><b><span class="fs160">A History of the Rod</span></b> in all Countries, -from the Earliest Period to the Present Time. The use of the Rod -in the Church, Convent, Monastery, Prison, Army, Navy, in public -and private; the use of the Birch in the Family, Ladies' Seminaries, -Boys' Schools, Colleges, the Boudoir, Ancient and Modern. By the -Rev. <span class="smcap">W. Cooper</span>, B.A. Second Edition, revised and corrected, -with numerous Illustrations. Thick crown 8vo, cloth extra gilt, 12<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"A remarkable, and certainly a very readable volume."—<cite>Daily Telegraph.</cite></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_18C" id="Page_18C">[18C]</a></span></p> - -<p><b><span class="fs160">The Fiend's Delight</span></b>: A "Cold Collation" -of Atrocities. By <span class="smcap">Dod Grile</span>. New Edition, in illustrated -wrapper, fcap. 8vo, 1<em>s.</em>; or crown 8vo, cloth extra, 3<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"A specimen of 'American Humour' as unlike that of all other American -humourists, as the play of young human Merry-Andrews is unlike that of a young -and energetic demon whose horns are well budded."—<cite>New York Nation.</cite></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Finish to Life in and out of</span> -London</b>; or, The Final Adventures of Tom, Jerry, and Logic. -By <span class="smcap">Pierce Egan</span>. Royal 8vo, cloth extra, with Spirited Coloured -Illustrations by <span class="smcap">Cruikshank</span>, 21<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>An extraordinary picture of</em> "<span class="smcap">London by Night</span>" <em>in the Days of George -the Fourth. All the strange places of amusement in the neighbourhood of Covent -Garden and St. James's are fully described, and very queer places they were too!</em></div> - - -<hr class="fulla" /> -<p class="center fs90"><span class="smcap">Walk up! Walk up! and see the</span><br /> - -<b><span class="fs180">Fools' Paradise</span></b>; with the Many Wonderful -Adventures there, as seen in the strange, surprising<br /> - -<b>PEEP-SHOW OF PROFESSOR WOLLEY COBBLE</b>,<br /> -Raree Showman these Five-and-Twenty Years.</p> - -<div class="blockquotx"> - -Crown 4to, with nearly 200 immensely funny Pictures, all beautifully -coloured, bound in extra cloth gilt, price 7<em>s.</em> 6<em>d.</em></div> - -<div class="figcenter"> -<img src="images/cat_018.jpg" width="350" alt="" /> -</div> - -<p class="pfs80 smcap">The Professor's Leetle Music Lesson.</p> - -<hr class="r30a" /> - -<p class="center fs90"><span class="smcap">A Second Series is now Ready, called</span><br /> - -<b><span class="fs180">Further Adventures in Fools' Paradise</span></b>, -with the Many Wonderful Doings, as seen in the<br /> - -<b>PEEP-SHOW OF PROFESSOR WOLLEY COBBLE</b>.</p> - -<div class="blockquotx"> - -Crown 4to, with the Pictures beautifully Coloured, uniform with the -<span class="smcap">First Series</span>, in extra cloth gilt, price 7<em>s.</em> 6<em>d.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_19C" id="Page_19C">[19C]</a></span></p> - -<p class="pfs90 smcap">A Companion to all French -Dictionaries.</p> - -<p><b><span class="fs160">French Slang</span></b>; or -Eccentricities of the French Language.</p> - -<p class="pfs80"><br />A DICTIONARY OF</p> - -<p><b><span class="fs100">PARISIAN ARGOT</span></b>, -including all recent expressions, -whether of the Street, the -Theatre, or the Prison. Handsomely -bound in half-Roxburghe, -illustrated with 30 -large Wood Engravings. Price -7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This book is indispensable to all -readers of modern French literature. -It is, besides, amusing in itself, -and may be taken up to while away -an idle half-hour. It does for French -what our "Slang Dictionary" does for -English.</em></div> - - -<hr class="fulla" /> -<div class="figright"> -<img src="images/cat_019b.jpg" width="250" alt="" /> -</div> - -<p><b><span class="fs160">Fun for the Million</span></b>: -A Gathering of Choice -Wit and Humour, Good -Things, and Sublime Nonsense, -by <span class="smcap">Dickens</span>, <span class="smcap">Jerrold</span>, -<span class="smcap">Sam Slick</span>, <span class="smcap">Chas. -H. Ross</span>, <span class="smcap">Hood</span>, <span class="smcap">Theodore -Hook</span>, <span class="smcap">Mark Twain</span>, -<span class="smcap">Brough</span>, <span class="smcap">Colman</span>, <span class="smcap">Titus -A. Brick</span>, and a Host of -other Humourists. With -Pictures by <span class="smcap">Matt Morgan</span>, -<span class="smcap">Gilbert</span>, <span class="smcap">Nast</span>, -<span class="smcap">Thompson</span>, <span class="smcap">Cruikshank</span>, -Jun., <span class="smcap">Brunton</span>, &c. In -fcap. 4to, profusely illustrated, -with picture wrapper, -1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_20C" id="Page_20C">[20C]</a></span></p> - -<p><b><span class="fs160">The Genial Showman</span></b>; or, Show Life -in the New World. Adventures with Artemus Ward, and the Story -of his Life. By <span class="smcap">E. P. Hingston</span>. Third Edition. Crown 8vo, Illustrated -by <span class="smcap">Brunton</span>, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This is a most interesting work. It gives Sketches of Show-Life in the Far -West, on the Pacific Coast, among the Mines of California, in Salt Lake City, -and across the Rocky Mountains; with chapters descriptive of Artemus Ward's -visit to England.</em></div> - - -<hr class="fulla" /> -<p class="pfs80">RUSKIN AND CRUIKSHANK.</p> - -<p><b><span class="fs160">German Popular Stories.</span></b> Collected by -the Brothers <span class="smcap">Grimm</span>, and Translated by <span class="smcap">Edgar Taylor</span>. Edited -by <span class="smcap">John Ruskin</span>. With 22 Illustrations after the inimitable -designs of <span class="smcap">George Cruikshank</span>. Both Series complete. Square -crown 8vo, 6<em>s.</em> 6<em>d.</em>; gilt leaves, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>These are the designs which Mr. Ruskin has praised so highly, placing them -far above all Cruikshank's other works of a similar character. So rare had the -original book (published in 1823-1826) become, that £5 to £6 per copy was an ordinary -price. By the consent of Mr. Taylor's family a New Edition is now issued, -under the care and superintendence of the printers who issued the originals forty -years ago. A few copies for sale on Large Paper, price 21s.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Gesta Romanorum</span></b>; or, Entertaining -Stories, invented by the Monks as a Fireside Recreation, and commonly -applied in their Discourses from the Pulpit. A New Edition, -with Introduction by <span class="smcap">Thomas Wright</span>, Esq., M.A., F.S.A. Two -vols. large fcap. 8vo, only 250 copies printed, on fine ribbed paper, -18<em>s.</em>; or, <span class="smcap">Large Paper Edition</span> (only a few copies printed), 30<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Gladstone's (Rt. Hon. W. E.) Speeches</span></b> -on Great Questions of the Day during the last Thirty Years. Collated -with the best public reports. Royal 16mo, paper cover, 1<em>s.</em> 4<em>d.</em>; -cloth extra, 1<em>s.</em> 10<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Golden Treasury of Thought.</span></b> The Best -Encyclopædia of Quotations and Elegant Extracts, from Writers of -all Times and all Countries, ever formed. Selected and Edited by -<span class="smcap">Theodore Taylor</span>, Author of "Thackeray, the Humourist and -Man of Letters," "Story of Charles Dickens' Life." Crown 8vo, -very handsomely bound, cloth gilt, and gilt edges, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>An attempt to put into the hands of the reader and student a -more varied and complete collection of the best thoughts of the -best authors than had before been made. It is not everybody who -can get the original works from which the extracts are taken, -while a book, such as this is within the reach of all, and cannot -be opened without finding something worth reading, and in most -cases worth remembering.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Grose's Dictionary of the Vulgar</span> -Tongue.</b> 1785. A genuine unmutilated Reprint of the First Edition. -Quarto, bound in half-Roxburghe, gilt top, price 8<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>Only a small number of copies of this very vulgar, but very curious, book -have been printed, for the Collectors of "Street Words" and Colloquialisms.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_21C" id="Page_21C">[21C]</a></span></p> - -<p><b><span class="fs160">Hall's (Mrs. S. C.) Sketches of Irish</span> -Character.</b> With numerous Illustrations on Steel and Wood, by -<span class="smcap">Daniel Maclise</span>, R.A., Sir <span class="smcap">John Gilbert</span>, <span class="smcap">W. Harvey</span>, and -<span class="smcap">G. Cruikshank</span>. 8vo, pp. 450, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter" style="width: 350px;"> -<img src="images/cat_021.jpg" width="350" height="382" alt="" /> -</div> - -<div class="blockquotx"> - -"The Irish sketches of this lady resemble Miss Mitford's beautiful English -Sketches in 'Our Village,' but they are far more vigorous and picturesque and -bright."—<cite>Blackwood's Magazine.</cite></div> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Companion to "The Secret Out."</p> - -<p><b><span class="fs160">Hanky-Panky.</span></b> A New and Wonderful -Book of Very Easy Tricks, Very Difficult Tricks, White -Magic, Sleight of Hand; in fact, all those startling Deceptions -which the Great Wizards call "Hanky-Panky." Edited by <span class="smcap">W. H. -Cremer</span>, of Regent Street. With nearly 200 Illustrations. Crown -8vo, cloth extra, price 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_22C" id="Page_22C">[22C]</a></span></p> - -<p><b><span class="fs160">Hans Breitmann's Ballads.</span></b> By <span class="smcap">J. G. -Leland</span>. The Complete Work, from the Author's revised Edition. -Royal 16mo, paper cover, 1<em>s.</em>; in cloth, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_022.jpg" width="250" alt="" /> -</div> - -<p><b><span class="fs160">Hatton's (Jos.)</span> -Kites and Pigeons.</b> A -most amusing Novelette. -With Illustrations by <span class="smcap">Linley -Sambourne</span>, of "Punch." -Fcap. 8vo, illustrated wrapper, -1<em>s.</em></p> - -<p class="pfs70">——————————</p> - -<p><b><span class="fs160">Hawthorne's</span> -English and American -Note Books.</b> Edited, -with an Introduction, by -<span class="smcap">Moncure D. Conway</span>. -Royal 16mo, paper cover, -1<em>s.</em>; in cloth, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Holidays with Hobgoblins</span></b>, and Talk of -Strange Things. By <span class="smcap">Dudley Costello</span>. Fcap. 8vo, illustrated -boards, with Picture by <span class="smcap">George Cruikshank</span>. 2<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs80">OLIVER WENDELL HOLMES' WORKS.</p> - -<p><b><span class="fs160">Holmes' Autocrat of the Breakfast</span> -Table.</b> An entirely New Edition of this Favourite Work. Royal -16mo, paper cover, 1<em>s.</em>; in cloth, neat, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Holmes' Poet at the Breakfast Table.</span></b> -From January to June. Paper cover, 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Holmes' Professor at the Breakfast</span> -Table.</b> A Companion Volume to the "Autocrat of the Breakfast -Table." Royal 16mo, paper cover, 1<em>s.</em>; cloth neat, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Holmes' Wit and Humour.</span></b> Delightful -Verses, in the style of the elder Hood. Fcap. 8vo, illustrated -wrapper, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_23C" id="Page_23C">[23C]</a></span></p> - -<p class="pfs80">THE MOST COMPLETE HOGARTH EVER PUBLISHED</p> - -<div class="figcenter"> -<img src="images/cat_023.jpg" width="200" alt="" /> -</div> - -<p><b><span class="fs160">Hogarth's Works</span></b>; with Life and Anecdotal -Descriptions of the Pictures, by <span class="smcap">John Ireland</span> and <span class="smcap">John Nichols</span>. -The Work includes 150 Engravings, reduced in exact facsimile of -the Original Plates, specimens of which have now become very -scarce. The whole in Three Series, 8vo, cloth, gilt, 22<em>s.</em> 6<em>d.</em> Each -series is, however, Complete in itself, and is sold separately at -7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Hogarth's Five Days' Frolic</span></b>; or, Peregrinations -by Land and Water. Illustrated with Tinted Drawings, -made by <span class="smcap">Hogarth</span> and <span class="smcap">Scott</span> during the Journey. 4to, beautifully -printed, cloth, extra gilt, 10<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A graphic and most extraordinary picture of the hearty English times -in which these merry artists lived.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Hood's Whims and Oddities.</span></b> The -Entire Work. Now issued Complete, the Two Parts in One Volume, -with all the Humorous Designs. Royal 16mo, paper cover, 1<em>s.</em>; cloth -neat, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_24C" id="Page_24C">[24C]</a></span></p> - -<p><b><span class="fs160">Hunt's (Leigh) Tale for a Chimney</span> -Corner</b>, and other charming Essays. With Introduction by <span class="smcap">Edmund -Ollier</span>, and Portrait supplied by the late <span class="smcap">Thornton Hunt</span>. -Royal 16mo, paper cover, 1<em>s.</em> 4<em>d.</em>; cloth neat, 1<em>s.</em> 10<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Hunt's (Robert, F.R.S.) Drolls of Old</span> -Cornwall</b>; or, <span class="smcap">Popular Romances of the West of England</span>. -New Edition, Complete in One Volume, with Illustrations -by <span class="smcap">George Cruikshank</span>. Crown 8vo, extra cloth gilt, -7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ "Mr. Hunt's charming book on the Drolls and Stories of the West of -England."—<cite>Saturday Review.</cite></div> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_024.jpg" width="170" alt="" /> -</div> - -<p><b><span class="fs160">Jennings' (Hargrave)</span> -One of the Thirty.</b> With curious Illustrations. -Crown 8vo, cloth extra, 10<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>An extraordinary narrative, tracing down -one of the accursed pieces of silver for which Jesus of -Nazareth was sold. Through eighteen centuries is -this fated coin tracked, now in the possession of the -innocent, now in the grasp of the guilty, but everywhere -carrying with it the evil that fell upon Judas.</em></div> - -<p class="pfs70">——————————</p> - -<p><b><span class="fs160">Jennings' (Hargrave)</span> -The Rosicrucians: Their Rites and -Mysteries.</b> With chapters on the Ancient Fire and Serpent -Worshippers, and Explanations of the Mystic Symbols represented -in the Monuments and Talismans of the Primeval Philosophers. -Crown 8vo, cloth extra, with about 300 Illustrations, 10<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Joe Miller's Jests</span></b>; or, The Wit's Vade -Mecum. Being a collection of the most brilliant Jests, the politest -Repartees, the most elegant Bon-Mots, and most pleasant short -Stories in the English Language. London: Printed by T. Read, -1739. A remarkable facsimile of the very rare <span class="smcap">Original Edition</span>. -8vo, half-Roxburghe, 9<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>Only a very few copies of this humorous and racy old book have been reproduced.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Josh Billings: His Book of Sayings.</span></b> -With Introduction by <span class="smcap">E. P. Hingston</span>, Companion of Artemus -Ward when on his "Travels." Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_25C" id="Page_25C">[25C]</a></span></p> - -<p><b><span class="fs160">Kalendars of Gwynedd</span></b>; or, Chronological -Lists of Lords-Lieutenant, Sheriffs and Knights for Anglesey, -Caernarvon, and Merioneth. With Lists of the Lords-Presidents of -Wales, and the Constables of the Castles of Beaumaris, Caernarvon, -Conway, and Harlech. Compiled by <span class="smcap">Edward Breese</span>, F.S.A. -With Notes by <span class="smcap">William Watkin Edward Wynne</span>, Esq., F.S.A., -of Penairth. Only a limited number printed. One volume, demy -4to, cloth extra, 28<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Lamb's (Charles) Essays of Elia.</span></b> The -Complete Work. Beautifully printed, and uniform with the "Essays -of Leigh Hunt." Royal 16mo, paper cover, 1<em>s.</em>; cloth neat, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Leigh's Carols of Cockayne.</span></b> Vers de -Société, mostly descriptive of London Life. By <span class="smcap">Henry S. Leigh</span>. -With numerous exquisite Designs by <span class="smcap">Alfred Concanen</span> and the -late <span class="smcap">John Leech</span>. Small 4to, elegant, uniform with "Puniana," -6<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Uniform with "Dr. Syntax."</p> - -<div class="figleft"> -<img src="images/cat_025.jpg" width="170" alt="" /> -</div> - -<p><b><span class="fs160">Life in London</span></b>; or, -The Day and Night Scenes of Jerry -Hawthorn and Corinthian Tom. <span class="smcap">With -the whole of Cruikshank's very -Droll Illustrations</span>, in Colours, -after the Originals. Crown 8vo, cloth -extra, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>One of the most popular books ever issued. -It was an immense favourite with George IV., -and as a picture of London life fifty years ago -was often quoted by Thackeray, who devotes one -of his "Roundabout Papers" to a description of it.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Literary Scraps.</span></b> A Folio Scrap-Book of -340 columns, with guards, for the reception of Cuttings from Newspapers, -Extracts, Miscellanea, &c. A very useful book. In folio, -half-roan, cloth sides, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Little Breeches</span></b>, and other Pieces (<span class="smcap">Pike -County Ballads</span>). By Colonel <span class="smcap">John Hay</span>. Foolscap 8vo, illustrated -cover, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_26C" id="Page_26C">[26C]</a></span></p> - -<p><b><span class="fs160">The Little London Directory of 1677.</span></b> -The Oldest Printed List of the Merchants and Bankers of London. -Reprinted from the Exceedingly Rare Original, with an Introduction -by <span class="smcap">John Camden Hotten</span>. 16mo, in a beautiful binding, after -the original, 6<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Log of the Water Lily</span></b>, during Three -Cruises on the Rhine, Neckar, Main, Moselle, Danube, Saone, and -Rhone. By <span class="smcap">R. B. Mansfield</span>, B.A. Illustrated by <span class="smcap">Alfred -Thompson</span>, B.A. Fifth Edition, revised and considerably enlarged. -Crown 8vo, cloth extra, gilt, 5<em>s.</em></p> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_026.jpg" width="170" alt="" /> -</div> - -<p><span class="lht"><b><span class="fs160">Longfellow's Prose</span> -Works</b>, Complete, including his -Stories and Essays, now for the -first time collected. Edited, with -an Introduction, by the Author of "Tennysoniana." -With Portrait and -Illustrations, drawn by <span class="smcap">Valentine -Bromley</span>, and beautifully engraved, -650 pages, crown 8vo, cloth gilt, -7<em>s.</em> 6<em>d.</em></span></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Lost Beauties of the English Language.</span></b> -An Appeal to Authors, Poets, Clergymen, and Public Speakers; -with an Introductory Essay. By <span class="smcap">Charles Mackay</span>, LL.D. In -crown 8vo, cloth extra, uniform with the "Slang Dictionary," 6<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Uniform with "The Magician's Own Book."</p> - -<p><b><span class="fs160">Magic and Mystery.</span></b> A Splendid Collection -of Tricks with Cards, Dice, Balls, &c., with fully descriptive -working Directions. Crown 8vo, with numerous Illustrations, cloth -extra, 4<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Companion to "The Secret Out."</p> - -<p><b><span class="fs160">The Magician's Own Book.</span></b> Containing -ample Instructions for Performances in Legerdemain with Cups and -Balls, Eggs, Hats, Handkerchiefs, &c. All from Actual Experience. -Edited by <span class="smcap">W. H. Cremer</span>, Jun., of Regent Street. Cloth extra, -with 200 Illustrations, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_27C" id="Page_27C">[27C]</a></span></p> - -<p class="pfs120">MARK TWAIN'S WORKS.</p> -<hr class="r30a" /> - -<p><b><span class="fs160">Mark Twain's Choice Works.</span></b> With -extra passages to the "Innocents Abroad," now first reprinted, and -a Life of the Author. 50 Illustrations by <span class="smcap">Mark Twain</span> and other -Artists, and Portrait of the Author. 700 pages, cloth gilt, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<div class="figleft"> -<img src="images/cat_027.jpg" width="200" alt="" /> -</div> - -<p><b><span class="fs160">Mark Twain's Innocents</span> -Abroad</b>: The Voyage Out. -Crown 8vo, cloth, fine toned paper, -3<em>s.</em> 6<em>d.</em>; or fcap. 8vo, illustrated -wrapper, 1<em>s.</em></p> - -<p class="pfs70">——————————</p> - -<p><b><span class="fs160">Mark Twain's New</span> -Pilgrim's Progress</b>: The Voyage -Home. Crown 8vo, cloth, fine -toned paper, 3<em>s.</em> 6<em>d.</em>; or fcap. 8vo, -illustrated wrapper, 1<em>s.</em></p> - -<p class="pfs70">——————————</p> - -<p><b><span class="fs160">Mark Twain's Burlesque</span> -Autobiography</b>, First -Mediæval Romance, and on Children. Fcap. 8vo, illustrated cover, 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Mark Twain's Eye-Openers.</span></b> A Volume -of immensely Funny Sayings, and Stories that will bring a smile upon -the gruffest countenance. Fcap. 8vo, illustrated wrapper, 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Mark Twain's Jumping Frog</span></b>, and other -Humorous Sketches. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - -<div class="blockquotx center"> - -"An inimitably funny book."—<cite>Saturday Review.</cite></div> - - -<hr class="r30a" /> -<p><b><span class="fs160">Mark Twain's Pleasure Trip</span> on the -Continent of Europe.</b> (The "Innocents Abroad" and "New -Pilgrim's Progress" in one volume.) 500 pages, paper boards, 2<em>s.</em>; -or in cloth, 2<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Mark Twain's Practical Jokes</span></b>; or, -Mirth with Artemus Ward, and other Papers. By <span class="smcap">Mark Twain</span>, -and other Humorists. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Mark Twain's Screamers.</span></b> A Gathering -of Delicious Bits and Short Stories. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_28C" id="Page_28C">[28C]</a></span></p> - -<p><b><span class="fs160">Mayhew's London Characters:</span></b> Illustrations -of the Humour, Pathos, and Peculiarities of London Life. -By <span class="smcap">Henry Mayhew</span>, Author of "London Labour and the London -Poor," and other Writers. With nearly 100 graphic Illustrations. -Crown 8vo, cloth gilt, about 500 pages, 7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Magna Charta.</span></b> An exact Facsimile of the -Original Document, preserved in the British Museum, very carefully -drawn, and printed on fine plate paper, nearly 3 feet long by 2 feet -wide, with the Arms and Seals of the Barons elaborately emblazoned -in Gold and Colours. <span class="fs70">A.D.</span> 1215. Price 5<em>s.</em>; or, handsomely framed -and glazed, in carved oak, of an antique pattern, 22<em>s.</em> 6<em>d.</em></p> - -<p class="center">A full Translation, with Notes, has been prepared, price 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs80">ENTIRELY NEW GAMES.</p> - -<div class="figcenter"> -<img src="images/cat_028.jpg" width="400" alt="" /> -</div> - -<p><b><span class="fs160">The Merry Circle</span></b>, and How the Visitors -were entertained during Twelve Pleasant Evenings. A Book of -New Intellectual Games and Amusements. Edited by Mrs. <span class="smcap">Clara -Bellew</span>. Crown 8vo, numerous Illustrations, cloth extra, 4<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A capital Book of Household Amusements, which will please both old and -young. It is an excellent book to consult before going to an evening party.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Monumental Inscriptions of the West</span> -Indies</b>, from the Earliest Date, with Genealogical and Historical -Annotations, &c., from Original, Local, and other Sources. Illustrative -of the Histories and Genealogies of the Seventeenth Century, -the Calendars of State Papers, Peerages, and Baronetages. With -Engravings of the Arms of the principal Families. Chiefly collected -on the spot by the Author, Capt. <span class="smcap">J. H. Lawrence-Archer</span>. One -volume, demy 4to, about 300 pages, cloth extra, 21<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_29C" id="Page_29C">[29C]</a></span></p> - -<p><b><span class="fs160">Mr. Brown on the Goings-on of Mrs.</span> -Brown</b> at the Tichborne Trial, &c. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Mr. Sprouts: His Opinions.</span></b> Fcap. 8vo, -illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Uniform with "Tom D'Urfey's Pills."</p> - -<p><b><span class="fs160">Musarum Deliciæ</span></b>; or, The Muses' Recreation, -1656; Wit Restor'd, 1658; and Wit's Recreations, 1640. -The whole compared with the originals; with all the Wood Engravings, -Plates, Memoirs, and Notes. A New Edition, in 2 volumes, -post 8vo, beautifully printed on antique laid paper, and bound in -antique boards, 21<em>s.</em> A few Large Paper copies have been prepared, -price 35<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>Of the Poets of the Restoration, there are none whose works are more rare -than those of Sir John Mennis and Dr. James Smith. The small volume entitled -"Musarum Deliciæ; or, The Muses' Recreation," which contains the productions -of these two friends, was not accessible to Mr. Freeman when he compiled his -"Kentish Poets," and has since become so rare that it is only found in the cabinets -of the curious. A reprint of the "Musarum Deliciæ," together with several other -kindred pieces of the period, appeared in 1817, forming two volumes of Facetiæ, -edited by Mr. E. Dubois, author of "The Wreath," &c. These volumes having in -turn become exceedingly scarce, the Publishers venture to put forth the present new -edition, in which, while nothing has been omitted, no pains have been spared to -render it more complete and elegant than any that has yet appeared. The type, -plates, and woodcuts of the originals have been accurately followed; the notes of -the Editor of 1817 are considerably augmented, and indexes have been added, -together with a portrait of Sir John Mennis, from a painting by Vandyke in Lord -Clarendon's Collection.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Mystery of Mr. E. Drood.</span></b> An -Adaptation. By <span class="smcap">Orpheus C. Kerr</span>. Fcap. 8vo, illustrated -cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Mystery of the Good Old Cause:</span></b> -Sarcastic Notices of those Members of the Long Parliament that -held Places, both Civil and Military, contrary to the Self-denying -Ordinance of April 3, 1645; with the Sums of Money and Lands -they divided among themselves. Small 4to, half-morocco, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Never Caught in Blockade-Running.</span></b> -An exciting book of Adventures during the American Civil War. -Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_30C" id="Page_30C">[30C]</a></span></p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/cat_030.jpg" width="400" height="324" alt="" /> -</div> - -<p><b><span class="fs160">Napoleon III., the Man of His Time;</span></b> -from Caricatures. <span class="smcap">Part I. The Story of the Life of Napoleon -III.</span>, as told by <span class="smcap">J. M. Haswell</span>.</p> - -<p><span class="smcap pad2">Part II. The Same Story</span>, as told by the <span class="smcap">Popular Caricatures</span> -of the past Thirty-five Years. Crown 8vo, with Coloured -Frontispiece and over 100 Caricatures, 400 pp., 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>The object of this Work is to give Both Sides of the Story. The Artist has -gone over the entire ground of Continental and English Caricatures for the last -third of a century, and a very interesting book is the result.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Nuggets and Dust</span></b>, panned out in California -by <span class="smcap">Dod Grile</span>. Selected and edited by <span class="smcap">J. Milton Sloluck</span>. A new -style of Humour and Satire. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>If Artemus Ward may be considered the Douglas Jerrold, and Mark -Twain the Sydney Smith of America, Dod Grile will rank as their Dean Swift.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">The Old Prose Stories</span></b> whence <span class="smcap">Tennyson's</span> -"Idylls of the King" were taken. By <span class="smcap">B. M. Ranking</span>. Royal -16mo, paper cover, 1<em>s.</em>; cloth extra, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_31C" id="Page_31C">[31C]</a></span></p> - -<p class="pfs80">THE OLD DRAMATISTS.</p> - -<p><b><span class="fs160">Ben Jonson's Works.</span></b> With Notes, Critical -and Explanatory, and a Biographical Memoir by <span class="smcap">William -Gifford</span>. Edited by Lieut.-Col. <span class="smcap">Francis Cunningham</span>. Complete -in 3 vols., crown 8vo, Portrait. Cloth, 6<em>s.</em> each; cloth gilt, -6<em>s.</em> 6<em>d.</em> each.</p> - - -<hr class="r30a" /> -<p><b><span class="fs160">George Chapman's Plays</span></b>, Complete, from -the Original Quartos. With an Introduction by <span class="smcap">Algernon Charles -Swinburne</span>. Crown 8vo, Portrait. Cloth, 6<em>s.</em>; cloth gilt, 6<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>In preparation.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Christopher Marlowe's Works:</span></b> Including -his Translations. Edited, with Notes and Introduction, -by Lieut.-Col. <span class="smcap">F. Cunningham</span>. Crown 8vo, Portrait. Cloth, 6<em>s.</em>; -cloth gilt, 6<em>s.</em> 6<em>d.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Philip Massinger's Plays.</span></b> From the -Text of <span class="smcap">Wm. Gifford</span>. With the addition of the Tragedy of -"Believe as You List." Edited by Lieut.-Col. <span class="smcap">Francis Cunningham</span>. -Crown 8vo, Portrait. Cloth, 6<em>s.</em>; cloth gilt, 6<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Original Lists of Persons of Quality;</span></b> -Emigrants; Religious Exiles; Political Rebels; Serving Men Sold -for a Term of Years; Apprentices; Children Stolen; Maidens -Pressed; and others who went from Great Britain to the American -Plantations, 1600-1700. With their Ages, the Localities where they -formerly Lived in the Mother Country, Names of the Ships in -which they embarked, and other interesting particulars. From -MSS. preserved in the State Paper Department of Her Majesty's -Public Record Office, England. Edited by <span class="smcap">John Camden -Hotten</span>. A very handsome volume, crown 4to, cloth gilt, 700 -pages, 31<em>s.</em> 6<em>d.</em> A few Large Paper copies have been printed, -price 50<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Parochial History of the County of</span> -Cornwall.</b> Compiled from the best authorities, and corrected and -improved from actual survey. 4 vols. 4to, cloth extra, £3 3<em>s.</em> the -set; or, separately, the first three volumes, 16<em>s.</em> each; the fourth -volume, 18<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_32C" id="Page_32C">[32C]</a></span></p> - -<p class="pfs90 smcap">Companion to the "Bon Gaultier Ballads."</p> - -<p><b><span class="fs160">Puck on Pegasus.</span></b> By <span class="smcap">H. Cholmondeley -Pennell</span>. In 4to, printed within an India-paper tone, and elegantly -bound, gilt, gilt edges, price 10<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>This most amusing work has passed through Five Editions, receiving -everywhere the highest praise as "a clever and brilliant book." In addition -to the designs of</em> <span class="smcap">George Cruikshank</span>, <span class="smcap">John Leech</span>, <span class="smcap">Julian Portch</span>, "<span class="smcap">Phiz</span>," -<em>and other artists</em>, Sir <span class="smcap">Noel Paton</span>, <span class="smcap">Millais</span>, <span class="smcap">John Tenniel</span>, <span class="smcap">Richard -Doyle</span>, <em>and</em> <span class="smcap">M. Ellen Edwards</span> <em>have now contributed several exquisite -pictures, thus making the New Edition—which is Twice the Size of the old one—the -best book for the Drawing-room table published</em>.</div> - - -<p class="center lsp">By the same Author.</p> - -<p><b><span class="fs160">Modern Babylon</span></b>, and other Poems. -Small crown 8vo, cloth extra, gilt, 4<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Companion to "Cussans' Heraldry."</p> - -<div class="figleft"> -<img src="images/cat_032a.jpg" width="170" alt="" /> -</div> - -<p><b><span class="fs160">The Pursuivant of Arms</span></b>; -or, Heraldry founded upon Facts. A -Popular Guide to the Science of Heraldry. -By <span class="smcap">J. R. Planché</span>, Esq., F.S.A., -Somerset Herald. To which are added, -Essays on the <span class="smcap">Badges of the Houses of -Lancaster and York</span>. A New Edition, -enlarged and revised by the Author, illustrated -with Coloured Frontispiece, five -full-page Plates, and about 200 Illustrations. -Crown 8vo. beautifully bound in cloth, with -Emblematic Design, extra gilt, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs80">PICCADILLY ANNUAL FOR 1874.</p> - -<div class="figleft"> -<img src="images/cat_032b.jpg" width="250" alt="" /> -</div> - -<p><b><span class="fs160">The Knowing</span> -Ones at Home.</b> Stories -of their Doings at a Local -Science Meeting, at the -Crystal Palace, at St. -Paul's, at a Foresters' -Fête, &c., &c. A New -and entirely Original Humorous -Story, crammed -with Fun from the first -page to the last. Profusely -Illustrated by -<span class="smcap">Brunton</span>, <span class="smcap">Matt Morgan</span>, -and other Artists. -4to, handsome wrapper, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_33C" id="Page_33C">[33C]</a></span></p> - -<p><b><span class="fs160">Policeman Y: His Opinions on War</span> -and the Millingtary.</b> With Illustrations by the Author, <span class="smcap">John -Edward Soden</span>. Cloth, very neat, 2<em>s.</em> 6<em>d.</em>; in paper, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">For Gold and Silversmiths.</p> - -<p><b><span class="fs160">Private Book of Useful Alloys</span> and -Memoranda for Goldsmiths and Jewellers.</b> By <span class="smcap">James E. -Collins</span>, C.E., of Birmingham. Royal 16mo, 3<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>The secrets of the Gold and Silversmiths' Art are here given, for the benefit -of young Apprentices and Practitioners. It is an invaluable book to the Trade.</em></div> - - -<hr class="fulla" /> -<p class="pfs90 smcap">"An Awfully Jolly Book for Parties."</p> - -<div class="figleft"> -<img src="images/cat_033.jpg" width="300" alt="" /> -</div> - -<p><b><span class="fs160">Puniana:</span></b> Thoughts -Wise and Otherwise. By the -Hon. <span class="smcap">Hugh Rowley</span>. Best -Book of Riddles and Puns -ever formed. With nearly 100 -exquisitely Fanciful Drawings. -Contains nearly 3000 of the -best Riddles, and 10,000 most -outrageous Puns, and is one of -the most Popular Books ever -issued. New Edition, small -quarto, uniform with the -"Bab Ballads." Price 6<em>s.</em></p> - -<div class="blockquotx"> - -"Enormous burlesque—unapproachable -and pre-eminent. We -venture to think that this very queer -volume will be a favourite. It -deserves to be so; and we should -suggest that, to a dull person desirous to get credit with the young holiday -people, it would be good policy to invest in the book, and dole it out by instalments."—<cite>Saturday -Review.</cite></div> - -<hr class="r30a" /> -<p class="center lsp">By the same Author.</p> - -<p><b><span class="fs160">A Second Series of Puniana:</span></b> Containing -nearly 100 beautifully executed Drawings, and a splendid Collection -of Riddles and Puns, fully equal to those in the First Volume. Small -quarto, uniform with the First Series, cloth gilt, gilt edges, 6<em>s.</em></p> - -<p class="rightx">[<em>Nearly ready.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Remarkable Claimants,</span></b> Ancient and Modern. Being the Histories of -all the most celebrated Pretenders and Claimants during the last 600 -years. Fcap. 8vo, 300 pages, illustrated boards, 2<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_34C" id="Page_34C">[34C]</a></span></p> - -<p class="pfs80">GUSTAVE DORÉ'S DESIGNS.</p> - -<div class="figcenter"> -<img src="images/cat_034.jpg" width="500" alt="" /> -</div> - -<p><b><span class="fs160">The Works of Rabelais.</span></b> Faithfully translated -from the French, with variorum Notes, and numerous characteristic -Illustrations by <span class="smcap">Gustave Doré</span>. Crown 8vo, cloth extra, -700 pages. Price 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p class="pfs90 smcap">Uniform with "Wonderful Characters."</p> - -<p><b><span class="fs160">Remarkable Trials and Notorious</span> -Characters.</b> From "Half-Hanged Smith," 1700, to Oxford, who -shot at the Queen, 1840. By Captain <span class="smcap">L. Benson.</span> With spirited -full-page Engravings by <span class="smcap">Phiz</span>. 8vo, 550 pages, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A Complete Library of Sensation Literature! There are plots enough here -to produce a hundred "exciting" Novels, and at least five hundred "powerful" -Magazine Stories. The book will be appreciated by all readers whose taste lies in -this direction.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Rochefoucauld's Reflections and</span> -Moral Maxims.</b> With Introductory Essay by <span class="smcap">Sainte-Beuve</span>, and -Explanatory Notes. Royal 16mo, elegantly printed, 1<em>s.</em>; cloth -neat, 1<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_35C" id="Page_35C">[35C]</a></span></p> - -<p><b><span class="fs160">Rogues and Vagabonds of the Race-Course.</span></b> -Full Explanations how they Cheat at Roulette, Three -Cards, Thimble-rig; with some Account of the Welsher and Money-Lender. -By <span class="smcap">Alfred Toulmin</span>, late 65th Regt. Fcap. 8vo, illustrated -cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Roll of Battle Abbey</span></b>; or, A List of the Principal -Warriors who came over from Normandy with William the -Conqueror, and Settled in this Country, <span class="fs70">A.D.</span> 1066-7. Carefully -drawn, and printed on fine plate paper, nearly three feet by two -feet, with the Arms of the principal Barons elaborately emblazoned -in Gold and Colours. Price 5<em>s.</em>; or, handsomely framed in carved -oak of an antique pattern, 22<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Roll of Caerlaverock</span></b>: the Oldest Heraldic -Roll; including the Original Anglo-Norman Poem, and an English -Translation of the MS. in the British Museum. By <span class="smcap">Thomas -Wright</span>, M.A. The Arms emblazoned in gold and colours. In -4to, very handsomely printed, extra gold cloth, 12<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Roman Catholics in the County</span> of -York in 1604.</b> Transcribed from the Original MS. in the Bodleian -Library, and Edited, with Genealogical Notes, by <span class="smcap">Edward Peacock</span>, -F.S.A., Editor of "Army Lists of the Roundheads and -Cavaliers, 1642." Small 4to, handsomely printed and bound, 15<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>Genealogists and Antiquaries will find much new and curious matter in -this work. An elaborate Index refers to every name in the volume, among which -will be found many of the highest local interest.</em></div> - - -<hr class="fulla" /> -<div class="figcenter"> -<img src="images/cat_035.jpg" width="350" alt="" /> -</div> - -<p><b><span class="fs160">Ross's (Chas. H.) Unlikely Tales</span> and -Wrong-Headed Essays.</b> Fcap. 8vo, with numerous quaint and -amusing Illustrations, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_36C" id="Page_36C">[36C]</a></span></p> - -<p><b><span class="fs160">Ross's (Chas. H.) Story of a Honeymoon.</span></b> -A New Edition of this charmingly humorous book. Fcap. 8vo, illustrated -boards, 2<em>s.</em></p> - -<p class="rightx">[<em>Nearly ready.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">School Life at Winchester College</span></b>; -or, The Reminiscences of a Winchester Junior. By the Author of -"The Log of the Water Lily;" and "The Water Lily on the -Danube." Second Edition, Revised. <span class="smcap">Coloured Plates</span>. 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<div class="figcenter" style="width: 300px;"> -<img src="images/cat_036.jpg" width="300" height="246" alt="" /> -</div> - -<p><b><span class="fs160">The Secret Out</span></b>; or, One Thousand -Tricks with Cards, and other Recreations; with Entertaining Experiments -in Drawing Room or "White Magic." By the Author -of the "Magician's Own Book." Edited by <span class="smcap">W. H. Cremer</span>, Jun., -of Regent Street. With 300 Engravings. Crown 8vo, cloth, 4<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>Under the title of "<span lang="fr" xml:lang="fr">Le Magicien des Salons</span>," this book has long been a Standard -Magic Book with all French and German Professors of the Art. The tricks are -described so carefully, with engravings to illustrate them, that not the slightest -difficulty can be experienced in performing them.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Shaving Them</span></b>; or, The Adventures of -Three Yankees. By <span class="smcap">Titus A. Brick</span>. Fcap. 8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Shelley's Early Life.</span></b> From Original -Sources. With Curious Incidents, Letters, and Writings, now -First Published or Collected. By <span class="smcap">Denis Florence Mac-Carthy</span>. -Cheaper Edition, crown 8vo, with Illustrations, 440 pages, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A most interesting volume of new biographical facts. The work possesses -special interest to Irish readers, as the poet's political pamphlets, advocating -Home Rule and other rights, are here for the first time given in a -collected form. These pamphlets Shelley and his wife threw from the balcony -of a window in Sackville Street, as the best means of publishing the poet's -political principles.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_37C" id="Page_37C">[37C]</a></span></p> - -<p class="pfs80">THE POCKET SHELLEY.</p> - -<div class="figcenter"> -<img src="images/cat_037.jpg" width="250" alt="" /> -</div> - -<p class="pfs80 smcap">Shelley, from the Godwin Sketch.</p> - -<p><b><span class="fs160">Shelley's Poetical Works.</span></b> Now First -Reprinted from the Author's Original Editions. In Two Series, the -<span class="smcap">First</span> containing "Queen Mab" and the Early Poems; the <span class="smcap">Second</span>, -"Laon and Cythna," "The Cenci," and Later Poems. In royal -16mo, over 400 pages in a volume, price 1<em>s.</em> 8<em>d.</em> each, in illustrated cover; -2<em>s.</em> 2<em>d.</em> each in cloth extra.</p> - -<p class="center"><em>The Third Series, completing the Work, will shortly be ready.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Sheridan's (Richard Brinsley) Complete</span> -Works</b>, with Life and Anecdotes. Including his Dramatic -Writings, printed from the Original Editions, his works in Prose -and Poetry, Translations, Speeches, Jokes, Puns, &c.; with a Collection -of Sheridaniana. Crown 8vo, cloth gilt, with Portrait and -Illustrations, 7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Shirley Brooks' Amusing Poetry.</span></b> A -Collection of Humorous Poems. Selected by <span class="smcap">Shirley Brooks</span>, -Editor of <cite>Punch</cite>. Fcap. 8vo, paper boards, 2<em>s.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - -<div class="blockquotx"> - -⁂ <em>This work has for many years been out of print, and very scarce.</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_38C" id="Page_38C">[38C]</a></span></p> - -<p><b><span class="fs160">Signboards</span></b>: Their History. With Anecdotes -of Famous Taverns and Remarkable Characters. By <span class="smcap">Jacob -Larwood</span> and <span class="smcap">John Camden Hotten</span>. <span class="smcap">Seventh Edition.</span> -Crown 8vo, cloth extra, 580 pp., 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_038a.jpg" width="250" alt="" /> -</div> - -<p class="pfs90 smcap">Bull and Mouth.</p> - -<div class="blockquotx"> - -"It is not fair on the part of a reviewer to pick out the plums of an author's book, -thus filching away his cream, and leaving little but skim-milk remaining; but, even if we -were ever so maliciously inclined, we could not in the present instance pick out all -Messrs. Larwood and Hotten's plums, because the good things are so numerous as -to defy the most <ins class="corr" title="Transcriber's Note—Original text: 'wholesale de redation'">wholesale depredation</ins>."—<cite>The Times.</cite></div> - -<div class="blockquotx"> - -⁂ <em>Nearly 100 most curious illustrations on wood are given, showing the various -old signs which were formerly hung from taverns and other houses.</em></div> - - -<hr class="fulla" /> -<p class="pfs90">CHARLES DICKENS' EARLY SKETCHES.</p> - -<p><b><span class="fs160">Sketches of Young Couples</span></b>, Young -Ladies and Young Gentlemen. By "<span class="smcap">Quiz</span>" (<span class="smcap">Charles Dickens</span>). -With 18 Steel-plate Illustrations by "<span class="smcap">Phiz</span>" (<span class="smcap">H. K. Browne</span>). -A New Edition, crown 8vo, cloth gilt, 4<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_038b.jpg" width="170" alt="" /> -</div> - -<p><b><span class="fs160">The Slang Dictionary</span></b>: -Etymological, Historical, and Anecdotal. -An <span class="smcap">Entirely New Edition</span>, revised -throughout, and considerably Enlarged, -containing upwards of a thousand more -words than the last edition. Crown 8vo, -with Curious Illustrations, cloth extra, -6<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -"Valuable as a work of reference."—<cite>Saturday -Review.</cite></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_39C" id="Page_39C">[39C]</a></span></p> - -<p class="pfs80">A KEEPSAKE FOR SMOKERS.</p> - -<p><b><span class="fs160">The Smoker's Text-Book.</span></b> By <span class="smcap">J. Hamer</span>, -F.R.S.L. Exquisitely printed from "silver-faced" type, cloth, very -neat, gilt edges, 2<em>s.</em> 6<em>d.</em>, post free.</p> - -<div class="blockquotx"> - -"A pipe is a great comforter, a pleasant soother. The man who -smokes, thinks like a sage, and acts like a Samaritan."—<em>Bulwer.</em><br /> - - "A tiny volume, dedicated to the votaries of the weed; -beautifully printed on toned paper, in, we believe, the smallest -type ever made (cast especially for show at the Great Exhibition -in Hyde Park), but very clear, notwithstanding its minuteness.... -The pages sing, in various styles, the praises of tobacco. -Amongst the writers laid under contribution are Bulwer, Kingsley, -Charles Lamb, Thackeray, Cowper, and Byron."—<em>The Field.</em></div> - - -<hr class="fulla" /> -<p class="pfs80">WEST-END LIFE AND DOINGS.</p> - -<div class="figcenter"> -<img src="images/cat_039.jpg" width="250" alt="" /> -</div> - -<p><b><span class="fs160">The Story of the London Parks.</span></b> By -<span class="smcap">Jacob Larwood</span>. With numerous Illustrations, Coloured and -Plain. In One thick Volume, crown 8vo, cloth extra, gilt, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A most interesting work, giving a complete History of these favourite out-of-door -resorts, from the earliest period to the present time, together with the fashions, -the promenades, the rides, the reviews, and other displays.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Summer Cruising in the South Seas.</span></b> -By <span class="smcap">C. W. Stoddard</span>. With about Thirty Engravings -on Wood, drawn by <span class="smcap">Wallis Mackay</span>. Crown 8vo, cloth, -extra gilt, 5<em>s.</em></p> - -<div class="blockquotx"> - -⁂ <em>Chapters descriptive of life and adventure in the South Sea Islands, in the -style made so popular by "The Earl and the Doctor."</em></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_40C" id="Page_40C">[40C]</a></span></p> - -<p class="pfs80">ALGERNON CHARLES SWINBURNE'S WORKS.</p> - -<div class="figcenter"> -<img src="images/cat_040.jpg" width="250" alt="" /> -</div> - -<p><b><span class="fs160">Swinburne's William Blake</span></b>: A Critical -Essay. With facsimile Paintings, Coloured by Hand, after the -Drawings by Blake and his Wife. Thick 8vo, cloth extra, price 16<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Atalanta in Calydon.</span></b> -New Edition. Foolscap 8vo, price 6<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Bothwell.</span></b> A New Poem.</p> - -<p class="rightx">[<em>In preparation.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Chastelard.</span></b> A Tragedy. -New Edition. Price 7<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Poems and Ballads.</span></b> -New Edition. Price 9<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Notes on his Poems</span></b>, -and on the Reviews which have appeared upon them. Price 1<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Queen Mother and Rosamond.</span></b> -New Edition. Foolscap 8vo, price 5<em>s.</em></p> - - -<hr class="r30a" /> -<p><b><span class="fs160">Swinburne's Song of Italy.</span></b> Foolscap -8vo, toned paper, cloth, price 3<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_41C" id="Page_41C">[41C]</a></span></p> - -<p class="pfs80">WILLIAM COMBE'S BEST WORK.</p> - -<p><b><span class="fs160">Dr. Syntax's Three Tours.</span></b> <span class="smcap">With the -whole of Rowlandson's very droll full-page Illustrations, -in Colours, after the Original Drawings.</span> Comprising -the well-known <span class="smcap">Tours</span>—</p> - -<div class="pad6"> -1. <span class="smcap">In Search of the Picturesque.</span><br /> -2. <span class="smcap">In Search of Consolation.</span><br /> -3. <span class="smcap">In Search of a Wife.</span><br /> -</div> - -<div class="in1">The Three Series Complete and Unabridged, with a Life of the -Author by <span class="smcap">John Camden Hotten</span>. 8vo, cloth extra, gilt, in one -handsome volume, price 7<em>s.</em> 6<em>d.</em></div> - -<div class="blockquotx pad2"> - -⁂ <em>One of the most amusing and laughable books ever published.</em></div> - -<div class="in1">A <span class="smcap">Smaller Edition</span>, with Eight Coloured Plates, the text complete, -price 3<em>s.</em> 6<em>d.</em></div> - - -<hr class="fulla" /> -<div class="figcenter"> -<img src="images/cat_041.jpg" width="450" alt="" /> -</div> - -<p class="pfs90 smcap">Theodore Hook's House, near Putney.</p> - -<p><b><span class="fs160">Theodore Hook's Ramsbottom</span> -Papers.</b> The whole 29 Letters, complete and unabridged, -precisely as they left the pen of their genial and witty Author. Fcap. -8vo, illustrated cover, 1<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_42C" id="Page_42C">[42C]</a></span></p> - -<p><b><span class="fs160">Taylor's History of Playing Cards.</span></b> -With Sixty curious Illustrations, 550 pp., price 7<em>s.</em> 6<em>d.</em></p> - -<div class="figcenter"> -<img src="images/cat_042a.jpg" width="250" alt="" /> -</div> - -<div class="blockquotx"> - -⁂ <em>Ancient and Modern Games, Conjuring, Fortune-Telling, and Card Sharping, -Gambling and Calculation, Cartomancy, Old Gaming-Houses, Card Revels -and Blind Hookey, Picquet and Vingt-et-un, Whist and Cribbage, Tricks, &c.</em></div> - - -<hr class="fulla" /> -<div class="figleft"> -<img src="images/cat_042b.jpg" width="200" alt="" /> -</div> - -<p><b><span class="fs160">Thackerayana.</span></b> Notes -and Anecdotes illustrative of Scenes -and Characters in the Works of <span class="smcap">William -Makepeace Thackeray</span>. With -nearly Four Hundred Illustrations, -coloured and plain. In 8vo, uniform -with the Library Edition of his works, -7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - -<p class="pfs70">——————————</p> - -<p><b><span class="fs160">Theodore Hook's</span> -Choice Humorous Works</b>, with his -Ludicrous Adventures, Bons-mots, Puns, -and Hoaxes. With a new Life of the -Author. <span class="smcap">Portraits</span>, <span class="smcap">Facsimiles</span>, and -<span class="smcap">Illustrations</span>. Cr. 8vo, 600 pages, -cloth extra, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ "As a wit and humorist of the highest order -his name will be preserved. His political songs -and <i lang="fr" xml:lang="fr">jeux d'esprit</i>, when the hour comes for collecting -them, <em>will form a volume of sterling and -lasting attraction</em>!"—<span class="smcap">J. G. Lockhart.</span></div> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_43C" id="Page_43C">[43C]</a></span></p> - -<div class="figcenter"> -<img src="images/cat_043.jpg" width="450" alt="" /> -</div> - -<p class="pfs90 smcap">The Subscription Room at Brookes's.</p> - -<p><b><span class="fs160">Timbs' Clubs and Club Life in London.</span></b> -With <span class="smcap">Anecdotes</span> of its <span class="smcap">Famous Coffee Houses</span>, <span class="smcap">Hostelries</span>, -and <span class="smcap">Taverns</span>. By <span class="smcap">John Timbs</span>, F.S.A. New Edition, -with <span class="smcap">Numerous Illustrations</span>, drawn expressly. Crown 8vo, -cloth extra, 600 pages, 7<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>A Companion to "The History of Sign-Boards." It abounds in quaint -stories of old London Clubs—the</em> Blue Stocking, Kit Kat, Beef Steak, Robin Hood, -Mohocks, Scriblerus, One o'Clock, the Civil, <em>and hundreds of others; together -with</em> Tom's, Dick's, Button's, Ned's, Will's, <em>and the famous Coffee Houses of the -last century. A full account of the great modern clubs of Pall Mall and St. James's -is also given. The <ins class="corr" title="Transcriber's Note—Original text: 'booh is a mine'">book is a mine</ins> of anecdote.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Timbs' English Eccentrics and Eccentricities.</span></b> -Stories of Wealth and Fashion, Delusions, Impostures -and Fanatic Missions, Strange Sights and Sporting Scenes, -Eccentric Artists, Theatrical Folks, Men of Letters, &c. By <span class="smcap">John -Timbs</span>, F.S.A. An entirely New Edition, with numerous Illustrations. -Crown 8vo, cloth extra, 600 pages, 7<em>s.</em> 6<em>d.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_44C" id="Page_44C">[44C]</a></span></p> - -<p class="pfs90 smcap">Uniform with "The Turf, Chase, and Road."</p> - -<p><b><span class="fs160">"Tom Smith."</span></b> Reminiscences of the late -<span class="smcap">Thomas Assheton Smith</span>, Esq.; or, The Pursuits of an English -Country Gentleman. By Sir <span class="smcap">J. E. Eardley Wilmot</span>, Bart. A -New and Revised Edition, with steel-plate Portrait, and plain and -coloured Illustrations. Crown 8vo, cloth extra, 7<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Vers de Société.</span></b> An entirely New Selection, -fuller and better than any hitherto made; introducing all the -Old Favourites, and many new ones. Edited by <span class="smcap">H. Cholmondeley -Pennell</span>, Author of "Puck on Pegasus." Beautifully printed, and -bound in cloth, extra gilt, 6<em>s.</em></p> - -<p class="rightx">[<em>Preparing.</em></p> - - -<hr class="fulla" /> -<p><b><span class="fs160">Victor Hugo's Les Misérables: Fantine.</span></b> -Now first published in an English Translation, complete and -unabridged. Post 8vo, illustrated boards, 2<em>s.</em></p> - -<p class="rightx">[<em>Nearly ready.</em></p> - -<div class="blockquotx pad2"> - -<em>The other Stories (each complete in itself) will follow.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Vyner's Notitia Venatica</span></b>: A Treatise -on Fox-Hunting, the General Management of Hounds, and the -Diseases of Dogs; Distemper and Rabies; Kennel Lameness, &c. -Sixth Edition, Enlarged. By <span class="smcap">Robert C. Vyner</span>, Esq., of Eathorpe -Hall, Warwickshire. <span class="smcap">With spirited Illustrations in Colours, -by Alken, of Memorable Fox-Hunting Scenes.</span> Royal 8vo, -cloth extra, 21<em>s.</em></p> - -<div class="blockquotx pad2"> - -⁂ <em>An entirely new edition of the best work on Fox-Hunting.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Walt Whitman's Leaves of Grass.</span></b> -The Complete Work, precisely as issued by the Author in Washington. -A thick volume, 8vo, green cloth, price 9<em>s.</em></p> - -<div class="blockquotx"> - -"Whitman is a poet who bears and needs to be read as a whole, and then the -volume and torrent of his power carry the disfigurements along with it and away. -He is really a fine fellow."—<cite>Chambers's Journal.</cite></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Warrant to Execute Charles I.</span></b> An -exact Facsimile of this important Document, with the Fifty-nine -Signatures of the Regicides, and corresponding Seals, admirably -executed on paper made to imitate the original document, 22 in. by -14 in. Price 2<em>s.</em>; or, handsomely framed and glazed in carved oak -of antique pattern, 14<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_45C" id="Page_45C">[45C]</a></span></p> - -<p><b><span class="fs160">Warrant to Execute Mary Queen of</span> -Scots.</b> The Exact Facsimile of this important Document, including -the Signature of Queen Elizabeth and Facsimile of the Great -Seal, on tinted paper, made to imitate the Original MS. Price -2<em>s.</em>; or, handsomely framed and glazed in carved oak of antique -pattern, 14<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<div class="figcenter"> -<img src="images/cat_045.jpg" width="500" alt="" /> -</div> - -<p><b><span class="fs160">Wonderful Characters</span></b>: Memoirs and -Anecdotes of Remarkable and Eccentric Persons of Every Age and -Nation. From the text of <span class="smcap">Henry Wilson</span> and <span class="smcap">James Caulfield</span>. -Crown 8vo, cloth extra, with Sixty-one full-page Engravings of -Extraordinary Persons, 7<em>s.</em> 6<em>d.</em></p> - - -<div class="blockquotx"> - -⁂ <em>There are so many curious matters discussed in this volume, that any person -who takes it up will not readily lay it down until he has read it through. -The Introduction is almost entirely devoted to a consideration of Pig-Faced -Ladies, and the various stories concerning them.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Wright's (Andrew) Court-Hand Restored</span></b>; -or, Student's Assistant in Reading Old Deeds, Charters, -Records, &c. Half Morocco, a New Edition, 10<em>s.</em> 6<em>d.</em></p> - -<div class="blockquotx"> - -⁂ <em>The best guide to the reading of old Records, &c.</em></div> - - -<hr class="fulla" /> -<p><b><span class="fs160">Wright's History of Caricature</span> and -the Grotesque</b> in Art, in Literature, Sculpture, and Painting, from -the Earliest Times to the Present Day. By <span class="smcap">Thomas Wright</span>, Esq., -F.S.A. Profusely illustrated by <span class="smcap">Fairholt</span>. Small 4to, cloth -extra gilt, red edges, 21<em>s.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_46C" id="Page_46C">[46C]</a></span></p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/cat_046.jpg" width="450" height="250" alt="" /> -</div> - -<p><b><span class="fs160">Wright's Caricature History of the</span> -Georges</b> (House of Hanover). A very Entertaining Book of 640 -pages, with 400 Pictures, Caricatures, Squibs, Broadsides, Window -Pictures, &c. By <span class="smcap">Thomas Wright</span>, Esq., F.S.A. Crown 8vo, -cloth extra, 7<em>s.</em> 6<em>d.</em> A few copies of a Large Paper Edition are still -on sale, with extra Portraits, bound in half-morocco, 30<em>s.</em></p> - -<div class="blockquotx"> - -"A set of caricatures such as we have in Mr. Wright's volume brings the surface -of the age before us with a vividness that no prose writer, even of the highest power, -could emulate. Macaulay's most brilliant sentence is weak by the side of the little -woodcut from Gillray, which gives us Burke and Fox."—<cite>Saturday Review.</cite></div> - - -<hr class="fulla" /> -<p class="pfs80">ALL THE BEST AMERICAN HUMOUR.</p> - -<p><b><span class="fs160">Yankee Drolleries.</span></b> Edited by <span class="smcap">George -Augustus Sala</span>. Containing <span class="smcap">Artemus Ward, His Book</span>; <span class="smcap">Biglow -Papers</span>; <span class="smcap">Orpheus C. Kerr</span>; <span class="smcap">Major Jack Downing</span>; and <span class="smcap">Nasby -Papers</span>. 700 pages, cloth, 3<em>s.</em> 6<em>d.</em></p> - -<hr class="r30a" /> -<p><b><span class="fs160">More Yankee Drolleries.</span></b> A Second -Series of the best American Humorists. Containing <span class="smcap">Artemus -Ward's Travels</span>; <span class="smcap">Hans Breitmann</span>; <span class="smcap">The Professor at the -Breakfast Table</span>; <span class="smcap">Biglow Papers</span>, Part II.; and <span class="smcap">Josh Billings</span>; -with an Introduction by <span class="smcap">George Augustus Sala</span>. 700 -pages, cloth, 3<em>s.</em> 6<em>d.</em></p> - -<hr class="r30a" /> -<p><b><span class="fs160">A Third Supply of Yankee Drolleries.</span></b> -Containing <span class="smcap">Artemus Ward's Fenians</span>; <span class="smcap">The Autocrat of the -Breakfast Table</span>; <span class="smcap">Bret Harte's Stories</span>; <span class="smcap">The Innocents -Abroad</span>; and <span class="smcap">New Pilgrim's Progress</span>; with an Introduction by -<span class="smcap">George Augustus Sala</span>. 700 pages, cloth, 3<em>s.</em> 6<em>d.</em></p> - - -<hr class="fulla" /> -<p><span class="pagenum"><a name="Page_47C" id="Page_47C">[47C]</a></span></p> - -<p class="p1 pfs135 antiqua">Popular Shilling Books, mostly Humorous,</p> - -<p class="pfs90 lsp">In Illustrated Covers.</p> - -<p class="pfs80">(See also under alphabetical arrangement.)</p> - -<p><br /> -<span class="smcap">American Happy Thoughts.</span><br /> -<span class="smcap">Artemus Ward: Among the Mormons.</span><br /> -<span class="smcap">———— His Book.</span><br /> -<span class="smcap">———— Letters to Punch.</span><br /> -<span class="smcap">Awful Crammers.</span> By Titus A. Brick.<br /> -<span class="smcap">Babies and Ladders.</span> By Emmanuel Kink.<br /> -<span class="smcap">Biglow Papers.</span><br /> -<span class="smcap">Bret Harte's East and West.</span><br /> -<span class="smcap">———— Luck of Roaring Camp.</span><br /> -<span class="smcap">———— Stories of the Sierras.</span><br /> -<span class="smcap">Bright's Speeches</span>, cloth.<br /> -<span class="smcap">Brown</span> (Mr.) <span class="smcap">on the Goings on of Mrs. Brown.</span><br /> -<span class="smcap">Byron in Love.</span> By Howard Paul.<br /> -<span class="smcap">Carlyle (Thomas) on the Choice of Books.</span><br /> -<span class="smcap">Chips from a Rough Log.</span><br /> -<span class="smcap">Danbury Newsman.</span> By J. M. Bailey.<br /> -<span class="smcap">Derby Day</span>: a Sporting Novel.<br /> -<span class="smcap">Dod Grile's Fiend's Delight.</span><br /> -<span class="smcap">———— Nuggets and Dust.</span><br /> -<span class="smcap">Du Chaillu's Country of the Dwarfs.</span><br /> -<span class="smcap">Fun for the Million.</span> By the best Humorists of the Day.<br /> -<span class="smcap">Hans Breitmann's Ballads.</span><br /> -<span class="smcap">Hatton's Kites and Pigeons.</span> Illustrated.<br /> -<span class="smcap">Holmes' Autocrat of the Breakfast Table.</span><br /> -<span class="smcap">—— Poet at the Breakfast Table.</span><br /> -<span class="smcap">—— Professor at the Breakfast Table.</span><br /> -<span class="smcap">—— Wit and Humour.</span><br /> -<span class="smcap">Hood's Whims and Oddities.</span> Both Series, complete.<br /> -<span class="smcap">Josh Billings: his Book of Sayings.</span><br /> -<span class="smcap">Lamb's Essays of Elia.</span> Both Series, complete.<br /> -<span class="smcap">Mr. Sprouts: His Opinions.</span><br /> -<span class="smcap">Mark Twain's Innocents Abroad.</span><br /> -<span class="smcap">———— Jumping Frog.</span><br /> -<span class="smcap">———— New Pilgrim's Progress.</span><br /> -<span class="smcap">———— Practical Jokes.</span><br /> -<span class="smcap">———— Screamers.</span><br /> -<span class="pagenum"><a name="Page_48C" id="Page_48C">[48C]</a></span> -<span class="smcap">Mystery of Mr. E. Drood.</span> By O. C. Kerr.<br /> -<span class="smcap">Never Caught.</span> The Blockade-runner's Story.<br /> -<span class="smcap">Orpheus C. Kerr Papers.</span><br /> -<span class="smcap">Piccadilly Annual for 1874: Knowing Ones at Home.</span><br /> -<span class="smcap">Policeman Y: Ballads.</span> Illustrated.<br /> -<span class="smcap">Rochefoucauld's Maxims</span>, with Sainte-Beuve's Essay.<br /> -<span class="smcap">Rogues and Vagabonds of the Racecourse.</span><br /> -<span class="smcap">Ross's Unlikely Tales and Wrong-headed Essays.</span><br /> -<span class="smcap">Shaving Them.</span> By Titus A. Brick.<br /> -<span class="smcap">Theodore Hook's Ramsbottom Papers.</span><br /> -</p> - - -<hr class="fulla" /> -<p class="pfs135 antiqua">The Golden Library of the Best Authors.</p> - -<hr class="r30a" /> - -<p class="fs80">⁂ <em>A charming collection of Favourite Works, elegantly printed in Handy -Volumes, uniform with the Tauchnitz Series.</em></p> - -<p class="pfs80">(See also under alphabetical arrangement.)</p> - -<hr class="r30a" /> - -<p><span class="smcap">Bayard Taylor.—Diversions of the Echo Club.</span> 1<em>s.</em> 6<em>d.</em>; -cloth, 2<em>s.</em></p> - -<p><span class="smcap">Carlyle.—On the Choice of Books.</span> 1<em>s.</em>; cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Charles Lamb.—The Essays of Elia.</span> Complete. Both -Series. 1<em>s.</em>; cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Holmes.—Autocrat of the Breakfast Table.</span> 1<em>s.</em>; cloth, -1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">——— Professor at the Breakfast Table.</span> 1<em>s.</em>; -cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Hood.—Whims and Oddities.</span> 80 Illustrations. Two Series, -complete. 1<em>s.</em>; cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Leigh Hunt.—A Tale for a Chimney Corner</span>, and -other Essays. 1<em>s.</em> 4<em>d.</em>; cloth, 1<em>s.</em> 10<em>d.</em></p> - -<p><span class="smcap">Leland.—Hans Breitmann's Ballads</span>, Complete. 1<em>s.</em>; -cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Rochefoucauld.—Reflections and Moral Maxims.</span> -With Essay by <span class="smcap">Sainte-Beuve</span>. 1<em>s.</em>; cloth, 1<em>s.</em> 6<em>d.</em></p> - -<p><span class="smcap">Shelley.—Poetical Works.</span> From the Author's Original -Editions. First Series, <span class="smcap">Queen Mab</span> and <span class="smcap">Early Poems</span>. Second -Series, <span class="smcap">Laon and Cythna</span>, the <span class="smcap">Cenci</span>, and <span class="smcap">Later Poems</span>. Each -Series 1<em>s.</em> 8<em>d.</em>; in cloth, 2<em>s.</em> 2<em>d.</em></p> - -<p><span class="smcap">Sir T. Mallory.—The Old Prose Stories</span> from which -<span class="smcap">Tennyson</span> took his "<span class="smcap">Idylls of the King</span>." 1<em>s.</em>; cloth, 1<em>s.</em> 6<em>d.</em></p> - - </div> - - -<hr class="fullb" /> -<p class="pfs70">J. OGDEN AND CO., PRINTERS, 172, ST. JOHN STREET, E.C.</p> - - -<div class="transnote pg-brk"> -<a name="TN" id="TN"></a> -<p><strong>TRANSCRIBER'S NOTE</strong></p> - -<p>Obvious typographical errors and punctuation errors have been -corrected after careful comparison with other occurrences within -the text and consultation of external sources.</p> - -<p>Footnotes have been moved to the end of the book text, and before -the publisher's Book Catalog. Some Footnotes are very long.</p> - -<p class="screenonly">To avoid duplication, the page numbering in the publisher's Book -Catalog at the back of the book has a suffix C added, so that for -example page [23] in the Catalog is denoted as [23C].</p> - -<p>The 3-star asterism symbol in the Catalog is denoted by ⁂. On -some handheld devices it may display as a space.</p> - -<p>Footnotes <a href="#Footnote_155_155">[155]</a>, <a href="#Footnote_187_187">[187]</a>, - <a href="#Footnote_188_188">[188]</a>, <a href="#Footnote_190_190">[190]</a>, - <a href="#Footnote_209_209">[209]</a> and <a href="#Footnote_230_230">[230]</a> are referenced -from the prior Footnotes and not from the text itself.</p> - -<p>For consistency and to follow the intent of the publisher, the Plate -illustrations have been moved to the beginning of the section -describing them. In most cases this was only one or two paragraphs -earlier than the original book layout.</p> - -<p>Except for those changes noted below, all misspellings in the text, -and inconsistent or archaic usage, have been retained. For example, -after-thought, afterthought; sign-post, signpost; independency; caldron; -embosomed; dulness.</p> - -<p> -In the illustration captions for the six "Marriage à la mode" Plates, - 'MARRIAGE A-LA-MODE' has been replaced by 'MARRIAGE A LA MODE'.<br /> -Pg 87 Footnote <a href="#Footnote_57_57">[57]</a>, 'sooner than hey' replaced by 'sooner than they'.<br /> -Pg 88 Footnote <a href="#Footnote_58_58">[58]</a>, 'being desious' replaced by 'being desirous'.<br /> -<a href="#Page_123">Pg 123</a>, 'handsome ackowledgment' replaced by 'handsome acknowledgment'.<br /> -<a href="#Page_130">Pg 130</a>, 'luscious cates' replaced by 'luscious cakes'.<br /> -<a href="#Page_240">Pg 240</a>, 'published in Septemper' replaced by 'published in September'.<br /> -Pg 255 Footnote <a href="#Footnote_179_179">[179]</a>, 'had his deserts' replaced by 'had his desserts'.<br /> -<a href="#Page_262">Pg 262</a>, 'sinster side is Doctor' replaced by 'sinister side is Doctor'.<br /> -<a href="#Page_268">Pg 268</a>, 'as a subscripton-ticket' replaced by 'as a subscription-ticket'.<br /> -<a href="#Page_280">Pg 280</a>, 'to be permament' replaced by 'to be permanent'.<br /> -<a href="#Page_284">Pg 284</a>, 'similiar spirit' replaced by 'similar spirit'.<br /> -<a href="#Page_301">Pg 301</a>, 'does not not need defense' replaced by 'does not need defense'.<br /> -<br /> -Catalog of Books:<br /> -<a href="#Page_15C">Pg 15C</a>, 'very beau-ful' replaced by 'very beautiful'.<br /> -<a href="#Page_43C">Pg 43C</a>, 'booh is a mine' replaced by 'book is a mine'.<br /> -</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Hogarth's Works, Volume 2 (of 3), by -John Ireland and John Nichols - -*** END OF THIS PROJECT GUTENBERG EBOOK HOGARTH'S WORKS, VOLUME 2 (OF 3) *** - -***** This file should be named 51978-h.htm or 51978-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/9/7/51978/ - -Produced by Chris Curnow, John Campbell and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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