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diff --git a/old/52862-h/52862-h.htm b/old/52862-h/52862-h.htm deleted file mode 100644 index 69fa480..0000000 --- a/old/52862-h/52862-h.htm +++ /dev/null @@ -1,22423 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Biographical Anecdotes Of William Hogarth, by John Nichols. - </title> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2,h3,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} -.p6 {margin-top: 6em;} - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: auto; - margin-right: auto; - clear: both; -} - -hr.tb {width: 45%;} -hr.chap {width: 65%} -hr.full {width: 95%;} - -hr.r5 {width: 5%; margin-top: 1em; margin-bottom: 1em;} -hr.r65 {width: 65%; margin-top: 3em; margin-bottom: 3em;} - -ul.index { list-style-type: none; } -li.ifrst { margin-top: 1em; } -li.indx { margin-top: .5em; } -li.isub1 {text-indent: 1em;} -li.isub2 {text-indent: 2em;} -li.isub3 {text-indent: 3em;} - -table { - margin-left: auto; - margin-right: auto; -} - - .tdl {text-align: left;} - .tdr {text-align: right;} - .tdc {text-align: center;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - color: #A9A9A9; -} /* page numbers */ - -.linenum { - position: absolute; - top: auto; - left: 4%; -} /* poetry number */ - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - -.bb {border-bottom: solid 2px;} - -.bl {border-left: solid 2px;} - -.bt {border-top: solid 2px;} - -.br {border-right: solid 2px;} - -.bbox {border: solid 2px;} - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.u {text-decoration: underline;} - -.gesperrt -{ - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -em.gesperrt -{ - font-style: normal; -} - -.caption {font-weight: bold;} - -/* Images */ -.figcenter { - margin: auto; - text-align: center; -} - - -/* Footnotes */ -.footnotes {border: dashed 1px;} - -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} - -.footnote .label {position: absolute; right: 84%; text-align: right;} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -/* Poetry */ -.poem { - margin-left:10%; - margin-right:10%; - text-align: left; -} - -.poem br {display: none;} - -.poem .stanza {margin: 1em 0em 1em 0em;} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Biographical Anecdotes of William Hogarth, by -William Hogarth - -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: Biographical Anecdotes of William Hogarth - With a Catalogue of his Works - -Author: William Hogarth - -Editor: John Nichols - -Release Date: August 21, 2016 [EBook #52862] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK BIOGRAPHICAL ANECDOTES--WILLIAM HOGARTH *** - - - - -Produced by Clare Graham and Marc D'Hooghe (FreeLitOrg -online gains some more weight, incl. free education -worldwide: moocs, educational resources, online soon.) -(Images generously made available by the Internet Archive.) - - - - - - -</pre> - - -<div class="figcenter" style="width: 500px;"> -<a id="cover"></a> -<img src="images/cover.jpg" width="500" alt="frontispiece" /> -</div> - -<div class="figcenter" style="width: 500px;"> -<a id="frontis"></a> -<img src="images/frontis.jpg" width="500" alt="titlepage" /> -</div> - -<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p> - -<h2>BIOGRAPHICAL<br /> -ANECDOTES -OF<br /> -WILLIAM HOGARTH;</h2> - -<h3>WITH<br /> -A CATALOGUE OF HIS WORKS<br /> -CHRONOLOGICALLY ARRANGED;<br /> -AND OCCASIONAL REMARKS.</h3> - - -<h4>[BY JOHN NICHOLS.]</h4> - - -<h5>THE THIRD EDITION, ENLARGED AND CORRECTED.</h5> - - -<h4>LONDON:<br /> - -PRINTED BY AND FOR JOHN NICHOLS,<br /> -IN RED-LION-PASSAGE, FLEET-STREET.<br /> -M DCC LXXXV.</h4> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p> -<h2>CONTENTS</h2> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left"><a href="#MEMORANDUM">MEMORANDUM.</a></td><td align="left">iii</td></tr> -<tr><td align="left"><a href="#ADVERTISEMENT">ADVERTISEMENT TO THE SECOND EDITION.</a></td><td align="left">v</td></tr> -<tr><td align="left"><a href="#ADVERTISEMENT_TO_THE_FIRST_EDITION">ADVERTISEMENT TO THE FIRST EDITION.</a></td><td align="left">vii</td></tr> -<tr><td align="left"><a href="#The_ingenious_Mr_Crayen_of_Leipzig">DETAILS OF MR. CRAYEN'S GERMAN EDITION.</a></td><td align="left">viii</td></tr> -<tr><td align="left"><a href="#List_of_Gentlemen_Artists_c_who_furnished_incidental">INDIVIDUALS CONSULTED BY THE AUTHOR.</a></td><td align="left">xv</td></tr> -<tr><td align="left"><a href="#COLLECTORS_of_HOGARTH">COLLECTORS OF HOGARTH.</a></td><td align="left">xvi</td></tr> -<tr><td align="left"><a href="#Extract_from_the_Daily_Advertiser">CONCERNING HOGARTH'S ORIGINAL WORKS.</a> </td><td align="left">xvii</td></tr> -<tr><td align="left"><a href="#HOGARTH">BIOGRAPHICAL ANECDOTES OF HOGARTH.</a></td><td align="left">1</td></tr> -<tr><td align="left"><a href="#CATALOGUE">CATALOGUE OF HOGARTH'S PRINTS.</a></td><td align="left">120</td></tr> -<tr><td align="left"><a href="#POSTSCRIPT">POSTSCRIPT.</a></td><td align="left">455</td></tr> -<tr><td align="left"><a href="#ADDITION">ADDITION.</a></td><td align="left">460</td></tr> -<tr><td align="left"><a href="#APPENDIX">APPENDIX NO. 1.</a></td><td align="left">461</td></tr> -<tr><td align="left"><a href="#N_II_See_p_137">NO. 2.</a></td><td align="left">492</td></tr> -<tr><td align="left"><a href="#N_III_See_p_414">NO. 3.</a></td><td align="left">502</td></tr> -<tr><td align="left"><a href="#GENERAL_INDEX">GENERAL INDEX TO HOGARTH'S PLATES.</a></td><td align="left">527</td></tr> -<tr><td align="left"><a href="#NEW_BOOKS_published_by_J_NICHOLS">NEW BOOKS PUBLISHED BY J. NICHOLS.</a></td></tr> -</table></div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p> -<h2><a id="MEMORANDUM"></a>MEMORANDUM.</h2> - - -<p>Respect and gratitude having engaged -me to compile a memoir of my -deceased Master and Patron Mr. <span class="smcap">Bowyer</span>, -in the same performance I included anecdotes -of all the eminent persons any way -connected with him. A note of about a -page's length was allotted to <span class="smcap">Hogarth</span>. -While it was printing, Mr. <span class="smcap">Walpole's</span> -Fourth Volume on the subject of English -Painters came out, and was followed by -an immediate rage for collecting every -scrap of our Artist's designs. Persevering -in my enquiries among my friends, -I had now amassed so much intelligence -relative to these engravings, that it could -no longer be crowded into the situation -originally meant for it. I was therefore -advised to publish it in the form of a sixpenny -pamphlet. This intended publication, -however, grew up by degrees into -a three-shilling book, and, within a year<span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span> -and a half afterwards, was swelled into -almost its present bulk, at the price of six -shillings. Such was the origin and progress -of the following sheets, which, with -many corrections, &c. have now reached a -Third Edition.</p> - -<p><span style="margin-left: 25em;"><i>J. N.</i></span></p> - -<p><i>Nov.</i> 10, 1785.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - - - - - - -<h3><a name="ADVERTISEMENT" id="ADVERTISEMENT">ADVERTISEMENT</a></h3> - -<h4>TO THE SECOND EDITION.</h4> - - -<p>The author of these imperfect sheets cannot -present them a second time to the world, before he -has expressed his gratitude for the extreme candour -with which they have been treated by the <i>Monthly -Reviewers</i>. If <i>J. N.</i> has not availed himself of all -the corrections designed for his service, it is because -the able critic who proposes them has been deluded -by intelligence manifestly erroneous. <i>J. N.</i> received -each particular he has mentioned, in respect to the -assistance bestowed on <i>Hogarth</i> while his <i>Analysis</i> was -preparing, from Dr. <i>Morell</i>, a gentleman who on that -subject could not easily mistake. Implicit confidence -ought rather to be reposed in a literary coadjutor to -the deceased, than in any consistory of females that -ever "mumbled their wisdom over a gossip's bowl." -Authors rarely acquaint domestic women with the -progress of their writings, or the proportion of aid -they solicit from their friends. If it were needful -that Dr. <i>Morell</i> should translate a <i>Greek</i> passage<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> for -<i>Hogarth</i>, how chanced it that our artist should want -to apply what he did not previously understand? I -must add, that the sentiments, published by the<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> -<i>Reviewer</i> concerning these <i>Anecdotes</i>, bear no resemblance -to the opinion circulated by the cavillers with -whom he appears to have had a remote connection. -The parties who furnished every circumstance on -which he founds his reiterated charges of error and -misinformation, are not unknown. Ever since this -little work was edited, the people about Mrs. <i>Hogarth</i> -have paid their court to her by decrying it as -"low, stupid, or false," without the slightest acknowledgement -for the sums of money it has conducted -to <i>The Golden Head</i> in <i>Leicester Fields</i>. While -the talents of the writer alone were questioned by -such inadequate judges of literary merit, a defence -on his part was quite unnecessary. He has waited, -however, with impatience for an opportunity of -making some reply to their groundless reflections on -his veracity. This purpose he flatters himself will -have been completely executed after he has observed -that all credentials relative to his disputed -assertion shall be ready (as they are at this moment) -for the Reviewer's inspection. <i>J. N.</i> cannot indeed -dismiss his present advertisement without observing, -that though the amiable partialities of a wife may -apologize for any contradiction suggested by Mrs. -<i>Hogarth</i> herself, the <i>English</i> language is not strong -enough to express the contempt he feels in regard -to the accumulated censure both of her male and -her female Parasites.</p> - -<p><span style="margin-left: 25em;"><i>J. N.</i></span></p> - -<p><i>Nov.</i> 1, 1782.</p> - -<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> Whereabouts is this translation of a <i>Greek</i> passage to be -found in the Analysis? It may have escaped my hasty researches.</p></div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> - -<h3><a name="ADVERTISEMENT_TO_THE_FIRST_EDITION" id="ADVERTISEMENT_TO_THE_FIRST_EDITION">ADVERTISEMENT TO THE FIRST EDITION.</a></h3> - - -<p>When this pamphlet was undertaken, the -Author had no thought of swelling it to it's present -bulk; but communicating his design to his friends, -they favoured him with various particulars of information. -Some of these accommodated themselves -to his original plan, if he can be supposed to have -had any, but others were more intractable. Still -aware of the value even of disjointed materials, which -his profession would not afford him leisure to compact -into a regular narrative, and conscious that these -sheets, rude and imperfect as they are, may serve to -promote a publication less unworthy of its subject, -he dismisses his present work without any laboured -apology for the errors that may be detected in it; -claiming, indeed, some merit on account of intelligence, -but not the least on the score of arrangement -or composition. He takes the same opportunity to -observe, that many curious anecdotes of extraordinary -persons have been unfortunately lost, because -the possessors of those fugitive particulars had not -the power of communicating them in proper form, -or polished language, and were unwilling to expose -them in such a state as these are offered to the world.</p> - -<p><br /><i>May</i> 9, 1781.</p> - - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></p> - -<h3><a name="The_ingenious_Mr_Crayen_of_Leipzig" id="The_ingenious_Mr_Crayen_of_Leipzig">The ingenious Mr. <span class="smcap">Crayen</span> of <i>Leipzig</i></a></h3> -<p>having -translated the First Edition of these Anecdotes, -&c. into the <i>German</i> Language, dispatched -a copy of his work to <i>J. N.</i> attended -by the obliging letter here subjoined:</p> - -<blockquote> - -<p>SIR,</p> - -<p>Though I have not the honour of being -acquainted with you, I hope your goodness will excuse -the liberty I take of sending you a <i>German</i> -translation of the <i>Biographical Anecdotes of Mr. Hogarth</i> -you published. Being convinced of the merits -of your production, and its usefulness to such collectors -of prints and connoisseurs in our country as -don't understand the <i>English</i> language, I undertook -this translation, and flatter myself you will be -pleased to accept of it as a proof of my real esteem -for you.</p> - -<p>You will find, that I did not always adhere literally -to the original, but made some abridgments, -alterations, notes, &c. &c. But I hope you will do -me the justice to consider, that I wrote for my countrymen, -and therefore left out such passages, poems,<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span> -anecdotes, &c. &c. as would have been entirely uninteresting -to them, and have swelled the volume to -no purpose.</p> - -<p>As to the typographical performance, I think you -will be tolerably satisfied of it. Though the noble -art of printing is of <i>German</i> origin, your nation has -improved and brought it to the highest pitch of -perfection in point of neatness, elegance, and correctness.</p> - -<p>I remain, with all possible esteem,</p> - -<p><span style="margin-left: 5em;"><span class="smcap">Sir</span>,</span></p> - -<p>Your most obedient</p> - -<p><span style="margin-left: 5em;">and most humble servant,</span></p> - -<p><span style="margin-left: 10em;">A. CRAYEN.</span></p> - -<p><i>Leipzig</i> in <i>Saxony,</i><br /> -the 29th <i>Jan.</i> 1783.</p> - - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span></p> - -<p>The following are Translations, by a Friend,<br /> -from the <span class="smcap">Dedication</span> and <span class="smcap">Preface</span> to<br /> -Mr. <span class="smcap">Crayen's</span> performance.</p> - -<hr class="tb" /> - -<h4>DEDICATION.</h4> - -<p>To Mr. <span class="smcap">Gottfried Winkler</span>, in <i>Leipzig</i>;</p> - -<p><span class="smcap">Honoured</span> and <span class="smcap">Worthy Friend</span>,</p> - -<p>Pardon my presumption in offering you the -slender fruit of a few leisure hours. Receive it with -your wonted kindness, and judge of it not by the -trifling value of the work, but by the intention of its -Author, whose most zealous wish has long been to -find an opportunity of publickly offering you, however -small, a memorial of his respect and friendship.</p> - -<p>If my labour in adding a mite towards the diffusion -of the knowledge of the Arts, is honoured with -the approbation of so enlightened a Connoisseur, I -shall feel myself completely rewarded.</p> - -<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> - -<p>Receive at the same time my sincerest thanks for -the obliging communication of your Copy of <i>Hogarth's</i> -prints, of which, in my translation, I have -more than once availed myself.</p> - -<p>Live, honoured Sir, many days; happy in the -bosom of your worthy family, in the circle of your -friends, and in the enjoyment of those treasures of -the Arts you have collected with such distinguished -taste. Remain also a friend of</p> - -<p><span style="margin-left: 5em;">Yours, &c.</span></p> - -<p><span style="margin-left: 10em;"><span class="smcap">The Translator</span>.</span></p></blockquote> - -<hr class="tb" /> -<p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p> -<h4>PREFACE.</h4> - -<h5>To the <span class="smcap">German Reader</span>.</h5> - -<p>Collectors of the Fine Arts were already -possessed of <i>Catalogues</i> and <i>Memoires Raisonnées</i> of the -engravings of many great masters, for which their -acknowledgements are due to the industry of a -<i>Gersaint</i>, a <i>Jombert</i>, a <i>Hecquet</i>, a <i>Vertue</i>, a <i>de Winter</i>, -&c. &c.</p> - -<p>But a similar illustration of <span class="smcap">Hogarth's</span> copper-plates -was still wanting; though it may be asked -what works have a juster claim to a distinguished -place in a compleat collection, than those of this -instructive moral painter, this creative genius?</p> - -<p>On this account, it is presumed that the <i>German</i> -Lover of the Arts will deem himself indebted to -the Translator, for giving him, in his own tongue, -a concise and faithful version of a book that has -lately made its appearance in <i>London</i>, under the -title of "Biographical Anecdotes of <i>W. Hogarth</i>, -and a Catalogue of his Works chronologically arranged."</p> - -<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> - -<p>The Compiler as well as Editor of this work is -Mr. <span class="smcap">John Nichols</span>, a <i>Printer</i> and <i>Bookseller</i> in -<i>London</i>, who, by much reading, and an intimate acquaintance -with the Arts and Literature of his -Country, has honourably distinguished himself among -his professional brethren. How modestly he -himself judges of this his useful performance, appears -from his preface to the work.</p> - -<p>It is true, Mr. <span class="smcap">Horace Walpole</span>, who possesses -perhaps the compleatest collection of the prints of -this Master, some years ago published a Catalogue -of them; but this is only to be found in his work, -intituled, "<i>Anecdotes of Painting in England collected -by G. Vertue, and published by H. Walpole</i>," a performance -consisting of four volumes in 4to, too -costly for many collectors, and inconvenient for -others. Moreover all that is to be found there relative -to <i>Hogarth</i>, is not only included in Mr. -<i>Nichols's</i> publication, but is also improved by considerable -additions, so that the curious reader has <i>Walpole's</i> -Catalogue incorporated with the present work.</p> - -<p>The liberty of abridgement, as mentioned in the -title, is ventured only in regard to such diffuse illustrations, -repetitions, anecdotes, and local stories, as -would be alone interesting to an <i>Englishman</i>; in a word, -in such parts as do not immediately contribute to -the illustration of <i>Hogarth's</i> plates, and would have -tired the patience of the <i>German</i> reader. Of the verses -affixed to each copper-plate the first and last words -only are given, as those afford sufficient indication<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span> -for a collector who wishes to become acquainted -with any particular print. How far some remarks -of the Translator are useful, or otherwise, is left to -the indulgent decision of Judges in the Arts.</p> - -<p>He must not however forget it is his duty to acknowledge -the goodness of old Mr. <span class="smcap">Hansen</span> of -<i>Leipsig</i>. This gentleman's readiness in permitting -him to examine his excellent collection of the engravings -of <i>British</i> artists, for the purpose of comparing -and illustrating several passages in the original -of this work, claims his warmest thanks, and a -public acknowledgement.</p> - -<p><br /><i>Leipsig, February</i> 1783.</p> - -<p><span style="margin-left: 10em;"><span class="smcap">The Translator</span>.</span></p> - - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></p> -<h3><a name="List_of_Gentlemen_Artists_c_who_furnished_incidental" id="List_of_Gentlemen_Artists_c_who_furnished_incidental">List of Gentlemen, Artists, &c. who furnished incidental -intelligence to the Author of this Work.</a></h3> - -<p>Mr. <i>Ashby</i>.<br /> -Mr. <i>Basire</i>.<br /> -Mr. <i>Baynes</i>.<br /> -Mr. <i>Belchier</i>—dead.<br /> -Mr. <i>Bindley</i>.<br /> -Mr. <i>Birch</i>.<br /> -Mr. <i>Bowle</i>.<br /> -Mr. <i>Braithwaite</i>.<br /> -Mr. <i>Browning</i>.<br /> -Lord <i>Charlemont</i>.<br /> -Mr. <i>Charlton</i>.<br /> -Mr. <i>Cole</i>—dead.<br /> -Mr. <i>Colman</i>.<br /> -Mr. <i>Coxe</i>.<br /> -Mr. <i>Dodsley</i>.<br /> -Dr. <i>Ducarel</i>—dead.<br /> -Mr. <i>Duncombe</i>.<br /> -Mr. <i>Edwards</i>.<br /> -Mr. <i>Forrest</i>—dead.<br /> -Mr. <i>Foster</i>—dead.<br /> -Mr <i>Goodison</i>.<br /> -Mrs. <i>Gostling</i>.<br /> -Mr. <i>Gough</i>.<br /> -Mr. <i>Hall</i>.<br /> -Sir <i>John Hawkins</i>.<br /> -Mr. <i>Henderson</i>.<br /> -Mrs. <i>Hogarth</i>.<br /> -Dr. <i>Hunter</i>—dead.<br /> -Mr. <i>S. Ireland</i>.<br /> -Dr. <i>Johnson</i>—dead.<br /> -Mr. <i>Keate</i>.<br /> -Bishop of <i>Kilala</i>.<br /> -Mr. <i>Lane</i>.<br /> -Mrs. <i>Lewis</i>.<br /> -Mr. <i>Livesay</i>.<br /> -Dr. <i>Lort</i>.<br /> -Mr. <i>Lyon</i>.<br /> -Mr. <i>Major</i>.<br /> -Mr. <i>Malone</i>.<br /> -Dr. <i>Monkhouse</i>.<br /> -Dr. <i>Morell</i>—dead.<br /> -Mr. <i>Morrison</i>.<br /> -Mr. <i>Pinkerton</i>.<br /> -Mr. <i>Rayner</i>.<br /> -Mr. <i>Reed</i>.<br /> -Sir <i>Joshua Reynolds</i>.<br /> -Mr. <i>Richards</i>.<br /> -Mr. <i>Rogers</i>—dead.<br /> -Mr. <i>Rumsey</i>.<br /> -Mr. <i>Steevens</i>.<br /> -Mr. <i>Thane</i>.<br /> -Mr. <i>Thomas</i>.<br /> -Mr. <i>Tyers</i>.<br /> -Mr. <i>Waldron</i>.<br /> -Mr. <i>Walker</i>.<br /> -Mr. <i>J. C. Walker</i>.<br /> -Mr. <i>Walpole</i>.<br /> -Dr. <i>Warton</i>.<br /> -Mr. <i>Way</i>.<br /> -Mr. <i>Welch</i>—dead.<br /> -Mr. <i>Whately</i>.<br /> -Mr. <i>B. White</i>.<br /> -Mr. <i>H. White</i>.<br /> -Mr. <i>Wilkes</i>.<br /> -Mr. <i>Williams</i>.<br /> -Dr. <i>Wright</i>.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span></p> - - -<h3><a name="COLLECTORS_of_HOGARTH" id="COLLECTORS_of_HOGARTH">COLLECTORS of HOGARTH.</a></h3> - -<p>Mr. <span class="smcap">Ayton</span>.<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">[1]</a><br /> -Mr. <span class="smcap">Bedford</span>.<br /> -Mr. <span class="smcap">Bellamy</span>.<br /> -Mr. <span class="smcap">Clare</span>.<br /> -Mr. <span class="smcap">Crickitt</span>.<br /> -Dr. <span class="smcap">Ducarel</span>.<a name="FNanchor_2_3" id="FNanchor_2_3"></a><a href="#Footnote_2_3" class="fnanchor">[2]</a><br /> -Lord <span class="smcap">Exeter</span>.<br /> -Mr. <span class="smcap">Foster</span>.<a name="FNanchor_3_4" id="FNanchor_3_4"></a><a href="#Footnote_3_4" class="fnanchor">[3]</a><br /> -Mr. <span class="smcap">Goodison</span>.<br /> -Mr. <span class="smcap">Gulston</span>.<br /> -Sir <span class="smcap">John Hawkins</span>, K<sup>t</sup>.<br /> -Mr. <span class="smcap">Henderson</span>.<a name="FNanchor_4_5" id="FNanchor_4_5"></a><a href="#Footnote_4_5" class="fnanchor">[4]</a><br /> -Mr. <span class="smcap">Ireland</span>.<br /> -Dr. <span class="smcap">Lort</span>.<br /> -Mr. <span class="smcap">Morrison</span>.<br /> -Mr. <span class="smcap">Rogers</span>.<a name="FNanchor_5_6" id="FNanchor_5_6"></a><a href="#Footnote_5_6" class="fnanchor">[5]</a><br /> -Mr. <span class="smcap">Steevens</span>.<br /> -Mr. <span class="smcap">Walpole</span>.<br /> -Mr. <span class="smcap">Windham </span>.<a name="FNanchor_6_7" id="FNanchor_6_7"></a><a href="#Footnote_6_7" class="fnanchor">[6]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">[1]</span></a> His collection was cut up, and sold at <i>Dickinson's, New -Bond Street</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_3" id="Footnote_2_3"></a><a href="#FNanchor_2_3"><span class="label">[2]</span></a> Died <i>May</i> 29, 1785. His collection devolves to his Nephew -and Heir, Mr. <span class="smcap">Ducarel</span>, lately returned from <i>The East Indies</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_4" id="Footnote_3_4"></a><a href="#FNanchor_3_4"><span class="label">[3]</span></a> Died <i>Oct.</i> 3, 1782. His improved collection sold at <i>Barford's</i> -auction rooms, late <i>Langford's, March</i> 4, 1783, for -£.105. Mr. <span class="smcap">Crickitt</span> was the Purchaser.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_5" id="Footnote_4_5"></a><a href="#FNanchor_4_5"><span class="label">[4]</span></a> Mr. <span class="smcap">Henderson</span> sold his collection to Sir <span class="smcap">John Elliot</span> -for £.126 in <i>April</i> 1785.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_6" id="Footnote_5_6"></a><a href="#FNanchor_5_6"><span class="label">[5]</span></a> Died <i>January</i> 2, 1784. His collection remains with his -Nephew and Heir, Mr. <span class="smcap">Cotton</span>, F. S. A.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_7" id="Footnote_6_7"></a><a href="#FNanchor_6_7"><span class="label">[6]</span></a> The Right Hon. <i>William Windham</i>, M. P. for <i>Norwich</i>.</p></div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span></p> - -<h4><a name="Extract_from_the_Daily_Advertiser" id="Extract_from_the_Daily_Advertiser">Extract from the <span class="smcap">Daily Advertiser</span>,<br /> -<i>January</i> 27, 1783.</a></h4> - -<h3>"HOGARTH'S ORIGINAL WORKS.</h3> - -<p>"As an opinion generally prevails, that the genuine -impressions of <i>Hogarth's</i> works are very bad, and the -plates retouched; Mrs. <i>Hogarth</i> is under the necessity -of acquainting the public in general, and the admirers -of her deceased husband's works in particular, -that it has been owing to a want of proper attention -in the conducting this work for some years past, that -the impressions in general have not done justice to -the condition of the plates; and she has requested -some gentlemen most eminent in the art of engraving, -to inspect the plates, who have given the following -opinion:</p> - -<p><span style="margin-left: 10em;">"<i>London, Jan.</i> 21, 1783.</span></p> - -<p>"We, whose names are underwritten, having carefully -examined the copper-plates published by the -late Mr. <i>Hogarth</i>, are fully convinced that they have -not been retouched since his death.</p> - -<p><span style="margin-left: 2em;">"FRANCIS BARTOLOZZI.</span><br /> -<span style="margin-left: 2em;">WM. WOOLLET.<a name="FNanchor_1_8" id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">[1]</a></span><br /> -<span style="margin-left: 2em;">WM. WYNNE RYLAND.<a name="FNanchor_2_9" id="FNanchor_2_9"></a><a href="#Footnote_2_9" class="fnanchor">[2]</a></span></p> - -<p><span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span></p> - -<p>"N. B. All<a name="FNanchor_3_10" id="FNanchor_3_10"></a><a href="#Footnote_3_10" class="fnanchor">[3]</a> the original works are now properly -and well printed, and to be had of Mrs. <i>Hogarth</i>, at -her house at <i>The Golden Head</i>, in <i>Leicester-Fields</i>."</p> - -<p>This is one of the most extraordinary testimonials -ever laid before the public. <i>Hogarth</i> died in 1764. -Since that time his plates have been injudiciously -and unmercifully worked, so as to leave no means -of ascertaining, through any observation or process -of art, the exact period when they were last repaired. -Notwithstanding this difficulty, in the year -1783, we find several engravers of eminence declaring -their full conviction on the subject. All we can -do is, to suppose their confidence was grounded on -the veracity of Mrs. <i>Hogarth</i>. I believe the parties -as to the fact; and yet it was impossible for Messieurs -<i>B. W.</i> and <i>R.</i> to be adequate judges of the truth to -which they have set their names as witnesses.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_8" id="Footnote_1_8"></a><a href="#FNanchor_1_8"><span class="label">[1]</span></a> Died <i>May</i> 23, 1785.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_9" id="Footnote_2_9"></a><a href="#FNanchor_2_9"><span class="label">[2]</span></a> Executed <i>Aug.</i> 29, 1783.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_10" id="Footnote_3_10"></a><a href="#FNanchor_3_10"><span class="label">[3]</span></a> By "<i>all</i> the original works," Mrs. <i>Hogarth</i> means only -such plates as are in her possession. See page <a href="#Page_xx">xx</a>, where a great -number of others, equally original, are found.</p></div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span></p> - - - - -<h4><a name="Prints_published_by_Mr_Hogarth" id="Prints_published_by_Mr_Hogarth"></a>Prints <i>published by</i> Mr. <span class="smcap">Hogarth</span>: <i>Genuine Impressions</i><a name="FNanchor_1_11" id="FNanchor_1_11"></a><a href="#Footnote_1_11" class="fnanchor">[1]</a> <i>of which -are to be had at</i> Mrs. <span class="smcap">Hogarth's</span> <i>House in</i> Leicester Fields, 1782.</h4> - - - - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left">Size of the plates in inches</td><td align="left"> </td><td align="left">l.</td><td align="left">s.</td><td align="left">d.</td></tr> -<tr><td align="left">16 by 14</td><td align="left">Frontispiece</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">15½ by 12½</td><td align="left">Harlot's Progress, six prints</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">16 by 14</td><td align="left">Rake's Progress, eight prints</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">18 by 15</td><td align="left">Marriage a-la-mode, six prints</td><td align="left">1</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left">19 by 15½</td><td align="left">Four Times of the Day, four prints</td><td align="left">1</td><td align="left">0</td><td align="left">0</td></tr> -<tr><td align="left">16½ by 13</td><td align="left">Before and After, two prints</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">18½ by 13½</td><td align="left">Midnight Conversation</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">16 by 14</td><td align="left">Distress'd Poet</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">16 by 14</td><td align="left">Enraged Musician</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">18 by 14</td><td align="left"><i>Southwark</i> Fair</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">20¾ by 16½</td><td align="left"><i>Garrick</i> in King <i>Richard</i> III.</td><td align="left">0</td><td align="left">7</td><td align="left">6</td></tr> -<tr><td align="left">18 by 12</td><td align="left"><i>Calais</i>, or the Roast Beef of <i>Old England</i> </td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">20½ by 16</td><td align="left"><i>Paul</i> before <i>Felix</i></td><td align="left">0</td><td align="left">7</td><td align="left">6</td></tr> -<tr><td align="left">Ditto,</td><td align="left">Ditto, with Alterations</td><td align="left">0</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left">20½ by 16½</td><td align="left"><i>Moses</i> brought to <i>Pharaoh's</i> Daughter</td><td align="left">0</td><td align="left">7</td><td align="left">6</td></tr> -<tr><td align="left">22 by 17</td><td align="left">March to <i>Finchley</i></td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left">Ditto,</td><td align="left">Strolling Actresses dressing in a Barn</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">Ditto,</td><td align="left">Four Prints of an Election</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">19½ by 12</td><td align="left">Bishop of <i>Winchester</i></td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">14 by 10½</td><td align="left">Idleness and Industry, 12 prints</td><td align="left">0</td><td align="left">12</td><td align="left">0</td></tr> -<tr><td align="left">14 by 9</td><td align="left">Lord <i>Lovat</i></td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">10½ by 8½</td><td align="left">Sleeping Congregation</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">12 by 8½</td><td align="left">Country-Inn Yard</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">14 by 10½</td><td align="left"><i>Paul</i> before <i>Felix, Rembrant</i></td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">9 by 8</td><td align="left">Various Characters of Heads</td><td align="left">0</td><td align="left">2</td><td align="left">6</td></tr> -<tr><td align="left">6½ by 7½</td><td align="left"><i>Columbus</i> breaking the Egg</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">12 by 8½</td><td align="left">The Bench</td><td align="left">0</td><td align="left">1</td><td align="left">6</td></tr> -<tr><td align="left">15 by 13</td><td align="left"><i>Beer Street</i> and <i>Gin Lane</i>, two prints</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Ditto,</td><td align="left">Four Stages of Cruelty, four prints</td><td align="left">0</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left">15 by 12½</td><td align="left">Two Prints of an Invasion</td><td align="left">0</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Ditto,</td><td align="left">A Cock Match</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">9 by 8</td><td align="left">The Five Orders of Periwigs</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">17 by 13</td><td align="left">The Medley</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">12 by 9½</td><td align="left">The Times</td><td align="left">0</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">12¾ by 9</td><td align="left"><i>Wilkes</i></td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">10 by 11</td><td align="left">Bruiser</td><td align="left">0</td><td align="left">1</td><td align="left">6</td></tr> -<tr><td align="left">9 by 7½</td><td align="left"><i>Finis</i></td><td align="left">0</td><td align="left">2</td><td align="left">6</td></tr> -</table></div> - -<p><i>N. B.</i> Any person purchasing the whole together may have them delivered -bound, at the Price of Thirteen Guineas; a sufficient Margin -will be left for framing.—The <span class="smcap">Analysis</span> of <span class="smcap">Beauty</span>, in Quarto, -may also be had, with two explanatory Prints, Price 15 Shillings.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_11" id="Footnote_1_11"></a><a href="#FNanchor_1_11"><span class="label">[1]</span></a> <i>Genuine</i> impressions—Query, the meaning of such an epithet in this place?</p></div> -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_xx" id="Page_xx">[Pg xx]</a></span></p> - - - - - - -<h2><a name="Credite_Posteri" id="Credite_Posteri"><i>Credite Posteri!</i></a></h2> - -<p>In the years 1781, 1782, &c. the following Pieces of <span class="smcap">Hogarth</span> -are known to have been sold at the prices annexed.</p> - - - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left">Lord <i>Boyne</i>.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">Charmers of the Age.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left"><i>Booth, Wilks</i>,&c.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">Discovery.</td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Altar-piece.</td><td align="left">1</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left"><i>Rich's</i> Glory.</td><td align="left">4</td><td align="left">4</td><td align="left">0</td></tr> -<tr><td align="left"><i>Beaver's</i> Military Pun.</td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left"><i>Blackwell's</i> Figures.</td><td align="left">1</td><td align="left">16</td><td align="left">6</td></tr> -<tr><td align="left">Boys peeping, &c.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Apuleius.</i></td><td align="left">1</td><td align="left">16</td><td align="left">6</td></tr> -<tr><td align="left"><i>Cassandra.</i></td><td align="left">1</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left"><i>Beer Street</i> with Variat.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Large <i>Hudibras</i>.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">March to <i>Finchley</i> Aq. F. Proof.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Do. finished, without letters.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">Festoon. R<sup>t</sup> for <i>Rich.</i> III.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Power of Att<sup>y.</sup> <i>F. Hosp.</i></td><td align="left">1</td><td align="left">16</td><td align="left">9</td></tr> -<tr><td align="left">Orator <i>Henley</i>.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Huggins.</i></td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Witch.</td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Jacobite's Journal.</td><td align="left">2</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left"><i>Judith</i> and <i>Holophernes</i>.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Sarah Malcolm.</i></td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Large Masquerade.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Small, first impression.</td><td align="left">1</td><td align="left">16</td><td align="left">6</td></tr> -<tr><td align="left"><i>Scots</i> Opera.</td><td align="left">0</td><td align="left">15</td><td align="left">0</td></tr> -<tr><td align="left">Woman swearing, &c.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Lady <i>Byron</i>.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Hogarth</i> with Dog.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Do. Serjeant Painter.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Do. scratched over.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left"><i>Perseus</i> and <i>Andromeda</i>.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">First Distrest Poet.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Do. Enraged Musician.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Motraye.</i></td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Bench, first impression.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Burlington Gate.</i></td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Sancho</i> at Dinner.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">First Election.</td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Fair.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Farmer's Return.</td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left"><i>Gulliver</i>.</td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left"><i>Hen.</i> VIII. and <i>A. Bullen</i></td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Herring</i>, proof impression.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Hogarth</i>, Eng<sup>r</sup>, Shop Bill.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"><i>Morell.</i></td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left"><i>Pine.</i></td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left">Coat of Arms, Sir <i>G. Page</i>,&c.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Times, first impression.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Master of the Vineyard.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left"><i>Turk's</i> Head.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Harlot's Progress, first impression, red.</td><td align="left">10</td><td align="left">10</td><td align="left">0</td></tr> -<tr><td align="left">Marriage Alamode.</td><td align="left">3</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left">Rake's Progress.</td><td align="left">6</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left">Four Times.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Prentices, 1st impression.</td><td align="left">4</td><td align="left">4</td><td align="left">0</td></tr> -<tr><td align="left">Elections, 1st impression.</td><td align="left">6</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left"><i>Garrick</i> in <i>Rich.</i> III.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Gate of <i>Calais</i>.</td><td align="left">0</td><td align="left">15</td><td align="left">0</td></tr> -<tr><td align="left"><i>Paul</i> burlesqued.</td><td align="left">1</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">Strolling Actresses.</td><td align="left">1</td><td align="left">12</td><td align="left">6</td></tr> -<tr><td align="left">Three additional Prints to <i>Beaver</i>, &c.</td><td align="left">2</td><td align="left">2</td><td align="left">9</td></tr> -<tr><td align="left"><i>Milward's</i> Ticket.</td><td align="left">4</td><td align="left">4</td><td align="left">0</td></tr> -<tr><td align="left">Music introduced to <i>Apollo</i>.</td><td align="left">1</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left"><i>Martin Folkes</i>, mezzotinto</td><td align="left">0</td><td align="left">10</td><td align="left">6</td></tr> -<tr><td align="left"><i>Spiller's</i> Ticket.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left">Two plates to <i>Milton</i>.</td><td align="left">2</td><td align="left">2</td><td align="left">0</td></tr> -<tr><td align="left">Frontispiece to <i>Leveridge's</i> Songs.</td><td align="left">1</td><td align="left">12</td><td align="left">6</td></tr> -<tr><td align="left">Concert. St. <i>Mary's</i> Chapel.</td><td align="left">5</td><td align="left">5</td><td align="left">0</td></tr> -</table></div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> - - -<h2><a name="HOGARTH" id="HOGARTH">HOGARTH.</a></h2> - -<p>This great and original Genius is said by Dr. -<i>Burn</i> to have been the descendant of a family -originally from <i>Kirkby Thore</i>,<a name="FNanchor_1_12" id="FNanchor_1_12"></a><a href="#Footnote_1_12" class="fnanchor">[1]</a> in <i>Westmoreland</i>: and I -am assured that his grandfather was a plain yeoman, -who possessed a small tenement in the vale of <i>Bampton</i>, -a village about 15 miles North of <i>Kendal</i>, in -that county. He had three sons. The eldest assisted -his father in farming, and succeeded to his little freehold. -The second settled in <i>Troutbeck</i>, a village -eight miles North West of <i>Kendal</i>, and was remarkable -for his talent at provincial poetry.<a name="FNanchor_2_13" id="FNanchor_2_13"></a><a href="#Footnote_2_13" class="fnanchor">[2]</a> The<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> -third, educated at <i>St. Bee's</i>, who had kept a school -in the same county, and appears to have a man of<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> -some learning, went early to <i>London</i>, where he resumed -his original occupation of a school-master in<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> -<i>Ship Court</i> in <i>The Old Bailey</i>, and was occasionally -employed as a corrector of the press. A <i>Latin</i> letter, -from Mr. <i>Richard Hogarth</i>, in 1697 (preserved -among the MSS. in <i>The British Museum</i>, N° 4277. -50.) relates to a book which had been printed -with great expedition. But the letter shall speak for -itself.<a name="FNanchor_3_14" id="FNanchor_3_14"></a><a href="#Footnote_3_14" class="fnanchor">[3]</a></p> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> -</p> - -<p>A Dictionary in <i>Latin</i> and <i>English</i>, which he -composed for the use of schools,<a name="FNanchor_4_15" id="FNanchor_4_15"></a><a href="#Footnote_4_15" class="fnanchor">[4]</a> still exists in MS. -He married in <i>London</i>; and our Hero, and his sisters -<i>Mary</i> and <i>Anne</i>, are believed to have been the only -product of the marriage.</p> - -<p><span class="smcap">William Hogarth</span><a name="FNanchor_5_16" id="FNanchor_5_16"></a><a href="#Footnote_5_16" class="fnanchor">[5]</a> it said (under the article -<span class="smcap">Thornhill</span> in the <i>Biographia Britannica</i>) to have<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -been born in 1698, in the parish of <i>St. Bartholomew,<a name="FNanchor_6_17" id="FNanchor_6_17"></a><a href="#Footnote_6_17" class="fnanchor">[6]</a> -London</i>, to which parish, it is added, he -was afterwards a benefactor. The outset of his life, -however, was unpromising. "He was bound," says -Mr. <i>Walpole</i>, "to a mean engraver of arms on plate." -<i>Hogarth</i> probably chose this occupation, as it required -some skill in drawing, to which his genius -was particularly turned, and which he contrived -assiduously to cultivate. His master, it since appears, -was Mr. <i>Ellis Gamble</i>, a silversmith of eminence, -who resided in <i>Cranbourn-street, Leicester-fields</i>. -In this profession it is not unusual to bind apprentices -to the single branch of engraving arms and -cyphers on every species of metal; and in that particular -department of the business young <i>Hogarth</i> -was placed;<a name="FNanchor_7_19" id="FNanchor_7_19"></a><a href="#Footnote_7_19" class="fnanchor">[7]</a> "but, before his time was expired,<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> -he felt the impulse of genius, and that it directed -him to painting."</p> - -<p>During his apprenticeship, he set out one <i>Sunday</i>, -with two or three companions, on an excursion to -<i>Highgate</i>. The weather being hot, they went into -a public-house, where they had not been long, before -a quarrel arose between some persons in the -same room. One of the disputants struck the other -on the head with a quart pot, and cut him very -much. The blood running down the man's face, -together with the agony of the wound, which had -distorted his features into a most hideous grin, presented -<i>Hogarth</i>, who shewed himself thus early -"apprised of the mode Nature had intended he -should pursue," with too laughable a subject to -be overlooked. He drew out his pencil, and produced -on the spot one of the most ludicrous figures -that ever was seen. What rendered this piece the -more valuable was, that it exhibited an exact likeness -of the man, with the portrait of his antagonist, -and the figures in caricature of the principal persons -gathered round him. This anecdote was furnished -by one of his fellow apprentices then present, a -person of indisputable character, and who continued -his intimacy with <i>Hogarth</i> long after they both grew -up into manhood.</p> - -<p>"His apprenticeship was no sooner expired," says -Mr. <i>Walpole</i>, "than he entered into the academy in -<i>St. Martin's Lane</i>, and studied drawing from the -life, in which he never attained to great excellence.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> -It was character, the passions, the soul, -that his genius was given him to copy. In colouring -he proved no greater a master: his force -lay in expression, not in tints and chiaro scuro."</p> - -<p>To a man who by indefatigable industry and uncommon -strength of genius has been the artificer of -his own fame and fortune, it can be no reproach to -have it said that at one period he was not rich. It -has been asserted, and we believe with good foundation, -that the skill and assiduity of <i>Hogarth</i> were, -even in his servitude, a singular assistance to his own -family, and to that of his master. It happened, -however, that when he was first out of his time, he -certainly was poor. The ambition of indigence is -ever productive of distress. So it fared with <i>Hogarth</i>, -who, while he was furnishing himself with -materials for subsequent perfection, felt all the contempt -which penury could produce. Being one day -distressed to raise so trifling a sum as twenty shillings, -in order to be revenged of his landlady, who strove -to compel him to payment, he drew her as ugly as -possible, and in that single portrait gave marks of -the dawn of superior genius.<a name="FNanchor_8_20" id="FNanchor_8_20"></a><a href="#Footnote_8_20" class="fnanchor">[8]</a> This story I had -once supposed to be founded on certainty; but since, -on other authority, have been assured, that had such -an accident ever happened to him, he would not -have failed to talk of it afterwards, as he was always<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> -fond of contrasting the necessities of his youth with -the affluence of his maturer age. He has been heard -to say of himself, "I remember the time when I -have gone moping into the city with scarce a shilling -in my pocket; but as soon as I had received -ten guineas there for a plate, I have returned -home, put on my sword, and sallied out again, -with all the confidence of a man who had ten -thousand pounds in his pocket." Let me add, -that my first authority may be to the full as good -as my second.</p> - -<p>How long he continued in obscurity we cannot -exactly learn; but the first piece in which he distinguished -himself as a painter, is supposed to have been -a representation of <i>Wanstead Assembly</i>.<a name="FNanchor_9_21" id="FNanchor_9_21"></a><a href="#Footnote_9_21" class="fnanchor">[9]</a> In this are -introduced portraits of the first earl <i>Tylney</i>, his lady, -their children, tenants, &c. The faces were said -to be extremely like, and the colouring is rather better -than in some of his late and more highly finished -performances.</p> - -<p>From the date of the earliest plate that can be ascertained -to be the work of <i>Hogarth</i>, it may be presumed<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> -that he began business, on his own account, -at least as early as the year 1720.</p> - -<p>His first employment seems to have been the engraving -of arms and shop-bills. The next step was -to design and furnish plates for booksellers; and -here we are fortunately supplied with dates.<a name="FNanchor_10_22" id="FNanchor_10_22"></a><a href="#Footnote_10_22" class="fnanchor">[10]</a> Thirteen -folio prints, with his name to each, appeared -in "<i>Aubry de la Motraye's</i> Travels," in 1723; -seven smaller prints for "<i>Apuleius'</i> Golden Ass" -in 1724; fifteen head-pieces to "<i>Beaver's</i> Military -Punishments of the Ancients," and five frontispieces -for the translation of <i>Cassandra</i>, in five volumes, -12°, 1725; seventeen cuts for a duodecimo edition -of <i>Hudibras</i> (with <i>Butler's</i> head) in 1726; two for -"<i>Perseus</i> and <i>Andromeda</i>," in 1730; two for <i>Milton</i> -[the date uncertain]; and a variety of others between -1726 and 1733.</p> - -<p>"No symptom of genius," says Mr. <i>Walpole</i>, -"dawned in those plates. His <i>Hudibras</i> was the first -of his works that marked him as a man above the -common; yet, what made him then noticed, now -surprises us, to find so little humour in an undertaking -so congenial to his talents."—It is certain -that he often lamented to his friends the having parted -with his property in the prints of the large <i>Hudibras</i>, -without ever having had an opportunity to improve -them. They were purchased by Mr. <i>Philip Overton</i>,<a name="FNanchor_11_23" id="FNanchor_11_23"></a><a href="#Footnote_11_23" class="fnanchor">[11]</a><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> -at the <i>Golden Buck</i>, near <i>St. Dunstan's Church</i> in <i>Fleet-Street</i>; -and still remain in the possession of his successor -Mr. <i>Sayer</i>.</p> - -<p>Mr. <i>Bowles</i> at the <i>Black Horse</i> in <i>Cornhill</i> was one -of his earliest patrons. I had been told that he -bought many a plate from <i>Hogarth</i> by the weight of -the copper; but am only certain that this occurrence -happened in a single instance, when the elder Mr. -<i>Bowles</i> of <i>St. Paul's Church-yard</i> offered, over a -bottle, half a crown a pound for a plate just then -completed. This circumstance was within the knowledge -of Dr. <i>Ducarel</i>.—Our artist's next friend in that -line was Mr. <i>Philip Overton</i>, who paid him a somewhat -better price for his labour and ingenuity.</p> - -<p>When Mr. <i>Walpole</i> speaks of <i>Hogarth's</i> early performances, -he observes, that they rose not above the -labours of the people who are generally employed -by booksellers. Lest any reader should inadvertently -suppose this candid writer designed the minutest reflection -on those artists to whom the decoration of -modern volumes is confided, it is necessary to observe, -that his account of <i>Hogarth</i>, &c. was printed -off above ten years ago, before the names of <i>Cipriani, -Angelica, Bartolozzi, Sherwin,</i> and <i>Mortimer</i> were -found at the bottom of any plates designed for the -ornament of poems, or dramatic pieces.</p> - -<p>"On the success, however, of those plates," Mr. -<i>Walpole</i> says, "he commenced painter, a painter of<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> -portraits; the most ill-suited employment imaginable -to a man whose turn certainly was not flattery, -nor his talent adapted to look on vanity -without a sneer. Yet his facility in catching a -likeness, and the method he chose of painting families -and conversations in small, then a novelty, -drew him prodigious business for some time. It -did not last, either from his applying to the real -bent of his disposition, or from his customers apprehending -that a satirist was too formidable a -confessor for the devotees of self-love." There -are still many family pictures by Mr. <i>Hogarth</i> existing, -in the style of serious conversation-pieces. He -was not however lucky in all his resemblances, and -has sometimes failed where a crowd of other artists -have succeeded. The whole-length of Mr. <i>Garrick</i> -sitting at a table, with his wife behind him taking -the pen out of his hand,<a name="FNanchor_12_24" id="FNanchor_12_24"></a><a href="#Footnote_12_24" class="fnanchor">[12]</a> confers no honour on the -painter or the persons represented.<a name="FNanchor_13_25" id="FNanchor_13_25"></a><a href="#Footnote_13_25" class="fnanchor">[13]</a> He has certainly -missed the character of our late <i>Roscius's</i> countenance -while undisturbed by passion; but was more -lucky in seizing his features when aggravated by -terror, as in the tent scene of King <i>Richard</i> III. It -is by no means astonishing, that the elegant symmetry -of Mrs. <i>Garrick's</i> form should have evaded the efforts<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -of one to whose ideas <i>la basse nature</i> was more familiar -than the grace inseparable from those who have -been educated in higher life. His talents, therefore, -could do little justice to a pupil of Lady <i>Burlington</i>.</p> - -<p>What the prices of his portraits were, I have -strove in vain to discover; but suspect they were originally -very low, as the people who are best acquainted -with them chuse to be silent on that subject.</p> - -<p>In the Bee, vol. V. p. 552. and also in the Gentleman's -Magazine, vol. IV. p. 269. are the following -verses to Mr. <i>Hogarth</i>, on Miss <i>F.'s</i> picture, 1734.</p> - -<blockquote><p>"To <i>Chloe's</i> picture you such likeness give,<br /> -The animated canvas seems to live;<br /> -The tender breasts with wanton heavings move,<br /> -And the soft sparkling eyes inspire with love:<br /> -While I survey each feature o'er and o'er,<br /> -I turn <i>Idolater</i>, and paint adore:<br /> -Fondly I here can gaze without a fear,<br /> -That, <i>Chloe</i>, to my love you'd grow severe;<br /> -That in your <i>Picture</i>, as in <i>Life</i>, you'd turn<br /> -Your eyes away, and kill me with your scorn:<br /> -No, here at least with transport I can see<br /> -Your eyes with softness languishing on me.<br /> -While, <i>Chloe</i>, this I boast, with scornful heart<br /> -Nor rashly censure <i>Hogarth</i>, or his <i>art</i>,<br /> -Who all your <i>Charms</i> in strongest <i>Light</i> has laid,<br /> -And kindly thrown your <i>Pride</i> and <i>Scorn</i> in <i>Shade</i>."<br /></p></blockquote> - -<p>At <i>Rivenhall</i>, in <i>Essex</i>, the seat of Mr. <i>Western</i>, -is a family picture, by <i>Hogarth</i> of Mr. <i>Western</i> -and his mother (who was a daughter of Sir <i>Anthony</i><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> -<i>Shirley</i>), Chancellor <i>Hoadly</i>, Archdeacon <i>Charles -Plumptre</i>, the Rev. Mr. <i>Cole</i> of <i>Milton</i> near <i>Cambridge</i>, -and Mr. <i>Henry Taylor</i> the Curate there,<a name="FNanchor_14_26" id="FNanchor_14_26"></a><a href="#Footnote_14_26" class="fnanchor">[14]</a> 1736.</p> - -<p>In the gallery of the late Mr. <i>Cole</i> of <i>Milton</i>, was -also a small whole-length picture of Mr. <i>Western</i>,<a name="FNanchor_15_27" id="FNanchor_15_27"></a><a href="#Footnote_15_27" class="fnanchor">[15]</a> by -<i>Hogarth</i>, a striking resemblance. He is drawn sitting -in his Fellow-Commoner's habit, and square cap -with a gold tassel, in his chamber at <i>Clare Hall</i>, -over the arch towards the river; and our artist, as the -chimney could not be expressed, has drawn a cat -sitting near it, agreeable to his humour, to shew the -situation.</p> - -<p>"When I sat to him," says Mr. <i>Cole</i>, "near fifty -years ago, the custom of giving vails to servants -was not discontinued. On my taking leave of our -painter at the door, and his servant's opening it -or the coach door, I cannot tell which, I offered -him a small gratuity; but the man very politely -refused it, telling me it would be as much as the -loss of his place, if his master knew it. This was -so uncommon, and so liberal in a man of Mr. <i>Hogarth's</i> -profession at that time of day, that it much -struck me, as nothing of the sort had happened -to me before."</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> - -<p>It was likewise Mr. <i>Hogarth's</i> custom to sketch out -on the spot any remarkable face which particularly -struck him, and of which he wished to preserve the -remembrance. A gentleman still living informs me, -that being once with our painter at the <i>Bedford -Coffee-house</i>, he observed him to draw something -with a pencil on his nail. Enquiring what had been -his employment, he was shewn the countenance (a -whimsical one) of a person who was then at a small -distance.</p> - -<p>It happened in the early part of <i>Hogarth's</i> life, -that a nobleman, who was uncommonly ugly and -deformed, came to sit to him for his picture. It was -executed with a skill that did honour to the artist's -abilities; but the likeness was rigidly observed, without -even the necessary attention to compliment or -flattery. The peer, disgusted at this counterpart of -his dear self, never once thought of paying for a reflector -that would only insult him with his deformities. -Some time was suffered to elapse before the artist applied -for his money; but afterwards many applications -were made by him (who had then no need of a -banker) for payment, without success. The painter, -however, at last hit upon an expedient, which he -knew must alarm the nobleman's pride, and by that -means answer his purpose. It was couched in the -following card:</p> - -<p>"Mr. <i>Hogarth's</i> dutiful respects to Lord ——; -finding that he does not mean to have the picture -which was drawn for him, is informed again of<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> -Mr. <i>H.'s</i> necessity for the money; if, therefore, -his lordship does not send for it in three days, it -will be disposed of, with the addition of a tail, -and some other little appendages, to Mr. <i>Hare</i>, -the famous wild-beast man; Mr. <i>H.</i> having given -that gentleman a conditional promise of it for an -exhibition-picture, on his lordship's refusal."</p> - -<p>This intimation had the desired effect. The picture -was sent home, and committed to the flames.</p> - -<p>To the other anecdotes of this comic Painter may -be added the following. Its authenticity must apologize -for its want of other merit.</p> - -<p>A certain old Nobleman, not remarkably generous, -having sent for <i>Hogarth</i>, desired he would represent, -in one of the compartments on a staircase, -<i>Pharaoh</i> and his Host drowned in the <i>Red Sea</i>; but -at the same time gave our artist to understand, that -no great price would be given for his performance. -<i>Hogarth</i> agreed. Soon after, he waited on his employer -for payment, who seeing that the space allotted -for the picture had only been daubed over -with red, declared he had no idea of paying a painter -when he had proceeded no further than to lay -his <i>ground</i>. "<i>Ground!</i>" said <i>Hogarth</i>, "there is no -<i>ground</i> in the case, my lord. The red you perceive, -is the <i>Red Sea. Pharaoh</i> and his Host are drowned -as you desired, and cannot be made objects of sight, -for the ocean covers them all."</p> - -<p>Mr. <i>Walpole</i> has remarked, that if our artist "indulged -his spirit of ridicule in personalities, it -never proceeded beyond sketches and drawings,"<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> -and wonders "that he never, without intention, delivered -the very features of any identical person." -But this elegant writer, who may be said to have received -his education in a Court, perhaps had few -opportunities of acquaintance among the low popular -characters with which <i>Hogarth</i> occasionally peopled -his scenes.<a name="FNanchor_16_28" id="FNanchor_16_28"></a><a href="#Footnote_16_28" class="fnanchor">[16]</a> The Friend to whom I owe this remark -was assured by an ancient gentleman of unquestionable -veracity and acuteness of observation, that almost -all the personages who attend the levee of the -Rake were undoubted portraits; and that, in <i>Southwark -Fair</i> and the <i>Modern Midnight Conversation</i>, as -many more were discoverable. In the former plate -he pointed out <i>Essex</i> the dancing-master; and in the -latter, as well as in the second plate to the <i>Rake's -Progress, Figg</i> the prize-fighter.<a name="FNanchor_17_29" id="FNanchor_17_29"></a><a href="#Footnote_17_29" class="fnanchor">[17]</a> He mentioned -several others by name, from his immediate knowledge -both of the painter's design and the characters -represented; but the rest of the particulars, by which -he supported his assertions, have escaped the memory -of my informant. I am also assured, that while <i>Hogarth</i> -was painting the <i>Rake's Progress</i>, he had a -summer residence at <i>Isleworth</i>; and never failed to -question the company who came to see these pictures, -if they knew for whom one or another figure<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> -was designed. When they guessed wrong, he set -them right.</p> - -<p>Mr. <i>Walpole</i> has a sketch in oil, given to him by -<i>Hogarth</i>, who intended to engrave it. It was done -at the time when the House of Commons appointed -a committee to inquire into the cruelties exercised on -prisoners in the <i>The Fleet</i>, to extort money from them. -"The scene," he says, "is the committee; on the -table are the instruments of torture. A prisoner -in rags, half-starved, appears before them; the -poor man has a good countenance, that adds to -the interest. On the other hand is the inhuman -gaoler. It is the very figure that <i>Salvator Rosa</i> -would have drawn for <i>Iago</i> in the moment of detection. -Villainy, fear, and conscience, are mixed -in yellow and livid on his countenance; his lips -are contracted by tremor, his face advances as -eager to lie, his legs step back as thinking to -make his escape; one hand is thrust precipitately -into his bosom, the fingers of the other are catching -uncertainly at his button-holes. If this was a -portrait, it is the most striking that ever was -drawn; if it was not, it is still finer." The portrait -was that of <i>Bambridge</i><a name="FNanchor_18_30" id="FNanchor_18_30"></a><a href="#Footnote_18_30" class="fnanchor">[18]</a> the warden of <i>The</i><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -<i>Fleet</i>; and the sketch was taken in the beginning of -the year 1729, when <i>Bambridge</i> and <i>Huggins</i> (his -predecessor)<a name="FNanchor_19_31" id="FNanchor_19_31"></a><a href="#Footnote_19_31" class="fnanchor">[19]</a> were under examination. Both were -declared "notoriously guilty of great breaches of -trust, extortions, cruelties, and other high crimes -and misdemeanors;" both were sent to <i>Newgate</i>; -and <i>Bambridge</i> was disqualified by act of parliament.<a name="FNanchor_20_32" id="FNanchor_20_32"></a><a href="#Footnote_20_32" class="fnanchor">[20]</a> -The son<a name="FNanchor_21_33" id="FNanchor_21_33"></a><a href="#Footnote_21_33" class="fnanchor">[21]</a> of <i>Huggins</i> was possessed of a valuable<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -painting from this sketch, and also of a scene in the -<i>Beggar's Opera</i>; both of them full of real portraits. -On the dispersion of his effects, the latter was purchased -by the Rev. Dr. <i>Monkhouse</i> of <i>Queen's College, -Oxford</i>. It is in a gilt frame, with a bust of <i>Gay</i> at -the top. It's companion, whose present possessor I -have not been able to trace out, had, in like manner, -that of Sir <i>Francis Page</i>, one of the judges, remarkable -for his severity;<a name="FNanchor_22_34" id="FNanchor_22_34"></a><a href="#Footnote_22_34" class="fnanchor">[22]</a> with a halter round his -neck.</p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> -<p>The Duke of <i>Leeds</i> has also an original scene in -the <i>Beggar's Opera</i>, painted by <i>Hogarth</i>. It is that in<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -which <i>Lucy</i> and <i>Polly</i> are on their knees, before -their respective fathers, to intercede for the life -of the hero of the piece. All the figures are either -known or supposed to be portraits. If I am not misinformed, -the late Sir <i>Thomas Robinson</i> (as well -known by the name of <i>Long Sir Thomas</i>) is standing -in one of the side-boxes. <i>Macheath</i>, unlike his -spruce representative on our present stage, is a -slouching bully; and <i>Polly</i> appears happily disencumbered -of such a hoop as the daughter of <i>Peachum</i><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> -within our younger memories has worn. His Grace -gave 35 <i>l.</i> for this picture at Mr. <i>Rich's</i> auction. Another -copy of the same scene was bought by the -late Sir <i>William Saunderson</i>; and is now in the possession -of Sir <i>Henry Gough</i>. Mr. <i>Walpole</i> has a painting -of a scene in the same piece, where <i>Macheath</i> -is going to execution. In this also the likenesses of -<i>Walker</i>, and Miss <i>Fenton</i> afterwards Dutchess of <i>Bolton</i> -(the original <i>Macheath</i> and <i>Polly</i>), are preserved.</p> - -<p>In the year 1726, when the affair of <i>Mary Tofts</i>, -the rabbit-breeder of <i>Godalming</i>, engaged the public -attention, a few of our principal surgeons subscribed -their guinea a-piece to <i>Hogarth</i>, for an engraving -from a ludicrous sketch he had made on that very -popular subject. This plate, amongst other portraits, -contains that of the notorious <i>St. André</i>, the anatomist -to the royal household, and in high credit as a -surgeon. The additional celebrity of this man arose -either from fraud or ignorance, perhaps from a due -mixture of both. It was supported, however, afterwards, -by the reputation of a dreadful crime. His -imaginary wealth, in spite of these disadvantages, to -the last insured him a circle of flatterers, even -though, at the age of fourscore, his conversation -was offensive to modest ears, and his grey hairs were -rendered still more irreverend by repeated acts of -untimely lewdness.<a name="FNanchor_23_39" id="FNanchor_23_39"></a><a href="#Footnote_23_39" class="fnanchor">[23]</a> A particular description of<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -this plate will be given in the future catalogue of -<i>Hogarth's</i> works.</p> - -<p>In 1727, <i>Hogarth</i> agreed with <i>Morris</i>, an upholsterer, -to furnish him with a design on canvas, representing -the element of Earth, as a pattern for tapestry. -The work not being performed to the satisfaction of -<i>Morris</i>, he refused to pay for it; and our artist sued -him for the money. This suit (which was tried before -Lord Chief Justice <i>Eyre</i> at <i>Westminster, May</i> 28, -1728) was determined in favour of <i>Hogarth</i>. The -brief for the defendant in the cause, is preserved -below.<a name="FNanchor_24_40" id="FNanchor_24_40"></a><a href="#Footnote_24_40" class="fnanchor">[24]</a></p> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a><br /><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> - -<p>In 1730, Mr. <i>Hogarth</i> married the only daughter -of Sir <i>James Thornhill</i>,<a name="FNanchor_25_41" id="FNanchor_25_41"></a><a href="#Footnote_25_41" class="fnanchor">[25]</a> by whom he had no child.<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> -This union, indeed, was a stolen one, and consequently -without the approbation of Sir <i>James</i>, who, -considering the youth of his daughter, then barely -eighteen, and the slender finances of her husband, -as yet an obscure artist,<a name="FNanchor_26_42" id="FNanchor_26_42"></a><a href="#Footnote_26_42" class="fnanchor">[26]</a> was not easily reconciled to -the match. Soon after this period, however, he began -his <i>Harlot's Progress</i> (the coffin in the last plate -is inscribed <i>September</i> 2, 1731); and was advised by -Lady <i>Thornhill</i> to have some of the scenes in it placed -in the way of his father-in-law. Accordingly, one -morning early, Mrs. <i>Hogarth</i> undertook to convey -several of them into his dining-room. When he -arose, he enquired from whence they came; and -being told by whom they were introduced, he cried -out, "Very well; the man who can furnish representations -like these, can also maintain a wife -without a portion." He designed this remark as -an excuse for keeping his purse-strings close; but, -soon after, became both reconciled and generous to -the young couple.</p> - -<p>Our artist's reputation was so far established in -1731, that it drew forth a poetical compliment from -Mr. <i>Mitchell</i>, in the epistle already quoted.</p> - -<p>An allegorical cieling by Sir <i>James Thornhill</i> is at -the house of the late Mr. <i>Huggins</i>, at <i>Headley Park, -Hants</i>. The subject of it is the story of <i>Zephyrus</i> -and <i>Flora</i>; and the figure of a Satyr and some others -were painted by <i>Hogarth</i>.</p> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> - -<p>In 1732 (the year in which he was one of the -party who made <i>A Tour by land and Water</i>, which -will be duly noticed in the <a href="#Page_413">Catalogue</a>) he ventured -to attack Mr. <i>Pope</i>, in a plate called "The Man -of Taste;" containing a view of the Gate of <i>Burlington-house</i>; -with <i>Pope</i> whitewashing it, and bespattering -the Duke of <i>Chandos's</i> coach.<a name="FNanchor_27_43" id="FNanchor_27_43"></a><a href="#Footnote_27_43" class="fnanchor">[27]</a> This plate -was intended as a satire on the translator of <i>Homer</i>, -Mr. <i>Kent</i> the architect, and the Earl of <i>Burlington</i>.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> -It was fortunate for <i>Hogarth</i> that he escaped the lash -of the former. Either <i>Hogarth's</i> obscurity at that -time was his protection, or the bard was too prudent -to exasperate a painter who had already given such -proof of his abilities for satire. What must <i>he</i> have -felt who could complain of the "pictured shape" -prefixed to <i>Gulliveriana, Pope Alexander's Supremacy -and Infallibility examined,</i> &c. by <i>Ducket</i>, and other -pieces, had our artist undertaken to express in colours -a certain transaction recorded by <i>Cibber</i>?</p> - -<p>Soon after his marriage, <i>Hogarth</i> had summer-lodgings -at <i>South-Lambeth</i>; and being intimate with -Mr. <i>Tyers</i>, contributed to the improvement of <i>The -Spring Gardens</i> at <i>Vauxhall</i>, by the hint of embellishing -them with paintings, some of which were the -suggestions of his own truly comic pencil. Among -these were the "Four parts of the Day," copied -by <i>Hayman</i> from the designs of our artist. The -scenes of "Evening" and "Night" are still there; -and portraits of <i>Henry</i> VIII. and <i>Anne Bullen</i> once -adorned the old great room on the right hand of the -entry into the gardens. For his assistance, Mr. <i>Tyers</i> -gratefully presented him with a gold ticket of admission -for himself and his friends, inscribed</p> - -<blockquote><p> -in perpetuam beneficii memoriam.</p></blockquote> - -<p>This ticket, now in the possession of his widow, is -still occasionally made use of.</p> - -<p>In 1733 his genius became conspicuously known. -The third scene of his "Harlot's Progress" introduced -him to the notice of the great. At a board<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -of Treasury which was held a day or two after the -appearance of that print, a copy of it was shewn by -one of the lords, as containing, among other excellencies, -a striking likeness of Sir <i>John Gonson</i>.<a name="FNanchor_28_44" id="FNanchor_28_44"></a><a href="#Footnote_28_44" class="fnanchor">[28]</a> It<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> -gave universal satisfaction; from the Treasury each<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> -lord repaired to the print-shop for a copy of it, and -<i>Hogarth</i> rose completely into fame. This anecdote -was related to Mr. <i>Huggins</i> by <i>Christopher Tilson</i>, esq. -one of the four chief clerks in the Treasury, and at -that period under-secretary of state. He died <i>August</i> -25, 1742, after having enjoyed the former of these -offices fifty-eight years. I should add, however, -that Sir <i>John Gonson</i> is not here introduced to be -made ridiculous, but is only to be considered as the -image of an active magistrate identified.</p> - -<p>The familiarity of the subject, and the propriety -of it's execution, made the "Harlot's Progress" -tasted by all ranks of people. Above twelve hundred<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> -names were entered in our artist's subscription-book. -It was made into a pantomime by <i>Theophilus Cibber</i>; -and again represented on the stage, under the title -of <i>The Jew decoyed, or a Harlot's Progress</i>, in a -Ballad Opera. Fan-mounts were likewise engraved, -containing miniature representations of all the six -plates. These were usually printed off with red ink, -three compartments on one side, and three on the -other.<a name="FNanchor_29_47" id="FNanchor_29_47"></a><a href="#Footnote_29_47" class="fnanchor">[29]</a></p> - -<p>The ingenious Abbé <i>Du Bos</i> has often complained, -that no history-painter of his time went through a -series of actions, and thus, like an historian, painted -the successive fortune of an hero, from the cradle to -the grave. What <i>Du Bos</i> wished to see done, <i>Hogarth</i> -performed. He launches out his young adventurer -a simple girl upon the town, and conducts -her through all the vicissitudes of wretchedness to a -premature death. This was painting to the understanding -and to the heart; none had ever before -made the pencil subservient to the purposes of morality -and instruction; a book like this is fitted to -every soil and every observer, and he that runs may -read. Nor was the success of <i>Hogarth</i> confined to -his persons. One of his excellencies consisted in -what may be termed the furniture<a name="FNanchor_30_48" id="FNanchor_30_48"></a><a href="#Footnote_30_48" class="fnanchor">[30]</a> of his pieces; for<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> -as in sublime and historical representations the fewer -trivial circumstances are permitted to divide the spectator's -attention from the principal figures, the greater -is their force; so in scenes copied from familiar life, -a proper variety of little domestic images contributes -to throw a degree of verisimilitude on the whole. -"The Rake's levee-room," says Mr. <i>Walpole</i>, "the -nobleman's dining-room, the apartments of the -husband and wife in Marriage Alamode, the Alderman's -parlour, the bed-chamber, and many -others, are the history of the manners of the age."</p> - -<p>It may also be observed, that <i>Hogarth</i>, both in the -third and last plate of the <i>Harlot's Progress</i>, has appropriated -a name to his heroine which belonged to -a well-known wanton then upon the town. The -<i>Grub-street Journal</i> for <i>August</i> 6, 1730, giving an account -of several prostitutes who were taken up, informs -us that "the fourth was <i>Kate Hackabout</i> -(whose brother was lately hanged at <i>Tyburn</i>), a -woman noted in and about the hundreds of -<i>Drury, &c.</i>"</p> - -<p>In 1735 our artist lost his mother, as appears by -the following extract from an old Magazine: "<i>June</i><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> -11, 1735. Died Mrs. <i>Hogarth</i>, mother to the -celebrated painter, of a fright from the fire which -happened on the 9th, in <i>Cecil Court, St. Martin's -Lane</i>, and burnt thirteen houses;<a name="FNanchor_31_49" id="FNanchor_31_49"></a><a href="#Footnote_31_49" class="fnanchor">[31]</a> amongst others, -one belonging to <i>John Huggins</i>, esq. late Warden -of <i>The Fleet</i>, was greatly damaged."</p> - -<p>The "Rake's Progress" (published in the same -year, and sold at <i>Hogarth's</i> house, the <i>Golden Head</i> -in <i>Leicester Fields</i>), though "perhaps superior, had -not," as Mr. <i>Walpole</i> observes, "so much success, -from want of novelty; nor is the print of the -arrest equal in merit to the others.<a name="FNanchor_32_50" id="FNanchor_32_50"></a><a href="#Footnote_32_50" class="fnanchor">[32]</a></p> - -<p>"The curtain, however," says he, "was now -drawn aside, and his genius stood displayed in its -full lustre. From time to time our artist continued -to give those works that would be immortal, if -the nature of his art will allow it. Even the receipts -for his subscriptions had wit in them. Many -of his plates he engraved himself, and often expunged -faces etched by his assistants, when they -had not done justice to his ideas. Not content -with shining in a path untrodden before, he was -ambitious of distinguishing himself as a painter of<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> -history; and in 1736 presented to the hospital of -<i>St. Bartholomew</i>, of which he had been appointed -a governor,<a name="FNanchor_33_51" id="FNanchor_33_51"></a><a href="#Footnote_33_51" class="fnanchor">[33]</a> a painting of the <i>Pool of Bethesda</i>, -and another of the <i>Good Samaritan</i>. But the genius -that had entered so feelingly into the calamities -and crimes of familiar life, deserted him in a -walk that called for dignity and grace. The -burlesque turn of his mind mixed itself with the -most serious subjects. In the <i>Pool of Bethesda</i>, a -servant of a rich ulcerated lady beats back a poor -man that sought the same celestial remedy; and -in his <i>Danae</i> [for which the Duke of <i>Ancaster</i> -paid 60 guineas] the old nurse tries a coin of the -golden shower with her teeth, to see if it is true -gold. Both circumstances are justly thought, but -rather too ludicrous. It is a much more capital -fault that <i>Danae</i> herself is a mere nymph of -<i>Drury</i>. He seems to have conceived no higher -degree of beauty." Dr. <i>Parsons</i> also, in his Lectures -on Physiognomy, 410. p. 58, says, "Thus -yielded <i>Danae</i> to the Golden Shower, and thus -was her passion painted by the ingenious Mr. -<i>Hogarth</i>."</p> - -<p>The novelty and excellence of <i>Hogarth's</i> performances -soon tempted the needy artist and print-dealer<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> -to avail themselves of his designs,<a name="FNanchor_34_52" id="FNanchor_34_52"></a><a href="#Footnote_34_52" class="fnanchor">[34]</a> and rob -him of the advantages which he was entitled to derive -from them. This was particularly the case with -the "Midnight Conversation," the "Harlot's" and -"Rake's" Progresses,<a name="FNanchor_35_53" id="FNanchor_35_53"></a><a href="#Footnote_35_53" class="fnanchor">[35]</a> and the rest of his early -works. To put a stop to depredations like these on -the property of himself and others, and to secure -the emoluments resulting from his own labours, as -Mr. <i>Walpole</i> observes, he applied to the legislature, -and obtained an act of parliament, 8 <i>George</i> II. -chap. 3°, to vest an exclusive right in designers and -engravers, and to restrain the multiplying of copies -of their works without the consent of the artist.<a name="FNanchor_36_54" id="FNanchor_36_54"></a><a href="#Footnote_36_54" class="fnanchor">[36]</a><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> - -<p>This statute was drawn by his friend Mr. <i>Huggins</i>,<a name="FNanchor_37_55" id="FNanchor_37_55"></a><a href="#Footnote_37_55" class="fnanchor">[37]</a> -who took for his model the eighth of Queen <i>Anne</i>, -in favour of literary property; but it was not so accurately -executed as entirely to remedy the evil; for, -in a cause founded on it, which came before Lord -<i>Hardwicke</i> in Chancery, that excellent Lawyer determined<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -that no assignee, claiming under an assignment -from the original inventor, could take any benefit -by it. <i>Hogarth</i>, immediately after the passing -the act, published a small print, with emblematical -devices, and the following inscription expressing his -gratitude to the three branches of the legislature:</p> - -<p style="text-align:center"> -"In humble and grateful acknowledgment<br /> -Of the grace and goodness of the LEGISLATURE,<br /> -Manifested<br /> -In the ACT of PARLIAMENT for the Encouragement<br /> -Of the Arts of Designing, Engraving, &c.<br /> -Obtained<br /> -By the Endeavours, and almost at the sole Expence,<br /> -Of the Designer of this Print in the Year 1735;<br /> -By which<br /> -Not only the Professors of those Arts were rescued<br /> -From the Tyranny, Frauds, and Piracies<br /> -Of Monopolizing Dealers,<br /> -And legally entitled to the Fruits of their own Labours;<br /> -But Genius and Industry were also prompted<br /> -By the most noble and generous Inducements to exert themselves;<br /> -Emulation was excited,<br /> -Ornamental Compositions were better understood;<br /> -And every Manufacture, where Fancy has any concern,<br /> -Was gradually raised to a Pitch of Perfection before unknown;<br /> -Insomuch, that those of <span class="smcap">Great-Britain</span><br /> -Are at present the most Elegant<br /> -And the most in Esteem of any in <span class="smcap">Europe</span>."<br /> -</p> - -<p>This plate he afterwards made to serve for a receipt -for subscriptions, first to a print of an "Election -Entertainment;" and afterwards for three prints<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -more, representing the "polling for members for -parliament, canvassing for votes, and chairing the -members." The royal crown at the top of this -receipt is darting its rays on mitres, coronets, the -Chancellor's great seal, the Speaker's hat, &c. &c. -and on a scroll is written, "An Act for the Encouragement -of the Arts of Designing, Engraving, -and Etching, by vesting the Properties thereof in -the Inventors and Engravers, during the Time -therein mentioned." It was "Designed, etched, -and published as the Act directs, by <i>W. Hogarth, -March</i> 20, 1754." After <i>Hogarth's</i> death, the -legislature, by Stat. 7 <i>Geo.</i> III. chap. 38. granted to -his widow a further exclusive term of twenty years -in the property of her husband's works.</p> - -<p>In 1736 he had the honour of being distinguished -in a masterly poem of a congenial Humourist. The -Dean of <i>St. Patrick's</i>, in his "Description of the -Legion Club," after pourtraying many characters -with all the severity of the most pointed satire, exclaims,</p> - -<blockquote><p> -"How I want thee, humorous <i>Hogarth!</i><br /> -Thou, I hear, a pleasant rogue art!<br /> -Were but you and I acquainted,<br /> -Every monster should be painted:<br /> -You should try your graving tools<br /> -On this odious group of fools;<br /> -Draw the beasts as I describe them;<br /> -Form their features, while I gibe them;<br /> -<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>Draw them like, for I assure ye,<br /> -You will need no <i>caricatura</i>.<br /> -Draw them so, that we may trace<br /> -All the soul in every face."<br /> -</p></blockquote> - -<p>An elegant compliment was soon after paid to <i>Hogarth</i> -by <i>Somervile</i>, the author of <i>The Chace</i>, who -dedicates his <i>Hobbinol</i> to him as to "the greatest -master in the burlesque way." Yet <i>Fielding</i>, in -the Preface to <i>Joseph Andrews</i>, says, "He who -should call the ingenious <i>Hogarth</i> 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 preposterous size, or to -expose him in some absurd or monstrous attitude, -than to express the affections of men on canvas. -It hath 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."<a name="FNanchor_38_56" id="FNanchor_38_56"></a><a href="#Footnote_38_56" class="fnanchor">[38]</a></p> -<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> -<p><i>Vincent Bourne</i>, that classical ornament of <i>Westminster -School</i>, addressed the following copy of hendecasyllables</p> - -<blockquote><p><span style="margin-left: 2em;">"Ad <span class="smcap">Gulielmum Hogarth</span>, Παρουνετικόν [Greek: Parounetikon]</span><br /> -<br /> -"Qui mores hominum improbos, ineptos,<br /> -Incidis, nec ineleganter, æri,<br /> -Derisor lepidus, sed & severus,<br /> -Corrector gravis, at nec invenustus;<br /> -Seu pingis meretricios amores,<br /> -Et scenas miseræ vicesque vitæ;<br /> -Ut tentat pretio rudem puellam<br /> -Corruptrix anus, impudens, obesa;<br /> -Ut se vix reprimit libidinosus<br /> -Scortator, veneri paratus omni:<br /> -Seu describere vis, facete censor,<br /> -Bacchanalia sera protrahentes<br /> -Ad confinia crastinæ diei,<br /> -Fractos cum cyathis tubos, matellam<br /> -Non plenam modò sed superfluentem,<br /> -Et fortem validumque combibonem<br /> -Lætantem super amphorâ repletâ;<br /> -Jucundissimus omnium ferêris,<br /> -Nullique artificum secundus, ætas<br /> -Quos præsens dedit, aut dabit futura.<br /> -Macte ô, eja age, macte sis amicus<br /> -Virtuti: vitiique quod notâris,<br /> -Pergas pingere, & exhibere coràm,<br /> -Censura utilior tua æquiorque<br /> -Omni vel satirarum acerbitate,<br /> -Omni vel rigidissimo cachinno."<br /> -</p></blockquote> -<p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> -<p>By printed proposals, dated <i>Jan</i>. 25, 1744-5, <i>Hogarth</i> -offered to the highest bidder "the six pictures -called <i>The Harlot's Progress</i>, the eight pictures -called <i>The Rake's Progress</i>, the four pictures representing -<i>Morning, Noon, Evening,</i> and <i>Night,</i> -and that of <i>A Company of Strolling Actresses dressing -in a Barn</i>; all of them his own original paintings, -from which no other copies than the prints have -ever been taken." The biddings were to remain -open from the first to the last day of <i>February</i>, on -these conditions: "1. That every bidder shall have -an entire leaf numbered in the book of sale, on -the top of which will be entered the name and -place of abode, the sum paid by him, the time -when, and for which picture.—That, on the -last day of sale, a clock (striking every five minutes) -shall be placed in the room; and when it -hath struck five minutes after twelve, the first -picture mentioned in the sale-book will be deemed -as sold; the second picture when the clock hath -struck the next five minutes after twelve; and -so on successively till the whole nineteen pictures -are sold. 3. That none advance less than gold -at each bidding. 4. No person to bid on the last -day, except those whose names were before entered -in the book.—As Mr. <i>Hogarth's</i> room is but -small, he begs the favour that no persons, except -those whose names are entered in the book, will -come to view his paintings on the last day of sale."</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> - -<p>The pictures were sold for the following prices:</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left">Six Harlot's Progress, at 14 guineas each </td><td align="left">£.88</td><td align="left">4</td><td align="left">0</td></tr> -<tr><td align="left">Eight Rake's Progress, at 22 guineas each</td><td align="left">184</td><td align="left">16</td><td align="left">0</td></tr> -<tr><td align="left">Morning, 20 guineas</td><td align="left">21</td><td align="left">0</td><td align="left">0</td></tr> -<tr><td align="left">Noon, 37 guineas</td><td align="left">38</td><td align="left">17</td><td align="left">0</td></tr> -<tr><td align="left">Evening, 38 guineas</td><td align="left">39</td><td align="left">18</td><td align="left">0</td></tr> -<tr><td align="left">Night, 26 guineas</td><td align="left">27</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left">Strolling Players, 26 guineas</td><td align="left">27</td><td align="left">6</td><td align="left">0</td></tr> -<tr><td align="left"> </td><td align="left">427</td><td align="left">7</td><td align="left">0</td></tr> -</table></div> - -<p>At the same time the six pictures of <i>Marriage à-la-mode</i> -were announced as intended for sale as soon -as the plates then taking from them should -be completed. This set of Prints may be regarded -as the ground-work of a novel called "The Marriage -Act," by Dr. <i>Shebbeare</i>, and of "The Clandestine -Marriage." In the prologue to that excellent -comedy, Mr. <i>Garrick</i> thus handsomely expressed his -regard for the memory of his friend:</p> - -<blockquote><p> -"Poets and painters, who from nature draw<br /> -Their best and richest stores, have made this law:<br /> -That each should neighbourly assist his brother,<br /> -And steal with decency from one another.<br /> -To-night, your matchless <i>Hogarth</i> gives the thought,<br /> -Which from his canvas to the stage is brought.<br /> -And who so fit to warm the poet's mind,<br /> -As he who pictur'd morals and mankind?<br /> -<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>But not the same their characters and scenes;<br /> -Both labour for one end, by different means:<br /> -Each, as it suits him, takes a separate road,<br /> -Their one great object, <i>Marriage à la Mode!</i><br /> -Where titles deign with cits to have and hold,<br /> -And change rich blood for more substantial gold!<br /> -And honour'd trade from interest turns aside,<br /> -To hazard happiness for titled pride.<br /> -The painter dead, yet still he charms the eye;<br /> -While <i>England</i> lives, his fame can never die:<br /> -But he, 'who struts his hour upon the stage,'<br /> -Can scarce extend his fame for half an age;<br /> -Nor pen nor pencil can the actor save,<br /> -The art, and artist, share one common grave."<a name="FNanchor_39_57" id="FNanchor_39_57"></a><a href="#Footnote_39_57" class="fnanchor">[39]</a><br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> - -<p><i>Hogarth</i> had projected a <i>Happy Marriage</i>, by way -of counterpart to his <i>Marriage à la Mode</i>. A design -for the first of his intended six plates he had sketched -out in colours; and the following is as accurate an -account of it as could be furnished by a gentleman -who, long ago enjoyed only a few minutes' sight of -so imperfect a curiosity.</p> - -<p>The time supposed was immediately after the return -of the parties from church. The scene lay in -the hall of an antiquated country mansion. On one -side, the married couple were represented sitting. -Behind them was a group of their young friends of -both sexes, in the act of breaking bride-cake over -their heads. In front appeared the father of the -young lady, grasping a bumper, and drinking, with -a seeming roar of exultation, to the future happiness -of her and her husband. By his side was a table -covered with refreshments. Jollity rather than politeness -was the designation of his character. Under -the screen of the hall, several rustic musicians in -grotesque attitudes, together with servants, tenants, -&c. were arranged. Through the arch by which -the room was entered, the eye was led along a passage -into the kitchen, which afforded a glimpse of -sacerdotal luxury. Before the dripping-pan stood a -well-fed divine, in his gown and cassock, with his -watch in his hand, giving directions to a cook, drest -all in white, who was employed in basting a haunch -of venison.</p> - -<p>Among the faces of the principal figures, none<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> -but that of the young lady was completely finished. -<i>Hogarth</i> had been often reproached for his inability -to impart grace and dignity to his heroines. The -bride was therefore meant to vindicate his pencil -from so degrading an imputation. The effort, however, -was unsuccessful. The girl was certainly -pretty; but her features, if I may use the term, -were uneducated. She might have attracted notice -as a chambermaid, but would have failed to extort -applause as a woman of fashion. The parson, and -his culinary associate, were more laboured than any -other parts of the picture. It is natural for us to -dwell longest on that division of a subject which is -most congenial to our private feelings. The painter -sat down with a resolution to delineate beauty improved -by art; but seems, as usual, to have deviated -into meanness; or could not help neglecting his original -purpose, to luxuriate in such ideas as his situation -in early life had fitted him to express. He -found himself, in short, out of his element in the -parlour, and therefore hastened, in quest of ease and -amusement, to the kitchen fire. <i>Churchill</i>, with -more force than delicacy, once observed of him, -that he only painted the <i>backside</i> of nature. It must -be allowed, that such an artist, however excellent -in his walk, was better qualified to represent the low-born -parent, than the royal preserver of a foundling.</p> - -<p>The sketch already described (which I believe is -in Mrs. <i>Garrick's</i> possession) was made after the appearance -of <i>Marriage à la Mode</i>, and many years before<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> -the artist's death. Why he did not persevere in -his plan, during such an interval of time, we can -only guess. It is probable that his undertaking required -a longer succession of images relative to domestic -happiness, than had fallen within his notice, -or courted his participation. <i>Hogarth</i> had no children; -and though the nuptial union may be happy -without them, yet such happiness will have nothing -picturesque in it; and we may observe of this truly -natural and faithful painter, that he rarely ventured -to exhibit scenes with which he was not perfectly -well acquainted.</p> - -<p>Let us, however, more completely obviate an -objection that may be raised against the propriety of -the foregoing criticism. Some reader may urge, that -perhaps, all circumstances considered, a wedding celebrated -at an old mansion-house did not require the -appearance of consummate beauty, refined by the -powers of education. The remark has seeming justice -on its side; but <i>Hogarth</i> had previously avowed -his intent to exhibit a perfect face, divested of vulgarity; -and succeeded so well, at least in his own -opinion, that he carried the canvas, of which we -are now speaking, in triumph to Mr. <i>Garrick</i>, whose -private strictures on it coincided with those of the -person who furnishes this additional confirmation of -our painter's notorious ignorance in what is styled—<span class="smcap">the -graceful</span>. From the account I have received -concerning a design for a previous compartment belonging -to the same story, there is little reason to lament<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> -the loss of it. It contained no appeal either -to the fancy or to the heart. An artist, who, representing -the marriage ceremony in a chapel, renders -the clerk, who lays the hassocks, the principal -figure in it, may at least be taxed with want of -judgement.</p> - -<p>Soon after the peace of <i>Aix la Chapelle</i>, he went -over to <i>France</i>, and was taken into custody at <i>Calais</i>, -while he was drawing the gate of that town, a circumstance -which he has recorded in his picture, intituled, -"O the Roast Beef of <i>Old England</i>!" published -<i>March</i> 26, 1749. He was actually carried -before the governor as a spy, and, after a very strict -examination, committed a prisoner to <i>Grandsire</i>, his -landlord, on his promising that <i>Hogarth</i> should not -go out of his house till it was to embark for <i>England</i>. -This account, I have good authority for saying, he -himself gave to his friend Mr. <i>Gostling</i> at <i>Canterbury</i>, -at whose house he lay the night after his arrival.</p> - -<p>The same accident, however, has been more circumstantially -related by an eminent <i>English</i> engraver, -who was abroad when it happened. <i>Hayman</i>, and -<i>Cheere</i> the statuary, were of the same party.</p> - -<p>While <i>Hogarth</i> was in <i>France</i>, wherever he went, -he was sure to be dissatisfied with all he saw. If an -elegant circumstance either in furniture, or the ornaments -of a room, was pointed out as deserving -approbation, his narrow and constant reply was, -"What then? but it is <i>French</i>! Their houses -are all gilt and b—t." In the streets he was<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> -often clamourously rude. A tatter'd bag, or a pair -of silk stockings with holes in them, drew a torrent -of imprudent language from him. In vain -did my informant (who knew that many <i>Scotch</i> and -<i>Irish</i> were often within hearing of these reproaches, -and would rejoice at least in an opportunity of getting -our painter mobbed) advise him to be more -cautious in his public remarks. He laughed at all -such admonition, and treated the offerer of it as a -pusillanimous wretch, unworthy of a residence in a -free country, making him the butt of his ridicule -for several evenings afterwards. This unreasonable -pleasantry was at length completely extinguished by -what happened while he was drawing the Gate at -<i>Calais</i>; for though the innocence of his design was -rendered perfectly apparent on the testimony of other -sketches he had about him, which were by no means -such as could serve the purpose of an engineer, he -was told by the Commandant, that, had not the -peace been actually signed, he should have been -obliged to have hung him up immediately on the -ramparts. Two guards were then provided to convey -him on shipboard; nor did they quit him till he -was three miles from the shore. They then spun him -round like a top, on the deck; and told him he was -at liberty to proceed on his voyage without farther -attendance or molestation. With the slightest allusion -to the ludicrous particulars of this affair, poor -<i>Hogarth</i> was by no means pleased. The leading circumstance -in it his own pencil has recorded.</p> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> - -<p>Soon after this period he purchased a little house -at <i>Chiswick</i>; where he usually passed the greatest -part of the summer season, yet not without occasional -visits to his dwelling in <i>Leicester Fields</i>.</p> - -<p>In 1753, he appeared to the world in the character -of art author, and published a quarto volume, -intituled, "The Analysis of Beauty, written with a -view of fixing the fluctuating Ideas of Taste." -In this performance he shews, by a variety of examples, -that a curve is the line of beauty, and that -round swelling figures are most pleasing to the eye; -and the truth of his opinion has been countenanced -by subsequent writers on the subject.</p> - -<p>Among the letters of Dr. <i>Birch</i> is the following -short one, sent with the "Analysis of Beauty," and -dated <i>Nov.</i> 25, 1753; "Sir, I beg the favour of you -to present to the Royal Society the enclosed work, -which will receive great honour by their acceptance -of it. I am, Sir, your most obedient humble -servant, <span class="smcap">Wm. Hogarth</span>."</p> - -<p>In this book, the leading idea of which was -hieroglyphically thrown out in a frontispiece to his -works in 1745, he acknowledges himself indebted -to his friends for assistance, and particularly to one -gentleman for his corrections and amendments of at -least a third part of the <i>wording</i>. This friend, I am -assured, was Dr. <i>Benjamin Hoadly</i> the physician, who -carried on the work to about a <i>third</i> part, Chap. IX. -and then, through indisposition, declined the friendly -office with regret. Mr. <i>Hogarth</i> applied to his neighbour,<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> -Mr. <i>Ralph</i>; but it was impossible for two such -persons to agree, both alike vain and positive. He -proceeded no farther than about a sheet, and they -then parted friends, and seem to have continued such. -In the <i>Estimate of the Manners and Principles of the -Times</i>, vol. I. p. 47, published in 1757 by Dr. <i>Brown</i>, -that author pays a compliment to Mr. <i>Hogarth's</i> genius. -Mr. <i>Ralph</i>, animadverting on the work, -amongst other things, says, "It is happy for Mr. -<i>Hogarth</i>, in my humble opinion, that he is brought -upon the stage in such company, rather for the -sake of fastening some additional abuse upon the -public, than of bestowing any special grace upon -him. 'Neither the comic pencil, nor the serious -pen of our ingenious countrymen (so the Estimator -or Appraiser's Patent of Allowance runs) -have been able to keep alive the taste of Nature -or of Beauty.' For where he has chosen to be a -niggard of his acknowledgements, every other -man would chuse to be a prodigal: Nature had -played the <i>Proteus</i> with us, had invited us to -pursue her in every shape, but had never suffered -us to overtake her: Beauty all had been smitten -with, but nobody had been able to assign us a -rule by which it might be defined: This was Mr. -<i>Hogarth's</i> task; this is what he has succeeded in; -composition is at last become a science; the student -knows what he is in search of; the connoisseur -what to praise; and fancy or fashion, or -prescription, will usurp the hacknied name of taste<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> -no more. So that, whatever may be said in disparagement -of the age on other accounts, it has -more merit and honour to claim on this, than any -which preceded it. And I will venture for once -to prophesy, from the improvements already manifested, -that we shall have the arts of designing -to value ourselves upon, when all our ancient virtues -are worn out."</p> - -<p>The office of finishing the work, and superintending -the publication, was lastly taken up by Dr. <i>Morell</i>, -who went through the remainder of the book.<a name="FNanchor_40_58" id="FNanchor_40_58"></a><a href="#Footnote_40_58" class="fnanchor">[40]</a> -The preface was in like manner corrected by the -Rev. Mr. <i>Townley</i>. The family of <i>Hogarth</i> rejoiced -when the last sheet of the <i>Analysis</i> was printed off; -as the frequent disputes he had with his coadjutors, -in the progress of the work, did not much harmonize -his disposition.</p> - -<p>This work was translated into <i>German</i> by Mr. -<i>Mylins</i>, when in <i>England</i>, under the author's inspection; -and the translation, containing twenty-two -sheets in quarto, and two large plates, was printed in -<i>London</i>, price five dollars.</p> - -<p>Of the same performance a new and correct edition<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> -was (<i>July</i> 1, 1754) proposed for publication at <i>Berlin</i>, -by <i>Ch. Fr. Vok</i>, with an explanation of Mr. <i>Hogarth's</i> -satirical prints, translated from the <i>French</i>; -the whole to subscribers for one dollar, but after six -weeks to be raised to two dollars.</p> - -<p>An <i>Italian</i> translation was also published at <i>Leghorn</i> -in 1761, 8vo, dedicated "All' illustrissime Signora -Diana <i>Molineux</i>, Dama <i>Inglese</i>."</p> - -<p>"This book," Mr. <i>Walpole</i> observes, "had many -sensible hints and observations; but it did not -carry the conviction, nor meet the universal acquiescence -he expected. As he treated his contemporaries -with scorn, they triumphed over this -publication,<a name="FNanchor_41_59" id="FNanchor_41_59"></a><a href="#Footnote_41_59" class="fnanchor">[41]</a> and irritated him to expose him.<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> -Many wretched burlesque prints came out to ridicule -his system. There was a better answer to -it in one of the two prints that he gave to illustrate -his hypothesis. In the ball, had he confined -himself to such outlines as compose awkwardness -and deformity, he would have proved half his -assertion; but he has added two samples of grace -in a young lord and lady, that are strikingly stiff -and affected. They are a <i>Bath</i> beau and a county -Beauty."</p> - -<p><i>Hogarth</i> had one failing in common with most -people who attain wealth and eminence without the -aid of liberal education. He affected to despise -every kind of knowledge which he did not possess. -Having established his fame with little or no obligation -to literature, he either conceived it to be needless, -or decried it because it lay out of his reach. -His sentiments, in short, resembled those of <i>Jack -Cade</i>, who pronounced sentence on the clerk of<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> -<i>Chatham</i>, because he could write and read. Till, -in evil hour, this celebrated artist commenced an -author, and was obliged to employ the friends already -mentioned to correct his <i>Analysis of Beauty</i>,<a name="FNanchor_42_60" id="FNanchor_42_60"></a><a href="#Footnote_42_60" class="fnanchor">[42]</a> -he did not seem to have discovered that even spelling -was a necessary qualification; and yet he had ventured -to ridicule<a name="FNanchor_43_61" id="FNanchor_43_61"></a><a href="#Footnote_43_61" class="fnanchor">[43]</a> the late Mr. <i>Rich's</i> deficiency as -to this particular, in a note which lies before the -Rake whose play is refused while he remains in confinement -for debt. Previous to the time of which -we are now speaking, one of our artist's common -topicks of declamation was the uselessness of books -to a man of his profession. In <i>Beer-street</i>, among -other volumes consigned by him to the pastry cook, -we find <i>Turnbull on ancient Painting</i>, a treatise which -<i>Hogarth</i> should have been able to understand, before -he ventured to condemn. <i>Garrick</i> himself, however, -was not more ductile to flattery. A word in favour -of <i>Sigismunda</i>, might have commanded a proof print, -or forced an original sketch out of our artist's hands. -The furnisher of this remark owes one of his scarcest -performances to the success of a compliment, which -might have stuck even in Sir <i>Godfrey Kneller's</i> throat.</p> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> - -<p>The following authenticated story of our artist -will also serve to shew how much more easy it is to -detect ill-placed or hyperbolical adulation respecting -others, than when applied to ourselves. <i>Hogarth</i> -being at dinner with the great <i>Cheselden</i>, and some -other company, was told that Mr. <i>John Freke</i>, surgeon -of <i>St. Bartholomew's Hospital</i>, a few evenings -before at <i>Dick's Coffee-house</i>, had asserted, that <i>Greene</i> -was as eminent in composition as <i>Handel</i>. "That -fellow <i>Freke</i>," replied <i>Hogarth</i>, "is always shooting -his bolt absurdly one way or another! <i>Handel</i> is a -giant in music; <i>Greene</i> only a light <i>Florimel</i> kind of -a composer."—"Ay," says our artist's informant, -"but at the same time Mr. <i>Freke</i> declared you were -as good a portrait-painter as <i>Vandyck</i>."—"<i>There</i> he -was in the right," adds <i>Hogarth</i>; "and so by G— I -am, give me my time, and let me choose my subject!"</p> - -<p>With Dr. <i>Hoadly</i>, the late Chancellor of <i>Winchester</i>, -Mr. <i>Hogarth</i> was always on terms of the strictest -friendship, and frequently visited him at <i>Winchester, -St. Cross,</i> and <i>Alresford</i>. It is well known, that Dr. -<i>Hoadly's</i> fondness for theatrical exhibitions was so -great, that few visitors were ever long in his house -before they were solicited to accept a part in some -interlude or other. He himself, with <i>Garrick</i> and -<i>Hogarth</i>, once performed a laughable parody on the -scene in <i>Julius Cæsar</i>, where the <i>Ghost</i> appears to -<i>Brutus. Hogarth</i> personated the spectre; but so unretentive -was his memory, that, although his speech<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> -consisted only of two lines, he was unable to get -them by heart. At last they hit on the following -expedient in his favour. The verses he was to deliver -were written in such large letters, on the outside -of an illuminated paper-lanthorn, that he could read -them when he entered with it in his hand on the -stage. <i>Hogarth</i> painted a scene on this occasion, representing -a sutling booth, with the <i>Duck of Cumberland's</i> -head by way of sign. He also prepared the -play-bill, with characteristic ornaments. The original -drawing is still preserved, and we could wish it -were engraved; as the slightest sketch from the -design of so grotesque a painter would be welcome -to the numerous collectors of his works.</p> - -<p><i>Hogarth</i> was also the most absent of men. At -table he would sometimes turn round his chair as if -he had finished eating, and as suddenly would return -it, and fall to his meal again. I may add, that he -once directed a letter to Dr. <i>Hoadly</i>, thus,—"To -the Doctor at <i>Chelsea</i>." This epistle, however, -by good luck, did not miscarry; and was preserved -by the late Chancellor of <i>Winchester</i>, as a pleasant -memorial of his friend's extraordinary inattention.</p> - -<p>Another remarkable instance of <i>Hogarth's</i> absence -was told me, after the first edition of this work, by one -of his intimate friends. Soon after he set up his -carriage, he had occasion to pay a visit to the lord-mayor -(I believe it was Mr. <i>Beckford</i>). When he -went, the weather was fine; but business detained -him till a violent shower of rain came on. He was<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> -let out of the Mansion-house by a different door from -that at which he entered; and, seeing the rain, began -immediately to call for a hackney-coach. Not -one was to be met with on any of the neighbouring -stands; and our artist sallied forth to brave the -storm, and actually reached <i>Leicester-fields</i> without -bestowing a thought on his own carriage, till Mrs. -<i>Hogarth</i> (surprized to see him so wet and splashed) -asked where he had left it.</p> - -<p>Mr. <i>Walpole</i>, in the following note, p. 69, is -willing to expose the indelicacy of the <i>Flemish</i> painters, -by comparing it with the purity of <i>Hogarth</i>. -"When they attempt humour," says our author, -"it is by making a drunkard vomit; they take evacuations -for jokes; and when they make us sick, -think they make us laugh. A boor hugging a -frightful frow is a frequent incident, even in the -works of <i>Teniers</i>." Shall we proceed to examine -whether the scenes painted by our countryman are -wholly free from the same indelicacies? In one plate -of <i>Hudibras</i>, where he encounters a <i>Skimmington</i>, a -man is making water against the end of a house, -while a taylor's wife is most significantly attending -to the dirty process. In another plate to the same -work, a boy is pissing into the shoe of <i>Ralpho</i>, while -the widow is standing by. Another boy in the <i>Enraged -Musician</i> is easing nature by the same mode; -and a little miss is looking earnestly on the operation. -In the <i>March to Finchley</i>, a diseased soldier has no -better employment; and a woman is likewise staring<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> -at him out of a window. This circumstance did not -escape the observation of <i>Rouquet</i> the enameller, -whose remarks<a name="FNanchor_44_62" id="FNanchor_44_62"></a><a href="#Footnote_44_62" class="fnanchor">[44]</a> on the plates of our artist I shall have -more than once occasion to introduce. "Il y a," -says he, "dans quelques endroits de cet excellent tableau, -des objets peut être plus propres à peindre -qu'à décrire. D'ou vient que les oreilles sont plus -chaste que les yeux? Ne seroit ce pas parce qu'on -peut regarder certains objets dans un tableau, et -feindre de ne pas les voir; et qu'il n'est pas si -aisé d'entendre une obscénité, et de feindre de ne -l'entendre pas! L'objet, dont je veux parler, est -toutefois peu considérable; il s'agit seulement d'un -soldat à qui le voyage de <i>Montpelier</i> conviendroit -mieux que celui d'<i>Ecosse</i>. L'amour lui a fait une -blessure, &c." Was this occurrence delicate or precious -enough to deserve such frequency of repetition? -In the burlesque <i>Paul before Felix</i>, when the High -Priest applies his fingers to his nose, we have reason -to imagine that his manœuvre was in consequence of -some offensive escape during the terrors of the pro-consul -of <i>Judea</i>, who, as he is here represented, -conveys no imperfect image of a late Lord Mayor, -at the time of the riots in <i>London</i>. In this last instance, -indeed, I ought to have observed that <i>Hogarth</i> -meant to satirize, not to imitate, the painters of <i>Holland</i> -and <i>Flanders</i>. But I forbear to dwell any longer -on such disgusting circumstances; begging leave only -to ask, whether the canvas of <i>Teniers</i> exhibits nastier<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> -objects than those of the woman cracking a louse -between her nails in the fourth plate of the <i>Harlot's -Progress</i>; a <i>Scotch</i> bag-piper catching another in his -neck while he is performing at the Election feast; -<i>Aurora</i> doing the same kind office for a <i>Syren</i> or <i>Nereid</i>, -in the <i>Strollers</i>, &c.; the old toothless <i>French</i> beldams, -slobbering (<i>Venus</i> forbid we should call it kissing) -each other in the comic print entitled <i>Noon</i>; -the chamber-pot emptied on the Free Mason's head, -in the <i>Rejoicing Night</i>; or the <i>Lilliputians</i> giving a -clyster to <i>Gulliver</i>? In some of these instances, however, -the humour may compensate for the indelicacy, -which is rarely the case with such <i>Dutch</i> pictures as -have justly incurred the censure of Mr. <i>Walpole</i>. -Let us now try how far some of the compositions of -<i>Hogarth</i> have befriended the cause of modesty. In -the <i>Harlot's Progress</i>, Plate VI. we meet with a hand -by no means busied in manner suitable to the purity -of its owner's function. <i>Hogarth</i> indeed, in -three different works, has delineated three clergymen; -the one as a drunkard; the second as a glutton; -and the third as a whoremaster, who (I borrow -<i>Rouquet's</i> words) "est plus occupé de sa voisine que -de son vin, qu'il repand par une distraction qu'elle -lui cause." He who, in the eyes of the vulgar, -would degrade our professors of religion, deserves -few thanks from society. In the <i>Rake's Progress</i>, -Plate the last, how is the hand of the ideal -potentate employed, while he is gazing with no very -modest aspect on a couple of young women who pass<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> -before his cell numbered 55? and to what particular -object are the eyes of the said females supposed to -be directed?<a name="FNanchor_45_63" id="FNanchor_45_63"></a><a href="#Footnote_45_63" class="fnanchor">[45]</a> Nay, in what pursuit is the grenadier -engaged who stands with his face toward the wall in -Plate 9. of <i>Industry and Idleness</i>? May we address another -question to the reader? Is the "<i>smile</i> of <i>Socrates</i>," -or the "<i>benevolence</i> of the designer," very distinguishable -in the half dozen last instances? It has been observed -indeed by physiognomists, that the <i>smile</i> of -the real <i>Socrates</i> resembled the <i>grin</i> of a <i>satyr</i>; and -perhaps a few of the particulars here alluded to, as -well as the prints entitled <span class="smcap">Before</span> and <span class="smcap">After</span>, ought -to be considered as a <i>benevolence</i> to speculative old -maids, or misses not yet enfranchised from a boarding -school. Had this truly sensible critic, and elegant -writer, been content to observe, that such gross circumstances -as form the chief subject of <i>Flemish</i> -pictures, are only incidental and subordinate in those -of our artist, the remark might have escaped reprehension. -But perhaps he who has told us that "<i>St. -Paul's</i> hand was once <i>improperly</i> placed before the -wife of <i>Felix</i>" should not have suffered more -glaring insults on decency to pass without a censure. -On this occasion, though I may be found to differ -from Mr. <i>Walpole</i>, I am ready to confess how much<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -regard is due to the opinions of a gentleman whose -mind has been long exercised on a subject which is -almost new to me; especially when I recollect that -my present researches would have had no guide, but -for the lights held out in the last volume of the -Anecdotes of Painting in <i>England</i>.</p> - -<p><i>Hogarth</i> boasted that he could draw a Serjeant with -his pike, going into an alehouse, and his Dog following -him, with only three strokes;—which he executed -thus:</p> - -<div class="figcenter" style="width: 135px;"> -<img src="images/page_63_illus.jpg" width="135" height="192" alt="Hogarth's drawing in three lines" /> -</div> - -<p>A. The perspective line of the door.<br /> -B. The end of the Serjeant's pike, who is gone in.<br /> -C. The end of the Dog's tail, who is following him.<br /> -There are similar whims of the <i>Caracci</i>.</p> - -<p>A specimen of <i>Hogarth's</i> propensity to merriment, -on the most trivial occasions, is observable in one of -his cards requesting the company of Dr. <i>Arnold King</i> -to dine with him at the <i>Mitre</i>.<a name="FNanchor_46_64" id="FNanchor_46_64"></a><a href="#Footnote_46_64" class="fnanchor">[46]</a> Within a circle, to<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> -which a knife and fork are the supporters, the -written part is contained. In the center is drawn a -pye, with a <i>mitre</i> on the top of it; and the invitation -of our artist concludes with the following sport -on three of the <i>Greek</i> letters—to <i>Eta Beta Pi</i>.<a name="FNanchor_47_65" id="FNanchor_47_65"></a><a href="#Footnote_47_65" class="fnanchor">[47]</a> The -rest of the inscription is not very accurately spelt. -A quibble by <i>Hogarth</i> is surely as respectable as a -conundrum by <i>Swift</i>.</p> - -<p>"Some nicer virtuosi have remarked, that in the -serious pieces, into which <i>Hogarth</i> has deviated -from the natural biass of his genius, there are -some strokes of the ridiculous discernible, which -suit not with the dignity of his subject. In his -<span class="smcap">preaching of St. Paul</span>, a dog snarling at a cat;<a name="FNanchor_48_66" id="FNanchor_48_66"></a><a href="#Footnote_48_66" class="fnanchor">[48]</a> -and in his <span class="smcap">Pharaoh's Daughter</span>, the figure of -the infant <i>Moses</i>, who expresses rather archness -than timidity; are alledged as instances, that this -artist, unrivalled in his own walk, could not resist -the impulse of his imagination towards drollery. -His picture, however, of <i>Richard</i> III. is pure and -unmixed, without any ridiculous circumstances,<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> -and strongly impresses terror and amazement." As -these observations are extracted from the <i>first</i> edition -of Dr. <i>Warton's</i> "Essay on the Genius and Writings -of <i>Pope</i>," it would be uncandid if we did not accompany -them with the following note from a subsequent -edition of that valuable performance: "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. <i>Hogarth</i>, his <span class="smcap">Paul Preaching</span>, and his -<span class="smcap">Infant Moses</span>; which, on a closer examination, -are not chargeable with the blemishes imputed to -them. 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 ΗθΟΣ [Greek: Ethos] 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 <span class="smcap">Man of Candour</span>, than the best -<span class="smcap">Critic</span> that ever lived."<a name="FNanchor_49_67" id="FNanchor_49_67"></a><a href="#Footnote_49_67" class="fnanchor">[49]</a></p> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> - -<p>In one of the early exhibitions at <i>Spring Gardens</i>, -a very pleasing small picture by <i>Hogarth</i> made its -first appearance. It was painted for the earl of -<i>Charlemont</i>, in whose collection it remains.<a name="FNanchor_50_68" id="FNanchor_50_68"></a><a href="#Footnote_50_68" class="fnanchor">[50]</a> It was -intituled, <i>Picquet, or Virtue in Danger,</i> and shews -us a young lady, who, during a <i>tête-à-tête</i>, had just -lost all her money to a handsome officer of her own -age. He is represented in the act of returning her -a handful of bank bills, with the hope of exchanging -them for a softer acquisition, and more delicate -plunder. On the chimney piece is a watch-case and -a figure of Time over it, with this motto—NUNC. -<i>Hogarth</i> has caught his heroine during this moment -of hesitation, this struggle with herself, and has -marked her feelings with uncommon success. Wavering -chastity, as in this instance, he was qualified -to display; but the graceful reserve of steady and -exalted virtue he would certainly have failed to express. -He might have conveyed a perfect idea of -such an <i>Iphigenia</i> as is described by Mr. <i>Hayley</i>, in -one of the cantoes of his beautiful poem on the -<i>Triumphs of Temper</i>; but the dignity of the same female -at the <i>Tauric</i> altar would have baffled the most -vigorous efforts of his pencil.</p> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> - -<p><i>Hogarth's</i> Picquet, or <i>Virtue in Danger</i>, when exhibited -at <i>Spring Gardens</i>, in <i>May</i>, 1761, produced -the following explanation:</p> - -<blockquote><p> -Ye fair, be warn'd, and shun those arts,<br /> -That faithless men do use for hearts:<br /> -Weigh o'er and o'er the destin'd man,<br /> -And oft this little lesson scan;<br /> -If he his character don't fear,<br /> -For yours he'll very little care:<br /> -With scorn repulse the wretch so bold,<br /> -Nor pawn your virtue for his gold!<br /> -Of gaming (cards or not) beware,<br /> -'Tis very often found a snare;<br /> -But, lest my precept still should fail,<br /> -Indulge me—whilst I tell a tale:<br /> -<br /> -<i>Dorinda</i>, chearful, young, and gay,<br /> -Oft shone at Balls, at Park, and Play;<br /> -Blest with a free, engaging air,<br /> -In short, throughout quite debonnair;<br /> -(Excuse me—shall I tell the truth?)<br /> -That bane of misled, heedless youth,<br /> -Gaming—had quite possess'd her mind,<br /> -To this (no other vice) inclin'd:<br /> -She oft would melancholy sit,<br /> -No partner near for dear Picquet!<br /> -"At last a cruel spoiler came,"<br /> -And deeply learn'd in all the game;<br /> -A son of <i>Mars</i>, with iron face,<br /> -Adorn'd with impudence and lace!<br /> -Acquaintance with her soon he gains,<br /> -He thinks her virtue worth his pains:<br /> -<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> -Cards (after nonsense) came in course,<br /> -By sap advances, not by force.<br /> -The table set, the cards are laid,<br /> -<i>Dorinda</i> dreams not she's betray'd;<br /> -The cards run cross, she fumes and frets,<br /> -Her brilliant necklace soon she betts,<br /> -She fears her watch, but can't resist,<br /> -A miniature can scarce be mist!<br /> -At last both watch and trinkets go,<br /> -A prey to the devouring foe:<br /> -Nay more (if fame but tells us true),<br /> -She lost her di'mond buckles too!<br /> -Her bracelets next became his prize,<br /> -And in his hat the treasure lies.<br /> -Upon her Virtue next he treats,<br /> -And Honour's sacred name repeats:<br /> -Tenders the trinkets, swears and lies,<br /> -And vows her person is a prize!<br /> -Then swears (with hand upon his breast)<br /> -That he without her can't be blest!<br /> -Then plies her with redoubled pains,<br /> -T' exchange her virtue for his gains:<br /> -Shame's purple wings o'ershade her face,<br /> -He triumphs over her disgrace;<br /> -Soon turns to jest her scruples nice,<br /> -In short, she falls!—a sacrifice!<br /> -Spoil'd of her virtue in her prime,<br /> -And, knowing Heaven detests the crime,<br /> -Is urg'd, perhaps, to dare his rod,<br /> -"And rush unsummon'd to her God!"<br /> -<br /> -<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> -Ye fair, if happiness ye prize,<br /> -Regard this rule, Be timely wise.<br /> -</p></blockquote> - -<p>In the "Miser's Feast," Mr. <i>Hogarth</i> thought -proper to pillory Sir <i>Isaac Shard</i>, a gentleman proverbially -avaricious. Hearing this, the son of Sir -<i>Isaac</i>, the late <i>Isaac Pacatus Shard</i>,<a name="FNanchor_51_69" id="FNanchor_51_69"></a><a href="#Footnote_51_69" class="fnanchor">[51]</a> esq. a young -man of spirit, just returned from his travels, called -at the painter's to see the picture; and, among the -rest, asking the <i>Cicerone</i> "whether that odd figure -was intended for any particular person;" on his -replying, "that it was thought to be very like one -Sir <i>Isaac Shard</i>;" he immediately drew his sword, -and slashed the canvas. <i>Hogarth</i> appeared instantly -in great wrath; to whom Mr. <i>Shard</i> calmly justified -what he had done, saying, "that this was a very -unwarrantable licence; that he was the injured -party's son, and that he was ready to defend any -suit at law;" which, however, was never instituted.</p> - -<p>About 1757, his brother-in-law, Mr. <i>Thornhill</i>, -resigned the place of king's serjeant-painter in favour -of Mr. <i>Hogarth</i>; who soon after made an experiment -in painting, which involved him in some disgrace. -The celebrated collection of pictures belonging -to Sir <i>Luke Schaub</i> was in 1758 sold by public<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> -auction;<a name="FNanchor_52_70" id="FNanchor_52_70"></a><a href="#Footnote_52_70" class="fnanchor">[52]</a> and the admired picture of <i>Sigismunda</i> -(purchased by Sir <i>Thomas Sebright</i> for 404. <i>l.</i> 5 <i>s.</i>) -excited Mr. <i>Hogarth's</i> emulation.</p> - -<p>"From a contempt of the ignorant virtuosi of -the age," says Mr. <i>Walpole</i>, "and from indignation -at the impudent tricks of picture-dealers, -whom he saw continually recommending and -vending vile copies to bubble collectors, and from -having never studied, indeed having seen, few -good pictures of the great <i>Italian</i> masters, he persuaded -himself that the praises bestowed on those -glorious works were nothing but the effects of -prejudice. He talked this language till he believed -it; and having heard it often asserted, as is -true, that time gives a mellowness to colours and -improves them, he not only denied the proposition, -but maintained that pictures only grew -black and worse by age, not distinguishing between -the degrees in which the proportion might -be true or false. He went farther: he determined -to rival the ancients—and unfortunately chose one -of the finest pictures in <i>England</i> as the object of -his competition. This was the celebrated <i>Sigismunda</i> -of Sir <i>Luke Schaub</i>, now in the possession -of the Duke of <i>Newcastle</i>, said to be painted by -<i>Correggio</i>, probably by <i>Furino</i>, but no matter by -whom. It is impossible to see the picture, or read -<i>Dryden's</i> inimitable tale, and not feel that the same<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -soul animated both. After many essays, <i>Hogarth</i> -at last produced <span class="smcap">HIS</span> <i>Sigismunda</i>—but no more like -<i>Sigismunda</i>, than I to <i>Hercules</i>. Not to mention -the wretchedness of the colouring, it was the representation -of a maudlin strumpet just turned out -of keeping, and, with eyes red with rage and -usquebaugh, tearing off the ornaments her keeper -had given her. To add to the disgust raised by -such vulgar expression, her fingers were bloodied -by her lover's heart,<a name="FNanchor_53_71" id="FNanchor_53_71"></a><a href="#Footnote_53_71" class="fnanchor">[53]</a> that lay before her, like<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> -that of a sheep, for her dinner.<a name="FNanchor_54_72" id="FNanchor_54_72"></a><a href="#Footnote_54_72" class="fnanchor">[54]</a> None of the -sober grief, no dignity of suppressed anguish, no -involuntary tear, no settled meditation on the fate -she meant to meet, no amorous warmth turned -holy by despair; in short, all was wanting that -should have been there, all was there that such a -story would have banished from a mind capable of -conceiving such complicated woe; woe so sternly -felt, and yet so tenderly. <i>Hogarth's</i> performance -was more ridiculous than any thing he had ever -ridiculed. He set the price of 400 <i>l.</i> on it, and -had it returned on his hands by the person for -whom it was painted. He took subscriptions for -a plate of it; but had the sense, at last, to suppress -it. I make no more apology for this account -than for the encomiums I have bestowed on him. -Both are dictated by truth, and are the history of -a great man's excellencies and errors. <i>Milton</i>, it<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> -is said, preferred his <i>Paradise Regained</i> to his immortal -poem."<a name="FNanchor_55_73" id="FNanchor_55_73"></a><a href="#Footnote_55_73" class="fnanchor">[55]</a></p> - -<p><i>Hogarth</i>, however, gave directions before his death -that the <i>Sigismunda</i> should not be sold under 500 <i>l.</i> -and, greatly as he might have been mortified by -<i>Churchill's</i> invective, and the coldness with which -the picture was received by the rest of the world,<a name="FNanchor_56_74" id="FNanchor_56_74"></a><a href="#Footnote_56_74" class="fnanchor">[56]</a><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> -he never wholly abandoned his design of having a -plate prepared from it. Finding abundant consolation<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> -in the flattery of self-love, he appealed from the -public judgement to his own, and had actually talked -with the celebrated Mr. <i>Hall</i> about the price of the -engraving, which was to have been executed from a -smaller painting,<a name="FNanchor_57_75" id="FNanchor_57_75"></a><a href="#Footnote_57_75" class="fnanchor">[57]</a> copied by himself from the large -one. Death alone secured him from the contempt -such obstinacy would have riveted on his name. To -express a sorrow like that of <i>Tancred's</i> daughter, few -modern artists are fully qualified. We must except -indeed Sir <i>Joshua Reynolds</i>, with whose pencil Beauty -in all her forms, and the passions in all their varieties, -are equally familiar.</p> - -<p>Since the preceding paragraph was written, the -compiler of this volume has seen an unfinished -plate of <i>Sigismunda</i>, attempted after the manner of -<i>Edelinck</i>, etched by Mr. <i>Basire</i>, but not bit-in, and -from which consequently no proof can have been -taken. The size of the plate is 18 inches by 16½. -The outlines in general, and particularly of the -face, were completed under the immediate direction -of Mr. <i>Hogarth</i>.<a name="FNanchor_58_76" id="FNanchor_58_76"></a><a href="#Footnote_58_76" class="fnanchor">[58]</a> It was intended to be published<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> -by subscription.<a name="FNanchor_59_77" id="FNanchor_59_77"></a><a href="#Footnote_59_77" class="fnanchor">[59]</a> The plate itself is still in the -hands of Mr. <i>Basire</i>.</p> - -<p>This unfortunate picture, which was the source of -so much vexation to Mr. <i>Hogarth</i>, at least made a -versifier of him, and furnished vent to his anger in -the following lines; which, as I know of no other -specimen of his poetry,<a name="FNanchor_60_78" id="FNanchor_60_78"></a><a href="#Footnote_60_78" class="fnanchor">[60]</a> may serve to gratify the -curiosity of the reader. The old adage <i>facit indignatio -versum</i>, seems scarcely to have been realised in -this splenetic effusion, which is intituled "An Epistle -to a Friend," occasioned by Sir <i>Richard Grosvenor</i> -(now lord) returning the picture of <i>Sigismunda</i> on -our artist's hands:</p> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> - -<blockquote><p> -"To your charge, the other day<br /> -About my picture and my pay,<br /> -In metre I've a mind to try,<br /> -One word by way of a reply.<br /> -<br /> -"To risque, you'll own, 'twas most absurd,<br /> -Such labour on a rich man's word;<br /> -To lose at least an hundred days<br /> -Of certain gain, for doubtful praise;<br /> -Since living artists ne'er were paid;<br /> -But then, you know, it was agreed,<br /> -I should be deem'd an artist dead.<br /> -Like <i>Raphael, Rubens, Guido Rene,</i><br /> -This promise fairly drew me in;<br /> -And having laid my pencil by,<a name="FNanchor_61_80" id="FNanchor_61_80"></a><a href="#Footnote_61_80" class="fnanchor">[61]</a><br /> -What painter was more dead than I?<br /> -But dead as <i>Guido</i> let me be,<br /> -Then judge, my friend, 'twixt him and me<br /> -If merit crowns alike the piece,<br /> -What treason to be like in price;<br /> -Because no copied line you trace,<br /> -The picture can't be right, you're sure;<br /> -But say, my critic connoisseur,<br /> -Moves it the heart as much or more<br /> -Than picture ever did before?<br /> -This is the painter's truest test,<br /> -And this Sir <i>Richard's</i> self confess'd.<br /> -Nay, 'tis so moving, that the knight<br /> -Can't even bear it in his sight;<br /> -<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>Then who would tears so dearly buy,<br /> -As give four hundred pounds to cry?<br /> -I own, he chose the prudent part,<br /> -Rather to break his word than heart;<br /> -And yet, methinks, 'tis ticklish dealing,<br /> -With one so delicate—in feeling.<br /> -<br /> -"However, let the picture rust,<br /> -Perhaps time's price-enhancing dust,<br /> -As statues moulder into earth,<br /> -When I'm no more, may mark its worth;<br /> -And future connoisseurs may rise,<br /> -Honest as ours, and full as wise,<br /> -To puff the piece and painter too,<br /> -And make me then what <i>Guido's</i> now."<br /> -</p></blockquote> - -<p>"The last memorable event in our artist's life," -as Mr. <i>Walpole</i> observes, "was his quarrel with Mr. -<i>Wilkes</i>, in which, if Mr. <i>Hogarth</i> did not commence -direct hostilities on the latter, he at least -obliquely gave the first offence, by an attack on -the friends and party of that gentleman. This -conduct was the more surprizing, as he had all -his life avoided dipping his pencil in political -contests, and had early refused a very lucrative -offer that was made to engage him in a set of -prints against the head of a court-party. Without -entering into the merits of the cause, I shall only -state the fact. In <i>September</i> 1762, Mr. <i>Hogarth</i> published -his print of <i>The Times</i>. It was answered -by Mr. <i>Wilkes</i> in a severe <i>North Briton</i>.<a name="FNanchor_62_81" id="FNanchor_62_81"></a><a href="#Footnote_62_81" class="fnanchor">[62]</a> On this<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -the painter exhibited the caricatura of the writer. -Mr. <i>Churchill</i>, the poet, then engaged in the war, -and wrote his epistle to <i>Hogarth</i>, not the brightest -of his works,<a name="FNanchor_63_82" id="FNanchor_63_82"></a><a href="#Footnote_63_82" class="fnanchor">[63]</a> in which the severest strokes -fell on a defect that the painter had neither caused -nor could amend—his age;<a name="FNanchor_64_83" id="FNanchor_64_83"></a><a href="#Footnote_64_83" class="fnanchor">[64]</a> and which, however, -was neither remarkable nor decrepit; much -less had it impaired his talents, as appeared by his -having composed but six months before one of -his most capital works, the satire on the Methodists. -In revenge for this epistle, <i>Hogarth</i> caricatured -<i>Churchill</i>, under the form of a canonical bear, -with a club and a pot of porter—<i>et vitulá tu dignus -& hic</i>—never did two angry men of their abilities -throw mud with less dexterity."</p> - -<p>The concluding observation of Mr. <i>Walpole</i> is mortifyingly -true. It may be amusing to compare the -account given of this squabble, which long engrossed -the attention of the town, with the narrative of it -printed by Mr. <i>Wilkes</i>; who states the circumstances -of it in the following manner:</p> - -<p>"Mr. <i>Hogarth</i> was one of the first who, in the -paper war begun by lord <i>Bute</i> on his accession to -the Treasury, sacrificed private friendship at the -altar of party madness. In 1762, the <i>Scotch</i> minister<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> -took a variety of hirelings into his pay, -some of whom were gratified with pensions, others -with places and pensions. Mr. <i>Hogarth</i> was only -made <i>serjeant-painter</i> to his majesty, as if it was -meant to insinuate to him, that he was not allowed -to paint any thing but the wainscot of the royal -apartments. The term means no more than <i>house-painter</i>, -and the nature of the post confined him -to that business. He was not employed in any -other way. A circumstance can scarcely be imagined -more humiliating to a man of spirit and -genius, who really thought that he more particularly -excelled in <i>portrait-painting</i>.</p> - -<p>"The new minister had been attacked in a variety -of political papers. <i>The North Briton</i> in particular, -which commenced the week after <i>The Briton</i>, -waged open war with him. Some of the numbers -had been ascribed to Mr. <i>Wilkes</i>, others to Mr. -<i>Churchill</i>, and Mr. <i>Lloyd</i>. Mr. <i>Hogarth</i> had for -several years lived on terms of friendship and intimacy -with Mr. <i>Churchill</i> and Mr. <i>Wilkes</i>. As the -<i>Buckinghamshire</i> militia, which this gentleman had -the honour of commanding, had been for some -months at <i>Winchester</i> guarding the <i>French</i> prisoners, -the Colonel was there on that duty. A friend -wrote to him, that Mr. <i>Hogarth</i> intended soon to -publish a political print of <i>The Times</i>, in which -Mr. <i>Pitt</i>, Lord <i>Temple</i>, Mr. <i>Churchill</i>, and himself, -were held out to the public as objects of ridicule. -Mr. <i>Wilkes</i>, on this notice, remonstrated by two of<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> -their common friends to Mr. <i>Hogarth</i>, that such a -proceeding would not only be unfriendly in the -highest degree, but extremely injudicious; for -such a pencil ought to be universal and moral, to -speak to all ages, and to all nations, not to be dipt -in the dirt of the faction of a day, of an insignificant -part of the country, when it might command -the admiration of the whole. An answer was sent, -that neither Mr. <i>Wilkes</i> nor Mr. <i>Churchill</i> were attacked -in <i>The Times</i>, though Lord <i>Temple</i> and Mr. -<i>Pitt</i> were, and that the print should soon appear. -A second message soon after told Mr. <i>Hogarth</i>, that -Mr. <i>Wilkes</i> should never believe it worth his while -to take notice of any reflections on himself; but -if his friends were attacked, he should then think -he was wounded in the most sensible part, and -would, as well as he was able, revenge their cause; -adding, that if he thought the <i>North Briton</i> would -insert what he sent, he would make an appeal to -the public on the very <i>Saturday</i> following the publication -of the print. <i>The Times</i> soon after appeared, -and on the <i>Saturday</i> following [<i>Sept.</i> 25, -1762,] N° 17, of the <i>North Briton</i>, which is a direct -attack on the king's <i>serjeant-painter</i>.<a name="FNanchor_65_84" id="FNanchor_65_84"></a><a href="#Footnote_65_84" class="fnanchor">[65]</a> If<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> -Mr. <i>Wilkes</i> did write that paper, he kept his word -better with Mr. <i>Hogarth</i>, than the painter had -done with him.</p> - -<p><span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> - -<p>"It is perhaps worth remarking, that the painter -proposed to give a series of political prints, and<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> -that <i>The Times</i> were marked Plate I. No farther -progress was however made in that design. The<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> -public beheld the first feeble efforts with execrations, -and it is said that the caricaturist was too<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> -much hurt by the general opinion of mankind, to -possess himself afterwards sufficiently for the execution -of such a work.</p> - -<p><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> - -<p>"When Mr. <i>Wilkes</i> was the second time brought -from the <i>Tower</i> to <i>Westminster-hall</i>, Mr. <i>Hogarth</i> -skulked behind in a corner of the gallery of the -Court of <i>Common Pleas</i>; and while the Chief Justice <i>Pratt</i>,<a name="FNanchor_66_86" id="FNanchor_66_86"></a><a href="#Footnote_66_86" class="fnanchor">[66]</a> -with the eloquence and courage of old<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> -<i>Rome</i>, was enforcing the great principles of <i>Magna -Charta</i>, and the <i>English</i> constitution, while every -breast from him caught the holy flame of liberty, -the painter was wholly employed in caricaturing -the <i>person</i> of the man; while all the rest of his -fellow citizens were animated in his <i>cause</i>, 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 after by the unanimous sentence of the -judges of that court, and they were all present.</p> - -<p>"The print of Mr. <i>Wilkes</i> was soon after published, -<i>drawn from the life by William Hogarth</i>. It -must be allowed to be an excellent <i>compound caricatura</i>, -or a <i>caricatura</i> of what nature had already -<i>caricatured</i>. I know but one short apology can be -made for this gentleman, or, to speak more properly, -for the <i>person</i> of Mr. <i>Wilkes</i>. It is, that -he did not make himself, and that he never was -solicitous about the <i>case</i> of his soul, as <i>Shakspeare</i> -calls it, only so far as to keep it clean and in -health. I never heard that he once hung over the -glassy stream, like another <i>Narcissus</i>, admiring the -image in it, nor that he ever stole an amorous -look at his counterfeit in a side mirrour. His -form, such as it is, ought to give him no pain, -because it is capable of giving pleasure to others. -I fancy he finds himself tolerably happy in the -<i>clay-cottage</i>, to which he is <i>tenant for life</i>, because -he has learnt to keep it in good order. While -the share of health and animal spirits, which heaven<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> -has given him, shall hold out, I can scarcely -imagine he will be one moment peevish about the -<i>outside</i> of so precarious, so temporary a habitation, -or will even be brought to own, <i>ingenium Galbæ -male habitat. Monsieur est mal logé.</i></p> - -<p>"Mr. <i>Churchill</i> was exasperated at this <i>personal</i> -attack on his friend. He soon after published the -Epistle to <i>William Hogarth</i>,<a name="FNanchor_67_87" id="FNanchor_67_87"></a><a href="#Footnote_67_87" class="fnanchor">[67]</a> and took for the motto, -<i>ut pictura poesis</i>. Mr. <i>Hogarth's</i> revenge against -the poet terminated in vamping up an old print of -a pug-dog and a bear, which he published under -the title of The Bruiser <i>C. Churchill</i> (once the -Revd.!) in the character of a <i>Russian Hercules</i>, -&c."</p> - -<p>The Editor of the <i>Monthly Review</i> for <i>November</i>, -1769, in an account of Mr. <i>Wilkes's</i> correspondence, -remarks, "The writer of this article had in substance -the same relation from the mouth of Mr. -<i>Hogarth</i> himself, but a very little while before his -death;<a name="FNanchor_68_88" id="FNanchor_68_88"></a><a href="#Footnote_68_88" class="fnanchor">[68]</a> and the leading facts appeared, from his -candid representation, in nearly the same light as -in this account which our readers have been just -perusing."</p> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> - -<p>I have been assured by the friend<a name="FNanchor_69_89" id="FNanchor_69_89"></a><a href="#Footnote_69_89" class="fnanchor">[69]</a> who first carried -and read the invective of <i>Churchill</i> to <i>Hogarth</i>, that -he seemed quite insensible to the most sarcastical -parts of it. He was so thoroughly wounded before -by the <i>North Briton</i>, especially with regard to what -related to domestic happiness, that he lay no where -open to a fresh stroke. Some readers, however, may -entertain a doubt on this subject. A man feels most -exquisitely when the merit of which he is proudest is -denied him; and it might be urged, that <i>Hogarth</i> -was more solicitous to maintain the character of a -good painter, than of a tender husband.</p> - -<p>One quotation, however, from <i>Churchill's</i> Epistle -the warmest admirers of our matchless artist must be -pleased with:</p> - -<blockquote><p> -"In walks of humour, in that cast of style,<br /> -Which, probing to the quick, yet makes us smile;<br /> -In Comedy, his natural road to fame,<br /> -Nor let me call it by a meaner name,<br /> -Where a beginning, middle, and an end,<br /> -Are aptly join'd; where parts on parts depend,<br /> -Each made for each, as bodies for their soul,<br /> -So as to form one true and perfect whole,<br /> -<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>Where a plain story to the eye is told,<br /> -Which we conceive the moment we behold;<a name="FNanchor_70_90" id="FNanchor_70_90"></a><a href="#Footnote_70_90" class="fnanchor">[70]</a><br /> -<i>Hogarth</i> unrival'd stands, and shall engage<br /> -Unrival'd praise to the most distant age."<br /> -</p></blockquote> - -<p><i>Hogarth</i> having been said to be in his dotage when, -he produced his print of the Bear, it should seem as -if he had been provoked to make the following additions -to this print, in order to give a further specimen -of his still existing genius.</p> - -<p>In the form of a framed picture on the painter's -palette, he has represented an <i>Egyptian</i> pyramid, on -the side of which is a <i>Cheshire</i> cheese,<a name="FNanchor_71_91" id="FNanchor_71_91"></a><a href="#Footnote_71_91" class="fnanchor">[71]</a> and round it<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> -3000 <i>l. per annum</i>; and at the foot a <i>Roman</i> Veteran -in a reclining posture, designed as an allusion -to Mr. <i>Pitt's</i> resignation. The cheese is meant to -allude to a former speech of his, wherein he said -that he would rather subsist a week on a <i>Cheshire</i> -cheese and a shoulder of mutton, than submit to the -implacable enemies of his country.</p> - -<p>But to ridicule this character still more, he is, as -he lies down, firing a piece of ordnance at the standard -of <i>Britain</i>, on which is a dove with an olive-branch, -the emblem of peace. On one side of the -pyramid is the City of <i>London</i>, represented by the -figure of one of the <i>Guildhall</i> giants, going to crown -the reclining hero. On the other side is the king of -<i>Prussia</i>, in the character of one of the <i>Cæsars</i>, but -smoking his pipe. In the center stands <i>Hogarth</i> -himself, whipping a Dancing Bear (<i>Churchill</i>) which -he holds in a string. At the side of the Bear is a -Monkey, designed for Mr. <i>Wilkes</i>. Between the legs -of the little animal is a mop-stick, on which he -seems to ride, as children do on a hobby-horse: at -the top of the mop-stick is the cap of liberty. The -Monkey is undergoing the same discipline as the -Bear. Behind the Monkey is the figure of a man,<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> -but with no lineaments of face, and playing on a -fiddle. This was designed for Earl <i>Temple</i>.</p> - -<p>At the time these hostilities were carrying on in a -manner so virulent and disgraceful to all the parties, -<i>Hogarth</i> was visibly declining in his health. In -1762, he complained of an inward pain, which, -continuing, brought on a general decay that proved -incurable.<a name="FNanchor_72_92" id="FNanchor_72_92"></a><a href="#Footnote_72_92" class="fnanchor">[72]</a> This last year of his life he employed -in retouching his plates with the assistance of several -engravers whom he took with him to <i>Chiswick</i>. On -the 25th of <i>October</i>, 1764, he was conveyed from -thence to <i>Leicester-fields</i>, in a very weak condition, -yet remarkably chearful; and, receiving an agreeable<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> -letter from the <i>American</i> Dr. <i>Franklin</i>, drew up a -rough draught of an answer to it; but going to bed, -he was seized with a vomiting, upon which he rung -his bell with such violence that he broke it, and -expired about two hours afterwards in the arms of -Mrs. <i>Mary Lewis</i>, who was called up on his being -taken suddenly ill. To this lady, for her faithful -services, he bequeathed 100 <i>l.</i> After the death of -<i>Hogarth's</i> sister, Mrs. <i>Lewis</i> succeeded to the care of -his prints; and, without violation of truth, it may -be observed, that her good nature and affability recommend -these performances which she continues to -dispose of at Mrs. <i>Hogarth's</i> house in <i>Leicester-square</i>. -Before our artist went to bed, he boasted of having -eaten a pound of beef-steaks for his dinner,<a name="FNanchor_73_93" id="FNanchor_73_93"></a><a href="#Footnote_73_93" class="fnanchor">[73]</a> and -was to all appearance heartier than he had been for -a long time before. His disorder was an aneurism; -and his corpse was interred in the church-yard at -<i>Chiswick</i>, where a monument is erected to his -memory, with this inscription, under his family -arms:</p> - -<p style="text-align:center"> -"Here lieth the body<br /> -Of <i>William Hogarth</i>, Esq.<br /> -Who died <i>October</i> the 26th, 1764;<br /> -Aged 67 years."<br /> -</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> - -<p>On another side, which is ornamented with a -masque, a laurel wreath, a palette, pencils, and a -book, inscribed "Analysis of Beauty," are the following -verses by his friend Mr. <i>Garrick</i>:</p> - -<blockquote><p> -"Farewell, great painter of mankind,<br /> -<span style="margin-left: 1em;">Who reach'd the noblest point of art;</span><br /> -Whose pictur'd morals charm the mind,<br /> -<span style="margin-left: 1em;">And through the eye correct the heart.</span><br /> -If <i>genius</i> fire thee, reader, stay,<br /> -<span style="margin-left: 1em;">If <i>nature</i> touch thee, drop a tear;</span><br /> -If neither move thee, turn away,<br /> -<span style="margin-left: 1em;">For <i>Hogarth's</i> honoured dust lies here."</span><br /> -</p></blockquote> - -<p>On a third side is this inscription:</p> - -<p style="text-align:center"> -"Here lieth the body<br /> -Of Dame <i>Judith Thornhill</i>,<br /> -Relict of Sir <i>James Thornhill</i>, knight,<br /> -Of <i>Thornhill</i> in the county of <i>Dorset</i>.<br /> -She died <i>November</i> the 12th, 1757,<br /> -Aged 84 years."<br /> -</p> - -<p>And on the fourth side:</p> - -<p style="text-align:center"> -"Here lieth the body<br /> -Of Mrs. <i>Anne Hogarth</i>, sister<br /> -to <i>William Hogarth</i>, Esq.<br /> -She died <i>August</i> the 13th, 1771,<br /> -Aged 70 years."<br /> -</p> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> - -<p>Mr. <i>Hayley</i>, in his justly admired <i>Epistle to an -Eminent Painter</i> (Mr. <i>Romney</i>), has since expressed -himself concerning our artist in terms that confer -yet higher honours on his comic excellence:</p> - -<blockquote><p> -"Nor, if her favour'd hand may hope to shed<br /> -The flowers of glory o'er the skilful dead,<br /> -Thy talents, <i>Hogarth!</i> will she leave unsung;<br /> -Charm of all eyes, and Theme of every tongue!<br /> -A separate province 'twas thy praise to rule;<br /> -Self-form'd thy Pencil! yet thy works a School,<br /> -Where strongly painted, in gradations nice,<br /> -The Pomp of Folly, and the Shame of Vice,<br /> -Reach'd thro' the laughing Eye the mended Mind,<br /> -And moral Humour sportive Art refin'd.<br /> -While fleeting Manners, as minutely shown<br /> -As the clear prospect on the mirror thrown;<br /> -While Truth of Character, exactly hit,<br /> -And drest in all the dyes of comic wit;<br /> -While these, in <i>Fielding's</i> page, delights supply,<br /> -So long thy Pencil with his Pen shall vie.<br /> -Science with grief beheld thy drooping age<br /> -Fall the sad victim of a Poet's rage:<br /> -But Wit's vindictive spleen, that mocks controul,<br /> -Nature's high tax on luxury of soul!<br /> -This, both in Bards and Painters, Fame forgives<br /> -Their Frailty's buried, but their Genius lives."<br /> -</p></blockquote> - -<p>Thus far the encomiast, who seeks only for opportunities -of bestowing praise. A more impartial narrative -will be expected from the biographer.</p> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> - -<p>It may be truly observed of <i>Hogarth</i>, that all his -powers of delighting were restrained to his pencil.<a name="FNanchor_74_94" id="FNanchor_74_94"></a><a href="#Footnote_74_94" class="fnanchor">[74]</a> -Having rarely been admitted into polite circles, none -of his sharp corners had been rubbed off, so that he -continued to the last a gross uncultivated man. -The slightest contradiction transported him into rage. -To be member of a Club consisting of mechanics, or -those not many removes above them, seems to have -been the utmost of his social ambition; but even in -these assemblies he was oftener sent to <i>Coventry</i> for misbehaviour, -than any other person who frequented -them. To some confidence in himself he was certainly -entitled; for, as a comic painter, he could have -claimed no honour that would not most readily have -been allowed him;<a name="FNanchor_75_95" id="FNanchor_75_95"></a><a href="#Footnote_75_95" class="fnanchor">[75]</a> but he was at once unprincipled -and variable in his political conduct and attachments. -He is also said to have beheld the rising -eminence and popularity of Sir <i>Joshua Reynolds</i> with -a degree of envy; and, if I am not misinformed, -frequently spoke with asperity both of him and his -performances. Justice, however, obliges me to add, -that our artist was liberal, hospitable, and the most -punctual of pay-masters; so that, in spite of the emoluments -his works had procured to him, he left but an<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> -inconsiderable fortune to his widow. His plates indeed -are such resources as may not speedily be exhausted. -Some of his domestics had lived many -years in his service, a circumstance that always reflects -credit on a master. Of most of these he -painted strong likenesses on a canvas still in Mrs. -<i>Hogarth's</i> possession.</p> - -<p>His widow has also a portrait of her husband, -and an excellent bust of him by <i>Roubilliac</i>, a strong -resemblance; and one of his brother-in-law Mr. -<i>Thornhill</i>, much resembling the countenance of Mrs. -<i>Hogarth</i>. Several of his portraits also remain in her -possession: <i>viz.</i> a finished portrait of Mrs. <i>Mary Lewis</i>; -<i>Thomas Coombes</i> of <i>Dorsetshire</i>, aged 108; Lady <i>Thornhill</i>; -Mrs. <i>Hogarth</i> herself, &c. &c.</p> - -<p>A portrait of <i>Hogarth</i> with his hat on, painted for -the late Rev. Mr. <i>Townley</i> by <i>Weltdon</i>, and said to -be finished by himself, is in the possession of Mr. -<i>James Townley</i>, proctor in <i>Doctors Commons</i>. A mezzotinto -print from it will be mentioned under the -year 1781 in the <a href="#Page_409">Catalogue</a>.</p> - -<p>Mr. <i>Edwards</i>, of <i>Beaufort Buildings</i>, has the portrait -of Sir <i>George Hay, The Savoyard Girl, The -Bench,</i> and <i>Mary Queen of Scots,</i><a name="FNanchor_76_96" id="FNanchor_76_96"></a><a href="#Footnote_76_96" class="fnanchor">[76]</a> by <i>Hogarth</i>.</p> - -<p>A conversation-piece by him is likewise at <i>Wanstead</i> -in <i>Essex</i>, the seat of Earl <i>Tylney</i>.<a name="FNanchor_77_97" id="FNanchor_77_97"></a><a href="#Footnote_77_97" class="fnanchor">[77]</a> And Mrs. -<i>Hoadly</i> has a scene of <i>Ranger</i> and <i>Clarinda</i> in <i>The -Suspicious Husband</i>; and the late Chancellor <i>Hoadly</i><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> -repeating a song to Dr. <i>Greene</i>, for him to compose; -both by <i>Hogarth</i>. The first of these is an indifferent -picture, and contains very inadequate likenesses of -the persons represented.</p> - -<p>One of the best portraits <i>Hogarth</i> ever painted, -is at <i>Lichfield</i>. It is of a gentleman with whom -he was very intimate, and at whose houses at -<i>Mortlake</i> and in <i>Ironmongers-Lane</i> he spent much of -his time—Mr. <i>Joseph Porter</i>, of <i>London</i>, merchant, -who died <i>April</i> 7, 1749. Mrs. <i>Porter</i> the sister of this -gentleman (who was daughter of Dr. <i>Johnson's</i> wife -by a former husband) is in possession of the picture.—<i>John -Steers</i>, esq. (of <i>The Paper Buildings</i> in -<i>The Temple</i>) has an auction by <i>Hogarth</i>, in which Dr. -<i>Chauncey</i>, Dr. <i>Snagg</i>, and others, are introduced; -and the Earl of <i>Exeter</i> has a butcher's shop, with -<i>Slack</i> fighting, &c.</p> - -<p>Of <i>Hogarth's</i> lesser plates many were destroyed. -When he wanted a piece of copper on a sudden, he -would take any from which he had already worked -off such a number of impressions as he supposed he -should sell. He then sent it to be effaced, beat out, -or otherwise altered to his present purpose.</p> - -<p>The plates which remained in his possession were -secured to Mrs. <i>Hogarth</i> by his will, dated <i>August</i> 12, -1764, chargeable with an annuity of 80 <i>l.</i> to his -sister <i>Anne</i>,<a name="FNanchor_78_98" id="FNanchor_78_98"></a><a href="#Footnote_78_98" class="fnanchor">[78]</a> who survived him. When, on the<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> -death of his other sister, she left off the business in -which she was engaged (see, in the Catalogue, the -first article among the "<a href="#Page_417">Prints of uncertain date</a>,") -he kindly took her home, and generously supported -her, making her, at the same time, useful in the -disposal of his prints. Want of tenderness and liberality -to his relations was not among the failings -of <i>Hogarth</i>.</p> - -<p>Of <i>Hogarth's</i> drawings and contributions towards -the works of others, perhaps a number, on enquiry, -might be found. An acquaintance of his, the late -worthy Mr. <i>John Sanderson</i>, architect, who repaired -<i>Woburn Abbey</i>, as well as <i>Bedford House</i> in <i>Bloomsbury-square</i>, -possessed several of his curiosities. One -was a sketch in black-lead of a celebrated young engraver -(long since dead) in a salivation. The best -that can be said of it is, that it was most disgustingly -natural. Even the coarse ornaments on the corners -of the blankets which enwrapped him, were characteristically -expressed. Our artist seems to have repeated -the same idea, though with less force, and -fewer adjuncts, in the third of his Election prints, -where a figure swaddled up in flannel is conveyed to -the hustings. Two other works, viz. a drawing in -<i>Indian</i> ink, and a painting in oil colours, exhibited -<i>Bedford House</i> in different points of view; the figures -only by <i>Hogarth</i>. Another represented the corner of -a street, with a man drinking under the spout of a -pump, and heartily angry with the water, which, -by issuing out too fast, and in too great quantities,<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> -had deluged his face. Our great painter had obliged -Mr. <i>Sanderson</i> with several other comic sketches, &c. -but most of them had been either begged or stolen, -before the communicator of these particulars became -acquainted with him.</p> - -<p>In the year 1745, <i>Launcelot Burton</i> was appointed -naval officer at <i>Deal. Hogarth</i> had seen him -by accident; and on a piece of paper, previously -impressed by a plain copper-plate, drew his figure -with a pen, in imitation of a coarse etching. He was -represented on a lean <i>Canterbury</i> hack, with a bottle -sticking out of his pocket; and underneath was an -inscription, intimating that he was going down to -take possession of his place. This was inclosed to -him in a letter; and some of his friends, who were in -the secret, protested the drawing to be a print which -they had seen exposed to sale at the shops in <i>London</i>; -a circumstance that put him in a violent passion, during -which he wrote an abusive letter to <i>Hogarth</i>, -whose name was subscribed to the work. But, after -poor <i>Burton's</i> tormentors had kept him in suspence -throughout an uneasy three weeks, they proved to -him that it was no engraving, but a sketch with a -pen and ink. He then became so perfectly reconciled -to his resemblance, that he shewed it with exultation -to Admiral <i>Vernon</i>, and all the rest of his -friends.</p> - -<p>In 1753, <i>Hogarth</i> returning with Dr. <i>Morell</i> from -a visit to Mr. <i>Rich</i> at <i>Cowley</i>, stopped his chariot, and -got out, being struck by a large drawing (with a<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> -coal) on the wall of an alehouse. He immediately -made a sketch of it with triumph; it was a St. -<i>George and the Dragon</i>, all in strait lines.</p> - -<p><i>Hogarth</i> made one essay in sculpture. He wanted -a sign to distinguish his house in <i>Leicester-fields</i>; and -thinking none more proper than the <i>Golden Head</i>, -he, out of a mass of cork made up of several thicknesses -compacted together, carved a bust of <i>Vandyck</i>, -which he gilt and placed over his door. It is long -since decayed, and was succeeded by a head in -plaster, which has also perished; and is supplied -by a head of Sir <i>Isaac Newton. Hogarth</i> modelled -another resemblance of <i>Vandyck</i> in clay; which is -likewise destroyed.</p> - -<p>It is very properly observed by Mr. <i>Walpole</i>, that -"If ever an author wanted a commentary, that none -of his beauties might be lost, it is <i>Hogarth</i>; not -from being obscure (for he never was that but in -two or three of his first prints, where transient national -follies, as Lotteries, Free-masonry, and the -<i>South Sea</i>, were his topics) but for the use of foreigners, -and from a multiplicity of little incidents, -not essential to, but always heightening the -principal action. Such is the spider's web extended -over the poor's box in a parish church; -the blunders in architecture in the nobleman's seat, -seen through the window, in the first print of -<i>Marriage à la Mode</i>; and a thousand in the Strollers -dressing in a barn, which, for wit and imagination, -without any other aid, is perhaps the best of all<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> -his works; as, for useful and deep satire, that on -the Methodists is the most sublime. <i>Rouquet</i>, the -enameller, published a <i>French</i> explanation, though -a superficial one, of many of his prints, which, -it was said, he had drawn up for the use of Marshal -<i>Belleisle</i>, then a prisoner in <i>England</i>."</p> - -<p>However great the deficiencies in this work may -be, it was certainly suggested by <i>Hogarth</i>, and -drawn up at his immediate request. I receive this -information from undoubted authority. Some of -the circumstances explanatory of the plates, he communicated; -the rest he left to be supplied by <i>Rouquet</i> -his near neighbour, who lived in the house at which -<i>Gardelle</i> the enameller afterwards lodged, and murdered -his landlady Mrs. <i>King. Rouquet</i>, who (as I -learn from Mr. <i>Walpole</i>) was a <i>Swiss</i> of <i>French</i> extraction, -had formerly published a small tract on the -state of the Arts in <i>England</i>, and another, intituled -"L'Art de peinture en fromage ou en ramequin, 1755;" -12mo. (V. "La <i>France</i> litteraire, ou Dictionaire des -Auteurs <i>François</i> vivans, par <i>M. Formey</i>, 1757.") On -the present occasion he was liberally paid by <i>Hogarth</i>, -for having cloathed his sentiments and illustrations in -a foreign dress. This pamphlet was designed, and -continues to be employed, as a constant companion to -all such sets of his prints as go abroad. Only the letter -descriptive of the <i>March to Finchley</i> was particularly -meant for the instruction of Marshal <i>Belleisle</i>.<a name="FNanchor_79_99" id="FNanchor_79_99"></a><a href="#Footnote_79_99" class="fnanchor">[79]</a></p> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> - -<p>It was added after the three former epistles had been -printed off, and before the plate was published. The -entire performance, however, in my opinion, exhibits -very strong marks of the vivacious compiler's -taste, country, and prejudices. Indeed many passages -must have been inserted without the privity of -his employer, who had no skill in the <i>French</i> language. -That our <i>clergy</i> always <i>affect to ride on white -horses</i>, and other remarks of a similar turn, &c. &c. -could never have fallen from the pen of <i>Hogarth</i>, or -any other <i>Englishman</i>.</p> - -<p>This epistle bears also internal evidence to the -suggestions <i>Rouquet</i> received from <i>Hogarth</i>. Are not -the self-congratulations and prejudices of our artist -sufficiently visible in the following passage?</p> - -<p>"Ce Tableau dis-je a le defaut d'etre encore tout -brillant de cette ignoble fraîcheur qu'on decouvre -dans la nature, et <i>qu'on ne voit jamais dans les cabinets -bien célèbres. Le tems ne l'a point encore obscurci de cette -decte fumée, de ce usage sacré, qui le -cachera quelque jour aux yeux profanes du vulgaire, -pour ne laisser voir ses beautés qu'aux initiés.</i>"</p> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span></p> - -<p>The title of this performance, is, "Lettres de -Monsieur * * à un de ses Amis à <i>Paris</i>, pour lui -expliquer les Estampes de Monsieur <i>Hogarth</i>.—Imprimé -à <i>Londres</i>: et se vend chez <i>R. Dodsley</i>, -dans <i>Pall Mall</i>; et chez <i>M. Cooper</i>, dans <i>Paternoster -Row</i>, 1746." (Le prix est de douze sols.)</p> - -<p>I should here observe, that this pamphlet affords -only descriptions of the <i>Harlot's</i> and <i>Rake's Progress, -Marriage à la Mode,</i> and the <i>March to Finchley</i>. Nine -other plates, viz. the <i>Modern Midnight Conversation</i>, -the <i>Distressed Poet</i>, the <i>Enraged Musician,</i> the <i>Fair, -Strolling Actresses dressing in a Barn,</i> and the <i>Four -Times of the Day,</i> are enumerated without particular -explanation.</p> - -<p>I am authorized to add, that <i>Hogarth</i>, not long -before his death, had determined, in compliance -with the repeated solicitations of his customers, to -have this work enlarged and rendered into <i>English</i>, -with the addition of ample comments on all his performances -undescribed by <i>Rouquet</i>.</p> - -<p>"<i>Hogarth</i> Moralised"<a name="FNanchor_80_100" id="FNanchor_80_100"></a><a href="#Footnote_80_100" class="fnanchor">[80]</a> will however in some small -degree (a very small one) contribute to preserve the<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> -memory of those temporary circumstances which Mr. -<i>Walpole</i> is so justly apprehensive will be lost to posterity. -Such an undertaking indeed, requires a more -intimate acquaintance with fleeting customs, and past -occurrences, than the compiler of this work can -pretend to. Yet enough has been done by him to -awaken a spirit of enquiry, and point out the means -by which it may be farther gratified.</p> - -<p>The works of <i>Hogarth</i>, as his elegant biographer -has well observed, are his history;<a name="FNanchor_81_101" id="FNanchor_81_101"></a><a href="#Footnote_81_101" class="fnanchor">[81]</a> and the curious<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> -are highly indebted to Mr. <i>Walpole</i> for a catalogue -of prints, drawn up from his own valuable collection,<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> -in 1771. But as neither that catalogue, nor his appendix -to it in 1780, have given the whole of Mr.<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> -<i>Hogarth's</i> labours, I hope that I shall not be blamed -if, by including Mr. <i>Walpole's</i> catalogue, I have endeavoured -from later discoveries of our artist's prints -in other collections, to arrange them in chronological -order. It may not be unamusing to trace the rise -and progress of a Genius so strikingly original.</p> - -<p><i>Hogarth</i> gave first impressions of all his plates to -his late friends the Rev. Mr. <i>Townley</i> and Dr. <i>Isaac -Schomberg</i>.<a name="FNanchor_82_102" id="FNanchor_82_102"></a><a href="#Footnote_82_102" class="fnanchor">[82]</a> Both sets were sold since the death of -these gentlemen. That which was Dr. <i>Schomberg's</i><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> -became the property of the late Sir <i>John Chapman</i>, baronet; -and passed after his death into the hands of his -brother, the late Sir <i>William Chapman</i>. I should add, -indeed, that our artist never sorted his impressions, -selecting the slight from the strong ones: so that -they who wish to possess any equal series of his -prints, must pick it out of different sets.</p> - -<p>A portrait of <i>Samuel Martin</i>, esq. the antagonist of -Mr. <i>Wilkes</i>, which Mr. <i>Hogarth</i> had painted for his -own use, he gave as a legacy to Mr. <i>Martin</i>.</p> - -<p>Mrs. <i>Baynes</i>, of <i>Kneeton-Hall</i>, near <i>Richmond, Yorkshire,</i> -has an original picture by <i>Hogarth</i>, four feet -two inches long, by two feet four inches wide. It is -a landscape, with several figures; a man driving -sheep; a boat upon a piece of water, and a distant -view of a town. This picture was bought in <i>London</i>, -by her father, many years ago.</p> - -<p>At Lord <i>Essex's</i> sale, in <i>January</i> 1777, Mr. <i>Garrick</i> -bought a picture by <i>Hogarth</i>, being the examination -of the recruits before the justices <i>Shallow</i> and <i>Silence</i>. -For this, it was said in the news-papers, he gave 350 -guineas. I have since been told, that remove the -figure 3, and the true price paid by the purchaser -remains. In private he allowed that he never gave -the former of these sums, though in the public -prints he did not think such a confession necessary. -It was in reality an indifferent performance, as those -of <i>Hogarth</i> commonly were, when he strove to paint -up to the ideas of others.</p> - -<p>Mr. <i>Browning</i>, of <i>King's College, Cambridge,</i> has a -small picture by <i>Hogarth</i>, representing <i>Clare-Market</i>.<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> -It seems to have been one of our artist's early performances.</p> - -<p>There are three large pictures by <i>Hogarth</i>, over -the altar in the church of <i>St. Mary Redcliff</i> at <i>Bristol</i>; -the sealing of the sacred Sepulchre, the Ascension, -and the three <i>Maries</i>, &c. A sum of money was -left to defray the expence of these ornaments, and -it found its way into <i>Hogarth's</i> pocket. The original -sketches in oil for these performances, are now at -Mrs. <i>Hogarth's</i> house in <i>Leicester-fields</i>.</p> - -<p>In Lord <i>Grosvenor's</i> house, at <i>Milbank, Westminster</i>, -is a small painting by our artist on the following -subject. A boy's paper-kite in falling become entangled -with furze: the boy arrives just as a crow is -tearing it in pieces. The expression in his face is -worthy of <i>Hogarth</i>.</p> - -<p><i>Hogarth</i> was also supposed to have had some hand -in the exhibition of signs,<a name="FNanchor_83_103" id="FNanchor_83_103"></a><a href="#Footnote_83_103" class="fnanchor">[83]</a> projected above 20 years -ago by <i>Bonnel Thornton</i>, of festive memory; but I -am informed, that he contributed no otherwise towards -this display, than by a few touches of chalk. -Among the heads of distinguished personages, finding<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> -those of the King of <i>Prussia</i> and the Empress of -<i>Hungary</i>, he changed the cast of their eyes so as to -make them leer significantly at each other. This is -related on the authority of Mr. <i>Colman</i>.</p> - -<p>Mr. <i>Richardson</i> ("now," as Dr. <i>Johnson</i> says, -"better known by his books than his pictures," -though his colouring is allowed to be masterly) having -accounted for some classical quotations in his -notes on <i>Milton</i>, unlearned as he was, by his son's -assisting him as a telescope does the eye in astronomy; -<i>Hogarth</i> shewed him with a telescope looking -through his son (in no very decent attitude) at a -<i>Virgil</i> aloft on a shelf; but afterwards destroyed the -plate, and recalled the prints. Qu. if any remain, and -what date?—I much question whether this subject was -ever thrown upon copper, or meant for the public eye.</p> - -<p>In the "Nouveau Dictionnaire Historique, <i>Caen</i>, -1783," our artist is thus characterized: "Ses -compositions sont mal dessinées & foiblement colories; -mais ce sont des tableaux parlans de diverses -scènes comiques ou morales de la vie. Il avoit -négligé le méchanisme de son art, c'est à-dire, les -traits du pinceau, le rapport des parties entr'elles, -l'effèt du clare obscure, l'harmonie du coloris, &c. -pour s'élever jusqu'à la perfection de ce méchanisme, -c'est à-dire, au poétique & au moral de la -peinture. 'Je reconnois,' disoit-il, 'tout le monde -pour juge compétent de mes tableaux, excepté les -connoisseurs de profession.' Un seul exemple prouvera -combien réussit. Il avoit fait graver une<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> -estampe, dans laquelle il avoit exprimé avec -énergie les différens tourmens qu'on fait éprouver -aux animaux. Un charrier fouettoit un jour ses -chevaux avec beaucoup de dureté; un bon homme, -touché de pitié, lui dit, 'Miserable! tu n'as donc -pas vu l'estampe d'<i>Hogarth</i>?' Il n'étoit pas seulement -peintre, il fut écrivain. Il publia en 1750 -un traité en <i>Anglois</i>, intitulé, '<i>Analyse de la Beauté</i>.' -L'auteur pretend que les formes arrondies constituent -la beauté du corps: principe vrai à certains -égards, faux a plusieurs autres. <i>Voy.</i> sur cet artiste, -la sécond volume du 'Mercure de France,' -Janvier, 1770."</p> - -<p>Mr. <i>Peter Dupont</i>, a merchant, had the drawing -of <i>Paul before Felix</i>, which he purchased for 20 guineas, -and bound up with a set of <i>Hogarth's</i> prints. -The whole set was afterwards sold by auction, at -<i>Baker's</i>, for 17 <i>l.</i> to Mr. <i>Ballard</i> of <i>Little Britain</i>, in -whose catalogue it stood some time marked at 25 <i>l.</i> -and was parted with for less than that sum.</p> - -<p>The following original drawings, by <i>Hogarth</i>, are -now in the collection of the Rev. Dr. <i>Lort</i>:</p> - -<p>A coloured sketch of a Family Picture, with ten -whole-length figures, most insipidly employed. A -Head of a Sleeping Child, in colours, as large as -life, &c. &c. &c.</p> - -<p>When <i>Hogarth</i> designed the print intituled <i>Morning</i>, -his idea of an <i>Old Maid</i> appears to have been adopted -from one of that forlorn sisterhood, when emaciated -by corroding appetites, or, to borrow <i>Dryden's</i> more<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> -forcible language, by "agony of unaccomplished -love." But there is in being, and perhaps in <i>Leicester-fields</i>, -a second portrait by our artist, exhibiting the -influence of the same misfortune on a more fleshy -carcase. The ancient virgin<a name="FNanchor_84_104" id="FNanchor_84_104"></a><a href="#Footnote_84_104" class="fnanchor">[84]</a> now treated of, is -corpulent even to shapelessness. Her neck resembles -a collar of brawn; and had her arms been admitted -on the canvas, they must have rivalled in magnitude -the thighs of the <i>Farnesian</i> god. Her bosom, -luckily for the spectator, is covered; as a display of -it would have served only to provoke abhorrence. -But what words can paint the excess of malice and -vulgarity predominant in her visage!—an inflated -hide that seems bursting with venom—a brow -wrinkled by a <i>Sardonic</i> grin that threatens all the -vengeance an affronted Fury would rejoice to execute. -Such ideas also of warmth does this mountain -of quaggy flesh communicate, that, without -hyperbole, one might swear she would parch the -earth she trod on, thaw a frozen post-boy, or over-heat -a glasshouse. "How dreadful," said a bystander, -"would be this creature's hatred!" "How -much more formidable," replied his companion, -"would be her love!"—Such, however, was the -skill of <i>Hogarth</i>, that he could impress similar indications -of stale virginity on features directly contrasted, -and force us to acknowledge one identical -character in the brim-full and exhausted representative -of involuntary female celibacy.</p> - -<p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> - -<p>Mr. <i>S. Ireland</i> has likewise a sketch in chalk, on -blue paper, of <i>Falstaff</i> and his companions; two -sketches intended for the "Happy Marriage;" a -sketch for a picture to shew the pernicious effects of -masquerading; sketch of King <i>George</i> II. and the -royal family; sketch of his present Majesty, taken -hastily on seeing the new coinage of 1764; portrait -of <i>Hogarth</i> by himself, with a palette; of Justice -<i>Welsh</i>;<a name="FNanchor_85_105" id="FNanchor_85_105"></a><a href="#Footnote_85_105" class="fnanchor">[85]</a> of Sir <i>James Thornhill</i>; of Sir <i>Edward -Walpole</i>;<a name="FNanchor_86_106" id="FNanchor_86_106"></a><a href="#Footnote_86_106" class="fnanchor">[86]</a> of his friend <i>George Lambert</i>, the landscape-painter; -of a boy; of a girl's head, in the -character of <i>Diana</i>, finished according to <i>Hogarth's</i> -idea of beauty; of a black girl; and of Governor -<i>Rogers</i> and his family, a conversation-piece; eleven -Sketches from Nature, designed for Mr. <i>Lambert</i>; -four drawings of conversations at <i>Button's Coffee-house</i>; -<i>Cymon</i> and <i>Iphigenia</i>; two black chalk drawings -(landscapes) given to Mr. <i>Kirby</i> in 1762; three -heads, slightly drawn with a pen by <i>Hogarth</i>, to exemplify -his distinction between <i>Character</i> and <i>Caricature</i>, -done at the desire of Mr. <i>Townley</i>, whose son -gave them to Dr. <i>Schomberg</i>; a landscape in oil: -with several other sketches in oil.</p> - -<p>The late Mr. <i>Forrest</i>, of <i>York Buildings</i>, was in -possession of a sketch in oil of our Saviour (designed<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> -as a pattern for painted glass), together with the -original portrait of <i>Tibson</i> the Laceman,<a name="FNanchor_87_107" id="FNanchor_87_107"></a><a href="#Footnote_87_107" class="fnanchor">[87]</a> and several -drawings descriptive of the incidents that happened -during a five days tour by land and water. The -parties were Messieurs <i>Hogarth, Thornhill</i> (son of the -late Sir <i>James</i>), <i>Scott</i> (the ingenious landscape-painter -of that name), <i>Tothall</i>,<a name="FNanchor_88_108" id="FNanchor_88_108"></a><a href="#Footnote_88_108" class="fnanchor">[88]</a> and <i>Forrest</i>. They set out<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> -at midnight, at a moment's warning, from the <i>Bedford -Arms</i> Tavern, with each a shirt in his pocket.<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> -They had particular departments to attend to; <i>Hogarth</i> -and <i>Scott</i> made the drawings; <i>Thornhill</i> the -map; <i>Tothall</i> faithfully discharged the joint office of -treasurer and caterer; and <i>Forrest</i> wrote the journal. -They were out five days only; and on the second -night after their return, the book was produced, -bound, gilt, and lettered, and read at the same tavern -to the members of the club then present. Mr. -<i>Forrest</i> had also drawings of two of the members -(<i>Gabriel Hunt</i> and <i>Ben Read</i>), remarkable fat men, -in ludicrous situations. Etchings from all these having -been made in 1782, accompanied by the original -journal in letter-press, an account of them will appear -in the Catalogue under that year.</p> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> - -<p>A transcript of the journal was left in the hands of -Mr. <i>Gostling</i>,<a name="FNanchor_89_109" id="FNanchor_89_109"></a><a href="#Footnote_89_109" class="fnanchor">[89]</a> who wrote an imitation of it in <i>Hudibrastic</i> -verse; <span class="smcap">twenty copies</span> only of which having been -printed in 1781, as a literary curiosity,<a name="FNanchor_90_110" id="FNanchor_90_110"></a><a href="#Footnote_90_110" class="fnanchor">[90]</a> I was requested -by some of my friends to reprint it at the -end of the second edition of this work. It had originally -been kept back, in compliment to the writer -of the prose journey; but, as that in the mean time -had been given to the public by authority, to preserve -the Tour in a more agreeable dress cannot, it -is presumed, be deemed an impropriety. See the -<a href="#N_III_See_p_414">Appendix, N° III</a>.</p> - - -<div class="footnote"> - -<p><a name="Footnote_1_12" id="Footnote_1_12"></a><a href="#FNanchor_1_12"><span class="label">[1]</span></a> History of <i>Westmoreland</i>, Vol. I. p. 479.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_13" id="Footnote_2_13"></a><a href="#FNanchor_2_13"><span class="label">[2]</span></a> "I must leave you to the annals of Fame," says Mr. -<i>Walker</i>, the ingenious Lecturer on Natural Philosophy, who -favoured me with these particulars, "for the rest of the -anecdotes of this great Genius; and shall endeavour to -shew you, that his family possessed similar talents, but they -were destined, like the wild rose, -</p> -<blockquote><p> -"'To waste their sweetness in the desart air.'<br /> -</p></blockquote> -<p> -"Happy should I be to rescue from oblivion the name of <i>Ald -Hogart</i>, whose songs and quibbles have so often delighted -my childhood! These simple strains of this mountain <i>Theocritus</i> -were fabricated while he held the plough, or was -leading his fewel from the hills. He was as critical an observer -of nature as his nephew, for the narrow field he had -to view her in: not an incident or an absurdity in the neighbourhood -escaped him. If any one was hardy enough to -break through any decorum of old and established repute; -if any one attempted to over-reach his neighbour, or cast a -leering eye at his wife; he was sure to hear himself sung -over the whole parish, nay, to the very boundaries of the -<i>Westmoreland</i> dialect: so that his songs were said to have a -greater effect on the manners of his neighbourhood, than -even the sermons of the parson himself. -</p> -<p> -"But his poetical talents were not confined to the incidents -of his village. I myself have had the honour to bear a -part in one of his plays (I say <i>one</i>, for there are several of -them extant in MS. in the mountains of <i>Westmoreland</i> at this -hour). This play was called 'The Destruction of <i>Troy</i>.' -It was written in metre, much in the manner of <i>Lopez de -Vega</i>, or the ancient <i>French</i> drama; the unities were not -too strictly observed, for the siege of ten years was all represented; -every hero was in the piece; so that the Dramatis -Personæ consisted of every lad of genius in the whole -parish. The wooden horse—<i>Hector</i> dragged by the heels—the -fury of <i>Diomed</i>—the flight of <i>Æneas</i>—and the burning -of the city, were all represented. I remember not what -Fairies had to do in all this; but as I happened to be about -three feet high at the time of this still-talked-of exhibition, -I personated one of these tiny beings. The stage was a fabrication -of boards placed about six feet high, on strong -posts; the green-room was partitioned off with the same -materials; it's cieling was the azure canopy of heaven; -and the boxes, pit, and galleries, were laid into one by the -Great Author of Nature, for they were the green slope of -a fine hill. Despise not, reader, this humble state of the -provincial drama; let me tell you, there were more spectators, -for three days together, than your three theatres in -<i>London</i> would hold; and let me add, still more to your -confusion, that you never saw an audience half so well -pleased. -</p> -<p> -"The exhibition was begun with a grand procession, from -the village to a great stone (dropt by the Devil about a -quarter of a mile off, when he tried in vain to erect a -bridge across <i>Windermere</i>; so the people, unlike the rest of -the world, have remained a very good sort of people ever -since). I say the procession was begun by the minstrels of -five parishes, and were followed by a yeoman on bull-back—you -stare!—stop then till I inform you that this adept -had so far civilised his bull, that he would suffer the yeoman -to mount his back, and even to play upon his fiddle there. -The managers besought him to join the procession; but the -bull, not being accustomed to much company, and particularly -so much applause; whether he was intoxicated with -praise; thought himself affronted, and made game of; or -whether a favourite cow came across his imagination; certain -it was, that he broke out of the procession; erected his -tail, and, like another <i>Europa</i>, carried off the affrighted -yeoman and his fiddle, over hedge and ditch, till he arrived -at his own field. This accident rather inflamed than depressed -the good humour arising from the procession; and -the clown, or jack-pudding of the piece, availed himself -so well of the incident, that the lungs and ribs of the spectators -were in manifest danger. This character was the -most important personage in the whole play: for his office -was to turn the most serious parts of the drama into burlesque -and ridicule: he was a compound of Harlequin and -the Merry Andrew, or rather the Arch-fool of our ancient -kings. His dress was a white jacket, covered with bulls, -bears, birds, fish, &c. cut in various coloured cloth. His -trowsers were decorated in like manner, and hung round -with small bells; and his cap was that of Folly, decorated -with bells, and an otter's brush impending. The lath sword -must be of great antiquity in this island, for it has been -the appendage of a jack-pudding in the mountains of <i>Westmoreland</i> -time out of mind. -</p> -<p> -"The play was opened by this character with a song, -which answered the double purpose of a play-bill and a -a prologue, for his ditty gave the audience a foretaste of the -rueful incidents they were about to behold; and it called -out the actors, one by one, to make the spectators acquainted -with their names and characters, walking round -and round till the whole Dramatis Personæ made one great -circle on the stage. The audience being thus become acquainted -with the actors, the play opened with <i>Paris</i> running -away with <i>Helen</i>, and <i>Menelaus</i> scampering after them; -then followed the death of <i>Patroclus</i>, the rage of <i>Achilles</i>, -the persuasions of <i>Ulysses</i>,&c. &c. and the whole interlarded -with apt songs, both serious and comic, all the production -of <i>Ald Hogart</i>. The bard, however, at this time had been -dead some years, and I believe this Fete was a Jubilee to -his memory; but let it not detract from the invention of -Mr. <i>Garrick</i>, to say that his at <i>Stratford</i> was but a copy of -one forty years ago on the banks of <i>Windermere</i>. Was it -any improvement, think you, to introduce several <i>bulls</i> into -the procession instead of one? But I love not comparisons, -and so conclude. Yours, &c. <span class="smcap">Adam Walker</span>." -</p> -<p> -However <i>Ald Hogart</i> might have succeeded in the dramatic -line, and before a rustic audience, his poems of a different -form are every way contemptible. Want of grammar, metre, -sense, and decency, are their invariable characteristics. This -opinion is founded on a thorough examination of a whole -bundle of them, transmitted by a friend since the first publication -of this work.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_14" id="Footnote_3_14"></a><a href="#FNanchor_3_14"><span class="label">[3]</span></a> Vir Clarissime, Excusso <i>Malpighio</i> intra sex vel plurimum -septem septimanas te tamen per totum inconsulto, culpa -est in Bibliopolam conferenda, qui adeo festinanter urgebat -opus ut moras nectere nequivimus. Utut sit, tamen mihimet -adulor me satis recte authoris & verba & mentem cepisse -(diligenter enim noctes atque dies opere incubui ne tibi vel -ulli regiorum tuorum sodalium molestus forem). Rudiora -tamen quorum specimen infra exhibere placuit, & <i>Italico-Latina</i>, -juxta præceptum tuum, <i>similia feci</i> aliter si fecissem, -totus fere liber mutationem sul iisset. Authorem tam -pueriliter & barbare loquentem nunquam antehac evolvi quod -meminerim; faciat ergo lector, ut solent nautæ, qui dum -fœtet aqua, nares pilissando comprimunt, spretis enim verbis -sensum, si quis est, attendat. Multa (infinita pœnè dixerim) -authoris errata emendavi, quædam tamen non animadversa -vereor; <i>Augeæ</i> enim stabulum non nisi <i>Hercules</i> repurgavit. -Partem <i>Italico</i> sermone conscriptam præetermitto, istam enim -provinciam adornare suscepit Doctor <i>Pragestee Italus</i>; quam -bene rem gessit, ipse viderit. Menda Typographica, spero, -aut nulla, aut levia apparebunt. Tuam tamen & Regiæ -Societatis censuram exoptat facilem, Tibi omni studio addictissimus, -</p> -<p><span style="margin-left: 4em;">"RICHARDUS HOGARTH, ...Preli Curator."</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_15" id="Footnote_4_15"></a><a href="#FNanchor_4_15"><span class="label">[4]</span></a> He published "Grammar Disputations; or, an Examination -of the eight parts of speech by way of question and -answer, <i>English</i> and <i>Latin</i>, whereby children in a very little -time will learn, not only the knowledge of grammar, but -likewise to speak and write <i>Latin</i>; as I have found by good -experience. At the end is added a short Chronological index -of men and things of the greatest note, alphabetically -digested, chiefly relating to the Sacred and <i>Roman</i> History, -from the beginning of the World to the Year of Christ -1640, and downwards. Written for the use of schools of -<i>Great-Britain</i>, by <i>Richard Hogarth</i> Schoolmaster, 1712." -This little book has also a <i>Latin</i> title-page to the same purpose, -"Disputationes Grammaticales, &c." and is dedicated, -"Scholarchis, Ludimagistris, <i>et Hypodidascalis Magnæ Britanniæ</i>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_16" id="Footnote_5_16"></a><a href="#FNanchor_5_16"><span class="label">[5]</span></a> <i>Hogart</i> was the family name, probably a corruption of -<i>Hogherd</i>, for the latter is more like the local pronunciation -than the first. This name disgusted Mrs. <i>Hogart</i>; and before -the birth of her son, she prevailed upon her husband to liquify -it into <i>Hogarth</i>. This circumstance was told to me by Mr. <i>Walker</i>, -who is a native of <i>Westmoreland</i>. By Dr. <i>Morell</i>, I was -informed that his real name was <i>Hoggard</i>, or <i>Hogard</i>, which, -himself altered, by changing <i>d</i> into ð, the Saxon <i>th</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_17" id="Footnote_6_17"></a><a href="#FNanchor_6_17"><span class="label">[6]</span></a> On what authority this is said, I am yet to learn. The -registers of <i>St. Bartholomew the Great</i>, and of <i>St. Bartholomew -the Less</i>, have both been searched for the same information, -with fruitless solicitude. The school of <i>Hogarth's</i> father, in -1712, was in the parish of <i>St. Martin's Ludgate</i>. In the register -of that parish, therefore, the births of his children, and his -own death, may probably be found.<a name="FNanchor_A_18" id="FNanchor_A_18"></a><a href="#Footnote_A_18" class="fnanchor">[A]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_A_18" id="Footnote_A_18"></a><a href="#FNanchor_A_18"><span class="label">[A]</span></a> The register of <i>St. Martin's Ludgate</i>, has also been searched to -no purpose.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_7_19" id="Footnote_7_19"></a><a href="#FNanchor_7_19"><span class="label">[7]</span></a> This circumstance has, since it was first written, been -verified by a gentleman who has often heard a similar account -from one of the <i>last Head Assay-Masters</i> at <i>Goldsmiths-Hall</i>, who -was apprentice to a silversmith in the same street with <i>Hogarth</i>, -and intimate with him during the greatest part of his life.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_20" id="Footnote_8_20"></a><a href="#FNanchor_8_20"><span class="label">[8]</span></a> Universal Museum, 1764. p. 549. The same kind of -revenge, however, was taken by <i>Verrio</i>, who, on the cieling of -<i>St. George's Hall</i> at <i>Windsor</i>, borrowed the face of Mrs. <i>Marriot</i>, -the housekeeper, for one of the Furies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_21" id="Footnote_9_21"></a><a href="#FNanchor_9_21"><span class="label">[9]</span></a> This picture is noticed in the article <i>Thornhill</i>, in the <i>Biographia -Britannica</i>, where, instead of <i>Wanstead</i>, it is called -the <i>Wandsworth</i> assembly. There seems to be a reference to -it in "A Poetical Epistle to Mr. <i>Hogarth</i>, an eminent History -and Conversation Painter," written <i>June</i> 1730, and published -by the author (Mr. <i>Mitchell</i>), with two other epistles, -in 1731, 4to. -</p> -<blockquote><p> -"Large families obey your hand;<br /> -<i>Assemblies</i> rise at your command."<br /> -</p></blockquote> -<p> -Mr. <i>Hogarth</i> designed that year the frontispiece to Mr. <i>Mitchell's</i> -Opera, <i>The Highland Clans</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_22" id="Footnote_10_22"></a><a href="#FNanchor_10_22"><span class="label">[10]</span></a> Of all these a more particular account will be given in -the Catalogue annexed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_23" id="Footnote_11_23"></a><a href="#FNanchor_11_23"><span class="label">[11]</span></a> Brother to <i>Henry Overton</i>, the well-known publisher of -ordinary prints, who lived over against <i>St. Sepulchre's Church</i>, -and sold many of <i>Hogarth's</i> early pieces coarsely copied, as has -since been done by <i>Dicey</i> in <i>Bow Church-yard</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_24" id="Footnote_12_24"></a><a href="#FNanchor_12_24"><span class="label">[12]</span></a> This conceit is borrowed from <i>Vanloo's</i> picture of <i>Colley -Cibber</i>, whose daughter has the same employment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_25" id="Footnote_13_25"></a><a href="#FNanchor_13_25"><span class="label">[13]</span></a> It appears that Mr. <i>G.</i> was dissatisfied with his likeness, -or that some dispute arose between him and the painter, who -then struck his pencil across the face, and damaged it. The -picture was unpaid for at the time of his death. His widow -then sent it home to Mr <i>Garrick</i>, without any demand.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_26" id="Footnote_14_26"></a><a href="#FNanchor_14_26"><span class="label">[14]</span></a> Afterwards rector of <i>Crawley</i> in <i>Hampshire</i>; author of -"<i>Ben Mordecai's</i> Letters," "Confusion worse confounded," -and many other celebrated works.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_27" id="Footnote_15_27"></a><a href="#FNanchor_15_27"><span class="label">[15]</span></a> He died of the small-pox, Aug. 12, 1729, and is said, -in the "Political State," to have possessed 5000 l. a year. -He married a sister of lord <i>Bateman</i>, by whom he left a son -and two daughters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_28" id="Footnote_16_28"></a><a href="#FNanchor_16_28"><span class="label">[16]</span></a> I have heard that he continually took sketches from nature -as he met with them, and put them into his works; and -it is natural to suppose he did so.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_29" id="Footnote_17_29"></a><a href="#FNanchor_17_29"><span class="label">[17]</span></a> See the <a href="#CATALOGUE">Catalogue</a> at the end of these Anecdotes. A -very considerable number of personalities are there pointed -out under the account of each plate in which they are found.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_30" id="Footnote_18_30"></a><a href="#FNanchor_18_30"><span class="label">[18]</span></a> The late Mr <i>Cole</i>, of <i>Milton</i>, in his copy of these Memoirs, -had written against the name of <i>Bambridge</i>, "Father -to the late attorney of that name, a worthy son of such a -father. He lived at <i>Cambridge</i>." And in a copy of the -first edition on occasion of a note (afterwards withdrawn) -which mentioned "Mr. <i>Baker's</i> having quarrelled with -<i>Hearne</i>;" Mr. <i>Cole</i> wrote, "Mr. <i>Baker</i> quarrelled with no -man: he might coolly debate with Mr. <i>Hearne</i> on a disputable -point. It is, therefore, a misrepresentation of Mr. -<i>Baker's</i> private character, agreeable to the petulance of -this age."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_31" id="Footnote_19_31"></a><a href="#FNanchor_19_31"><span class="label">[19]</span></a> The wardenship of <i>The Fleet</i>, a patent office, was purchased -of the earl of <i>Clarendon</i>, for 5000 <i>l.</i> by <i>John Huggins</i>, -esq. who was in high favour with <i>Sunderland</i> and <i>Craggs</i>, and -consequently obnoxious to their successors. <i>Huggins's</i> term in -the patent was for his own life and his son's. But, in <i>August</i> -1728, being far advanced in years, and his son not caring to -take upon him so troublesome an office, he sold their term in -the patent for the same sum it had cost him, to <i>Thomas Bambridge</i> -and <i>Dougal Cuthbert. Huggins</i> lived to the age of 90.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_32" id="Footnote_20_32"></a><a href="#FNanchor_20_32"><span class="label">[20]</span></a> Mr. <i>Rayner</i>, in his reading on Stat. 2 <i>Geo.</i> II. chap. 32. -whereby <i>Bambridge</i> was incapacitated to enjoy the office of -warden of <i>The Fleet</i>, has given the reader a very circumstantial -account, with remarks, on the notorious breaches of trust, &c. -committed by <i>Bambridge</i> and other keepers of <i>The Fleet-Prison</i>. -For this publication, see <i>Worral's</i> Bibliotheca Legum by <i>Brooke</i>, -1777, p. 16. -</p> -<p> -"A report from the Committee appointed to enquire into -the State of the Gaols of this Kingdom, relating to the -<i>Marshalsea</i> prison; with the Resolutions of the House of -Commons thereupon," was published in 4to. 1729; and -reprinted in 8vo, at <i>Dublin</i> the same year. It appears by a -MS. note of <i>Oldys</i>, cited in <i>British Topography</i>, vol. I. p. 636, -that <i>Bambridge</i> cut his throat 20 years after.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_33" id="Footnote_21_33"></a><a href="#FNanchor_21_33"><span class="label">[21]</span></a> <i>William Huggins</i>, esq. of <i>Headly Park, Hants,</i> well-known -by his translation of the <i>Orlando Furioso</i> of <i>Ariosto</i>. Being intended -for holy orders, he was sent to <i>Magdalen College, Oxford,</i> -where he took the degree of M. A. <i>April</i> 30, 1761; -but, on the death of his elder brother in 1756, declined all -thoughts of entering into the church. He died <i>July</i> 2, 1761; -and left in MS. a tragedy, a farce, and a translation of <i>Dante</i>, -of which a specimen was published in the <i>British Magazine</i>, -1760. Some flattering verses were addressed to him -in 1757, on his version of <i>Ariosto</i>; which are preserved in -the <i>Gentleman's Magazine</i>, vol. XXVII. p. 180; but are not -worth copying. The last Mr. <i>Huggins</i> left an estate of 2000 <i>l.</i> -a year to his two sons-in-law <i>Thomas Gatehouse</i>, Esq; and Dr. -<i>Musgrave</i> of <i>Chinnor</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_34" id="Footnote_22_34"></a><a href="#FNanchor_22_34"><span class="label">[22]</span></a> Sir <i>Francis Page's</i>, "Character," by <i>Savage</i>, thus gibbets -him to public detestation:</p> -<blockquote><p> -"Fair Truth, in courts where Justice should preside,<br /> -Alike the Judge and Advocate would guide;<br /> -And these would vie each dubious point to clear,<br /> -To stop the widow's and the orphan's tear;<br /> -Were all, like <i>Yorke</i>,<a name="FNanchor_A_35" id="FNanchor_A_35"></a><a href="#Footnote_A_35" class="fnanchor">[A]</a> of delicate address,<br /> -Strength to discern, and sweetness to express,<br /> -Learn'd, just, polite, born every heart to gain,<br /> -Like <i>Comyns</i><a name="FNanchor_B_36" id="FNanchor_B_36"></a><a href="#Footnote_B_36" class="fnanchor">[B]</a> mild; like <i>Fortescue</i><a name="FNanchor_C_37" id="FNanchor_C_37"></a><a href="#Footnote_C_37" class="fnanchor">[C]</a> humane,<br /> -All-eloquent of truth, divinely known,<br /> -So deep, so clear, all Science is his own.<br /> -<br /> -"Of heart impure, and impotent of head,<br /> -In history, rhetoric, ethics, law, unread;<br /> -How far unlike such worthies, once a drudge,<br /> -From floundering in low cases, rose a Judge.<br /> -Form'd to make pleaders laugh, his nonsense thunders,<br /> -And on low juries breathes contagious blunders.<br /> -His brothers blush, because no blush he knows,<br /> -Nor e'er 'one uncorrupted finger shows.'<a name="FNanchor_D_38" id="FNanchor_D_38"></a><a href="#Footnote_D_38" class="fnanchor">[D]</a><br /> -See, drunk with power, the circuit-lord exprest!<br /> -Full, in his eye, his betters stand confest;<br /> -Whose wealth, birth, virtue, from a tongue so loose,<br /> -'Scape not provincial, vile, buffoon abuse.<br /> -Still to what circuit is assigned his name,<br /> -There, swift before him, flies the warner—Fame.<br /> -Contest stops short, Consent yields every cause<br /> -To Cost; Delay endures them, and withdraws.<br /> -But how 'scape prisoners? To their trial chain'd,<br /> -All, all shall stand condemn'd, who stand arraign'd,<br /> -Dire guilt, which else would detestation cause,<br /> -Prejudg'd with insult, wondrous pity draws.<br /> -But 'scapes e'en Innocence his harsh harangue?<br /> -Alas!—e'en Innocence itself must hang;<br /> -Must hang to please him, when of spleen possest,<br /> -Must hang to bring forth an abortive jest.<br /> -<br /> -"Why liv'd he not ere Star-chambers had fail'd,<br /> -When fine, tax, censure, all but law prevail'd;<br /> -Or law, subservient to some murderous will,<br /> -Became a precedent to murder still?<br /> -Yet e'en when portraits did for traitors bleed,<br /> -Was e'er the jobb to such a slave decreed,<br /> -Whose savage mind wants sophist-art to draw,<br /> -O'er murder'd virtue, specious veils of law?<br /> -<br /> -"Why, Student, when the bench your youth admits,<br /> -Where, though the worst, with the best rank'd he sits;<br /> -Where sound opinions you attentive write,<br /> -As once a <i>Raymond</i>, now a <i>Lee</i> to cite,<br /> -Why pause you scornful when he dins the court?<br /> -Note well his cruel quirks, and well report.<br /> -Let his own words against himself point clear,<br /> -Satire more sharp than verse when most severe."<br /> -</p></blockquote> -<p> -Nor was <i>Savage</i> less severe in his prose. On the trial of -this unfortunate poet, for the murder of <i>James Sinclair</i> in -1727, Judge <i>Page</i>, who was then on the bench, treated him -with his usual insolence and severity; and, when he had -summed up the evidence, endeavoured to exasperate the jury, -as Mr. <i>Savage</i> used to relate it, with this eloquent harangue: -"Gentlemen of the Jury, you are to consider that Mr. <i>Savage</i> -is a very great man, a much greater man than you or I, -gentlemen of the jury; that he wears very fine cloaths, -much finer cloaths than you or I, gentlemen of the jury; -that he has abundance of money in his pocket, much more -money than you or I, gentlemen of the jury: but, gentlemen -of the jury, is it not a very hard case, gentlemen of -the jury, that Mr. <i>Savage</i> should therefore kill you or me, -gentlemen of the jury?" -</p> -<p> -<i>Pope</i> also, <i>Horace</i>, B. II. Sat. r, has the following line: -</p> -<blockquote><p>"Hard words or hanging, if your judge be <i>Page.</i>" -</p></blockquote> -<p> -And <i>Fielding</i>, in <i>Tom Jones</i>, makes <i>Partridge</i> say, with great -<i>naiveté</i>, after premising that judge <i>Page</i> was a very brave man, -and a man of great wit, "It is indeed charming sport to hear -trials on life and death!"</p> - -<div class="footnote"> - -<p><a name="Footnote_A_35" id="Footnote_A_35"></a><a href="#FNanchor_A_35"><span class="label">[A]</span></a> Sir <i>Philip Yorke</i>, chief justice of the King's Bench, afterwards lord-chancellor -and earl <i>Hardwicke</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_B_36" id="Footnote_B_36"></a><a href="#FNanchor_B_36"><span class="label">[B]</span></a> Sir <i>John Comyns</i>, chief baron of the Exchequer.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_C_37" id="Footnote_C_37"></a><a href="#FNanchor_C_37"><span class="label">[C]</span></a> Hon. <i>William Fortescue</i>, then one of the justices of the court of Common -Pleas, afterwards master of the Rolls.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_D_38" id="Footnote_D_38"></a><a href="#FNanchor_D_38"><span class="label">[D]</span></a> "When <i>Page</i> one uncorrupted finger shows." D. of <span class="smcap"> Wharton</span>.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_23_39" id="Footnote_23_39"></a><a href="#FNanchor_23_39"><span class="label">[23]</span></a> The truth and propriety of these strictures having been -disputed by an ingenious correspondent in the <i>Public Advertiser</i>, -his letter, with remarks on it, is subjoined by way of appendix -to the present work. In this place performances of such a -length would have interrupted the narrative respecting <i>Hogarth</i> -and his productions. See <a href="#APPENDIX">Appendix I</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_40" id="Footnote_24_40"></a><a href="#FNanchor_24_40"><span class="label">[24]</span></a> In co'i Banco. -</p> -<p> -<span class="smcap">William Hogarth</span>, Plaintiff. -<span class="smcap">Joshua Morris</span>, Defendant. -</p> -<p> -<i>Middlesex.</i> -</p> -<p> -The Plaintiff declares, that on the 20th of <i>December</i>, -1727, at <i>Westminster</i> aforesaid, Defendant was indebted -to him 30 <i>l</i>. for painter's work, and for divers materials -laid out for the said work; which Defendant faithfully -promised to pay when demanded. -</p> -<p> -Plaintiff also declares, that Defendant promised to pay for the -said work and other materials, as much as the same was worth; -and Plaintiff in fact says the same was worth other 30 <i>l</i>. -</p> -<p> -Plaintiff also declares for another sum of 30 <i>l</i> for money -laid out and expended for Defendant's use, which he promised -to pay. -</p> -<p> -The said Defendant not performing his several promises, the -Plaintiff hath brought this action to his damage 30 <i>l</i>. for which -this action is brought. -</p> -<p> -To which the Defendant hath pleaded <i>non assumpsit</i> and -thereupon issue is joined. -</p> -<p> -CASE. -</p> -<p> -The Defendant is an upholsterer and tapestry-worker, and -was recommended to Plaintiff as a person skilful in painting -patterns for that purpose; the Plaintiff accordingly came to -Defendant, who informing him that he had occasion for a tapestry -design of the Element of Earth, to be painted on canvas, -Plaintiff told Defendant he was well skilled in painting -that way, and promised to perform it in a workmanlike manner; -which if he did, Defendant undertook to pay him for it -twenty guineas. -</p> -<p> -Defendant, soon after, hearing that Plaintiff was an engraver, -and no painter, was very uneasy about the work, and ordered -his servant to go and acquaint Plaintiff what he had heard; -and Plaintiff then told the said servant, 'that it was a bold -undertaking, for that he never did any thing of that kind -before; and that, if his master did not like it, he should not -pay for it.' -</p> -<p> -That several times sending after Plaintiff to bring the same -to Defendant's house, he did not think fit so to do; but carried -the same to a private place where Defendant keeps some -people at work, and there left it. As soon as Defendant was -informed of it, he sent for it home, and consulted with his -workmen whether the design was so painted as they could -work tapestry by it, and they were all unanimous that it was -not finished in a workmanlike manner, and that it was impossible -for them to work tapestry by it. -</p> -<p> -Upon this, Defendant sent the painting back to Plaintiff by -his servant, who acquainted him, 'that the same did not answer -the Defendant's purpose, and that it was of no use to him; -but if he would finish it in a proper manner, Defendant would -take it, and pay for it.' -</p> -<p> -Defendant employs some of the finest hands in <i>Europe</i> in -working tapestry, who are most of them foreigners, and have -worked abroad as well as here, and are perfect judges of performances -of this kind. -</p> -<p> -The Plaintiff undertook to finish said piece in a month, but -it was near three months before he sent to the Defendant to -view it; who, when he saw it, told him that he could not make -any use of it, and was so disappointed for want of it, that he -was forced to put his workmen upon working other tapestry -that was not bespoke, to the value of 200 <i>l.</i> which now lies -by him, and another painter is now painting another proper -pattern for the said piece of tapestry. -</p> -<p> -To prove the case as above set forth, call Mr. <i>William Bradshaw</i>. -</p> -<p> -To prove the painting not to be performed in a workmanlike -manner, and that it was impossible to make tapestry by it, -and that it was of no use to Plaintiff, call Mr. <i>Bernard Dorrider</i>, -Mr. <i>Phillips</i>, Mr. <i>De Friend</i>, Mr. <i>Danten</i>, and Mr. <i>Pajon</i>. -</p> -<p> -By the counsel's memoranda on this brief it appears, that -the witnesses examined for the Plaintiff were <i>Thomas King, Vanderbank, -Le Gard, Thornhill,</i> and <i>Cullumpton</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_41" id="Footnote_25_41"></a><a href="#FNanchor_25_41"><span class="label">[25]</span></a> <i>James Thornhill</i>, esq. serjeant-painter and history-painter -to King <i>George</i> I. In <i>June</i> 1715, he agreed to paint the cupola -of <i>St. Paul's</i> church for 4000 <i>l.</i> and was knighted in <i>April</i> 1720. -In a flattering account given of him immediately after his death, -which happened <i>May</i> 13, 1734, in his 57th year, he is said to -have been "the greatest history-painter this kingdom ever -produced, witness his elaborate works in <i>Greenwich-Hospital</i>, -the cupola of <i>St. Paul's</i>, the altar-pieces of <i>All-Souls College</i> -in <i>Oxford</i>, and in the church of <i>Weymouth</i>, where he was -born; a cieling in the palace of <i>Hampton-Court</i>, by order of -the late Earl of <i>Halifax:</i> his other works shine in divers -noblemens' and gentlemens' houses. His later years were -employed in copying the rich cartoons of <i>Raphael</i> in the -gallery of <i>Hampton-Court</i>, which, though in decay, will be -revived by his curious pencil, not only in their full proportions, -but in many other sizes and shapes, he in a course of -years had drawn them. He was chosen representative in -the two last parliaments for <i>Weymouth</i>, and having, by his -own industry, acquired a considerable estate, re-purchased -the seat of his ancestors, which he re-edified and embellished. -He was not only by patents appointed history-painter to -their late and present majesties, but serjeant-painter, by -which he was to paint all the royal palaces, coaches, barges, -and the royal navy. This late patent he surrendered in favour -of his only son <i>John Thornhill</i>, Esq. He left no other -issue but one daughter, now the wife of Mr <i>Wm. Hogarth</i>, -admired for his curious miniature conversation paintings. -Sir <i>James</i> has left a most valuable Collection of pictures and -other curiosities."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_42" id="Footnote_26_42"></a><a href="#FNanchor_26_42"><span class="label">[26]</span></a> He was called on this occasion, in the Craftsman, "Mr. -<i>Hogarth</i>, an ingenious designer and engraver."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_43" id="Footnote_27_43"></a><a href="#FNanchor_27_43"><span class="label">[27]</span></a> "<i>Pope</i> published in 1731 a poem called <i>False Taste</i>, in -which he very particularly and severely criticises the house, -the furniture, the gardens, and the entertainments of <i>Timon</i>, -a man of great wealth and little taste. By <i>Timon</i> he was -universally supposed, and by the Earl of <i>Burlington</i>, to -whom the poem is addressed, was privately said to mean -the Duke of <i>Chandos</i>; a man perhaps too much delighted -with pomp and shew, but of a temper kind and beneficent, -and who had consequently the voice of the publick in his -favour. A violent outcry was therefore raised against the -ingratitude and treachery of <i>Pope</i>, who was said to have -been indebted to the patronage of <i>Chandos</i> for a present of -a thousand pounds, and who gained the opportunity of -insulting him by the kindness of his invitation. The receipt -of the thousand pounds <i>Pope</i> publickly denied; but from the -reproach which the attack on a character so amiable brought -upon him, he tried all means of escaping. The name of -<i>Cleland</i> was employed in an apology, by which no man was -satisfied; and he was at last reduced to shelter his temerity -behind dissimulation, and endeavour to make that disbelieved -which he never had confidence openly to deny. He wrote -an exculpatory letter to the Duke, which was answered -with great magnanimity, as by a man who accepted his -excuse without believing his professions. He said, that to -have ridiculed his taste, or his buildings, had been an indifferent -action in another man; but that in <i>Pope</i>, after the -reciprocal kindness that had been exchanged between them, -it had been less easily excused." <i>Dr. Johnson, in his Life of -Pope.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_44" id="Footnote_28_44"></a><a href="#FNanchor_28_44"><span class="label">[28]</span></a> That Sir <i>John Gonson</i> took a very active part against the -Ladies of Pleasure, is recorded by more than one of their -votaries: In "A View of the Town, 1735," by Mr. <i>T. Gilbert</i>, -a fellow of <i>Peter House Cambridge</i>, and an intimate companion -of <i>Loveling</i>,<a name="FNanchor_A_45" id="FNanchor_A_45"></a><a href="#Footnote_A_45" class="fnanchor">[A]</a> I meet with these lines: -</p> -<blockquote><p> -"Though laws severe to punish guilt were made,<br /> -What honest man is of these laws afraid?<br /> -All felons against judges will exclaim,<br /> -As harlots startle at a <i>Gonson's</i> name."<br /> -</p></blockquote> -<p> -The magistrate entering with his myrmidons was designed -as the representative of this gentleman, whose vigilance on -like occasions is recorded in the following elegant Sapphic -Ode, by Mr. <i>Loveling</i>. This gentleman was educated at <i>Winchester-school</i>, -became a commoner of <i>Trinity College, Oxford</i>, -was ordained deacon, lived gaily, and died young. His style, -however, appears to have been formed on a general acquaintance -with the language of <i>Roman</i> poetry; nor do any of his -effusions betray that poverty of expression so conspicuous in -the poems of <i>Nicholas Hardinge</i>, esq. who writes as if <i>Horace</i> -was the only classic author he had ever read.</p> -<blockquote><p> -<span style="margin-left: 2em;">Ad <i>Johannem Gonsonum</i>, Equitem.</span><br /> -<br /> -Pellicum, <i>Gonsone</i>, animosus hostis,<br /> -Per minus castas <i>Druriæ</i> tabernas<br /> -Lenis incedens, abeas <i>Diones</i><br /> -<span style="margin-left: 12em;">Æquus alumnis!</span><br /> -Nuper (ah dictu miserum!) <i>Olivera</i><br /> -Flevit ereptas viduata mœchas,<br /> -Quas tuum vidit genibus minores<br /> -<span style="margin-left: 12.5em;">Ante tribunal.</span><br /> -Dure, cur tantâ in <i>Veneris</i> ministras<br /> -Æstuas irâ? posito furore<br /> -Huc ades, multà & prece te vocantem<br /> -<span style="margin-left: 12em;">Gratior audi!</span><br /> -Nonne sat mœchas malè feriatas<br /> -Urget infestis fera sors procellis?<br /> -Adderis quid tu ulterior puellis<br /> -<span style="margin-left: 12em;">Causa doloris?</span><br /> -Incolunt, eheu! thalamos supernos,<br /> -Nota quæ sedes fuerat Poetis;<br /> -Nec domum argento gravis, ut solebat,<br /> -<span style="margin-left: 12em;">Dextra revertit.</span><br /> -Nympha quæ nuper nituit theatro,<br /> -Nunc stat obscuro misera angiportu,<br /> -Supplici vellens tunicam rogatque<br /> -<span style="margin-left: 12em;">Voce <i>Lyæum</i>.</span><br /> -Te voco rebus <i>Druriæ</i> mentis;<br /> -Voci communi <i>Britonum</i> Juventus<br /> -Te vocat, nunc ô! dare te benignum<br /> -<span style="margin-left: 12em;">Incipe votis.</span><br /> -Singulum tunc dona feret lupanar:<br /> -Liberum mittet <i>Rosa</i> Lusitanum,<br /> -Gallici <i>Haywarda</i> et generosa mittet<br /> -<span style="margin-left: 12em;">Munera <i>Bacchi</i>.</span><br /> -Sive te forsan moveat libido,<br /> -Aridis pellex requiescet ulnis,<br /> -Callida effœtas renovare lento<br /> -<span style="margin-left: 12em;">Verbere vires.</span><br /> -</p></blockquote> -<p> -The same poet, speaking of the exhilarating effects of Gin, -which had just been an object of Parliamentary notice, has -the following stanza: -</p> -<blockquote><p> -Utilis mœchae fuit & Poetæ;<br /> -Sprevit hinc Vates Dolopum catervas,<br /> -Mœcha <i>Gonsonum</i> tetricâ minantem<br /> -<span style="margin-left: 12.5em;">Fronte laborem.</span><br /> -</p></blockquote> -<p> -Thus, between the poet and the painter, the fame of our -harlot-hunting Justice is preserved. But as a slave anciently -rode in the same chariot with the conqueror, the memory of -a celebrated street-robber and highwayman will descend with -that of the magistrate to posterity, <i>James Dalton's</i> wig-box -being placed on the tester of the Harlot's bed. I learn from -the <i>Grubstreet Journal</i>, that he was executed on the 12th of -<i>May</i>, 1730. Sir <i>John Gonson</i> died <i>January</i> 9, 1765. He was -remarkable for the charges which he used to deliver to the -grand juries, which are said to have been written by Orator -<i>Henley</i>. The following puffs, or sneers, concerning them, -are found in the first number of the <i>Grubstreet Journal</i>, dated -<i>January</i> 8, 1730. "Yesterday began the General Quarter -Sessions, &c. when Sir <i>John Gonson</i>, being in the chair, gave -a most <i>incomparable, learned,</i> and <i>fine</i> charge to the Grand -Jury." <i>Daily Post</i>. -</p> -<p> -"The <i>Morning Post</i> calls Sir <i>John's</i> charge <i>excellent, learned</i> -and <i>loyal</i>. The <i>Evening Post</i> calls it an <i>excellent lecture</i> and -<i>useful charge</i>." -</p> -<p> -Three of these performances had been published in 1728.<a name="FNanchor_B_46" id="FNanchor_B_46"></a><a href="#Footnote_B_46" class="fnanchor">[B]</a> -Sir <i>John's</i> name is also preserved in Mr <i>Pope's</i> works: -</p> -<blockquote><p> -"Talkers I've learn'd to bear: <i>Motteux</i> I knew;<br /> -<i>Henley</i> himself I've heard, and <i>Budgell</i> too.<br /> -The Doctor's wormwood style, the hash of tongues<br /> -A pedant makes, the storm of <i>Gonson's</i> lungs."<br /> -<span style="margin-left: 8.5em;">Fourth Sat. of Dr. <i>Donne</i> versified.</span><br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_A_45" id="Footnote_A_45"></a><a href="#FNanchor_A_45"><span class="label">[A]</span></a> In the collection of <i>Loveling's</i> Poems, 1741, are two by <i>Gilbert. -Loveling</i> also addressed a poem, not printed in his works, "<i>Gilberto suo</i>," -and in <i>Gilbert's</i> Poems, published 1747, is "A familiar Epistle to my -friend <i>Ben Loveling</i>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_B_46" id="Footnote_B_46"></a><a href="#FNanchor_B_46"><span class="label">[B]</span></a> One charge by Sir <i>John Gonson</i> is in the Political State, vol. XXXV. -p. 50; and two others in vol. XXXVI. pp 314. 333.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_29_47" id="Footnote_29_47"></a><a href="#FNanchor_29_47"><span class="label">[29]</span></a> It was customary in <i>Hogarth's</i> family to give these fans to -the maids.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_48" id="Footnote_30_48"></a><a href="#FNanchor_30_48"><span class="label">[30]</span></a> Among the small articles of furniture in the scenes of <i>Hogarth</i>, -a few objects may speedily become unintelligible, because -their archetypes, being out of use, and of perishable natures, -can no longer be found. Such is the <i>Dare for Larks</i> (a -circular board with pieces of looking-glass inserted in it), hung -up over the chimney-piece of the <i>Distress'd Poet</i>; and the <i>Jews -Cake</i> (a dry tasteless biscuit perforated with many holes, and -formerly given away in great quantities at the Feast of Passover), -generally used only as a fly-trap, and hung up as such against -the wall in the sixth plate of the <i>Harlot's Progress</i>. I have -frequently met with both these articles in mean houses.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_49" id="Footnote_31_49"></a><a href="#FNanchor_31_49"><span class="label">[31]</span></a> The fire began at the house of Mrs. <i>Calloway</i>, who -kept a brandy-shop. This woman was committed to <i>Newgate</i>, -it appearing among other circumstances, that she had threatened -"to be even with the landlord for having given her -warning, and that she would have a bonfire on the 20th of -<i>June</i>, that should warm all her rascally neighbours."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_50" id="Footnote_32_50"></a><a href="#FNanchor_32_50"><span class="label">[32]</span></a> <i>Hogarth</i> attempted to improve it, but without much -success. The additional figures are quite episodical. See -the <a href="#The_Rakes_Progress_in_eight_plates">Catalogue</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_51" id="Footnote_33_51"></a><a href="#FNanchor_33_51"><span class="label">[33]</span></a> In <i>Seymour's</i> history of <i>London</i>, vol. II. p. 883. is the -following notice of our artist: -</p> -<p> -"Among the Governors of <i>St. Bartholomew's Hospital</i>, was -lately chosen Mr. <i>William Hogarth</i> the celebrated printer, -who, we are told, designs to paint the stair-case of the said -hospital, and thereby become a benefactor to it, by giving -his labour gratis."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_52" id="Footnote_34_52"></a><a href="#FNanchor_34_52"><span class="label">[34]</span></a> He bought up great quantities of the copies of his works; -and they still remain in possession of his widow. The "Harlot's" -and the "Rake's" Progress, in a smaller size than -the original, were published, with his permission, by <i>Thomas -Bakewell</i>, a printseller, near the <i>Horn Tavern, Fleet-street</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_53" id="Footnote_35_53"></a><a href="#FNanchor_35_53"><span class="label">[35]</span></a> Of the <i>Harlot's Progress</i> I have seen no less than eight -piratical imitations.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_54" id="Footnote_36_54"></a><a href="#FNanchor_36_54"><span class="label">[36]</span></a> <i>Lord Gardenston</i>, one of the lords of session in <i>Scotland</i>, -on delivering his opinion in the court of session upon the question -of literary property, in the cause of <i>Hinton</i> and <i>Donaldson</i> -and others, all booksellers, in <i>July</i> 1773 thus introduced the -works of <i>Hogarth</i>: "There is nothing can be more similar -than the work of engraving is to literary composition. I -will illustrate this proposition by the works of Mr <i>Hogarth</i>, -who, in my humble opinion, is the only true original artist -which this age has produced in <i>England</i>. There is hardly -any character of an excellent author, which is not justly applicable -to his works. What composition, what variety, -what sentiment, what fancy, invention, and humour, we -discover in all his performances! In every one of them an -entertaining history, a natural description of characters, and -an excellent moral. I can read his works over and over, -<i>Horace's</i> characteristic of excellency in writing, <i>decies repetita -placebit</i>; and every time I peruse them, I discover new -beauties, and feel fresh entertainment: can I say more in -commendation of the literary compositions of a <i>Butler</i> or a -<i>Swift</i>? There is great authority for this parallel; the legislature -has considered the works of authors and engravers -in the same light; they have granted the same protection to -both; and it is remarkable, that the act of parliament for the -protection of those who invent new engravings, or prints, -is almost in the same words with the act for the protection -and encouragement of literary compositions." This is taken -from a 4to pamphlet, published in 1774 by <i>James Boswell</i>, esq. -advocate, one of the counsel in the cause.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_55" id="Footnote_37_55"></a><a href="#FNanchor_37_55"><span class="label">[37]</span></a> "That <i>Huggins</i> penned the statute, I was told by Mr. <i>Hogarth</i> -himself. The determination of Lord <i>Hardwicke</i> was -thus occasioned. <i>Jefferys</i>, the printseller at the corner of -<i>St. Martin's Lane</i>, had employed an artist to draw and engrave -a print representing the <i>British</i> Herring Fishery; and, -having paid him for it, took an assignment of the right to -the property in it accruing to the artist by the act of parliament. -The proprietors of one of the magazines pirated -it in a similar size, and <i>Jefferys</i> brought his bill for an injunction, -to which the defendants demurred: and, upon -argument of the demurrer, the same was allowed, for the -reason abovementioned, and the bill dismissed. <i>Hogarth</i> -attended the hearing; and lamented to me that he had employed -<i>Huggins</i> to draw the act, adding, that, when he first -projected it, he hoped it would be such an encouragement -to engraving and printselling, that printsellers would soon -become as numerous as bakers' shops; which hope, notwithstanding -the above check, does at this time seem to be -pretty nearly gratified." <i>For this note my readers are indebted -to Sir</i> John Hawkins.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_56" id="Footnote_38_56"></a><a href="#FNanchor_38_56"><span class="label">[38]</span></a> "What Caricatura is in painting," says <i>Fielding</i>, "Burlesque -is in writing; and in the same manner the comic writer and -painter correlate to each other. And 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></div> - -<div class="footnote"> - -<p><a name="Footnote_39_57" id="Footnote_39_57"></a><a href="#FNanchor_39_57"><span class="label">[39]</span></a> This idea originally occurred in <i>Colley Cibber's Apology</i>. -From thence it was transplanted by <i>Lloyd</i> into his celebrated -poem intituled <i>The Actor</i>. Lying thus in the way of <i>Garrick</i>, -he took it up for the use of the <i>prologue</i> already quoted. -Lastly, Mr. <i>Sheridan</i>, in his beautiful <i>Monody</i>, condescended to -borrow it, only because it spared him the labour of unlocking -the richer storehouse of his own imagination. -</p> -<p> -I may however remark that <i>Cibber</i>, when he suggested this -mortifying reflection, had more reason on his side than some -of his successors who have indulged themselves in the same dolorous -strain of complaint. To whatever oblivion the celebrated -actors of the last age have been resigned, the pencil of -<i>Hogarth, Dance, Zoffani,</i> and <i>Reynolds</i>, had left Mr. <i>Garrick</i> -not the slightest reason to be apprehensive that, in his own -particular case, the art and the artist would alike be forgotten. -Meanwhile, let our heroes of the stage be taught to moderate -their anxiety for posthumous renown, by a recollection that -their peculiar modes of excellence will, at least, be as well -preserved to futurity as those of the lords <i>Chatham</i> and <i>Mansfield</i>, -whose talents, perhaps, might support an equal claim to -perpetuation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_58" id="Footnote_40_58"></a><a href="#FNanchor_40_58"><span class="label">[40]</span></a> Dr. <i>M.</i> once observed to <i>J. N.</i> in a letter on this subject, -"In the 13th chapter I was somewhat puzzled with the <i>flat</i> -and <i>round</i>, or the <i>concave</i> and <i>convex</i>, appearing the reverse; -till the sun happily shining in upon the cornice, I had a fair -example of what he intended to express. The next chapter, -with regard to <i>colouring</i>, did not go on quite so smooth; -for, if I satisfied <i>him</i>, I was not satisfied <i>myself</i> with his -peculiar principles; nor could I relish his laying the blame -on the <i>colourmen</i>, &c."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_59" id="Footnote_41_59"></a><a href="#FNanchor_41_59"><span class="label">[41]</span></a> One exception to this remark occurs in the <i>Gentleman's -Magazine</i> for 1754, p. 14; where the reviewer of the Analysis -observes, that it is "a book written with that precision and -perspicuity which can only result from a perfect knowledge -of his subject in all its extent. His rules are illustrated by -near two hundred figures, engraved by himself; the knowledge -which it contains is universally useful, and as all terms -of art are avoided, the language will be universally understood. -The player and the dancing-master, whom others -consider as patterns of just action and genteel deportment, -are not less instructed than the statuary and the painter; -nor is there any species of beauty or elegance that is not -here investigated and analysed. -</p> -<p> -"A book, by which the author has discovered such superiority, -could scarce fail of creating many enemies; those -who admit his Analysis to be just, are disposed to deny that -it is new. Though in the year 1745, having drawn a serpentine -line on a painter's pallet, with these words under -it, 'the line of beauty,' as a frontispiece to his prints, no -<i>Egyptian</i> hieroglyphic ever produced greater variety of speculation; -both painters and sculptors then came to enquire -the meaning of a symbol, which they soon pretended to -have been their old acquaintance; though the account -they could give of its properties were scarce so satisfactory -as that of a day-labourer, who constantly uses the <i>lever</i>, -could give of that instrument, as a mechanical power. The -work, however, will live when these cavils are forgotten; -and except the originals, of which it is pretended to be a -copy, are produced, there is no question but that the name -of the author will descend to posterity with that honour -which competitors only can wish to withhold." -</p> -<p> -It should be observed, however, that the general decision on -<i>Hogarth's</i> performance may be just. Certain we are, that it -has not been reversed by the opinion of the First of our Modern -Painters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_60" id="Footnote_42_60"></a><a href="#FNanchor_42_60"><span class="label">[42]</span></a> The <i>Analysis</i> itself however affords sufficient specimens of -inaccuracy in spelling. Thus we have (pref. p. xix.) <i>Syclamen</i> -instead of <i>Cyclamen</i>; (p. 44.) calc<i>i</i>donian for C<i>h</i>alc<i>e</i>donian; -(p. 65.) nuckles for <i>k</i>nuckles; (p. 97.) Iris<i>h</i>-stitch for Iris-stitch, -&c. &c. In the sheets that contain these errors, it is -easy to conceive that <i>Hogarth</i> must have been his own corrector -of the press.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_61" id="Footnote_43_61"></a><a href="#FNanchor_43_61"><span class="label">[43]</span></a> It is so extraordinary for an illiterate person to ridicule -inaccuracy of spelling, that this might probably be a real -blunder.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_62" id="Footnote_44_62"></a><a href="#FNanchor_44_62"><span class="label">[44]</span></a> Some account of this work will be given in a <a href="#Page_103">future page</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_63" id="Footnote_45_63"></a><a href="#FNanchor_45_63"><span class="label">[45]</span></a> See a <a href="#Footnote_1_224">note</a> on <i>Marriage-a-la-Mode</i> (under the year 1745); -from whence it sufficiently appears, that <i>indelicacies</i>, &c. had -been imputed to <i>Hogarth's</i> performances, and that, therefore, -when he advertised the six plates of <i>Marriage-a-la-Mode</i>, he -thought it necessary to assure the public that no <i>indelicacy, indecency,</i> -or <i>personality</i>, would be found in any of these representations.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_64" id="Footnote_46_64"></a><a href="#FNanchor_46_64"><span class="label">[46]</span></a> The exigence of this card having been doubted, it is -engraved in our title-page, from the original now in <i>Charles -Street, Grosvenor Square</i>, in the possession of Dr. <i>Wright</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_65" id="Footnote_47_65"></a><a href="#FNanchor_47_65"><span class="label">[47]</span></a> This pun reminds us of a similar one from <i>Garth</i> to -<i>Rowe</i>, who making repeated use of his snuff-box, the <i>Doctor</i> -at last sent it to him with the two <i>Greek</i> letters written on the -lid, Φ, ρ, (<i>Phi, Ro</i>). At this the sour <i>Dennis</i> was so provoked, -as to declare, that "a man who could make such a vile pun, -would not scruple to pick a pocket."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_66" id="Footnote_48_66"></a><a href="#FNanchor_48_66"><span class="label">[48]</span></a> The cat spitting at the dog is a circumstance in the fourth -plate of <i>Industry and Idleness</i>, where it is naturally introduced. -The dog attends on a porter who is bringing in goods; and -the warehouse cat, who considers this animal as an invader, is -preparing to defend her person and premises.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_67" id="Footnote_49_67"></a><a href="#FNanchor_49_67"><span class="label">[49]</span></a> When this ample, nay, redundant, apology by Dr. <i>Joseph -Warton</i> first made its appearance, <i>Hogarth</i> was highly delighted -with as much of it as he understood. But, not knowing -the import of the word ΗθΟΣ [Greek: Ethos], he hastened to his friends -for information. All, in their turn, sported with his want of -skill in the learned languages; first telling him it was Greek -for one strange thing, and then for another, so that his mind -remained in a state of suspence; as, for aught he knew to the -contrary, some such meaning might lie under these crooked -letters, as would overset the compliments paid him in the former -parts of the paragraph. No short time, therefore, had -passed before he could determine whether he ought to retract -or continue his charge against his adversary: but it was at last -obliterated. For several months afterwards, however, poor -<i>Hogarth</i> never praised his provision or his wine, without being -asked what proportion of the ΗθΟΣ [Greek: Ethos] he supposed to be in either.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_68" id="Footnote_50_68"></a><a href="#FNanchor_50_68"><span class="label">[50]</span></a> An engraving from this picture may be expected from -Mr. <i>Livesay</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_69" id="Footnote_51_69"></a><a href="#FNanchor_51_69"><span class="label">[51]</span></a> A polite gentleman, of great learning, and much -esteemed. He had some good pictures, and a very fine library, -in the great house at <i>Peckham</i> (formerly inhabited by -Lord <i>Trevor</i>), which, together with a considerable estate -there, was bequeathed to him by his aunt Mrs. <i>Hill</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_70" id="Footnote_52_70"></a><a href="#FNanchor_52_70"><span class="label">[52]</span></a> See the names of the purchasers, and prices of this collection, -in the <i>Gentleman's Magazine</i>, 1758, p. 225.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_71" id="Footnote_53_71"></a><a href="#FNanchor_53_71"><span class="label">[53]</span></a> He painted the heart from an injected one provided for -him by <i>Cæsar Hawkins</i> the surgeon; and, on the authority of -repeated inspection, I venture to affirm, that the fingers of -<i>Sigismunda</i> are unstained with blood, and that neither of her -hands is employed in rending ornaments from her head, or -any other part of her person. In this instance Mr. <i>Walpole's</i> -memory must have failed him, as I am confident that his misrepresentation -was undesigned. It is whispered (we know not -with how much truth) that Mrs. <i>H.</i> was hurt by this description -of the picture, and that she returned no thanks for the -volume that contains it, when it was sent to her as a present -by its author. It should seem that she still designs to dispose -of this ill-fated performance, and thinks that its reputation -required no additional blast. -</p> -<p> -I have reprinted this note, without correction, that I might -thereby obtain the fairer opportunity of doing justice to Mr. -<i>Walpole</i>, concerning the faithfulness of whose memory I had -ventured to express a doubt. Genuine information is not always -to be had; nor shall I hesitate a moment to apologize -for the fallaciousness of mine. The fingers of <i>Sigismunda</i> were -<i>originally</i> stained with blood. This indelicate and offensive circumstance -was pointed out by some intelligent friend to <i>Hogarth</i>, -who reluctantly effaced it. -</p> -<p> -A correspondent, however, on reading this work, has furnished -an additional reason why the lady already mentioned -may be offended by the severity of Mr. <i>Walpole's</i> strictures on -<i>Sigismunda</i>. "It has been whispered that Count <i>Guiscard's</i> -widow was a copy from the <i>daughter of Sir James Thornhill</i>. -If this circumstance be true, the very accomplished Critick -of <i>Strawberry Hill</i> will own at least that her wrath and <i>Juno's</i> -had the same provocation, '<i>Judiciam Paridis, spretæque -injuria formæ</i>.' Impartiality, however, obliges us to add, -that Mrs. <i>Hogarth</i>, though in years, is still a very fine woman; -and that Mr. <i>Walpole's</i> idea of what a picture of <i>Sigismunda</i> -ought to express, is poetically conceived, and delivered -with uncommon elegance and force of language. -The <i>sober grief</i>, the <i>dignity of suppressed anguish</i>, the <i>involuntary -tear</i>, the <i>settled meditation on the fate she meant to meet</i>, -and the <i>amorous warmth turned holy by despair</i>, are words that -fill the place of colours, supply all the imperfections of -<i>Hogarth's</i> design, and succeed even where a <i>Furino</i> or a <i>Correggio</i> -may have failed."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_72" id="Footnote_54_72"></a><a href="#FNanchor_54_72"><span class="label">[54]</span></a> This circumstance was ridiculed in a grotesque print, -called <i>A Harlot blubbering over a bullock's heart. By William -Hogart.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_73" id="Footnote_55_73"></a><a href="#FNanchor_55_73"><span class="label">[55]</span></a> "Many causes may vitiate a writer's judgement of his own -works. On that which has cost him much labour he sets a -high value, because he is unwilling to think that he has been -diligent in vain; what has been produced without toilsome efforts -is considered with delight, as a proof of vigorous faculties -and fertile invention; and the last work, whatever it be, has necessarily -most of the grace of novelty. <i>Milton</i>, however it happened, -had this prejudice, and had it to himself." Dr. <span class="smcap">Johnson</span>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_74" id="Footnote_56_74"></a><a href="#FNanchor_56_74"><span class="label">[56]</span></a> <i>Sigismunda</i>, however, though she missed of judicious admirers, -had, at least, the good fortune to meet with a flatterer -in the late Mr. <i>Robert Lloyd</i>, whose poem intituled <i>Genius, -Envy,</i> and <i>Time,</i> addressed to <i>William Hogarth</i>, esq. has the -following lines. <i>Time</i> is the speaker. -</p> -<blockquote><p> -"While <i>Sigismunda's</i> deep distress<br /> -Which looks the soul of wretchedness,<br /> -When I, with slow and softening pen,<br /> -Have gone o'er all the tints agen,<br /> -Shall urge a bold and proper claim,<br /> -To level half the ancient fame;<br /> -While future ages, yet unknown,<br /> -With critic air shall proudly own<br /> -Thy <i>Hogarth</i> first of every clime<br /> -For humour keen, or strong sublime, &c."<br /> -</p></blockquote> -<p> -It is but justice, on one hand, to add, that when <i>Lloyd</i> wrote -this eulogium, he was not yet enlisted under the banners of -fashion; but impartiality, on the other hand, requires we -should observe that, having, like <i>Hogarth</i>, seen few pictures -by the best masters, he was treating of an art he did not understand. -</p> -<p> -The authors of the <i>Monthly Review</i> are of opinion, that -<i>Mr. Walpole</i> speaks too contemptuously of <i>Sigismunda</i>, and that -there is no ground for the insinuation that the person for -whom it was painted thought meanly of it. "We have in -our possession (say they) a letter to <i>Hogarth</i> from the noble -person referred to, in which he expresses himself in the following -terms;—<i>I really think the performance so striking and -inimitable, that the constantly having it before one's eyes, would -be often occasioning melancholy ideas to arise in one's mind, which, -a curtain being drawn before it, would not diminish in the least.</i>" -Surely this epistle, if genuine, was ironical. Or shall we suppose -that, afterwards, his lordship only saw the picture through -the disgusting medium of the price? Mr. <i>Wilkes's</i> opinion of -the piece will be best conveyed in his own words, which are -therefore copied in note <a href="#Footnote_65_84">65</a>, below. -</p> -<p> -Dr. <i>Morell</i>, an intimate friend of Mr. <i>Hogarth</i>, who was applied -to for information, returned for answer: "His excellencies, -as well as his foibles, are so universally known, that I cannot -add to the former, and would not, if I could, to the -latter. I should think we lived in a very ill-natured world, -if the whims and follies in a man's life were to be exposed, -and his oddities and mistakes, <i>ubi plura nitent</i>, seriously condemned. -But the unhappy affair of <i>Sigismunda</i> requires animadversion. -And I will venture to say that even this <i>Sigismunda</i> -would not have deserved so many hard things as -have been said of it, if Mr. <i>Hogarth</i> had timely and properly -observed the caution—<i>Manum de Tabula</i>. But it was -so altered, upon the criticism of one Connoisseur or another; -and especially when, relying no longer upon strength -of genius, he had recourse to the <i>feigned</i> tears and <i>fictitious</i> -woe of a female friend; that, when it appeared at the exhibition, -I scarce knew it again myself, and from a passable -picture it became little better than the wretched figure -here represented. In my opinion, I never saw a finer resemblance -of flesh and blood, while the canvas was warm, -I mean <i>wet</i>; but, like that of real flesh, as soon as it was -chilled, the beauty wore off. And this, he said, could not -be helped, as no colours, but those of pure nature, as -<i>ultramarine</i>, &c. would keep their natural brightness. But -it is granted that colouring was not Mr. <i>Hogarth's</i> forte; -and the subject we are upon is a disagreeable one."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_75" id="Footnote_57_75"></a><a href="#FNanchor_57_75"><span class="label">[57]</span></a> The first sketch in oil for <i>Sigismunda</i>, and a drawing from -the finished picture, are in the possession of Mr. <i>Samuel Ireland</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_76" id="Footnote_58_76"></a><a href="#FNanchor_58_76"><span class="label">[58]</span></a> At the Club of Artists, it was not unusual to reproach -<i>Hogarth</i> with want of due attention to the Ancients, whom he -always affected to despise. It accidentally happened that Mr. -<i>Basire</i>, whilst this plate was in hand, was employed likewise -in engraving, for the Society of Antiquaries, two plates of an -antique bronze from the collection of Mr. <i>Hollis</i>, so remarkably -grotesque, that Mr. <i>Hogarth</i> very readily consented that his -plate should be postponed, and declared, "he could not have -imagined that the Ancients had possessed so much humour."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_77" id="Footnote_59_77"></a><a href="#FNanchor_59_77"><span class="label">[59]</span></a> Some subscriptions were actually received, and the money -returned. The munificient Mr. <i>Hollis</i>, who was one of the -subscribers, refused to take back what he had paid; and it -was given by Mr. <i>Basire</i> to a public charity.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_78" id="Footnote_60_78"></a><a href="#FNanchor_60_78"><span class="label">[60]</span></a> Two other little pieces are ascribed to him; the distich -under the subscription-ticket for his <i>Sigismunda</i>, 1761, -</p> -<blockquote><p> -'To Nature and yourself appeal;<br /> -Nor learn of others how to feel.'<br /> -</p></blockquote> -<p> -And the following well-known Epigram: -</p> -<blockquote><p> -<span style="margin-left: 1em;">"Your servant, Sir," says surly <i>Quin</i>,</span><br /> -<span style="margin-left: 1em;">"Sir, I am yours," replies <i>Macklin</i>,</span><br /> -<span style="margin-left: 1em;">"Why, you're the very <i>Jew</i> you play,</span><br /> -<span style="margin-left: 2em;">Your face performs the task well."</span><br /> -<span style="margin-left: 1em;">"And you are <i>Sir John Brute</i>, they say,</span><br /> -<span style="margin-left: 2em;">And an accomplished <i>Maskwell</i>."</span><br /> -Says <i>Rich</i>, who heard the sneering elves,<br /> -<span style="margin-left: 1em;">And knew their horrid hearts;</span><br /> -<span style="margin-left: 1em;">"Acting too much your very selves,</span><br /> -<span style="margin-left: 2em;">You overdo your parts."<a name="FNanchor_A_79" id="FNanchor_A_79"></a><a href="#Footnote_A_79" class="fnanchor">[A]</a></span><br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_A_79" id="Footnote_A_79"></a><a href="#FNanchor_A_79"><span class="label">[A]</span></a> The censure contained in these poor lines is eminently unjust. -<i>Macklin</i> is known to have been an anxious and affectionate parent, and -<i>Quin</i> a benevolent and liberal friend.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_61_80" id="Footnote_61_80"></a><a href="#FNanchor_61_80"><span class="label">[61]</span></a> On what account I know not, but he had then forborn -painting for more than a year.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_81" id="Footnote_62_81"></a><a href="#FNanchor_62_81"><span class="label">[62]</span></a> See hereafter, note <a href="#Footnote_65_84">65</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_82" id="Footnote_63_82"></a><a href="#FNanchor_63_82"><span class="label">[63]</span></a> In the Beauties of all the Magazines, 1773, p. 440, is a -droll "Epistle from <i>Jacob Henriques</i>, born anno Domini, &c. -to Messieurs <i>Hogarth</i> and <i>Churchill</i> greeting."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_83" id="Footnote_64_83"></a><a href="#FNanchor_64_83"><span class="label">[64]</span></a> For this the Satirist unmercifully apologizes in the conclusion -of his poem, which may be seen in the Catalogue, -under the year 1763, in a <a href="#Footnote_3_295">note</a> on N° 2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_84" id="Footnote_65_84"></a><a href="#FNanchor_65_84"><span class="label">[65]</span></a> As much of this paper as relates to our artist is here -subjoined: -</p> -<p> -"The humourous Mr. <i>Hogarth</i>, the <i>supposed</i> author of the -<i>Analysis of Beauty</i>, has at last entered the list of politicians, -and given us a print of <i>The Times. Words are man's province</i>, -says <i>Pope</i>; but they are not Mr. <i>Hogarth's</i> province. He -somewhere mentions his being indebted to a friend for a -third part of the <i>wording</i>: that is his phrase. We all titter -the instant he takes up a <i>pen</i>, but we tremble when we see -the <i>pencil</i> in his hand. I will do him the justice to say, that -he possesses the rare talent of gibbetting in colours, and -that in most of his works he has been a very good moral satirist. -His forte is there, and he should have kept it. When -he has at any time deviated from <i>his own peculiar walk</i>, he -has never failed to make himself perfectly ridiculous. I -need only make my appeal to any one of his <i>historical</i> or -<i>portrait</i> pieces, which are now considered as almost beneath -all criticism. The favourite <i>Sigismunda</i>, the labour of so -many years, the boasted effort of his art, was not <i>human</i>. -If the figure had a resemblance of any thing 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. All his friends remember what tiresome -discourses were held by him day after day about the -transcendent merit of it, and how the great names of <i>Raphael, -Vandyke,</i> and others, were made to yield the palm of -beauty, grace, expression, &c. to him, for this long laboured, -yet still, <i>uninteresting</i>, 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> -"The darling passion of Mr. <i>Hogarth</i> is to shew the <i>faulty</i> -and <i>dark</i> side of every object. He never gives us in perfection -the <i>fair face of nature</i>, but admirably well holds out -her deformities to ridicule. The reason is plain. All objects -are painted on his <i>retina</i> in a grotesque manner, and -he has never felt the force of what the <i>French</i> call <i>la belle -nature</i>. He never caught a single idea of beauty, grace, or -elegance; but, on the other hand, he never missed the least -flaw in almost any production of nature or of art. This is -his true character. He has succeeded very happily in the -way of humour, and has miscarried in every other attempt. -This has arisen in some measure from his head, but much -more from his heart. After <i>Marriage à la Mode</i>, the public -wished for a series of prints of a <i>happy</i> marriage. <i>Hogarth</i> -made the attempt, but the rancour and malevolence of his -mind made him very soon turn 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> -"I have observed some time his <i>setting sun</i>. He has long -been very <i>dim</i>, and almost <i>shorn of his beams</i>. He seems so -conscious of this, that he now glimmers with <i>borrowed light. -John Bull's house in flames</i> has been hackney'd 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 -<i>Hogarth</i>, but to <i>Callot</i>. That spirited <i>Italian</i>, whom the -<i>English</i> painter has so carefully studied, has given us in the -<i>Balli di Sfessania di Jacomo Callot</i>, the very same ideas, but -infinitely more ludicrous in the execution. The piece is -<i>Smaraolo cornuto. Ratsa di Boio. The Times</i> must be confessed -destitute of every kind of original merit. The print -at first view appears too much crouded with figures; and is -in every part confused, perplexed, and embarrassed. The -<i>story is not well told to the eye</i>; nor can we any where discover -the faintest ray of that genius, which with a few strokes of -the pencil enabled us to penetrate into the deepest recesses -of thought, and even caprice, in a <i>rake</i>, a <i>harlot</i>, and a <i>profligate -young man of quality</i>. -</p> -<p> -"I own too that I am grieved to see the genius of <i>Hogarth</i>, -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. Whence can proceed so surprizing a change? Is it -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, -though he had particular obligations to the very same gentleman! -What wonder then that some of the most respectable -characters of the age become the objects of his ridicule? -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. There is -besides a silly affectation of singularity, joined to a strong -desire of leading the rest of the world: when that is once -found impracticable, the spleen engendered on such an occasion -is discharged at a particular object, or ends in a general -misanthropy. The public never had the least share of -<i>Hogarth's</i> regard, or even good-will. <i>Gain</i> and <i>vanity</i> have -steered his little bark quite through life. He has never -been consistent but with respect to those two principles. -What a despicable part has he acted with regard to the society -of <i>Arts and Sciences</i>! How shuffling has his conduct -been to the whole body of <i>Artists</i>! Both these useful societies -have experienced the most ungenteel and offensive behaviour -from him. There is at this hour scarcely a single -man of any degree of merit in his own profession, with -whom he does not hold a professed enmity. It is impossible -the least degree of friendship could ever subsist in this intercourse -of the arts with him; for his insufferable vanity -will never allow the least merit in another, and no man of -a liberal turn of mind will ever condescend to feed his pride -with the gross and fulsome praise he expects, or to burn the -incense he claims, and indeed snuffs like a most gracious -god. To this he joins no small share of jealousy; in consequence -of which, he has all his life endeavoured to suppress -rising merit, and has been very expert in every mean underhand -endeavour, to extinguish the least spark of genuine -fire. Rut all <i>genius</i> was not born, nor will die, with Mr. -<i>Hogarth</i>: and notwithstanding all his ungenerous efforts to -damp or chill it in another, I will trust to a discerning and -liberal spirit in the <i>English</i> nation, to patronize and reward -all real merit. It will in the end rise superior to the idle -laugh of the hour, which these triflers think it the highest -praise to be able to raise. For my part, I scarcely know a -more profligate principle, than the indiscriminately sacrificing -every thing, however great or good, to the dangerous -talent of ridicule; and a man, whose sole object is <i>dummodo -risum excutiat</i>, ought to be avoided as the worst pest of society, -as the <i>enemy</i> most to be feared, I mean a treacherous -<i>friend</i>. Such a man will go all lengths to raise a laugh at -your expence, and your whole life will be made miserable -from his ambition of diverting the company for half an -hour. -</p> -<p> -"I love to trace the ideas of a Genius, and to mark the -progress of every art. Mr. <i>Hogarth</i> has heard much of -the <i>cobwebs</i> of the law, and the <i>spinning fine spider-webs</i>, &c. -This is thrown on paper, and the idea carefully treasured. -Lord <i>Hardwicke</i> being at the head of the law, and deservedly -in as high esteem with his countrymen as any man who -ever held the seals, unspotted in life, and equally revered -by prince and people, becomes an excellent subject for the -satirical pencil of a malevolent painter. He is accordingly -emblematically represented by Mr. <i>Hogarth</i> as a great spider -in a large, thick web, with myriads of the carcases of <i>flies, -clients</i> I suppose, sucked to death by the gloomy tyrant. -Mr. <i>Hogarth</i> had heard of Mr. <i>Pitt's</i> being <i>above</i> all his -fellow-citizens, and of his superior virtue having <i>raised</i> him -to an envied and dangerous <i>height</i> of grandeur. Now this -he has taken literally, and, with the kind aid of <i>Callot</i>, has -put Mr. <i>Pitt</i> on stilts, and made the people <i>look up</i> to him; -which, after all this insipid ridicule, they will continue to -do, as a kind of tutelar deity, from whom they expect -that security and those blessings they despair of from others. -As to the conceit of the <i>bellows</i>, to signify, I suppose, Mr. -<i>Pitt's</i> endeavours to blow up the flames of war and discord, -it is at once very poor and very false. His whole conduct -the last session in parliament, and out of the house ever -since, has demonstrated the contrary: <i>neque vero hoc</i> oratione -<i>solum, sed multo magis</i> vitâ <i>et</i> moribus <i>comprobavit.</i> -Cic. de Fin. -</p> -<p> -"Lord <i>Temple</i> is a nobleman of fine parts and unsullied honour, -who has shewn a thorough disinterestedness, a great -love of liberty, and a steady attachment to the public, in -every part of his conduct through life. It was impossible -such a character could be missed by the poisonous shafts of -envy, which we see pointed at all superior virtue.... -Mr. <i>Hogarth's</i> wit on this noble lord is confined to the -wretched conceits of the <i>Temple Coffee-house</i>, and a <i>squirt</i> to -signify the <i>playing on</i> the ministry. I really believe this wit -is all Mr. <i>Hogarth's</i> own. -</p> -<p> -"When a man of parts dedicates his talents to the service -of his country, he deserves the highest rewards: when he -makes them subservient to base purposes, he merits execration -and punishment. Among the <i>Spartans</i>, music and poetry -were made to serve the noblest purposes of the <i>Lacedemonian</i> -state. A manly courage and great contempt of -death were inspired by them; and the poet, musician, soldier, -and patriot, were often the same good citizen, who -despised the low <i>mechanic lucre</i> of the profession, and was -zealous only for the glory of his country. In the year -1746, when the <i>Guards</i> were ordered to march to <i>Finchley</i>, -on the most important service they could be employed in, -the extinguishing a <i>Scottish</i> rebellion, which threatened the -intire ruin of the illustrious family on the throne, and, in -consequence, of our liberties, Mr. <i>Hogarth</i> came out with -a print to make them ridiculous to their countrymen and to -all <i>Europe</i>; or perhaps it rather was to tell the <i>Scots</i> 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 -<i>sovereign</i>, he dedicated the print to the king of <i>Pru[s]ia</i><a name="FNanchor_A_85" id="FNanchor_A_85"></a><a href="#Footnote_A_85" class="fnanchor">[A]</a> -<i>as an encourager of arts</i>. Is this patriotism! In old <i>Rome</i>, -or in any of the <i>Grecian</i> states, he would have been punished -as a profligate citizen, totally devoid of all principle. -In <i>England</i> he is rewarded, and made <i>serjeant</i> painter to -that very king's grandson. I think the term means the -same as what is vulgarly called <i>house</i>-painter; and indeed -he has not been suffered to <i>caricature</i> the royal family. The -post of portrait-painter is given to a <i>Scotsman</i>, one <i>Ramsay</i>. -Mr. <i>Hogarth</i> is only to paint the wainscot of the rooms, or, -in the phrase of the art, may be called their <i>pannel-painter</i>. -But how have the <i>Guards</i> offended Mr. <i>Hogarth</i>, for he is -again attacking them in <i>The Times</i>? Lord <i>Harrington's</i> second -troop of grenadier guards is allowed to be very perfect -in every part of military discipline; and <i>Hogarth's</i> friend, -the king of <i>Prussia</i>, could have shewn him the real importance -of it. He had heard them much applauded, and -therefore must abuse them. The ridicule ends however in -airs composed by <i>Harrington</i>, and in a piece of <i>clock-work</i>; -but he ought to have known, that though <i>l'homme machine</i> -is not sound philosophy, it is the true doctrine of tactics. -</p> -<p> -"The <i>Militia</i> has received so many just testimonies of applause, -both from their king and country, that the attack -of envy and malevolence was long expected. But I dare say -this poor jester will have Mr. <i>George Townshend's</i> free consent -to vent his spleen upon him and the gentlemen of <i>Norfolk</i>. -I believe he may ever go on in this way almost unnoticed; -at one time ridiculing the <i>Guards</i> for a <i>disorderly</i>, and at -another the <i>Militia</i> for an exact and <i>orderly</i> march. Mr. -<i>Townshend</i> will still have the warm applause of his country, -and the truest satisfaction, that of an honest heart, for his -patriot labours in establishing this great plan of internal defence, -a <i>Militia</i>, which has delivered us from the ignominy -of <i>foreign hirelings</i>, and the ridiculous fears of invasion, by -a brave and well-disciplined body of <i>Englishmen</i>, at all times -ready and zealous for the defence of their country, and of -its laws and constitution."</p> - -<div class="footnote"> - -<p><a name="Footnote_A_85" id="Footnote_A_85"></a><a href="#FNanchor_A_85"><span class="label">[A]</span></a> This is the orthography of Mr. <i>Hogarth</i>. See the <a href="#Page_299">print</a>.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_66_86" id="Footnote_66_86"></a><a href="#FNanchor_66_86"><span class="label">[66]</span></a> The present Lord <i>Camden</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_87" id="Footnote_67_87"></a><a href="#FNanchor_67_87"><span class="label">[67]</span></a> This gave rise to a catchpenny, intituled, "<i>Pug's</i> Reply -to Parson <i>Bruin</i>; or, a Political Conference, occasioned by -an Epistle to <i>William Hogarth</i>, Esq;" 4to.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_88" id="Footnote_68_88"></a><a href="#FNanchor_68_88"><span class="label">[68]</span></a> "Which was probably accelerated by this unlucky (we -had almost said unnatural) event; for <i>Wilkes, Churchill,</i> and -<i>Hogarth</i>, had been intimate friends, and might have continued -such as long as they lived, had not the dæmon of politics -and party sown discord among them, and dissolved -their union."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_89" id="Footnote_69_89"></a><a href="#FNanchor_69_89"><span class="label">[69]</span></a>—the friend——Dr. <i>Morell</i>. The conduct of this gentleman -cannot fail to put the reader in mind of <i>Sir Fretful -Plagiary's</i> complaint in Mr. Sheridan's <i>Critic</i>: "—if it is abuse, -why one is always sure to hear of it from one damn'd good-natured -<i>friend</i> or another."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_90" id="Footnote_70_90"></a><a href="#FNanchor_70_90"><span class="label">[70]</span></a> -</p> -<blockquote><p> -"While thinking figures from the canvas start,<br /> -And <i>Hogarth</i> is the <i>Garrick</i> of his art,"<br /> -</p></blockquote> -<p> -is a couplet in <i>Smart's Hilliad</i>. -</p> -<p> -The compliment from the <i>Hilliad</i> to Mr. <i>Hogarth</i>, Mr. <i>Smart</i> -observes, "is reciprocal, and reflects a lustre on Mr. <i>Garrick</i>, both -of them having similar talents, equally capable of the highest elevation, -and of representing the ordinary scenes of life with the most -exquisite humour."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_91" id="Footnote_71_91"></a><a href="#FNanchor_71_91"><span class="label">[71]</span></a> The pyramid, &c. This stroke of satire was retorted on -<i>Hogarth</i>, and employed to express his advanced age and declining -abilities; while the <i>Cheshire</i> cheese, with 3000 <i>l.</i> on it, -seemed to imply that he himself merited an annual pension. -</p> -<p> -I received this explanation from an ingenious friend.—The -late Mr. <i>Rogers</i> explained it thus: "Mr. <i>Pitt</i> is represented -in it sitting at his ease [in the position of the great -Sir <i>Isaac Newton</i> in <i>Westminster-Abbey</i>], with a mill-stone -hanging over his head, on which is written 3000 <i>l.</i> in allusion -to his saying, that <i>Hanover</i> was a mill-stone round the neck -of <i>England</i>, on account of the expences attending it; and his -afterwards adding himself to the public expences by accepting -a pension of 3000 <i>l.</i> a year. He is firing a mortar-piece -levelled at a Dove bearing an olive-branch (the symbol -of peace) perched on the standard of <i>England</i>; and is supported -by the City of <i>London</i>, denoted by the two Giants in -<i>Guildhall. Hogarth</i> is flogging <i>Wilkes</i> and <i>Churchill</i>, and -making them dance to the scrapings of a fidler; designed -to represent a Nobleman [Earl <i>Temple</i>], who patronized -them in 1763, and who, for his unmeaning face, has ever -been described without a feature. See <i>Trusler's</i> Preface, -p. vii."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_92" id="Footnote_72_92"></a><a href="#FNanchor_72_92"><span class="label">[72]</span></a> It may be worth observing, that in "Independence," a -poem which was not published by <i>Churchill</i> till the last week of -<i>September</i>, 1764, he considers his antagonist as a departed -Genius: -</p> -<blockquote><p> -"<i>Hogarth</i> would draw him (Envy must allow)<br /> -E'en to the life, <span class="smcap">was Hogarth living now</span>."<br /> -</p></blockquote> -<p> -How little did the sportive Satirist imagine that the power of -pleasing was so soon to cease in both! <i>Hogarth</i> died in four -weeks after the publication of this poem; and <i>Churchill</i> survived -him but nine days. In some lines which were printed in -<i>November</i> 1764, the compiler of these Anecdotes took occasion -to lament that -</p> -<blockquote><p> -"——Scarce had the friendly tear,<br /> -For <i>Hogarth</i> shed, escap'd the generous eye<br /> -Of feeling Pity, when again it flow'd<br /> -For <i>Churchill's</i> fate. Ill can we bear the loss<br /> -Of Fancy's twin-born offspring, close ally'd<br /> -In energy of thought, though different paths<br /> -They sought for fame! Though jarring passions sway'd<br /> -The living artists, let the funeral wreath<br /> -Unite their memory!"<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_73_93" id="Footnote_73_93"></a><a href="#FNanchor_73_93"><span class="label">[73]</span></a> The <i>Monthly Reviewer</i> unintentionally reads <i>supper</i>, instead -of <i>dinner</i>. As to this article of minute intelligence, -whether it be true or false, it was communicated by Mrs. -<i>Lewis</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_74_94" id="Footnote_74_94"></a><a href="#FNanchor_74_94"><span class="label">[74]</span></a> Mr. <i>Walpole</i> once invited <i>Gray</i> the Poet and <i>Hogarth</i> to -dine with him; but what with the reserve of the one, and a -want of colloquial talents in the other, he never passed a duller -time than between these representatives of <i>Tragedy</i> and <i>Comedy</i>, -being obliged to rely entirely on his own efforts to support -conversation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_75_95" id="Footnote_75_95"></a><a href="#FNanchor_75_95"><span class="label">[75]</span></a> The most solid praise, perhaps, that ever was given to our -artist, was a legacy of 100 <i>l.</i> "for the great pleasure the testator -had received from his works."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_76_96" id="Footnote_76_96"></a><a href="#FNanchor_76_96"><span class="label">[76]</span></a> Originally begun for a portrait of Mrs. <i>Cholmondeley</i>, but -altered, after one or two sittings, to the Queen.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_77_97" id="Footnote_77_97"></a><a href="#FNanchor_77_97"><span class="label">[77]</span></a> See p. <a href="#Page_9">9</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_78_98" id="Footnote_78_98"></a><a href="#FNanchor_78_98"><span class="label">[78]</span></a> To whom, in case of Mrs. <i>Hogarth's</i> marrying again, he -gave the plates of Marriage à la Mode, and of the Harlot's -and Rake's Progress.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_99" id="Footnote_79_99"></a><a href="#FNanchor_79_99"><span class="label">[79]</span></a> Whilst the Marshal was a prisoner in <i>England</i>, Monsieur -<i>Coetlagon</i> opened a subscription at two guineas, one to be paid -on subscribing, the other on the delivery of "A Dictionary -of Arts and Sciences," in two large folio volumes. Many -of the nobility, as well as gentry subscribed; but very few of -them made good their second payments, or had the work; -and the author dedicated it (in gratitude, it is supposed, for -the generous patronage he received from the <i>English</i>) to -Marshal <i>Belleisle</i>; whose place of confinement was in <i>The -Round Tower</i> at <i>Windsor Castle</i>; where the large dining-room -is still ornamented with a variety of humourous <i>French</i> engravings; -and a small library of <i>French</i> books.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_100" id="Footnote_80_100"></a><a href="#FNanchor_80_100"><span class="label">[80]</span></a> In the year 1768 was published a work, intituled, "<i>Hogarth</i> -Moralised. Being a complete Edition of <i>Hogarth's</i> -Works. Containing near Fourscore Copper-Plates, most -elegantly engraved. With an Explanation, pointing out -the many Beauties that may have hitherto escaped Notice, -and a Comment on their Moral Tendency, &c. With the -Approbation of <i>Jane Hogarth</i>, Widow of the late Mr. <i>Hogarth</i>." -</p> -<p> -The history of the work is as follows: The Rev. <i>John -Trusler</i> engaged with some engravers in this design, after <i>Hogarth's</i> -death, when they could carry it into execution with -impunity. Mrs. <i>Hogarth</i>, finding her property would be much -affected by it, was glad to accept an offer they made her, of -entering into partnership with them; and they were very glad -to receive her, knowing her name would give credit to the -publication, and that she would certainly supply many anecdotes -to explain the plates. Such as are found in the work -are probably all hers. The other stuff was introduced by the -editor to eke out the book. We are informed, that, when -the undertaking was completed, in order to get rid of her -partners, she was glad to buy out their shares, so that the -whole expence which fell on her amounted to at least 700 <i>l.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_81_101" id="Footnote_81_101"></a><a href="#FNanchor_81_101"><span class="label">[81]</span></a> "They abound," says an excellent judge, "in true humour; -and satire, which is generally well-directed: they -are admirable moral lessons, and afford a fund of entertainment -suited to every taste: a circumstance, which shews -them to be just copies of nature." We may consider them -too as valuable repositories of the manners, customs, and -dresses of the present age. What amusement would a collection -of this kind afford, drawn from every period of the -history of <i>Britain!</i>—How far the works of <i>Hogarth</i> will -bear a critical examination, may be the subject of a little -more enquiry. In design <i>Hogarth</i> was seldom at a loss. His -invention was fertile, and his judgement accurate. An improper -incident is rarely introduced; a proper one rarely -omitted. No one could tell a story better; or make it, in -all its circumstances, more intelligible. His genius, however, -it must be owned, was suited only to low, or familiar -subjects. It never soared above common life: to subjects -naturally sublime, or which from antiquity, or other accidents, -borrowed dignity, he could not rise. In composition -we see little in him to admire. In many of his prints, -the deficiency is so great, as plainly to imply a want of all -principle; which makes us ready to believe, that when we -do meet with a beautiful group, it is the effect of chance. -In one of his minor works, the Idle Prentice, we seldom -see a crowd more beautifully managed, than in the last -print. If the sheriff's officers had not been placed in a line, -and had been brought a little lower in the picture, so as to -have formed a pyramid with the cart, the composition had -been unexceptionable: and yet the first print of this work -is so striking an instance of disagreeable composition, that -it is amazing, how an artist, who had any idea of beautiful -forms, could suffer so unmasterly a performance to leave -his hands. Of the distribution of light <i>Hogarth</i> had as -little knowledge as of composition. In some of his pieces -we see a good effect; as in the execution just mentioned; -in which, if the figures at the right and left corners had -been kept down a little, the light would have been beautifully -distributed on the fore-ground, and a little fine secondary -light spread over part of the crowd: but at the -same time there is so obvious a deficiency in point of effect, -in most of his prints, that it is very evident he had no principles. -Neither was <i>Hogarth</i> a master in drawing. Of the -muscles and anatomy of the head and hands he had perfect -knowledge; but his trunks are often badly moulded, and -his limbs ill set on. I tax him with plain bad drawing; I -speak not of the niceties of anatomy, and elegance of outline: -of these indeed he knew nothing; nor were they of -use in that mode of design which he cultivated: and yet his -figures, upon the whole, are inspired with so much life -and meaning, that the eye is kept in good humour, in spite -of its inclination to find fault. The author of the Analysis -of Beauty, it might be supposed, would have given us more -instances of grace, than we find in the works of <i>Hogarth</i>; -which shews strongly that theory and practice are not always -united. Many opportunities his subjects naturally afford of -introducing graceful attitudes; and yet we have very few -examples of them. With instances of picturesque grace -his works abound. Of his expression, in which the force -of his genius lay, we cannot speak in terms too high. In -every mode of it he was truly excellent. The passions he -thoroughly understood, and all the effects which they produce -in every part of the human frame: he had the happy -art also of conveying his ideas with the same precision with -which he conceived them.—He was excellent too in expressing -any humorous oddity, which we often see stamped -upon the human face. All his heads are cast in the very -mould of nature. Hence that endless variety, which is displayed -through his works: and hence it is, that the difference -arises between his heads, and the affected caricaturas -of those masters, who have sometimes amused themselves -with patching together an assemblage of features from their -own ideas. Such are <i>Spagniolet's</i>; which, though admirably -executed, appear plainly to have no archetypes in nature. -<i>Hogarth's</i>, on the other hand, are collections of natural curiosities. -The <i>Oxford-heads</i>, the physicians-arms, and some -of his other pieces, are expressly of this humorous kind. -They are truly comic; though ill-natured effusions of -mirth: more entertaining than <i>Spagniolet's</i>, as they are pure -nature; but less innocent, as they contain ill-directed ridicule.—But -the species of expression, in which this master -perhaps most excels, is that happy art of catching those peculiarities -of air, and gesture, which the ridiculous part of -every profession contract; and which, for that reason, become -characteristics of the whole. His counsellors, his undertakers, -his lawyers, his usurers, are all conspicuous at -sight. In a word, almost every profession may see, in his -works, that particular species of affectation which they -should most endeavour to avoid. The execution of this -master is well-suited to his subjects, and manner of treating -them. He etches with great spirit; and never gives one -unnecessary stroke. For myself, I greatly more value the -works of his own needle, than those high-finished prints on -which he employed other engravers. For as the production -of an effect is not his talent; and as this is the chief excellence -of high finishing; his own rough manner is certainly -preferable; in which we have most of the force and spirit -of his expression. The manner in none of his works -pleases me so well as in a small print of a corner of a play-house. -There is more spirit in a work of this kind, struck -off at once, warm from the imagination, than in all the -cold correctness of an elaborate engraving. If all his works -had been executed in this style, with a few improvements in -the compositions, and the management of light, they would -certainly have been a much more valuable collection of -prints than they are. The Rake's Progress, and some of -his other works, are both etched and engraved by himself: -they are well done; but it is plain he meant them as furniture. -As works designed for a critick's eye, they would -certainly have been better without the engraving, except a -few touches in a very few places. The want of effect too -would have been less conspicuous, which in his highest-finished -prints is disagreeably striking." <i>Gilpin, Essay on -Prints,</i> p. 165.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_102" id="Footnote_82_102"></a><a href="#FNanchor_82_102"><span class="label">[82]</span></a> To whom <i>Hogarth</i> bequeathed ten guineas for a ring.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_103" id="Footnote_83_103"></a><a href="#FNanchor_83_103"><span class="label">[83]</span></a> It having been requested in the Catalogue of this exhibition -(which was in <i>Bow-Street, Covent-Garden</i>) that all remarks -on the artists, or their performances, might be sent to <i>The St. -James's Chronicle</i>; the compiler of these Anecdotes transmitted -a few hasty lines, which were printed in that paper <i>April</i> 29, -1762. They are not worth transcribing: but a short extract -will preserve the <span class="smcap">assumed</span> names of some of the artists— -</p> -<blockquote><p> -"And <i>Masmore, Lester's, Ward's</i>, and <i>Fishbourne's</i> name,<br /> -With thine, <i>Vandyck</i>, shall live to endless fame;<br /> -In your collection Wit and Skill combine,<br /> -And Humour flows in every well-chose Sign."<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_84_104" id="Footnote_84_104"></a><a href="#FNanchor_84_104"><span class="label">[84]</span></a> She is still living, and has been loud in abuse of this -work, a circumstance to which she owes a niche in it.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_105" id="Footnote_85_105"></a><a href="#FNanchor_85_105"><span class="label">[85]</span></a> Among the compliments <i>Hogarth</i> was disposed to pay his -own genius, he asserted his ability to take a complete likeness -in three quarters of an hour. This head of Mr. <i>Welsh</i> was -painted within the compass of the time prescribed, but had -afterwards the advantage of a second sitting.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_106" id="Footnote_86_106"></a><a href="#FNanchor_86_106"><span class="label">[86]</span></a> Mr. <i>Walpole</i> is now possessed of the portrait of his brother -Sir <i>Edward</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_107" id="Footnote_87_107"></a><a href="#FNanchor_87_107"><span class="label">[87]</span></a> This, and the preceding article, are now in the possession -of <i>Peter Coxe</i>, esq. of <i>College Hill</i>, in the city, executor to Mr. -<i>Forrest</i>, and brother to the Rev. <i>William Coxe</i>, who has obliged -the world with his Travels through <i>Poland, Russia,</i> &c.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_88_108" id="Footnote_88_108"></a><a href="#FNanchor_88_108"><span class="label">[88]</span></a> The following brief Memoirs of Mr. <i>William Tothall</i>, -F. A. S. were communicated by Dr. <i>Ducarel</i>, who was personally -acquainted with Mr. <i>Tothall</i>, and received the intelligence -in a letter from the Rev. Mr. <i>Lyon</i>, Minister of <i>St. -Mary's</i> at <i>Dover</i>, to whom the particulars in it were related -by Captain <i>Bulstrode</i> of that town. -</p> -<p><br /> -"<i>Dover, June</i> 11, 1781.</p> -<p>"Sir,</p> -<p> -"The following narrative of your friend <i>Tothall</i> may be depended -upon, as Captain <i>Bulstrode</i> informs me he frequently -heard it from <i>Tothall</i> himself. His father was an apothecary -in <i>Fleet-street</i>; but dying, as Captain <i>Bulstrode</i> thinks, -while his son was young, and in but indifferent circumstances -(as his mother afterwards practised as a midwife), -he was taken by an uncle, who was a fishmonger. He lived -with his uncle some time; but, not approving of the business, -ran away from him, and entered on board a merchant-ship -going to <i>The West Indies</i>. He also went several times to -<i>Newfoundland</i>. During the time of his being in <i>The West -Indies</i>, though so early in life, he was indefatigable in the -collecting of shells, and brought home several utterly unknown -in <i>England</i>. He continued at sea till he was almost -30 years of age. In one of his voyages he was taken by -the <i>Spaniards</i>, and marched a considerable way up the -country, without shoe or stocking, with only a woollen cap -on his head, and a brown waistcoat on, with a large staff -in his hand. He had afterwards his picture drawn in this -dress. He continued a prisoner till exchanged. -</p> -<p> -"When he was about 30 years of age, he went as shopman -to a woollen-draper at the corner of <i>Tavistock Court, Covent -Garden,</i> with whom he continued some years; and his master, -finding him a faithful servant, told him, 'as he dealt -only in cloth, and his customers were taylors, he would -lend him money to buy shalloons and trimmings, and recommend -him to his chapmen, if he liked to take the trouble -and the profit of the branch upon himself.' He readily -accepted the proposal. -</p> -<p> -"About the same time an acquaintance in <i>The West Indies</i> -sent him a puncheon of rum. Before he landed it, he consulted -his master what he should do with it; who advised -him to sell it out in small quantities, and lent him a cellar -in his house. He followed this advice; and, finding the -profits considerable, wrote to his correspondent in <i>The West -Indies</i> to send him another supply; and from this time he -commenced rum, brandy, and shalloon merchant. -</p> -<p> -"I cannot learn how long he continued in this way; but -his master having acquired a fortune, and being desirous of -retiring from business, left him in possession of his whole -stock at prime cost, and he was to pay him as he sold it. -He now commenced woollen-draper, and continued in this -business till he acquired a sum sufficient, as he thought, to -retire upon; and he left his business to his shopman, the -late Mr. <i>Job Ray</i>, on the same conditions his master left it -to him. -</p> -<p> -"During his residence in <i>Covent Garden</i>, he became a member -of the club at the <i>Bedford Coffee-house</i>, and of course -contracted an acquaintance with <i>Hogarth, Lambert,</i> and other -men eminent in their way; and <i>Hogarth</i> lived some time in -his house on the footing of a most intimate friend. -</p> -<p> -"On quitting his business (being troubled with an asthmatical -complaint) he came and settled at <i>Dover</i>; where, soon -becoming connected with certain persons in the smuggling -branch, he fitted out a bye-boat, which was designed (as is -supposed) to promote their business; but in this branch -Fortune, which had hitherto smiled upon his endeavours, -now frowned upon his attempts. The vessel, in going over -with horses either to <i>Ostend</i> or <i>Flushing</i>, was lost. This, -with some other losses, so reduced him, that he was rather -straitened in his circumstances, and he could not live as he -had done previous to the losses he sustained. -</p> -<p> -"His residence was near the Rope-walk at <i>Dover</i> (since -pulled down), where his old friend <i>Hogarth</i> frequently visited -him: but being in a decline, and his asthma increasing, -he bought a very small cottage at <i>West Langdon</i>, about three -miles from <i>Dover</i>, to which he used to go on horseback. -Digging in a very small garden belonging to this cottage, -he had the good fortune to find some valuable fossils; which -to a man of his taste was a singular treasure. He died -<i>January</i> 9, 1768, at the age of 70 (possessed of about -1500 <i>l.</i>), and was buried at <i>St. Mary's Church</i> at <i>Dover</i>. -His collection of shells and fossils were sold by auction at -<i>Longford's</i>, the following year. -</p> -<p> -"The foregoing is the substance of what I have gathered -from Capt. <i>Bulstrode</i>. If there should be any other particular -which you are desirous of knowing, I shall be happy -to make the inquiry, and to communicate it; and am, Sir, -your most obedient humble servant, -</p> -<p> -"<span class="smcap">J. Lyon</span>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_109" id="Footnote_89_109"></a><a href="#FNanchor_89_109"><span class="label">[89]</span></a> <i>William Gostling</i>, M. A. a minor canon of <i>Canterbury</i> cathedral -for fifty years, and vicar of <i>Stone</i> in the isle of <i>Oxney, -Kent</i>, well known to all lovers of antiquity by his truly original -"Walk in and about <i>Canterbury</i>," first printed in 1774, -of which there have been three editions. He died <i>March</i> 9, -1777, in the 82d year of his age. Of his father, who was -first a minor canon of <i>Canterbury</i>, and afterwards one of the -priests of the chapel-royal and sub-dean of <i>St. Paul's</i>, there -are several anecdotes, communicated by his son, in Sir <i>John -Hawkins's</i> "History of Music." To which may be added -what King <i>Charles</i> II. is reported to have said of him, "You -may talk as much as you please of your nightingales, but I -have a <i>Gostling</i> who excels them all." Another time, the -same merry monarch presented him with a silver egg filled -with guineas, saying, "that he had heard that eggs were -good for the voice."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_90_110" id="Footnote_90_110"></a><a href="#FNanchor_90_110"><span class="label">[90]</span></a> See the <a href="#Page_413">Catalogue</a>, under the year 1782.</p></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> - - -<h2><a name="CATALOGUE" id="CATALOGUE">CATALOGUE</a> -OF -HOGARTH'S PRINTS.<a name="FNanchor_1_111" id="FNanchor_1_111"></a><a href="#Footnote_1_111" class="fnanchor">[1]</a></h2> - - -<p>I am now engaged in an undertaking, which -from its nature will be imperfect. While <i>Hogarth</i> -was yet an apprentice, and worked on his -master's account, we may suppose he was not at liberty -to affix his name to his own performances. -Nay, afterwards, when he appeared as an independent -artist, he probably left many of them anonymous, -being sometimes obliged to measure out his -exertions in proportion to the scanty prices paid for -them. For reasons like these, we may be sure that -many of his early plates must have eluded search; -and, if gradually discovered, will serve only to swell -the collections they will not adorn.—The judicious -connoisseur, perhaps, would be content to possess -the pictures of <i>Raffaelle</i>, without aiming at a complete<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> -assemblage of the Roman <i>Fayence</i> that passes -under his name.</p> - -<p>In settling the dates of his pieces there is also difficulty. -Sometimes, indeed, they have been inferred -from circumstances almost infallible; as in respect to -the <i>Rabbit-breeder</i>,&c. which would naturally have -been published in the year 1726. On other occasions -they are determined within a certain compass of time. -Thus the <i>Ticket for Milward</i>, then a player at <i>Lincoln's-Inn -Fields</i>, must have preceded 1733, when he -removed with <i>Rich</i> to <i>Covent Garden</i>; and it is -equally sure, that <i>Orator Henley christening an Infant</i>, -and <i>A Girl swearing a child to a grave citizen</i>, came -out before 1735, in which year we know that <i>J. Y. -Schley</i>, one of <i>Picart's</i> coadjutors, had re-engraved -them both for the use of the fourth volume of the -<i>Religious Ceremonies</i>, published at <i>Amsterdam</i> in 1736. -But how are we to guess at the period that produced -<i>Sancho at Dinner</i>, or <i>The Discovery</i>?</p> - -<p>The merits and demerits of his performances -would prove deceitful guides in our researches. As -our artist grew older, he did not regularly advance -in estimation; for neither the frontispieces to <i>Tristram -Shandy</i>, the <i>Times</i>, the <i>Bathos</i>, or the <i>Bear</i>, can be -said to equal many of his earliest productions.—Under -such difficulties is the following chronological list of -our author's pieces attempted.</p> - -<p>The reader is likewise entreated to observe, that -throughout the annexed catalogue of plates, variations, -&c. <i>J. N.</i> has mentioned only such as he has<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> -seen. Alike unwilling to deceive or be deceived, he -has suppressed all intelligence he could not authenticate -from immediate inspection. He might easily -have enlarged his work by admitting particulars of -doubtful authority, sometimes imperfectly recollected -by their several communicators, and sometimes offered -as sportive impositions on an author's credulity. -Of this weakness every one possesses some; but perhaps -no man more than he who ambitiously seeks opportunities -to improve on the labours of another. -<i>J. N.</i> is sure, however, that Mr. <i>Walpole</i>, whom none -can exceed in taste and judgment, will be little concerned -about the merits of a performance that -founds its claim to notice only on the humbler pretences -of industry and correctness.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_111" id="Footnote_1_111"></a><a href="#FNanchor_1_111"><span class="label">[1]</span></a> It is proper to acknowledge, that all such short strictures -and annotations on these performances as are distinguished by -being printed both in <i>Italics</i> and between inverted commas, are -copied from the list of <i>Hogarth's</i> works published by Mr. <i>Walpole</i>.</p></div> - -<hr class="tb" /> - -<h4>1720.</h4> - - -<p>1. <i>W. Hogarth</i>, engraver, with two figures and two -<i>Cupids, April</i> 28, 1720.<br /> -<br /></p> - -<hr class="tb" /> - -<h4>1721.</h4> - - -<p>1. An emblematic print on the <i>South Sea. W. Hogarth -inv. & sc. Sold by Mrs. Chilcot in Westminster-hall, -and B. Caldwell, Printseller in Newgate-street. -"Persons riding on wooden horses. The Devil cutting -Fortune into collops. A man broken on the wheel, &c. -A very poor performance."</i> Under it are the following -verses:</p> - -<blockquote><p> -See here the causes why in <i>London</i><br /> -So many men are made and undone;<br /> -<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>That arts and honest trading drop,<br /> -To swarm about the Devil's shop (A),<br /> -Who cuts out (B) Fortune's golden haunches,<br /> -Trapping their souls with lots and chances,<br /> -Sharing 'em from blue garters down<br /> -To all blue aprons in the town.<br /> -Here all religions flock together,<br /> -Like tame and wild fowl of a feather,<br /> -Leaving their strife religious bustle,<br /> -Kneel down to play at pitch and hustle (C):<br /> -Thus when the shepherds are at play;<br /> -Their flocks must surely go astray;<br /> -The woeful cause that in these times<br /> -(E) Honour and Honesty (D) are crimes<br /> -That publickly are punish'd by<br /> -(G) Self-Interest and (F) Vilany;<br /> -So much for mony's magic power,<br /> -Guess at the rest, you find out more.<br /> -<span style="margin-left: 7em;"><i>Price One Shilling.</i><a name="FNanchor_1_112" id="FNanchor_1_112"></a><a href="#Footnote_1_112" class="fnanchor">[1]</a></span><br /> -</p></blockquote> - -<p>It may be observed, that <i>London</i> always affords a set -of itinerant poets, whose office it is to furnish inscriptions -for satirical engravings. I lately overheard -one of these unfortunate sons of the Muse making a -bargain with his employer. "Your print," says he, -"is a taking one, and why won't you go to the price -of a half-crown Epigram?" From such hireling -bards, I suppose, our artist purchased not a few of -the wretched rhimes under his early performances, -unless he himself be considered as the author of them.</p> - -<p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></p> - -<p>Of this print emblematic of the <i>South Sea</i>, there -are, however, two impressions. The second, printed -for <i>Bowles</i>, has been retouched.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_112" id="Footnote_1_112"></a><a href="#FNanchor_1_112"><span class="label">[1]</span></a> For some further account of this design, see the article -<i>Man of Taste</i>, under the year 1732, N° 7.</p><br /></div> - -<p>2. The Lottery.<a name="FNanchor_1_113" id="FNanchor_1_113"></a><a href="#Footnote_1_113" class="fnanchor">[1]</a> <i>W. Hogarth inv. & sculp. Sold -by Chilcot and Caldwell. "Emblematic, and not good."</i> -This plate is found in four different states. In one -there is no publisher's name under the title. Another -was <i>sold by Chilcot, &c.</i> A third was printed -and sold by S. <i>Sympson</i>, in <i>Maiden-lane</i>, near <i>Covent -Garden</i>. A fourth was printed for <i>John Bowles</i>, in -whose possession the plate, which he has had retouched, -remains. The following explanation accompanies -this plate: "1. Upon the pedestal, National -Credit leaning on a pillar, supported by -Justice. 2. <i>Apollo</i> shewing <i>Britannia</i> a picture representing -the Earth receiving enriching Showers -drawn from herself (an emblem of state lotteries). -3. Fortune drawing the blanks and prizes. 4. -Wantonness drawing the numbers. 5. Before the<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> -pedestal, Suspence turned to and fro by Hope and -Fear. 6. On one hand, Good Luck being elevated -is seized by Pleasure and Folly, Fame persuading -him to raise sinking Virtue, Arts, &c. -7. On the other hand, Misfortune oppressed by -Grief, <i>Minerva</i> supporting him points to the -sweets of Industry. 8. Sloth hiding his head in -the curtain. 9. On the other side, Avarice hugging -his money. 10. Fraud tempting Despair -with money at a trap-door in the pedestal." <i>Price -One Shilling.</i>—Had not <i>Hogarth</i>, on this occasion, -condescended to explain his own meaning, it must -have remained in several places inexplicable.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_113" id="Footnote_1_113"></a><a href="#FNanchor_1_113"><span class="label">[1]</span></a> It appears, from the following notice in the <i>General Advertiser, -Dec.</i> 12, 1751, that this and the foregoing print were -re-published by <i>Bowles</i> during the life of <i>Hogarth</i>. -</p> -<p> -"Lately reprinted, designed, and engraved by Mr. <i>William -Hogarth</i>. -</p> -<p> -"Two Prints on the Lottery. One of them showing the -drawing of the Lottery by Wantonness and Fortune; and by -suitable emblems represents the suspence of the adventurers, -the situation of the fortunate and unfortunate. -</p> -<p> -"The other print is a burlesque representation of the folly -and madness which inspires all ranks of people after lottery-gaming, -with the pernicious consequences thereof. <i>Price -One Shilling.</i> -</p> -<p> -"Sold by <i>J. Bowles</i>, at the <i>Black-horse</i>, in <i>Cornhill</i>."</p></div> - -<hr class="tb" /> - -<h4>1723.</h4> - - -<p>1. Fifteen plates to <i>Aubry de la Motraye's</i> "Travels -through <i>Europe, Asia,</i> and Part of <i>Africa</i>." <i>W. Hogarth -sculp.</i> on fourteen of them; viz. plates V. IX. X.<a name="FNanchor_1_114" id="FNanchor_1_114"></a><a href="#Footnote_1_114" class="fnanchor">[1]</a> -XI. XV. XVII. b. XVIII. XXVI. XXX.<a name="FNanchor_2_115" id="FNanchor_2_115"></a><a href="#Footnote_2_115" class="fnanchor">[2]</a> XXXII. -XXXIII. 1. XXXIII. 2. XXXV. XXXVIII. One -of these (viz. XXX.) contains a portrait of <i>Charles</i> -the XIIth of <i>Sweden</i>. Several of the pictures, from -which the Seraglio, &c. were engraved, are still in -being, and are undoubtedly authentic, being painted -in <i>Turkey</i>, and brought home by <i>De la Motraye</i>, at -his return from his travels. They were sold about<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> -twenty-five years ago at <i>Hackney</i>, for a mere trifle, -together with the plates to the present work. The -latter, in all probability, are destroyed. This book -was originally published in <i>English</i> at <i>London</i>, 1723; -afterwards in <i>French</i> at <i>The Hague</i>, in 1727; and -again in <i>English</i><a name="FNanchor_3_116" id="FNanchor_3_116"></a><a href="#Footnote_3_116" class="fnanchor">[3]</a> at <i>London</i>, revised by the author; -with the addition of two new cuts, in 1730. In the -<i>French</i> edition, Plate V. Tom. I. is engraved by -<i>R. Smith</i>, instead of <i>Hogarth</i>, so that this intermediate -copy contains only fourteen plates by him. It -is probable also, that some other anonymous ones, in -all the editions, were by the same engraver. His -reputation, indeed, will save more than it loses by the -want of his signature to establish their authenticity.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_114" id="Footnote_1_114"></a><a href="#FNanchor_1_114"><span class="label">[1]</span></a> At the bottom of this plate, in one copy of the <i>English</i> -edition, the name of <i>Hogarth</i>, though erased, is sufficiently -legible.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_115" id="Footnote_2_115"></a><a href="#FNanchor_2_115"><span class="label">[2]</span></a> In some of the <i>English</i> copies of this work, instead of -Plate XXX. by <i>Hogarth</i>, we only find a very small and imperfect -copy of it by another hand.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_116" id="Footnote_3_116"></a><a href="#FNanchor_3_116"><span class="label">[3]</span></a> This, strictly speaking, was not a re-publication; it is the -identical edition of 1723, with the addition of a Preface and -an Appendix. New title-pages were again printed to it, and -a third volume added, in 1732.</p><br /></div> - - -<p>2. Five <i>Muscovites</i>. This small print appears at -the corner of one of the maps to the second volume -of the foregoing work. It has no intelligible reference; -but, in the <i>English</i> copy now before me, is -the last plate but one, and is marked. C—T. II. In -a former edition of the present catalogue, it was -enumerated as a separate article, but must now be -reckoned as one of the fifteen plates to <i>Motraye's</i> -Travels.</p> - -<p>To these I might add three plates more. If <i>Hogarth</i> -engraved the <i>Muscovites</i> at the corner of the map -already mentioned, he likewise furnished the figures -in the corner of another, marked T. I.—B. And<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> -Plate T. I.—XVI. and T. I.—XXXVII. I have likewise -reason to suppose were the works of our artist; -eighteen plates in all; though the three latter being -only conjectural, I have not ventured to set them -down as indisputed performances. Of the <i>Muscovites</i> -there is a modern copy.<a name="FNanchor_1_117" id="FNanchor_1_117"></a><a href="#Footnote_1_117" class="fnanchor">[1]</a></p> - -<p>I have just been assured by a gentleman of undoubted -veracity, that he was once possessed of a set -of plates engraved by <i>Hogarth</i> for some treatise on -mathematicks; but, considering them of little value, -disposed of them at the price of the copper. As -our artist could have displayed no marks of genius -in representations of cycloids, diagrams, and equilateral -triangles, the loss of these plates is not heavily -to be lamented.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_117" id="Footnote_1_117"></a><a href="#FNanchor_1_117"><span class="label">[1]</span></a> Mr. <i>Walpole</i> enumerates only 12 plates.</p></div> - -<hr class="tb" /> - -<h4>1724.</h4> - - -<p>1. Seven small prints to "The New Metamorphosis -of <i>Lucius Apuleius</i> of <i>Medaura. London</i>, -printed for <i>Sam. Briscoe</i>, 1724." 12mo. 2 vol. -I. Frontispiece. II. Festivals of Gallantry, which -the noblemen of <i>Rome</i> make in the churches for the -entertainment of their mistresses. III. The banditti's -bringing home a beautiful virgin, called <i>Camilla</i>, -from her mother's arms, the night before she was to -have been married. Vol. I. p. 113. No name to -this plate. IV. <i>Fantasio's</i> arrival at the house of an -old witch, who is afterwards changed into a beautiful -young lady. V. The provincial of the Jesuits' -recovery of his favourite dog from the cooper's wife.<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> -VI. <i>Psyche's</i> admission of her unknown husband in -the dark, who always departed before the return of -light. VII. Cardinal <i>Ottoboni</i> and his niece's visit to -an Hermitage in the holy desart, called <i>Camaldule</i>; -the Cardinal's discourse against solitude to the hermit, -who had not been out of his cell, nor spoke a -word, for forty years together. Plate IV. is the only -one that has the least trait of character in it.<br /> -<br /></p> - -<p>2. Masquerades and operas. <i>Burlington-gate. W. -Hogarth inv. & sculp.</i> Of the three small figures in -the center of this plate, the middle one is Lord -<i>Burlington</i>, a man of considerable taste in Painting -and Architecture, but who ranked Mr. <i>Kent</i> (an indifferent -artist) above his merit. On one side of the -peer is Mr. <i>Campbell</i>, the architect; on the other, -his lordship's postilion. On a show-cloth in this plate -is also supposed to be the portrait of King <i>George</i> II. -who gave 1000 <i>l.</i> towards the masquerade; together -with that of the Earl of <i>Peterborough</i>, who offers -<i>Cuzzoni</i>, the <i>Italian</i> singer, 8000 <i>l.</i> and she spurns at -him.<a name="FNanchor_1_118" id="FNanchor_1_118"></a><a href="#Footnote_1_118" class="fnanchor">[1]</a> Mr. <i>Heidegger</i>, the regulator of the Masquerade, -is also exhibited, looking out at a window, -with the letter <i>H.</i> under him. The substance of the -foregoing remarks is taken from a collection lately -belonging to Captain <i>Baillie</i>,<a name="FNanchor_2_119" id="FNanchor_2_119"></a><a href="#Footnote_2_119" class="fnanchor">[2]</a> where it is said that<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> -they were furnished by an eminent Connoisseur.<a name="FNanchor_3_120" id="FNanchor_3_120"></a><a href="#Footnote_3_120" class="fnanchor">[3]</a> -A board is likewise displayed, with the words—"Long -Room. <i>Fawks's</i> dexterity of hand." It appears -front the following advertisement in <i>Mist's -Weekly Journal</i> for <i>Saturday, December</i> 25, 1725, -that this artist was a man of great consequence in -his profession. "Whereas the town hath lately been -alarmed, that the famous <i>Fawks</i> was robbed and -murdered, returning from performing at the -Dutchess of <i>Buckingham's</i> house at <i>Chelsea</i>; which -report being raised and printed by a person to gain -money to himself, and prejudice the above mentioned Mr. -<i>Fawks</i>, whose unparalleled performances -have gained him so much applause from the -greatest of quality, and most curious observers: -We think, both in justice to the injured gentleman, -and for the satisfaction of his admirers, that -we cannot please our readers better than to acquaint -them he is alive, and will not only perform his -usual surprizing dexterity of hand, posture-master, -and musical clock; but for the greater diversion -of the quality and gentry, has agreed with the famous -<i>Powell</i> of <i>The Bath</i> for the season, who has -the largest, richest, and most natural figures, and<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> -finest machines in <i>England</i>, and whose former performances -in <i>Covent Garden</i> were so engaging to -the town, as to gain the approbation of the best -judges, to show his puppet-plays along with him, -beginning in the <i>Christmas</i> holidays next, at the -old <i>Tennis-court</i> in <i>James-Street</i>, near <i>The Haymarket</i>; -where any incredulous persons may be satisfied -he has not left this world, if they please to believe -their hands, though they can't believe their eyes."—<i>May</i> -25," indeed, "1731, died Mr. <i>Fawkes</i>, -famous for his dexterity of hand, by which he -had honestly acquired a fortune of above 10,000 <i>l.</i> -being no more than he really deserved for his great -ingenuity, by which he had surpassed all that ever -pretended to that art." Political State, vol. XLI. -p. 543.</p> - -<p>This satirical performance of <i>Hogarth</i>, however, -was thought to be invented and drawn at the mitigation -of Sir <i>James Thornhill</i>, out of revenge, because -Lord <i>Burlington</i> had preferred Mr. <i>Kent</i> before him -to paint for the king at his palace at <i>Kensington</i>. Dr. -<i>Faustus</i> was a pantomime performed to crowded -houses throughout two seasons, to the utter neglect -of plays, for which reason they are cried about in a -wheel-barrow.<a name="FNanchor_4_121" id="FNanchor_4_121"></a><a href="#Footnote_4_121" class="fnanchor">[4]</a> We may add that there are three<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> -prints of this small masquerade, &c. one a copy -from the first. The originals have <i>Hogarth's</i> name<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> -within the frame of the plate, and the eight verses -are different from those under the other. It is sometimes -found without any lines at all; those in the -first instance having been engraved on a separate -piece of copper, so that they could either be retained, -dismissed, or exchanged, at pleasure. In the first -copy of this print, instead of <i>Ben Jonson's</i> name on -a label, we have <i>Pasquin</i>, N° XI. This was a periodical -paper published in 1722-3, and the number -specified is particularly severe on operas, &c. The -verses to the first impression of this plate, are,</p> - -<p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p> - -<blockquote><p> -Could now dumb <i>Faustus</i>, to reform the age,<br /> -<span style="margin-left: 1em;">Conjure up <i>Shakespear's</i> or <i>Ben Johnson's</i> ghost,</span><br /> -They'd blush for shame, to see the <i>English</i> stage<br /> -<span style="margin-left: 1em;">Debauch'd by fool'ries, at so great a cost.</span><br /> -What would their manes say? Should they behold<br /> -<span style="margin-left: 1em;">Monsters and masquerades, where useful plays</span><br /> -Adorn'd the fruitfull theatre of old,<br /> -<span style="margin-left: 1em;">And rival wits contended for the bays.</span><br /> -<span style="margin-left: 8em;"><i>Price</i> 1 <i>shilling</i> 1724.</span><br /> -</p></blockquote> - -<p>To the second impression of it:</p> - -<blockquote><p> -O how refin'd, how elegant we're grown!<br /> -What noble Entertainments charm the town!<br /> -Whether to hear the Dragon's roar we go,<br /> -Or gaze surpriz'd on <i>Fawks's</i> matchless show,<br /> -Or to the Operas, or to the Masques,<br /> -To eat up ortelans, and t' empty flasques,<br /> -And rifle pies from <i>Shakespear's</i> clinging page,<br /> -Good gods! how great's the gusto of the age.<br /> -</p></blockquote> - -<p>In this print our artist has imitated the engraving of -<i>Callot</i>.</p> - -<p>To the third impression, i. e. the copy:</p> - -<blockquote><p> -Long has the stage productive been<br /> -<span style="margin-left: 1em;">Of offsprings it could brag on,</span><br /> -But never till this age was seen<br /> -<span style="margin-left: 1em;">A Windmill and a Dragon.</span><br /> -<br /> -O <i>Congreve</i>, lay thy pen aside,<br /> -<span style="margin-left: 1em;"><i>Shakespear</i>, thy works disown,</span><br /> -Since monsters grim, and nought beside,<br /> -<span style="margin-left: 1em;">Can please this senseless town.</span><br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span></p> - -<p>I should have observed, that the idea of the foregoing -plate was stolen from an anonymous one on -the same subject. It represents <i>Hercules</i> chaining -follies and destroying monsters. He is beating <i>Heidegger</i>, -till the money he had amassed falls out of his -pocket. The situation of the buildings, &c. on the -sides, &c. has been followed by our artist. <i>Mercury</i> -aloft sustains a scroll, on which is written "The -Mascarade destroy'd." The inscription under this -print is "Hei Degeror. O! I am undone." <i>Price -One Shilling.</i></p> - -<div class="footnote"> - -<p><a name="Footnote_1_118" id="Footnote_1_118"></a><a href="#FNanchor_1_118"><span class="label">[1]</span></a> She is rather drawing the money towards her with a rake.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_119" id="Footnote_2_119"></a><a href="#FNanchor_2_119"><span class="label">[2]</span></a> This collection, consisting of 241 prints, in three portfeuilles, -was sold at <i>Christie's, April</i> 7, 1781, for 59 guineas, to -Mr. <i>Ingham Foster</i>, a wealthy ironmonger, since dead. A set, -containing only 100 prints, had been sold some time before, -at the same place, for 47 guineas. The Hon. <i>Topham Beauclerk's</i> -set, of only 99 prints, was sold in 1781 (while this note -was printing off for the first edition) for 34<i>l.</i> 10<i>s.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_120" id="Footnote_3_120"></a><a href="#FNanchor_3_120"><span class="label">[3]</span></a> It is not, indeed, inconvenient for the reputation of this -famous connoisseur, that his name continues to be a secret. -Either he could not spell, or his copier was unable to read -what he undertook to transcribe. <i>Postilion</i> must be a mistake -for some other word. The whole note, in the original, appears -to have been the production of a male <i>Slip-slop</i>, perhaps -of high fashion. His petulant invective against Lord <i>Burlington</i> -is here omitted.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_121" id="Footnote_4_121"></a><a href="#FNanchor_4_121"><span class="label">[4]</span></a> Dr. <i>Faustus</i> was first brought out at <i>Lincoln's-Inn Fields</i> in -1723, and the success of it reduced the rival theatre to produce -a like entertainment at their house in 1725. From a -scarce pamphlet in octavo, without date, called "Tragi-comical -Reflections, of a moral and political Tendency, -occasioned by the present State of the two Rival Theatres -in <i>Drury-Lane</i> and <i>Lincoln's-Inn Fields</i>, by <i>Gabriel Rennel</i>, -Esq." I shall transcribe an illustration of these plates: "A -few years ago, by the help of <i>Harleykin</i>, and Dr. <i>Faustus</i>, -and <i>Pluto</i> and <i>Proserpine</i>, and other infernal persons, the -New-House was raised to as high a pitch of popularity and -renown as ever it had been known to arrive at. Tho' the -actors there consisted chiefly of <i>Scotch</i>, and <i>Irish</i>, and <i>French</i> -Strollers, who were utterly unacquainted with the <i>English</i> -Stage, and were remarkably deficient in elocution and gesture: -yet so much was the art of juggling at that time in -vogue, and so extreamly was the nation delighted with -Raree-Shows, and foreign representations, that all people -flocked to the New-House, whilst the Old one was altogether -deserted, tho' it then could glory in as excellent a set -of <i>English</i> actors as ever had trod upon any stage. In the -midst of this joyful prosperity and success, the Managers of -the New-House were not without secret uneasiness and discontent, -whenever they considered how slippery a ground -they stood upon, and how much a juster title their rivals -had to the favour and affections of the people. They were -therefore always intent upon forming designs and concerting -measures for the entire subversion of the Old-House. For -this purpose, they constantly kept in pay a standing army -of Scaramouches, who were sent about the town to possess -it with aversion and resentment against the Old Players, -whose virtues had rendered them formidable, and whose -merit was their greatest crime. These Scaramouches, in so -corrupt and degenerate a time, when blindness and folly, -and a false taste every where reigned, were every where -looked on as men of a superior skill to all other actors, and -consequently had a greater influence than the rest, and -could lead after them a larger number of followers. It was -by means of the incessant clamour and outcry that these -miscreants raised, and of the lies and forgeries which they -scattered about the nation, that the common people were -spirited up to commit the most extravagant acts of insolence -and outrage on the Managers of the Old-House. They -were made the sport and derision of fools, and were delivered -up to an enraged and deluded populace, as a prey to -the fury of wild beasts. Their enemies were continually -plotting and conspiring their destruction, and yet were continually -prosecuting them for Sham-Plots and pretended -Conspiracies, and suborning witnesses to prove them guilty -of attempts to undermine and blow up the New-House. -</p> -<p> -"During the course of those violent and illegal proceedings, -the New Actors were not wanting in any pains or expence -to gratify and increase the then popular taste for Raree-Shows, -and Hocus-Pocus Tricks. Scenes and Machines, -and Puppets, and Posture-Masters, and Actors, and Singers, -with a new set of Heathen Gods and Goddesses, and several -other foreign Decorations and Inventions, were sent for -from <i>France</i> <i>and Italy</i>, and were ready to be imported with -the first fair wind. But quarrels falling out among the -Managers of the House, and one or two of the principal -Actors happening to quit the Stage, and the people growing -tired with so much foul play, and with the same <i>deceptio -visus</i> so often repeated, the scene changed at once, the <i>vox -populi</i> turned against the New-House, which sunk under a -load of infamy and contempt, and was deserted not only by -the Spectators, but even by its Actors, who, to save themselves -from the justice of an abused and enraged people, -were forced to fly out of the nation, and to beg for protection -and subsistence from their wicked Confederates and -Fellow-Jugglers abroad."</p></div> - -<hr class="tb" /> - -<h4>1725.</h4> - - -<p>1. Five small prints for the translation of <i>Cassandra</i>, -in five volumes duodecimo. <i>W. Hogarth inv. & sculp.</i><br /> -<br /></p> - - -<p>2. Fifteen head pieces for "The <i>Roman</i> Military -Punishments, by <i>John Beaver</i>, Esq. <i>London</i>. From -the happy Revolution, Anno xxxvii." (i. e. 1725.) -Small quarto, pp. 155. From the preface it should -seem that the author had been Judge Advocate. The -book is divided into seventeen chapters, each of -which, except the second, third, seventh, and twelfth, -have small head-pieces prefixed, of ancient military -punishments, in the manner of <i>Callot's</i> Small Miseries -of War. <i>W. Hogarth inv. & sculp.</i> In 1779, were -first sold by a printseller ten of these prints, together -with two others not in the book, being scenes of -modern war; a pair of drums being in one, and a -soldier armed with a musket in the other. Thus are -there three prints in the book not in this set; viz. -Chap. 9. Soldiers sold for slaves. 10. Degradation.<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> -16. Banishment. There is also in the title-page a -little figure of a <i>Roman</i> General sitting; probably -done by <i>Hogarth</i>, though his name is not under it.</p> - -<p>In the year 1774, these plates were in the possession -of a Button-manufacturer at <i>Birmingham</i>. There -are only eleven, one of them being engraved on both -sides. They were given by him, however, to my -informant, who parted with them to <i>S. Harding</i> an -engraver, who sold them to <i>Humphry</i> the printseller -near <i>Temple-Bar</i>, their present proprietor. How they -fell into the hands of the <i>Birmingham</i> manufacturer -(who took off a few impressions from them), is unknown.</p> - -<p>Query. Does the plate engraved on both sides -contain the two modern designs?</p> - -<p>In a Catalogue of Books sold by <i>W. Bathoe</i>, was -included "Part of the Collection of the late ingenious -<i>W. Hogarth</i>, Esq. Serjeant Painter to his Majesty;" -in which was <i>Beaver's</i> "<i>Roman</i> Military -Punishments," with <i>twelve plates</i> by <i>Hogarth</i>.</p> - -<p>The plate to Chap. XVII. viz. "Pay stopt wholly, -or in part, by way of punishment"—"Barley given -to offenders instead of wheat, &c." differs in many -instances from that sold with the set. At the bottom -of the former, in the book, we read, "<i>W. Hogarth, -Invent. sculpt."</i> The latter has "<i>W. Hogarth, invent. -& fec.</i>" The former has a range of tents behind -the pay-table. These are omitted in the latter; -which likewise exhibits an additional soldier attendant -on the measuring out of the corn, &c.</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span></p> - -<p>I do not mean to say that the plate sold with the -set is spurious. Had it been a copy, it would naturally -have been a servile one. Some reason, now undiscoverable, -must have prevailed on our artist to -re-engrave it with variations.</p> - -<p>N. B. The two "scenes of modern war," mentioned -also in p. <a href="#Page_134">134</a>, were designed for a continuation of -the same work, which was never printed, as I guess -from the conclusion of the Author's preface. "This -regularly divided my book into two parts; one -treating of the <i>Roman</i>, the other of the <i>Modern Military -Punishments</i>. The first I now send into the -world, as a man going into the water dips his foot -to feel what reception he is like to meet with; by -that rule resolving, either to publish the second -part, or sit down contented with the private satisfaction -of having, by my studies, rendered myself -more able worthily to discharge the duties of my -office."</p> - -<p>I have since been assured, that our Author's heir -was a pastry-cook, who used all the copies of this -book for waste-paper.<br /> -<br /></p> - - -<p>3. A burlesque on <i>Kent's</i> altar piece at <i>St. Clement's</i>, -with notes. "<i>It represents angels very ill drawn, -playing on various instruments.</i>" Speaking of this -print, Mr. <i>Walpole</i> in one place calls it a <i>parody</i>; and -in another, a <i>burlesque</i> on <i>Kent's</i> Altar-piece. But, -if we may believe <i>Hogarth</i> himself, it is neither, but -a very fair and honest representation of a despicable -performance. The following is our artist's inscription -to it, transcribed <i>verbatim & literatim</i>.</p> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span></p> - -<p>"This Print is exactly Engraiv'd after y<sup>e</sup> celebrated -Altar-Piece in St. <i>Clements</i> Church which -has been taken down by Order of y<sup>e</sup> Lord Bishop -of <i>London</i> (as tis thought) to prevent Disputs and -Laying of wagers among the Parrshioners about y<sup>e</sup> -Artists meaning in it. for publick Satisfaction here -is a particular Explanation of it humbly Offerd to -be writ under the Original, that it may be put up -again by which means y<sup>e</sup> Parish'es 60 pounds -which thay nifely gave for it, may not be Entirely -lost.</p> - -<p>"1st. Tis not the Pretenders Wife and Children -as our weak brethren imagin.</p> - -<p>"2dly. Nor St. <i>Cecilia</i> as the Connoisseurs think -but a choir of Angells playing in Consort.</p> - - -<div class="center"> -<table border="0" cellpadding="2" cellspacing="0" summary=""> -<tr><td align="left">"A</td><td align="left"> an Organ</td></tr> -<tr><td align="left">B</td><td align="left"> an Angel playing on it</td></tr> -<tr><td align="left">C</td><td align="left"> the shortest Ioint of the Arm.</td></tr> -<tr><td align="left">D</td><td align="left"> the longest Ioint</td></tr> -<tr><td align="left">E</td><td align="left"> An Angel tuning an harp</td></tr> -<tr><td align="left">F</td><td align="left"> the inside of his Leg but whether right or Left is yet undiscover'd</td></tr> -<tr><td align="left">G</td><td align="left"> a hand Playing on a Lute</td></tr> -<tr><td align="left">H</td><td align="left"> the other leg judiciously Omitted to make room for the harp</td></tr> -<tr><td align="left">I&K </td><td align="left"> 2 Smaller Angells as appears by their wings"</td></tr> -</table></div> - - -<p>This picture produced a tract, intituled, "A Letter -from a Parishioner of <i>St. Clement Danes</i> to <i>Edmund</i><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> -<i>[Gibson]</i> Lord Bishop of <i>London</i>, occasion'd by -his lordship's causing the picture over the altar -to be taken down: with some observations on the -use and abuse of Church-paintings in general, and -of that picture in particular, 1725." 8vo. See <a href="#N_II_See_p_137">Appendix -II</a>. The proofs of this plate are commonly -on blue paper, though I have met with more than -one on white. The original, after it was removed -from the church, was for some years one of the ornaments -of the music-room at <i>The Crown and Anchor</i> -in the <i>Strand</i>. As this house has frequently changed -its tenants, &c. I am unable to trace the picture in -question any further. There is a good copy of this -print by <i>Livesay</i>.<br /> -<br /></p> - - -<p>4. A scene in <i>Handel's</i> opera of <i>Ptolomeo</i>, performed -in 1728, with <i>Farinelli, Cuzzoni,</i> and <i>Senesino</i>, in -the characters of <i>Ptolemy, Cleopatra,</i> and <i>Julius Cæsar</i>. -Those who are inclined to doubt the authenticity of -this performance, will do well to consult the representation -on a painted canvas in the small print on -masquerades and operas, where the same figures occur -in almost the same attitudes. I do not, however, -vouch for the genuineness of this plate. In -<i>Southwark Fair</i>, our artist has borrowed the subject -of his show-cloth from <i>Laguerre</i>; and might, in the -present instance, have adopted it from another hand.</p> - -<p>The appearance <i>Farinelli</i> makes on this occasion -may be justified by the following quotation from a -Pamphlet, intituled, <i>Reflections upon Theatrical Expression -in Tragedy, &c.</i> printed for <i>W. Johnston</i>, &c.<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> -1755. "I shall therefore, in my further remarks -upon this article, go back to the <i>Old Italian -Theatre</i>, when <i>Farinelli</i> drew every body to the -<i>Haymarket</i>. What a pipe! what modulation! -what extasy to the ear! But, heavens! what -clumsiness! what stupidity! what offence to the -eye! Reader, if of the city, thou mayest probably -have seen in the fields of <i>Islington</i> or <i>Mile-end</i>, or -if thou art in the environs of <i>St. James's</i>, thou -must have observed in the park, with what ease -and agility a Cow, heavy with Calf, has rose up -at the command of the Milk-woman's foot. Thus -from the mossy bank sprung up the <i>Divine Farinelli</i>. -Then with long strides advancing a few -paces, his left hand settled upon his hip, in a beautiful -bend like that of the handle of an old-fashioned -caudle-cup, his right remained immoveable -across his manly breast, till numbness called its -partner to supply its place; when it relieved itself -in the position of the other handle to the caudle-cup." -p. 63, &c.</p> - -<p>Under a copy of the print abovementioned, which -must have been made soon after its publication, appear -the following inscription, and wretched ungrammatical -lines:</p> - -<blockquote><p> -The three most Celebrated Singers at the Opera.<br /> -<br /> -<span style="margin-left: 2.5em;"><i>Scire tuum nihil est, nisi te scire hoc sciat alter.</i><br /></span> -<br /> -<i>Sigra</i> the great, harmoniously inclin'd,<br /> -Who charms the ear and captivates the mind.<br /> -<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span><br /><span style="margin-left: 2.5em;"><i>Cuzzoni.</i></span><br /> -Thou little slave an emblem is of those<br /> -Whose hearts are wholly att y<sup>e</sup> worlds dispose.<br /> -<br /> -Great <i>Barrenstadt</i><a name="FNanchor_1_122" id="FNanchor_1_122"></a><a href="#Footnote_1_122" class="fnanchor">[1]</a> encomiums great and true<br /> -is very short of whats your right and due.<br /> -</p></blockquote> - -<p>The characters in the print under consideration, -might have been new-christen'd by the copier of it.</p> - -<p>Either the dignity of <i>Senesino</i> must have been wonderful, -or the following passage in Dr. <i>Warburton's</i> -"Enquiry into the Cause of Prodigies and Miracles," -(printed in 1727) affords a most notorious example -of the Bathos. "Observe," says he, p. 60. "Sir -<i>Walter Raleigh's</i> great manner of ending the <i>first -part of the History of the World</i>. 'By this which -we have already set down is seen the beginning -and end of the Three first Monarchies of the -World; whereof the founders and erectors thought -that they could never have ended: that of <i>Rome</i>, -which made the fourth, was also at this time almost -at the highest. We have left it flourishing -in the middle of the field; have rooted up, or cut -down, all that kept it from the eyes and admiration -of the world; but after some continuance, it shall -begin to lose the beauty it had; the storms of ambition -shall beat her great boughs and branches -one against another; her leaves shall fall off; her -limbs wither, and a rabble of barbarous nations -enter the field and cut her down.' What strength<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> -of colouring! What grace, what nobleness of expression! -With what a majesty does he close his immortal -labour! It puts one in mind of the so much -admired exit of the late famed <span class="smcap">Italian Singer</span>."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_122" id="Footnote_1_122"></a><a href="#FNanchor_1_122"><span class="label">[1]</span></a> <i>Berenstadt</i>; a castrato engaged by <i>Handel</i> in the operas.</p><br /></div> - - -<p>5. A just View of the <i>British</i> Stage, or three heads -better than one, scene <i>Newgate</i>, by <i>M. D. V—to</i>.<a name="FNanchor_1_123" id="FNanchor_1_123"></a><a href="#Footnote_1_123" class="fnanchor">[1]</a> -This print represents the rehearsing a new farce, that -will include the two famous entertainments <i>Dr. -Faustus</i> and <i>Harlequin Shepherd</i>.<a name="FNanchor_2_124" id="FNanchor_2_124"></a><a href="#Footnote_2_124" class="fnanchor">[2]</a> To which will -be added, <i>Scaramouch Jack Hall</i> the Chimney-sweeper's -Escape from <i>Newgate</i> through the Privy, with the -comical Humours of <i>Ben Johnson's Ghost</i>, concluding -with the Play Dance, performed in the air by the -figures A. B. C. [<i>Wilks, Booth,</i> and <i>Cibber</i>] assisted -by ropes from the Muses. Note, there are no Conjurors -concerned in it, as the Ignorant imagine. -The Bricks, Rubbish, &c. will be real; but the -Excrements upon <i>Jack Hall</i> will be made of chewed -Gingerbread, to prevent Offence. <i>Vivat Rex. Price -Sixpence.</i> Such is the inscription on the plate; but -I may add, that the <i>ropes</i> already mentioned are no -other than <i>halters</i>, suspended over the heads of the -three managers;<a name="FNanchor_3_125" id="FNanchor_3_125"></a><a href="#Footnote_3_125" class="fnanchor">[3]</a> and that labels issuing from their<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> -respective mouths have the following characteristic -words. The airy <i>Wilks</i>, who dangles the effigy of -<i>Punch</i>, is made to exclaim—"Poor <i>R-ch</i>! faith I -pitty him." The laureat <i>Cibber</i>, with <i>Harlequin</i> for -his playfellow, invokes the Muses painted on the cieling—"Assist, -ye sacred Nine;" while the solemn -<i>Booth</i>, letting down the image of <i>Jack Hall</i> into the -forica, is most tragically blaspheming—"Ha! -this will do, G-d d-m me." On a table before -these gentlemen lies a pamphlet, exhibiting a print -of <i>Jack Shepherd</i>, in confinement; and over the forica -is suspended a parcel of waste paper, consisting of -leaves torn from <i>The Way of the World—Hamlet—Macbeth</i>, -and <i>Julius Cæsar. Ben Jonson's</i> Ghost, in -the mean while, is rising through the stage, and -p——g on a pantomimic statue tumbled from its -base. A fidler is also represented hanging by a cord -in the air, and performing, with a scroll before him, -that exhibits—<i>Music for the What</i>—[perhaps the -<i>What d' ye call it</i>] <i>entertainment</i>. The countenances -of Tragedy and Comedy, on each side of the stage, are -hoodwinked by the bills for <i>Harlequin Dr. Faustus</i> -and <i>Harlequin Shepherd</i>, &c. &c. There is also a -dragon preparing to fly; a dog thrusting his head -out of his kennel; a flask put in motion by machinery, -&c. <i>Vivetur Ingenio</i> is the motto over the -curtain. In Mr. <i>Walpole's</i> catalogue the description -of this plate is, "<i>Booth, Wilks, and Cibber, contriving -a pantomime. A satire on farces. No -name.</i>"</p> - -<div class="footnote"> - -<p><a name="Footnote_1_123" id="Footnote_1_123"></a><a href="#FNanchor_1_123"><span class="label">[1]</span></a> Mr. <i>Devoto</i> was scene-painter to <i>Drury-Lane</i> or <i>Lincoln's-Inn -Fields</i>, and also to <i>Goodman's Fields</i> Theatre. There is a -mezzotinto of him with the following title: "<i>Johannes Devoto</i> -Historicus Scenicusque Pictor." <i>Vincenso Damini</i> pinxit. -<i>J. Faber</i> fecit, 1736.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_124" id="Footnote_2_124"></a><a href="#FNanchor_2_124"><span class="label">[2]</span></a> Dr. <i>Faustus</i> and <i>Harlequin Shepherd</i> were pantomimes contrived -by <i>Thurmond</i> the dancing-master, and acted at <i>Drury-Lane</i> -in 1725.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_125" id="Footnote_3_125"></a><a href="#FNanchor_3_125"><span class="label">[3]</span></a>—<i>Halters</i>, &c.; The same idea is introduced in the 9th -plate of the apprentices.</p></div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> - -<h4>1726.</h4> - - -<p>1. Frontispiece to <i>Terræ-filius. W. Hogarth fec.</i> -This work was printed in two volumes 12°, at <i>Oxford</i>, -and is a satire on the Tory principles of that -University. It was written by <i>Nicholas Amherst</i>, -author of <i>The Craftsman</i>, and was originally published -in one volume.<br /> -<br /></p> - - -<p>2. Twelve prints for <i>Hudibras</i>; the large set. <i>W. -Hogarth inv. pinx. et sculp.</i> Under the head of <i>Butler</i>: -"The basso relievo of the pedestal represents the -general design of Mr. <i>Butler</i>, in his incomparable -poem of <i>Hudibras</i>; viz. <i>Butler's</i> Genious in a Car -lashing around Mount <i>Parnassus</i>, in the persons of -<i>Hudibras</i> and <i>Ralpho</i>, Rebellion, Hypocrisy, and -Ignorance, the reigning vices of his time." This -set of prints was published by subscription, by <i>P. -Overton</i> and <i>J. Cooper</i>. Mr. <i>S. Ireland</i> has seven of -the original drawings; three others are known to be -preserved in <i>Holland</i>; and two more were lately existing -in this kingdom. The plates, as has been mentioned -already in p. <a href="#Page_11">11</a>, are now the property of Mr. -<i>Sayer</i>, whose name, as publisher, is subjoined. The -Rev. Mr. <i>Bowle</i>, F. A. S. had a set with the list of -the subscribers, which he purchased at the Duke of -<i>Beaufort's</i> sale in <i>Wiltshire</i>. The printed title to -them is, "Twelve excellent and most diverting -Prints; taken from the celebrated Poem of <i>Hudibras</i>, -wrote by Mr. <i>Samuel Butler</i>. Exposing the -Villany and Hypocrisy of the Times. Invented -and Engraved on Twelve Copper-plates, by <i>William</i><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> -<i>Hogarth</i>, and are humbly dedicated to <i>William -Ward</i>, Esq. of <i>Great Houghton</i> in <i>Northamptonshire</i>; -and Mr. <i>Allan Ramsay</i>, of <i>Edinburgh</i>.</p> - -<blockquote><p> -"What excellence can Brass or Marble claim!<br /> -These Papers better do secure thy Fame:<br /> -Thy Verse all Monuments does far surpass,<br /> -No Mausoleum's like thy <i>Hudibras</i>.<br /> -</p></blockquote> - -<p>"Printed and sold by <i>Philip Overton</i>, Print and -Map-seller, at the <i>Golden Buck</i> near <i>St. Dunstan's -Church</i> in <i>Fleet-street</i>; and <i>John Cooper</i>, in <i>James-street, -Covent Garden</i>, 1726."</p> - -<p><i>Allan Ramsay</i> subscribed for 30 sets. The number -of subscribers in all amounts to 192. On the print -of <i>Hudibras</i> and the <i>Lawyer</i> is <i>W. Hogart delin. et -sculp.</i> a proof that our artist had not yet disused the -original mode in which he spelt his name. In the -scene of the <i>Committee</i>, one of the members has his -gloves on his head. I am told this whimsical custom -once prevailed among our sanctified fraternity; but it -is in vain, I suppose, to ask the reason why. In plate -XI. (earliest impressions) the words "Down with -the Rumps" are wanting on the scroll.—Memorandum. -At the top of the proposals for this set of -Prints, is a small one representing <i>Hudibras</i> and -<i>Ralpho</i>, engraved by <i>Pine</i>. The original drawing -for it by <i>Hogarth</i> is in the possession of Mr. <i>Betew</i>, -Silversmith, in <i>Compton-street, Soho</i>.<br /> -<br /></p> - - -<p>3. Seventeen small prints for <i>Hudibras</i>, with <i>Butler's</i> -head. There certainly must have been some<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> -mistake concerning this portrait. It never could -have been designed for the author of <i>Hudibras</i>; but -more strongly resembles <i>John Baptist Monnoyer</i>, the -flower-painter. There is a print of him by <i>White</i>, -from a picture of Sir <i>Godfrey Kneller</i>. This I suppose -to have been the original of <i>Hogarth's</i> small -<i>Butler</i>.</p> - -<p>The same designs engraved on a larger scale, and -with some slight variations, by <i>J. Mynde</i>, for <i>Grey's</i> -edition of <i>Hudibras</i>, published in 1744.</p> - -<p>Previous, however, to both, appeared another set of -plates, eighteen in number, for an edition in <i>eighteens</i> -of this celebrated poem. To these it is manifest that -<i>Hogarth</i> was indebted for his ideas of several of the -scenes and personages both in his larger and smaller -performances on the same subject. That the collector -may know the book when he meets with it, -the following is a transcript of the title-page. "<i>Hudibras.</i> -In three Parts. Written in the time of -the late Wars. Corrected and amended, with -Additions. To which is added, Annotations to -the third Part, with an exact Index to the whole; -never before printed. Adorned with cuts. London. -Printed for <i>R. Chiswel, J. Tonson, T. Horne,</i> -and <i>R. Willington</i>, 1710."</p> - -<p>Copies from the smaller plates are likewise inserted -in <i>Townly's</i> translation of <i>Hudibras</i> into <i>French</i>, with -the <i>English</i> on the opposite page. He was, I believe, -an officer in the <i>Irish</i> brigade. The following is the -title-page to his work. "<i>Hudibras</i>, Poeme ecrit<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> -dans les tems des troubles d'<i>Angleterre</i>; et traduit -en vers <i>François</i>, avec des remarques et des figures. -3 tom. 12mo. A <i>Londres</i>, 1757." It seems rather -to have been printed at <i>Paris</i>. The plates have -no name subscribed to them.<br /> -<br /></p> - - -<p>4. <i>Cunicularii</i>, or the Wise Men of <i>Godliman</i> in -Consultation.</p> - -<blockquote><p> -"They held their talents most adroit<br /> -For any mystical exploit." <span class="smcap">Hudib.</span><br /> -</p></blockquote> - -<p>This print was published in the year 1726, i. e. about -the same time that Lord <i>Onslow</i> wrote the following -letter:</p> - -<blockquote> - -<p>"To the Hon<sup>ble</sup>. Sir <i>Hans Sloane</i>. To be left -at the <i>Grecian</i> Coffe House, in <i>Devereux -Court</i> near <i>Temple Bar London</i>.</p> - -<p>"Sir, The report of a woman's breeding of rabbits -has almost alarmed <i>England</i>, and in a manner -persuaded several people of sound judg<sup>t</sup> of that -truth. I have been at some pains to discover the -affair, and think I have conquerd my poynt, as -you will se by the Depotition taken before me, -which shall be published in a day or two. I am</p> - -<p>"Y<sup>r</sup> humble Servant,</p> - -<p>"<span class="smcap">Onslow.</span></p> - -<p>"<i>Clandon, Dec.</i> 4<i>th</i>, 1726."</p></blockquote> - -<p>Soon after, Mr. <i>St. André</i> also addressed this note -to Sir <i>Hans Sloane</i>:</p> - -<blockquote> - -<p>"Sir, I have brought the woman from <i>Guilford</i> -to y<sup>e</sup> Bagnio in <i>Leicester-fields</i>, where you may if<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> -you please have the opportunity of seeing her -deliver'd. I am S<sup>r</sup> Your Hum Serv<sup>t</sup></p> - -<p>"<span class="smcap">St. André</span>.<a name="FNanchor_1_126" id="FNanchor_1_126"></a><a href="#Footnote_1_126" class="fnanchor">[1]</a></p> - -<p>"To Sir <i>Hans Sloane</i> in -<i>Bloomsbury Square</i>."</p></blockquote> - -<p>In the plate already mentioned, figure A represents -<i>St. André</i>. [He has a kitt under his arm, having -been at first designed by his family for a fencing and -dancing-master, though he afterwards attached himself -to music of a higher order than that necessary -for one of the professions already mentioned.] B is -Sir <i>Richard Manningham</i>, C Mr. <i>Sainthill</i> a celebrated -surgeon here in <i>London</i>, D is <i>Howard</i> the surgeon -at <i>Guildford</i>, who was supposed to have had a -chief hand in the imposture. The rest of the characters -explain themselves.</p> - -<p>Perhaps my readers may excuse me, if I add a -short account of another design for a print on the -same subject; especially as some collectors have -been willing to receive it as a work of <i>Hogarth</i>.</p> - -<p>In <i>Mist's Weekly Journal, Saturday, Jan.</i> 11th, -1726-7, was the following advertisement:</p> - -<p>"The Rabbit affair made clear in a full account -of the whole matter; with the pictures engraved -of the pretended Rabbit-breeder herself, <i>Mary -Tofts</i>, and of the Rabbits, and of the persons who -attended her during her pretended deliveries, -shewing who were and who were not imposed on<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> -by her. 'Tis given gratis no where, but only up -one pair of stairs at the sign of the celebrated -Anodyne Necklace recommended by Doctor <i>Chamberlen</i> -for Children's teeth, &c."</p> - -<p>The original drawing from which the plate promised -in <i>Mist's</i> Journal was taken, remained in the -possession of Mr. <i>James Vertue</i>, and was probably designed -by his brother <i>George</i>. It was sold in 1781 -in the collection of <i>George Scott</i>, Esq. of <i>Chigwell</i> in -<i>Essex</i>, together with eight tracts relative to the same -imposture, for three guineas, and is now in the collection -of Mr. <i>Gough</i>.</p> - -<p><i>St. André's Miscarriage</i>, a ballad, published in -1727, has the following stanza on this subject:</p> - -<blockquote><p> -"He dissected, compar'd, and distinguish'd likewise<br /> -The make of these rabbits, their growth and their size.<br /> -He preserv'd them in spirits, and—a little too late<br /> -Preserv'd (<i>Vertue sculpsit</i>) a neat copper plate."<br /> -</p></blockquote> - -<p>There is also a copper-plate, consisting of twelve -compartments, on the same story. It exhibits every -stage throughout this celebrated fraud. <i>St. André</i> -appears in the habit of a <i>Merry-Andrew</i>. The general -title of it is, "The Doctors in Labour; or a -new Whim-wham from <i>Guilford</i>. Being a representation -of the frauds by which the <i>Godliman</i> woman -carried on her pretended Rabbit breeding; -also of the simplicity of our Doctors, by which -they assisted to carry on that imposture, discovered<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> -their skill, and contributed to the mirth of his -Majesty's liege subjects."</p> - -<p>In <i>Mist's</i> Journal for <i>Saturday, Dec.</i> 17, 1726, is -also the following paragraph, which shews that the -playhouse joined in the general ridicule of <i>St. André</i>. -"Last week the entertainment called <i>The Necromancer</i> -was performed at the Theatre in <i>Lincoln's-Inn -Fields</i>, wherein a new <i>Rabbit-scene</i> was introduced -by way of episode; by which the Public -may understand as much of that affair, as by the -present controversy among the Gentlemen of the -faculty, who are flinging their bitter pills at one -another, to convince the world that none of them -understand any thing of the matter." I am told -by one of the spectators still alive, that in this new -scene, <i>Harlequin</i>, being converted into a woman, -pretended to be in labour, and was first delivered of -a large pig, then of a sooterkin, &c. &c.</p> - -<p>From the same paper of <i>Saturday, Jan.</i> 21, 1727, -we learn, that "The pretended Rabbit-breeder, in -order to perpetuate her fame, has had her picture -done in a curious mezzotinto print by an able -hand." It was painted by <i>Laguerre</i>, and scraped -by <i>Faber</i>. She has a rabbit on her lap, and displays -a countenance expressive of the utmost vulgarity. -In <i>Hogarth's</i> comic representation, the remarkable -turn-up of the nose is preserved. This, perhaps, -was the only feature in her face that could not be -altered by the convulsions of her pretended agony,<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> -or our artist would have given her resemblance with -greater exactness.</p> - -<p>Mr. <i>Dillingham</i>, an apothecary in <i>Red-Lion-Square</i>, -laid a wager of ten guineas with <i>St. André</i>, that in a -limited time the cheat would be detected. The -money was paid him, and he expended it on a piece -of plate, with three rabbits engraved by way of -arms.</p> - -<p>I learn from <i>The Weekly Miscellany</i>, for <i>April</i> 19, -1740, that a few days before, "The celebrated -Rabbit-woman of <i>Godalmin</i> in <i>Surry</i> was committed -to <i>Guildford Gaol</i>, for receiving stolen goods."</p> - -<p>In <i>The Gazetteer, or Daily London Advertiser, Jan.</i> -21, 1763, was this paragraph, which closes the story -of our heroine: "Last week died at <i>Godalming</i> in -<i>Surry, Mary Tofts,</i> formerly noted for an imposition -of breeding Rabbits."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_126" id="Footnote_1_126"></a><a href="#FNanchor_1_126"><span class="label">[1]</span></a> Both these letters are in <i>The British Museum</i>. See MS. -Sloan. 3312. XXVI. G. and MS. Sloan. 3316. XXVI. G.</p></div> - -<hr class="tb" /> - -<h4>1727.</h4> - - -<p>1. Music introduced to <i>Apollo</i> by <i>Minerva. Hogarth -fecit. "Frontispiece to some book of music, or -ticket for a concert."</i> I can venture to affirm, on -unquestionable authority, that this print is a mere -copy from the frontispiece to a more ancient book of -music. The composer's name has escaped my -memory.<br /> -<br /></p> - - -<p>2. Masquerade Ticket. A. a sacrifice to <i>Priapus</i>. -B. a pair of Lecherometers shewing the companys -inclinations as they approach em. Invented for the use -of ladies and gentlemen, by the ingenious Mr. <i>H——r -[Heidegger].</i> Price One Shilling. "<i>There is much wit</i><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> -<i>in this print.</i>" The attentive observer will find, that -<i>Hogarth</i> has transplanted several circumstances from -hence into the first plate to the <i>Analysis of Beauty</i>, as -well as into his Satire on the Methodists. See the ornaments -of an altar composed of a concatenation of -different periwigs, and the barometers expressing the -different degrees of animal heat. At the corners of -the dial on the top of this print is the date of the -year (1727), and the face of <i>Heidegger</i> appears under -the figure XII. In the earliest impressions, the word -Provocatives has, instead of V the open vowel U. -This incorrectness in spelling was afterwards amended, -though in a bungling manner, the round bottoms of -the original letters being still visible.<a name="FNanchor_1_127" id="FNanchor_1_127"></a><a href="#Footnote_1_127" class="fnanchor">[1]</a></p> - -<p>Concerning <i>John James Heidegger</i>, whose face has -been more than once introduced by our artist, the -reader may express some curiosity. The following -account of him is therefore appended to the foregoing -article.</p> - -<p>"This extraordinary man, the son of a clergyman, -was a native of <i>Zurich</i> in <i>Switzerland</i>, where he -married, but left his country in consequence of an -intrigue. Having had an opportunity of visiting -the principal cities of <i>Europe</i>, he acquired a taste -for elegant and refined pleasures, which, united to -a strong inclination for voluptuousness, by degrees -qualified him for the management of public -amusements. In 1708, when he was near 50 years<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> -old, he came to <i>England</i> on a negotiation from the -<i>Swiss</i> at <i>Zurich</i>; but, failing in his embassy, he -entered as a private soldier in the guards for protection.<a name="FNanchor_2_128" id="FNanchor_2_128"></a><a href="#Footnote_2_128" class="fnanchor">[2]</a> -By his sprightly, engaging conversation, -and insinuating address, he soon worked himself -into the good graces of our young people of fashion; -from whom he obtained the appellation of 'the -<i>Swiss</i> Count.'<a name="FNanchor_3_129" id="FNanchor_3_129"></a><a href="#Footnote_3_129" class="fnanchor">[3]</a> He had the address to procure a -subscription, with which in 1709 he was enabled -to furnish out the opera of '<i>Thomyris</i>,'<a name="FNanchor_4_130" id="FNanchor_4_130"></a><a href="#Footnote_4_130" class="fnanchor">[4]</a> which -was written in <i>English</i>, and performed at the Queen's -theatre in the <i>Haymarket</i>. The music, however, -was <i>Italian</i>; that is to say, airs selected from sundry -of the foreign operas by <i>Bononcini, Scarlatti, -Stefani, Gasparini,</i> and <i>Albinoni</i>. Most of the songs -in '<i>Thomyris</i>' were excellent, those by <i>Bononcini</i> -especially: <i>Valentini, Margarita,</i> and Mrs. <i>Tofts</i> -sung in it; and <i>Heidegger</i> by this performance -alone was a gainer of 500 guineas.<a name="FNanchor_5_131" id="FNanchor_5_131"></a><a href="#Footnote_5_131" class="fnanchor">[5]</a> The judicious -remarks he made on several defects in the -conduct of our operas in general, and the hints -he threw out for improving the entertainments of<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> -the royal theatre, soon established his character as -a good critic. Appeals were made to his judgement; -and some very magnificent and elegant decorations, -introduced upon the stage in consequence -of his advice, gave such satisfaction to -<i>George</i> II. who was fond of operas, that, upon being -informed to whose genius he was indebted for -these improvements, his majesty was pleased from -that time to countenance him, and he soon obtained -the chief management of the Opera-house in <i>The -Haymarket</i>. He then set about improving another -species of diversion, not less agreeable to the king, -which was the masquerades, and over these he always -presided at the king's theatre. He was likewise -appointed master of the revels. The nobility -now caressed him so much, and had such an opinion -of his taste, that all splendid and elegant entertainments -given by them upon particular occasions, -and all private assemblies by subscription, -were submitted to his direction.<a name="FNanchor_6_132" id="FNanchor_6_132"></a><a href="#Footnote_6_132" class="fnanchor">[6]</a></p> - -<p>"From the emoluments of these several employments, -he gained a regular considerable income, -amounting, it is said, in some years, to 5000 <i>l.</i> -which he spent with much liberality: particularly -in the maintenance of perhaps a somewhat too luxurious<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> -table; so that it may be said, he raised an -income, but never a fortune. His foibles, however, -if they deserve so harsh a name, were completely -'covered' by his 'charity,' which was -boundless.<a name="FNanchor_7_133" id="FNanchor_7_133"></a><a href="#Footnote_7_133" class="fnanchor">[7]</a></p> - -<p>"That he was a good judge of music, appears -from his opera: but this is all that is known of -his mental abilities;<a name="FNanchor_8_134" id="FNanchor_8_134"></a><a href="#Footnote_8_134" class="fnanchor">[8]</a> unless we add, what we<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> -have good authority for saying in honour to his -<i>memory</i>, that he walked from <i>Charing-Cross</i> to <i>Temple-bar</i>, -and back again; and when he came home, -wrote down every sign on each side the <i>Strand</i>.</p> - -<p>"As to his person, though he was tall and well -made, it was not very pleasing, from an unusual -hardness of features.<a name="FNanchor_9_135" id="FNanchor_9_135"></a><a href="#Footnote_9_135" class="fnanchor">[9]</a> But he was the first to<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> -joke upon his own ugliness; and he once laid a -wager with the earl of <i>Chesterfield</i>, that, within a -certain given time, his lordship would not be able -to produce so hideous a face in all <i>London</i>. After -strict search, a woman was found, whose features -were at first sight thought stronger than <i>Heidegger's</i>; -but, upon clapping her head-dress upon himself, -he was universally allowed to have won the wager. -<i>Jolly</i>, a well-known taylor, carrying his bill to a -noble duke, his grace, for evasion said, 'Damn -your ugly face, I never will pay you till you bring -me an uglier fellow than yourself!' <i>Jolly</i> bowed -and retired, wrote a letter, and sent it by a servant -to <i>Heidegger</i>; saying, 'his grace wished to see him -the next morning on particular business.' <i>Heidegger</i> -attended, and <i>Jolly</i> was there to meet him; -and in consequence, as soon as <i>Heidegger's</i> visit was -over, <i>Jolly</i> received the cash.</p> - -<p>"The late facetious duke of <i>Montagu</i> (the memorable -author of the bottle-conjuror at the theatre -in <i>The Haymarket</i>) gave an entertainment at <i>The -Devil-tavern, Temple-bar</i>, to several of the nobility -and gentry, selecting the most convivial, and a -few hard-drinkers, who were all in the plot. -<i>Heidegger</i> was invited, and in a few hours after<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> -dinner was made so dead drunk that he was -carried out of the room, and laid insensible upon -a bed. A profound sleep ensued; when the late -Mrs. <i>Salmon's</i> daughter was introduced, who took -a mould from his face in plaster of Paris. From -this a mask was made, and a few days before the -next masquerade (at which the king promised to -be present, with the countess of <i>Yarmouth</i>), the -duke made application to <i>Heidegger's</i> valet de -chambre, to know what suit of cloaths he was -likely to wear; and then procuring a similar -dress, and a person of the same stature, he gave -him his instructions. On the evening of the -masquerade, as soon as his majesty was seated -(who was always known by the conductor of the -entertainment and the officers of the court, though -concealed by his dress from the company), <i>Heidegger</i>, -as usual, ordered the music to play 'God -save the King;' but his back was no sooner turned, -than the false <i>Heidegger</i> ordered them to strike up -'<i>Charly</i> over the Water.' The whole company -were instantly thunderstruck, and all the courtiers, -not in the plot, were thrown into a stupid consternation. -<i>Heidegger</i> flew to the music-gallery, swore, -stamped, and raved, accused the musicians of -drunkenness, or of being set on by some secret -enemy to ruin him. The king and the countess -laughed so immoderately, that they hazarded a -discovery. While <i>Heidegger</i> stayed in the gallery, -'God save the King' was the tune; but when,<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> -after setting matters to rights, he retired to one of -the dancing-rooms, to observe if decorum was -kept by the company, the counterfeit stepping -forward, and placing himself upon the floor of the -theatre, just in front of the music-gallery, called -out in a most audible voice, imitating <i>Heidegger</i>, -damned them for blockheads, had he not just -told them to play '<i>Charly</i> over the Water.' A -pause ensued; the musicians, who knew his character, -in their turn thought him either drunk or -mad; but, as he continued his vociferation, -'<i>Charly</i>' was played again. At this repetition of -the supposed affront, some of the officers of the -guards, who always attended upon these occasions, -were for ascending the gallery, and kicking the -musicians out; but the late duke of <i>Cumberland</i>, -who could hardly contain himself, interposed. -The company were thrown into great confusion. -'Shame! Shame!' resounded from all parts, and -<i>Heidegger</i> once more flew in a violent rage to that -part of the theatre facing the gallery. Here the -duke of <i>Montagu</i>, artfully addressing himself to -him, told him, 'the king was in a violent passion; -that his best way was to go instantly and make an -apology, for certainly the music were mad, and -afterwards to discharge them.' Almost at the -same instant, he ordered the false <i>Heidegger</i> to do -the same. The scene now became truly comic in -the circle before the king. <i>Heidegger</i> had no -sooner made a genteel apology for the insolence of<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> -his musicians, but the false <i>Heidegger</i> advanced, -and, in a plaintive tone, cried out, 'Indeed, Sire, -it was not my fault, but that devil's in my likeness.' -Poor <i>Heidegger</i> turned round, stared, staggered, -grew pale, and could not utter a word. The duke -then humanely whispered in his ear the sum of his -plot, and the counterfeit was ordered to take off -his mask. Here ended the frolick; but <i>Heidegger</i> -swore he would never attend any public amusement, -if that witch the wax-work woman did not -break the mould, and melt down the mask before -his face.<a name="FNanchor_10_136" id="FNanchor_10_136"></a><a href="#Footnote_10_136" class="fnanchor">[10]</a></p> - -<p>"Being once at supper with a large company, -when a question was debated, which nationalist of -<i>Europe</i>, had the greatest ingenuity; to the surprise -of all present, he claimed that character for the -<i>Swiss</i>, and appealed to himself for the truth of it.<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> -'I was born a <i>Swiss</i>, said he, 'and came to <i>England</i> -without a farthing, where I have found means -to gain 5000 <i>l.</i> a year, and to spend it. Now I -defy the most able <i>Englishman</i> to go to <i>Switzerland</i>, -and either to gain that income, or to spend it there.' -He died <i>Sept.</i> 4, 1749, at the advanced age of 96 -years, at his house at <i>Richmond</i> in <i>Surrey</i>, where he -was buried. He left behind him one natural -daughter, Miss <i>Pappet</i>, who was married <i>Sept.</i> 2, -1750, to Captain (afterwards Sir <i>Peter) Denis</i>.<a name="FNanchor_11_137" id="FNanchor_11_137"></a><a href="#Footnote_11_137" class="fnanchor">[11]</a> -Part of this lady's fortune was a house at the north -west corner of <i>Queen-square, Ormond-street</i>, which -Sir <i>Peter</i> afterwards sold to the late Dr. <i>Campbell</i>, -and purchased a seat in <i>Kent</i>, pleasantly situated -near <i>Westram</i>, then called <i>Valence</i>, but now (by its -present proprietor, the earl of <i>Hillsborough</i>) <i>Hill -Park</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_127" id="Footnote_1_127"></a><a href="#FNanchor_1_127"><span class="label">[1]</span></a> In this print our artist has likewise imitated the manner -of <i>Callot</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_128" id="Footnote_2_128"></a><a href="#FNanchor_2_128"><span class="label">[2]</span></a> See <a href="#Page_439">N° 48</a>, among the prints of uncertain date.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_129" id="Footnote_3_129"></a><a href="#FNanchor_3_129"><span class="label">[3]</span></a> See Sir <i>John Hawkins's</i> History of Music, Vol. V. p. 142. -He is twice noticed under this title in the "Tatler," Nos. 12. -and 18.; and in Mr. <i>Duncombe's</i> "Collection of Letters of -several eminent Persons deceased," is a humourous dedication -of Mr. <i>Hughes's</i> "Vision of <i>Chaucer</i>," to "the <i>Swiss</i> -Count."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_130" id="Footnote_4_130"></a><a href="#FNanchor_4_130"><span class="label">[4]</span></a> There was another opera of the same name, by <i>Peter -Motteux</i>, in 1719.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_131" id="Footnote_5_131"></a><a href="#FNanchor_5_131"><span class="label">[5]</span></a> "<i>Thomyris</i>" and "<i>Camilla</i>" were both revived in 1726; -but neither of them then succeeded.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_132" id="Footnote_6_132"></a><a href="#FNanchor_6_132"><span class="label">[6]</span></a> <i>J. N.</i> has been favoured with the sight of an amethyst -snuff-box set in gold, presented to <i>Heidegger</i> in 1731, by the -duke of <i>Lorrain</i>, afterwards emperor of <i>Germany</i>, which <i>Heidegger</i> -very highly valued, and bequeathed to his executor -<i>Lewis Way</i>, esq. of <i>Richmond</i>, and which is now (1785) in the -possession of his son <i>Benjamin Way</i>, esq.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_133" id="Footnote_7_133"></a><a href="#FNanchor_7_133"><span class="label">[7]</span></a> After a successful masquerade, he has been known to -give away several hundred pounds at a time. "You know -poor objects of distress better than I do," he would frequently -observe to Mr. <i>Way</i>, "Be so kind as to give away -this money for me." This well-known liberality, perhaps, -contributed much to his carrying on that diversion with so -little opposition as he met with.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_134" id="Footnote_8_134"></a><a href="#FNanchor_8_134"><span class="label">[8]</span></a> <i>Pope</i> (Dunciad, I. 289.) calls the bird which attended on -the goddess -</p> -<blockquote><p> -"———————a monster of a fowl,<br /> -Something betwixt a <i>Heidegger</i> and owl."<br /> -</p></blockquote> -<p> -and explains <i>Heidegger</i> to mean "a strange bird from <i>Switzerland</i>, -and not (as some have supposed) the name of an eminent -person, who was a man of parts, and, as was said of -<i>Petronius</i>, Arbiter Elegantiarum." -</p> -<p> -The author of <i>The Scandalizade</i> has also put the following -description of our hero into the mouth of <i>Handel</i>: -</p> -<blockquote><p> -"Thou perfection, as far as e'er nature could run,<br /> -Of the ugly, quoth <i>H—d-l</i>, in th' ugliest baboon,<br /> -Human nature's, and even thy Maker's disgrace,<br /> -So frightful thy looks, so grotesque is thy face!<br /> -With a hundred deep wrinkles impress'd on thy front,<br /> -Like a map with a great many rivers upon't;<br /> -Thy lascivious ridottos, obscene masquerades,<br /> -Have unmaided whole scores ev'ry season of maids."<br /> -</p></blockquote> -<p> -<i>Fielding</i> also has introduced him in the Puppet-show, with -which the <i>Author's Farce</i> (acted at the <i>Haymarket</i> 1729), concludes, -under the title of <i>Count Ugly</i>. -</p> -<blockquote><p> -"<i>Nonsense.</i><br /> -Too late, O mighty Count, you came.<br /> -<br /> -<i>Count.</i><br /> -I ask not for myself, for I disdain<br /> -O'er the poor ragged tribe of bards to reign.<br /> -Me did my stars to happier fates prefer,<br /> -Sur-intendant des plaisirs d'<i>Angleterre</i>.<br /> -If masquerades you have, let those be mine,<br /> -But on the Signor let the laurel shine.<br /> -<br /> -<i>Tragedy</i>.<br /> -What is thy plea? Half written?<br /> -<br /> -<i>Count</i>.<br /> -No nor read.<br /> -Put it from dulness any may succeed,<br /> -To that and nonsense I good title plead,<br /> -Nought else was ever in my masquerade."<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_9_135" id="Footnote_9_135"></a><a href="#FNanchor_9_135"><span class="label">[9]</span></a> In a Dedication to "The Masquerade, a Poem, inscribed -to Count <i>Heidegger</i>," (which is the production of Mr. <i>Fielding</i>, -though foisted into the works of Dr. <i>Arbuthnot</i>,) the facetious -writer says, "I cannot help congratulating you on -that gift of Nature, by which you seem so adapted to the -post you enjoy. I mean that natural masque, which is too -visible a perfection to be here insisted on——and, I am -sure, never fails of making an impression on the most indifferent -beholder. Another gift of Nature, which you seem -to enjoy in no small degree, is that modest confidence supporting -you in every act of your life. Certainly, a great -blessing! For I always have observed, that brass in the -forehead draws gold into the pocket. As for what mankind -calls virtues, I shall not compliment you on them: -since you are so wise as to keep them secret from the world, -far be it from me to publish them; especially since they are -things which lie out of the way of your calling. Smile then -(if you can smile) on my endeavours, and this little poem, -with candour——for which the author desires no more -gratuity than a ticket for your next ball." There is a -mezzotinto of <i>Heidegger</i> by <i>J. Faber</i>, 1742, (other copies dated -1749) from a painting by <i>Vanloo</i>, a striking likeness, now -(1785) in the possession of <i>Peter Crawford</i>, esq. of <i>Cold Bath -Fields</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_136" id="Footnote_10_136"></a><a href="#FNanchor_10_136"><span class="label">[10]</span></a> To this occurrence the following imperfect stanzas, -transcribed from the hand-writing of <i>Pope</i>, are supposed to -relate. They were found on the back of a page containing -some part of his translation, either of the "Iliad" or -"Odyssey," in the <i>British Museum</i>. -</p> -<blockquote><p> -<span style="margin-left: 10em;">XIII.</span><br /> -"Then he went to the side-board, and call'd for much liquor,<br /> -And glass after glass he drank quicker and quicker;<br /> -<span style="margin-left: 2em;">So that <i>Heidegger</i> quoth,</span><br /> -<span style="margin-left: 2em;">Nay, faith on his oath,</span><br /> -Of two hogsheads of Burgundy, <i>Satan</i> drank both.<br /> -Then all like a —— the Devil appear'd,<br /> -And strait the whole tables of dishes he clear'd;<br /> -<span style="margin-left: 2em;">Then a friar, then a nun,</span><br /> -<span style="margin-left: 2em;">And then he put on</span><br /> -A face all the company took for his own.<br /> -Even thine, O false <i>Heidegger!</i> who wert so wicked<br /> -To let in the Devil——"<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_11_137" id="Footnote_11_137"></a><a href="#FNanchor_11_137"><span class="label">[11]</span></a> Who died <i>June</i> 12, 1778, being then vice-admiral of the -red. See Memoirs of him in Gent. Mag. 1780, p. 268.</p><br /></div> - - -<p><a id="Page_160_3"></a>3. Frontispiece to a Collection of Songs, with the -Music by Mr. <i>Leveridge</i>, in two vols. 8vo. <i>London</i>, -engraved and printed for the author, in <i>Tavistock-street, -Covent-Garden</i>, 1727. This design consists of -a <i>Bacchus</i> and a <i>Venus</i> in the Clouds, and a figure -with musical instruments, &c. on the earth, soliciting -their attention, &c. The ornaments round the engraved -title-page seem likewise to be <i>Hogarth's</i>.</p> - -<hr class="tb" /> - -<h4>1728.</h4> - - -<p>1. Head of <i>Hesiod</i>, from the bust at <i>Wilton</i>. The -frontispiece to <i>Cook's</i> translation of <i>Hesiod</i>, in 2 vols. -4to. printed by <i>N. Blandford</i> for <i>T. Green</i>.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span></p> - -<p>2. <i>Rich's</i> Glory, or his Triumphant Entry into -<i>Covent Garden. W. H. I. E<sup>t</sup>. SULP. Price Sixpence.</i></p> - -<p>The date of the print before us has been conjectured -from its reference to the <i>Beggar's Opera</i>, -and <i>Perseus</i> and <i>Andromeda</i>,<a name="FNanchor_1_138" id="FNanchor_1_138"></a><a href="#Footnote_1_138" class="fnanchor">[1]</a> both of which were -acted in the year already mentioned.</p> - -<p>This plate represents the removal of <i>Rich</i> and -his scenery, authors, actors, &c. from <i>Lincoln's-Inn -Fields</i> to the <i>New House</i>; and might therefore be -as probably referred to the year 1733, when that -event happened. The scene is the area of <i>Covent -Garden</i>, across which, leading toward the door of the -Theatre, is a long procession, consisting of a cart -loaded with thunder and lightning; performers, &c. -and at the head of them Mr. <i>Rich</i> (invested with the -skin of the famous dog in <i>Perseus</i> and <i>Andromeda</i>) -riding with his mistress in a chariot driven by <i>Harlequin</i>, -and drawn by Satyrs. But let the verses at -bottom explain our artist's meaning:</p> - -<blockquote><p> -Not with more glory through the streets of <i>Rome</i>,<br /> -Return'd great conquerors in triumph home,<br /> -Than, proudly drawn with Beauty by his side,<br /> -We see gay <i>R—-</i><a name="FNanchor_2_139" id="FNanchor_2_139"></a><a href="#Footnote_2_139" class="fnanchor">[2]</a> in gilded chariot ride.<br /> -He comes, attended by a num'rous throng,<br /> -Who, with loud shouts, huzza the Chief along.<br /> -<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span>Behold two bards, obsequious, at his wheels,<br /> -Confess the joy each raptur'd bosom feels;<br /> -Conscious that wit by him will be receiv'd,<br /> -And on his stage true humour be retriev'd.<br /> -No <i>sensible</i> and <i>pretty</i> play will fall<a name="FNanchor_3_140" id="FNanchor_3_140"></a><a href="#Footnote_3_140" class="fnanchor">[3]</a><br /> -Condemn'd by him as not theatrical.<br /> -The players follow, as they here are nam'd,<br /> -Dress'd in each character for which they're fam'd.<br /> -<i>Quin</i> th' <i>Old Bachelour</i>, a <i>Hero Ryan</i> shows,<br /> -Who <i>stares</i> and stalks majestick as he goes.<br /> -<i>Walker</i>,<a name="FNanchor_4_141" id="FNanchor_4_141"></a><a href="#Footnote_4_141" class="fnanchor">[4]</a> in his lov'd character we see<br /> -A Prince, tho' once a fisherman was he,<br /> -And <i>Massanelo</i> nam'd; in this he prides,<br /> -Tho' fam'd for many other parts besides.<br /> -Then <i>Hall</i>,<a name="FNanchor_5_142" id="FNanchor_5_142"></a><a href="#Footnote_5_142" class="fnanchor">[5]</a> who tells the bubbled countrymen<br /> -That <i>Carolus</i> is <i>Latin</i> for <i>Queen Anne</i>.<br /> -<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span>Did ever mortal know so clean a bite?<br /> -Who else, like him, can copy <i>Serjeant Kite!</i><br /> -To the <i>Piazza</i> let us turn our eyes,<br /> -See <i>Johnny Gay</i> on porters shoulders rise,<br /> -Whilst a bright Man of Tast his works despise.<a name="FNanchor_6_143" id="FNanchor_6_143"></a><a href="#Footnote_6_143" class="fnanchor">[6]</a><br /> -Another author wheels his works with care,<br /> -In hopes to get a market at this fair;<br /> -For such a day he sees not ev'ry year.<br /> -</p></blockquote> - -<p>By the <i>Man of Taste</i>, Mr. <i>Pope</i> was apparently -designed. He is represented, in his tye-wig, at one -corner of the <i>Piazza</i>, wiping his posteriors with the -<i>Beggar's Opera</i>. The letter P is over his head. His -little sword is significantly placed, and the peculiarity -of his figure well preserved.</p> - -<p>The reason why our artist has assigned such an -employment to him, we can only guess. It seems, -indeed, from Dr. <i>Johnson's</i> Life of <i>Gay</i>, that <i>Pope</i> did -not <i>think</i> the <i>Beggar's Opera</i> would succeed. <i>Swift</i>, -however, was of the same opinion; and yet the -former supported the piece on the first night of exhibition, -and the latter defended it in his <i>Intelligencer</i> -against the attacks of Dr. <i>Herring</i>,<a name="FNanchor_7_144" id="FNanchor_7_144"></a><a href="#Footnote_7_144" class="fnanchor">[7]</a> then preacher to -the Society of <i>Lincoln's-Inn</i>, afterwards archbishop -of <i>Canterbury. Hogarth</i> might be wanton in his satire; -might have founded it on idle report; or<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> -might have sacrificed truth to the prejudices of Sir -<i>James Thornhill</i>, whose quarrel, on another occasion, -he is supposed to have taken up, when he ridiculed -<i>The Translator of Homer</i> in a view of "The Gate -of <i>Burlington-house</i>."</p> - -<p>There are besides some allusions in the verses already -quoted, as well as in the piece they refer to, -which I confess my inability to illustrate. Those -who are best acquainted with the theatric and poetical -history of the years 1728, &c. would prove the -most successful commentators on the present occasion; -but not many can possibly be now alive who -were at that period competent judges of such -matters.</p> - -<p>This print, however, was not only unpublished, -but in several places is unfinished. It was probably -suppressed by the influence of some of the characters -represented in it. The style of composition, and -manner of engraving, &c. &c. would have sufficiently -proved it to be the work of <i>Hogarth</i>, if the initials -of his name had been wanting at the bottom of the -plate.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_138" id="Footnote_1_138"></a><a href="#FNanchor_1_138"><span class="label">[1]</span></a> The <i>Perseus</i> and <i>Andromeda</i>, for which <i>Hogarth</i> engraved -the plates mentioned in p. <a href="#Page_170">170</a>, was not published till 1730; -but there was one under the same title at <i>Drury-Lane</i> in 1728. -As both houses took each other's plans at that time, perhaps -the <i>Lincoln's-Inn Fields Perseus</i> might have been acted before it -was printed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_139" id="Footnote_2_139"></a><a href="#FNanchor_2_139"><span class="label">[2]</span></a> <i>Rich.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_140" id="Footnote_3_140"></a><a href="#FNanchor_3_140"><span class="label">[3]</span></a> No <i>sensible</i> and <i>pretty</i> play, &c. This refers to <i>Cibber's</i> decision -on the merits of some piece offered for representation, -and, we may suppose, rejected. In a copy of verses addressed -to <i>Rich</i> on the building of <i>Covent Garden</i> Theatre, are the following -lines, which seem to allude to the rejection already -mentioned: -</p> -<blockquote><p> -"Poets no longer shall submit their plays<br /> -To learned <i>Cibber's</i> gilded withered bays;<br /> -To such a judge the labour'd scene present,<br /> -Whom <i>sensible</i> and <i>pretty</i> won't content:<br /> -But to thy theatre with pleasure bear<br /> -The comic laughter and the tragic tear."<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_4_141" id="Footnote_4_141"></a><a href="#FNanchor_4_141"><span class="label">[4]</span></a> The original <i>Macheath</i>. He used, however, to perform -the heroes, particularly <i>Alexander</i>. From these lines it appears -that <i>Massanello</i>, was a favourite part with him. From <i>Chetwood's</i> -History of the Stage, p. 141, I learn that <i>Walker</i> had -contracted the two parts of <i>Durfey's Massanello</i> into one piece, -which was acted with success at <i>Lincoln's-Inn Fields</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_142" id="Footnote_5_142"></a><a href="#FNanchor_5_142"><span class="label">[5]</span></a> The original <i>Lockit</i>, who was also celebrated for his performance -of Serjeant <i>Kite</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_143" id="Footnote_6_143"></a><a href="#FNanchor_6_143"><span class="label">[6]</span></a> The grammar and spelling of this line are truly <i>Hogarthian</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_144" id="Footnote_7_144"></a><a href="#FNanchor_7_144"><span class="label">[7]</span></a> "A noted preacher near <i>Lincoln's-Inn</i> playhouse has -taken notice of the <i>Beggar's Opera</i> in the pulpit, and inveighed -against it as a thing of very evil tendency." <i>Mist's -Weekly Journal, March</i> 30, 1728.</p><br /></div> - - -<p>3. The Beggar's Opera. The title over it is in -capitals uncommonly large.</p> - -<blockquote><p> -<i>Brittons</i> attend—view this harmonious stage,<br /> -And listen to those notes which charm the age.<br /> -Thus shall your tastes in <i>sounds</i> and <i>sense</i> be shown,<br /> -And <i>Beggar's Op'ras</i> ever be your own.<br /> -</p></blockquote> - -<p>No painter or engraver's name. The plate seems<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span> -at once to represent the exhibition of <i>The Beggar's -Opera</i>, and the rehearsal of an <i>Italian</i> one. In the -<i>former</i>, all the characters are drawn with the heads -of different animals; as <i>Polly</i>, with a Cat's; <i>Lucy</i>, -with a Sow's; <i>Macheath</i>, with an Ass's; <i>Lockit</i>, and -Mr. and Mrs. <i>Peachum</i>, with those of an Ox, a Dog, -and an Owl. In the <i>latter</i>, several noblemen appear -conducting the chief female singer forward on the -stage, and perhaps are offering her money, or protection -from a figure that is rushing towards her with -a drawn sword. Harmony, flying in the air, turns -her back on the <i>English</i> playhouse, and hastens toward -the rival theatre. Musicians stand in front of -the former, playing on the Jew's-harp, the salt-box, -the bladder and string, bagpipes, &c. On one side -are people of distinction, some of whom kneel as if -making an offer to <i>Polly</i>, or paying their adorations to -her. To these are opposed a butcher, &c. expressing -similar applause. <i>Apollo</i>, and one of the Muses, are -fast asleep beneath the stage. A man is easing nature -under a wall hung with ballads, and shewing his -contempt of such compositions, by the use he makes -of one of them. A sign of the star, a gibbet, and -some other circumstances less intelligible, appear in -the back ground.<br /> -<br /></p> - - -<p>4. The same. The lines under it are engraved -in a different manner from those on the preceding -plate. Sold at the Print-Shop in <i>The Strand</i>, near -<i>Catherine Street</i>.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span></p> - -<p>5. A copy of the same, under the following title, -&c.</p> - -<blockquote><p>The Opera House, or the <i>Italian</i> Eunuch's Glory. -Humbly inscribed to those Generous Encouragers of -Foreigners, and Ruiners of <i>England</i>.</p> - -<p> -From <i>France</i>, from <i>Rome</i> we come,<br /> -To help Old <i>England</i> to <i>to</i> b' undone.<br /> -</p></blockquote> - -<p>Under the division of the print that represents the -<i>Italian Opera</i>, the words—<i>Stage Mutiny</i>—are perhaps -improperly added.</p> - -<p>On the two sides of this print are scrolls, containing -a list of the presents made to <i>Farinelli</i>. The -words are copied from the same enumeration in the -second plate of the Rake's Progress.<a name="FNanchor_1_145" id="FNanchor_1_145"></a><a href="#Footnote_1_145" class="fnanchor">[1]</a></p> - -<p>At the bottom are the following lines:</p> - -<blockquote><p> -"<i>Brittains</i> attend—view this harmonious stage,<br /> -And listen to those notes which charm the age.<br /> -<span style="margin-left: 1em;">How sweet the sound where cats and bears</span><br /> -<span style="margin-left: 1em;">With brutish noise offend our ears!</span><br /> -<span style="margin-left: 1em;">Just so the foreign singers move</span><br /> -<span style="margin-left: 1em;">Rather contempt than gain our love.</span><br /> -<span style="margin-left: 1em;">Were such discourag'd, we should find</span><br /> -<span style="margin-left: 1em;">Musick at home to charm the mind!</span><br /> -<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span><span style="margin-left: 1em;">Our home-spun authors must forsake the field,</span><br /> -<span style="margin-left: 1em;">And <i>Shakespear</i> to the <i>Italian Eunuchs</i> yield."<a name="FNanchor_2_146" id="FNanchor_2_146"></a><a href="#Footnote_2_146" class="fnanchor">[2]</a></span><br /> -</p></blockquote> - -<p>Perhaps the original print was the work of <i>Gravelot, -Vandergucht,</i> or some person unknown.<a name="FNanchor_3_147" id="FNanchor_3_147"></a><a href="#Footnote_3_147" class="fnanchor">[3]</a> The -idea of it is borrowed from a <i>French</i> book, called -<i>Les Chats</i>, printed at <i>Amsterdam</i> in 1728. In this -work, facing p. 117, is represented an opera performed -by cats, superbly habited. The design is by -<i>Coypel</i>; the engraving by <i>T. Otten</i>. At the end of -the treatise, the opera itself is published. It is improbable -that <i>Hogarth</i> should have met with this <i>jeu -d'esprit</i>; and, if he did, he could not have read the -explanation to it.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_145" id="Footnote_1_145"></a><a href="#FNanchor_1_145"><span class="label">[1]</span></a> The following paragraph appeared in the <i>Grub-street -Journal</i> for <i>April</i> 10, 1735; and to this perhaps <i>Hogarth</i> alluded -in the list of donations already mentioned: "His Royal -Highness the Prince hath been pleased to make a present of -a fine wrought gold snuff-box, richly set with brilliants and -rubies, in which was inclosed a pair of brilliant diamond -knee buckles, as also a purse of 100 guineas, to the famous -Signor <i>Farinelli</i>, &c."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_146" id="Footnote_2_146"></a><a href="#FNanchor_2_146"><span class="label">[2]</span></a> These two last lines make part of <i>Addison's</i> Prologue to -<i>Phædra</i> and <i>Hippolytus</i>, reading only "the soft <i>Scarlatti</i>," instead -of <i>Italian Eunuchs</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_147" id="Footnote_3_147"></a><a href="#FNanchor_3_147"><span class="label">[3]</span></a> At the back of an old impression of it, in the collection of -the late Mr. <i>Rogers</i>, I meet with the name of <i>Echerlan</i>, but am -unacquainted with any such designer or engraver.——I have -since been told he came over to <i>England</i> to dispose of a number -of foreign prints, and was himself no mean caricaturist. -Having drawn an aggravated likeness of an <i>English</i> nobleman, -whose figure was peculiarly unhappy, he was forced to fly in -consequence of a resentment which threatened little short of -assassination.</p></div> - -<hr class="tb" /> - -<h4>1729.</h4> - - -<p>1. King <i>Henry</i> the Eighth, and <i>Anna Bullen</i>. -"<i>Very indifferent.</i>" This plate has very idly been -imagined to contain the portraits of <i>Frederick</i> Prince -of <i>Wales</i> and Miss <i>Vane</i>;<a name="FNanchor_1_148" id="FNanchor_1_148"></a><a href="#Footnote_1_148" class="fnanchor">[1]</a> but the stature and faces,<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> -both of the lady and <i>Percy</i>, are totally unlike their -supposed originals. Underneath are the following -verses by <i>Allan Ramsay</i>:</p> - -<blockquote><p> -Here struts old pious <i>Harry</i>, once the great<br /> -Reformer of the <i>English</i> church and state:<br /> -'Twas thus he stood, when <i>Anna Bullen's</i> charms<br /> -Allur'd the amorous monarch to her arms;<br /> -With his right hand he leads her as his own,<br /> -To place this matchless beauty on his throne;<br /> -Whilst <i>Kate</i> and <i>Piercy</i> mourn their wretched fate,<br /> -And view the royal pair with equal hate,<br /> -Reflecting on the pomp of glittering crowns,<br /> -And arbitrary power that knows no bounds.<br /> -Whilst <i>Wolsey</i>, leaning on his throne of state,<br /> -Through this unhappy change foresees his fate,<br /> -Contemplates wisely upon worldly things,<br /> -The cheat of grandeur, and the faith of kings.<br /> -</p></blockquote> - -<p>Mr. <i>Charlton</i>, of <i>Canterbury</i>, has a copy of this -print, with the following title and verses: "King -<i>Henry</i> VIII. bringing to court <i>Anne Bullen</i>, who -was afterwards his royal consort." <i>Hogarth design. -&. sculp.</i></p> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> - -<blockquote><p> -See here the great, the daring <i>Harry</i> stands,<br /> -<span style="margin-left: 1em;">Peace, Plenty, Freedom, shining in his face,</span><br /> -With lovely <i>Anna Bullen</i> joining hands,<br /> -<span style="margin-left: 1em;">Her looks bespeaking ev'ry heav'nly grace.</span><br /> -<br /> -See <i>Wolsey</i> frowning, discontent and sour,<br /> -<span style="margin-left: 1em;">Feeling the superstitious <i>structure</i> shake:</span><br /> -While <i>Henry's</i> driving off the <i>Roman</i> whore,<br /> -<span style="margin-left: 1em;">For <i>Britain's</i> weal, and his <i>Lutherian's</i> sake.</span><br /> -<br /> -Like <i>Britain's</i> Genius our brave King appears,<br /> -<span style="margin-left: 1em;">Despising Priestcraft, Avarice, and Pride;</span><br /> -Nor the loud roar of <i>Babel's</i> bulls he fears,<br /> -<span style="margin-left: 1em;">The Dagon falls before his beauteous bride.</span><br /> -<br /> -Like <i>England's</i> Church, all sweetness and resign'd,<br /> -<span style="margin-left: 1em;">The comely queen her lord with calmness eyes;</span><br /> -As if she said, If goodness guard your mind,<br /> -<span style="margin-left: 1em;">You ghostly tricks and trump'ry may despise.</span><br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_148" id="Footnote_1_148"></a><a href="#FNanchor_1_148"><span class="label">[1]</span></a> To the fate of this lady Dr. <i>Johnson</i> has a beautiful allusion -in his <i>Vanity of Human Wishes</i>: -</p> -<blockquote><p> -"Yet <i>Vane</i> could tell what ills from beauty spring,<br /> -And <i>Sedley</i> curs'd the form that <i>pleas'd a king</i>."<br /> -</p></blockquote> -<p> -Perhaps the thought, that suggested this couplet, is found in -<i>Loveling's</i> Poems, a work already quoted: -</p> -<blockquote><p> --------nec <i>Gwynnam</i> valebat<br /> -<span style="margin-left: 1em;"><i>Angliaco placuisse regi</i>.</span><br /> -</p> -<p> -Mersa est acerbo funere sanguinis<br /> -<i>Vanella</i> clari: nec grave spiculum<br /> -<span style="margin-left: 1em;">Averteret fati <i>Machaon</i>,</span><br /> -<span style="margin-left: 2em;">Nec madido <i>Fredericus</i> ore.</span><br /> -</p></blockquote><br /></div> - - -<p>2. The same plate without any verses, but with an -inscription added in their room. <i>Ramsay</i> seems to -have been particularly attached to <i>Hogarth</i>. He -subscribed, as I have already observed, for thirty -copies of the large <i>Hudibras</i>.</p> - -<p>The original picture was at <i>Vauxhall</i>, in the portico -of the old great room on the right-hand of the -entry into the garden. See p. <a href="#Page_29">29</a>.<br /> -<br /></p> - - -<p>3. Frontispiece to the "Humours of <i>Oxford</i>," a -comedy by <i>James Miller</i>; acted at <i>Drury-Lane</i>, and -published in 8vo, 1729.<a name="FNanchor_1_149" id="FNanchor_1_149"></a><a href="#Footnote_1_149" class="fnanchor">[1]</a> <i>W. Hogarth inv. G. Vandergucht sc.</i><span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> -The Vice-chancellor, attended by his -beadle, surprizing two Fellows of a College, one -of them much intoxicated, at a tavern.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_149" id="Footnote_1_149"></a><a href="#FNanchor_1_149"><span class="label">[1]</span></a> It met with but moderate success in the theatre; but drew -on Mr. <i>Miller</i> the resentment of some of the heads of the -colleges in <i>Oxford</i>, who looked on themselves as satirized in it.</p></div> - -<hr class="tb" /> - -<h4>1730.</h4> - - -<p>1. <i>Perseus</i>, and <i>Medusa</i> dead, and <i>Pegasus</i>. Frontispiece -to <i>Perseus</i> and <i>Andromeda. W. H. fec.</i><br /> -<br /></p> - - -<p>2. Another print to the same piece, of <i>Perseus</i> -descending. Mr. <i>Walpole</i> mentions only one.<br /> -<br /></p> - - -<p>3. A half-starved boy. (The same as is represented -in the print of <i>Morning</i>.) <i>W. H. pinx. F. -Sykes sc. Sykes</i> was a pupil of <i>Thornhill</i> or <i>Hogarth</i>. -This print bears the date of 1730; but I suspect the -0 was designed for an 8, and that the upper part of it is -wanting, because the aqua fortis failed; or, that the -pupil copied the figure from a sketch of his master, -which at that time was unappropriated. No one will -easily suspect <i>Hogarth</i> of such plagiarism as he might -justly be charged with, could he afterwards have -adopted this complete design as his own; neither is -it probable that any youth could have produced a -figure so characteristic as this; or, if he could, that -he should have published it without any concomitant -circumstances to explain its meaning. The above -title, which some collector has bestowed on this -etching, is not of a discriminative kind. Who can -tell from it whether he is to look for a boy emaciated -by hunger, or shivering with cold? It is mentioned -here, only that it may be reprobated. If every -young practitioner's imitation of a single figure by -<i>Hogarth</i> were to be admitted among his works, they -would never be complete.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span></p> - -<p>4. <i>Gulliver</i> presented to the Queen of <i>Babilary. -W. Hogarth inv. Ger. Vandergucht sc. "It is the -frontispiece to the Travels of Mr.</i> John Gulliver," -son of Capt. <i>Lemuel Gulliver</i>, a translation from the -<i>French</i> by Mr. <i>Lockman</i>. There is as much merit in -this print as in the work to which it belongs.</p> - -<hr class="tb" /> - -<h4>1731.</h4> - - -<p>1. Two frontispieces to a translation of two of -<i>Moliere's</i> plays, viz. <i>L'Avare</i><a name="FNanchor_1_150" id="FNanchor_1_150"></a><a href="#Footnote_1_150" class="fnanchor">[1]</a> and <i>Le Cocû imaginaire</i>. -These are part of a select collection of <i>Moliere's</i> -Comedies in <i>French</i> and <i>English</i>. They were -advertised in <i>The Grub-street Journal</i>, with designs by -"Monsieur <i>Coypel</i>, Mr. <i>Hogarth</i>, Mr. <i>Dandridge</i>, -Mr. <i>Hamilton</i>," &c. in eight pocket volumes.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_150" id="Footnote_1_150"></a><a href="#FNanchor_1_150"><span class="label">[1]</span></a> Of this one, Mr. <i>S. Ireland</i> has the original drawing.</p><br /></div> - - -<p>2. Frontispiece to "The Tragedy of Tragedies, -or the Life and Death of <i>Tom Thumb</i>," in three -acts;<a name="FNanchor_1_151" id="FNanchor_1_151"></a><a href="#Footnote_1_151" class="fnanchor">[1]</a> by <i>Henry Fielding. W. Hogarth inv. Ger. -Vandergucht sc. "There is some humour in this print."</i></p> - -<div class="footnote"> - -<p><a name="Footnote_1_151" id="Footnote_1_151"></a><a href="#FNanchor_1_151"><span class="label">[1]</span></a> This piece had before made its appearance in 1730 in one -act only.</p><br /></div> - - -<p>3. Frontispiece to the Opera of <i>The Highland Fair, -or the Union of the Clans</i>, by <i>Joseph Mitchell. W. -Hogarth inv. Ger Vandergucht sculp.</i></p> - -<blockquote><p> -"Forsan et hæc olim meminisse juvabit." <span class="smcap">Virg.</span><br /> -</p></blockquote> - -<p>The date of this piece is confirmed by the following -paragraph in <i>The Grub-street journal, March</i> 4, -1731: "We hear from the Theatre-Royal in <i>Drury-lane</i>, -that there is now in rehearsal, and to be performed -on <i>Tuesday, March</i> 16, a new <i>Scots</i> Opera,<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> -called <i>The Highland Fair, or Union of the Clans,</i> -&c." The subject being too local for the <i>English</i> -stage, it met with little or no success.</p> - -<hr class="tb" /> - -<h4>1732.</h4> - - -<p>1. <i>Sarah Malcolm</i>,<a name="FNanchor_1_152" id="FNanchor_1_152"></a><a href="#Footnote_1_152" class="fnanchor">[1]</a> executed <i>March</i> 7, 1732, for<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> -murdering Mrs. <i>Lydia Duncombe</i> her mistress, <i>Elizabeth -Harrison</i>, and <i>Anne Price</i>; drawn in <i>Newgate. W. -Hogarth (ad vivum) pinxit & sculpsit.</i><a name="FNanchor_2_153" id="FNanchor_2_153"></a><a href="#Footnote_2_153" class="fnanchor">[2]</a> Some copies -are dated 1733, and have only <i>Hogarth pinx</i>. She -was about twenty-five years of age.<a name="FNanchor_3_154" id="FNanchor_3_154"></a><a href="#Footnote_3_154" class="fnanchor">[3]</a> "<i>This woman -put on red to sit to him for her picture two days before -her execution.</i>"<a name="FNanchor_4_155" id="FNanchor_4_155"></a><a href="#Footnote_4_155" class="fnanchor">[4]</a> Mr. <i>Walpole</i> paid <i>Hogarth</i> five -guineas for the original. Professor <i>Martyn</i> dissected -this notorious murderess, and afterwards presented<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> -her skeleton, in a glass case, to the Botanic Garden at -<i>Cambridge</i>, where it still remains.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_152" id="Footnote_1_152"></a><a href="#FNanchor_1_152"><span class="label">[1]</span></a> On <i>Sunday</i> morning, the 4th of <i>February</i>, Mrs. <i>Lydia -Duncombe</i>, aged 80, <i>Elizabeth Harrison</i>, her companion, aged -60, were found strangled, and <i>Ann Price</i>, her maid, aged 17, -with her throat cut, in their beds, at the said Mrs. <i>Duncombe's</i> -apartments in <i>Tanfield-Court</i> in <i>The Temple. Sarah Malcolm</i>, a -chare-woman, was apprehended the same evening on the information -of Mr. <i>Kerrol</i>, who had chambers on the same stair-case, -and had found some bloody linen under his bed, and a -silver tankard in his close-stool, which she had hid there. She -made a pretended confession, and gave information against -<i>Thomas Alexander, James Alexander,</i> and <i>Mary Tracey,</i> that they -committed the murder and robbery, and she only stood on the -stairs as a watch; that they took away three hundred pounds -and some valuable goods, of which she had not more than her -share; but the coroner's inquest gave their verdict <i>Wilful Murder</i> -against <i>Malcolm</i> only.—On the 23d her trial came on at -<i>The Old Bailey</i>: when it appeared that Mrs. <i>Duncombe</i> had but -54 <i>l.</i> in her box, and 53 <i>l.</i> 11 <i>s.</i> 6 <i>d.</i> of it were found upon <i>Malcolm</i> -betwixt her cap and hair. She owned her being concerned -in the robbery, but denied she knew any thing of the -murder till she went in with other company to see the deceased. -The jury found her guilty of both. She was strongly -suspected to have been concerned in the murder of Mr. <i>Nesbit</i> -in 1729, near <i>Drury-lane</i>, for which one <i>Kelly</i>, alias <i>Owen</i>, -was hanged; the grounds for his conviction being only a -bloody razor found under the murdered man's head that was -known to be his. But he denied to the last his being concerned -in the murder; and said, in his defence, he lent the razor to -a woman he did not know.—On <i>Wednesday, March</i> 7, she was -executed on a gibbet opposite <i>Mitre-court, Fleet-street</i>, where -the crowd was so great, that a Mrs. <i>Strangways</i>, who lived in -<i>Fleet-street</i>, near <i>Serjeant's-Inn</i>, crossed the street, from her -own house to Mrs. <i>Coulthurst's</i> on the opposite side of the way, -over the heads and shoulders of the mob. She went to execution -neatly dressed in a crape mourning gown, holding up -her head in the cart with an air, and looking as if she was -painted, which some did not scruple to affirm. Her corpse -was carried to an undertaker's upon <i>Snow-hill</i>, where multitudes -of people resorted, and gave money to see it: among -the rest a gentleman in deep mourning, who kissed her, and -gave the people half a crown. She was attended by the Rev. -Mr. <i>Pedington</i>, lecturer of <i>St. Bartholomew</i> the Great, seemed -penitent, and desired to see her master <i>Kerrol</i>; but, as she did -not, protested all accusations against him were false. During -her imprisonment she received a letter from her father at -<i>Dublin</i>, who was in too bad circumstances to send her such a -sum as 17 <i>l.</i> which she pretended he did. The night before -her execution, she delivered a paper to Mr. <i>Pedington</i> (the copy -of which he sold for 20 <i>l.</i>), of which the substance is printed in -<i>The Gentleman's Magazine</i>, 1733, p. 137. She had given much -the same account before, at her trial, in a long and fluent -speech.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_153" id="Footnote_2_153"></a><a href="#FNanchor_2_153"><span class="label">[2]</span></a> The words "<i>& sculpsit</i>" are wanting in the copies. In -the three last of them the figure also is reversed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_154" id="Footnote_3_154"></a><a href="#FNanchor_3_154"><span class="label">[3]</span></a> "This woman," said <i>Hogarth</i>, after he had drawn <i>Sarah -Malcolm</i>, "by her features, is capable of any wickedness."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_155" id="Footnote_4_155"></a><a href="#FNanchor_4_155"><span class="label">[4]</span></a> "<i>Monday Sarah Malcolm</i> sat for her picture in <i>Newgate</i>, -which was taken by the ingenious Mr. <i>Hogarth</i>: Sir <i>James -Thornhill</i> was likewise present." <i>Craftsman, Saturday, March</i> -10, 1732-3.</p><br /></div> - - -<p>2. An engraved copy of ditto.<br /> -<br /></p> - - -<p>3. Ditto, mezzotinto.<br /> -<br /></p> - - -<p>4. Ditto, part graven, part mezzotinto.</p> - -<p>The knife with which she committed the murder -is lying by her.<br /> -<br /></p> - - -<p>5. Another copy of this portrait<a name="FNanchor_1_156" id="FNanchor_1_156"></a><a href="#Footnote_1_156" class="fnanchor">[1]</a> (of which only -the first was engraved by <i>Hogarth</i>), with the addition -of a clergyman holding a ring in his hand, and -a motto, "No recompence but Love."<a name="FNanchor_2_157" id="FNanchor_2_157"></a><a href="#Footnote_2_157" class="fnanchor">[2]</a></p> - -<p>In <i>The Grub-street Journal</i> of <i>Thursday, March</i> 8, -1732, appeared the following epigram:</p> - -<blockquote><p> -"To <i>Malcolm Guthrie</i><a name="FNanchor_3_158" id="FNanchor_3_158"></a><a href="#Footnote_3_158" class="fnanchor">[3]</a> cries, confess the murther;<br /> -The truth disclose, and trouble me no further.<br /> -Think on both worlds; the pain that thou must bear<br /> -In that, and what a load of scandal here.<br /> -Confess, confess, and you'll avoid it all:<br /> -Your body shan't be hack'd at <i>Surgeons Hall</i>:<br /> -No <i>Grub-street</i> hack shall dare to use your ghost ill,<br /> -<i>Henly</i> shall read upon your post a postile;<br /> -<i>Hogarth</i> your charms transmit to future times,<br /> -And <i>Curll</i> record your life in prose and rhimes.<br /> -<br /> -"<i>Sarah</i> replies, these arguments might do<br /> -From <i>Hogarth, Curll,</i> and <i>Henly</i>, drawn by you,<br /> -<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span>Were I condemn'd at <i>Padington</i> to ride:<br /> -But now from <i>Fleet-street Pedington's</i> my guide."<br /> -</p></blockquote> - -<p>The office of this <i>Pedington</i><a name="FNanchor_4_159" id="FNanchor_4_159"></a><a href="#Footnote_4_159" class="fnanchor">[4]</a> may be known from -the following advertisement in <i>The Weekly Miscellany</i>, -N° 37. <i>August</i> 25, 1733. "This day is published, -Price Six-pence, (on occasion of the Re-commitment -of the two <i>Alexanders</i>; with a very neat -effigies of <i>Sarah Malcolm</i> and her <i>Reverend Confessor</i>, -both taken from the Life) The Friendly -Apparition: Being an account of the most surprising -appearance of <i>Sarah Malcolm's</i> Ghost to a -great assembly of her acquaintance at a noted Gin-shop; -together with the remarkable speech she -then made to the whole company."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_156" id="Footnote_1_156"></a><a href="#FNanchor_1_156"><span class="label">[1]</span></a> A copy of it in wood was inserted in <i>The Gentleman's Magazine</i>, -1733, p. 153.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_157" id="Footnote_2_157"></a><a href="#FNanchor_2_157"><span class="label">[2]</span></a> This print was designed as a frontispiece to the pamphlet -advertised in <i>The Weekly Miscellany</i>. (See text, above.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_158" id="Footnote_3_158"></a><a href="#FNanchor_3_158"><span class="label">[3]</span></a> The Ordinary of <i>Newgate</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_159" id="Footnote_4_159"></a><a href="#FNanchor_4_159"><span class="label">[4]</span></a> Mr. <i>Pedington</i> died September 18, 1734. He is supposed -to have made some amorous overtures to <i>Sarah</i>.</p><br /></div> - - -<p>6. The Man of <span class="smcap">Taste</span>. The Gate of <i>Burlington-house. -Pope</i> white-washing it, and bespattering the -Duke of <i>Chandos's</i> coach. "<i>A satire on</i> Pope's -<i>Epistle on Taste. No name.</i>" It has been already -observed that the plate was suppressed; and if this -be true, the suppression may be accounted for from -the following inscription, lately met with at the back -of one of the copies.</p> - -<p>"Bo<sup>t</sup> this book of Mr. <i>Wayte</i>, at <i>The Fountain -Tavern</i>, in <i>The Strand</i>, in the presence of Mr. -<i>Draper</i>, who told me he had it of the Printer, -Mr. <i>W. Rayner.</i><a name="FNanchor_1_160" id="FNanchor_1_160"></a><a href="#Footnote_1_160" class="fnanchor">[1]</a></p> - -<p>"J. Cosins."</p> - -<p><span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span></p> - -<p>On this attested memorandum a prosecution seems -meant to have been founded. <i>Cosins</i> was an attorney, -and <i>Pope</i> was desirous on all occasions to make the -law the engine of his revenge.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_160" id="Footnote_1_160"></a><a href="#FNanchor_1_160"><span class="label">[1]</span></a> <i>Rayner</i> was at that time already under prosecution for -publishing a pamphlet called, "<i>Robin's</i> Game, or Seven's -the Main." Neglecting to surrender himself, he was taken -by a writ of execution from the crown, and confined to the -<i>King's Bench</i>; where he became connected with Lady <i>Dinely</i>, -whole character was of equal infamy with his own.</p><br /></div> - - -<p>7. The same, in a smaller size; prefixed to a -pamphlet, intituled, "A Miscellany of Taste, by -Mr. <i>Pope</i>," &c. containing his Epistles, with -Notes and other poems. In the former of these Mr. -<i>Pope</i> has a tie-wig on, in the latter a cap.<br /> -<br /></p> - - -<p>8. The same, in a size still smaller; very coarsely -engraved. Only one of them is noted by Mr. <i>Walpole</i>.</p> - -<p>A reader of these Anecdotes observes, "That the -total silence of <i>Pope</i> concerning so great an artist, -encourages a suspicion that his attacks were felt -though not resented. The thunders of the poet -were usually pointed at inglorious adversaries; -but he might be conscious of a more equal match -in our formidable caricaturist. All ranks of people -have eyes for pencil'd ridicule, but of written -satire we have fewer judges. It may be suspected, -that the 'pictured shape' would never have -been complained of, had it been produced only -by a bungler in his art. But from the powers of -<i>Hogarth, Pope</i> seems to have apprehended more -lasting inconvenience; and the event has justified -his fear. The frontispiece to <i>Smedley's Gulliveriana</i> -has been long forgotten; but the <i>Gate of</i><span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> -<i>Burlington house</i> is an object coveted by all who -assemble prints of humour.—It may be added, -that our painter's reputation was at the height -ten years before the death of <i>Pope</i>, who could -not therefore have overlooked his merit, though, -for some reason or other, he has forborne to introduce -the slightest allusion to him or his performances. -Yet these, or copies from them, were -to be met with in almost every public and private -house throughout the kingdom; nor was it easy -for the bard of <i>Twickenham</i> to have mixed in -the conversation of the times, without being obliged -to hear repeated praises of the author of -<i>The Harlot's Progress</i>."</p> - -<p>The sheet containing this page having been shewn -to a friend, produced from him the following remark: -"That <i>Pope</i> was silent on the merits of -<i>Hogarth</i> (as one of your readers has observed) -should excite little astonishment, as our artist's -print on the <i>South Sea</i> exhibits the translator of -<i>Homer</i> 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 hornbook at his girdle. -For whom this figure was designed, is doubtful. -Perhaps it was meant for <i>Gay</i>, who was a fat -man, and a loser in the same scheme."—"<i>Gay</i>," -says Dr. <i>Johnson</i>, "in that disastrous year had a -present from young <i>Craggs</i> of some <i>South-sea</i> stock, -and once supposed himself to be master of twenty-thousand -pounds. His friends persuaded him to<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> -sell his share; but he dreamed of dignity and -splendour, and could not bear to obstruct his own -fortune. He was then importuned to sell as much -as would purchase an hundred a year for life, -which, says <i>Fenton</i>, will make you sure of a clean -shirt and a shoulder of mutton every day. This -counsel was rejected; the profit and principal -were lost, and <i>Gay</i> sunk under the calamity so low -that his life became in danger.—The Hornbook -appended to his girdle, perhaps, refers to the Fables -he wrote for the Duke of <i>Cumberland</i>. Some of -your ingenious correspondents, or Mr. <i>Walpole</i>, -who is <i>instar omnium</i>, may be able to give a further -illustration. The conclusion to the inscription -under this plate—<i>Guess at the rest, you'll find out -more</i>—seems also to imply a consciousness of such -personal satire as it was not prudent to explain. I -may add, that the print before us exhibits more -than one figure copied from <i>Callot</i>. Among the -people going along the gallery to raffle for husbands, -the curious observer will recognize the <i>Old Maid</i> -with lappets flying, &c. afterwards introduced into -the scene of <i>Morning</i>. Dr. <i>Johnson</i>, however, bears -witness to the propriety of our great poet's introduction -into a satire on the 'disastrous year of national -infatuation, when more riches than <i>Peru</i> -can boast were expected from the <i>South Sea</i>; when -the contagion of avarice tainted every mind; and -<i>Pope</i>, being seized with the universal passion, ventured -some of his money. The stock rose in its<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> -price; and he for a while thought himself <i>The Lord -of Thousands</i>. But this dream of happiness did not -last long: and he seems to have waked soon enough -to get clear with the loss only of what he once -thought himself to have won, and perhaps not -wholly that.'"</p> - -<p>It appears from <i>Pope's</i> correspondence with <i>Atterbury</i>, -that the stock he had was at one time valued at -between twenty and thirty thousand pounds; and that -he was one of the lucky few who had "the good -fortune to remain with half of what they imagined -they had."—"Had you got all you have lost beyond -what you ventured," said the good Bishop -in reply, "consider that your superfluous gains -would have sprung from the ruin of several families -that now want necessaries."<a name="FNanchor_1_161" id="FNanchor_1_161"></a><a href="#Footnote_1_161" class="fnanchor">[1]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_161" id="Footnote_1_161"></a><a href="#FNanchor_1_161"><span class="label">[1]</span></a> Letters to and from Bishop <i>Atterbury</i>, 1782, vol. I. p. 71.</p></div> - -<hr class="tb" /> - -<h4>1733.</h4> - - -<p>1. The Laughing Audience. "1733. Rec<sup>d</sup>. -<i>Dec<sup>br</sup>.</i> 18 <i>of the Right Honn<sup>ble</sup>. Lord Biron</i> Half a -Guinea being the first Payment for nine Prints 8 -of which Represent a Rakes Progress and the 9<sup>th</sup> -a Fair, Which I promise to Deliver at Michaelmass -Next on Receiving one Guinea more. Note -the Fair will be Deliver'd next Christmass at Sight -of this receipt the Prints of the Rake<sup>s</sup>. Progress -alone will be 2 Guineas each set after the Subscription -is over."</p> - -<p>The words printed in <i>Italicks</i> are in the hand-writing -of <i>Hogarth</i>.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span></p> - -<p>2. The <i>Fair</i><a name="FNanchor_1_162" id="FNanchor_1_162"></a><a href="#Footnote_1_162" class="fnanchor">[1]</a> [at <i>Southwark</i>]. <i>Invented, painted, -and engraved by W. Hogarth.</i>. The show-cloth, representing -the Stage Mutiny, is taken from a large etching -by <i>John Laguerre</i> (son of <i>Louis Laguerre</i>, the -historical painter), who sung at <i>Lincoln's-Inn Fields</i> -and <i>Covent-Garden</i> Theatres, painted some of their -scenes, and died in 1748. <i>The Stage-Mutineers</i>, or <i>A -Playhouse to be let</i>, a tragi-comi farcical-ballad-opera, -which was published in 1733, will throw some -light on the figures here represented by <i>Hogarth</i>. See -also the <i>Supplement</i> to <i>Dodsley's</i> Preface to his Collection -of Old Plays, and the "Biographia Dramatica, -1782."</p> - -<p>It is remarkable that, in our artist's copy of this -etching, he has added a paint-pot and brushes at -the feet of the athletic figure <i>with a cudgel in his -hand</i>, who appears on the side of <i>Highmore</i>.<a name="FNanchor_2_163" id="FNanchor_2_163"></a><a href="#Footnote_2_163" class="fnanchor">[2]</a> From<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> -these circumstances it is evident that <i>John Ellis</i> the -painter (a pupil of Sir <i>James Thornhill</i>, a great frequenter -of <i>Broughton's</i> gymnasium, the stages of -other prize-fighters, &c.) was the person designed. -<i>Ellis</i> was deputy-manager for Mrs. <i>Wilks</i>, and <i>took up -the cudgels</i> also for the new patentee. Mr. <i>Walpole</i> -observes that <i>Rysbrack</i>, when he produced that -"exquisite summary of his skill, knowledge, and -judgment," the <i>Hercules</i> now in Mr. <i>Hoare's</i> Temple -at <i>Stourhead</i>, modelled the legs of the God from -those of <i>Ellis</i>. This statue was compiled from the -various limbs and parts of seven or eight of the -strongest and best-made men in <i>London</i>, chiefly the -bruisers, &c. of the then famous amphitheatre in -<i>Tottenham Court road</i>.</p> - -<p>In <i>Banks's</i> Works, vol. I. p. 97. is a Poetical -Epistle on this print, which alludes to the disputes -between the managers of <i>Drury-Lane</i>, and such of -the actors as were spirited up to rebellion by <i>Theophilus -Cibber</i>, and seceded to <i>The Haymarket</i> in 1733. -<i>Cibber</i> is represented under the character of <i>Pistol</i>;<a name="FNanchor_3_164" id="FNanchor_3_164"></a><a href="#Footnote_3_164" class="fnanchor">[3]</a><span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> -<i>Harper</i> under that of <i>Falstaff</i>. The figure in the -corner was designed for <i>Colley Cibber</i> the Laureat, -who had just sold his share in the play-house to Mr. -<i>Highmore</i>, who is represented holding a scroll, on -which is written "it cost £.6000." A monkey is<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span> -exhibited sitting astride the iron that supports the -sign of <i>The Rose</i>, a well-known tavern. A label -issuing from his mouth contains the words: "<i>I am -a gentleman.</i>"<a name="FNanchor_4_165" id="FNanchor_4_165"></a><a href="#Footnote_4_165" class="fnanchor">[4]</a> <i>The Siege of Troy</i>, upon another -show-cloth, was a celebrated droll, composed by -<i>Elkanah Settle</i>, and printed in 1707; it was a great -favourite at fairs. A booth was built in <i>Smithfield</i> -this year for the use of <i>T. Cibber, Griffin, Bullock,</i> and -<i>H. Hallam</i>; at which the Tragedy of <i>Tamerlane</i>, with -<i>The Fall of Bajazet</i>, intermixed with the Comedy of -<i>The Miser</i>, was actually represented. The figure -vaulting on the rope was designed for Signor <i>Violante</i>, -who signalized himself in the reign of <i>Geo.</i> I.; -and the tall man exhibited on a show-cloth, was -<i>Maximilian</i>, a giant from <i>Upper Saxony</i>. The man -flying from the steeple was one <i>Cadman</i>, who, within -the recollection of some persons now living, descended -in the manner here described from the steeple of -<i>St. Martin's</i> into <i>The Mews</i>. He broke his neck soon -after, in an experiment of the like kind, at <i>Shrewsbury</i>, -and lies buried there in the churchyard of <i>St. Mary -Friars</i>, with the following inscription on a little tablet -inserted in the church-wall just over his grave.<a name="FNanchor_5_166" id="FNanchor_5_166"></a><a href="#Footnote_5_166" class="fnanchor">[5]</a><span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> -The lines are contemptible, but yet serve to particularize -the accident that occasioned his death.</p> - -<p><span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span></p> - -<blockquote><p> -Let this small monument record the name<br /> -Of <i>Cadman</i>, and to future times proclaim<br /> -How, by an attempt to fly from this high spire<br /> -Across the <i>Sabrine</i> stream, he did acquire<br /> -His fatal end. 'Twas not for want of skill,<br /> -Or courage, to perform the task, he fell:<br /> -No, no,—a faulty cord, being drawn too tight,<br /> -Hurry'd his soul on high to take her flight,<br /> -Which bid the body here beneath, good night.<br /> -</p></blockquote> - -<p>A prelate being asked permission for a line to be -fixed to the steeple of a cathedral church, for this -daring adventurer, replied, the man might fix <i>to</i> the -church whenever he pleased, but he should never -give his consent to any one's flying <i>from</i> it. It seems<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> -that some exhibitor of the same kind met with -a similar inhibition here in <i>London</i>. I learn from -<i>Mist's</i> Journal for <i>July</i> 8, 1727, that a sixpenny -pamphlet, intituled, "The Devil to pay at <i>St. -James's</i>, &c."<a name="FNanchor_6_167" id="FNanchor_6_167"></a><a href="#Footnote_6_167" class="fnanchor">[6]</a> was published on this occasion, -Again, in <i>The Weekly Miscellany</i> for <i>April</i> 17, 1736. -"<i>Thomas Kidman</i>, the famous Flyer, who has flown -from several of the highest precipices in <i>England</i>, -and was the person that flew off <i>Bromham</i> steeple -in <i>Wiltshire</i> when it fell down, flew, on <i>Monday</i> -last, from the highest of the rocks near <i>The Hot-well</i> -at <i>Bristol</i>, with fire-works and pistols; after -which he went up the rope, and performed several -surprising dexterities on it, in sight of thousands of<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> -spectators, both from <i>Somersetshire</i> and <i>Gloucestershire</i>." -In this print also is a portrait which has been -taken for that of Dr. <i>Rock</i>, but was more probably -meant for another Quack, who used to draw a crowd -round him by seeming to eat fire, which, having his -checks puffed up with tow, he blew out of his -mouth.<a name="FNanchor_7_168" id="FNanchor_7_168"></a><a href="#Footnote_7_168" class="fnanchor">[7]</a> Some other particulars are explained in -the notes to the poetical epistle already mentioned.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_162" id="Footnote_1_162"></a><a href="#FNanchor_1_162"><span class="label">[1]</span></a> In the Craftsman, 1733, was this advertisment; "Mr. -<i>Hogarth</i> being now engraving nine copper-plates from pictures -of his own painting, one of which represents the Humours -of a Fair, the other eight the Progress of a Rake, -intends to publish the prints by subscription, on the following -terms: each subscription to be one guinea and a half: -half-a-guinea to be paid at the time of subscribing, for -which a receipt will be given on a new-etched print, and -the other payment of one guinea on delivery of all the prints -when finished, which will be with all convenient speed, and -the time publicly advertised. The Fair, being already finished, -will be delivered at the time of subscribing. Subscriptions -will be taken in at Mr. <i>Hogarth's</i>, the <i>Golden -Head</i>, in <i>Leicester Fields</i>, where the pictures are to be seen."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_163" id="Footnote_2_163"></a><a href="#FNanchor_2_163"><span class="label">[2]</span></a> <i>Highmore</i> was originally a man of fortune; but <i>White's</i> -gaming-house, and the patent of <i>Drury-Lane</i> theatre, completely -exhausted his finances. Having proved himself an unsuccessful -actor as well as manager, in 1743 he published -<i>Dettingen</i>, a poem which would have disgraced a Bell-man. -In 1744 he appeared again in the character of <i>Lothario</i>, for -the benefit of Mrs. <i>Horten</i>. From this period his history is -unknown. If <i>Hogarth's</i> representation of him, in the print entitled -<i>The Discovery</i>, was a just one, he had no external requisites -for the stage.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_164" id="Footnote_3_164"></a><a href="#FNanchor_3_164"><span class="label">[3]</span></a> In a two-shilling pamphlet, printed for <i>J. Mechell</i> at <i>The -King's Arms</i> in <i>Fleet street</i>, 1740, entitled "An Apology for the -life of Mr. <i>T—— C——</i>, comedian; being a proper sequel -to the apology for the life of Mr. <i>Colley Cibber</i>, comedian; -with a historical view of the stage to the present year; supposed -to be written by himself in the stile and manner of -the Poet Laureat," but in reality the work of <i>Harry Fielding</i>; -the following passages, illustrative of our subject, occur. -"In that year when the stage fell into great commotions, -and the <i>Drury Lane</i> company, asserting the glorious cause of -liberty and property, made a stand against the oppressions -in the patentees—in that memorable year when the Theatric -Dominions fell in labour of a revolution under the conduct -of <i>myself</i>, that revolt gave occasion to several pieces of -wit and satirical flirts at the conductor of the enterprize. I -was attacked, as my father had been before me, in the -public papers and journals; and the burlesque character of -<i>Pistol</i> was attributed to me as a real one. Out came a -<i>Print</i> of <i>Jack Laguerre's</i>, representing, in most vile designing, -this expedition of ours, under the name of <i>The Stage -Mutiny</i>, in which, gentle reader, <i>your humble servant</i>, in the -<i>Pistol</i> character, was the principal figure. This I laughed -at, knowing it only a proper embellishment for one of -those necessary structures to which persons out of necessity -repair." p. 16, &c.—Again, p. 88.—"At the Fair of <i>Bartholomew</i>, -we gained some recruits; but, besides those advantages -over the enemy, I myself went there in person, -and publickly <i>exposed</i> myself. This was done to fling defiance -in the Patentee's teeth; for, on the booth where I -exhibited, I hung out <i>The Stage Mutiny</i>, with <i>Pistol</i> at the -head of his troop, our standard bearing this motto,—<i>We -eat.</i>"—Whether this account which <i>Cibber</i> is made to give -of his own conduct is entirely jocular, or contains a mixture -of truth in it, cannot now be ascertained. <i>Hogarth</i> -might have transplanted a circumstance from <i>Bartholomew</i> to -<i>Southwark</i> Fair; or <i>Fielding</i>, by design, may have misrepresented -the matter, alluding at the same time to <i>Hogarth's</i> -print.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_165" id="Footnote_4_165"></a><a href="#FNanchor_4_165"><span class="label">[4]</span></a> Mr. <i>Victor</i>, speaking of this transaction, observes, that -"the general observation was, what business had <i>a gentleman</i> -to make the purchase?"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_166" id="Footnote_5_166"></a><a href="#FNanchor_5_166"><span class="label">[5]</span></a> In <i>The Gentleman's Magazine</i> for 1740, p. 89, is no bad -copy of verses "on the death of the famous <i>Flyer</i> on the Rope -at <i>Shrewsbury</i>". It is therefore here inserted. -</p> -<blockquote><p> -<i>—————-Magnis tamen excidit ausis.</i><br /> -Fond <i>Icarus</i> of old, with rash essay,<br /> -In air attempted a forbidden way;<br /> -Too thin the medium for so cumb'rous freight,<br /> -Too weak the plumage to support the weight.<br /> -Yet less he dar'd who soar'd on waxen wing,<br /> -Than he who mounts to æther on a string.<br /> -Just as <i>Arachne</i>, when the buzzing prey<br /> -Entangled flutter, and would wing away,<br /> -From watchful ambuscade insidious springs,<br /> -And to a slender twine, ascending, clings.<br /> -So on his rope, th' advent'rer climbs on high,<br /> -Bounds o'er cathedral heights, and seeks the sky;<br /> -Fix but his cable, and he'll tell you soon,<br /> -What sort of natives cultivate the moon.<br /> -An army of such wights to cross the main,<br /> -Sooner than <i>Haddock's</i> fleet, shou'd humble <i>Spain</i>.<br /> -As warring cranes on pigmies thund'ring fall,<br /> -And, without scaling ladders, mount the wall,<br /> -The proudest spire in <i>Salop's</i> lofty town<br /> -Safely he gains, and glides as safely down;<br /> -Then soars again aloft, and downward springs,<br /> -Swift as an eagle, without aid of wings;<br /> -Shews anticks, hangs suspended by his toe;<br /> -Undazzled, views th' inverted chasm below.<br /> -Invites with beat of drum brave voluntiers,<br /> -Defies <i>Jack Spaniard</i>, nor invasion fears,<br /> -Land when they will, they ne'er cou'd hurt <i>his ears</i>.<br /> -Methink I see as yet his flowing hair<br /> -And body, darting like a falling star:<br /> -Swifter than what "with fins or feathers fly<br /> -Thro' the ærial or the wat'ry sky."<br /> -Once more he dares to brave the pathless way,<br /> -Fate now pursuing, like a bird of prey;<br /> -And, comet-like, he makes his latest tour,<br /> -In air excentric (oh! ill-omen'd hour!)<br /> -Bar'd in his shirt to please the gazing crowd,<br /> -He little dreamt, poor soul! of winding shroud!<br /> -Nothing could aught avail but limbs of brass,<br /> -When ground was iron, and the <i>Severn</i> glass.<br /> -As quick as lightning down his line he skims,<br /> -Secure in equal poize of agile limbs.<br /> -But see the trusted cordage faithless prove!<br /> -Headlong he falls, and leaves his soul above:<br /> -The gazing town was shock'd at the rebound<br /> -Of shatter'd bones, that rattled on the ground;<br /> -The broken cord rolls on in various turns,<br /> -Smokes in the whirl, and as it runs it burns.<br /> -So when the wriggling snake is snatch'd on high<br /> -In eagle's claws, and hisses in the sky,<br /> -Around the foe his twirling tail he flings,<br /> -And twists her legs, and writhes about her wings.<br /> -<i>Cadman</i> laid low, ye rash, behold and fear,<br /> -Man is a reptile, and the ground his sphere.<br /> -Unhappy man! thy end lamented be;<br /> -Nought but thy own ill fate so swift as thee,<br /> -Were metamorphoses permitted now,<br /> -And tuneful <i>Ovid</i> liv'd to tell us how;<br /> -His apter Muse shou'd turn thee to a daw,<br /> -Nigh to the fatal steeple still to kaw;<br /> -Perch on the cock, and nestle on the ball,<br /> -In ropes no more confide, and never fall. <i>J. A.</i><br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_6_167" id="Footnote_6_167"></a><a href="#FNanchor_6_167"><span class="label">[6]</span></a> Supposed to have been written by Dr. <i>Arbuthnot</i>, and as -such preserved in the Collection of his Works. The full title -is, "The Devil to pay at <i>St. James's</i>: or, a full and true Account -of a most horrid and bloody Battle between Madam -<i>Faustina</i> and Madam <i>Cuzzoni</i>. Also of a hot Skirmish between -Signor <i>Boschi</i> and Signor <i>Palmerini</i>. Moreover, how -<i>Senesino</i> has taken Snuff, is going to leave the Opera, and -sings Psalms at <i>Henley's Oratory</i>. Also about the Flying -Man, and how the Doctor of <i>St. Martin's</i> has very unkindly -taken down the Scaffold, and disappointed a World -of good Company. As also how a certain Great Lady is -gone mad for the Love of <i>William Gibson</i>, the Quaker. And -how the <i>Wild Boy</i> is come to Life again, and has got a Dairy -Maid with Child. Also about the great Mourning, and -the Fashions, and the Alterations, and what not. With -other material Occurrences, too many to insert." -</p> -<p> -In this pamphlet our artist is incidentally mentioned, but -in such a manner as shews that he had attained some celebrity -so early as 1727. Speaking of some <i>Lilliputian</i> swine, supposed -to be in the possession of Dean <i>Swift</i>, Dr. <i>Arbuthnot</i> adds, -"But <i>Hogarth</i> the Engraver is making a print after them, -which will give a juster idea of them than I can."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_168" id="Footnote_7_168"></a><a href="#FNanchor_7_168"><span class="label">[7]</span></a> Perhaps he was only a fire-eater.</p><br /></div> - - -<p><a id="Page_187_3">3.</a> <i>Judith</i> and <i>Holofernes</i>. "Per vulnera servor, -morte tuâ vivens." <i>W. Hogarth inv. Ger. Vandergucht -sc.</i> A frontispiece to the Oratorio of <i>Judith.</i>—Our -heroine, instead of holding the sword by its -handle, grasps it by its edge, in such a manner -as should seem to have endangered her fingers. -(<i>Judith</i> was an Oratorio by <i>William Huggins</i>, Esq. set -to musick by <i>William De Fesch</i><a name="FNanchor_1_169" id="FNanchor_1_169"></a><a href="#Footnote_1_169" class="fnanchor">[1]</a> late Chapel-master -of the cathedral church of <i>Antwerp</i>. This piece was -performed with scenes and other decorations, but -met with no success. It was published in 8vo, 1733.)—The<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> -original plate of the frontispiece is in the -possession of Dr. <i>Monkhouse</i>. This design has little -of <i>Hogarth</i>; yet if he furnished other engravers with -such slight undetermined sketches as he himself is -sometimes known to have worked from, we cannot -wonder if on many occasions his usual characteristics -should escape our notice. Whoever undertakes to -perfect several of his unpublished drawings, will be -reduced to the necessity of inventing more than presents -itself for imitation.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_169" id="Footnote_1_169"></a><a href="#FNanchor_1_169"><span class="label">[1]</span></a> <i>William Defesch</i>, a <i>German</i>, and some time chapel-master at -<i>Antwerp</i>, was in his time a respectable professor on the violin, -and leader of the band for several seasons at <i>Marybone-gardens</i>. -His head was engraved as a frontispiece to some musical compositions -published by him; and his name is to be found on -many songs and ballads to which he set the tunes for <i>Vauxhall</i> -and <i>Marybone-gardens</i>. He died, soon after the year 1750, -at the age of 70. -</p> -<p> -The following lines were written under a picture of <i>Defesch</i>, -painted by <i>Soldi</i>, 1751. -</p> -<blockquote><p> -Thou honor'st verse, and verse must lend her wing,<br /> -To honor thee, the priest of <i>Phœbus'</i> quire,<br /> -That <i>tun'st</i> her happiest lines in hymn or song. <span class="smcap">Milton.</span><br /> -</p></blockquote> -<p> -<i>Defesch</i> was the patriotic Mr. <i>Hollis's</i> music-master.</p><br /></div> - - -<p>4. Boys peeping at Nature. "<i>The subscription-ticket -to the Harlot's Progress.</i>" A copy in aqua-tinta -from this receipt was made by <i>R. Livesay</i> in -1781, and is to be had at Mrs. <i>Hogarth's</i> house in -<i>Leicester-square</i>.</p> - -<hr class="tb" /> - -<h4>1733 and 1734.</h4> - - -<p>1.<a name="FNanchor_1_170" id="FNanchor_1_170"></a><a href="#Footnote_1_170" class="fnanchor">[1]</a> The Harlot's Progress,<a name="FNanchor_2_171" id="FNanchor_2_171"></a><a href="#Footnote_2_171" class="fnanchor">[2]</a> in six plates. In the -first is a portrait of Colonel <i>Chartres</i>. "Cette figure<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> -de viellard (says <i>Rouquet</i>) est d'aprés nature; c'est -le portrait d'un officier très riche, fameux dans ce -tems-là pour de pareilles expéditions, grand séducteur -de campagnardes, et qui avoit toujours à -ses gages des femmes de la profession de celle -qui cajole ici la nouvelle débarquée." Behind him -is <i>John Gourlay</i> a Pimp, whom he always kept about -his person. The next figure that attracts our notice, -is that of Mother <i>Needham</i>. To prove this woman -was sufficiently notorious to have deserved the satire -of <i>Hogarth</i>, the following paragraphs in <i>The Grub-street -Journal</i> are sufficient.</p> - -<p><i>March</i> 25, 1731. "The noted Mother <i>Needham</i> -was yesterday committed to <i>The Gatehouse</i> by -Justice <i>Railton</i>."</p> - -<p>Ibid. "Yesterday, at the quarter-sessions for the -city and liberties of <i>Westminster</i>, the infamous Mother -<i>Needham</i>, who has been reported to have been<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> -dead for some time, to screen her from several -prosecutions, was brought from <i>The Gatehouse</i>, and -pleaded not guilty to an indictment found against -her for keeping a lewd and disorderly house; but, -for want of sureties, was remanded back to -prison."</p> - -<p>Ibid. <i>April</i> 29, 1731. "Oh <i>Saturday</i> ended the -quarter-sessions for <i>Westminster</i>, &c. The noted -Mother <i>Needham</i>, convicted for keeping a disorderly -house in <i>Park Place, St. James's,</i> was fined -One Shilling, to stand twice in the pillory, and find -sureties for her good behaviour for three years."</p> - -<p>Ibid. <i>May</i> 6, 1731. "Yesterday the noted Mother -<i>Needham</i> stood in the pillory in <i>Park Place</i>, -near <i>St. James's-street</i>, and was roughly handled -by the populace. She was so very ill that she lay -along, notwithstanding which she was so severely -&c. that it is thought she will die in a day or -two."—Another account says—"she lay along on -her face in the pillory, and so evaded the law -which requires that her face should be exposed."—"Yesterday -morning died Mother <i>Needham</i>. She -declared in her last words,<a name="FNanchor_3_172" id="FNanchor_3_172"></a><a href="#Footnote_3_172" class="fnanchor">[3]</a> that what most affected -her was the terror of standing in the pillory to-morrow -in <i>New Palace-yard</i>, having been so ungratefully -used by the populace on <i>Wednesday</i>."</p> - -<p>The memory of this woman is thus perpetuated -in <i>The Dunciad</i>, I. 323.</p> - -<p><span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span></p> - -<blockquote><p> -"To <i>Needham's</i> quick the voice triumphal rode,<br /> -But pious <i>Needham</i> dropt the name of God."<br /> -</p></blockquote> - -<p>The note on this passage says, she was "a matron -of great fame, and very religious in her way; -whose constant prayer it was, that she might 'get -enough by her profession to leave it off in time, -and make her peace with God.'<a name="FNanchor_4_173" id="FNanchor_4_173"></a><a href="#Footnote_4_173" class="fnanchor">[4]</a> But her fate was -not so happy; for being convicted, and set in the -pillory, she was (to the lasting shame of all her -great Friends and Votaries) so ill used by the populace, -that it put an end to her days."</p> - -<p><i>Rouquet</i> has a whimsical remark relative to the -clergyman just arrived in <i>London</i>. "Cet ecclesiastique -monté sur un cheval blanc, <i>comme ils affectent ici -de l'être</i>."—The variations in this plate are; shade -thrown by one house upon another; <i>London</i> added on -the letter the parson is reading; change in one corner -of the fore-ground; the face of the Bawd much -altered for the worse, and her foot introduced.</p> - -<p>Plate II. <i>Quin</i> compared <i>Garrick</i> in <i>Othello</i> to the -black boy with the tea-kettle,<a name="FNanchor_5_174" id="FNanchor_5_174"></a><a href="#Footnote_5_174" class="fnanchor">[5]</a> a circumstance that<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> -by no means encouraged our <i>Roscius</i> to continue acting -the part. Indeed, when his face was obscured, -his chief power of expression was lost; and then, and -not till then, was he reduced to a level with several -other performers. In a copy of this set of plates, -one of the two small portraits hanging up in the -<i>Jew's</i> bedchamber, is superscribed, <i>Clarke</i>; but -without authority from <i>Hogarth. Woolston</i> would -likewise have been out of his place, as he had written -against the <i>Jewish</i> tenets. Of this circumstance, <i>Hogarth</i> -was probably told by some friend, and therefore -effaced a name he had once ignorantly inserted.</p> - -<p>In Plate III.<a name="FNanchor_6_175" id="FNanchor_6_175"></a><a href="#Footnote_6_175" class="fnanchor">[6]</a> (as already observed) is the portrait -of Sir <i>John Gonson</i>. That Sir <i>John Gonson</i> was the -person intended in this print, is evident from a circumstance -in the next, where, on a door in <i>Bridewell</i>, -a figure hanging is drawn in chalk, with an -inscription over it, "Sir <i>J. G.</i>" as well as from the -following explanation by <i>Rouquet</i>: "La figure, qui -paroit entrer sans bruit avec une partie de guet, -est un commissaire qui se distinguoit extrêmement -par son zèle pour la persecution des filles de joye."</p> - -<p><span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span></p> - -<p>Respecting another circumstance, however, in the -third plate, <i>Rouquet</i> appears to have met with some -particular information that has escaped me. "L'auteur -a saisi l'occasion d'un morceau de beurre qui -fait partie du déjeuné, pour l'enveloper plaisamment -dans le titre de la lettre pastorale qu'un grand -prelat<a name="FNanchor_7_176" id="FNanchor_7_176"></a><a href="#Footnote_7_176" class="fnanchor">[7]</a> addressa dans ce tems-là à son diocese, & -dont plusieurs exemplaires eurent le malheur d'être -renvoyés à l'epicier."—The sleeve of the maid-servant's -gown in this plate is enlarged, and the neck -of a bottle on the table is lengthened.</p> - -<p>For variations in Plate IV. see the roof of the -room. Shadow on the principal woman's petticoat, -and from the hoop-petticoat hanging up in the back -ground. The dog made darker. The woman next -the overseer has a high cap, which in the modern -impressions is lowered.</p> - -<p>In Plate V. Roof of the room. Back of the chair. -Table. Dr. <i>Misaubin's</i> waistcoat. Name of Dr. -<i>Rock</i> on the paper lying on the close-stool. Dish -at the fire.</p> - -<p>In a despicable poem published in 1732, under -the fictitious name of <i>Joseph Gay</i>, and intituled "<i>The -Harlot's Progress</i>, which is a key to the six prints -lately published by Mr. <i>Hogarth</i>," the two quacks -in attendance on the dying woman are called <i>Tan—r</i> -and <i>G—m</i>. It is evident from several circumstances, -that this Mr. <i>J. Gay</i> became acquainted with our -author's work through the medium of a copy.</p> - -<p><span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span></p> - -<p>In Plate VI. the woman seated next the clergyman -was designed for <i>Elizabeth Adams</i>, who, at the -age of 30, was afterwards executed for a robbery, -<i>September</i> 10, 1737. The common print of her will -justify this assertion.</p> - -<p>If we may trust the wretched metrical performance -just quoted, the Bawd in this sixth plate was designed -for Mother <i>Bentley</i>.</p> - -<p>The portrait hanging up in the <i>Jew's</i> apartment -was originally subscribed "Mr. <i>Woolston</i>." There -was a scriptural motto to one of the other pictures; -and on the cieling of the room in which the girl is -dying, a certain obscene word was more visible than -it is at present. The former inscription on the paper -now inscribed Dr. <i>Rock</i>, was also a gross one. I should -in justice add, that before these plates were delivered -to the subscribers, the offensive particulars here mentioned -were omitted.</p> - -<p>The following paragraph in <i>The Grub-street Journal</i> -for <i>September</i> 24, 1730, will sufficiently justify the -splendid appearance the Harlot makes in <i>Bridewell</i>. -See Plate IV. Such well-dressed females are rarely -met with in our present houses of correction.</p> - -<p>"One <i>Mary Muffet</i>, a woman of great note in -the hundreds of <i>Drury</i>, who, about a fortnight -ago, was committed to hard labour in <i>Tothill-fields -Bridewell</i>, by nine justices, brought his Majesty's -writ of <i>Habeas Corpus</i>, and was carried before the -right honourable the lord chief justice <i>Raymond</i>, -expecting to have been either bailed or discharged;<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span> -but her commitment appearing to be legal, his -lordship thought fit to remand her back again to -her former place of confinement, where <i>she is now -beating hemp in a gown very richly laced with silver</i>."</p> - -<p><i>Rouquet</i> concludes his illustration of the fifth plate -by observing, that the story might have been concluded -here. "L'auteur semble avoir rempli son -dessein. Il a suivi son heroine jusques au dernier -soupir. Il l'a conduite de l'infamie à la pauvreté, -par les voies séduisantes du libertinage. Son intention -de tâcher de retenir, ou de corriger celles -qui leur foiblesse, ou leur ignorance exposent tous -les jours à de semblables infortunes, est suffisament -executée; on peut donc dire que la tragedie finit -à cette planche, et que la suivante est comme le -petite piece. C'est une farce done la defunte est -plustôt l'occasion que le sujet."—Such is the criticism -of <i>Rouquet</i>; but I cannot absolutely concur -in the justness of it. <i>Hogarth</i> found an opportunity -to convey admonition, and enforce his moral, even -in this last plate. It is true that the exploits of our -heroine are concluded, and that she is no longer an -agent in her own story. Yet as a wish prevails, even -among those who are most humbled by their own -indiscretions, that some respect should be paid to -their remains, that they should be conducted by decent -friends to the grave, and interred by a priest -who feels for the dead that hope expressed in our -Liturgy, let us ask whether the memory of our Harlot -meets with any such marks of social attention, or<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span> -pious benevolence. Are not the preparations for her -funeral licentious, like the course of her life, as if -the contagion of her example had reached all the -company in the room? Her sisters in iniquity alone -surround her coffin. One of them is engaged in the -double trade of seduction and thievery. A second -is admiring herself in a mirror. A third gazes with -unconcern on the corpse. If any of the number appear -mournful, they express at best but a maudlin -sorrow, having glasses of strong liquor in their hands. -The very minister, forgetful of his office and character, -is shamefully employed; nor does a single -circumstance occur, throughout the whole scene, that -a reflecting female would not wish should be alienated -from her own interment.—Such is the plate which -our illustrator, with too much levity, has styled a -farce appended to a tragic representation.</p> - -<p>He might, however, have exercised his critical -abilities with more success on <i>Hogarth's</i> neglect of -propriety, though it affords him occasion to display -his wit. At the burial of a wanton, who expired -in a garret, no escutcheons were ever hung up, or -rings given away; and I much question if any bawd -ever chose to avow that character before a clergyman, -or any infant was ever habited as chief mourner -to attend a parent to the grave.—I may add, that -when these pictures were painted (a time, if news-papers -are to be credited, when, having no established -police, every act of violence and licentiousness was -practised with impunity in our streets, and women<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span> -of pleasure were brutally persecuted in every quarter -of the town), a funeral attended by such a sisterhood -would scarcely have been permitted to reach the place -of interment. Much however must be forgiven to -the morality of <i>Hogarth's</i> design, and the powers -with which it is executed. It may also, on the present -occasion, be observed, that in no other scene, -out of the many he has painted, has he so widely deviated -from <i>vraisemblance</i>.</p> - -<p>The following verses, however wretched, being -explanatory of the set of plates already spoken of, -are here re-printed. They made their appearance -under the earliest and best of the pirated copies published -by <i>Bowles. Hogarth</i>, finding that such a metrical -description had its effect, resolved that his -next series of prints should receive the same advantage -from an abler hand.</p> - -<blockquote><p> -<span style="margin-left: 2em;"><span class="smcap">Plate I.</span></span><br /> -See there, but just arriv'd in town,<br /> -The <i>Country Girl</i> in home-spun gown,<br /> -Tho' plain her dress appears, how neat!<br /> -Her looks how innocent and sweet!<br /> -Does not your indignation rise,<br /> -When on the bawd you cast your eyes?<br /> -Fraught with devices to betray;<br /> -She's hither come in quest of prey;<br /> -Screens her designs with godly airs,<br /> -And talks of homilies and pray'rs,<br /> -Till, by her arts, the wretched Maid<br /> -To vile <i>Francisco</i> is betray'd.<br /> -<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span>And see, the lewd old rogue appears,<br /> -How at the fresh young thing thing he leers!<br /> -In lines too strong, too well exprest<br /> -The lustful satyr stands confest.<br /> -<br /> -On batter'd jade, in thread-bare gown,<br /> -The <i>Rural Priest</i> is come to town—<br /> -Think what his humble thought engages;<br /> -Why—lesser work and greater wages.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate II.</span></span><br /> -Debauch'd, and then kick'd out of doors,<br /> -The fate of all <i>Francisco's</i> whores,<br /> -Poor <i>Polly's</i> forc'd to walk the streets,<br /> -Till with a wealthy <i>Jew</i> she meets.<br /> -Quickly the man of circumcision<br /> -For her reception makes provision.<br /> -You see her now in all her splendour,<br /> -A Monkey and a Black t' attend her.<br /> -How great a sot's a keeping cully,<br /> -Who thinks t' enjoy a woman solely!<br /> -Tho' he support her grandeur, Miss<br /> -Will by the bye with others kiss.<br /> -Thus Polly play'd her part; she had<br /> -A <i>Beau</i> admitted to her bed;<br /> -But th' <i>Hebrew</i> coming unexpected,<br /> -Puts her in fear to be detected.<br /> -This to prevent, she at breakfast picks<br /> -A quarrel, and insulting kicks<br /> -The table down: while by her <i>Maid</i><br /> -The <i>Beau</i> is to the door convey'd.<br /> -<br /> -<span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span> -<span style="margin-left: 2em;"><span class="smcap">Plate III.</span></span><br /> -<i>Molly</i> discarded once again,<br /> -Takes lodgings next in <i>Drury-lane</i>;<br /> -Sets up the business on her own<br /> -Account, and deals with all the town.<br /> -At breakfast here in deshabille,<br /> -While <i>Margery</i> does the tea-pot fill,<br /> -Miss holds a watch up, which, by slight<br /> -Of hand, was made a prize last night.<br /> -From chandler's shop a dab of butter,<br /> -Brought on his lordship's <i>Pastoral Letter</i>,<br /> -A cup, a saucer, knife, and roll,<br /> -Are plac'd before her on a stool.<br /> -A chair behind her holds a cloak,<br /> -A candle in a bottle stuck,<br /> -And by't a bason—but indecent<br /> -T'would be in me to say what is in't.<br /> -At yonder door, see there Sir <i>John's</i><br /> -Just ent'ring with his <i>Myrmidons</i>,<br /> -To <i>Bridewell</i> to convey Miss <i>Molly</i>,<br /> -And <i>Margery</i> with her to Mill Dolly.<a name="FNanchor_8_177" id="FNanchor_8_177"></a><a href="#Footnote_8_177" class="fnanchor">[8]</a><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate IV.</span></span><br /> -See <i>Polly</i> now in <i>Bridewell</i> stands,<br /> -A galling mallet in her hands,<br /> -Hemp beating with a heavy heart,<br /> -And not a soul to take her part.<br /> -The <i>Keeper</i>, with a look that's sourer<br /> -Than <i>Turk</i> or Devil, standing o'er her:<br /> -<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span>And if her time she idles, thwack<br /> -Comes his rattan across her back.<br /> -A dirty, ragged, saucy Jade,<br /> -Who sees her here in rich brocade<br /> -And <i>Mechlin</i> lace, thumping a punny,<br /> -Lolls out her tongue, and winks with one eye.<br /> -That other <i>Maux</i> with half a nose,<br /> -Who's holding up her tatter'd cloaths,<br /> -Laughs too at Madam's working-dress,<br /> -And her grim Tyrant's threat'ning face,<br /> -A <i>Gamester</i> hard by <i>Poll</i> you see,<br /> -In coat be-lac'd and smart toupee.<br /> -<i>Kate</i> vermin kills—chalk'd out upon<br /> -A window-shutter, hangs <i>Sir John</i>.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate V.</span></span><br /> -Released from <i>Bridewell, Poll</i> again<br /> -Drives on her former trade amain;<br /> -But who e'er heard of trading wenches<br /> -That long escap'd disease that <i>French</i> is?<br /> -Our <i>Polly</i> did not—Ills on ills,<br /> -Elixirs, boluses and pills,<br /> -Catharticks and emeticks dreary,<br /> -Had made her of her life quite weary;<br /> -At last thrown into salivation<br /> -She sinks beneath the operation.<br /> -A snuffling whore in waiting by her<br /> -Screams out to see the wretch expire.<br /> -The <i>Doctors</i> blame each other; <i>Meagre</i>,<br /> -With wrath transported, hot and eager,<br /> -<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span>Starts up, throws down the chair and stool,<br /> -And calls her brother <i>Squab</i> a fool.<br /> -Your pills, quoth <i>Squab</i>, with cool disdain,<br /> -Not my elixir, prov'd her bane.<br /> -While they contend, a muffled Punk<br /> -Is rummaging poor <i>Polly's</i> trunk.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate VI.</span></span><br /> -The sisterhood of <i>Drury-lane</i><br /> -Are met to form the funeral train.<br /> -<i>Priss</i> turns aside the coffin lid,<br /> -To take her farewell of the dead.<br /> -<i>Kate</i> drinks dejected; <i>Peggy</i> stands<br /> -With dismal look, and wrings her hands.<br /> -<i>Beck</i> wipes her eyes; and at the glass<br /> -In order <i>Jenny</i> sets her face.<br /> -The ruin'd <i>Bawd</i> roars out her grief;<br /> -Her bottle scarcely gives relief.<br /> -<i>Madge</i> fills the wine; his castle-top<br /> -With unconcern the <i>Boy</i> winds up.<br /> -The <i>Undertaker</i> rolls his eyes<br /> -On <i>Sukey</i>, as her glove he tries:<br /> -His leering she observes, and while he<br /> -Stands thus, she picks his pocket slily.<br /> -The <i>Parson</i> sits with look demure<br /> -By <i>Fanny's</i> side, but leaning to her.<br /> -His left hand spills the wine; his right—<br /> -I blush to add—is out of sight.<br /> -</p></blockquote> - -<p>Over the figure of the <i>Parson</i> is the letter A, -which conducts to the following explanation underneath<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> -the plate. "A. The famous <i>Couple-Beggar</i> -in <i>The Fleet</i>, a wretch who there screens himself -from the justice due to his <i>villainies</i>, and daily -repeats them."</p> - -<p>All but the first impressions of this set of plates -are marked thus †. None were originally printed -off except for the 1200 subscribers. Immediately -after they were served, the plates were retouched, -and some of the variations introduced.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_170" id="Footnote_1_170"></a><a href="#FNanchor_1_170"><span class="label">[1]</span></a> In <i>The Craftsman</i> of <i>Nov.</i> 25, 1732, we read, "This day -is published, six prints in chiaro oscuro, of <i>The Harlot's -Progress</i>, from the designs of Mr. <i>Hogarth</i>, in a beautiful -green tint, by Mr. <i>E. Kirkall</i>, with proper explanations -under each print. Printed and sold by <i>E. Kirkall</i>, in <i>Dockwell-court, -White-Fryars; Phil. Overton</i>, in <i>Fleet-street; H. -Overton</i> and <i>J. Hoole</i>, without <i>Newgate; J. King</i>, in the -<i>Poultry</i>; and <i>T. Glass</i>, under the <i>Royal Exchange</i>." -</p> -<p> -Lest any of our readers should from hence suppose we have -been guilty of an innacuracy in appropriating this set of prints -to the year 1733, &c. it is necessary to observe, that the plates -advertised as above, were only a pirated copy of <i>Hogarth's</i> -work, and were published before their original.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_171" id="Footnote_2_171"></a><a href="#FNanchor_2_171"><span class="label">[2]</span></a> In <i>The Grub-street Journal</i> for <i>December</i> 6, 1733, appeared -the following advertisement: "Lately published, (illustrated -with six prints, neatly engraven from Mr. <i>Hogarth's</i> Designs,) -<i>The Lure of Venus</i>; or a Harlot's Progress. An -heroi-comical Poem, in six Cantos, by Mr. <i>Joseph</i> Gay. -</p> -<p>"To Mr. <i>Joseph</i> Gay. -</p> -<p> -"Sir, -</p> -<p> -"It has been well observed, that a great and just objection -to the Genius of Painters is their want of invention; from -whence proceeds so many different designs or draughts on -the same history or fable. Few have ventured to touch upon -a new story; but still fewer have invented both the story -and the execution, as the ingenious Mr. <i>Hogarth</i> has done, -in his six prints of a <i>Harlot's Progress</i>; and, without a compliment, -Sir, your admirable Cantos are a true key and -lively explanation of the painter's hieroglyphicks. -</p> -<p> -"I am, Sir, yours, &c. -</p> -<p> -"<span class="smcap">A. Phillips.</span>"</p> -<p> -This letter, ascribed to <i>Ambrose Phillips</i>, was in all probability -a forgery, like the name of <i>Joseph Gay</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_172" id="Footnote_3_172"></a><a href="#FNanchor_3_172"><span class="label">[3]</span></a> "Mother <i>Needham's</i> Lamentation," was published in -<i>May</i> 1731, price 6d.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_173" id="Footnote_4_173"></a><a href="#FNanchor_4_173"><span class="label">[4]</span></a> It seems agreed on by our comic-writers, not to finish the -character of a Bawd without giving her some pretence to Religion. -In <i>Dryden's</i> Wild Gallant, <i>Mother du Lake</i>, being about -to drink a dram, is made to exclaim, "'Tis a great way to -the bottom; but heaven is all-sufficient to give me strength -for it." The scene in which this speech occurs, was of use -to <i>Richardson</i> in his <i>Clarissa</i>, and perhaps to <i>Foote</i>, or <i>Foote's</i> -original of the character of Mother <i>Cole</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_174" id="Footnote_5_174"></a><a href="#FNanchor_5_174"><span class="label">[5]</span></a> So in <i>Hill's Actor</i>, pp. 69, 70. "If there be any thing -that comes in competition with the unluckiness of this excellent -player's figure in this character, it is the appearance -he made in his new habit for <i>Othello</i>. We are used to see -the greatest majesty imaginable expressed throughout that -whole part; and though the joke was somewhat prematurely -delivered to the publick, we must acknowledge, that -his appearance in that tramontane dress made us rather expect -to see a tea-kettle in his hand, than to hear the thundering -speeches <i>Shakspeare</i> has thrown into that character, -come out of his mouth."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_175" id="Footnote_6_175"></a><a href="#FNanchor_6_175"><span class="label">[6]</span></a> See the back ground of this plate, for a circumstance of -such unpardonable grossness as admits of no verbal interpretation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_176" id="Footnote_7_176"></a><a href="#FNanchor_7_176"><span class="label">[7]</span></a> Bishop <i>Gibson</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_177" id="Footnote_8_177"></a><a href="#FNanchor_8_177"><span class="label">[8]</span></a> Beat hemp.</p><br /></div> - - -<p><a id="Page_202_2"></a>2. Rehearsal of the Oratorio of <i>Judith</i>. Singing -men and boys. Ticket for "A Modern Midnight -Conversation." This Oratorio of <i>Judith</i>, which -was performed in character, was written by Mr. -<i>Huggins</i>, as has been already observed in p. <a href="#Page_187_3">187</a>; and -the line taken from it,</p> - -<blockquote><p> -"The world shall bow to the <i>Assyrian</i> throne,"<br /> -</p></blockquote> - -<p>inscribed on the book, is a satire on its want of success.—The -corner figure looking over the notes, was -designed for Mr. <i>Tothall</i>.<br /> -<br /></p> - - -<p><a id="Page_202_3"></a>3. A Midnight Modern Conversation. <i>W. Hogarth -inv. pinx. & sculp. Hogarth</i> soon discovered that this -engraving was too faintly executed; and therefore, -after taking off a few impressions in red as well as -black, he retouched and strengthened the plate. -Under this print are the following verses:</p> - -<blockquote><p> -Think not to find one meant resemblance here,<br /> -We lash the Vices, but the Persons spare.<br /> -Prints should be priz'd, as Authors should be read,<br /> -Who sharply smile prevailing Folly dead.<br /> -<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>So <i>Rabilaes</i> laught, and so <i>Cervantes</i> thought,<br /> -So Nature dictated what Art has taught.<br /> -</p></blockquote> - -<p>Most of the figures, however, are supposed to be -real portraits. The Divine and the Lawyer,<a name="FNanchor_1_178" id="FNanchor_1_178"></a><a href="#Footnote_1_178" class="fnanchor">[1]</a> in -particular, are well known to be so.</p> - -<p><span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span></p> - -<p>A pamphlet was published about the same time, -under the same title as this plate. In <i>Banks's</i> Poems, -vol. I. p. 87. the print is copied as a head-piece to -an Epistle to Mr. <i>Hogarth</i>, on this performance. In -a note, it is said to have appeared after <i>The Harlot's -Progress</i>; and that in the original, and all the larger -copies, on the papers that hang out of the politician's -pocket at the end of the table, was written <i>The -Craftsman</i>, and <i>The London Journal</i>.</p> - -<p>Of this print a good, but contracted copy, was -published (perhaps with <i>Hogarth's</i> permission), and -the following copy of verses engraved under it.</p> - -<blockquote><p><br /> -The Bacchanalians; or a Midnight Modern -Conversation. A Poem addressed to the Ingenious -Mr. <i>Hogarth</i>.</p> - -<p> -Sacred to thee, permit this lay<br /> -Thy labour, <i>Hogarth</i>, to display!<br /> -Patron and theme in one to be!<br /> -'Tis great, but not too great for thee;<br /> -<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span>For thee, the Poet's constant friend,<br /> -Whose vein of humour knows no end.<br /> -This verse which, honest to thy fame,<br /> -Has added to thy praise thy name!<br /> -Who can be dull when to his eyes<br /> -Such various scenes of humour rise?<br /> -Now we behold in what unite<br /> -The Priest, the Beau, the Cit, the Bite;<br /> -Where Law and Physick join the Sword,<br /> -And Justice deigns to crown the board:<br /> -How <i>Midnight Modern Conversations</i><br /> -Mingle all faculties and stations!<br /> -<br /> -Full to the sight, and next the bowl,<br /> -Sits the physician of the soul;<br /> -No loftier themes his thought pursues<br /> -Than Punch, good Company, and Dues:<br /> -Easy and careless what may fall,<br /> -He hears, consents, and fills to all;<br /> -Proving it plainly by his face<br /> -That cassocks are no signs of grace.<br /> -<br /> -Near him a son of <i>Belial</i> see;<br /> -(That Heav'n and <i>Satan</i> should agree!)<br /> -Warm'd and wound up to proper height<br /> -He vows to still maintain the fight,<br /> -The brave surviving Priest assails,<br /> -And fairly damns the first that fails;<br /> -Fills up a bumper to the Best<br /> -In Christendom, for that's his taste:<br /> -The parson simpers at the jest,<br /> -And puts it forward to the rest.<br /> -<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span> -<br /> -What hand but thine so well could draw<br /> -A formal Barrister at Law?<br /> -<i>Fitzherbert, Littleton,</i> and <i>Coke,</i><br /> -Are all united in his look.<br /> -His spacious wig conceals his ears,<br /> -Yet the dull plodding beast appears.<br /> -His muscles seem exact to fit<br /> -Much noise, much pride, and not much wit.<br /> -<br /> -Who then is he with solemn phiz,<br /> -Upon his elbows pois'd with ease?<br /> -Freely to speak the Muse is loth—<br /> -Justice or knave—he may be both—<br /> -Justice or knave—'tis much the same:<br /> -To boast of crimes, or tell the shame,<br /> -Of raking talk or reformation,<br /> -'Tis all good <i>Modern Conversation</i>.<br /> -<br /> -What mighty <i>Machiavel</i> art thou,<br /> -With patriot cares upon thy brow?<br /> -Alas, that punch should have the fate<br /> -To drown the pilot of the state!<br /> -That while both sides thy pocket holds,<br /> -Nor <i>D'Anvers</i> grieves, nor <i>Osborne</i> scolds,<br /> -Thou sink'st the business of the nation<br /> -In <i>Midnight Modern Conversation</i>!<br /> -<br /> -The Tradesman tells with wat'ry eyes<br /> -How Credit sinks, how Taxes rise;<br /> -At Parliaments and Great Men pets,<br /> -Counts all his losses and his debts.<br /> -<br /> -The puny Fop, mankind's disgrace,<br /> -The ladies' jest and looking-glass;<br /> -<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>This he-she thing the mode pursues,<br /> -And drinks in order—till he sp—s.<br /> -<br /> -See where the Relict of the Wars,<br /> -Deep mark'd with honorary scars,<br /> -A mightier foe has caus'd to yield<br /> -Than ever <i>Marlbro'</i> met in field!<br /> -See prostrate on the earth he lies;<br /> -And learn, ye soldiers, to be wise.<br /> -<br /> -Flush'd with the fumes of gen'rous wine<br /> -The Doctor's face begins to shine:<br /> -With eyes half clos'd, in stamm'ring strain,<br /> -He speaks the praise of rich champaign.<br /> -'Tis dull in verse, what from thy hand<br /> -Might even a <i>Cato's</i> smile command.<br /> -Th' expiring snuffs, the bottles broke,<br /> -And the full bowl at four o'clock.<br /> -</p></blockquote> - -<p><i>March</i> 22, 1742, was acted at <i>Covent-Garden</i>, a -new scene, called <i>A Modern Midnight Conversation</i>, -taken from <i>Hogarth's</i> celebrated print; in which was -introduced, <i>Hippisley's Drunken Man</i>, with a comic -tale of what really passed between himself and his -old aunt, at her house on <i>Mendip-Hills</i>, in <i>Somersetshire</i>. -For Mr. <i>Hippisley's</i> benefit.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_178" id="Footnote_1_178"></a><a href="#FNanchor_1_178"><span class="label">[1]</span></a> These, in my first edition, I had ventured, on popular -report, to say were parson <i>Ford</i>, and the first Lord <i>Northington</i>, -when young. But I am now enabled to identify their persons, -on the authority of Sir <i>John Hawkins</i>: "When the Midnight -Modern Conversation came out, the general opinion was, -that the Divine was the portrait of Orator <i>Henley</i>; and the -Lawyer of <i>Kettleby</i>, a vociferous bar orator, remarkable, -though an utter barrister, for wearing a full-bottom'd wig, -which he is here drawn with, as also for a horrible squint." -</p> -<p> -In that once popular satire, <i>The Causidicade</i>, are the following -lines on this lawyer: -</p> -<blockquote><p> -"Up <i>Kettleby</i> starts with a <i>horrible stare!</i><br /> -'Behold, my good Lord, your old friend at the bar,<br /> -Or rather old foe, for foes we have been,<br /> -As treason fell out, and poor traitors fell in.<br /> -Strong opposites e'er, and not once of a side,<br /> -Attornies will always great counsel divide.<br /> -You <i>for</i> persecutions, I always <i>against</i>,<br /> -How oft with a joke 'gainst your law have I fenc'd?<br /> -How oft in your pleadings I've pick'd out a hole,<br /> -Thro' which from your pounces my culprit I've stole;<br /> -I've puzzled against you now eight years or nine,<br /> -You, my Lord, for your King, I a ——l for mine.<br /> -But what is all this? Now your Lordship will say,<br /> -To get at the office this is not the way.<br /> -I own it is not, so I make no request<br /> -For myself, still firm to my party and test:<br /> -But if 'tis your pleasure to give it my son,<br /> -He shall take off his coif t'accept of the boon;<br /> -That coif I, refusing, transferr'd upon him,<br /> -For who'd be a serjeant where <i>P——r</i> was Prime?<br /> -That my son is a lawyer no one can gainsay,<br /> -As witness his getting off <i>W——te</i> t'other day.'<br /> -Quo' my Lord, 'My friend <i>Abel</i>, I needs must allow<br /> -You have puzzled me oft, as indeed you do now;<br /> -Nay, have puzzled yourself, the court and the law,<br /> -And chuckled most wittily over a flaw;<br /> -For your nostrums, enigmas, conundrums, and puns,<br /> -Are above comprehension, save that of your son's.<br /> -To fling off the coif! Oh fye, my friend <i>Abel</i>,<br /> -'Twould be acting the part of the Cock in the Fable!<br /> -'Tis a badge of distinction! and some people buy it;<br /> -Can you doubt on't, when <i>Skinner</i> and <i>Hayward</i> enjoy it?<br /> -Tho' I own you have spoil'd (but I will not enlarge on't)<br /> -A good Chancery draftsman to make a bad Serjeant.'"<br /> -</p></blockquote> -<p> -Lord <i>Northington</i> did not come into notice till many years after -the publication of this print.</p></div> - -<hr class="tb" /> - -<h4>1735.</h4> - - -<p><a id="Page_207_1"></a>1. <a id="The_Rakes_Progress_in_eight_plates"></a>The Rake's Progress, in eight plates.</p> - -<p>Extract from the <i>London Daily Post, May</i> 14, 1735:</p> - -<p>"The nine prints from the paintings of Mr. <i>Hogarth</i>, -one representing a Fair, and the others a -Rake's Progress, are now printing off, and will be -ready to be delivered on the 25th of <i>June</i> next.</p> - -<p><span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span></p> - -<p>"Subscriptions will be taken at Mr. <i>Hogarth's</i>, the -<i>Golden-Head</i>, in <i>Leicester-fields</i>, till the 23d of <i>June</i>, -and no longer, at half a guinea to be paid on subscribing, -and half a guinea more on delivery of -the prints at the price above-mentioned, after -which the price will be two guineas.</p> - -<p>"N. B. Mr. <i>Hogarth</i> was, and is, obliged to defer -the publication and delivery of the abovesaid prints -till the 25th of <i>June</i> next, in order to secure his -property, pursuant to an act lately passed both -houses of parliament, now waiting for the royal -assent, to secure all new invented prints that shall -be published after the 24th of <i>June</i> next, from -being copied without consent of the proprietor, -and thereby preventing a scandalous and unjust -custom (hitherto practised with impunity) of making -and vending base copies of original prints, to -the manifest injury of the author, and the great -discouragement of the arts of painting and engraving."</p> - -<p>In <i>The Craftsman</i>, soon afterwards, appeared the -following advertisement:</p> - -<p>"Pursuant to an agreement with the subscribers -to the Rake's Progress, not to sell them for less -than two guineas each set after publication thereof, -the said original prints are to be had at Mr. <i>Hogarth's</i>, -the <i>Golden-Head</i>, in <i>Leicester-fields</i>; and at -<i>Tho. Bakewell's</i>, print-seller, next <i>Johnson's Court</i>, -in <i>Fleet-street</i>, where all other print-sellers may be -supplied.</p> - -<p><span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span></p> - -<p>"In four days will be published, copies from the -said prints, with the consent of Mr. <i>Hogarth</i>, according -to the act of parliament, which will be -sold at 2 <i>s.</i> 6 <i>d.</i> each set, with the usual allowance -to all dealers in town and country; and, that the -the publick may not be imposed on, at the bottom of -each print will be inserted these words, <i>viz.</i> 'Published -with the consent of Mr. <i>William Hogarth</i>, by -<i>Tho. Bakewell</i>, according to act of parliament.'</p> - -<p>"N. B. Any person that shall sell any other copies, -or imitations of the said prints, will incur -the penalties in the late act of parliament, and be -prosecuted for the same."</p> - -<p>This series of plates, however, as Mr. <i>Walpole</i> observes, -was pirated by <i>Boitard</i> on one very large sheet -of paper, containing the several scenes represented -by <i>Hogarth</i>. It came out a fortnight before the genuine -set, but was soon forgotten. The principal -variations in these prints are the following:</p> - -<p>Plate I. The girl's face who holds the ring is -erased, and a worse is put in.<a name="FNanchor_1_179" id="FNanchor_1_179"></a><a href="#Footnote_1_179" class="fnanchor">[1]</a> The mother's head, -&c. is lessened. The shoe-sole, cut from the cover -of an ancient family Bible, together with a chest, is -added; the memorandum-book removed into another -place; the woollen-draper's shop bill,<a name="FNanchor_2_180" id="FNanchor_2_180"></a><a href="#Footnote_2_180" class="fnanchor">[2]</a> appended<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span> -to a roll of black cloth, omitted; the contents of the -closet thrown more into shade.</p> - -<p>In Plate II. are portraits of <i>Figg</i>, the prize-fighter;<a name="FNanchor_3_181" id="FNanchor_3_181"></a><a href="#Footnote_3_181" class="fnanchor">[3]</a> -<i>Bridgeman</i>, a noted gardener; and <i>Dubois</i>,<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span> -a master of defence, who was killed in a duel by -one of the same name, as the following paragraphs -in <i>The Grub-street Journal</i> for <i>May</i> 16, 1734, &c. will -testify: "Yesterday (<i>May</i> 11) between two and three -in the afternoon, a duel was fought in <i>Mary-le-bone -Fields</i>, between Mr. <i>Dubois</i> a <i>Frenchman</i>, and Mr. -<i>Dubois</i> an <i>Irishman</i>, both fencing-masters, the former -of whom was run through the body, but -walked a considerable way from the place, and is -now under the hands of an able surgeon, who has -great hopes of his recovery."</p> - -<p><i>May</i> 23, 1734, "Yesterday morning died Mr. -<i>Dubois</i>, of a wound he received in a duel."</p> - -<p>The portrait of <i>Handel</i> has been supposed to be -represented in the plate before us; but "this," as -Sir <i>John Hawkins</i> observes to me, "is too much to say. -Mr. <i>Handel</i> had a higher sense of his own merit than -ever to put himself in such a situation; and, if so, -the painter would hardly have thought of doing it. -The musician must mean in general any composer -of operas." On the floor lies a picture representing -<i>Farinelli</i>, seated on a pedestal, with an altar before -him, on which are several flaming hearts, near -which stand a number of people with their arms extended,<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span> -offering him presents: at the foot of the altar -is one female kneeling, tendering her heart. -From her mouth a label issues, inscribed, "One -God, one <i>Farinelli</i>;" alluding to a lady of distinction, -who, being charmed with a particular passage -in one of his songs, uttered aloud from the -boxes that impious exclamation. On the figure of -the captain, <i>Rouquet</i> has the following remark: "Ce -caractere ne paroit plus <i>Italien</i> qu'<i>Anglois</i>." I am -not sufficiently versed in <i>Alsatian</i> annals to decide on -the question; but believe that the bully by profession -(not assassin, as <i>Rouquet</i> seems to interpret the -character) was to be found during the youth of our -artist. More have heard and been afraid of these -vulgar heroes, than ever met with them. This set -of prints was engraved by <i>Scotin</i> chiefly; but several -of the faces were touched upon by <i>Hogarth</i>. In -the second plate the countenance of the man with -the quarter-staves was wholly engraved by <i>Hogarth</i>. -In some early proofs of the print, there is not a single -feature on this man's face; there is no writing -either in the musician's book, or on the label; nor is -there the horse-race cup, the letter, or the poem -that lies at the end of the label, that being entirely -blank. I mention these circumstances to shew that -our artist would not entrust particular parts of his -work to any hand but his own; or perhaps he had -neither determined on the countenance or the inscription -he meant to introduce, till the plate was -far advanced. With unfinished proofs, on any<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span> -other account, this catalogue has nothing to do. -As the rudiments of plates, they may afford instruction -to young engravers; or add a fancied value to -the collections of connoisseurs.</p> - -<p>In the third plate is <i>Leather-coat</i>,<a name="FNanchor_4_182" id="FNanchor_4_182"></a><a href="#Footnote_4_182" class="fnanchor">[4]</a> a noted porter -belonging to <i>The Rose</i> Tavern, with a large pewter -dish in his hand, which for many years served as a -sign to the shop of a pewterer on <i>Snow-Hill</i>. In this -utensil the posture-woman, who is undressing, used -to whirl herself round, and display other feats of -indecent activity: "II suffit" (I transcribe from -<i>Rouquet</i>, who is more circumstantial) "de vous -laisser à deviner la destination de la chandelle. Ce -grand plat va servir a cette femme comme à une -poularde. Il sera mis au milieu de la table; elle -s'y placera sur le dos; et l'ivresse et l'esprit de -débauche feront trouver plaisant un jeu, qui de -sang-froid ne le paroit guères." <i>Rouquet</i>, in his -description of an <i>English</i> tavern, such as that in -which our scene lies, mentions the following as extraordinary -conveniencies and articles of magnificence: -"Du linge toujours blanc<a name="FNanchor_5_183" id="FNanchor_5_183"></a><a href="#Footnote_5_183" class="fnanchor">[5]</a>—de tables de bois<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span> -qu'on appelle ici mahogani—grand feu et gratis." -Variations: <i>Pontac's</i> head is added in the room of a -mutilated <i>Cæsar</i>. Principal woman has a man's hat -on. Rake's head altered. Undrest woman's head -altered. Woman who spirts the wine, and she who -threatens her with a drawn knife, have lower caps, &c.</p> - -<p>So entirely do our manners differ from those of -fifty years ago, that I much question if at present, in -all the taverns of <i>London</i>, any thing resembling the -scene here exhibited by <i>Hogarth</i> could be found. -That we are less sensual than our predecessors, I do -not affirm; but may with truth observe, we are more -delicate in pursuit of our gratifications.—No young -man, of our hero's fortune and education, would now -think of entertaining half a score of prostitutes at a -tavern, after having routed a set of feeble wretches, -who are idly called our Guardians of the Night.</p> - -<p>Plate IV. <i>Rakewell</i> is going to court on the first -of <i>March</i>, which was Queen <i>Caroline's</i> birth-day, as<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> -well as the anniversary of <i>St. David</i>. In the early -impressions a shoe-black steals the Rake's cane. In -the modern ones, a large group of blackguards<a name="FNanchor_6_184" id="FNanchor_6_184"></a><a href="#Footnote_6_184" class="fnanchor">[6]</a> [the -chimney-sweeper peeping over the poll boy's cards, -and discovering that he has two honours, by holding -up two fingers, is among the luckiest of <i>Hogarth's</i> -traits] are introduced gambling on the pavement; -near them a stone inscribed <span class="smcap">Black's</span>, a contrast to -<i>White's</i> gaming-house, against which a flash of lightning -is pointed. The curtain in the window of the -sedan chair is thrown back. This plate is likewise -found in an intermediate state;<a name="FNanchor_7_185" id="FNanchor_7_185"></a><a href="#Footnote_7_185" class="fnanchor">[7]</a> the sky being made -unnaturally obscure, with an attempt to introduce a -shower of rain, and lightning very aukwardly represented. -It is supposed to be a first proof after the -insertion of the group of black-guard gamesters; -the window of the chair being only marked for an -alteration that was afterwards made in it. <i>Hogarth</i> -appears to have so far spoiled the sky, that he was -obliged to obliterate it, and cause it to be engraved -over again by another hand.<a name="FNanchor_8_186" id="FNanchor_8_186"></a><a href="#Footnote_8_186" class="fnanchor">[8]</a> Not foreseeing, however, -the immense demand for his prints, many of<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span> -them were so slightly executed, as very early to stand -in need of retouching. The seventh in particular -was so much more slightly executed than the rest, -that it sooner wanted renovation, and is therefore to -be found in three different states. The rest appear -only in two.</p> - -<p>In Plate V. is his favourite dog <i>Trump</i>. In this, -also the head of the maid-servant is greatly altered, -and the leg and foot of the bridegroom omitted.</p> - -<p>From the antiquated bride, and the young female -adjusting the folds of her gown, in this plate, is taken -a <i>French</i> print of a wrinkled harridan of fashion at -her toilet, attended by a blooming coëffeuse. It was -engraved by <i>L. Surugue</i> in 1745, from a picture in -crayons by <i>Coypel</i>, and is entitled, <i>La Folie pare la Decrepitude -des ajustemens de la Jeunesse</i>. From the <i>Frenchman</i>, -however, the <i>Devonshire-square</i> dowager of our -artist has received so high a polish, that she might -be mistaken for a queen mother of <i>France</i>.</p> - -<p>Mr. <i>Gilpin</i>, in his remarks on this plate, appears -not to have fully comprehended the extent of the -satire designed in it. Speaking of the church, he -observes, that "the wooden post, which seems to have -no use, divides the picture disagreeably." <i>Hogarth</i>, -however, meant to expose the insufficiency of such -ecclesiastical repairs as are confided to the superintendance -of parish-officers. We learn, from an inscription -on the front of a pew, that "This church -was beautified in the Year 1725. <i>Tho. Sice, Tho. Horn,</i><span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span> -Churchwardens."<a name="FNanchor_9_187" id="FNanchor_9_187"></a><a href="#Footnote_9_187" class="fnanchor">[9]</a> The print before us -came out in 1735 (i. e. only ten years afterwards), -and by that time the building might have been found -in the condition here exhibited, and have required a -prop to prevent part of its roof from falling in.—As -a proof that this edifice was really in a ruinous state, -it was pulled down and rebuilt in the year 1741.</p> - -<p>Fifty years ago, <i>Marybone</i> church was considered -at such a distance from <i>London</i>, as to become the -usual resort of those who, like our hero, wished to -be privately married.</p> - -<p>In Plate VI. the fire breaking out, alludes to the -same accident which happened at <i>White's, May</i> 3, -1733. I learn from a very indifferent poem descriptive -of this set of plates (the title is unfortunately<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span> -wanting), that some of the characters in the scene -before us were real ones:</p> - -<blockquote><p> -"But see the careful plain old man,<br /> -<i>M——</i><a name="FNanchor_10_188" id="FNanchor_10_188"></a><a href="#Footnote_10_188" class="fnanchor">[10]</a>, well-known youth to trepan,<br /> -To <i>C———sh</i><a name="FNanchor_11_189" id="FNanchor_11_189"></a><a href="#Footnote_11_189" class="fnanchor">[11]</a> lend the dear bought pence,<br /> -<i>C———sh</i> quite void of common sense,<br /> -Whose face, unto his soul a sign,<br /> -Looks stupid, as does that within.<br /> -A quarrel from behind ensues,<br /> -The sure retreat of those that lose.<br /> -An honest <i>'Squire</i> smells the cheat,<br /> -And swears the villain shall be beat:<br /> -But <i>G——dd</i> wisely interferes,<br /> -And dissipates the wretch's fears."<br /> -</p></blockquote> - -<p>The original sketch in oil for this scene is at Mrs. -<i>Hogarth's</i> house in <i>Leicester-fields</i>. The principal -character was then sitting, and not, as he is at present, -thrown upon his knees in the act of execration.</p> - -<p>The thought of the losing gamester pulling his hat -over his brows is adopted from a similar character -to be found among the figures of the principal personages -in the court of <i>Louis</i> XIV. folio. This work -has no engraver's name, but was probably executed -about the year 1700.</p> - -<p>Plate VII. The celebrated <i>Beccaria</i>, in his "Essay -on Public Happiness," vol. II. p. 172, observes,<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span> -"I am sensible there are persons whom it will be -difficult for me to persuade: I mean those profound -contemplators, who, secluding themselves -from their fellow-creatures, are assiduously employed -in framing laws for them, and who frequently -neglect the care of their domestic and -private concerns, to prescribe to empires that form -of government, to which they imagine that they -ought to submit. The celebrated <i>Hogarth</i> hath -represented, in one of his moral engravings, a -young man who, after having squandered away his -fortune, is, by his creditors, lodged in a gaol. -There he sits, melancholy and disconcerted, near a -table, whilst a scroll lies under his feet, and bears -the following title: 'being a new scheme for -paying the debt of the nation. By <i>T. L.</i> now a -prisoner in <i>The Fleet</i>.'"</p> - -<p>The Author of the poem already quoted, intimates -that the personage in the night-gown was meant for -some real character:</p> - -<blockquote><p> -"His wig was full as old as he,<br /> -In which one curl you could not see.<br /> -His neckcloth loose, his beard full grown,<br /> -An old torn night-gown not his own.<br /> -<i>L———</i>, great schemist, that can pay,<br /> -The nation's debt an easy way."<br /> -</p></blockquote> - -<p>In Plate VIII. (which appears in three different -states) is a half-penny reversed (struck in the year -1763) and fixed against the wall, intimating, that -<i>Britannia</i> herself was fit only for a mad-house. This<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span> -was a circumstance inserted by our artist (as he advertises) -about a year before his death. I may add, -that the man drawing lines against the wall just over -the half-penny, alludes to <i>Whiston's</i> proposed method -of discovering the Longitude by the firing of bombs, -as here represented. The idea of the two figures at -each corner of the print appears to have been taken -from <i>Cibber's</i> statues at <i>Bedlam</i>. The faces of the two -females are also changed. That of the woman with -a fan, is entirely altered; she has now a cap on, instead -of a hood, and is turned, as if speaking to the -other.</p> - -<p>Mr. <i>Gilpin's</i> opinion concerning this set of prints -is too valuable to be omitted, and is therefore transcribed -below.<a name="FNanchor_12_190" id="FNanchor_12_190"></a><a href="#Footnote_12_190" class="fnanchor">[12]</a> The plates were thus admirably -illustrated by Dr. <i>John Hoadly</i>.</p> - -<p><span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span></p> - -<blockquote><p> -<span style="margin-left: 2em;"><span class="smcap">Plate I.</span></span><br /> -O Vanity of <i>Age</i>, untoward,<br /> -Ever spleeny, ever froward!<br /> -<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span>Why these Bolts, and massy chains,<br /> -Squint suspicions, jealous Pains?<br /> -<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span>Why, thy toilsome Journey o'er,<br /> -Lay'st thou in an useless store?<br /> -<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span><i>Hope</i> along with <i>Time</i> is flown,<br /> -Nor canst thou reap the field thou'st sown.<br /> -<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span><br /> -Hast thou a son? in time be wise—.<br /> -He views thy toil with other eyes.<br /> -<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span>Needs must thy kind, paternal care,<br /> -Lock'd in thy chests be buried there?<br /> -Whence then shall flow that friendly ease,<br /> -That social converse, home-felt peace,<br /> -Familiar duty without dread,<br /> -Instruction from example bred,<br /> -Which youthful minds with freedom mend,<br /> -And with the <i>father</i> mix the <i>friend</i>?<br /> -<br /> -Uncircumscrib'd by prudent rules,<br /> -Or precepts of expensive schools<br /> -Abus'd at home, abroad despis'd,<br /> -Unbred, unletter'd, unadvis'd;<br /> -The headstrong course of youth begun,<br /> -What comfort from this darling son?<br /> -<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate II.</span></span><br /> -<i>Prosperity</i> (with harlot's smiles,<br /> -Most pleasing when she most beguiles)<br /> -How soon, sweet foe, can all thy train<br /> -Of false, gay, frantic, loud, and vain,<br /> -Enter the unprovided mind,<br /> -And Memory in fetters bind;<br /> -Load <i>Faith</i> and <i>Love</i> with golden chain,<br /> -And sprinkle <i>Lethe</i> o'er the brain!<br /> -<br /> -<i>Pleasure</i>, in her silver throne,<br /> -Smiling comes, nor comes alone;<br /> -<i>Venus</i> comes with her along,<br /> -And smooth <i>Lyæus</i> ever young;<br /> -And in their train, to fill the press,<br /> -Come apish <i>Dance</i>, and swol'n <i>Excess</i>,<br /> -Mechanic <i>Honour</i>, vicious <i>Taste</i>,<br /> -And <i>Fashion</i> in her changing vest.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate III.</span></span><br /> -O vanity of youthful blood,<br /> -So by misuse to poison <i>good!<br /> -Woman</i>, fram'd for social love,<br /> -Fairest gift of powers above;<br /> -Source of every houshold blessing,<br /> -All charms in innocence possessing—<br /> -But turn'd to Vice, all plagues above,<br /> -Foe to thy Being, foe to Love!<br /> -Guest divine to outward viewing,<br /> -Ablest Minister of Ruin!<br /> -<span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span> -<br /> -And thou, no less of gift divine,<br /> -"Sweet poison of misused wine!"<br /> -With freedom led to every part,<br /> -And secret chamber of the heart;<br /> -Dost thou thy friendly host betray,<br /> -And show thy riotous gang the way<br /> -To enter in with covert treason,<br /> -O'erthrow the drowsy guard of reason,<br /> -To ransack the abandon'd place,<br /> -And revel there in wild excess?<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate IV.</span></span><br /> -O vanity of youthful blood,<br /> -So by misuse to poison <i>good!</i><br /> -Reason awakes, and views unbarr'd<br /> -The sacred gates he watch'd to guard;<br /> -Approaching sees the harpy, <i>Law</i>,<br /> -And <i>Poverty</i>, with icy paw,<br /> -Ready to seize the poor remains—<br /> -That Vice has left of all his gains.<br /> -Cold <i>Penitence</i>, lame <i>After-thought</i>,<br /> -With fears, despair, and horrors fraught,<br /> -Call back his guilty pleasures dead,<br /> -Whom he hath wrong'd, and whom betray'd.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate V.</span></span><br /> -New to the School of hard <i>Mishap</i>,<br /> -Driven from the ease of Fortune's lap,<br /> -What schemes will Nature not embrace<br /> -T' avoid less shame of drear distress!<br /> -<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span><i>Gold</i> can the charms of youth bestow,<br /> -And mask deformity with show:<br /> -Gold can avert the sting of <i>Shame</i>,<br /> -In winter's arms create a flame;<br /> -Can couple youth with hoary age,<br /> -And make antipathies engage.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate VI.</span></span><br /> -<i>Gold</i>, thou bright son of <i>Phœbus</i>, source<br /> -Of universal intercourse;<br /> -Of weeping Virtue soft redress,<br /> -And blessing those who live to bless!<br /> -Yet oft behold this sacred truth,<br /> -The tool of avaricious Lust:<br /> -No longer bond of human kind,<br /> -But bane of every virtuous mind.<br /> -<br /> -What chaos such misuse attends!<br /> -Friendship stoops to prey on friends;<br /> -Health, that gives relish to delight,<br /> -Is wasted with the wasting night;<br /> -Doubt and mistrust is thrown on <i>Heaven</i>,<br /> -And all its power to <i>Chance</i> is given.<br /> -Sad purchase of repentant tears,<br /> -Of needless quarrels, endless fears,<br /> -Of hopes of moments, pangs of years!<br /> -Sad purchase of a <i>tortur'd mind</i><br /> -To an <i>imprison'd body</i> join'd!<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate VII.</span></span><br /> -Happy the man, whose constant thought<br /> -(Though in the school of hardship taught)<br /> -<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span>Can send <i>Remembrance</i> back to fetch<br /> -Treasures from life's earliest stretch;<br /> -Who, self-approving, can review<br /> -Scenes of past virtues, which shine through<br /> -The gloom of age, and cast a ray<br /> -To gild the evening of his day!<br /> -<br /> -Not so the guilty wretch confin'd:<br /> -No pleasures meet his conscious mind;<br /> -No blessings brought from early youth,<br /> -But broken faith and wrested truth,<br /> -Talents idle and unus'd,<br /> -And every trust of Heaven abus'd.<br /> -<br /> -In seas of sad reflection lost,<br /> -From horrors still to horrors toss'd,<br /> -<i>Reason</i> the vessel leaves to steer,<br /> -And gives the helm to mad <i>despair</i>.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate VIII.</span></span><br /> -<i>Madness!</i> thou chaos of the brain;<br /> -What art, that pleasure giv'st and pain?<br /> -Tyranny of Fancy's reign!<br /> -Mechanic <i>Fancy!</i> that can build<br /> -Vast labyrinths and mazes wild,<br /> -With rule disjointed, shapeless measure,<br /> -Fill'd with <i>horror</i>, fill'd with <i>pleasure!</i><br /> -Shapes of <i>horror</i>, that would even<br /> -Cast doubt of mercy upon Heaven!<br /> -Shapes of <i>pleasure</i>, that but seen<br /> -Would split the shaking sides of <i>spleen</i>.<br /> -<br /> -O vanity of age! here see<br /> -The stamp of Heaven effac'd by thee!<br /> -<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>The headstrong course of youth thus run,<br /> -What comfort from this darling son?<br /> -His rattling chains with terror hear;<br /> -Behold Death grappling with despair;<br /> -See him by thee to ruin sold,<br /> -And curse <i>Thyself</i>, and curse thy <i>Gold</i>.<br /> -</p></blockquote> - -<p>On this occasion also appeared an 8vo pamphlet, -intituled, "The Rake's Progress, or the Humours of -<i>Drury-Lane</i>, a poem in eight canto's, in <i>Hudibrastick</i> -verse, being the ramble of a modern <i>Oxonian</i>, -which is a compleat key to the eight prints -lately published by the celebrated Mr. <i>Hogarth</i>." -The second edition with additions, particularly an -"epistle to Mr. <i>Hogarth</i>" was "printed for <i>J. Chetwood</i>, -and sold at <i>Inigo Jones's-Head</i> against <i>Exeter -Change</i> in <i>The Strand</i>, 1735." This is a most -contemptible and indecent performance. Eight prints -are inserted in some copies of it; but they are only -the designs of <i>Hogarth</i> murdered, and perhaps were -not originally intended for the decoration of the work -already described.</p> - -<p>The original paintings, both of the Rake's and -Harlot's Progress, were at <i>Fonthill</i>, in <i>Wiltshire</i>, the -seat of Mr. <i>Beckford</i>,<a name="FNanchor_13_193" id="FNanchor_13_193"></a><a href="#Footnote_13_193" class="fnanchor">[13]</a> where the latter were destroyed -by a fire, in the year 1755; the former set -was happily preserved. Mr. <i>Barnes</i>, of <i>Rippon</i>, in -<i>Yorkshire</i>, has the Harlot's Progress in oil. It -must, however, be a copy. Mr. <i>Beckford</i> has also<span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> -twenty-five heads from the Cartoons by <i>Hogarth</i>, for -which he paid twenty-five guineas.</p> - -<p>There is reason to believe that <i>Hogarth</i> once designed -to have introduced the ceremony of a <i>Marriage -Contract</i> into the Rake's Progress, instead of the -<i>Levee</i>. An unfinished painting of this scene is still -preserved. We have here the Rake's apartment as -now exhibited in Plate II. In the anti-room, among -other figures, we recognize that of the poet who at -present congratulates our hero on his accession to -wealth and pleasure. The bard is here waiting with -an epithalamium in his hand. The Rake has added -connoisseurship to the rest of his expensive follies. -One of his purchases is a canvas containing only the -representation of a human foot. [Perhaps this circumstance -might allude to the dissection of <i>Arlaud's -Leda</i>. See Mr. <i>Walpole's</i> Anecdotes, &c. vol. IV. -p. 39.] A second is so obscure, that no objects in -it are discernible. [A performance of the same -description is introduced in our artist's <i>Piquet, or Virtue -in Danger</i>.] A third presents us with a <i>Madona</i> -looking down with fondness on the infant she holds -in her arms. [This seems intended as a contrast -to the grey headed bride who sits under it, and -is apparently past child-bearing.] The fourth is -emblematical, and displays perhaps too licentious a -satire on transubstantiation. The Blessed Virgin is -thrusting her Son down the hopper of a mill, in -which he is ground by priests till he issues out in the -shape of the consecrated <i>wafer</i>, supposed by Catholicks<span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span> -to contain the <i>real presence</i>. At a table sits a -toothless decrepit father, guardian, or match-maker, -joining the hand of the rake with that of the antiquated -female, whose face is highly expressive of -eagerness, while that of her intended husband is directed -a contrary way, toward a groom who is bringing -in a piece of plate won at a horse-race.<a name="FNanchor_14_194" id="FNanchor_14_194"></a><a href="#Footnote_14_194" class="fnanchor">[14]</a> On the -floor in front lie a heap of mutilated busts, &c. -which our spendthrift is supposed to have recently -purchased at an auction. The black boy, who is -afterwards met with in Plate IV. of Marriage Alamode, -was transplanted from this canvas. He is -here introduced supporting such a picture of <i>Ganymede</i> -as hangs against the wall of the lady's dressing-room -in the same plate of the same work.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_179" id="Footnote_1_179"></a><a href="#FNanchor_1_179"><span class="label">[1]</span></a> The face of this female has likewise been changed on -the last plate. In the intermediate ones it remains as originally -designed. To give the same character two different casts -of countenance, was surely an incongruity without excuse.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_180" id="Footnote_2_180"></a><a href="#FNanchor_2_180"><span class="label">[2]</span></a> The inscription on this bill is—"<i>London</i>, bought of -<i>William Tothall</i>, Woollen-draper in <i>Covent-Garden</i>." See the -corner figure looking over the music in the <i>Rehearsal of the -Oratorio of Judith</i>; and note <a href="#Footnote_88_108">88</a> above.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_181" id="Footnote_3_181"></a><a href="#FNanchor_3_181"><span class="label">[3]</span></a> Of whom a separate portrait, by <i>Ellis</i>, had been published -by <i>Overton. Figg</i> died in the year 1734. As the taste of the -publick is much changed about the importance of the <i>noble</i> -Science of Defence, as it was called, and as probably it will -never again revive, it may afford some entertainment to my -readers, to see the terms in which this celebrated prize-fighter -is spoken of by a professor of the art. "<span class="smcap">Figg</span> was the <i>Atlas</i> -of the Sword; and may he remain the gladiating statue! -In him strength, resolution, and unparalleled judgement, -conspired to form a matchless master. There was a majesty -shone in his countenance, and blazed in all his actions, -beyond all I ever saw. His right leg bold and firm, and -his left, which could hardly ever be disturbed, gave him the -surprising advantage already proved, and struck his adversary -with despair and panic. He had that peculiar way of -stepping in I spoke of, in a parry; he knew his arm, and -its just time of moving; put a firm faith in that, and never -let his adversary escape his parry. He was just as much a -greater master than any other I ever saw, as he was a -greater judge of time and measure." <i>Captain John Godfrey's -Treatise upon the Useful Science of Defence</i>, 4to, 1747, p. 41. -"Mr. <i>Figg</i>," says <i>Chetwood</i>, History of the Stage, p. 60, -"informed me once, that he had not bought a shirt for more -than twenty years, but had sold some dozens. It was his -method, when he fought in his amphitheatre (his stage -bearing that superb title), to send round to a select number -of his scholars, to borrow a shirt for the ensuing combat, -and seldom failed of half a dozen of superfine Holland -from his prime pupils (most of the young nobility and -gentry made it a part of their education to march under his -warlike banner). This champion was generally conqueror, -though his shirt seldom failed of gaining a cut from his -enemy, and sometimes his flesh, though I think he never -received any dangerous wound. Most of his scholars were -at every battle, and were sure to exult at their great master's -victories, every person supposing he saw the wounds his shirt -received. Mr. <i>Figg</i> took his opportunity to inform his -lenders of linen of the chasms their shirts received, with a -promise to send them home. But, said the ingenious courageous -<i>Figg</i>, I seldom received any other answer than -D-mn you, keep it!" A Poem by Dr. <i>Byrom</i>, on a battle -between <i>Figg</i> and <i>Sutton</i>, another prize-fighter, is in the 6th -Volume of <i>Dodsley's</i> Collection of Poems.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_182" id="Footnote_4_182"></a><a href="#FNanchor_4_182"><span class="label">[4]</span></a> <i>Fielding</i> has introduced this porter, under the name of -<i>Leathersides</i>, into <i>The Covent-Garden Tragedy</i>, acted in 1732. -</p> -<blockquote><p> -<i>Leath.</i><br /> -Two whores, great Madam, must be straight prepar'd,<br /> -A fat one for the Squire, and for my Lord a lean.<br /> -<br /> -<i>Mother.</i><br /> -Thou, <i>Leathersides</i>, best know'st such nymphs to find,<br /> -To thee their lodgings they communicate.<br /> -Go thou procure the girl.<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_5_183" id="Footnote_5_183"></a><a href="#FNanchor_5_183"><span class="label">[5]</span></a> The cleanliness of the <i>English</i> seems to have made a similar -impression on the mind of M. <i>De Grosley</i>, who, in his -"Tour to <i>London</i>," observes, that "The plate, hearth-stones, -moveables, apartments, doors, stairs, the very street-doors, -their locks, and the large brass knockers, are every day -washed, scowered, or rubbed. Even in lodging-houses, the -middle of the stairs is often covered with carpeting, to prevent -them from being soiled. All the apartments in the -house have mats or carpets; and the use of them has been -adopted some years since by the <i>French</i>;" and that "The -towns and villages upon the road have excellent inns, but -somewhat dear; at these an <i>English</i> lord is as well served as -at his own house, and with a cleanliness much to be wished -for in most of the best houses of <i>France</i>. The innkeeper -makes his appearance only to do the honours of his table to -the greatest personages, who often invite him to dine with -them."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_184" id="Footnote_6_184"></a><a href="#FNanchor_6_184"><span class="label">[6]</span></a> The chief of these, who wears something that seems to -have been a tie-wig, was painted from a <i>French</i> boy, who -cleaned shoes at the corner of <i>Hog-Lane</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_185" id="Footnote_7_185"></a><a href="#FNanchor_7_185"><span class="label">[7]</span></a> In the collection of Mr. <i>Steevens</i> only.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_186" id="Footnote_8_186"></a><a href="#FNanchor_8_186"><span class="label">[8]</span></a> He had meditated, however, some additional improvements -in the same plate. When he had inserted the storm, -he began to consider the impropriety of turning the girl out -in the midst of it with her head uncovered; and therefore, -on a proof of this print, from which he designed to have -worked, he sketched her hat in with <i>Indian</i> ink.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_187" id="Footnote_9_187"></a><a href="#FNanchor_9_187"><span class="label">[9]</span></a> It appears, on examination of the Registers, &c. that -<i>Tho. Sice</i> and <i>Tho. Horn</i> are not fictitious names. Such people -were really churchwardens when the repairs in 1725 were -made. The following inscription on the pew, denoting a -vault beneath, is also genuine, and, as far as can be known at -present, was faithfully copied in regard to its obsolete spelling. -</p> -<blockquote><p> -THESE PEWES VNSCRVD AND TANE IN SVNDER<br /> -IN STONE THERS GRAVEN WHAT IS VNDER<br /> -TO WIT A VALT FOR BURIAL THERE IS<br /> -WHICH EDWARD FORSET MADE FOR HIM AND HIS.<br /> -</p></blockquote> -<p> -Part of these words, in raised letters, at present form a pannel -in the wainscot at the end of the right-hand gallery, as the -church is entered from the street.—No heir of the <i>Forset</i> family -appearing, their vault has been claimed and used by his -Grace the Duke of <i>Portland</i>, as lord of the manor. The -mural monument of the <i>Taylors</i>, composed of lead gilt over, -is likewise preserved. It is seen, in <i>Hogarth's</i> print, just under -the window. The bishop of the diocese, when the new church -was built, gave orders that all the ancient tablets should be -placed, as nearly as possible, in their former situations.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_188" id="Footnote_10_188"></a><a href="#FNanchor_10_188"><span class="label">[10]</span></a> Old <i>Manners</i>, brother to the late <i>Duke of Rutland</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_189" id="Footnote_11_189"></a><a href="#FNanchor_11_189"><span class="label">[11]</span></a> The old Duke of <i>Devonshire</i> lost the great estate of <i>Leicester</i> -abbey to him at the gaming-table. <i>Manners</i> was the only -person of his time who had amassed a considerable fortune by -the profession of a gamester.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_190" id="Footnote_12_190"></a><a href="#FNanchor_12_190"><span class="label">[12]</span></a> "The first print of this capital work is an excellent representation -of a young heir, taking possession of a miser's -effects. The passion of avarice, which hoards every thing, -without distinction, what is and what is not valuable, is admirably -described.—The <i>composition</i>, though not excellent, -is not unpleasing. The principal group, consisting of the -young gentleman, the taylor, the appraiser, the papers, -and chest, is well shaped: but the eye is hurt by the disagreeable -regularity of three heads nearly in a line, and at -equal distances.—The <i>light</i> is not ill disposed. It falls on -the principal figures: but the effect might have been improved. -If the extreme parts of the mass (the white apron -on one side, and the memorandum-book on the other) had -been in shade, the <i>repose</i> had been less injured. The detached -parts of a group should rarely catch a strong body of -light.—We have no striking instances of <i>expression</i> in this -print. The principal figure is unmeaning. The only one, -which displays the true <i>vis comica</i> of <i>Hogarth</i>, is the appraiser -fingering the gold. You enter at once into his character.—The -young woman might have furnished the artist with -an opportunity of presenting a graceful figure; which would -have been more pleasing. The figure he <i>has</i> introduced, is -by no means an object of allurement.—The <i>perspective</i> is -accurate, but affected. So many windows, and open doors, -may shew the author's learning; but they break the back -ground, and injure the simplicity of it. -</p> -<p> -"The second print introduces our hero into all the dissipation -of modish life. We became first acquainted with -him, when a boy of eighteen. He is now of age; has -entirely thrown off the clownish school-boy; and assumes -the man of fashion. Instead of the country taylor, who -took measure of him for his father's mourning, he is now -attended by <i>French</i> barbers, <i>French</i> taylors, poets, milleners, -jockies, bullies, and the whole retinue of a fine gentleman.—The -<i>expression</i>, in this print, is wonderfully great. The -dauntless front of the bully; the keen eye, and elasticity of -the fencing-master; and the simpering importance of the -dancing-master, are admirably expressed. The last is perhaps -a little <i>outré</i>. The architect<a name="FNanchor_A_191" id="FNanchor_A_191"></a><a href="#Footnote_A_191" class="fnanchor">[A]</a> is a strong copy from nature.—The -<i>composition</i> seems to be entirely subservient to the -expression. It appears, as if <i>Hogarth</i> had sketched, in his -memorandum-book, all the characters which he has here -introduced; but was at a loss how to group them; and -chose rather to introduce them in detached figures, as he -had sketched them, than to lose any part of the expression -by combining them.—The <i>light</i> is ill distributed. It is -spread indiscriminately over the print; and destroys the -<i>whole</i>—We have no instance of <i>grace</i> in any of the figures. -The principal figure is very deficient. There is no contrast -in the limbs; which is always attended with a degree of -ungracefulness.—The <i>execution</i> is very good. It is elaborate, -and yet free.—The satire on operas, though it may be -well directed, is forced and unnatural. -</p> -<p> -"The third plate carries us still deeper into the history. -We meet our hero engaged in one of his evening amusements. -This print, on the whole, is no very extraordinary -effort of genius.—The <i>design</i> is good; and may be a very -exact description of the humours of a brothel.—The <i>composition</i> -too is not amiss. But we have few of those masterly -strokes which distinguish the works of <i>Hogarth</i>. The whole -is plain history. The lady setting the world on fire is the -best thought: and there is some humour in furnishing the -room with a set of <i>Cæsars</i>; and not placing them in order.—The -<i>light</i> is ill managed. By a few alterations, which are -obvious, particularly by throwing the lady dressing into -the shade, the disposition of it might have been tolerable. -But still we should have had an absurdity to answer, whence -comes it? Here is light in abundance; but no visible -source.—<i>Expression</i> we have a little through the whole -print. That of the principal figure is the best. The ladies -have all the air of their profession; but no variety of character. -<i>Hogarth's</i> women are, in general, very inferior to -his men. For which reason I prefer the <i>Rake's Progress</i> to -the <i>Harlot's</i>. The female face indeed has seldom strength -of feature enough to admit the strong markings of expression. -</p> -<p> -"Very disagreeable accidents often befall gentlemen of -pleasure. An event of this kind is recorded in the fourth -print; which is now before us. Our hero going, in full -dress, to pay his compliments at court on St. <i>David's</i> day, -was accosted in the rude manner which is here represented.—The -<i>composition</i> is good. The form of the group, made -up of the figures in action, the chair, and the lamp-lighter, -is pleasing. Only, here we have an opportunity of remarking, -that a group is disgusting when the extremities -of it are heavy. A group in some respect should resemble -a tree. The heavier part of the foliage (the <i>cup</i> as the -landscape painter calls it) is always near the middle; the -outside branches, which are relieved by the sky, are light -and airy. An inattention to this rule has given a heaviness -to the group before us. The two bailiffs, the woman, and -the chairman, are all huddled together in that part of the -group which should have been the lightest; while the middle -part, where the hand holds the door, wants strength -and consistence. It may be added too, that the four heads, -in the form of a diamond, make an unpleasing shape. All -regular figures should be studiously avoided.—The <i>light</i> had -been well distributed, if the bailiff holding the arrest, and -the chairman, had been a little lighter, and the woman -darker. The glare of the white apron is disagreeable.—We -have, in this print, some beautiful instances of <i>expression</i>. -The surprise and terror of the poor gentleman is apparent -in every limb, as far as is consistent with the fear of -discomposing his dress. The insolence of power in one of -the bailiffs, and the unfeeling heart, which can jest with -misery, in the other, are strongly marked. The self-importance -too of the honest <i>Cambrian</i> is not ill portrayed; who -is chiefly introduced to settle the chronology of the story.—In -point of <i>grace</i>, we have nothing striking. <i>Hogarth</i> might -have introduced a degree of it in the female figure: at least -he might have contrived to vary the heavy and unpleasing -form of her drapery.—The <i>perspective</i> is good, and makes -an agreeable shape.—I cannot leave this print without -remarking the <i>falling band-box</i>. Such representations of -quick motion are absurd; and every moment the absurdity -grows stronger. You cannot deceive the eye. The falling -body <i>must</i> appear <i>not</i> to fall. Objects of that kind are beyond -the power of representation. -</p> -<p> -"Difficulties crowd so fast upon our hero, that at the age -of twenty-five, which he seems to have attained in the fifth -plate, we find him driven to the necessity of marrying a -woman, whom he detests, for her fortune. The <i>composition</i> -here is very good; and yet we have a disagreeable regularity -in the climax of the three figures, the maid, the -bride, and the bride-groom.—The <i>light</i> is not ill distributed. -The principal figure too is <i>graceful</i>; and there is strong -<i>expression</i> in the seeming tranquillity of his features. He -hides his contempt of the object before him as well as he -can; and yet he cannot do it. She too has as much meaning -as can appear thro' the deformity of her features. The -clergyman's face we are all well acquainted with, and also his -wig; tho' we cannot pretend to say, where we have seen -either. The clerk too is an admirable fellow.—The <i>perspective</i> -is well understood; but the church is too small;<a name="FNanchor_B_192" id="FNanchor_B_192"></a><a href="#Footnote_B_192" class="fnanchor">[B]</a> -and the wooden post, which seems to have no use, divides -the picture very disagreeably.—The creed lost, the commandments -broken, and the poor's-box obstructed by a -cobweb, are all excellent strokes of satirical humour. -</p> -<p> -"The fortune, which our adventurer has just received, -enables him to make one push more at the gaming-table. -He is exhibited, in the sixth print, venting curses on his -folly for having lost his last stake.—This is upon the whole, -perhaps, the best print of the set. The horrid scene it -describes was never more inimitably drawn. The <i>composition</i> -is artful, and natural. If the shape of the whole be -not quite pleasing, the figures are so well grouped, and -with so much ease and variety, that you cannot take -offence.—In point of light, it is more culpable. There is -not shade enough among the figures to balance the glare. -If the neck-cloth and weepers of the gentleman in mourning -had been removed, and his hands thrown into shade, -even that alone would have improved the effect.—The <i>expression</i>, -in almost every figure, is admirable; and the whole -is a strong representation of the human mind in a storm. -Three stages of that species of madness, which attends -gaming, are here described. On the first shock, all is inward -dismay. The ruined gamester is representing leaning -against a wall, with his arms across, lost in an agony of -horror. Perhaps never passion was described with so much -force. In a short time this horrible gloom bursts into a -storm of fury: he tears in pieces what comes next him; -and, kneeling down, invokes curses upon himself. He next -attacks others; every one in his turn whom he imagines -to have been instrumental in his ruin.—The eager joy of -the winning gamesters, the attention of the usurer, the -vehemence of the watchman, and the profound reverie of -the highwayman, are all admirably marked. There is -great coolness too expressed in the little we see of the fat -gentleman at the end of the table. The figure opposing -the mad-man is bad: it has a drunken appearance; and -drunkenness is not the vice of a gaming table.—The principal -figure is <i>ill-drawn</i>. The <i>perspective</i> is formal; and -the <i>execution</i> but indifferent: in heightening his expression, -<i>Hogarth</i> has lost his spirit. -</p> -<p> -"The seventh plate, which gives us the view of a jail, has -very little in it. Many of the circumstances, which may -well be supposed to increase the misery of a confined debtor, -are well contrived; but the fruitful genius of <i>Hogarth</i>, I -should think, might have treated the subject in a more copious -manner. The episode of the fainting woman might -have given way to many circumstances more proper to the -occasion. This is the same woman, whom the rake discards -in the first print; by whom he is rescued in the fourth; -who is present at his marriage; who follows him into jail; -and, lastly, to <i>Bedlam</i>. The thought is rather unnatural, -and the moral certainly culpable.—The <i>composition</i> is bad. -The group of the woman fainting is a round heavy mass: -and the other group is very ill-shaped. The <i>light</i> could not -be worse managed, and, as the groups are contrived, can -hardly be improved.—In the principal figure there is great -<i>expression</i>; and the fainting scene is well described. A -scheme to pay off the national debt, by a man who cannot -pay his own; and the attempt of a silly rake, to retrieve -his affairs by a work of genius; are admirable strokes of -humour. -</p> -<p> -"The eighth plate brings the fortune of our hero to a -conclusion. It is a very expressive representation of the -most horrid scene which human nature can exhibit.—The -<i>composition</i> is not bad. The group, in which the lunatic is -chained, is well managed; and if it had been carried a -little further towards the middle of the picture, and the -two women (who seem very oddly introduced) had been -removed, both the composition, and the distribution of -light, had been good.—The <i>drawing</i> of the principal figure -is a more accurate piece of anatomy than we commonly -find in the works of this master. The <i>expression</i> of the -figure is rather unmeaning; and very inferior to the strong -characters of all the other lunatics. The fertile genius of -the artist has introduced as many of the causes of madness, -as he could well have collected; but there is some tautology. -There are two religionists, and two astronomers. -Yet there is variety in each; and strong <i>expression</i> in all the -characters. The self-satisfaction, and conviction, of him -who has discovered the longitude; the mock majesty of the -monarch; the moody melancholy of the lover; and the -superstitious horror of the popish devotee; are all admirable.—The -<i>perspective</i> is simple and proper. -</p> -<p> -"I should add, that these remarks are made upon the first -edition of this work. When the plates were much worn, -they were altered in many parts. They have gained by the -alterations, in point of <i>design</i>; but have lost in point of -<i>expression</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_A_191" id="Footnote_A_191"></a><a href="#FNanchor_A_191"><span class="label">[A]</span></a> The <i>architect</i>. Mr. <i>Gilpin</i> means—the <i>gardener</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_B_192" id="Footnote_B_192"></a><a href="#FNanchor_B_192"><span class="label">[B]</span></a> I am authorized to observe, that this is no fault in our artist. The -old church at <i>Marybone</i> was so little, that it would have stood within -the walls of the present one, leaving at the same time sufficient room for -a walk round it.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_13_193" id="Footnote_13_193"></a><a href="#FNanchor_13_193"><span class="label">[13]</span></a> Afterwards twice lord mayor of <i>London</i>. See p. <a href="#Page_44">44</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_194" id="Footnote_14_194"></a><a href="#FNanchor_14_194"><span class="label">[14]</span></a> The same as that introduced in Plate II.</p></div> - -<hr class="tb" /> - -<h4>1736.</h4> - - -<p>1. Two prints of Before and After. The two -pictures, from which these prints are taken, were -painted at the particular request of a certain vicious -nobleman, whose name deserves no commemoration. -The hero of them is said to have been designed for -Chief Justice <i>Willes. Hogarth</i> repented of having -engraved them; and almost every possessor of his -works will wish they had been with-held from the -public, as often as he is obliged to shew the volume -that contains them to ladies. To omit them, is to -mutilate the collection; to pin the leaves, on which -they are pasted, together, is a circumstance that tends -only to provoke curiosity; and to display them, -would be to set decency at defiance. The painter<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> -who indulges himself, or his employers, in such representations, -will forfeit the general praise he might -have gained by a choice of less offensive subjects. -We have an artist of no common merit, who has -frequently disgraced his skill by scenes too luxuriant -to appear in any situation but a brothel; and yet one -of the most meretricious of his performances, but a few -years ago, was exhibited by the Royal Academy. -These prints, however, display almost the only instance -in which <i>Hogarth</i> condescended to execute a subject -proposed to him; for I am assured by one who knew -him well, that his obstinacy on these occasions has -often proved invincible. Like <i>Shakspeare's Tully</i>,</p> - -<blockquote><p> -"——he would never follow any thing<br /> -That other men began."<br /> -</p></blockquote> - -<p>In the later impressions from these plates, the -scroll-work on the head-cloth, &c. of the bed, is -rendered indistinct, by an injudicious attempt to -strengthen the engraving. Mr. <i>S. Ireland</i> has the -first sketch in oil of "Before."<a name="FNanchor_1_195" id="FNanchor_1_195"></a><a href="#Footnote_1_195" class="fnanchor">[1]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_195" id="Footnote_1_195"></a><a href="#FNanchor_1_195"><span class="label">[1]</span></a> The originals of both are at the earl of <i>Besborough's</i> seat -at <i>Roehampton</i>.</p><br /></div> - - -<p>2. The Sleeping Congregation. The preacher -was designed as the representative of Dr. <i>Desaguliers</i>. -This print was first published in 1736. It was afterwards -retouched and <i>improved</i><a name="FNanchor_1_196" id="FNanchor_1_196"></a><a href="#Footnote_1_196" class="fnanchor">[1]</a> by the author in -1762, and is found in three different states. In the -first, <i>Dieu & Mon Droit</i> is wanting under the King's -Arms; the angel with one wing and two pair of<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span> -thighs, that supports this motto, is smoking a pipe; -and the lion has not his present magnificent genitals. -In the second, the words already mentioned are -added; the angel's pipe is obliterated; the insignia -of the lion's sex rendered ostentatiously conspicuous; -and the lines of the triangle under the angel are -doubled. The other distinctions are chiefly such as a -reiteration of engraving would naturally produce, by -adding strength to the fainter parts of the composition. -Changes of this slender kind are numberless -in all the repaired prints of our artist. There is -also a pirated copy of this plate. It is not ill executed, -but in size is somewhat shorter than its predecessor, -and has no price annexed. In the original -picture, in the collection of Sir <i>Edward Walpole</i>, -the clerk's head is admirably well painted, and with -great force; but he is dozing, and not leering at -the young woman near him, as in the print.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_196" id="Footnote_1_196"></a><a href="#FNanchor_1_196"><span class="label">[1]</span></a> I wish, for the sake of some future edition of the present -work, these <i>improvements</i> could be ascertained. To me they -are invisible, like those in the re-published <i>March to Finchley</i>.</p><br /></div> - -<p>3. The Distressed Poet.<a name="FNanchor_1_197" id="FNanchor_1_197"></a><a href="#Footnote_1_197" class="fnanchor">[1]</a> In a back ground, a -picture of <i>Pope</i> threshing <i>Curll</i>. Over the head of<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> -<i>Pope</i> we read, <i>Pope's Letters</i>; out of his mouth -comes <i>Veni, vidi, vici</i>; and under <i>Curll</i> lies a letter, -directed—<i>to Curll</i>. The distressed bard is composing -<i>Poverty</i>, a poem. At the bottom of the plate are -the following lines from <i>The Dunciad</i>, I. iii.</p> - -<blockquote><p> -Studious he sate, with all his books around,<br /> -Sinking from thought to thought, a vast profund!<br /> -Plung'd for his sense, but found no bottom there;<br /> -Then writ, and flounder'd on in mere despair.<br /> -</p></blockquote> - -<p>In the subsequent impressions, dated <i>December</i> 15, -1740, the triumphs of <i>Pope</i> are changed to a view -of the gold mines of <i>Peru</i>; and our hero of the -garret is employed in celebrating the praise of <i>Riches</i>. -The lines already quoted are effaced. The original -painting is at lord <i>Grosvenor's</i> house at <i>Milbank, Westminster</i>.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_197" id="Footnote_1_197"></a><a href="#FNanchor_1_197"><span class="label">[1]</span></a> In <i>The Craftsman, March</i> 12, 1736-7, occurs, "This -day is published, price 3s. a print representing a <i>Distressed -Poet</i>. Also, five etchings, of different characters of heads -in groups, viz. a Chorus of Singers; a pleased Audience at -a Play; Scholars at a Lecture; and Quacks in Consultation; -price 6d. each. To be had either bound together with all -Mr. <i>Hogarth's</i> late engraved works (except the Harlot's -Progress), or singly, at the <i>Golden Head</i>, in <i>Leicester Fields</i>; -and at Mr <i>Bakewell's</i>, printseller, next the <i>Horn Tavern, -Fleet-street</i>." And <i>April</i> 2 and 9, 1737, "Just published, -price 3s. A print representing a <i>Distressed Poet</i>. Designed -and engraved by Mr. <i>Hogarth</i>. Also four etchings, viz. A -pleased Audience; a Chorus of Singers; Scholars at a Lecture; -and a Consultation of Quacks, price 6d. each. To be -had at the <i>Golden Head</i>, in <i>Leicester Fields</i>; and at Mr. <i>Bakewell's</i>, -print-seller, next the <i>Horn Tavern</i>, in <i>Fleet-street</i>. -Where may be had, bound or otherwise, all Mr. <i>Hogarth's</i> -late engraved works, viz. A <i>Midnight Conversation; Southwark -Fair</i>; the <i>Rake's Progress,</i> in eight prints; a sleepy -Congregation in a Country Church; Before and After, two -prints."</p><br /></div> - - -<p>4. Right Hon. <i>Frances</i> Lady <i>Byron</i>. Whole -length, mezzotinto. <i>W. Hogarth pinxit. J. Faber -fecit.</i> The most beautiful impressions of this plate -were commonly taken off in a brown colour.<br /> -<br /></p> - - -<p>5. The same, shortened into a three-quarters -length.<br /> -<br /></p> - - -<p>6. Consultation of Physicians. Arms of the Undertakers. -In this plate, amongst other portraits, is<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> -the well-known one of Dr. <i>Ward</i><a name="FNanchor_1_198" id="FNanchor_1_198"></a><a href="#Footnote_1_198" class="fnanchor">[1]</a> (who was -called <i>Spot Ward</i>, from the left side of his face<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span> -being marked of a claret colour); and that of -the elder <i>Taylor</i>,<a name="FNanchor_2_199" id="FNanchor_2_199"></a><a href="#Footnote_2_199" class="fnanchor">[2]</a> a noted oculist, with an eye on -the head of his cane; Dr. <i>Pierce Dod</i>,<a name="FNanchor_3_200" id="FNanchor_3_200"></a><a href="#Footnote_3_200" class="fnanchor">[3]</a> Dr. <i>Bamber</i>;<a name="FNanchor_4_201" id="FNanchor_4_201"></a><a href="#Footnote_4_201" class="fnanchor">[4]</a><span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span> -and other physicians of that time. The -figure with a bone in its hand, between the two -demi-doctors (i. e. <i>Taylor</i> and <i>Ward</i>), is said to -have been designed for Mrs. <i>Mapp</i>, a famous masculine -woman, who was called the bone-setter, or -shape-mistress. I am told, that many of her advertisements -may be found in <i>Mist's Journal</i>, and -still more accounts of her cures in the periodical -publications of her time. Her maiden name was -<i>Wallin</i>. Her father was also a bone-setter at <i>Hindon, -Wilts</i>; but quarrelling with him, she wandered about -the country, calling herself <i>crazy Sally</i>. On her -success in her profession she married, <i>August</i> 11, -1736,<a name="FNanchor_5_202" id="FNanchor_5_202"></a><a href="#Footnote_5_202" class="fnanchor">[5]</a> one <i>Hill Mapp</i>, a servant to Mr. <i>Ibbetson</i>, -mercer on <i>Ludgate-Hill</i>. In most cases her success -was rather owing to the strength of her arms, and -the boldness of her undertakings, than to any knowledge -of anatomy or skill in chirurgical operations. -The following particulars relative to her are collected<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span> -from the <i>The Grub-street Journal</i>, &c. and serve at -least to shew, that she was a character considerable -enough to deserve the satire of <i>Hogarth</i>.</p> - -<p><i>August</i> 19, 1736, "We hear that the husband of -Mrs. <i>Mapp</i>, the famous bone-setter at <i>Epsom</i>, ran -away from her last week, taking with him upwards -of 100 guineas, and such other portable -things as lay next hand."</p> - -<p>"Several letters from <i>Epsom</i> mention, that the -footman, whom the female bone-setter married -the week before, had taken a sudden journey from -thence with what money his wife had earned; and -that her concern at first was very great: but soon -as the surprize was over, she grew gay, and -seemed to think the money well disposed of, as it -was like to rid her of a husband. He took just -102 guineas."</p> - -<p>The following verses were addressed to her in -<i>August</i> 1736.</p> - -<blockquote><p> -"Of late, without the least pretence to skill,<br /> -<i>Ward's</i> grown a fam'd physician by a pill;<a name="FNanchor_6_203" id="FNanchor_6_203"></a><a href="#Footnote_6_203" class="fnanchor">[6]</a><br /> -<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span>Yet he can but a doubtful honour claim,<br /> -While envious Death oft blasts his rising fame.<br /> -Next travell'd <i>Taylor</i> fill'd us with surprize,<br /> -Who pours new light upon the blindest eyes;<br /> -Each journal tells his circuit thro' the land;<br /> -Each journal tells the blessings of his hand:<br /> -And lest some hireling scribbler of the town<br /> -Injures his history, he writes his own.<br /> -We read the long accounts with wonder o'er;<br /> -Had he wrote less, we had believ'd him more.<br /> -Let these, O <i>Mapp!</i> thou wonder of the age!<br /> -With dubious arts endeavour to engage:<br /> -While you, irregularly strict to rules,<br /> -Teach dull collegiate pedants they are fools:<br /> -By merit, the sure path to fame pursue;<br /> -For all who see thy art, must own it true."<br /> -</p></blockquote> - -<p><i>September</i> 2, 1736, "On <i>Friday</i> several persons, -who had the misfortune of lameness, crowded to -<i>The White-hart Inn</i>, in <i>White-chapel</i>, on hearing -Mrs. <i>Mapp</i> the famous bone-setter was there. -Some of them were admitted to her, and were -relieved as they apprehended. But a gentleman, -who happened to come by, declared Mrs. <i>Mapp</i> -was at <i>Epsom</i>, on which the woman thought proper -to move off."</p> - -<p><i>September</i> 9, 1736. "Advertisement.</p> - -<p>"Whereas it has been industriously (I wish I -could say truly) reported, that I had found great -benefit from a certain female bone-setter's performance, -and that it was to a want of resolution<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span> -to undergo the operation, that I did not meet -with a perfect cure: this is therefore to give notice, -that any persons afflicted with lameness (who -are willing to know what good or harm others -may receive, before they venture on desperate -measures themselves) will be welcome any morning -to see the dressing of my leg, which was -sound before the operation, and they will then be -able to judge of the performance, and to whom I -owe my present unhappy confinement to my bed -and chair.</p> - -<p>"<i>Thomas Barber</i>, Tallow-chandler, <i>Saffron-hill</i>."</p> - -<p><i>September</i> 16, 1736. "On <i>Thursday</i>, Mrs. <i>Mapp's</i> -plate of ten guineas was run for at <i>Epsom</i>. A -mare, called 'Mrs. <i>Mapp</i>,' won the first heat; -when Mrs. <i>Mapp</i> gave the rider a guinea, and swore -if he won the plate she would give him 100; but -the second and third heat was won by a chestnut -mare."</p> - -<p>"We hear that the husband of Mrs. <i>Mapp</i> is -returned, and has been kindly received."</p> - -<p><i>September</i> 23, 1736. "Mrs. <i>Mapp</i> continues making -extraordinary cures: she has now set up an -equipage, and on <i>Sunday</i> waited on her Majesty."</p> - -<p><i>Saturday, October</i> 16, 1736. "Mrs. <i>Mapp</i>, the -bone-setter, with Dr. <i>Taylor</i>, the oculist, was at -the play-house, in <i>Lincoln's-Inn Fields,</i> to see a -comedy called 'The Husband's Relief, with -the Female Bone-setter and Worm Doctor;' which<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> -occasioned a full house, and the following epigram:</p> - -<blockquote><p> -"'While <i>Mapp</i> to th'actors shew'd a kind regard,<br /> -On one side <i>Taylor</i> sat, on the other <i>Ward</i>:<br /> -When their mock persons of the Drama came,<br /> -Both <i>Ward</i> and <i>Taylor</i> thought it hurt their <i>fame</i>;<br /> -Wonder'd how <i>Mapp</i> cou'd in good humour be—<br /> -Zoons! cries the manly dame, it hurts not me;<br /> -Quacks without art may either blind or kill;<br /> -But<a name="FNanchor_7_204" id="FNanchor_7_204"></a><a href="#Footnote_7_204" class="fnanchor">[7]</a> <i>demonstration</i> shews that mine is <i>skill</i>.'<br /> -</p></blockquote> - -<p>"And the following was sung upon the stage:</p> - -<blockquote><p> -"'You surgeons of <i>London</i>, who puzzle your pates,<br /> -To ride in your coaches, and purchase estates,<br /> -Give over, for shame, for your pride has a fall,<br /> -And the doctress of <i>Epsom</i> has outdone you all.<br /> -<span style="margin-left: 6em;"><i>Derry down</i>, &c.</span><br /> -<br /> -"'What signifies learning, or going to school,<br /> -When a woman can do, without reason or rule,<br /> -What puts you to nonplus, and baffles your art?<br /> -For petticoat-practice has now got the start.<br /> -<br /> -"'In physics, as well as in fashions, we find,<br /> -The newest has always the run with mankind;<br /> -<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>Forgot is the bustle 'bout <i>Taylor</i> and <i>Ward</i>;<br /> -Now <i>Mapp's</i> all the cry, and her fame's on record.<br /> -<br /> -"'Dame Nature has given her a doctor's degree,<br /> -She gets all the patients, and pockets the fee;<br /> -So if you don't instantly prove it a cheat,<br /> -She'll loll in her chariot, whilst you walk the street.<br /> -<span style="margin-left: 6.5em;"><i>Derry down</i>, &c.'"</span><br /> -</p></blockquote> - -<p><i>October</i> 19, 1736, <i>London Daily Post.</i> "Mrs. -<i>Mapp</i>, being present at the acting of <i>The Wife's -Relief</i>, concurred in the universal applause of a -crowded audience. This play was advertised by -the desire of Mrs. <i>Mapp</i>, the famous bone-setter -from <i>Epsom</i>."</p> - -<p><i>October</i> 21, 1736, "On <i>Saturday</i> evening there -was such a concourse of people at the Theatre-royal -in <i>Lincoln's-Inn Fields</i>, to see the famous -Mrs. <i>Mapp</i>, that several gentlemen and ladies were -obliged to return for want of room. The confusion -at going out was so great, that several gentlemen -and ladies had their pockets picked, and -many of the latter lost their fans, &c. Yesterday -she was elegantly entertained by Dr. <i>Ward</i>, at his -house in <i>Pall-Mall</i>."</p> - -<p>"On <i>Saturday</i> and yesterday Mrs. <i>Mapp</i> performed -several operations at <i>The Grecian Coffee-house</i>, -particularly one upon a niece of Sir <i>Hans -Sloane</i>, to his great satisfaction and her credit. -The patient had her shoulder-bone out for about -nine years."</p> - -<p><span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span></p> - -<p>"On <i>Monday</i> Mrs. <i>Mapp</i> performed two extraordinary -cures; one on a young lady of <i>The Temple</i>, -who had several bones out from the knees to -her toes, which she put in their proper places: -and the other on a butcher, whose knee-pans -were so misplaced that he walked with his knees -knocking one against another. Yesterday she -performed several other surprizing cures; and -about one set out for <i>Epsom</i>, and carried with her -several crutches, which she calls trophies of honour."</p> - -<p><i>November</i> 18, 1736, "Mrs. <i>Mapp</i>, the famous -bone-setter, has taken lodgings in <i>Pall-Mall</i>, near -Mr. <i>Joshua Ward's</i>, &c."</p> - -<p><i>November</i> 25, 1736,</p> - -<blockquote><p> -"In this bright age three wonder-workers rise,<br /> -Whose operations puzzle all the wise.<br /> -To lame and blind, by dint of manual slight,<br /> -<i>Mapp</i> gives the use of limbs, and <i>Taylor</i> sight.<br /> -But greater <i>Ward</i>, &c."<br /> -</p></blockquote> - -<p><i>December</i> 16, 1736, "On <i>Thursday, Polly Peachum</i> -(Miss <i>Warren</i>, that was sister to the famous Mrs. -<i>Mapp</i>) was tried at <i>The Old Bailey</i> for marrying -Mr. <i>Nicholas</i>; her former husband, Mr. <i>Somers</i>, -being living, &c."</p> - -<p><i>December</i> 22, 1737, "Died last week, at her -lodgings near <i>The Seven Dials</i>, the much-talked-of -Mrs. <i>Mapp</i>, the bone-setter, so miserably poor, -that the parish was obliged to bury her."</p> - -<p><span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span></p> - -<p>The plate is thus illustrated by the engraver: -"The Company of Undertakers beareth Sable, an -Urinal proper, between twelve Quack Heads of the -second, and twelve Cane Heads, Or, Consultant. -On a Chief,<a name="FNanchor_8_205" id="FNanchor_8_205"></a><a href="#Footnote_8_205" class="fnanchor">[8]</a> Nebulæ,<a name="FNanchor_9_206" id="FNanchor_9_206"></a><a href="#Footnote_9_206" class="fnanchor">[9]</a> Ermine, one compleat -Doctor<a name="FNanchor_10_207" id="FNanchor_10_207"></a><a href="#Footnote_10_207" class="fnanchor">[10]</a> issuant, checkie, sustaining in his right -hand a baton of the second. On his dexter and -sinister sides two <i>demi-</i>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—<i>Et plurima -mortis imago.</i>"</p> - -<div class="footnote"> - -<p><a name="Footnote_1_198" id="Footnote_1_198"></a><a href="#FNanchor_1_198"><span class="label">[1]</span></a> <i>Joshua Ward</i> was one of the younger sons of an ancient -and respectable family settled at <i>Guisborough</i> in <i>Yorkshire</i>, where -he was born some time in the last century. He seems, from -every description of him, to have had small advantages from -education, though he indisputably possessed no mean natural -parts. The first account we have of him is, that he was a associated -in partnership with a brother named <i>William</i>, as a dry-salter, -in <i>Thames-street</i>. After they had carried on this business -some time, a fire broke out in an adjoining house, which -communicated itself to their warehouses, and entirely destroyed -all their property. On this occasion Mr. <i>Ward</i>, with a gentleman -from the country who was on a visit to him, escaped -over the tops of the houses in their shirts. In the year 1717 -he was returned member for <i>Marlborough</i>; but, by a vote of the -House of Commons, dated <i>May</i> 13, was declared not duly -elected. It is imagined that he was in some measure connected -with his brother <i>John Ward</i> (who is stigmatized by Mr. <i>Pope</i>, -Dunciad III. 34.) in secreting and protecting illegally the property -of some of the <i>South Sea</i> directors. Be this as it may, he -soon after fled from <i>England</i>, resided some years abroad, and -has been frequently supposed to have turned <i>Roman</i> Catholic. -While he remained in exile, he acquired that knowledge of -medicine and chemistry, which afterwards was 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 Wit, Learning, Argument, Ridicule, Malice, -and Jealousy, by all of which he was opposed in every shape -that can be suggested. At length, by some lucky cures, and particularly -one on a relation of Sir <i>Joseph Jekyl</i> Master of the -Rolls, he got the better of his opponents, and was suffered to -practise undisturbed. From this time his reputation was established: -he was exempted, by a vote of the House of Commons, -from being visited by the censors of the college of physicians, -and was even called in to the assistance of King <i>George</i> -the Second, whose hand he cured, and received, as a reward, -a commission for his nephew the late General <i>Gansel</i>. It was -his custom to distribute his medicines and advice, and even -pecuniary assistance, to the poor, at his house, <i>gratis</i>; and thus -he acquired considerable popularity. Indeed, in these particulars -his conduct was entitled to every degree of praise. With -a stern outside, and rough deportment, he was not wanting in -benevolence. After a continued series of success, he died <i>Dec.</i> -21, 1761, at a very advanced age, and left the secret of his -medicines to Mr. <i>Page</i>, member for <i>Chichester</i>, who bestowed -them on two charitable institutions, which have derived considerable -advantages from them. His will is printed in <i>The -Gentleman's Magazine</i>, 1762, p. 208.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_199" id="Footnote_2_199"></a><a href="#FNanchor_2_199"><span class="label">[2]</span></a> I was assured by the late Dr. <i>Johnson</i>, that <i>Ward</i> was the -weakest, and <i>Taylor</i> the most ignorant, of the whole empiric -tribe. The latter once asserted, that when he was at <i>St. Petersburg</i>, -he travelled as far as <i>Archangel</i> to meet Prince <i>Herculaneum</i>. -Now <i>Archangel</i> being the extreme point from <i>European -Asia</i>, had the tale been true, the oculist must have marched -so far backwards out of the route of Prince <i>Heraclius</i>, whose -name he had blundered into <i>Herculaneum</i>. -</p> -<p> -The present likeness of our oculist, however, we may suppose -to have been a strong one, as it much resembles a mezzotinto -by <i>Faber</i>, from a picture painted at <i>Rome</i> by the Chevalier -<i>Riche</i>. Under it is the following inscription: "<i>Joannes -Taylor</i>, Medicus in Optica expertissimus multisque in Academiis -celeberrimis Socius." Eight <i>Latin</i> verses follow, -which are not worth transcription. <i>Taylor</i> made presents of -this print to his friends. It is now become scarce.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_200" id="Footnote_3_200"></a><a href="#FNanchor_3_200"><span class="label">[3]</span></a> One of the physicians to <i>St. Bartholomew's</i> Hospital. He -died <i>August</i> 6, 1754. His merits were thus celebrated by -Dr. <i>Theobald</i>, a contemporary physician: -</p> -<blockquote><p> -"O raro merito quem juncta scientia dudum<br /> -Illustrem sacris medico stellam addidit orbi<br /> -Auspiciis, pura nunquam non luce corusce!<br /> -Utcunque incolumem virtutum aversa tueri<br /> -Gens humana solet, non ni post fata corona<br /> -Donandam merita, potitus melioribus astris,<br /> -Invidia major, tu præsens alter haberis<br /> -<i>Hippocrates</i>, pleno jam nunc cumulatus honore.<br /> -Te seu, corporea tandem compage soluta,<br /> -Accipiet, doctis clarescentem artibus, alta<br /> -<i>Coi</i> sphæra senis; seu tu venerabilis aureo<br /> -<i>Romani Celsi</i> rite effulgebis in orbe;<br /> -O sit adhuc tarda illa dies, sit tarda, precamur,<br /> -Illa dies, nostris et multum ferior annis,<br /> -Cum tua mens, membris seducta fluentibus, almas<br /> -Advolet, angelicis immixta cohortibus, arces!<br /> -Hic potius Musas, thematis dulcedine captas,<br /> -Delecta, atque audi laudes vel <i>Apolline</i> dignas."<br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_4_201" id="Footnote_4_201"></a><a href="#FNanchor_4_201"><span class="label">[4]</span></a> A celebrated anatomist, physician, and man-midwife, to -whose estate the present <i>Gascoyne</i> family succeeded, and whose -surname has been given as a Christian name to two of them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_202" id="Footnote_5_202"></a><a href="#FNanchor_5_202"><span class="label">[5]</span></a> Some indifferent verses on this event were printed in <i>The -Gentleman's Magazine</i>, 1736, p. 484.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_203" id="Footnote_6_203"></a><a href="#FNanchor_6_203"><span class="label">[6]</span></a> General <i>Churchill</i> was "the primary puffer of <i>Ward's</i> -pill at court;" and Lord Chief Baron <i>Reynolds</i> soon after published -"its miraculous effects on a maid servant," as I learn -by some doggrel verses of Sir <i>William Browne</i>, addressed to -"Dr. <i>Ward</i>, a Quack, of merry memory," under the title of -"The Pill-Plot. On <i>The Daily Courant's</i> miraculous Discovery, -upon the ever-memorable 28th day of <i>November</i> 1734, from -the Doctor himself being a Papist, and distributing his Pills -to the poor <i>gratis</i>, by the hands of the Lady <i>Gage</i> also a Papist, -that the Pill must be beyond all doubt a deep-laid Plot, -to introduce popery."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_204" id="Footnote_7_204"></a><a href="#FNanchor_7_204"><span class="label">[7]</span></a> "This alludes to some surprizing cures she performed -before Sir <i>Hans Sloane</i> at <i>The Grecian Coffee-house</i> (where she -came once a week from <i>Epsom</i> in her chariot with four horses): -viz. a man of <i>Wardour-street</i>, whose back had been broke nine -years, and stuck out two inches; a niece of Sir <i>Hans Sloane</i> in -the like condition; and a gentleman who went with one shoe -heel six inches high, having been lame twenty years of his hip -and knee, whom she set strait, and brought his leg down even -with the other." <i>Gent. Mag.</i> 1756, p. 617.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_205" id="Footnote_8_205"></a><a href="#FNanchor_8_205"><span class="label">[8]</span></a> A chief betokeneth a senator, or honourable personage -borrowed from the <i>Greeks</i>, and is a word signifying a head; -and as the head is the chief part of a man, so the chief in the -escutcheon should be a reward of such only whose high merits -have procured them chief place, esteem, or love amongst men.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_206" id="Footnote_9_206"></a><a href="#FNanchor_9_206"><span class="label">[9]</span></a> The bearing of clouds in armes (saith <i>Upton</i>) doth import -some excellencie.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_207" id="Footnote_10_207"></a><a href="#FNanchor_10_207"><span class="label">[10]</span></a> Originally printed <i>docter</i>, but afterwards altered in this -print.</p></div> - -<hr class="tb" /> - -<h4>1737.</h4> - - -<p><a id="Page_246_1"></a>1. The Lecture. "Datur vacuum." The person -reading is well known to be the late Mr. <i>Fisher</i>, of -<i>Jesus College, Oxford</i>, and Registrar of that University. -This portrait was taken with the free consent -of Mr. <i>Fisher</i>; who died <i>March</i> 18, 1761. There -are some impressions in which "Datur vacuum" is -not printed, that leaf being entirely blank; published -<i>January</i> 20, 1736-7; the other <i>March</i> 3, 1736.<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span> -<i>Hogarth</i> at first marked these words in with a pen -and ink.<br /> -<br /></p> - - -<p>2. <i>Æneas</i> in a Storm. The following advertisement -appeared in <i>The London Daily Post, January</i> 17, 1736-7.</p> - -<p>"This day is published, price sixpence, a hieroglyphical -print called <i>Æneas in a Storm</i>.</p> - -<blockquote><p> -"Tanta hæc mulier potuit suadere malorum.<br /> -</p></blockquote> - -<p>"Sold by the booksellers and printsellers in town -and country. Of whom may be had, a print called -<i>Tartuff's Banquet</i>, or <i>Codex's</i> Entertainment. Price -one shilling.</p> - -<blockquote><p> -"—populus me sibilat, at mihi plaudo<br /> -Ipse domi."<br /> -</p></blockquote> - -<p>The same paper mentions the King's arrival at -<i>Loestoff</i> on the 16th of <i>January</i>, and afterwards at -<i>St. James's</i> on the 17th.</p> - -<p>The author of this print, whoever he was, did -not venture to put his name to so ludicrous a representation -of the tempest which happened on King -<i>George</i> the Second's return from <i>Hanover</i>. His Majesty -is supposed to have kicked his hat overboard. -This, it seems, was an action customary to him when -he was in a passion. To the same circumstance -<i>Loveling</i> has alluded in his Sapphic Ode ad <i>Carolum -B——</i>.<a name="FNanchor_1_208" id="FNanchor_1_208"></a><a href="#Footnote_1_208" class="fnanchor">[1]</a></p> - -<blockquote><p> -Concinet majore poeta plectro<br /> -<i>Georgium</i>,<a name="FNanchor_2_209" id="FNanchor_2_209"></a><a href="#Footnote_2_209" class="fnanchor">[2]</a> quandoque calens furore<br /> -Gestiet circa thalamum ferire<br /> -<span style="margin-left: 12.5em;">Calce galerum.</span><br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span></p> - -<p>I have been told, that Mr. <i>Garrick</i>, when he first -appeared in the character of <i>Bayes</i>, taking the same -liberty, received instantly such a message from one -of the stage boxes, as prevented him from practising -so insolent a stroke of mimickry a second time.</p> - -<p>In spite of the confidence with which this plate has -been attributed to <i>Hogarth</i>, I by no means believe -it was his performance. It more resembles the -manner of <i>Vandergucht</i>, who was equally inclined -to personal satire, however his talents might be inadequate -to his purposes. Witness several scattered -designs of his in the very same style of engraving. -I may add, that he always exerted his talents in the -service of the Tory faction. Besides, there is nothing -in the plate before us which might not have -been expected from the hand of any common artist. -The conceit of the blasts issuing from the posteriors -of the <i>Æolian</i> tribe, is borrowed from one of the -prints to <i>Scarron's Travesty of Virgil</i>; and the figure -of <i>Britannia</i> is altogether insipid and unworthy of -<i>Hogarth</i>. Our artist also was too much accustomed -to sailing parties, and too accurate an observer of objects -on <i>The Thames</i>, not to have known that our -Royal Yachts are vessels without three masts, &c.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_208" id="Footnote_1_208"></a><a href="#FNanchor_1_208"><span class="label">[1]</span></a> <i>Bunbury</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_209" id="Footnote_2_209"></a><a href="#FNanchor_2_209"><span class="label">[2]</span></a> The author had here left a blank, which I have ventured -to fill up with the royal name.</p></div> - -<hr class="tb" /> - -<h4>1738.</h4> - -<p>1. The Four Parts of the Day.<a name="FNanchor_1_210" id="FNanchor_1_210"></a><a href="#Footnote_1_210" class="fnanchor">[1]</a> <i>Invented, painted,</i><span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> -<i>engraved, and published by W. Hogarth.</i> Mr. <i>Walpole</i> -observes that these plates, "except the last, are inferior -to few of his works." We have been told that -<i>Hogarth's</i> inclination to satire once cost him a legacy. -It seems that the figure of the Old Maid, in the print -of <i>Morning</i>, was taken either from an acquaintance -or relation of his. At first she was well enough satisfied -with her resemblance; but some designing people -teaching her to be angry, she struck the painter -out of her will, which had been made considerably in -his favour. This story we have heard often related -by those whom, on other occasions, we could readily -believe. In the same print is a portrait of Dr. <i>Rock</i>, -who formerly attended <i>Covent-Garden</i> market every -morning.</p> - -<p>To the propriety of <i>Hogarth's</i> having introduced -a scene of riot within <i>King's Coffee-house</i>, -the following quotation from <i>The Weekly Miscellany</i> -for <i>June</i> 9, 1739, bears sufficient testimony: "<i>Monday</i> -Mrs. <i>Mary King</i> of <i>Covent-Garden</i> was brought -up to the King's Bench Bar at <i>Westminster</i>, and -received the following sentence, for keeping a disorderly -house; viz. to pay a fine of £.200, to suffer -three months imprisonment, to find security for -her good behaviour for three years, and to remain in -prison till the fine be paid." As it was impossible -she could carry on her former business, as soon as the -time of her imprisonment was ended, she retired -with her savings, built three houses on <i>Haverstock</i> -hill, near <i>Hampstead</i>, and died in one of them, <i>September</i><span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span> -1747. Her own mansion was afterwards the -last residence of the celebrated <i>Nancy Dawson</i>;<a name="FNanchor_2_211" id="FNanchor_2_211"></a><a href="#Footnote_2_211" class="fnanchor">[2]</a> and -the three together are still distinguished by the appellation -of <i>Moll King's Row</i>. Perhaps the use of -the mirror in reversing objects was not yet understood -by our engravers, for in <i>Hogarth's</i> painting -the late Mr. <i>West's</i> house (now <i>Lowe's</i> Hotel) is properly -situated on the left of <i>Covent-garden</i> church. -In the print it appears on the contrary side.</p> - -<p>The <i>Crying Boy</i> in <i>Noon</i> was sketched by <i>Hogarth</i> -from a picture by <i>N. Poussin</i> of the Rape -of the <i>Sabines</i>, at Mr. <i>Hoare's</i> at <i>Stourhead</i>. The -school boy's kite lodged on the roof of a building, -was introduced only to break the disagreeable uniformity -of a wall.</p> - -<p>Our artist, in the scene of <i>Evening</i>, inserted the -little girl with the fan, as an after-thought, some -friend having asked him what the boy cried for. He -therefore introduced the girl going to take the play-thing -from her brother. Nothing is more common -than to see children cry without reason. The circumstance, -however, shews that this great Genius -did not always think himself above advice, as some -have alledged to have been the case with him. In -the early impressions of this plate, the face and neck -of the woman are coloured with red, to express heat; -and the hand of her husband is tinged with blue, to<span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span> -intimate that he was by trade a <i>Dyer</i>. The purchasers -of the plate, intituled <i>Evening</i>, are hereby cautioned -against imposition. In a modern copy of it, sold to -the late Mr. <i>Ingham Foster</i>, the face of the woman -had been washed over with vermilion, that it might -pass (as it chanced to do) for a first impression. In -the true ones, and none but these, the face and bosom -were <i>printed</i> off with red, and the hand with -blue ink. Only the traces of the graver, therefore, -ought to be filled by either colour, and not the -whole surface of the visage, &c. as in the smeary -counterfeit. I have been told that a few copies of -plate III. were taken off before the fan was inserted, -but have not hitherto met with one of them. In -<i>Night</i>, the drunken Free-mason has been supposed -to be Sir <i>Thomas de Veil</i>; but Sir <i>John Hawkins</i> assures -me, it is not the least like him. The <i>Salisbury -Flying-Coach</i> implies a satire on the right honourable -inventor of that species of carriage. The two first -of these pictures were sold to the Duke of <i>Ancaster</i>, -for 57 Guineas; the remaining pair to Sir <i>William -Heathcote</i> for 64.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_210" id="Footnote_1_210"></a><a href="#FNanchor_1_210"><span class="label">[1]</span></a> <i>Hogarth</i> advertises in <i>The London Daily Post, January</i> 20, -1737-8, five copper plates, viz. Morning, Noon, Evening and -Night, and a Company of Strolling Actresses dressing in a -barn, for <i>one guinea</i>, half to be paid at the time of subscribing, -half on the delivery. After the subscription, to be raised to -five shillings a plate.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_211" id="Footnote_2_211"></a><a href="#FNanchor_2_211"><span class="label">[2]</span></a> A hornpipe dancer at <i>Covent Garden</i>. She was mistress -to <i>Shuter</i> the comedian, &c. &c. &c.</p><br /></div> - - -<p>2. Strolling Actresses<a name="FNanchor_1_212" id="FNanchor_1_212"></a><a href="#Footnote_1_212" class="fnanchor">[1]</a> dressing in a Barn. <i>Invented, -painted, engraved, and published by W. Hogarth</i>.<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span> -Mr. <i>Walpole</i> observes that this piece, "for wit and -imagination, without any other end," is the best of -all our artist's works. Mr. <i>Wood</i> of <i>Littelton</i> has the -original, for which he paid only 26 Guineas.</p> - -<p>Dr. <i>Trusler</i>, in his explanation of this plate, is of -opinion, that some incestuous commerce among the -performers is intimated by the names of <i>Oedipus</i> and -<i>Jocasta</i> appearing above the heads of two figures -among the theatrical lumber at the top of the barn. -But surely there is no cause for so gross a supposition. -Painted prodigies of this description were necessary -to the performance of <i>Lee's Oedipus</i>. See Act II. -where the following stage direction occurs; "The -cloud draws, that veiled the heads of the figures -in the sky, and shews them crowned, with the -names of <i>Oedipus</i> and <i>Jocasta</i> written above, in -great characters of gold." The magazine of dragons, -clouds, scenes, flags, &c. or the woman half -naked, was sufficient to attract the notice of the rustick -peeping through the thatch he might be employed -to repair. Neither is the position of the figures -at all favourable to the Doctor's conceit. Incest -was also too shocking an idea to have intruded itself -among the comic circumstances that form the present -representation. When this plate was retouched a -second time, a variety of little changes were made in -it. In the two earliest impressions the actress who -personates <i>Flora</i>, is greasing her hair with a tallow -candle, and preparing to powder herself, after her -cap, feathers, &c. were put on. This solecism in the<span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span> -regular course of dress is removed in the third copy, -the cap and ornaments being there omitted. The -coiffure of the female who holds the cat, is also -lowered; and whereas at first we could read in the -play-bill depending from the truckle-bed, that the -part of <i>Jupiter</i> was to be performed by Mr. <i>Bilk-village</i>, -an additional shade in the modern copy renders -this part of the inscription illegible. Several holes -likewise in the thatch of the barn are filled up; and -the whole plate has lost somewhat of its clearness. -The same censure is due to the reparations of the -<i>Harlot's</i> and <i>Rake's Progresses</i>. Had <i>Hogarth</i> lived, -he would also have gradually destroyed much of -that history of dress, &c. for which his designs have -been justly praised by Mr. <i>Walpole</i>. In the first and -last scenes of the <i>Rake's Progress</i>, he began to adorn -the heads of his females in the fashion prevalent at -the time he retraced the plates. In short, the collector, -who contents himself with the later impressions -of his work, will not consult our artist's reputation. -Those who wish to be acquainted with the whole -extent of his powers, should assemble the first copies, -together with all the varieties of his capital works.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_212" id="Footnote_1_212"></a><a href="#FNanchor_1_212"><span class="label">[1]</span></a> I know not why this print should have received its title -only from its female agents. Not to dwell on the <i>Jupiter</i> -pointing with <i>Cupid's</i> bow to a pair of stockings, whoever will -examine the linen<a name="FNanchor_A_213" id="FNanchor_A_213"></a><a href="#Footnote_A_213" class="fnanchor">[A]</a> of the weeping figure receiving a dram-glass -from the <i>Syren</i>, and look for the object that attracts her -regard, may discover an indication that the other sex has also -a representative in this theatrical parliament.</p> - -<div class="footnote"> - -<p><a name="Footnote_A_213" id="Footnote_A_213"></a><a href="#FNanchor_A_213"><span class="label">[A]</span></a> Non sic præcipiti carbasa tensa noto.</p></div></div> - -<hr class="tb" /> - -<h4>1739.</h4> - - -<p>1. Several children of <i>The Foundling Hospital</i>; the -boys with mathematical instruments; the girls with -spinning wheels. Over the door of the house they -come out of, are the King's-arms. A porter is bringing -in a child, followed by Capt. <i>Coram</i>, whose benevolent -countenance<a name="FNanchor_1_214" id="FNanchor_1_214"></a><a href="#Footnote_1_214" class="fnanchor">[1]</a> is directed towards a kneeling<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span> -woman. On the right hand is a view of a church; -near it a woman lifting a child from the ground; -at a little distance another infant exposed near a river. -In the back of the picture, a prospect of ships -sailing. <i>W. Hogarth inv. F. Morellon la Cave sculp. -London.</i></p> - -<p>This is prefixed to an engraved Power of Attorney, -from the trustees of <i>The Foundling Hospital</i>, to those -gentlemen who were appointed to receive subscriptions -towards the building, &c. The whole together -is printed on a half sheet.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_214" id="Footnote_1_214"></a><a href="#FNanchor_1_214"><span class="label">[1]</span></a> See p. <a href="#Page_261">261</a>.</p></div> - -<hr class="tb" /> - -<h4>1741.</h4> - - -<p>1. The Enraged Musician, <i>Designed, engraved, -and published by W. Hogarth.</i> "Mr. <i>John Festin</i>,<a name="FNanchor_1_215" id="FNanchor_1_215"></a><a href="#Footnote_1_215" class="fnanchor">[1]</a> -the first hautboy and <i>German</i> flute of his time, had -numerous scholars, to each of whom he devoted -an hour every day. At nine in the morning he -attended Mr. <i>Spencer</i>, grandfather to the earl of -that name. If he happened to be out of town on -any day, he devoted that hour to another. One -morning at that hour he waited on Mr. <i>V——n</i>, afterwards -Lord <i>V——n</i>. He was not up. Mr. <i>Festin</i> -went into his chamber, and opening the shutter of -a window, sat down in it. The figure with the -hautboy was playing under the window. A man, -with a barrow full of onions, came up to the -player, and sat on the edge of his barrow, and -said to the man, 'if you will play the <i>Black Joke</i>, -I will give you this onion.' The man played it.<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span> -When he had so done, the man again desired him -to play some other tune, and then he would give -him another onion. 'This,' said <i>Festin</i> to me, -'highly angered me; I cried out, Z——ds, sir, -stop here. This fellow is ridiculing my profession: -he is playing on the hautboy for onions.' Being -intimate with Mr. <i>Hogarth</i>, he mentioned the circumstance -to him; which, as he said, was the -origin of 'The enraged Musician.' The fact may -be depended upon. Mr. <i>Festin</i><a name="FNanchor_2_216" id="FNanchor_2_216"></a><a href="#Footnote_2_216" class="fnanchor">[2]</a> was himself the<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span> -Enraged Performer." The story is here told just -as he related it to a clergyman, in whose words -the reader now receives it.</p> - -<p>Of this print<a name="FNanchor_3_217" id="FNanchor_3_217"></a><a href="#Footnote_3_217" class="fnanchor">[3]</a> it has been quaintly said, that -it deafens one to look at it. Mr. <i>Walpole</i> is of -opinion that it "tends to farce." <i>Rouquet</i> -says of it, "Le Musicien est un <i>Italien</i> que les -cris de <i>Londres</i> font enrager." The wretched -figure playing on a hautbois, was at that time -well known about the streets. For variations, see -the horse's head, originally white, but now black.—Sleeve -of the child with a rattle, at first smaller, -as well as of a lighter hue—the milk-woman's face, -cloak, &c. boy's dragg, cutler's hatchet, dog, &c. -&c. more darkened than in the first impressions. -These, however, can scarcely be termed varieties, as -they were occasioned only by retouching the plate, -and adding a few shadows.</p> - -<p><span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span></p> - -<p><i>Hogarth</i>, however, made several alterations and -additions in this plate when it appeared to be finished. -He changed in some measure all the countenances, -and indeed the entire head and limbs of the chimney-sweeper, -who had originally a grenadier's cap on. -Miss had also a <i>Doll</i>, significantly placed under the -trap composed of bricks, near which some sprigs -from a tree are set in the ground, the whole contrivance -being designed by some boy for the purpose of -taking birds; but when occupied by Miss's Play-thing, -became emblematic of the art of catching -men. What relates, however, to this young lady -from a boarding-school, was gross enough without -such an amplification. The play-bill, sow-gelder, -cats, dragg, &c. were not introduced, nor the pewterer's -advertisement, nor the steeple in which the -ringers are supposed. It is remarkable that the -dustman was without a nose. The proofs of the -plate in this condition are scarce. I have seen only -one of them.<a name="FNanchor_4_218" id="FNanchor_4_218"></a><a href="#Footnote_4_218" class="fnanchor">[4]</a> Mr. <i>S. Ireland</i> has the original -sketch.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_215" id="Footnote_1_215"></a><a href="#FNanchor_1_215"><span class="label">[1]</span></a> "Mr. <i>Festin</i> has not been dead ten years. He was brother -to the <i>Festin</i> who led the band at <i>Ranelagh</i>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_216" id="Footnote_2_216"></a><a href="#FNanchor_2_216"><span class="label">[2]</span></a> In the second edition of these anecdotes, I had said "the -musician was undoubtedly <i>Castrucci</i>;" though one gentleman -assured me it was <i>Veracini</i>. The error is here acknowledged, -to shew the danger of receiving information upon trust. In -the first edition, I had fallen into a less pardonable mistake, -by supposing it was <i>Cervetto</i>, whom I described to be then -lately dead. But "<i>Hogarth's</i> musician," as a friend on that -occasion suggested to me, "is represented with a violin; -whereas <i>Cervetto's</i> instrument was the violoncello; but, however -that may be, he is now certainly living. He lodges at -<i>Friburg's</i> snuff-shop, in <i>The Haymarket</i>, and may be seen every -day at <i>The Orange Coffeehouse</i>, although he completed his 101st. -year in <i>November</i> 1781." This extraordinary character in -the musical world came to <i>England</i> in the hard frost, and was -then an old man. He soon after was engaged to play the bass -at <i>Drury-lane</i> theatre, and continued in that employment till -a season or two previous to Mr. <i>Garrick's</i> retiring from the -stage. He died <i>June</i> 14, 1783, in his 103d year. One evening -when Mr. <i>Garrick</i> was performing the character of Sir -<i>John Brute</i>, during the drunkard's muttering and dosing till -he falls fast asleep in the chair (the audience being most profoundly -silent and attentive to this admirable performer), <i>Cervetto</i> -(in the orchestra) uttered a very loud and immoderately-lengthened -yawn! The moment <i>Garrick</i> was off the stage, he -sent for the musician, and with considerable warmth reprimanded -him for so ill-timed a symptom of somnnolency, when -the modern <i>Naso</i>, with great address, reconciled <i>Garrick</i> to -him in a trice, by saying, with a shrug, "I beg ten tousand -pardon! but I alvays do so ven I am <i>ver much please</i>!" Mr. -<i>Cervetto</i> was distinguished among his friends in the galleries by -the name of <i>Nosey</i>. See <i>Gentleman's Magazine</i>, 1783, p. 95.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_217" id="Footnote_3_217"></a><a href="#FNanchor_3_217"><span class="label">[3]</span></a> <i>London Daily Post, November</i> 24, 1740. "Shortly will be -published, a new print called <i>The Provoked Musician</i>, designed -and engraved by Mr <i>William Hogarth</i>; being a companion -to a print representing a <i>Distressed Poet</i>, published some time -since. To which will be added, a <i>Third on Painting</i>, which -will compleat the set; but as this subject may turn upon an -affair depending between the right honourable the L—d <i>M—-r</i> -and the author, it may be retarded for some time." -</p> -<p> -Query to what affair does <i>Hogarth</i> allude? <i>Humphrey Parsons</i> -was then Lord Mayor.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_218" id="Footnote_4_218"></a><a href="#FNanchor_4_218"><span class="label">[4]</span></a> In the collection of Mr. <i>Crickitt</i>.</p></div> - -<hr class="tb" /> - -<h4>1742.</h4> - - -<p>1. <i>Martin Folks</i>, Esq. half length. <i>W. Hogarth -pinxit & sculpsit</i>. An engraving. To some impressions -of this print, which are not proofs, the name -of <i>Hogarth</i> is wanting.<br /> -<br /></p> - - -<p>2. The same, half length mezzotinto. <i>W. Hogarth -pinx.</i> 1741; <i>J. Faber fecit.</i> 1742. The original -of both is now in the meeting-room of the -Royal Society, in <i>Somerset Place</i>.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span></p> - -<p>3. Charmers of the Age.<a name="FNanchor_1_219" id="FNanchor_1_219"></a><a href="#Footnote_1_219" class="fnanchor">[1]</a> "<i>A sketch. No name.</i>" -It was intended to ridicule Mons. <i>Desnoyer</i><a name="FNanchor_2_220" id="FNanchor_2_220"></a><a href="#Footnote_2_220" class="fnanchor">[2]</a> and -Signora <i>Barberini</i>, the two best dancers that ever appeared -in <i>London</i>. This plate exhibits the internal -prospect of a theatre. The openings between the -side scenes are crowded with applauding spectators. -The two performers are capering very high. A sun -over head (I suppose the emblem of public favour) -is darting down its rays upon them. The representatives -of Tragedy and Comedy are candle-holders -on the occasion. Underneath is the following inscription: -"The prick'd lines show the rising height." -There are also a few letters of direction, so situated -as to convey no very decent innuendo. The whole is -but a hasty outline, executed, however, with spirit, -and bitten uncommonly deep by the aqua fortis. I -ascribe it to <i>Hogarth</i> without hesitation. Of this print -there is a copy by <i>Livesay</i>.</p> - -<p>All the three pieces of our artist that satirize the -stage, &c. are peculiarly scarce. We may suppose<span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span> -them, therefore, to have been suppressed by the influence -of the managers for the time being, who -were not, like our present ones, become callous -through the incessant attacks of diurnal criticks in -the news-papers.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_219" id="Footnote_1_219"></a><a href="#FNanchor_1_219"><span class="label">[1]</span></a> <i>Hogarth</i> designed to have published this print, with some -explanation at the bottom of it in 1741-2.—See the inscription -almost effaced, a circumstance to which the copier did not attend.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_220" id="Footnote_2_220"></a><a href="#FNanchor_2_220"><span class="label">[2]</span></a> I learn from <i>The Grub-street Journal</i> for <i>October</i> 17, -1734, that Monsieur <i>Desnoyer</i> was just arrived from <i>Poland</i>, together -with Mademoiselle <i>Roland</i> from <i>Paris</i> (this lady is still -alive). Again, from the same paper, <i>August</i> 19, 1756, that -"Monsieur <i>Desnoyer</i>, the famous dancer at <i>Drury-lane</i>, is gone -to <i>Paris</i>, by order of Mr. <i>Fleetwood</i>, to engage Mademoiselle -<i>Sallee</i> for the ensuing winter." In some future expedition, -we may suppose, he prevailed on Signora <i>Barberini</i> to come -over for the same purpose.</p><br /></div> - - -<p>4. Taste in High Life. A beau, a fashionable old -lady, a young lady, a black boy, and a monkey. -Painted by Mr. <i>Hogarth</i>. It was sold by Mr. <i>Jarvis</i>, -in <i>Bedford-street, Covent-Garden. Published May 24th, -[no year].</i> The original picture is in the possession -of Mr. <i>Birch</i>, surgeon, <i>Essex-street</i>, in <i>The Strand</i>.</p> - -<p>It displays (as we learn from an inscription on the -pedestal under a <i>Venus</i> dressed in a hoop-petticoat) -the reigning modes of the year 1742. It was painted -for the opulent Miss <i>Edwards</i>, who paid our artist -sixty guineas for it. Her reason for choosing such a -subject was rather whimsical. By her own singularities -having incurred some ridicule, she was desirous, -by the assistance of <i>Hogarth</i>, to recriminate on the -publick. As he designed after her ideas, he had -little kindness for his performance, and never would -permit a print to be taken from it. The present one -was from a drawing made by connivance of her servants. -The original was purchased by the father of -its present owner, at her sale at <i>Kensington</i>.</p> - -<p>The figure of the beau holding the china-saucer -is said to have been that of Lord <i>Portmore</i>, dressed -as he first appeared at court after his return from -<i>France</i>. The young female was designed for a celebrated -courtezan, who was the <i>Kitty Fisher</i> of her<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span> -time. Her familiarity with the black boy alludes to -a similar weakness in a noble duchess, who educated -two brats of the same colour. One of them afterwards -robbed her, and the other was guilty of some -offence equally unpardonable. The pictures with -which the room is adorned, contain many strokes of -temporary satire. See the <i>Venus</i> with stays, a hoop, -and high-heel'd shoes; <i>Cupid</i> burning all these parts -of dress, together with a modish wig, &c.; a second -<i>Cupid</i> paring down a plump lady to the fashionable -standard; and [in a framed picture classed with a -number of insects] the figure of <i>Desnoyer</i> the dancing-master -in a grand ballet. The ridicule on the folly -of collecting old china, &c. &c. are alike circumstances -happily introduced, and explanatory of the -fashions then in vogue. The colouring is better than -that in most of <i>Hogarth's</i> pictures. The plate is now -the property of Mr. <i>Sayer</i>.</p> - -<hr class="tb" /> - -<h4>1743.</h4> - - -<p>1. <i>Benjamin Hoadly</i>, bishop of <i>Winchester. W. -Hogarth pinx. B. Baron sculp.</i> The plate belongs -to Mrs. <i>Hoadly</i>.<br /> -<br /></p> - - -<p>2. Captain <i>Thomas Coram</i>, who obtained the charter<a name="FNanchor_1_221" id="FNanchor_1_221"></a><a href="#Footnote_1_221" class="fnanchor">[1]</a> -for <i>The Foundling Hospital</i>. Mezzotinto; a three-quarters. -The first print published by <i>M'Ardell</i>. -The original is a whole length. The captain has -the seal of the charter in his hand. Before him is a -globe; at a distance a prospect of the sea. This is<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span> -perhaps the best of all <i>Hogarth's</i> portraits, and is thus -described in the <i>Scandalizade</i>, a satire published about -1749.</p> - -<blockquote><p> -"Lo! old Captain <i>Coram</i>,<a name="FNanchor_2_222" id="FNanchor_2_222"></a><a href="#Footnote_2_222" class="fnanchor">[2]</a> so round in the face,<br /> -And a pair of good chaps plump'd up in good case,<br /> -<span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span>His amiable locks hanging grey on each side<br /> -To his double-breast coat o'er his shoulders so wide," &c.<br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_221" id="Footnote_1_221"></a><a href="#FNanchor_1_221"><span class="label">[1]</span></a> In which the name of <i>William Hogarth</i> stands enrolled as -one of the earliest governors of the charity.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_222" id="Footnote_2_222"></a><a href="#FNanchor_2_222"><span class="label">[2]</span></a> Mr. <i>Coram</i> was bred to the sea, and spent the first part of -his life as master of a vessel trading to our colonies. While -he resided in that part of the metropolis which is the common -residence of seafaring people, business often obliging him to -come early into the city and return late; he had frequent -occasions of seeing young children exposed, through the indigence -or cruelty of their parents. This excited his compassion -so far, that he projected <i>The Foundling Hospital</i>; in -which humane design he laboured 17 years, and at last, by -his sole application, obtained the royal charter for it.<a name="FNanchor_A_223" id="FNanchor_A_223"></a><a href="#Footnote_A_223" class="fnanchor">[A]</a> He -died at his lodgings near <i>Leicester-Square, March</i> 29, 1751, in -his 84th year: and was interred under the chapel of the -<i>Foundling Hospital</i>, where the following inscription perpetuates -his memory: -</p> -<p style="text-align:center"> -"Captain <span class="smcap">Thomas Coram</span>,<br /> -whose Name will never want a Monument<br /> -so long as this Hospital shall subsist, was born about<br /> -the year 1668; a Man eminent in that most eminent<br /> -Virtue, the Love of Mankind;<br /> -little attentive to his private Fortune, and refusing<br /> -many Opportunities of encreasing it, his Time and Thoughts<br /> -were continually employed in endeavours to promote the<br /> -public Happiness,<br /> -both in this Kingdom and elsewhere, particularly<br /> -in the Colonies of North America; and his Endeavours<br /> -were many Times crowned with the desired Success. His<br /> -unwearied Solicitation, for above Seventeen Years together,<br /> -(which would have battled the Patience and Industry of any<br /> -Man less zealous in doing Good)<br /> -and his Application to Persons of Distinction of both Sexes,<br /> -obtained at Length the Charter of the Incorporation<br /> -(bearing Date the 17th of <i>October</i>, 1739)<br /> -<span class="smcap">For the Maintenance and Education<br /> -of Exposed and Deserted Young Children</span>,<br /> -by which many Thousands of Lives may be preserved to the<br /> -Public, and employed in a frugal and honest Course of<br /> -Industry. He died the 29th of <i>March</i>, 1731, in the<br /> -84th Year of his Age, poor in worldly Estate, rich in good<br /> -Works; was buried, at his own Desire, in the Vault<br /> -underneath this Chapel;<br /> -(the first here deposited)<br /> -at the East End thereof; many of the Governors<br /> -and other Gentlemen attending the Funeral, to do<br /> -Honour to his Memory.<br /> -Reader, thy Actions will shew whether thou art sincere<br /> -in the Praises thou may'st bestow on him; and if thou hast<br /> -Virtue enough to commend his Virtues, forget not to<br /> -add also the Imitation of them."<br /> -</p> - -<div class="footnote"> - -<p><a name="Footnote_A_223" id="Footnote_A_223"></a><a href="#FNanchor_A_223"><span class="label">[A]</span></a> For his other charitable projects, see Biog. Dict. 1784, vol. IV. -p. 120.</p></div><br /></div> - - -<p>3. The same engraving, for the <i>London Magazine</i>.<br /> -<br /></p> - - -<p>4. Characters and Caricaturas, "<i>to show that -Leonardo da Vinci exaggerated the latter.</i>" The -subscription-ticket to Marriage à la Mode.</p> - -<hr class="tb" /> - -<h4>1745.</h4> - - -<p>1. Marriage à la Mode.<a name="FNanchor_1_224" id="FNanchor_1_224"></a><a href="#Footnote_1_224" class="fnanchor">[1]</a> Six plates. In 1746<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span> -was published, "Marriage à la Mode: an Humourous -Tale, in Six Canto's, in Hudibrastic Verse; -being an Explanation of the Six Prints lately published -by the ingenious Mr. <i>Hogarth. London</i>: -printed for <i>Weaver Bickerton</i>, in <i>Temple-Exchange -Passage</i>, in <i>Fleet-Street</i>, 1746. Price One Shilling." -Of this pamphlet it will be sufficient to extract the -Preface and the arguments of the several Canto's; -the poem itself (if such it may be called) being extended -to the length of 59 pages.</p> - -<p>"The prints of Marriage à la Mode, being the -latest production of that celebrated Artist who had -before obliged the town with several entertaining -pieces, have, ever since their publication, been -very justly admired; the particular vein of humour, -that runs through the whole of his works, -is more especially preserved in this.</p> - -<p>"If the Comic Poet who draws the characters of -the age he lives in, by keeping strictly up to their -manners in their speeches and expressions; if satirizing -vice and encouraging virtue in dialogue, -to render it familiar, is always reckoned amongst -the liberal arts; and the authors, when dead, dignified -with busts and monuments sacred to their -memory; sure the master of the pencil, whose -traits carry, not only a lively image of the persons -and manners, but whose happy genius has found -the secret of so disposing the several parts, as to -convey a pleasing and instructive moral through -the history he represents, may claim a rank in the<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span> -foremost class, and acquire, if the term is allowable, -the appellation of the Dramatic Painter.</p> - -<p>"The Modish Husband, incapable of relishing the -pleasures of true happiness, is here depicted in his -full swing of vice, 'till his mistaken conduct drives -his wife to be false to his bed, and brings him to -a wretched end; killed in revenging the loss of -that virtue which he would never cherish. The -Lady is equally represented as a true copy of all -the fine ladies of the age, who, by indulging their -passions, run into all those extravagances, that at -last occasion a shameful exit. If the gentlemen of -the long robe, who ought to know the consequences, -are guilty of committing such a breach -of hospitality as is here described, they are properly -reprimanded: the penurious Alderman, -and the profligate old Nobleman, are a fine contrast; -the Quack Doctor, the <i>Italian</i> Singer, &c. are -proofs of the Inventor's judgement and distinction, -both in high and low life.</p> - -<p>"Though these images are pleasing to the eye, -yet many have complained that they wanted -a proper explanation, which we hope will plead -an excuse for publication of the following Canto's, -as the desire to render these pieces more extensive -may atone for the many faults contained in this -poem, for which the <i>Hudibrastic</i> style was thought -most proper."</p> - -<p><span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span></p> - -<blockquote><p> -<span style="margin-left: 4em;"><span class="smcap">The ARGUMENTS.</span></span><br /> -<br /> -<span style="margin-left: 2em;">CANTO I.<br /></span> -"The joys and plagues that wedlock brings,<br /> -The Limner paints, the Poet sings;<br /> -How the old dads weigh either scale,<br /> -And set their children up to sale;<br /> -How, void of thought, the Viscount weds<br /> -The nymph, who such a marriage dreads;<br /> -And, whilst himself the Fop admires,<br /> -<i>M——y</i> with love her soul inspires."<br /> -<br /> -<span style="margin-left: 2em;">CANTO II.<br /></span> -"The wedding o'er, the ill-match'd pair<br /> -Are left at large, their fate to share;<br /> -All public places he frequents,<br /> -Whilst she her own delight invents;<br /> -And, full of love, bewails her doom,<br /> -When drunk i'th' morning he comes home;<br /> -The pious stew'rd, in great surprize,<br /> -Runs from them with uplifted eyes."<br /> -<br /> -<span style="margin-left: 2em;">CANTO III.<br /></span> -"My Lord now keeps a common Miss,<br /> -Th' effects describ'd of amorous bliss,<br /> -Venereal taints infect their veins,<br /> -And fill them full of aches and pains;<br /> -Which to an old <i>French</i> Doctor drives 'em,<br /> -Who with his pill, a grand p—x gives 'em;<br /> -A scene of vengeance next ensues,<br /> -With which the Muse her tale pursues."<br /> -<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span> -<br /> -<span style="margin-left: 2em;">CANTO IV.<br /></span> -"Fresh honours on the Lady wait,<br /> -A Countess now she shines in state;<br /> -The toilette is at large display'd,<br /> -Where whilst the morning concert's play'd,<br /> -She listens to her lover's call,<br /> -Who courts her to the midnight-ball."<br /> -<br /> -<span style="margin-left: 2em;">CANTO V.<br /></span> -"The dismal consequence behold,<br /> -Of wedding girls of <i>London</i> mould;<br /> -The Husband is depriv'd of life,<br /> -In striving to detect his Wife;<br /> -The Lawyer naked, in surprize,<br /> -Out of the Bagnio window flies:<br /> -Whilst Madam, leaping from the bed,<br /> -Doth on her knee for pardon plead."<br /> -<br /> -<span style="margin-left: 2em;">CANTO VI.<br /></span> -"The Lawyer meets his just reward,<br /> -Nor from the triple tree is spar'd;<br /> -The Father takes my Lady home,<br /> -Where, when she hears her Lover's doom,<br /> -To desperate attempts she flies,<br /> -And with a dose of poison dies."<br /> -</p></blockquote> - -<p>In these plates only a single variation is detected. -In the very first impressions of the second of them -(perhaps a few only were taken off) a lock of hair -on the forehead of the lady is wanting. It was -added by our artist, after <i>Baron</i> had finished the -plate. In the early copies he inserted it with <i>Indian</i><span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span> -ink. A passage in the <i>Analysis</i><a name="FNanchor_2_225" id="FNanchor_2_225"></a><a href="#Footnote_2_225" class="fnanchor">[2]</a> will perhaps account -for this supplemental ornament: "A lock -of hair falling cross the temples, and by that -means breaking the regularity of the oval, has an -effect too alluring to be strictly decent." The -room represented in this plate is adorned with a -<i>melange</i> of pictures on wanton and devotional subjects.</p> - -<p>Mr. <i>Walpole</i> has remarked, that the works of <i>Hogarth</i> -have little obscurity. This position is true in -general, though <i>Marriage à la Mode</i> may supply an -exception to it; no two persons, perhaps, having -hitherto agreed in their explanation of Plate the -third.<a name="FNanchor_3_226" id="FNanchor_3_226"></a><a href="#Footnote_3_226" class="fnanchor">[3]</a></p> - -<p><span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span></p> - -<p>When this set of plates was to be engraved, <i>Ravenet</i>, -a young artist, then just coming into employ, -was recommended to Mr. <i>Hogarth</i>; and a hard bargain<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span> -was made. <i>Ravenet</i> went through two of the -plates, but the price proved far inadequate to the<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span> -labour. He remonstrated, but could obtain no augmentation. -When the <i>Sigismunda</i> was to be engraved,<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span> -Mr. <i>Ravenet</i> was in a different sphere of life. -The painter, with many compliments, solicited his -assistance as an engraver, but <i>Ravenet</i> indignantly -declined the connexion.</p> - -<p><span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span></p> - -<p>In the fourth of these plates<a name="FNanchor_4_228" id="FNanchor_4_228"></a><a href="#Footnote_4_228" class="fnanchor">[4]</a> are the following -portraits: Mrs. <i>Lane</i> (afterwards Lady <i>Bingley</i>) -adoring <i>Carestini</i>; her husband <i>Fox Lane</i> asleep. -<i>Rouquet</i> only calls him "Un gentilhomme campagnard, -fatigué d'une course après quelque renard -ou quelque cerf, s'endort." This idea seems to be -countenanced by the whip in his hand. The same -explainer adds, speaking of the two next figures, -"Ici on voit en papillotes un de ces personages qui<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span> -passent toute leur vie à tâcher de plaire sans y -reüssir; la, un eventail au poing, on reconnoît un -de ces hérétiques en amour, un sectateur d'<i>Anacreon</i>." -The former of these has been supposed to -represent Monsieur <i>Michel</i>, the <i>Prussian</i> ambassador. -<i>Weideman</i> is playing on the <i>German</i> flute.—The pictures -in the room are properly suited to the bed-chamber -of a profligate pair—<i>Jupiter</i> and <i>Io, Lot</i> -with his Daughters, <i>Ganymede</i> and the Eagle, and -the Young Lawyer who debauches the Countess. -The child's coral, hanging from the back of the -chair she sits in, serves to shew she was already a mother; -a circumstance that renders her conduct still -more unpardonable. Some of her new-made purchases, -exposed on the floor, bear witness to the -warmth of her inclinations. These will soon be gratified -at the fatal masquerade, for which her paramour -is offering her a ticket.</p> - -<p>The pompous picture on the right hand of the -window in the nobleman's apartment, Plate I. also -deserves attention. It appears to be designed as a -ridicule on the unmeaning flutter of <i>French</i> portraits, -some of which (particularly those of <i>Louis</i> XIV.) are -painted in a style of extravagance equal at least to -the present parody by <i>Hogarth</i>. This ancestor of our -peer is invested with several foreign orders. At the -top of one corner of the canvas, are two winds -blowing across each other, while the hero's drapery -is flying quite contrary directions. A comet is likewise -streaming over his head. In his hand he grasps -the lightning of <i>Jove</i>, and reposes on a cannon going<span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span> -off, whose ball is absurdly rendered an object of sight. -A smile, compounded of self-complacency and pertness, -is the characteristic of his face.</p> - -<p>On the cieling of this magnificent saloon is a representation -of <i>Pharaoh</i> and his Host drowned in the -Red Sea. The pictures underneath are not on the -most captivating subjects—<i>David</i> killing <i>Goliath—Prometheus</i> -and the Vulture—the Murder of the <i>Innocents—Judith</i> -and <i>Holofernes</i>—St. <i>Sebastian</i> shot full -of Arrows—<i>Cain</i> destroying <i>Abel</i>—and St. <i>Laurence</i> -on the Gridiron.</p> - -<p>Among such little circumstances in this plate as -might escape the notice of a careless spectator, is the -Thief in the Candle, emblematic of the mortgage -on his Lordship's estate.</p> - -<p>When engravings on a contracted scale are made -from large pictures, a few parts of them will unavoidably -become so small, as almost to want distinctness. -It has fared thus with a number of figures -that appear before the unfinished edifice,<a name="FNanchor_5_229" id="FNanchor_5_229"></a><a href="#Footnote_5_229" class="fnanchor">[5]</a> seen -through a window in the first plate of this work. -<i>Hogarth</i> designed them for the lazy vermin of his -Lordship's hall, who, having nothing to do, are sitting -on the blocks of stone, or staring at the building;<a name="FNanchor_6_230" id="FNanchor_6_230"></a><a href="#Footnote_6_230" class="fnanchor">[6]</a> -for thus <i>Rouquet</i> has described them, "Une -troupe de lacquais oisifs, qui sont dans le cour de -ce batiment, acheve de caracteriser le faste ruineux -qui environne le comte." The same illustrator<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span> -properly calls the <i>Citizen</i> Echevin (i. e. sheriff) of -<i>London</i>, on account of the chain he wears.</p> - -<p>Plate II. From the late Dr. <i>Ducarel</i> I received -the following anecdote; but there must be some -mistake in it, as <i>Herring</i> was not archbishop till several -years after the designs for <i>Marriage à la Mode</i> -were made.</p> - -<p>"<i>Edward Swallow</i>, butler to Archbishop <i>Herring</i>, -had an annuity of ten pounds given to him in his -Grace's will. For the honesty and simplicity of -his physiognomy, this old faithful servant was so -remarkable, that <i>Hogarth</i>, wanting such a figure in -<i>Marriage à la Mode</i>, accompanied the late dean of -<i>Sarum</i>, Dr. <i>Thomas Greene</i>, on a public day, to -<i>Lambeth</i>, on purpose to catch the likeness. As -they were coming away, he whispered, 'I have -him!' And he may now be seen to the life preserved -in the old steward, in Plate II. with his hands -held up, &c."</p> - -<p>In Plate V. the back ground, which is laboured -with uncommon delicacy (a circumstance that will -be remarked by few except artists), was the work of -Mr. <i>Ravenet's</i> wife. <i>Solomon's</i> wise judgement is represented -on the tapestry. When <i>Ravenet's</i> two plates -were finished, <i>Hogarth</i> wanted much to retouch the -faces,<a name="FNanchor_7_231" id="FNanchor_7_231"></a><a href="#Footnote_7_231" class="fnanchor">[7]</a> and many disputes happened between him -and the engraver on this subject. The first impressions, -however, escaped without correction. Those -who possess both copies, may discover evident marks<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span> -of <i>Hogarth's</i> hand in the second. See particularly -the countenance of the dying nobleman, which is -fairly ploughed up by his heavier burin.</p> - -<p>I have been told that our artist took the portrait -of the female, who is so placed, that the legs of a -figure in the tapestry supply the want of her own, -from a coarse picture of a woman called <i>Moll Flanders</i>.</p> - -<p>Plate the sixth of this set, affords <i>Rouquet</i> an opportunity -of illustrating the following remark, which -he had made at the outset of his undertaking: "Ce -qu'un <i>Anglois</i> lit, pour ainsi dire, en jettant les -yeux sur ces estampes, va exiger de vous la lecture -de plusieurs pages." Speaking of our citizen's parsimony, -says he—"Voyez-vous ces pipes conservées -dans le coin d'un armoire? Vous ne devineriez -pas, vous qui n'êtes pas jamais venu en <i>Angleterre</i>, -qu'elles sont aussi une marque d'economie; -mais il faut vous dire que les pipes sont si -communes ici, qu'on ne fume jamais deux fois -dans la même. La païsan, l'artizan le plus vil -prend une pipe gratis dans le premier cabaret où -il arrête: il continue son chemin en achevant de -la fumer, et la jette à ses pieds."</p> - -<p>As <i>Rouquet</i> observes, "Ce qui sert à garnir cet -apartement ne contribue pas à l'orner. Tout y -indique une économie basse." The scarcity of the -real dinner—the picture exhibiting plenty of provision—the -starved dog—the departing physician—the -infected and ricketty condition of the child who is<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span> -brought to take a last kiss of its dying mother—are -circumstances too striking to be overlooked.</p> - -<p><i>The Daily Advertiser</i> of 1750 affords the following -illustration of our artist's history: "Mr. <i>Hogarth</i> -proposes to publish by subscription two large -prints, one representing <i>Moses</i> brought to <i>Pharaoh's</i> -daughter; the other <i>Paul</i> before <i>Felix</i>; engraved -after the pictures of his painting which are now -hung up in <i>The Foundling Hospital</i> and <i>Lincoln's-Inn -Hall</i>. Five Shillings to be paid at the time of -subscribing, and Five Shillings more on the delivery -of the print. On the first payment a receipt -will be given, which receipt will contain a new -print (in the true <i>Dutch</i> taste) of <i>Paul</i> before <i>Felix</i>. -Note, The above two prints will be Seven Shillings -and Six Pence each after the subscription is over; -and the receipt-print will not be sold at a less price -than One Guinea each. Subscriptions are taken in -till the 6th of <i>June</i> next, and no longer, at <i>The -Golden-Head</i> in <i>Leicester-Fields</i>, where the drawings -may be seen; as likewise the author's six pictures -of <i>Marriage-à-la-Mode</i>, which are to be disposed of -in the following manner: That every bidder sign -a note with the sum he intends to give. That such -note be deposited in the drawer of a cabinet, which -cabinet shall be constantly kept locked by the said -<i>William Hogarth</i>; and in the cabinet, through a -glass door, the sums bid will be seen on the face -of the drawer, but the names of the bidders may -be concealed till the time of bidding shall be expired.<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span> -That each bidder may, by a fresh note, -advance a further sum if he is outbid, of which -notice shall be sent him. That the sum so advanced -shall not be less than Three Guineas. That -the time of bidding shall continue till twelve -o'clock the 6th of <i>June</i> next, and no longer. That -no dealer in pictures will be admitted a bidder.</p> - -<p>"As (according to the standard of judgement, so -righteously and laudably established by picture-dealers, -picture-cleaners, picture-frame-makers, -and other connoisseurs) the works of a painter are -to be esteemed more or less valuable as they are -more or less scarce, and as the living painter is -most of all affected by the inferences resulting from -this and other considerations equally uncandid and -edifying; Mr. <i>Hogarth</i>, by way of precaution, not -puff, begs leave to urge, that, probably, this will -be the last suit or series of pictures he may ever exhibit, -because of the difficulty of vending such a -number at once to any tolerable advantage, and -that the whole number he has already exhibited of -the historical or humourous kind does not exceed -fifty, of which the three sets called <i>The Harlot's -Progress, The Rake's Progress,</i> and that now to be -sold, make twenty; so that whoever has a taste of -his own to rely on, not too squeamish for the production -of a Modern, and courage enough to own -it, by daring to give them a place in his collection -(till Time, the supposed finisher, but real designer -of paintings, has rendered them fit for those more<span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span> -sacred repositories where Schools, Names, Heads, -Masters, &c. attain their last stage of preferment), -may from hence be convinced that multiplicity at -least of his (Mr. <i>Hogarth's</i>) pieces will be no diminution -of their value."</p> - -<p>Mr. <i>Lane</i>, of <i>Hillingdon</i> near <i>Uxbridge</i>, bought the -six original pictures for 120 guineas, at <i>Hogarth's</i> -auction.<a name="FNanchor_8_232" id="FNanchor_8_232"></a><a href="#Footnote_8_232" class="fnanchor">[8]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_224" id="Footnote_1_224"></a><a href="#FNanchor_1_224"><span class="label">[1]</span></a> <i>London Daily Post, April</i> 7, 1743. "Mr. <i>Hogarth</i> intends -to publish by subscription Six Prints from copper plates, engraved -by the best masters in <i>Paris</i>, after his own paintings -(the heads, 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 <i>Marriage -a-la-mode</i>. -</p> -<p> -"Particular care is taken that the whole work shall not be -liable to exception on account of any <i>indecency</i> or <i>inelegancy</i>, -and that none of the characters represented shall be <i>personal</i>. -The subscription will be one guinea; half, &c."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_225" id="Footnote_2_225"></a><a href="#FNanchor_2_225"><span class="label">[2]</span></a> See p. <a href="#Page_325">325</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_226" id="Footnote_3_226"></a><a href="#FNanchor_3_226"><span class="label">[3]</span></a> In the third plate of this work, the figure of the female -unclasping a penknife, is said to have been designed for the -once celebrated <i>Betty Careless</i>. This remark is supposed to be -countenanced by the initials E. C. on her bosom. From being -in a state to receive company, this woman had been long reduced -to show it, and, after repeated confinements in various -prisons, was buried from the poor's house of St. <i>Paul, Covent -Garden, April</i> 22, 1752, about seven years after this set of -prints had been published. Such a representation of her decline -from beauty, as may be given in the plate before us, is -justified by various passages in <i>Loveling's</i> poems, <i>Latin</i> and -<i>English</i>, written about the year 1738, and published in 1741. -Thus in his ode, "Ad <i>Sextum</i>," -</p> -<blockquote><p> -<i>Carlesis</i> turpis macies decentem<br /> -Occupat vultum——<br /> -</p></blockquote> -<p> -Again more amply in his Elegiac Epistle, "Ad <i>Henricum</i>:" -</p> -<blockquote><p> -Nympha <i>Coventini</i> quæ gloria sulferat Horti,<br /> -<span style="margin-left: 1em;">Cui vix vidisset <i>Druria</i> vestra parem,</span><br /> -Exul, inops, liquit proprios miseranda Penates,<br /> -<span style="margin-left: 1em;">Fortunæ extremas sustinuitque vices,</span><br /> -Nunc trahit infaustam tenebroso in carcere vitam,<br /> -<span style="margin-left: 1em;">Et levat insolito mollia membra toro.</span><br /> -<i>Carlesis</i>, ah! quantum, quantum mutaris ab illâ,<br /> -<span style="margin-left: 1em;"><i>Carlese</i>, quæ <i>Veneris</i> maxima cura fuit!</span><br /> -Æde tua risêre olim Charitesque Jocique,<br /> -<span style="margin-left: 1em;">Hic fuerant <i>Paphiæ</i> currus & arma Deæ;</span><br /> -Arsèrunt Cives, arsit <i>Judæus Apella</i>,<br /> -<span style="margin-left: 1em;">Et te Bellorum deperiêre chori.</span><br /> -Jam sordes, pallensque genas, & flaccida mammas,<br /> -<span style="margin-left: 1em;">Non oculi, quondam qui micuere, micant.</span><br /> -Heu! ubi formosæ referentes lilia malæ!<br /> -<span style="margin-left: 1em;">Labra ubi purpureis quæ rubuére rosis!</span><br /> -Te puer <i>Idalius</i>, te fastiditque juventus<br /> -<span style="margin-left: 1em;">Tam marcescentem, dissimilemque tui.</span><br /> -Siccine tam fidam curas <i>Erycina</i> ministram?<br /> -<span style="margin-left: 1em;">Hæccine militiæ praemia digna tuæ?</span><br /> -O <i>Venus!</i> ô nimium, nimiumque oblita tuarum!<br /> -<span style="margin-left: 1em;"><i>Carlesis</i> an meruit sortis acerba pati?</span><br /> -Quæ posthàc arisve tuis imponet honorem,<br /> -<span style="margin-left: 1em;">Ardebit posthàc vel tua castra sequi?</span><br /> -Omnigenas æquo circumspice lumine mœchas<br /> -<span style="margin-left: 1em;">Quas tua pellicibus <i>Druria</i> dives alit,</span><br /> -Quæ cellas habitant, vicos peditesve peragrant,<br /> -<span style="margin-left: 1em;">Aut quæ <i>Wappinios</i> incoluêre lares;</span><br /> -Invenienda fuit nusquam lascivior, artus<br /> -<span style="margin-left: 1em;">Mobilior, sacris vel magis apta tuis.</span><br /> -<i>Carlesis</i> ah nostris & flenda & fleta Camœnis!<br /> -<span style="margin-left: 1em;">Accedat vestris nulla medela malis?</span><br /> -Te vereor miseram fortuna tenaciter anget,<br /> -<span style="margin-left: 1em;">Nec veniet rebus mollior aura tuis.</span><br /> -</p></blockquote> -<p> -Again in his Ode, "Ad <i>Carolum B.......</i>" -</p> -<blockquote><p> ------------------relinquent<br /> -<i>Carlesis</i> quondam miseræ Penates<br /> -<i>Douglasa & Johnson</i>, duo pervicacis<br /> -<span style="margin-left: 11.5em;">Fulmina linguæ.</span><br /> -</p></blockquote> -<p> -Again in a "Copy of Verses on <i>Betty Close's</i> coming to -Town, &c." -</p> -<blockquote><p> -<i>Roberts</i> will curse all whores—<br /> -From worn-out <i>Careless</i> to fair <i>Kitty Walker</i>.<br /> -</p></blockquote> -<p> -Again in an Ode intituled "Meretrices <i>Britannicæ</i>." -</p> -<blockquote><p> -Alma scortorum <i>Druriæque</i> custos<br /> -Orta <i>Neptuno!</i> tibi cura pulchræ;<br /> -<i>Carlesis</i> satis data, tu secundà<br /> -<span style="margin-left: 9em;"><i>Carlesis</i> regnes.</span><br /> -</p></blockquote> -<p> -These lines will serve to enforce the moral of <i>The Harlot's -Progress</i>, while they aim at the illustration of a single circumstance -in <i>Marriage à la Mode</i>; where if this female is introduced -at all, it seems to be in the character of an opulent -procuress, either threatening the peer for having diseased her -favourite girl, or preparing to revenge herself on the quack -whose medicines had failed to eradicate his lordship's disorder. -That heroine must have been notorious, who could at once engage -the pencil of <i>Hogarth</i> and the pens of <i>Loveling</i> and -<i>Fielding</i>, who in the sixth chapter of the first book of <i>Amelia</i> -has the following story: "I happened in my youth to sit behind -two ladies in a side-box at a play, where, in the balcony -on the opposite side was placed the inimitable <i>Betty -Careless</i>, 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 any thing 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 her being alone with that young fellow!' -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, -smoaking 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." We may -add, that one of the mad-men in the last plate of <i>The Rake's -Progress</i> has likewise written "charming <i>Betty Careless"</i> on -the rail of the stairs, and wears her portrait round his neck. -Perhaps between the publication of <i>The Rake's Progress</i> and -<i>Marriage à la Mode</i>, she sunk from a wanton into a bawd. -Mrs. <i>Heywood's Betsey Thoughtless</i> was at first entitled <i>Betsey -Careless</i>, but the name was afterwards changed for obvious -reasons. -</p> -<p> -<i>The London Daily Post, Nov.</i> 28, 1735, contains the following -advertisement from this notorious female: -</p> -<p> -"Mrs. <i>Careless</i>, from the <i>Piazza</i> in <i>Covent-Garden</i>, not being -able to make an end of her affairs so soon as she expected, -intends on <i>Monday</i> next to open a coffee-house in -<i>Prujean's-Court</i>, in <i>The Old Bailey</i>, where she hopes her friends -will favour her with their company, notwithstanding the ill -situation of the place; since her misfortunes oblige her still -to remain there. -</p> -<p> -"N. B. It is the uppermost house in the court, and coaches -and chairs may come up to the door." -</p> -<p> -Again in <i>The London Daily Post, Oct.</i> 21, 1741, Mrs. <i>Careless</i> -advertises <i>The Beggar's Opera</i>, at the theatre in <i>James-Street, -Haymarket</i>, for her benefit, <i>Oct.</i> 27. At the bottom of the -advertisement she says, "Mrs. <i>Careless</i> takes this benefit because -she finds a small pressing occasion for one: and as she -has the happiness of knowing she has a great many friends, -hopes not to find an instance to the contrary by their being -absent the above-mentioned evening; and as it would be -entirely inconvenient, and consequently disagreeable, if they -should, she ventures to believe they won't fail to let her -have the honour of their company." In the bill of the day -she says—"N. B. Mrs. <i>Careless</i> hopes her friends will favour -her according to their promise, to relieve her from terrible -fits of the vapours proceeding from bad dreams, though the -comfort is they generally go by the contraries. -</p> -<p> -"Tickets to be had at Mrs. <i>Careless's</i> Coffee-house, the -<i>Playhouse-Passage, Bridges-Street</i>." -</p> -<p> -Would the public, at this period of refinement, have patiently -endured the familiar address of such a shameless, superannuated, -advertising strumpet? -</p> -<p> -The reader will perhaps smile, when, after so much grave -ratiocination, and this long deduction of particulars, he is -informed that the letters are not E. C. but F. C. the initials -of <i>Fanny Cock</i>, daughter to the celebrated auctioneer of that -name, with whom our artist had had some casual disagreement. -</p> -<p> -The following, somewhat different, explanation has also been -communicated to me by <i>Charles Rogers</i>, esq. who says it came -from <i>Sullivan</i>, one of <i>Hogarth's</i> engravers: "The nobleman -threatens to cane a quack-doctor for having given pills which -proved ineffectual in curing a girl he had debauched; and -brings with him a woman, from whom he alledges he caught -the infection; at which she, in a rage, is preparing to stab -him with her clasp knife. This wretch is one of the lowest -class, as is manifest by the letters of her name marked with -gunpowder on her breast. She, however, is brought to the -<i>French</i> barber-surgeon for his examination and inspection, -and for which purpose he is wiping his spectacles with his -coarse muckender." -</p> -<p> -The explanation given by <i>Rouquet</i>, however, ought not to -be suppressed, as in all probability he received it from <i>Hogarth</i>. -"Il falloit indiquer la mauvaise conduite du héros de la piece. -L'auteur pour cet effet l'introduit dans l'appartement d'un -empirique, où il ne peut guères se trouver qu'en consequence -de ses débauches; il fait en même tems rencontrer chez cet -empirique une de ces femmes qui perdues depuis long-tems, -font enfin leur métier de la perte des autres. Il suppose un -démêlé entre cette femme et son héros, dont le sujet paroît -être la mauvaise santé d'un petite fille, du commerce de laquelle -il ne s'est pas bien trouvé. La petite fille au reste -fait ici contraste par son âge, sa timidité, sa douceur, avec -le caractère de l'autre femme, qui paroît un composé de -rage, de fureur, et de tous les crimes qui accompagnent -d'ordinaire les dernières débauches chez celles de son sexe. -</p> -<p> -"L'empirique et son appartement sont des objets entièrement -épisodiques. Quoique jadis barbier,<a name="FNanchor_A_227" id="FNanchor_A_227"></a><a href="#Footnote_A_227" class="fnanchor">[A]</a> il est aujourdhui, -si l'on en juge par l'etalage, non seulment chirurgien, mais -naturaliste, chimiste, mechanicien, medecin, apoticaire; -et vous remarquerez qu'il est <i>François</i> pour comble de ridicule. -L'auteur pour achever de le caracteriser suivant son -idée, lui fait inventer des machines extrèmement composées -pour les opérations les plus simples, comme celles de remettre -un membre disloqué, ou de déboucher une bouteille. -</p> -<p> -"Je ne deciderai pas si l'auteur est aussi heureux dans le -choix des objets de sa satire, quand il les prend parmi nous, -que lorsqu'il les choisit parmi ceux de sa nation; mais il -me semble qu'il doit mieux connoître ceux-ci; et je crois -que cette planche vous en paroîtra un exemple bien marqué. -Il tourne ici en ridicule ce que nous avons de moins -mauvais; que deviendroit le reste s'il étoit vrai qu'il nous -connût assez pour nous depeindre?"</p> - -<div class="footnote"> - -<p><a name="Footnote_A_227" id="Footnote_A_227"></a><a href="#FNanchor_A_227"><span class="label">[A]</span></a> This circumstance seems to be implied by the broken comb, the -pewter bason, and the horn so placed as to resemble a barber's pole, all -which are exhibited either above, or within the glass case, in which the -skeleton appears whispering a man who had been exsiccated by some -mode of embalming at present unknown. About the time of the publication -of this set of prints, a number of bodies thus preserved were -discovered in a vault in <i>Whitechapel</i> church.—Our Quack is likewise a -virtuoso. An ancient spur, a high-crowned hat, old shoes, &c. together -with a model of the gallows, are among his rarities.—On his table is -a skull, rendered carious by the disease he is professing to cure.—These -two last objects are monitory as well as characteristic.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_4_228" id="Footnote_4_228"></a><a href="#FNanchor_4_228"><span class="label">[4]</span></a> <i>Scotin</i> engraved the first and sixth; <i>Baron</i> the second and -third; <i>Ravenet</i> the fourth and fifth.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_229" id="Footnote_5_229"></a><a href="#FNanchor_5_229"><span class="label">[5]</span></a> The blunders in architecture in this unfinished nobleman's -seat, on the same account, are seen to disadvantage.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_230" id="Footnote_6_230"></a><a href="#FNanchor_6_230"><span class="label">[6]</span></a> This edifice seems at a stand for want of money, no -workman appearing on the scaffolds, or near them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_231" id="Footnote_7_231"></a><a href="#FNanchor_7_231"><span class="label">[7]</span></a> In his advertisement for this set of plates, he had engaged -to engrave all the faces with his own hand. See note <a href="#Footnote_1_224">1</a> above.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_232" id="Footnote_8_232"></a><a href="#FNanchor_8_232"><span class="label">[8]</span></a> The account given in a former edition of this volume -concerning the sale of the original pictures of <i>Marriage-à-la-mode</i>, -being somewhat erroneous, I am happy in the present -opportunity of acknowledging my obligations to Mr. <i>Lane</i> -abovementioned, who has corrected my mistakes by a communication -of the following particulars relative to the purchase: -</p> -<p> -"Some time after they had been finished, perhaps six or -seven years, during which period Mr. <i>Hogarth</i> had been -preparing and publishing prints from them, in the year -1750 he advertised the sale of the originals by a kind 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. <i>Hogarth</i> 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: and none but those who -had in writing made their biddings were to be admitted on -the day that was to determine the sale. This nouvelle method -of proceeding probably disobliged the public; and -there seemed to be at that time a combination against poor -<i>Hogarth</i>, 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 sixth of <i>June</i> 1750, which was to decide -the fate of this capital work, about eleven o'clock Mr. <i>Lane</i>, -the fortunate purchaser, arrived at the <i>Golden Head</i>: when, -to his great surprize, expecting (what he had been a witness -to in 1745, when <i>Hogarth</i> disposed of many of his pictures) -to have found his painting-room full of noble and great personages, -he only found the painter and his ingenious friend -Dr. <i>Parsons</i>, secretary to the Royal Society, talking together, -and expecting a number of spectators at least, if not of -buyers. Mr. <i>Hogarth</i> then produced the highest bidding, -from a gentleman well known, of £120. Nobody coming -in, about ten minutes before twelve, by the decisive clock in -the room, Mr. <i>Lane</i> told Mr. <i>Hogarth</i> he would make the -pounds guineas. The clock then struck twelve, and <i>Hogarth</i> -wished Mr. <i>Lane</i> joy of his purchase, hoping it was -an agreeable one. Mr. <i>Lane</i> answered, Perfectly so. Now -followed a scene of disturbance from <i>Hogarth's</i> friend the -Doctor, and, what more affected Mr. <i>Lane</i>, 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 at that part of the town were hardly -up. <i>Hogarth</i>, in a tone and manner that could not escape -observation, said, Perhaps it may be so! Mr. <i>Lane</i>, 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. -<i>Hogarth</i> warmly accepted the offer, and expressed his acknowledgements -for the kindness in the strongest terms. -The proposal likewise received great encomiums from the -Doctor, who proposed to make it public. This was peremptorily -forbidden by Mr. <i>Lane</i>, 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 by Mr. <i>Lane, Hogarth</i> said he would 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. <i>Lane</i> 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. <i>Lane</i>, who has been tempted -more than once by <i>Hogarth</i> to part with his bargain at a -price to be named by himself. When Mr. <i>Lane</i> bought the -pictures, they were in Carlo Marratt frames which cost the -painter four guineas apiece." -</p> -<p> -The memory of this occurrence ought always to attend the -work which afforded Mr. <i>Lane</i> an opportunity of displaying -so much disinterested generosity. -</p> -<p> -Another correspondent begins the same story as follows—A -little time before the auction, <i>Hogarth</i> publickly declared, -that no picture-dealer should be allowed to bid. He also called -on his friends, requesting them not to appear at the sale, as -his house was small, and the room might be over crowded. -They obeyed his injunctions. Early in this mortifying day he -dressed himself, put on his tye-wig, strutted away one hour, -and fretted away two more, no bidder appearing, &c. &c.</p><br /></div> - -<p><span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span></p> -<p>2. A small print of Archbishop <i>Herring</i>, at the -head of the speech he made to the clergy of <i>York,</i><span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span> -<i>September</i> 24, 1745. <i>William Hogarth pinx. C. Moseley -sculp.</i><br /> -<br /></p> - - -<p>3. The same head cut out of the plate, and printed -off without the speech.<br /> -<br /></p> - - -<p>4. The Battle of the Pictures. "<i>Ticket to admit -persons to bid for his works at an auction.</i>" On the -plate called <i>The Battle of the Pictures</i> is written, -"The bearer hereof is entitled (if he thinks proper) -to be a bidder for Mr. <i>Hogarth's</i> pictures, which -are to be sold on the last day of this month [<i>February</i>, -1744-5.]."<br /> -<br /></p> - -<p>5. A festoon, with a mask, a roll of paper, a -palette, and a laurel. Subscription ticket for <i>Garrick</i> -in <i>Richard</i> the Third. A very faithful copy from -this receipt was made by <i>R. Livesay</i>, 1781. It is to -be sold at Mrs. <i>Hogarth's</i> house in <i>Leicester-square</i>.</p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span></p> - -<h4>1746.</h4> - - -<p>1. <i>Simon</i> Lord <i>Lovat</i>.<a name="FNanchor_1_233" id="FNanchor_1_233"></a><a href="#Footnote_1_233" class="fnanchor">[1]</a> <i>Drawn from the life, and -etched in aquafortis by William Hogarth.—Hogarth</i> -said himself, that Lord <i>Lovat's</i> portrait was taken (at<span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span> -the <i>White-Hart</i>, at <i>St. Alban's</i>) in the attitude of relating -on his fingers the numbers of the rebel forces.—"Such -a general had so many men, &c." and remarked, -that the muscles of <i>Lovat's</i> neck appeared -of unusual strength, more so than he had ever seen. -When the painter entered the room, his lordship, -being under the barber's hands, received his old -friend with a salute, which left much of the lather -on his face.—The second impressions are marked, -<i>Price One Shilling</i>. When <i>Hogarth</i> had finished this -plate, a printseller offered its weight in gold for it. -The impressions could not be taken off so fast as they -were wanted, though the rolling-press was at work all -night for a week together. For several weeks afterwards -he is said to have received at the rate of 12 <i>l.</i> -per day.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_233" id="Footnote_1_233"></a><a href="#FNanchor_1_233"><span class="label">[1]</span></a> "This powerful laird, it has been observed, was one of -the last Chieftains that preserved the rude manners and barbarous -authority of the early feudal ages. He resided in a -house which would be esteemed but an indifferent one for a -very private, plain country gentleman in <i>England</i>; as it -had, properly, only four rooms on a floor, and those not -large. Here, however, he kept a sort of court, and several -public tables; and had a numerous body of retainers always -attending. His own constant residence, and the place where -he received company, even at dinner, was in the very same -room where he lodged; and his lady's sole apartment was -her bed-room; and the only provision for the lodging of the -servants, and retainers, was a quantity of straw, which they -spread every night, on the floors of the lower rooms, where -the whole inferior part of the family, consisting of a very -great number of persons, took up their abode." See Mr. -<i>King's</i> observations on ancient Castles, in the <i>Archæologia</i>, -vol. IV. -</p> -<p> -Sir <i>William Young</i>, one of the managers appointed by the -Commons of <i>Great Britain</i>, for conducting the prosecution -against this Nobleman for High Treason, in the year 1745, -makes the following observation: "Your Lordships have already -done national justice on some of the principal traitors, -who appeared in open arms against his Majesty, by the ordinary -course of law; but this noble Lord, who, in the -whole course of his life, has boasted of his superior cunning -in wickedness, and his ability to commit frequent treasons -with impunity, vainly imagined that he might possibly be a -traitor in private, and rebel only in his heart, by sending -his son and his followers to join the Pretender, and remaining -at home himself, to endeavour to deceive his Majesty's -faithful subjects; hoping <i>he</i> might be rewarded for his son's -services, if successful; or his <i>son</i> alone be the sufferer for -<i>his</i> offences, if the undertaking failed: diabolical cunning! -monstrous impiety!" See <i>State Trials</i>, vol. IX. p. 627.</p><br /></div> - - -<p>2. Mr. <i>Garrick</i><a name="FNanchor_1_234" id="FNanchor_1_234"></a><a href="#Footnote_1_234" class="fnanchor">[1]</a> in the character of <i>Richard</i> III. -<i>Painted by Wm. Hogarth; engraved by Wm. Hogarth -and C. Grignion.</i> The late Mr. <i>Duncombe</i>, of <i>Duncombe -Park</i> in <i>Yorkshire</i>, gave 200 <i>l.</i> for the original -picture, which is now in the possession of his family. -The expression of the countenance is happily hit off, -but the figure is abundantly too large and muscular. -This print was afterwards, by <i>Hogarth's</i> permission, -copied for a watch-paper.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_234" id="Footnote_1_234"></a><a href="#FNanchor_1_234"><span class="label">[1]</span></a> "Mr. <i>Garrick</i> had several of <i>Hogarth's</i> paintings; and -the latter designed for him, as president of the <i>Shakespeare</i> -club, a mahogany chair richly carved, on the back of -which hangs a medal of the poet carved by <i>Hogarth</i> out of -the mulberry-tree planted at <i>Stratford</i> by <i>Shakespeare</i>." -Anecdotes of Painting, vol. IV. p. 180. edit. 8vo, 1782.</p><br /></div> - -<p><span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span></p> - -<p>3. A stand of various weapons, bag-pipes, &c. -and a pair of scissars cutting out the arms of <i>Scotland</i>. -A subscription-ticket for the March to <i>Finchley</i>; of -which the original price was only 7 <i>s.</i> 6 <i>d.</i> It was -to be raised to 10 <i>s.</i> 6 <i>d.</i> on closing the subscription. -The additional three shillings afforded the subscriber -a chance for the original picture.</p> - -<hr class="tb" /> - -<h4>1747.</h4> - - -<p>1. Stage-coach. An election procession in the -yard. <i>Designed and engraved by William Hogarth.</i> -In this plate there is a variation. The early impressions -have a flag behind the wheel of the coach, -inscribed <span class="smcap">no old baby</span>, which was the cry used by -the opponents of the honourable <i>John Child Tylney</i> -(then Viscount <i>Castlemain</i> and now Earl <i>Tylney</i><a name="FNanchor_1_235" id="FNanchor_1_235"></a><a href="#Footnote_1_235" class="fnanchor">[1]</a>) -when he stood member for the county of <i>Essex</i>, against -Sir <i>Robert Abdy</i> and Mr. <i>Bramston</i>. The figure still -carries a horn-book, and a rattle in its hands. At the -election, a man was placed on a bulk with an <i>infant</i> -in his arms, and exclaimed, as he whipt the child, -"What, you little <i>Child</i>, must you be a member?" -The family name was changed from <i>Child</i> to <i>Tylney</i> -by an act of parliament in 1735. In this disputed -election, it appeared from the register-book of the -parish where Lord <i>Castlemain</i> was born, that he was -but 20 years of age. Some pains have been taken -to ascertain the particular inn-yard in which the -scene is laid, but without success, so many of the<span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span> -publick-houses between <i>Whitechapel</i> and <i>Chelmsford</i> -in <i>Essex</i> having been altered, or totally rebuilt.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_235" id="Footnote_1_235"></a><a href="#FNanchor_1_235"><span class="label">[1]</span></a> Since dead.—<i>Inter Socraticos notissima fossa cinædos</i>.</p><br /></div> - - -<p>2. Industry and Idleness, in twelve plates.<a name="FNanchor_1_236" id="FNanchor_1_236"></a><a href="#Footnote_1_236" class="fnanchor">[1]</a> Mr. -<i>Walpole</i> observes, that "they have more merit in -the intention than execution." At first they were -printed off on very thin paper. Plate V. The scene -is <i>Cuckold's Point</i>, below <i>London Bridge</i>. Plate VI. -In a few first impressions, "<i>Goodchild</i> and <i>West</i>" is -written under the sign, instead of "<i>West</i> and <i>Goodchild</i>." -<i>Hogarth</i> had inadvertently placed the name -of the junior partner first. Some mercantile friend, -however, pointing out the mistake, when as yet only -a few copies were taken off, our artist corrected it, -to avoid the criticisms of <i>Cheapside</i> and <i>Cornhill</i>. In -this plate is a figure of <i>Philip in the Tub</i>, a well-known -beggar and cripple, who was a constant epithalamist -at weddings in <i>London</i>, and had visited <i>Ireland</i> -and <i>The Seven Provinces</i>. The <i>French</i> clergyman -in Plate VIII. was designed for Mr. <i>Platell</i>, curate -of <i>Barnet</i>. Plate XI. The scene is in a cellar -of a noted house that went by the name of "The<span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span> -Blood Bowl House," from the various scenes of -blood that were there almost daily exhibited, and -where there seldom passed a month without the commission -of a murder. <i>Blood Bowl-alley</i> is down by -the fishmonger's, near <i>Water-lane, Fleet-street</i>; and I -am assured, that the house and event, that gave rise -to the name, were there. In Plate XI. is <i>Tiddy Doll</i>, -the well-known vender of gingerbread. Just behind -him, in a cart, to bring away the body of the criminal, -is his mother. Though her face is concealed, she -is distinguished by her excess of sorrow, and the -black hood she has worn throughout the foregoing -representations of her. Plate XII. <i>Frederick</i> Prince -of <i>Wales</i>, and the Princess of <i>Wales</i>, in the balcony. -The standards of the Blacksmiths' and Stationers' -Companies appear in the procession. The flag, at the -corner of one of the stands, belongs to the Pinners -and Needlers. The hint for this series of prints was -evidently taken from the old comedy of <i>Eastward-hoe</i>, -by <i>Jonson, Chapman,</i> and <i>Marston</i>, reprinted in -<i>Dodsley's</i> Collection of Old Plays. "The scenes of -<i>Bedlam</i> and the gaming-house," as Mr. <i>Walpole</i> well -observes, "are inimitable representations of our serious -follies, or unavoidable woes; and the concern -shown by the lord-mayor, when the companion -of his childhood is brought before him as a -criminal, is a touching picture, and big with humane -admonition and reflection." The late comedian -Mr. <i>James Love</i> (otherwise <i>Dance</i>, and brother -to the painter of that name) dramatized this series<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span> -of prints; and Mr. <i>King</i>, now deputy-manager -of <i>Drury-lane</i>, performed the character of the Good -'Prentice.</p> - -<p>These Plates were retouched by <i>Hogarth</i>; but, as -usual, whatever they gained in respect to force, they -lost in the article of clearness. They offer no variations, -except such as are occasioned by his having -thrown a few of the figures into shade, that others -might appear more prominent. Dr. <i>Ducarel</i> informed -me, that the passages of Scripture applicable to the -different scenes were selected for Mr. <i>Hogarth</i>, by -his friend the Rev. Mr. <i>Arnold King</i>.</p> - -<p>In the following year was published, price one -shilling (being an explanation of the moral of twelve -celebrated prints lately published, and designed by -the ingenious Mr. <i>Hogarth</i>), "The Effects of Industry -and Idleness, illustrated in the Life, Adventures, -and various Fortunes of Two Fellow -'Prentices of the City of <i>London</i>: shewing the -different Paths, as well as Rewards of Virtue and -Vice; how the good and virtuous 'Prentice, by -gradual Steps of Industry, rose to the highest -Pitch of Grandeur; and how, by contrary Pursuits, -his Fellow-'Prentice, by Laziness and Wickedness, -came to die an ignominious Death at the -Gallows. ¶ This little book ought to be read by -every 'Prentice in <i>England</i>, to imprint in their -hearts these two different examples, the contrary -effects each will produce on their young minds -being of more worth than a hundred times the -price, <i>i. e.</i> an abhorrence of the vice and wickedness<span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span> -they perceive in the one boy, and, on the -contrary, an endeavour after an imitation of the -actions of the other. And is a more proper present -to be given to the Chamber of <i>London</i>, at the -binding and enrolling an apprentice, than any -other book whatever. Printed by <i>Charles Corbett</i>, -at <i>Addison's</i> Head in <i>Fleet street</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_236" id="Footnote_1_236"></a><a href="#FNanchor_1_236"><span class="label">[1]</span></a> The following description of <i>Hogarth's</i> design is copied -from his own hand-writing: "Industry and Idleness exemplified -in the conduct of two Fellow 'Prentices: where the one, -by taking good courses, and pursuing points for which he -was put apprentice, becomes a valuable man and an ornament -to his country; the other, by giving way to idleness, -naturally falls into poverty, and ends fatally, as is expressed -in the last print. As the prints were intended more for -use than ornament, they were done in a way that might -bring them within the purchase of whom they might most -concern; and, lest any print should be mistaken, the description -of each print is engraved at top."</p><br /></div> - - -<p>3. <i>Jacobus Gibbs</i>, architectus. <i>W. Hogarth delin. -B. Baron sculp.</i><br /> -<br /></p> - - -<p>4. <i>Jacobus Gibbs</i>, architectus. <i>W. Hogarth delin. -J. M<sup>c</sup> Ardell fec.</i> Partly mezzotinto, partly graved. -No date.<br /> -<br /></p> - - -<p>5. To this period may be referred the arms of -<i>The Foundling Hospital</i>, printed off on the tops of -the indentures; together with<br /> -<br /></p> - - -<p>6. The same, but smaller; employed as a frontispiece -to "Psalms, Hymns, and Anthems; for the -Use of the Children of the Hospital for the Maintenance -and Education of exposed and deserted -Young Children."</p> - -<p>They are both classed here, because the original -drawing (see under the year <a href="#Page_409">1781</a>) is dated in -1747.</p> - -<hr class="tb" /> - -<h4>1748.</h4> - - -<p>1. A monk leading an ass with a <i>Scotch</i> man and -woman on it, &c. A wooden cut. Head-piece to the -"Jacobite's Journal." This was a news-paper set -up and supported by <i>Henry Fielding</i>, and carried on -for a few months with some success. The wooden-cut -was only prefixed to six or seven of the papers.<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span> -Being faintly executed, it was soon worn out, and -has lately been copied in aqua tinta by Mr. <i>Livesay</i>.<br /> -<br /></p> - - -<p>2. Pool of <i>Bethesda</i>, from the picture<a name="FNanchor_1_237" id="FNanchor_1_237"></a><a href="#Footnote_1_237" class="fnanchor">[1]</a> he painted -for <i>St. Bartholomew's Hospital. Engraved by Ravenet -for S. Austen</i>, as a frontispiece for <i>Stackhouse's</i> Bible. -In this plate, I am assured by an old acquaintance of -Mr. <i>Hogarth</i>, is a faithful portrait of <i>Nell Robinson</i>, -a celebrated courtezan, with whom, in early life, -they had both been intimately acquainted.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_237" id="Footnote_1_237"></a><a href="#FNanchor_1_237"><span class="label">[1]</span></a> Of this picture Mr. <i>S. Ireland</i> has a large sketch in oil.</p></div> - -<hr class="tb" /> - -<h4>1749.</h4> - - -<p>1.<a name="FNanchor_1_238" id="FNanchor_1_238"></a><a href="#Footnote_1_238" class="fnanchor">[1]</a> The Gate of <i>Calais</i>.<a name="FNanchor_2_239" id="FNanchor_2_239"></a><a href="#Footnote_2_239" class="fnanchor">[2]</a> Engraved by C. <i>Mosley</i><span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span> -and <i>W. Hogarth. "His own head sketching the view. -He was arrested when he was making the drawing, -but set at liberty when his purpose was known."</i> See -above, p. <a href="#Page_49">49</a>. Mr. <i>Walpole</i> also observes, that in -this piece, though it has great merit, "the caricatura -is carried to excess." Mr. <i>Pine</i> the engraver -sat for the portrait of the Friar, a circumstance of -which he afterwards repented;<a name="FNanchor_3_240" id="FNanchor_3_240"></a><a href="#Footnote_3_240" class="fnanchor">[3]</a> for, thereby obtaining -the nick-name of <i>Friar Pine</i>, and being -much persecuted and laughed at, he strove to prevail -on <i>Hogarth</i> to give his Ghostly father another -face. Indeed, when he sat to our artist, he did not -know to what purpose his similitude would afterwards -be applied. The original picture is in the possession<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span> -of the Earl of <i>Charlemont</i>. Soon after it was finished, -it fell down by accident, and a nail ran through the -cross on the top of the gate. <i>Hogarth</i> strove in vain -to mend it with the same colour, so as to conceal the -blemish. He therefore introduced a starved crow, -looking down on the roast-beef, and thus completely -covered the defect.</p> - -<p>The figure of the half-starved <i>French</i> centinel has -since been copied at the top of more than one of -the printed advertisements for recruits, where it is -opposed to the representation of a well-fed <i>British</i> -soldier. Thus the genius of <i>Hogarth</i> still militates -in the cause of his country.</p> - -<p>A copy of this print was likewise engraved at the -top of a Cantata, intituled, <i>The Roast Beef of Old -England</i>. As it is probable that the latter was published -under the sanction of our artist, I shall, without -scruple, transcribe it.</p> - -<blockquote><p> -<span style="margin-left: 2em;"><span class="smcap">RECITATIVE.</span><br /></span> -'Twas at the Gates of <i>Calais, Hogarth</i> tells,<br /> -Where sad Despair and Famine always dwells,<br /> -A meagre <i>Frenchman</i>, Madam <i>Grandsire's</i> cook,<br /> -As home he steer'd his carcase, that way took,<br /> -Bending beneath the weight of fam'd <i>Sir-loin</i>,<br /> -On whom he often wish'd in vain to dine.<br /> -Good Father <i>Dominick</i> by chance came by,<br /> -With rosy gills, round paunch, and greedy eye;<br /> -Who, when he first beheld the greasy load,<br /> -<span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span>His benediction on it he bestow'd;<br /> -And while the solid fat his finger press'd,<br /> -He lick'd his chaps, and thus the knight address'd:<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">AIR.</span><br /></span> -<span style="margin-left: 1em;"><i>A lovely Lass to a Friar came</i>, &c.</span><br /> -O rare <i>Roast Beef!</i> lov'd by all mankind,<br /> -<span style="margin-left: 1em;">If I was doom'd to have thee,</span><br /> -When dress'd and garnish'd to my mind,<br /> -<span style="margin-left: 1em;">And swimming in thy gravy,</span><br /> -Not all thy country's force combin'd<br /> -<span style="margin-left: 1em;">Should from my fury save thee.</span><br /> -<br /> -Renown'd <i>Sir-loin</i>, oft-times decreed<br /> -<span style="margin-left: 1em;">The theme of <i>English</i> ballad,</span><br /> -E'en kings on thee have deign'd to feed,<br /> -<span style="margin-left: 1em;">Unknown to <i>Frenchman's</i> palate;</span><br /> -Then how much more thy taste exceeds<br /> -<span style="margin-left: 1em;">Soup-meagre, frogs, and sallad.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">RECITATIVE.</span><br /></span> -A half-starv'd soldier, shirtless, pale and lean,<br /> -Who such a sight before had never seen,<br /> -Like <i>Garrick's</i> frighted <i>Hamlet</i>, gaping stood,<br /> -And gaz'd with wonder on the <i>British</i> food.<br /> -His morning's mess forsook the friendly bowl,<br /> -And in small streams along the pavement stole;<br /> -He heav'd a sigh, which gave his heart relief,<br /> -And then in plaintive tone declar'd his grief.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">AIR.</span><br /></span> -Ah, sacre Dieu! vat do I see yonder,<br /> -<span style="margin-left: 1em;">Dat looks so tempting, red and white?</span><br /> -Begar I see it is de <i>Roast Beef</i> from <i>Londre</i>,<br /> -<span style="margin-left: 1em;">O grant to me one letel bite.</span><br /> -<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span>But to my guts if you give no heeding,<br /> -<span style="margin-left: 1em;">And cruel Fate dis boon denies,</span><br /> -In kind compassion to my pleading,<br /> -<span style="margin-left: 1em;">Return, and let me feast my eyes.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">RECITATIVE.</span><br /></span> -His fellow guard, of right <i>Hibernian</i> clay,<br /> -Whose brazen front his country did betray,<br /> -From <i>Tyburn's</i> fatal tree had hither fled,<br /> -By honest means to get his daily bread;<br /> -Soon as the well-known prospect he espy'd,<br /> -In blubbering accents dolefully he cried:<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">AIR.</span><br /></span> -<span style="margin-left: 1em;"><i>Ellen a Roon</i>, &c.</span><br /> -Sweet <i>Beef</i>, that now causes my stomach to rise.<br /> -Sweet <i>Beef</i>, that now causes my stomach to rise,<br /> -<span style="margin-left: 2em;">So taking thy sight is,</span><br /> -<span style="margin-left: 2em;">My joy that so light is,</span><br /> -To view thee, by pailfuls runs out at my eyes.<br /> -<br /> -While here I remain, my life's not worth a farthing,<br /> -While here I remain, my life's not worth a farthing,<br /> -<span style="margin-left: 2em;">Ah! hard-hearted <i>Lewy</i>,</span><br /> -<span style="margin-left: 2em;">Why did I come to ye?</span><br /> -The gallows, more kind, would have sav'd me from starving.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">RECITATIVE.</span><br /></span> -Upon the ground hard by poor <i>Sawney</i> sate,<br /> -Who fed his nose, and scratch'd his ruddy pate;<br /> -But when <i>Old England's</i> bulwark he descry'd,<br /> -His dear-lov'd mull, alas! was thrown aside.<br /> -With lifted hands he bless'd his native place,<br /> -Then scrub'd himself, and thus bewail'd his case:<br /> -<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span><br /> -<span style="margin-left: 2em;"><span class="smcap">AIR.</span><br /></span> -<span style="margin-left: 1em;"><i>The Broom of Cowdenknows</i>, &c.</span><br /> -How hard, O <i>Sawney!</i> is thy lot,<br /> -<span style="margin-left: 1em;">Who was so blyth of late,</span><br /> -To see such meat as can't be got,<br /> -<span style="margin-left: 1em;">When hunger is so great!</span><br /> -<i>O the Beef, the bonny bonny Beef!</i><br /> -<span style="margin-left: 1em;"><i>When roasted nice and brown,</i></span><br /> -<i>I wish I had a slice of thee,</i><br /> -<span style="margin-left: 1em;"><i>How sweet it would gang down.</i></span><br /> -Ah, <i>Charley!</i> hadst thou not been seen,<br /> -<span style="margin-left: 1em;">This ne'er had hapt to me:</span><br /> -I would the De'el had pickt mine eyne<br /> -<span style="margin-left: 1em;">Ere I had gang'd with thee.</span><br /> -<span style="margin-left: 2em;"><i>O the Beef</i>, &c.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">RECITATIVE.</span><br /></span> -But see! my Muse to <i>England</i> takes her flight,<br /> -Where <i>Health</i> and <i>Plenty</i> chearfully unite.<br /> -Where smiling <i>Freedom</i> guards great <i>George's</i> throne,<br /> -And chains, and racks, and tortures are not known;<br /> -Whose <i>Fame</i> superior bards have often wrote.—<br /> -An ancient fable give me leave to quote.<br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">AIR.</span><br /></span> -<span style="margin-left: 1em;"><i>The Roast Beef of Old England.</i></span><br /> -As once on a time a young <i>Frog</i>, pert and vain,<br /> -Beheld a large <i>Ox</i> grazing on the wide plain,<br /> -He boasted his size he could quickly attain.<br /> -<span style="margin-left: 2em;"><i>Oh! the Roast Beef,</i> &c.</span><br /> -<br /> -Then eagerly stretching his weak little frame,<br /> -Mamma, who stood by, like a knowing old dame,<br /> -Cried, "Son, to attempt it you're greatly to blame."<br /> -<span style="margin-left: 2em;"><i>Oh! the Roast Beef,</i> &c.</span><br /> -<span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span><br /> -But, deaf to advice, he for glory did thirst,<br /> -An effort he ventured, more strong than the first,<br /> -Till swelling and straining too hard, made him burst.<br /> -<span style="margin-left: 2em;"><i>Oh! the Roast Beef,</i> &c.</span><br /> -<br /> -Then, <i>Britons</i>, be valiant; the moral is clear:<br /> -The <i>Ox</i> is <i>Old England</i>, the <i>Frog</i> is <i>Monsieur</i>,<br /> -Whose puffs and bravadoes we need never fear.<br /> -<span style="margin-left: 2em;"><i>Oh! the Roast Beef,</i> &c.</span><br /> -<br /> -For while by our commerce and arts we are able<br /> -To see the brave <i>Ox</i> smoaking hot on our table,<br /> -The <i>French</i> must e'en croak, like the <i>Frog</i> in the fable.<br /> -<span style="margin-left: 2em;"><i>Oh! the Roast Beef,</i> &c.</span><br /> -</p></blockquote> - -<p>Printed for <i>R. Sayer</i>, at the <i>Golden Buck</i> in <i>Fleet-street</i>; -and <i>J. Smith</i>, at <i>Hogarth's Head</i> in <i>Cheapside</i>.</p> - -<p>At the end of a pamphlet which I shall have occasion -to mention under the year 1755, was announced, -as speedily to be published under the auspices of our -artist, "A Poetical Description of Mr. <i>Hogarth's</i> -celebrated print, <i>The Roast Beef of Old England</i>, -or the <i>French</i> surprized at the Gate of <i>Calais</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_238" id="Footnote_1_238"></a><a href="#FNanchor_1_238"><span class="label">[1]</span></a> In <i>The General Advertiser, March</i> 9, 1748-9, appeared the -following: -</p> -<p> -"This day is published, price 5<i>s.</i> A Print, designed and engraved -by Mr. <i>Hogarth</i>, representing a <span class="smcap">Prodigy</span> which -lately appeared before the Gate of <i>Calais</i>. -</p> -<p> -"O the Roast Beef of <i>Old England!</i><br /> -</p> -<p> -"To be had at the <i>Golden-Head</i>, in <i>Leicester-Square</i>, and at -the Print Shops."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_239" id="Footnote_2_239"></a><a href="#FNanchor_2_239"><span class="label">[2]</span></a> The following lines were written by the Rev. Mr. <i>Townley</i>, -Master of <i>Merchant Taylors' School</i>, and spoken by one of the -Scholars, <i>October</i> 22, 1767, -</p> -<blockquote><p> -<span style="margin-left: 2em;">ASSA BUBULA.</span><br /> -Littore in opposito, quâ turrim <i>Dubris</i> in altum<br /> -<span style="margin-left: 1em;">Ostentans, undas imperiosa regit,</span><br /> -Ferrea stat, multo cum milite, porta <i>Calesi</i>:<br /> -<span style="margin-left: 1em;">(Ingenium pinxit talia, <i>Hogarthe</i>, tuum).</span><br /> -Eo! sudans carnis portat latus ille bovile,<br /> -<span style="margin-left: 1em;">Quem, trepidis genibus, grande fatigat onus;</span><br /> -Obstupet hic fixis oculis atque ore patenti,<br /> -<span style="margin-left: 1em;">Et tenue, invitus, jus cito mittit humi:</span><br /> -Accedit monachus, digito tangente rubentem<br /> -<span style="margin-left: 1em;">Carnem, divinum prodigiumque colit.</span><br /> -Omnia visa placent animum; non pascis inani<br /> -<span style="margin-left: 1em;">Picturâ, pariter quæ placet atque docet.</span><br /> -Egregius patriæ proprios dat pictor honores;<br /> -<span style="margin-left: 1em;">Et palmam jussa est ferre bovina caro.</span><br /> -</p></blockquote></div> - -<div class="footnote"> - -<p><a name="Footnote_3_240" id="Footnote_3_240"></a><a href="#FNanchor_3_240"><span class="label">[3]</span></a> Mr. <i>Walpole's</i> new edition of his "Anecdotes of Painting" -having been published whilst the present page was preparing -for the second edition, I took the earliest opportunity of letting -that admirable writer speak for himself, in answer to a -particular in which I had presumed to differ from him. -"If <i>Hogarth</i> indulged his spirit of ridicule in personalities," (I -now use the words of Mr. <i>Walpole</i>) "it never proceeded beyond -sketches and drawings; his prints touched the folly, -but spared the person. Early he drew a noted miser, one -of the sheriffs, trying a mastiff that had robbed his kitchen, -but the magistrate's son went to his house and cut the -picture in pieces.<a name="FNanchor_A_241" id="FNanchor_A_241"></a><a href="#Footnote_A_241" class="fnanchor">[A]</a> I have been reproved for this assertion," -continues our agreeable Biographer, "and instances have -been pointed out that contradict me. I am far from -persevering in an error, and do allow that my position was -too positive. Still some of the instances adduced were by -no means caricaturas. Sir <i>John Gonson</i> and Dr. <i>Misaubin</i> -in the <i>Harlot's Progress</i> were rather examples identified than -satires. Others, as Mr. <i>Pine's</i>, were mere portraits, introduced -by their own desire, or with their consent."</p> - -<div class="footnote"> - -<p><a name="Footnote_A_241" id="Footnote_A_241"></a><a href="#FNanchor_A_241"><span class="label">[A]</span></a> See above, p. <a href="#Page_69">69</a>.</p></div><br /></div> - - -<p><a id="Page_295_2"></a>2. Portrait of <i>John Palmer</i>, esq. lord of the manor -of <i>Cogenhoe</i> or <i>Cooknoe</i>, and patron of the church, -of <i>Ecton</i> in <i>Northamptonshire. W. Hogarth pinx. B. -Baron sculp.</i> This small head is inserted under a -view of <i>Ecton</i> Church.<br /> -<br /></p> - - -<p><a id="Page_295_3"></a>3. His own head in a cap, a pug-dog, and a palette -with the line of beauty, &c. inscribed <i>Gulielmus -Hogarth. Seipse pinxit & sculpsit.</i> Very scarce, because -<i>Hogarth</i> erased his own portrait, and introduced<span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span> -that of Mr. <i>Churchill</i>, under the character of a bear, -in its room. See under the year <a href="#Page_387">1763</a>.</p> - -<p>On this print, in its original state, the <i>Scandalizade</i>, -a satire published about 1749, has the following -lines. The author represents himself as standing before -the window of a print-shop.</p> - -<blockquote><p> -"There elbowing in 'mong the crowd with a jog,<br /> -Lo! good father <i>Tobit</i>, said I, with his dog!<br /> -But the artist is wrong; for the dog should be drawn<br /> -At the heels of his master in trot o'er the lawn,—<br /> -To your idle remarks I take leave to demur,<br /> -'Tis not <i>Tobit</i>, nor yet his canonical cur,<br /> -(Quoth a sage in the crowd) for I'd have you to know, Sir,<br /> -'Tis <i>Hogarth</i> himself and his honest friend <i>Towser</i>,<br /> -Inseparate companions! and therefore you see<br /> -Cheek by jowl they are drawn in familiar degree;<br /> -Both striking the eye with an equal eclat,<br /> -The biped <i>This</i> here, and the quadruped <i>That</i>—<br /> -You mean—the great dog and the man, I suppose,<br /> -Or the man and the dog—be't just as you chuse.—<br /> -You correct yourself rightly—when much to be blam'd,<br /> -For the worthiest person you first should have nam'd,<br /> -Great dog! why great man I methinks you should say.<br /> -Split the difference, my friend, they're both great in their way.<br /> -Is't he then so famous for drawing a punk,<br /> -A harlot, a rake, and a parson so drunk,<br /> -<span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span>Whom <i>Trotplaid</i><a name="FNanchor_1_242" id="FNanchor_1_242"></a><a href="#Footnote_1_242" class="fnanchor">[1]</a> delivers to praise as his friend?<br /> -Thus a jacknapes a lion would fain recommend.—<br /> -The very self same—how boldly they strike,<br /> -And I can't forbear thinking they're somewhat alike.—<br /> -Oh fie! to a dog would you <i>Hogarth</i> compare?—<br /> -Not so—I say only they're alike as it were,<br /> -A respectable pair! all spectators allow,<br /> -And that they deserve a description below<br /> -In capital letters, <i>Behold we are Two</i>."<br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_242" id="Footnote_1_242"></a><a href="#FNanchor_1_242"><span class="label">[1]</span></a> The name under which <i>Fielding</i> wrote a news-paper called -<i>The Jacobite's Journal</i>, the frontispiece by <i>Hogarth</i>.</p><br /></div> - - -<p>4. Portrait of <i>Hogarth</i>, small circle. Mr. <i>Basire</i> -(to whom this plate has been ascribed) says it is -much in our artist's manner. On enquiry, however, -it appears to be no other than a watch-paper "Published -according to Act of Parliament by <i>R. Sayer</i>, -opposite <i>Fetter-lane, Sept.</i> 29, 1749," and certainly -copied from the small portrait of our artist -introduced in <i>The Roast Beef of Old England</i>. Another -head of him, with a fur cap on, was also edited -by the same printseller, at the same time. There is -likewise a third head of <i>Hogarth</i>, in an oval, prefixed -as a frontispiece to "A Dissertation" on his six prints, -&c. <i>Gin Lane</i>, &c. which appeared in 1751.</p> - -<hr class="tb" /> - -<h4>1750.</h4> - - -<p>1. <i>Thomas Herring</i>, Archbishop of <i>Canterbury. -W. Hogarth p. B. Baron sculp.</i> Of this picture (which -is preserved in <i>Lambeth-Palace</i>) the Archbishop, in -a letter to Mr. <i>Duncombe</i>, says, "None of my<span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span> -friends can bear <i>Hogarth's</i> picture;" and Mr. -<i>Duncombe</i>, the son, in a note to this epistle, observes, -that "this picture (as appears by the print engraved -by <i>Baron</i> in 1750) exhibits rather a caricature than -a likeness, the figure being gigantic, the features -all aggravated and <i>outrés</i>, and, on the whole, so -far from conveying an idea of that <i>os placidum, -moresque benigni</i>, as Dr. <i>Jortin</i> expresses it, that -engaging sweetness and benevolence, which were -characteristic of this prelate, that they seem rather -expressive of a <i>Bonner</i>, who could burn a heretic.</p> - -<blockquote><p> -"<i>Lovat's</i> hard features <i>Hogarth</i> might command;<br /> -A <i>Herring's</i> sweetness asks a <i>Reynolds'</i> hand."<br /> -</p></blockquote> - -<p><i>Hogarth</i> however made the following observation -while the Archbishop was sitting to him: "Your -Grace, perhaps, does not know that some of our -chief dignitaries in the church have had the best -luck in their portraits. The most excellent heads -painted by <i>Vandyck</i> and <i>Kneller</i>, were those of -<i>Laud</i> and <i>Tillotson</i>. The crown of my works will -be the representation of your Grace."<br /> -<br /></p> - - -<p>2. <i>Jacobus Gibbs</i>, Architectus, A. M. and F. R. S. -<i>Hogarth delin. Baron sculp.</i> The same face as that in -<a href="#Page_288">1747</a>, but in an octagon frame, which admits more -of the body to be shewn, as well as some architecture -in the back ground. There is also a smaller -head of <i>Gibbs</i>, in a circle, &c. but whether engraved -by <i>Baron</i> from a picture by <i>Hogarth</i>, or any other -hand, is uncertain. Perhaps it was designed as a -vignette for some splendid edition of <i>Gibbs's</i> works.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span></p> - -<p>3. The March to <i>Finchley</i>,<a name="FNanchor_1_243" id="FNanchor_1_243"></a><a href="#Footnote_1_243" class="fnanchor">[1]</a> dedicated to the King -of <i>Prussia</i><a name="FNanchor_2_244" id="FNanchor_2_244"></a><a href="#Footnote_2_244" class="fnanchor">[2]</a>[as "an Encourager of the Arts,"] "<i>in -resentment for the late king's sending for the picture -to St. James's, and returning it without any other</i><span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span> -<i>notice.</i>" This print is <i>engraved by Luke Sullivan</i> -but afterwards, as we learn from a note at the bottom -of it, was "Retouched and <i>improved</i> by <i>Wm. -Hogarth</i>, and republished <i>June</i> 12, 1761." The -<i>improvements</i> in it, however, remain to be discovered -by better eyes than mine.</p> - -<p>I am authorized to add, that soon after the -lottery described in a note at the beginning of -this article, our artist waited on the treasurer to -the <i>Foundling Hospital</i>, acquainting him that the -trustees were at liberty to dispose of the picture -by auction. Scarce, however, was the message delivered, -before he changed his mind, and never afterwards -would consent to the measure he had originally -proposed. The late Duke of <i>Ancaster</i> offered the -hospital 300 <i>l.</i> for it. The following complete explanation -of it is in <i>The Student</i>, vol. II. p. 16. -It is supposed to have been written by the ingenious -Mr. <i>Bonnel Thornton</i>.</p> - -<p>"The scene of this representation is laid at <i>Tottenham -Court Turnpike</i>; the <i>King's-Head, Adam</i> and -<i>Eve</i>, and the <i>Turnpike-house</i>, in full view; beyond -which are discovered parties of the guards, baggage, -&c. marching towards <i>Highgate</i>, and a beautiful -distant prospect of the country; the sky finely -painted. The picture, considered together, affords -a view of a military march, and the humours -and disorders consequent thereupon.</p> - -<p><span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span></p> - -<p>"Near the center of the picture, the painter has -exhibited his principal figure, which is a handsome -young grenadier, in whose face is strongly depicted -repentance mixed with pity and concern; the occasion -of which is disclosed by two females putting -in their claim for his person, one of whom has -hold of his right arm, and the other has <i>seized</i> his -left. The figure upon his right hand, and perhaps -placed there by the painter by way of preference -(as the object of love is more desirable than -that of duty), is a fine young girl in her person, -debauched, with child, and reduced to the miserable -employ of selling ballads, and who, with a -look full of love, tenderness, and distress, casts up -her eyes upon her undoer, and with tears descending -down her cheeks, seems to say——<i>sure you cannot——will -not leave me</i>! The person and deportment -of this figure well justifies the painter's turning -the body of the youth towards her. The woman -upon the left is a strong contrast to this girl; -for rage and jealousy have thrown the human -countenance into no amiable or desirable form. -This is the wife of the youth, who, finding him -engaged with such an <i>ugly slut</i>, assaults him with a -violence natural to a woman whose person and -beauty is neglected. To the fury of her countenance, -and the dreadful weapon her tongue, another -terror appears in her hand, equally formidable, -which is a roll of papers, whereon is wrote, -<i>The Remembrancer</i>; a word of dire and triple import;<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span> -for while it shews the occupation the <i>amiable -bearer</i> is engaged in, it reminds the youth of -an unfortunate circumstance he would gladly forget: -and the same word is also a cant expression, -to signify the blow she is meditating. And -here, I value myself upon hitting the true meaning, -and entering into the spirit of the great author -of that celebrated <i>Journal</i> called <i>The Remembrancer</i>, -or, <i>A weekly slap on the face for the Ministry</i>.</p> - -<p>"It is easily discernible that the two females are -of different parties. The ballad of <i>God save our -noble King</i>, and a print of the <i>Duke of Cumberland</i>, -in the basket of the girl, and the cross upon the -back of the wife, with the implements of her occupation, -sufficiently denote the painter's intention: -and, what is truly beautiful, these incidents are -applicable to the march.</p> - -<p>"The hard-favoured serjeant directly behind, who -enjoys the foregoing scene, is not only a good -contrast to the youth, but also, with other helps, -throws forward the principal figure.</p> - -<p>"Upon the right of the grenadier is a drummer, -who also has his <i>two Remembrancers</i>, a woman and a -boy, the produce of their kinder hours; and who -have laid their claim by a violent seizure upon -his person. The figure of the woman is that of a -complainant, who reminds him of her great applications, -as well in sending him clean to guard, -as other kind offices done, and his promises to<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span> -make her an honest woman, which he, base and -ungrateful, has forgot, and pays her affection with -neglect. The craning of her neck shews her remonstrances -to be of the shrill kind, in which she -is aided by the howling of her boy. The drummer, -who has a mixture of fun and wickedness in -his face, having heard as many reproaches as suit -his present inclinations, with a bite of his lip, and -a leering eye, applies to the instrument of noise in -his profession, and endeavours to drown the united -clamour; in which he is luckily aided by the <i>ear-piercing -fife</i> near him.</p> - -<p>"Between the figures before described, but more -back in the picture, appears the important but -meagre phiz of a <i>Frenchman</i>, in close whisper with -an <i>Independent</i>. The first I suppose a spy upon the -motion of the army, the other probably drawn -into the croud, in order to give intelligence to his -brethren, at their next meeting, to commemorate -their noble struggle in support of <i>Independency</i>. -The <i>Frenchman</i> exhibits a letter, which he assures -him contains positive intelligence, that 10000 of -his countrymen are landed in <i>England</i>, in support -of <i>liberty</i> and <i>independency</i>. The joy with which -his friend receives these glorious tidings, causes -him to forget the wounds upon his head, which he -has unluckily received by a too free and premature -declaration of his principles.</p> - -<p>"There is a fine contrast in the smile of innocency -in the child at the woman's back, compared with<span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span> -the grim joy of a gentleman by it; while the hard -countenance of its mother gives a delicacy to the -grenadier's girl.</p> - -<p>"Directly behind the drummer's quondam spouse, -appears a soldier pissing against a shed; and some -distortions in his countenance indicate a malady -too indelicate to describe; this conjecture is aided -by a bill of Dr. <i>Rock's</i> for relief in like cases. Directly -over him appears a wench at a wicket, probably -drawn there to have a view of the march; -but is diverted from her first intention by the appearance -of another object directly under her eye, -which seems to ingross her whole attention.</p> - -<p>"Behind the drummer under the sign of the <i>Adam</i> -and <i>Eve</i> are a group of figures; two of which are -engaged in the fashionable art of bruising: their -equal dexterity is shewn, by <i>sewed-up peepers</i> on -one side, and <i>a pate well-sconced</i> on the other. And -here the painter has shewn his impartiality to the -merit of our <i>noble youths</i>, (whose minds, inflamed -with love of glory, appear, not only encouragers -of this truly laudable science, but many of them -are also great proficients in the art itself,) by -introducing a youth of quality, whose face is expressive -of those boisterous passions necessary for -forming a hero of this kind; and who, entering -deep into the scene, endeavours to inspire the -combatants with a noble contempt of bruises and -broken bones. An old woman, moved by a foolish -compassion, endeavours to force through the croud<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span> -and part the fray, in which design she is stopped -by a fellow, who prefers fun and mischief to humanity. -Above their heads appears a little man<a name="FNanchor_3_245" id="FNanchor_3_245"></a><a href="#Footnote_3_245" class="fnanchor">[3]</a> -of meagre frame, but full of spirits, who enjoys -the combat, and with fists clenched, in imagination -deals blow for blow with the heroes. This -figure is finely contrasted, by a heavy sluggish fellow -just behind. The painter, with a stroke of -humour peculiar to himself, has exhibited a figure -shrinking under the load of a heavy box upon his -back, who, preferring curiosity to ease, is a spectator, -and waits in this uneasy state the issue of the -combat. Upon a board next the sign, where roots, -flowers, &c. were said to be sold, the painter has -humorously altered the words, and wrote thereon, -<i>Tottenham-Court Nursery</i>; alluding to a bruising-booth -in this place, and the group of figures underneath.</p> - -<p>"Passing through the turnpike, appears a carriage -laden with the implements of war, as drums, halberts, -tent-poles, and hoop-petticoats. Upon the -carriage are two old women-campaigners, funking -their pipes, and holding a conversation, as usual, -in fire and smoke. These grotesque figures afford -a fine contrast to a delicate woman upon the same -carriage, who is suckling a child. This excellent -figure evidently proves, that the painter is as capable -of succeeding in the graceful style as in the<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span> -humorous. A little boy laes at the feet of this -figure; and the painter, to shew him of martial -breed, has placed a small trumpet in his mouth.</p> - -<p>"The serious group of the principal figures, in -the center, is finely relieved by a scene of humour -on the left. Here an officer has seized a milk-wench, -and is kissing her in a manner excessively -lewd, yet not unpleasing to the girl, if her eye is -a proper interpreter of her affections: while the -officer's ruffles suffer in this action, the girl pays -her price, by an arch soldier, who in her absence -of attention to her pails, is filling his hat with -milk, and, by his waggish eye, seems also to partake -of the kissing scene. A chimney-sweeper's -boy with glee puts in a request to the soldier, to -supply him with a cap full, when his own turn is -served; while another soldier points out the fun to -a fellow selling pyes, who, with an inimitable face -of simple joy, neglects the care of his goods, which -the soldier dexterously removes with his other -hand. In the figure of the pye-man, the pencil has -exceeded description——here the sounding epithets -of <i>prodigious—excellent—wonderful</i>—and all -the other terms used by Connoisseurs (when speaking -of the beauties of an old picture, where the -objects must have lain in eternal obscurity, if not -conjured out to the apprehension of the spectator, -by the magic of unintelligible description) -are too faint to point out its real merit.</p> - -<p><span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span></p> - -<p>"The old soldier divested of one spatter-dash, and -near losing the other, and knocked down by all-potent -gin, upon calling for t'other cogue, his -waggish comrade, supporting him with one hand, -endeavours to pour water into his mouth with the -other, which the experienced old one rejects with -disdain, puts up his hand to his wife who bears -the arms and gin-bottle, and who, well acquainted -with his taste, is filling a quartern. And here -the painter exhibits a sermon upon the excessive -use of spirituous liquors, and the destructive consequences -attending it: for the soldier is not only -rendered incapable of his duty, but (what is -shocking to behold) a child begot and conceived -in gin, with a countenance emaciated, extends its -little arms with great earnestness, and wishes for -that liquor, which it seems well acquainted with -the taste of. And here, not to dwell wholly upon -the beauties of this print, I must mention an absurdity -discovered by a professed connoisseur in -painting—'Can there,' says he, 'be a greater absurdity -than the introducing a couple of chickens -so near such a croud—and not only so—but see—their -direction is to go to objects it is natural for -'em to shun—is this is knowledge of nature?—absurd -to the last degree!'——And here, with an -air of triumph, ended our judicious critic. But -how great was his surprize, when it was discovered -to him, that the said chickens were in pursuit of -the hen, which had made her escape into the pocket -of a sailor.</p> - -<p><span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span></p> - -<p>"Next the sign-post is an honest tar throwing up -his hat, crying 'God bless King <i>George</i>.' Before -him is an image of drunken loyalty; who, with -his shirt out of his breeches, and bayonet in his -hand, vows destruction on the heads of the rebels. -A fine figure of a speaking old woman, with a -basket upon her head, will upon view tell you what -she sells. A humane soldier perceiving a fellow -hard-loaded with a barrel of gin upon his back, -and stopped by the croud, with a gimblet bores -a hole in the head of the cask, and is kindly easing -him of a part of his burthen. Near him, is the -figure of a fine gentleman in the army. As I suppose -the painter designed him without character, -I shall therefore only observe, that he is a very -pretty fellow, and happily the contemplation of -his own dear person guards him from the attempts -of the wicked women on his right hand. Upon -the right hand of this <i>petit maitre</i> is a licentious -soldier rude with a girl, who screams and wreaks -her little vengeance upon his face, whilst his comrade -is removing off some linen which hangs in -his way.</p> - -<p>"You will pardon the invention of a new term—I -shall include the whole <i>King's Head</i> in the word -<i>Cattery</i>, the principal figure of which is a noted -fat <i>Covent Garden</i> lady,<a name="FNanchor_4_246" id="FNanchor_4_246"></a><a href="#Footnote_4_246" class="fnanchor">[4]</a> who, with pious eyes cast -up to heaven, prays for the army's success, and<span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span> -the safe return of many of her babes of grace. An -officer offers a letter to one of this lady's children, -who rejects it; possibly not liking the cause her -spark is engaged in, or, what is more probable, -his not having paid for her last favour. Above -her, a charitable girl is throwing a shilling to a -cripple, while another kindly administers a cordial -to her companion, as a sure relief against reflection. -The rest of the windows are full of the -like cattle; and upon the house-top appear three -cats, just emblems of the creatures below, but -more harmless in their amorous encounters."</p> - -<p>There is likewise another explanation in <i>The Old -Woman's Magazine</i>, vol. I. p. 182. To elucidate a -circumstance, however, in this justly celebrated performance, -it is necessary to observe, that near <i>Tottenham -Court Nursery</i> was the place where the famous -<i>Broughton's</i> amphitheatre for boxing was erected. -It has been since taken down, having been rendered -useless by the justices not permitting such kind of -diversions. This will account for the appearance of -the Bruisers at the left hand corner of the print. -One of <i>Hogarth's</i> ideas in this performance also needs -the assistance of colouring, to render it intelligible. -The person to whom the <i>Frenchman</i> is delivering a -letter, was meant for an old <i>Highlander</i> in disguise, -as appears from the plaid seen through an opening -in his grey coat; a circumstance in the print that -escaped me, till after I had seen the picture, and -perused <i>Rouquet's</i> explanation of this particular circumstance,<span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span> -which I shall add in his own words, with -his reflections at the end of it. "A droite du principal -group paroit une figure de <i>François</i>, qu'on -a voulu representer 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'etoffe de sa veste, qui est celle dont s'habillent -les habitans des montagnes <i>d'Ecosse</i>: le <i>François</i> -semble communiquer à l'<i>Ecossois</i> des lettres qu'il -vient de reçevoir, & qui ont rapport à l'evenement -qui donne lieu à cette marche. Les <i>Anglois</i> -ne se réjouissent jamais bien sans qu'il en coute -quelque chose aux <i>François</i>; leur theatre, 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 <i>Tom Jones</i> a voulu aussi lâcher -les siens. Mais le pretendu mépris pour les -<i>François</i> 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 perpetuèllement est un objet dont on est -perpetuèllement occupé: la satire constitue une -attention qui me feroit soupconner qu'on fait aux -<i>François</i> l'honneur de les haïr un peu."</p> - -<p>All the off tracts from the faces in the original -picture of the March to <i>Finchley</i>, in red chalk on -oiled paper, are still preserved.</p> - -<p>This representation may be said to contain three<span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span> -portraits, all of which were acknowledged by the -artist: a noted <i>French</i> pye-man; one of the young -fifers then recently introduced into the army by the -Duke of <i>Cumberland</i>; and a chimney-sweeper with -an aspect peculiarly roguish. The two latter were -hired by <i>Hogarth</i>, who gave each of them half a -crown, for his patience in sitting while his likeness was -taken. Among the portraits in the <i>March to Finchley</i> -(says a correspondent) that of <i>Jacob Henriques</i> -may also be discovered. I wish it had been pointed -out.</p> - -<p>With this plate (of which the very few proofs in -aqua-fortis, as well as the finished ones, are highly -valuable) no unfair stratagems have been practised, -that a number of the various impressions, taken off -at different times, might be mistaken for the earliest. -On copper nothing is more easy than to cover, alter, -efface, or re-engrave an inscription, as often as -temporary convenience may require a change in it.<a name="FNanchor_5_247" id="FNanchor_5_247"></a><a href="#Footnote_5_247" class="fnanchor">[5]</a><span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span> -Witness, the several copies of <i>The Lottery</i>, three of -which exhibit the names of three different publishers: -the fourth has none at all.</p> - -<p>The possessors of this March to <i>Finchley</i> need not -vehemently lament their want of the original. The -spirit of it is most faithfully transfused on the copper. -As to the colouring, it will hardly delight such eyes -are are accustomed to the pictures of <i>Steen</i> or <i>Teniers</i>. -To me the painting of the <i>March to Finchley</i> appears -hard and heavy, and has much the air of a coloured -print.</p> - -<p>I should not, on this occasion, omit to add, -that Mr. <i>Strange</i>, in his <i>Inquiry into the Rise and -Establishment of the Royal Academy of Arts in London</i>, -observes, that "the donations in painting which several -artists presented to <i>The Foundling Hospital</i>," -first led to the idea of those Exhibitions which are at -present so lucrative to our Royal Academy, and so -entertaining to the publick. <i>Hogarth</i> must certainly -be considered as a chief among these benefactors.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_243" id="Footnote_1_243"></a><a href="#FNanchor_1_243"><span class="label">[1]</span></a> <i>General Advertiser, April</i> 14, 1750. -Mr <i>Hogarth</i> is publishing, by subscription, a print representing -the march to <i>Finchley</i> in the year 1746, engraved on a copper-plate, -22 inches by 17. The price 7 <i>s.</i> 6 <i>d.</i> -</p> -<p> -Subscriptions are taken in at <i>The Golden Head</i> in <i>Leicester-Fields</i>, -till the 30th of this instant, and not longer, to the end -that the engraving may not be retarded. -</p> -<p> -Note. 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> -<i>General Advertiser, May</i> 1, 1750. -</p> -<p> -Yesterday Mr. <i>Hogarth's</i> subscription was closed. 1843 -chances being subscribed for, Mr. <i>Hogarth</i> gave the remaining -157 chances to <i>The Foundling Hospital</i>. At two o'clock the box -was opened, and the fortunate chance was N° 1941, which belongs -to the said Hospital; and the same night Mr. <i>Hogarth</i> -delivered the picture to the Governors.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_244" id="Footnote_2_244"></a><a href="#FNanchor_2_244"><span class="label">[2]</span></a> PRUSIA, in the earliest impressions. I have been assured -that only twenty-five were worked off with this literal imperfection, -as <i>Hogarth</i> grew tired of adding the mark ~ with a -pen over one S, to supply the want of the other. He therefore -ordered the inscription to be corrected before any greater -number of impressions were taken. Though this circumstance -was mentioned by Mr. <i>Thane</i>, to whose experience in such -matters some attention is due, it is difficult to suppose that -<i>Hogarth</i> was fatigued with correcting his own mistake in so -small a number of the first Impressions. I may venture to -add, that I have seen, at least, five and twenty marked in the -manner already described: and it is scarce possible, considering -the multitudes of these plates dispersed in the world, that -I should have met with all that were so distinguished.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_245" id="Footnote_3_245"></a><a href="#FNanchor_3_245"><span class="label">[3]</span></a> The real or nick name of this man, who was by trade a -cobler, is said to have been <i>Jockey James</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_246" id="Footnote_4_246"></a><a href="#FNanchor_4_246"><span class="label">[4]</span></a> This figure is repeated in the last print but one of <i>Industry</i>. -and <i>Idleness</i>, and was designed for Mother <i>Douglas</i> of the Piazza.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_247" id="Footnote_5_247"></a><a href="#FNanchor_5_247"><span class="label">[5]</span></a> <i>Proofs</i> were anciently a few impressions taken off in the -course of an engraver's process. He <i>proved</i> a plate in different -states, that he might ascertain how far his labours had been -successful, and when they were complete. The excellence of -such early impressions, worked with care, and under the artist's -eye, occasioning them to be greedily sought after, and -liberally paid for, it has been customary among our modern -printsellers to take off a number of them, amounting, perhaps, -to hundreds, from every plate of considerable value; -and yet their want of rareness has by no means abated their -price. On retouching a plate, it has been also usual, among -the same conscientious fraternity, to cover the inscription, -which was immediately added after the first proofs were obtained, -with slips of paper, that a number of secondary proofs -might also be created. This device is notorious, and too often -practised, without discovery, on the unskilful purchaser. A -new print, in short, is of the same use to a crafty dealer, as -a fresh girl to a politic bawd. In both instances <i>le fausse pucelage</i> -is disposed of many times over.</p></div> - -<hr class="tb" /> - -<h4>1751.</h4> - - -<p>1. <i>Beer-street</i>;<a name="FNanchor_1_248" id="FNanchor_1_248"></a><a href="#Footnote_1_248" class="fnanchor">[1]</a> two of them, with variations,<span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span> -(the former price 1 <i>s.</i> the latter 1 <i>s.</i> 6 <i>d.</i>), and <i>Gin -Lane</i>. The following verses under these two prints -are by the Rev. Mr. <i>James Townley</i>, Master of <i>Merchant -Taylors School</i>:</p> - -<blockquote><p><br /> -<span style="margin-left: 2em;"><span class="smcap">Beer-Street.</span><br /></span> -Beer, happy product of our isle,<br /> -<span style="margin-left: 1em;">Can sinewy strength impart,</span><br /> -And, wearied with fatigue and toil,<br /> -<span style="margin-left: 1em;">Can chear each manly heart.</span><br /> -<br /> -Labour and Art, upheld by thee,<br /> -<span style="margin-left: 1em;">Successfully advance;</span><br /> -We quaff thy balmy juice with glee,<br /> -<span style="margin-left: 1em;">And water leave to <i>France</i>.</span><br /> -<br /> -Genius of Health, thy grateful taste<br /> -<span style="margin-left: 1em;">Rivals the cup of <i>Jove</i>,</span><br /> -And warms each <i>English</i> generous breast<br /> -<span style="margin-left: 1em;">With Liberty and Love.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Gin-Lane.</span><br /></span> -Gin, cursed fiend! with fury fraught,<br /> -<span style="margin-left: 1em;">Makes human race a prey;</span><br /> -It enters by a deadly draught,<br /> -<span style="margin-left: 1em;">And steals our life away.</span><br /> -<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span><br /> -Virtue and Truth, driven to despair,<br /> -<span style="margin-left: 1em;">Its rage compels to fly,</span><br /> -But cherishes, with hellish care,<br /> -<span style="margin-left: 1em;">Theft, Murder, Perjury.</span><br /> -<br /> -Damn'd cup! that on the vitals preys,<br /> -<span style="margin-left: 1em;">That liquid fire contains,</span><br /> -Which madness to the heart conveys,<br /> -<span style="margin-left: 1em;">And rolls it thro' the veins.</span><br /> -</p></blockquote> - -<p>Mr. <i>Walpole</i> observes, that the variation of the butcher -lifting the <i>Frenchman</i> in his hand, was an after-thought;<a name="FNanchor_2_249" id="FNanchor_2_249"></a><a href="#Footnote_2_249" class="fnanchor">[2]</a> -but he is mistaken. This <i>butcher</i> is in -reality a <i>blacksmith</i>; and the violent hyperbole is -found in the original drawing, as well as in the earliest -impressions of the plate. The first copies of -<i>Beer-street, Gin Lane,</i> and <i>The Stages of Cruelty,</i> were -taken off on very thin paper; but this being objected -to, they were afterwards printed on thicker. The -painter, who in the former of these scenes is copying -a bottle from one hanging by him as a pattern, has -been regarded as a stroke of satire on <i>John Stephen -Liotard</i>, who (as Mr. <i>Walpole</i> observes) "could -render nothing but what he saw before his eyes."<a name="FNanchor_3_250" id="FNanchor_3_250"></a><a href="#Footnote_3_250" class="fnanchor">[3]</a></p> - -<p>It is probable that <i>Hogarth</i> received the first idea -for these two prints from a pair of others by <i>Peter</i><span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span> -<i>Breugel</i> (commonly called <i>Breugel d'enfer</i>, or <i>Hellish -Breugel</i>), which exhibit a contrast of a similar kind. -The one is entitled <i>La grasse</i>, the other <i>La maigre -Cuisine</i>. In the first, all the personages are well-fed -and plump; in the second, they are starved and -slender. The latter of them also exhibits the figures -of an emaciated mother and child, sitting on a straw-mat -upon the ground, whom I never saw without -thinking on the female, &c. in <i>Gin Lane</i>.<a name="FNanchor_4_251" id="FNanchor_4_251"></a><a href="#Footnote_4_251" class="fnanchor">[4]</a> In <i>Hogarth</i>, -the fat <i>English</i> blacksmith is insulting the -gaunt <i>Frenchman</i>; and in <i>Breugel</i>, the plump cook -is kicking the lean one out of doors. Our artist -was not unacquainted with the works of this master, -as will appear by an observation on the <a href="#Page_331"><i>Lilliputians</i> -giving <i>Gulliver</i> a clyster</a>.</p> - -<p>On the subject of these two plates, and the four -following ones, was published a stupid pamphlet, -intituled, "A Dissertation on Mr. <i>Hogarth's</i> Six -Prints lately published, viz. <i>Gin-Lane, Beer-street,</i> -and <i>The Four Stages of Cruelty</i>, Containing, I. A -genuine narrative of the horrible deeds perpetrated -by that fiery dragon, <i>Gin</i>; the wretched and deplorable -condition of its votaries and admirers; -the dreadful havock and devaluation it has made -amongst the human species; its pernicious effects -on the soldiers, sailors, and mechanicks of this -kingdom; and its poisonous and pestilent qualities -in destroying the health, and corrupting the morals<span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span> -of the people. II. Useful observations on -wanton and inhuman cruelty, severely satirizing -the practice of the common people in sporting -with the lives of animals. Being a proper key for -the right apprehension of the author's meaning in -those designs. Humbly inscribed to the Right -Honourable <i>Francis Cockayne</i>, Esq; Lord Mayor -of the City of <i>London</i>, and the worshipful Court of -Aldermen, who have so worthily distinguished -themselves in the measures they have taken to suppress -the excessive use of spirituous liquors. <i>London</i>: -Printed for <i>B. Dickinson</i> on <i>Ludgate-Hill</i>. -1751. Price one shilling;" and eleven pence -three farthings too dear, being compiled out of <i>Reynolds's</i> -"God's Revenge against Murder," &c.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_248" id="Footnote_1_248"></a><a href="#FNanchor_1_248"><span class="label">[1]</span></a> <i>General Advertiser, February</i> 13, 1750-51. -</p> -<p> -On <i>Friday</i> next will be published, price one shilling each. -</p> -<p> -Two large Prints designed and etched by Mr. <i>Hogarth</i>, called -<i>Beer-street</i> and <i>Gin-lane</i>. -</p> -<p> -A number will be printed in a better manner for the Curious -at 1 <i>s.</i> 6 <i>d</i>. each. -</p> -<p> -And on <i>Thursday</i> following will be published, -</p> -<p> -Four Prints on the subject of Cruelty. Price and size the -same. -</p> -<p> -<i>N. B.</i> As the subjects of these Prints are calculated to reform -some reigning vices peculiar to the lower class of people, -in hopes to render them of more extensive use, the author has -published them in the cheapest manner possible. -</p> -<p> -To be had at the <i>Golden Head</i> in <i>Leicester Fields</i>, where may -be had all his other works.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_249" id="Footnote_2_249"></a><a href="#FNanchor_2_249"><span class="label">[2]</span></a> I am sorry to perceive that this observation remains in the -octavo edition of the "Anecdotes of Painting," vol. IV. p. 147.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_250" id="Footnote_3_250"></a><a href="#FNanchor_3_250"><span class="label">[3]</span></a> The opinion which <i>Hogarth</i> entertained of the writings of -Dr. <i>Hill</i> may be discovered in his <i>Beer-Street</i>, where <i>Hill's</i> critique -upon the Royal Society is put into a basket directed to -the Trunk-Maker, in <i>St. Paul's Church-Yard</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_251" id="Footnote_4_251"></a><a href="#FNanchor_4_251"><span class="label">[4]</span></a> This emaciated figure, who appears drunk and asleep at -the corner of this print, was painted from nature.</p><br /></div> - - -<p><a id="Page_316_2"></a>2. The Stages of Cruelty, in four prints. <i>Designed -by Wm. Hogarth, price</i> 4 <i>s.</i> Of the two latter -of these there are wooden plates<a name="FNanchor_1_252" id="FNanchor_1_252"></a><a href="#Footnote_1_252" class="fnanchor">[1]</a> on a large scale, -<i>Inv<sup>d</sup>. and published by Wm. Hogarth, Jan.</i> 1, 1750. -<i>J. Bell sculp.</i> They were done by order of our artist, -who wished to diffuse the salutary example they -contain, as far as possible, by putting them within -the reach of the meanest purchaser; but finding this -mode of executing his design was expensive beyond -expectation, he proceeded no further in it, and was -content to engrave them in his own coarse, but spirited<span class="pagenum"><a name="Page_317" id="Page_317">[Pg 317]</a></span> -manner. Impressions from the wooden blocks -are to be had at Mrs. <i>Hogarth's</i> house in <i>Leicester-fields</i>. -This set of prints, however, is illustrated -with the following verses:</p> - -<blockquote><p><br /> -<span style="margin-left: 2em;"><span class="smcap">First Stage of Cruelty.</span></span><br /> -While various scenes of sportive woe<br /> -<span style="margin-left: 1em;">The infant race employ,</span><br /> -And tortur'd Victims bleeding shew<br /> -<span style="margin-left: 1em;">The tyrant in the boy;</span><br /> -Behold! a <i>youth</i> of gentler heart,<br /> -<span style="margin-left: 1em;">To spare the Creature's pain,<a name="FNanchor_2_253" id="FNanchor_2_253"></a><a href="#Footnote_2_253" class="fnanchor">[2]</a></span><br /> -O take, he cries—take all my tart,<br /> -<span style="margin-left: 1em;">But tears and tart are vain.</span><br /> -Learn from this fair example—you,<br /> -<span style="margin-left: 1em;">Whom savage sports delight,</span><br /> -How Cruelty disgusts the view,<br /> -<span style="margin-left: 1em;">While pity charms the sight.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Second Stage of Cruelty.</span></span><br /> -The generous <i>steed</i>, in hoary age,<br /> -<span style="margin-left: 1em;">Subdu'd by labour lies;</span><br /> -And mourns a cruel master's rage,<br /> -<span style="margin-left: 1em;">While <i>Nature</i> strength denies.</span><br /> -<span class="pagenum"><a name="Page_318" id="Page_318">[Pg 318]</a></span>The tender <i>Lamb</i>, o'erdrove and faint,<br /> -<span style="margin-left: 1em;">Amidst expiring throes,</span><br /> -Bleats forth it's innocent complaint,<br /> -<span style="margin-left: 1em;">And dies beneath the blows.</span><br /> -Inhuman wretch! say whence proceeds<br /> -<span style="margin-left: 1em;">This coward Cruelty?</span><br /> -What int'rest springs from barb'rous deeds<br /> -<span style="margin-left: 1em;">What joy from misery?</span><br /> -<br /> -<span style="margin-left: 2em;">III. <span class="smcap">Cruelty in Perfection.</span></span><br /> -To lawless <i>Love</i> when once betray'd,<br /> -<span style="margin-left: 1em;">Soon crime to crime succeeds;</span><br /> -At length beguil'd to <i>Theft</i>, the <i>maid</i><br /> -<span style="margin-left: 1em;">By her <i>beguiler</i> bleeds.</span><br /> -Yet learn, seducing man, not night<br /> -<span style="margin-left: 1em;">With all its sable cloud,</span><br /> -Can skreen the guilty <i>deed</i> from sight:<br /> -<span style="margin-left: 1em;">Foul Murder cries aloud.</span><br /> -The gaping wounds, the blood-stain'd steel,<br /> -<span style="margin-left: 1em;">Now shock his trembling <i>soul</i>:</span><br /> -But oh! what pangs his breast must feel,<br /> -<span style="margin-left: 1em;">When Death his knell shall toll.</span><br /> -<br /> -<span style="margin-left: 2em;">IV. <span class="smcap">The Reward of Cruelty.</span></span><br /> -Behold, the <i>Villain's</i> dire disgrace<br /> -<span style="margin-left: 1em;">Not death itself can end:</span><br /> -He finds no peaceful <i>burial-place</i>;<br /> -<span style="margin-left: 1em;">His breathless corse, no friend,</span><br /> -<span class="pagenum"><a name="Page_319" id="Page_319">[Pg 319]</a></span>Torn from the root, that wicked <i>Tongue</i>,<br /> -<span style="margin-left: 1em;">Which daily swore and curst!</span><br /> -Those eye-balls, from their sockets wrung,<br /> -<span style="margin-left: 1em;">That glow'd with lawless lust.</span><br /> -His heart, exposed to prying eyes,<br /> -<span style="margin-left: 1em;">To pity has no claim;</span><br /> -But, dreadful! from his bones shall rise<br /> -<span style="margin-left: 1em;">His monument of shame.<a name="FNanchor_3_254" id="FNanchor_3_254"></a><a href="#Footnote_3_254" class="fnanchor">[3]</a></span><br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_252" id="Footnote_1_252"></a><a href="#FNanchor_1_252"><span class="label">[1]</span></a> N. B. The first of these wooden cuts differs in many circumstances -from the engraving. In the former, the right -hand of the murderer is visible; in the latter it is pinioned -behind him. Comparison will detect several other variations -in this plate and its fellow.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_253" id="Footnote_2_253"></a><a href="#FNanchor_2_253"><span class="label">[2]</span></a> The thrusting an arrow up the fundament of a dog, is -not an idea of <i>English</i> growth. No man ever beheld the same -act of cruelty practised on any animal in <i>London. Hogarth</i>, -however, met with this circumstance in <i>Callot's Temptation of -St. Antony</i>, and transplanted it, without the least propriety, into -its present situation.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_254" id="Footnote_3_254"></a><a href="#FNanchor_3_254"><span class="label">[3]</span></a> In the last of these plates, "how delicate and superior," -as Mr. <i>Walpole</i> observes, "is <i>Hogarth's</i> satire, when he intimates, -in the College of Physicians and Surgeons that preside -at a dissection, how the legal habitude of viewing shocking -scenes hardens the human mind, and renders it unfeeling. -The president maintains the dignity of insensibility over an -executed corpse, and considers it but as the object of a -lecture. In the print of the Sleeping Judges, this habitual -indifference only excites our laughter." To render -his spectacle, however, more shocking, our artist has perhaps -deviated from nature, against whose laws he so rarely -offends. He has impressed marks of agony on the face of -the criminal under dissection; whereas it is well known, that, -the most violent death once past, the tumult of the features -subsides for ever. But, in <i>Hogarth's</i> print, the wretch who -has been executed, seems to feel the subsequent operation. -Of this plate Mr. <i>S. Ireland</i> has the original drawing.</p><br /></div> - - -<p>3. Boys peeping at Nature, with Variations.</p> - -<p>Receipt for <i>Moses brought to Pharaoh's Daughter</i>, -and St. <i>Paul before Felix</i>.</p> - -<p>The burlesque <i>Paul</i>, &c. being the current receipt -for these two prints, I know not why our artist -should have altered and vamped up his <i>Boys peeping -at Nature</i> (see p. <a href="#Page_188">188</a>.) for the same purpose. This -plate was lately found at Mrs. <i>Hogarth's</i>, but no former<span class="pagenum"><a name="Page_320" id="Page_320">[Pg 320]</a></span> -impressions from it appear to have been circulated. -It might have been a first thought, before -the idea of its ludicrous successor occurred. <i>Hogarth</i>, -however, with propriety, effaced all the wit in his -original design, before he meant to offer it as a prologue -to his uninteresting serious productions.<br /> -<br /></p> - - -<p>4. <i>Paul</i> before <i>Felix</i>, designed and scratched in -the true <i>Dutch</i> taste, by <i>W. Hogarth</i>. This was the -receipt for <i>Pharaoh's</i> daughter, and for the serious -<i>Paul</i> and <i>Felix</i>; and is a satire on <i>Dutch</i> pictures. -It also contains, in the character of a serjeant tearing -his brief, a portrait of <i>Hume Campbell</i>, who was not -over-delicate in the language he used at the bar to -his adversaries and antagonists. This, however, is -said by others to be the portrait of <i>William King</i>,<a name="FNanchor_1_255" id="FNanchor_1_255"></a><a href="#Footnote_1_255" class="fnanchor">[1]</a> -LL. D. Principal of <i>St. Mary Hall, Oxford</i>. In a variation -of this print, the Devil is introduced sawing -off a leg of the stool on which <i>Paul</i> stands. In the -<i>third</i> impression, as is noted in the collection sold last -at <i>Christie's</i>, "<i>Hogarth</i> has again taken out the Devil. -By these variations of <i>Devil and no Devil</i>, he glances -at Collectors, who give great prices for such rarities; -and perhaps he had in his eye the famous -print of the Shepherd's Offering by <i>Poilly</i>, after -<i>Guido</i>, which sells very dear, without the Angels." -This, however, is erroneous. After the dæmon was<span class="pagenum"><a name="Page_321" id="Page_321">[Pg 321]</a></span> -once admitted, he was never discarded. The plate -in Mrs. <i>Hogarth's</i> keeping confirms my assertion. -In the first proof of <i>Poilly's Shepherd's Offering</i>, the -angels are lightly sketched in; in the finished proof -they are totally omitted; but were afterwards inserted. -There are similar variations relative to the arms -at the bottom of it.</p> - -<p>Of this burlesque <i>Paul</i>, &c. none were originally -intended for sale; but our artist gave them away to -such of his acquaintance, &c. as begged for them. -The number of these petitioners, however, increasing -every day, he resolved at last to part with no copies -of it at a less price than five shillings.<a name="FNanchor_2_256" id="FNanchor_2_256"></a><a href="#Footnote_2_256" class="fnanchor">[2]</a> All the early -proofs were stained by himself, to give them that tint -of age which is generally found on the works of -<i>Rembrandt</i>. Of this plate, however, there are <i>two</i> -impressions. The inscription under the <i>first</i> is -"<i>Paul</i> before <i>Felix</i>. Design'd and scratch'd in the -true <i>Dutch</i> taste by &c." Under the <i>second</i>, -"Designed and etch'd in the ridiculous manner of -<i>Rembrant</i>, &c." From the former of these <i>Hogarth</i> -took off a few reverses. He must have<span class="pagenum"><a name="Page_322" id="Page_322">[Pg 322]</a></span> -been severely mortified when he found his ludicrous -representation of <i>Paul</i> before <i>Felix</i> was more coveted<span class="pagenum"><a name="Page_323" id="Page_323">[Pg 323]</a></span> -and admired than his serious painting on the same -subject.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_255" id="Footnote_1_255"></a><a href="#FNanchor_1_255"><span class="label">[1]</span></a> Of Dr. <i>King</i>, who was "a tall, lean, well-looking -man," there is a striking likeness in <i>Worlidge's</i> View of the -Installation of Lord <i>Westmoreland</i> as chancellor of <i>Oxford</i> in -1761. Some particulars of his life and writings may be seen -in the "Anecdotes of Mr. <i>Bowyer</i>," p. 594.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_256" id="Footnote_2_256"></a><a href="#FNanchor_2_256"><span class="label">[2]</span></a> Mr. <i>Walpole</i> has honoured a passage in the first edition of -this hasty work, with the following stricture: (see Anecdotes -of Painting, vol. IV. p. 149). -</p> -<p> -"I have been blamed for censuring the indelicacies of <i>Flemish</i> -and <i>Dutch</i> painters, by comparing them with the <i>purity</i> -of <i>Hogarth</i>, against whom are produced many instances -of indelicacy, and some repetitions of the same indelicacy. -I will not defend myself by pleading that these instances are -thinly scattered through a great number of his works, and -that there is at least humour in most of the incidents quoted, -and that they insinuate some reflection, which is never the -case of the foreigners—but can I chuse but smile when one -of the nastiest examples specified is from the burlesque of -<i>Paul</i> before <i>Felix</i>, professedly in ridicule of the gross images -of the <i>Dutch</i>?" -</p> -<p> -In consequence of private remarks from Mr. <i>W.</i> this questionable -position, as well as a few others, had been obviated in -my second impression of the trifling performance now offered -to the public: but as our author cannot <i>chuse but smile</i>, -when the occasion of his mirth was no longer meant to be -in his way, I would ask, in defence of my former observation, -if moralists usually attempt to reform profligates by writing -treatises of profligacy? or, if painters have a right to chastise -indelicacy, by exhibiting gross examples of it in their own -performances? To become indecent ourselves, is an unwarrantable -recipe for curing indecency in others. The obscenities -of <i>Juvenal</i> have hitherto met with no very successful vindication: -"Few are the converts <i>Aretine</i> has made." According -to our critic's mode of reasoning, a homicide might urge -that the crime of which he stands accused was committed -only as a salutary example of the guilt of murder; nay, thus -indeed every human offence might be allowed to bring with -it its own apology.—I forbear to proceed in this argument, -or might observe in behalf of our "foreigners," that their -incidents insinuate some reflections as well as <i>Hogarth's</i>. The -evacuations introduced in <i>Dutch</i> pictures, most certainly inculcate -the necessity of temperance, for those only who eat -and drink too much at fairs, or in ale-houses, are liable to -such public and unseemly accidents as <i>Heemskirk, Ostade,</i> and -<i>Teniers,</i> have occasionally represented. If we are to look for -"Sermons in stones, and good in everything," this inference -is as fair as many which Mr. <i>W.</i> seems inclined to produce -in honour of poor <i>Hogarth</i>, who, like <i>Shakspeare</i>, often sought -to entertain, without keeping any moral purpose in view. -But was there either wit or morality in <i>Hogarth's</i> own evacuation -against the door of a church, a circumstance recorded -by Mr. <i>Forrest</i> in his MS. tour, though prudently suppressed -in his printed copy of it? Perhaps, following Uncle <i>Toby's</i> -advice, he had better have wiped the whole up, and said nothing -about the matter. Our worthy Tour-writer, however, -was by no means qualified to be the author of a Sentimental -Journey. He rather (and purposely, as we are told) resembles -<i>Ben Jonson's</i> communicative traveller, who says to his -companion, -</p> -<blockquote><p> -——I went and paid a moccinigo<br /> -For mending my silk stockings; by the way<br /> -I cheapen'd sprats, and at <i>St. Mark's</i> I urin'd.<br /> -Faith, these are politic notes!<br /> -</p></blockquote></div> - -<hr class="tb" /> - -<h4>1752.</h4> - - -<p><a id="Page_323_1"></a>1. <i>Paul</i> before <i>Felix</i>, from the original painting -in <i>Lincoln's-Inn Hall</i>, painted by <i>W. Hogarth.</i> "<i>There -is much less Dignity in this, than Wit in the preceding.</i>" -Under the inscription to the first impressions -of this plate is "Published <i>Feb.</i> 5, 1752. Engraved -by <i>Luke Sullivan.</i>" To the second state of it -was added the quotation which, in p. <a href="#Page_64">64</a>, I have -printed from Dr. <i>Joseph Warton's</i> Essay on the Genius -of <i>Pope</i>. It was covered with paper in the -third impression, and entirely effaced in the fourth.<br /> -<br /></p> - - -<p>2. The same, "<i>as first designed, but the wife of</i> -Felix <i>was afterwards omitted, because St</i>. Paul's -<i>hand was very improperly placed before her.</i>" I have -seen a copy of it, on which <i>Hogarth</i> had written, -"A print off the plate that was set aside as insufficient. -Engraved by <i>W. H.</i>" On the appearance -of Dr. <i>Warton's</i> criticism on this plate, <i>Hogarth</i> -caused the whole of it to be engraved under both -this and the next mentioned print, without any comment.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span></p> - -<p>3. <i>Moses</i> brought to <i>Pharaoh's</i> daughter, from a -picture at <i>The Foundling Hospital. Engraved by W. -Hogarth and Luke Sullivan.</i></p> - -<p>In the early impressions from this plate (exclusive -of its necessary and usual inscription) the words -"Published <i>February</i> 5, 1752, according to Act of -Parliament," and "<i>W. Hogarth pinxit</i>," are found. -In subsequent copies they are obliterated; and we -have only "Published as the Act directs" in their -room. These were left out, however, only to make -room for the quotation from Dr. <i>Warton's</i> book already -mentioned.<a name="FNanchor_1_257" id="FNanchor_1_257"></a><a href="#Footnote_1_257" class="fnanchor">[1]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_257" id="Footnote_1_257"></a><a href="#FNanchor_1_257"><span class="label">[1]</span></a> It should here be remarked, that the heads of several -of the figures in the original, differ widely from those in the -engraving. The daughter of the <i>Egyptian</i> Monarch appears -to more advantage in the print than on the canvas, for there -she resembles a wanton under-actress, who, half-undrest, and -waiting for her keeper, employs the interval of time in settling -accounts with a washerwoman, who has her bastard at nurse, -and has just brought him home to convince her that young -<i>Curl-pated Hugh</i> has no shoes to his feet. The colouring of -this piece is beneath criticism. I have just been told the head -of <i>Pharaoh's</i> daughter was copied from one <i>Seaton</i>, a smock-faced -youth of our artist's acquaintance: a proper model, no -doubt, for an <i>Eastern</i> Princess! <i>Hogarth</i> could not, like <i>Guido</i>, -draw a <i>Venus</i> from a common porter.</p></div> - -<hr class="tb" /> - -<h4>1753.</h4> - - -<p>1. <i>Columbus</i> breaking the egg. "<i>The subscription-ticket -to his Analysis.</i>" First payment 5 <i>s. Hogarth</i> -published this print as a sarcasm on those artists -who had been inclined to laugh at his boasted -line of beauty, as a discovery which every one might -have made.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_325" id="Page_325">[Pg 325]</a></span></p> - -<p>2. Analysis of Beauty. Two plates. Mr. <i>Walpole</i> -observes, that <i>Hogarth's</i> "samples of grace in a -young lord and lady are strikingly stiff and affected. -They are a <i>Bath</i> beau and a county beauty." -The print is found in three different states. -"In the original plate the principal figure represented -the present king, then prince, but <i>Hogarth</i> was -desired to alter it. The present figure was taken -from the last duke of <i>Kingston</i>; yet, though like -him, is stiff, and far from graceful."<a name="FNanchor_1_258" id="FNanchor_1_258"></a><a href="#Footnote_1_258" class="fnanchor">[1]</a> In Plate I. -Fig. 19. the fat personage drest in a <i>Roman</i> habit, -and elevated on a pedestal, was designed, as <i>Hogarth</i> -himself acknowledged, for a ridicule on <i>Quin</i> in the -character of <i>Coriolanus. Essex</i> the dancing-master is -also represented in the act of endeavouring to reduce -the graceful attitude of <i>Antinous</i> to modern stiffness. -Fig. 20. was likewise meant for the celebrated <i>Desnoyer</i>, -dancing in a grand ballet.</p> - -<p>Dr. <i>Beattie</i>, speaking of the modes of combination, -by which incongruous qualities may be presented to -the eye, or the fancy, so as to provoke laughter, observes -"A country dance of men and women, like -those exhibited by <i>Hogarth</i> in his Analysis of Beauty, -could hardly fail to make a beholder merry, -whether he believed their union to be the effect -of design or accident. Most of those persons -have incongruities of their own in their shape, -dress, or attitude, and all of them are incongruous -in respect of one another; thus far the assemblage<span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span> -displays contrariety or want of relation: and they -are all united in the same dance; and thus far -they are mutually related. And if we suppose the -two elegant figures removed, which might be -done without lessening the ridicule, we should not -easily discern any contrast of dignity and meanness -in the group that remains.</p> - -<p>"Almost the same remarks might be made on -<i>The Enraged Musician</i>, another piece of the same -great master, of which a witty author quaintly says, -that it deafens one to look at it. This extraordinary -group forms a very comical mixture of incongruity -and relation; of incongruity, owing to -the dissimilar employment and appearances of the -several persons, and to the variety and dissonance -of their respective noises; and of relation, owing -to their being all united in the same place, and -for the same purpose of tormenting the poor fidler. -From the various sounds co-operating to this one -end, the piece becomes more laughable, than if -their meeting were conceived to be without any -particular destination; for the greater number of -relations, as well as of contrarieties, that take -place in any ludicrous assembly, the more ludicrous -it will generally appear. Yet, though this -group comprehends not any mixture of meanness -and dignity, it would, I think, be allowed to be -laughable to a certain degree, merely from the -juxta-position of the objects, even though it were -supposed to be accidental." Essay on Laughter -and Ludicrous Composition, 4to Edit. 608.</p> - -<p><span class="pagenum"><a name="Page_327" id="Page_327">[Pg 327]</a></span></p> - -<p>"I have no new books, alas! to amuse myself or -you; so can only return yours of <i>Hogarth's</i> with -thanks. It surprized me agreeably; for I had -conceived the performance to be a set of prints -only, whereas I found a book which I did not -imagine <i>Hogarth</i> capable of writing; for in his -pencil I always confided, but never imagined his -pen would have afforded me so much pleasure. -As to his not fixing <i>the precise degree of obliquity</i>, -which constitutes beauty, I forgive him, because I -think the task too hard to be performed literally: -but yet he conveys an idea between his pencil and -his pen, which makes one conceive his meaning -pretty well." Lady <i>Luxborough's</i> Letters, p. 380.</p> - -<p>I shall here transcribe as much from the <i>Analysis</i> as -is necessary to communicate our artist's design relative -to the various figures that compose the country-dance -in the second plate. The reader who neither -possesses the book, nor wishes to accompany the -author throughout his technical explanations, may -desire some intelligence concerning the present subject.</p> - -<p><span style="margin-left: 2em;">"CHAP. XIV.</span></p> - -<p><span style="margin-left: 2em;">"<span class="smcap">Of Attitude.</span></span></p> - - -<p>"—As two or three lines at first are sufficient to shew -the intention of an attitude, I will take this opportunity -of presenting my reader with the sketch of -a country-dance, in the manner I began to set out -the design; in order to shew how few lines are necessary -to express the first thoughts as to different<span class="pagenum"><a name="Page_328" id="Page_328">[Pg 328]</a></span> -attitudes [see fig. 71. T. p. 2.], which describe, -in some measure, the several figures and actions, -mostly of the ridiculous kind, that are represented -in the chief part of plate II.</p> - -<p>"The most amiable person may deform his general -appearance by throwing his body and limbs into -plain lines; but such lines appear still in a more -disagreeable light in people of a particular make; -I have therefore chose such figures as I thought -would agree best with my first score of lines, fig. 71.</p> - -<p>"The two parts of curves next to 71, served for -the old woman and her partner at the farther end -of the room. The curve and two strait lines at -right angles gave the hint for the fat man's -sprawling posture. I next resolved to keep a figure -within the bounds of a circle, which produced -the upper part of the fat woman between the fat -man and the aukward one in a bag-wig, for whom -I had made a sort of an X. The prim lady, his -partner, in the riding habit, by pecking back her -elbows, as they call it, from the waist upwards, -made a tolerable D, with a straight line under it, -to signify the scanty stiffness of her petticoat; and -a Z stood for the singular position the body makes -with the legs and thighs of the affected fellow -in the tye-wig; the upper part of his plump partner -was confined to an O, and this, changed into a -P, served as a hint for the straight lines behind.<a name="FNanchor_2_259" id="FNanchor_2_259"></a><a href="#Footnote_2_259" class="fnanchor">[2]</a><span class="pagenum"><a name="Page_329" id="Page_329">[Pg 329]</a></span> -The uniform diamond of a card was filled by the -flying dress, &c. of the little capering fellow in -the Spencer wig; whilst a double L marked the -parallel position of his poking partner's hands and -arms [<i>N. B. This figure was copied from that of an -uncouth young female whom</i> Hogarth <i>met with at</i> -Isleworth <i>assembly</i>]: and, lastly, the two waving -lines were drawn for the more genteel turns of the -two figures at the hither end.</p> - -<p>"The drawing-room is also ornamented purposely -with such statues and pictures as may serve to a -farther illustration. <i>Henry</i> VIII. [Fig. 72. P. 2] -makes a perfect X with his legs and arms; and -the position of <i>Charles</i> [Fig. 51. P. 2.] is composed -of less-varied lines than the statue of <i>Edward</i> -VI. [Fig. 73. P. 2.]; and the medal over his head -is in the like kind of lines; but that over Q. <i>Elizabeth</i>, -as well as her figure, is in the contrary; so -are also the two other wooden figures at the end. -Likewise the comical posture of astonishment expressed -by following the direction of one plain -curve, as the dotted line in a <i>French</i> print of <i>Sancho</i>, -where Don <i>Quixote</i> demolishes the puppet-show -[Fig. 75. R. P. 2], is a good contrast to the -effect of the serpentine lines in the fine turn of the -<i>Samaritan</i> woman [Fig. 75. L. p. 2.] taken from -one of the best pictures <i>Annibal Carache</i> ever -painted."</p> - -<p>Respecting the plate numbered I. there are no variations. -In its companion the changes repeatedly<span class="pagenum"><a name="Page_330" id="Page_330">[Pg 330]</a></span> -made as to the two principal figures are more numerous -than I had at first observed. It may, however, -be sufficient for me to point out some single circumstance -in each, that may serve as a mark of distinction. -In the first, the principal female has scarce any string -to her necklace; in the second it is lengthened; and -still more considerably increased in the third. In the -first and second editions also of this plate, between -the young lord and his partner (and just under the -figure of the man who is pointing out the stateliness -of some of K. <i>Henry</i> VIIIth's proportions to a lady), -is a vacant easy chair. In the third impression this -chair is occupied by a person asleep. I have lately -been assured that this country-dance was originally -meant to have formed one of the scenes in the <i>Happy -Marriage</i>. The old gentleman hastening away his -daughter, while the servant is putting on his spatter-dashes, -seems to countenance the supposition; and -having since examined the original sketch in oil, -which is in Mr. <i>Ireland's</i> possession, I observe that -the dancing-room is terminated by a large old-fashioned -bow-window, a circumstance perfectly consistent -with the scenery of the wedding described in -p. <a href="#Page_46">46</a>, &c.</p> - -<p>I may add, that in this picture, the couple designed -for specimens of grace, appear, not where they -stand in the print, but at the upper end of the room: -and so little versed was our painter in the etiquette<span class="pagenum"><a name="Page_331" id="Page_331">[Pg 331]</a></span> -of a wedding-ball, that he has represented the bride -dancing with the bridegroom.<a name="FNanchor_3_260" id="FNanchor_3_260"></a><a href="#Footnote_3_260" class="fnanchor">[3]</a></p> - -<p>When <i>Hogarth</i> shewed the original painting, from -which this dance has been engraved, to my informant, -he desired him to observe a pile of hats in the -corner, all so characteristic of their respective owners, -that they might with ease be picked out, and given -to the parties for whom they were designed.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_258" id="Footnote_1_258"></a><a href="#FNanchor_1_258"><span class="label">[1]</span></a> Anecdotes of Painting, 8vo. vol. IV. p. 166.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_259" id="Footnote_2_259"></a><a href="#FNanchor_2_259"><span class="label">[2]</span></a> The idea of making human figures conform to the -shape of capital letters, is by no means new. Several alphabets -of this kind were engraved above 150 years ago.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_260" id="Footnote_3_260"></a><a href="#FNanchor_3_260"><span class="label">[3]</span></a> As different fashions, however, prevail at different times, -this observation may be wrong.</p><br /></div> - - -<p>3. The Political Clyster. -<i>Nahtanoi Tfiws.</i><a name="FNanchor_1_261" id="FNanchor_1_261"></a><a href="#Footnote_1_261" class="fnanchor">[1]</a> <i>Dr. O'Gearth sculp. -Nll Mrrg. Cht Nf. ndw Lps ec ple &c. &c. shd b. Prgd. -See Gulliver's Speech to the Honble. House of Vulgaria in -Lilliput.</i></p> - -<p>This was originally published about 1727, or 1728, -under the title of "The punishment inflicted on <i>Lemuel -Gulliver</i>, by applying a <i>Lilypucian</i> Fire Engine -to his posteriors for his urinal profanation -of the Royal Pallace at <i>Mildendo</i>; which was intended -as a Frontispiece to his first volume, but -omitted. <i>HogEarth sculp.</i>" The superiority of -the impressions thus inscribed is considerable.<a name="FNanchor_2_262" id="FNanchor_2_262"></a><a href="#Footnote_2_262" class="fnanchor">[2]</a></p> - -<p>More than the general idea of this print is stolen -from another by <i>Hellish Breugel</i>, whom I have already -mentioned in a remark on <i>Beer-street</i>, and <i>Gin-lane</i>. -The <i>Dutchman</i> has represented a number of pigmies<span class="pagenum"><a name="Page_332" id="Page_332">[Pg 332]</a></span> -delivering a huge giant from a load of fæces. His -postern is thrust out, like that of <i>Gulliver</i>, to favour -their operations. <i>Breugel</i> has no less than three prints -on this subject, with considerable variations from -each other.</p> - -<p>"When <i>Hogarth's</i> topics were harmless," says -Mr. <i>Walpole</i>, "all his touches were marked with -pleasantry and fun. He never laughed, like <i>Rabelais</i>, -at nonsense that he imposed for wit; but, -like <i>Swift</i>, combined incidents that divert one -from their unexpected encounter, and illustrate -the tale he means to tell. Such are the hens -roosting on the upright waves in the scene of the -Strollers, and the devils drinking porter on the -altar." The print now before us is, however, no -very happy exemplification of our critick's remark.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_261" id="Footnote_1_261"></a><a href="#FNanchor_1_261"><span class="label">[1]</span></a> Originally mistaken by Mr. <i>Walpole</i> for the name of a <i>Lilliputian</i> -painter, but put right in his new edition.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_262" id="Footnote_2_262"></a><a href="#FNanchor_2_262"><span class="label">[2]</span></a> The present unmeaning title of this plate, was bestowed -on it by its owner, Mr. <i>Sayer</i>.</p></div> - -<hr class="tb" /> - -<h4>1754.</h4> - - -<p>1. Crowns, mitres, maces, &c. A subscription-ticket -for the Election entertainment. This print -has been already described. See p. <a href="#Page_39">39</a>. The engraved -forms of a receipt annexed to it do not always -agree. In one copy (which I suppose to be the -eldest) it contains an acknowledgement for "Five -Shillings, being the first payment for a print representing -an Election Entertainment, which I -promise to deliver, when finished, on the receipt -of five shillings and sixpence more." The second -is for "one guinea, being the first payment for four -prints of an Election, which I promise, &c. on -the receipt of one guinea more." The third for<span class="pagenum"><a name="Page_333" id="Page_333">[Pg 333]</a></span> -"fifteen shillings, being the first, &c. for three -prints, &c. on the payment of sixteen shillings -and sixpence more."<br /> -<br /></p> - - -<p>2. Frontispiece to <i>Kirby's</i> Perspective.<a name="FNanchor_1_263" id="FNanchor_1_263"></a><a href="#Footnote_1_263" class="fnanchor">[1]</a> Engraved -by <i>Sullivan</i>. Satire on false perspective. Motto, -"Whoever maketh a design without the knowledge -of Perspective, will be liable to such absurdities -as are shewn in this frontispiece." The occasion -of engraving the plate arose from the mistakes of -Sir E. <i>Walpole</i>, who was learning to draw without -being taught perspective. To point out in a strong -light the errors which would be likely to happen -from the want of acquaintance with those principles, -this design was produced. It was afterwards given to -<i>Kirby</i>, who dedicated Dr. <i>Brook Taylor's</i> Method of -Perspective to Mr. <i>Hogarth</i>. The above anecdote is -recorded on the authority of the gentleman already -mentioned. The plate, after the first quantity of -impressions had been taken from it, was retouched,<span class="pagenum"><a name="Page_334" id="Page_334">[Pg 334]</a></span> -but very little to its advantage. Mr. <i>S. Ireland</i> has -the original sketch.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_263" id="Footnote_1_263"></a><a href="#FNanchor_1_263"><span class="label">[1]</span></a> "This work is in quarto, containing 172 pages, and 51 -plates, in the whole; with a frontispiece designed and -drawn by Mr. <i>Hogarth</i>. 'Tis a humourous piece, shewing -the absurdities a person may be liable to, who attempts to -draw without having some knowledge in perspective. As -the production of that great genius, it is entertaining; -and, though abounding with the grossest absurdities possible, -may pass and please; otherwise I think it is a palpable insult -offered to common sense, and tacitly calling the artists -a parcel of egregious blockheads. There is not a finished -piece in the book, but the mason's yard and the landscapes; -so that I question if the whole of the plates were forty -pounds expence. It was first printed for himself at <i>Ipswich</i>, -dedicated to Mr. <i>Hogarth</i>, and published in the year 1754." -</p> -<p> -<i>Malton</i>, Appendix to Treatise on Perspective, p. 106.</p></div> - -<hr class="tb" /> - -<h4>1755.</h4> - - -<p>1. Four prints of an Election.<a name="FNanchor_1_264" id="FNanchor_1_264"></a><a href="#Footnote_1_264" class="fnanchor">[1]</a> These, by <i>Hogarth</i>, -came out at different times, <i>viz.</i> Plate I. -<i>Feb.</i> 24, 1755 (inscribed to the Right Hon. <i>Henry -Fox</i>); Plate II. <i>Feb.</i> 20, 1757, (to his Excellency -Sir <i>Charles Hanbury Williams</i>, Ambassador to the -Court of <i>Russia</i>); Plate III. <i>Feb.</i> 20, 1758, (to the -Hon. Sir <i>Edward Walpole</i>, Knight of the Bath); -Plate IV. <i>Jan.</i> 1, 1758, (to the Hon. <i>George Hay</i>,<a name="FNanchor_2_265" id="FNanchor_2_265"></a><a href="#Footnote_2_265" class="fnanchor">[2]</a> -one of the Lords Commissioners of the Admiralty).<span class="pagenum"><a name="Page_335" id="Page_335">[Pg 335]</a></span> -The original pictures are now in the possession of -Mrs. <i>Garrick</i>, at <i>Hampton</i>. The inscription on the -banner, "Give us our eleven days," alludes to the -alteration of the Style in 1752; in which year, from -the 2d to the 14th of <i>September</i>, eleven days were -not reckoned by act of parliament. In the election-dinner, -Mr. <i>Hogarth</i> assured the writer of this paragraph, -that there is but one at table intended for a -real portrait and that is the <i>Irish</i> gentleman [the -present Sir <i>John Parnell</i>, nephew to the poet, and -remarkable for a very flat nose], who is diverting the -company by a face drawn with a burnt cork upon -the back of his hand, while he is supposed to be -singing—<i>An old woman cloathed in grey</i>. This gentleman -(then an eminent attorney) begged it as a -favour; declaring, at the same time, he was so generally -known, that the introduction of his face -would be of service to our artist in the sale of his -prints at <i>Dublin</i>. Notwithstanding <i>Hogarth's</i> assertion, -the handsome candidate is pronounced to be -the late <i>Thomas Potter</i>, esq. and the effigy, seen -through the window, with the words "<i>No Jews</i>" -about its neck, to be meant for the late Duke of -<i>Newcastle</i>. Of yet another real personage we receive -notice, from a pamphlet intituled "The last Blow, -or an unanswerable vindication of the Society of -<i>Exeter College</i>, in reply to the Vice-chancellor Dr. -<i>King</i>, and the writers of <i>The London Evening Post</i>." -4to. 1755. p. 21.—"The next character, to whose -merits we would do justice, is the Rev. Dr. <i>C—ff—t</i><span class="pagenum"><a name="Page_336" id="Page_336">[Pg 336]</a></span> -<i>(Cofferat)</i>. 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 <i>Hogarth</i> -has undertaken that task. In the print of an -Election Entertainment, the publick 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 alderman at -<i>Guildhall</i> 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 Mr. <i>Hogarth</i> 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 <i>Tully</i> and Dr. <i>King</i>, concerning -liberty and our country) as the genius of mild -ale alone could inspire, this fellow alone could deliver."—The -very paper of tobacco, inscribed -"<i>Kirton's</i> Best," has its peculiar significance. This -man was a tobacconist by St. <i>Dunstan's</i> Church in -<i>Fleet-street</i>, and ruined his health and constitution, as -well as impaired his circumstances, by being busy -in the <i>Oxfordshire</i> election of 1754. Plate II. In the -painted cloth depending from the sign-post, the<span class="pagenum"><a name="Page_337" id="Page_337">[Pg 337]</a></span> -height of <i>The Treasury</i> is contrasted with the squat -solidity of <i>The Horse-Guards</i>, where the arch is so -low, that the state-coachman cannot pass through it -with his head on; and the turret on the top is so -drawn as to resemble a beer-barrel. <i>Ware</i> the architect -very gravely remarked, on this occasion, that the -chief defect would have been sufficiently pointed out -by making the coachman only stoop. He was hurt -by <i>Hogarth's</i> stroke of satire. Money is likewise -thrown from <i>The Treasury</i> windows, to be put into -a waggon, and carried into the country. <i>George -Alexander Stevens</i>, in his celebrated "Lecture on -Heads," exhibited the man with a pot of beer, -explaining, with pieces of a tobacco-pipe, how -<i>Porto Bello</i> was taken with six ships only. In Plate -III. Dr. <i>Shebbeare</i>, with fetters on, is prompting -the idiot; and in Plate IV. the old Duke of <i>Newcastle</i> -appears at a window. A happy parody in the -last of these plates may, perhaps, have escaped the -notice of common observers. <i>Le Brun</i>, in his battle -of the <i>Granicus</i>, has represented an eagle hovering -above the laurel'd helmet of <i>Alexander. Hogarth</i> has -painted a goose flying over the periwig'd head of the -successful candidate. During the contested <i>Oxfordshire</i> -election in 1754, an outrageous mob in the Old -Interest had surrounded a post-chaise, and was about -to throw it into the river; when Captain <i>T——</i>, -within-side, shot a chimney-sweeper who was most -active in the assault. The captain was tried and acquitted. -To this fact <i>Hogarth</i> is supposed to allude<span class="pagenum"><a name="Page_338" id="Page_338">[Pg 338]</a></span> -in the Monkey riding on the Bear, with a cockade -in his hat, and a carbine by his side, which goes off -and kills the little sweep, who has clambered up on -the wall. The member chaired is said to bear more -than an accidental resemblance to Mr. <i>Dodington</i>, -afterwards Lord <i>Melcombe</i>.</p> - -<p>In 1759 appeared "A Poetical Description of -Mr. <i>Hogarth's</i> Election Prints,<a name="FNanchor_3_266" id="FNanchor_3_266"></a><a href="#Footnote_3_266" class="fnanchor">[3]</a> in four Cantos. -Written under Mr. <i>Hogarth's</i> sanction and inspection," -which I shall with the less scruple transcribe -at large below,<a name="FNanchor_4_267" id="FNanchor_4_267"></a><a href="#Footnote_4_267" class="fnanchor">[4]</a> as it was originally introduced by<span class="pagenum"><a name="Page_339" id="Page_339">[Pg 339]</a></span> -the following remarkable advertisement, dated <i>Cheapside, -March</i> 1, 1759. "For the satisfaction of the<span class="pagenum"><a name="Page_340" id="Page_340">[Pg 340]</a></span> -reader, and in justice to the concealed author, I -take the liberty, with the permission of Mr. <i>Hogarth</i>, -to insert in this manner that gentleman's<span class="pagenum"><a name="Page_341" id="Page_341">[Pg 341]</a></span> -opinion of the following Cantos, which is, 'That -the thoughts entirely coincide with his own; that<span class="pagenum"><a name="Page_342" id="Page_342">[Pg 342]</a></span> -there is a well-adapted vein of humour preserved -through the whole; and that, though some of his<span class="pagenum"><a name="Page_343" id="Page_343">[Pg 343]</a></span> -works have been formerly explained by other -hands, yet none ever gave him so much satisfaction -as the present performance.' <span class="smcap">John Smith</span>."</p> - -<p><span class="pagenum"><a name="Page_344" id="Page_344">[Pg 344]</a></span></p> - -<p>In the second state of the first of these plates -few variations are discoverable. The perspective in<span class="pagenum"><a name="Page_345" id="Page_345">[Pg 345]</a></span> -the oval over the stag's horns is improved. A shadow -on the wainscot, proceeding from a supposed window<span class="pagenum"><a name="Page_346" id="Page_346">[Pg 346]</a></span> -on the left side, is effaced; the hand of the -beldam kissing the young candidate, is removed from<span class="pagenum"><a name="Page_347" id="Page_347">[Pg 347]</a></span> -under her apron, and now dangles by her side: a -saltseller is likewise missing from the table. In the<span class="pagenum"><a name="Page_348" id="Page_348">[Pg 348]</a></span> -first impression also, the butcher who is pouring gin -on the broken head of another man, has <i>For our</i><span class="pagenum"><a name="Page_349" id="Page_349">[Pg 349]</a></span> -<i>Country</i> on his cockade; in the second we find <i>Pro -Patria</i> in its stead. The lemons and oranges that<span class="pagenum"><a name="Page_350" id="Page_350">[Pg 350]</a></span> -once lay on a paper, by the tub in which the boy is -making punch, are taken away; because <i>Hogarth</i>,<span class="pagenum"><a name="Page_351" id="Page_351">[Pg 351]</a></span> -in all probability, had been informed that vitriol, or -cream of tartar, is commonly used, instead of vegetable<span class="pagenum"><a name="Page_352" id="Page_352">[Pg 352]</a></span> -acids, when a great quantity of such liquor is -prepared at public houses on public occasions. In<span class="pagenum"><a name="Page_353" id="Page_353">[Pg 353]</a></span> -the third impression a hat is added to those before on -the ground, and another on the bench. The whole<span class="pagenum"><a name="Page_354" id="Page_354">[Pg 354]</a></span> -plate has also lost much of its former clearness. The -original inscription at one corner of it was—"Painted,<span class="pagenum"><a name="Page_355" id="Page_355">[Pg 355]</a></span> -and <i>the whole</i> engraved by <i>Wm. Hogarth</i>."<a name="FNanchor_5_275" id="FNanchor_5_275"></a><a href="#Footnote_5_275" class="fnanchor">[5]</a> The -two Words in <i>Italicks</i> were afterwards effaced.</p> - -<p><span class="pagenum"><a name="Page_356" id="Page_356">[Pg 356]</a></span></p> - -<p>I may here observe, that this performance, in its -original state, is by far the most finished and laborious<span class="pagenum"><a name="Page_357" id="Page_357">[Pg 357]</a></span> -of all <i>Hogarth's</i> engravings. Having been two years -on sale (from 1755 to 1757) it was considerably<span class="pagenum"><a name="Page_358" id="Page_358">[Pg 358]</a></span> -worn before the publication of Plate the second; -and was afterwards touched and retouched till almost<span class="pagenum"><a name="Page_359" id="Page_359">[Pg 359]</a></span> -all the original and finer traces of the burin -were either obliterated or covered by succeeding ones.<span class="pagenum"><a name="Page_360" id="Page_360">[Pg 360]</a></span> -In short, there is the same difference between the -earliest and latest impressions, as there was between -the first and second state of Sir <i>John Cutler's</i> stockings, -which, by frequent mending, from silk degenerated -into worsted.</p> - -<p><span class="pagenum"><a name="Page_361" id="Page_361">[Pg 361]</a></span></p> - -<p>I learn also, on the best authority, that our artist, -who was always fond of trying to do what no man -had ventured to do before him, resolved to finish -this plate without taking a single proof from it as he -proceeded in his operation. The consequence of -his temerity was, that he almost spoiled his performance. -When he discovered his folly, he raved, -stamped, and swore he was ruined, nor could be prevailed -on to think otherwise, till his passion subsided, -and a brother artist assisted him in his efforts to remedy -the general defect occasioned by such an attempt -to perform an impossibility.</p> - -<p>In Plate II. we meet with a fresh proof of our -artist's inattention to orthography; <i>Party-tool</i> (used -as a proper name) being here spelt parti-tool. This -plate was engraved by <i>C. Grignion</i>, and has been retouched, -as the upper-row of the lion's teeth are -quite obliterated in the second impression.</p> - -<p>Plate III. The militia (or, as <i>Hogarth</i> spells it, -milicia) bill appearing out of the pocket of the -maimed voter, is only found in the second impression. -This print was engraved by <i>Hogarth</i> and <i>Le Cave</i>.<a name="FNanchor_6_276" id="FNanchor_6_276"></a><a href="#Footnote_6_276" class="fnanchor">[6]</a></p> - -<p>The dead man, whom they are bringing up as a<span class="pagenum"><a name="Page_362" id="Page_362">[Pg 362]</a></span> -voter, alludes to an event of the same kind that -happened during the contested election between <i>Bosworth</i> -and <i>Selwyn</i>. "Why," says one of the clerks, -"you have brought us here a dead man."—"Dead!" -cries the bringer; "dead as you suppose him, you -shall soon hear him vote for <i>Bosworth</i>." On this, -a thump was given to the body, which, being full of -wind, emitted a sound that was immediately affirmed -to be a distinct, audible, and good vote for the candidate -already mentioned.—This circumstance, however, -might have reference to the behaviour of the -late Dr. <i>Barrowby</i>, who persuaded a dying patient -he was so much better, that he might venture with -him in his chariot to go and poll for Sir <i>George -Vandeput</i> in <i>Covent-Garden</i>. The unhappy voter -took his physician's advice, but expired in an hour -after his return from the hustings. "If <i>Hogarth</i>," -says Mr. <i>Walpole</i>, "had an emblematic thought, he -expressed it with wit, rather than by a symbol. -Such is that of the whore setting fire to the world -in <i>The Rake's Progress</i>. Once indeed he descended -to use an allegoric personage, and was not happy -in it. In one of his Election prints [plate III.] -<i>Britannia's</i> chariot breaks down, while the coachman -and footman are playing at cards on the -box."</p> - -<p>In the second impressions of Plate IV.<a name="FNanchor_7_277" id="FNanchor_7_277"></a><a href="#Footnote_7_277" class="fnanchor">[7]</a> (which was<span class="pagenum"><a name="Page_363" id="Page_363">[Pg 363]</a></span> -engraved by <i>W. Hogarth</i> and <i>F. Aviline</i>) the shadow -on the sun-dial, denoting the hour, and the word -indintur (commonly spelt indenture) on the scroll -hanging out at the attorney's window, are both -added. The fire from the gun is also continued -farther; the bars of the church-gate are darkened; -and the upper sprigs of a tree, which were bare at -first, are covered with leaves.</p> - -<p>By these marks, the unskilful purchaser may distinguish -the early from the later impressions. I forbear -therefore to dwell on more minute variations. -The ruined house adjoining to the attorney's, intimating -that nothing can thrive in the neighbourhood -of such vermin, is a stroke of satire that should -not be overlooked.</p> - -<p>The publick were so impatient for this set of -prints, that <i>Hogarth</i> was perpetually hastening his -coadjutors, changing some, and quarrelling with -others. Three of the plates therefore were slightly -executed, and soon needed the reparations they have -since received.</p> - -<p>The following curious address appeared in the -<i>Public Advertiser</i> of <i>Feb.</i> 28, 1757.</p> - -<p>"Mr. <i>Hogarth</i> is obliged to inform the subscribers -to his Election Prints, that the three last cannot be -published till about <i>Christmas</i> 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<span class="pagenum"><a name="Page_364" id="Page_364">[Pg 364]</a></span> -on the indulgence of the public by encreasing -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<a name="FNanchor_8_278" id="FNanchor_8_278"></a><a href="#Footnote_8_278" class="fnanchor">[8]</a> have lately been -published in his name.</p> - -<p>"All Mr. <i>Hogarth's</i> engraved works are to be had -at his house in <i>Leicester-fields</i>, separate or together; -as also his Analysis of Beauty, in 4to. with two -explanatory prints, price 15<i>s.</i> With which will -be delivered gratis, an eighteen-penny pamphlet -published by <i>A. Miller</i>, called <i>The Investigator</i>, -written in opposition to the principles laid down -in the above Analysis of Beauty, by <i>A. R.</i>,<a name="FNanchor_9_279" id="FNanchor_9_279"></a><a href="#Footnote_9_279" class="fnanchor">[9]</a> a -friend to Mr. <i>Hogarth</i>, an eminent portrait-painter -now of <i>Rome</i>."</p> - -<p>The foregoing advertisement appears to have been -written during the influence of a fit of spleen or disappointment, -for nothing else could have dictated to -our artist so absurd a resolution as that of quitting a -walk he had trod without a rival, to re-enter another -in which he had by no means distinguished himself -from the herd of common painters.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_264" id="Footnote_1_264"></a><a href="#FNanchor_1_264"><span class="label">[1]</span></a> I learn from <i>The Grub-street Journal</i> for <i>June</i> 13, 1734, -that the same subject had been attempted by an earlier hand, -under the title of <i>The Humours of a Country Election</i>. The description -of some of the compartments of this work (which I -have not seen) bears particular resemblance to the scenes represented -by <i>Hogarth</i>. "The candidates very complaisant to a -<i>Country Clown</i>, &c."—"The candidates making an entertainment -for the electors and their wives.—At the upper -end of the table the <i>Parson</i> of the Parish, &c."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_265" id="Footnote_2_265"></a><a href="#FNanchor_2_265"><span class="label">[2]</span></a> The intimate friend of <i>Hogarth</i>, at that time a Commissioner -of the Admiralty; afterwards Sir <i>George Hay</i>, knight, -Dean of the Arches, Judge of the Prerogative Court, and -also of the High Court of Admiralty, who died <i>October</i> 6, -1778, aged 63. He was possessed of several of <i>Hogarth's</i> -paintings, which are now the property of Mr. <i>Edwards</i>, and -have been mentioned in p. <a href="#Page_98">98</a>. Our honourable Judge has -the following character in a work of great authority. -</p> -<p> -On the trial of her Grace the Duchess of <i>Kingston</i>, for bigamy, -before the House of Lords, in <i>April</i> 1776, the present -Lord Chancellor <i>Thurlow</i> (then Attorney-General) thus speaks -of Sir <i>George</i> as a judge:—"The most loose and unconsidered -notion, escaping in any manner from that able and excellent -judge, should be received with respect, and certainly will; -if the question were my own, with the choice of my court, -I should refer it to his decision." State Trials, XI. 221.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_266" id="Footnote_3_266"></a><a href="#FNanchor_3_266"><span class="label">[3]</span></a> "Things unattempted yet in prose or rhime." <span class="smcap">Milton.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_267" id="Footnote_4_267"></a><a href="#FNanchor_4_267"><span class="label">[4]</span></a> -</p> -<blockquote><p> -<span style="margin-left: 2em;">CANTO I.</span><br /> -<span style="margin-left: 1em;"><i>The</i> <span class="smcap">Humours</span> <i>of an</i> <span class="smcap">Election Entertainment</span>.</span><br /> -Oh, born our wonder to engage!<br /> -<span class="smcap">Hogarth</span>, thou mirror of the age!<br /> -Permit a Bard, though screen'd his name,<br /> -To court the sanction of your fame;<br /> -Pursue your genius, taste, and art,<br /> -And knowledge of the human heart:<br /> -Just as your pencil, could my pen<br /> -But trace the various ways of men;<br /> -Express the tokens of the mind,<br /> -The humours, follies, of mankind;<br /> -Then might Thyself this verse regard,<br /> -Nor deem beneath the task the bard:<br /> -Yet, though unfit, perhaps unknown,<br /> -I supplicate thy aid alone:<br /> -Let others all the Nine inspire,<br /> -Do Thou, O <i>Hogarth</i>, tune my lyre!<br /> -Let o'er my thoughts thy spirit shine,<br /> -And thy vast fancy waken mine:<br /> -I feel the genuine influence now!<br /> -It glows!—my great <i>Apollo</i> Thou!<br /> -<br /> -The Writs are issued:—to the Town<br /> -The future Members hasten down;<br /> -The merry bells their welcome sound,<br /> -And mirth and jollity abound,<br /> -The gay retinue now comes in,<br /> -The crouds, with emulative din,<br /> -Proclaim th' arrival, rend the sky,<br /> -And <i>Court</i> and <i>Country's</i> all the cry.<br /> -Each joyous house, of free access,<br /> -For patriot plebeians, more or less,<br /> -Is now reveal'd, in printed bills;<br /> -So quacks contrive to vend their pills.<br /> -So <i>Bayes</i> makes Earth, and Sun, and Moon,<br /> -Discourse melodiously in tune;<br /> -And, full of wit and complaisance,<br /> -Cry, "First of all we'll have a dance!"<br /> -So at Elections 'tis discreet<br /> -Still first of all to have a treat;<br /> -The pulse of every man to try,<br /> -And learn what votes they needs must <i>buy</i>;<br /> -No freeman well can tell his side,<br /> -Unless his belly's satisfied.<br /> -<br /> -Behold the festive tables set,<br /> -The Candidates, the Voters met!<br /> -And lo, against the wainscot plac'd,<br /> -Th' escutcheon, with three guineas grac'd,<br /> -The motto and the crest explain,<br /> -Which way the gilded bait to gain.<br /> -There <i>William's</i> mangled portrait tells<br /> -What rage in party bosoms dwells;<br /> -And here the banner speaks the cry<br /> -For "Liberty and Loyalty."<br /> -While scratches dignify his face,<br /> -The tipsy Barber tells his case;<br /> -How well he for his Honour fought!<br /> -How many devilish knocks he got!<br /> -While, forc'd to carry on the joke,<br /> -The 'Squire's just blinded with the smoke;<br /> -And gives his hand (for all are free)<br /> -To one that's cunninger than he:<br /> -With smart cockade, and waggish laugh,<br /> -He thinks himself more wise by half.<br /> -See <i>Crispin</i>, and his blouzy <i>Kate</i>,<br /> -Attack the other Candidate!<br /> -What joy he feels her head to lug!<br /> -"Well done, my <i>Katy!</i> coaxing pug!"<br /> -But who is this pray?—<i>Abel Squatt</i>—<br /> -What has the honest Quaker got?<br /> -Why, presents for each voter's lady,<br /> -To make their interest sure and steady:<br /> -For right and well their Honours know<br /> -What things the Petticoat can do.<br /> -Discordant sounds now grate the ear,<br /> -For music's hir'd to raise the cheer;<br /> -And fiddling <i>Nan</i> brisk scrapes her strings,<br /> -While <i>Thrumbo's</i> bass loud echoing rings,<br /> -And <i>Sawney's</i> bagpipes squeaking trill<br /> -"God save the King," or what you will.<br /> -Music can charm the savage breast,<br /> -And lull the fiercest rage to rest;<br /> -But <i>Sawney's</i> face bespeaks it plain,<br /> -That vermin don't regard the strain;<br /> -A creature, well to <i>Scotchmen</i> known,<br /> -Now nips him by the collar-bone:<br /> -Ah, luckless louse! in ambush lie,<br /> -Or, by St. <i>Andrew</i>, you must die!<br /> -<br /> -Ye vers'd in men and manners! tell<br /> -Why Parsons always eat so well!<br /> -Catch they the spirit from the Gown,<br /> -To cram so many plate-fulls down?<br /> -The feast is o'er with all the rest,<br /> -But Mayor and Parson still contest:<br /> -I'll hold a thousand!—Lay the bett—<br /> -The odds are on the Parson yet:<br /> -Huzza! the Black-gown wins the day!—<br /> -The Mayor with oysters dies away!—<a name="FNanchor_A_268" id="FNanchor_A_268"></a><a href="#Footnote_A_268" class="fnanchor">[A]</a><br /> -But softly, don't exult so fast,<br /> -His spirit's noble to the last;<br /> -His mouth still waters at the dish;<br /> -His hand still holds his favourite fish:<br /> -Bleed him the Barber-surgeon wou'd;<br /> -He breathes a vein, but where's the blood?<br /> -No more it flows its wonted pace,<br /> -And chilly dews spread o'er his face:<br /> -The Parson sweats; but be it told,<br /> -The sweat is more from heat than cold:<br /> -"Bring me the chafing-dish!" he cries;<br /> -'Tis brought; the savoury fumes arise:<br /> -"My last tit-bit's delicious so;<br /> -Can oysters vie with venison?"—No.<br /> -<br /> -Behold, through sympathy of face,<br /> -(In life a very common case)<br /> -His Lordship gives the fidler wine!<br /> -"Come, brother <i>Chinny!</i> yours and mine:"<br /> -And o'er a pretty girl confest,<br /> -The Alderman, see! toasts "the best."<br /> -Ye hearty cocks! who feel the gout,<br /> -Yet briskly push the glass about,<br /> -Observe, with crutch behind his chair,<br /> -Your honest brother <i>Chalkstone</i> there!<br /> -His phiz declares he seems to strain;<br /> -Perhaps the gravel gives him pain:<br /> -But be it either that or this,<br /> -One thing is certain—he's at * * * *,<br /> -A wag, the merriest in the town,<br /> -Whose face was never meant to frown,<br /> -See, at his straining makes a scoff!<br /> -And, singing, takes his features off;<br /> -While clowns, with joy and wonder, stare,<br /> -"Gad-zookers! <i>Roger</i>, look ye there!"<br /> -The busy Clerk the Taylor plies,<br /> -"Vote for his Honour, and be wise:<br /> -These yellow-boys are all your own!"<br /> -But he, with puritanic tone,<br /> -Cries, "<i>Satan!</i> take thy bribes from me;<br /> -Why this were downright perjury!"<br /> -His wife, with all-sufficient tongue,<br /> -For rage and scandal glibly hung,<br /> -Replies, "Thou blockhead! gold refuse,<br /> -When here's your child in want of shoes!"<br /> -<br /> -But hark! what uproar strikes the ear!<br /> -Th' opposing mob, incens'd, draw near:<br /> -Their waving tatter'd ensigns see!<br /> -Here "Liberty and Property:"<br /> -A label'd <i>Jew</i> up-lifted high;<br /> -There "Marry all, and multiply."<br /> -These, these, are patrotic scenes!<br /> -But not a man knows what he means.<br /> -The jordan drives their zeal to cool,<br /> -With added weight of three-legg'd stool;<br /> -But all in vain; and who can't eat,<br /> -Now sally out the foe to beat;<br /> -For glory be the battle try'd;<br /> -Huzza! my boys, the <i>yellow</i> side.<br /> -Observe the loyal work begin,<br /> -And stones and brick-bats enter in!<br /> -That knocks a rustic veteran down;<br /> -This cracks the Secretary's crown;<br /> -His minute-book, of special note,<br /> -For every sure, and doubtful vote,<br /> -Now tumbles; ink the table dyes,<br /> -And backward poor Pill-Garlick lies.<br /> -The Butcher, one who ne'er knew dread,<br /> -A Surgeon turns for t'other's head;<br /> -His own already broke and bound,<br /> -Yet with <i>pro patria</i> decked around.<br /> -Behold what wonders gin can do,<br /> -External and internal too!<br /> -He thinks a plaster but a jest;<br /> -All cure with what they like the best:<br /> -Pour'd on, it sooths the patient's pain;<br /> -Pour'd in, it makes him fight again.<br /> -His toes perchance pop out his shoe,<br /> -Yet he's a patriot through and through;<br /> -His lungs can for his party roar,<br /> -As loud as twenty men, or more.<br /> -Ye courtiers! give your <i>Broughton</i> praise;<br /> -The hero of your eleven days,<br /> -'Tis his to trim th'opposers round,<br /> -And bring their standard to the ground.<br /> -The waiting-boy, astonish'd, eyes<br /> -What gin the new-turn'd quack applies;<br /> -And fills a tub, that glorious punch<br /> -May make amends for blow and hunch.<br /> -But stop, my lad, put in no more,<br /> -For t'other side are near the door;<br /> -Nor will their conscience deem it sin,<br /> -To guzzle all, if once they're in.<br /> -<br /> -Reader, perhaps thy peaceful mind<br /> -Is not to noise or blood inclin'd;<br /> -Then, lest some hurt should happen quick,<br /> -For see a sword! and many a stick!<br /> -We'll leave this inn, with all my heart,<br /> -And hasten to the second part.<br /> -<br /> -<span style="margin-left: 2em;">CANTO II.</span><br /> -<span style="margin-left: 1em;"><span class="smcap">Canvassing</span> <i>for</i> <span class="smcap">Votes</span>.</span> -<br /> -Free'd from the madness of the throng,<br /> -Now, gentle Reader, come along;<br /> -A broken head's no clever joke—<br /> -Sir, welcome to <i>The Royal Oak</i>;<br /> -Together let us look about——<br /> -We'll find that Show-cloth's meaning out.<br /> -<br /> -Satire! 'tis thine, with keenest dart,<br /> -To shoot the follies of the heart;<br /> -And, issuing from the press or stage,<br /> -Reclaim the vain, the culprit age!<br /> -From <i>Rich's</i> dome, of grand renown,<br /> -To thatch-torn barn, in country town;<br /> -From <i>Garrick</i>, monarch of his art,<br /> -To <i>Punch</i>, so comical and smart;<br /> -Satire delights, in every sphere,<br /> -To make men laugh at what they <i>are</i>:<br /> -"Walk in, the only show in town;<br /> -<i>Punch</i> candidate for <i>Guzzle-down</i>!"<br /> -There see the pile, in modern taste,<br /> -On top with tub-like turret grac'd!<br /> -Where the cramp'd entrance, like some shed,<br /> -Knocks off the royal driver's head;<br /> -Lives there a Wit but what will cry,<br /> -"An arch so <i>low</i> is mighty <i>high</i>!"<br /> -See from the Treasury flows the gold,<br /> -To shew that those who're <i>bought</i> are <i>sold</i>!<br /> -Come, Perjury, meet it on the road,<br /> -'Tis all your own; a waggon-load.<br /> -Ye party-tools, ye courtier-tribe,<br /> -Who gain no vote without a bribe,<br /> -Lavishly kind, yet insincere,<br /> -Behold in <i>Punch</i> yourselves appear!<br /> -And you, ye fools, who poll for pay,<br /> -Ye little great men of a day;<br /> -For whom your favourite will not care,<br /> -Observe how much bewitch'd you are!<br /> -<br /> -Yet hush!—for see his Honour near;—<br /> -Truly, a pretty amorous leer:<br /> -The ladies both look pleasant too;<br /> -"Purchase some trinkets of the <i>Jew</i>."<br /> -One points to what she'd have him buy;<br /> -The other casts a longing eye;<br /> -And <i>Shylock</i>, money-loving soul,<br /> -Impatient waits to touch the cole:<br /> -But here's a Porter; what's the news?—<br /> -Ha, ha, a load of billet-doux!<br /> -Humbly to sue th' Electors' favour,<br /> -With vows of <i>Cato</i>-like behaviour;<br /> -And how the Borough he'll espouse,<br /> -When once a Member of the House:<br /> -Though wiser folks will lay a bet,<br /> -His promises he'll then forget.<br /> -But pray your Honour condescend<br /> -An eye on kneeling <i>Will</i> to lend;<br /> -Grant to the fair the toys they chuse,<br /> -And what the letter says, peruse:<br /> -"To <i>Timothy Parti-tool</i>, Esquire."—<br /> -Your title may in time be higher.<br /> -<br /> -Ha, who stands here?—'Tis Farmer <i>Rye</i>,<br /> -A man of cunning, by the bye;<br /> -In times like this a mighty stirrer,—<br /> -Of some small interest in the Borough.<br /> -Which side? you ask—the question's well,<br /> -But more, as yet, than he can tell.<br /> -The <i>hosts</i> of either party try;<br /> -To both he casts a <i>knowing</i> eye.<br /> -"Sir, I'm commission'd by the 'Squire—<br /> -Your company they all desire:<br /> -My house contains near half the town—<br /> -'Tis just at hand, Sir;—'tis <i>The Crown.</i>"<br /> -Then t'other cries, "Sure I first spoke—<br /> -This inn is mine!—<i>The Royal Oak—</i><br /> -Sir, here's his Honour's invitation;<br /> -The greatest Patriot in the nation."<br /> -<br /> -Which party shall the voter take,<br /> -Since both the same pretentions make?<br /> -The same?—sure not—for see each hand!<br /> -Aye, now he seems to understand:<br /> -<i>The Crown</i> Host fees him o'er his arm;<br /> -But t'other tips the stronger charm.<br /> -One, two, three, four—the jobb is done—<br /> -Troth, cunning <i>Fatty</i>, you have won;<br /> -Success in that sly glance is shown;<br /> -The honest Farmer's all your own:<br /> -But don't exult; for, being loth<br /> -To disoblige, he takes from both.<br /> -<br /> -Oh, <i>Britain</i>! favourite Isle of Heaven,<br /> -When to thy Sons shall Peace be given?<br /> -The treachery of the <i>Gallic</i> shore<br /> -Makes even thy wooden lions roar.<br /> -That royal beast, who many a league<br /> -At sea hath sail'd with vengeance big!<br /> -And oft has scar'd the hostile coast,<br /> -Tho' fix'd in <i>Inn-Yard</i>, like a post,<br /> -Still keeps his furious power in use;<br /> -Devouring of the <i>Flower-de-luce</i>.<br /> -How certain those expanded paws!<br /> -How dreadful those extended jaws!<br /> -Behind him sits the Hostess fair,<br /> -Counting her cash with earned care;<br /> -While at the door the Grenadier<br /> -Inspects her with a cunning leer;<br /> -As who should say, "When we're alone,<br /> -Some part of that will be my own!"<br /> -<br /> -But who are those two in the Bar?<br /> -Guttlers I fancy—that they are;<br /> -The fowl to Him's a noble feast;<br /> -He sure makes mouths, to mock the beast;<br /> -And t'other hopes to find relief,<br /> -By eating half the round of beef.<br /> -<br /> -From <i>George</i>, who wears the <i>British</i> crown,<br /> -To the remotest country clown,<br /> -The love of politics extends,<br /> -And oft makes foes of nearest friends.<br /> -The Cobler and the Barber there,<br /> -That born to frown, and this to stare,<br /> -Both positive, you need not doubt,<br /> -Will argue till they both fall out.<br /> -<br /> -"Well," says the Tonsor, "now we'll try,<br /> -Who's in the right, yourself or I:<br /> -One moment let your tongue be still,<br /> -Or else be judg'd by <i>Johnny Hill:<br /> -Vernon</i> he thought a glorious fellow,<br /> -Which made him put up <i>Porto Bello</i>.<br /> -I'll teach you reason, if I can—<br /> -I should though shave the Gentleman;<br /> -But never mind it, let him wait;—<br /> -These bits of pipe the case shall state"—<br /> -<br /> -"Drink," cries the Cobler, "I'm adry;<br /> -Pshaw, damn your nonsense, what care I?<br /> -I told you first, and all along,<br /> -I'll lay this cole you're in the wrong;<br /> -I hope his worship will excuse,<br /> -I should, though, carry home his shoes."<br /> -<br /> -"Well, well," the Barber makes reply,<br /> -"Election-time puts business by:<br /> -Only six ships our Admiral had;<br /> -A very slender force, egad;<br /> -What then? our dumplings gave them sport:—<br /> -Here stood one castle; there the fort."—<br /> -<br /> -"'Sblood," cries the Cobler, "go to school,<br /> -You half-learn'd, half-starv'd, silly fool!<br /> -I tell you, Barber, 'tis not true;<br /> -Sure I can see as much as you."<br /> -<br /> -But hark, what noise our ears assails!<br /> -A distant, loud huzza, prevails;<br /> -Ha, ha, they're at their wonted sport;<br /> -That was a gun, by the report:<br /> -Behold the rabble at <i>The Crown</i>!<br /> -"Damn, damn, th' Excise; we'll have it down."<br /> -And all the while, poor simple elves,<br /> -They little think 'twill crush themselves.<br /> -Danger again may wait our stay,<br /> -So, courteous Reader, come away.<br /> -<br /> -<span style="margin-left: 2em;">CANTO III.</span><br /> -<span style="margin-left: 1em;"><span class="smcap">Polling</span> <i>at the</i> <span class="smcap">Hustings</span>.</span><br /> -<i>Swift</i>, reverend wag, <i>Ierne's</i> pride,<br /> -Who lov'd the comic rein to guide,<br /> -Has told us, "Gaolers, when they please,<br /> -Let out their flock, to rob for fees."<br /> -From this sage hint, in needful cases,<br /> -The wights, who govern other places,<br /> -Let out their crew, for private ends,<br /> -<i>Ergo</i>, to serve themselves and friends.<br /> -Behold, here gloriously inclin'd,<br /> -The Sick, and Lame, the Halt, and Blind!<br /> -From Workhouse, Gaol, and Hospital,<br /> -Submiss they come, true Patriots all!<br /> -<br /> -But let's get nearer, while we stay,—<br /> -Good Master Constable, make way!<br /> -"Hoi! keep the passage clear and fair;—<br /> -I'll break your shins!—stand backward there;<br /> -What! won't you let the Pollers come:"—<br /> -Reader, they think us so—but <i>mum</i>.<br /> -<br /> -Now praise and prejudice expand,<br /> -In printed bills, from hand to hand;<br /> -One tells, the 'Squire's a man of worth;<br /> -Generous and noble from his birth:<br /> -Another plainly makes appear,<br /> -"Some circumstance, in such a year."<br /> -The voice of Scandal's sure to wait,<br /> -Or true, or false, each Candidate.<br /> -Observe the waving flags applied,<br /> -To let Free-holders know their side!<br /> -Hark, at each vote exult the crew!<br /> -"<i>Yellow!</i> Huzza!—Huzza! the <i>Blue!</i>"<br /> -<br /> -Whoe'er has walk'd through <i>Chelsea</i> town,<br /> -Which Buns and Charity renown,<br /> -Has many a College Veteran seen,<br /> -With scar-seam'd face, and batter'd mien,<br /> -But here's a theme for future story!<br /> -Survey that Son of <i>Mars</i> before ye!<br /> -Was ever Pensioner like him?—<br /> -What, almost robb'd of every limb!<br /> -Only one arm, one leg, one thigh;<br /> -Gods! was that man design'd to die?<br /> -Inspect his ancient, war-like face!<br /> -See, with what surly, manly grace,<br /> -He gives the Clerk to understand<br /> -His meaning, with his wooden hand!<br /> -Perhaps in <i>Anna's</i> glorious days,<br /> -His courage gain'd immortal praise:<br /> -<i>Britons</i>, a people brave and rough,<br /> -That time lov'd fighting well enough;<br /> -And, glad their native land to aid,<br /> -Leg-making was a thriving trade;<br /> -But now we from ourselves depart,<br /> -And war's conducted with new art;<br /> -Our Admirals, Generals, learn to run,<br /> -And Leg-makers are all undone.<br /> -Still he's an open, hearty blade,<br /> -Pleas'd with his sword, and gay cockade:<br /> -Unbrib'd he votes; and 'tis his pride;<br /> -He always chose the honest side.<br /> -You think he seems of man but half,<br /> -But, witty Clerk, suppress your laugh;<br /> -His heart is in its usual place,<br /> -And that same hook may claw your face.<br /> -How learnedly that Lawyer pleads!<br /> -"A vote like this, Sir, ne'er succeeds;<br /> -The naked hand should touch the book;<br /> -Observe h'as only got a hook."<br /> -"Sir," cries the other, "that's his hand;"<br /> -(Quibbles, like you, I understand)<br /> -"And be it either flesh or wood,<br /> -By Heavens! his vote is very good."<br /> -Wise Counsellor! you reason right,<br /> -You'll gain undoubted credit by't;<br /> -But please to turn your head about,<br /> -And find that Idiot's meaning out;<br /> -Dismiss the Whisperer from his chair,<br /> -'Tis quite illegal, quite unfair;<br /> -Though shackles on his legs are hung,<br /> -Those shackles can't confine his tongue;<br /> -Methinks I hear him tell the Nisey,<br /> -"Be sure to vote as I advise ye;<br /> -My writings shew I'm always right;<br /> -The nation sinks; we're ruin'd quite<br /> -<i>America's</i> entirely lost;<br /> -The <i>French</i> invade our native coast;<br /> -Our Ministers won't keep us free;—-<br /> -You know all this as well as me.<br /> -All men of parts are out of place;<br /> -'Tis mine, 'tis many a wise man's case;<br /> -And though so <i>Cato</i>-like I write,<br /> -I ne'er shall get a farthing by't."<br /> -Good Clerk, dispatch them quick, I pray:<br /> -How easy fools are led astray!<br /> -He thinks th' insinuation's true,<br /> -As all the race of Idiots do.<br /> -But who comes here? Ha, one just dead,<br /> -Ravish'd from out th' infirmary's bed;<br /> -Through racking follies sad and sick,<br /> -Yet to the cause he'll ever stick;<br /> -Tie the groat favour on his cap,<br /> -And die True Blue, whate'er may hap.<br /> -<br /> -Oh, Vice! through life extends thy reign:<br /> -When Custom fixes thy domain,<br /> -Not <i>Wesley's</i> cant, nor <i>Whitfield's</i> art,<br /> -Can chace thee from th' envelop'd heart!<br /> -Behold that wretch! whom <i>Venus</i> knows<br /> -Has in her revels lost his nose;<br /> -Still with that season'd Nurse he toys;<br /> -As erst indulges sensual joys;<br /> -Can drink, and crack a bawdy joke,<br /> -And still can quid, as well as smoke.<br /> -But, Nurse, don't smile so in his face;<br /> -Sure this is not a proper place;<br /> -Take from your duggs his hand away,<br /> -And mind your sick-charge better, pray;<br /> -Consider, if his faithful side<br /> -Should hear that in their cause he died,<br /> -They'd be so much enrag'd, I vow,<br /> -They'd punish you!—the Lord knows how.<br /> -Beside, you take up too much room,<br /> -That boy-led Blind-man wants to come;<br /> -And 'scap'd from wars, and foreign clutches,<br /> -An Invalid's behind on crutches.<br /> -<br /> -The man whose fortune suits his wish,<br /> -A glutton at each favourite dish;<br /> -Who, when o'er venison, ne'er will spare it,<br /> -And washes down some rounds with claret;<br /> -That man will have a portly belly,<br /> -And be of consequence, they tell ye;<br /> -Grandeur shall 'tend his air and gait,<br /> -And make him like—that Candidate:<br /> -Observe him on the hustings sit!<br /> -Fatigu'd, he sweats, or seems to sweat;<br /> -Scratching his pate, with shook-back wig,<br /> -And puffs, and blows, extremely big:<br /> -Perhaps that paper hints about<br /> -Votes, whose legality's a doubt;<br /> -And will by scrutiny be try'd,<br /> -Unless they're on the proper side.<br /> -Stiff as if <i>Rackstraw</i>,<a name="FNanchor_B_269" id="FNanchor_B_269"></a><a href="#Footnote_B_269" class="fnanchor">[B]</a> fam'd for skill,<br /> -For genius, taste, or what you will,<br /> -With temper'd plaister, stood in haste,<br /> -From his set face to form the cast;<br /> -Resting on oak-stick stedfastly,<br /> -The other would-be Member see!<br /> -Struck with his look, so fix'd and stout,<br /> -That Wag resolves to sketch it out;<br /> -Laughing, they view the pencil'd phiz.—<br /> -"'Tis very like him—that it is."<br /> -Hark to yon hawker with her songs!<br /> -"The Gallows shall redress our wrongs!"<br /> -I warrant, wrote in humourous style;<br /> -The hearers laugh; the readers smile.<br /> -And lo, although so thick the rout,<br /> -They've room to push the glass about!<br /> -Variety her province keeps;<br /> -One Beadle watches; t'other sleeps.<br /> -<br /> -But see that chariot! who rides there?<br /> -<i>Britannia</i>, Sir, a lady fair:<br /> -To her celestial charms are given;<br /> -Ador'd on earth, beloved in heaven;<br /> -Her frown makes nations dread a fall;<br /> -Her smile gives joy and life to all.<br /> -Too generous, merciful, and kind;<br /> -Her Servants won't their duty mind;<br /> -Neither their Mistress' call regards;<br /> -Their study's how to cheat at cards;<br /> -The reins of power, oh, indiscreet!<br /> -They trample, careless, under feet;<br /> -Th' unguided coursers neigh and spurn,<br /> -And ah, the car must overturn!<br /> -Just gods, forbid!—there's comfort yet!<br /> -For, lo, how near that saving <span class="smcap">Pitt</span>!<br /> -Sure Heaven design'd her that resource,<br /> -To stop her venal servants course;<br /> -Her peace and safety to restore,<br /> -And keep from dangers evermore.<br /> -<br /> -Ha! see, yon distant cavalcade!<br /> -Exulting crowds, and flags display'd!<br /> -Let's to the bridge our foot-steps bend—<br /> -So cheek by jole, along, my friend.<br /> -<br /> -<span style="margin-left: 2em;">CANTO IV.</span><br /> -<span style="margin-left: 1em;"><span class="smcap">Chairing</span> <i>the</i> <span class="smcap">Members</span>.</span><br /> -"Huzza! the Country! not the Court!"—.<br /> -Your Honour can't have better sport;<br /> -In old arm-chair aloft you soar—<br /> -No Candidate can wish for more.<br /> -Th' election's got, the day's your own,<br /> -And be to all their member known!<br /> -<br /> -Ye Moths of an exalted size!<br /> -Ye sage Historians, learn'd and wise!<br /> -Who pore on leaves of old tradition;<br /> -Vers'd in each prætor exhibition;<br /> -Tell me if, 'midst the spoils of age,<br /> -And relicks of the moulder'd page,<br /> -You e'er found why this aukward state<br /> -Must 'tend the man who'd fain be great!<br /> -When <i>Alexander</i>, Glory's son,<br /> -Enter'd in triumph <i>Babylon</i>,<br /> -Hear ancient annals make confession,<br /> -How aggrandiz'd was his procession!<br /> -But this is <i>Skymington</i>, I trow!——<br /> -Yet Time proclaims <i>We must</i><a name="FNanchor_C_270" id="FNanchor_C_270"></a><a href="#Footnote_C_270" class="fnanchor">[C]</a> do so.<br /> -It sure was meant to make folks stare,<br /> -"Like cloths hung out at country fair:<br /> -Where painted monsters rage and grin,<br /> -To draw the gaping bumpkins in."<a name="FNanchor_D_271" id="FNanchor_D_271"></a><a href="#Footnote_D_271" class="fnanchor">[D]</a><br /> -<i>Minerva's</i> sacred bird's an owl;<br /> -Our candidate's, behold, a fowl!<br /> -From which we readily suppose<br /> -(As now his generous Honour's chose)<br /> -His voice he'll in the Senate use;<br /> -And cackle, cackle, like—a goose.<br /> -<br /> -But, hark ye! you who bear this load<br /> -Of patriot worth along the road,<br /> -Methinks you make his Honour lean;<br /> -Be careful, Sirs!—Zounds! what d' ye mean?<br /> -Off flies his hat, back leans his chair,<br /> -And dread of falling makes him stare.<br /> -His Lady, fond to see him ride,<br /> -With Nurse and <i>Black-moor</i> at her side,<br /> -In church-yard stands to view the sight,<br /> -And at his danger's in a fright.<br /> -"Alack, alack, she faints away!"<br /> -"The hartshorn, <i>Ora</i>—quick, I say!"<br /> -See, at yon house th' opposing party<br /> -Enjoy the joke, with laughter hearty!<br /> -"Well done, my boys—now let him fall;<br /> -Here's gin and porter for you all!"<br /> -<br /> -But let's find whence this came about:<br /> -Ha, lo, that Thresher bold and stout!<br /> -How, like a hero, void of dread,<br /> -He aims to crack that sailor's head!<br /> -While, with the purchase of the stroke,<br /> -Behind, the bearer's pate is broke:<br /> -The sailor too resolves to drub,<br /> -Wrathful he sways the ponderous club;<br /> -Who to stir up his rage shall dare?<br /> -He'll fight for ever—for his Bear.<br /> -<br /> -Sir <i>Hudibras</i> agreed, Bear-baiting<br /> -Was carnal, and of man's creating;<br /> -But, had he like that Thresher done,<br /> -I'll hold a wager, ten to one,<br /> -His knighthood had not kept him safe;<br /> -That Tar had trimm'd both him and <i>Ralph</i>.<br /> -<br /> -In fighting <i>George's</i> glorious battles,<br /> -To save our liberties and chattels;<br /> -Commanded by some former <i>Howe</i>,<br /> -Ordain'd to make proud <i>Gallia</i> bow,<br /> -A cannon-ball took off his leg:<br /> -What then? he scorns, like some, to beg;<br /> -That muzzled beast is taught to dance,<br /> -That Ape to ape the beaux of <i>France</i>;<br /> -The countryfolks admire the sport,<br /> -And small collections pay him for't.<br /> -Sailors and Soldiers ne'er agree;—<br /> -There's difference twixt the Land and Sea;<br /> -He, willing not a jest shall 'scape,<br /> -In uniform riggs out his Ape:—<br /> -From which we reasonably infer<br /> -An Ape may be an Officer.<br /> -But, hey-day! more disasters still?<br /> -Turn quick thy head, bold sailor <i>Will</i>.<br /> -In vain that fellow, on his Ass,<br /> -Attempts to Hogs at home to pass,<br /> -The hungry Bear, who thinks no crime<br /> -To feast on guts at any time,<br /> -Arrests the garbage in the tub,<br /> -And with his snout begins to grub.<br /> -Pray is it friendly, honest brother,<br /> -That one Ass thus should ride another?<br /> -The beast seems wearied with his toil,<br /> -And, like the bear, would munch a while.<br /> -The good wife thought that every pig<br /> -Should in the wash, then coming, swig;<br /> -And went industriously to find<br /> -Her family of the hoggish kind;<br /> -But, oh, unhappy fate to tell!<br /> -Behind the Thresher down she fell:<br /> -Indeed the wonder were no more,<br /> -Had she, by chance, fall'n down before:<br /> -Away the sow affrighted runs,<br /> -Attended by her little ones:<br /> -Those gruntings to each other sounding;<br /> -This squeaking shrill, through fear of drowning.<br /> -<br /> -"The lamb thou doom'st to bleed to-day,<br /> -Had he thy reason, wou'd he play?"<a name="FNanchor_E_272" id="FNanchor_E_272"></a><a href="#Footnote_E_272" class="fnanchor">[E]</a><br /> -And did that Bear know he'd be beat,<br /> -Would he from out that firkin eat?<br /> -The Ass's rider lifts his stick;<br /> -Take out your nose, old <i>Bruin</i>, quick;<br /> -A grin of vengeance arms his face,<br /> -Presaging torture, and disgrace.<br /> -The Ape, who dearly loves to ride<br /> -On <i>Bruin's</i> back, in martial pride,<br /> -Dejected at the sad occasion,<br /> -Looks up, with soft commiseration;<br /> -As if to speak, "Oh, spare my friend!<br /> -Avert that blow you now intend!"<br /> -'Tis complaisant, good-natur'd too;—<br /> -Much more than many Apes would do.<br /> -<br /> -Observe the chimney-sweepers, there!<br /> -On gate-post, how they laugh and stare;<br /> -Those bones, and emblematic skull,<br /> -Have no effect to make them dull;<br /> -Pleas'd they adorn the death-like head<br /> -With spectacles of gingerbread.<br /> -<br /> -When <i>London</i> city's bold train-band<a name="FNanchor_F_273" id="FNanchor_F_273"></a><a href="#Footnote_F_273" class="fnanchor">[F]</a><br /> -March, to preserve their track of land,<br /> -Each val'rous heart the <i>French</i> defying,<br /> -While drums are beating, colours flying,<br /> -How many accidents resound<br /> -From <i>Tower-hill</i> to th' <i>Artillery-ground!</i><br /> -Perhaps some hog, in frisky pranks,<br /> -Unluckily breaks through their ranks,<br /> -And makes the captain storm and swear,<br /> -To <i>form</i> their soldiers, <i>as they were</i>:<br /> -Or else the wadding, which they ram,<br /> -Pop into some one's ear they jam;<br /> -Or not alert at gun and sword,<br /> -When their commander gives the word<br /> -To fire, amidst the dust and clamour,<br /> -Forget to draw their desperate rammer;<br /> -And one or two brave comrades hit,<br /> -As cooks fix larks upon a spit.<br /> -That Monkey's sure not of the reg'ment,<br /> -Yet still his arms should have abridgement;<br /> -The little, aukward, martial figure,<br /> -Will wriggle till he pulls the trigger:<br /> -'Tis done—and see the bullet fly!—<br /> -Pop down, you rogue! or else you'll die.<br /> -<br /> -Survey, as merry as a grig,<br /> -The Fiddler dancing to his jig!<br /> -No goat, by good St. <i>David</i> rear'd,<br /> -Could ever boast more length of beard:<br /> -'Tis his to wait on Master <i>Bruin</i>,<br /> -And tune away to all he's doing;<br /> -You think this strange, but 'tis no more,<br /> -Than <i>Orpheus</i> did in days of yore;<br /> -With modern fiddlers so it fares;<br /> -They often scratch to dancing-bears.<br /> -He took to scraping in his prime,<br /> -And plays in tune, as well as time;<br /> -Elections cheer his merry heart;<br /> -Sure always then to <i>play</i> his <i>part</i>:<br /> -In toping healths as great a soaker<br /> -As executing <i>Ally Croaker</i>.<br /> -Tho' some Musicians scarce can touch<br /> -The strings, if drunk a glass too much;<br /> -Yet he'll tope ale, or stout <i>October</i>,<br /> -And scrape as well when drunk, as sober.<br /> -<br /> -Lo, on yon stone which shows the way.<br /> -That travellers mayn't go astray;<br /> -And tells how many miles they lag on,<br /> -From <i>London</i>, in the drawling waggon,<br /> -A Soldier sits, in naked buff!<br /> -In troth, Sir, this is odd enough!<br /> -His head bound up, his sword-blade broken,<br /> -And flesh with many a bloody token,<br /> -Declare he fought extremely well;<br /> -But which had best on't, who can tell?<br /> -If he were victor, 'tis confest,<br /> -To be so maul'd makes bad the best:<br /> -What though he smart, he likes the jobb;<br /> -'Tis <i>great</i> to head a party-mob.<br /> -But what reward for all he did?—<br /> -Oh, Sir, he'll never want a—<i>quid</i>.<br /> -<br /> -There's somewhat savory in the wind—<br /> -Those Courtiers, Friend, have not yet din'd:<br /> -Their true ally, grave <i>Puzzle-cause</i>,<br /> -A man right learned in the laws,<br /> -(Whose meagre clerk below can't venture,<br /> -And wishes damn'd the long indenture),<br /> -As custom bids, prepares the dinner,<br /> -For, though they've lost, yet he's the winner.<br /> -See, the domestic train appear!<br /> -Old <i>England</i> bringing up the rear!<br /> -Curse on their stomachs, who can't brook<br /> -Good <i>English</i> fare, from <i>English</i> cook!<br /> -Observe lank Monsieur, in amaze,<br /> -Upon the valiant soldier gaze!<br /> -"Morbleu! you love de fight, ve see,<br /> -But dat is no de dish for ve."<br /> -Behold, above, that azure garter—<br /> -Look, now he whispers, like a tartar;<br /> -By button fast he holds the other,<br /> -The lost election makes a pother.<br /> -"All this parade is idle stuff—<br /> -We know our interest well enough—<br /> -We still support what we espouse;<br /> -We'll bring the matter in the <i>House</i>."<br /> -<br /> -Of some wise man, perhaps philosopher,<br /> -(If not, it flings the vice a gloss over)<br /> -I've read, who, Maudlin-like, would cry<br /> -Soon as he 'ad drunk his barrel dry:<br /> -Yon fellow, certain as a gun,<br /> -Of that Philosopher's a Son:<br /> -Long as the pot the beer could scoop,<br /> -He scorn'd, like swine, to trough to stoop;<br /> -But, now 'tis shallow, kneels devout,<br /> -Eager to suck the last drop out.<br /> -Vociferous Loyalty's a-dry,<br /> -And, lo, they bear a fresh supply!<br /> -That all the mob may roar applause,<br /> -And know they'll never starve the cause.<br /> -<br /> -When grey-mare proves the better horse,<br /> -The man is mis'rable of course;<br /> -That Taylor leads a precious life—<br /> -Look at the termagant his wife,<br /> -She pays him sweetly o'er the head;—<br /> -"Get home, you dog, and get your bread;<br /> -Shall I have nothing to appear in,<br /> -While you get drunk electioneering?"<br /> -<br /> -See from the Town-hall press the crowd,<br /> -While rustic Butchers ring aloud!<br /> -There, lo, their cap of liberty!<br /> -Here t'other side in effigy!<br /> -A notable device, to call<br /> -The Courtier party blockheads all:<br /> -Aloft True-Blue, their ensign, flies,<br /> -And acclamations rend the skies.<br /> -Reflect, my friend, and judge from thence.<br /> -How idle this extreme expence;<br /> -What mighty sums are thrown away,<br /> -To be the pageant of the day!<br /> -In vain Desert implores protections;<br /> -The Rich are fonder of Elections.<br /> -Th' ambitious Peer, the Knight, the 'Squire,<br /> -Can buy the Borough they desire;<br /> -Yet see, with unassisting eye,<br /> -Arts fade away, and Genius die.<br /> -Tir'd with the applauding, and the sneering,<br /> -And all that's styl'd Electioneering,<br /> -I think to take a little tour,<br /> -And likely tow'rd the <i>Gallic</i> shore;<br /> -The Muse, to whom we bear no malice,<br /> -Invites me to the Gate of <i>Calais</i>.<a name="FNanchor_G_274" id="FNanchor_G_274"></a><a href="#Footnote_G_274" class="fnanchor">[G]</a><br /> -That gate to which a knight of worth,<br /> -'Yclep'd <i>Sir Loin</i>, of <i>British</i> birth,<br /> -Advanc'd, though not in hostile plight,<br /> -And put their army in a fright.<br /> -But more it fits not, here to tell,<br /> -So, courteous Reader, fare thee well.<br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_A_268" id="Footnote_A_268"></a><a href="#FNanchor_A_268"><span class="label">[A]</span></a> In <i>The European Magazine</i> for the month of <i>Oct.</i> 1784, appears a -letter on the subject of Painting, signed C. I. F. which contains the following -extraordinary criticism on the circumstance here described. -</p> -<p> -"Our own inimitable <i>Hogarth</i> has, in some of his latter pieces, -grossly violated this rule; and, for the sake of crowding his piece -with incidents, has represented what could not happen at all. -</p> -<p> -"In his representation of an Election Feast, he has placed a man at -the end of the table with an oyster still upon his fork, and his fork in -his hand, though his coat must have been stripped up from his arm -after he took it up, by the surgeon, who has made an ineffectual attempt -to let him blood. Supposing gluttony to have so far absorbed -all the persons present, even at the end of a feast, as that none of them -should pay the least attention to this incident, which is, if not impossible, -improbable in the highest degree, they must necessarily have -been alarmed at another incident that is represented as taking place at -the same moment: a great stone has just broke through the window, -and knocked down one of the company, who is exhibited in the act -of falling; yet every one is represented as pursuing his purpose with -the utmost tranquillity." -</p> -<p> -I must entreat my reader to examine the print, before I can expect -belief, when I assure him, that for this criticism there is not the slightest -foundation.—The magistrate is bled in the right arm, which is bared -for that purpose, by stripping the coat-sleeve from it.—It is in his left -hand that he holds the fork with the oyster on it, his coat-sleeve being -all the while on his left arm.—As to the attention of the company, it is -earnestly engaged by different objects; and <i>Hogarth</i> perhaps designed to -insinuate that accidents, arising from repletion or indigestion, are too -common at election dinners to attract notice or excite solicitude.—The -brickbat has not noisily forced its way through a window, but was -thrown in at a casement already open; and a moment must have elapsed -before an event so instantaneous could be perceived in an assembly, every -individual of which had his distinct avocation. Of this moment our -artist has availed himself. Till, therefore, the accident was discovered, -he has, with the utmost propriety, left every person present to pursue -his former train of thought or amusement.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_B_269" id="Footnote_B_269"></a><a href="#FNanchor_B_269"><span class="label">[B]</span></a> The ingenious artist in <i>Fleet-street</i>, well known to the learned and -ingenious, by his excellence in taking Busts from the Life, and casts -from Anatomical Dissections.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_C_270" id="Footnote_C_270"></a><a href="#FNanchor_C_270"><span class="label">[C]</span></a> See the Dial in Plate IV.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_D_271" id="Footnote_D_271"></a><a href="#FNanchor_D_271"><span class="label">[D]</span></a> See the Prologue to a farce called "The Male Coquette."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_E_272" id="Footnote_E_272"></a><a href="#FNanchor_E_272"><span class="label">[E]</span></a> See <i>Pope's</i> Essay on Man.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_F_273" id="Footnote_F_273"></a><a href="#FNanchor_F_273"><span class="label">[F]</span></a> This passage will, perhaps, be better illustrated by the following -paragraph, printed in a daily paper called "The Citizen:"—"<i>Saturday</i> -last, being the first day of <i>August</i> Old Stile, the Artillery -Company marched according to custom once in three years (called -<i>Barnes's March</i>, by which they hold an estate): they went to Sir -<i>George Whitmore's</i>, and took a dunghill. As they were marching -through <i>Bunhill-Row</i>, a large hog ran between a woman's legs and -threw her down, by which accident the ranks were broke, which -put the army in the utmost confusion before they could recover."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_G_274" id="Footnote_G_274"></a><a href="#FNanchor_G_274"><span class="label">[G]</span></a> See above, p. <a href="#Page_295">295</a>.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_5_275" id="Footnote_5_275"></a><a href="#FNanchor_5_275"><span class="label">[5]</span></a> The <i>earliest impressions</i> of this plate in its second state, have the -same inscription.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_276" id="Footnote_6_276"></a><a href="#FNanchor_6_276"><span class="label">[6]</span></a> <i>Morellon Le Cave</i>. Mr. <i>Walpole</i>, in his catalogue of <i>English</i> -engravers, (octavo edit.) professes to know no more of this -artist than that he was "a scholar of <i>Picart</i>" and "did a -head of Dr. <i>Pococke</i> before <i>Twells's</i> edition of the Doctor's -works." In the year 1739, however, he engraved <i>Captain -Coram</i>, &c. at the head of the Power of Attorney, &c. (a description -of which see p. <a href="#Page_254">254</a>. of the present work) and afterwards -was <i>Hogarth's</i> coadjutor in this third of his Election -plates. At the bottom of it he is only styled <i>Le Cave</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_277" id="Footnote_7_277"></a><a href="#FNanchor_7_277"><span class="label">[7]</span></a> Some of these scenes having been reversed by the engraver, -the figures in them are represented as using their left hands -instead of their right.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_278" id="Footnote_8_278"></a><a href="#FNanchor_8_278"><span class="label">[8]</span></a> Query, what were the scandalous prints to which he alludes?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_279" id="Footnote_9_279"></a><a href="#FNanchor_9_279"><span class="label">[9]</span></a> This <i>A. R.</i> was <i>Allan Ramsay</i>, but having never met -with his performance, I can give no account of it.</p></div> - -<hr class="tb" /> - -<h4>1756.</h4> - - -<p><a id="Page_364_1"></a>1. <i>France</i> and <i>England</i>, two plates; both etched -by himself. Under them are the following verses, -by Mr. <i>Garrick</i>:</p> - -<p><span class="pagenum"><a name="Page_365" id="Page_365">[Pg 365]</a></span></p> - -<blockquote><p> -<span style="margin-left: 2em;"><span class="smcap">Plate I. France.</span></span><br /> -With lanthern jaws, and croaking gut,<br /> -See how the half-starv'd <i>Frenchmen</i> strut,<br /> -<span style="margin-left: 1em;">And call us <i>English</i> dogs!</span><br /> -But soon we'll teach these bragging foes,<br /> -That beef and beer give heavier blows<br /> -<span style="margin-left: 1em;">Than soup and roasted frogs.</span><br /> -<br /> -The priests, inflam'd with righteous hopes,<br /> -Prepare their axes, wheels, and ropes,<br /> -<span style="margin-left: 1em;">To bend the stiff-neck'd sinner;</span><br /> -But, should they sink in coming over,<br /> -<i>Old Nick</i> may fish 'twixt <i>France</i> and <i>Dover</i>,<br /> -<span style="margin-left: 1em;">And catch a glorious dinner.</span><br /> -<br /> -<span style="margin-left: 2em;"><span class="smcap">Plate II. England.</span></span><br /> -See <i>John</i> the Soldier, <i>Jack</i> the Tar,<br /> -With sword and pistol arm'd for war,<br /> -<span style="margin-left: 1em;">Should Mounseer dare come here!</span><br /> -The hungry slaves have smelt our food,<br /> -They long to taste our flesh and blood,<br /> -<span style="margin-left: 1em;">Old <i>England's</i> beef and beer!</span><br /> -<br /> -<i>Britons</i>, to arms! and let 'em come,<br /> -Be you but <i>Britons</i> still, Strike home,<br /> -<span style="margin-left: 1em;">And lion-like attack 'em;</span><br /> -No power can stand the deadly stroke<br /> -That's given from hands and hearts of oak,<br /> -<span style="margin-left: 1em;">With Liberty to back 'em.</span><br /> -<br /> -</p></blockquote> - - -<p><a id="Page_365_2"></a>2. The Search Night, a copy. <i>J. Fielding sculp.</i><span class="pagenum"><a name="Page_366" id="Page_366">[Pg 366]</a></span> -21<i>st March</i>, 1756.<a name="FNanchor_1_280" id="FNanchor_1_280"></a><a href="#Footnote_1_280" class="fnanchor">[1]</a> "<i>A very bad print, and I believe -an imposition</i>." On this plate are sixteen stupid -verses, not worth transcribing. It was afterwards -copied again in two different sizes in miniature, and -printed off on cards, by <i>Darly</i>, in 1766. The original, -in a small oval, was an impression taken from the -top of a silver tobacco-box; engraved by <i>Hogarth</i> for -one Captain <i>Johnson</i>, and never meant for publication.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_280" id="Footnote_1_280"></a><a href="#FNanchor_1_280"><span class="label">[1]</span></a> There is also a copy of this print, engraved likewise by -<i>Fielding</i>, and dated <i>August</i> 11, 1746.</p></div> - -<hr class="tb" /> - -<h4>1758.</h4> - - -<p>1. His own portrait,<a name="FNanchor_1_281" id="FNanchor_1_281"></a><a href="#Footnote_1_281" class="fnanchor">[1]</a> sitting, and painting the -Muse of Comedy; Head profile, in a cap. The Analysis -of Beauty on the floor. <i>W. Hogarth, serjeant-painter -to his Majesty.</i> The face engraved by <i>W. -Hogarth</i>.</p> - -<p>I should observe, that when this plate was left -with the person employed to furnish the inscription, -he, taking the whole for the production of our artist, -wrote "Engraved by <i>W. Hogarth</i>" under it. <i>Hogarth</i>, -being conscious that the face only had been<span class="pagenum"><a name="Page_367" id="Page_367">[Pg 367]</a></span> -touched by himself, added, with his own hand, -"<i>The Face</i>" Engraved, &c.</p> - -<p>In the second impression "The Face Engraved -by <i>W. Hogarth</i>" is totally omitted.</p> - -<p>In the third impression "Serjeant-painter, &c." -is scratched over by the burin, but remains still sufficiently -legible.</p> - -<p>The fourth impression has "<i>the face retouched, -but not so like as the preceding.</i><a name="FNanchor_2_282" id="FNanchor_2_282"></a><a href="#Footnote_2_282" class="fnanchor">[2]</a> <i>Comedy also has -the face and mask marked with black,</i><a name="FNanchor_3_283" id="FNanchor_3_283"></a><a href="#Footnote_3_283" class="fnanchor">[3]</a> <i>and inscribed,</i> -<span class="smcap">Comedy</span>, 1764. <i>No other inscription but his name,</i> -William Hogarth, 1764."</p> - -<p>The original from which this plate is taken, is in -Mrs. <i>Hogarth's</i> possession at <i>Chiswick</i>. A whole-length -of herself, in the same size, is its companion. -They are both small pictures.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_281" id="Footnote_1_281"></a><a href="#FNanchor_1_281"><span class="label">[1]</span></a> Among the prints bequeathed by the late Mr. <i>Forrest</i> to -his executor Mr. <i>Coxe</i>, is this head cut out of a proof, and -touched up with <i>Indian</i> ink by <i>Hogarth</i>. Mr. <i>Forrest</i>, in an -inscription on the back of the paper to which it is affixed, observes -it was a present to him from Mrs. <i>Hogarth</i>. -</p> -<p> -With these prints are likewise several early impressions from -other plates by our artist; and in particular a March to <i>Finchley</i> -uncommonly fine, and with the original spelling of <span class="smcap">prusia</span> -uncorrected even by a pen. I am told that both the head and -this, with other engravings in the collection of the late Mr. -<i>Forrest</i>, will be sold by auction in the course of the Winter -1786.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_282" id="Footnote_2_282"></a><a href="#FNanchor_2_282"><span class="label">[2]</span></a> i. e. the two first.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_283" id="Footnote_3_283"></a><a href="#FNanchor_3_283"><span class="label">[3]</span></a> So in both the third and fourth impressions.</p><br /></div> - - -<p>2. The Bench. Over the top of this plate is -written in capitals—CHARACTER. Under it "of -the different meaning of the words <i>Character, -Caracatura,</i> and <i>Outrè</i>, in painting and drawing," -Then follows a long inscription on this subject. -The original painting is in the collection of Mr. -<i>Edwards</i>.</p> - -<hr class="tb" /> - -<h4>1759.</h4> - - -<p>1. The Cockpit. <i>Designed and engraved by W. -Hogarth.</i> In this plate is a portrait of <i>Nan Rawlins</i>, -a very ugly old woman (commonly called <i>Deptford -Nan</i>, sometimes the <i>Duchess of Deptford</i>), and well<span class="pagenum"><a name="Page_368" id="Page_368">[Pg 368]</a></span> -remembered at <i>Newmarket</i>. She was a famous cock-feeder, -and did the honours of the <i>gentlemen's</i> ordinary -at <i>Northampton</i>; while, in return, a single gentleman -was deputed to preside at the table appropriated -to the <i>ladies</i>. The figure with a hump-back, was -designed for one <i>Jackson</i>, a once noted jockey -at <i>Newmarket</i>. The blind president is Lord <i>Albemarle -Bertie</i>, who was a constant attender of this -diversion. His portrait was before discoverable in -the crowd round the bruisers in the March to <i>Finchley</i>.</p> - -<p>By the cockpit laws, any person who cannot, or -will not pay his debts of honour, is drawn up in a -basket to the roof of the building. Without a knowledge -of this circumstance, the shadow of the man -who is offering his watch would be unintelligible.</p> - -<p>The subject of The Cockpit had been recommended -to <i>Hogarth</i> so long ago as 1747, in the following -lines, first printed in <i>The Gentleman's Magazine</i> of -that year, p. 292.</p> - -<blockquote><p> -"Where <i>Dudston's</i><a name="FNanchor_1_284" id="FNanchor_1_284"></a><a href="#Footnote_1_284" class="fnanchor">[1]</a> walks with vary'd beauties shine,<br /> -And some are pleas'd with bowling, some with wine,<br /> -Behold a generous train of Cocks repair,<br /> -To vie for glory in the toils of war;<br /> -Each hero burns to conquer or to die:<br /> -What mighty hearts in little bosoms lie!<br /> -<br /> -"Come, <i>Hogarth</i>, thou whose art can best declare<br /> -What forms, what features, human passions wear,<br /> -<span class="pagenum"><a name="Page_369" id="Page_369">[Pg 369]</a></span>Come, with a painter's philosophic sight,<br /> -Survey the circling judges of the fight.<br /> -Touch'd with the sport of death, while every heart<br /> -Springs to the changing face, exert thy art;<br /> -Mix with the smiles of Cruelty at pain<br /> -Whate'er looks anxious in the lust of gain;<br /> -And say, can aught that's generous, just, or kind,<br /> -Beneath this aspect, lurk within the mind?<br /> -Is lust of blood or treasure vice in all,<br /> -Abhorr'd alike on whomsoe'er it fall?<br /> -Are mighty states and gamblers still the same?<br /> -And war itself a cock-fight, and a game?<br /> -Are sieges, battles, triumphs, little things;<br /> -And armies only the game-cocks of kings?<br /> -Which fight, in Freedom's cause, still blindly bold,<br /> -Bye-battles only, and the main for gold?<br /> -<br /> -"The crested bird, whose voice awakes the morn,<br /> -Whose plumage streaks of radiant gold adorn,<br /> -Proud of his birth, on fair <i>Salopia's</i> plain,<br /> -Stalks round, and scowls defiance and disdain.<br /> -Not fiercer looks the proud <i>Helvetians</i> wear,<br /> -Though thunder slumbers in the arms they bear:<br /> -Nor <i>Thracia's</i> fiercer sons, a warlike race!<br /> -Display more prowess, or more martial grace.<br /> -But, lo! another comes, renown'd for might,<br /> -Renown'd for courage, and provokes the fight.<br /> -Yet what, alas! avails his furious mien,<br /> -His ruddy neck, and breast of varied green?<br /> -Soon thro' his brain the foe's bright weapon flies,<br /> -Eternal darkness shades his swimming eyes;<br /> -<span class="pagenum"><a name="Page_370" id="Page_370">[Pg 370]</a></span>Prostrate he falls, and quivering spurns the ground,<br /> -While life indignant issues from the wound.<br /> -Unhappy hero, had thy humbler life<br /> -Deny'd thee fame by deeds of martial strife,<br /> -Still hadst thou crow'd, for future pleasures spar'd,<br /> -Th' exulting monarch of a farmer's yard.<br /> -<br /> -"Like fate, alas! too soon th' illustrious prove,<br /> -The great by hatred fall, the fair by love;<br /> -The wise, the good, can scarce preserve a name,<br /> -Expung'd by envy from the rolls of fame.<br /> -Peace and oblivion still through life secure,<br /> -In friendly glooms, the simple, homely, poor.<br /> -And who would wish to bask in glory's ray,<br /> -To buy with peace the laurel or the bay?<br /> -What tho' the wreath defy the lightning's fire,<br /> -The bard and hero in the storm expire.<br /> -Be rest and innocence my humbler lot,<br /> -Scarce known through life, and after death forgot!"<br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_284" id="Footnote_1_284"></a><a href="#FNanchor_1_284"><span class="label">[1]</span></a> A gentleman's seat, about a mile from <i>Birmingham</i>, fitted -up for the reception of company, in imitation of <i>Vaux-hall -Gardens</i>.</p><br /></div> - - -<p>2. A small oval of Bishop <i>Hoadly</i>, ætat. 83. <i>Hogarth -pinx. Sherlock sculp.</i></p> - -<hr class="tb" /> - -<h4>1760.</h4> - - -<p>1. Frontispiece to <i>Tristram Shandy</i>. Of this plate -there are two copies; in the first of which the hat -and clock are omitted. <i>S. Ravenet sculp.</i> In this -plate is the portrait of Dr. <i>Burton</i>, of <i>York</i>, the Jacobite -physician and antiquary, in the character of -Dr. <i>Slop</i>.</p> - -<p><i>Sterne</i> probably was indebted for these plates -(especially the first of them) to the following compliment -he had paid our author in the first volume of<span class="pagenum"><a name="Page_371" id="Page_371">[Pg 371]</a></span> -<i>Tristram Shandy</i>. "Such were the outlines of Dr. -<i>Slop's</i> figure, which, if you have read <i>Hogarth's -Analysis of Beauty</i>, and, if you have not, I wish -you would, you must know, may as certainly be -caracatured, and conveyed to the mind by three -strokes as three hundred."<br /> -<br /></p> - - -<p>2. Frontispiece to <i>Brook Taylor's</i> Perspective of -Architecture.<a name="FNanchor_1_285" id="FNanchor_1_285"></a><a href="#Footnote_1_285" class="fnanchor">[1]</a> With an attempt at a new order.<span class="pagenum"><a name="Page_372" id="Page_372">[Pg 372]</a></span> -<i>W. Hogarth, July</i> 1760. <i>W. Woollet sculp.</i> Lest any -reader should suppose that this idea of forming a new -capital out of the Star of St. <i>George</i>, the Prince of -<i>Wales's</i> Feather,<a name="FNanchor_2_287" id="FNanchor_2_287"></a><a href="#Footnote_2_287" class="fnanchor">[2]</a> and a regal Coronet, was hatched -in the mind of <i>Hogarth</i> after he had been appointed -Serjeant Painter, the following passage in the <i>Analysis</i> -will prove that many years before he had conceived -the practicability of such an attempt: see p. 40. -"I am thoroughly convinced in myself, however -it may startle some, that a completely new and -harmonious order of architecture in all its parts -might be produced, &c." Again, p. 46. "Even -a capital, composed of the aukward and confined -forms of hats and perriwigs, as Fig. 48. Plate I. -in a skilful hand might be made to have some -beauty." Mr. <i>S. Ireland</i> has the original sketch.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_285" id="Footnote_1_285"></a><a href="#FNanchor_1_285"><span class="label">[1]</span></a> Published in two volumes, folio, 1761, by <i>Joshua Kirby</i>, -Designer in Perspective to his Majesty.—"Here is a curious -frontispiece, designed by Mr. <i>Hogarth</i>; but not in the same -ludicrous style as the former (see p. <a href="#Page_333">333</a>): it were to be -wished that he had explained its meaning; for, being symbolical, -the meaning of it is not so obvious as the other. To -me it conveys the idea, which <i>Milton</i> so poetically describes, -of the angel <i>Uriel</i> gliding down to Paradise on a sun-beam; -but the young gentleman has dropped off before he had -arrived at his journey's end, with <i>Palladio's</i> book of architecture -on his knees. A ray of light from the sun, rising -over a distant mountain, is directed to a scroll on the ground, -on which are two or three scraps of perspective; over which, -supported by a large block of stone, is the upper part of a -sceptre, broke off; the shaft very obliquely and absurdly -inclined, somewhat resembling the <i>Roman</i> fasces, and girt -above with the Prince of <i>Wales's</i> coronet, as an astragal, -through which the fasces rise, and swell into a crown, -adorned with embroidered stars; this is the principal object, -but most vilely drawn. The ray passes through a -round temple, at a considerable distance, which is also falsly -represented, the curves being for the distance too round, -and consequently the diminution of the columns is too -great. It appears to pass over a piece of water; on this -side the ground is fertile and luxuriant with vegetation, -abounding with trees and shrubs; on the other side it is -rocky and barren.<a name="FNanchor_A_286" id="FNanchor_A_286"></a><a href="#Footnote_A_286" class="fnanchor">[A]</a> What is indicated by this seems to be, -that, where the arts are encouraged by the rays of royal -favour, they will thrive and flourish; but where they are -neglected, and do not find encouragement, they will droop -and languish." <i>Malton's</i> Appendix to his Treatise on Perspective.</p> - -<div class="footnote"> - -<p><a name="Footnote_A_286" id="Footnote_A_286"></a><a href="#FNanchor_A_286"><span class="label">[A]</span></a> The idea of this contrast between fertility and barrenness is an -old one. <i>Hogarth</i> probably took it from the engraving known by the -name of <i>Raffaelle's Dream</i>.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_2_287" id="Footnote_2_287"></a><a href="#FNanchor_2_287"><span class="label">[2]</span></a> Mr. <i>H. Emlyn</i> has lately realised this plan, by his Proposals -for a new order of architecture, 1781.</p><br /></div> - - -<p>3. Mr. <i>Huggins</i>. A small circular plate. <i>Hogarth -pinx. Major sculp.</i> On the left, a bust, inscribed, -<span class="smcap">"Il divino Ariosto." "Dante l'Inferno, il -Purgatorio, il Paradiso."</span> Mr. <i>Huggins</i> (of -whom see p. <a href="#Page_19">19</a>.) had this portrait engraven, to prefix -to his translation of <i>Dante</i>, of which no more -than a specimen was ever published.</p> - -<p>The bust of <i>Ariosto</i> was inserted by the positive -order of Mr. <i>Huggins</i> (after the plate was finished),<span class="pagenum"><a name="Page_373" id="Page_373">[Pg 373]</a></span> -though much against the judgement of the engraver, -who was convinced that a still ground would have -shewn the countenance of the person represented to -much greater advantage. Mr. <i>Major's</i> charge was -only three guineas, and yet eleven years elapsed before -he received even this trifling acknowledgement -for his labour. Dr. <i>Monkhouse</i> has the plate.</p> - -<hr class="tb" /> - -<h4>1761.</h4> - - -<p>1. Frontispiece and tail-piece to the catalogue of -pictures exhibited at <i>Spring Gardens. W. Hogarth -inv. C. Grignion sculp.</i> There is a variation of this -print; a <i>Latin</i> motto under each in the second edition. -In the earliest impressions <i>obit</i>, corrected afterwards -to <i>obiit</i>. The same mark of ignorance, however, -remains unamended over the monument of the -Judge in the first plate of the <i>Analysis</i>.<br /> -<br /></p> - - -<p>2. <i>Time</i> blackening a picture. Subscription-ticket -for his <i>Sigismunda</i>. "<i>This, and the preceding tail-piece, -are satires on Connoisseurs.</i>"<br /> -<br /></p> - - -<p>3. The Five Orders of Perriwigs at the Coronation -of <i>George</i> III.<a name="FNanchor_1_288" id="FNanchor_1_288"></a><a href="#Footnote_1_288" class="fnanchor">[1]</a> Many of the heads, as well -as wigs, were known at the time. The first head of -the second row was designed to represent Lord <i>Melcombe</i>; -and those of Bishops <i>Warburton, Mawson,</i> -and <i>Squire,</i> are found in the groupe. The advertisement -annexed, as well as the whole print, is said to -have been a ridicule on Mr. <i>Stewart's</i> Antiquities of<span class="pagenum"><a name="Page_374" id="Page_374">[Pg 374]</a></span> -<i>Athens</i>, in which, with minute accuracy, are given -the measurements of all the members of the <i>Greek</i> -Architecture. The inscription under the print affords -a plentiful crop of false spellings—volumns—advertisment—baso—&c. -The second <i>e</i> in advertisement -was afterwards added on the neck of the female -figure just over it. The first and subsequent impressions -will be known by this distinction.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_288" id="Footnote_1_288"></a><a href="#FNanchor_1_288"><span class="label">[1]</span></a> A Dissertation on Mr. <i>Hogarth's</i> print of the Order of -Perriwigs, viz. the Episcopal, Aldermanic, and Lexonic, is -printed in <i>The Beauties of all the Magazines</i>, 1761, p. 52.</p><br /></div> - - -<p>4. Frontispiece to the Farmer's Return from <i>London</i>, -an Interlude by Mr. <i>Garrick</i>,<a name="FNanchor_1_289" id="FNanchor_1_289"></a><a href="#Footnote_1_289" class="fnanchor">[1]</a> acted at <i>Drury -Lane. W. Hogarth delin. J. Basire sculp.</i> In Mr. -<i>Foster's</i> collection is a bad copy of this plate, no -name, the figures reversed. The original drawing -was given to Mr. <i>Garrick</i>, and is supposed to be in -the possession of his widow at <i>Hampton</i>. Mr. <i>S. Ireland</i> -has a sketch of it. An excellent copy of this -plate is sometimes sold as the original.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_289" id="Footnote_1_289"></a><a href="#FNanchor_1_289"><span class="label">[1]</span></a> Mr. <i>Garrick'</i> publication was thus prefaced: "The following -interlude was prepared for the stage, merely with -a view of assisting Mrs. <i>Pritchard</i> at her benefit; and the -desire of serving so good an actress is a better excuse for its -defects, than the few days in which it was written and represented. -Notwithstanding the favourable reception it -has met with, the author would not have printed it, had not -his friend, Mr. <i>Hogarth</i>, flattered him most agreeably, by -thinking <i>the Farmer and his Family</i> not unworthy of a sketch -of his pencil. To him, therefore, this trifle, which he has -so much honoured, is inscribed, as a faint testimony of the -sincere esteem which the writer bears him, both as a man -and an artist."</p><br /></div> - - -<p>5. Another frontispiece to <i>Tristram Shandy</i> (for -the second volume). His christening. <i>F. Ravenet -sculp.</i><br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_375" id="Page_375">[Pg 375]</a></span></p> - -<p>6. The same engraved by <i>Ryland</i>. This, as I -am informed, was the first, but was too coarsely executed -to suit that prepared for the first volume of -the same work.</p> - -<hr class="tb" /> - -<h4>1762.</h4> - - -<p>1. Credulity, Superstition, and Fanaticism. "<i>Satire -on Methodists.</i>" "For deep and useful satire," -says Mr. <i>Walpole</i>, "the most sublime of all his -works."</p> - -<p>This print, however, contains somewhat more than -a satire on Methodism. <i>Credulity</i> is illustrated by the -figure of the Rabbit-breeder of <i>Godalming</i>, with her -supposed progeny galloping from under her petticoats. -<i>St. André's</i> folly furnished <i>Hogarth</i> with matter -for one of his latest, as well as one of his earliest -performances.</p> - -<blockquote><p> -<i>Primâ dicte mihi, summâ dicende Camænâ.</i><br /> -</p></blockquote> - - -<p>2. The Times. Plate I. In one copy of this print -<i>Henry</i> VIII. is blowing the flames; in another Mr. -<i>Pitt</i> has the same employment: As this design is not -illustrated in <i>Trusler's</i> Account of <i>Hogarth's</i> Works, -I shall attempt its explanation, and subjoin, by -way of note, a humourous description of it, which -was printed in a news-paper immediately after it's -first appearance in the world.<a name="FNanchor_1_290" id="FNanchor_1_290"></a><a href="#Footnote_1_290" class="fnanchor">[1]</a></p> - -<p><span class="pagenum"><a name="Page_376" id="Page_376">[Pg 376]</a></span></p> - -<p><i>Europe</i> on fire; <i>France, Germany, Spain,</i> in flames, -which are extending to <i>Great Britain</i>. This desolation -continued and assisted by Mr. <i>Pitt</i>, under the<span class="pagenum"><a name="Page_377" id="Page_377">[Pg 377]</a></span> -figure of King <i>Henry</i> VIII. with bellows increasing -the mischief which others are striving to abate. He -is mounted on the stilts of the populace. A <i>Cheshire</i> -cheese depends from his neck, with 3000 <i>l.</i> on it. -This alludes to what he had said in Parliament—that -he would sooner live on a <i>Cheshire</i> cheese and a shoulder -of mutton, than submit to the enemies of <i>Great -Britain</i>. Lord <i>Bute</i>, attended by <i>English</i> soldiers, -sailors, and <i>Highlanders</i>, manages an engine for extinguishing -the flames, but is impeded by the Duke -of <i>Newcastle</i>, with a wheel-barrow full of <i>Monitors</i> -and <i>North Britons</i>, for the purpose of feeding the -blaze. The respectable body under Mr. <i>Pitt</i> are the -aldermen of <i>London</i>, worshiping the idol they had set -up; whilst the musical King of <i>Prussia</i>, who alone -is sure to gain by the war, is amusing himself with a -violin amongst his miserable countrywomen. The picture -of the <i>Indian</i> alludes to the advocates for retaining -our <i>West Indian</i> conquests, which, it was said, -would only increase excess and debauchery. The -breaking down of the <i>Newcastle</i>-arms, and the drawing -up the patriotic ones, refer to the resignation of -that noble Duke, and the appointment of his successor. -The <i>Dutchman</i> smoking his pipe, and a <i>Fox</i> -peeping out behind him, and waiting the issue; the -Waggon, with the treasures of the <i>Hermione</i>; the -unnecessary marching of the <i>Militia</i>, signified by the -<i>Norfolk</i> jig; the Dove with the olive-branch, and -the miseries of war; are all obvious, and perhaps -need no explication.</p> - -<p><span class="pagenum"><a name="Page_378" id="Page_378">[Pg 378]</a></span></p> - -<p>To those already given, however, may be added -the following doggrel verses:</p> - -<blockquote><p> -Devouring flames with fury roll<br /> -Their curling spires from Pole to Pole,<br /> -Wide-spreading devastation dire,<br /> -Three kingdoms ready to expire;<br /> -Here realms convulsive pant for breath,<br /> -And quiver in the arms of death.<br /> -Ill-fated isle! <i>Britannia</i> bleeds;<br /> -The flames her trait'rous offspring feeds:<br /> -Now, now, they seize her vital parts—<br /> -O save her from his murd'rous arts!<br /> -<br /> -In air exalted high, behold!<br /> -Fierce, noisy, boisterous, and bold,<br /> -Swol'n, like the king of frogs, that fed<br /> -On mangled limbs of victims dead,<br /> -With larger bellows in his hand,<br /> -Than e'er a blacksmith's in the land,<br /> -The flames that waste the world to blow,<br /> -He points unto the mob below:<br /> -'Look, <i>Britons</i>, what a bonfire there!<br /> -Halloo, be d——'d, and rend the air.'<br /> -Aldermen, marrow-bones and cleavers,<br /> -Brokers, stock-jobbers, and coal-heavers,<br /> -<i>Templars</i>, and knaves of ev'ry station,<br /> -The dregs of <i>London</i>, and the nation;<br /> -Contractors, agents, clerks, and all<br /> -Who share the plunder, great and small,<br /> -Join in the halloo at his call.<br /> -<span class="pagenum"><a name="Page_379" id="Page_379">[Pg 379]</a></span>Higher they raise the stilts that bore<br /> -The shapeless idol they adore:<br /> -He, to increase his weight, had slung<br /> -A <i>Mill-stone</i> round his neck, which hung<br /> -With bulk enormous to the ground,<br /> -And adds thereto <i>Three Thousand Pound</i>;<br /> -That none may dare to say henceforth,<br /> -He wanted either weight or worth.<br /> -He blows,—the flames triumphant rise,<br /> -Devour the earth, and threat the skies.<br /> -<br /> -When lo! in peaceful mien appears,<br /> -In bloom of life, and youthful years,<br /> -<span class="smcap">George</span>, Prince of Men; a smile benign<br /> -That goodness looks, prognostic sign<br /> -Of soul etherial, seems to bode,<br /> -A world's deliv'rer sent from God.<br /> -Array'd in Majesty serene,<br /> -Like heav'nly spirits when they deign,<br /> -In pity to mankind, to come,<br /> -And stop avenging judgement's doom;<br /> -Behold, and bless! just not too late<br /> -T' avert a sinking nation's fate,<br /> -He comes, with friendly care to stay<br /> -Those flames that made the world their prey.<br /> -Born to reform and bless the age,<br /> -Fearless of <i>faction's</i> madd'ning rage,<br /> -Which, with united malice, throngs,<br /> -To reap the harvest of our wrongs,<br /> -He labours to defeat our foes,<br /> -Secure our peace, and ease our woes.<br /> -<span class="pagenum"><a name="Page_380" id="Page_380">[Pg 380]</a></span>Before him <i>Faction</i> dare not shew<br /> -Her ghastly face and livid hue,<br /> -But back retires to <i>Temple-Bar</i>,<br /> -Where the spectator sees from far<br /> -Many a traitor's head erect,<br /> -To shew what traitors must expect.<br /> -Upon that <i>barefac'd</i> figure look,<br /> -With empty scull and full peruke;<br /> -For man or statue it might pass;<br /> -<i>Cæsar</i> would call't a golden ass.<br /> -Behold the vain malicious thing,<br /> -Squirting his poison at his king,<br /> -And pointing, with infernal art,<br /> -Th' envenom'd rancour of his heart.<br /> -<br /> -Higher in parts and place appears<br /> -His venal race of Garretteers;<br /> -A starving, mercenary tribe,<br /> -That sell, for every bidder's bribe,<br /> -Their scantling wits to purchase bread<br /> -And always drive the briskest trade,<br /> -When <i>Faction</i> sounds with loudest din,<br /> -To bring some new Pretender in.<br /> -This tribe from their ærial station,<br /> -Deluge with scandal all the nation:<br /> -Below contempt, secure from shame,<br /> -Sure not to forfeit any fame,<br /> -Indifferent what part to choose,<br /> -With nothing but their ears to lose.<br /> -Not Virtue on a throne can be<br /> -From tongues below resentment free.<br /> -<span class="pagenum"><a name="Page_381" id="Page_381">[Pg 381]</a></span>Of human things such the distraction,<br /> -With Liberty we must have Faction.<br /> -<br /> -But look behind the <i>Temple-gate</i>,<br /> -Near the thick, clumsy, stinking seat,<br /> -Where <i>London's</i> pageant sits in state;<br /> -What wild, ferocious shape is there,<br /> -With raging looks and savage air?<br /> -Is that the monster without name,<br /> -Whom human art could never tame,<br /> -From <i>Indian</i> wilds of late brought o'er,<br /> -Such as no <i>Briton</i> saw before?<br /> -I mean the monster <i>P</i>* * * presented<br /> -To the late King, who quickly sent it,<br /> -Among his other beasts of prey,<br /> -Safe in a cage with lock and key.<br /> -Some said he was of <i>British</i> blood,<br /> -Though taken in an <i>Indian</i> wood.<br /> -If he should thus at large remain,<br /> -Without a keeper, cage, or chain,<br /> -Raging and roaming up and down,<br /> -He may set fire to half the town.<br /> -Has he not robb'd the <i>Bank?</i>—Behold,<br /> -In either hand, what bags of gold!<br /> -Monsters are dangerous things let loose:<br /> -Old <i>Cambrian</i>, guard thy mansion-house.<br /> -<br /> -But here, what comes? A loaded car,<br /> -Stuff'd, and high pil'd, from <i>Temple-Bar</i>.<br /> -The labouring wretches hardly move<br /> -The load that totters from above.<br /> -<span class="pagenum"><a name="Page_382" id="Page_382">[Pg 382]</a></span>By their wry faces, and high strains,<br /> -The cart some lumpish weight contains.<br /> -'<i>North Britons</i>—Gentlemen—come, buy,<br /> -There's no man sells so cheap as I.<br /> -Of the <i>North Briton</i> just a score,<br /> -And twenty <i>Monitors</i> or more,<br /> -For just one penny——<br /> -<i>North Britons—Monitors</i>—come, buy,<br /> -There's no man sells so cheap as I.'<br /> -'<i>North Britons! Monitors!</i> be d——'d!<br /> -Is that the luggage you have cramm'd<br /> -Into your stinking cart? Be gone,<br /> -Or else I'll burn them every one.'<br /> -'Good Sir, I'm sure they are not dear,<br /> -The paper's excellent, I swear—<br /> -You can't have better any where.<br /> -Come, feel this sheet, Sir—please to choose—<br /> -They're very soft, and fit for use.<br /> -All very good, Sir, take my word—<br /> -As cheap as any can afford.<br /> -The Curate, Sir, Lord! how he'll foam!<br /> -He cannot dine 'till we get home.<br /> -The Colonel too, altho' he be<br /> -So big, so loud, so proud, d'ye see,<br /> -Will have his share as well as he.'<br /> -<br /> -While on a swelling sack of cheese<br /> -The frugal <i>Dutchman</i> sits at ease,<br /> -And smokes his pipe, and sees with joy<br /> -The flames, that all the world destroy,<br /> -Keep at a distance from his bales,<br /> -And sure thereby to raise the sales;<br /> -<span class="pagenum"><a name="Page_383" id="Page_383">[Pg 383]</a></span>Good Mr. <i>Reynard</i>, wiser still,<br /> -Displays you his superior skill:<br /> -Behind the selfish miser's back,<br /> -He cuts a hole into the sack,<br /> -His paunch well cramm'd, he snugly lies,<br /> -And with himself the place supplies;<br /> -And now and then his head pops out,<br /> -To see how things go round about;<br /> -Prepar'd to run, or stand the fire,<br /> -Just as occasion may require,<br /> -But willing in the sack to stay,<br /> -And cram his belly while he may,<br /> -Regardless of the babbling town,<br /> -And every interest but his own.<br /> -<br /> -On yonder plain behold a riddle,<br /> -That mighty warrior with his fiddle,<br /> -With sneering nose, and brow so arch,<br /> -A-scraping out the <i>German</i> march;<br /> -<i>Bellona</i> leading up the dance,<br /> -With flaming torch, and pointed lance,<br /> -And all the <i>Furies</i> in her train,<br /> -Exulting at the martial strain;<br /> -Pale <i>Famine</i> bringing up the rear,<br /> -To crown with woe the wasteful year.<br /> -There's nought but scenes of wretchedness.<br /> -Horror and death, and dire distress,<br /> -To mark their footsteps o'er the plains,<br /> -And teach the world what mighty gains<br /> -From <i>German</i> victories accrue<br /> -To th' vanquish'd and the victors too.<br /> -<span class="pagenum"><a name="Page_384" id="Page_384">[Pg 384]</a></span>The fidler, at his ease reclin'd,<br /> -Enjoys the woes of human kind;<br /> -Pursues his trade, destroys by rules,<br /> -And reaps the spoils of Knaves and Fools.<br /> -<span style="margin-left: 4em;">* * * * <i>Multa desunt.</i></span><br /> -</p></blockquote> - -<p>The first impressions of this print may be known -by the following distinction. The smoke just over the -Dove is left white; and the whole of the composition -has a brilliancy and clearness not to be found in the -copies worked off after the plate was retouched.</p> - -<p>I am told that <i>Hogarth</i> did not undertake this political -print merely <i>ex officio</i>, but through a hope -the salary of his appointment as Serjeant Painter -would be increased by such a show of zeal for the -reigning Ministry.</p> - -<p>He left behind him a second part, on the same -subject; but hitherto it has been withheld from the -public. The finished Plate is in the possession of -Mrs. <i>Hogarth</i>.</p> - -<p>There seems, however, no reason why this design -should be suppressed. The widow of our artist is -happily independent of a court; nor can aught relative -to the politics of the year 1762 be of consequence -to any party now existing. Our Monarch -also, as the patron of arts, would rather encourage -than prevent the publication of a work by <i>Hogarth</i>, -even though it should recall the disagreeable ideas of -faction triumphant, and a favourite in disgrace.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_290" id="Footnote_1_290"></a><a href="#FNanchor_1_290"><span class="label">[1]</span></a> The principal figure in the character of <i>Henry</i> VIII. appears -to be not Mr. <i>P.</i> but another person whose power is -signified by his bulk of carcase, treading on Mr. <i>P.</i> represented -by 3000 <i>l.</i> The bellows may signify his well-meaning, 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 <i>Auditors</i> or <i>Britons, Monitors</i> or <i>North -Britons</i>. The respectable body at the bottom can never mean -the magistrates of <i>London</i>; Mr. <i>H.</i> 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 <i>Scotland</i>, -either in the attitude of adoration, or with outspread arms -intending to catch their patron, should his stilts give way. -The <i>Frenchman</i> may very well sit at his ease among his miserable -countrywomen, as he is not unacquainted that <i>France</i> -has always gained by negociating what she lost in fighting. -The fine gentleman at the window with his garretteers, and -the barrow of periodical papers, refer to the present contending -parties of every denomination. The breaking of the -<i>Newcastle</i> 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 œconomy of -his successor. The <i>Norfolk</i> jig signifies, in a lively manner, -the alacrity of all his Majesty's forces during the war; and -<i>G. T. [George Townshend] fecit</i>, is an opportune compliment -paid to Lord <i>Townshend</i>, who, in conjunction with Mr. <i>Windham</i>, -published "A Plan of Discipline for the Use of the -<i>Norfolk</i> Militia," 4to. and had been the greatest advocate -for the establishment of our present militia. The picture of -the <i>Indian</i> alive from <i>America</i> is a satire on our late uncivilized -behaviour to the three chiefs of the <i>Cherokee</i> 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 -shewing them at our public gardens. The sly <i>Dutchman</i>, with -his pipe, seems pleased with the combustion, from which he -thinks he shall be a gainer. And the Duke of <i>Nivernois</i>, under -the figure of a dove, is coming from <i>France</i> to give a cessation -of hostilities to <i>Europe</i>.</p><br /></div> - - -<p><a id="Page_384_3"></a>3. <i>T. Morell</i>, S. T. P., S. S. A. <i>W. Hogarth delin. -James Basire sculp.</i> From a drawing returned to Mr.<span class="pagenum"><a name="Page_385" id="Page_385">[Pg 385]</a></span> -<i>Hogarth</i>. Of this plate there is an admirable copy, -though it has not yet been extensively circulated.<br /> -<br /></p> - - -<p>4. <i>Henry Fielding</i>, ætatis 48. <i>W. Hogarth delin. -James Basire sculp.</i> From a drawing with a pen -made after the death of Mr. <i>Fielding</i>. "That gentleman," -says Mr. <i>Murphy</i>, "had often promised -to sit to his friend <i>Hogarth</i>, for whose good qualities -and excellent genius he always entertained -so high an esteem, that he has left us in his writings -many beautiful memorials of his affection. -Unluckily, however, it so fell out that no picture -of him was ever drawn; but yet, as if it was intended -that some traces of his countenance should -be perpetuated, and that too by the very artist -whom our author preferred to all others, after -Mr. <i>Hogarth</i> had long laboured to try if he could -bring out any likeness of him from images existing -in his own fancy, and just as he was despairing -of success, for want of some rules to go -by in the dimensions and outlines of the face, Fortune -threw the grand <i>desideratum</i> in the way. A -lady, with a pair of scissars, had cut a profile, -which gave the distances and proportions of his -face sufficiently to restore his lost ideas of him. -Glad of an opportunity of paying his last tribute -to the memory of an author whom he admired, -Mr. <i>Hogarth</i> caught at this outline with pleasure, -and worked, with all the attachment of friendship, -till he finished that excellent drawing which -stands at the head of this work, and recalls to<span class="pagenum"><a name="Page_386" id="Page_386">[Pg 386]</a></span> -all, who have seen the original, a corresponding -image of the man." Notwithstanding this authentic -relation of Mr. <i>Murphy</i>, a different account of the -portrait has been lately given in one of the news-papers. -Mr. <i>Garrick</i>, it is there said, dressed himself -in a suit of his old friend's cloaths, and presented -himself to the painter in the attitude, and with the -features, of <i>Fielding</i>. Our <i>Roscius</i>, however, I can -assert, interfered no farther in this business than by -urging <i>Hogarth</i> to attempt the likeness, as a necessary -adjunct to the edition of <i>Fielding's</i> works. I am assured -that our artist began and finished the head in -the presence of his wife and another lady. He had -no assistance but from his own memory, which, on -such occasions, was remarkably tenacious.<a name="FNanchor_1_291" id="FNanchor_1_291"></a><a href="#Footnote_1_291" class="fnanchor">[1]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_291" id="Footnote_1_291"></a><a href="#FNanchor_1_291"><span class="label">[1]</span></a> To this sketch so great justice was done by the engraver, -that Mr. <i>Hogarth</i> declared he did not know his own drawing -from a proof of the plate before the ornaments were added. -This proof is now in the collection of Mr. <i>Steevens</i>.</p></div> - -<hr class="tb" /> - -<h4>1763.</h4> - - -<p>1. <i>John Wilkes</i>, Esq. <i>Drawn from the life, and -etched in aquafortis by Wm. Hogarth.</i> Price 1<i>s</i>. It -was published with the following oblique note. This -is "a direct contrast to a print of <span class="smcap">Simon Lord -Lovat</span>."<a name="FNanchor_1_292" id="FNanchor_1_292"></a><a href="#Footnote_1_292" class="fnanchor">[1]</a></p> - -<p>Mr. <i>Wilkes</i>, with his usual good humour, has been -heard to observe, that he is every day growing more -and more like his portrait by <i>Hogarth</i>.</p> - -<p>In the second impressions of this plate there are<span class="pagenum"><a name="Page_387" id="Page_387">[Pg 387]</a></span> -a few slight variations, sufficient at least to shew that -the face of the person represented had been retouched. -I have been told, by a copper-plate printer, that near -4000 copies of this caricature were worked off on its -first publication. Being kept up for two or three -following nights on the occasion, he has reason to -remember it.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_292" id="Footnote_1_292"></a><a href="#FNanchor_1_292"><span class="label">[1]</span></a> The original drawing, which was thrown by <i>Hogarth</i> into -the fire, was snatched out of it by Mrs. <i>Lewis</i>, and is now in -the possession of Mr. <i>S. Ireland</i>.</p><br /></div> - - -<p>2. The Bruiser <i>C. Churchill</i>,<a name="FNanchor_1_293" id="FNanchor_1_293"></a><a href="#Footnote_1_293" class="fnanchor">[1]</a> in the character of a -<i>Russian Hercules</i>, &c. The <i>Russian Hercules</i> was thus -explained, in <i>August</i>, 1763, by an admirer of <i>Hogarth</i>: -"The principal figure is a <i>Russian Bear</i> (i. e. Mr. -<i>Churchill</i>) with a club in his left paw, which he -hugs to his side, and which is intended to denote -his friendship to Mr. <i>Wilkes</i>: on the notches of the -club are wrote, <i>Lye</i> 1, <i>Lye</i> 2, &c. signifying the -falsities in <i>The North Briton</i>: in his other paw is a -gallon pot of porter, of which (being very hot) he<span class="pagenum"><a name="Page_388" id="Page_388">[Pg 388]</a></span> -seems going to drink: round his neck is a clergyman's -band, which is torn, and seems intended to -denote the bruiser. The other figure is a <i>Pug-dog</i>, -which is supposed to mean Mr. <i>Hogarth</i> himself, -pissing with the greatest contempt on the epistle -wrote to him by <i>C. Churchill</i>. In the centre is a -prison begging-box, standing on a folio, the title -of which is, <i>Great George-Street. A list of the Subscribers -to the</i> North Briton: underneath is another -book, the title of which is, <i>A New Way to pay Old -Debts, a Comedy, by</i> Massinger. All of which allude -to Mr. <i>Wilkes's</i> debts, to be defrayed by the -subscriptions to <i>The North Briton</i>."</p> - -<p>The same design is thus illustrated by a person -who thought somewhat differently of our artist: -"The <i>Bear</i>, with the shattered band, represents the -former strength and abilities of Mr. <i>Hogarth</i>: -the full pot of beer likewise shews that he was in -a land of plenty. The stump of a headless tree -with the notches, and on them wrote <i>Lye</i>, Signifies -Mr. <i>Hogarth's</i> 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 <i>Painter's Prerogative</i>; and the stump of -the tree only being left, shews that there can be no -more fruit expected from thence, but that it only -stands as a record of his former services. The -<i>Butcher's Dog</i> pissing upon Mr. <i>Churchill's</i> epistle, -alludes to the present state of Mr. <i>Hogarth</i>; that -he is arrived at such an age to be reduced so low,<span class="pagenum"><a name="Page_389" id="Page_389">[Pg 389]</a></span> -as, from the strength of a <i>Bear</i>, to a blind <i>Butcher's -Dog</i>, not able to distinguish, but pissing upon his best -friend; 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 -<i>a list of the Subscribers to the</i> North Briton, as well as -one of <i>a New Way to pay Old Debts</i>. Mr. <i>Hogarth</i> -mentioned <i>The North Briton</i>, to avoid the censure -of the rabble in the street, who, he knew, would -neither pity nor relieve him; and as Mr. <i>Churchill</i> -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. <i>Churchill</i>. Mr. <i>Hogarth</i> -meant only to shew his necessity, and that a book, -entitled <i>A List of the Subscribers to the</i> North Briton, -contained, in fact, a list of those who should contribute -to the support of Mr. <i>Hogarth</i> in old age. -By the book entitled <i>A New Way to pay Old Debts</i>, -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 some of his old tools in this -print, without any hand to use them."</p> - -<p>On the same occasion were published the following -verses, "on Mr. <i>Hogarth's</i> last delicate performance:"</p> - -<blockquote><p> -"What Merit could from native Genius boast,<br /> -To civilize the age, and please us most,<br /> -In lasting images each scene to grace,<br /> -And all the soul to gather in the face,<br /> -<span class="pagenum"><a name="Page_390" id="Page_390">[Pg 390]</a></span>In one small sheet a volume to conceal,<br /> -Yet all the story finely to reveal,<br /> -Was once the glory of our <i>Hogarth's</i> name;<br /> -But see, the short-liv'd eminence of fame<br /> -Now dwindles like the exit of a flame,<br /> -From which when once the unctuous juice is fled,<br /> -A stinking vapour rises in its stead:<br /> -So drops our Painter in his later day,<br /> -His former virtue worn, alas! away,<br /> -What busy dæmon, for thy cursed design'd,<br /> -Could thus induce the rancour of thy mind<br /> -To strike so boldly, with an impious hand,<br /> -Against the blessings of thy native land?<br /> -Open and unabash'd thy fury flies,<br /> -And all regard for liberty denies.<br /> -<br /> -"When <i>Catiline</i>, with more than human hate,<br /> -Resolv'd the ruin of the <i>Roman</i> state,<br /> -In secret he pursu'd the hellish plan,<br /> -Nor did his wickedness survive the man.<br /> -His cruel arts are all by others shown,<br /> -And thou the brave assertor of thy own:<br /> -Nay, thy grim sheets thy principles will show,<br /> -When <i>Charon</i> wafts thee to the realms below,<br /> -Where all like thee shall unlamented go."<br /> -</p></blockquote> - -<p>And also what the writer called,</p> - -<blockquote><p> -<span style="margin-left: 2em;">"<i>A</i> <span class="smcap">Slap</span> <i>at</i> <span class="smcap">Both Sides</span>."</span><br /> -"Whilst <i>Bruin</i> and <i>Pug</i> contend for the prize<br /> -Of merit in scandal, would parties be wise,<br /> -<span class="pagenum"><a name="Page_391" id="Page_391">[Pg 391]</a></span>And with honest derision contemn the dispute,<br /> -The <i>Bear</i> would not roar, and the <i>Dog</i> would be mute:<br /> -For they equally both their patrons betray,<br /> -No sense of Conviction their reasons convey;<br /> -So neither may hope one convert to gain,<br /> -For the Rhime makes me sick, and the Print gives me pain."<a name="FNanchor_2_294" id="FNanchor_2_294"></a><a href="#Footnote_2_294" class="fnanchor">[2]</a><br /> -</p></blockquote> - -<p>This plate, however, originally contained our artist's -own portrait (see p. <a href="#Page_295">295</a>). To shew the contempt -in which he held the "Poetical Epistle to <i>Hogarth</i>,<a name="FNanchor_3_295" id="FNanchor_3_295"></a><a href="#Footnote_3_295" class="fnanchor">[3]</a><span class="pagenum"><a name="Page_392" id="Page_392">[Pg 392]</a></span> -he makes the pug-dog water on it, but in a manner -by no means natural to his species. Perhaps there<span class="pagenum"><a name="Page_393" id="Page_393">[Pg 393]</a></span> -is the same error relative to the Monkey in the print -of the <i>Strollers</i>. This kind of <i>evacuation</i>, however,<span class="pagenum"><a name="Page_394" id="Page_394">[Pg 394]</a></span> -appears to have been regarded by <i>Hogarth</i> as a never-failing -<i>joke</i>. On the palette he exhibits the <i>North</i><span class="pagenum"><a name="Page_395" id="Page_395">[Pg 395]</a></span> -<i>Britons</i>, and a begging-box to collect subscriptions -for them. <i>Designed and engraved by W. Hogarth.</i></p> - -<p><span class="pagenum"><a name="Page_396" id="Page_396">[Pg 396]</a></span></p> - -<p>In the first impression of this print three of the -upper knots on the club or ragged staff (viz. 1. 3. 5.)<span class="pagenum"><a name="Page_397" id="Page_397">[Pg 397]</a></span> -are left white. In the second impression they are -completely shaded; the ruffle on the hand that clasps<span class="pagenum"><a name="Page_398" id="Page_398">[Pg 398]</a></span> -the pot of porter is likewise hatched over, and the -shoulder of the animal made rounder. Minute differences<span class="pagenum"><a name="Page_399" id="Page_399">[Pg 399]</a></span> -occur in the other knots, &c. The inscription, -instead of <i>Russian</i>, reads <i>Modern</i> Hercules.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_293" id="Footnote_1_293"></a><a href="#FNanchor_1_293"><span class="label">[1]</span></a> In a letter written to his friend Mr. <i>Wilkes</i>, dated <i>Aug.</i> 3, -1763, <i>Churchill</i> says: "I take it for granted you have seen -<i>Hogarth's Print</i> against me. Was ever any thing so contemptible? -I think he is fairly <i>felo de se</i>—I think not to let him -off in that manner, although I might safely leave him to -your <span class="smcap">notes</span>. He has broke 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. 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, &c. -How sweet is flattery from the woman we love! and how -weak is our boasted strength when opposed to beauty and -good sense with good nature!"—In Mr. <i>Churchill's</i> will is -the following passage: "I desire my dear friend, <i>John Wilkes</i>, -Esq. to collect and publish my Works, with the Remarks -and Explanations he has prepared, and any others he thinks -proper to make."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_294" id="Footnote_2_294"></a><a href="#FNanchor_2_294"><span class="label">[2]</span></a> In a few days after, the following Advertisement, for -a satirical Print on <i>Hogarth</i>, was published: -</p> -<p><i>Tara, Tan, Tara! Tara, Tan, Tara!</i> -</p> -<p> -This Day made its appearance at the noted SUMPTER's -Political Booth, next door to <i>The Brazen Head</i>, near <i>Shoe-Lane, -Fleet-street</i>, which began precisely at twelve at noon, a new -humourous performance, entitled, The BRUISER TRIUMPHANT: -or, The Whole Farce of the <i>Leicester-fields</i> Pannel -Painter. The principal parts by Mr. <i>H[ogarth]</i>, Mr. <i>W[ilkes]</i>, -Mr. <i>C[hurchill]</i>, &c. &c. &c. Walk in, Gentlemen, walk in! -No more than 6 <i>d.</i> a-piece!</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_295" id="Footnote_3_295"></a><a href="#FNanchor_3_295"><span class="label">[3]</span></a> The reader shall judge for himself of this Epistle's -"power to hurt." -</p> -<blockquote><p> -"Amongst the sons of men, how few are known<br /> -Who dare be just to merit not their own!<br /> -Superior virtue, and superior sense,<br /> -To knaves and fools will always give offence;<br /> -Nay, men of real worth can scarcely bear,<br /> -So nice is Jealousy, a rival there.<br /> -<br /> -"Be wicked as thou wilt, do all that's base,<br /> -Proclaim thyself the monster of thy race;<br /> -Let Vice and Folly thy Black Soul divide,<br /> -Be proud with meanness, and be mean with pride!<br /> -Deaf to the voice of Faith and Honour, fall<br /> -From side to side, yet be of none at all;<br /> -Spurn all those charities, those sacred ties,<br /> -Which Nature in her bounty, good as wise,<br /> -To work our safety, and ensure her plan,<br /> -Contriv'd to bind, and rivet man to man;<br /> -Lift against Virtue Power's oppressive rod,<br /> -Betray thy Country, and deny thy God;<br /> -And, in one general comprehensive line,<br /> -To group, which volumes scarcely could define,<br /> -Whate'er of Sin and Dulness can be said.<br /> -Join to a <i>F——'s</i> heart a <i>D——'s</i> head.<br /> -Yet mayst thou pass unnotic'd in the throng,<br /> -And, free from Envy, safely sneak along.<br /> -The rigid Saint, by whom no mercy's shewn<br /> -To Saints whose lives are better than his own,<br /> -Shall spare thy crimes; and <span class="smcap">Wit</span>, who never once<br /> -Forgave a Brother, shall forgive a Dunce."<br /> -</p></blockquote> -<p> -After this nervous introduction, our satirist proceeds: -</p> -<blockquote><p> -"<span class="smcap">Hogarth</span>—I take thee, <span class="smcap">Candour</span>, at thy word,<br /> -Accept thy proffer'd terms, and will be heard;<br /> -Thee have I heard with virulence declaim,<br /> -Nothing retain'd of Candour but the name;<br /> -By thee have I been charg'd in angry strains<br /> -With that mean falshood which my soul disdains—<br /> -<span class="smcap">Hogarth</span>, stand forth—Nay hang not thus aloof—<br /> -Now, <span class="smcap">Candour</span>, now Thou shalt receive such proof—<br /> -Such damning proof, that henceforth Thou shalt fear<br /> -To tax my wrath, and own my conduct clear—<br /> -<span class="smcap">HOGARTH</span> stand forth—I dare thee to be tried<br /> -In that great Court, where Conscience must preside;<br /> -At that most solemn bar hold up thy hand;<br /> -Think before whom, on what account you stand—-<br /> -Speak, but consider well—from first to last<br /> -Review thy life, weigh every action past—<br /> -Nay, you shall have no reason to complain—<br /> -Take longer time, and view them o'er again—<br /> -Canst Thou remember from thy earliest youth,<br /> -And as thy God must judge Thee, speak the truth,<br /> -A single instance where, <i>Self</i> laid aside,<br /> -And Justice taking place of fear and pride,<br /> -Thou with an equal eye didst <span class="smcap">Genius</span> view,<br /> -And give to Merit what was Merit's due?<br /> -Genius and Merit are a sure offence,<br /> -And thy soul sickens at the name of Sense.<br /> -Is any one so foolish to succeed?<br /> -On <span class="smcap">Envy's</span> altar he is doom'd to bleed.<br /> -<span class="smcap">Hogarth</span>, a guilty pleasure in his eyes,<br /> -The place of Executioner supplies.<br /> -See how he glotes, enjoys the sacred feast,<br /> -And proves himself by cruelty a priest.<br /> -<br /> -"Whilst the weak Artist, to thy whims a slave,<br /> -Would bury all those powers which Nature gave,<br /> -Would suffer blank concealment to obscure<br /> -Those rays, thy Jealousy could not endure;<br /> -To feed thy vanity would rust unknown,<br /> -And to secure thy credit blast his own,<br /> -In <span class="smcap">Hogarth</span> he was sure to find a friend;<br /> -He could not fear, and therefore might commend.<br /> -But when his Spirit, rous'd by honest Shame,<br /> -Shook off that Lethargy, and soar'd to Fame,<br /> -When, with the pride of Man, resolv'd and strong,<br /> -He scorn'd those fears which did his Honour wrong,<br /> -And, on himself determin'd to rely,<br /> -Brought forth his labours to the public eye,<br /> -No Friend in Thee, could such a Rebel know;<br /> -He had desert, and <span class="smcap">Hogarth</span> was his foe.<br /> -<br /> -"Souls of a timorous cast, of petty name<br /> -In <span class="smcap">Envy's</span> court, not yet quite dead to shame,<br /> -May some Remorse, some qualms of Conscience feel,<br /> -And suffer Honour to abate their Zeal:<br /> -But the Man, truly and compleatly great,<br /> -Allows no rule of action but his hate;<br /> -Through every bar he bravely breaks his way,<br /> -Passion his Principle, and Parts his prey.<br /> -Mediums in Vice and Virtue speak a mind<br /> -Within the pale of Temperance confin'd;<br /> -The daring Spirit scorns her narrow schemes,<br /> -And, good or bad, is always in extremes.<br /> -<br /> -"Man's practice duly weigh'd, through every age<br /> -On the same plan hath <span class="smcap">Envy</span> form'd her rage.<br /> -'Gainst those whom Fortune hath our rivals made<br /> -In way of Science, and in way of Trade,<br /> -Stung with mean Jealousy she arms her spite,<br /> -First works, then views their ruin with delight.<br /> -Our <span class="smcap">Hogarth</span> here a grand improver shines,<br /> -And nobly on the general plan refines;<br /> -He like himself o'erleaps the servile bound;<br /> -Worth is his mark, wherever Worth is found.<br /> -Should Painters only his vast wrath suffice?<br /> -Genius in every walk is Lawful Prize.<br /> -'Tis a gross insult to his o'ergrown state:<br /> -His love to merit is to feel his hate.<br /> -<br /> -"When <span class="smcap">Wilkes</span>, our Countryman, our common friend,<br /> -Arose, his King, his Country to defend,<br /> -When tools of power he bar'd to public view,<br /> -And from their holes the sneaking cowards drew;<br /> -When Rancour found it far beyond her reach<br /> -To soil his honour, and his truth impeach,<br /> -What could induce Thee, at a time and place,<br /> -Where manly Foes had blush'd to shew their face,<br /> -To make that effort, which must damn thy name,<br /> -And sink Thee deep, deep in thy grave with shame?<br /> -Did Virtue move Thee? no, 'twas Pride, rank Pride,<br /> -And if thou hadst not done it, Thou hadst dy'd.<br /> -<span class="smcap">Malice</span> (who, disappointed of her end,<br /> -Whether to work the bane of Foe or Friend,<br /> -Preys on herself, and, driven to the Stake,<br /> -Gives Virtue that revenge she scorns to take)<br /> -Had kill'd Thee, tottering on life's utmost verge,<br /> -Had <span class="smcap">Wilkes</span> and <span class="smcap">Liberty</span> escap'd thy scourge.<br /> -<br /> -"When that <span class="smcap">Great Charter</span>, which our Fathers bought<br /> -With their best blood, was into question brought;<br /> -When, big with ruin, o'er each English head<br /> -Vile Slavery hung suspended by a thread;<br /> -When <span class="smcap">Liberty</span>, all trembling and aghast,<br /> -Fear'd for the future, knowing what was past:<br /> -When every breast was chill'd with deep despair,<br /> -Till Reason pointed out that <span class="smcap">Pratt</span> was there;<br /> -Lurking, most Ruffian-like, behind a screen,<br /> -So plac'd all things to see, himself unseen,<br /> -<span class="smcap">Virtue</span>, with due contempt, saw <span class="smcap">Hogarth</span> stand,<br /> -The murderous pencil in his palsied hand.<br /> -What was the cause of Liberty to him,<br /> -Or what was Honour? Let them sink or swim,<br /> -So he may gratify, without controul,<br /> -The mean resentments of his selfish soul.<br /> -Let Freedom perish, if, to Freedom true,<br /> -In the same ruin <span class="smcap">Wilkes</span> may perish too.<br /> -<br /> -"With all the symptoms of assur'd decay,<br /> -With age and sickness pinch'd, and worn away,<br /> -Pale quivering lips, lank cheeks, and faultering tongue,<br /> -The spirits out of tune, the nerves unstrung,<br /> -The body shrivel'd up, the dim eyes sunk<br /> -Within their sockets deep, the weak hams shrunk<br /> -The body's weight unable to sustain,<br /> -The stream of life scarce trembling through the vein,<br /> -More than half-kill'd by honest truths, which fell,<br /> -Through thy own fault, from men who wish'd thee well;<br /> -Canst thou, e'en thus, thy thoughts to vengeance give,<br /> -And, dead to all things else, to Malice live?<br /> -Hence, Dotard, to thy closet, shut thee in,<br /> -By deep repentance wash away thy sin,<br /> -From haunts of men to shame and sorrow fly,<br /> -And, on the verge of death, learn how to die.<br /> -<br /> -"Vain exhortation! wash the Ethiop white,<br /> -Discharge the leopard's spots, turn day to night,<br /> -Controul the course of Nature, bid the deep<br /> -Hush at thy Pygmy voice her waves to sleep,<br /> -Perform things passing strange, yet own thy art<br /> -Too weak to work a change in such a heart.<br /> -<i>That</i> <span class="smcap">Envy</span>, which was woven in thy frame<br /> -At first, will to the last remain the same.<br /> -Reason may droop, may die; but Envy's rage<br /> -Improves by time, and gathers strength from age,<br /> -Some, and not few, vain triflers with the pen,<br /> -Unread, unpractis'd in the ways of men,<br /> -Tell us that <span class="smcap">Envy</span>, who with giant stride<br /> -Stalks through the vale of life by Virtue's side,<br /> -Retreats when she hath drawn her latest breath,<br /> -And calmly hears her praises after death.<br /> -To such observers <span class="smcap">Hogarth</span> gives the lie;<br /> -Worth may be hears'd, but Envy cannot die;<br /> -Within the mansion of his gloomy breast,<br /> -A mansion suited well to such a guest,<br /> -Immortal, unimpair'd, she rears her head,<br /> -And damns alike the living and the dead.<br /> -<br /> -"Oft have I known Thee, <span class="smcap">Hogarth</span>, weak and vain,<br /> -Thyself the idol of thy aukward strain,<br /> -Through the dull measure of a summer's day,<br /> -In phrase most vile, prate long, long hours away,<br /> -Whilst Friends with Friends, all gaping sit, and gaze<br /> -To hear a <span class="smcap">Hogarth</span> babble <span class="smcap">Hogarth's</span> praise.<br /> -But if athwart thee Interruption came,<br /> -And mention'd with respect some Ancient's name,<br /> -Some Ancient's name, who in the days of yore<br /> -The crown of Art with greatest honour wore,<br /> -How have I seen thy coward cheek turn pale,<br /> -And blank confusion seize thy mangled tale!<br /> -How hath thy Jealousy to madness grown,<br /> -And deem'd his praise injurious to thy own!<br /> -Then without mercy did thy wrath make way,<br /> -And Arts and Artists all became thy prey;<br /> -Then didst Thou trample on establish'd rules,<br /> -And proudly level'd all the ancient schools;<br /> -Condemn'd those works, with praise through ages grac'd,<br /> -Which you had never seen, or could not taste.<br /> -'But would mankind have true Perfection shewn,<br /> -It must be found in labours of my own.<br /> -I dare to challenge in one single piece,<br /> -Th' united force of <span class="smcap">Italy</span> and <span class="smcap">Greece</span>.'<br /> -Thy eager hand the curtain then undrew,<br /> -And brought the boasted Master-piece to view.<br /> -Spare thy remarks—say not a single word—<br /> -The Picture seen, why is the Painter heard?<br /> -Call not up Shame and Anger in our cheeks:<br /> -Without a Comment <span class="smcap">Sigismunda</span> speaks.<br /> -<br /> -"Poor <span class="smcap">Sigismunda</span>! what a Fate is thine!<br /> -<span class="smcap">Dryden</span>, the great High-Priest of all the Nine,<br /> -Reviv'd thy name, gave what a Muse could give,<br /> -And in his Numbers bade thy Memory live;<br /> -Gave thee those soft sensations, which might move<br /> -And warm the coldest Anchorite to Love;<br /> -Gave thee that Virtue, which could curb desire,<br /> -Refine and consecrate Love's headstrong fire;<br /> -Gave thee those griefs, which made the Stoic feel,<br /> -And call'd compassion forth from hearts of steel;<br /> -Gave thee that firmness, which our Sex may shame,<br /> -And make Man bow to Woman's juster claim,<br /> -So that our tears, which from compassion flow,<br /> -Seem to debase thy dignity of woe!<br /> -But O, how much unlike! how fall'n! how chang'd!<br /> -How much from Nature and herself estrang'd!<br /> -How totally depriv'd of all the powers<br /> -To shew her feelings, and awaken ours,<br /> -Doth <span class="smcap">Sigismunda</span> now devoted stand,<br /> -The helpless victim of a Dauber's hand!<br /> -<br /> -"But why, <i>my</i> <span class="smcap">Hogarth</span>, such a progress made,<br /> -So rare a Pattern for the sign-post trade,<br /> -In the full force and whirlwind of thy pride,<br /> -Why was <i>Heroic</i> Painting laid aside?<br /> -Why is It not resum'd? Thy Friends at Court,<br /> -Men all in place and power, crave thy support;<br /> -Be grateful then for once, and, through the field<br /> -Of Politics, thy <i>Epic</i> Pencil wield;<br /> -Maintain the cause, which they, good lack! avow,<br /> -And would maintain too, but they know not how.<br /> -<br /> -"Through ev'ry <i>Pannel</i> let thy Virtue tell<br /> -How <span class="smcap">Bute</span> prevail'd, how <span class="smcap">Pitt</span> and <span class="smcap">Temple</span> fell!<br /> -How <span class="smcap">England's</span> sons (whom they conspir'd to bless<br /> -Against our Will, with insolent success)<br /> -Approve their fall, and with addresses run,<br /> -How got, God knows, to hail the <span class="smcap">Scottish</span> Sun!<br /> -Point out our fame in war, when Vengeance, hurl'd<br /> -From the strong arm of Justice, shook the world;<br /> -Thine, and thy Country's honour to increase,<br /> -Point out the honours of succeeding Peace;<br /> -Our <i>Moderation</i>, Christian-like, display,<br /> -Shew, what we got, and what we gave away.<br /> -In Colours, dull and heavy as the tale,<br /> -Let a <i>State</i>-Chaos through the whole prevail.<br /> -<br /> -"But, of events regardless, whilst the Muse,<br /> -Perhaps with too much heat, her theme pursues;<br /> -Whilst her quick Spirits rouze at <span class="smcap">Freedom's</span> call,<br /> -And every drop of blood is turn'd to gall,<br /> -Whilst a dear Country, and an injur'd Friend,<br /> -Urge my strong anger to the bitterest end,<br /> -Whilst honest trophies to Revenge are rais'd,<br /> -Let not One real Virtue pass unprais'd.<br /> -Justice with equal course bids Satire flow,<br /> -And loves the Virtue of her greatest foe.<br /> -<br /> -"O! that I here could that rare Virtue mean,<br /> -Which scorns the rule of Envy, Pride and Spleen,<br /> -Which springs not from the labour'd Works of Art,<br /> -But hath its rise from Nature in the heart,<br /> -Which in itself with happiness is crown'd,<br /> -And spreads with joy the blessing all around!<br /> -But truth forbids, and in these simple lays<br /> -Contented with a different kind of Praise,<br /> -Must <span class="smcap">Hogarth</span> stand; that Praise which <span class="smcap">Genius</span> gives;<br /> -In Which to latest time the <i>Artist</i> lives,<br /> -But not the <i>Man</i>; which, rightly understood,<br /> -May make us great, but cannot make us good,<br /> -That Praise be <span class="smcap">Hogarth's</span>; freely let him wear<br /> -The Wreath which <span class="smcap">Genius</span> wove, and planted there.<br /> -Foe as I am, should Envy tear it down,<br /> -Myself would labour to replace the Crown.<br /> -<br /> -"In walks of Humour, in that cast of Style,<br /> -Which, probing to the quick, yet makes us smile;<br /> -In Comedy, his nat'ral road to fame,<br /> -Nor let me call it by a meaner name,<br /> -Where a beginning, middle, and an end,<br /> -Are aptly join'd; where parts on parts depend,<br /> -Each made for each, as bodies for their soul,<br /> -So as to form one true and perfect whole,<br /> -Where a plain Story to the eye is told,<br /> -Which we conceive the moment we behold,<br /> -<span class="smcap">Hogarth</span> unrival'd stands, and shall engage<br /> -Unrival'd praise to the most distant age.<br /> -<br /> -"How could'st Thou then to shame perversely run,<br /> -And tread that path which Nature bade Thee shun?<br /> -Why did Ambition overleap her rules,<br /> -And thy vast parts become the Sport of Fools?<br /> -By different methods different Men excell,<br /> -But where is He who can do all things well?<br /> -Humour thy Province, for some monstrous crime<br /> -Pride struck Thee with the frenzy of <i>Sublime</i>.<br /> -But, when the work was finish'd, could thy mind<br /> -So partial be, and to herself so blind,<br /> -What with Contempt All view'd, to view with awe,<br /> -Nor see those faults which every Blockhead saw?<br /> -Blush, Thou vain Man, and if desire of Fame,<br /> -Founded on real Art, thy thoughts inflame,<br /> -To quick destruction <span class="smcap">Sigismunda</span> give,<br /> -And let her memory die, that thine may live.<br /> -<br /> -"But should fond Candour, for her Mercy's sake,<br /> -With pity view, and pardon this mistake;<br /> -Or should Oblivion, to thy wish most kind,<br /> -Wipe off that stain, nor leave one trace behind;<br /> -Of <span class="smcap">Arts</span> <i>despis'd</i>, of <span class="smcap">Artists</span> by thy frown<br /> -<i>Aw'd from just hopes</i>, of <i>rising worth kept down</i>,<br /> -Of all thy meanness through this mortal race,<br /> -Canst Thou the living memory erase?<br /> -Or shall not Vengeance follow to the grave,<br /> -And give back just that measure which You gave?<br /> -With so much merit, and so much success,<br /> -With so much power to curse, so much to bless,<br /> -Would He have been Man's friend, instead of foe,<br /> -<span class="smcap">Hogarth</span> had been a little God below.<br /> -Why then, like savage Giants, fam'd of old,<br /> -Of whom in Scripture Story we are told,<br /> -Dost Thou in cruelty that strength employ,<br /> -Which Nature meant to save, not to destroy?<br /> -Why dost Thou, all in horrid pomp array'd,<br /> -Sit grinning o'er the ruins Thou hast made?<br /> -Most rank ill-nature must applaud thy art;<br /> -But even Candour must condemn thy heart.<br /> -<br /> -"For Me, who, warm and zealous for my Friend,<br /> -In spite of railing thousands, will commend,<br /> -And, no less warm and zealous 'gainst my foes,<br /> -Spite of commending thousands, will oppose,<br /> -I dare thy worst, with scorn behold thy rage,<br /> -But with an eye of Pity view thy Age;<br /> -Thy feeble Age, in which, as in a glass,<br /> -We see how men to dissolution pass.<br /> -Thou <i>wretched Being</i>, whom, on Reason's plan,<br /> -So chang'd, so lost, I cannot call a Man,<br /> -What could persuade Thee, at this time of life,<br /> -To launch afresh into the Sea of Strife?<br /> -Better for Thee, scarce crawling on the earth,<br /> -Almost as much a child as at thy birth,<br /> -To have resign'd in peace thy parting breath,<br /> -And sunk unnotic'd in the arms of Death.<br /> -Why would thy grey, grey hairs, resentment brave,<br /> -Thus to go down with sorrow to the grave?<br /> -Now, by my Soul, it makes me blush to know<br /> -My Spirits could descend to such a foe.<br /> -Whatever cause the vengeance might provoke,<br /> -It seems rank Cowardice to give the stroke.<br /> -<br /> -"Sure 'tis a curse which angry Fates impose,<br /> -To fortify man's arrogance, that those,<br /> -Who're fashion'd of some better sort of clay,<br /> -Much sooner than the common herd decay.<br /> -What bitter pangs must humbled <span class="smcap">Genius</span> feel!<br /> -In their last hours, to view a <span class="smcap">Swift</span> and <span class="smcap">Steele</span>!<br /> -How much ill-boding horrors fill her breast<br /> -When She beholds Men, mark'd above the rest<br /> -For qualities most dear, plung'd from that height,<br /> -And sunk, deep sunk, in second Childhood's night!<br /> -Are Men, indeed, such things, and are the best<br /> -More subject to this evil than the rest,<br /> -To drivel out whole years of Ideot Breath,<br /> -And sit the Monuments of living Death?<br /> -O, galling circumstance to human pride!<br /> -Abasing Thought, but not to be denied!<br /> -With curious Art the Brain, too finely wrought;<br /> -Preys on herself, and is destroy'd by Thought.<br /> -Constant Attention wears the active mind,<br /> -Blots out her powers, and leaves a blank behind.<br /> -But let not Youth, to insolence allied,<br /> -In heat of blood, in full career of pride,<br /> -Possess'd of <span class="smcap">Genius</span>, with unhallow'd rage,<br /> -Mock the infirmities of reverend age.<br /> -The greatest <span class="smcap">Genius</span> to this Fate may bow,<br /> -<span class="smcap">Reynolds</span>, in time, may be like <span class="smcap">Hogarth</span> now."<br /> -<br /></p></blockquote></div> - -<p><span class="pagenum"><a name="Page_400" id="Page_400">[Pg 400]</a></span></p> - -<p>3. The same; but on the palette is introduced -the political print described in p. <a href="#Page_91">91</a>. In the second<span class="pagenum"><a name="Page_401" id="Page_401">[Pg 401]</a></span> -impressions of the plate thus altered,<a name="FNanchor_1_296" id="FNanchor_1_296"></a><a href="#Footnote_1_296" class="fnanchor">[1]</a> we find the -letters N B added on the club, as well as the epithet -<i>infamous</i> prefixed to the word <i>Fallacy</i>. The shadows -on the political print are likewise changed, and -deepened; and the words "Dragon of <i>Wantley</i>" are -added at the end of "I warrant ye."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_296" id="Footnote_1_296"></a><a href="#FNanchor_1_296"><span class="label">[1]</span></a> The first was price 1<i>s.</i>; the second price 1<i>s.</i> 6<i>d.</i></p><br /></div> - - -<p>4. Print Of the Weighing-house to "<i>Clubbe's</i> -Physiognomy;" a humourous pamphlet in quarto, -published in 1763, by Mr. <i>Clubbe</i><a name="FNanchor_1_297" id="FNanchor_1_297"></a><a href="#Footnote_1_297" class="fnanchor">[1]</a> (editor of the -History and Antiquities of <i>Wheatfield</i> in <i>Suffolk</i>), and<span class="pagenum"><a name="Page_402" id="Page_402">[Pg 402]</a></span> -dedicated to <i>Hogarth. W. Hogarth del. L. Sullivan -sculp.</i> It was likewise printed in a collection of this -author's works, published at <i>Ipswich</i>, 2 vols. 12mo. -no date, with a new engraving of the plate. There -is also a third engraving of the same design, perhaps -executed in the country, for some octavo edition -of Mr. <i>Clubbe's</i> pamphlet.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_297" id="Footnote_1_297"></a><a href="#FNanchor_1_297"><span class="label">[1]</span></a> I had said in my first edition, that Mr. <i>Clubbe</i> was drowned -in the moat that surrounded his house at <i>Wheatfield</i>; but readily -retract that assertion, having been since informed, that he -died a natural death, of old age and infirmities.</p><br /></div> - - -<p>5. <i>Frontispiece to a pamphlet</i> written by Dr. <i>Gregory -Sharpe</i>, Master of <i>The Temple</i>, against the <i>Hutchinsonians, -but never published.</i> "<i>It represents a witch -sitting on the moon, and watering on a mountain, -whence issue mice, who are devouring Sir Isaac Newton's -Optics; one mouse lies dead on Hutchinson's -works, probably to imply being choaked. The conundrum -signifies, Front-is-piss.</i>" The few impressions -from this plate that have strayed into the -hands of dealers, were originally presents from Dr. -<i>Sharpe</i> to his friends.</p> - -<hr class="tb" /> - -<h4>1764.</h4> - - -<p>1. <span class="smcap">Finis</span>, or the Tail-piece. The Bathos, or -manner of sinking in sublime painting, inscribed to -the dealers in dark pictures.<a name="FNanchor_1_298" id="FNanchor_1_298"></a><a href="#Footnote_1_298" class="fnanchor">[1]</a> <span class="smcap">Time</span> breathing out<span class="pagenum"><a name="Page_403" id="Page_403">[Pg 403]</a></span> -his <i>last</i>, a ruinous tower, and many other allegorical -devices; among the rest, he has introduced his own -"Times."<a name="FNanchor_2_299" id="FNanchor_2_299"></a><a href="#Footnote_2_299" class="fnanchor">[2]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_298" id="Footnote_1_298"></a><a href="#FNanchor_1_298"><span class="label">[1]</span></a> On this print, which he called <i>Finis</i>, and represents the -destruction of all things, the following epigram, ascribed to -<i>Charles Churchill</i> the poet, and said to have been written by -him when at Mr. <i>Dell's</i>, in <i>Kew-foot-lane, April</i> 18, 1764, is -printed from <i>The Muse's Mirrour</i>, vol. I. p. 8. -</p> -<blockquote><p> -On <i>Hogarth's</i> print of the <i>Bathos</i>, or the Art of Sinking in Painting.<br /> -<br /> -All must old <i>Hogarth's</i> gratitude declare,<br /> -Since he has nam'd old <i>Chaos</i> for his heir;<br /> -And while his works hang round that <i>Anarch's</i> throne,<br /> -The connoisseurs will take them for his own.<br /> -</p></blockquote> -<p> -Mr. <i>Walpole's</i> Anecdotes, 8vo. vol, IV. p. 191.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_299" id="Footnote_2_299"></a><a href="#FNanchor_2_299"><span class="label">[2]</span></a> A few months before this ingenious artist was seized -with the malady which deprived society of one of its greatest -ornaments, he proposed to his matchless pencil the work he -has intituled a <i>tail-piece</i>; the first idea of which is said to have -been started in company, while the convivial glass was circulating -round his own table. "My next undertaking," says -<i>Hogarth</i>, "shall be the <i>End of all Things</i>." "If that is the -case," replied one of his friends, "your <i>business will be finished</i>; -for there will be <i>an end of the painter</i>." "There -<i>will</i> so," answered <i>Hogarth</i>, sighing heavily; "and, therefore, -the sooner my <i>work is done</i>, the better." Accordingly -he began the next day, and continued his design with a diligence -which seemed to indicate an apprehension (as the report -goes) that he should not live till he had completed it. This, -however, he did in the most ingenious manner, by grouping -every thing which could denote the <i>end of all things</i>—a broken -bottle—an old broom worn to the stump—the butt-end of an -old musket—a cracked bell—bow unstrung—a crown tumbled -in pieces—towers in ruins—the <i>sign-post</i> of a tavern, called <i>The -World's End</i>, tumbling—the moon in her wane—the map of -the globe burning—a gibbet falling, the body gone, and the -chain which held it dropping down—<i>Phœbus</i> and his horses -dead in the clouds—a vessel wrecked—Time, with his hour-glass -and scythe broken; a tobacco-pipe in his mouth, the last -whiff of smoke going out—a play-book opened, with <i>Exeunt -omnes</i> stamped in the corner—an empty purse—and a statute of -bankruptcy taken out against Nature.—"So far, so good," -cried <i>Hogarth</i>; "nothing remains but this,"—taking his -pencil in a sort of prophetic fury, and dashing off the similitude -of a <i>painter's pallet broken</i>—"<i>Finis</i>," exclaimed <i>Hogarth</i>, -"<i>the deed is done—all is over.</i>"—It is remarkable, that he died -in about a month after this tail-piece. It is also well known -he never again took the pencil in hand.</p><br /></div> - - -<p>2. The Bench.<a name="FNanchor_1_300" id="FNanchor_1_300"></a><a href="#Footnote_1_300" class="fnanchor">[1]</a> The same described under the -year 1758; but with additions. The plate thus<span class="pagenum"><a name="Page_404" id="Page_404">[Pg 404]</a></span> -varied occurs in two states. In the first of these we -have only "This plate could have been better explained, -had the author lived a week longer." In -the second impression of it we are told, that "The -unfinished group of heads, in the upper part of -this print, was added by the author in <i>October</i> -1764; and was intended as a farther illustration -of what is here said concerning <i>Character, Caracatura,</i> -and <i>Outrè</i>. He worked upon it a day -before his death, which happened the 26th of that -month." This plate exhibits the inside of the -<i>Common Pleas</i>, with portraits of the following judges -then belonging to that court:</p> - - -<div class="center"> -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left">Hon.</td><td align="left">Sir <i>Edw.</i> </td><td align="left">Sir <i>John</i></td><td align="left">Hon. Mr. Justice</td></tr> -<tr><td align="left"><i>Wm. Noel</i>. </td><td align="left"><i>Clive</i>.</td><td align="left"><i>Willes</i>, Ld. </td><td align="left">(now Earl)</td></tr> -<tr><td align="left"> </td><td align="left"> </td><td align="left">Ch. Justice. </td><td align="left"><i>Bathurst</i>.</td></tr> -</table></div> - -<p>Mr. <i>Edwards's</i> picture on this subject (see p. <a href="#Page_367">367</a>.) -differs from both the plates.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_300" id="Footnote_1_300"></a><a href="#FNanchor_1_300"><span class="label">[1]</span></a> A term peculiarly appropriated to the Court of <i>Common -Pleas</i>.</p><br /></div> - - -<p>3. Hell-Gate, Satan, Sin, and Death. <i>Milton's -Paradise Lost.</i> Book II. A large print. Engraved -by <i>C. Townley</i>, and intended to have been published -<i>April</i> 15, 1767. It was dedicated to the late Mr. -<i>Garrick</i>, who possessed the original (unfinished) picture -painted by <i>Hogarth</i>. The plate was destroyed, -and only a few of the prints are now remaining. -The original is in the possession of Mrs. <i>Garrick</i>.</p> - -<p>It is impossible to conclude my account of it -without observing, that the united labours of <i>Teniers, -Heemskirk,</i> and <i>Callot,</i> could not have furnished a<span class="pagenum"><a name="Page_405" id="Page_405">[Pg 405]</a></span> -more absolute burlesque of this noble subject, than -<i>Hogarth</i>, who went seriously to work on it, has here -produced. "How art thou fallen, O <i>Lucifer</i>, thou -son of the Morning!" will be the exclamation of -every observer, on seeing this unaccountable performance, -in which <i>Satan</i> and <i>Death</i> have lost their -terrors, and <i>Sin</i> herself is divested of all the powers -of temptation.</p> - -<hr class="tb" /> - -<h4>1772.</h4> - - -<p>1. The Good Samaritan; by <i>Ravenet</i> and <i>Delatre</i>.</p> - -<p>In <i>The Grub-Street Journal</i> for <i>July</i> 14, 1737, appeared -the following paragraph: "Yesterday the scaffolding -was taken down from before the picture -of <i>The Good Samaritan</i>,<a name="FNanchor_1_301" id="FNanchor_1_301"></a><a href="#Footnote_1_301" class="fnanchor">[1]</a> painted by Mr. <i>Hogarth</i>, -on the Stair Case in <i>St. Bartholomew's</i> Hospital, -which is esteemed a very curious piece." <i>Hogarth</i> -paid his friend <i>Lambert</i> for painting the landscape in -this picture, and afterwards cleaned the whole at his -own expence. To the imaginary merits of his coadjutor, -the Analysis, p. 26, bears the following testimony: -"The sky always gradates one way or other, -and the rising or setting sun exhibits it in great -perfection; the imitating of which was <i>Claud de -Lorain's</i> peculiar excellence, and is now Mr. <i>Lambert's</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_301" id="Footnote_1_301"></a><a href="#FNanchor_1_301"><span class="label">[1]</span></a> Of this picture Mr. <i>S. Ireland</i> has a sketch in oil.</p><br /></div> - - -<p>2. <i>The Pool of Bethesda</i>; large, by <i>Ravenet</i> and -<i>Picot</i>. A small one, by <i>Ravenet</i>, has been mentioned -under 1748. Both very indifferent. Mr. <i>Walpole</i> -justly observes, that "the burlesque turn of our<span class="pagenum"><a name="Page_406" id="Page_406">[Pg 406]</a></span> -artist's mind mixed itself with his most serious -compositions; and that, in <i>The Pool of Bethesda</i>, a -servant of a rich ulcerated lady, beats back a -poor man [perhaps woman] who sought the same -celestial remedy." To this remark I may add, -that the figure of the priest, in <i>The Good Samaritan</i>, -is supremely comic, and rather resembles some purse-proud -burgomaster, than the character it was designed -to represent.</p> - -<p>On the top of the staircase at St. <i>Bartholomew's</i> -Hospital, and just under the cornice, is the following -inscription, "The historical paintings of this staircase -were painted and given by Mr. <i>William Hogarth</i>, -and the ornamental paintings at his expence, A. D. -1736." Both pictures, which appear of an oblong -square in the engravings, in the originals are surrounded -with scroll-work which cuts off the corners -of them, &c. All these ornaments, together with -compartments carved at the bottom, were the work -of Mr. <i>Richards</i>. Mr. <i>Boydell</i> had the latter engraved -on separate plates, appended to those above them, on -which sufficient space had not been left.—<i>Hogarth</i> requested -that these pictures might never be varnished. -They appear therefore to disadvantage, the decorations -about them having, within these few years past, -been highly glazed. <i>The Pool of Bethesda</i> has suffered -much from the sun; and <i>The Good Samaritan</i>, -when lately cleaned, was pressed so hard against the -straining frame, that several creases have been made -in the canvas.</p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_407" id="Page_407">[Pg 407]</a></span></p> - -<h4>1775.</h4> - - -<p>1. The Politician [Mr. <i>Tibson</i>, lately a laceman in -<i>The Strand</i>], from a sketch in oil, by <i>Hogarth</i>. -Etched by <i>J. K. Sherwin</i>. Published <i>Oct.</i> 31, 1775.</p> - -<hr class="tb" /> - -<h4>1781.</h4> - - -<p>1. Portrait of <i>Solfull</i>,<a name="FNanchor_1_302" id="FNanchor_1_302"></a><a href="#Footnote_1_302" class="fnanchor">[1]</a> a maker of punches for -engravers. <i>W. Hogarth del. S. J. fecit aqua fort.</i> -Mr. <i>S. Ireland</i> has the original sketch. This portrait -is mentioned by Mr. <i>Walpole</i> under the title of "<i>Two -small heads of men in profile in one plate, etched by -Mr. Ireland, from a sketch in his own collection.</i>"</p> - -<div class="footnote"> - -<p><a name="Footnote_1_302" id="Footnote_1_302"></a><a href="#FNanchor_1_302"><span class="label">[1]</span></a> This was etched a second time, Mr. <i>Ireland</i> having accidentally -lost his first plate.</p><br /></div> - - -<p>2. <i>Thomas Pellet</i>, M. D. President of the College -of Physicians. <i>W. Hogarth pinxit. C. Hall sculpsit.</i><br /> -<br /></p> - - -<p>3. <i>William Bullock</i> the Comedian. <i>W. Hogarth -pinxit. C. Hall sculpsit.</i> It is by no means certain -that these two last portraits were painted by <i>Hogarth</i>.<br /> -<br /></p> - - -<p>4. North and South of <i>Great Britain. W. Hogarth -delin. F. B.</i> [i. e. <i>Francis Bartolozzi</i>] <i>sculp.</i> This -little print represents a <i>Scotchman</i> scrubbing against a -sign-post; no sign on it; with <i>Edenborough</i> castle in -the back ground:—and an <i>Englishman</i> reposing on a -post, with a pot of <i>London</i> porter in his hand; the -sign of an Ox, with <i>roast and boild</i>, by way of inscription, -over his head; and a view of St. <i>Paul's</i> at -a distance. I do not believe it was designed by our -artist, whose satire was usually of a more exalted -kind: neither are the figures at all in his manner.</p> - -<p>A sketch imputed to <i>Hogarth</i>, and engraved by<span class="pagenum"><a name="Page_408" id="Page_408">[Pg 408]</a></span> -this matchless <i>Italian</i>, however, carries a double -temptation with it, as it unites with the works of -both artists, which are so much the present objects of -pursuit. No man can entertain too high an idea of -<i>Barlolozzi's</i> talents; but yet, being sometimes apt -to sacrifice similitude to grace,</p> - -<blockquote> -<p> -<i>Emollit mores, nec finit esset feros.</i><br /> -</p></blockquote> - -<p>He therefore is the last person from whom justice to -the strong marked characters of <i>Hogarth</i> could be -expected.</p> - -<p>Since the above observations were communicated, -a new impression of this plate has appeared with the -name of <i>Sandby</i> annexed to it. The history of so -extraordinary a change deserves notoriety. The publisher -was at first assured that the sketch, from which -he designed the engraving, was not the production of -<i>Hogarth</i>. He, however, on his own judgement, pretended -to affirm the contrary, being at least convinced -that, during the late rage for collecting the works -of our artist, no name was so likely as his to draw -in purchasers. Having disposed of as many copies -as he could in consequence of hanging out such false -colours, he now sets sail again under those of <i>Sandby</i>, -and would probably make a third voyage with Mr. -<i>Bunbury's</i> flag at his mast head, were not our second -<i>Hogarth</i> at hand, to detect the imposture.—The price -of this etching, originally 2 <i>s.</i> 6 <i>d.</i> is now sold at 1 <i>s.</i> -though the proprietor has incurred the fresh expence -of decorating it in <i>aqua tinta</i>. Should it henceforward -fail to meet with buyers, I shall not be ready -to exclaim, with <i>Ovid</i>,</p> - -<p><span class="pagenum"><a name="Page_409" id="Page_409">[Pg 409]</a></span></p> - -<blockquote><p> -<i>Flebam successu posse carere dolo.</i><br /> -</p></blockquote> - -<p>The three last published by <i>John Thane, Rupert-street, -Haymarket</i>.<br /> -<br /></p> - - -<p>5. First sketch of arms for <i>The Foundling Hospital. -Wm. Hogarth inv.</i> 1747. Over the Crest and Supporters -is written—A Lamb—Nature—<i>Britannia</i>. In -the shield is a naked Infant: the Motto <span class="smcap">Help</span>.</p> - -<p>This is an accurate fac simile from a drawing with -a pen and ink by <i>Hogarth</i>. Published as the Act -directs <i>July</i> 31, 1781, by <i>R. Livesay</i>, at Mrs. <i>Hogarth's, -Leicester Fields</i>. The original is in the collection -of the Earl of <i>Exeter</i>.<br /> -<br /></p> - - -<p>6. Two Figures, &c. <i>Hogarth inv. F. B.</i> [i. e. -<i>Francis Bartolozzi</i>] <i>sculp.</i> These figures were designed -for Lord <i>Melcombe</i> and Lord <i>Winchelsea</i>. From a -drawing with a pen and ink by <i>Hogarth</i>. Published -as the Act directs, 31 <i>July</i>, 1781, by <i>R. Livesay</i> at -Mrs. <i>Hogarth's, Leicester-fields</i>. I am informed, however, -that this drawing was certainly the work of -Lord <i>Townshend</i>. The original is in the collection of -the Earl of <i>Exeter</i>.<br /> -<br /></p> - -<p>7. A mezzotinto portrait of <i>Hogarth</i> with his hat -on, in a large oval, "from an original begun by -<i>Wheltdon</i>, and finished by himself, late in the possession -of the Rev. Mr. <i>Townley. Charles Townley fec.</i>" -The family of <i>Hogarth</i> affect to know nothing of this -painting; and say, if there is such a thing, it was -only slightly touched over by him. It must be confessed -that it bears little, if any, resemblance to the -representations of our artist edited by himself. The<span class="pagenum"><a name="Page_410" id="Page_410">[Pg 410]</a></span> -original is now in the possession of Mr. <i>James Townley</i>, -as has been mentioned in p. <a href="#Page_98">98</a>.</p> - -<hr class="tb" /> - -<h4>1782.</h4> - -<p>1. The Staymaker.<br /> -<br /></p> - -<p>2. Debates on Palmistry.</p> - -<p>The humour in the first of the two preceding -prints is not very strong, and in the second it is scarce -intelligible. The Male <i>Staymaker</i> seems to be taking -professional liberties with a female in the very room -where her husband sits, who is playing with one of -his children presented to him by a nurse, perhaps -with a view to call off his attention from what is going -forward. The hag shews her pretended love for -the infant, by kissing its posteriors. A maid-servant -holds a looking-glass for the lady, and peeps significantly -at the operator from behind it. A boy with a -cockade on, and a little sword by his side, appears -to observe the familiarities already mentioned, and is -strutting up fiercely towards the Staymaker, while a -girl is spilling some liquor in his hat.</p> - -<p>The figures employed in the study of <i>Palmistry</i> -seem to be designed for Physicians and Surgeons of -an Hospital, who are debating on the most commodious -method of receiving a fee, unattentive to the -complaints of a lame female who solicits assistance. -A spectre, resembling the <i>Royal Dane</i>, comes out behind, -perhaps to intimate that physick and poison -will occasionally produce similar effects. A glass -case, containing skeletons, is open; a crocodile hangs -overhead; and an owl, emblematic of this sapient<span class="pagenum"><a name="Page_411" id="Page_411">[Pg 411]</a></span> -consistory, is perched on an high stand. I suspect -these two to have been discarded sketches—the first -of them too barren in its subject to deserve finishing, -and the second a repented effort of hasty spleen -against the officers of <i>St. Bartholomew's</i>, who might -not have treated some recommendation of a patient -from our artist with all the respect and attention to -which he thought it was entitled. But this is mere -supposition.<br /> -<br /></p> - - -<p>3. Portrait of <i>Henry Fox</i> Lord <i>Holland</i>.<br /> -<br /></p> - - -<p>4. Portrait of <i>James Caulfield</i> Earl of <i>Charlemont</i>.<br /> -<br /></p> - - -<p>The above four articles are all etched by <i>S. Haynes</i>, -pupil to the late Mr. <i>Mortimer</i>, from original drawings -in the possession of Mr. <i>S. Ireland</i>.</p> - -<p>The six prints which follow, were published by -subscription by Mrs. <i>Hogarth</i> in <i>April</i> 1782; of these -No. 5. was engraved by <i>Bartolozzi</i>, and the rest by -<i>R. Livesay</i>.<br /> -<br /></p> - - -<p>5. The Shrimp Girl, a head, from an original -sketch in oil, in the possession of Mrs. <i>Hogarth</i>.</p> - -<p>This plate, which is executed in the dotted manner -so much at present in fashion, should have been etched -or engraved like those excellent performances by -<i>Bartolozzi</i> after the drawings of <i>Guercino</i>. Spirit, -rather than delicacy, is the characteristic of our artist's -<i>Shrimp Girl</i>.<br /> -<br /></p> - - -<p>6. 7. Portraits of <i>Gabriel Hunt</i> and <i>Benjamin Read</i>, in -<i>aqua tinta</i>, from the original drawings in the possession -of the late Mr. <i>Forrest</i>. The drawing of Mr. <i>Hunt</i> was -taken in 1733, a period when, from the number of<span class="pagenum"><a name="Page_412" id="Page_412">[Pg 412]</a></span> -street-robberies, it was usual to go armed. <i>Hunt's</i> -couteau is stuck in one of his button-holes.</p> - -<p>The figure of <i>Ben Read</i> was taken in 1757. Coming -one night to the club after having taken a long journey, -he fell asleep there. <i>Hogarth</i> had got on his roquelaure, -and was about to leave the room; but, struck -with the drollery of his friend's appearance, he exclaimed, -"Heavens! what a character!" and, calling -for pen and ink, took the drawing immediately, -without sitting down.</p> - -<p>To be recorded only as votaries of the bottle and -pipe, is no very flattering mark of distinction to these -members of our artist's club. There is scarce a -meaner avenue to the Temple of Fame.<br /> -<br /></p> - - -<p>8. Three plates, from the original sketches of -<i>Hogarth</i>, designed for the epitaph and monument of -<i>George Taylor</i>. The drawings are the property of -Mr. <i>Morrison</i>.</p> - -<p><i>George Taylor</i> was a famous boxer, who died <i>February</i> -21, 1750. A writer already quoted speaks of -him in these terms: "<i>George Taylor</i>, known by the -name of <i>George the Barber</i>, sprang up surprisingly. -He has beat all the chief boxers but <i>Broughton</i>. -He, I think, injudiciously fought him one of the -first, and was obliged very soon to give out. -Doubtless it was a wrong step in him to commence -a boxer by fighting the standing champion: for -<i>George</i> was not then twenty, and <i>Broughton</i> was in -the zenith of his age and art. Since that he has -greatly distinguished himself with others; but has<span class="pagenum"><a name="Page_413" id="Page_413">[Pg 413]</a></span> -never engaged <i>Broughton</i> more. He is a strong -able boxer, who, with a skill extraordinary, aided -by his knowledge of the small and back swords, -and a remarkable judgement in the cross-buttock -fall, may contest with any. But, please or displease, -I am resolved to be ingenuous in my characters. -Therefore I am of opinion, that he is not -overstocked with that necessary ingredient of a -boxer, called a <i>bottom</i>; and am apt to suspect that -blows of equal strength with his too much affect -him and disconcert his conduct." <i>Godfrey on the -Science of Defence</i>, p. 61.</p> - -<p>On <i>Taylor's</i> tombstone in <i>Deptford</i> church-yard is -the following epitaph:</p> - -<blockquote><p> -Farewell ye honours of my brow!<br /> -<span style="margin-left: 1em;">Victorious wreaths farewell!</span><br /> -One trip from Death has laid me low,<br /> -<span style="margin-left: 1em;">By whom such numbers fell.</span><br /> -Yet bravely I'll dispute the prize,<br /> -<span style="margin-left: 1em;">Nor yield, though out of breath:</span><br /> -'Tis but a fall—I yet shall rise,<br /> -<span style="margin-left: 1em;">And conquer—even <span class="smcap">Death</span>.</span><br /> -</p></blockquote> - -<p>The idea, however, is all that can merit praise in -these rough outlines by <i>Hogarth</i>. Some graver critics, -indeed, may think our artist has treated the -most solemn of all events with too great a degree of -levity.<br /> -<br /></p> - - -<p>9. Nine prints of <i>Hogarth's</i> Tour from drawings -by <i>Hogarth</i>, &c. accompanied with nine pages of letter -press. The frontispiece of this work (Mr. <i>Somebody</i>)<span class="pagenum"><a name="Page_414" id="Page_414">[Pg 414]</a></span> -was designed by <i>Hogarth</i>, as emblematical of -their journey, <i>viz.</i> that it was a short Tour by land -and water, backwards and forwards, without head or -tail. The 9th is the tail-piece (Mr. <i>Nobody</i>) of the -same whimsical nature with the first; the whole being -intended as a burlesque on historical writers recording -a series of insignificant events intirely uninteresting -to the reader. "Some few copies of the Tour," says -Mr. <i>Walpole</i>,<a name="FNanchor_1_303" id="FNanchor_1_303"></a><a href="#Footnote_1_303" class="fnanchor">[1]</a> "were printed by Mr. <i>Nichols</i> in the -preceding year. It was a party of pleasure down -the river into <i>Kent</i>, undertaken by Mr. <i>Hogarth</i>, -Mr. <i>Scott</i>, and three of their friends, in which -they intended to have more humour than they accomplished, -as is commonly the case in such meditated -attempts. The Tour was described in verse -by one of the company, and the drawings executed -by the painters, but with little merit, except -the views taken by Mr. <i>Scott</i>."</p> - -<p>I have transcribed this paragraph lest the readers -of the truly valuable work whence it is taken should -imagine the Tour printed by <i>J. N.</i> in 1781, was the -same with that published by Mr. <i>Livesay</i> in 1782. -The former was the production of the ingenious Mr. -<i>Gostling</i> of <i>Canterbury</i>; the latter was written by one -of the company, and, with the omission of a single -glaring indelicacy, and many false spellings, has been -faithfully edited by Mr. <i>Livesay</i>.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_303" id="Footnote_1_303"></a><a href="#FNanchor_1_303"><span class="label">[1]</span></a> Vol. IV. 8vo. p. 192.</p><br /></div> - - -<p>10. <i>Hogarth's</i> Crest, exhibiting the Line of Beauty. -<i>Cyprus</i> and <i>Variety</i> subjoined by way of mottoes; but<span class="pagenum"><a name="Page_415" id="Page_415">[Pg 415]</a></span> -my readers will anticipate me when I observe that the -universe contains no place in which <i>Hogarth</i> had so -little interest as in the <i>Cyprian</i> isle, where <i>Venus</i> was attended -by the Graces. <i>Hogarth's</i> original sketch, -which he delivered to Mr. <i>Catton</i> the coach-painter -for the purpose of having it transferred on his carriage, -is now in the possession of Mr. <i>Livesay</i>.<br /> -<br /></p> - - -<p>11. The card of invitation mentioned in p. <a href="#Page_63">63</a>. -is introduced in the <a href="#frontis">title-page</a> of the present publication. -It is engraved by <i>J. Cary</i>, a young artist, -whose abilities, more particularly in the line of map-engraving, -will soon raise him into notice.<br /> -<br /></p> - - -<p>12. An Old Man's Head with a band. In the -dotted stile. Published by <i>Livesay</i>.</p> - -<hr class="tb" /> - -<h4>1785.</h4> - - -<p>1. Orator <i>Henley</i> Christening a Child. Etched -by <i>Sam<sup>l</sup> Ireland</i> from an original sketch in oil—in -his possession—by <i>Hogarth</i>.—To <i>Francis Grose</i>, -Esq; F. A. S. an encourager and promoter of the -arts, this etching, from his favourite <i>Hogarth</i>, is -inscribed by his obliged friend and servant, -<span class="smcap">Sam<sup>l</sup> Ireland</span>.<br /> -<br /></p> - - -<p>2. A Landscape. Etch'd by <i>Sam<sup>l</sup> Ireland</i>, from -an original picture in his possession, said to be -the only landscape ever painted by <i>Hogarth</i>.—To -the Right Honourable the Earl of <i>Exeter</i>, -an admirer of <i>Hogarth</i>, and encourager of the arts, -this etching is inscribed by his Lordship's most -obliged and obedient servant. <span class="smcap">S. Ireland.</span></p> - -<p>The very considerable degree of skill and fidelity, -displayed in the execution of these two plates, entitles<span class="pagenum"><a name="Page_416" id="Page_416">[Pg 416]</a></span> -the gentleman who etched them to the warmest -thanks of every collector of the works of <i>Hogarth</i>.—May -a hope be added, that he will favour us with -yet other unpublished designs of the same master?</p> - -<hr class="tb" /> - -<h4><span class="smcap">Prints</span> <i>of uncertain Date</i>.</h4> - - -<p>Before Mr. <i>Walpole's</i> enumeration of the following -shop-bills, coats of arms, &c. made its appearance, -perhaps few of them were known to our collectors. -Concerning the genuineness of some of these unimportant -engravings, no doubt can be entertained; -but whence is it inferred that <i>all</i> of them were his -productions? Do we receive them merely on the -faith of Mr. <i>Pond</i>? or are they imputed to our artist -for any other reason, or on the strength of any other -testimony? I am assured, by a gentleman who possesses -the chief of them, and is well acquainted with -<i>Hogarth's</i> manner, that from mere external evidence -several of these could not have been authenticated.</p> - -<p>It is natural, however, to suppose that most of -them (if <i>Hogarth's</i>) were the fruits of his apprenticeship.<a name="FNanchor_1_304" id="FNanchor_1_304"></a><a href="#Footnote_1_304" class="fnanchor">[1]</a> -As such, therefore, they should be placed -at the beginning of every collection.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_304" id="Footnote_1_304"></a><a href="#FNanchor_1_304"><span class="label">[1]</span></a> Let it be remembered likewise, that being bound apprentice -to the single branch of engraving arms and cyphers, the -majority of his works, whether on base metal or silver, must -have been long since melted down. During the minority of -<i>Hogarth</i>, the forms in which plate was made, could contribute -little to its chance of preservation. Pot-bellied tankards, and -salvers scalloped like old-fashioned minced-pies, were the -highest efforts of that period.</p></div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_417" id="Page_417">[Pg 417]</a></span></p> - -<p>1. People in a shop under the King's arms: <i>Mary</i> -and <i>Ann Hogarth</i>. "<i>A shop-bill</i>" for his two sisters, -who for many years kept a linen-draper's, or rather -what is called a slop-shop.</p> - -<p style="text-align:center"> -<i>Mary</i> and <i>Ann Hogarth</i>.<br /> -<br /> -from the Old Frock-shop near the corner of <i>The<br /> -Long Walk</i>, facing <i>The Cloysters</i>, Removed to y<sup>e</sup><br /> -<i>Kings Arms</i> joyning to y<sup>e</sup> <i>Little Britain-gate</i>, near<br /> -<i>Long Walk</i>. Sells y<sup>e</sup> best and most Fashionable<br /> -Ready Made Frocks, sutes of Fustian, Ticken and<br /> -Holland, stript Dimmity and Flañel Wastcoats, blue<br /> -and canvas Frocks, and bluecoat Boys Dra<sup>rs</sup>.<br /> -<br /> -Likewise Fustians, Tickens, Hollands, white stript<br /> -Dĩ̃mitys, white and stript Flañels in y<sup>e</sup> piece.<br /> -<br /> -By wholesale or Retale, at Reasonable Rates.<br /> -<br /></p> - - -<p>2. His own cypher, with his name under it at -length; "<i>a plate he used for his books</i>." I have reason -to think it was neither designed nor engraved by -<i>Hogarth</i>.<br /> -<br /></p> - - -<p>3. A <i>Turk's</i> head. "<i>A shop bill</i>," for <i>John Barker</i>, -goldsmith, at the <i>Morocco</i> Ambassador's head in <i>Lombard-Street</i>.—A -copy of this has been made.<br /> -<br /></p> - - -<p>4. A shop-bill, with emblems of Trade. Grand -Duke of <i>Tuscany's</i> arms at the top; those of <i>Florence</i> -within the plate. At the four corners, views of <i>Naples, -Venice, Genoa,</i> and <i>Leghorne</i>.</p> - - -<p style="text-align:center"> -At Mrs. <i>Holt's,</i><br /> -<i>Italian</i> Warehouse,<br /> -<br /> -at the two Olive Posts in y<sup>e</sup> broad part of <i>The<br /> -Strand</i> almost opposite to <i>Exeter Change</i> are sold all<br /> -Sorts of <i>Italian</i> Silks, as Lustrings, Sattins, Padesois,<br /> -<span class="pagenum"><a name="Page_418" id="Page_418">[Pg 418]</a></span>Velvets, Damasks, &c. Fans, Legorne Hats, Flowers,<br /> -Lute and Violin Strings, Books of Essences, Venice<br /> -Treacle, Balsomes, &c. And in a Back Warehouse<br /> -all Sorts of <i>Italian</i> Wines, <i>Florence</i> Cordials, Oyl,<br /> -Olives, Anchovies, Capers, Vermicelli, <i>Bolognia</i> Sausidges,<br /> -<i>Parmesan</i> Cheeses, <i>Naple</i> Soap, &c.<br /> -<br /></p> - - -<p>5. A large angel, holding a palm in his left hand. -"<i>A shop-bill</i>" for</p> - -<p style="text-align:center"> -<i>Ellis Gamble</i><br /> -Goldsmith,<br /> -at the <i>Golden-Angel</i> in <i>Cranbourn-street,<br /> -Leicester-Fields</i>.<br /> -Makes Buys and Sells all Sorts<br /> -of Plate, Rings and Jewels<br /> -&c.<br /> -<br /> -<i>Ellis Gamble</i><br /> -Orfeure,<br /> -a l'Enseigne de l'Ange d'Or<br /> -dans <i>Cranbourn-Street, Leicester-Fields</i>.<br /> -Fait, Achete,<br /> -& vend toutes sortes d'Argenterie,<br /> -Bagues & Bijouxs, &c.<br /> -<br /></p> - - -<p>6. A smaller angel. This is a contracted copy -from the preceding, was another shop-bill for our -Artist's Master, and has the same inscription as that -already given.<br /> -<br /></p> - - -<p>7. Another small angel "almost the same as the -preceding," in the collection of Mr. <i>Walpole</i>.<br /> -<br /></p> - - -<p>8. A large oval coat of arms, with terms of the -four seasons.<br /> -<br /></p> - - -<p>9. A coat of arms, with two slaves and trophies. -Plate for books.<br /> -<br /></p> - - -<p>10. Another coat of arms, and two boys as terms.<br /> -<br /></p> - - -<p>11. A foreign coat of arms; supporters a savage -and an angel. Ditto.<br /> -<br /></p> - - -<p>12. Lord <i>Aylmer's</i> coat of arms.<br /> -<br /></p> - - -<p>13. Two ditto of the Duchess of <i>Kendal</i>; one of -them, an impression from a silver tea table.<br /> -<br /></p> - - -<p>14. The Earl of <i>Radnor's</i> arms, from a silver cup -and cover.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_419" id="Page_419">[Pg 419]</a></span></p> - - -<p>15. A grifon, with a flag. A crest.<br /> -<br /></p> - - -<p>16. <i>Minerva</i>, sitting and holding the arms of -<i>Holland</i>, four <i>Cupids</i> round her. "<i>Done for the books -of</i> John Holland, <i>herald-painter.</i>"</p> - -<p>Of this there are two plates. The <i>Fleurs de Lys</i> -in the one are more numerous and crowded than in -the other.<br /> -<br /></p> - - -<p>17. A ticket for a burial.</p> - -<p>For the same purpose our artist's contemporary -<i>Coypel</i> likewise engraved a plate, which is still in use.<br /> -<br /></p> - - -<p>18. Two small for <i>Milton. W. Hogarth inv. & sculp.</i></p> - -<p>It is so singular, that only plates referring to the -first and third books of <i>Paradise Lost</i> should be discovered -with our artist's name subscribed to them, -that I almost suspect they were not executed for any -edition of that work, but rather for some oratorio -or operatical performance founded thereon, though -neither performed nor printed. An example of two -prints by <i>Hogarth</i> to a single dramatic piece, we have -already met with in <a href="#Page_170"><i>Perseus and Andromeda</i></a>.</p> - -<p>If the first of the present designs was made for the -first book of <i>Paradise Lost</i>, one might almost swear -that <i>Hogarth</i> had never read it, or he could not have -fallen into the strange absurdities and incoherences -that his engraving displays. We have on one side a -Dæmon exalted in a kind of pulpit, at the foot of -which another infernal spirit lies bound in chains, -while a cannon is pointed at his head. At a distance, -in the centre of an arcade adorned with statues, -is a throne with a personage seated on it. Over -his head are little beings supporting an emblem of<span class="pagenum"><a name="Page_420" id="Page_420">[Pg 420]</a></span> -eternity. Stars, &c. appear above them. Whether -this dignified character was designed for "a spirit -of health, or goblin damn'd," it would be difficult -from his figure and attributes to determine. -Perhaps several works of fancy might be named, -with which the present representation would as naturally -connect as with the first book of <i>Milton's</i> -Poem.</p> - -<p>The following plate exhibits two celestial characters -of equal age. They sit aloft in the clouds, -and listen to a concert of angels playing on various -instruments, and, among the rest, on a clumsy organ. -A ray of light darts down on a distant orb, designed, -I suppose, for the new-created world, towards which -the figure of a little being, scarce bigger than a -bird, though meant for <i>Satan</i>, is seen directing its -flight.<a name="FNanchor_1_305" id="FNanchor_1_305"></a><a href="#Footnote_1_305" class="fnanchor">[1]</a></p> - -<p><span class="pagenum"><a name="Page_421" id="Page_421">[Pg 421]</a></span></p> - -<p>A bookseller of common sagacity would have been -justified in rejecting these designs, if prepared for<span class="pagenum"><a name="Page_422" id="Page_422">[Pg 422]</a></span> -<i>Milton</i>. Indeed, had I not been taught by Mr. <i>Walpole's</i> -catalogue that such was their destination, I -should not hastily have conjectured that the former -of them had the least reference to the Poet's <i>Pandæmonium</i>. -Let it be remembered, however, that these -must have been among the earliest of <i>Hogarth's</i> performances, -and, like his prints for <i>Don Quixote</i>, were -in all probability thrown aside, as unsuited to the -purpose for which they were engraved. I have been -told, indeed, that a couple of plates, by our artist, -to the comedy of <i>The Spanish Friar</i>, are still existing.<a name="FNanchor_2_307" id="FNanchor_2_307"></a><a href="#Footnote_2_307" class="fnanchor">[2]</a> -If <i>Hogarth</i>, therefore, was once employed in preparing -cuts to the plays of <i>Dryden</i>, the designs already -mentioned might have been intended for two different -scenes in <i>The State of Innocence, or the Fall of Man</i>.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_305" id="Footnote_1_305"></a><a href="#FNanchor_1_305"><span class="label">[1]</span></a> In justice, however, to one of these designs, I transcribe -part of a letter that appeared in <i>The Gentleman's Magazine</i> for -<i>March</i> 1782. -</p> -<p>"<i>Twickenham, March</i> 12. -</p> -<p> -"<span class="smcap">Mr. Urban</span>, -</p> -<p> -"Throughout Mr. <i>Nichols's</i> excellent but unequal account -of <i>Hogarth</i> and his works, there is no decision I am so much inclined -to controvert, as that respecting the first of the two -plates to <i>Milton</i>. Perhaps the critic had only seen some imperfect -copy of the <i>Pandæmonium</i>, or formed his idea of it on -the vague description of those who who had considered it with -less attention than it really deserves. In my opinion, our artist's -arrangement of the infernal senate affords a happy instance -of his power to exhibit scenes of picturesque sublimity. -The ample space within the arcade, containing myriads of -subordinate spirits; the vault above, illuminated by supernatural -fires; the magnificence and elevation of <i>Satan's</i> throne; -his superior stature, and the characteristic symbols over the -seats of his peers; are circumstances entitled to a more flattering -reception than they have met with. That this print -has likewise absurdities, I am ready to allow: yet a <i>Voltaire</i> -might ask whether most of them are not inseparable from its -subject. I wish, for the sake of those who acknowledge the -genius of <i>Hogarth</i> only in familiar combinations, that the plate -in question were less rare. Our connoisseurs in general might -then decide on its merits. The only known impression of it, -as well as of its companion, is in the collection of Mr. <i>Walpole</i>,<a name="FNanchor_A_306" id="FNanchor_A_306"></a><a href="#Footnote_A_306" class="fnanchor">[A]</a> -who once indulged me with a sight of them both. -</p> -<p> -"I am content, however, that the second of these plates -should be abandoned to the austerities of criticism. The architecture -in the skies is every way unsuitable to its place. The -characters of the Almighty and our Redeemer have little, if -any, discrimination of attributes or years. They appear swinging -on a festoon composed of tiny cherubs, clustered together -like a swarm of bees. The Father rests his arm on one of -these childish satellites; and the Son holds another by the -wing, like <i>Domitian</i> catching a fly. Beneath, is a concert of -angels, who perform on different instruments, and among -others (as Mr. <i>Nichols's</i> book expresses it) on a clumsy organ. -<i>Lucifer</i>, approaching the new-created world, appears but as -an insect, flying towards an apple. This part of <i>Hogarth's</i> -subject is beyond the compass of any design on a contracted -scale. <i>Satan</i> might be delineated in the act of alighting on a -promontory, a part of the earth; but when its complete orb -is exhibited on a slip of paper measuring about six inches by -four, the enterprizing fiend must be reduced to very insignificant -dimensions. Such a circumstance may therefore succeed -in a poet's comprehensive description, but will fail on any -plate designed for the ornament of a little volume. -</p> -<p> -"Let me add, that these two are the neatest and most finished -of all the engravings by <i>Hogarth</i>. The second might have -been mistaken for one of the smaller works of <i>Picart</i>. Perhaps -the high price demanded for the plates, was the reason why a -series of them was not continued through the other books of -<i>Paradise Lost</i>."</p> - -<div class="footnote"> - -<p><a name="Footnote_A_306" id="Footnote_A_306"></a><a href="#FNanchor_A_306"><span class="label">[A]</span></a> These two plates are also in the collection of Mr. <i>Steevens</i>.</p></div></div> - -<div class="footnote"> - -<p><a name="Footnote_2_307" id="Footnote_2_307"></a><a href="#FNanchor_2_307"><span class="label">[2]</span></a> These are in the collection of the Earl of <i>Exeter</i>, and are -said to have the name of our artist fallaciously affixed to them. -I speak, however, with uncertainty.</p><br /></div> - - -<p>19. A coat of arms from a large silver tea table. -Under these arms are a shepherd and his flock, exactly -the same as those on the tankard, N° <a href="#Page_428_25">25</a>. A -shepherd and shepherdess also are the supporters. -This has been ascribed to <i>Hogarth</i>, but I suspect it -to be a copy, and am told indeed that it was engraved -by <i>Pelitreau</i>.<br /> -<br /></p> - - -<p>20. Impression from a coat of arms engraved on -a silver dish made by <i>Delemery</i>; purchased, at some -distance of time, by Sir <i>Gregory Page</i>, Bart. who -erased the original arms from the escutcheon, and -had his own put in. The dish was afterwards bought<span class="pagenum"><a name="Page_423" id="Page_423">[Pg 423]</a></span> -at <i>Christie's</i> at a sale of Sir <i>Gregory's</i> plate; and when -25 impressions only had been taken from it, was cut -to pieces by <i>R. Morrison</i>, 1781. I wish some of -these discoveries of <i>Hogarth's</i> engravings had been -made by people who had no immediate view to their -own profit, and the sale of their acquisitions. Too -many of our collectors are become dealers.<br /> -<br /></p> - - -<p>21. Small oval print for the Rape of the Lock. -This was not designed for any edition of it. A few -impressions only were taken off from the lid of a -snuff-box engraved by Mr. <i>Hogarth</i>, as it is believed, -for some gentleman characterized by <i>Pope</i> in his -celebrated mock-heroic poem. It is one of the -poorest of <i>Hogarth's</i> performances.<br /> -<br /></p> - - -<p>22. An emblematic print, representing Agriculture -and Arts. "<i>It seems to be a ticket for some society.</i>"<br /> -<br /></p> - - -<p>23. A ticket for the benefit of <i>Milward</i> the tragedian. -A scene in <i>The Beggar's Opera</i>; "Pitt 3 <i>s.</i>" -inserted with a pen between "Theatre" and "Royal," -in a scroll at the bottom of it. I have seen an impression -of it, under which is engraved, "<i>Lincolns-Inn -Fields, Tuesday, Aprill</i> 23. <i>A Bold Stroke for a -Wife</i>, with Entertainments, for the benefit of Mr. -<i>Milward</i>." This careless, but spirited little engraving, -has more of <i>Hogarth's</i> manner than several -other more laboured pieces, which of late have been -imputed to him.—Let the connoisseur judge.</p> - -<p>This ticket (as is already observed) must have -been issued before 1733, when the Theatre in<span class="pagenum"><a name="Page_424" id="Page_424">[Pg 424]</a></span> -<i>Lincolns-Inn-Fields</i> was shut up, and all the actors, <i>Milward</i> -among the rest, removed to <i>Covent Garden</i>.<br /> -<br /></p> - - -<p>24. The Mystery of Masonry brought to Light -by the <i>Gormagons</i>.</p> - -<blockquote><p> -A. <i>Chin Quaw-Kypo'</i> <i>Done from ye Original.</i><br /> -1st <i>Emperor of China</i>. <i>Painted at Pekin by Matt-chauter,</i><br /> -B. <i>The sage Confucius.</i> <i>Grav'd by Ho-ge</i><br /> -C. <i>In Chin present</i> <i>and sold by ye Printsellers</i><br /> -<i>Oecumenical Volgi.</i> <i>of London Paris and Rome.</i><br /> -D. <i>The Mandarin Hangchi.</i> <i>Hogarth inv. et sculp.</i><br /> -</p></blockquote> - -<p>To the earliest impressions of this plate, the name -of <i>Sayer</i> (for whom it has since been retouched) is -wanting. "<i>Stolen from</i> Coypel's Don Quixote." -Underneath, these verses:</p> - -<blockquote><p> -From Eastern climes, transplanted to our coasts,<br /> -Two oldest orders that creation boasts<br /> -Here meet in miniature, expos'd to view<br /> -That by their conduct men may judge their due.<br /> -<br /> -The <i>Gormagons</i>, a venerable race,<br /> -Appear distinguish'd with peculiar grace:<br /> -What honour! wisdom! truth! and social love!<br /> -Sure such an order had its birth, above.<br /> -<br /> -But mark Free Masons! what a farce is this?<br /> -How wild their mystery! what a <i>Bum</i> they kiss!<a name="FNanchor_1_308" id="FNanchor_1_308"></a><a href="#Footnote_1_308" class="fnanchor">[1]</a><br /> -Who would not laugh,<a name="FNanchor_2_309" id="FNanchor_2_309"></a><a href="#Footnote_2_309" class="fnanchor">[2]</a> who such occasions had?<br /> -Who should not weep, to think the world so mad?<br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_425" id="Page_425">[Pg 425]</a></span></p> - -<p>I should suspect that this plate was published about -1742, when the Procession<a name="FNanchor_3_310" id="FNanchor_3_310"></a><a href="#Footnote_3_310" class="fnanchor">[3]</a> of <i>Scald Miserables</i> had -been produced<a name="FNanchor_4_311" id="FNanchor_4_311"></a><a href="#Footnote_4_311" class="fnanchor">[4]</a> to parody the cavalcade of the <i>Free</i><span class="pagenum"><a name="Page_426" id="Page_426">[Pg 426]</a></span> -<i>Masons</i>, who ever afterwards discontinued their annual -procession. <i>Hogarth</i> was always ready to avail<span class="pagenum"><a name="Page_427" id="Page_427">[Pg 427]</a></span> -himself of any popular subject that afforded a scope -to ridicule. Among <i>Harry Carey's</i> Poems, however, -1729, third edition, is the following;</p> - -<blockquote><p> -"The Moderator between the Free-Masons and Gormogons.<br /> -<br /> -"The Masons and the Gormogons<br /> -<span style="margin-left: 1em;">Are laughing at one another,</span><br /> -While all mankind are laughing at them;<br /> -<span style="margin-left: 1em;">Then why do they make such a pother?</span><br /> -<br /> -"They bait their hook for simple gulls,<br /> -<span style="margin-left: 1em;">And truth with bam they smother;</span><br /> -But when they've taken in their culls,<br /> -<span style="margin-left: 1em;">Why then 'tis—Welcome Brother!"</span><br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_428" id="Page_428">[Pg 428]</a></span></p> - -<p>The particular disputes between the parties referred -to by this poem, it is not easy to ascertain. Perhaps -the humourous writer alludes to some schism or -dissention now forgotten. Mr. <i>Gray</i>, in one of his -letters to Mr. <i>Walpole</i>, says, "I reckon next week to -hear you are a Free Mason, or a <i>Gormogon</i> at least." -4to edition, p. 188.</p> - -<p>I learn from <i>Masonry Dissected</i>, &c. a pamphlet -published in 1730, by <i>Samuel Prichard</i>, late member -of a Constituted Lodge, that "From the Accepted -Mason sprang the real Masons, and from -both sprang the <i>Gormogons</i>, whose grand master -the <i>Volgi</i> deduces his original from the <i>Chinese</i>, -whose writings, if to be credited, maintain the -hypotheses of the Pre-adamites, and consequently -must be more antique than Masonry."—This circumstance -will account for the <i>Chinese</i> names and -habits in our artist's plate.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_308" id="Footnote_1_308"></a><a href="#FNanchor_1_308"><span class="label">[1]</span></a> On this occasion the print exhibits a trait of humour -that may hitherto have escaped observation. To render the -part presented for salutation more tempting, it has patches on, -such as women wore at the time when the plate was published.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_309" id="Footnote_2_309"></a><a href="#FNanchor_2_309"><span class="label">[2]</span></a> <i>Who would not laugh</i>, &c. Parody on the concluding -couplet of <i>Pope's</i> character of <i>Addison</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_310" id="Footnote_3_310"></a><a href="#FNanchor_3_310"><span class="label">[3]</span></a> The contrivers of the Mock Procession were at that time -said to be <i>Paul Whitehead</i>, esq. and his intimate friend (whose -real Christian name was <i>Esquire</i>) <i>Carey</i>, of <i>Pall Mall</i>, surgeon -to <i>Frederic</i> Prince of <i>Wales</i>. The city officers did not suffer -this procession to go through <i>Temple-Bar</i>, the common report -then being, that its real intent was to affront the annual procession -of the Free Masons. The Prince was so much offended -at this piece of ridicule, that he immediately removed -<i>Carey</i> from the office he held under him.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_311" id="Footnote_4_311"></a><a href="#FNanchor_4_311"><span class="label">[4]</span></a> The print, representing a View of <i>Somerset-House</i> and of -<i>The Strand</i>, is 3 feet 11½ inches in length, and ten inches in -width; and is intituled, "A Geometrical View of the grand -Procession of the scald-miserable Masons, designed as they -were drawn up over against <i>Somerset-House</i> in <i>The Strand</i>, on -the Twenty-seventh of <i>April</i>, An° 1742. Invented and engraved -by <i>A. Benoist</i>, at his Lodgings, at Mr. <i>Jordan's</i>, a -Grocer, the North East Corner of <i>Compton-street, So-ho</i>; -and sold by the Printsellers of <i>London</i> and <i>Westminster</i>.—Note, -<i>A. Benoist</i> teaches Drawing abroad. -</p> -<p> -"N° 1. The grand Swoard Bearer, or Tyler, carrying the -Swoard of State (a Present of <i>Ishmael Abiff</i> to old <i>Hyram</i> King -of the <i>Saracens</i>) to his Grace of <i>Wattin</i>, Grand Master of -the Holy Lodge of <i>St. John of Jerusalem</i> in <i>Clerkenwell</i>. -</p> -<p> -"2. Tylers or Guarders. -</p> -<p> -"3. Grand Chorus of Instruments. -</p> -<p> -"4. The Stewards, in three Gutt Carts, drawn by Asses. -</p> -<p> -"5. Two famous Pillars, <i>Jachin</i> and <i>Boaz</i>. -</p> -<p> -"6. Three great Lights: the Sun Hieroglyphical to rule -the Day, the Moon Emblematical to rule the Night; a -Master Mason Political to rule his—Lodge. -</p> -<p> -"7. The Entered Prentice's Token. -</p> -<p> -"8. The Letter G famous in Masonry for differencing the -Fellow Craft's Lodge from that of Prentices. -</p> -<p> -"9. The Funeral of a Grand Master, according to the -Rites of the Order, with the 15 loving Brethren. -</p> -<p> -"10. A Master Mason's Lodge. -</p> -<p> -"11. Grand Band of Musick. -</p> -<p> -"12. Two Trophies; one being that of a Black-shoe Boy -and Link Boy, the other that of a Chimney Sweeper. -</p> -<p> -"13. The Equipage of the Grand Master, all the Attendants -wearing Mystical Jewels." -</p> -<p> -A different, but a smaller, print of this Mock Procession was -printed in <i>May</i> 1742, with the following memoranda, viz. -"The great Demand there has been for <i>The Westminster -Journal</i>, of the 8th instant, occasion'd reprinting the following -piece. -</p> -<p> -"From my own Apartments in <i>Spring Gardens</i>. -</p> -<p> -"Though I do not belong to the Fraternity mentioned in -the following piece, and therefore am little concerned in -the annual disputes, I think it my duty, as a Watchman of -the city of <i>Westminster</i>, to preserve the memory of the late -extraordinary Cavalcade, the like to which hath never happened -since I have been in office. As more solemn processions -have of late years been very rare, it cannot surely -be taken amiss, either by the <i>Free Masons</i>, or the <i>Scald-Miserables</i>, -that I give so much distinction to this. -</p> -<p> -"<i>T. Touchit.</i> -</p> -<p> -"The Free Mason's Downfall, or the Restoration of the -Scald-Miserables." -</p> -<p> -After the print follows: "A Key, or Explanation of the -solemn and stately Procession of the Scald-Miserable Masons, -as it was martial'd on <i>Tuesday</i> the 27th past, by their <i>Scald-Pursuivant</i> -Black Mantle—set forth by Order of the Grand -Master <i>Poncy</i>."—Printed by <i>J. Mechell</i>, at <i>The Kings Arms</i> -in <i>Fleet-street</i>, and sold by the Pamphlet-shops, &c. Price -Two-pence. -</p> -<p> -Extracts from <i>The London Daily Post, March</i> 20, 1740-1, -&c. "Yesterday some mock Free-Masons marched through -<i>Pall-Mall</i> and <i>The Strand</i>, as far as <i>Temple-Bar</i>, in procession; -first went fellows on jack-asses, with cows horns in their -hands; then a kettle-drummer on a jack-ass, having two -butter-firkins for kettle-drums; then followed two carts -drawn by jack-asses, having in them the stewards with several -badges of their order; then came a mourning coach -drawn by six horses, each of a different colour and size, in -which were the grand master and wardens; the whole attended -by a vast mob. They stayed without <i>Temple Bar</i> till -the Masons came by, and paid their compliments to them, -who returned the same with an agreeable humour that possibly -disappointed the witty contriver of this mock scene, -whole misfortune is, that though he has some wit, his subjects -are generally so ill chosen, that he loses by it as many -friends as other people of more judgement gain." -</p> -<p> -Again, <i>April</i> 28, 1742. "Yesterday being the annual feast -of the ancient and honourable society of Free and Accepted -Masons, they made a grand procession from <i>Brook-street</i> to -<i>Haberdashers Hall</i>, where an elegant entertainment was provided -for them, and the evening was concluded with that -harmony and decency peculiar to the society." -</p> -<p> -"Some time before the society began their cavalcade, a -number of shoe-cleaners, chimney-sweepers, &c. on foot -and in carts, with ridiculous pageants carried before them, -went in procession to <i>Temple-Bar</i>, by way of jest on the Free-Masons, -at the expence, as we hear, of one hundred pounds -sterling, which occasioned a great deal of diversion." -</p> -<p> -Again, <i>May</i> 3, 1744. "Yesterday several of the mock -masons were taken up by the constable empowered to impress -men for his Majesty's service, and confined till they -can be examined by the justices."</p><br /></div> - - -<p><a id="Page_428_24"></a>24. <i>Sancho</i>, at the magnificent feast, &c. starved -by his Physician. On the top of this plate are the -following words: "This original print was invented -and engraved by <i>William Hogarth</i>. Price 1 <i>s.</i>" At -bottom we read, <i>W. Hogarth inv. & sculp. Printed -for H. Overton and J. Hoole.</i> Perhaps this design was -meant as a rival to that of <i>Coypel</i> on the same subject; -or might be intended by way of specimen of a complete -set of plates for <i>Don Quixote</i>. Mr. <i>S. Ireland</i> has -the original drawing.<br /> -<br /></p> - - -<p><a id="Page_428_25"></a>25. Impression from a tankard belonging to a -club of artists, who met weekly at <i>The Bull's Head</i> in<span class="pagenum"><a name="Page_429" id="Page_429">[Pg 429]</a></span> -<i>Clare-Market</i>. Of this society <i>Hogarth</i> was a member. -A shepherd and his flock are here represented.<br /> -<br /></p> - - -<p>26. The Gin Drinkers. This may have been one -of <i>Hogarth's</i> early performances; and, if such, is to -be considered as a rude fore-runner of his <i>Gin-Lane</i>. -But I do not vouch for its authencity.<br /> -<br /></p> - - -<p>27. The Oratory.<a name="FNanchor_1_312" id="FNanchor_1_312"></a><a href="#Footnote_1_312" class="fnanchor">[1]</a> Orator <i>Henley</i> on a scaffold, -a monkey (over whom is written <i>Amen</i>) by his side. -A box of pills and the Hyp Doctor lying beside -him. Over his head, "The <span class="smcap">Oratory</span>. <i>Inveniam -viam, aut faciam.</i>"<a name="FNanchor_2_313" id="FNanchor_2_313"></a><a href="#Footnote_2_313" class="fnanchor">[2]</a> Over the door. "<i>Ingredere ut -proficias.</i>"<a name="FNanchor_3_314" id="FNanchor_3_314"></a><a href="#Footnote_3_314" class="fnanchor">[3]</a> A Parson receiving the money for -admission. Under him, "The Treasury." A Butcher -stands as porter. On the left hand, Modesty in a -cloud; Folly in a coach; and a gibbet prepared -for Merit; people laughing. One marked <span class="smcap">The -Scout</span>,<a name="FNanchor_4_315" id="FNanchor_4_315"></a><a href="#Footnote_4_315" class="fnanchor">[4]</a> introducing a Puritan Divine. A Boy -easing nature. Several grotesque figures, one of -them (marked <span class="smcap">Tee-Hee</span>) in a violent fit of laughter. -I discover no reason for regarding this as a production -of <i>Hogarth</i>, though his name, cut from the -bottom of one of his smaller works, was fraudulently<span class="pagenum"><a name="Page_430" id="Page_430">[Pg 430]</a></span> -affixed to an impression of it belonging to the late -worthy Mr. <i>Ingham Foster</i>, whose prints were sold at -<i>Barford's</i>, in <i>March</i> 1783. <i>Hogarth</i>, whose resources, -both from fancy and observation, were large, was -never, like the author of this plate, reduced to the -poor necessity of peopling his comic designs with -<i>Pierot, Scaramouch</i>, and the other hackneyed rabble -of <i>French</i> and <i>Italian</i> farces.</p> - -<p>Underneath a second impression of it, is the following -inscription:</p> - -<blockquote><p> -<span style="margin-left: 2em;">"<i>An extempore Epigram, made at the Oratory:</i></span><br /> -"O Orator! with brazen face and lungs,<br /> -Whose jargon's form'd of ten unlearned tongues,<br /> -Why stand'st thou there a whole long hour haranguing,<br /> -When half the time fits better men for hanging!"<br /> -<span style="margin-left: 4.5em;"><i>Geo. B—k—h<a name="FNanchor_5_316" id="FNanchor_5_316"></a><a href="#Footnote_5_316" class="fnanchor">[5]</a> jun. Copper-scratcher</i></span><br /> -<span style="margin-left: 7em;"><i>and Grub-Street invent. sculp.</i><br /></span> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_312" id="Footnote_1_312"></a><a href="#FNanchor_1_312"><span class="label">[1]</span></a> There are such coincidences between this print and that -of <i>The Beggar's Opera</i>, as incline me to think they were both -by the same hand.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_313" id="Footnote_2_313"></a><a href="#FNanchor_2_313"><span class="label">[2]</span></a> The motto on the medals which Mr <i>Henley</i> dispersed -as tickets to his subscribers. See Note on <i>Dunciad</i>, III. 199.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_314" id="Footnote_3_314"></a><a href="#FNanchor_3_314"><span class="label">[3]</span></a> This inscription is over the outer door of St. <i>Paul's</i> school.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_315" id="Footnote_4_315"></a><a href="#FNanchor_4_315"><span class="label">[4]</span></a> On what personage the name of <i>Scout</i> was bestowed, I am -unable to inform the reader, though I recollect having seen -the same figure in several other prints, particularly one from -which it appears that he was at last murdered.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_316" id="Footnote_5_316"></a><a href="#FNanchor_5_316"><span class="label">[5]</span></a> <i>B—k—h.</i> Perhaps this was an intended mistake for -<i>B—k—m.</i></p><br /></div> - - -<p>28. Orator <i>Henley</i> christening a child. <i>John -Sympson jun. fecit.</i> Mezzotinto (commonly of a -greenish colour), with the following verses under it:</p> - -<blockquote><p> -Behold <i>Vilaria</i> lately brought to bed,<br /> -Her cheeks now strangers to their rosy red;<br /> -Languid her eyes, yet lovely she appears!<br /> -And oh! what fondness her lord's visage wears!<br /> -The pamper'd priest, in whose extended arms<br /> -The female infant lies, with budding charms,<br /> -Seeming to ask the name e'er he baptise,<br /> -Casts at the handsome gossips his wanton eyes,<br /> -<span class="pagenum"><a name="Page_431" id="Page_431">[Pg 431]</a></span>While gay Sir <i>Fopling</i>, an accomplish'd ass,<br /> -Is courting his own dear image in the glass:<br /> -The <i>Midwife</i> busied too, with mighty care,<br /> -Adjusts the cap, shews innocency fair.<br /> -Behind her stands the <i>Clerk</i>, on whose grave face<br /> -Sleek <i>Abigal</i> cannot forbear to gaze:<br /> -But master, without thought, poor harmless child,<br /> -Has on the floor the <i>holy-water</i> spill'd,<br /> -Thrown down the hat; the lap-dog gnaws the rose;<br /> -And at the fire the <i>Nurse</i> is warming cloaths.<br /> -One guest enquires the <i>Parson's</i> name;—says <i>Friendly</i>,<br /> -Why, dont you know, Sir?—'tis <i>Hyp-Doctor</i><a name="FNanchor_1_317" id="FNanchor_1_317"></a><a href="#Footnote_1_317" class="fnanchor">[1]</a> <i>H——y</i>.<br /> -</p></blockquote> - -<p><i>Sold by J. Sympson, at the Dove in Russel-Court, -Drury-Lane.</i> An original sketch in oil, on the same -subject, is in the possession of Mr. <i>S. Ireland</i>.<a name="FNanchor_2_318" id="FNanchor_2_318"></a><a href="#Footnote_2_318" class="fnanchor">[2]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_1_317" id="Footnote_1_317"></a><a href="#FNanchor_1_317"><span class="label">[1]</span></a> He wrote a periodical paper under that title.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_318" id="Footnote_2_318"></a><a href="#FNanchor_2_318"><span class="label">[2]</span></a> See p. <a href="#Page_415">415</a>. for an etching from it.</p><br /></div> - - -<p>29. A woman swearing a child to a grave citizen.<a name="FNanchor_1_319" id="FNanchor_1_319"></a><a href="#Footnote_1_319" class="fnanchor">[1]</a> -<i>W. Hogarth pinx. J. Sympson jun. sculp. Sold by J. -Sympson</i> engraver and print-seller, at <i>The Dove</i> in -<i>Russel-Court, Drury-Lane</i>. This Mr. <i>Walpole</i> observes -to be a very bad print. Perhaps he had only -seen some wretched impression, or copy of it (for -there are two, the one in a small size, the other -large, but fit for no other purpose than to adorn the -walls of a country Inn), and therefore spoke with<span class="pagenum"><a name="Page_432" id="Page_432">[Pg 432]</a></span> -contempt of a performance which hardly deserves so -unfavourable a character. This entire design, however, -is stolen from a picture of <i>Heemskirk</i>, which -has been since engraved in mezzotinto by <i>W. Dickinson</i> -of <i>New Bond-street</i>, and published <i>March 10</i>, -1772. The original picture is in the possession of -Mr. <i>Watson</i>, surgeon, in <i>Rathbone Place</i>.</p> - -<p>The title given to this plate by the ingenious engraver, -is <i>The Village Magistrate</i>. All the male figures -are monkies; all the female ones, cats. <i>Hogarth</i> has -likewise been indebted to its companion—<i>The Constable -of the Night</i>. Few impressions from these plates -having been hitherto sold, they are both in excellent -condition, and the former of them exhibits an indisputable -instance of <i>Hogarth's</i> plagiarism.</p> - -<p>While <i>Picart</i> was preparing his <i>Religious Ceremonies</i>, -he wrote to some friend here, to supply him -with representations illustrative of his subject. His -correspondent, either through ignorance or design, -furnished him with the two preceding plates by <i>Hogarth. -Picart</i> has engraved the former with a few -variations, and the latter with the utmost fidelity. -The one is called by him <i>Le Serment de la Fille qui -se trouve enceinte</i>; the other, <i>Le Baptême domestique</i>. -The first contains a supposed portrait of Sir <i>Thomas -de Veil</i>. For the conversion of a <i>civil</i> into a <i>religious</i> -ceremony, let the <i>Frenchman</i>, or his purveyor, be -answerable. The lines under <i>Hogarth's</i> performance -are as follows:</p> - -<blockquote><p> -Here Justice triumphs in his elbow chair,<br /> -And makes his market of the trading fair;<br /> -<span class="pagenum"><a name="Page_433" id="Page_433">[Pg 433]</a></span>His office-shelves with parish laws are grac'd,<br /> -But spelling-books, and guides between 'em placed<br /> -Here pregnant madam screens the real fire,<br /> -And falsely swears her bastard child for hire<br /> -Upon a rich old letcher, who denies<br /> -The fact, and vows the naughty Hussif lies;<br /> -His wife enrag'd, exclaims against her spouse,<br /> -And swears she'll be reveng'd upon his brows;<br /> -The jade, the justice, and church ward'ns agree,<br /> -And force him to provide security.<br /> -</p></blockquote> - -<p><i>Hogarth's</i> picture is in the possession of the Rev. -Mr. <i>Whalley</i>, at <i>Ecton, Northamptonshire</i>.</p> - -<p>Mr. <i>Whalley</i> is the nephew of <i>John Palmer</i>, whose -portrait is mentioned among the works of <i>Hogarth</i>. -See p. <a href="#Page_295">295</a>. This picture too is at <i>Ecton</i>. The foregoing -print (as already observed, p. <a href="#Page_121">121</a>.) must have -been published before the year 1735.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_319" id="Footnote_1_319"></a><a href="#FNanchor_1_319"><span class="label">[1]</span></a> A copy of this forms the head-piece to a tale printed in -<i>Banks's</i> Works, vol, I. p. 248, intituled, "The Substitute -Father."</p><br /></div> - - -<p>30. Right Hon. <i>Gustavus</i> Lord Viscount <i>Boyne</i>, -&c. &c. Whole length, mezzotinto. <i>W. Hogarth -pinx. Andrew Miller fecit.</i> "<i>A very bad print, done -in Ireland.</i>"</p> - -<p>I have since met with an early impression of this -mezzotinto. The inscription, dedication, &c. underneath -it, are as follows:</p> - -<p>"<i>W. Hogarth pinx. Ford fecit.</i> The R<sup>t</sup>. Hon<sup>ble</sup>. -<i>Gustavus</i> Lord Visc<sup>t</sup>. <i>Boyne</i>, Baron of <i>Stackallen</i>, -one of his Majesty's most Hon<sup>ble</sup>. Priuy Council, -one of the Com<sup>rs</sup>. of the Revenue of <i>Ireland</i>, &c.</p> - -<p>"To the R<sup>t</sup>. Hon<sup>ble</sup>. the Earl of <i>Kildare</i> this plate -is humbly dedicated by his Lordship's most obedient -humble serv<sup>t</sup>. <i>Mich. Ford</i>.</p> - -<p><span class="pagenum"><a name="Page_434" id="Page_434">[Pg 434]</a></span></p> - -<p>"Published and sold by <i>Mich. Ford</i>, Painter and -Print-seller on <i>Cork Hill</i>. Price 5<sup>s</sup>. 5.<sup>d</sup>. [i. e. five -thirteens."]</p> - -<p>Mr. <i>Walpole's</i> is probably a later or a retouched -impression from the same plate, after it had fallen -into the hands of one <i>Andrew Miller</i>, who effaced the -name of <i>Ford</i>, and substituted his own.</p> - -<p>This scarce print will undoubtedly suffer from comparison -with the works of <i>Smith, M'Ardell, Earlom, -Jones,</i> &c. and yet perhaps it is the best mezzotinto -that <i>Ireland</i> has hitherto produced. It must be confessed, -however, that <i>Hogarth's</i> whole-length figure -of Lord <i>Boyne</i> is equally void of grace, meaning, and -proportion; but these defects have no connection -with the labours of <i>Ford</i>, which would have appeared -to more advantage had they been exerted on a -better subject.<br /> -<br /></p> - -<p>31. Mr. <i>Pine</i> (the celebrated engraver), in the -manner of <i>Rembrandt</i>. Mezzotinto (about the year -1746), by <i>M'Ardell, Price</i> 2 <i>s.</i> The original was -in the possession of the late Mr. <i>Ranby</i> the surgeon.</p> - -<p>There is a second head of Mr. <i>Pine</i>, a mezzotinto; -both his hands leaning on a cane. Printed for <i>George -Pulley</i>, at <i>Rembrandt's Head</i>, the corner of <i>Bride-court, -Fleet-street</i>.</p> - -<p>I have called this "a second head," but know -not which of the two was first published.</p> - -<p>In the first edition of the present work I had -described this plate as an unfinished one, but have -since met with it in a perfect state.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_435" id="Page_435">[Pg 435]</a></span></p> - -<p>32. A View of Mr. <i>Ranby's</i> house at <i>Chiswick. -Etched by Hogarth.</i> This view, I am informed, was -taken in 1750, but was not designed for sale.<br /> -<br /></p> - - -<p>33. <i>Daniel Lock</i>, Esq. F. S. A. formerly an architect. -He retired from business with a good fortune, -lived in <i>Surrey-street</i>, and was buried in the chapel -of <i>Trinity College, Cambridge</i>. Mezzotinto. <i>W. Hogarth -pinx. J. M'Ardell fecit. Price</i> 1 <i>s.</i> 6 <i>d.</i><br /> -<br /></p> - - -<p>34. Christ and his disciples; persons at a distance -carried to an hospital. "In as much as ye have -done it unto one of the least of these my brethren, -ye have done it unto me." <i>St. Matt.</i> xxv. ver. 40. -<i>W. Hogarth inv. C. Grignion sculp.</i> Ticket for <i>The -London Hospital</i>.</p> - -<p>As this charitable foundation was instituted in -1740, probably the ticket was engraved soon afterwards.<br /> -<br /></p> - - -<p>35. Original of the same, in a smaller size, with -the Duke of <i>Richmond's</i> arms as president.<br /> -<br /></p> - - -<p>36. Another, almost the same as N° 34, but with -a view of <i>The London Hospital</i>.<br /> -<br /></p> - - -<p>37. Six prints for <i>Don Quixote. W. Hogarth inv. -& sculp.</i></p> - -<p>When Lord <i>Carteret</i>, about the year 1737, was -seeking artists to design, &c. plates for his <i>Spanish</i> -edition of this famous novel, published in 1738, -<i>Hogarth</i>, of course, was not overlooked. His performances, -however, gave so little satisfaction to his -noble employer, that they were paid for, and then -laid aside in favour of <i>Vandrebank's</i> drawings, afterwards<span class="pagenum"><a name="Page_436" id="Page_436">[Pg 436]</a></span> -engraved by <i>Vandergucht</i>. The plates remaining -in the hands of Mr. <i>Tonson</i>, his lordship's publisher, -at his death, were bought by Mr. <i>Dodsley</i>, -who, finding they exhibited no descriptions that -could render them welcome to the possessors of any -copy of <i>Don Quixote</i> whatever, had the titles of the -chapters, &c. to which they belong, together with -references to the corresponding pages in <i>Jarvis's</i> -translation, engraved under each of them. The -subjects of them are, I. Funeral of <i>Chrysostom</i>, and -<i>Marcella</i> vindicating herself; vol. I. p. 71. II. The -Inn-keeper's wife and daughter taking care of the -Don after being beaten and bruised, p. 129. III. <i>Don -Quixote</i> releases the galley slaves, p. 129. IV. The -unfortunate Knight of the Rock meeting <i>Don Quixote</i>, -p. 140. V. <i>Don Quixote</i> seizes the barber's bason -for <i>Mambrino's</i> helmet, p. 155. VI. The Curate -and Barber disguising themselves to convey <i>Don -Quixote</i> home, p. 166. <i>Tonson</i> had several specimens -of plates, both in quarto and octavo sizes, executed -for editions of <i>Shakspeare</i>, but they shared the same -fate with the others prepared for <i>Don Quixote</i>.<br /> -<br /></p> - - -<p>38. An oval, with two figures representing <i>Hymen</i> -and <i>Cupid</i>. A view of a magnificent villa at a distance. -This print was intended as a ticket for <i>Sigismunda</i>, -which <i>Hogarth</i> proposed to be raffled for. It -is often marked with ink 2 <i>l.</i> 2 <i>s.</i> The number of -each ticket was to have been inserted on the scroll -hanging down from the knee of the principal figure. -Perhaps none of them were ever disposed of. This<span class="pagenum"><a name="Page_437" id="Page_437">[Pg 437]</a></span> -plate, however, must have been engraved about -1762 or 3. Had I not seen many copies of it -marked by the hand of <i>Hogarth</i>, I should have supposed -it to have been only a ticket for a concert or -music-meeting.<br /> -<br /></p> - - -<p>39. Four heads from the cartoons at <i>Hampton-Court</i>. -An etching.</p> - -<p>Mr. <i>Walpole</i>, in his <i>Anecdotes of Painting</i>, &c. -vol. IV. p. 22. speaking of Sir <i>James Thornhill's</i> -attention to these celebrated pictures, has the following -remark: "He made copious studies of the -heads, hands, and feet, and intended to publish -an exact account of the whole, for the use of -students: but his work never appeared."</p> - -<p>As this plate was found among others engraved -by <i>Hogarth</i>, it might probably have been one of his -early performances. His widow has directed a few -impressions to be taken from it, and they are sold at -her house in <i>Leicester-square</i>.<br /> -<br /></p> - - -<p>40. A Scene in a Pantomime Entertainment lately -exhibited; designed by a Knight of <i>Malta</i>. A satire -on the Royal Incorporated Society of Artists of -<i>Great Britain</i>. No name.</p> - -<p>This design is difficult to be explained, as it alludes -to some forgotten dissentions among the artists -before the Royal Academy was founded. Sir <i>William -Chambers, Kirby, Rooker</i> the Engraver and Harlequin, -<i>Liotard</i>, remarkable for having adopted the -<i>Turkish</i> dress, and others, are introduced in it. The -hat and head of <i>Hogarth</i> also appear on one of the<span class="pagenum"><a name="Page_438" id="Page_438">[Pg 438]</a></span> -necks of a Hydra. It is hardly credible, therefore, -that he should have rendered himself an object of -his own satire. A mere etched outline of the same -design, with additions, was afterwards published, and -is marked plate II. It is larger than the original -plate, and must be considered as a slight temporary -sketch, of which the author is uncertain.<br /> -<br /></p> - - -<p>41. A Ticket-porter carrying a load of chamber-pots -to some place of public resort, from the entrance -of which three grenadiers are keeping off the -crowd. At the bottom is written.</p> - -<p>"<i>Jack</i> in an Office, or <i>Peter Necessary</i>, with Choice -of Chamber-pots.</p> - -<p>"A Ticket for the——————————Price 6 <i>d.</i>"</p> - -<p>Of the following articles the 49th, and 53d, are -the undoubted productions of <i>Hogarth</i>. Some of -the rest may admit of dispute. Those marked * I -have not yet seen in any collection but that of Mr. -<i>S. Ireland</i>.<br /> -<br /></p> - - -<p>* 42. Arms of <i>George Lambart</i> [<i>Lambert</i>] the -painter, an intimate friend of our artist.<br /> -<br /></p> - - -<p>* 43. Arms of <i>Gore</i>, engraved on a silver waiter.<br /> -<br /></p> - - -<p>* 44. Arms of a Duke of <i>Kendal</i>. N. B. There -never was a <i>Duke</i> of <i>Kendal</i>, but an infant son of -<i>James</i> II. The arms mentioned are certainly those -of the Dutchess of <i>Kendal</i>. The male shield must -be a mistake.<br /> -<br /></p> - - -<p>* 45. Arms of <i>Chudleigh</i>; motto "Aut vincam, -aut peribo." Done for Major <i>L'Emery</i>, whilst -<i>Hogarth</i> was apprentice.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_439" id="Page_439">[Pg 439]</a></span></p> - -<p>46. The Great Seal of <i>England</i>, from a large silver -table. This was given to Mr. <i>S. Ireland</i> by a Mr. -<i>Bonneau</i>, who took off the impression before the -year 1740.<br /> -<br /></p> - - -<p>47. Twenty-six figures, on two large sheets, engraved -for "A Compendium of Military Discipline, -as it is practised by the Honourable the Artillery -Company of the City of <i>London</i>, for the initiating -and instructing Officers of the Trained Bands of -the said City, &c. Most humbly dedicated to his -Royal Highness <i>George</i> Prince of <i>Wales</i>, Captain -General of the Honourable the Artillery Company. -By <i>John Blackwell</i>, Adjutant and Clerk to -the said Company.</p> - -<p>"<i>London</i>. Printed for the Author; and are to be -sold at his house in <i>Well-Court</i> in <i>Queen-Street</i>, -near <i>Cheapside</i>, 1726."<br /> -<br /></p> - - -<p>48. <i>Farinelli, Cuzzoni,</i> and <i>Heydegger. Cuzzoni</i> -and <i>Farinelli</i> are singing a duet. The latter is in the -character of a prisoner, being chained by his little -finger. <i>Heydegger</i> sits behind, and is supposed to -utter the eight following lines, which are engraved -under the plate:</p> - -<blockquote><p> -Thou tuneful scarecrow, and thou warbling bird,<br /> -No shelter for your notes these lands afford.<br /> -This town protects no more the singsong strain,<br /> -Whilst Balls and Masquerades triumphant reign.<br /> -Sooner than midnight revels ere should fail,<br /> -And ore Ridottos Harmony prevail;<br /> -<span class="pagenum"><a name="Page_440" id="Page_440">[Pg 440]</a></span>The cap (a refuge once) my head shall grace,<br /> -And save from ruin this harmonious face.<a name="FNanchor_1_320" id="FNanchor_1_320"></a><a href="#Footnote_1_320" class="fnanchor">[1]</a><br /> -</p></blockquote> - -<p>I am told, however, that this plate was designed -by the last Countess of <i>Burlington</i>, and etched -by <i>Goupy</i>. I may add, that the figures in it, -though slightly done on the whole, consist of -more than a single stroke, being retouched and -heightened by the burin in several places. On -the contrary, <i>Hogarth's</i> plate, intituled <i>The Charmers -of the Age</i>, only offers an etched outline, -which at once afforded the extent of his design, -leaving no room for improvement. The former -print exhibits traces of perseverance and assiduity; -the latter is an effort of genius that completes its -purpose without elaboration.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_320" id="Footnote_1_320"></a><a href="#FNanchor_1_320"><span class="label">[1]</span></a> He had once enlisted as a private soldier in the Guards, -for a protection. See p. <a href="#Page_152">152</a>.</p><br /></div> - - -<p>49. The Discovery. This scarce plate is acknowledged -as genuine by Mrs. <i>Hogarth</i>. The subject is a -black woman in bed; her eyes archly turned on her -gallant just risen, who expresses his astonishment on -the entrance of three laughing friends, one of them -with a candle in his hand. Underneath the print is -this apposite motto:</p> - -<blockquote><p> -<i>Qui color albus erat nunc est contrarius albo</i>.<br /> -</p></blockquote> - -<p>A similar circumstance occurs in <i>Fletcher's Monsieur -Thomas</i>, and in <i>Foote's Cozeners</i>.</p> - -<p>I know not of any among our artist's works that -displays so little character. It must have been one -of his early performances.</p> - -<p><span class="pagenum"><a name="Page_441" id="Page_441">[Pg 441]</a></span></p> - -<p>It should be observed that, being founded on a -private occurrence, this print was never designed for -general circulation. Mr. <i>Highmore</i> the manager of -<i>Drury-Lane</i>, who bought <i>Cibber's</i> share in the patent, -is the Hero of it. A few copies only were -distributed among <i>Hogarth's</i> particular friends, and -the gentlemen whose portraits it contains. At the -bottom of the plate there is no descriptive title. <i>The -Discovery</i> was that by which Mrs. <i>Hogarth</i> mentioned -it when she recollected the very laughable circumstance -here commemorated by her husband's pencil.<br /> -<br /></p> - - -<p>* 50. The Cottage. An impression from a breeches-button, -the size of a crown-piece; a sketch made for -Mr. <i>Camfield</i>, a surgeon, on a subject that will not bear -explanation. There is a copy of this little plate by -Mr. <i>S. Ireland</i>.<br /> -<br /></p> - -<p>51. <i>Pug</i> the Painter. This has been usually -understood as a satire <i>on Hogarth</i>, rather than a design -<i>by</i> him. Mr. <i>Ireland</i> once told me it was etched -by <i>Dawes</i>, and that our artist gave a copy of it, as -his own design, to Mr. <i>Kirby</i>. But I am assured -with superior confidence by another gentleman, that -the true author of it is to be sought among those artists -whom <i>Hogarth</i> had provoked by his contemptuous -treatment of their works. If <i>Pug</i> was not designed -as his representative, why is the animal exhibited -in the act of painting the ridiculous figure of -the <i>Priest</i> in <i>The Good Samaritan</i>?<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_442" id="Page_442">[Pg 442]</a></span></p> - -<p>52. A Head in an oval, coarsely engraved, and -subscribed "<i>Samuel Butler</i> Author of <i>Hudibras</i>." -Several connoisseurs, beside Mr. <i>Thane</i> who possesses -the plate, conceive it to be an undoubted work -of <i>Hogarth</i>. For what purpose it was executed, -and why suppressed (for no one has hitherto met -with even a proof from it) it is vain to enquire. -I am silent on the subject, heartily wishing that -throughout this work I had had the opinions of more -friends to record, and had offered fewer sentiments -of my own.<br /> -<br /></p> - - -<p>53. "A very rare hieroglyphic print; representing -Royalty, Episcopacy, and Law, composed of emblematic -attributes, and no human features or -limbs; with attendants of similar ingredients. Beneath -is this inscription. Some of the principal -inhabitants of the Moon, as they were discovered -by a telescope, brought to the greatest perfection -since the last eclipse; exactly engraved from the -objects, whereby the Curious may guess at their -Religion, Manners, &c. Price Six-pence."</p> - -<p>A kind of scaffold above the clouds is the theatre -of this representation. Monarchy, Episcopacy, and -Law, appear characteristically seated. Their faces -are—a Crown-piece—a <i>Jew's</i> Harp, and—a Mallet. -The monarch holds a globe and sceptre, with crescents -on the tops of them. Instead of a collar of -<i>esses</i>, he wears a string of bubbles; his side is ornamented -with a pointed star; and a circle, the emblem<span class="pagenum"><a name="Page_443" id="Page_443">[Pg 443]</a></span> -of perpetuity, is embroidered on the cloth under -his throne. Episcopacy is working at a pump -(a type I suppose of the Church) by the assistance of -a bell-rope. The Bible is fastened to the handle of -the pump, and out of the nose of it issues money -that falls into a chest discriminated by an armorial -escutcheon, containing a knife and fork, properly -emblazoned, with a mitre by way of crest. The -lid of the coffer leans against a pillar, that serves also -to support a triple pile of cushions. Over the top of -the pump (which is fashioned much like a steeple) is a -weathercock on a small pyramid supported by balls; -and below it, through a circular opening, a little bell -appears to ring. Under the sacerdotal robe, a cloven -foot peeps out. Law sustains a sword; and behind -him appears a dagger thrust through the bottom of -a sieve. The attendants on Monarchy are of various -materials. The bodies and legs of such as seem designed -for soldiers, are composed of circular fire-screens -resembling shields. The trunks of the courtiers -are large looking-glasses, the sconces with candles in -them serving for hands and arms. The face of the -chief of these is the reverse of a sixpence; and a key -significantly appended to his sash, at once denotes his -sex and office. Under the figure of law are a male and -female modishly drest. Her head is a tea-pot, her -neck a drinking-glass, and her body a fan half spread. -On the oval that forms the countenance of her paramour, -is a coat of arms with supporters. His right -honourable legs are fan-sticks, and he seems in the<span class="pagenum"><a name="Page_444" id="Page_444">[Pg 444]</a></span> -act of courtship. How this couple are immediately -connected with Law, is not very clearly pointed out. -<i>Hogarth</i>, however, we may suppose, had planned -some explanation of his hieroglyphics, as the letters -<i>a, b, c, d, e, f, g,</i> are placed over some of them, and -beneath others.</p> - -<p>From the form of the perukes exhibited in this -design, I should suppose it was made above forty -years ago. Other circumstances in it need no decyphering.<br /> -<br /></p> - - -<p>* 54. The Master of the Vineyard. St. <i>Matthew</i> -chap. xxi. v. 28. "Son, go work to-day in my -Vineyard."<br /> -<br /></p> - - -<p>* 55. The <i>London</i> Infirmary for charitably relieving -sick and diseased Manufacturers and Seamen in -the Merchants' service, their Wives and Children. -A blank certificate for Pupils in Surgery and Anatomy, -printed on a half sheet, folio.<br /> -<br /></p> - - -<p>56. A ticket for the benefit of <i>Spiller</i> the player. -He died in the year 1729.</p> - -<p>In the plate before us, which possesses no small -share of humour, poor <i>Spiller</i> is represented in a melancholy -posture. His finances are weighed against -his debts, and outweighed by them. His -taylor's bill appears to be of great length, and many -others for ale, gin, &c. are on the ground near him. -A bailiff is clapping him on the shoulder—a prison is -in sight—ladies and gentlemen are taking tickets, &c. -This very uncommon and beautiful little print is, -at present, found only in the collection of Mr. <i>Ireland</i>.<br /> -<br /></p> - -<p><span class="pagenum"><a name="Page_445" id="Page_445">[Pg 445]</a></span></p> - -<p>57. St. <i>Mary's Chapel</i>. Five at night. Several performers -playing on different instruments. <i>William -Hogarth inv. G. Vandergucht sculpt.</i></p> - -<p>This was certainly an ornament at the top of a -ticket for a music-meeting. The name of <i>Hogarth</i> is -affixed to it, and the whole design <i>might</i> have been -his. I do not, however, believe it <i>was</i> so. A few -of the figures appear to have been collected -from his works by some other hand, rather than -grouped by his own. <i>Vandergucht</i> too was so thoroughly -a mannerist, and especially in small subjects, -that he was rarely faithful to the expressions -of countenance he undertook to trace on copper. -There is no humour, and indeed little merit of any -kind, in this performance. It has not hitherto been -met with on the entire piece of paper to which it -must originally have belonged.<br /> -<br /></p> - -<p>A print called <i>The Scotch Congregation</i>, by <i>Hogarth</i>, -is almost unique, on account of its extreme indecency. -One copy of it was in a collection of his -works belonging to Mr. <i>Alexander</i> of <i>Edinburgh</i>. -He is said to have had it from Mrs. <i>Hogarth</i>. A second -copy is reported to exist in the possession of another -gentleman. No more impressions of it are known.</p> - -<hr class="tb" /> - -<p>A correspondent at <i>Dublin</i> informs me, that in -the collection of Dr. <i>Hopkins</i> of that city are the following -seven prints by <i>Hogarth</i>:<br /> -<br /></p> - -<p>1. <i>The History of Witchcraft</i>. Humbly dedicated -to the Wise. Allegorically modernized. Part the<span class="pagenum"><a name="Page_446" id="Page_446">[Pg 446]</a></span> -First. Published according to act of Parliament. -<i>Hogarth inv. et sculpt.</i></p> - -<p>Half sheet print. At one end, Witches attending -the punishment of two human figures; at the other, -several at their different occupations.<br /> -<br /></p> - - -<p>2. <i>The History of Witchcraft</i>. Part the Second. -Published according to act of Parliament. <i>Hogarth -inv. et sculpt.</i></p> - -<p>Same size as the former. Witches dancing; -others at various amusements. These two prints -contain a great variety of distorted figures.<br /> -<br /></p> - - -<p>3. <i>A Suit of Law fits me better than a Suit of Clothes</i>. -Invented and engraved by <i>W. H.</i> and published pursuant -to an Act of Parliament, 1740.</p> - -<p>An upright half-sheet. A Man in embroidered -clothes, his hat under his arm. A scroll in his left -hand, inscribed, "I'll go to Law." Huntsmen, -dogs, and horses in the back ground. Four lines in -verse underneath.</p> - -<p>Useful in all families. Invented and engraved by -<i>W. H.</i> and published pursuant to an Act of Parliament, -1740.<br /> -<br /></p> - - -<p>4. The same man in a tattered garment in a wild -country; a staff in his right hand, and a scroll in his -left, inscribed, "To shew that I went to law, and -got the better." Four lines at the bottom.</p> - -<p>These two may be classed among his indifferent -prints.<br /> -<br /></p> - -<p>5. <i>The Caledonian March and Embarkation. Hogarth -invent. London</i>, printed for <i>T. Baldwin</i>.</p> - -<p><span class="pagenum"><a name="Page_447" id="Page_447">[Pg 447]</a></span></p> - -<p>A number of <i>Scotchmen</i> embarking in the <i>Caledonian</i> -Transport. Labels issuing from their mouths.</p> - -<p><i>The Laird of the Posts, or the Bonnets exalted.</i> -Printed for <i>T. Baldwin, London. Hogarth inv.</i><br /> -<br /></p> - - -<p>6. <i>A Scotch Nobleman and his Friends taking possession -of several posts, having kick'd down the former -Possessors</i>. Labels from their mouths too tedious to -copy. A Lion on the fore-ground, hood-winked by -a <i>Scotch</i> plaid.</p> - -<p>Supposed to be printed for <i>The London Magazine</i>.<br /> -<br /></p> - - -<p>7. <i>The Lion entranced</i>. Printed for <i>T. Baldwin, -London. Hogarth inv.</i> 1762.</p> - -<p>A Lion in a Coffin. A plate on the cover, inscribed, -"Leo <i>Britanicus</i>, Ob. An. 1762. Requiescat -in pace." Attended by state mourners with labels -as above. In one corner <i>Hibernia</i> supplicating -for her Sister's interest.<br /> -<br /></p> - -<p>A respect for the obliging communicator has induced -me to publish this <i>supposed</i> addition to the foregoing -catalogue of <i>Hogarth's</i> works. But, without -ocular proof, I cannot receive as genuine any one -of the plates enumerated. The name of our Artist -has more than once been subscribed to the wretched -productions of others; and a collector at <i>Dublin</i> -must have had singular good fortune indeed, if he -has met with seven authentic curiosities unknown to -the most confidential friends of <i>Hogarth</i>, and the -most industrious connoisseurs about <i>London</i>. I may -add, that two, if not three, of the above-mentioned -anti-ministeral pieces, appeared in 1762, the very<span class="pagenum"><a name="Page_448" id="Page_448">[Pg 448]</a></span> -year in which our artist was appointed <i>Serjeant Painter</i>. -Till that period he is unsuspected of having -engaged his pencil in the service of politicks; and -<i>T. Baldwin</i> (perhaps a fictitious name) is not known -to have been on any former occasion his publisher. -So much for the probability of <i>Hogarth's</i> having -ushered performances like these into the world.</p> - -<hr class="tb" /> - -<p>Chance, and the kindness of my friends, have -not enabled me to form a more accurate series of -<i>Hogarth's</i> labours. Those of the collector, however, -are still incomplete, unless he can furnish himself -with a specimen of several other pieces, said, I think, -to have been produced a little before our artist's -marriage. I forbear to keep my readers in suspense -on the occasion. <i>Hogarth</i> once taking up some plain -ivory fishes that lay on his future wife's card-table, -observed how much was wanting to render them natural -representations. Having delivered this remark -with becoming gravity, he proceeded to engrave -scales, fins, &c. on each of them. A few impressions -have been taken from these curiosities, which -remain in Mrs. <i>Hogarth's</i> possession. As a <i>button</i> decorated -by her husband has been received into the -foregoing catalogue of his works, it can hardly be -disgraced by this brief mention of the ornaments -he bestowed on a <i>counter</i>.</p> - -<hr class="tb" /> - -<p>There are three large volumes in quarto by <i>Lavater</i>, -a minister at <i>Zurich</i> (with great numbers of -plates), on Physiognomy. Among these are two -containing several groups of figures from different<span class="pagenum"><a name="Page_449" id="Page_449">[Pg 449]</a></span> -prints of <i>Hogarth</i>, together with the portraits of Lord -<i>Lovat</i> and <i>Wilkes</i>. For what particular purpose they -are introduced, remains to me a secret.<a name="FNanchor_1_321" id="FNanchor_1_321"></a><a href="#Footnote_1_321" class="fnanchor">[1]</a></p> - -<p>In "An Address of Thanks to the Broad Bottoms, -for the good things they have done, and -the evil things they have not done, since their -elevation, 1745," is what the author calls "A -curious emblematic Frontispiece, taken from an -original painting of the ingenious Mr. <i>H——th</i>;" -a palpable imposition.</p> - -<p>Mr. <i>Walpole, Anecdotes of Painting</i>, Vol. IV. 63, -observes, that "<i>Hogarth</i> drew the supposed funeral of -<i>Vanaken</i>, attended by the painters he worked for, -discovering every mark of grief and despair." To -explain this passage, it should be added, that "he -was employed by several considerable artists here, -to draw the attitudes, and dress the figures in -their pictures."</p> - -<p>The merits of <i>Hogarth</i>, as an engraver, are inconsiderable. -His hand was faithful to character, but -had little acquaintance with the powers of light and -shade. In some of his early prints he was an assiduous -imitator of <i>Callot</i>, but deviated at last into a -manner of his own, which suffers much by comparison -with that of his coadjutors, <i>Ravenet</i> and <i>Sullivan</i>. -In the pieces finished by these masters of -their art, there is a clearness that <i>Hogarth</i> could -never reach. His strokes sometimes look as if fortuitously -disposed, and sometimes confusedly thwart<span class="pagenum"><a name="Page_450" id="Page_450">[Pg 450]</a></span> -each other in almost every possible direction. What -he wanted in skill, he strove to make up in labour; -but the result of it was a universal haze and indistinctness, -that, by excluding force and transparency, -has rendered several of his larger plates less captivating -than they would have been, had he entrusted -the sole execution of them to either of the artists -already mentioned. His smaller etchings, indeed, -such as <i>The Laughing Pit</i>, &c. cannot receive too -much commendation.</p> - -<p>Mr. <i>Walpole</i> has justly observed, that "many -wretched prints came out to ridicule" the <i>Analysis -of Beauty.</i> He might have added, that no small -number of the same quality were produced immediately -after the <i>Times</i> made its appearance. I wish -it had been in my power to have afforded my readers -a complete list of these performances, that as -little as possible might have been wanting to the -history of poor <i>Hogarth's</i> first and second persecution. -Such a catalogue, however, not being necessary to -the explanation of his works, it is with the less regret -omitted.<a name="FNanchor_2_322" id="FNanchor_2_322"></a><a href="#Footnote_2_322" class="fnanchor">[2]</a></p> - -<p>The scarceness of the good impressions of <i>Hogarth's</i> -larger works is in great measure owing to their having -been pasted on canvas or boards, to be framed<span class="pagenum"><a name="Page_451" id="Page_451">[Pg 451]</a></span> -and glazed for furniture. There were few people -who collected his prints for any other purpose at -their first appearance. The majority of these sets -being hung up in <i>London</i> houses, have been utterly -spoiled by smoke. Since foreigners have learned -the value of the same performances, they have also -been exported in considerable numbers. Wherever -a taste for the fine arts has prevailed, the works of -this great master are to be found. Messieurs <i>Torré</i> -have frequent commissions to send them into <i>Italy</i>. -I am credibly informed that the Empress of <i>Russia</i> -has expressed uncommon pleasure in examining such -genuine representations of <i>English</i> manners; and I have -seen a set of cups and saucers with <i>The Harlot's Progress</i> -painted on them in <i>China</i> about the year 1739.</p> - -<p>Of all such engravings as are Mrs. <i>Hogarth's</i> -property, the later impressions continue selling on -terms specified many years ago in her printed catalogue, -which the reader will find at the end of this -pamphlet. The few elder proofs that remain undisposed -of, may be likewise had from her agent at -an advance of price. As to the plates which our -artist had not retained as his own property, when any -of these desiderata are found (perhaps in a state of -corrosion), they are immediately vamped up, and impressions -from them are offered to sale, at three, four, -or five times their original value. They are also -stained to give them the appearance of age; and on -these occasions we are confidently assured, that only -a few copies, which had lurked in some obscure<span class="pagenum"><a name="Page_452" id="Page_452">[Pg 452]</a></span> -warehouse, or neglected port-feuille, had been just -discovered. This information is usually accompanied -by sober advice to buy while we may, as the -vender has scarce a moment free from the repeated -solicitations of the nobility and gentry, whom he always -wishes to oblige, still affording that preference -to the connoisseur which he withholds from the less -enlightened purchaser. It is scarce needful to observe, -that no man ever visited the shops of these polite -dealers, without soon fancying himself entitled -to the more creditable of the aforesaid distinctions. -Thus becoming a dupe to his own vanity, as well as -to the artifice of the tradesman, he has speedily the -mortification to find his supposed rarities are to be -met with in every collection, and not long afterwards -on every stall. The caution may not prove useless -to those who are ambitious to assemble the works of -<i>Hogarth</i>. Such a pursuit needs no apology; for -sure, of all his fraternity, whether ancient or modern, -he bent the keenest eye on the follies and vices -of mankind, and expressed them with a degree of -variety and force, which it would be vain to seek -among the satiric compositions of any other painters. -In short, what is observed by <i>Hamlet</i> concerning a -player's office, may, with some few exceptions, be -applied to the designs of <i>Hogarth</i>. "Their end, -both at the first, and now, was, and is, to hold -as 'twere the mirror up to nature; to shew virtue -her own feature, scorn her own image, and the -very age and body of the time his own form and -pressure."</p> - -<p><span class="pagenum"><a name="Page_453" id="Page_453">[Pg 453]</a></span></p> - -<p>I may add, that, since the appearance of Mr. <i>Walpole's</i> -Catalogue, a disposition to attribute several -anonymous plates, on ludicrous subjects, to <i>Hogarth</i>, -has betrayed itself in more than a single instance:<a name="FNanchor_3_323" id="FNanchor_3_323"></a><a href="#Footnote_3_323" class="fnanchor">[3]</a> -a supposition has also prevailed that there was a time -when <i>Hogarth</i> had the whole field of satire to himself, -and we could boast of no designers whose performances -could be mistaken for his own. The latter -notion is undoubtedly true, if real judges are to decide; -and yet many prints, very slightly impregnated -with humour, continue to be ascribed to him. -It should therefore be observed, that, at the same period, -<i>Bickham, Vandergucht, Boitard, Gravelot, Laguerre</i> -the younger, &c. were occasionally publishing -satirical Sketches, and engraving laughable frontispieces -for books and pamphlets. To many of these, -for various reasons, they forbore to set their names; -and we have at present collectors, who, to obtain the -credit of having made discoveries, are willing to -adopt such performances as the genuine effusions of -<i>Hogarth</i>, although every way beneath his talents, and -repugnant to his style of engraving. Perhaps also the -names of other painters and designers have been occasionally -obliterated, to countenance the same fallacy.<span class="pagenum"><a name="Page_454" id="Page_454">[Pg 454]</a></span> -Copies likewise have been palmed on the unwary -for originals. "Therefore" (gentle reader) for once -be content to follow the advice of <i>Pistol</i>, "Go clear -thy chrystals, and <i>Caveto</i> be thy counsellor." For if -all such fatherless engravings, as the vanity of some, -and the interest, or the ignorance, of others, would -introduce among the works of our artist, were to be -admitted, when would the collector's labour and expence -be at end?</p> - -<p>Among other anonymous plates ascribed to <i>Hogarth</i>, -but omitted in the present catalogue, is the following, -<i>A living Dog is better than a dead Lion</i>, or, -<i>The Vanity of human Glory; a design for the Monument -of General Wolfe</i>, 1760. A medallion of our hero -appears on the side of a pyramid. On the base of it -is the well known speech of <i>Shakespeare's Brutus</i>,</p> - -<blockquote><p> -<i>Set Honour in one hand, and Death in t' other,<br /> -And I will look on both indifferent:<br /> -And let the Gods so speed me, as I love<br /> -The name of Honour more than I fear Death</i>.<br /> -</p></blockquote> - -<p>At the bottom a dying Lion is extended, while a -Dog (with <i>Minden</i> on his collar, and <i>Honour's a -jest</i>, &c. issuing from his mouth) is at once lifting -up his leg against the noble brute, and treading on a -wreath of laurel. <i>Here lies Honour</i>, is also written -on the side of the expiring animal. I have since -been assured that this print was by another artist, -whose name I omit to mention, because perhaps he -would wish it, on the present occasion, suppressed.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_321" id="Footnote_1_321"></a><a href="#FNanchor_1_321"><span class="label">[1]</span></a> This book, I am told, is now translated into <i>French</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_322" id="Footnote_2_322"></a><a href="#FNanchor_2_322"><span class="label">[2]</span></a> One of these productions, however, should be singled from -the rest. The print, entitled <i>The Connoisseurs</i>, was suspected to -be a work of <i>Hogarth</i> himself. It is placed with some of his -other undisputed designs in the back-ground of <i>The Author run -Mad</i> (which is known to be one of Mr. <i>Sandby's</i> performances), -and has the following reference—"<i>A.</i> his own <i>Dunciad</i>."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_323" id="Footnote_3_323"></a><a href="#FNanchor_3_323"><span class="label">[3]</span></a> Thus the frontispiece to <i>Taste</i>, designed, if not etched -by <i>Worsdale</i> (for whose benefit this dramatic piece was performed), -and <i>Sawney in the Bog-house</i>, an anonymous satire -on the <i>Scotch</i>, that made its appearance near forty years ago, -and was revived during the administration of Lord <i>Bute</i>, are at -present imputed to our artist, whose name is already engraved -at the bottom of the latter.</p></div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_455" id="Page_455">[Pg 455]</a></span></p> - -<h3><a name="POSTSCRIPT" id="POSTSCRIPT">POSTSCRIPT.</a></h3> - - -<p>The Author of this pamphlet, being convinced -that, in spite of all his care and attention, some -errors may still be found in his catalogue, list of variations, -&c. will think himself highly obliged by -any gentlemen who will point them out, and enable -him to correct them. Such favours shall be gratefully -acknowledged, if the present rude Essay towards -an account of <i>Hogarth's</i> different performances -should happen to reach another edition.</p> - -<p>As in consequence of the extraordinary prices -lately paid for the collected works of this great master, -certain dealers, &c. are supposed to be assembling -as many of his prints as they can meet with,—binding -them up in pompous volumes,—writing "fine -old impressions" either over or under them—specifying -the precise sums pretended to have been disbursed -for several of them (perhaps a guinea for a -three shilling article)—preparing to offer a few rare -trifles to sale, overloaded with a heap of wretched -proofs from our artist's more capital performances;—exhibiting -imperfect suites of such as are cut out of -books; and intending to station puffers at future auctions, -whose office will be to intimate they have received -commissions to bid up as far as such or such<span class="pagenum"><a name="Page_456" id="Page_456">[Pg 456]</a></span> -an amount (i. e. the sum under which the concealed -proprietor resolves not to part with his ware), &c. &c. -it is hoped the reader will excuse a few parting -words of admonition. Perhaps it may be in the -power of Mrs. <i>Hogarth</i> to select a few sets from -such of her husband's pieces as have remained in her -own custody from the hour of their publication. Let -the multitude, who of course cannot be supplied -with these, become their own collectors. Even ignorance -is a more trusty guide than professional artifice. -It may be urged, indeed, that the proportionate -value of impressions<a name="FNanchor_1_324" id="FNanchor_1_324"></a><a href="#Footnote_1_324" class="fnanchor">[1]</a> can be ascertained only by -those who have examined many of them in their various -states, with diligence and acuteness. But surely -to qualify ourselves for estimating the merit of the -curiosities we are ambitious to purchase, is wiser -than to rely altogether on the information of people -whose interest is commonly the reverse of our own. -Let it also be remembered, that the least precious of<span class="pagenum"><a name="Page_457" id="Page_457">[Pg 457]</a></span> -all <i>Hogarth's</i> productions are by far the scarcest; and -that when, at an immoderate expence, we have procured -impressions from tankards ornamented by him, -or armorial ensigns engraved for the books of his customers, -we shall be found at last to have added nothing -to his fame, or the entertaining quality of our -own collections. By such means, however, we may -open a door to imposition. A work like <i>The Harlot's -Progress</i> will certainly remain unimitated as well -as inimitable; but it is in the power of every bungler -to create fresh coats of arms, or shop bills with our -artist's name subscribed to them: and wherein will -the Lion or Griffin of <i>Hogarth</i> be discovered to excell -the same representation by a meaner hand? A -crafty selection of paper, and a slight attention to -chronology and choice of subjects, with the aid of -the hot-press, may, in the end, prove an overmatch -for the sagacity of the ablest connoisseur. A single -detection of such a forgery would at least give rise -to suspicions that might operate even where no fallacy -had been designed. How many fraudulent imitations -of the smaller works of <i>Rembrandt</i> are known -to have been circulated with success!—But it may -be asked, perhaps, from what source the author of -this pamphlet derives his knowledge of such transactions. -His answer is, from the majority of collectors -whom he has talked with in consequence of -his present undertaking.</p> - -<p>He ought not, however, to conclude without observing, -that several <i>genuine</i> works of <i>Hogarth</i> yet<span class="pagenum"><a name="Page_458" id="Page_458">[Pg 458]</a></span> -remain to be engraved. He is happy also to add -that a young artist, every way qualified for such a -task, has already published a few of these by subscription.</p> - -<p><span style="margin-left: 20em;"><i>J. N.</i></span></p> - -<div class="footnote"> - -<p><a name="Footnote_1_324" id="Footnote_1_324"></a><a href="#FNanchor_1_324"><span class="label">[1]</span></a> Prints have, of late years, been judiciously rated according -to the quality of their <i>impressions</i>. But the very term <i>impression</i>, -as applied to copper-plates, perhaps is a novelty among -us. If we refer to the earliest and most valuable assemblage of -portraits (such as that catalogued by <i>Ames</i>, afterwards purchased -by Dr. <i>Fothergill</i>, and lately sold to Mr. <i>Thane</i>), we -shall have little reason to suppose any regard was once paid to -a particular of so much importance. As fast as heads were -met with, they were indiscriminately received; and the faintest -proofs do not appear to have been excluded at a time when -the strongest might easily have been procured. In consequence -of an <i>àmás</i> so carelessly formed, the volumes already mentioned, -were found to display alternately the most beautiful and the -most defective specimens of the graphic art.</p></div> - -<hr class="tb" /> - -<p><i>J. N.</i> had once thoughts of adding a list of the -copies made from the works <i>of Hogarth</i>; but finding -them to be numerous, beyond expectation, has desisted -from a task he could not easily accomplish. -This pursuit, however, has enabled him to suggest -yet another caution to his readers. Some of the early -invaders of <i>Hogarth's</i> property were less audacious -than the rest; and, forbearing to make exact imitations -of his plates, were content with only borrowing -particular circumstances from each of them, which -they worked up into a similar fable. A set of <i>The -Rake's Progress</i>, in which the figures were thus disguised -and differently grouped, has been lately found. -But since the rage of collection broke out with its -present vehemence, those dealers who have met -with any such diversified copies, have been desirous -of putting them off either as the first thoughts of -<i>Hogarth</i>, or as the inferior productions of elder artists -on whose designs he had improved. There, is -also a very small set of <i>The Rake's Progress</i>, contrived -and executed with the varieties already mentioned;<span class="pagenum"><a name="Page_459" id="Page_459">[Pg 459]</a></span> -and even this has been offered to sale under the former -of these descriptions. Thus, as <i>Shakspeare</i> says, -<i>While we shut the gate upon one</i> imposition, <i>another -knocks at the door</i>.</p> - -<p>It may not be impertinent to conclude these cautions -with another notice for the benefit of unexperienced -collectors, who in their choice of prints usually -prefer the blackest. The earliest copies of <i>Hogarth's</i> -works are often fainter than such as have been -retouched. The excellence of the former consists -in clearness as well as strength; but strength only is -the characteristic of the latter. The first and third -copies of <i>The Harlot's Progress</i> will abundantly illustrate -my remark, which, however, is confined to good -impressions of the plates in either state; for some -are now to be met with that no more possess the recommendation -of transparency than that of force. I -may add, that when plates are much worn, it is customary -to load them with a double quantity of colour, -that their weakness, as far as possible, may escape -the eye of the purchaser. This practice the -copper-plate printers facetiously entitle—<i>coaxing</i>; -and, by the aid of it, the deeper strokes of the graver -which are not wholly obliterated, become clogged -with ink, while every finer trace, which was of a nature -less permanent, is no longer visible. Thus in -the modern proofs of <i>Garrick</i> in <i>King Richard III.</i> -the armour, tent, and habit, continue to have considerable -strength, though the delicate markings in -the face, and the shadows on the inside of the hand,<span class="pagenum"><a name="Page_460" id="Page_460">[Pg 460]</a></span> -have long since disappeared. Yet this print, even in -its faintest state, is still preferable to such smutty impositions -as have been recently described. The modern -impressions of <i>The Fair</i>, and <i>The March to Finchley</i>, -will yet more forcibly illustrate the same remark.</p> - -<hr class="tb" /> - -<p>To the original paintings of <i>Hogarth</i> already enumerated -may be added a Breakfast-piece, preserved -in <i>Hill-Street, Berkeley-Square</i>, in the possession of -<i>William Strode</i>, Esq; of <i>Northaw, Herts</i>. It contains -portraits of his father the late <i>William Strode</i>, Esq; -his mother Lady <i>Anne</i> (who was sister to the late -Earl of <i>Salisbury</i>), Colonel <i>Strode</i>, and Dr. <i>Arthur -Smith</i> (afterwards Archbishop of <i>Dublin</i>).</p> - - - - -<hr class="chap" /> -<h3><a name="ADDITION" id="ADDITION">ADDITION.</a></h3> - -<p><i>Four Times of the Day</i>, p. <a href="#Page_250">250</a>.</p> - -<p>It should have been observed, that the third of -these plates was engraved by <i>Baron</i>, the figure of the -girl excepted, which, being an after-thought, was -added by our artist's own hand.</p> - - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_461" id="Page_461">[Pg 461]</a></span></p> - -<h3><a name="APPENDIX" id="APPENDIX">APPENDIX.</a></h3> - -<h4>N° 1. [See p. <a href="#Page_23">23</a>.]</h4> - - -<p>The following letter, printed in <i>The Public Advertiser</i> -soon after the first edition of the present -work made its appearance, may possibly contain -some authentic particulars of the early life of the -famous Monsieur <i>St. André</i>. Mr. <i>Woodfall's</i> ingenious -correspondent does not, however, dispose me -to retract a syllable of what is advanced in the text; -for he fails throughout in his attempts to exculpate -our hero from any one of the charges alledged against -him. On the contrary, he confirms, with additions, -a considerable part of them, and strives only to -evade or overwhelm the rest by studied amplifications -of the little good which industrious partiality could -pick out of its favourite character. I shall now subjoin -his epistle, with a few unconnected remarks appended -to it. A rambling performance must apologize -for a desultory refutation.</p> - -<p>"<span class="smcap">Sir</span>,</p> - -<p>"The entertaining author of the last biography -of the admirable <i>Hogarth</i>, in the excess of -commendation of a particular risible subject for<span class="pagenum"><a name="Page_462" id="Page_462">[Pg 462]</a></span> -his pencil, has written too disadvantageously of -the late Mr. <i>St. André</i>. One who knew him intimately -(but was never under the smallest obligation -to him) for the last twenty years of his life, -and has learned the tradition of his earlier conduct -seemingly better than the editor of the article -in question, takes the liberty to give a more -favourable idea of him, and without intending to -enter into a controversy with this agreeable Collector -of Anecdotes, to vindicate this <i>notorious -man</i>, who must be allowed to have been such; -but it is to be hoped in the milder sense Lord -<i>Clarendon</i> often or always uses the epithet. The -making a subject of Mr. <i>St. André</i> is therefore -merely accidental. The writer expects to derive -no praise from exhibiting that person as the Hero -of a page. He thinks it is only doing justice (for -the Dead deserve justice as well as the Living) -when he draws his pen against some very injurious -insinuations, thrown out with more inadvertence -and at a venture than in malice, against -the memory of an acquaintance and of a foreigner -(to whom perhaps more mercy is due than to a -native), who is more roughly handled than he -appears to deserve.</p> - -<p>"Mr. <i>Nathaniel St. André</i> came over, or rather -was brought over, very early from <i>Switzerland</i>, -his native country, in the train of a <i>Mendez</i>, or -<i>Salvadore</i>, or some <i>Jewish</i> family. Next to his -countryman <i>Heidegger</i>, he became the most considerable<span class="pagenum"><a name="Page_463" id="Page_463">[Pg 463]</a></span> -person that has been imported from thence. -He probably arrived in <i>England</i> in no better than -a menial station. Possibly his family was not -originally obscure, for he has been heard to declare, -that he had a rightful claim to a title, but -it was not worth while to take it up so late in life. -He had undoubtedly all the qualifications of a -<i>Swiss</i>. He talked <i>French</i> in all its provincial -dialects, and superintended the press, if the information -is to be depended upon, and perhaps -taught it, as his sister did at <i>Chelsea</i> boarding-school. -He was early initiated in music, for he -played upon some musical instrument as soon as -he was old enough to handle one, to entertain his -benefactors. He had the good fortune to be -placed by them with a surgeon of eminence, and -became very skilful in his profession. His duty -and gratitude to his father, whom he maintained -when he was no longer able to maintain himself, -was exemplary and deserving of high commendation. -Let this charity cover a multitude of his -sins! His great thirst for anatomical knowledge -(for which he became afterwards so famous as to -have books dedicated to him on that subject), and -his unwearied application, soon made him so compleat -an anatomist, that he undertook to read -public lectures (and he was the first in <i>London</i> -who read any), which gave general satisfaction. -The most ingenious and considerable men in the -kingdom became his pupils. Dr. <i>Hunter</i>, now at<span class="pagenum"><a name="Page_464" id="Page_464">[Pg 464]</a></span> -the head of his profession, speaks highly of his -predecessor, and considers him (if the information -is genuine) as the wonder of his time. He continued -his love of anatomy to the last, and left -noble preparations behind him, which he was -continually improving. The time of his introduction -into Mr. <i>Molyneux's</i> family is not known -to the writer of this account. Whether anatomy, -surgery, knowledge, or music, or his performance -on the <i>Viol de Gambo</i>, on which he was the greatest -master, got him the intimacy with Mr. <i>Molyneux</i>, -is not easy to determine. Certain it is, that he -attended his friend in his last illness, who died of -a dangerous disorder (but not under his hands), -which Mr. <i>Molyneux</i> is said to have pronounced, -from the first, would be fatal. Scandal, and Mr. -<i>Pope's</i> satirical half-line, talked afterwards of -'The Poisoning Wife.' She, perhaps, was in -too great a hurry, as the report ran, in marrying -when she did, according to the practised delicacy -of her sex, and her very high quality. The unlucky -business in which one <i>Howard</i>, a surgeon at -<i>Guildford</i>, involved him, who was the projector, -or accessary of the impudent imposture of <i>Mary -Tofts</i>, alias the Rabbit-woman of <i>Godalmin</i>, occasioned -him to become the talk and ridicule of the -whole kingdom. The report made by <i>St. André</i>, -and others, induced many inconsiderately to take -it for a reality. The public horror was so great, -that the rent of rabbit-warrens sunk to nothing;<span class="pagenum"><a name="Page_465" id="Page_465">[Pg 465]</a></span> -and nobody, till the delusion was over, presumed -to eat a rabbit. The credulous <i>Whiston</i> believed -the story (for to some people every thing is credible -that comes from a credible witness), and wrote a -pamphlet, to prove this <i>monstrous conception</i> to be -the exact completion of an old prophecy in <i>Esdras</i>. -The part <i>St. André</i> acted in this affair ruined his -interest at Court, where he had before been so -great a favourite with King <i>George</i> I. that he presented -him with a sword which he wore himself. -Now, on his return out of the country, he met -with a personal affront, and never went to Court -again. But he continued anatomist to the Royal -Houshold to his dying day, though he never took -the salary. He probably was imposed upon in -this matter. And has it not been the lot of men, -in intellectual accomplishments vastly above his, -such as <i>Boyle</i>, for instance, a man infinitely his superior, -to be over-reached and misled? He took -up the pen on the occasion (and it was not the first -time, for he wrote some years before a bantering -pamphlet on Dr. <i>Mead</i>), which could at best but -demonstrate his sincerity, but exposed the weakness -of his judgement, on that case. It had been -insinuated he adopted this scheme, to ruin some -persons of his own profession. If he had a mind -to make an experiment upon the national belief, -and to tamper with their willingness to swallow -any absurdity (which a certain nobleman [Duke of -<i>Montagu</i>] ventured to do, in the affair of a man<span class="pagenum"><a name="Page_466" id="Page_466">[Pg 466]</a></span> -who undertook to jump into a quart bottle), he -was deservedly punished with contempt. <i>Swift</i> -(according to <i>Whiston</i>), and perhaps <i>Arbuthnot</i>, exercised -their pens upon him. The cheat was soon -discovered, and rabbits began to make their appearance -again at table as usual. But they were -not at his own table, nor made a dish, in any form -of cookery, at that of his friends. Perhaps -they imagined that the name or sight of that animal -might be as offensive to him, as the mention of -<i>Formosa</i> is said to have been to <i>Psalmanazar</i>. It -is told, that, on his asking for some parsly of a -market-woman of <i>Southampton</i>, and demanding -why she had not more to sell, she, in a banter, assured -him, 'That his rabbits had eat it up.' -The fortune he acquired by marrying into a noble -family (though it set all the lady's relations -against him, and occasioned her being dismissed -from her attendance on Queen <i>Caroline</i>) was a sufficient -compensation for the laughter or censure -of the publick. His high spirit and confidence -in himself made him superior to all clamor. So -that people did but talk about him, he seldom -seemed to care what they talked against him. And -yet he had the fortitude to bring an action for defamation -in <i>Westminster-Hall</i> against a certain doctor -in divinity, and got the better of his adversary. -He was not supposed, in the judgement of -the wiser and more candid part of mankind, to -have contributed, by any chirurgical administration,<span class="pagenum"><a name="Page_467" id="Page_467">[Pg 467]</a></span> -to the death of his friend Mr. <i>Molyneux</i>, nor -to have set up the imposture at <i>Godalmin</i>. Though -he was disgraced at Court, he was not abandoned -by all his noble friends. The great Lord <i>Peterborough</i>, -who was his patron and patient long before -he went to <i>Lisbon</i>, entertained a very high -opinion of him to the last. His capacity in all -kinds, the reception he gave to his table and his -garden, with his liberality to the infirm and distressed, -made him visited by persons of the highest -quality, and by all strangers and foreigners. He -did not continue to enjoy the great fortune his -marriage is supposed to have brought him, to the -end of his life, for a great part went from him on -the death of Lady <i>Betty</i>. He by no means left so -much property behind him as to have it said, he -died rich. His profession as a surgeon, in a reasonable -terms of years, would probably have put -more money into his pocket than fell in the golden -shower so inauspiciously into his lap, and have -given him plenty, without envy or blame. He -was turned of ninety-six when he died; and -though subject to the gout, of which he used to -get the better by blisters upon his knees, and by -rigid abstinence, yet, when he took to his bed -(where he said he should not lie long), and permitted -a physician to be called in to him, he -cannot be said to have died of any disease. In -one sum of generosity, he gave the celebrated <i>Geminiani</i> -three hundred pounds, to help him to discharge<span class="pagenum"><a name="Page_468" id="Page_468">[Pg 468]</a></span> -his incumbrances, and to end his days in -comfort. The strength and agility of his body -were great, and are well known. He was famous -for his skill in fencing, in riding the great horse, -and for running and jumping, in his younger days. -He, at one time, was able to play the game at -chess with the best masters. After a slight instruction -at <i>Slaughter's</i> coffee-house, he did not -rest till, in the course of two nights sitting up, he -was able to vanquish his instructor. He was so -earnest in acquiring knowledge, that he whimsically, -as he told the story, cut off his eye-lashes, -that he might not sleep till he arrived at what he -wanted. His face was muscular and fierce. One -of his eyes, to external appearance, seemed to be -a mass of obscurity (as he expressed it of <i>Handel's</i>, -when he became stark-blind), at least it had not -the uncommon vivacity of the other. His language -was full of energy, but loaded with foreign -idioms. His conversation was seasoned sufficiently -with satire and irony, which he was not afraid to -display, though he ought never to have forgot -that he was once a proper subject for it. He -built; he planted; he had almost 'from the -Cedar of <i>Lebanon</i> to the hyssop that groweth -upon the wall,' in his hot-house, green-house, -and garden. If he was not deep in every art and -science (for even his long life was not sufficient -for universal attainment), he cannot be reckoned -to have been ignorant of any thing. He was admired<span class="pagenum"><a name="Page_469" id="Page_469">[Pg 469]</a></span> -for his knowledge in architecture, in gardening, -and in botany, by those who should have -been above flattery. But praise, from whatever -quarter it comes, is of an intoxicating nature. -Those who found out that he loved praise, took -care he should have enough of it. He kept a list -of the wretched and the indigent, whom he constantly -maintained; and their names might be -written alphabetically. The poor of <i>Southampton</i> -know they have lost their best friend. Call it, -reader, ostentation or vanity, if you will; but till -you know it did not proceed from his goodness -of heart, this tributary pen considers his giving -away his money to relieve the necessitous, as a -spark of the spirit of the Man of <i>Ross</i> or the Man -of <i>Bath</i>. He was all his life too much addicted -to amours, and sometimes with the lower part of -the sex. His conversation, which he was always -able to make entertaining and instructive, was too -often tinctured with <i>double entendre</i> (a vice that -increases with age), but hardly ever with prophaneness. -He may be thought to have copied -<i>Hermippus</i>, and to have considered women as the -prolongers of life. How far he was made a dupe -by any of them at last, is not necessary for relation. -He died, as he lived, without fear; for to his -standers-by he gave no sign of a ruffled mind, or -a disturbed conscience, in his last moments.</p> - -<p><span class="pagenum"><a name="Page_470" id="Page_470">[Pg 470]</a></span></p> - -<p>"If the preceding memoir of <i>St. André</i> had not -been composed entirely from memory (a faculty -which, like the sieve of the <i>Danaids</i>, is apt to lose -as much as it receives), and had not been conveyed -to the press with so much precipitancy, the writer, -by a second recollection, might have made supplementary -anecdotes less necessary. Whilst <i>St. -André</i> was basking in the sun-shine of public favour -in <i>Northumberland-Court</i>, near <i>Charing-Cross</i>, -under pretence of being wanted in his profession -at some house in the neighbourhood, he was hurried -through so many passages, and up and down -so many stair-cases, that he did not know where he -was, nor what the untoward scene was to end in, -till the horrid conclusion presented itself, of which -he published an extraordinary account in <i>The Gazette</i> -of <i>Feb.</i> 23, 1724-5, no less than of his being -poisoned, and of his more extraordinary recovery. -Such uncommon men must be visited through life -with uncommon incidents. The bowl of poison -must have been for ever present to his imagination. -<i>Socrates</i> himself could not expect more -certain destruction from the noxious draught he -was forced to take down, than seemed inevitable -to <i>St. André</i>. Nay, a double death seems to have -threatened him. Probably it was not any public or -private virtue for which <i>Socrates</i> was famous, and -which occasioned him to suffer, that endangered -our hero's life. His constitution was so good, -that he got the better of the internal potion. The<span class="pagenum"><a name="Page_471" id="Page_471">[Pg 471]</a></span> -truth and circumstances of the story could only -be known to himself, who authenticated it upon -oath. His narrative partakes of the marvellous; -and the reader of <i>July</i>, 1781, is left in total ignorance -of the actor, and the provocation to such a -barbarous termination. His case was reported, -and he was attended, by the ablest of the faculty: -and the Privy Council issued a reward of two hundred -pounds towards a discovery. A note in the -second supplemental volume of <i>Swift</i> informed -the writer of this sketch, a day or two ago (who -takes to himself the reproof of <i>Prior</i>, 'Authors, -before they write, should read!'), that <i>St. André</i> -was convinced he had been imposed upon respecting -the woman of <i>Godalmin</i>, and that he apologised -handsomely to the public in an advertisement, -dated <i>Dec.</i> 8, 1726.—'He's half absolv'd, -who has confest.'—In the autumn, before the heat -of the town-talk on this affair was over, he was -sent for to attend Mr. <i>Pope</i>, who, on his return -home from <i>Dawley</i> in Lord <i>Bolingbroke's</i> coach -and six, was overturned in a river, and lost the use -of two fingers of his left-hand (happy for the -lovers of poetry they were not the servants of the -right one!), and gave him assurance, that none of -the broken glass was likely to be fatal to him. It -is highly improbable, that <i>Pope</i> and <i>Bolingbroke</i> -would have suffered <i>St. André</i> to have come near -them, if he had been branded as a cheat and an -impostor. He died in <i>March</i>, 1776, having survived<span class="pagenum"><a name="Page_472" id="Page_472">[Pg 472]</a></span> -all his contemporary enemies, and, which is -the consequence of living long, most of his ancient -friends. Such men do not arise every day for our -censure or our applause; to gratify the pen or the -pencil of character or caricature. He may be -considered, as <i>Voltaire</i> pronounces of <i>Charles</i> the -Twelfth, an extraordinary, rather than a great -man, and fitter to be admired than imitated.</p> - -<p><span style="margin-left: 15em;">"<span class="smcap">Impartial</span>."</span></p> - -<p>In the first place, I avow that the epithet <i>notorious</i> -was not meant to be employed in the milder sense of -Lord <i>Clarendon</i>. Had I undertaken to compile the -life of a man eminent for virtue, I should have been -happy to have borrowed the softer application of the -aforesaid term from our noble historian. But having -engaged to delineate a mere impostor's character, -there is greater propriety in adopting the disputed -word with that constant signification affixed to it by -the biographers of <i>Bet Canning</i>, or <i>Fanny</i> the Phantom -of <i>Cock Lane</i>.—I shall absolve myself no farther -from the charge of "malice," than by observing -that there are always people who think <i>somewhat -much too rough has been said of Chartres</i>.</p> - -<p>The dead, declares our apologist, deserve justice -as well as their survivors. This is an uncontested -truth; nor will the precept be violated by me. I -may observe however, with impunity, that the interests -of the living, for whose sake a line of separation -between good and bad characters is drawn, should<span class="pagenum"><a name="Page_473" id="Page_473">[Pg 473]</a></span> -be consulted, rather than the memories of the flagitious, -who can no longer be affected by human praise -or censure, should be spared.</p> - -<p>Our apologist next assures us, that perhaps more -tenderness is due to a foreigner than to a native. -The boasted <i>amor patriæ</i> is not very conspicuous in -this remark, which indeed was dropped, to as little -purpose, by a learned counsel on the trial of the -<i>French Spy</i> who was lately executed.</p> - -<p>"Next to his countryman <i>Heidegger</i>," adds our -apologist, "Mr. <i>St. André</i> became the most <i>considerable</i> -person that has been imported from <i>Switzerland</i>." -To judge of the comparative value of the -latter, we must estimate the merits of the former. -<i>Heidegger</i> is known to us only by the uncommon ugliness -of his visage, and his adroitness in conducting -Operas and Masquerades. If <i>St. André</i> is to be regarded -as a person still <i>less considerable</i> than <i>Heidegger</i>, -can his consequence be rated very high?</p> - -<p>That <i>St. André</i> arrived here in a menial station, is -not improbable. The servility of his youth afforded -a natural introduction to the insolence of his riper -years. He was indeed (if I am not mis-informed) -of the same family with the fencing and dancing-master -whom <i>Dryden</i> has immortalized in <i>MacFlecknoe</i>;</p> - -<blockquote><p> -"<i>St. André's</i> feet ne'er kept more equal time;"<a name="FNanchor_1_325" id="FNanchor_1_325"></a><a href="#Footnote_1_325" class="fnanchor">[1]</a><br /> -</p></blockquote> - -<p>and was intended for the same professions; a circumstance -often hinted at by his opponents during the<span class="pagenum"><a name="Page_474" id="Page_474">[Pg 474]</a></span> -Rabbit controversy. Having been thus early instructed -in the management of the foil and kitt, no -marvel that he so often prated about the art of defence, -or that "his gratitude to his benefactors" -broke out in the language of a minuet or a rigadoon.</p> - -<p>That he became famous enough in his profession -to have anatomical works occasionally dedicated to -him, will easily obtain credit among our apologist's -readers; for many of them must have seen a book -on surgery inscribed to Dr. <i>Rock</i>, a political poem -addressed to <i>Buckhorse</i>, and a treatise on religion -sheltering itself under the patronage of the late Lord -<i>Baltimore. St. André</i>, however, was not the earliest -reader of anatomical lectures in <i>London. Bussiere</i>, -the surgeon who attended <i>Guiscard</i> (the assassin of -<i>Harley</i>), was our hero's predecessor in this office, and -I am told even he was not the first who offered public -instructions to the students at our hospitals. Dr. -<i>Hunter</i>, who has been applied to for intelligence on -this occasion, declares that he never described <i>St. -André</i> as "the wonder of his time," but as a man -who had passed through no regular course of study, -and was competent only in the article of injections, -a task as happily suited to minute abilities as to -those of a larger grasp.</p> - -<blockquote><p> -<i>Æmilium circà ludum faber imus et ungues<br /> -Exprimet, et molles imitabitur ære capillos</i>.<br /> -</p></blockquote> - -<p>The art of pushing fluids through the vessels was -at that period a secret most scrupulously kept by the -few who were in possession of it, so that a great show<span class="pagenum"><a name="Page_475" id="Page_475">[Pg 475]</a></span> -might be made at the expence of little real knowledge. -I am also informed, that <i>St. André</i>, like the -workman described by <i>Horace</i>, had no general comprehension -of any subject, but was unable to have -put two propositions together:—that he neither extended -the bounds of the chirurgical art by discoveries, -nor performed any extraordinary cures; and, -boasting somewhere that he had detected vessels in -the cuticle or scarf-skin, a foreigner of eminence in -the same profession offered (through the medium of -a printed book) to lay him a wager of it, a challenge -which he prudently declined. I am also told, that -when solicited to exhibit his preparations, he always -declared the majority of them to have been destroyed -in a fire. What remain, I am instructed to add, deserve -little or no commendation. Thus, on enquiry, -sinks our "enthusiast in anatomy" down to a frigid -dabbler in the science; while his "noble preparations, -which he was continually improving," dwindle -into minutiæ of scarce any value.</p> - -<p>Though the dreadful crime, which is indistinctly -mentioned in the text of the foregoing pamphlet, has -been alluded to with less reserve by the apologist of -<i>St. André</i>, it shall be explained no further on the -present occasion. Many are the common avenues to -death; and why should we point out with minuteness -such as we hope will never be explored again? Till -I perused the defence so often referred to, I had not -even suspected that the "poisoning wife"<a name="FNanchor_2_326" id="FNanchor_2_326"></a><a href="#Footnote_2_326" class="fnanchor">[2]</a> bore the<span class="pagenum"><a name="Page_476" id="Page_476">[Pg 476]</a></span> -least allusion to any particular circumstance on the -records of criminal gallantry; nor, without stronger -proofs than are furnished by this expression (perhaps -a random one), shall I be willing to allot the smallest -share of blame to the Lady, such alone excepted as -must unavoidably arise from her over-hasty marriage, -which was solemnized at <i>Hesson</i> near <i>Hounslow</i> in <i>Middlesex</i>, -on the 27th of <i>May</i>, 1730. This act, however, -as well as her derogation from rank, being -mere offences against human customs, are cognizable -only upon earth.—By "the wiser and more candid -part of mankind," who suspected no harm -throughout <i>St. André's</i> conduct in this affair, I suppose -our apologist means any set of people who had -imbibed prejudices similar to his own, and thought -and spoke about his hero with equal partiality and -tenderness. But the Memoir on which these remarks -are founded, proves at least that what <i>J. N.</i> had -hinted concerning the death of Mr. <i>Molyneux</i>,<a name="FNanchor_3_327" id="FNanchor_3_327"></a><a href="#Footnote_3_327" class="fnanchor">[3]</a> was<span class="pagenum"><a name="Page_477" id="Page_477">[Pg 477]</a></span> -of no recent invention. So far from it indeed, that -<i>St. André</i> was openly taxed with having been the -sole cause of it, in a public news-paper (I think one -of the Gazetteers), by the Rev. Dr. <i>Madden</i>, the -celebrated <i>Irish</i> patriot, who subscribed his name to -his advertisement. It is related (I know not how -truly) that on this account our hero prosecuted and -"got the better of his adversary," whose accusation -was unsupported by such proofs as the strictness of -law requires. How many culprits, about whose guilt -neither judge nor jury entertains the smallest scruple, -escape with equal triumph through a similar defect -of evidence! I may add, that so serious a charge -would never have been lightly made by a divine of -Dr. <i>Madden's</i> rank and character.</p> - -<p>All that is said on the subject of family honours -to which <i>St. André</i> was entitled, his gratitude to his<span class="pagenum"><a name="Page_478" id="Page_478">[Pg 478]</a></span> -father, what he gave to the celebrated <i>Geminiani</i> "in -one sum of generosity," must be admitted with -caution, for truth was by no means the characteristic -of our hero's narrations.<a name="FNanchor_4_328" id="FNanchor_4_328"></a><a href="#Footnote_4_328" class="fnanchor">[4]</a> These circumstances therefore -may be regarded as gasconades of his own. The -author of the defence pretends not to have received -any part of his information from <i>St. André's</i> countrymen -or contemporaries; but, on the contrary, confesses -that both his early friends and enemies had -long been dead.</p> - -<p>The affair of the Rabbit-breeder has no need of -further illustration. Several ballads, pamphlets, prints, -&c. on the subject, bear abundant testimony to <i>St. -André's</i> merits throughout that business, as well as -to the final opinion entertained of him by his contemporaries, -after <i>Cheselden</i>, by order of Queen <i>Caroline</i>, -had assisted in discovering the deceit. Her Majesty -was urged to this step by finding the plausibility -of our hero had imposed on the King, and that -some of the pregnant ladies about her own person -began to express their fears of bringing into the -world an unnatural progeny.—If Mr. <i>Boyle</i> was occasionally<span class="pagenum"><a name="Page_479" id="Page_479">[Pg 479]</a></span> -misled, his errors were soon absorbed in -the blaze of his moral and literary excellence. <i>St. -André's</i> blunder, alas! had no such happy means of -redemption. His credulity indeed was not confined -to this single transaction. The following is a well-attested -story—Two gentlemen at <i>Southampton</i>, who -felt an inclination to banter him, broke a nutshell -asunder, filled the cavity with a large swan-shot, and -closed up the whole with glue so nicely that no -marks of separation could be detected. This curiosity, -as they were walking with <i>St. André</i>, one of -them pretended to pick up, admiring it as a nut -uncommonly heavy as well as beautiful. Our hero -swallowed the bait, dissected the subject, discovered -the lead, but not the imposition, and then proceeded -to account philosophically for so strange a phænomenon. -The merry wags could scarce restrain their -laughter, and soon quitted his company to enjoy the -success of a stratagem they had so adroitly practised -on his ignorance and gullibility.</p> - -<p>Were there any colour for supposing he had patronized -the fraud relative to <i>Mary Tofts</i>, with design -to ruin others of his profession (an insinuation to his -discredit, which the foregoing pamphlet had not furnished), -it was but just that he should fall by his -own malevolence and treachery. From the imputation -of a scheme resembling that contrived by the -Duke of <i>Montagu</i>, his want of equal wit will sufficiently -absolve him.</p> - -<p><span class="pagenum"><a name="Page_480" id="Page_480">[Pg 480]</a></span></p> - -<p>That rabbits never were permitted to appear at -any table where he dined, is a strong mark of the -adulation paid to him by his entertainers. I hope, -for similar reasons, had he been seized with his last -illness in <i>London</i> (that his organs of hearing might -escape an equal shock), his attendants would not -have called any physician named <i>Warren</i> to his bed-side, -summoned an attorney from <i>Coney Court</i> Grays -Inn to have made his will, or sent for the Rev. Mr. -<i>Bunny</i> to pray by him. The banishment of rabbits, -however, from a neighbourhood that affords them -in the highest perfection, was a circumstance that -might as justly have been complained of, as <i>Pythagoras's</i> -prohibition of beans, had it been published in -<i>Leicestershire</i>. I heartily wish that the circumstantial -author of the preceding epistle, to relieve any doubts -by which futurity may be perplexed, had informed -us whether <i>St. André</i> was an eater of toasted cheese, -or not; and if it was never asked for by its common -title of a Welch <i>Rabbit</i> within his hearing.</p> - -<p>That he wrote any thing, unless by proxy, or with -much assistance, may reasonably be doubted; for the -pamphlets that pass under his name are divested of -those foreign idioms that marked his conversation. -Indeed, if I may believe some specimens of his private -correspondence, he was unacquainted with the -very orthography of our language. The insolence -of this shallow <i>Switzer's</i> attempt to banter <i>Mead</i>, we -may imagine, was treated with contempt, as the -work described has not been handed down to us; and<span class="pagenum"><a name="Page_481" id="Page_481">[Pg 481]</a></span> -few tracts are permitted to be scarce for any other -reason than because they are worthless.</p> - -<p>It is next remarked by our apologist, that <i>St. André's</i> -"confidence, &c. made him superior to all -clamour; and so that people did but talk about -him, he did not seem to care what they talked -against him." This is no more, in other language, -than to declare that his impudence and vanity were -well proportioned to each other, and that a bad character -was to him as welcome as a good one. He -did not, it seems, join in the Poet's prayer,</p> - -<blockquote><p> -Grant me an honest fame, or grant me none!<br /> -</p></blockquote> - -<p>but was of opinion, as his apologist likewise admits, -that wealth was an ample counterbalance to the loss -of reputation.—That he might evade accusation (as -I have already observed) in one particular instance, -and therefore recover damages, is no proof of his -innocence, that his general conduct would admit of -defence, or that much of the manifold censure -passed upon him had no foundation.</p> - -<p>How Lord <i>Peterborough</i> happened to become his -patron, &c. may be accounted for without any great -degree of credit to either party. His lordship (as -Lord <i>Orrery</i> observes) "in his private life and conduct -differed from most men;" and, having often -capricious disputes with the court, was sure to favour -those who, like <i>St. André</i>, had been dismissed from -its service. Our hero's musical talents, indeed, if -they were such as they have been represented, might -procure him access to his lordship and many other<span class="pagenum"><a name="Page_482" id="Page_482">[Pg 482]</a></span> -noble adepts in the sublime and useful science of -harmony. The lovers of a tune urge no severe enquiries -concerning the heart of a fidler. If he be -a mercenary, while he teaches female pupils, he is -watched; and, if he performs in concerts, he is paid. -If above pecuniary gratifications, he is rewarded with -hyperbolical compliments. Articulate for inarticulate -sounds is ample retribution.</p> - -<p>His defender adds, that he was visited by <i>all</i> -strangers and foreigners. It will be supposed then -that his house was never free from company. May -we not rather think, that if he was at any time sought -after by these peregrine worthies, &c. it was because -the keepers of inns and mistresses of boarding-houses -had been instructed to disseminate attractive tales of -his "capacity in all kinds," his curiosities and good -dinners? Besides, all foreigners who have arrived in -<i>England</i> have not travelled to <i>Southampton</i>, and consequently -could not have seen <i>St. André</i>, who for -upwards of the last twenty years of his life had resided -only there. It is nearer the truth to say, that -not a single <i>Frenchman</i>, &c. in fifty thousand, ever -heard of his name.</p> - -<p>That "his profession as a surgeon, in a reasonable -term of years, would probably have put more -money in his pocket" than he gained by his union -with Lady <i>Betty Molyneux</i> (i. e. £30,000. a sum that -elevated him into a state little short of madness), I -cannot believe. The blast his reputation had received -respecting the business at <i>Godalming</i>, being seconded<span class="pagenum"><a name="Page_483" id="Page_483">[Pg 483]</a></span> -by his expulsion from court, he must have felt his -business on the decline. Indeed, I am told that he -staid long enough in town to try the experiment. -Marriage therefore might have been his <i>dernier resort</i>.</p> - -<p>The exaggerations of this impostor's generosity and -accomplishments, which are next brought forward -by his panegyrist with no small degree of pomp, are -such as we may suppose himself would have furnished, -had he undertaken, like the Chevalier <i>Taylor</i>, to -compile his own memoirs. The majority of circumstances -collected for the purpose of proving him -to have been</p> - -<blockquote><p> -<i>Grammaticus, rhetor, geometres, pictor, aliptes,<br /> -Augur, schænobates, medicus, magus,</i><br /> -</p></blockquote> - -<p>could only have been derived from those very flattering -testimonials to his merits which he was always -ready to exhibit on the slightest encouragement. -Those who were content to admit so partial an estimate -of his abilities, &c. found it necessary to express -their belief that he could have beaten <i>Hercules</i> at -quoits, played a better fiddle than <i>Apollo</i>, out-witted -<i>Mercury</i>, disarmed the <i>God of War</i>, and forged -such chemic thunders, that, compared with the produce -of our hero's laboratory, the bolts of <i>Jove</i> -were no louder than a pot-gun. So far was he from -being deficient in commendation of his own talents, -that he thought his very furniture might claim a -proportionable extravagance of praise. He was possessed -of some foreign tapestry which he was proud -on all occasions to display. But the eulogiums of<span class="pagenum"><a name="Page_484" id="Page_484">[Pg 484]</a></span> -others, lavish as they might be, fell considerably -short of his own, so that the spectator retired with -disgust from an object which the excessive vanity of -its owner would not permit to be enjoyed without the -most frequent and nauseous intrusions of self-congratulation.</p> - -<p>As to the history of his eye-lashes, which he sacrificed -to vigilance, and his sudden proficiency in the -very difficult game of chess (provided his instructor, -whom he afterwards vanquished, was a skilful one) -<i>credat Judæus Apella</i>.—That his language did not -want energy, may more easily be allowed, for force is -the characteristic of vulgar phraseology. Conceits, -expressed with much vigour, are current among sailors; -and such nervous denunciations of revenge may -occasionally be heard at <i>Billingsgate</i>, as might emulate -the ravings of <i>Dryden's Maximin</i>. No man will -be hardy enough to assert that the figure, manners, -and language, of <i>St. André</i>, were those of a gentleman.</p> - -<p>If one of his eyes was a "mass of obscurity" (notwithstanding -the other, like that of Lady <i>Pentweazle's</i> -Great Aunt, might be a piercer), perhaps he -ought to have been sparing of his satire on the personal -disadvantages of his acquaintance. Yet, the -last time my informant saw him was at the Theatre -at <i>Southampton</i>, where, sitting near a gentleman and -lady not remarkable for handsome faces, he had the -modesty to express a doubt (and in a voice sufficiently -audible) which of the two would furnish the most -comic mask.</p> - -<p><span class="pagenum"><a name="Page_485" id="Page_485">[Pg 485]</a></span></p> - -<p>Mr. <i>St. André's</i> apologist observes, that "he cannot -be reckoned to have been ignorant of any -thing." But the contrary may justly be suspected, -and for no inconclusive reason. I aver, that on -whatever subject he was haranguing, the moment he -discovered any of the company present understood it -as well as himself, he became silent, never choosing -to descant on art or science but before people whom -he supposed to be utter strangers to all their principles. -For this reason, he would have entertained Sir -<i>Joshua Reynolds</i> with remarks on the genera and cultivation -of plants, and talked to <i>Linnæus</i> about the -outline and colouring of pictures.</p> - -<p>That he died poor (for such was really the case), -should excite no astonishment. His fortune, like his -good qualities, was chiefly in supposition. Much of -his wealth he had expended on buildings, which he -never long inhabited, and afterwards sold to disadvantage. -His first essays in architecture were made -at <i>Chepstow</i> on the <i>Severn</i>, an estate purchased by -Lady <i>Betty Molyneux</i> immediately after the death of -her husband. In short, our hero was a fugitive inhabitant -of several counties, and never settled till he -reached <i>Southampton</i>; for in no other place did he -meet with that proportion of flattery which was needful -to his happiness, if not to his existence.—About -a mile from hence he erected the whimsical baby-house -dignified by him with the title of <i>Belle-Vue</i>, -a receptacle every way inconvenient for the purposes -of a family. Being once asked if this was not a very<span class="pagenum"><a name="Page_486" id="Page_486">[Pg 486]</a></span> -singular mansion,—"Singular!" (replied he) "by -G—I hope it is, or I would pull it down immediately. -I would have you to know, Sir, that it is -constructed on the true principles of anatomy." -The attempt to apply anatomical principles to the -arrangement of passages, doors, and windows, is too -glaring an absurdity to need animadversion, or to render -it necessary for me to deny in form, that he could -ever be "admired for his knowledge in architecture," -except by such as knew not wherein its excellencies -consisted.—He had, however, another dwelling within -the walls of the town already mentioned. Here he -pretended that his upper apartments were crowded -with rarities, which he only wanted space to exhibit. -But, alas! after his decease, Mr. <i>Christie's</i> auction-room -bore abundant witness to the frivolity of his -collections. What became of his boasted library of -books, which he always said was packed up in boxes, -I am yet to learn. Perhaps it existed only in his -description.<a name="FNanchor_5_329" id="FNanchor_5_329"></a><a href="#Footnote_5_329" class="fnanchor">[5]</a></p> - -<p>"Those who found out he loved praise (says his -apologist) took care he should have enough of it." -I discover little cause for disputing this assertion, -and shall only observe on it, that adulation is a commodity -which weak old men, reputed rich, and without -ostensible heirs, are seldom in danger of wanting,<span class="pagenum"><a name="Page_487" id="Page_487">[Pg 487]</a></span> -though they may not enjoy so much of it as fell to -<i>St. André's</i> share.</p> - -<p>His disbursements to the poor might be proportioned -to the real state of his fortune; but yet they -were conducted with excess of ostentation. He may -be said to have given shillings away with more parade -than many other men would have shown in the distribution -of as many guineas.—What honour his -apologist means to confer on him by saying that -"the names of those whom he maintained might be -written alphabetically," is to me a secret, because -names of every kind may be arranged according to -the series of the letters.—Suspected characters, however, -often strive to redeem themselves by affectation -of liberality. Few are more generous than opulent -wantons toward their decline of life, who thus attempt -to recover that respect which they are conscious -of having forfeited by the misdeeds of their -youth. The benefactions of such people may in -truth be considered as expiatory sacrifices for past -offences, having no foundation in a natural propensity -to relieve the indigent, or indulge the heart in -the noblest luxury, that of doing good.</p> - -<p><i>St. André</i> was accused in <i>J. N.'s</i> pamphlet of having -frequently larded his pleasantry with obscene expressions. -This is a truth which his defender makes -not the slightest effort to deny; but adds, that his -conversation was <i>hardly ever</i> tinctured with prophaneness. -We hence at least may infer that our hero's -humour had <i>sometimes</i> this imperfection, which indeed<span class="pagenum"><a name="Page_488" id="Page_488">[Pg 488]</a></span> -might have escaped notice, but for the zeal of -his apologist.—As I am on this subject, I cannot forbear -to mention a particular in Mr. <i>St. André's</i> behaviour, -which hitherto has been overlooked. When -at any time he received a reproof from women of -sense, fashion, and character, whose ears he had insulted -with his ribaldry, his confidence in a moment -forsook him, nor had he a word to offer in extenuation -of his offence. My informant has more than -once beheld, with secret satisfaction, how effectually -the frown of steady virtue could awe this "mighty -impudent" into silence. Notwithstanding what -has been already said concerning that indifference to -censure which appeared in him towards the end of -his life, I am mis-informed, if at an earlier period -he was able to brave the ridicule of the place where -he had been once employed and caressed. When -the imputations consequent on his marriage, &c. had -rendered him still less an object of respect, he retired -with his bride, and amused himself at a distance from -<i>London</i> with additions to his house, and improvements -in his garden; nor did he appear in public -again till what was known and suspected of him had -ceased to be the object of general enquiry and animadversion.</p> - -<p>It is difficult for a profligate man of an amorous -constitution to grow old with decency. <i>J. N.'s</i> -pamphlet had taxed <i>St. André</i> with lasciviousness -unbecoming his years. This is silently admitted by -his apologist, who adds, that the intrigues of his<span class="pagenum"><a name="Page_489" id="Page_489">[Pg 489]</a></span> -hero were "sometimes with the lower part of the -sex." He gives us reason also to suppose that our -antiquated enamorato was a dupe to females in the -very last stage of a life so unusually protracted. Is -<i>St. André's</i> memory much honoured by such revelations? -Do not circumstances like these increase that -stock of "injurious insinuations" which our apologist -professes to diminish?</p> - -<p>Our panegyrist, more than once in the course of -his letter, has expressed himself in favourable terms -of <i>St. André's</i> colloquial talents. Now, as the memory -of my entertaining opponent in respect to circumstances -is remarkably tenacious, 'tis pity he has -preserved no splendid ebullition of his hero's wit, no -sample of that satire and irony that seasoned his conversation, -or of that wisdom which so often rendered -it instructive. I flatter myself, that if any specimens -of these distinct excellencies could have been recollected, -they would certainly have been arranged and -recorded.</p> - -<p>That <i>St. André</i> expired without signs of terror, is -but a doubtful proof of his innocence. Being, at -best, a free-thinker, he might regard death as annihilation, -might have been insensible to its immediate -approaches, or have encountered it with a constitutional -firmness that was rather the gift of nature than -the result of conscience undisturbed. He who is -become indifferent to the value of reputation, will -not easily be inclined to suppose that a want of the -virtues on which it is founded will be punished in -a future state.</p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_490" id="Page_490">[Pg 490]</a></span></p> - -<p>The whole narrative, published by <i>St. André</i> in -1723, was considered by his contemporaries as an -ostentatious falsehood, invented only to render him -an object of attention and commiseration. It should -be remembered, that his depositions were all delivered -on oath; and yet, being replete with facts totally -improbable (for his apologist allows "they -partake of the marvellous"), obtained no credit -from the world; a sufficient proof of the estimation -in which his moral character was held by the people -who were best acquainted with it, though at that -period (for the rabbit affair had not yet decided on -his reputation) he possessed sufficient interest as -court-surgeon to engage the privy-council in his -cause. They readily enough consented to offer a -sum which they might have been sure would never -be demanded. All the poison he was ever supposed -to have suffered from, was such as is commonly administered -in a more tempting vehicle than a glass of -strong liquor:</p> - -<blockquote><p> -"'Twas that which taints the sweetest joys,<br /> -And in the shape of Love destroys."<br /> -</p></blockquote> - -<p>The bare mention of <i>Socrates</i> in company with such -a pretended victim as <i>St. André</i>, cannot fail to make -the reader smile.</p> - -<p>But "He's half absolv'd who has confess'd," continues -his advocate, speaking of the recantation <i>St. André</i><span class="pagenum"><a name="Page_491" id="Page_491">[Pg 491]</a></span> -made by public advertisement. Yet, what -did he confess? Why, what all the world concurred -to believe, that he had been grossly imposed on; or -perhaps that, out of two evils choosing the least, he -allowed himself to be a fool, that he might escape -the imputation of having proved a knave. His absolution -therefore was not obtained on the most creditable -terms. He adds, however, on this emergency, -a fresh proof of his disposition to deceive. -"I think myself obliged (says he) <i>in strict regard -to truth</i>, to acquaint the public that I intend, <i>in a -short time</i>, to publish a full account of the discovery, -with some considerations on the extraordinary -circumstances of this case, which misled me -in my apprehensions thereof; and which, as I hope -they will, in some measure, excuse the mistakes -made by myself and others who have visited the -woman concerned therein, will also be acceptable -to the world, in separating the innocent from those -who have been guilty actors in the fraud." This -work was never published, though <i>St. André</i> survived -his promise by the long term of fifty years. So -much for the faith thus solemnly pledged by an impostor -to the public.</p> - -<p>After the accident had befallen Mr. <i>Pope</i>, on his -return from <i>Dawley</i> in Lord <i>Bolingbroke's</i> coach, -<i>St. André</i> was called in, because he happened to be -the surgeon nearest at hand. No man chooses to be -scrupulous in the moment of danger. It might be -urged that our hero had little to boast on the occasion,<span class="pagenum"><a name="Page_492" id="Page_492">[Pg 492]</a></span> -because his patient never recovered the use -of his wounded fingers. But this calamity is not -strictly chargeable on <i>St. André's</i> want of skill; for -I have been assured, that though he stopped the effusion -of blood, the completion of the cure was entrusted -solely to another artist. The RABBITEER, -having received his fee, was not admitted a second -time into the Poet's company.</p> - -<p>To conclude, I differ as much with our ingenious -apologist at the close of his Epistle as throughout -the foregoing parts of it, being of opinion that his -hero no more deserves to be <i>admired</i> than to be <i>copied</i>. -There is always hazard lest <i>wonder</i> should -generate <i>imitation</i>; and the world would not be much -obliged to any circumstance that produced a second -being fabricated on the model of <i>St. André</i>.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_325" id="Footnote_1_325"></a><a href="#FNanchor_1_325"><span class="label">[1]</span></a> See also <i>Dryden's Limberham, or the Kind Keeper</i>. Act III.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_326" id="Footnote_2_326"></a><a href="#FNanchor_2_326"><span class="label">[2]</span></a> The words of <i>Pope</i> are "the poisoning <i>dame</i>." See Epilogue -to his Satires, Dial. II. v. 22.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_327" id="Footnote_3_327"></a><a href="#FNanchor_3_327"><span class="label">[3]</span></a> Whilst the above page was preparing for the second edition -of this work, the following particulars of this gentleman's -family appeared in the public prints: "Mr. <i>Molyneux</i>, who -was equally the friend of liberty and literature, was founder -of a society in <i>Ireland</i>, in imitation of the Royal (as was his -nephew, the Rev. Dr. <i>Madden</i>, of the <i>Dublin</i> Society). His -genius was celebrated by <i>Locke</i>, and other sages of those days; -and his patriotism was rewarded with the successive representation -of the City and University of <i>Dublin</i>, with other posts -of great trust, from the Revolution to his death. He married -the daughter of Sir <i>William Domville</i>, attorney-general of <i>Ireland</i> -in the reign of <i>Charles</i> the Second, and niece of Sir <i>Thomas -Leake</i>, of <i>Cannons</i> in <i>Middlesex</i>, by whom he had an only son, -<i>Samuel Molyneux</i>, Esq; secretary to his late Majesty when Prince -of <i>Wales</i>, a lord of the Admiralty, and member of parliament -both in <i>Great-Britain</i> and <i>Ireland</i>, who resembled his illustrious -father in his pursuits of philosophical knowledge, which he -many years, until engaged in political business, prosecuted -with great application at his seat at <i>Kew</i>, now his Majesty's, -and presented a telescope of his own construction to the King -of <i>Portugal</i>; his <i>perhaps fatal</i> acquaintance with and patronage -of <i>St. André</i> will make his name long remembered. -Leaving no issue by his wife, who married <i>St. André</i>, and lived -many years, the estate of Mr. <i>Molyneux</i> fell at her death to -his cousin-german and her god-son, the right honourable Sir -<i>Capel Molyneux</i>, member at present of the <i>Irish</i> parliament, -and a privy-counsellor, only surviving son of Mr. <i>Molyneux</i> -father's next brother, Sir <i>Thomas Molyneux</i>, bart. whom, -through regard for his nephew, his late Majesty created the -first <i>Irish</i> baronet upon his accession to the throne."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_328" id="Footnote_4_328"></a><a href="#FNanchor_4_328"><span class="label">[4]</span></a> The following story was told by <i>St. André</i> to an eminent -bookseller, from whom I received it: -</p> -<p> -"Once when I was in <i>Paris</i>," says our hero, "I went to -a sale of Missals, most of them bound in crimson velvet. -Among these, and in the same binding, I discovered a fine impression -of the Duke of <i>Orleans's</i> celebrated publication of <i>Les -Amours Pastorales de Daphnis et de Chloe</i>, &c. which I purchased -for a mere trifle. On taking off the velvet, I found the cover -underneath was ornamented with as many jewels as I sold afterwards -for five hundred pounds."——Who can believe a -circumstance so utterly improbable?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_329" id="Footnote_5_329"></a><a href="#FNanchor_5_329"><span class="label">[5]</span></a> I am assured, on unquestionable authority, that Mr. <i>St. -André</i> had a valuable library in the classes of Natural History -and Medicine. A catalogue of it, drawn up by Mr. -<i>B. White</i>, is now in the possession of Mr. <i>St. André's</i> executor, -by whom it is reserved for the benefit of minors.</p></div> - - - - -<hr class="chap" /> -<h3><a name="N_II_See_p_137" id="N_II_See_p_137">N° II.</a></h3> -<h4>[See p. <a href="#Page_137">137</a>.]</h4> - - -<p>The kindness of a friend has enabled me to lay -before the reader some extracts from the scarce -pamphlet mentioned in p. 137. The following -is the exact title of it: "A Letter from a Parishioner -of <i>St. Clement Danes</i>, to the Right -Reverend Father in God <i>Edmund</i>, Lord Bishop -of <i>London</i>, occasioned by his Lordship's causing -the Picture over the Altar to be taken down.<span class="pagenum"><a name="Page_493" id="Page_493">[Pg 493]</a></span> -With some Observations on the Use and Abuse -of Church Paintings in General, and of that -Picture in particular.</p> - -<p>"<i>Exodus</i>, Chap. xxxii. Ver. 20. And he took -the Calf which they had made, and burnt it in -the Fire, and ground it to powder, and strawed it -upon the Water, and made the Children of <i>Israel</i> -drink of it.</p> - -<p>"<i>London</i>, printed and sold by <i>J. Roberts</i>, in <i>Warwick-Lane; -A. Dod</i>, without <i>Temple-Bar-</i>, and <i>E. -Nut</i>, at the <i>Royal-Exchange</i>. 1725. Price 6<i>d.</i>"</p> - -<p>After some introductory compliments to Bishop -<i>Gibson</i>, the Letter-writer thus proceeds: "Of all -the abuses your Lordship has redressed, none more -timely, none more acceptable to all true Protestants, -than your last injunction to remove that ridiculous, -superstitious piece of Popish foppery -from over our communion-table; this has gained -you the applause and good will of all honest men, -who were scandalized to see that holy place defiled -with so vile and impertinent a representation.</p> - -<p>"To what end or purpose was it put there, but -to affront our most gracious Sovereign, by placing -at our very altar the known resemblance of a -person, who is the wife of his utter enemy, and -pensioner to the Whore of <i>Babylon</i>?</p> - -<p>"When I say the known resemblance, I speak -not only according to my own knowledge; but -appeal to all mankind who have seen the Princess -<i>Sobieski</i>, or any picture or resemblance of her,<span class="pagenum"><a name="Page_494" id="Page_494">[Pg 494]</a></span> -if the picture of that angel in the white garment -and blue mantle, which is there supposed to -be beating time to the musick, is not directly a -great likeness of that princess. This I insist on, -and will stand and fall by my assertion, provided -they do not play any tricks with the picture, or -alter it for contradiction sake now it is down.</p> - -<p>"Whether it was done by chance, or on purpose, -I shall not determine; but be it which it will, it -has given great offence, and your Lordship has -acted the part of a wise and good prelate to order -its removal.</p> - -<p>"For surely, such a picture is far unfit for so sacred -a place; a place too solemn for such levities, -too awful to be made the receptacle of such trumpery: -nay, admit it were not the resemblance of -such a person, can any thing be more absurd, than -such a picture in such a place!</p> - -<p>"But if it be the picture of that person, what can -be more sacrilegious, more impudently sacrilegious, -than to have our sanctuary defiled by those -who make a mock of us and our holy religion? -I mean, our inveterate enemies the Papists, who -would scruple to prophane no place, so they might -show their implacable hatred to our God, and our -King.</p> - -<p>"To our God, by making his holy altar the -scene of their ribaldry, to be approached with -wantonness and curiosity, by the sons of <i>Belial</i>, -who come there to decypher the dumb libel, and<span class="pagenum"><a name="Page_495" id="Page_495">[Pg 495]</a></span> -sneer at the pictured lampoon, which tacitly -mocks the church, and openly affronts the State.</p> - -<p>"To our King, by placing the resemblance of -an avowed enemy to him and his religion, at the -very altar, to stand in view of a whole congregation; -a thing, in my opinion, much more audacious, -than the setting up her statue in the public -streets.</p> - -<p>"No wonder our church has been thronged with -spectators, to the great hindrance of divine worship, -and annoyance of the parishioners, when those -crouds of irreverend persons, which were ever -pouring in, came not there to join in prayer with -the rest of the congregation, but to worship their -Popish saint, and hug themselves with the conceit -of being alone in the secret.</p> - -<p>"But at last the watch-word was blown, and the -true intent of their coming discovered. Then was -it high time to complain to your Lordship, when -disturbances became so frequent, and the peace of -the church was so manifestly broken: that you, -like another <i>Moses</i>, commanded the tinctured abomination -to be taken down, and no doubt but your -Lordship will call them to account who set it up.</p> - -<p>"When your Lordship shall examine, who is the -painter, and of what principle? how long he -had been from the Court of <i>Rome</i>, before he painted -that picture? and whether he brought no picture, -or resemblance, of the Princess <i>Sobieski</i> over -with him? you will not repent of what you have<span class="pagenum"><a name="Page_496" id="Page_496">[Pg 496]</a></span> -done. But when you shall farther enquire after -the person who employed him; whether he be a -Protestant? or, if he call himself so, whether his -children were not sent abroad to Popish seminaries -for education?</p> - -<p>"When your Lordship, I say, shall examine into -these particulars, I doubt not of the inferences -so wise a man will draw from such convincing -circumstances.</p> - -<p>"And as your Lordship has begun to redress one -abuse, I persuade myself you will not stop here, -but enquire likewise, by what authority it was put -there. This may, perhaps, open another scene to -your Lordship's view, and give you an opportunity, -not only to ease the parish of a very heavy -burden it now groans under, but prevent its being -run to unnecessary and unwarranted expences for -the future, by every <i>Jac——-</i> in an office.</p> - -<p>"And, indeed, unless there was a sufficient warrant -for such alterations, the workmen should go to -the right person's door, and he that set them to -work ought to pay them; for, in my humble opinion, -the place needed no alteration: it was decent, -convenient, and indeed ornamental enough before; -there was no more sign, or fear of its falling, than -there was occasion to take it down, and deprive -the parish of a conveniency now very much wanted, -I mean a little vestry-room, which was behind -the old communion table, where the books, vessels, -and vestments of the church, were ready at<span class="pagenum"><a name="Page_497" id="Page_497">[Pg 497]</a></span> -hand, and just at the very altar; whereas now -every thing is brought quite through the body of -the church, which in case of a croud (as of late -has been but too frequent) is both tedious and inconvenient -to the last degree.</p> - -<p>"But, notwithstanding this, it was resolutely taken -down, to gratify the pride and malice of some -persons, who thirsted to eternize their names, and -affront the government. What have been the consequences -of all this, but an eye-sore and heart-burning -to the honest and loyal part of the inhabitants, -and a continual hurly-burly of loiterers -from all parts of the town, to see our Popish raree-show?"</p> - -<p>After a digression on the famous altar at <i>White-Chapel</i>, -in which Dean <i>Kennet</i> was said to be satirized, -and some general observations on pictures -in churches, the Letter-writer adds, "Never before -was any Popish saint put over the communion-table -in a Protestant church. The Last Supper, the -Passion, Crucifixion, or some other incidents of -our Blessed Saviour's life, are the general subjects -given to painters on these occasions; but to have -a concert of musick, &c. (suppose it were not the -Pretender's spouse, and probably some more of his -family, under the form of angels) is the most abrupt -and foreign that I ever saw or heard of.</p> - -<p>"What surprizes me most is, that any of my fellow -parishioners should not only dispute your Lordship's -commands, delay the execution of your just<span class="pagenum"><a name="Page_498" id="Page_498">[Pg 498]</a></span> -injunction, when it was most reasonable and necessary, -but pester your Lordship with impertinent -petitions and remonstrances, as if they were injured -and oppressed, or your Lordship misinformed. -This must be the reason; or to what purpose -did they trifle with and contest your Lordship's -ordinance? But you are too just a man to give any -sentence but the most impartial, and too steady to -give up any point, where the peace of the Church -and the honour of the King is concerned.</p> - -<p>"Whoever murmurs at its being taken down, -takes the part of those who set it up; and whoever -takes their part, is as bad as themselves, and -would do the like on the like opportunity. What -can they object against its being removed? What -can they offer for having it remain? But why's, -and why not's. As, Why should it be removed? -What hurt did it do? Why should so much -money be thrown away? And, why might not -that picture be there as well as any other? Why -does your Lordship interfere in the matter? This, -with a glance of complaint at your Lordship, and -severe invectives against those who solicited that -interposition, calling them informers, busy, forward, -mischief-making fellows, who had better -mind their own business, and such like ribaldry, -is all they can say for themselves. But these are -the worst reasons in the world, and invidious queries -only to evade an argument, and are not to be -admitted in a debate of this nature, where a direct<span class="pagenum"><a name="Page_499" id="Page_499">[Pg 499]</a></span> -reason for, or against, is required. But give me -leave, my Lord, and I will, in a few words, answer -all their queries, which seem so weighty and formidable -to the vulgar and ignorant.</p> - -<p>"Why should it be removed? may be answered -by another question, What business had it there? -But as I scorn such quibbling ways of reasoning, -I shall answer them, because it is unfit for that -sacred place. If it is the Princess <i>Sobieski's</i> image, -it is sacrilegious and traiterous, and therefore ought -to be removed. If it is, as they say, a choir of -heavenly angels at a practice of musick, playing -on earthly instruments, it is impertinent and absurd -to the last degree, and therefore ought to be removed -from a place where the utmost decorum -should be kept.</p> - -<p>"What hurt does it, say they? To which I answer, -it hurted or disturbed the peace of the -church, and was so far hurtful, as we were hindered -or annoyed in our devotions; it made a division -in the parish, and was so far hurtful, as it -tended to the breach of peace and good neighbourhood; -and therefore I think it ought to be -removed, since, not to answer them with a question, -but a common saying, it did hurt enough.</p> - -<p>"Why should so much money be thrown away? -Ay, there's the grievance; but I shall tell them, -they may thank themselves, it was the act and -deed of their own cabal; and though they might -triumph and laugh in their sleeves for a while,<span class="pagenum"><a name="Page_500" id="Page_500">[Pg 500]</a></span> -yet murder will out, and they might expect to be -paid in their own coin one time or other. There -was no occasion to remove the old communion-table -and vestry; and therefore all the money is -thrown away; the worse their management. Nor -was there any necessity of so sumptuous an altar-piece, -or of that picture in particular, therefore -so much money as that picture cost, which, by the -bye, is no trifling sum<a name="FNanchor_1_330" id="FNanchor_1_330"></a><a href="#Footnote_1_330" class="fnanchor">[1]</a> (the painter, as well as -his masters, being no small fool), is entirely thrown -away, and has been cast into <i>The Thames</i>; or, as -the vulgar have it, thrown down the kennel.</p> - -<p>"It was set up against the will of the major part -of the parish, and not without much murmur and -complaint; there was yet a much greater majority -for pulling it down; if therefore so much money -is thrown away, it is pity the parish should pay it; -and, no doubt, when your Lordship comes to enquire -by what authority a set of men ran the parish -so much in debt for their own whims, and -without any manner of occasion, you will do us -justice, and teach such persons for the future to -consult the bishop, and have the general consent -of the parish, before they run into such extravagancies.</p> - -<p>"The tradesmen want their money, and the parish -cannot pay them: your Lordship therefore will do -very well to adjust this matter, that they may know -where to go for their money.</p> - -<p><span class="pagenum"><a name="Page_501" id="Page_501">[Pg 501]</a></span></p> - -<p>"Their delaying to take down their idol, was a -tacit disputing your lordship's commands, irreligious -and contumacious to the last degree: and indeed -I cannot say but some of the public prints<a name="FNanchor_2_331" id="FNanchor_2_331"></a><a href="#Footnote_2_331" class="fnanchor">[2]</a> -gave me great anxiety, when they had the impudence -to assure the world it was not to be taken -down: but that anxiety was of short continuance; -for I had the satisfaction the next morning to find -it removed, and whole crowds of idle persons who -came to see it disappointed; then I found, to my -great comfort, that you were not to be biassed; -but, as you had begun the good work, you had -gone through with it, and made them take it -down with a witness."</p> - -<div class="footnote"> - -<p><a name="Footnote_1_330" id="Footnote_1_330"></a><a href="#FNanchor_1_330"><span class="label">[1]</span></a> It cost fourscore pounds.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_331" id="Footnote_2_331"></a><a href="#FNanchor_2_331"><span class="label">[2]</span></a> <i>The Post-Boy</i> and <i>Daily Journal</i> of <i>Saturday, September</i> 4.</p></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_502" id="Page_502">[Pg 502]</a></span></p> - -<h3><a name="N_III_See_p_414" id="N_III_See_p_414">N° III.</a></h3> -<h4>[See p. <a href="#Page_414">414</a>.]</h4> - - -<p>An Account of what seemed most remarkable in the -Five Days' Peregrination of the Five following Persons, -viz. Messieurs <span class="smcap">Tothall, Scott, Hogarth, -Thornhill</span>, and <span class="smcap">Forrest</span>; begun on <i>Saturday, -May</i> 27, 1732, and finished on the 31st of the -same Month. Imitated in <i>Hudibrasticks</i> by one -well acquainted with some of the Travellers, and -of the Places here celebrated, with Liberty of -some Additions.</p> - -<blockquote><p> -<span style="margin-left: 2em;">"Abi tu, et fac similiter."</span><br /> -<span style="margin-left: 6em;">Inscription on <i>Dulwich</i> College Porch.</span><br /> -<br /> -'Twas first of morn on <i>Saturday</i>,<br /> -The seven-and-twentieth day of <i>May</i>,<br /> -When <i>Hogarth, Thornhill, Tothall, Scott,</i><br /> -And <i>Forrest</i>, who this journal wrote,<br /> -From <i>Covent-Garden</i> took departure, <span class="linenum">5</span><br /> -To see the world by land and water.<br /> -<br /> -Our march we with a song begin;<br /> -Our hearts were light, our breeches thin.<br /> -We meet with nothing of adventure<br /> -Till <i>Billingsgate's Dark-house</i> we enter; <span class="linenum">10</span><br /> -Where we diverted were, while baiting,<br /> -With ribaldry, not worth relating,<br /> -(Quite suited to the dirty place):<br /> -But what most pleas'd us was his Grace<br /> -Of <i>Puddle Dock</i>, a porter grim, <span class="linenum">15</span><br /> -Whose portrait <i>Hogarth</i>, in a whim,<br /> -Presented him in caricature,<br /> -He pasted on the cellar-door.<a name="FNanchor_1_332" id="FNanchor_1_332"></a><a href="#Footnote_1_332" class="fnanchor">[1]</a><br /> -<span class="pagenum"><a name="Page_503" id="Page_503">[Pg 503]</a></span><br /> -But hark! the Watchman cries "Past one!"<br /> -'Tis time that we on board were gone. <span class="linenum">20</span><br /> -Clean straw we find laid for our bed,<br /> -A tilt for shelter over head.<br /> -The boat is soon got under sail,<br /> -Wind near S. E. a mackrel gale,<br /> -Attended by a heavy rain; <span class="linenum">25</span><br /> -We try to sleep, but try in vain,<br /> -So sing a song, and then begin<br /> -To feast on biscuit, beef, and gin.<br /> -<br /> -At <i>Purfleet</i> find three men of war,<br /> -The <i>Dursley</i> galley, <i>Gibraltar</i>, <span class="linenum">30</span><br /> -And <i>Tartar</i> pink, and of this last<br /> -The pilot begg'd of us a cast<br /> -To <i>Gravesend</i>, which he greatly wanted,<br /> -And readily by us was granted.<br /> -The grateful man, to make amends, <span class="linenum">35</span><br /> -Told how the officers and friends<br /> -Of <i>England</i> were by <i>Spaniards</i> treated,<br /> -And shameful instances repeated.<br /> -<br /> -While he these insults was deploring,<br /> -<i>Hogarth</i>, like Premier, fell to snoring, <span class="linenum">40</span><br /> -But waking cry'd, "I dream'd"—and then<br /> -Fell fast asleep, and snor'd again.<br /> -<br /> -The morn clear'd up, and after five<br /> -At port of <i>Gravesend</i> we arrive,<br /> -But found it hard to get on shore; <span class="linenum">45</span><br /> -His boat a young son of a whore<br /> -Had fix'd just at our landing-place,<br /> -And swore we should not o'er it pass;<br /> -But, spite of all the rascal's tricks,<br /> -We made a shift to land by six, <span class="linenum">50</span><br /> -And up to Mrs. <i>Bramble's</i> go<br /> -[A house that we shall better know],<br /> -There get a barber for our wigs,<br /> -Wash hands and faces, stretch our legs,<br /> -Had toast and butter, and a pot <span class="linenum">55</span><br /> -Of coffee (our third breakfast) got:<br /> -Then, paying what we had to pay,<br /> -For <i>Rochester</i> we took our way,<br /> -Viewing the new church as we went,<br /> -And th' unknown person's monument. <span class="linenum">60</span><br /> -<span class="pagenum"><a name="Page_504" id="Page_504">[Pg 504]</a></span><br /> -The beauteous prospects found us talk.<br /> -And shorten'd much our two hours walk,<br /> -Though by the way we did not fail<br /> -To stop and take three pots of ale,<br /> -And this enabled us by ten <span class="linenum">65</span><br /> -At <i>Rochester</i> to drink again.<br /> -<br /> -Now, Muse, assist, while I declare<br /> -(Like a true <i>English</i> traveller)<br /> -What vast variety we survey<br /> -In the short compass of one day. <span class="linenum">70</span><br /> -<br /> -We scarce had lost the sight of <i>Thames</i>,<br /> -When the fair <i>Medway's</i> winding streams,<br /> -And far-extending <i>Rochester</i>,<br /> -Before our longing eyes appear:<br /> -The Castle and Cathedral grace <span class="linenum">75</span><br /> -One prospect, so we mend our pace;<br /> -Impatient for a nearer view,<br /> -But first must <i>Strood's</i> rough street trudge through,<br /> -And this our feet no short one find;<br /> -However, with a cheerful mind, <span class="linenum">80</span><br /> -All difficulties we get o'er,<br /> -And soon are on the <i>Medway's</i> shore.<br /> -New objects here before us rise,<br /> -And more than satisfy our eyes,<br /> -The stately Bridge from side to side, <span class="linenum">85</span><br /> -The roaring cataracts of the tide,<br /> -Deafen our ears, and charm our sight,<br /> -And terrify while they delight.<br /> -These we pass over to the Town,<br /> -And take our Quarters at <i>The Crown</i>, <span class="linenum">90</span><br /> -To which the Castle is so near,<br /> -That we all in a hurry were<br /> -The grand remains on't to be viewing;<br /> -It is indeed a noble ruin,<br /> -Must have been very strong, but length <span class="linenum">95</span><br /> -Of time has much impair'd its strength:<br /> -The lofty Tower as high or higher<br /> -Seems than the old Cathedral's spire;<br /> -Yet we determin'd were to gain<br /> -Its top, which cost some care and pain; <span class="linenum">100</span><br /> -When there arriv'd, we found a well,<br /> -The depth of which I cannot tell;<br /> -<span class="pagenum"><a name="Page_505" id="Page_505">[Pg 505]</a></span>Small holes cut in on every side<br /> -Some hold for hands and feet provide,<br /> -By which a little boy we saw <span class="linenum">105</span><br /> -Go down, and bring up a jack-daw.<br /> -<br /> -All round about us then we gaze,<br /> -Observing, not without amaze,<br /> -How towns here undistinguish'd join,<br /> -And one vast One to form combine. <span class="linenum">110</span><br /> -<i>Chatham</i> with <i>Rochester</i> seems but one,<br /> -Unless we're shewn the boundary-stone.<br /> -That and its Yards contiguous lie<br /> -To pleasant <i>Brompton</i> standing high;<br /> -The Bridge across the raging flood <span class="linenum">115</span><br /> -Which <i>Rochester</i> divides from <i>Strood</i>,<br /> -Extensive <i>Strood</i>, on t'other side,<br /> -To <i>Frindsbury</i> quite close ally'd:<br /> -The country round, and river fair,<br /> -Our prospects made beyond compare, <span class="linenum">120</span><br /> -Which quite in raptures we admire;<br /> -Then down to face of earth retire.<br /> -<br /> -Up the Street walking, first of all<br /> -We take a view of the Town-Hall.<br /> -Proceeding farther on, we spy <span class="linenum">125</span><br /> -A house, design'd to catch the eye,<br /> -With front so rich, by plastick skill,<br /> -As made us for a while stand still:<br /> -Four huge Hobgoblins grace the wall,<br /> -Which we four Bas Relievo's call; <span class="linenum">130</span><br /> -They the four Seasons represent,<br /> -At least were form'd for that intent.<br /> -<br /> -Then <i>Watts's Hospital</i> we see<br /> -(No common curiosity):<br /> -Endow'd (as on the front appears) <span class="linenum">135</span><br /> -In favour of poor travellers;<br /> -Six such it every night receives,<br /> -Supper and lodging <i>gratis</i> gives,<br /> -And to each man next morn does pay<br /> -A groat, to keep him on his way: <span class="linenum">140</span><br /> -But the contagiously infected,<br /> -And rogues and proctors, are rejected.<br /> -<br /> -It gave us too some entertainment<br /> -To find out what this bounteous man meant.<br /> -<span class="pagenum"><a name="Page_506" id="Page_506">[Pg 506]</a></span>Yet were we not so highly feasted, <span class="linenum">145</span><br /> -But that we back to dinner hasted.<br /> -<br /> -By twelve again we reach <i>The Crown</i>,<br /> -But find our meat not yet laid down,<br /> -So (spite of "Gentlemen, d'ye call?")<br /> -On chairs quite fast asleep we fall, <span class="linenum">150</span><br /> -And with clos'd eyes again survey,<br /> -In dreams, what we have seen to-day:<br /> -Till dinner's coming up, when we<br /> -As ready are as that can be.<br /> -<br /> -If we describe it not, we're undone, <span class="linenum">155</span><br /> -You'll scarce believe we came from <i>London</i>.<br /> -With due attention then prepare<br /> -Yourself to hear our bill of fare.<br /> -For our first course a dish there was<br /> -Of soles and flounders with crab-sauce, <span class="linenum">160</span><br /> -A stuff'd and roast calf's-heart beside,<br /> -With 'purt'nance minc'd, and liver fry'd;<br /> -And for a second course, they put on<br /> -Green pease and roasted leg of mutton:<br /> -The cook was much commended for't; <span class="linenum">165</span><br /> -Fresh was the beer, and sound the port:<br /> -So that <i>nem. con.</i> we all agree<br /> -(Whatever more we have to see)<br /> -From table we'll not rise till three.<br /> -<br /> -Our shoes are clean'd, 'tis three o'clock, <span class="linenum">170</span><br /> -Come let's away to <i>Chatham-Dock</i>;<br /> -We shan't get there till almost four,<br /> -To see't will take at least an hour;<br /> -Yet <i>Scott</i> and <i>Hogarth</i> needs must stop<br /> -At the Court-Hall to play <i>Scotch</i> hop. <span class="linenum">175</span><br /> -<br /> -To <i>Chatham</i> got, ourselves we treat<br /> -With Shrimps, which as we walk we eat.<br /> -For speed we take a round-a-bout-<br /> -way, as we afterwards found out:<br /> -At length reach the King's yards and docks, <span class="linenum">180</span><br /> -Admire the ships there on the stocks,<br /> -The men of war afloat we view,<br /> -Find means to get aboard of two;<a name="FNanchor_2_333" id="FNanchor_2_333"></a><a href="#Footnote_2_333" class="fnanchor">[2]</a><br /> -But here I must not be prolix,<br /> -For we went home again at six, <span class="linenum">185</span><br /> -<span class="pagenum"><a name="Page_507" id="Page_507">[Pg 507]</a></span>There smoak'd our pipes, and drank our wine,<br /> -And comfortably sat till nine,<br /> -Then, with our travels much improv'd,<br /> -To our respective beds we mov'd.<br /> -<br /> -<i>Sunday</i> at seven we rub our eyes, <span class="linenum">190</span><br /> -But are too lazy yet to rise:<br /> -<i>Hogarth</i> and <i>Thornhill</i> tell their dreams,<br /> -And, reasoning deeply on those themes,<br /> -After much learned speculation,<br /> -Quite suitable to the occasion, <span class="linenum">195</span><br /> -Left off as wise as they begun,<br /> -Which made for us in bed good fun.<br /> -<br /> -But by and by, when up we got,<br /> -<i>Sam Scott</i> was missing, "Where's <i>Sam Scott</i>?"<br /> -"Oh! here he comes. Well! whence come you?" <span class="linenum">200</span><br /> -"Why from the bridge, taking a view<a name="FNanchor_3_334" id="FNanchor_3_334"></a><a href="#Footnote_3_334" class="fnanchor">[3]</a><br /> -Of something that did highly please me,<br /> -But people passing by would teaze me<br /> -With 'Do you work on <i>Sundays</i>, friend?'<br /> -So that I could not make an end." <span class="linenum">205</span><br /> -<br /> -At this we laugh'd, for 'twas our will<br /> -Like men of taste that day to kill.<br /> -So after breakfast we thought good<br /> -To cross the bridge again to <i>Strood</i>:<br /> -Thence eastward we resolve to go, <span class="linenum">210</span><br /> -And through the Hundred march of <i>Hoo</i>,<br /> -Wash'd on the north side by the <i>Thames</i>,<br /> -And on the south by <i>Medway's</i> streams.<br /> -Which to each other here incline,<br /> -Till at <i>The Nore</i> in one they join. <span class="linenum">215</span><br /> -<br /> -Before we <i>Frindsbury</i> could gain,<br /> -There fell a heavy shower of rain,<br /> -When crafty <i>Scott</i> a shelter found<br /> -Under a hedge upon the ground,<br /> -There of his friends a joke he made, <span class="linenum">220</span><br /> -But rose most woefully bewray'd;<br /> -How against him the laugh was turn'd,<br /> -And he the vile disaster mourn'd!<br /> -We work, all hands, to make him clean,<br /> -And fitter to be smelt and seen. <span class="linenum">225</span><br /> -<span class="pagenum"><a name="Page_508" id="Page_508">[Pg 508]</a></span>But, while we scrap'd his back and side,<br /> -All on a sudden, out he cried,<br /> -"I've lost my cambrick handkercher,<br /> -'Twas lent me by my wife so dear:<br /> -What I shall do I can't devise, <span class="linenum">230</span><br /> -I've nothing left to wipe my eyes."<br /> -<br /> -At last the handkerchief was found,<br /> -To his great comfort, safe and sound,<br /> -He's now recover'd and alive;<br /> -So in high spirits all arrive <span class="linenum">235</span><br /> -At <i>Frindsbury</i>, fam'd for prospects fair,<br /> -But we much more diverted were<br /> -With what the parish church did grace,<br /> -"A list of some who lov'd the place,<br /> -In memory of their good actions, <span class="linenum">240</span><br /> -And gratitude for their benefactions.<br /> -Witness our hands—<i>Will. Gibbons</i>, Vicar—"<br /> -And no one else.—This made us snicker:<br /> -At length, with countenances serious,<br /> -We all agreed it was mysterious, <span class="linenum">245</span><br /> -Not guessing that the reason might<br /> -Be, the Churchwardens could not write.<br /> -<br /> -At ten, in council it was mov'd,<br /> -Whoe'er was tir'd, or disapprov'd<br /> -Of our proceedings, might go back, <span class="linenum">250</span><br /> -And cash to bear his charges take.<br /> -With indignation this was heard:<br /> -Each was for all events prepar'd.<br /> -So all with one consent agreed<br /> -To <i>Upnor-Castle</i> to proceed, <span class="linenum">255</span><br /> -And at the sutler's there we din'd<br /> -On such coarse fare as we could find.<br /> -<br /> -The Castle<a name="FNanchor_4_335" id="FNanchor_4_335"></a><a href="#Footnote_4_335" class="fnanchor">[4]</a> was not large, but strong,<br /> -And seems to be of standing long.<br /> -Twenty-four men its garrison, <span class="linenum">260</span><br /> -And just for every man a gun;<br /> -Eight guns were mounted, eight men active,<br /> -The rest were rated non-effective.<br /> -Here an old couple, who had brought<br /> -Some cockles in their boat, besought <span class="linenum">265</span><br /> -<span class="pagenum"><a name="Page_509" id="Page_509">[Pg 509]</a></span>That one of us would buy a few,<br /> -For they were very fresh and new.<br /> -I did so, and 'twas charity;<br /> -He was quite blind, and half blind she.<br /> -<br /> -Now growing frolicksome and gay, <span class="linenum">270</span><br /> -Like boys, we, after dinner, play,<br /> -But, as the scene lay in a fort,<br /> -Something like war must be our sport:<br /> -Sticks, stones, and hogs-dung, were our weapons,<br /> -And, as in such frays oft it happens, <span class="linenum">275</span><br /> -Poor <i>Tothall's</i> cloaths here went to pot,<br /> -So that he could not laugh at <i>Scott</i>.<br /> -<br /> -From hence all conquerors we go<br /> -To visit the church-yard at <i>Hoo</i>.<br /> -At <i>Hoo</i> we found an Epitaph, <span class="linenum">280</span><br /> -Which made us (as 'twill make you) laugh:<br /> -A servant maid, turn'd poetaster,<br /> -Wrote it in honour of her master;<br /> -I therefore give you (and I hope you<br /> -Will like it well) a <i>Vera Copia</i>: <span class="linenum">285</span><br /> -<span style="margin-left: 1em;">"And.wHen.he.Died.You plainly.see</span><br /> -<span style="margin-left: 1em;">Hee.freely.gave.al.to.Sara.passaWee.</span><br /> -<span style="margin-left: 1em;">And.in.Doing.so.it DoTh.prevail.</span><br /> -<span style="margin-left: 1em;">that.Ion.him.can.well.bes.Tow.this Rayel.</span><br /> -<span style="margin-left: 1em;">On.Year.sarved.him.it is well.none. <span class="linenum">290</span></span><br /> -<span style="margin-left: 1em;">BuT Thanks.beto.God.it.is.all my.One."</span><br /> -<br /> -While here among the Graves we stumble,<br /> -Our <i>Hogarth's</i> guts began to grumble,<br /> -Which he to ease, turn'd up his tail<br /> -Over a monumental rail; <span class="linenum">295</span><br /> -<i>Tothall</i>, for this indecent action,<br /> -Bellowing on him just correction<br /> -With nettles, as there was no birch,<br /> -He fled for refuge to the church,<br /> -And shamefully the door besh-t; <span class="linenum">300</span><br /> -O filthy dauber! filthy wit!<br /> -<br /> -Long at one place we must not stay,<br /> -'Tis almost four, let's haste away.<br /> -But here's a sign; 'tis rash we think,<br /> -To leave the place before we drink. <span class="linenum">305</span><br /> -We meet with liquor to our mind,<br /> -Our hostess complaisant and kind:<br /> -<span class="pagenum"><a name="Page_510" id="Page_510">[Pg 510]</a></span>She was a widow, who, we found,<br /> -Had (as the phrase is) been shod round,<br /> -That is, had buried husbands four, <span class="linenum">310</span><br /> -And had no want of charms for more;<br /> -Yet her we leave, and, as we go,<br /> -<i>Scott</i> bravely undertook to show<br /> -That through the world we could not pass,<br /> -How thin soe'er our breeches was; <span class="linenum">315</span><br /> -"'Tis true, indeed, we may go round,<br /> -But through"—then pointed to the ground.<br /> -So well he manag'd the debate,<br /> -We own'd he was a man of weight:<br /> -And so indeed he was this once, <span class="linenum">320</span><br /> -His pockets we had fill'd with stones:<br /> -But here we'd serv'd ourselves a trick,<br /> -Of which he might have made us sick:<br /> -We'd furnish'd him with ammunition<br /> -Fit to knock down all opposition; <span class="linenum">325</span><br /> -And, knowing well his warmth of temper,<br /> -Out of his reach began to scamper,<br /> -Till, growing cooler, he pretends<br /> -His passion feign'd, so all are friends.<br /> -Our danger now becomes a joke, <span class="linenum">330</span><br /> -And peaceably we go to <i>Stoke</i>.<br /> -About the church we nothing can see<br /> -To strike or entertain our fancy:<br /> -But near a farm, on an elm tree,<br /> -A long pole fix'd upright we see, <span class="linenum">335</span><br /> -And tow'rd the top of it was plac'd<br /> -A weathercock, quite in high taste,<br /> -Which all of us, ere we go further,<br /> -Pronounce of the Composite order.<br /> -<br /> -First, on a board turn'd by the wind, <span class="linenum">340</span><br /> -A painter had a cock design'd,<br /> -A common weather-cock was above it,<br /> -This turn'd too as the wind did move it;<br /> -Then on the spindle's point so small<br /> -A shuttlecock stuck o'ertopp'd them all. <span class="linenum">345</span><br /> -<br /> -This triple alliance gave occasion<br /> -To much improving speculation.<br /> -<br /> -Alas! we ne'er know when we are well,<br /> -So at <i>Northfleet</i> again must quarrel;<br /> -<span class="pagenum"><a name="Page_511" id="Page_511">[Pg 511]</a></span>But fought not here with sticks and stones <span class="linenum">350</span><br /> -(For those, you know, might break our bones)!<br /> -A well just by, full to the brim,<br /> -Did fitter for our purpose seem;<br /> -So furiously we went to dashing,<br /> -Till our coats wanted no more washing; <span class="linenum">355</span><br /> -But this our heat and courage cooling,<br /> -'Twas soon high time to leave such fooling.<br /> -To <i>The Nag's Head</i> we therefore hie,<br /> -To drink, and to be turn'd adry.<br /> -<br /> -At six, while supper was preparing, <span class="linenum">360</span><br /> -And we about the marsh-lands staring,<br /> -Our two game-cocks, <i>Tothall</i> and <i>Scott</i>,<br /> -To battling once again were got:<br /> -But here no weapons could they find,<br /> -Save what the cows dropp'd from behind; <span class="linenum">365</span><br /> -With these they pelted, till we fancy<br /> -Their cloaths look'd something like a tansy.<br /> -<br /> -At seven we all come home again,<br /> -<i>Tothall</i> and <i>Scott</i> their garments clean;<br /> -Supper we get, and, when that's o'er, <span class="linenum">370</span><br /> -A tiff of punch drink at the door;<br /> -Then, as the beds were only three,<br /> -Draw cuts who shall so lucky be<br /> -As here to sleep without a chum;<br /> -To <i>Tothall's</i> share the prize did come <span class="linenum">375</span><br /> -<i>Hogarth</i> and <i>Thornhill, Scott</i> and I,<br /> -In pairs, like man and wife, must lie.<br /> -Then mighty frolicksome they grow,<br /> -At <i>Scott</i> and me the stocking throw,<br /> -Fight with their wigs, in which perhaps <span class="linenum">380</span><br /> -They sleep, for here we found no caps.<br /> -<br /> -Up at eleven again we get,<br /> -Our sheets were so confounded wet;<br /> -We dress, and lie down in our cloaths;<br /> -<i>Monday</i>, at three, awak'd and rose, <span class="linenum">385</span><br /> -And of the cursed gnats complain,<br /> -Yet make a shift to sleep again.<br /> -<br /> -Till six o'clock we quiet lay,<br /> -And then got out for the whole day;<br /> -To fetch a barber, out we send; <span class="linenum">390</span><br /> -Stripp'd, and in boots, he does attend,<br /> -<span class="pagenum"><a name="Page_512" id="Page_512">[Pg 512]</a></span>For he's a fisherman by trade;<br /> -Tann'd was his face, shock was his head;<br /> -He flours our wigs, and trims our faces,<br /> -And the top barber of the place is. <span class="linenum">395</span><br /> -The cloth is for our breakfast spread;<br /> -A bowl of milk and toasted bread<br /> -Are brought, of which while <i>Forrest</i> eats.<br /> -To draw our pictures <i>Hogarth</i> sits;<a name="FNanchor_5_336" id="FNanchor_5_336"></a><a href="#Footnote_5_336" class="fnanchor">[5]</a><br /> -<i>Thornhill</i> is in the barber's hands, <span class="linenum">400</span><br /> -Shaving himself <i>Will Tothall</i> stands;<br /> -While <i>Scott</i> is in a corner sitting,<br /> -And an unfinish'd piece completing.<br /> -<br /> -Our reckoning about eight we pay,<br /> -And take for Isle of <i>Greane</i> our way; <span class="linenum">405</span><br /> -To keep the road we were directed,<br /> -But, as 'twas bad, this rule neglected;<br /> -A tempting path over a stile<br /> -Let us astray above a mile;<br /> -Yet the right road at last we gain, <span class="linenum">410</span><br /> -And joy to find ourselves at <i>Greane</i>;<br /> -Where my Dame <i>Husbands</i>, at <i>The Chequer</i>,<br /> -Refresh'd us with some good malt liquor;<br /> -Into her larder then she runs,<br /> -Brings out salt pork, butter and buns, <span class="linenum">415</span><br /> -And coarse black bread; but that's no matter,<br /> -'Twill fortify us for the water.<br /> -Here <i>Scott</i> so carefully laid down<br /> -His penknife which had cost a crown,<br /> -That all in vain we sought to find it, <span class="linenum">420</span><br /> -And, for his comfort, say, "Ne'er mind it;"<br /> -For to <i>Sheerness</i> we now must go:<br /> -To this the ferryman says, "No."<br /> -We to another man repair'd:<br /> -He too says, "No—it blows too hard." <span class="linenum">425</span><br /> -But, while we study how to get there<br /> -In spite of this tempestuous weather,<br /> -Our landlady a scheme propos'd,<br /> -With which we fortunately clos'd,<br /> -Was to the shore to go, and try <span class="linenum">430</span><br /> -To hail the ships in ordinary,<br /> -<span class="pagenum"><a name="Page_513" id="Page_513">[Pg 513]</a></span>So we might get, for no great matter,<br /> -A boat to take us o'er the water.<br /> -We haste, and soon the shore we tread,<br /> -With various kinds of shells bespread. <span class="linenum">435</span><br /> -And in a little time we spy'd<br /> -A boat approaching on our side;<br /> -The man to take us in agreed,<br /> -But that was difficult indeed,<br /> -Till, holding in each hand an oar, <span class="linenum">440</span><br /> -He made a sort of bridge to shore,<br /> -O'er which on hands and knees we crawl,<a name="FNanchor_6_337" id="FNanchor_6_337"></a><a href="#Footnote_6_337" class="fnanchor">[6]</a><br /> -And so get safe on board the yawl.<br /> -<br /> -In little time we seated were,<br /> -And now to <i>Shepey's</i> coast draw near; <span class="linenum">445</span><br /> -When suddenly, with loud report,<br /> -The cannons roar from ships and fort,<br /> -And, like tall fellows, we impute<br /> -To our approach this grand salute:<br /> -But soon, alas! our pride was humbled, <span class="linenum">450</span><br /> -And from this fancy'd height we tumbled,<br /> -On recollecting that the day<br /> -The nine and twentieth was of <i>May</i>.<br /> -<br /> -The firing had not long been ended.<br /> -Before at <i>Sheerness</i> we were landed, <span class="linenum">455</span><br /> -Where on the battery while we walk,<br /> -And of the charming prospect talk,<br /> -<i>Scott</i> from us in a hurry runs,<br /> -And, getting to the new-fir'd guns,<br /> -Unto their touch-holes clapp'd his nose; <span class="linenum">460</span><br /> -<i>Hogarth</i> sits down, and trims his toes;<br /> -These whims when we had made our sport,<br /> -Our turn we finish round the fort,<br /> -And are at one for <i>Queenborough</i> going:<br /> -Bleak was the walk, the wind fierce blowing, <span class="linenum">465</span><br /> -And driving o'er our heads the spray;<br /> -On loose beach stones, our pebbly way,<br /> -But <i>Thornhill</i> only got a fall,<br /> -Which hurt him little, if at all:<br /> -So merrily along we go, <span class="linenum">470</span><br /> -And reach that famous town by two.<br /> -<span class="pagenum"><a name="Page_514" id="Page_514">[Pg 514]</a></span><br /> -<i>Queenborough</i> consists of one short street,<a name="FNanchor_7_338" id="FNanchor_7_338"></a><a href="#Footnote_7_338" class="fnanchor">[7]</a><br /> -Broad, and well-pav'd, and very neat;<br /> -Nothing like dirt offends the eye,<br /> -Scarce any people could we spy: <span class="linenum">475</span><br /> -The town-house, for the better show,<br /> -Is mounted on a portico<br /> -Of piers and arches, number four,<br /> -And crown'd at top with a clock-tower;<br /> -But all this did not reach so high <span class="linenum">480</span><br /> -As a flag-staff, that stood just by,<br /> -On which a standard huge was flying<br /> -(The borough's arms, the king's supplying),<br /> -Which on high festivals they display<br /> -To do the honours of the day. <span class="linenum">485</span><br /> -As for salutes, excus'd they are,<br /> -Because they have no cannon there.<br /> -<br /> -To the church-yard we first repair,<br /> -And hunt for choice inscriptions there,<br /> -Search stones and rails, till almost weary all, <span class="linenum">490</span><br /> -In hopes to find something material.<br /> -When one at last, of pyebald style<br /> -(Though grave the subject) made us smile:<br /> -Telling us first, in humble prose,<br /> -"That <i>Henry Knight</i> doth here repose, <span class="linenum">495</span><br /> -A <i>Greenland</i> Trader twice twelve year,<br /> -As master and as harpooneer;"<br /> -Then, in as humble verse, we read<br /> -(As by himself in person said)<br /> -"In <i>Greenland</i> I whales, sea-horse, and bears did slay, <span class="linenum">500</span><br /> -Though now my body is intombed in clay."<br /> -<br /> -The house at which we were to quarter<br /> -Is call'd <i>The Swans</i>; this rais'd our laughter.<br /> -Because the sign is <i>The Red Lion</i>,<br /> -So strange a blunder we cry "Fie on!" <span class="linenum">505</span><br /> -But, going in, all neat we see<br /> -And clean; so was our landlady:<br /> -With great civility she told us,<br /> -She had not beds enough to hold us,<br /> -But a good neighbour had just by, <span class="linenum">510</span><br /> -Where some of us perhaps might lie.<br /> -She sends to ask. The merry dame<br /> -Away to us directly came,<br /> -<span class="pagenum"><a name="Page_515" id="Page_515">[Pg 515]</a></span>Quite ready our desires to grant,<br /> -And furnish us with what we want. <span class="linenum">515</span><br /> -<br /> -Back to the church again we go;<br /> -Which is but small, ill built, and low,<br /> -View'd the inside, but still see we<br /> -Nothing of curiosity<br /> -Unless we suffer the grave-digger <span class="linenum">520</span><br /> -In this our work to make a figure,<br /> -Whom just beside us now we have,<br /> -Employ'd in opening of a grave.<br /> -<br /> -A prating spark indeed he was,<br /> -Knew all the scandal of the place, <span class="linenum">525</span><br /> -And often rested from his labours,<br /> -To give the history of his neighbours;<br /> -Told who was who, and what was what,<br /> -Till on him we bestow'd a pot<br /> -(For he forgot not, you may think, <span class="linenum">530</span><br /> -"Masters, I hope, you'll make me drink!"),<br /> -At this his scurrilous tongue run faster,<br /> -Till "a sad dog" he call'd his master,<br /> -Told us the worshipful the Mayor<br /> -Was but a custom-house officer; <span class="linenum">535</span><br /> -Still rattling on till we departed,<br /> -Not only with his tales diverted,<br /> -But so much wisdom we had got.<br /> -We treated him with t'other pot.<br /> -<br /> -Return we now to the town-hall. <span class="linenum">540</span><br /> -That, like the borough, is but small,<br /> -Under its portico's a space,<br /> -Which you may call the market-place,<br /> -Just big enough to hold the stocks,<br /> -And one, if not two, butcher's blocks, <span class="linenum">545</span><br /> -Emblems of plenty and excess,<br /> -Though you can no where meet with less:<br /> -For though 'tis call'd a market-town<br /> -(As they are not asham'd to own)<br /> -Yet we saw neither butcher's meat, <span class="linenum">550</span><br /> -Nor fish, nor fowl, nor aught to eat.<br /> -Once in seven years, they say, there's plenty,<br /> -When strangers come to represent ye.<br /> -<br /> -Hard at <i>The Swans</i> had been our fare,<br /> -But that some <i>Harwich</i> men were there, <span class="linenum">555</span><br /> -<span class="pagenum"><a name="Page_516" id="Page_516">[Pg 516]</a></span>Who lately had some lobsters taken,<br /> -With which, and eke some eggs and bacon,<br /> -Our bellies we design to fill;<br /> -But first will clamber up the hill,<br /> -A most delightful spot of ground, <span class="linenum">560</span><br /> -O'erlooking all the country round;<br /> -On which there formerly has been<br /> -The palace of <i>Philippa</i>, queen<br /> -To the third <i>Edward</i>, as they tell,<br /> -Now nought remains on 't but a well: <span class="linenum">565</span><br /> -But 'tis from hence, says common fame,<br /> -The borough gets its royal name.<br /> -<br /> -Two sailors at this well we meet,<br /> -And do each other kindly greet:<br /> -"What brings you here, my lads?" cry we. <span class="linenum">570</span><br /> -"Thirst, please your honours, as you see;<br /> -For (adds the spokesman) we are here<br /> -Waiting for our young officer,<br /> -A midshipman on board <i>The Rose</i>,<br /> -(For General <i>S——'s</i> son he goes): <span class="linenum">575</span><br /> -We and our messmates, six in all,<br /> -Yesterday brought him in our yawl,<br /> -And when, as we had been commanded,<br /> -Quite safe and dry we had him landed,<br /> -By running of her fast aground <span class="linenum">580</span><br /> -At tide of ebb, he quickly found<br /> -That he might go and see <i>Sheerness</i>,<br /> -So here he left us pennyless,<br /> -To feast on <i>Queenborough</i> air and water,<br /> -Or starve, to him 'tis no great matter; <span class="linenum">585</span><br /> -While he among his friends at ease is,<br /> -And will return just when he pleases;<br /> -Perhaps he may come back to-day;<br /> -If not, he knows that we must stay."<br /> -<br /> -So one of us gave him a tester, <span class="linenum">590</span><br /> -When both cried out, "God bless you, master!"<br /> -Then ran to rouse their sleeping fellows,<br /> -To share their fortune at the alehouse.<br /> -<br /> -Hence to the creek-side, one and all,<br /> -We go to see <i>The Rose's</i> yawl, <span class="linenum">595</span><br /> -And found her bedded in the mud,<br /> -Immovable till tide of flood.<br /> -<span class="pagenum"><a name="Page_517" id="Page_517">[Pg 517]</a></span><br /> -The sailors here had cockles got,<br /> -Which gratefully to us they brought,<br /> -'Twas all with which they could regale us; <span class="linenum">600</span><br /> -This t'other sixpence sent to th' alehouse:<br /> -So merrily they went their way,<br /> -And we were no less pleas'd than they.<br /> -<br /> -At seven about the town we walk,<br /> -And with some pretty damsels talk. <span class="linenum">605</span><br /> -Beautiful nymphs indeed, I ween,<br /> -Who came to see, and to be seen.<br /> -<br /> -Then to our <i>Swans</i> returning, there<br /> -We borrow'd a great wooden chair,<br /> -And plac'd it in the open street, <span class="linenum">610</span><br /> -Where, in much state, did <i>Hogarth</i> sit<br /> -To draw the townhouse, church, and steeple,<a name="FNanchor_8_339" id="FNanchor_8_339"></a><a href="#Footnote_8_339" class="fnanchor">[8]</a><br /> -Surrounded by a crowd of people;<br /> -Tag, rag, and bobtail, stood quite thick there,<br /> -And cry'd, "What a sweet pretty picture!" <span class="linenum">615</span><br /> -<br /> -This was not finish'd long, before<br /> -We saw, about the Mayor's fore-door,<br /> -Our honest sailors in a throng:<br /> -We call'd one of them from among<br /> -The rest, to tell us the occasion; <span class="linenum">620</span><br /> -Of which he gave us this relation:<br /> -<br /> -"Our midshipman is just come back,<br /> -And chanc'd to meet or overtake<br /> -A sailor walking with a woman<br /> -(May be, she's honest, may be, common): <span class="linenum">625</span><br /> -He thought her handsome, so his honour<br /> -Would needs be very sweet upon her:<br /> -But this the seaman would not suf-<br /> -fer, and this put him in a huff.<br /> -'Lubber, avast,' says sturdy <i>John</i>, <span class="linenum">630</span><br /> -'Avast, I say, let her alone;<br /> -You shall not board her, she's my wife.<br /> -Sheer off, Sir, if you love your life:<br /> -I've a great mind your back to lick;'<br /> -And up he held his oaken stick. <span class="linenum">635</span><br /> -<br /> -"Our midship hero this did scare:<br /> -'I'll swear the peace before the Mayor,'<br /> -Says he; so to the Mayor's they trudge:"<br /> -How then a case by such a judge<br /> -<span class="pagenum"><a name="Page_518" id="Page_518">[Pg 518]</a></span>Determin'd was, I cannot say, <span class="linenum">640</span><br /> -We thought it not worth while to stay:<br /> -For it strikes nine, "How th' evening spends!<br /> -Come, let us drink to all our friends<br /> -A chearful glass, and eat a bit."<br /> -So to our supper down we sit; <span class="linenum">645</span><br /> -When something merry check'd our mirth:<br /> -The <i>Harwich</i> men had got a birth<br /> -Closely adjoining to our room,<br /> -And were to spend their evening come:<br /> -The wall was thin, and they so near, <span class="linenum">650</span><br /> -That all they say, or sing, we hear.<br /> -We sung our songs, we crack'd our jokes,<br /> -Their emulation this provokes;<br /> -And they perform'd so joyously,<br /> -As distanc'd hollow all our glee; <span class="linenum">655</span><br /> -So (were it not a bull) I'd lay,<br /> -This night they fairly won the day.<br /> -<br /> -Now plenteously we drink of flip,<br /> -In hopes we shall the better sleep;<br /> -Some rest the long day's work requires; <span class="linenum">660</span><br /> -<i>Scott</i> to his lodging first retires;<br /> -His landlady is waiting for him,<br /> -And to his chamber walks before him;<br /> -In her fair hand a light she bears,<br /> -And shows him up the garret-stairs; <span class="linenum">665</span><br /> -Away comes he greatly affronted,<br /> -And his disgrace to us recounted.<br /> -This makes us game, we roast him for it,<br /> -"<i>Scott's</i> too high-minded for a garret."<br /> -But <i>Tothall</i> more humanely said, <span class="linenum">670</span><br /> -"Come, <i>Scott</i>, be easy, take my bed,<br /> -And to your garret I will go."<br /> -(This great good-nature sure did show):<br /> -There finding nought him to entertain<br /> -But a flock-bed without a curtain, <span class="linenum">675</span><br /> -He too in haste came back, and got<br /> -Away to share his bed with <i>Scott</i>,<br /> -And at eleven each goes to nest,<br /> -Till <i>Tuesday</i> morn to take his rest.<br /> -<br /> -At six comes <i>Hogarth</i>, "Rise, Sirs, rise," <span class="linenum">680</span><br /> -Says he, with roguery in his eyes,<br /> -<span class="pagenum"><a name="Page_519" id="Page_519">[Pg 519]</a></span>"<i>Scott's</i> landlady is below stairs.<br /> -And roundly the good woman swears,<br /> -That for his lodging he shall pay,<br /> -(Where his tir'd bones he scorn'd to lay) <span class="linenum">685</span><br /> -Or he should go before the Mayor."<br /> -She's in the right on't, we declare,<br /> -For this would cut the matter short,<br /> -(At least 'twould make us special sport):<br /> -But here she balk'd us, and, no doubt, <span class="linenum">690</span><br /> -Had wit enough to find us out.<br /> -Our mark thus miss'd, we kindly go,<br /> -To see how he and <i>Tothall</i> do.<br /> -We find the doors all open were,<br /> -(It seems that's not unusual here): <span class="linenum">695</span><br /> -They're very well, but <i>Scott</i> last night<br /> -Had been in a most dreadful fright:<br /> -"When to his room he got," he said,<br /> -"And just was stepping into bed,<br /> -He thought he saw the bed-cloaths stir, <span class="linenum">700</span><br /> -So back he flew in mortal fear;<br /> -But taking heart of grace, he try'd<br /> -To feel what 'twas, when out it cry'd<br /> -Again he starts, but to his joy,<br /> -It prov'd a little harmless boy, <span class="linenum">705</span><br /> -Who by mistake had thither crept,<br /> -And soundly (till he wak'd him) slept<br /> -So from his fears recover'd quite<br /> -He got to sleep, and slept all night."<br /> -We laugh at this, and he laughs too, <span class="linenum">710</span><br /> -For, pray, what better could he do?<br /> -<br /> -At ten we leave our <i>Lion-Swans</i>,<br /> -And to the higher lands advance,<br /> -Call on our laundress by the way,<br /> -For the led shirts left yesterday <span class="linenum">715</span><br /> -To wash; "She's sorry, they're not yet<br /> -Quite dry!"—"Why then we'll take them wet:<br /> -They'll dry and iron'd be, we hope,<br /> -At <i>Minster</i>, where we next shall stop."<br /> -<br /> -The way was good, the weather fair, <span class="linenum">720</span><br /> -The prospects most delightful were.<br /> -To <i>Minster</i> got, with labour hard<br /> -We climb'd the hill to the church-yard,<br /> -<span class="pagenum"><a name="Page_520" id="Page_520">[Pg 520]</a></span>But, when arriv'd there, did not fail<br /> -To read some verses on a rail <span class="linenum">725</span><br /> -Well worth transcribing, we agree,<br /> -Whether you think so, you may see.<br /> -"Here interr'd <i>George Anderson</i> doth lye,<br /> -By fallen on an anchor he did dye<br /> -In <i>Sheerness</i> yard on <i>Good Friday</i> <span class="linenum">730</span><br /> -The 6th of <i>April</i>, I do say.<br /> -All you that read my allegy be alwaies<br /> -Ready for to dye—aged 42 years."<br /> -<br /> -Of monuments that here they shew<br /> -Within the church, we drew but two; <span class="linenum">735</span><br /> -One an ambassador of <i>Spain's</i>,<a name="FNanchor_9_340" id="FNanchor_9_340"></a><a href="#Footnote_9_340" class="fnanchor">[9]</a><br /> -T' other Lord <i>Shorland's</i><a name="FNanchor_10_341" id="FNanchor_10_341"></a><a href="#Footnote_10_341" class="fnanchor">[10]</a> dust contains,<br /> -Of whom they have a wondrous story,<br /> -Which (as they tell) I'll lay before ye.<br /> -<br /> -The Lord of <i>Shorland</i>, on a day,<a name="FNanchor_11_342" id="FNanchor_11_342"></a><a href="#Footnote_11_342" class="fnanchor">[11]</a> <span class="linenum">740</span><br /> -Chancing to take a ride this way,<br /> -About a corpse observ'd a crowd,<br /> -Against their priest complaining loud,<br /> -That he would not the service say,<br /> -Till somebody his fees should pay. <span class="linenum">745</span><br /> -<br /> -On this, his lordship too did rave,<br /> -And threw the priest into the grave,<br /> -"Make haste, and fill it up," said he,<br /> -"We'll bury both without a fee."<br /> -But when got home, and cool, reflecting <span class="linenum">750</span><br /> -On the strange part he had been acting,<br /> -He drew a state up of the case,<br /> -Humbly petitioning for grace,<br /> -And to the sea gallop'd away,<br /> -Where, at that time, a frigate lay, <span class="linenum">755</span><br /> -With Queen <i>Elizabeth</i> on board,<br /> -When (strange to tell!) this hare-brain'd Lord<br /> -On horseback swam to the ship's side,<br /> -And there to see the Queen apply'd.<br /> -<span class="pagenum"><a name="Page_521" id="Page_521">[Pg 521]</a></span>His case she reads; her royal breast <span class="linenum">760</span><br /> -Is mov'd to grant him his request.<br /> -His pardon thankfully he takes,<br /> -And, swimming still, to land he makes:<br /> -But, on his riding up the beach,<br /> -He an old woman met, a witch: <span class="linenum">765</span><br /> -"This horse, which now your life doth save,"<br /> -Says she, "will bring you to the grave."<br /> -"You'll prove a lier," says my lord,<br /> -"You ugly hag!" and with his sword<br /> -(Acting a most ungrateful part) <span class="linenum">770</span><br /> -His panting steed stabb'd to the heart.<br /> -<br /> -It happen'd, after many a day,<br /> -That with some friends he stroll'd that way,<br /> -And this strange story, as they walk,<br /> -Became the subject of their talk: <span class="linenum">775</span><br /> -When, "There the carcase lies," he cry'd,<br /> -"Upon the beach by the sea-side."<br /> -As 'twas not far, he led them to't,<br /> -And kick'd the skull up with his foot,<br /> -When a sharp bone pierc'd through his shoe, <span class="linenum">780</span><br /> -And wounded grievously his toe,<br /> -Which mortify'd: so he was kill'd,<br /> -And the hag's prophecy fulfill'd.<br /> -See there his cross-legg'd figure laid,<br /> -And near his feet the horse's head!<a name="FNanchor_12_343" id="FNanchor_12_343"></a><a href="#Footnote_12_343" class="fnanchor">[12]</a> <span class="linenum">785</span><br /> -<br /> -The tomb<a name="FNanchor_13_344" id="FNanchor_13_344"></a><a href="#Footnote_13_344" class="fnanchor">[13]</a> is of too old a fashion<br /> -To tally well with this narration;<br /> -But of the truth we would not doubt,<br /> -Nor put our <i>Cicerone</i> out:<br /> -It gives a moral hint at least, <span class="linenum">790</span><br /> -That gratitude's due to a beast.<br /> -So far it's good, whoever made it,<br /> -And that it may not fail of credit,<br /> -A horsehead vane adorns the steeple,<br /> -And it's <i>Horse-church</i> call'd by the people. <span class="linenum">795</span><br /> -<span class="pagenum"><a name="Page_522" id="Page_522">[Pg 522]</a></span><br /> -Our shirts dry'd at <i>The George</i> we get,<br /> -We dine there, and till four we sit;<br /> -And now in earnest think of home:<br /> -So to <i>Sheerness</i> again we come.<br /> -Where for a bum-boat we agree, <span class="linenum">800</span><br /> -And about five put off to sea.<br /> -We presently were under sail,<br /> -The tide our friend, south-east the gale,<br /> -Quite wind enough, and some to spare,<br /> -But we to that accustom'd were. <span class="linenum">805</span><br /> -<br /> -When we had now got past <i>The Nore</i>,<br /> -And lost the sight of <i>Shepey's</i> shore,<br /> -The ebbing tide of <i>Thames</i> we met,<br /> -The wind against it fiercely set!<br /> -This made a short and tumbling sea, <span class="linenum">810</span><br /> -And finely toss'd indeed were we.<br /> -<br /> -The porpoises in stormy weather<br /> -Are often seen in shoals together;<br /> -About us while they roll and play,<br /> -One in his gambols miss'd his way, <span class="linenum">815</span><br /> -And threw himself so far on shore,<br /> -We thought he would get off no more;<br /> -But with great struggling and some pain,<br /> -He did, and went to play again.<br /> -On this we moralising say, <span class="linenum">820</span><br /> -"How thoughtless is the love of play!"<br /> -When we ourselves with sorrow find<br /> -Our pleasures too with pain conjoin'd.<br /> -For troubles croud upon us thick;<br /> -Our hero, <i>Scott</i>, grows very sick; <span class="linenum">825</span><br /> -Poor <i>Hogarth</i> makes wry faces too<br /> -(Worse faces than he ever drew).<br /> -You'll guess what were the consequences,<br /> -Not overpleasing to our senses;<br /> -And this misfortune was augmented <span class="linenum">830</span><br /> -By Master <i>Tothall's</i> being acquainted<br /> -With the commander of a sloop,<br /> -At <i>Holy Haven</i> near <i>The Hope</i>.<br /> -"There's Captain <i>Robinson</i>," says he,<br /> -"A friend, whom I must call and see." <span class="linenum">835</span><br /> -Up the ship's side he nimbly goes,<br /> -While we lay overwhelm'd with woes<br /> -<span class="pagenum"><a name="Page_523" id="Page_523">[Pg 523]</a></span>Sick, and of winds and waves the sport.<br /> -But then he made his visit short,<br /> -And when a sup of punch he'd got, <span class="linenum">840</span><br /> -Some lighted match to us he brought,<br /> -A sovereign cordial this, no doubt,<br /> -To men whose pipes had long been out.<br /> -<br /> -By seven o'clock our sick recover,<br /> -And all are glad this trouble's over. <span class="linenum">845</span><br /> -Now jovially we sail along,<br /> -Our cockswain giving song for song.<br /> -But soon our notes are chang'd; we found<br /> -Our boat was on <i>Bly-sand</i> aground,<br /> -Just in the middle of the river; <span class="linenum">850</span><br /> -Here <i>Tothall</i> shew'd himself quite clever:<br /> -And, knowing we must else abide<br /> -Till lifted by the flowing tide,<br /> -Work'd with our skippers, till the boat<br /> -Was once more happily afloat. <span class="linenum">855</span><br /> -We all applaud his care and skill,<br /> -So do the boatmen his good-will.<br /> -<br /> -Ere long the tide made upward, so<br /> -With that before the wind we go,<br /> -And, disembarking about ten, <span class="linenum">860</span><br /> -Our <i>Gravesend</i> quarters reach again.<br /> -<br /> -Here Madam, smiling, comes to tell<br /> -How glad she is to see us well:<br /> -This kind reception we commended,<br /> -And now thought all our troubles ended; <span class="linenum">865</span><br /> -But, when for what we want we call,<br /> -Something unlucky did befall.<br /> -<br /> -When we our travels first began<br /> -<i>Scott</i> (who's a very prudent man)<br /> -Thought a great coat could do no harm, <span class="linenum">870</span><br /> -And in the boat might keep him warm;<br /> -So far perhaps you think him right,<br /> -As we took water in the night:<br /> -But when from hence we took our way<br /> -On foot, the latter end of <i>May</i>, <span class="linenum">875</span><br /> -He, quite as reasonably, thought<br /> -'Twould be too heavy or too hot:<br /> -"I'll leave it here," says he, "and take<br /> -It with me at our coming back."<br /> -<span class="pagenum"><a name="Page_524" id="Page_524">[Pg 524]</a></span>And he most certainly design'd it: <span class="linenum">880</span><br /> -But now the thing was, how to find it?<br /> -<br /> -We told him, he had been mistaken,<br /> -And did without his hostess reckon.<br /> -To him it was no jest; he swore<br /> -"He left it there three days before, <span class="linenum">885</span><br /> -This Mrs. <i>Bramble</i> can't deny."<br /> -"Sir, we shall find it by and by:"<br /> -So out she goes, and rends her throat<br /> -With "<i>Moll</i>, go find the gem'man's coat."<br /> -The house <i>Moll</i> searches round and round, <span class="linenum">890</span><br /> -At last, with much ado, 'twas found—<br /> -'Twas found, that, to the owner's cost,<br /> -Or <i>Scott's</i>, the borrow'd coat was lost.<br /> -"Coat lost!" says he, stamping and staring,<br /> -Then stood like dumb, then fell to swearing: <span class="linenum">895</span><br /> -He curs'd the ill-concluding ramble,<br /> -He curs'd <i>Gravesend</i> and mother <i>Bramble</i>.<br /> -<br /> -But, while his rage he thus express'd,<br /> -And we his anger made our jest,<br /> -Till wrath had almost got the upper- <span class="linenum">900</span><br /> -hand of his reason, in came supper:<br /> -To this at once his stomach turn'd,<br /> -No longer it with fury burn'd,<br /> -But hunger took the place of rage,<br /> -And a good meal did both assuage. <span class="linenum">905</span><br /> -He eat and drank, he drank and eat,<br /> -The wine commended, and the meat:<br /> -So we did all, and sat so late,<br /> -That <i>Wednesday</i> morn we lay till eight.<br /> -Tobacco then, and wine provide, <span class="linenum">910</span><br /> -Enough to serve us for this tide.<br /> -Get breakfast, and our reckoning pay,<br /> -And next prepare for <i>London</i> hey;<br /> -So, hiring to ourselves a wherry,<br /> -We put off, all alive and merry. <span class="linenum">915</span><br /> -<br /> -The tide was strong, fair was the wind,<br /> -<i>Gravesend</i> is soon left far behind,<br /> -Under the tilt on straw we lay,<br /> -Observing what a charming day,<br /> -There stretch'd at ease we smoke and drink, <span class="linenum">920</span><br /> -<i>Londoners</i> like, and now we think<br /> -<span class="pagenum"><a name="Page_525" id="Page_525">[Pg 525]</a></span>Our cross adventures all are past,<br /> -And that at <i>Gravesend</i> was the last:<br /> -But cruel Fate to that says no;<br /> -One yet shall Fortune find his foe. <span class="linenum">925</span><br /> -<br /> -While we (with various prospects cloy'd)<br /> -In clouds of smoke ourselves enjoy'd,<br /> -More diligent and curious, <i>Scott</i><br /> -Into the forecastle had got,<br /> -And took his papers out, to draw <span class="linenum">930</span><br /> -Some ships which right ahead he saw.<br /> -There sat he, on his work intent,<br /> -When, to increase our merriment,<br /> -So luckily we shipp'd a sea,<br /> -That he got sous'd, and only he. <span class="linenum">935</span><br /> -This bringing to his mind a thought<br /> -How much he wanted the great coat,<br /> -Renew'd his anger and his grief;<br /> -He curs'd <i>Gravesend</i>, the coat, and thief;<br /> -And, still to heighten his regret, <span class="linenum">940</span><br /> -His shirt was in his breeches wet:<br /> -He draws it out, and lets it fly,<br /> -Like a <i>French</i> ensign, till 'tis dry,<br /> -Then, creeping into shelter safe,<br /> -Joins with the company and laugh. <span class="linenum">945</span><br /> -Nothing more happen'd worthy note:<br /> -<br /> -At <i>Billingsgate</i> we change our boat,<br /> -And in another through bridge get,<br /> -By two, to Stairs of <i>Somerset</i>,<br /> -Welcome each other to the shore, <span class="linenum">950</span><br /> -To <i>Convent Garden</i> walk once more,<br /> -And, as from <i>Bedford Arms</i> we started,<br /> -There wet our whistles ere we parted.<br /> -<br /> -With pleasure I observe, none idle<br /> -Were in our travels, or employ'd ill, <span class="linenum">955</span><br /> -<i>Tottall</i>, our treasurer, was just,<br /> -And worthily discharg'd his trust;<br /> -(We all sign'd his accounts as fair):<br /> -<i>Sam Scott</i> and <i>Hogarth</i>, for their share,<br /> -The prospects of the sea and land did; <span class="linenum">960</span><br /> -As <i>Thornhill</i> of our tour the plan did;<br /> -And <i>Forrest</i> wrote this true relation<br /> -Of our five days peregrination.<br /> -<br /> -<span style="margin-left: 1em;">This to attest, our names we've wrote all,</span><br /> -<span style="margin-left: 1em;">Viz. <i>Thornhill, Hogarth, Scott</i>, and <i>Tothall</i>. <span class="linenum">965</span></span><br /> -</p></blockquote> - -<div class="footnote"> - -<p><a name="Footnote_1_332" id="Footnote_1_332"></a><a href="#FNanchor_1_332"><span class="label">[1]</span></a> This drawing unluckily has not been preserved.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_333" id="Footnote_2_333"></a><a href="#FNanchor_2_333"><span class="label">[2]</span></a> <i>The Royal Sovereign</i> and <i>Marlborough</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_334" id="Footnote_3_334"></a><a href="#FNanchor_3_334"><span class="label">[3]</span></a> Drawing II.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_335" id="Footnote_4_335"></a><a href="#FNanchor_4_335"><span class="label">[4]</span></a> Drawing III. The Castle by <i>Hogarth</i>; and some Shipping, -riding near it, by <i>Scott</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_336" id="Footnote_5_336"></a><a href="#FNanchor_5_336"><span class="label">[5]</span></a> Drawing IV.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_337" id="Footnote_6_337"></a><a href="#FNanchor_6_337"><span class="label">[6]</span></a> Drawing V.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_338" id="Footnote_7_338"></a><a href="#FNanchor_7_338"><span class="label">[7]</span></a> Drawing VI.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_339" id="Footnote_8_339"></a><a href="#FNanchor_8_339"><span class="label">[8]</span></a> Drawing VI.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_340" id="Footnote_9_340"></a><a href="#FNanchor_9_340"><span class="label">[9]</span></a> Drawing VII. by <i>Scott</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_341" id="Footnote_10_341"></a><a href="#FNanchor_10_341"><span class="label">[10]</span></a> Drawing VIII. by <i>Hogarth</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_342" id="Footnote_11_342"></a><a href="#FNanchor_11_342"><span class="label">[11]</span></a> This story is quoted by Mr. <i>Grose</i> in his Antiquities, Vol. II. -art. <i>Minster Monastery</i>. "The legend," says Mr. <i>Grose</i>, "has, by a -worthy friend of mine, been hitched into doggrel rhyme. It would -be paying the reader but a bad compliment to attempt seriously to -examine the credibility of the story."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_343" id="Footnote_12_343"></a><a href="#FNanchor_12_343"><span class="label">[12]</span></a> Drawing VIII.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_344" id="Footnote_13_344"></a><a href="#FNanchor_13_344"><span class="label">[13]</span></a> A cross-legg'd figure in armour, with a shield over his left arm, -like that of a Knight Templar, said to represent Sir <i>Robert de Shurland</i>, -who by <i>Edward</i> I. was created a Knight banneret for his gallant -behaviour at the siege of <i>Carlaverock</i> in <i>Scotland</i>. He lies under a -<i>Gothic</i> arch in the south-wall, having an armed page at his feet, and -on his right side the head of a horse emerging out of the waves of the -sea, as in the action of swimming. <span class="smcap">Grose</span>.</p></div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_526" id="Page_526">[Pg 526]</a></span></p> - -<p style="text-align:center"><span class="smcap">William Tothall's</span> Account of Disbursements<br /> -for Messieurs <i>Hogarth</i> and Co. viz.</p> - - -<div class="center"> -<table border="0" cellpadding="2" cellspacing="0" summary=""> -<tr><td align="left">1732,</td></tr> -<tr><td align="left"><i>May</i></td><td align="left"> </td><td align="left">£.</td><td align="left">s.</td><td align="left">d.</td></tr> -<tr><td align="left">27.</td><td align="left">To paid at the Dark-house, <i>Billingsgate</i>,</td><td align="left">0</td><td align="left">0</td><td align="left">8½</td></tr> -<tr><td align="left"></td><td align="left">To paid for a pint of Geneva <i>Hollands</i>,</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left"></td><td align="left">To paid waterman to <i>Gravesend</i>,</td><td align="left">0</td><td align="left">5</td><td align="left">0</td></tr> -<tr><td align="left"></td><td align="left">To paid barber ditto,</td><td align="left">0</td><td align="left">0</td><td align="left">10</td></tr> -<tr><td align="left"></td><td align="left">To paid for breakfast at ditto,</td><td align="left">0</td><td align="left">2</td><td align="left">2</td></tr> -<tr><td align="left"></td><td align="left">To paid for beer on the road to <i>Rochester</i>,</td><td align="left">0</td><td align="left">0</td><td align="left">9</td></tr> -<tr><td align="left"></td><td align="left">To paid for shrimps at <i>Chatham</i>,</td><td align="left">0</td><td align="left">0</td><td align="left">9</td></tr> -<tr><td align="left"></td><td align="left">To paid at the gunnery and dock,</td><td align="left">0</td><td align="left">1</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To paid bill at <i>Rochester</i>,</td><td align="left">1</td><td align="left">7</td><td align="left">3</td></tr> -<tr><td align="left">28.</td><td align="left">To gave at <i>Upnor</i> for information,</td><td align="left">0</td><td align="left">0</td><td align="left">3</td></tr> -<tr><td align="left"></td><td align="left">To paid at the Smack at ditto,</td><td align="left">0</td><td align="left">4</td><td align="left">3</td></tr> -<tr><td align="left"></td><td align="left">To paid at <i>Hoo</i>,</td><td align="left">0</td><td align="left">1</td><td align="left">8</td></tr> -<tr><td align="left"></td><td align="left">To paid at <i>Stoke</i>,</td><td align="left">0</td><td align="left">11</td><td align="left">6</td></tr> -<tr><td align="left">29.</td><td align="left">To paid at Mother <i>Hubbard's</i> at <i>Grain</i>,</td><td align="left">0</td><td align="left">3</td><td align="left">0</td></tr> -<tr><td align="left"></td><td align="left">To paid for passage over to <i>Sheerness</i>,</td><td align="left">0</td><td align="left">21</td><td align="left">0</td></tr> -<tr><td align="left"></td><td align="left">To paid for lobsters at <i>Queenborough</i>,</td><td align="left">0</td><td align="left">1</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To paid for two pots of beer to treat the sexton, </td><td align="left">0</td><td align="left">0</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To paid for dinner, &c.</td><td align="left">0</td><td align="left">6</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To charity, gave the sailors,</td><td align="left">0</td><td align="left">1</td><td align="left">0</td></tr> -<tr><td align="left">30.</td><td align="left">To paid for lodgings and maid,</td><td align="left">0</td><td align="left">4</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To paid for breakfast,</td><td align="left">0</td><td align="left">2</td><td align="left">6</td></tr> -<tr><td align="left"></td><td align="left">To paid for washing shirts,</td><td align="left">0</td><td align="left">1</td><td align="left">8</td></tr> -<tr><td align="left"></td><td align="left">To paid at <i>Minster</i>,</td><td align="left">0</td><td align="left">9</td><td align="left">2</td></tr> -<tr><td align="left"></td><td align="left">To paid at <i>Sheerness</i>,</td><td align="left">0</td><td align="left">1</td><td align="left">3</td></tr> -<tr><td align="left"></td><td align="left">To paid for a boat to <i>Gravesend</i>,</td><td align="left">0</td><td align="left">7</td><td align="left">0</td></tr> -<tr><td align="left">31.</td><td align="left">To paid barber at ditto,</td><td align="left">0</td><td align="left">1</td><td align="left">2</td></tr> -<tr><td align="left"></td><td align="left">To paid for sundry at ditto,</td><td align="left">1</td><td align="left">0</td><td align="left">3½</td></tr> -<tr><td align="left"></td><td align="left">To paid for passage to <i>Somerset-house</i>,</td><td align="left">0</td><td align="left">5</td><td align="left">6</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left"> </td><td align="left"> </td><td align="left">£.6</td><td align="left">6</td><td align="left">0</td></tr> -</table></div> - -<p>Vouchers produced, examined, and allowed,<br /> -<br /> -<span style="margin-left: 4em;">Per <span class="smcap">E. Forrest, Sam. Scott, W. Hogarth, John Thornhill.</span></span></p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_527" id="Page_527">[Pg 527]</a></span></p> - -<h3><a name="GENERAL_INDEX" id="GENERAL_INDEX">GENERAL INDEX -TO -HOGARTH'S PLATES.</a></h3> - - -<blockquote><p> -<span style="margin-left: 2em;">A.</span><br /> -**<i>ÆNEAS</i> in a Storm, <a href="#Page_247">247</a>.<br /> -Agriculture and Arts, <a href="#Page_423">423</a>.<br /> -Altar-piece, <i>St. Clement's</i>, <a href="#Page_136">136</a>. <a href="#N_II_See_p_137">492</a>.<br /> -Analysis of Beauty, <a href="#Page_325">325</a>.<br /> -<i>Apuleius</i>, <a href="#Page_127">127</a>.<br /> -Arms, &c. <a href="#Page_418">418</a>. <a href="#Page_422">422</a>. <a href="#Page_438">438</a>.<br /> -<br /> -<span style="margin-left: 2em;">B.</span><br /> -Battle of the Pictures, <a href="#Page_281">281</a>.<br /> -<i>Beaver's</i> Military Punishments, <a href="#Page_134">134</a>.<br /> -<i>Beer-Street</i>, <a href="#Page_312">312</a>.<br /> -Before and After, <a href="#Page_233">233</a>.<br /> -*Beggar's Opera, <a href="#Page_164">164</a>.<br /> -Bench, <a href="#Page_367">367</a>. <a href="#Page_403">403</a>.<br /> -**<i>Blackwell's</i> Figures, <a href="#Page_439">439</a>.<br /> -<i>Booth, Wilks</i>, and <i>Cibber</i>, <a href="#Page_141">141</a>.<br /> -<i>Boyne</i>, Lord Viscount, <a href="#Page_433">433</a>.<br /> -Boys peeping at Nature, <a href="#Page_188">188</a>. <a href="#Page_319">319</a>.<br /> -**Broad Bottoms, <a href="#Page_449">449</a>.<br /> -*<i>Bullock, William</i>, <a href="#Page_407">407</a>.<br /> -Burial Ticket, <a href="#Page_419">419</a>.<br /> -<i>Burlington</i> Gate, <a href="#Page_28">28</a>. <a href="#Page_175">175</a>.<br /> -<i>Butler</i>, <a href="#Page_442">442</a>.<br /> -<i>Byron</i>, Lady <i>Frances</i>, <a href="#Page_236">236</a>.<br /> -<br /> -<span style="margin-left: 2em;">C.</span><br /> -**Cartoons, Heads from, <a href="#Page_437">437</a>.<br /> -<i>Cassandra</i>, <a href="#Page_134">134</a>.<br /> -Catalogue, Frontispiece and Tail-piece to, <a href="#Page_373">373</a>.<br /> -Characters, and Caricaturas, <a href="#Page_262">262</a>.<br /> -<i>Charlemont</i>, Earl of, <a href="#Page_411">411</a>.<br /> -Charmers of the Age, <a href="#Page_258">258</a>.<br /> -Christ and his Disciples, &c.<br /> -large, <a href="#Page_435">435</a>.<br /> -Christ, &c. small, <a href="#Page_435">435</a>.<br /> -—with <i>London</i> Hospital, <a href="#Page_435">435</a>.<br /> -<i>Churchill, Charles</i>, <a href="#Page_387">387</a>.<br /> -—with Political Print, <a href="#Page_400">400</a>.<br /> -Cockpit, <a href="#Page_367">367</a>.<br /> -<i>Columbus</i>, <a href="#Page_324">324</a>.<br /> -Concert, <i>St. Mary's</i> Chapel, <a href="#Page_445">445</a>.<br /> -Consultation of Physicians, <a href="#Page_236">236</a>.<br /> -<i>Coram</i>, Captain, <a href="#Page_260">260</a>.<br /> -**Cottage. <a href="#Page_441">441</a>.<br /> -Credulity, &c. <a href="#Page_375">375</a>.<br /> -Crowns, &c. Subscription Ticket<br /> -for Elections, <a href="#Page_332">332</a>.<br /> -<br /> -<span style="margin-left: 2em;">D.</span><br /> -Debates on Palmistry, <a href="#Page_410">410</a>.<br /> -*Discovery, <a href="#Page_440">440</a>.<br /> -Distressed Poet, <a href="#Page_235">235</a>.<br /> -Don <i>Quixote</i>, <a href="#Page_435">435</a>.<br /> -<br /> -<span style="margin-left: 2em;">E.</span><br /> -Elections, <a href="#Page_334">334</a>.<br /> -Enraged Musician, <a href="#Page_254">254</a>.<br /> -*Eta Beta Pi, <a href="#frontis"><i>Title-page</i></a>, <a href="#Page_63">63</a>. <a href="#Page_415">415</a>.<br /> -<br /> -<span style="margin-left: 2em;">F.</span><br /> -Fair [<i>Southwark</i>, not <i>Bartholomew</i> as Mr. <i>Walpole</i> describes it], <a href="#Page_180">180</a>.<br /> -Farmer's Return, <a href="#Page_374">374</a>.<br /> -**<i>Farinelli, Cuzzoni,</i> and <i>Senesino</i>, &c. <a href="#Page_138">138</a>. <a href="#Page_439">439</a>.<br /> -Festoon, &c. Subscription Ticket<br /> -for <i>Richard</i> III. <a href="#Page_281">281</a>.<br /> -<i>Fielding, Henry</i>, <a href="#Page_385">385</a>.<br /> -<i>Finchley</i>, March to, <a href="#Page_299">299</a>.<br /> -Fishes for Cards, <a href="#Page_448">448</a>.<br /> -<i>Folkes, Martin</i>, <a href="#Page_257">257</a>.<br /> -<span class="pagenum"><a name="Page_528" id="Page_528">[Pg 528]</a></span><i>Foundling Hospital</i>, Power of Attorney, <a href="#Page_253">253</a>.<br /> -*—Arms of, <a href="#Page_288">288</a>.<br /> -*—First Sketch for, <a href="#Page_409">409</a>.<br /> -Four Parts of the Day, <a href="#Page_248">248</a>.<br /> -<i>France</i> and <i>England</i>, <a href="#Page_364_1">364</a>.<br /> -Frontispiece to <i>Leveridge's</i> Songs, <a href="#Page_160_3">160</a>.<br /> -<br /> -<span style="margin-left: 2em;">G.</span><br /> -<i>Garrick</i> in <i>Richard</i> III. <a href="#Page_283">283</a>.<br /> -Gate of <i>Calais</i>, <a href="#Page_289">289</a>.<br /> -<i>Gibbs, James</i>, <a href="#Page_288">288</a>.<br /> -*—octagon, <a href="#Page_298">298</a>.<br /> -<i>Gin Lane</i>, <a href="#Page_313">313</a>.<br /> -*Gin drinkers, <a href="#Page_429">429</a>.<br /> -Good <i>Samaritan</i>, <a href="#Page_405">405</a>.<br /> -<i>Gormagons</i>, <a href="#Page_424">424</a>.<br /> -**Great Seal of <i>England</i>, <a href="#Page_439">439</a>.<br /> -<i>Gulliver</i> presented to the Queen of <i>Babilary</i>, <a href="#Page_171">171</a>.<br /> -<br /> -<span style="margin-left: 2em;">H.</span><br /> -*Half-starved Boy, <a href="#Page_170">170</a>.<br /> -Harlot's Progress, <a href="#Page_29">29</a>. <a href="#Page_188">188</a>.<br /> -Head, etched by <i>Livesay</i>, <a href="#Page_415">415</a>.<br /> -*Hell-gate, <a href="#Page_404">404</a>.<br /> -<i>Henley</i>, Orator, christening, &c. <a href="#Page_415">415</a>. <a href="#Page_430">430</a>.<br /> -<i>Henry</i> VIII. and <i>Anna Bullen</i>, <a href="#Page_167">167</a>.<br /> -*<i>Herring</i>, Archbp. small, <a href="#Page_288">288</a>.<br /> -—large, <a href="#Page_297">297</a>.<br /> -*<i>Hesiod</i>, <a href="#Page_160">160</a>.<br /> -*<i>Highland</i> Fair, or <i>Scots Opera</i>, <a href="#Page_171">171</a>.<br /> -<i>Hoadly</i>, large, <a href="#Page_260">260</a>.<br /> -—small, <a href="#Page_370">370</a>.<br /> -<i>Hogarth, William</i>, Engraver, Shop-Bill, <a href="#Page_122">122</a>.<br /> -—with Dog, <a href="#Page_295_3">295</a>.<br /> -**—small circle, <a href="#Page_297">297</a>.<br /> -—Serjeant Painter, <a href="#Page_366">366</a>.<br /> -—Black Mask, <a href="#Page_367">367</a>.<br /> -—with Hat on, <a href="#Page_409">409</a>.<br /> -<i>Hogarth's</i> Tour, <a href="#Page_413">413</a>.<br /> -*—Crest, <a href="#Page_414">414</a>.<br /> -—Cypher, <a href="#Page_417">417</a>.<br /> -<i>Holland</i>, Lord, <a href="#Page_411">411</a>.<br /> -<i>Hudibras</i>, large, <a href="#Page_143">143</a>.<br /> -—small, <a href="#Page_144">144</a>.<br /> -<i>Huggins, William</i>, <a href="#Page_372">372</a>.<br /> -Humours of <i>Oxford</i>, <a href="#Page_169">169</a>.<br /> -<i>Hunt, Gabriel</i>, <a href="#Page_411">411</a>.<br /> -<i>Hutchinsonians</i>, Frontispiece to Pamphlet against, <a href="#Page_402">402</a>.<br /> -*<i>Hymen</i> and <i>Cupid</i>, Ticket for <i>Sigismunda</i>, <a href="#Page_436">436</a>.<br /> -<br /> -<span style="margin-left: 2em;">I.</span><br /> -Jacobites Journal, <a href="#Page_288">288</a>.<br /> -Industry and Idleness, <a href="#Page_285">285</a>.<br /> -<i>Judith</i> and <i>Holofernes</i>, <a href="#Page_187_3">187</a>.<br /> -<i>Judith</i>, Rehearsal, Ticket for, <a href="#Page_202_2">202</a>.<br /> -<br /> -<span style="margin-left: 2em;">K.</span><br /> -<i>Kirby's</i> Perspective, <a href="#Page_333">333</a>.<br /> -<br /> -<span style="margin-left: 2em;">L.</span><br /> -Landscape, <a href="#Page_415">415</a>.<br /> -Laughing Audience, <a href="#Page_179">179</a>.<br /> -Lecture, <a href="#Page_246_1">246</a>.<br /> -**Living Dog, <a href="#Page_454">454</a>.<br /> -<i>Lock, Daniel</i>, <a href="#Page_435">435</a>.<br /> -*<i>London</i> Infirmary, <a href="#Page_444">444</a>.<br /> -Lottery, <a href="#Page_124">124</a>.<br /> -<i>Lovat</i>, Lord, <a href="#Page_282">282</a>.<br /> -<br /> -<span style="margin-left: 2em;">M.</span><br /> -<i>Malcolm, Sarah</i>, <a href="#Page_172">172</a>.<br /> -**<i>Malta</i>, Scene by a Knight of, <a href="#Page_437">437</a>.<br /> -Marriage Alamode, <a href="#Page_263">262</a>.<br /> -Masquerades, &c. small, <a href="#Page_128">128</a>.<br /> -Masquerade, large, <a href="#Page_150">150</a>.<br /> -**Master of the Vineyard, <a href="#Page_444">444</a>.<br /> -<i>Milton</i>, <a href="#Page_419">419</a>.<br /> -<i>Milward's</i> Ticket, <a href="#Page_423">423</a>.<br /> -Midnight Modern Conversation, <a href="#Page_202_3">202</a>.<br /> -*<i>Moliere</i>, Frontispieces to, <a href="#Page_171">171</a>.<br /> -*<i>Moses</i> and <i>Pharaoh's</i> daughter, <a href="#Page_324">324</a>.<br /> -<i>Morell</i>, Dr. <a href="#Page_384_3">384</a>.<br /> -<i>Motraye's</i> Travels, <a href="#Page_125">125</a>.<br /> -Five <i>Muscovites</i>, <a href="#Page_126">126</a>.<br /> -Music introduced <i>to Apollo</i>, <a href="#Page_150">150</a>.<br /> -<br /> -<span style="margin-left: 2em;">N.</span><br /> -**North and South, <a href="#Page_407">407</a>.<br /> -<br /> -<span style="margin-left: 2em;">O.</span><br /> -*Oratory, <a href="#Page_429">429</a>.<br /> -<br /> -<span style="margin-left: 2em;">P.</span><br /> -*<i>Palmer, John</i>, <a href="#Page_295_2">295</a>.<br /> -<i>Paul</i>, &c. burlesqued, <a href="#Page_320">320</a>.<br /> -<span class="pagenum"><a name="Page_529" id="Page_529">[Pg 529]</a></span><i>Paul</i> before <i>Felix</i>, <a href="#Page_323_1">323</a>.<br /> -—as first designed, <a href="#Page_323_1">323</a>.<br /> -Perriwigs, Five Orders of, <a href="#Page_373">373</a>.<br /> -*<i>Pellet</i>, Dr. <a href="#Page_407">407</a>.<br /> -<i>Perseus</i> and <i>Medusa</i>, <a href="#Page_170">170</a>.<br /> -<i>Perseus</i> descending, <a href="#Page_170">170</a>.<br /> -<i>Pine</i>, <a href="#Page_434">434</a>.<br /> -Political Clyster, <a href="#Page_331">331</a>.<br /> -*Politician, <a href="#Page_407">407</a>.<br /> -Pool of <i>Bethesda</i>, small, <a href="#Page_289">289</a>.<br /> -—large, <a href="#Page_405">405</a>.<br /> -**<i>Pug</i> the Painter, <a href="#Page_441">441</a>.<br /> -<br /> -<span style="margin-left: 2em;">R.</span><br /> -Rabbit-breeder, <a href="#Page_23">23</a>. <a href="#Page_146">146</a>. <a href="#Page_461">461</a>.<br /> -Rake's Progress, <a href="#Page_17">17</a>. <a href="#Page_207_1">207</a>.<br /> -*<i>Ranby's</i> House, <a href="#Page_435">435</a>.<br /> -Rape of the Lock, <a href="#Page_423">423</a>.<br /> -<i>Read, Benjamin</i>, <a href="#Page_411">411</a>.<br /> -*<i>Rich's</i> Glory, <a href="#Page_161">161</a>.<br /> -Royalty, Episcopacy, and Law, <a href="#Page_442">442</a>.<br /> -<br /> -<span style="margin-left: 2em;">S.</span><br /> -<i>Sancho</i>, <a href="#Page_428_24">428</a>.<br /> -Search-night, <a href="#Page_365_2">365</a>.<br /> -Shop-bills, &c. <a href="#Page_417">417</a>.<br /> -Shrimp-Girl, <a href="#Page_411">411</a>.<br /> -Sleeping Congregation, <a href="#Page_234">234</a>.<br /> -<i>Solfull</i>, <a href="#Page_407">407</a>.<br /> -<i>South Sea</i>, <a href="#Page_122">122</a>.<br /> -<i>Spiller's</i> Ticket, <a href="#Page_444">444</a>.<br /> -Stage Coach, <a href="#Page_284">284</a>.<br /> -Stages of Cruelty, <a href="#Page_316_2">316</a>.<br /> -Stand of Arms, &c. Subscription Ticket for <i>Finchley</i>, <a href="#Page_284">284</a>.<br /> -Stay-maker, <a href="#Page_410">410</a>.<br /> -Strolling Actresses, <a href="#Page_251">251</a>.<br /> -<br /> -<span style="margin-left: 2em;">T.</span><br /> -Tail-piece to his Works, <a href="#Page_402">402</a>.<br /> -*Tankard, <a href="#Page_428_24">428</a>.<br /> -Taste in High Life, <a href="#Page_259">259</a>.<br /> -<i>Taylor, George</i>, Two Sketches for his Monument, <a href="#Page_412">412</a>.<br /> -<i>Taylor's</i> Perspective, <a href="#Page_371">371</a>.<br /> -<i>Terræ Filius</i>, <a href="#Page_143">143</a>.<br /> -Ticket Porter, <a href="#Page_438">438</a>.<br /> -Time blackening a Picture, Subscription Ticket for <i>Sigismunda</i>, <a href="#Page_373">373</a>.<br /> -The Times, <a href="#Page_375">375</a>.<br /> -<i>Tom Thumb</i>, <a href="#Page_171">171</a>.<br /> -<i>Tristram Shandy</i>, vol. I. <a href="#Page_370">370</a>.<br /> -—vol. II. <a href="#Page_374">374</a>.<br /> -**Two Figures, <a href="#Page_409">409</a>.<br /> -<br /> -<span style="margin-left: 2em;">W.</span><br /> -Weighing House, <a href="#Page_401">401</a>.<br /> -<i>Wilkes, John</i>, <a href="#Page_88">88</a>. <a href="#Page_386">386</a>.<br /> -Woman swearing a Child, &c. <a href="#Page_121">121</a>. <a href="#Page_431">431</a>.<br /> -</p></blockquote> - -<p>The articles marked thus * are omitted in Mr. <i>Walpole's</i> Catalogue.</p> - -<p>Those marked ** are likewise omitted by Mr. <i>Walpole</i>; but it must -be acknowledged they are of doubtful authority, though introduced -on the faith of the following collectors and artists:</p> - - -<div class="center"> -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr><td align="left"><i>Hogarth</i>, small circle,</td><td align="left">Mr. <i>Basire</i>.</td></tr> -<tr><td align="left"><i>Æneas</i> in a storm,</td><td align="left">Dr. <i>Ducarel</i>.</td></tr> -<tr><td align="left">Beggar's Opera,</td><td align="left">Dr. <i>Lort</i>.</td></tr> -<tr><td align="left"><i>Blackwell's</i> Figures,</td><td align="left">Mr. <i>Ireland</i></td></tr> -<tr><td align="left">Cottage,</td><td align="left">"</td></tr> -<tr><td align="left">Master of the Vineyard.</td><td align="left">"</td></tr> -<tr><td align="left"><i>Pug</i> the Painter,</td><td align="left">"</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left"><i>Farinelli, Cuzzoni,</i></td><td align="left">Mr. <i>Rogers</i>.</td></tr> -<tr><td align="left">and <i>Heidegger,</i></td><td align="left">"</td></tr> -<tr><td align="left">Gin-drinkers,</td><td align="left">"</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left">Cartoons, Heads, from Two Figures, </td><td align="left">Mr. <i>Livesay</i>.</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left">Oratory,</td><td align="left">Mr. <i>Nichols</i>.</td></tr> -<tr><td align="left">Malta, Scene, &c.</td><td align="left">"</td></tr> -<tr><td align="left"> </td></tr> -<tr><td align="left"><i>Bullock</i>,</td><td align="left">Mr. <i>Thane</i>.</td></tr> -<tr><td align="left"><i>Butler</i>,</td><td align="left">"</td></tr> -<tr><td align="left"><i>Pellet</i>,</td><td align="left">"</td></tr> -<tr><td align="left">North and South,</td><td align="left">"</td></tr> -</table></div> - - -<h4>FINIS.</h4> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_530" id="Page_530"></a></span></p> - -<h3><a name="NEW_BOOKS_published_by_J_NICHOLS" id="NEW_BOOKS_published_by_J_NICHOLS">NEW BOOKS published by J. NICHOLS.</a></h3> - - -<p>I. Biographical and Literary Anecdotes of <span class="smcap">William Bowyer</span>, -Printer, F. S. A. and of many of his Learned Friends; -containing an incidental View of the Progress and Advancement -of Literature in this Kingdom, from the Beginning of -the present Century to the End of the Year 1777. By <span class="smcap">John -Nichols</span>, his Apprentice, Partner, and Successor. Price One -Guinea, adorned with an elegant Portrait by Basire.</p> - -<p>II. <span class="smcap">Miscellaneous Tracts</span>, by the late <span class="smcap">William Bowyer</span>, -printer, F. S. A. and several of his Learned Friends; -including Letters, on Literary Subjects, by Mr. <span class="smcap">Markland</span>, -Mr. <span class="smcap">Clarke</span>, &c. &c. Collected, and illustrated with occasional -Notes, by <span class="smcap">John Nichols</span>, F. S. A. <i>Edinb.</i>. and <i>Perth</i>.</p> - -<p> -"'Tis my chief wish, my joy, my only plan,<br /> -To lose no drop of this immortal man."<br /> -</p> - -<p>III. Conjectures and Observations on the New Testament; -collected from various Authors, as well in regard to Words -as Pointing. By Mr. <span class="smcap">Bowyer</span>. The Third Edition. Price -One Guinea in Boards.</p> - -<p>IV. A Collection of all the Wills, now known to be extant, -of the Kings and Queens in England, Princes and Princesses -of Wales, and every Branch of the Blood Royal, from the -Reign of William the Conqueror to that of Henry the Seventh, -exclusive; with Explanatory Notes, and a very copious Glossary. -By <span class="smcap">J. Nichols</span>. Quarto. Price Eighteen Shillings in Boards.</p> - -<p>V. A Supplement to Dean <span class="smcap">Swift's</span> Works. By <span class="smcap">J. 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