BIOGRAPHICAL ANECDOTES OF WILLIAM HOGARTH;
WITH A CATALOGUE OF HIS WORKS CHRONOLOGICALLY ARRANGED; AND OCCASIONAL
REMARKS.
[BY JOHN NICHOLS.]
THE THIRD EDITION, ENLARGED AND CORRECTED.
LONDON:
PRINTED BY AND FOR JOHN NICHOLS,
IN RED-LION-PASSAGE, FLEET-STREET.
M DCC LXXXV.
CONTENTS
Page
MEMORANDUM. iii
ADVERTISEMENT TO THE SECOND EDITION. v
ADVERTISEMENT TO THE FIRST EDITION. vii
DETAILS OF MR. CRAYEN'S GERMAN EDITION. viii
INDIVIDUALS CONSULTED BY THE AUTHOR. xv
COLLECTORS OF HOGARTH. xvi
CONCERNING HOGARTH'S ORIGINAL WORKS. xvii
BIOGRAPHICAL ANECDOTES OF HOGARTH. 1
CATALOGUE OF HOGARTH'S PRINTS. 120
POSTSCRIPT. 455
ADDITION. 460
APPENDIX NO. 1. 461
NO. 2. 492
NO. 3. 502
GENERAL INDEX TO HOGARTH'S PLATES. 527
NEW BOOKS PUBLISHED BY J. NICHOLS.
MEMORANDUM.
Respect and gratitude having engaged me to compile a memoir of my
deceased Master and Patron Mr. BOWYER, 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 HOGARTH. While it
was printing, Mr. WALPOLE'S 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 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.
_J. N._
_Nov._ 10, 1785.
ADVERTISEMENT
TO THE SECOND EDITION.
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 _Monthly Reviewers_.
If _J. N._ 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. _J. N._ received each
particular he has mentioned, in respect to the assistance bestowed
on _Hogarth_ while his _Analysis_ was preparing, from Dr. _Morell_,
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. _Morell_ should
translate a _Greek_ passage[1] for _Hogarth_, 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 _Reviewer_ concerning
these _Anecdotes_, 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. _Hogarth_
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 _The Golden Head_ in _Leicester Fields_. 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. _J. N._ cannot indeed dismiss his present advertisement
without observing, that though the amiable partialities of a wife may
apologize for any contradiction suggested by Mrs. _Hogarth_ herself,
the _English_ 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.
_J. N._
_Nov._ 1, 1782.
[1] Whereabouts is this translation of a _Greek_ passage to be found in
the Analysis? It may have escaped my hasty researches.
ADVERTISEMENT TO THE FIRST EDITION.
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.
_May_ 9, 1781.
The ingenious Mr. CRAYEN of _Leipzig_ having translated the First
Edition of these Anecdotes, &c. into the _German_ Language, dispatched
a copy of his work to _J. N._ attended by the obliging letter here
subjoined:
SIR,
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
_German_ translation of the _Biographical Anecdotes of Mr. Hogarth_
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 _English_ 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.
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, anecdotes, &c. &c. as
would have been entirely uninteresting to them, and have swelled the
volume to no purpose.
As to the typographical performance, I think you will be tolerably
satisfied of it. Though the noble art of printing is of _German_
origin, your nation has improved and brought it to the highest pitch
of perfection in point of neatness, elegance, and correctness.
I remain, with all possible esteem,
SIR,
Your most obedient
and most humble servant,
A. CRAYEN.
_Leipzig_ in _Saxony,_
the 29th _Jan._ 1783.
* * * * *
The following are Translations, by a Friend, from the
Dedication and PREFACE to Mr. CRAYEN'S performance.
* * * * *
DEDICATION.
To Mr. GOTTFRIED WINKLER, in _Leipzig_;
HONOURED and WORTHY FRIEND,
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.
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.
Receive at the same time my sincerest thanks for the obliging
communication of your Copy of _Hogarth's_ prints, of which, in my
translation, I have more than once availed myself.
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
Yours, &c.
THE TRANSLATOR.
* * * * *
PREFACE.
To the GERMAN READER.
Collectors of the Fine Arts were already possessed of _Catalogues_ and
_Memoires Raisonnées_ of the engravings of many great masters, for
which their acknowledgements are due to the industry of a _Gersaint_, a
_Jombert_, a _Hecquet_, a _Vertue_, a _de Winter_, &c. &c.
But a similar illustration of HOGARTH'S 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?
On this account, it is presumed that the _German_ 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 _London_, under the title of "Biographical
Anecdotes of _W. Hogarth_, and a Catalogue of his Works chronologically
arranged."
The Compiler as well as Editor of this work is Mr. JOHN NICHOLS, a
_Printer_ and _Bookseller_ in _London_, 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.
It is true, Mr. HORACE WALPOLE, 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,
"_Anecdotes of Painting in England collected by G. Vertue, and
published by H. Walpole_," 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 _Hogarth_, is not
only included in Mr. _Nichols's_ publication, but is also improved by
considerable additions, so that the curious reader has _Walpole's_
Catalogue incorporated with the present work.
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 _Englishman_;
in a word, in such parts as do not immediately contribute to the
illustration of _Hogarth's_ plates, and would have tired the patience
of the _German_ reader. Of the verses affixed to each copper-plate
the first and last words only are given, as those afford sufficient
indication 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.
He must not however forget it is his duty to acknowledge the goodness
of old Mr. HANSEN of _Leipsig_. This gentleman's readiness in
permitting him to examine his excellent collection of the engravings
of _British_ artists, for the purpose of comparing and illustrating
several passages in the original of this work, claims his warmest
thanks, and a public acknowledgement.
_Leipsig, February_ 1783.
THE TRANSLATOR.
List of Gentlemen, Artists, &c. who furnished incidental intelligence
to the Author of this Work.
Mr. _Ashby_.
Mr. _Basire_.
Mr. _Baynes_.
Mr. _Belchier_--dead.
Mr. _Bindley_.
Mr. _Birch_.
Mr. _Bowle_.
Mr. _Braithwaite_.
Mr. _Browning_.
Lord _Charlemont_.
Mr. _Charlton_.
Mr. _Cole_--dead.
Mr. _Colman_.
Mr. _Coxe_.
Mr. _Dodsley_.
Dr. _Ducarel_--dead.
Mr. _Duncombe_.
Mr. _Edwards_.
Mr. _Forrest_--dead.
Mr. _Foster_--dead.
Mr _Goodison_.
Mrs. _Gostling_.
Mr. _Gough_.
Mr. _Hall_.
Sir _John Hawkins_.
Mr. _Henderson_.
Mrs. _Hogarth_.
Dr. _Hunter_--dead.
Mr. _S. Ireland_.
Dr. _Johnson_--dead.
Mr. _Keate_.
Bishop of _Kilala_.
Mr. _Lane_.
Mrs. _Lewis_.
Mr. _Livesay_.
Dr. _Lort_.
Mr. _Lyon_.
Mr. _Major_.
Mr. _Malone_.
Dr. _Monkhouse_.
Dr. _Morell_--dead.
Mr. _Morrison_.
Mr. _Pinkerton_.
Mr. _Rayner_.
Mr. _Reed_.
Sir _Joshua Reynolds_.
Mr. _Richards_.
Mr. _Rogers_--dead.
Mr. _Rumsey_.
Mr. _Steevens_.
Mr. _Thane_.
Mr. _Thomas_.
Mr. _Tyers_.
Mr. _Waldron_.
Mr. _Walker_.
Mr. _J. C. Walker_.
Mr. _Walpole_.
Dr. _Warton_.
Mr. _Way_.
Mr. _Welch_--dead.
Mr. _Whately_.
Mr. _B. White_.
Mr. _H. White_.
Mr. _Wilkes_.
Mr. _Williams_.
Dr. _Wright_.
COLLECTORS of HOGARTH.
Mr. AYTON.[1]
Mr. BEDFORD.
Mr. BELLAMY.
Mr. CLARE.
Mr. CRICKITT.
Dr. DUCAREL.[2]
Lord EXETER.
Mr. FOSTER.[3]
Mr. GOODISON.
Mr. GULSTON.
Sir JOHN HAWKINS, Kt.
Mr. HENDERSON.[4]
Mr. IRELAND.
Dr. LORT.
Mr. MORRISON.
Mr. ROGERS.[5]
Mr. STEEVENS.
Mr. WALPOLE.
Mr. WINDHAM.[6]
[1] His collection was cut up, and sold at _Dickinson's, New Bond
Street_.
[2] Died _May_ 29, 1785. His collection devolves to his Nephew and
Heir, Mr. DUCAREL, lately returned from _The East Indies_.
[3] Died _Oct._ 3, 1782. His improved collection sold at _Barford's_
auction rooms, late _Langford's, March_ 4, 1783, for £.105. Mr.
CRICKITT was the Purchaser.
[4] Mr. HENDERSON sold his collection to Sir JOHN ELLIOT for £.126 in
_April_ 1785.
[5] Died _January_ 2, 1784. His collection remains with his Nephew and
Heir, Mr. COTTON, F. S. A.
[6] The Right Hon. _William Windham_, M. P. for _Norwich_.
Extract from the DAILY ADVERTISER, _January_ 27, 1783.
"HOGARTH'S ORIGINAL WORKS.
"As an opinion generally prevails, that the genuine impressions
of _Hogarth's_ works are very bad, and the plates retouched; Mrs.
_Hogarth_ 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:
"_London, Jan._ 21, 1783.
"We, whose names are underwritten, having carefully examined the
copper-plates published by the late Mr. _Hogarth_, are fully convinced
that they have not been retouched since his death.
"FRANCIS BARTOLOZZI.
WM. WOOLLET.[1]
WM. WYNNE RYLAND.[2]
"N. B. All[3] the original works are now properly and well printed,
and to be had of Mrs. _Hogarth_, at her house at _The Golden Head_, in
_Leicester-Fields_."
This is one of the most extraordinary testimonials ever laid before
the public. _Hogarth_ 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. _Hogarth_. I believe
the parties as to the fact; and yet it was impossible for Messieurs _B.
W._ and _R._ to be adequate judges of the truth to which they have set
their names as witnesses.
[1] Died _May_ 23, 1785.
[2] Executed _Aug._ 29, 1783.
[3] By "_all_ the original works," Mrs. _Hogarth_ means only such
plates as are in her possession. See page xx, where a great number of
others, equally original, are found.
Prints _published by_ Mr. HOGARTH: _Genuine Impressions[1] of which are
to be had at_ Mrs. HOGARTH'S _House in_ Leicester Fields, 1782.
Size of the plates in inches l. s. d.
16 by 14 Frontispiece 0 3 0
15½ by 12½ Harlot's Progress, six prints 1 1 0
16 by 14 Rake's Progress, eight prints 2 2 0
18 by 15 Marriage a-la-mode, six prints 1 11 6
19 by 15½ Four Times of the Day, four prints 1 1 0
16½ by 13 Before and After, two prints 0 5 0
18½ by 13½ Midnight Conversation 0 5 0
16 by 14 Distress'd Poet 0 3 0
16 by 14 Enraged Musician 0 3 0
18 by 14 _Southwark_ Fair 0 5 0
20¾ by 16½ _Garrick_ in King _Richard_ III. 0 7 6
18 by 12 _Calais_, or the Roast Beef
of _Old England_ 0 5 0
20½ by 16 _Paul_ before _Felix_ 0 7 6
Ditto, Ditto, with Alterations 0 6 0
20½ by 16½ _Moses_ brought to _Pharaoh's_ Daughter 0 7 6
22 by 17 March to _Finchley_ 0 10 6
Ditto, Strolling Actresses dressing in a Barn 0 5 0
Ditto, Four Prints of an Election 2 2 0
19½ by 12 Bishop of _Winchester_ 0 3 0
14 by 10½ Idleness and Industry, 12 prints 0 12 0
14 by 9 Lord _Lovat_ 0 1 0
10½ by 8½ Sleeping Congregation 0 1 0
12 by 8½ Country-Inn Yard 0 1 0
14 by 10½ _Paul_ before _Felix, Rembrant_ 0 5 0
9 by 8 Various Characters of Heads 0 2 6
6½ by 7½ _Columbus_ breaking the Egg 0 1 0
12 by 8½ The Bench 0 1 6
15 by 13 _Beer Street_ and _Gin Lane_,
two prints 0 3 0
Ditto, Four Stages of Cruelty, four prints 0 6 0
15 by 12½ Two Prints of an Invasion 0 2 0
Ditto, A Cock Match 0 3 0
9 by 8 The Five Orders of Periwigs 0 1 0
17 by 13 The Medley 0 5 0
12 by 9½ The Times 0 2 0
12¾ by 9 _Wilkes_ 0 1 0
10 by 11 Bruiser 0 1 6
9 by 7½ _Finis_ 0 2 6
_N. B._ 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 ANALYSIS of BEAUTY, in Quarto, may also
be had, with two explanatory Prints, Price 15 Shillings.
[1] _Genuine_ impressions--Query, the meaning of such an epithet in
this place?
_Credite Posteri!_
In the years 1781, 1782, &c. the following Pieces of HOGARTH are known
to have been sold at the prices annexed.
Lord _Boyne_. 5 5 0
Charmers of the Age. 5 5 0
_Booth, Wilks_,&c. 5 5 0
Discovery. 3 3 0
Altar-piece. 1 11 6
_Rich's_ Glory. 4 4 0
_Beaver's_ Military Pun. 3 3 0
_Blackwell's_ Figures. 1 16 6
Boys peeping, &c. 1 1 0
_Apuleius._ 1 16 6
_Cassandra._ 1 11 6
_Beer Street_ with Variat. 1 1 0
Large _Hudibras_. 5 5 0
March to _Finchley_ Aq.
F. Proof. 2 2 0
Do. finished, without
letters. 5 5 0
Festoon. Rt for _Rich._ III. 1 1 0
Power of Atty. _F. Hosp._ 1 16 9
Orator _Henley_. 1 1 0
_Huggins._ 3 3 0
Witch. 3 3 0
Jacobite's Journal. 2 11 6
_Judith_ and _Holophernes_. 1 1 0
_Sarah Malcolm._ 2 2 0
Large Masquerade. 2 2 0
Small, first impression. 1 16 6
_Scots_ Opera. 0 15 0
Woman swearing, &c. 1 1 0
Lady _Byron_. 1 1 0
_Hogarth_ with Dog. 2 2 0
Do. Serjeant Painter. 2 2 0
Do. scratched over. 2 2 0
_Perseus_ and _Andromeda_. 2 2 0
First Distrest Poet. 1 1 0
Do. Enraged Musician. 1 1 0
_Motraye._ 2 2 0
Bench, first impression. 1 1 0
_Burlington Gate._ 1 1 0
_Sancho_ at Dinner. 1 1 0
First Election. 3 3 0
Fair. 1 1 0
Farmer's Return. 0 10 6
_Gulliver_. 0 10 6
_Hen._ VIII. and _A. Bullen_ 1 1 0
_Herring_, proof impression. 1 1 0
_Hogarth_, Engr, Shop Bill. 1 1 0
_Morell._ 0 10 6
_Pine._ 0 10 6
Coat of Arms, Sir _G.
Page_,&c. 2 2 0
Times, first impression. 1 1 0
Master of the Vineyard. 2 2 0
_Turk's_ Head. 2 2 0
Harlot's Progress, first
impression, red. 10 10 0
Marriage Alamode. 3 3 0
Rake's Progress. 6 6 0
Four Times. 2 2 0
Prentices, 1st impression. 4 4 0
Elections, 1st impression. 6 6 0
_Garrick_ in _Rich._ III. 1 1 0
Gate of _Calais_. 0 15 0
_Paul_ burlesqued. 1 1 0
Strolling Actresses. 1 12 6
Three additional Prints
to _Beaver_, &c. 2 2 9
_Milward's_ Ticket. 4 4 0
Music introduced to
_Apollo_. 1 11 6
_Martin Folkes_, mezzotinto 0 10 6
_Spiller's_ Ticket. 5 5 0
Two plates to _Milton_. 2 2 0
Frontispiece to _Leveridge's_
Songs. 1 12 6
Concert. St. _Mary's_
Chapel. 5 5 0
HOGARTH.
This great and original Genius is said by Dr. _Burn_ to have been
the descendant of a family originally from _Kirkby Thore_,[1] in
_Westmoreland_: and I am assured that his grandfather was a plain
yeoman, who possessed a small tenement in the vale of _Bampton_, a
village about 15 miles North of _Kendal_, in that county. He had
three sons. The eldest assisted his father in farming, and succeeded
to his little freehold. The second settled in _Troutbeck_, a village
eight miles North West of _Kendal_, and was remarkable for his talent
at provincial poetry.[2] The third, educated at _St. Bee's_, who
had kept a school in the same county, and appears to have a man of
some learning, went early to _London_, where he resumed his original
occupation of a school-master in _Ship Court_ in _The Old Bailey_,
and was occasionally employed as a corrector of the press. A _Latin_
letter, from Mr. _Richard Hogarth_, in 1697 (preserved among the MSS.
in _The British Museum_, N° 4277. 50.) relates to a book which had
been printed with great expedition. But the letter shall speak for
itself.[3]
A Dictionary in _Latin_ and _English_, which he composed for the use of
schools,[4] still exists in MS. He married in _London_; and our Hero,
and his sisters _Mary_ and _Anne_, are believed to have been the only
product of the marriage.
WILLIAM HOGARTH[5] is said (under the article THORNHILL in the
_Biographia Britannica_) to have been born in 1698, in the parish
of _St. Bartholomew,[6] London_, to which parish, it is added, he
was afterwards a benefactor. The outset of his life, however, was
unpromising. "He was bound," says Mr. _Walpole_, "to a mean engraver
of arms on plate." _Hogarth_ 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. _Ellis Gamble_, a silversmith of eminence, who
resided in _Cranbourn-street, Leicester-fields_. 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 _Hogarth_ was placed;[7] "but, before
his time was expired, he felt the impulse of genius, and that it
directed him to painting."
During his apprenticeship, he set out one _Sunday_, with two or three
companions, on an excursion to _Highgate_. 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 _Hogarth_, 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 _Hogarth_ long after they both grew up into manhood.
"His apprenticeship was no sooner expired," says Mr. _Walpole_, "than
he entered into the academy in _St. Martin's Lane_, and studied drawing
from the life, in which he never attained to great excellence. 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."
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 _Hogarth_ 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 _Hogarth_, 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.[8] 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 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.
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 _Wanstead Assembly_.[9] In this are
introduced portraits of the first earl _Tylney_, 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.
From the date of the earliest plate that can be ascertained to be the
work of _Hogarth_, it may be presumed that he began business, on his
own account, at least as early as the year 1720.
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.[10]
Thirteen folio prints, with his name to each, appeared in "_Aubry
de la Motraye's_ Travels," in 1723; seven smaller prints for
"_Apuleius'_ Golden Ass" in 1724; fifteen head-pieces to "_Beaver's_
Military Punishments of the Ancients," and five frontispieces for the
translation of _Cassandra_, in five volumes, 12°, 1725; seventeen cuts
for a duodecimo edition of _Hudibras_ (with _Butler's_ head) in 1726;
two for "_Perseus_ and _Andromeda_," in 1730; two for _Milton_ [the
date uncertain]; and a variety of others between 1726 and 1733.
"No symptom of genius," says Mr. _Walpole_, "dawned in those plates.
His _Hudibras_ 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 _Hudibras_,
without ever having had an opportunity to improve them. They were
purchased by Mr. _Philip Overton_,[11] at the _Golden Buck_, near _St.
Dunstan's Church_ in _Fleet-Street_; and still remain in the possession
of his successor Mr. _Sayer_.
Mr. _Bowles_ at the _Black Horse_ in _Cornhill_ was one of his earliest
patrons. I had been told that he bought many a plate from _Hogarth_
by the weight of the copper; but am only certain that this occurrence
happened in a single instance, when the elder Mr. _Bowles_ of _St.
Paul's Church-yard_ offered, over a bottle, half a crown a pound for a
plate just then completed. This circumstance was within the knowledge
of Dr. _Ducarel_.--Our artist's next friend in that line was Mr.
_Philip Overton_, who paid him a somewhat better price for his labour
and ingenuity.
When Mr. _Walpole_ speaks of _Hogarth's_ 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 _Hogarth_, &c. was printed
off above ten years ago, before the names of _Cipriani, Angelica,
Bartolozzi, Sherwin,_ and _Mortimer_ were found at the bottom of any
plates designed for the ornament of poems, or dramatic pieces.
"On the success, however, of those plates," Mr. _Walpole_ says, "he
commenced painter, a painter of 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.
_Hogarth_ 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.
_Garrick_ sitting at a table, with his wife behind him taking the pen
out of his hand,[12] confers no honour on the painter or the persons
represented.[13] He has certainly missed the character of our late
_Roscius's_ countenance while undisturbed by passion; but was more
lucky in seizing his features when aggravated by terror, as in the
tent scene of King _Richard_ III. It is by no means astonishing, that
the elegant symmetry of Mrs. _Garrick's_ form should have evaded the
efforts of one to whose ideas _la basse nature_ 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
_Burlington_.
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.
In the Bee, vol. V. p. 552. and also in the Gentleman's Magazine, vol.
IV. p. 269. are the following verses to Mr. _Hogarth_, on Miss _F's_
picture, 1734.
"To _Chloe's_ picture you such likeness give,
The animated canvas seems to live;
The tender breasts with wanton heavings move,
And the soft sparkling eyes inspire with love:
While I survey each feature o'er and o'er,
I turn _Idolater_, and paint adore:
Fondly I here can gaze without a fear,
That, _Chloe_, to my love you'd grow severe;
That in your _Picture_, as in _Life_, you'd turn
Your eyes away, and kill me with your scorn:
No, here at least with transport I can see
Your eyes with softness languishing on me.
While, _Chloe_, this I boast, with scornful heart
Nor rashly censure _Hogarth_, or his _art_,
Who all your _Charms_ in strongest _Light_ has laid,
And kindly thrown your _Pride_ and _Scorn_ in _Shade_."
At _Rivenhall_, in _Essex_, the seat of Mr. _Western_, is a family
picture, by _Hogarth_ of Mr. _Western_ and his mother (who was a
daughter of Sir _Anthony Shirley_), Chancellor _Hoadly_, Archdeacon
_Charles Plumptre_, the Rev. Mr. _Cole_ of _Milton_ near _Cambridge_,
and Mr. _Henry Taylor_ the Curate there,[14] 1736.
In the gallery of the late Mr. _Cole_ of _Milton_, was also a small
whole-length picture of Mr. _Western_,[15] by _Hogarth_, a striking
resemblance. He is drawn sitting in his Fellow-Commoner's habit, and
square cap with a gold tassel, in his chamber at _Clare Hall_, 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.
"When I sat to him," says Mr. _Cole_, "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. _Hogarth's_ profession at that time of day, that it
much struck me, as nothing of the sort had happened to me before."
It was likewise Mr. _Hogarth's_ 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 _Bedford Coffee-house_, 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.
It happened in the early part of _Hogarth's_ 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:
"Mr. _Hogarth's_ dutiful respects to Lord ----; finding that he does
not mean to have the picture which was drawn for him, is informed again
of Mr. _H's_ 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. _Hare_,
the famous wild-beast man; Mr. _H._ having given that gentleman a
conditional promise of it for an exhibition-picture, on his lordship's
refusal."
This intimation had the desired effect. The picture was sent home, and
committed to the flames.
To the other anecdotes of this comic Painter may be added the
following. Its authenticity must apologize for its want of other merit.
A certain old Nobleman, not remarkably generous, having sent for
_Hogarth_, desired he would represent, in one of the compartments on a
staircase, _Pharaoh_ and his Host drowned in the _Red Sea_; but at the
same time gave our artist to understand, that no great price would be
given for his performance. _Hogarth_ 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
_ground_. "_Ground!_" said _Hogarth_, "there is no _ground_ in the
case, my lord. The red you perceive, is the _Red Sea. Pharaoh_ and his
Host are drowned as you desired, and cannot be made objects of sight,
for the ocean covers them all."
Mr. _Walpole_ has remarked, that if our artist "indulged his spirit
of ridicule in personalities, it never proceeded beyond sketches and
drawings," 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 _Hogarth_ occasionally peopled his scenes.[16] 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 _Southwark Fair_ and the _Modern Midnight Conversation_, as many
more were discoverable. In the former plate he pointed out _Essex_ the
dancing-master; and in the latter, as well as in the second plate to
the _Rake's Progress, Figg_ the prize-fighter.[17] 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 _Hogarth_ was painting the
_Rake's Progress_, he had a summer residence at _Isleworth_; and never
failed to question the company who came to see these pictures, if they
knew for whom one or another figure was designed. When they guessed
wrong, he set them right.
Mr. _Walpole_ has a sketch in oil, given to him by _Hogarth_, 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 _The Fleet_, 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 _Salvator
Rosa_ would have drawn for _Iago_ 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 _Bambridge_[18] the warden of _The Fleet_;
and the sketch was taken in the beginning of the year 1729, when
_Bambridge_ and _Huggins_ (his predecessor)[19] 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 _Newgate_; and _Bambridge_ was disqualified by act of
parliament.[20] The son[21] of _Huggins_ was possessed of a valuable
painting from this sketch, and also of a scene in the _Beggar's Opera_;
both of them full of real portraits. On the dispersion of his effects,
the latter was purchased by the Rev. Dr. _Monkhouse_ of _Queen's
College, Oxford_. It is in a gilt frame, with a bust of _Gay_ at the
top. It's companion, whose present possessor I have not been able to
trace out, had, in like manner, that of Sir _Francis Page_, one of the
judges, remarkable for his severity;[22] with a halter round his neck.
The Duke of _Leeds_ has also an original scene in the _Beggar's Opera_,
painted by _Hogarth_. It is that in which _Lucy_ and _Polly_ 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 _Thomas
Robinson_ (as well known by the name of _Long Sir Thomas_) is standing
in one of the side-boxes. _Macheath_, unlike his spruce representative
on our present stage, is a slouching bully; and _Polly_ appears happily
disencumbered of such a hoop as the daughter of _Peachum_ within our
younger memories has worn. His Grace gave 35 _l._ for this picture
at Mr. _Rich's_ auction. Another copy of the same scene was bought
by the late Sir _William Saunderson_; and is now in the possession
of Sir _Henry Gough_. Mr. _Walpole_ has a painting of a scene in the
same piece, where _Macheath_ is going to execution. In this also the
likenesses of _Walker_, and Miss _Fenton_ afterwards Dutchess of
_Bolton_ (the original _Macheath_ and _Polly_), are preserved.
In the year 1726, when the affair of _Mary Tofts_, the rabbit-breeder
of _Godalming_, engaged the public attention, a few of our principal
surgeons subscribed their guinea a-piece to _Hogarth_, 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 _St. André_, 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.[23] A particular description of this plate will be given in
the future catalogue of _Hogarth's_ works.
In 1727, _Hogarth_ agreed with _Morris_, 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 _Morris_, he refused to pay for it; and our artist sued him for the
money. This suit (which was tried before Lord Chief Justice _Eyre_ at
_Westminster, May_ 28, 1728) was determined in favour of _Hogarth_. The
brief for the defendant in the cause, is preserved below.[24]
In 1730, Mr. _Hogarth_ married the only daughter of Sir _James
Thornhill_,[25] by whom he had no child. This union, indeed, was a
stolen one, and consequently without the approbation of Sir _James_,
who, considering the youth of his daughter, then barely eighteen, and
the slender finances of her husband, as yet an obscure artist,[26] was
not easily reconciled to the match. Soon after this period, however,
he began his _Harlot's Progress_ (the coffin in the last plate is
inscribed _September_ 2, 1731); and was advised by Lady _Thornhill_ to
have some of the scenes in it placed in the way of his father-in-law.
Accordingly, one morning early, Mrs. _Hogarth_ 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.
Our artist's reputation was so far established in 1731, that it drew
forth a poetical compliment from Mr. _Mitchell_, in the epistle already
quoted.
An allegorical cieling by Sir _James Thornhill_ is at the house of the
late Mr. _Huggins_, at _Headley Park, Hants_. The subject of it is the
story of _Zephyrus_ and _Flora_; and the figure of a Satyr and some
others were painted by _Hogarth_.
In 1732 (the year in which he was one of the party who made _A Tour
by land and Water_, which will be duly noticed in the Catalogue) he
ventured to attack Mr. _Pope_, in a plate called "The Man of Taste;"
containing a view of the Gate of _Burlington-house_; with _Pope_
whitewashing it, and bespattering the Duke of _Chandos's_ coach.[27]
This plate was intended as a satire on the translator of _Homer_,
Mr. _Kent_ the architect, and the Earl of _Burlington_. It was
fortunate for _Hogarth_ that he escaped the lash of the former. Either
_Hogarth's_ 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 _he_ have felt who could complain
of the "pictured shape" prefixed to _Gulliveriana, Pope Alexander's
Supremacy and Infallibility examined,_ &c. by _Ducket_, and other
pieces, had our artist undertaken to express in colours a certain
transaction recorded by _Cibber_?
Soon after his marriage, _Hogarth_ had summer-lodgings at
_South-Lambeth_; and being intimate with Mr. _Tyers_, contributed to
the improvement of _The Spring Gardens_ at _Vauxhall_, 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 _Hayman_ from the designs of our artist. The scenes of
"Evening" and "Night" are still there; and portraits of _Henry_ VIII.
and _Anne Bullen_ once adorned the old great room on the right hand of
the entry into the gardens. For his assistance, Mr. _Tyers_ gratefully
presented him with a gold ticket of admission for himself and his
friends, inscribed
IN PERPETUAM BENEFICII MEMORIAM.
This ticket, now in the possession of his widow, is still occasionally
made use of.
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 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 _John Gonson_.[28]
It gave universal satisfaction; from the Treasury each lord repaired
to the print-shop for a copy of it, and _Hogarth_ rose completely
into fame. This anecdote was related to Mr. _Huggins_ by _Christopher
Tilson_, esq. one of the four chief clerks in the Treasury, and at
that period under-secretary of state. He died _August_ 25, 1742, after
having enjoyed the former of these offices fifty-eight years. I should
add, however, that Sir _John Gonson_ is not here introduced to be made
ridiculous, but is only to be considered as the image of an active
magistrate identified.
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 names were entered in our artist's subscription-book.
It was made into a pantomime by _Theophilus Cibber_; and again
represented on the stage, under the title of _The Jew decoyed, or
a Harlot's Progress_, 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.[29]
The ingenious Abbé _Du Bos_ 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 _Du Bos_ wished to see done, _Hogarth_
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
_Hogarth_ confined to his persons. One of his excellencies consisted
in what may be termed the furniture[30] of his pieces; for 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. _Walpole_, "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."
It may also be observed, that _Hogarth_, both in the third and last
plate of the _Harlot's Progress_, has appropriated a name to his
heroine which belonged to a well-known wanton then upon the town.
The _Grub-street Journal_ for _August_ 6, 1730, giving an account of
several prostitutes who were taken up, informs us that "the fourth was
_Kate Hackabout_ (whose brother was lately hanged at _Tyburn_), a woman
noted in and about the hundreds of _Drury, &c_."
In 1735 our artist lost his mother, as appears by the following extract
from an old Magazine: "_June_ 11, 1735. Died Mrs. _Hogarth_, mother
to the celebrated painter, of a fright from the fire which happened
on the 9th, in _Cecil Court, St. Martin's Lane_, and burnt thirteen
houses;[31] amongst others, one belonging to _John Huggins_, esq. late
Warden of _The Fleet_, was greatly damaged."
The "Rake's Progress" (published in the same year, and sold at
_Hogarth's_ house, the _Golden Head_ in _Leicester Fields_), though
"perhaps superior, had not," as Mr. _Walpole_ observes, "so much
success, from want of novelty; nor is the print of the arrest equal in
merit to the others.[32]
"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 history; and in
1736 presented to the hospital of _St. Bartholomew_, of which he had
been appointed a governor,[33] a painting of the _Pool of Bethesda_,
and another of the _Good Samaritan_. 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 _Pool
of Bethesda_, a servant of a rich ulcerated lady beats back a poor
man that sought the same celestial remedy; and in his _Danae_ [for
which the Duke of _Ancaster_ 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 _Danae_ herself is a mere nymph of
_Drury_. He seems to have conceived no higher degree of beauty." Dr.
_Parsons_ also, in his Lectures on Physiognomy, 410. p. 58, says, "Thus
yielded _Danae_ to the Golden Shower, and thus was her passion painted
by the ingenious Mr. _Hogarth_."
The novelty and excellence of _Hogarth's_ performances soon tempted the
needy artist and print-dealer to avail themselves of his designs,[34]
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,[35] 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. _Walpole_ observes, he applied to the legislature,
and obtained an act of parliament, 8 _George_ 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.[36]
This statute was drawn by his friend Mr. _Huggins_,[37] who took for
his model the eighth of Queen _Anne_, 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 _Hardwicke_ in
Chancery, that excellent Lawyer determined that no assignee, claiming
under an assignment from the original inventor, could take any benefit
by it. _Hogarth_, 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:
"In humble and grateful acknowledgment
Of the grace and goodness of the LEGISLATURE,
Manifested
In the ACT of PARLIAMENT for the Encouragement
Of the Arts of Designing, Engraving, &c.
Obtained
By the Endeavours, and almost at the sole Expence,
Of the Designer of this Print in the Year 1735;
By which
Not only the Professors of those Arts were rescued
From the Tyranny, Frauds, and Piracies
Of Monopolizing Dealers,
And legally entitled to the Fruits of their own Labours;
But Genius and Industry were also prompted
By the most noble and generous Inducements to exert themselves;
Emulation was excited,
Ornamental Compositions were better understood;
And every Manufacture, where Fancy has any concern,
Was gradually raised to a Pitch of Perfection before unknown;
Insomuch, that those of GREAT-BRITAIN
Are at present the most Elegant
And the most in Esteem of any in EUROPE."
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 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 _W. Hogarth,
March_ 20, 1754." After _Hogarth's_ death, the legislature, by Stat. 7
_Geo._ III. chap. 38. granted to his widow a further exclusive term of
twenty years in the property of her husband's works.
In 1736 he had the honour of being distinguished in a masterly poem of
a congenial Humourist. The Dean of _St. Patrick's_, in his "Description
of the Legion Club," after pourtraying many characters with all the
severity of the most pointed satire, exclaims,
"How I want thee, humorous _Hogarth!_
Thou, I hear, a pleasant rogue art!
Were but you and I acquainted,
Every monster should be painted:
You should try your graving tools
On this odious group of fools;
Draw the beasts as I describe them;
Form their features, while I gibe them;
Draw them like, for I assure ye,
You will need no _caricatura_.
Draw them so, that we may trace
All the soul in every face."
An elegant compliment was soon after paid to _Hogarth_ by _Somervile_,
the author of _The Chace_, who dedicates his _Hobbinol_ to him as to
"the greatest master in the burlesque way." Yet _Fielding_, in the
Preface to _Joseph Andrews_, says, "He who should call the ingenious
_Hogarth_ a burlesque painter, would, in my opinion, do him very
little honour, for sure it is much easier, much less the subject
of admiration, to paint a man with a nose, or any other feature of
a 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."[38]
_Vincent Bourne_, that classical ornament of _Westminster School_,
addressed the following copy of hendecasyllables
"Ad GULIELMUM HOGARTH, Παρουνετικόν [Greek: Parounetikon]
"Qui mores hominum improbos, ineptos,
Incidis, nec ineleganter, æri,
Derisor lepidus, sed & severus,
Corrector gravis, at nec invenustus;
Seu pingis meretricios amores,
Et scenas miseræ vicesque vitæ;
Ut tentat pretio rudem puellam
Corruptrix anus, impudens, obesa;
Ut se vix reprimit libidinosus
Scortator, veneri paratus omni:
Seu describere vis, facete censor,
Bacchanalia sera protrahentes
Ad confinia crastinæ diei,
Fractos cum cyathis tubos, matellam
Non plenam modò sed superfluentem,
Et fortem validumque combibonem
Lætantem super amphorâ repletâ;
Jucundissimus omnium ferêris,
Nullique artificum secundus, ætas
Quos præsens dedit, aut dabit futura.
Macte ô, eja age, macte sis amicus
Virtuti: vitiique quod notâris,
Pergas pingere, & exhibere coràm,
Censura utilior tua æquiorque
Omni vel satirarum acerbitate,
Omni vel rigidissimo cachinno."
By printed proposals, dated _Jan_. 25, 1744-5, _Hogarth_ offered to
the highest bidder "the six pictures called _The Harlot's Progress_,
the eight pictures called _The Rake's Progress_, the four pictures
representing _Morning, Noon, Evening,_ and _Night,_ and that of _A
Company of Strolling Actresses dressing in a Barn_; 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 _February_, 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.
_Hogarth's_ 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."
The pictures were sold for the following prices:
Six Harlot's Progress, at 14 guineas each £.88 4 0
Eight Rake's Progress, at 22 guineas each 184 16 0
Morning, 20 guineas 21 0 0
Noon, 37 guineas 38 17 0
Evening, 38 guineas 39 18 0
Night, 26 guineas 27 6 0
Strolling Players, 26 guineas 27 6 0
--------
427 7 0
At the same time the six pictures of _Marriage à-la-mode_ 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. _Shebbeare_,
and of "The Clandestine Marriage." In the prologue to that excellent
comedy, Mr. _Garrick_ thus handsomely expressed his regard for the
memory of his friend:
"Poets and painters, who from nature draw
Their best and richest stores, have made this law:
That each should neighbourly assist his brother,
And steal with decency from one another.
To-night, your matchless _Hogarth_ gives the thought,
Which from his canvas to the stage is brought.
And who so fit to warm the poet's mind,
As he who pictur'd morals and mankind?
But not the same their characters and scenes;
Both labour for one end, by different means:
Each, as it suits him, takes a separate road,
Their one great object, _Marriage à la Mode!_
Where titles deign with cits to have and hold,
And change rich blood for more substantial gold!
And honour'd trade from interest turns aside,
To hazard happiness for titled pride.
The painter dead, yet still he charms the eye;
While _England_ lives, his fame can never die:
But he, 'who struts his hour upon the stage,'
Can scarce extend his fame for half an age;
Nor pen nor pencil can the actor save,
The art, and artist, share one common grave."[39]
_Hogarth_ had projected a _Happy Marriage_, by way of counterpart to
his _Marriage à la Mode_. 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.
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.
Among the faces of the principal figures, none but that of the young
lady was completely finished. _Hogarth_ 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. _Churchill_, with
more force than delicacy, once observed of him, that he only painted
the _backside_ 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.
The sketch already described (which I believe is in Mrs. _Garrick's_
possession) was made after the appearance of _Marriage à la Mode_, and
many years before 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. _Hogarth_ 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.
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 _Hogarth_ 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. _Garrick_, 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--THE GRACEFUL. From the account I have received concerning a
design for a previous compartment belonging to the same story, there is
little reason to lament 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.
Soon after the peace of _Aix la Chapelle_, he went over to _France_,
and was taken into custody at _Calais_, while he was drawing the gate
of that town, a circumstance which he has recorded in his picture,
intituled, "O the Roast Beef of _Old England_!" published _March_ 26,
1749. He was actually carried before the governor as a spy, and, after
a very strict examination, committed a prisoner to _Grandsire_, his
landlord, on his promising that _Hogarth_ should not go out of his
house till it was to embark for _England_. This account, I have good
authority for saying, he himself gave to his friend Mr. _Gostling_ at
_Canterbury_, at whose house he lay the night after his arrival.
The same accident, however, has been more circumstantially related
by an eminent _English_ engraver, who was abroad when it happened.
_Hayman_, and _Cheere_ the statuary, were of the same party.
While _Hogarth_ was in _France_, 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
_French_! Their houses are all gilt and b--t." In the streets he was
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 _Scotch_ and _Irish_ 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 _Calais_; 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 _Hogarth_ was by no means pleased. The leading
circumstance in it his own pencil has recorded.
Soon after this period he purchased a little house at _Chiswick_; where
he usually passed the greatest part of the summer season, yet not
without occasional visits to his dwelling in _Leicester Fields_.
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.
Among the letters of Dr. _Birch_ is the following short one, sent with
the "Analysis of Beauty," and dated _Nov._ 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, WM. HOGARTH."
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 _wording_. This friend, I am assured, was Dr. _Benjamin Hoadly_
the physician, who carried on the work to about a _third_ part, Chap.
IX. and then, through indisposition, declined the friendly office with
regret. Mr. _Hogarth_ applied to his neighbour, Mr. _Ralph_; 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 _Estimate of
the Manners and Principles of the Times_, vol. I. p. 47, published in
1757 by Dr. _Brown_, that author pays a compliment to Mr. _Hogarth's_
genius. Mr. _Ralph_, animadverting on the work, amongst other things,
says, "It is happy for Mr. _Hogarth_, 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 _Proteus_ 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. _Hogarth's_ 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 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."
The office of finishing the work, and superintending the publication,
was lastly taken up by Dr. _Morell_, who went through the remainder of
the book.[40] The preface was in like manner corrected by the Rev. Mr.
_Townley_. The family of _Hogarth_ rejoiced when the last sheet of the
_Analysis_ was printed off; as the frequent disputes he had with his
coadjutors, in the progress of the work, did not much harmonize his
disposition.
This work was translated into _German_ by Mr. _Mylins_, when in
_England_, under the author's inspection; and the translation,
containing twenty-two sheets in quarto, and two large plates, was
printed in _London_, price five dollars.
Of the same performance a new and correct edition was (_July_ 1,
1754) proposed for publication at _Berlin_, by _Ch. Fr. Vok_, with an
explanation of Mr. _Hogarth's_ satirical prints, translated from the
_French_; the whole to subscribers for one dollar, but after six weeks
to be raised to two dollars.
An _Italian_ translation was also published at _Leghorn_ in 1761, 8vo,
dedicated "All' illustrissime Signora Diana _Molineux_, Dama _Inglese_."
"This book," Mr. _Walpole_ 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,[41] and irritated him
to expose him. 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 _Bath_ beau and a county Beauty."
_Hogarth_ 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 _Jack Cade_,
who pronounced sentence on the clerk of _Chatham_, 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 _Analysis of Beauty_,[42] he did not seem to have
discovered that even spelling was a necessary qualification; and yet
he had ventured to ridicule[43] the late Mr. _Rich's_ 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
_Beer-street_, among other volumes consigned by him to the pastry cook,
we find _Turnbull on ancient Painting_, a treatise which _Hogarth_
should have been able to understand, before he ventured to condemn.
_Garrick_ himself, however, was not more ductile to flattery. A word
in favour of _Sigismunda_, 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 _Godfrey Kneller's_
throat.
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. _Hogarth_ being at
dinner with the great _Cheselden_, and some other company, was told
that Mr. _John Freke_, surgeon of _St. Bartholomew's Hospital_, a few
evenings before at _Dick's Coffee-house_, had asserted, that _Greene_
was as eminent in composition as _Handel_. "That fellow _Freke_,"
replied _Hogarth_, "is always shooting his bolt absurdly one way or
another! _Handel_ is a giant in music; _Greene_ only a light _Florimel_
kind of a composer."--"Ay," says our artist's informant, "but at the
same time Mr. _Freke_ declared you were as good a portrait-painter as
_Vandyck_."--"_There_ he was in the right," adds _Hogarth_; "and so by
G-- I am, give me my time, and let me choose my subject!"
With Dr. _Hoadly_, the late Chancellor of _Winchester_, Mr. _Hogarth_
was always on terms of the strictest friendship, and frequently
visited him at _Winchester, St. Cross,_ and _Alresford_. It is well
known, that Dr. _Hoadly's_ 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 _Garrick_ and _Hogarth_, once performed a laughable parody on
the scene in _Julius Cæsar_, where the _Ghost_ appears to _Brutus.
Hogarth_ personated the spectre; but so unretentive was his memory,
that, although his speech 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. _Hogarth_
painted a scene on this occasion, representing a sutling booth, with
the _Duck of Cumberland's_ 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.
_Hogarth_ 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. _Hoadly_, thus,--"To the Doctor at
_Chelsea_." This epistle, however, by good luck, did not miscarry; and
was preserved by the late Chancellor of _Winchester_, as a pleasant
memorial of his friend's extraordinary inattention.
Another remarkable instance of _Hogarth's_ 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. _Beckford_). When he went, the weather
was fine; but business detained him till a violent shower of rain came
on. He was 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 _Leicester-fields_ without bestowing a thought on
his own carriage, till Mrs. _Hogarth_ (surprized to see him so wet and
splashed) asked where he had left it.
Mr. _Walpole_, in the following note, p. 69, is willing to expose the
indelicacy of the _Flemish_ painters, by comparing it with the purity
of _Hogarth_. "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 _Teniers_." Shall we
proceed to examine whether the scenes painted by our countryman are
wholly free from the same indelicacies? In one plate of _Hudibras_,
where he encounters a _Skimmington_, 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 _Ralpho_, while the widow is standing by.
Another boy in the _Enraged Musician_ is easing nature by the same
mode; and a little miss is looking earnestly on the operation. In the
_March to Finchley_, a diseased soldier has no better employment; and
a woman is likewise staring at him out of a window. This circumstance
did not escape the observation of _Rouquet_ the enameller, whose
remarks[44] 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 _Montpelier_ conviendroit
mieux que celui d'_Ecosse_. L'amour lui a fait une blessure, &c."
Was this occurrence delicate or precious enough to deserve such
frequency of repetition? In the burlesque _Paul before Felix_, 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 _Judea_, who, as he is here
represented, conveys no imperfect image of a late Lord Mayor, at the
time of the riots in _London_. In this last instance, indeed, I ought
to have observed that _Hogarth_ meant to satirize, not to imitate,
the painters of _Holland_ and _Flanders_. But I forbear to dwell any
longer on such disgusting circumstances; begging leave only to ask,
whether the canvas of _Teniers_ exhibits nastier objects than those
of the woman cracking a louse between her nails in the fourth plate
of the _Harlot's Progress_; a _Scotch_ bag-piper catching another in
his neck while he is performing at the Election feast; _Aurora_ doing
the same kind office for a _Syren_ or _Nereid_, in the _Strollers_,
&c.; the old toothless _French_ beldams, slobbering (_Venus_ forbid we
should call it kissing) each other in the comic print entitled _Noon_;
the chamber-pot emptied on the Free Mason's head, in the _Rejoicing
Night_; or the _Lilliputians_ giving a clyster to _Gulliver_? In
some of these instances, however, the humour may compensate for the
indelicacy, which is rarely the case with such _Dutch_ pictures as
have justly incurred the censure of Mr. _Walpole_. Let us now try how
far some of the compositions of _Hogarth_ have befriended the cause
of modesty. In the _Harlot's Progress_, Plate VI. we meet with a hand
by no means busied in manner suitable to the purity of its owner's
function. _Hogarth_ 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 _Rouquet's_ 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 _Rake's Progress_, 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 before his cell numbered 55? and
to what particular object are the eyes of the said females supposed
to be directed?[45] Nay, in what pursuit is the grenadier engaged
who stands with his face toward the wall in Plate 9. of _Industry
and Idleness_? May we address another question to the reader? Is the
"_smile_ of _Socrates_," or the "_benevolence_ of the designer," very
distinguishable in the half dozen last instances? It has been observed
indeed by physiognomists, that the _smile_ of the real _Socrates_
resembled the _grin_ of a _satyr_; and perhaps a few of the particulars
here alluded to, as well as the prints entitled BEFORE and AFTER, ought
to be considered as a _benevolence_ 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 _Flemish_ 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 "_St.
Paul's_ hand was once _improperly_ placed before the wife of _Felix_"
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. _Walpole_, I am ready to confess how much 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 _England_.
_Hogarth_ 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:
[Illustration: see below]
A
B |
\ |
\ |
\ |
\|
|
|
|
|
C |
ʅ|
|
|
A. The perspective line of the door.
B. The end of the Serjeant's pike, who is gone in.
C. The end of the Dog's tail, who is following him.
There are similar whims of the _Caracci_.
A specimen of _Hogarth's_ propensity to merriment, on the most trivial
occasions, is observable in one of his cards requesting the company of
Dr. _Arnold King_ to dine with him at the _Mitre_.[46] Within a circle,
to which a knife and fork are the supporters, the written part is
contained. In the center is drawn a pye, with a _mitre_ on the top of
it; and the invitation of our artist concludes with the following sport
on three of the _Greek_ letters--to _Eta Beta Pi_.[47] The rest of the
inscription is not very accurately spelt. A quibble by _Hogarth_ is
surely as respectable as a conundrum by _Swift_.
"Some nicer virtuosi have remarked, that in the serious pieces, into
which _Hogarth_ 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 PREACHING OF ST. PAUL, a dog
snarling at a cat;[48] and in his PHARAOH'S DAUGHTER, the figure of
the infant _Moses_, 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 _Richard_ III. is pure and unmixed, without
any ridiculous circumstances, and strongly impresses terror and
amazement." As these observations are extracted from the _first_
edition of Dr. _Warton's_ "Essay on the Genius and Writings of _Pope_,"
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. _Hogarth_, his PAUL PREACHING, and his
INFANT MOSES; 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 MAN
OF CANDOUR, than the best CRITIC that ever lived."[49]
In one of the early exhibitions at _Spring Gardens_, a very pleasing
small picture by _Hogarth_ made its first appearance. It was painted
for the earl of _Charlemont_, in whose collection it remains.[50] It
was intituled, _Picquet, or Virtue in Danger,_ and shews us a young
lady, who, during a _tête-à-tête_, 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. _Hogarth_ 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 _Iphigenia_ as is described by Mr.
_Hayley_, in one of the cantoes of his beautiful poem on the _Triumphs
of Temper_; but the dignity of the same female at the _Tauric_ altar
would have baffled the most vigorous efforts of his pencil.
_Hogarth's_ Picquet, or _Virtue in Danger_, when exhibited at _Spring
Gardens_, in _May_, 1761, produced the following explanation:
Ye fair, be warn'd, and shun those arts,
That faithless men do use for hearts:
Weigh o'er and o'er the destin'd man,
And oft this little lesson scan;
If he his character don't fear,
For yours he'll very little care:
With scorn repulse the wretch so bold,
Nor pawn your virtue for his gold!
Of gaming (cards or not) beware,
'Tis very often found a snare;
But, lest my precept still should fail,
Indulge me--whilst I tell a tale:
_Dorinda_, chearful, young, and gay,
Oft shone at Balls, at Park, and Play;
Blest with a free, engaging air,
In short, throughout quite debonnair;
(Excuse me--shall I tell the truth?)
That bane of misled, heedless youth,
Gaming--had quite possess'd her mind,
To this (no other vice) inclin'd:
She oft would melancholy sit,
No partner near for dear Picquet!
"At last a cruel spoiler came,"
And deeply learn'd in all the game;
A son of _Mars_, with iron face,
Adorn'd with impudence and lace!
Acquaintance with her soon he gains,
He thinks her virtue worth his pains:
Cards (after nonsense) came in course,
By sap advances, not by force.
The table set, the cards are laid,
_Dorinda_ dreams not she's betray'd;
The cards run cross, she fumes and frets,
Her brilliant necklace soon she betts,
She fears her watch, but can't resist,
A miniature can scarce be mist!
At last both watch and trinkets go,
A prey to the devouring foe:
Nay more (if fame but tells us true),
She lost her di'mond buckles too!
Her bracelets next became his prize,
And in his hat the treasure lies.
Upon her Virtue next he treats,
And Honour's sacred name repeats:
Tenders the trinkets, swears and lies,
And vows her person is a prize!
Then swears (with hand upon his breast)
That he without her can't be blest!
Then plies her with redoubled pains,
T' exchange her virtue for his gains:
Shame's purple wings o'ershade her face,
He triumphs over her disgrace;
Soon turns to jest her scruples nice,
In short, she falls!--a sacrifice!
Spoil'd of her virtue in her prime,
And, knowing Heaven detests the crime,
Is urg'd, perhaps, to dare his rod,
"And rush unsummon'd to her God!"
Ye fair, if happiness ye prize,
Regard this rule, Be timely wise.
In the "Miser's Feast," Mr. _Hogarth_ thought proper to pillory Sir
_Isaac Shard_, a gentleman proverbially avaricious. Hearing this, the
son of Sir _Isaac_, the late _Isaac Pacatus Shard_,[51] 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 _Cicerone_ "whether
that odd figure was intended for any particular person;" on his
replying, "that it was thought to be very like one Sir _Isaac Shard_;"
he immediately drew his sword, and slashed the canvas. _Hogarth_
appeared instantly in great wrath; to whom Mr. _Shard_ 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.
About 1757, his brother-in-law, Mr. _Thornhill_, resigned the place
of king's serjeant-painter in favour of Mr. _Hogarth_; who soon after
made an experiment in painting, which involved him in some disgrace.
The celebrated collection of pictures belonging to Sir _Luke Schaub_
was in 1758 sold by public auction;[52] and the admired picture of
_Sigismunda_ (purchased by Sir _Thomas Sebright_ for 404. _l._ 5 _s._)
excited Mr. _Hogarth's_ emulation.
"From a contempt of the ignorant virtuosi of the age," says
Mr. _Walpole_, "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 _Italian_ 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 _England_ as the object of his competition. This was the
celebrated _Sigismunda_ of Sir _Luke Schaub_, now in the possession
of the Duke of _Newcastle_, said to be painted by _Correggio_,
probably by _Furino_, but no matter by whom. It is impossible to see
the picture, or read _Dryden's_ inimitable tale, and not feel that
the same soul animated both. After many essays, _Hogarth_ at last
produced HIS _Sigismunda_--but no more like _Sigismunda_, than I to
_Hercules_. 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,[53] that
lay before her, like that of a sheep, for her dinner.[54] 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. _Hogarth's_ performance was more ridiculous than any
thing he had ever ridiculed. He set the price of 400 _l._ 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. _Milton_, it is
said, preferred his _Paradise Regained_ to his immortal poem."[55]
_Hogarth_, however, gave directions before his death that the
_Sigismunda_ should not be sold under 500 _l._ and, greatly as he
might have been mortified by _Churchill's_ invective, and the coldness
with which the picture was received by the rest of the world,[56] he
never wholly abandoned his design of having a plate prepared from it.
Finding abundant consolation in the flattery of self-love, he appealed
from the public judgement to his own, and had actually talked with
the celebrated Mr. _Hall_ about the price of the engraving, which was
to have been executed from a smaller painting,[57] 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 _Tancred's_ daughter, few modern artists are fully qualified.
We must except indeed Sir _Joshua Reynolds_, with whose pencil Beauty
in all her forms, and the passions in all their varieties, are equally
familiar.
Since the preceding paragraph was written, the compiler of this volume
has seen an unfinished plate of _Sigismunda_, attempted after the
manner of _Edelinck_, etched by Mr. _Basire_, 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.
_Hogarth_.[58] It was intended to be published by subscription.[59]
The plate itself is still in the hands of Mr. _Basire_.
This unfortunate picture, which was the source of so much vexation to
Mr. _Hogarth_, 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,[60] may serve to gratify the curiosity of the reader.
The old adage _facit indignatio versum_, seems scarcely to have been
realised in this splenetic effusion, which is intituled "An Epistle to
a Friend," occasioned by Sir _Richard Grosvenor_ (now lord) returning
the picture of _Sigismunda_ on our artist's hands:
"To your charge, the other day
About my picture and my pay,
In metre I've a mind to try,
One word by way of a reply.
"To risque, you'll own, 'twas most absurd,
Such labour on a rich man's word;
To lose at least an hundred days
Of certain gain, for doubtful praise;
Since living artists ne'er were paid;
But then, you know, it was agreed,
I should be deem'd an artist dead.
Like _Raphael, Rubens, Guido Rene,_
This promise fairly drew me in;
And having laid my pencil by,[61]
What painter was more dead than I?
But dead as _Guido_ let me be,
Then judge, my friend, 'twixt him and me
If merit crowns alike the piece,
What treason to be like in price;
Because no copied line you trace,
The picture can't be right, you're sure;
But say, my critic connoisseur,
Moves it the heart as much or more
Than picture ever did before?
This is the painter's truest test,
And this Sir _Richard's_ self confess'd.
Nay, 'tis so moving, that the knight
Can't even bear it in his sight;
Then who would tears so dearly buy,
As give four hundred pounds to cry?
I own, he chose the prudent part,
Rather to break his word than heart;
And yet, methinks, 'tis ticklish dealing,
With one so delicate--in feeling.
"However, let the picture rust,
Perhaps time's price-enhancing dust,
As statues moulder into earth,
When I'm no more, may mark its worth;
And future connoisseurs may rise,
Honest as ours, and full as wise,
To puff the piece and painter too,
And make me then what _Guido's_ now."
"The last memorable event in our artist's life," as Mr. _Walpole_
observes, "was his quarrel with Mr. _Wilkes_, in which, if Mr.
_Hogarth_ 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
_September_ 1762, Mr. _Hogarth_ published his print of _The Times_. It
was answered by Mr. _Wilkes_ in a severe _North Briton_.[62] On this
the painter exhibited the caricatura of the writer. Mr. _Churchill_,
the poet, then engaged in the war, and wrote his epistle to _Hogarth_,
not the brightest of his works,[63] in which the severest strokes fell
on a defect that the painter had neither caused nor could amend--his
age;[64] 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, _Hogarth_ caricatured
_Churchill_, under the form of a canonical bear, with a club and a pot
of porter--_et vitulá tu dignus & hic_--never did two angry men of
their abilities throw mud with less dexterity."
The concluding observation of Mr. _Walpole_ 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. _Wilkes_; who states the circumstances of it in the
following manner:
"Mr. _Hogarth_ was one of the first who, in the paper war begun by lord
_Bute_ on his accession to the Treasury, sacrificed private friendship
at the altar of party madness. In 1762, the _Scotch_ minister took a
variety of hirelings into his pay, some of whom were gratified with
pensions, others with places and pensions. Mr. _Hogarth_ was only made
_serjeant-painter_ 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 _house-painter_,
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 _portrait-painting_.
"The new minister had been attacked in a variety of political
papers. _The North Briton_ in particular, which commenced the week
after _The Briton_, waged open war with him. Some of the numbers
had been ascribed to Mr. _Wilkes_, others to Mr. _Churchill_, and
Mr. _Lloyd_. Mr. _Hogarth_ had for several years lived on terms of
friendship and intimacy with Mr. _Churchill_ and Mr. _Wilkes_. As
the _Buckinghamshire_ militia, which this gentleman had the honour
of commanding, had been for some months at _Winchester_ guarding the
_French_ prisoners, the Colonel was there on that duty. A friend wrote
to him, that Mr. _Hogarth_ intended soon to publish a political print
of _The Times_, in which Mr. _Pitt_, Lord _Temple_, Mr. _Churchill_,
and himself, were held out to the public as objects of ridicule. Mr.
_Wilkes_, on this notice, remonstrated by two of their common friends
to Mr. _Hogarth_, 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. _Wilkes_ nor Mr.
_Churchill_ were attacked in _The Times_, though Lord _Temple_ and Mr.
_Pitt_ were, and that the print should soon appear. A second message
soon after told Mr. _Hogarth_, that Mr. _Wilkes_ 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 _North Briton_ would
insert what he sent, he would make an appeal to the public on the very
_Saturday_ following the publication of the print. _The Times_ soon
after appeared, and on the _Saturday_ following [_Sept._ 25, 1762,]
N° 17, of the _North Briton_, which is a direct attack on the king's
_serjeant-painter_.[65] If Mr. _Wilkes_ did write that paper, he kept
his word better with Mr. _Hogarth_, than the painter had done with him.
"It is perhaps worth remarking, that the painter proposed to give a
series of political prints, and that _The Times_ were marked Plate
I. No farther progress was however made in that design. The public
beheld the first feeble efforts with execrations, and it is said that
the caricaturist was too much hurt by the general opinion of mankind,
to possess himself afterwards sufficiently for the execution of such a
work.
"When Mr. _Wilkes_ was the second time brought from the _Tower_ to
_Westminster-hall_, Mr. _Hogarth_ skulked behind in a corner of the
gallery of the Court of _Common Pleas_; and while the Chief Justice
_Pratt_,[66] with the eloquence and courage of old _Rome_, was
enforcing the great principles of _Magna Charta_, and the _English_
constitution, while every breast from him caught the holy flame of
liberty, the painter was wholly employed in caricaturing the _person_
of the man; while all the rest of his fellow citizens were animated
in his _cause_, for they knew it to be their own cause, that of their
country, and of its laws. It was declared to be so a few hours after by
the unanimous sentence of the judges of that court, and they were all
present.
"The print of Mr. _Wilkes_ was soon after published, _drawn from
the life by William Hogarth_. It must be allowed to be an excellent
_compound caricatura_, or a _caricatura_ of what nature had already
_caricatured_. I know but one short apology can be made for this
gentleman, or, to speak more properly, for the _person_ of Mr.
_Wilkes_. It is, that he did not make himself, and that he never was
solicitous about the _case_ of his soul, as _Shakspeare_ 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 _Narcissus_, 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 _clay-cottage_, to which he is _tenant
for life_, because he has learnt to keep it in good order. While the
share of health and animal spirits, which heaven has given him, shall
hold out, I can scarcely imagine he will be one moment peevish about
the _outside_ of so precarious, so temporary a habitation, or will even
be brought to own, _ingenium Galbæ male habitat. Monsieur est mal logé._
"Mr. _Churchill_ was exasperated at this _personal_ attack on his
friend. He soon after published the Epistle to _William Hogarth_,[67]
and took for the motto, _ut pictura poesis_. Mr. _Hogarth's_ 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 _C.
Churchill_ (once the Revd.!) in the character of a _Russian Hercules_,
&c."
The Editor of the _Monthly Review_ for _November_, 1769, in an account
of Mr. _Wilkes's_ correspondence, remarks, "The writer of this article
had in substance the same relation from the mouth of Mr. _Hogarth_
himself, but a very little while before his death;[68] 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."
I have been assured by the friend[69] who first carried and read the
invective of _Churchill_ to _Hogarth_, that he seemed quite insensible
to the most sarcastical parts of it. He was so thoroughly wounded
before by the _North Briton_, 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 _Hogarth_ was more solicitous to maintain
the character of a good painter, than of a tender husband.
One quotation, however, from _Churchill's_ Epistle the warmest admirers
of our matchless artist must be pleased with:
"In walks of humour, in that cast of style,
Which, probing to the quick, yet makes us smile;
In Comedy, his natural road to fame,
Nor let me call it by a meaner name,
Where a beginning, middle, and an end,
Are aptly join'd; where parts on parts depend,
Each made for each, as bodies for their soul,
So as to form one true and perfect whole,
Where a plain story to the eye is told,
Which we conceive the moment we behold;[70]
_Hogarth_ unrival'd stands, and shall engage
Unrival'd praise to the most distant age."
_Hogarth_ 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.
In the form of a framed picture on the painter's palette, he has
represented an _Egyptian_ pyramid, on the side of which is a _Cheshire_
cheese,[71] and round it 3000 _l. per annum_; and at the foot a
_Roman_ Veteran in a reclining posture, designed as an allusion to
Mr. _Pitt's_ 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 _Cheshire_ cheese and a shoulder of mutton, than submit to the
implacable enemies of his country.
But to ridicule this character still more, he is, as he lies down,
firing a piece of ordnance at the standard of _Britain_, on which is
a dove with an olive-branch, the emblem of peace. On one side of the
pyramid is the City of _London_, represented by the figure of one of
the _Guildhall_ giants, going to crown the reclining hero. On the other
side is the king of _Prussia_, in the character of one of the _Cæsars_,
but smoking his pipe. In the center stands _Hogarth_ himself, whipping
a Dancing Bear (_Churchill_) which he holds in a string. At the side
of the Bear is a Monkey, designed for Mr. _Wilkes_. 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, but with no lineaments of
face, and playing on a fiddle. This was designed for Earl _Temple_.
At the time these hostilities were carrying on in a manner so virulent
and disgraceful to all the parties, _Hogarth_ was visibly declining
in his health. In 1762, he complained of an inward pain, which,
continuing, brought on a general decay that proved incurable.[72]
This last year of his life he employed in retouching his plates
with the assistance of several engravers whom he took with him to
_Chiswick_. On the 25th of _October_, 1764, he was conveyed from
thence to _Leicester-fields_, in a very weak condition, yet remarkably
chearful; and, receiving an agreeable letter from the _American_ Dr.
_Franklin_, 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. _Mary Lewis_, who was called up on his being taken
suddenly ill. To this lady, for her faithful services, he bequeathed
100 _l._ After the death of _Hogarth's_ sister, Mrs. _Lewis_ 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. _Hogarth's_
house in _Leicester-square_. Before our artist went to bed, he boasted
of having eaten a pound of beef-steaks for his dinner,[73] 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 _Chiswick_, where a monument is erected to his memory,
with this inscription, under his family arms:
"Here lieth the body
Of _William Hogarth_, Esq.
Who died _October_ the 26th, 1764;
Aged 67 years."
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. _Garrick_:
"Farewell, great painter of mankind,
Who reach'd the noblest point of art;
Whose pictur'd morals charm the mind,
And through the eye correct the heart.
If _genius_ fire thee, reader, stay,
If _nature_ touch thee, drop a tear;
If neither move thee, turn away,
For _Hogarth's_ honoured dust lies here."
On a third side is this inscription:
"Here lieth the body
Of Dame _Judith Thornhill_,
Relict of Sir _James Thornhill_, knight,
Of _Thornhill_ in the county of _Dorset_.
She died _November_ the 12th, 1757,
Aged 84 years."
And on the fourth side:
"Here lieth the body
Of Mrs. _Anne Hogarth_, sister
to _William Hogarth_, Esq.
She died _August_ the 13th, 1771,
Aged 70 years."
Mr. _Hayley_, in his justly admired _Epistle to an Eminent Painter_
(Mr. _Romney_), has since expressed himself concerning our artist in
terms that confer yet higher honours on his comic excellence:
"Nor, if her favour'd hand may hope to shed
The flowers of glory o'er the skilful dead,
Thy talents, _Hogarth!_ will she leave unsung;
Charm of all eyes, and Theme of every tongue!
A separate province 'twas thy praise to rule;
Self-form'd thy Pencil! yet thy works a School,
Where strongly painted, in gradations nice,
The Pomp of Folly, and the Shame of Vice,
Reach'd thro' the laughing Eye the mended Mind,
And moral Humour sportive Art refin'd.
While fleeting Manners, as minutely shown
As the clear prospect on the mirror thrown;
While Truth of Character, exactly hit,
And drest in all the dyes of comic wit;
While these, in _Fielding's_ page, delights supply,
So long thy Pencil with his Pen shall vie.
Science with grief beheld thy drooping age
Fall the sad victim of a Poet's rage:
But Wit's vindictive spleen, that mocks controul,
Nature's high tax on luxury of soul!
This, both in Bards and Painters, Fame forgives
Their Frailty's buried, but their Genius lives."
Thus far the encomiast, who seeks only for opportunities of bestowing
praise. A more impartial narrative will be expected from the
biographer.
It may be truly observed of _Hogarth_, that all his powers of
delighting were restrained to his pencil.[74] 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 _Coventry_ 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;[75] 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 _Joshua Reynolds_ 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 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. _Hogarth's_ possession.
His widow has also a portrait of her husband, and an excellent
bust of him by _Roubilliac_, a strong resemblance; and one of his
brother-in-law Mr. _Thornhill_, much resembling the countenance of Mrs.
_Hogarth_. Several of his portraits also remain in her possession:
_viz._ a finished portrait of Mrs. _Mary Lewis_; _Thomas Coombes_ of
_Dorsetshire_, aged 108; Lady _Thornhill_; Mrs. _Hogarth_ herself, &c.
&c.
A portrait of _Hogarth_ with his hat on, painted for the late Rev. Mr.
_Townley_ by _Weltdon_, and said to be finished by himself, is in the
possession of Mr. _James Townley_, proctor in _Doctors Commons_. A
mezzotinto print from it will be mentioned under the year 1781 in the
Catalogue.
Mr. _Edwards_, of _Beaufort Buildings_, has the portrait of Sir _George
Hay, The Savoyard Girl, The Bench,_ and _Mary Queen of Scots,_[76] by
_Hogarth_.
A conversation-piece by him is likewise at _Wanstead_ in _Essex_, the
seat of Earl _Tylney_.[77] And Mrs. _Hoadly_ has a scene of _Ranger_
and _Clarinda_ in _The Suspicious Husband_; and the late Chancellor
_Hoadly_ repeating a song to Dr. _Greene_, for him to compose; both by
_Hogarth_. The first of these is an indifferent picture, and contains
very inadequate likenesses of the persons represented.
One of the best portraits _Hogarth_ ever painted, is at _Lichfield_.
It is of a gentleman with whom he was very intimate, and at whose
houses at _Mortlake_ and in _Ironmongers-Lane_ he spent much of his
time--Mr. _Joseph Porter_, of _London_, merchant, who died _April_ 7,
1749. Mrs. _Porter_ the sister of this gentleman (who was daughter
of Dr. _Johnson's_ wife by a former husband) is in possession of
the picture.--_John Steers_, esq. (of _The Paper Buildings_ in _The
Temple_) has an auction by _Hogarth_, in which Dr. _Chauncey_, Dr.
_Snagg_, and others, are introduced; and the Earl of _Exeter_ has a
butcher's shop, with _Slack_ fighting, &c.
Of _Hogarth's_ 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.
The plates which remained in his possession were secured to Mrs.
_Hogarth_ by his will, dated _August_ 12, 1764, chargeable with an
annuity of 80 _l._ to his sister _Anne_,[78] who survived him. When,
on the death of his other sister, she left off the business in which
she was engaged (see, in the Catalogue, the first article among the
"Prints of uncertain date,") 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 _Hogarth_.
Of _Hogarth's_ drawings and contributions towards the works of others,
perhaps a number, on enquiry, might be found. An acquaintance of his,
the late worthy Mr. _John Sanderson_, architect, who repaired _Woburn
Abbey_, as well as _Bedford House_ in _Bloomsbury-square_, 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
_Indian_ ink, and a painting in oil colours, exhibited _Bedford House_
in different points of view; the figures only by _Hogarth_. 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, had deluged his face. Our great
painter had obliged Mr. _Sanderson_ 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.
In the year 1745, _Launcelot Burton_ was appointed naval officer at
_Deal. Hogarth_ 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 _Canterbury_ 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 _London_; a circumstance that put him in a violent passion,
during which he wrote an abusive letter to _Hogarth_, whose name was
subscribed to the work. But, after poor _Burton's_ 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 _Vernon_, and all the rest of his friends.
In 1753, _Hogarth_ returning with Dr. _Morell_ from a visit to Mr.
_Rich_ at _Cowley_, stopped his chariot, and got out, being struck by a
large drawing (with a coal) on the wall of an alehouse. He immediately
made a sketch of it with triumph; it was a St. _George and the Dragon_,
all in strait lines.
_Hogarth_ made one essay in sculpture. He wanted a sign to distinguish
his house in _Leicester-fields_; and thinking none more proper than the
_Golden Head_, he, out of a mass of cork made up of several thicknesses
compacted together, carved a bust of _Vandyck_, 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 _Isaac Newton. Hogarth_ modelled another resemblance of _Vandyck_
in clay; which is likewise destroyed.
It is very properly observed by Mr. _Walpole_, that "If ever an author
wanted a commentary, that none of his beauties might be lost, it is
_Hogarth_; 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 _South Sea_, 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 _Marriage à la Mode_; 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 his works; as, for
useful and deep satire, that on the Methodists is the most sublime.
_Rouquet_, the enameller, published a _French_ explanation, though
a superficial one, of many of his prints, which, it was said, he
had drawn up for the use of Marshal _Belleisle_, then a prisoner in
_England_."
However great the deficiencies in this work may be, it was certainly
suggested by _Hogarth_, 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 _Rouquet_ his near neighbour, who lived in the
house at which _Gardelle_ the enameller afterwards lodged, and murdered
his landlady Mrs. _King. Rouquet_, who (as I learn from Mr. _Walpole_)
was a _Swiss_ of _French_ extraction, had formerly published a small
tract on the state of the Arts in _England_, and another, intituled
"L'Art de peinture en fromage ou en ramequin, 1755;" 12mo. (V. "La
_France_ litteraire, ou Dictionaire des Auteurs _François_ vivans, par
_M. Formey_, 1757.") On the present occasion he was liberally paid
by _Hogarth_, 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 _March to Finchley_ was
particularly meant for the instruction of Marshal _Belleisle_.[79]
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 _French_
language. That our _clergy_ always _affect to ride on white horses_,
and other remarks of a similar turn, &c. &c. could never have fallen
from the pen of _Hogarth_, or any other _Englishman_.
This epistle bears also internal evidence to the suggestions _Rouquet_
received from _Hogarth_. Are not the self-congratulations and
prejudices of our artist sufficiently visible in the following passage?
"Ce Tableau dis-je a le defaut d'etre encore tout brillant de cette
ignoble fraîcheur qu'on decouvre dans la nature, et _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._"
The title of this performance, is, "Lettres de Monsieur * * à un
de ses Amis à _Paris_, pour lui expliquer les Estampes de Monsieur
_Hogarth_.--Imprimé à _Londres_: et se vend chez _R. Dodsley_, dans
_Pall Mall_; et chez _M. Cooper_, dans _Paternoster Row_, 1746." (Le
prix est de douze sols.)
I should here observe, that this pamphlet affords only descriptions
of the _Harlot's_ and _Rake's Progress, Marriage à la Mode,_ and the
_March to Finchley_. Nine other plates, viz. the _Modern Midnight
Conversation_, the _Distressed Poet_, the _Enraged Musician,_ the
_Fair, Strolling Actresses dressing in a Barn,_ and the _Four Times of
the Day,_ are enumerated without particular explanation.
I am authorized to add, that _Hogarth_, not long before his death,
had determined, in compliance with the repeated solicitations of his
customers, to have this work enlarged and rendered into _English_, with
the addition of ample comments on all his performances undescribed by
_Rouquet_.
"_Hogarth_ Moralised"[80] will however in some small degree (a very
small one) contribute to preserve the memory of those temporary
circumstances which Mr. _Walpole_ 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.
The works of _Hogarth_, as his elegant biographer has well observed,
are his history;[81] and the curious are highly indebted to Mr.
_Walpole_ for a catalogue of prints, drawn up from his own valuable
collection, in 1771. But as neither that catalogue, nor his appendix
to it in 1780, have given the whole of Mr. _Hogarth's_ labours, I hope
that I shall not be blamed if, by including Mr. _Walpole's_ 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.
_Hogarth_ gave first impressions of all his plates to his late
friends the Rev. Mr. _Townley_ and Dr. _Isaac Schomberg_.[82] Both
sets were sold since the death of these gentlemen. That which was Dr.
_Schomberg's_ became the property of the late Sir _John Chapman_,
baronet; and passed after his death into the hands of his brother, the
late Sir _William Chapman_. 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.
A portrait of _Samuel Martin_, esq. the antagonist of Mr. _Wilkes_,
which Mr. _Hogarth_ had painted for his own use, he gave as a legacy to
Mr. _Martin_.
Mrs. _Baynes_, of _Kneeton-Hall_, near _Richmond, Yorkshire,_ has
an original picture by _Hogarth_, 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 _London_, by her father, many years
ago.
At Lord _Essex's_ sale, in _January_ 1777, Mr. _Garrick_ bought a
picture by _Hogarth_, being the examination of the recruits before
the justices _Shallow_ and _Silence_. 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 _Hogarth_
commonly were, when he strove to paint up to the ideas of others.
Mr. _Browning_, of _King's College, Cambridge,_ has a small picture by
_Hogarth_, representing _Clare-Market_. It seems to have been one of
our artist's early performances.
There are three large pictures by _Hogarth_, over the altar in the
church of _St. Mary Redcliff_ at _Bristol_; the sealing of the sacred
Sepulchre, the Ascension, and the three _Maries_, &c. A sum of money
was left to defray the expence of these ornaments, and it found its
way into _Hogarth's_ pocket. The original sketches in oil for these
performances, are now at Mrs. _Hogarth's_ house in _Leicester-fields_.
In Lord _Grosvenor's_ house, at _Milbank, Westminster_, 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 _Hogarth_.
_Hogarth_ was also supposed to have had some hand in the exhibition
of signs,[83] projected above 20 years ago by _Bonnel Thornton_, 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 those of the King of _Prussia_
and the Empress of _Hungary_, 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. _Colman_.
Mr. _Richardson_ ("now," as Dr. _Johnson_ 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 _Milton_, unlearned as he was, by his son's assisting him
as a telescope does the eye in astronomy; _Hogarth_ shewed him with
a telescope looking through his son (in no very decent attitude) at
a _Virgil_ 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.
In the "Nouveau Dictionnaire Historique, _Caen_, 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 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'_Hogarth_?' Il n'étoit pas seulement peintre, il fut écrivain. Il
publia en 1750 un traité en _Anglois_, intitulé, '_Analyse de la
Beauté_.' L'auteur pretend que les formes arrondies constituent la
beauté du corps: principe vrai à certains égards, faux a plusieurs
autres. _Voy._ sur cet artiste, la sécond volume du 'Mercure de
France,' Janvier, 1770."
Mr. _Peter Dupont_, a merchant, had the drawing of _Paul before
Felix_, which he purchased for 20 guineas, and bound up with a set of
_Hogarth's_ prints. The whole set was afterwards sold by auction, at
_Baker's_, for 17 _l._ to Mr. _Ballard_ of _Little Britain_, in whose
catalogue it stood some time marked at 25 _l._ and was parted with for
less than that sum.
The following original drawings, by _Hogarth_, are now in the
collection of the Rev. Dr. _Lort_:
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.
When _Hogarth_ designed the print intituled _Morning_, his idea of
an _Old Maid_ appears to have been adopted from one of that forlorn
sisterhood, when emaciated by corroding appetites, or, to borrow
_Dryden's_ more forcible language, by "agony of unaccomplished love."
But there is in being, and perhaps in _Leicester-fields_, a second
portrait by our artist, exhibiting the influence of the same misfortune
on a more fleshy carcase. The ancient virgin[84] 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 _Farnesian_ 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 _Sardonic_ 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 _Hogarth_, 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.
Mr. _S. Ireland_ has likewise a sketch in chalk, on blue paper, of
_Falstaff_ 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 _George_ II. and the royal family; sketch
of his present Majesty, taken hastily on seeing the new coinage of
1764; portrait of _Hogarth_ by himself, with a palette; of Justice
_Welsh_;[85] of Sir _James Thornhill_; of Sir _Edward Walpole_;[86]
of his friend _George Lambert_, the landscape-painter; of a boy; of
a girl's head, in the character of _Diana_, finished according to
_Hogarth's_ idea of beauty; of a black girl; and of Governor _Rogers_
and his family, a conversation-piece; eleven Sketches from Nature,
designed for Mr. _Lambert_; four drawings of conversations at _Button's
Coffee-house_; _Cymon_ and _Iphigenia_; two black chalk drawings
(landscapes) given to Mr. _Kirby_ in 1762; three heads, slightly
drawn with a pen by _Hogarth_, to exemplify his distinction between
_Character_ and _Caricature_, done at the desire of Mr. _Townley_,
whose son gave them to Dr. _Schomberg_; a landscape in oil: with
several other sketches in oil.
The late Mr. _Forrest_, of _York Buildings_, was in possession
of a sketch in oil of our Saviour (designed as a pattern for
painted glass), together with the original portrait of _Tibson_ the
Laceman,[87] and several drawings descriptive of the incidents that
happened during a five days tour by land and water. The parties were
Messieurs _Hogarth, Thornhill_ (son of the late Sir _James_), _Scott_
(the ingenious landscape-painter of that name), _Tothall_,[88] and
_Forrest_. They set out at midnight, at a moment's warning, from
the _Bedford Arms_ Tavern, with each a shirt in his pocket. They
had particular departments to attend to; _Hogarth_ and _Scott_ made
the drawings; _Thornhill_ the map; _Tothall_ faithfully discharged
the joint office of treasurer and caterer; and _Forrest_ 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.
_Forrest_ had also drawings of two of the members (_Gabriel Hunt_ and
_Ben Read_), 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.
A transcript of the journal was left in the hands of Mr.
_Gostling_,[89] who wrote an imitation of it in _Hudibrastic_ verse;
TWENTY COPIES only of which having been printed in 1781, as a literary
curiosity,[90] 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 Appendix, N° III.
[1] History of _Westmoreland_, Vol. I. p. 479.
[2] "I must leave you to the annals of Fame," says Mr. _Walker_, 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,
"'To waste their sweetness in the desart air.'
"Happy should I be to rescue from oblivion the name of _Ald Hogart_,
whose songs and quibbles have so often delighted my childhood! These
simple strains of this mountain _Theocritus_ 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 _Westmoreland_ 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.
"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 _one_, for there are several of them extant in MS. in the
mountains of _Westmoreland_ at this hour). This play was called 'The
Destruction of _Troy_.' It was written in metre, much in the manner of
_Lopez de Vega_, or the ancient _French_ 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--_Hector_
dragged by the heels--the fury of _Diomed_--the flight of _Æneas_--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 _London_ would hold; and let me add, still more
to your confusion, that you never saw an audience half so well pleased.
"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 _Windermere_; 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 _Europa_, 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 _Westmoreland_ time out of mind.
"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 _Paris_ running away with _Helen_, and _Menelaus_ scampering after
them; then followed the death of _Patroclus_, the rage of _Achilles_,
the persuasions of _Ulysses_,&c. &c. and the whole interlarded with apt
songs, both serious and comic, all the production of _Ald Hogart_. 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. _Garrick_, to say that his at _Stratford_ was
but a copy of one forty years ago on the banks of _Windermere_. Was
it any improvement, think you, to introduce several _bulls_ into the
procession instead of one? But I love not comparisons, and so conclude.
Yours, &c. ADAM WALKER."
However _Ald Hogart_ 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.
[3] Vir Clarissime, Excusso _Malpighio_ 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, & _Italico-Latina_, juxta
præceptum tuum, _similia feci_ 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; _Augeæ_
enim stabulum non nisi _Hercules_ repurgavit. Partem _Italico_ sermone
conscriptam præetermitto, istam enim provinciam adornare suscepit
Doctor _Pragestee Italus_; 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,
"RICHARDUS HOGARTH, ...Preli Curator."
[4] He published "Grammar Disputations; or, an Examination of the
eight parts of speech by way of question and answer, _English_ and
_Latin_, whereby children in a very little time will learn, not
only the knowledge of grammar, but likewise to speak and write
_Latin_; 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 _Roman_
History, from the beginning of the World to the Year of Christ 1640,
and downwards. Written for the use of schools of _Great-Britain_, by
_Richard Hogarth_ Schoolmaster, 1712." This little book has also a
_Latin_ title-page to the same purpose, "Disputationes Grammaticales,
&c." and is dedicated, "Scholarchis, Ludimagistris, _et Hypodidascalis
Magnæ Britanniæ_."
[5] _Hogart_ was the family name, probably a corruption of _Hogherd_,
for the latter is more like the local pronunciation than the first.
This name disgusted Mrs. _Hogart_; and before the birth of her son,
she prevailed upon her husband to liquify it into _Hogarth_. This
circumstance was told to me by Mr. _Walker_, who is a native of
_Westmoreland_. By Dr. _Morell_, I was informed that his real name was
_Hoggard_, or _Hogard_, which, himself altered, by changing _d_ into ð,
the Saxon _th_.
[6] On what authority this is said, I am yet to learn. The registers of
_St. Bartholomew the Great_, and of _St. Bartholomew the Less_, have
both been searched for the same information, with fruitless solicitude.
The school of _Hogarth's_ father, in 1712, was in the parish of _St.
Martin's Ludgate_. In the register of that parish, therefore, the
births of his children, and his own death, may probably be found.[A]
[A] The register of _St. Martin's Ludgate_, has also been searched to
no purpose.
[7] This circumstance has, since it was first written, been verified
by a gentleman who has often heard a similar account from one of the
_last Head Assay-Masters_ at _Goldsmiths-Hall_, who was apprentice to
a silversmith in the same street with _Hogarth_, and intimate with him
during the greatest part of his life.
[8] Universal Museum, 1764. p. 549. The same kind of revenge, however,
was taken by _Verrio_, who, on the cieling of _St. George's Hall_ at
_Windsor_, borrowed the face of Mrs. _Marriot_, the housekeeper, for
one of the Furies.
[9] This picture is noticed in the article _Thornhill_, in the
_Biographia Britannica_, where, instead of _Wanstead_, it is called
the _Wandsworth_ assembly. There seems to be a reference to it in "A
Poetical Epistle to Mr. _Hogarth_, an eminent History and Conversation
Painter," written _June_ 1730, and published by the author (Mr.
_Mitchell_), with two other epistles, in 1731, 4to.
"Large families obey your hand;
_Assemblies_ rise at your command."
Mr. _Hogarth_ designed that year the frontispiece to Mr. _Mitchell's_
Opera, _The Highland Clans_.
[10] Of all these a more particular account will be given in the
Catalogue annexed.
[11] Brother to _Henry Overton_, the well-known publisher of ordinary
prints, who lived over against _St. Sepulchre's Church_, and sold many
of _Hogarth's_ early pieces coarsely copied, as has since been done by
_Dicey_ in _Bow Church-yard_.
[12] This conceit is borrowed from _Vanloo's_ picture of _Colley
Cibber_, whose daughter has the same employment.
[13] It appears that Mr. _G._ 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 _Garrick_,
without any demand.
[14] Afterwards rector of _Crawley_ in _Hampshire_; author of "_Ben
Mordecai's_ Letters," "Confusion worse confounded," and many other
celebrated works.
[15] 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 _Bateman_, by whom he left a son and two daughters.
[16] 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.
[17] See the Catalogue 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.
[18] The late Mr _Cole_, of _Milton_, in his copy of these Memoirs, had
written against the name of _Bambridge_, "Father to the late attorney
of that name, a worthy son of such a father. He lived at _Cambridge_."
And in a copy of the first edition on occasion of a note (afterwards
withdrawn) which mentioned "Mr. _Baker's_ having quarrelled with
_Hearne_;" Mr. _Cole_ wrote, "Mr. _Baker_ quarrelled with no man: he
might coolly debate with Mr. _Hearne_ on a disputable point. It is,
therefore, a misrepresentation of Mr. _Baker's_ private character,
agreeable to the petulance of this age."
[19] The wardenship of _The Fleet_, a patent office, was purchased of
the earl of _Clarendon_, for 5000 _l._ by _John Huggins_, esq. who
was in high favour with _Sunderland_ and _Craggs_, and consequently
obnoxious to their successors. _Huggins's_ term in the patent was for
his own life and his son's. But, in _August_ 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 _Thomas Bambridge_ and _Dougal Cuthbert. Huggins_ lived to the
age of 90.
[20] Mr. _Rayner_, in his reading on Stat. 2 _Geo._ II. chap. 32.
whereby _Bambridge_ was incapacitated to enjoy the office of warden
of _The Fleet_, has given the reader a very circumstantial account,
with remarks, on the notorious breaches of trust, &c. committed
by _Bambridge_ and other keepers of _The Fleet-Prison_. For this
publication, see _Worral's_ Bibliotheca Legum by _Brooke_, 1777, p. 16.
"A report from the Committee appointed to enquire into the State of the
Gaols of this Kingdom, relating to the _Marshalsea_ prison; with the
Resolutions of the House of Commons thereupon," was published in 4to.
1729; and reprinted in 8vo, at _Dublin_ the same year. It appears by
a MS. note of _Oldys_, cited in _British Topography_, vol. I. p. 636,
that _Bambridge_ cut his throat 20 years after.
[21] _William Huggins_, esq. of _Headly Park, Hants,_ well-known by
his translation of the _Orlando Furioso_ of _Ariosto_. Being intended
for holy orders, he was sent to _Magdalen College, Oxford,_ where he
took the degree of M. A. _April_ 30, 1761; but, on the death of his
elder brother in 1756, declined all thoughts of entering into the
church. He died _July_ 2, 1761; and left in MS. a tragedy, a farce,
and a translation of _Dante_, of which a specimen was published in the
_British Magazine_, 1760. Some flattering verses were addressed to
him in 1757, on his version of _Ariosto_; which are preserved in the
_Gentleman's Magazine_, vol. XXVII. p. 180; but are not worth copying.
The last Mr. _Huggins_ left an estate of 2000 _l._ a year to his two
sons-in-law _Thomas Gatehouse_, Esq; and Dr. _Musgrave_ of _Chinnor_.
[22] Sir _Francis Page's_, "Character," by _Savage_, thus gibbets him
to public detestation:
"Fair Truth, in courts where Justice should preside,
Alike the Judge and Advocate would guide;
And these would vie each dubious point to clear,
To stop the widow's and the orphan's tear;
Were all, like _Yorke_,[A] of delicate address,
Strength to discern, and sweetness to express,
Learn'd, just, polite, born every heart to gain,
Like _Comyns_[B] mild; like _Fortescue_[C] humane,
All-eloquent of truth, divinely known,
So deep, so clear, all Science is his own.
"Of heart impure, and impotent of head,
In history, rhetoric, ethics, law, unread;
How far unlike such worthies, once a drudge,
From floundering in low cases, rose a Judge.
Form'd to make pleaders laugh, his nonsense thunders,
And on low juries breathes contagious blunders.
His brothers blush, because no blush he knows,
Nor e'er 'one uncorrupted finger shows.'[D]
See, drunk with power, the circuit-lord exprest!
Full, in his eye, his betters stand confest;
Whose wealth, birth, virtue, from a tongue so loose,
'Scape not provincial, vile, buffoon abuse.
Still to what circuit is assigned his name,
There, swift before him, flies the warner--Fame.
Contest stops short, Consent yields every cause
To Cost; Delay endures them, and withdraws.
But how 'scape prisoners? To their trial chain'd,
All, all shall stand condemn'd, who stand arraign'd,
Dire guilt, which else would detestation cause,
Prejudg'd with insult, wondrous pity draws.
But 'scapes e'en Innocence his harsh harangue?
Alas!--e'en Innocence itself must hang;
Must hang to please him, when of spleen possest,
Must hang to bring forth an abortive jest.
"Why liv'd he not ere Star-chambers had fail'd,
When fine, tax, censure, all but law prevail'd;
Or law, subservient to some murderous will,
Became a precedent to murder still?
Yet e'en when portraits did for traitors bleed,
Was e'er the jobb to such a slave decreed,
Whose savage mind wants sophist-art to draw,
O'er murder'd virtue, specious veils of law?
"Why, Student, when the bench your youth admits,
Where, though the worst, with the best rank'd he sits;
Where sound opinions you attentive write,
As once a _Raymond_, now a _Lee_ to cite,
Why pause you scornful when he dins the court?
Note well his cruel quirks, and well report.
Let his own words against himself point clear,
Satire more sharp than verse when most severe."
Nor was _Savage_ less severe in his prose. On the trial of this
unfortunate poet, for the murder of _James Sinclair_ in 1727, Judge
_Page_, 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. _Savage_ used to relate it, with this
eloquent harangue: "Gentlemen of the Jury, you are to consider that
Mr. _Savage_ 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. _Savage_ should therefore kill you or
me, gentlemen of the jury?"
_Pope_ also, _Horace_, B. II. Sat. r, has the following line:
"Hard words or hanging, if your judge be _Page."_
And _Fielding_, in _Tom Jones_, makes _Partridge_ say, with great
_naiveté_, after premising that judge _Page_ was a very brave man, and
a man of great wit, "It is indeed charming sport to hear trials on life
and death!"
[A] Sir _Philip Yorke_, chief justice of the King's Bench, afterwards
lord-chancellor and earl _Hardwicke_.
[B] Sir _John Comyns_, chief baron of the Exchequer.
[C] Hon. _William Fortescue_, then one of the justices of the court of
Common Pleas, afterwards master of the Rolls.
[D] "When _Page_ one uncorrupted finger shows." D. of WHARTON.
[23] The truth and propriety of these strictures having been disputed
by an ingenious correspondent in the _Public Advertiser_, 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 _Hogarth_ and his productions. See
Appendix I.
[24] In co'i Banco.
WILLIAM HOGARTH, Plaintiff. JOSHUA MORRIS, Defendant.
_Middlesex._
The Plaintiff declares, that on the 20th of _December_, 1727, at
_Westminster_ aforesaid, Defendant was indebted to him 30 _l_. for
painter's work, and for divers materials laid out for the said work;
which Defendant faithfully promised to pay when demanded.
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 _l_.
Plaintiff also declares for another sum of 30 _l_ for money laid out
and expended for Defendant's use, which he promised to pay.
The said Defendant not performing his several promises, the Plaintiff
hath brought this action to his damage 30 _l_. for which this action is
brought.
To which the Defendant hath pleaded _non assumpsit_ and thereupon issue
is joined.
CASE.
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.
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.'
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.
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.'
Defendant employs some of the finest hands in _Europe_ 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.
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
_l._ which now lies by him, and another painter is now painting another
proper pattern for the said piece of tapestry.
To prove the case as above set forth, call Mr. _William Bradshaw_.
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. _Bernard Dorrider_, Mr. _Phillips_, Mr. _De
Friend_, Mr. _Danten_, and Mr. _Pajon_.
By the counsel's memoranda on this brief it appears, that the witnesses
examined for the Plaintiff were _Thomas King, Vanderbank, Le Gard,
Thornhill,_ and _Cullumpton_.
[25] _James Thornhill_, esq. serjeant-painter and history-painter
to King _George_ I. In _June_ 1715, he agreed to paint the cupola
of _St. Paul's_ church for 4000 _l._ and was knighted in _April_
1720. In a flattering account given of him immediately after his
death, which happened _May_ 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 _Greenwich-Hospital_, the cupola of
_St. Paul's_, the altar-pieces of _All-Souls College_ in _Oxford_,
and in the church of _Weymouth_, where he was born; a cieling in the
palace of _Hampton-Court_, by order of the late Earl of _Halifax:_ his
other works shine in divers noblemens' and gentlemens' houses. His
later years were employed in copying the rich cartoons of _Raphael_
in the gallery of _Hampton-Court_, 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
_Weymouth_, 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 _John
Thornhill_, Esq. He left no other issue but one daughter, now the wife
of Mr _Wm. Hogarth_, admired for his curious miniature conversation
paintings. Sir _James_ has left a most valuable Collection of pictures
and other curiosities."
[26] He was called on this occasion, in the Craftsman, "Mr. _Hogarth_,
an ingenious designer and engraver."
[27] "_Pope_ published in 1731 a poem called _False Taste_, in which he
very particularly and severely criticises the house, the furniture, the
gardens, and the entertainments of _Timon_, a man of great wealth and
little taste. By _Timon_ he was universally supposed, and by the Earl
of _Burlington_, to whom the poem is addressed, was privately said to
mean the Duke of _Chandos_; 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 _Pope_, who was said
to have been indebted to the patronage of _Chandos_ 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
_Pope_ 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 _Cleland_ 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 _Pope_, after the reciprocal
kindness that had been exchanged between them, it had been less easily
excused." _Dr. Johnson, in his Life of Pope._
[28] That Sir _John Gonson_ 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. _T. Gilbert_, a fellow of _Peter House
Cambridge_, and an intimate companion of _Loveling_,[A] I meet with
these lines:
"Though laws severe to punish guilt were made,
What honest man is of these laws afraid?
All felons against judges will exclaim,
As harlots startle at a _Gonson's_ name."
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. _Loveling_. This
gentleman was educated at _Winchester-school_, became a commoner of
_Trinity College, Oxford_, was ordained deacon, lived gaily, and died
young. His style, however, appears to have been formed on a general
acquaintance with the language of _Roman_ poetry; nor do any of his
effusions betray that poverty of expression so conspicuous in the poems
of _Nicholas Hardinge_, esq. who writes as if _Horace_ was the only
classic author he had ever read.
Ad _Johannem Gonsonum_, Equitem.
Pellicum, _Gonsone_, animosus hostis,
Per minus castas _Druriæ_ tabernas
Lenis incedens, abeas _Diones_
Æquus alumnis!
Nuper (ah dictu miserum!) _Olivera_
Flevit ereptas viduata mœchas,
Quas tuum vidit genibus minores
Ante tribunal.
Dure, cur tantâ in _Veneris_ ministras
Æstuas irâ? posito furore
Huc ades, multà & prece te vocantem
Gratior audi!
Nonne sat mœchas malè feriatas
Urget infestis fera sors procellis?
Adderis quid tu ulterior puellis
Causa doloris?
Incolunt, eheu! thalamos supernos,
Nota quæ sedes fuerat Poetis;
Nec domum argento gravis, ut solebat,
Dextra revertit.
Nympha quæ nuper nituit theatro,
Nunc stat obscuro misera angiportu,
Supplici vellens tunicam rogatque
Voce _Lyæum_.
Te voco rebus _Druriæ_ mentis;
Voci communi _Britonum_ Juventus
Te vocat, nunc ô! dare te benignum
Incipe votis.
Singulum tunc dona feret lupanar:
Liberum mittet _Rosa_ Lusitanum,
Gallici _Haywarda_ et generosa mittet
Munera _Bacchi_.
Sive te forsan moveat libido,
Aridis pellex requiescet ulnis,
Callida effœtas renovare lento
Verbere vires.
The same poet, speaking of the exhilarating effects of Gin, which had
just been an object of Parliamentary notice, has the following stanza:
Utilis mœchae fuit & Poetæ;
Sprevit hinc Vates Dolopum catervas,
Mœcha _Gonsonum_ tetricâ minantem
Fronte laborem.
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,
_James Dalton's_ wig-box being placed on the tester of the Harlot's
bed. I learn from the _Grubstreet Journal_, that he was executed on
the 12th of _May_, 1730. Sir _John Gonson_ died _January_ 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 _Henley_. The
following puffs, or sneers, concerning them, are found in the first
number of the _Grubstreet Journal_, dated _January_ 8, 1730. "Yesterday
began the General Quarter Sessions, &c. when Sir _John Gonson_, being
in the chair, gave a most _incomparable, learned,_ and _fine_ charge to
the Grand Jury." _Daily Post_.
"The _Morning Post_ calls Sir _John's_ charge _excellent, learned_ and
_loyal_. The _Evening Post_ calls it an _excellent lecture_ and _useful
charge_."
Three of these performances had been published in 1728.[B] Sir _John's_
name is also preserved in Mr _Pope's_ works:
"Talkers I've learn'd to bear: _Motteux_ I knew;
_Henley_ himself I've heard, and _Budgell_ too.
The Doctor's wormwood style, the hash of tongues
A pedant makes, the storm of _Gonson's_ lungs."
Fourth Sat. of Dr. _Donne_ versified.
[A] In the collection of _Loveling's_ Poems, 1741, are two by _Gilbert.
Loveling_ also addressed a poem, not printed in his works, "_Gilberto
suo_," and in _Gilbert's_ Poems, published 1747, is "A familiar Epistle
to my friend _Ben Loveling_."
[B] One charge by Sir _John Gonson_ is in the Political State, vol.
XXXV. p. 50; and two others in vol. XXXVI. pp 314. 333.
[29] It was customary in _Hogarth's_ family to give these fans to the
maids.
[30] Among the small articles of furniture in the scenes of _Hogarth_,
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 _Dare for Larks_ (a circular board with pieces
of looking-glass inserted in it), hung up over the chimney-piece of
the _Distress'd Poet_; and the _Jews Cake_ (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 _Harlot's
Progress_. I have frequently met with both these articles in mean
houses.
[31] The fire began at the house of Mrs. _Calloway_, who kept a
brandy-shop. This woman was committed to _Newgate_, 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 _June_, that should warm all her rascally
neighbours."
[32] _Hogarth_ attempted to improve it, but without much success. The
additional figures are quite episodical. See the Catalogue.
[33] In _Seymour's_ history of _London_, vol. II. p. 883. is the
following notice of our artist:
"Among the Governors of _St. Bartholomew's Hospital_, was lately chosen
Mr. _William Hogarth_ 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."
[34] 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 _Thomas Bakewell_, a printseller, near the
_Horn Tavern, Fleet-street_.
[35] Of the _Harlot's Progress_ I have seen no less than eight
piratical imitations.
[36] _Lord Gardenston_, one of the lords of session in _Scotland_, on
delivering his opinion in the court of session upon the question of
literary property, in the cause of _Hinton_ and _Donaldson_ and others,
all booksellers, in _July_ 1773 thus introduced the works of _Hogarth_:
"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 _Hogarth_, who, in my humble opinion, is the only true original
artist which this age has produced in _England_. 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, _Horace's_ characteristic of excellency in writing, _decies
repetita placebit_; 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 _Butler_ or a _Swift_? 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 _James Boswell_, esq. advocate, one of
the counsel in the cause.
[37] "That _Huggins_ penned the statute, I was told by Mr. _Hogarth_
himself. The determination of Lord _Hardwicke_ was thus occasioned.
_Jefferys_, the printseller at the corner of _St. Martin's Lane_,
had employed an artist to draw and engrave a print representing the
_British_ 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 _Jefferys_ 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. _Hogarth_ attended the hearing; and lamented to me that
he had employed _Huggins_ 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." _For this note my
readers are indebted to Sir_ John Hawkins.
[38] "What Caricatura is in painting," says _Fielding_, "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."
[39] This idea originally occurred in _Colley Cibber's Apology_.
From thence it was transplanted by _Lloyd_ into his celebrated poem
intituled _The Actor_. Lying thus in the way of _Garrick_, he took
it up for the use of the _prologue_ already quoted. Lastly, Mr.
_Sheridan_, in his beautiful _Monody_, condescended to borrow it, only
because it spared him the labour of unlocking the richer storehouse of
his own imagination.
I may however remark that _Cibber_, 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 _Hogarth, Dance, Zoffani,_ and _Reynolds_,
had left Mr. _Garrick_ 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 _Chatham_ and _Mansfield_, whose
talents, perhaps, might support an equal claim to perpetuation.
[40] Dr. _M._ once observed to _J. N._ in a letter on this subject, "In
the 13th chapter I was somewhat puzzled with the _flat_ and _round_, or
the _concave_ and _convex_, 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 _colouring_, did not go
on quite so smooth; for, if I satisfied _him_, I was not satisfied
_myself_ with his peculiar principles; nor could I relish his laying
the blame on the _colourmen_, &c."
[41] One exception to this remark occurs in the _Gentleman's Magazine_
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.
"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 _Egyptian_ 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 _lever_, 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."
It should be observed, however, that the general decision on
_Hogarth's_ performance may be just. Certain we are, that it has not
been reversed by the opinion of the First of our Modern Painters.
[42] The _Analysis_ itself however affords sufficient specimens of
inaccuracy in spelling. Thus we have (pref. p. xix.) _Syclamen_ instead
of _Cyclamen_; (p. 44.) calc_i_donian for C_h_alc_e_donian; (p. 65.)
nuckles for _k_nuckles; (p. 97.) Iris_h_-stitch for Iris-stitch, &c.
&c. In the sheets that contain these errors, it is easy to conceive
that _Hogarth_ must have been his own corrector of the press.
[43] It is so extraordinary for an illiterate person to ridicule
inaccuracy of spelling, that this might probably be a real blunder.
[44] Some account of this work will be given in a future page.
[45] See a note on _Marriage-a-la-Mode_ (under the year 1745); from
whence it sufficiently appears, that _indelicacies_, &c. had been
imputed to _Hogarth's_ performances, and that, therefore, when he
advertised the six plates of _Marriage-a-la-Mode_, he thought it
necessary to assure the public that no _indelicacy, indecency,_ or
_personality_, would be found in any of these representations.
[46] The exigence of this card having been doubted, it is engraved in
our title-page, from the original now in _Charles Street, Grosvenor
Square_, in the possession of Dr. _Wright_.
[47] This pun reminds us of a similar one from _Garth_ to _Rowe_, who
making repeated use of his snuff-box, the _Doctor_ at last sent it to
him with the two _Greek_ letters written on the lid, Φ, ρ, (_Phi, Ro_).
At this the sour _Dennis_ was so provoked, as to declare, that "a man
who could make such a vile pun, would not scruple to pick a pocket."
[48] The cat spitting at the dog is a circumstance in the fourth plate
of _Industry and Idleness_, 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.
[49] When this ample, nay, redundant, apology by Dr. _Joseph Warton_
first made its appearance, _Hogarth_ 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 _Hogarth_ never praised his
provision or his wine, without being asked what proportion of the ΗθΟΣ
[Greek: Ethos] he supposed to be in either.
[50] An engraving from this picture may be expected from Mr. _Livesay_.
[51] A polite gentleman, of great learning, and much esteemed. He had
some good pictures, and a very fine library, in the great house at
_Peckham_ (formerly inhabited by Lord _Trevor_), which, together with
a considerable estate there, was bequeathed to him by his aunt Mrs.
_Hill_.
[52] See the names of the purchasers, and prices of this collection, in
the _Gentleman's Magazine_, 1758, p. 225.
[53] He painted the heart from an injected one provided for him
by _Cæsar Hawkins_ the surgeon; and, on the authority of repeated
inspection, I venture to affirm, that the fingers of _Sigismunda_ 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. _Walpole's_ 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. _H._ 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.
I have reprinted this note, without correction, that I might thereby
obtain the fairer opportunity of doing justice to Mr. _Walpole_,
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 _Sigismunda_ were _originally_ stained with blood.
This indelicate and offensive circumstance was pointed out by some
intelligent friend to _Hogarth_, who reluctantly effaced it.
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. _Walpole's_ strictures on _Sigismunda_. "It has
been whispered that Count _Guiscard's_ widow was a copy from the
_daughter of Sir James Thornhill_. If this circumstance be true, the
very accomplished Critick of _Strawberry Hill_ will own at least that
her wrath and _Juno's_ had the same provocation, '_Judiciam Paridis,
spretæque injuria formæ_.' Impartiality, however, obliges us to add,
that Mrs. _Hogarth_, though in years, is still a very fine woman; and
that Mr. _Walpole's_ idea of what a picture of _Sigismunda_ ought to
express, is poetically conceived, and delivered with uncommon elegance
and force of language. The _sober grief_, the _dignity of suppressed
anguish_, the _involuntary tear_, the _settled meditation on the fate
she meant to meet_, and the _amorous warmth turned holy by despair_,
are words that fill the place of colours, supply all the imperfections
of _Hogarth's_ design, and succeed even where a _Furino_ or a
_Correggio_ may have failed."
[54] This circumstance was ridiculed in a grotesque print, called _A
Harlot blubbering over a bullock's heart. By William Hogart._
[55] "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. _Milton_,
however it happened, had this prejudice, and had it to himself." Dr.
JOHNSON.
[56] _Sigismunda_, however, though she missed of judicious admirers,
had, at least, the good fortune to meet with a flatterer in the late
Mr. _Robert Lloyd_, whose poem intituled _Genius, Envy,_ and _Time,_
addressed to _William Hogarth_, esq. has the following lines. _Time_ is
the speaker.
"While _Sigismunda's_ deep distress
Which looks the soul of wretchedness,
When I, with slow and softening pen,
Have gone o'er all the tints agen,
Shall urge a bold and proper claim,
To level half the ancient fame;
While future ages, yet unknown,
With critic air shall proudly own
Thy _Hogarth_ first of every clime
For humour keen, or strong sublime, &c."
It is but justice, on one hand, to add, that when _Lloyd_ 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 _Hogarth_, seen few pictures by the best masters, he was
treating of an art he did not understand.
The authors of the _Monthly Review_ are of opinion, that _Mr. Walpole_
speaks too contemptuously of _Sigismunda_, 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 _Hogarth_ from the noble person referred to, in which he expresses
himself in the following terms;--_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._" 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. _Wilkes's_ opinion of the piece
will be best conveyed in his own words, which are therefore copied in
p. 81.
Dr. _Morell_, an intimate friend of Mr. _Hogarth_, 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, _ubi plura nitent_,
seriously condemned. But the unhappy affair of _Sigismunda_ requires
animadversion. And I will venture to say that even this _Sigismunda_
would not have deserved so many hard things as have been said of it, if
Mr. _Hogarth_ had timely and properly observed the caution--_Manum de
Tabula_. 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 _feigned_ tears and _fictitious_ 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 _wet_; 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 _ultramarine_, &c. would
keep their natural brightness. But it is granted that colouring was not
Mr. _Hogarth's_ forte; and the subject we are upon is a disagreeable
one."
[57] The first sketch in oil for _Sigismunda_, and a drawing from the
finished picture, are in the possession of Mr. _Samuel Ireland_.
[58] At the Club of Artists, it was not unusual to reproach _Hogarth_
with want of due attention to the Ancients, whom he always affected to
despise. It accidentally happened that Mr. _Basire_, 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. _Hollis_, so remarkably grotesque, that Mr. _Hogarth_ very readily
consented that his plate should be postponed, and declared, "he could
not have imagined that the Ancients had possessed so much humour."
[59] Some subscriptions were actually received, and the money returned.
The munificient Mr. _Hollis_, who was one of the subscribers, refused
to take back what he had paid; and it was given by Mr. _Basire_ to a
public charity.
[60] Two other little pieces are ascribed to him; the distich under the
subscription-ticket for his _Sigismunda_, 1761,
'To Nature and yourself appeal;
Nor learn of others how to feel.'
And the following well-known Epigram:
"Your servant, Sir," says surly _Quin_,
"Sir, I am yours," replies _Macklin_,
"Why, you're the very _Jew_ you play,
Your face performs the task well."
"And you are _Sir John Brute_, they say,
And an accomplished _Maskwell_."
Says _Rich_, who heard the sneering elves,
And knew their horrid hearts;
"Acting too much your very selves,
You overdo your parts."[A]
[A] The censure contained in these poor lines is eminently unjust.
_Macklin_ is known to have been an anxious and affectionate parent, and
_Quin_ a benevolent and liberal friend.
[61] On what account I know not, but he had then forborn painting for
more than a year.
[62] See hereafter, p. 81.
[63] In the Beauties of all the Magazines, 1773, p. 440, is a droll
"Epistle from _Jacob Henriques_, born anno Domini, &c. to Messieurs
_Hogarth_ and _Churchill_ greeting."
[64] 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
note on N° 2.
[65] As much of this paper as relates to our artist is here subjoined:
"The humourous Mr. _Hogarth_, the _supposed_ author of the _Analysis
of Beauty_, has at last entered the list of politicians, and given us
a print of _The Times. Words are man's province_, says _Pope_; but
they are not Mr. _Hogarth's_ province. He somewhere mentions his being
indebted to a friend for a third part of the _wording_: that is his
phrase. We all titter the instant he takes up a _pen_, but we tremble
when we see the _pencil_ 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 _his own peculiar walk_, he has never failed to make
himself perfectly ridiculous. I need only make my appeal to any one
of his _historical_ or _portrait_ pieces, which are now considered
as almost beneath all criticism. The favourite _Sigismunda_, the
labour of so many years, the boasted effort of his art, was not
_human_. If the figure had a resemblance of 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
_Raphael, Vandyke,_ and others, were made to yield the palm of beauty,
grace, expression, &c. to him, for this long laboured, yet still,
_uninteresting_, single figure. The value he himself set on this, as
well as on some other of his works, almost exceeds belief; yet from
politeness or fear, or some other motives, he has actually been paid
the most astonishing sums, as the price, not of his merit, but of his
unbounded vanity.
"The darling passion of Mr. _Hogarth_ is to shew the _faulty_ and
_dark_ side of every object. He never gives us in perfection the _fair
face of nature_, but admirably well holds out her deformities to
ridicule. The reason is plain. All objects are painted on his _retina_
in a grotesque manner, and he has never felt the force of what the
_French_ call _la belle nature_. 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 _Marriage à la
Mode_, the public wished for a series of prints of a _happy_ marriage.
_Hogarth_ made the attempt, but the rancour and malevolence of his
mind made him 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.
"I have observed some time his _setting sun_. He has long been very
_dim_, and almost _shorn of his beams_. He seems so conscious of this,
that he now glimmers with _borrowed light. John Bull's house in flames_
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 _Hogarth_, but to _Callot_. That spirited _Italian_,
whom the _English_ painter has so carefully studied, has given us in
the _Balli di Sfessania di Jacomo Callot_, the very same ideas, but
infinitely more ludicrous in the execution. The piece is _Smaraolo
cornuto. Ratsa di Boio. The Times_ 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 _story is not well told to the eye_; 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 _rake_, a _harlot_, and a
_profligate young man of quality_.
"I own too that I am grieved to see the genius of _Hogarth_, which
should take in all ages and countries, sunk to a level with the
miserable tribe of party-etchers, and now, in his rapid decline,
entering into the poor politics of the faction of the day, and
descending into low personal abuse, instead of instructing the
world, as he could once, by manly moral satire. 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
_Hogarth's_ regard, or even good-will. _Gain_ and _vanity_ 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 _Arts and Sciences_! How shuffling
has his conduct been to the whole body of _Artists_! 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 _genius_ was not born, nor will die, with Mr.
_Hogarth_: and notwithstanding all his ungenerous efforts to damp or
chill it in another, I will trust to a discerning and liberal spirit in
the _English_ nation, to patronize and reward all real merit. It will
in the end rise superior to the idle laugh of the hour, 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 _dummodo risum excutiat_,
ought to be avoided as the worst pest of society, as the _enemy_ most
to be feared, I mean a treacherous _friend_. 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.
"I love to trace the ideas of a Genius, and to mark the progress of
every art. Mr. _Hogarth_ has heard much of the _cobwebs_ of the law,
and the _spinning fine spider-webs_, &c. This is thrown on paper, and
the idea carefully treasured. Lord _Hardwicke_ 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. _Hogarth_ as a great spider in a large, thick web,
with myriads of the carcases of _flies, clients_ I suppose, sucked to
death by the gloomy tyrant. Mr. _Hogarth_ had heard of Mr. _Pitt's_
being _above_ all his fellow-citizens, and of his superior virtue
having _raised_ him to an envied and dangerous _height_ of grandeur.
Now this he has taken literally, and, with the kind aid of _Callot_,
has put Mr. _Pitt_ on stilts, and made the people _look up_ 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
_bellows_, to signify, I suppose, Mr. _Pitt's_ 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: _neque vero hoc_ oratione
_solum, sed multo magis_ vitâ _et_ moribus _comprobavit._ Cic. de Fin.
"Lord _Temple_ 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. _Hogarth's_ wit on this noble lord is confined to the
wretched conceits of the _Temple Coffee-house_, and a _squirt_ to
signify the _playing on_ the ministry. I really believe this wit is all
Mr. _Hogarth's_ own.
"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 _Spartans_, music and poetry were made to serve the noblest
purposes of the _Lacedemonian_ 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 _mechanic lucre_ of the profession, and was zealous only for
the glory of his country. In the year 1746, when the _Guards_ were
ordered to march to _Finchley_, on the most important service they
could be employed in, the extinguishing a _Scottish_ rebellion, which
threatened the intire ruin of the illustrious family on the throne,
and, in consequence, of our liberties, Mr. _Hogarth_ came out with a
print to make them ridiculous to their countrymen and to all _Europe_;
or perhaps it rather was to tell the _Scots_ in his way how little the
Guards were to be feared, and that they might safely advance. That
the ridicule might not stop here, and that it might be as offensive
as possible to his own _sovereign_, he dedicated the print to the
king of _Pru[s]ia[A] as an encourager of arts_. Is this patriotism!
In old _Rome_, or in any of the _Grecian_ states, he would have been
punished as a profligate citizen, totally devoid of all principle. In
_England_ he is rewarded, and made _serjeant_ painter to that very
king's grandson. I think the term means the same as what is vulgarly
called _house_-painter; and indeed he has not been suffered to
_caricature_ the royal family. The post of portrait-painter is given to
a _Scotsman_, one _Ramsay_. Mr. _Hogarth_ is only to paint the wainscot
of the rooms, or, in the phrase of the art, may be called their
_pannel-painter_. But how have the _Guards_ offended Mr. _Hogarth_, for
he is again attacking them in _The Times_? Lord _Harrington's_ second
troop of grenadier guards is allowed to be very perfect in every part
of military discipline; and _Hogarth's_ friend, the king of _Prussia_,
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 _Harrington_, and in a piece of _clock-work_; but
he ought to have known, that though _l'homme machine_ is not sound
philosophy, it is the true doctrine of tactics.
"The _Militia_ 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.
_George Townshend's_ free consent to vent his spleen upon him and the
gentlemen of _Norfolk_. I believe he may ever go on in this way almost
unnoticed; at one time ridiculing the _Guards_ for a _disorderly_,
and at another the _Militia_ for an exact and _orderly_ march. Mr.
_Townshend_ 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 _Militia_, which
has delivered us from the ignominy of _foreign hirelings_, and the
ridiculous fears of invasion, by a brave and well-disciplined body of
_Englishmen_, at all times ready and zealous for the defence of their
country, and of its laws and constitution."
[A] This is the orthography of Mr. _Hogarth_. See the print.
[66] The present Lord _Camden_.
[67] This gave rise to a catchpenny, intituled, "_Pug's_ Reply to
Parson _Bruin_; or, a Political Conference, occasioned by an Epistle to
_William Hogarth_, Esq;" 4to.
[68] "Which was probably accelerated by this unlucky (we had almost
said unnatural) event; for _Wilkes, Churchill,_ and _Hogarth_, 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."
[69]--the friend----Dr. _Morell_. The conduct of this gentleman cannot
fail to put the reader in mind of _Sir Fretful Plagiary's_ complaint in
Mr. Sheridan's _Critic_: "--if it is abuse, why one is always sure to
hear of it from one damn'd good-natured _friend_ or another."
[70]
"While thinking figures from the canvas start,
And _Hogarth_ is the _Garrick_ of his art,"
is a couplet in _Smart's Hilliad_.
The compliment from the _Hilliad_ to Mr. _Hogarth_, Mr. _Smart_
observes, "is reciprocal, and reflects a lustre on Mr. _Garrick_,
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."
[71] The pyramid, &c. This stroke of satire was retorted on _Hogarth_,
and employed to express his advanced age and declining abilities; while
the _Cheshire_ cheese, with 3000 _l._ on it, seemed to imply that he
himself merited an annual pension.
I received this explanation from an ingenious friend.--The late Mr.
_Rogers_ explained it thus: "Mr. _Pitt_ is represented in it sitting
at his ease [in the position of the great Sir _Isaac Newton_ in
_Westminster-Abbey_], with a mill-stone hanging over his head, on which
is written 3000 _l._ in allusion to his saying, that _Hanover_ was a
mill-stone round the neck of _England_, on account of the expences
attending it; and his afterwards adding himself to the public expences
by accepting a pension of 3000 _l._ 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 _England_; and is supported by the City of
_London_, denoted by the two Giants in _Guildhall. Hogarth_ is flogging
_Wilkes_ and _Churchill_, and making them dance to the scrapings
of a fidler; designed to represent a Nobleman [Earl _Temple_], who
patronized them in 1763, and who, for his unmeaning face, has ever been
described without a feature. See _Trusler's_ Preface, p. vii."
[72] It may be worth observing, that in "Independence," a poem which
was not published by _Churchill_ till the last week of _September_,
1764, he considers his antagonist as a departed Genius:
"_Hogarth_ would draw him (Envy must allow)
E'en to the life, WAS HOGARTH LIVING NOW."
How little did the sportive Satirist imagine that the power of pleasing
was so soon to cease in both! _Hogarth_ died in four weeks after the
publication of this poem; and _Churchill_ survived him but nine days.
In some lines which were printed in _November_ 1764, the compiler of
these Anecdotes took occasion to lament that
"----Scarce had the friendly tear,
For _Hogarth_ shed, escap'd the generous eye
Of feeling Pity, when again it flow'd
For _Churchill's_ fate. Ill can we bear the loss
Of Fancy's twin-born offspring, close ally'd
In energy of thought, though different paths
They sought for fame! Though jarring passions sway'd
The living artists, let the funeral wreath
Unite their memory!"
[73] The _Monthly Reviewer_ unintentionally reads _supper_, instead of
_dinner_. As to this article of minute intelligence, whether it be true
or false, it was communicated by Mrs. _Lewis_.
[74] Mr. _Walpole_ once invited _Gray_ the Poet and _Hogarth_ 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 _Tragedy_ and _Comedy_, being obliged
to rely entirely on his own efforts to support conversation.
[75] The most solid praise, perhaps, that ever was given to our artist,
was a legacy of 100 _l._ "for the great pleasure the testator had
received from his works."
[76] Originally begun for a portrait of Mrs. _Cholmondeley_, but
altered, after one or two sittings, to the Queen.
[77] See p. 9.
[78] To whom, in case of Mrs. _Hogarth's_ marrying again, he gave the
plates of Marriage à la Mode, and of the Harlot's and Rake's Progress.
[79] Whilst the Marshal was a prisoner in _England_, Monsieur
_Coetlagon_ 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
_English_) to Marshal _Belleisle_; whose place of confinement was in
_The Round Tower_ at _Windsor Castle_; where the large dining-room is
still ornamented with a variety of humourous _French_ engravings; and a
small library of _French_ books.
[80] In the year 1768 was published a work, intituled, "_Hogarth_
Moralised. Being a complete Edition of _Hogarth's_ 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 _Jane Hogarth_, Widow of the late Mr. _Hogarth_."
The history of the work is as follows: The Rev. _John Trusler_ engaged
with some engravers in this design, after _Hogarth's_ death, when they
could carry it into execution with impunity. Mrs. _Hogarth_, 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 _l._
[81] "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 _Britain!_--How
far the works of _Hogarth_ will bear a critical examination, may be
the subject of a little more enquiry. In design _Hogarth_ 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 _Hogarth_ 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
_Hogarth_ 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 _Hogarth_; 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 _Spagniolet's_; which, though admirably executed, appear
plainly to have no archetypes in nature. _Hogarth's_, on the other
hand, are collections of natural curiosities. The _Oxford-heads_, 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 _Spagniolet's_, 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." _Gilpin, Essay on Prints,_ p. 165.
[82] To whom _Hogarth_ bequeathed ten guineas for a ring.
[83] It having been requested in the Catalogue of this exhibition
(which was in _Bow-Street, Covent-Garden_) that all remarks on the
artists, or their performances, might be sent to _The St. James's
Chronicle_; the compiler of these Anecdotes transmitted a few hasty
lines, which were printed in that paper _April_ 29, 1762. They are not
worth transcribing: but a short extract will preserve the ASSUMED names
of some of the artists--
"And _Masmore, Lester's, Ward's_, and _Fishbourne's_ name,
With thine, _Vandyck_, shall live to endless fame;
In your collection Wit and Skill combine,
And Humour flows in every well-chose Sign."
[84] She is still living, and has been loud in abuse of this work, a
circumstance to which she owes a niche in it.
[85] Among the compliments _Hogarth_ 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. _Welsh_ was painted within the
compass of the time prescribed, but had afterwards the advantage of a
second sitting.
[86] Mr. _Walpole_ is now possessed of the portrait of his brother Sir
_Edward_.
[87] This, and the preceding article, are now in the possession of
_Peter Coxe_, esq. of _College Hill_, in the city, executor to Mr.
_Forrest_, and brother to the Rev. _William Coxe_, who has obliged the
world with his Travels through _Poland, Russia,_ &c.
[88] The following brief Memoirs of Mr. _William Tothall_, F. A. S.
were communicated by Dr. _Ducarel_, who was personally acquainted
with Mr. _Tothall_, and received the intelligence in a letter from
the Rev. Mr. _Lyon_, Minister of _St. Mary's_ at _Dover_, to whom the
particulars in it were related by Captain _Bulstrode_ of that town.
"_Dover, June_ 11, 1781.
"Sir,
"The following narrative of your friend _Tothall_ may be depended
upon, as Captain _Bulstrode_ informs me he frequently heard it from
_Tothall_ himself. His father was an apothecary in _Fleet-street_; but
dying, as Captain _Bulstrode_ 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 _The
West Indies_. He also went several times to _Newfoundland_. During
the time of his being in _The West Indies_, though so early in life,
he was indefatigable in the collecting of shells, and brought home
several utterly unknown in _England_. He continued at sea till he was
almost 30 years of age. In one of his voyages he was taken by the
_Spaniards_, 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.
"When he was about 30 years of age, he went as shopman to a
woollen-draper at the corner of _Tavistock Court, Covent Garden,_ 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.
"About the same time an acquaintance in _The West Indies_ 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
_The West Indies_ to send him another supply; and from this time he
commenced rum, brandy, and shalloon merchant.
"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. _Job Ray_, on the same conditions his master left it to him.
"During his residence in _Covent Garden_, he became a member of the
club at the _Bedford Coffee-house_, and of course contracted an
acquaintance with _Hogarth, Lambert,_ and other men eminent in their
way; and _Hogarth_ lived some time in his house on the footing of a
most intimate friend.
"On quitting his business (being troubled with an asthmatical
complaint) he came and settled at _Dover_; 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 _Ostend_ or _Flushing_, 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.
"His residence was near the Rope-walk at _Dover_ (since pulled down),
where his old friend _Hogarth_ frequently visited him: but being in
a decline, and his asthma increasing, he bought a very small cottage
at _West Langdon_, about three miles from _Dover_, 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 _January_ 9,
1768, at the age of 70 (possessed of about 1500 _l._), and was buried
at _St. Mary's Church_ at _Dover_. His collection of shells and
fossils were sold by auction at _Longford's_, the following year.
"The foregoing is the substance of what I have gathered from Capt.
_Bulstrode_. 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,
"J. LYON."
[89] _William Gostling_, M. A. a minor canon of _Canterbury_ cathedral
for fifty years, and vicar of _Stone_ in the isle of _Oxney, Kent_,
well known to all lovers of antiquity by his truly original "Walk in
and about _Canterbury_," first printed in 1774, of which there have
been three editions. He died _March_ 9, 1777, in the 82d year of his
age. Of his father, who was first a minor canon of _Canterbury_, and
afterwards one of the priests of the chapel-royal and sub-dean of _St.
Paul's_, there are several anecdotes, communicated by his son, in Sir
_John Hawkins's_ "History of Music." To which may be added what King
_Charles_ II. is reported to have said of him, "You may talk as much
as you please of your nightingales, but I have a _Gostling_ 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."
[90] See the Catalogue, under the year 1782.
CATALOGUE OF HOGARTH'S PRINTS.[1]
I am now engaged in an undertaking, which from its nature will be
imperfect. While _Hogarth_ 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 _Raffaelle_, without aiming at a complete
assemblage of the Roman _Fayence_ that passes under his name.
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 _Rabbit-breeder_,&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 _Ticket for
Milward_, then a player at _Lincoln's-Inn Fields_, must have preceded
1733, when he removed with _Rich_ to _Covent Garden_; and it is equally
sure, that _Orator Henley christening an Infant_, and _A Girl swearing
a child to a grave citizen_, came out before 1735, in which year we
know that _J. Y. Schley_, one of _Picart's_ coadjutors, had re-engraved
them both for the use of the fourth volume of the _Religious
Ceremonies_, published at _Amsterdam_ in 1736. But how are we to guess
at the period that produced _Sancho at Dinner_, or _The Discovery_?
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
_Tristram Shandy_, the _Times_, the _Bathos_, or the _Bear_, can
be said to equal many of his earliest productions.--Under such
difficulties is the following chronological list of our author's pieces
attempted.
The reader is likewise entreated to observe, that throughout the
annexed catalogue of plates, variations, &c. _J. N._ has mentioned
only such as he has 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. _J. N._ is
sure, however, that Mr. _Walpole_, 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.
[1] It is proper to acknowledge, that all such short strictures and
annotations on these performances as are distinguished by being printed
both in _Italics_ and between inverted commas, are copied from the list
of _Hogarth's_ works published by Mr. _Walpole_.
* * * * *
1720.
1. _W. Hogarth_, engraver, with two figures and two _Cupids, April_ 28,
1720.
* * * * *
1721.
1. An emblematic print on the _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."_ Under it are the following verses:
See here the causes why in _London_
So many men are made and undone;
That arts and honest trading drop,
To swarm about the Devil's shop (A),
Who cuts out (B) Fortune's golden haunches,
Trapping their souls with lots and chances,
Sharing 'em from blue garters down
To all blue aprons in the town.
Here all religions flock together,
Like tame and wild fowl of a feather,
Leaving their strife religious bustle,
Kneel down to play at pitch and hustle (C):
Thus when the shepherds are at play;
Their flocks must surely go astray;
The woeful cause that in these times
(E) Honour and Honesty (D) are crimes
That publickly are punish'd by
(G) Self-Interest and (F) Vilany;
So much for mony's magic power,
Guess at the rest, you find out more.
_Price One Shilling._[1]
It may be observed, that _London_ 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.
Of this print emblematic of the _South Sea_, there are, however, two
impressions. The second, printed for _Bowles_, has been retouched.
[1] For some further account of this design, see the article _Man of
Taste_, under the year 1732, N° 7.
2. The Lottery.[1] _W. Hogarth inv. & sculp. Sold by Chilcot and
Caldwell. "Emblematic, and not good."_ This plate is found in four
different states. In one there is no publisher's name under the title.
Another was _sold by Chilcot, &c._ A third was printed and sold by S.
_Sympson_, in _Maiden-lane_, near _Covent Garden_. A fourth was printed
for _John Bowles_, 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. _Apollo_ shewing _Britannia_ 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 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, _Minerva_ 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." _Price One Shilling._--Had not _Hogarth_, on this
occasion, condescended to explain his own meaning, it must have
remained in several places inexplicable.
[1] It appears, from the following notice in the _General Advertiser,
Dec._ 12, 1751, that this and the foregoing print were re-published by
_Bowles_ during the life of _Hogarth_.
"Lately reprinted, designed, and engraved by Mr. _William Hogarth_.
"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.
"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. _Price One Shilling._
"Sold by _J. Bowles_, at the _Black-horse_, in _Cornhill_."
* * * * *
1723.
1. Fifteen plates to _Aubry de la Motraye's_ "Travels through _Europe,
Asia,_ and Part of _Africa_." _W. Hogarth sculp._ on fourteen of them;
viz. plates V. IX. X.[1] XI. XV. XVII. b. XVIII. XXVI. XXX.[2] XXXII.
XXXIII. 1. XXXIII. 2. XXXV. XXXVIII. One of these (viz. XXX.) contains
a portrait of _Charles_ the XIIth of _Sweden_. Several of the pictures,
from which the Seraglio, &c. were engraved, are still in being, and are
undoubtedly authentic, being painted in _Turkey_, and brought home by
_De la Motraye_, at his return from his travels. They were sold about
twenty-five years ago at _Hackney_, 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 _English_ at _London_,
1723; afterwards in _French_ at _The Hague_, in 1727; and again in
_English_[3] at _London_, revised by the author; with the addition of
two new cuts, in 1730. In the _French_ edition, Plate V. Tom. I. is
engraved by _R. Smith_, instead of _Hogarth_, 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.
[1] At the bottom of this plate, in one copy of the _English_ edition,
the name of _Hogarth_, though erased, is sufficiently legible.
[2] In some of the _English_ copies of this work, instead of Plate XXX.
by _Hogarth_, we only find a very small and imperfect copy of it by
another hand.
[3] 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.
2. Five _Muscovites_. 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 _English_ 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 _Motraye's_
Travels.
To these I might add three plates more. If _Hogarth_ engraved the
_Muscovites_ at the corner of the map already mentioned, he likewise
furnished the figures in the corner of another, marked T. I.--B. And
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 _Muscovites_ there is a modern copy.[1]
I have just been assured by a gentleman of undoubted veracity, that
he was once possessed of a set of plates engraved by _Hogarth_ 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.
[1] Mr. _Walpole_ enumerates only 12 plates.
* * * * *
1724.
1. Seven small prints to "The New Metamorphosis of _Lucius Apuleius_ of
_Medaura. London_, printed for _Sam. Briscoe_, 1724." 12mo. 2 vol. I.
Frontispiece. II. Festivals of Gallantry, which the noblemen of _Rome_
make in the churches for the entertainment of their mistresses. III.
The banditti's bringing home a beautiful virgin, called _Camilla_, from
her mother's arms, the night before she was to have been married. Vol.
I. p. 113. No name to this plate. IV. _Fantasio's_ 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. VI. _Psyche's_ admission of her unknown husband in
the dark, who always departed before the return of light. VII. Cardinal
_Ottoboni_ and his niece's visit to an Hermitage in the holy desart,
called _Camaldule_; 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.
2. Masquerades and operas. _Burlington-gate. W. Hogarth inv. & sculp._
Of the three small figures in the center of this plate, the middle
one is Lord _Burlington_, a man of considerable taste in Painting and
Architecture, but who ranked Mr. _Kent_ (an indifferent artist) above
his merit. On one side of the peer is Mr. _Campbell_, 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 _George_ II. who gave
1000 _l._ towards the masquerade; together with that of the Earl of
_Peterborough_, who offers _Cuzzoni_, the _Italian_ singer, 8000
_l._ and she spurns at him.[1] Mr. _Heidegger_, the regulator of the
Masquerade, is also exhibited, looking out at a window, with the letter
_H._ under him. The substance of the foregoing remarks is taken from a
collection lately belonging to Captain _Baillie_,[2] where it is said
that they were furnished by an eminent Connoisseur.[3] A board is
likewise displayed, with the words--"Long Room. _Fawks's_ dexterity of
hand." It appears front the following advertisement in _Mist's Weekly
Journal_ for _Saturday, December_ 25, 1725, that this artist was a
man of great consequence in his profession. "Whereas the town hath
lately been alarmed, that the famous _Fawks_ was robbed and murdered,
returning from performing at the Dutchess of _Buckingham's_ house
at _Chelsea_; which report being raised and printed by a person to
gain money to himself, and prejudice the above mentioned Mr. _Fawks_,
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
_Powell_ of _The Bath_ for the season, who has the largest, richest,
and most natural figures, and finest machines in _England_, and whose
former performances in _Covent Garden_ 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 _Christmas_ holidays next, at the
old _Tennis-court_ in _James-Street_, near _The Haymarket_; 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."--"_May_ 25," indeed, "1731, died Mr. _Fawkes_, famous for his
dexterity of hand, by which he had honestly acquired a fortune of
above 10,000 _l._ 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.
This satirical performance of _Hogarth_, however, was thought to be
invented and drawn at the mitigation of Sir _James Thornhill_, out of
revenge, because Lord _Burlington_ had preferred Mr. _Kent_ before him
to paint for the king at his palace at _Kensington_. Dr. _Faustus_
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.[4] We may add that there are three prints of this
small masquerade, &c. one a copy from the first. The originals have
_Hogarth's_ name 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 _Ben Jonson's_ name on a label, we have _Pasquin_, 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,
Could now dumb _Faustus_, to reform the age,
Conjure up _Shakespear's_ or _Ben Johnson's_ ghost,
They'd blush for shame, to see the _English_ stage
Debauch'd by fool'ries, at so great a cost.
What would their manes say? Should they behold
Monsters and masquerades, where useful plays
Adorn'd the fruitfull theatre of old,
And rival wits contended for the bays.
_Price_ 1 _shilling_ 1724.
To the second impression of it:
O how refin'd, how elegant we're grown!
What noble Entertainments charm the town!
Whether to hear the Dragon's roar we go,
Or gaze surpriz'd on _Fawks's_ matchless show,
Or to the Operas, or to the Masques,
To eat up ortelans, and t' empty flasques,
And rifle pies from _Shakespear's_ clinging page,
Good gods! how great's the gusto of the age.
In this print our artist has imitated the engraving of _Callot_.
To the third impression, i. e. the copy:
Long has the stage productive been
Of offsprings it could brag on,
But never till this age was seen
A Windmill and a Dragon.
O _Congreve_, lay thy pen aside,
_Shakespear_, thy works disown,
Since monsters grim, and nought beside,
Can please this senseless town.
I should have observed, that the idea of the foregoing plate was stolen
from an anonymous one on the same subject. It represents _Hercules_
chaining follies and destroying monsters. He is beating _Heidegger_,
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.
_Mercury_ aloft sustains a scroll, on which is written "The Mascarade
destroy'd." The inscription under this print is "Hei Degeror. O! I am
undone." _Price One Shilling._
[1] She is rather drawing the money towards her with a rake.
[2] This collection, consisting of 241 prints, in three portfeuilles,
was sold at _Christie's, April_ 7, 1781, for 59 guineas, to Mr. _Ingham
Foster_, 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. _Topham Beauclerk's_ set, of only 99 prints, was sold
in 1781 (while this note was printing off for the first edition) for
34_l._ 10_s._
[3] 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. _Postilion_ must be a mistake for some other word. The
whole note, in the original, appears to have been the production of
a male _Slip-slop_, perhaps of high fashion. His petulant invective
against Lord _Burlington_ is here omitted.
[4] Dr. _Faustus_ was first brought out at _Lincoln's-Inn Fields_ 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 _Drury-Lane_ and _Lincoln's-Inn Fields_, by _Gabriel
Rennel_, Esq." I shall transcribe an illustration of these plates:
"A few years ago, by the help of _Harleykin_, and Dr. _Faustus_, and
_Pluto_ and _Proserpine_, 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 _Scotch_, and _Irish_, and _French_ Strollers, who were utterly
unacquainted with the _English_ 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 _English_ 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.
"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
_France_ _and Italy_, 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
_deceptio visus_ so often repeated, the scene changed at once, the
_vox populi_ 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."
* * * * *
1725.
1. Five small prints for the translation of _Cassandra_, in five
volumes duodecimo. _W. Hogarth inv. & sculp._
2. Fifteen head pieces for "The _Roman_ Military Punishments, by _John
Beaver_, Esq. _London_. 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 _Callot's_ Small Miseries of War. _W.
Hogarth inv. & sculp._ 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.
16. Banishment. There is also in the title-page a little figure of a
_Roman_ General sitting; probably done by _Hogarth_, though his name is
not under it.
In the year 1774, these plates were in the possession of a
Button-manufacturer at _Birmingham_. 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 _S. Harding_ an engraver,
who sold them to _Humphry_ the printseller near _Temple-Bar_, their
present proprietor. How they fell into the hands of the _Birmingham_
manufacturer (who took off a few impressions from them), is unknown.
Query. Does the plate engraved on both sides contain the two modern
designs?
In a Catalogue of Books sold by _W. Bathoe_, was included "Part of the
Collection of the late ingenious _W. Hogarth_, Esq. Serjeant Painter to
his Majesty;" in which was _Beaver's_ "_Roman_ Military Punishments,"
with _twelve plates_ by _Hogarth_.
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, "_W. Hogarth, Invent. sculpt."_
The latter has "_W. Hogarth, invent. & fec._" 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.
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.
N. B. The two "scenes of modern war," mentioned also in p. 134, 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 _Roman_, the
other of the _Modern Military Punishments_. 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."
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.
3. A burlesque on _Kent's_ altar piece at _St. Clement's_, with
notes. "_It represents angels very ill drawn, playing on various
instruments._" Speaking of this print, Mr. _Walpole_ in one place calls
it a _parody_; and in another, a _burlesque_ on _Kent's_ Altar-piece.
But, if we may believe _Hogarth_ 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 _verbatim &
literatim_.
"This Print is exactly Engraiv'd after ye celebrated Altar-Piece
in St. _Clements_ Church which has been taken down by Order of ye
Lord Bishop of _London_ (as tis thought) to prevent Disputs and Laying
of wagers among the Parrshioners about ye 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 ye Parish'es 60 pounds which thay nifely gave for it,
may not be Entirely lost.
"1st. Tis not the Pretenders Wife and Children as our weak brethren
imagin.
"2dly. Nor St. _Cecilia_ as the Connoisseurs think but a choir of
Angells playing in Consort.
"A | an Organ
B | an Angel playing on it
C | the shortest Ioint of the Arm.
D | the longest Ioint
E | An Angel tuning an harp
F | the inside of his Leg but whether right or Left
| is yet undiscover'd
G | a hand Playing on a Lute
H | the other leg judiciously Omitted to make
| room for the harp
I& | 2 Smaller Angells as appears by their
K | wings"
This picture produced a tract, intituled, "A Letter from a Parishioner
of _St. Clement Danes_ to _Edmund [Gibson]_ Lord Bishop of _London_,
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 Appendix II. 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 _The Crown and Anchor_ in the _Strand_.
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 _Livesay_.
4. A scene in _Handel's_ opera of _Ptolomeo_, performed in 1728, with
_Farinelli, Cuzzoni,_ and _Senesino_, in the characters of _Ptolemy,
Cleopatra,_ and _Julius Cæsar_. 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
_Southwark Fair_, our artist has borrowed the subject of his show-cloth
from _Laguerre_; and might, in the present instance, have adopted it
from another hand.
The appearance _Farinelli_ makes on this occasion may be justified by
the following quotation from a Pamphlet, intituled, _Reflections upon
Theatrical Expression in Tragedy, &c._ printed for _W. Johnston_, &c.
1755. "I shall therefore, in my further remarks upon this article, go
back to the _Old Italian Theatre_, when _Farinelli_ drew every body
to the _Haymarket_. 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 _Islington_ or _Mile-end_, or if thou art in the environs
of _St. James's_, 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 _Divine
Farinelli_. 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.
Under a copy of the print abovementioned, which must have been made
soon after its publication, appear the following inscription, and
wretched ungrammatical lines:
The three most Celebrated Singers at the Opera.
_Scire tuum nihil est, nisi te scire hoc sciat alter._
_Sigra_ the great, harmoniously inclin'd,
Who charms the ear and captivates the mind.
_Cuzzoni._
Thou little slave an emblem is of those
Whose hearts are wholly att ye worlds dispose.
Great _Barrenstadt_[1] encomiums great and true
is very short of whats your right and due.
The characters in the print under consideration, might have been
new-christen'd by the copier of it.
Either the dignity of _Senesino_ must have been wonderful, or the
following passage in Dr. _Warburton's_ "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 _Walter
Raleigh's_ great manner of ending the _first part of the History of the
World_. '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 _Rome_, 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 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 ITALIAN
SINGER."
[1] _Berenstadt_; a castrato engaged by _Handel_ in the operas.
5. A just View of the _British_ Stage, or three heads better than
one, scene _Newgate_, by _M. D. V--to_.[1] This print represents the
rehearsing a new farce, that will include the two famous entertainments
_Dr. Faustus_ and _Harlequin Shepherd_.[2] To which will be added,
_Scaramouch Jack Hall_ the Chimney-sweeper's Escape from _Newgate_
through the Privy, with the comical Humours of _Ben Johnson's Ghost_,
concluding with the Play Dance, performed in the air by the figures
A. B. C. [_Wilks, Booth,_ and _Cibber_] 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
_Jack Hall_ will be made of chewed Gingerbread, to prevent Offence.
_Vivat Rex. Price Sixpence._ Such is the inscription on the plate;
but I may add, that the _ropes_ already mentioned are no other than
_halters_, suspended over the heads of the three managers;[3] and
that labels issuing from their respective mouths have the following
characteristic words. The airy _Wilks_, who dangles the effigy of
_Punch_, is made to exclaim--"Poor _R-ch_! faith I pitty him." The
laureat _Cibber_, with _Harlequin_ for his playfellow, invokes the
Muses painted on the cieling--"Assist, ye sacred Nine;" while the
solemn _Booth_, letting down the image of _Jack Hall_ 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
_Jack Shepherd_, in confinement; and over the forica is suspended a
parcel of waste paper, consisting of leaves torn from _The Way of the
World--Hamlet--Macbeth_, and _Julius Cæsar. Ben Jonson's_ 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--_Music for the What_--[perhaps the _What d' ye call it]
entertainment_. The countenances of Tragedy and Comedy, on each side of
the stage, are hoodwinked by the bills for _Harlequin Dr. Faustus_ and
_Harlequin Shepherd_, &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. _Vivetur Ingenio_ is the motto over the curtain. In Mr.
_Walpole's_ catalogue the description of this plate is, "_Booth, Wilks,
and Cibber, contriving a pantomime. A satire on farces. No name._"
[1] Mr. _Devoto_ was scene-painter to _Drury-Lane_ or _Lincoln's-Inn
Fields_, and also to _Goodman's Fields_ Theatre. There is a mezzotinto
of him with the following title: "_Johannes Devoto_ Historicus
Scenicusque Pictor." _Vincenso Damini_ pinxit. _J. Faber_ fecit, 1736.
[2] Dr. _Faustus_ and _Harlequin Shepherd_ were pantomimes contrived by
_Thurmond_ the dancing-master, and acted at _Drury-Lane_ in 1725.
[3]--_Halters_, &c.; The same idea is introduced in the 9th plate of
the apprentices.
* * * * *
1726.
1. Frontispiece to _Terræ-filius. W. Hogarth fec._ This work was
printed in two volumes 12°, at _Oxford_, and is a satire on the Tory
principles of that University. It was written by _Nicholas Amherst_,
author of _The Craftsman_, and was originally published in one volume.
2. Twelve prints for _Hudibras_; the large set. _W. Hogarth inv.
pinx. et sculp._ Under the head of _Butler_: "The basso relievo of
the pedestal represents the general design of Mr. _Butler_, in his
incomparable poem of _Hudibras_; viz. _Butler's_ Genious in a Car
lashing around Mount _Parnassus_, in the persons of _Hudibras_ and
_Ralpho_, Rebellion, Hypocrisy, and Ignorance, the reigning vices of
his time." This set of prints was published by subscription, by _P.
Overton_ and _J. Cooper_. Mr. _S. Ireland_ has seven of the original
drawings; three others are known to be preserved in _Holland_; and two
more were lately existing in this kingdom. The plates, as has been
mentioned already in p. 11, are now the property of Mr. _Sayer_, whose
name, as publisher, is subjoined. The Rev. Mr. _Bowle_, F. A. S. had a
set with the list of the subscribers, which he purchased at the Duke of
_Beaufort's_ sale in _Wiltshire_. The printed title to them is, "Twelve
excellent and most diverting Prints; taken from the celebrated Poem
of _Hudibras_, wrote by Mr. _Samuel Butler_. Exposing the Villany and
Hypocrisy of the Times. Invented and Engraved on Twelve Copper-plates,
by _William Hogarth_, and are humbly dedicated to _William Ward_, Esq.
of _Great Houghton_ in _Northamptonshire_; and Mr. _Allan Ramsay_, of
_Edinburgh_.
"What excellence can Brass or Marble claim!
These Papers better do secure thy Fame:
Thy Verse all Monuments does far surpass,
No Mausoleum's like thy _Hudibras_.
"Printed and sold by _Philip Overton_, Print and Map-seller, at the
_Golden Buck_ near _St. Dunstan's Church_ in _Fleet-street_; and _John
Cooper_, in _James-street, Covent Garden_, 1726."
_Allan Ramsay_ subscribed for 30 sets. The number of subscribers in
all amounts to 192. On the print of _Hudibras_ and the _Lawyer_ is _W.
Hogart delin. et sculp._ a proof that our artist had not yet disused
the original mode in which he spelt his name. In the scene of the
_Committee_, 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 _Hudibras_ and _Ralpho_,
engraved by _Pine_. The original drawing for it by _Hogarth_ is in the
possession of Mr. _Betew_, Silversmith, in _Compton-street, Soho_.
3. Seventeen small prints for _Hudibras_, with _Butler's_ head. There
certainly must have been some mistake concerning this portrait. It
never could have been designed for the author of _Hudibras_; but more
strongly resembles _John Baptist Monnoyer_, the flower-painter. There
is a print of him by _White_, from a picture of Sir _Godfrey Kneller_.
This I suppose to have been the original of _Hogarth's_ small _Butler_.
The same designs engraved on a larger scale, and with some slight
variations, by _J. Mynde_, for _Grey's_ edition of _Hudibras_,
published in 1744.
Previous, however, to both, appeared another set of plates, eighteen in
number, for an edition in _eighteens_ of this celebrated poem. To these
it is manifest that _Hogarth_ 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. "_Hudibras._
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 _R. Chiswel, J. Tonson, T. Horne,_ and
_R. Willington_, 1710."
Copies from the smaller plates are likewise inserted in _Townly's_
translation of _Hudibras_ into _French_, with the _English_ on the
opposite page. He was, I believe, an officer in the _Irish_ brigade.
The following is the title-page to his work. "_Hudibras_, Poeme
ecrit dans les tems des troubles d'_Angleterre_; et traduit en
vers _François_, avec des remarques et des figures. 3 tom. 12mo. A
_Londres_, 1757." It seems rather to have been printed at _Paris_. The
plates have no name subscribed to them.
4. _Cunicularii_, or the Wise Men of _Godliman_ in Consultation.
"They held their talents most adroit
For any mystical exploit." HUDIB.
This print was published in the year 1726, i. e. about the same time
that Lord _Onslow_ wrote the following letter:
"To the Honble. Sir _Hans Sloane_. To be left at the _Grecian_
Coffe House, in _Devereux Court_ near _Temple Bar London_.
"Sir, The report of a woman's breeding of rabbits has almost alarmed
_England_, and in a manner persuaded several people of sound judgt
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
"Yr humble Servant,
"ONSLOW.
"_Clandon, Dec._ 4_th_, 1726."
Soon after, Mr. _St. André_ also addressed this note to Sir _Hans
Sloane_:
"Sir, I have brought the woman from _Guilford_ to ye Bagnio in
_Leicester-fields_, where you may if you please have the opportunity
of seeing her deliver'd. I am Sr Your Hum Servt
"ST. ANDRÉ.[1]
"To Sir _Hans Sloane_ in _Bloomsbury Square_."
In the plate already mentioned, figure A represents _St. André_.
[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 _Richard Manningham_, C Mr.
_Sainthill_ a celebrated surgeon here in _London_, D is _Howard_ the
surgeon at _Guildford_, who was supposed to have had a chief hand in
the imposture. The rest of the characters explain themselves.
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 _Hogarth_.
In _Mist's Weekly Journal, Saturday, Jan._ 11th, 1726-7, was the
following advertisement:
"The Rabbit affair made clear in a full account of the whole matter;
with the pictures engraved of the pretended Rabbit-breeder herself,
_Mary Tofts_, and of the Rabbits, and of the persons who attended her
during her pretended deliveries, shewing who were and who were not
imposed on 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 _Chamberlen_ for Children's teeth, &c."
The original drawing from which the plate promised in _Mist's_ Journal
was taken, remained in the possession of Mr. _James Vertue_, and was
probably designed by his brother _George_. It was sold in 1781 in the
collection of _George Scott_, Esq. of _Chigwell_ in _Essex_, together
with eight tracts relative to the same imposture, for three guineas,
and is now in the collection of Mr. _Gough_.
_St. André's Miscarriage_, a ballad, published in 1727, has the
following stanza on this subject:
"He dissected, compar'd, and distinguish'd likewise
The make of these rabbits, their growth and their size.
He preserv'd them in spirits, and--a little too late
Preserv'd (_Vertue sculpsit_) a neat copper plate."
There is also a copper-plate, consisting of twelve compartments, on the
same story. It exhibits every stage throughout this celebrated fraud.
_St. André_ appears in the habit of a _Merry-Andrew_. The general title
of it is, "The Doctors in Labour; or a new Whim-wham from _Guilford_.
Being a representation of the frauds by which the _Godliman_ woman
carried on her pretended Rabbit breeding; also of the simplicity of our
Doctors, by which they assisted to carry on that imposture, discovered
their skill, and contributed to the mirth of his Majesty's liege
subjects."
In _Mist's_ Journal for _Saturday, Dec._ 17, 1726, is also the
following paragraph, which shews that the playhouse joined in the
general ridicule of _St. André_. "Last week the entertainment called
_The Necromancer_ was performed at the Theatre in _Lincoln's-Inn
Fields_, wherein a new _Rabbit-scene_ 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, _Harlequin_,
being converted into a woman, pretended to be in labour, and was first
delivered of a large pig, then of a sooterkin, &c. &c.
From the same paper of _Saturday, Jan._ 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 _Laguerre_, and scraped by _Faber_. She has a rabbit on her
lap, and displays a countenance expressive of the utmost vulgarity. In
_Hogarth's_ 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, or our
artist would have given her resemblance with greater exactness.
Mr. _Dillingham_, an apothecary in _Red-Lion-Square_, laid a wager of
ten guineas with _St. André_, 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.
I learn from _The Weekly Miscellany_, for _April_ 19, 1740, that a few
days before, "The celebrated Rabbit-woman of _Godalmin_ in _Surry_ was
committed to _Guildford Gaol_, for receiving stolen goods."
In _The Gazetteer, or Daily London Advertiser, Jan._ 21, 1763, was this
paragraph, which closes the story of our heroine: "Last week died at
_Godalming_ in _Surry, Mary Tofts,_ formerly noted for an imposition of
breeding Rabbits."
[1] Both these letters are in _The British Museum_. See MS. Sloan.
3312. XXVI. G. and MS. Sloan. 3316. XXVI. G.
* * * * *
1727.
1. Music introduced to _Apollo_ by _Minerva. Hogarth fecit.
"Frontispiece to some book of music, or ticket for a concert."_ 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.
2. Masquerade Ticket. A. a sacrifice to _Priapus_. 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.
_H----r [Heidegger]._ Price One Shilling. "_There is much wit in
this print._" The attentive observer will find, that _Hogarth_ has
transplanted several circumstances from hence into the first plate to
the _Analysis of Beauty_, 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 _Heidegger_ 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.[1]
Concerning _John James Heidegger_, 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.
"This extraordinary man, the son of a clergyman, was a native of
_Zurich_ in _Switzerland_, where he married, but left his country in
consequence of an intrigue. Having had an opportunity of visiting
the principal cities of _Europe_, 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 old, he came
to _England_ on a negotiation from the _Swiss_ at _Zurich_; but,
failing in his embassy, he entered as a private soldier in the guards
for protection.[2] 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 _Swiss_ Count.'[3] He had the address to procure a subscription,
with which in 1709 he was enabled to furnish out the opera of
'_Thomyris_,'[4] which was written in _English_, and performed at the
Queen's theatre in the _Haymarket_. The music, however, was _Italian_;
that is to say, airs selected from sundry of the foreign operas by
_Bononcini, Scarlatti, Stefani, Gasparini,_ and _Albinoni_. Most of the
songs in '_Thomyris_' were excellent, those by _Bononcini_ especially:
_Valentini, Margarita,_ and Mrs. _Tofts_ sung in it; and _Heidegger_ by
this performance alone was a gainer of 500 guineas.[5] 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 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 _George_ 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 _The Haymarket_. 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.[6]
"From the emoluments of these several employments, he gained a regular
considerable income, amounting, it is said, in some years, to 5000 _l._
which he spent with much liberality: particularly in the maintenance
of perhaps a somewhat too luxurious 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.[7]
"That he was a good judge of music, appears from his opera: but this
is all that is known of his mental abilities;[8] unless we add, what
we have good authority for saying in honour to his _memory_, that he
walked from _Charing-Cross_ to _Temple-bar_, and back again; and when
he came home, wrote down every sign on each side the _Strand_.
"As to his person, though he was tall and well made, it was not very
pleasing, from an unusual hardness of features.[9] But he was the first
to joke upon his own ugliness; and he once laid a wager with the earl
of _Chesterfield_, that, within a certain given time, his lordship
would not be able to produce so hideous a face in all _London_. After
strict search, a woman was found, whose features were at first sight
thought stronger than _Heidegger's_; but, upon clapping her head-dress
upon himself, he was universally allowed to have won the wager.
_Jolly_, 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!' _Jolly_ bowed and
retired, wrote a letter, and sent it by a servant to _Heidegger_; saying,
'his grace wished to see him the next morning on particular business.'
_Heidegger_ attended, and _Jolly_ was there to meet him; and in
consequence, as soon as _Heidegger's_ visit was over, _Jolly_ received
the cash.
"The late facetious duke of _Montagu_ (the memorable author of
the bottle-conjuror at the theatre in _The Haymarket_) gave an
entertainment at _The Devil-tavern, Temple-bar_, to several of
the nobility and gentry, selecting the most convivial, and a few
hard-drinkers, who were all in the plot. _Heidegger_ was invited,
and in a few hours after 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. _Salmon's_ 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 _Yarmouth_), the
duke made application to _Heidegger's_ 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),
_Heidegger_, as usual, ordered the music to play 'God save the King;'
but his back was no sooner turned, than the false _Heidegger_ ordered
them to strike up '_Charly_ over the Water.' The whole company were
instantly thunderstruck, and all the courtiers, not in the plot,
were thrown into a stupid consternation. _Heidegger_ 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 _Heidegger_ stayed in the gallery, 'God save the
King' was the tune; but when, 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 _Heidegger_, damned
them for blockheads, had he not just told them to play '_Charly_ 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, '_Charly_' 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 _Cumberland_, who could
hardly contain himself, interposed. The company were thrown into great
confusion. 'Shame! Shame!' resounded from all parts, and _Heidegger_
once more flew in a violent rage to that part of the theatre facing the
gallery. Here the duke of _Montagu_, 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 _Heidegger_ to do the same. The scene now became
truly comic in the circle before the king. _Heidegger_ had no sooner
made a genteel apology for the insolence of his musicians, but the
false _Heidegger_ advanced, and, in a plaintive tone, cried out,
'Indeed, Sire, it was not my fault, but that devil's in my likeness.'
Poor _Heidegger_ 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 _Heidegger_ 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.[10]
"Being once at supper with a large company, when a question was
debated, which nationalist of _Europe_, had the greatest ingenuity; to
the surprise of all present, he claimed that character for the _Swiss_,
and appealed to himself for the truth of it. 'I was born a _Swiss_,
said he, 'and came to _England_ without a farthing, where I have found
means to gain 5000 _l._ a year, and to spend it. Now I defy the most
able _Englishman_ to go to _Switzerland_, and either to gain that
income, or to spend it there.' He died _Sept._ 4, 1749, at the advanced
age of 96 years, at his house at _Richmond_ in _Surrey_, where he was
buried. He left behind him one natural daughter, Miss _Pappet_, who was
married _Sept._ 2, 1750, to Captain (afterwards Sir _Peter) Denis_.[11]
Part of this lady's fortune was a house at the north west corner of
_Queen-square, Ormond-street_, which Sir _Peter_ afterwards sold to
the late Dr. _Campbell_, and purchased a seat in _Kent_, pleasantly
situated near _Westram_, then called _Valence_, but now (by its present
proprietor, the earl of _Hillsborough_) _Hill Park_."
[1] In this print our artist has likewise imitated the manner of
_Callot_.
[2] See N° 48, among the prints of uncertain date.
[3] See Sir _John Hawkins's_ History of Music, Vol. V. p. 142. He is
twice noticed under this title in the "Tatler," Nos. 12. and 18.; and
in Mr. _Duncombe's_ "Collection of Letters of several eminent Persons
deceased," is a humourous dedication of Mr. _Hughes's_ "Vision of
_Chaucer_," to "the _Swiss_ Count."
[4] There was another opera of the same name, by _Peter Motteux_, in
1719.
[5] "_Thomyris_" and "_Camilla_" were both revived in 1726; but neither
of them then succeeded.
[6] _J. N._ has been favoured with the sight of an amethyst snuff-box
set in gold, presented to _Heidegger_ in 1731, by the duke of
_Lorrain_, afterwards emperor of _Germany_, which _Heidegger_ very
highly valued, and bequeathed to his executor _Lewis Way_, esq. of
_Richmond_, and which is now (1785) in the possession of his son
_Benjamin Way_, esq.
[7] 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. _Way_, "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.
[8] _Pope_ (Dunciad, I. 289.) calls the bird which attended on the
goddess
"--------------a monster of a fowl,
Something betwixt a _Heidegger_ and owl."
and explains _Heidegger_ to mean "a strange bird from _Switzerland_,
and not (as some have supposed) the name of an eminent person, who was
a man of parts, and, as was said of _Petronius_, Arbiter Elegantiarum."
The author of _The Scandalizade_ has also put the following description
of our hero into the mouth of _Handel_:
"Thou perfection, as far as e'er nature could run,
Of the ugly, quoth _H--d-l_, in th' ugliest baboon,
Human nature's, and even thy Maker's disgrace,
So frightful thy looks, so grotesque is thy face!
With a hundred deep wrinkles impress'd on thy front,
Like a map with a great many rivers upon't;
Thy lascivious ridottos, obscene masquerades,
Have unmaided whole scores ev'ry season of maids."
_Fielding_ also has introduced him in the Puppet-show, with which the
_Author's Farce_ (acted at the _Haymarket_ 1729), concludes, under the
title of _Count Ugly_.
"_Nonsense._ Too late, O mighty Count, you came.
_Count._ I ask not for myself, for I disdain
O'er the poor ragged tribe of bards to reign.
Me did my stars to happier fates prefer,
Sur-intendant des plaisirs d'_Angleterre_.
If masquerades you have, let those be mine,
But on the Signor let the laurel shine.
_Tragedy_. What is thy plea? Half written?
_Count_. No nor read.
Put it from dulness any may succeed,
To that and nonsense I good title plead,
Nought else was ever in my masquerade."
[9] In a Dedication to "The Masquerade, a Poem, inscribed to Count
_Heidegger_," (which is the production of Mr. _Fielding_, though
foisted into the works of Dr. _Arbuthnot_,) 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 _Heidegger_ by _J. Faber_, 1742, (other copies dated 1749) from a
painting by _Vanloo_, a striking likeness, now (1785) in the possession
of _Peter Crawford_, esq. of _Cold Bath Fields_.
[10] To this occurrence the following imperfect stanzas, transcribed
from the hand-writing of _Pope_, 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 _British Museum_.
XIII.
"Then he went to the side-board, and call'd for much liquor,
And glass after glass he drank quicker and quicker;
So that _Heidegger_ quoth,
Nay, faith on his oath,
Of two hogsheads of Burgundy, _Satan_ drank both.
Then all like a ---- the Devil appear'd,
And strait the whole tables of dishes he clear'd;
Then a friar, then a nun,
And then he put on
A face all the company took for his own.
Even thine, O false _Heidegger!_ who wert so wicked
To let in the Devil----"
[11] Who died _June_ 12, 1778, being then vice-admiral of the red. See
Memoirs of him in Gent. Mag. 1780, p. 268.
3. Frontispiece to a Collection of Songs, with the Music by Mr.
_Leveridge_, in two vols. 8vo. _London_, engraved and printed for
the author, in _Tavistock-street, Covent-Garden_, 1727. This design
consists of a _Bacchus_ and a _Venus_ 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
_Hogarth's_.
* * * * *
1728.
1. Head of _Hesiod_, from the bust at _Wilton_. The frontispiece to
_Cook's_ translation of _Hesiod_, in 2 vols. 4to. printed by _N.
Blandford_ for _T. Green_.
2. _Rich's_ Glory, or his Triumphant Entry into _Covent Garden. W. H.
I. Et. SULP. Price Sixpence._
The date of the print before us has been conjectured from its reference
to the _Beggar's Opera_, and _Perseus_ and _Andromeda_,[1] both of
which were acted in the year already mentioned.
This plate represents the removal of _Rich_ and his scenery, authors,
actors, &c. from _Lincoln's-Inn Fields_ to the _New House_; and
might therefore be as probably referred to the year 1733, when that
event happened. The scene is the area of _Covent Garden_, 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. _Rich_ (invested with the skin of the
famous dog in _Perseus_ and _Andromeda_) riding with his mistress in a
chariot driven by _Harlequin_, and drawn by Satyrs. But let the verses
at bottom explain our artist's meaning:
Not with more glory through the streets of _Rome_,
Return'd great conquerors in triumph home,
Than, proudly drawn with Beauty by his side,
We see gay _R---_[2] in gilded chariot ride.
He comes, attended by a num'rous throng,
Who, with loud shouts, huzza the Chief along.
Behold two bards, obsequious, at his wheels,
Confess the joy each raptur'd bosom feels;
Conscious that wit by him will be receiv'd,
And on his stage true humour be retriev'd.
No _sensible_ and _pretty_ play will fall[3]
Condemn'd by him as not theatrical.
The players follow, as they here are nam'd,
Dress'd in each character for which they're fam'd.
_Quin_ th' _Old Bachelour_, a _Hero Ryan_ shows,
Who _stares_ and stalks majestick as he goes.
_Walker_,[4] in his lov'd character we see
A Prince, tho' once a fisherman was he,
And _Massanelo_ nam'd; in this he prides,
Tho' fam'd for many other parts besides.
Then _Hall_,[5] who tells the bubbled countrymen
That _Carolus_ is _Latin_ for _Queen Anne_.
Did ever mortal know so clean a bite?
Who else, like him, can copy _Serjeant Kite!_
To the _Piazza_ let us turn our eyes,
See _Johnny Gay_ on porters shoulders rise,
Whilst a bright Man of Tast his works despise.[6]
Another author wheels his works with care,
In hopes to get a market at this fair;
For such a day he sees not ev'ry year.
By the _Man of Taste_, Mr. _Pope_ was apparently designed. He is
represented, in his tye-wig, at one corner of the _Piazza_, wiping his
posteriors with the _Beggar's Opera_. The letter P is over his head.
His little sword is significantly placed, and the peculiarity of his
figure well preserved.
The reason why our artist has assigned such an employment to him,
we can only guess. It seems, indeed, from Dr. _Johnson's_ Life of
_Gay_, that _Pope_ did not _think_ the _Beggar's Opera_ would succeed.
_Swift_, 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 _Intelligencer_ against the attacks of Dr. _Herring_,[7] then
preacher to the Society of _Lincoln's-Inn_, afterwards archbishop of
_Canterbury. Hogarth_ might be wanton in his satire; might have founded
it on idle report; or might have sacrificed truth to the prejudices
of Sir _James Thornhill_, whose quarrel, on another occasion, he is
supposed to have taken up, when he ridiculed _The Translator of Homer_
in a view of "The Gate of _Burlington-house_."
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.
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
_Hogarth_, if the initials of his name had been wanting at the bottom
of the plate.
[1] The _Perseus_ and _Andromeda_, for which _Hogarth_ engraved the
plates mentioned in p. 170, was not published till 1730; but there was
one under the same title at _Drury-Lane_ in 1728. As both houses took
each other's plans at that time, perhaps the _Lincoln's-Inn Fields
Perseus_ might have been acted before it was printed.
[2] _Rich._
[3] No _sensible_ and _pretty_ play, &c. This refers to _Cibber's_
decision on the merits of some piece offered for representation, and,
we may suppose, rejected. In a copy of verses addressed to _Rich_ on
the building of _Covent Garden_ Theatre, are the following lines, which
seem to allude to the rejection already mentioned:
"Poets no longer shall submit their plays
To learned _Cibber's_ gilded withered bays;
To such a judge the labour'd scene present,
Whom _sensible_ and _pretty_ won't content:
But to thy theatre with pleasure bear
The comic laughter and the tragic tear."
[4] The original _Macheath_. He used, however, to perform the
heroes, particularly _Alexander_. From these lines it appears that
_Massanello_, was a favourite part with him. From _Chetwood's_ History
of the Stage, p. 141, I learn that _Walker_ had contracted the two
parts of _Durfey's Massanello_ into one piece, which was acted with
success at _Lincoln's-Inn Fields_.
[5] The original _Lockit_, who was also celebrated for his performance
of Serjeant _Kite_.
[6] The grammar and spelling of this line are truly _Hogarthian_.
[7] "A noted preacher near _Lincoln's-Inn_ playhouse has taken notice
of the _Beggar's Opera_ in the pulpit, and inveighed against it as a
thing of very evil tendency." _Mist's Weekly Journal, March_ 30, 1728.
3. The Beggar's Opera. The title over it is in capitals uncommonly
large.
_Brittons_ attend--view this harmonious stage,
And listen to those notes which charm the age.
Thus shall your tastes in _sounds_ and _sense_ be shown,
And _Beggar's Op'ras_ ever be your own.
No painter or engraver's name. The plate seems at once to represent
the exhibition of _The Beggar's Opera_, and the rehearsal of an
_Italian_ one. In the _former_, all the characters are drawn with the
heads of different animals; as _Polly_, with a Cat's; _Lucy_, with a
Sow's; _Macheath_, with an Ass's; _Lockit_, and Mr. and Mrs. _Peachum_,
with those of an Ox, a Dog, and an Owl. In the _latter_, 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 _English_ 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 _Polly_, or paying their adorations to her. To these are
opposed a butcher, &c. expressing similar applause. _Apollo_, 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.
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 _The Strand_,
near _Catherine Street_.
5. A copy of the same, under the following title, &c.
The Opera House, or the _Italian_ Eunuch's Glory. Humbly inscribed to
those Generous Encouragers of Foreigners, and Ruiners of _England_.
From _France_, from _Rome_ we come,
To help Old _England_ to _to_ b' undone.
Under the division of the print that represents the _Italian Opera_,
the words--_Stage Mutiny_--are perhaps improperly added.
On the two sides of this print are scrolls, containing a list of the
presents made to _Farinelli_. The words are copied from the same
enumeration in the second plate of the Rake's Progress.[1]
At the bottom are the following lines:
"_Brittains_ attend--view this harmonious stage,
And listen to those notes which charm the age.
How sweet the sound where cats and bears
With brutish noise offend our ears!
Just so the foreign singers move
Rather contempt than gain our love.
Were such discourag'd, we should find
Musick at home to charm the mind!
Our home-spun authors must forsake the field,
And _Shakespear_ to the _Italian Eunuchs_ yield."[2]
Perhaps the original print was the work of _Gravelot, Vandergucht,_
or some person unknown.[3] The idea of it is borrowed from a _French_
book, called _Les Chats_, printed at _Amsterdam_ in 1728. In this work,
facing p. 117, is represented an opera performed by cats, superbly
habited. The design is by _Coypel_; the engraving by _T. Otten_. At the
end of the treatise, the opera itself is published. It is improbable
that _Hogarth_ should have met with this _jeu d'esprit_; and, if he
did, he could not have read the explanation to it.
[1] The following paragraph appeared in the _Grub-street Journal_ for
_April_ 10, 1735; and to this perhaps _Hogarth_ 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 _Farinelli_, &c."
[2] These two last lines make part of _Addison's_ Prologue to _Phædra_
and _Hippolytus_, reading only "the soft _Scarlatti_," instead of
_Italian Eunuchs_.
[3] At the back of an old impression of it, in the collection of
the late Mr. _Rogers_, I meet with the name of _Echerlan_, but am
unacquainted with any such designer or engraver.----I have since
been told he came over to _England_ to dispose of a number of
foreign prints, and was himself no mean caricaturist. Having drawn
an aggravated likeness of an _English_ nobleman, whose figure was
peculiarly unhappy, he was forced to fly in consequence of a resentment
which threatened little short of assassination.
* * * * *
1729.
1. King _Henry_ the Eighth, and _Anna Bullen_. "_Very indifferent._"
This plate has very idly been imagined to contain the portraits of
_Frederick_ Prince of _Wales_ and Miss _Vane_;[1] but the stature and
faces, both of the lady and _Percy_, are totally unlike their supposed
originals. Underneath are the following verses by _Allan Ramsay_:
Here struts old pious _Harry_, once the great
Reformer of the _English_ church and state:
'Twas thus he stood, when _Anna Bullen's_ charms
Allur'd the amorous monarch to her arms;
With his right hand he leads her as his own,
To place this matchless beauty on his throne;
Whilst _Kate_ and _Piercy_ mourn their wretched fate,
And view the royal pair with equal hate,
Reflecting on the pomp of glittering crowns,
And arbitrary power that knows no bounds.
Whilst _Wolsey_, leaning on his throne of state,
Through this unhappy change foresees his fate,
Contemplates wisely upon worldly things,
The cheat of grandeur, and the faith of kings.
Mr. _Charlton_, of _Canterbury_, has a copy of this print, with the
following title and verses: "King _Henry_ VIII. bringing to court _Anne
Bullen_, who was afterwards his royal consort." _Hogarth design. &.
sculp._
See here the great, the daring _Harry_ stands,
Peace, Plenty, Freedom, shining in his face,
With lovely _Anna Bullen_ joining hands,
Her looks bespeaking ev'ry heav'nly grace.
See _Wolsey_ frowning, discontent and sour,
Feeling the superstitious _structure_ shake:
While _Henry's_ driving off the _Roman_ whore,
For _Britain's_ weal, and his _Lutherian's_ sake.
Like _Britain's_ Genius our brave King appears,
Despising Priestcraft, Avarice, and Pride;
Nor the loud roar of _Babel's_ bulls he fears,
The Dagon falls before his beauteous bride.
Like _England's_ Church, all sweetness and resign'd,
The comely queen her lord with calmness eyes;
As if she said, If goodness guard your mind,
You ghostly tricks and trump'ry may despise.
[1] To the fate of this lady Dr. _Johnson_ has a beautiful allusion in
his _Vanity of Human Wishes_:
"Yet _Vane_ could tell what ills from beauty spring,
And _Sedley_ curs'd the form that _pleas'd a king_."
Perhaps the thought, that suggested this couplet, is found in
_Loveling's_ Poems, a work already quoted:
-------nec _Gwynnam_ valebat
_Angliaco placuisse regi_.
Mersa est acerbo funere sanguinis
_Vanella_ clari: nec grave spiculum
Averteret fati _Machaon_,
Nec madido _Fredericus_ ore.
2. The same plate without any verses, but with an inscription added
in their room. _Ramsay_ seems to have been particularly attached to
_Hogarth_. He subscribed, as I have already observed, for thirty copies
of the large _Hudibras_.
The original picture was at _Vauxhall_, in the portico of the old great
room on the right-hand of the entry into the garden. See p. 29.
3. Frontispiece to the "Humours of _Oxford_," a comedy by _James
Miller_; acted at _Drury-Lane_, and published in 8vo, 1729.[1] _W.
Hogarth inv. G. Vandergucht sc._ The Vice-chancellor, attended by
his beadle, surprizing two Fellows of a College, one of them much
intoxicated, at a tavern.
[1] It met with but moderate success in the theatre; but drew on
Mr. _Miller_ the resentment of some of the heads of the colleges in
_Oxford_, who looked on themselves as satirized in it.
* * * * *
1730.
1. _Perseus_, and _Medusa_ dead, and _Pegasus_. Frontispiece to
_Perseus_ and _Andromeda. W. H. fec._
2. Another print to the same piece, of _Perseus_ descending. Mr.
_Walpole_ mentions only one.
3. A half-starved boy. (The same as is represented in the print of
_Morning_.) _W. H. pinx. F. Sykes sc. Sykes_ was a pupil of _Thornhill_
or _Hogarth_. 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 _Hogarth_ 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 _Hogarth_ were to be
admitted among his works, they would never be complete.
4. _Gulliver_ presented to the Queen of _Babilary. W. Hogarth inv.
Ger. Vandergucht sc. "It is the frontispiece to the Travels of Mr._
John Gulliver," son of Capt. _Lemuel Gulliver_, a translation from the
_French_ by Mr. _Lockman_. There is as much merit in this print as in
the work to which it belongs.
* * * * *
1731.
1. Two frontispieces to a translation of two of _Moliere's_ plays,
viz. _L'Avare_[1] and _Le Cocû imaginaire_. These are part of a select
collection of _Moliere's_ Comedies in _French_ and _English_. They were
advertised in _The Grub-street Journal_, with designs by "Monsieur
_Coypel_, Mr. _Hogarth_, Mr. _Dandridge_, Mr. _Hamilton_," &c. in eight
pocket volumes.
[1] Of this one, Mr. _S. Ireland_ has the original drawing.
2. Frontispiece to "The Tragedy of Tragedies, or the Life and Death of
_Tom Thumb_," in three acts;[1] by _Henry Fielding. W. Hogarth inv.
Ger. Vandergucht sc. "There is some humour in this print."_
[1] This piece had before made its appearance in 1730 in one act only.
3. Frontispiece to the Opera of _The Highland Fair, or the Union of the
Clans_, by _Joseph Mitchell. W. Hogarth inv. Ger Vandergucht sculp._
"Forsan et hæc olim meminisse juvabit." VIRG.
The date of this piece is confirmed by the following paragraph in _The
Grub-street journal, March_ 4, 1731: "We hear from the Theatre-Royal
in _Drury-lane_, that there is now in rehearsal, and to be performed
on _Tuesday, March_ 16, a new _Scots_ Opera, called _The Highland
Fair, or Union of the Clans,_ &c." The subject being too local for the
_English_ stage, it met with little or no success.
* * * * *
1732.
1. _Sarah Malcolm_,[1] executed _March_ 7, 1732, for murdering Mrs.
_Lydia Duncombe_ her mistress, _Elizabeth Harrison_, and _Anne Price_;
drawn in _Newgate. W. Hogarth (ad vivum) pinxit & sculpsit._[2] Some
copies are dated 1733, and have only _Hogarth pinx_. She was about
twenty-five years of age.[3] "_This woman put on red to sit to him for
her picture two days before her execution._"[4] Mr. _Walpole_ paid
_Hogarth_ five guineas for the original. Professor _Martyn_ dissected
this notorious murderess, and afterwards presented her skeleton, in
a glass case, to the Botanic Garden at _Cambridge_, where it still
remains.
[1] On _Sunday_ morning, the 4th of _February_, Mrs. _Lydia Duncombe_,
aged 80, _Elizabeth Harrison_, her companion, aged 60, were found
strangled, and _Ann Price_, her maid, aged 17, with her throat
cut, in their beds, at the said Mrs. _Duncombe's_ apartments in
_Tanfield-Court_ in _The Temple. Sarah Malcolm_, a chare-woman, was
apprehended the same evening on the information of Mr. _Kerrol_, 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 _Thomas Alexander, James Alexander,_ and _Mary Tracey,_ 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 _Wilful Murder_ against _Malcolm_ only.--On
the 23d her trial came on at _The Old Bailey_: when it appeared that
Mrs. _Duncombe_ had but 54 _l._ in her box, and 53 _l._ 11 _s._ 6 _d._
of it were found upon _Malcolm_ 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. _Nesbit_ in 1729, near _Drury-lane_,
for which one _Kelly_, alias _Owen_, 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 _Wednesday, March_ 7, she was executed
on a gibbet opposite _Mitre-court, Fleet-street_, where the crowd
was so great, that a Mrs. _Strangways_, who lived in _Fleet-street_,
near _Serjeant's-Inn_, crossed the street, from her own house to Mrs.
_Coulthurst's_ on the opposite side of the way, over the heads and
shoulders of the 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 _Snow-hill_, 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. _Pedington_, lecturer of _St. Bartholomew_
the Great, seemed penitent, and desired to see her master _Kerrol_;
but, as she did not, protested all accusations against him were false.
During her imprisonment she received a letter from her father at
_Dublin_, who was in too bad circumstances to send her such a sum as 17
_l._ which she pretended he did. The night before her execution, she
delivered a paper to Mr. _Pedington_ (the copy of which he sold for 20
_l._), of which the substance is printed in _The Gentleman's Magazine_,
1733, p. 137. She had given much the same account before, at her trial,
in a long and fluent speech.
[2] The words "_& sculpsit_" are wanting in the copies. In the three
last of them the figure also is reversed.
[3] "This woman," said _Hogarth_, after he had drawn _Sarah Malcolm_,
"by her features, is capable of any wickedness."
[4] "_Monday Sarah Malcolm_ sat for her picture in _Newgate_, which
was taken by the ingenious Mr. _Hogarth_: Sir _James Thornhill_ was
likewise present." _Craftsman, Saturday, March_ 10, 1732-3.
2. An engraved copy of ditto.
3. Ditto, mezzotinto.
4. Ditto, part graven, part mezzotinto.
The knife with which she committed the murder is lying by her.
5. Another copy of this portrait[1] (of which only the first was
engraved by _Hogarth_), with the addition of a clergyman holding a ring
in his hand, and a motto, "No recompence but Love."[2]
In _The Grub-street Journal_ of _Thursday, March_ 8, 1732, appeared the
following epigram:
"To _Malcolm Guthrie_[3] cries, confess the murther;
The truth disclose, and trouble me no further.
Think on both worlds; the pain that thou must bear
In that, and what a load of scandal here.
Confess, confess, and you'll avoid it all:
Your body shan't be hack'd at _Surgeons Hall_:
No _Grub-street_ hack shall dare to use your ghost ill,
_Henly_ shall read upon your post a postile;
_Hogarth_ your charms transmit to future times,
And _Curll_ record your life in prose and rhimes.
"_Sarah_ replies, these arguments might do
From _Hogarth, Curll,_ and _Henly_, drawn by you,
Were I condemn'd at _Padington_ to ride:
But now from _Fleet-street Pedington's_ my guide."
The office of this _Pedington_[4] may be known from the following
advertisement in _The Weekly Miscellany_, N° 37. _August_ 25,
1733. "This day is published, Price Six-pence, (on occasion of the
Re-commitment of the two _Alexanders_; with a very neat effigies of
_Sarah Malcolm_ and her _Reverend Confessor_, both taken from the
Life) The Friendly Apparition: Being an account of the most surprising
appearance of _Sarah Malcolm's_ 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."
[1] A copy of it in wood was inserted in _The Gentleman's Magazine_,
1733, p. 153.
[2] This print was designed as a frontispiece to the pamphlet
advertised in _The Weekly Miscellany_. (See text, above.)
[3] The Ordinary of _Newgate_.
[4] Mr. _Pedington_ died September 18, 1734. He is supposed to have
made some amorous overtures to _Sarah_.
6. The Man of TASTE. The Gate of _Burlington-house. Pope_ white-washing
it, and bespattering the Duke of _Chandos's_ coach. "_A satire on_
Pope's _Epistle on Taste. No name._" 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.
"Bot this book of Mr. _Wayte_, at _The Fountain Tavern_, in _The
Strand_, in the presence of Mr. _Draper_, who told me he had it of the
Printer, Mr. _W. Rayner._[1]
"J. Cosins."
On this attested memorandum a prosecution seems meant to have been
founded. _Cosins_ was an attorney, and _Pope_ was desirous on all
occasions to make the law the engine of his revenge.
[1] _Rayner_ was at that time already under prosecution for publishing
a pamphlet called, "_Robin's_ 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 _King's Bench_; where he became connected with Lady
_Dinely_, whole character was of equal infamy with his own.
7. The same, in a smaller size; prefixed to a pamphlet, intituled, "A
Miscellany of Taste, by Mr. _Pope_," &c. containing his Epistles, with
Notes and other poems. In the former of these Mr. _Pope_ has a tie-wig
on, in the latter a cap.
8. The same, in a size still smaller; very coarsely engraved. Only one
of them is noted by Mr. _Walpole_.
A reader of these Anecdotes observes, "That the total silence of
_Pope_ 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 _Hogarth, Pope_ seems to have
apprehended more lasting inconvenience; and the event has justified
his fear. The frontispiece to _Smedley's Gulliveriana_ has been long
forgotten; but the _Gate of Burlington house_ 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 _Pope_,
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 _Twickenham_ to have mixed in
the conversation of the times, without being obliged to hear repeated
praises of the author of _The Harlot's Progress_."
The sheet containing this page having been shewn to a friend, produced
from him the following remark: "That _Pope_ was silent on the merits
of _Hogarth_ (as one of your readers has observed) should excite
little astonishment, as our artist's print on the _South Sea_ exhibits
the translator of _Homer_ in no very flattering point of view. He is
represented with one of his hands in the pocket of a fat personage,
who wears a hornbook at his girdle. For whom this figure was designed,
is doubtful. Perhaps it was meant for _Gay_, who was a fat man, and
a loser in the same scheme."--"_Gay_," says Dr. _Johnson_, "in that
disastrous year had a present from young _Craggs_ of some _South-sea_
stock, and once supposed himself to be master of twenty-thousand
pounds. His friends persuaded him to 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 _Fenton_, 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 _Gay_ 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
_Cumberland_. Some of your ingenious correspondents, or Mr. _Walpole_,
who is _instar omnium_, may be able to give a further illustration.
The conclusion to the inscription under this plate--_Guess at the
rest, you'll find out more_--seems also to imply a consciousness of
such personal satire as it was not prudent to explain. I may add,
that the print before us exhibits more than one figure copied from
_Callot_. Among the people going along the gallery to raffle for
husbands, the curious observer will recognize the _Old Maid_ with
lappets flying, &c. afterwards introduced into the scene of _Morning_.
Dr. _Johnson_, 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 _Peru_ can boast were expected from
the _South Sea_; when the contagion of avarice tainted every mind; and
_Pope_, being seized with the universal passion, ventured some of his
money. The stock rose in its price; and he for a while thought himself
_The Lord of Thousands_. 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.'"
It appears from _Pope's_ correspondence with _Atterbury_, 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."[1]
[1] Letters to and from Bishop _Atterbury_, 1782, vol. I. p. 71.
* * * * *
1733.
1. The Laughing Audience. "1733. Recd. _Decbr._ 18 _of the Right
Honnble. Lord Biron_ Half a Guinea being the first Payment for nine
Prints 8 of which Represent a Rakes Progress and the 9th 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 Rakes. Progress alone will be 2 Guineas
each set after the Subscription is over."
The words printed in _Italicks_ are in the hand-writing of _Hogarth_.
2. The _Fair_[1] [at _Southwark_]. _Invented, painted, and engraved by
W. Hogarth._. The show-cloth, representing the Stage Mutiny, is taken
from a large etching by _John Laguerre_ (son of _Louis Laguerre_,
the historical painter), who sung at _Lincoln's-Inn Fields_ and
_Covent-Garden_ Theatres, painted some of their scenes, and died in
1748. _The Stage-Mutineers_, or _A Playhouse to be let_, a tragi-comi
farcical-ballad-opera, which was published in 1733, will throw some
light on the figures here represented by _Hogarth_. See also the
_Supplement_ to _Dodsley's_ Preface to his Collection of Old Plays, and
the "Biographia Dramatica, 1782."
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 _with
a cudgel in his hand_, who appears on the side of _Highmore_.[2] From
these circumstances it is evident that _John Ellis_ the painter (a
pupil of Sir _James Thornhill_, a great frequenter of _Broughton's_
gymnasium, the stages of other prize-fighters, &c.) was the person
designed. _Ellis_ was deputy-manager for Mrs. _Wilks_, and _took up
the cudgels_ also for the new patentee. Mr. _Walpole_ observes that
_Rysbrack_, when he produced that "exquisite summary of his skill,
knowledge, and judgment," the _Hercules_ now in Mr. _Hoare's_ Temple at
_Stourhead_, modelled the legs of the God from those of _Ellis_. This
statue was compiled from the various limbs and parts of seven or eight
of the strongest and best-made men in _London_, chiefly the bruisers,
&c. of the then famous amphitheatre in _Tottenham Court road_.
In _Banks's_ Works, vol. I. p. 97. is a Poetical Epistle on this print,
which alludes to the disputes between the managers of _Drury-Lane_,
and such of the actors as were spirited up to rebellion by _Theophilus
Cibber_, and seceded to _The Haymarket_ in 1733. _Cibber_ is
represented under the character of _Pistol_;[3] _Harper_ under that of
_Falstaff_. The figure in the corner was designed for _Colley Cibber_
the Laureat, who had just sold his share in the play-house to Mr.
_Highmore_, who is represented holding a scroll, on which is written
"it cost £.6000." A monkey is exhibited sitting astride the iron that
supports the sign of _The Rose_, a well-known tavern. A label issuing
from his mouth contains the words: "_I am a gentleman._"[4] _The Siege
of Troy_, upon another show-cloth, was a celebrated droll, composed
by _Elkanah Settle_, and printed in 1707; it was a great favourite at
fairs. A booth was built in _Smithfield_ this year for the use of _T.
Cibber, Griffin, Bullock,_ and _H. Hallam_; at which the Tragedy of
_Tamerlane_, with _The Fall of Bajazet_, intermixed with the Comedy
of _The Miser_, was actually represented. The figure vaulting on the
rope was designed for Signor _Violante_, who signalized himself in the
reign of _Geo._ I.; and the tall man exhibited on a show-cloth, was
_Maximilian_, a giant from _Upper Saxony_. The man flying from the
steeple was one _Cadman_, who, within the recollection of some persons
now living, descended in the manner here described from the steeple of
_St. Martin's_ into _The Mews_. He broke his neck soon after, in an
experiment of the like kind, at _Shrewsbury_, and lies buried there in
the churchyard of _St. Mary Friars_, with the following inscription on
a little tablet inserted in the church-wall just over his grave.[5]
The lines are contemptible, but yet serve to particularize the accident
that occasioned his death.
Let this small monument record the name
Of _Cadman_, and to future times proclaim
How, by an attempt to fly from this high spire
Across the _Sabrine_ stream, he did acquire
His fatal end. 'Twas not for want of skill,
Or courage, to perform the task, he fell:
No, no,--a faulty cord, being drawn too tight,
Hurry'd his soul on high to take her flight,
Which bid the body here beneath, good night.
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 _to_ the church whenever he pleased, but he should never
give his consent to any one's flying _from_ it. It seems that some
exhibitor of the same kind met with a similar inhibition here in
_London_. I learn from _Mist's_ Journal for _July_ 8, 1727, that a
sixpenny pamphlet, intituled, "The Devil to pay at _St. James's_,
&c."[6] was published on this occasion, Again, in _The Weekly
Miscellany_ for _April_ 17, 1736. "_Thomas Kidman_, the famous Flyer,
who has flown from several of the highest precipices in _England_, and
was the person that flew off _Bromham_ steeple in _Wiltshire_ when it
fell down, flew, on _Monday_ last, from the highest of the rocks near
_The Hot-well_ at _Bristol_, with fire-works and pistols; after which
he went up the rope, and performed several surprising dexterities on
it, in sight of thousands of spectators, both from _Somersetshire_
and _Gloucestershire_." In this print also is a portrait which has
been taken for that of Dr. _Rock_, 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.[7] Some other particulars are explained in the notes to the
poetical epistle already mentioned.
[1] In the Craftsman, 1733, was this advertisment; "Mr. _Hogarth_ 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. _Hogarth's_, the _Golden Head_,
in _Leicester Fields_, where the pictures are to be seen."
[2] _Highmore_ was originally a man of fortune; but _White's_
gaming-house, and the patent of _Drury-Lane_ theatre, completely
exhausted his finances. Having proved himself an unsuccessful actor as
well as manager, in 1743 he published _Dettingen_, a poem which would
have disgraced a Bell-man. In 1744 he appeared again in the character
of _Lothario_, for the benefit of Mrs. _Horten_. From this period his
history is unknown. If _Hogarth's_ representation of him, in the print
entitled _The Discovery_, was a just one, he had no external requisites
for the stage.
[3] In a two-shilling pamphlet, printed for _J. Mechell_ at _The King's
Arms_ in _Fleet street_, 1740, entitled "An Apology for the life of
Mr. _T---- C----_, comedian; being a proper sequel to the apology for
the life of Mr. _Colley Cibber_, 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
_Harry Fielding_; the following passages, illustrative of our subject,
occur. "In that year when the stage fell into great commotions, and
the _Drury Lane_ 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 _myself_, 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 _Pistol_
was attributed to me as a real one. Out came a _Print_ of _Jack
Laguerre's_, representing, in most vile designing, this expedition of
ours, under the name of _The Stage Mutiny_, in which, gentle reader,
_your humble servant_, in the _Pistol_ 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 _Bartholomew_, we
gained some recruits; but, besides those advantages over the enemy, I
myself went there in person, and publickly _exposed_ myself. This was
done to fling defiance in the Patentee's teeth; for, on the booth where
I exhibited, I hung out _The Stage Mutiny_, with _Pistol_ at the head
of his troop, our standard bearing this motto,--_We eat._"--Whether
this account which _Cibber_ is made to give of his own conduct is
entirely jocular, or contains a mixture of truth in it, cannot now be
ascertained. _Hogarth_ might have transplanted a circumstance from
_Bartholomew_ to _Southwark_ Fair; or _Fielding_, by design, may have
misrepresented the matter, alluding at the same time to _Hogarth's_
print.
[4] Mr. _Victor_, speaking of this transaction, observes, that "the
general observation was, what business had _a gentleman_ to make the
purchase?"
[5] In _The Gentleman's Magazine_ for 1740, p. 89, is no bad copy
of verses "on the death of the famous _Flyer_ on the Rope at
_Shrewsbury_". It is therefore here inserted.
_-----------Magnis tamen excidit ausis._
Fond _Icarus_ of old, with rash essay,
In air attempted a forbidden way;
Too thin the medium for so cumb'rous freight,
Too weak the plumage to support the weight.
Yet less he dar'd who soar'd on waxen wing,
Than he who mounts to æther on a string.
Just as _Arachne_, when the buzzing prey
Entangled flutter, and would wing away,
From watchful ambuscade insidious springs,
And to a slender twine, ascending, clings.
So on his rope, th' advent'rer climbs on high,
Bounds o'er cathedral heights, and seeks the sky;
Fix but his cable, and he'll tell you soon,
What sort of natives cultivate the moon.
An army of such wights to cross the main,
Sooner than _Haddock's_ fleet, shou'd humble _Spain_.
As warring cranes on pigmies thund'ring fall,
And, without scaling ladders, mount the wall,
The proudest spire in _Salop's_ lofty town
Safely he gains, and glides as safely down;
Then soars again aloft, and downward springs,
Swift as an eagle, without aid of wings;
Shews anticks, hangs suspended by his toe;
Undazzled, views th' inverted chasm below.
Invites with beat of drum brave voluntiers,
Defies _Jack Spaniard_, nor invasion fears,
Land when they will, they ne'er cou'd hurt _his ears_.
Methink I see as yet his flowing hair
And body, darting like a falling star:
Swifter than what "with fins or feathers fly
Thro' the ærial or the wat'ry sky."
Once more he dares to brave the pathless way,
Fate now pursuing, like a bird of prey;
And, comet-like, he makes his latest tour,
In air excentric (oh! ill-omen'd hour!)
Bar'd in his shirt to please the gazing crowd,
He little dreamt, poor soul! of winding shroud!
Nothing could aught avail but limbs of brass,
When ground was iron, and the _Severn_ glass.
As quick as lightning down his line he skims,
Secure in equal poize of agile limbs.
But see the trusted cordage faithless prove!
Headlong he falls, and leaves his soul above:
The gazing town was shock'd at the rebound
Of shatter'd bones, that rattled on the ground;
The broken cord rolls on in various turns,
Smokes in the whirl, and as it runs it burns.
So when the wriggling snake is snatch'd on high
In eagle's claws, and hisses in the sky,
Around the foe his twirling tail he flings,
And twists her legs, and writhes about her wings.
_Cadman_ laid low, ye rash, behold and fear,
Man is a reptile, and the ground his sphere.
Unhappy man! thy end lamented be;
Nought but thy own ill fate so swift as thee,
Were metamorphoses permitted now,
And tuneful _Ovid_ liv'd to tell us how;
His apter Muse shou'd turn thee to a daw,
Nigh to the fatal steeple still to kaw;
Perch on the cock, and nestle on the ball,
In ropes no more confide, and never fall. _J. A._
[6] Supposed to have been written by Dr. _Arbuthnot_, and as such
preserved in the Collection of his Works. The full title is, "The
Devil to pay at _St. James's_: or, a full and true Account of a most
horrid and bloody Battle between Madam _Faustina_ and Madam _Cuzzoni_.
Also of a hot Skirmish between Signor _Boschi_ and Signor _Palmerini_.
Moreover, how _Senesino_ has taken Snuff, is going to leave the Opera,
and sings Psalms at _Henley's Oratory_. Also about the Flying Man,
and how the Doctor of _St. Martin's_ 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 _William Gibson_, the
Quaker. And how the _Wild Boy_ 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."
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 _Lilliputian_ swine, supposed to be in the possession
of Dean _Swift_, Dr. _Arbuthnot_ adds, "But _Hogarth_ the Engraver is
making a print after them, which will give a juster idea of them than I
can."
[7] Perhaps he was only a fire-eater.
3. _Judith_ and _Holofernes_. "Per vulnera servor, morte tuâ vivens."
_W. Hogarth inv. Ger. Vandergucht sc._ A frontispiece to the Oratorio
of _Judith._--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. (_Judith_ was an Oratorio by _William Huggins_,
Esq. set to musick by _William De Fesch_[1] late Chapel-master of the
cathedral church of _Antwerp_. This piece was performed with scenes and
other decorations, but met with no success. It was published in 8vo,
1733.)--The original plate of the frontispiece is in the possession
of Dr. _Monkhouse_. This design has little of _Hogarth_; 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.
[1] _William Defesch_, a _German_, and some time chapel-master at
_Antwerp_, was in his time a respectable professor on the violin, and
leader of the band for several seasons at _Marybone-gardens_. 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 _Vauxhall_ and _Marybone-gardens_. He died, soon
after the year 1750, at the age of 70.
The following lines were written under a picture of _Defesch_, painted
by _Soldi_, 1751.
Thou honor'st verse, and verse must lend her wing,
To honor thee, the priest of _Phœbus'_ quire,
That _tun'st_ her happiest lines in hymn or song. MILTON.
_Defesch_ was the patriotic Mr. _Hollis's_ music-master.
4. Boys peeping at Nature. "_The subscription-ticket to the Harlot's
Progress._" A copy in aqua-tinta from this receipt was made by _R.
Livesay_ in 1781, and is to be had at Mrs. _Hogarth's_ house in
_Leicester-square_.
* * * * *
1733 and 1734.
1.[1] The Harlot's Progress,[2] in six plates. In the first is a
portrait of Colonel _Chartres_. "Cette figure de viellard (says
_Rouquet_) 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 _John Gourlay_ a Pimp, whom he always kept about his person. The
next figure that attracts our notice, is that of Mother _Needham_. To
prove this woman was sufficiently notorious to have deserved the satire
of _Hogarth_, the following paragraphs in _The Grub-street Journal_ are
sufficient.
_March_ 25, 1731. "The noted Mother _Needham_ was yesterday committed
to _The Gatehouse_ by Justice _Railton_."
Ibid. "Yesterday, at the quarter-sessions for the city and liberties of
_Westminster_, the infamous Mother _Needham_, who has been reported to
have been dead for some time, to screen her from several prosecutions,
was brought from _The Gatehouse_, 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."
Ibid. _April_ 29, 1731. "Oh _Saturday_ ended the quarter-sessions for
_Westminster_, &c. The noted Mother _Needham_, convicted for keeping a
disorderly house in _Park Place, St. James's,_ was fined One Shilling,
to stand twice in the pillory, and find sureties for her good behaviour
for three years."
Ibid. _May_ 6, 1731. "Yesterday the noted Mother _Needham_ stood in the
pillory in _Park Place_, near _St. James's-street_, 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 _Needham_.
She declared in her last words,[3] that what most affected her was
the terror of standing in the pillory to-morrow in _New Palace-yard_,
having been so ungratefully used by the populace on _Wednesday_."
The memory of this woman is thus perpetuated in _The Dunciad_, I. 323.
"To _Needham's_ quick the voice triumphal rode,
But pious _Needham_ dropt the name of God."
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.'[4] 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."
_Rouquet_ has a whimsical remark relative to the clergyman just arrived
in _London_. "Cet ecclesiastique monté sur un cheval blanc, _comme ils
affectent ici de l'être_."--The variations in this plate are; shade
thrown by one house upon another; _London_ 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.
Plate II. _Quin_ compared _Garrick_ in _Othello_ to the black boy
with the tea-kettle,[5] a circumstance that by no means encouraged
our _Roscius_ 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 _Jew's_ bedchamber, is superscribed, _Clarke_; but without
authority from _Hogarth. Woolston_ would likewise have been out of
his place, as he had written against the _Jewish_ tenets. Of this
circumstance, _Hogarth_ was probably told by some friend, and therefore
effaced a name he had once ignorantly inserted.
In Plate III.[6] (as already observed) is the portrait of Sir _John
Gonson_. That Sir _John Gonson_ was the person intended in this print,
is evident from a circumstance in the next, where, on a door in
_Bridewell_, a figure hanging is drawn in chalk, with an inscription
over it, "Sir _J. G._" as well as from the following explanation by
_Rouquet_: "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."
Respecting another circumstance, however, in the third plate, _Rouquet_
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[7] 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.
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.
In Plate V. Roof of the room. Back of the chair. Table. Dr.
_Misaubin's_ waistcoat. Name of Dr. _Rock_ on the paper lying on the
close-stool. Dish at the fire.
In a despicable poem published in 1732, under the fictitious name of
_Joseph Gay_, and intituled "_The Harlot's Progress_, which is a key
to the six prints lately published by Mr. _Hogarth_," the two quacks
in attendance on the dying woman are called _Tan--r_ and _G--m_. It
is evident from several circumstances, that this Mr. _J. Gay_ became
acquainted with our author's work through the medium of a copy.
In Plate VI. the woman seated next the clergyman was designed for
_Elizabeth Adams_, who, at the age of 30, was afterwards executed for
a robbery, _September_ 10, 1737. The common print of her will justify
this assertion.
If we may trust the wretched metrical performance just quoted, the Bawd
in this sixth plate was designed for Mother _Bentley_.
The portrait hanging up in the _Jew's_ apartment was originally
subscribed "Mr. _Woolston_." 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. _Rock_, 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.
The following paragraph in _The Grub-street Journal_ for _September_
24, 1730, will sufficiently justify the splendid appearance the Harlot
makes in _Bridewell_. See Plate IV. Such well-dressed females are
rarely met with in our present houses of correction.
"One _Mary Muffet_, a woman of great note in the hundreds of
_Drury_, who, about a fortnight ago, was committed to hard labour in
_Tothill-fields Bridewell_, by nine justices, brought his Majesty's
writ of _Habeas Corpus_, and was carried before the right honourable
the lord chief justice _Raymond_, expecting to have been either
bailed or discharged; but her commitment appearing to be legal, his
lordship thought fit to remand her back again to her former place of
confinement, where _she is now beating hemp in a gown very richly laced
with silver_."
_Rouquet_ 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 _Rouquet_; but I cannot
absolutely concur in the justness of it. _Hogarth_ 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
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.
He might, however, have exercised his critical abilities with more
success on _Hogarth's_ 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 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 _Hogarth's_
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 _vraisemblance_.
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 _Bowles. Hogarth_, 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.
PLATE I.
See there, but just arriv'd in town,
The _Country Girl_ in home-spun gown,
Tho' plain her dress appears, how neat!
Her looks how innocent and sweet!
Does not your indignation rise,
When on the bawd you cast your eyes?
Fraught with devices to betray;
She's hither come in quest of prey;
Screens her designs with godly airs,
And talks of homilies and pray'rs,
Till, by her arts, the wretched Maid
To vile _Francisco_ is betray'd.
And see, the lewd old rogue appears,
How at the fresh young thing thing he leers!
In lines too strong, too well exprest
The lustful satyr stands confest.
On batter'd jade, in thread-bare gown,
The _Rural Priest_ is come to town--
Think what his humble thought engages;
Why--lesser work and greater wages.
PLATE II.
Debauch'd, and then kick'd out of doors,
The fate of all _Francisco's_ whores,
Poor _Polly's_ forc'd to walk the streets,
Till with a wealthy _Jew_ she meets.
Quickly the man of circumcision
For her reception makes provision.
You see her now in all her splendour,
A Monkey and a Black t' attend her.
How great a sot's a keeping cully,
Who thinks t' enjoy a woman solely!
Tho' he support her grandeur, Miss
Will by the bye with others kiss.
Thus Polly play'd her part; she had
A _Beau_ admitted to her bed;
But th' _Hebrew_ coming unexpected,
Puts her in fear to be detected.
This to prevent, she at breakfast picks
A quarrel, and insulting kicks
The table down: while by her _Maid_
The _Beau_ is to the door convey'd.
PLATE III.
_Molly_ discarded once again,
Takes lodgings next in _Drury-lane_;
Sets up the business on her own
Account, and deals with all the town.
At breakfast here in deshabille,
While _Margery_ does the tea-pot fill,
Miss holds a watch up, which, by slight
Of hand, was made a prize last night.
From chandler's shop a dab of butter,
Brought on his lordship's _Pastoral Letter_,
A cup, a saucer, knife, and roll,
Are plac'd before her on a stool.
A chair behind her holds a cloak,
A candle in a bottle stuck,
And by't a bason--but indecent
T'would be in me to say what is in't.
At yonder door, see there Sir _John's_
Just ent'ring with his _Myrmidons_,
To _Bridewell_ to convey Miss _Molly_,
And _Margery_ with her to Mill Dolly.[8]
PLATE IV.
See _Polly_ now in _Bridewell_ stands,
A galling mallet in her hands,
Hemp beating with a heavy heart,
And not a soul to take her part.
The _Keeper_, with a look that's sourer
Than _Turk_ or Devil, standing o'er her:
And if her time she idles, thwack
Comes his rattan across her back.
A dirty, ragged, saucy Jade,
Who sees her here in rich brocade
And _Mechlin_ lace, thumping a punny,
Lolls out her tongue, and winks with one eye.
That other _Maux_ with half a nose,
Who's holding up her tatter'd cloaths,
Laughs too at Madam's working-dress,
And her grim Tyrant's threat'ning face,
A _Gamester_ hard by _Poll_ you see,
In coat be-lac'd and smart toupee.
_Kate_ vermin kills--chalk'd out upon
A window-shutter, hangs _Sir John_.
PLATE V.
Released from _Bridewell, Poll_ again
Drives on her former trade amain;
But who e'er heard of trading wenches
That long escap'd disease that _French_ is?
Our _Polly_ did not--Ills on ills,
Elixirs, boluses and pills,
Catharticks and emeticks dreary,
Had made her of her life quite weary;
At last thrown into salivation
She sinks beneath the operation.
A snuffling whore in waiting by her
Screams out to see the wretch expire.
The _Doctors_ blame each other; _Meagre_,
With wrath transported, hot and eager,
Starts up, throws down the chair and stool,
And calls her brother _Squab_ a fool.
Your pills, quoth _Squab_, with cool disdain,
Not my elixir, prov'd her bane.
While they contend, a muffled Punk
Is rummaging poor _Polly's_ trunk.
PLATE VI.
The sisterhood of _Drury-lane_
Are met to form the funeral train.
_Priss_ turns aside the coffin lid,
To take her farewell of the dead.
_Kate_ drinks dejected; _Peggy_ stands
With dismal look, and wrings her hands.
_Beck_ wipes her eyes; and at the glass
In order _Jenny_ sets her face.
The ruin'd _Bawd_ roars out her grief;
Her bottle scarcely gives relief.
_Madge_ fills the wine; his castle-top
With unconcern the _Boy_ winds up.
The _Undertaker_ rolls his eyes
On _Sukey_, as her glove he tries:
His leering she observes, and while he
Stands thus, she picks his pocket slily.
The _Parson_ sits with look demure
By _Fanny's_ side, but leaning to her.
His left hand spills the wine; his right--
I blush to add--is out of sight.
Over the figure of the _Parson_ is the letter A, which conducts to
the following explanation underneath the plate. "A. The famous
_Couple-Beggar_ in _The Fleet_, a wretch who there screens himself from
the justice due to his _villainies_, and daily repeats them."
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.
[1] In _The Craftsman_ of _Nov._ 25, 1732, we read, "This day is
published, six prints in chiaro oscuro, of _The Harlot's Progress_,
from the designs of Mr. _Hogarth_, in a beautiful green tint, by Mr.
_E. Kirkall_, with proper explanations under each print. Printed and
sold by _E. Kirkall_, in _Dockwell-court, White-Fryars; Phil. Overton_,
in _Fleet-street; H. Overton_ and _J. Hoole_, without _Newgate; J.
King_, in the _Poultry_; and _T. Glass_, under the _Royal Exchange_."
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 _Hogarth's_ work, and were published before
their original.
[2] In _The Grub-street Journal_ for _December_ 6, 1733, appeared the
following advertisement: "Lately published, (illustrated with six
prints, neatly engraven from Mr. _Hogarth's_ Designs,) _The Lure of
Venus_; or a Harlot's Progress. An heroi-comical Poem, in six Cantos,
by Mr. _Joseph_ Gay.
"To Mr. _Joseph_ Gay.
"Sir,
"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. _Hogarth_
has done, in his six prints of a _Harlot's Progress_; and, without
a compliment, Sir, your admirable Cantos are a true key and lively
explanation of the painter's hieroglyphicks.
"I am, Sir, yours, &c.
"A. PHILLIPS."
This letter, ascribed to _Ambrose Phillips_, was in all probability a
forgery, like the name of _Joseph Gay_.
[3] "Mother _Needham's_ Lamentation," was published in _May_ 1731,
price 6d.
[4] It seems agreed on by our comic-writers, not to finish the
character of a Bawd without giving her some pretence to Religion. In
_Dryden's_ Wild Gallant, _Mother du Lake_, 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 _Richardson_ in his _Clarissa_, and
perhaps to _Foote_, or _Foote's_ original of the character of Mother
_Cole_.
[5] So in _Hill's Actor_, 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 _Othello_. 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
_Shakspeare_ has thrown into that character, come out of his mouth."
[6] See the back ground of this plate, for a circumstance of such
unpardonable grossness as admits of no verbal interpretation.
[7] Bishop _Gibson_.
[8] Beat hemp.
2. Rehearsal of the Oratorio of _Judith_. Singing men and boys. Ticket
for "A Modern Midnight Conversation." This Oratorio of _Judith_, which
was performed in character, was written by Mr. _Huggins_, as has been
already observed in p. 187; and the line taken from it,
"The world shall bow to the _Assyrian_ throne,"
inscribed on the book, is a satire on its want of success.--The corner
figure looking over the notes, was designed for Mr. _Tothall_.
3. A Midnight Modern Conversation. _W. Hogarth inv. pinx. & sculp.
Hogarth_ 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:
Think not to find one meant resemblance here,
We lash the Vices, but the Persons spare.
Prints should be priz'd, as Authors should be read,
Who sharply smile prevailing Folly dead.
So _Rabilaes_ laught, and so _Cervantes_ thought,
So Nature dictated what Art has taught.
Most of the figures, however, are supposed to be real portraits. The
Divine and the Lawyer,[1] in particular, are well known to be so.
A pamphlet was published about the same time, under the same title as
this plate. In _Banks's_ Poems, vol. I. p. 87. the print is copied as
a head-piece to an Epistle to Mr. _Hogarth_, on this performance. In
a note, it is said to have appeared after _The Harlot's Progress_;
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 _The Craftsman_, and _The London Journal_.
Of this print a good, but contracted copy, was published (perhaps with
_Hogarth's_ permission), and the following copy of verses engraved
under it.
The Bacchanalians; or a Midnight Modern Conversation. A Poem
addressed to the Ingenious Mr. _Hogarth_.
Sacred to thee, permit this lay
Thy labour, _Hogarth_, to display!
Patron and theme in one to be!
'Tis great, but not too great for thee;
For thee, the Poet's constant friend,
Whose vein of humour knows no end.
This verse which, honest to thy fame,
Has added to thy praise thy name!
Who can be dull when to his eyes
Such various scenes of humour rise?
Now we behold in what unite
The Priest, the Beau, the Cit, the Bite;
Where Law and Physick join the Sword,
And Justice deigns to crown the board:
How _Midnight Modern Conversations_
Mingle all faculties and stations!
Full to the sight, and next the bowl,
Sits the physician of the soul;
No loftier themes his thought pursues
Than Punch, good Company, and Dues:
Easy and careless what may fall,
He hears, consents, and fills to all;
Proving it plainly by his face
That cassocks are no signs of grace.
Near him a son of _Belial_ see;
(That Heav'n and _Satan_ should agree!)
Warm'd and wound up to proper height
He vows to still maintain the fight,
The brave surviving Priest assails,
And fairly damns the first that fails;
Fills up a bumper to the Best
In Christendom, for that's his taste:
The parson simpers at the jest,
And puts it forward to the rest.
What hand but thine so well could draw
A formal Barrister at Law?
_Fitzherbert, Littleton,_ and _Coke,_
Are all united in his look.
His spacious wig conceals his ears,
Yet the dull plodding beast appears.
His muscles seem exact to fit
Much noise, much pride, and not much wit.
Who then is he with solemn phiz,
Upon his elbows pois'd with ease?
Freely to speak the Muse is loth--
Justice or knave--he may be both--
Justice or knave--'tis much the same:
To boast of crimes, or tell the shame,
Of raking talk or reformation,
'Tis all good _Modern Conversation_.
What mighty _Machiavel_ art thou,
With patriot cares upon thy brow?
Alas, that punch should have the fate
To drown the pilot of the state!
That while both sides thy pocket holds,
Nor _D'Anvers_ grieves, nor _Osborne_ scolds,
Thou sink'st the business of the nation
In _Midnight Modern Conversation_!
The Tradesman tells with wat'ry eyes
How Credit sinks, how Taxes rise;
At Parliaments and Great Men pets,
Counts all his losses and his debts.
The puny Fop, mankind's disgrace,
The ladies' jest and looking-glass;
This he-she thing the mode pursues,
And drinks in order--till he sp--s.
See where the Relict of the Wars,
Deep mark'd with honorary scars,
A mightier foe has caus'd to yield
Than ever _Marlbro'_ met in field!
See prostrate on the earth he lies;
And learn, ye soldiers, to be wise.
Flush'd with the fumes of gen'rous wine
The Doctor's face begins to shine:
With eyes half clos'd, in stamm'ring strain,
He speaks the praise of rich champaign.
'Tis dull in verse, what from thy hand
Might even a _Cato's_ smile command.
Th' expiring snuffs, the bottles broke,
And the full bowl at four o'clock.
_March_ 22, 1742, was acted at _Covent-Garden_, a new scene, called _A
Modern Midnight Conversation_, taken from _Hogarth's_ celebrated print;
in which was introduced, _Hippisley's Drunken Man_, with a comic tale
of what really passed between himself and his old aunt, at her house on
_Mendip-Hills_, in _Somersetshire_. For Mr. _Hippisley's_ benefit.
[1] These, in my first edition, I had ventured, on popular report, to
say were parson _Ford_, and the first Lord _Northington_, when young.
But I am now enabled to identify their persons, on the authority of
Sir _John Hawkins_: "When the Midnight Modern Conversation came out,
the general opinion was, that the Divine was the portrait of Orator
_Henley_; and the Lawyer of _Kettleby_, 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."
In that once popular satire, _The Causidicade_, are the following lines
on this lawyer:
"Up _Kettleby_ starts with a _horrible stare!_
'Behold, my good Lord, your old friend at the bar,
Or rather old foe, for foes we have been,
As treason fell out, and poor traitors fell in.
Strong opposites e'er, and not once of a side,
Attornies will always great counsel divide.
You _for_ persecutions, I always _against_,
How oft with a joke 'gainst your law have I fenc'd?
How oft in your pleadings I've pick'd out a hole,
Thro' which from your pounces my culprit I've stole;
I've puzzled against you now eight years or nine,
You, my Lord, for your King, I a ----l for mine.
But what is all this? Now your Lordship will say,
To get at the office this is not the way.
I own it is not, so I make no request
For myself, still firm to my party and test:
But if 'tis your pleasure to give it my son,
He shall take off his coif t'accept of the boon;
That coif I, refusing, transferr'd upon him,
For who'd be a serjeant where _P----r_ was Prime?
That my son is a lawyer no one can gainsay,
As witness his getting off _W----te_ t'other day.'
Quo' my Lord, 'My friend _Abel_, I needs must allow
You have puzzled me oft, as indeed you do now;
Nay, have puzzled yourself, the court and the law,
And chuckled most wittily over a flaw;
For your nostrums, enigmas, conundrums, and puns,
Are above comprehension, save that of your son's.
To fling off the coif! Oh fye, my friend _Abel_,
'Twould be acting the part of the Cock in the Fable!
'Tis a badge of distinction! and some people buy it;
Can you doubt on't, when _Skinner_ and _Hayward_ enjoy it?
Tho' I own you have spoil'd (but I will not enlarge on't)
A good Chancery draftsman to make a bad Serjeant.'"
Lord _Northington_ did not come into notice till many years after the
publication of this print.
* * * * *
1735.
1. The Rake's Progress, in eight plates.
Extract from the _London Daily Post, May_ 14, 1735:
"The nine prints from the paintings of Mr. _Hogarth_, 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 _June_ next.
"Subscriptions will be taken at Mr. _Hogarth's_, the _Golden-Head_, in
_Leicester-fields_, till the 23d of _June_, 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.
"N. B. Mr. _Hogarth_ was, and is, obliged to defer the publication
and delivery of the abovesaid prints till the 25th of _June_ 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 _June_
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."
In _The Craftsman_, soon afterwards, appeared the following
advertisement:
"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. _Hogarth's_,
the _Golden-Head_, in _Leicester-fields_; and at _Tho. Bakewell's_,
print-seller, next _Johnson's Court_, in _Fleet-street_, where all
other print-sellers may be supplied.
"In four days will be published, copies from the said prints, with the
consent of Mr. _Hogarth_, according to the act of parliament, which
will be sold at 2 _s._ 6 _d._ 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,
_viz._ 'Published with the consent of Mr. _William Hogarth_, by _Tho.
Bakewell_, according to act of parliament.'
"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."
This series of plates, however, as Mr. _Walpole_ observes, was pirated
by _Boitard_ on one very large sheet of paper, containing the several
scenes represented by _Hogarth_. It came out a fortnight before the
genuine set, but was soon forgotten. The principal variations in these
prints are the following:
Plate I. The girl's face who holds the ring is erased, and a worse is
put in.[1] 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,[2] appended to a roll of black cloth, omitted; the contents
of the closet thrown more into shade.
In Plate II. are portraits of _Figg_, the prize-fighter;[3]
_Bridgeman_, a noted gardener; and _Dubois_, a master of defence,
who was killed in a duel by one of the same name, as the following
paragraphs in _The Grub-street Journal_ for _May_ 16, 1734, &c. will
testify: "Yesterday (_May_ 11) between two and three in the afternoon,
a duel was fought in _Mary-le-bone Fields_, between Mr. _Dubois_ a
_Frenchman_, and Mr. _Dubois_ an _Irishman_, 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."
_May_ 23, 1734, "Yesterday morning died Mr. _Dubois_, of a wound he
received in a duel."
The portrait of _Handel_ has been supposed to be represented in the
plate before us; but "this," as Sir _John Hawkins_ observes to me, "is
too much to say. Mr. _Handel_ 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
_Farinelli_, 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, 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 _Farinelli_;" 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, _Rouquet_ has the following remark: "Ce
caractere ne paroit plus _Italien_ qu'_Anglois_." I am not sufficiently
versed in _Alsatian_ annals to decide on the question; but believe that
the bully by profession (not assassin, as _Rouquet_ 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 _Scotin_ chiefly; but
several of the faces were touched upon by _Hogarth_. In the second
plate the countenance of the man with the quarter-staves was wholly
engraved by _Hogarth_. 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 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.
In the third plate is _Leather-coat_,[4] a noted porter belonging to
_The Rose_ Tavern, with a large pewter dish in his hand, which for
many years served as a sign to the shop of a pewterer on _Snow-Hill_.
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 _Rouquet_, 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." _Rouquet_, in his description of an _English_ tavern,
such as that in which our scene lies, mentions the following as
extraordinary conveniencies and articles of magnificence: "Du linge
toujours blanc[5]--de tables de bois qu'on appelle ici mahogani--grand
feu et gratis." Variations: _Pontac's_ head is added in the room of
a mutilated _Cæsar_. 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.
So entirely do our manners differ from those of fifty years ago, that
I much question if at present, in all the taverns of _London_, any
thing resembling the scene here exhibited by _Hogarth_ 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.
Plate IV. _Rakewell_ is going to court on the first of _March_,
which was Queen _Caroline's_ birth-day, as well as the anniversary
of _St. David_. In the early impressions a shoe-black steals the
Rake's cane. In the modern ones, a large group of blackguards[6] [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 _Hogarth's_ traits] are introduced gambling on the pavement; near
them a stone inscribed BLACK'S, a contrast to _White's_ 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;[7] 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. _Hogarth_ 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.[8] Not foreseeing, however, the immense demand for his
prints, many of 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.
In Plate V. is his favourite dog _Trump_. In this, also the head of the
maid-servant is greatly altered, and the leg and foot of the bridegroom
omitted.
From the antiquated bride, and the young female adjusting the folds
of her gown, in this plate, is taken a _French_ print of a wrinkled
harridan of fashion at her toilet, attended by a blooming coëffeuse.
It was engraved by _L. Surugue_ in 1745, from a picture in crayons by
_Coypel_, and is entitled, _La Folie pare la Decrepitude des ajustemens
de la Jeunesse_. From the _Frenchman_, however, the _Devonshire-square_
dowager of our artist has received so high a polish, that she might be
mistaken for a queen mother of _France_.
Mr. _Gilpin_, 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." _Hogarth_, 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. _Tho. Sice, Tho. Horn,_ Churchwardens."[9] 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.
Fifty years ago, _Marybone_ church was considered at such a distance
from _London_, as to become the usual resort of those who, like our
hero, wished to be privately married.
In Plate VI. the fire breaking out, alludes to the same accident which
happened at _White's, May_ 3, 1733. I learn from a very indifferent
poem descriptive of this set of plates (the title is unfortunately
wanting), that some of the characters in the scene before us were real
ones:
"But see the careful plain old man,
_M----_[10], well-known youth to trepan,
To _C------sh_[11] lend the dear bought pence,
_C------sh_ quite void of common sense,
Whose face, unto his soul a sign,
Looks stupid, as does that within.
A quarrel from behind ensues,
The sure retreat of those that lose.
An honest _'Squire_ smells the cheat,
And swears the villain shall be beat:
But _G----dd_ wisely interferes,
And dissipates the wretch's fears."
The original sketch in oil for this scene is at Mrs. _Hogarth's_ house
in _Leicester-fields_. The principal character was then sitting,
and not, as he is at present, thrown upon his knees in the act of
execration.
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 _Louis_ XIV. folio. This work has
no engraver's name, but was probably executed about the year 1700.
Plate VII. The celebrated _Beccaria_, in his "Essay on Public
Happiness," vol. II. p. 172, observes, "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 _Hogarth_ 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 _T. L._ now a prisoner
in _The Fleet_.'"
The Author of the poem already quoted, intimates that the personage in
the night-gown was meant for some real character:
"His wig was full as old as he,
In which one curl you could not see.
His neckcloth loose, his beard full grown,
An old torn night-gown not his own.
_L------_, great schemist, that can pay,
The nation's debt an easy way."
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 _Britannia_ herself was fit only for a
mad-house. This 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
_Whiston's_ 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 _Cibber's_ statues
at _Bedlam_. 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.
Mr. _Gilpin's_ opinion concerning this set of prints is too valuable
to be omitted, and is therefore transcribed below.[12] The plates were
thus admirably illustrated by Dr. _John Hoadly_.
PLATE I.
O Vanity of _Age_, untoward,
Ever spleeny, ever froward!
Why these Bolts, and massy chains,
Squint suspicions, jealous Pains?
Why, thy toilsome Journey o'er,
Lay'st thou in an useless store?
_Hope_ along with _Time_ is flown,
Nor canst thou reap the field thou'st sown.
Hast thou a son? in time be wise--.
He views thy toil with other eyes.
Needs must thy kind, paternal care,
Lock'd in thy chests be buried there?
Whence then shall flow that friendly ease,
That social converse, home-felt peace,
Familiar duty without dread,
Instruction from example bred,
Which youthful minds with freedom mend,
And with the _father_ mix the _friend_?
Uncircumscrib'd by prudent rules,
Or precepts of expensive schools
Abus'd at home, abroad despis'd,
Unbred, unletter'd, unadvis'd;
The headstrong course of youth begun,
What comfort from this darling son?
PLATE II.
_Prosperity_ (with harlot's smiles,
Most pleasing when she most beguiles)
How soon, sweet foe, can all thy train
Of false, gay, frantic, loud, and vain,
Enter the unprovided mind,
And Memory in fetters bind;
Load _Faith_ and _Love_ with golden chain,
And sprinkle _Lethe_ o'er the brain!
_Pleasure_, in her silver throne,
Smiling comes, nor comes alone;
_Venus_ comes with her along,
And smooth _Lyæus_ ever young;
And in their train, to fill the press,
Come apish _Dance_, and swol'n _Excess_,
Mechanic _Honour_, vicious _Taste_,
And _Fashion_ in her changing vest.
PLATE III.
O vanity of youthful blood,
So by misuse to poison _good!
Woman_, fram'd for social love,
Fairest gift of powers above;
Source of every houshold blessing,
All charms in innocence possessing--
But turn'd to Vice, all plagues above,
Foe to thy Being, foe to Love!
Guest divine to outward viewing,
Ablest Minister of Ruin!
And thou, no less of gift divine,
"Sweet poison of misused wine!"
With freedom led to every part,
And secret chamber of the heart;
Dost thou thy friendly host betray,
And show thy riotous gang the way
To enter in with covert treason,
O'erthrow the drowsy guard of reason,
To ransack the abandon'd place,
And revel there in wild excess?
PLATE IV.
O vanity of youthful blood,
So by misuse to poison _good!_
Reason awakes, and views unbarr'd
The sacred gates he watch'd to guard;
Approaching sees the harpy, _Law_,
And _Poverty_, with icy paw,
Ready to seize the poor remains--
That Vice has left of all his gains.
Cold _Penitence_, lame _After-thought_,
With fears, despair, and horrors fraught,
Call back his guilty pleasures dead,
Whom he hath wrong'd, and whom betray'd.
PLATE V.
New to the School of hard _Mishap_,
Driven from the ease of Fortune's lap,
What schemes will Nature not embrace
T' avoid less shame of drear distress!
_Gold_ can the charms of youth bestow,
And mask deformity with show:
Gold can avert the sting of _Shame_,
In winter's arms create a flame;
Can couple youth with hoary age,
And make antipathies engage.
PLATE VI.
_Gold_, thou bright son of _Phœbus_, source
Of universal intercourse;
Of weeping Virtue soft redress,
And blessing those who live to bless!
Yet oft behold this sacred truth,
The tool of avaricious Lust:
No longer bond of human kind,
But bane of every virtuous mind.
What chaos such misuse attends!
Friendship stoops to prey on friends;
Health, that gives relish to delight,
Is wasted with the wasting night;
Doubt and mistrust is thrown on _Heaven_,
And all its power to _Chance_ is given.
Sad purchase of repentant tears,
Of needless quarrels, endless fears,
Of hopes of moments, pangs of years!
Sad purchase of a _tortur'd mind_
To an _imprison'd body_ join'd!
PLATE VII.
Happy the man, whose constant thought
(Though in the school of hardship taught)
Can send _Remembrance_ back to fetch
Treasures from life's earliest stretch;
Who, self-approving, can review
Scenes of past virtues, which shine through
The gloom of age, and cast a ray
To gild the evening of his day!
Not so the guilty wretch confin'd:
No pleasures meet his conscious mind;
No blessings brought from early youth,
But broken faith and wrested truth,
Talents idle and unus'd,
And every trust of Heaven abus'd.
In seas of sad reflection lost,
From horrors still to horrors toss'd,
_Reason_ the vessel leaves to steer,
And gives the helm to mad _despair_.
PLATE VIII.
_Madness!_ thou chaos of the brain;
What art, that pleasure giv'st and pain?
Tyranny of Fancy's reign!
Mechanic _Fancy!_ that can build
Vast labyrinths and mazes wild,
With rule disjointed, shapeless measure,
Fill'd with _horror_, fill'd with _pleasure!_
Shapes of _horror_, that would even
Cast doubt of mercy upon Heaven!
Shapes of _pleasure_, that but seen
Would split the shaking sides of _spleen_.
O vanity of age! here see
The stamp of Heaven effac'd by thee!
The headstrong course of youth thus run,
What comfort from this darling son?
His rattling chains with terror hear;
Behold Death grappling with despair;
See him by thee to ruin sold,
And curse _Thyself_, and curse thy _Gold_.
On this occasion also appeared an 8vo pamphlet, intituled, "The Rake's
Progress, or the Humours of _Drury-Lane_, a poem in eight canto's, in
_Hudibrastick_ verse, being the ramble of a modern _Oxonian_, which is
a compleat key to the eight prints lately published by the celebrated
Mr. _Hogarth_." The second edition with additions, particularly an
"epistle to Mr. _Hogarth_" was "printed for _J. Chetwood_, and sold at
_Inigo Jones's-Head_ against _Exeter Change_ in _The Strand_, 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
_Hogarth_ murdered, and perhaps were not originally intended for the
decoration of the work already described.
The original paintings, both of the Rake's and Harlot's Progress, were
at _Fonthill_, in _Wiltshire_, the seat of Mr. _Beckford_,[13] where
the latter were destroyed by a fire, in the year 1755; the former set
was happily preserved. Mr. _Barnes_, of _Rippon_, in _Yorkshire_,
has the Harlot's Progress in oil. It must, however, be a copy. Mr.
_Beckford_ has also twenty-five heads from the Cartoons by _Hogarth_,
for which he paid twenty-five guineas.
There is reason to believe that _Hogarth_ once designed to have
introduced the ceremony of a _Marriage Contract_ into the Rake's
Progress, instead of the _Levee_. 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 _Arlaud's Leda_. See Mr. _Walpole's_ 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 _Piquet, or Virtue in Danger_.] A third presents us
with a _Madona_ 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 _wafer_, supposed by Catholicks
to contain the _real presence_. 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.[14] 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 _Ganymede_ as hangs against the
wall of the lady's dressing-room in the same plate of the same work.
[1] 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.
[2] The inscription on this bill is--"_London_, bought of _William
Tothall_, Woollen-draper in _Covent-Garden_." See the corner figure
looking over the music in the _Rehearsal of the Oratorio of Judith_;
and note, p. 116.
[3] Of whom a separate portrait, by _Ellis_, had been published by
_Overton. Figg_ died in the year 1734. As the taste of the publick is
much changed about the importance of the _noble_ 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. "FIGG
was the _Atlas_ 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." _Captain John Godfrey's Treatise
upon the Useful Science of Defence_, 4to, 1747, p. 41. "Mr. _Figg_,"
says _Chetwood_, 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. _Figg_ 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
_Figg_, I seldom received any other answer than D-mn you, keep it!" A
Poem by Dr. _Byrom_, on a battle between _Figg_ and _Sutton_, another
prize-fighter, is in the 6th Volume of _Dodsley's_ Collection of Poems.
[4] _Fielding_ has introduced this porter, under the name of
_Leathersides_, into _The Covent-Garden Tragedy_, acted in 1732.
_Leath._
Two whores, great Madam, must be straight prepar'd,
A fat one for the Squire, and for my Lord a lean.
_Mother._
Thou, _Leathersides_, best know'st such nymphs to find,
To thee their lodgings they communicate.
Go thou procure the girl.
[5] The cleanliness of the _English_ seems to have made a similar
impression on the mind of M. _De Grosley_, who, in his "Tour to
_London_," 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 _French_;" and that "The towns and villages upon
the road have excellent inns, but somewhat dear; at these an _English_
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 _France_. 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."
[6] The chief of these, who wears something that seems to have been
a tie-wig, was painted from a _French_ boy, who cleaned shoes at the
corner of _Hog-Lane_.
[7] In the collection of Mr. _Steevens_ only.
[8] 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 _Indian_ ink.
[9] It appears, on examination of the Registers, &c. that _Tho. Sice_
and _Tho. Horn_ 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.
THESE PEWES VNSCRVD AND TANE IN SVNDER
IN STONE THERS GRAVEN WHAT IS VNDER
TO WIT A VALT FOR BURIAL THERE IS
WHICH EDWARD FORSET MADE FOR HIM AND HIS.
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 _Forset_ family appearing, their vault
has been claimed and used by his Grace the Duke of _Portland_, as lord
of the manor. The mural monument of the _Taylors_, composed of lead
gilt over, is likewise preserved. It is seen, in _Hogarth's_ 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.
[10] Old _Manners_, brother to the late _Duke of Rutland_.
[11] The old Duke of _Devonshire_ lost the great estate of _Leicester_
abbey to him at the gaming-table. _Manners_ was the only person of his
time who had amassed a considerable fortune by the profession of a
gamester.
[12] "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
_composition_, 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 _light_ 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 _repose_ had been less injured.
The detached parts of a group should rarely catch a strong body of
light.--We have no striking instances of _expression_ in this print.
The principal figure is unmeaning. The only one, which displays the
true _vis comica_ of _Hogarth_, 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 _has_
introduced, is by no means an object of allurement.--The _perspective_
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.
"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 _French_ barbers, _French_ taylors, poets, milleners,
jockies, bullies, and the whole retinue of a fine gentleman.--The
_expression_, 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 _outré_. The architect[A] is
a strong copy from nature.--The _composition_ seems to be entirely
subservient to the expression. It appears, as if _Hogarth_ 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 _light_ is ill
distributed. It is spread indiscriminately over the print; and destroys
the _whole_--We have no instance of _grace_ 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
_execution_ is very good. It is elaborate, and yet free.--The satire on
operas, though it may be well directed, is forced and unnatural.
"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 _design_
is good; and may be a very exact description of the humours of a
brothel.--The _composition_ too is not amiss. But we have few of
those masterly strokes which distinguish the works of _Hogarth_. 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 _Cæsars_; and not placing them in order.--The _light_ 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.--_Expression_ 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. _Hogarth's_ women are,
in general, very inferior to his men. For which reason I prefer the
_Rake's Progress_ to the _Harlot's_. The female face indeed has seldom
strength of feature enough to admit the strong markings of expression.
"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. _David's_ day, was accosted in the rude manner which is
here represented.--The _composition_ 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
_cup_ 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 _light_ 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
_expression_. 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 _Cambrian_ is not ill
portrayed; who is chiefly introduced to settle the chronology of the
story.--In point of _grace_, we have nothing striking. _Hogarth_
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 _perspective_ is good, and makes an agreeable shape.--I
cannot leave this print without remarking the _falling band-box_.
Such representations of quick motion are absurd; and every moment the
absurdity grows stronger. You cannot deceive the eye. The falling body
_must_ appear _not_ to fall. Objects of that kind are beyond the power
of representation.
"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 _composition_ 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 _light_ is not ill distributed.
The principal figure too is _graceful_; and there is strong
_expression_ 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 _perspective_ is
well understood; but the church is too small;[B] 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.
"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
_composition_ 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 _expression_, 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 _ill-drawn_. The _perspective_
is formal; and the _execution_ but indifferent: in heightening his
expression, _Hogarth_ has lost his spirit.
"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 _Hogarth_, 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 _Bedlam_. The thought is rather
unnatural, and the moral certainly culpable.--The _composition_ is bad.
The group of the woman fainting is a round heavy mass: and the other
group is very ill-shaped. The _light_ could not be worse managed, and,
as the groups are contrived, can hardly be improved.--In the principal
figure there is great _expression_; 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.
"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 _composition_ 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
_drawing_ of the principal figure is a more accurate piece of anatomy
than we commonly find in the works of this master. The _expression_
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 _expression_
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 _perspective_ is simple and
proper.
"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 _design_; but
have lost in point of _expression_."
[A] The _architect_. Mr. _Gilpin_ means--the _gardener_.
[B] I am authorized to observe, that this is no fault in our artist.
The old church at _Marybone_ 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.
[13] Afterwards twice lord mayor of _London_. See p. 44.
[14] The same as that introduced in Plate II.
* * * * *
1736.
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 _Willes. Hogarth_
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 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 _Hogarth_ 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 _Shakspeare's
Tully_,
"----he would never follow any thing
That other men began."
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. _S. Ireland_ has the first
sketch in oil of "Before."[1]
[1] The originals of both are at the earl of _Besborough's_ seat at
_Roehampton_.
2. The Sleeping Congregation. The preacher was designed as the
representative of Dr. _Desaguliers_. This print was first published in
1736. It was afterwards retouched and _improved_[1] by the author in
1762, and is found in three different states. In the first, _Dieu & Mon
Droit_ is wanting under the King's Arms; the angel with one wing and
two pair of 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 _Edward Walpole_, 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.
[1] I wish, for the sake of some future edition of the present work,
these _improvements_ could be ascertained. To me they are invisible,
like those in the re-published _March to Finchley_.
3. The Distressed Poet.[1] In a back ground, a picture of _Pope_
threshing _Curll_. Over the head of _Pope_ we read, _Pope's Letters_;
out of his mouth comes _Veni, vidi, vici_; and under _Curll_ lies
a letter, directed--_to Curll_. The distressed bard is composing
_Poverty_, a poem. At the bottom of the plate are the following lines
from _The Dunciad_, I. iii.
Studious he sate, with all his books around,
Sinking from thought to thought, a vast profund!
Plung'd for his sense, but found no bottom there;
Then writ, and flounder'd on in mere despair.
In the subsequent impressions, dated _December_ 15, 1740, the triumphs
of _Pope_ are changed to a view of the gold mines of _Peru_; and our
hero of the garret is employed in celebrating the praise of _Riches_.
The lines already quoted are effaced. The original painting is at lord
_Grosvenor's_ house at _Milbank, Westminster_.
[1] In _The Craftsman, March_ 12, 1736-7, occurs, "This day is
published, price 3s. a print representing a _Distressed Poet_. 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. _Hogarth's_ late engraved works (except the
Harlot's Progress), or singly, at the _Golden Head_, in _Leicester
Fields_; and at Mr _Bakewell's_, printseller, next the _Horn Tavern,
Fleet-street_." And _April_ 2 and 9, 1737, "Just published, price 3s.
A print representing a _Distressed Poet_. Designed and engraved by Mr.
_Hogarth_. 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 _Golden Head_, in _Leicester Fields_; and at Mr.
_Bakewell's_, print-seller, next the _Horn Tavern_, in _Fleet-street_.
Where may be had, bound or otherwise, all Mr. _Hogarth's_ late engraved
works, viz. A _Midnight Conversation; Southwark Fair_; the _Rake's
Progress,_ in eight prints; a sleepy Congregation in a Country Church;
Before and After, two prints."
4. Right Hon. _Frances_ Lady _Byron_. Whole length, mezzotinto. _W.
Hogarth pinxit. J. Faber fecit._ The most beautiful impressions of this
plate were commonly taken off in a brown colour.
5. The same, shortened into a three-quarters length.
6. Consultation of Physicians. Arms of the Undertakers. In this plate,
amongst other portraits, is the well-known one of Dr. _Ward_[1]
(who was called _Spot Ward_, from the left side of his face being
marked of a claret colour); and that of the elder _Taylor_,[2] a noted
oculist, with an eye on the head of his cane; Dr. _Pierce Dod_,[3] Dr.
_Bamber_;[4] and other physicians of that time. The figure with a bone
in its hand, between the two demi-doctors (i. e. _Taylor_ and _Ward_),
is said to have been designed for Mrs. _Mapp_, 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 _Mist's Journal_,
and still more accounts of her cures in the periodical publications
of her time. Her maiden name was _Wallin_. Her father was also a
bone-setter at _Hindon, Wilts_; but quarrelling with him, she wandered
about the country, calling herself _crazy Sally_. On her success in
her profession she married, _August_ 11, 1736,[5] one _Hill Mapp_, a
servant to Mr. _Ibbetson_, mercer on _Ludgate-Hill_. 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 from the _The Grub-street Journal_, &c. and serve at least
to shew, that she was a character considerable enough to deserve the
satire of _Hogarth_.
_August_ 19, 1736, "We hear that the husband of Mrs. _Mapp_, the famous
bone-setter at _Epsom_, ran away from her last week, taking with him
upwards of 100 guineas, and such other portable things as lay next
hand."
"Several letters from _Epsom_ 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."
The following verses were addressed to her in _August_ 1736.
"Of late, without the least pretence to skill,
_Ward's_ grown a fam'd physician by a pill;[6]
Yet he can but a doubtful honour claim,
While envious Death oft blasts his rising fame.
Next travell'd _Taylor_ fill'd us with surprize,
Who pours new light upon the blindest eyes;
Each journal tells his circuit thro' the land;
Each journal tells the blessings of his hand:
And lest some hireling scribbler of the town
Injures his history, he writes his own.
We read the long accounts with wonder o'er;
Had he wrote less, we had believ'd him more.
Let these, O _Mapp!_ thou wonder of the age!
With dubious arts endeavour to engage:
While you, irregularly strict to rules,
Teach dull collegiate pedants they are fools:
By merit, the sure path to fame pursue;
For all who see thy art, must own it true."
_September_ 2, 1736, "On _Friday_ several persons, who had the
misfortune of lameness, crowded to _The White-hart Inn_, in
_White-chapel_, on hearing Mrs. _Mapp_ 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.
_Mapp_ was at _Epsom_, on which the woman thought proper to move off."
_September_ 9, 1736. "Advertisement.
"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 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.
"_Thomas Barber_, Tallow-chandler, _Saffron-hill_."
_September_ 16, 1736. "On _Thursday_, Mrs. _Mapp's_ plate of ten
guineas was run for at _Epsom_. A mare, called 'Mrs. _Mapp_,' won the
first heat; when Mrs. _Mapp_ gave the rider a guinea, and swore if he
won the plate she would give him 100; but the second and third heat was
won by a chestnut mare."
"We hear that the husband of Mrs. _Mapp_ is returned, and has been
kindly received."
_September_ 23, 1736. "Mrs. _Mapp_ continues making extraordinary
cures: she has now set up an equipage, and on _Sunday_ waited on her
Majesty."
_Saturday, October_ 16, 1736. "Mrs. _Mapp_, the bone-setter, with
Dr. _Taylor_, the oculist, was at the play-house, in _Lincoln's-Inn
Fields,_ to see a comedy called 'The Husband's Relief, with the Female
Bone-setter and Worm Doctor;' which occasioned a full house, and the
following epigram:
"'While _Mapp_ to th'actors shew'd a kind regard,
On one side _Taylor_ sat, on the other _Ward_:
When their mock persons of the Drama came,
Both _Ward_ and _Taylor_ thought it hurt their _fame_;
Wonder'd how _Mapp_ cou'd in good humour be--
Zoons! cries the manly dame, it hurts not me;
Quacks without art may either blind or kill;
But[7] _demonstration_ shews that mine is _skill_.'
"And the following was sung upon the stage:
"'You surgeons of _London_, who puzzle your pates,
To ride in your coaches, and purchase estates,
Give over, for shame, for your pride has a fall,
And the doctress of _Epsom_ has outdone you all.
_Derry down_, &c.
"'What signifies learning, or going to school,
When a woman can do, without reason or rule,
What puts you to nonplus, and baffles your art?
For petticoat-practice has now got the start.
"'In physics, as well as in fashions, we find,
The newest has always the run with mankind;
Forgot is the bustle 'bout _Taylor_ and _Ward_;
Now _Mapp's_ all the cry, and her fame's on record.
"'Dame Nature has given her a doctor's degree,
She gets all the patients, and pockets the fee;
So if you don't instantly prove it a cheat,
She'll loll in her chariot, whilst you walk the street.
_Derry down_, &c.'"
_October_ 19, 1736, _London Daily Post._ "Mrs. _Mapp_, being present at
the acting of _The Wife's Relief_, concurred in the universal applause
of a crowded audience. This play was advertised by the desire of Mrs.
_Mapp_, the famous bone-setter from _Epsom_."
_October_ 21, 1736, "On _Saturday_ evening there was such a concourse
of people at the Theatre-royal in _Lincoln's-Inn Fields_, to see the
famous Mrs. _Mapp_, that several 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. _Ward_, at his house in _Pall-Mall_."
"On _Saturday_ and yesterday Mrs. _Mapp_ performed several operations
at _The Grecian Coffee-house_, particularly one upon a niece of Sir
_Hans Sloane_, to his great satisfaction and her credit. The patient
had her shoulder-bone out for about nine years."
"On _Monday_ Mrs. _Mapp_ performed two extraordinary cures; one on a
young lady of _The Temple_, 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 _Epsom_, and carried
with her several crutches, which she calls trophies of honour."
_November_ 18, 1736, "Mrs. _Mapp_, the famous bone-setter, has taken
lodgings in _Pall-Mall_, near Mr. _Joshua Ward's_, &c."
_November_ 25, 1736,
"In this bright age three wonder-workers rise,
Whose operations puzzle all the wise.
To lame and blind, by dint of manual slight,
_Mapp_ gives the use of limbs, and _Taylor_ sight.
But greater _Ward_, &c."
_December_ 16, 1736, "On _Thursday, Polly Peachum_ (Miss _Warren_, that
was sister to the famous Mrs. _Mapp_) was tried at _The Old Bailey_
for marrying Mr. _Nicholas_; her former husband, Mr. _Somers_, being
living, &c."
_December_ 22, 1737, "Died last week, at her lodgings near _The Seven
Dials_, the much-talked-of Mrs. _Mapp_, the bone-setter, so miserably
poor, that the parish was obliged to bury her."
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,[8]
Nebulæ,[9] Ermine, one compleat Doctor[10] issuant, checkie, sustaining
in his right hand a baton of the second. On his dexter and sinister
sides two _demi-_doctors issuant of the second, and two Cane Heads
issuant of the third; the first having one eye couchant, towards the
dexter side of the escutcheon; the second faced per pale proper and
gules, guardant, with this motto--_Et plurima mortis imago._"
[1] _Joshua Ward_ was one of the younger sons of an ancient and
respectable family settled at _Guisborough_ in _Yorkshire_, 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 _William_, as a dry-salter, in _Thames-street_. 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. _Ward_, 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 _Marlborough_; but, by a vote of the House of Commons, dated
_May_ 13, was declared not duly elected. It is imagined that he was in
some measure connected with his brother _John Ward_ (who is stigmatized
by Mr. _Pope_, Dunciad III. 34.) in secreting and protecting illegally
the property of some of the _South Sea_ directors. Be this as it may,
he soon after fled from _England_, resided some years abroad, and
has been frequently supposed to have turned _Roman_ 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 _Joseph Jekyl_ 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 _George_ the Second, whose hand he cured, and
received, as a reward, a commission for his nephew the late General
_Gansel_. It was his custom to distribute his medicines and advice, and
even pecuniary assistance, to the poor, at his house, _gratis_; 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 _Dec._ 21, 1761, at
a very advanced age, and left the secret of his medicines to Mr.
_Page_, member for _Chichester_, who bestowed them on two charitable
institutions, which have derived considerable advantages from them. His
will is printed in _The Gentleman's Magazine_, 1762, p. 208.
[2] I was assured by the late Dr. _Johnson_, that _Ward_ was the
weakest, and _Taylor_ the most ignorant, of the whole empiric tribe.
The latter once asserted, that when he was at _St. Petersburg_, he
travelled as far as _Archangel_ to meet Prince _Herculaneum_. Now
_Archangel_ being the extreme point from _European Asia_, had the
tale been true, the oculist must have marched so far backwards out
of the route of Prince _Heraclius_, whose name he had blundered into
_Herculaneum_.
The present likeness of our oculist, however, we may suppose to have
been a strong one, as it much resembles a mezzotinto by _Faber_,
from a picture painted at _Rome_ by the Chevalier _Riche_. Under it
is the following inscription: "_Joannes Taylor_, Medicus in Optica
expertissimus multisque in Academiis celeberrimis Socius." Eight
_Latin_ verses follow, which are not worth transcription. _Taylor_ made
presents of this print to his friends. It is now become scarce.
[3] One of the physicians to _St. Bartholomew's_ Hospital. He died
_August_ 6, 1754. His merits were thus celebrated by Dr. _Theobald_, a
contemporary physician:
"O raro merito quem juncta scientia dudum
Illustrem sacris medico stellam addidit orbi
Auspiciis, pura nunquam non luce corusce!
Utcunque incolumem virtutum aversa tueri
Gens humana solet, non ni post fata corona
Donandam merita, potitus melioribus astris,
Invidia major, tu præsens alter haberis
_Hippocrates_, pleno jam nunc cumulatus honore.
Te seu, corporea tandem compage soluta,
Accipiet, doctis clarescentem artibus, alta
_Coi_ sphæra senis; seu tu venerabilis aureo
_Romani Celsi_ rite effulgebis in orbe;
O sit adhuc tarda illa dies, sit tarda, precamur,
Illa dies, nostris et multum ferior annis,
Cum tua mens, membris seducta fluentibus, almas
Advolet, angelicis immixta cohortibus, arces!
Hic potius Musas, thematis dulcedine captas,
Delecta, atque audi laudes vel _Apolline_ dignas."
[4] A celebrated anatomist, physician, and man-midwife, to whose estate
the present _Gascoyne_ family succeeded, and whose surname has been
given as a Christian name to two of them.
[5] Some indifferent verses on this event were printed in _The
Gentleman's Magazine_, 1736, p. 484.
[6] General _Churchill_ was "the primary puffer of _Ward's_ pill at
court;" and Lord Chief Baron _Reynolds_ soon after published "its
miraculous effects on a maid servant," as I learn by some doggrel
verses of Sir _William Browne_, addressed to "Dr. _Ward_, a Quack,
of merry memory," under the title of "The Pill-Plot. On _The Daily
Courant's_ miraculous Discovery, upon the ever-memorable 28th day
of _November_ 1734, from the Doctor himself being a Papist, and
distributing his Pills to the poor _gratis_, by the hands of the
Lady _Gage_ also a Papist, that the Pill must be beyond all doubt a
deep-laid Plot, to introduce popery."
[7] "This alludes to some surprizing cures she performed before Sir
_Hans Sloane_ at _The Grecian Coffee-house_ (where she came once a
week from _Epsom_ in her chariot with four horses): viz. a man of
_Wardour-street_, whose back had been broke nine years, and stuck out
two inches; a niece of Sir _Hans Sloane_ 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." _Gent. Mag._ 1756, p. 617.
[8] A chief betokeneth a senator, or honourable personage borrowed from
the _Greeks_, 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.
[9] The bearing of clouds in armes (saith _Upton_) doth import some
excellencie.
[10] Originally printed _docter_, but afterwards altered in this print.
* * * * *
1737.
1. The Lecture. "Datur vacuum." The person reading is well known to
be the late Mr. _Fisher_, of _Jesus College, Oxford_, and Registrar
of that University. This portrait was taken with the free consent of
Mr. _Fisher_; who died _March_ 18, 1761. There are some impressions in
which "Datur vacuum" is not printed, that leaf being entirely blank;
published _January_ 20, 1736-7; the other _March_ 3, 1736. _Hogarth_
at first marked these words in with a pen and ink.
2. _Æneas_ in a Storm. The following advertisement appeared in _The
London Daily Post, January_ 17, 1736-7.
"This day is published, price sixpence, a hieroglyphical print called
_Æneas in a Storm_.
"Tanta hæc mulier potuit suadere malorum.
"Sold by the booksellers and printsellers in town and country. Of
whom may be had, a print called _Tartuff's Banquet_, or _Codex's_
Entertainment. Price one shilling.
"--populus me sibilat, at mihi plaudo
Ipse domi."
The same paper mentions the King's arrival at _Loestoff_ on the 16th of
_January_, and afterwards at _St. James's_ on the 17th.
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 _George_ the Second's return from _Hanover_. 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 _Loveling_ has alluded in his Sapphic Ode ad _Carolum
B----_.[1]
Concinet majore poeta plectro
_Georgium_,[2] quandoque calens furore
Gestiet circa thalamum ferire
Calce galerum.
I have been told, that Mr. _Garrick_, when he first appeared in the
character of _Bayes_, 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.
In spite of the confidence with which this plate has been attributed
to _Hogarth_, I by no means believe it was his performance. It more
resembles the manner of _Vandergucht_, 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 _Æolian_ tribe, is borrowed from one of the prints to _Scarron's
Travesty of Virgil_; and the figure of _Britannia_ is altogether
insipid and unworthy of _Hogarth_. Our artist also was too much
accustomed to sailing parties, and too accurate an observer of objects
on _The Thames_, not to have known that our Royal Yachts are vessels
without three masts, &c.
[1] _Bunbury_.
[2] The author had here left a blank, which I have ventured to fill up
with the royal name.
* * * * *
1738.
1. The Four Parts of the Day.[1] _Invented, painted, engraved, and
published by W. Hogarth._ Mr. _Walpole_ observes that these plates,
"except the last, are inferior to few of his works." We have been told
that _Hogarth's_ inclination to satire once cost him a legacy. It
seems that the figure of the Old Maid, in the print of _Morning_, 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. _Rock_, who formerly
attended _Covent-Garden_ market every morning.
To the propriety of _Hogarth's_ having introduced a scene of riot
within _King's Coffee-house_, the following quotation from _The Weekly
Miscellany_ for _June_ 9, 1739, bears sufficient testimony: "_Monday_
Mrs. _Mary King_ of _Covent-Garden_ was brought up to the King's Bench
Bar at _Westminster_, 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 _Haverstock_ hill, near _Hampstead_, and died in one of them,
_September_ 1747. Her own mansion was afterwards the last residence
of the celebrated _Nancy Dawson_;[2] and the three together are still
distinguished by the appellation of _Moll King's Row_. Perhaps the
use of the mirror in reversing objects was not yet understood by our
engravers, for in _Hogarth's_ painting the late Mr. _West's_ house (now
_Lowe's_ Hotel) is properly situated on the left of _Covent-garden_
church. In the print it appears on the contrary side.
The _Crying Boy_ in _Noon_ was sketched by _Hogarth_ from a picture
by _N. Poussin_ of the Rape of the _Sabines_, at Mr. _Hoare's_ at
_Stourhead_. The school boy's kite lodged on the roof of a building,
was introduced only to break the disagreeable uniformity of a wall.
Our artist, in the scene of _Evening_, 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
intimate that he was by trade a _Dyer_. The purchasers of the plate,
intituled _Evening_, are hereby cautioned against imposition. In a
modern copy of it, sold to the late Mr. _Ingham Foster_, 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 _printed_ 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 _Night_, the drunken Free-mason
has been supposed to be Sir _Thomas de Veil_; but Sir _John Hawkins_
assures me, it is not the least like him. The _Salisbury Flying-Coach_
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 _Ancaster_, for 57 Guineas; the remaining pair to Sir _William
Heathcote_ for 64.
[1] _Hogarth_ advertises in _The London Daily Post, January_ 20,
1737-8, five copper plates, viz. Morning, Noon, Evening and Night, and
a Company of Strolling Actresses dressing in a barn, for _one guinea_,
half to be paid at the time of subscribing, half on the delivery. After
the subscription, to be raised to five shillings a plate.
[2] A hornpipe dancer at _Covent Garden_. She was mistress to _Shuter_
the comedian, &c. &c. &c.
2. Strolling Actresses[1] dressing in a Barn. _Invented, painted,
engraved, and published by W. Hogarth_. Mr. _Walpole_ observes that
this piece, "for wit and imagination, without any other end," is the
best of all our artist's works. Mr. _Wood_ of _Littelton_ has the
original, for which he paid only 26 Guineas.
Dr. _Trusler_, in his explanation of this plate, is of opinion, that
some incestuous commerce among the performers is intimated by the names
of _Oedipus_ and _Jocasta_ 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 _Lee's Oedipus_.
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 _Oedipus_ and _Jocasta_ 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 _Flora_, 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 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 _Jupiter_ was to be performed by Mr. _Bilk-village_,
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 _Harlot's_ and
_Rake's Progresses_. Had _Hogarth_ lived, he would also have gradually
destroyed much of that history of dress, &c. for which his designs have
been justly praised by Mr. _Walpole_. In the first and last scenes of
the _Rake's Progress_, 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.
[1] I know not why this print should have received its title only
from its female agents. Not to dwell on the _Jupiter_ pointing with
_Cupid's_ bow to a pair of stockings, whoever will examine the linen[A]
of the weeping figure receiving a dram-glass from the _Syren_, 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.
[A] Non sic præcipiti carbasa tensa noto.
* * * * *
1739.
1. Several children of _The Foundling Hospital_; 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. _Coram_, whose benevolent
countenance[1] is directed towards a kneeling 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. _W. Hogarth inv.
F. Morellon la Cave sculp. London._
This is prefixed to an engraved Power of Attorney, from the trustees
of _The Foundling Hospital_, to those gentlemen who were appointed to
receive subscriptions towards the building, &c. The whole together is
printed on a half sheet.
[1] See p. 261.
* * * * *
1741.
1. The Enraged Musician, _Designed, engraved, and published by W.
Hogarth._ "Mr. _John Festin_,[1] the first hautboy and _German_ 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. _Spencer_,
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. _V----n_, afterwards Lord _V----n_. He was not
up. Mr. _Festin_ 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 _Black Joke_, I will give you this onion.' The man played it.
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 _Festin_ 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. _Hogarth_, he mentioned the circumstance to
him; which, as he said, was the origin of 'The enraged Musician.'
The fact may be depended upon. Mr. _Festin_[2] was himself the
Enraged Performer." The story is here told just as he related it to a
clergyman, in whose words the reader now receives it.
Of this print[3] it has been quaintly said, that it deafens one to look
at it. Mr. _Walpole_ is of opinion that it "tends to farce." _Rouquet_
says of it, "Le Musicien est un _Italien_ que les cris de _Londres_
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.
_Hogarth_, 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 _Doll_, 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.[4] Mr. _S. Ireland_ has the original sketch.
[1] "Mr. _Festin_ has not been dead ten years. He was brother to the
_Festin_ who led the band at _Ranelagh_."
[2] In the second edition of these anecdotes, I had said "the musician
was undoubtedly _Castrucci_;" though one gentleman assured me it was
_Veracini_. 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 _Cervetto_, whom
I described to be then lately dead. But "_Hogarth's_ musician," as
a friend on that occasion suggested to me, "is represented with
a violin; whereas _Cervetto's_ instrument was the violoncello;
but, however that may be, he is now certainly living. He lodges at
_Friburg's_ snuff-shop, in _The Haymarket_, and may be seen every
day at _The Orange Coffeehouse_, although he completed his 101st.
year in _November_ 1781." This extraordinary character in the musical
world came to _England_ in the hard frost, and was then an old man.
He soon after was engaged to play the bass at _Drury-lane_ theatre,
and continued in that employment till a season or two previous to Mr.
_Garrick's_ retiring from the stage. He died _June_ 14, 1783, in his
103d year. One evening when Mr. _Garrick_ was performing the character
of Sir _John Brute_, 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), _Cervetto_ (in the
orchestra) uttered a very loud and immoderately-lengthened yawn! The
moment _Garrick_ 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 _Naso_, with great address, reconciled
_Garrick_ to him in a trice, by saying, with a shrug, "I beg ten
tousand pardon! but I alvays do so ven I am _ver much please_!" Mr.
_Cervetto_ was distinguished among his friends in the galleries by the
name of _Nosey_. See _Gentleman's Magazine_, 1783, p. 95.
[3] _London Daily Post, November_ 24, 1740. "Shortly will be published,
a new print called _The Provoked Musician_, designed and engraved by
Mr _William Hogarth_; being a companion to a print representing a
_Distressed Poet_, published some time since. To which will be added, a
_Third on Painting_, which will compleat the set; but as this subject
may turn upon an affair depending between the right honourable the L--d
_M---r_ and the author, it may be retarded for some time."
Query to what affair does _Hogarth_ allude? _Humphrey Parsons_ was then
Lord Mayor.
[4] In the collection of Mr. _Crickitt_.
* * * * *
1742.
1. _Martin Folks_, Esq. half length. _W. Hogarth pinxit & sculpsit_. An
engraving. To some impressions of this print, which are not proofs, the
name of _Hogarth_ is wanting.
2. The same, half length mezzotinto. _W. Hogarth pinx._ 1741; _J. Faber
fecit._ 1742. The original of both is now in the meeting-room of the
Royal Society, in _Somerset Place_.
3. Charmers of the Age.[1] "_A sketch. No name._" It was intended
to ridicule Mons. _Desnoyer_[2] and Signora _Barberini_, the two
best dancers that ever appeared in _London_. 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 _Hogarth_ without hesitation. Of this print there is a copy by
_Livesay_.
All the three pieces of our artist that satirize the stage, &c. are
peculiarly scarce. We may suppose 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.
[1] _Hogarth_ 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.
[2] I learn from _The Grub-street Journal_ for _October_ 17, 1734,
that Monsieur _Desnoyer_ was just arrived from _Poland_, together with
Mademoiselle _Roland_ from _Paris_ (this lady is still alive). Again,
from the same paper, _August_ 19, 1756, that "Monsieur _Desnoyer_, the
famous dancer at _Drury-lane_, is gone to _Paris_, by order of Mr.
_Fleetwood_, to engage Mademoiselle _Sallee_ for the ensuing winter."
In some future expedition, we may suppose, he prevailed on Signora
_Barberini_ to come over for the same purpose.
4. Taste in High Life. A beau, a fashionable old lady, a young lady,
a black boy, and a monkey. Painted by Mr. _Hogarth_. It was sold by
Mr. _Jarvis_, in _Bedford-street, Covent-Garden. Published May 24th,
[no year]._ The original picture is in the possession of Mr. _Birch_,
surgeon, _Essex-street_, in _The Strand_.
It displays (as we learn from an inscription on the pedestal under a
_Venus_ dressed in a hoop-petticoat) the reigning modes of the year
1742. It was painted for the opulent Miss _Edwards_, 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 _Hogarth_, 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 _Kensington_.
The figure of the beau holding the china-saucer is said to have
been that of Lord _Portmore_, dressed as he first appeared at court
after his return from _France_. The young female was designed for a
celebrated courtezan, who was the _Kitty Fisher_ of her 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 _Venus_ with stays, a hoop, and
high-heel'd shoes; _Cupid_ burning all these parts of dress, together
with a modish wig, &c.; a second _Cupid_ paring down a plump lady to
the fashionable standard; and [in a framed picture classed with a
number of insects] the figure of _Desnoyer_ 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
_Hogarth's_ pictures. The plate is now the property of Mr. _Sayer_.
* * * * *
1743.
1. _Benjamin Hoadly_, bishop of _Winchester. W. Hogarth pinx. B. Baron
sculp._ The plate belongs to Mrs. _Hoadly_.
2. Captain _Thomas Coram_, who obtained the charter[1] for _The
Foundling Hospital_. Mezzotinto; a three-quarters. The first print
published by _M'Ardell_. 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 perhaps the best of all
_Hogarth's_ portraits, and is thus described in the _Scandalizade_, a
satire published about 1749.
"Lo! old Captain _Coram_,[2] so round in the face,
And a pair of good chaps plump'd up in good case,
His amiable locks hanging grey on each side
To his double-breast coat o'er his shoulders so wide," &c.
[1] In which the name of _William Hogarth_ stands enrolled as one of
the earliest governors of the charity.
[2] Mr. _Coram_ 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 _The Foundling
Hospital_; in which humane design he laboured 17 years, and at last, by
his sole application, obtained the royal charter for it.[A] He died at
his lodgings near _Leicester-Square, March_ 29, 1751, in his 84th year:
and was interred under the chapel of the _Foundling Hospital_, where
the following inscription perpetuates his memory:
"Captain THOMAS CORAM,
whose Name will never want a Monument
so long as this Hospital shall subsist, was born about
the year 1668; a Man eminent in that most eminent
Virtue, the Love of Mankind;
little attentive to his private Fortune, and refusing
many Opportunities of encreasing it, his Time and Thoughts
were continually employed in endeavours to promote the
public Happiness,
both in this Kingdom and elsewhere, particularly
in the Colonies of North America; and his Endeavours
were many Times crowned with the desired Success. His
unwearied Solicitation, for above Seventeen Years together,
(which would have battled the Patience and Industry of any
Man less zealous in doing Good)
and his Application to Persons of Distinction of both Sexes,
obtained at Length the Charter of the Incorporation
(bearing Date the 17th of _October_, 1739)
FOR THE MAINTENANCE AND EDUCATION
OF EXPOSED AND DESERTED YOUNG CHILDREN,
by which many Thousands of Lives may be preserved to the
Public, and employed in a frugal and honest Course of
Industry. He died the 29th of _March_, 1731, in the
84th Year of his Age, poor in worldly Estate, rich in good
Works; was buried, at his own Desire, in the Vault
underneath this Chapel;
(the first here deposited)
at the East End thereof; many of the Governors
and other Gentlemen attending the Funeral, to do
Honour to his Memory.
Reader, thy Actions will shew whether thou art sincere
in the Praises thou may'st bestow on him; and if thou hast
Virtue enough to commend his Virtues, forget not to
add also the Imitation of them."
[A] For his other charitable projects, see Biog. Dict. 1784, vol. IV.
p. 120.
3. The same engraving, for the _London Magazine_.
4. Characters and Caricaturas, "_to show that Leonardo da Vinci
exaggerated the latter._" The subscription-ticket to Marriage à la Mode.
* * * * *
1745.
1. Marriage à la Mode.[1] Six plates. In 1746 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. _Hogarth. London_: printed for _Weaver Bickerton_,
in _Temple-Exchange Passage_, in _Fleet-Street_, 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.
"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.
"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 foremost class, and acquire, if the term is allowable, the
appellation of the Dramatic Painter.
"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 _Italian_ Singer, &c. are proofs of the Inventor's judgement and
distinction, both in high and low life.
"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 _Hudibrastic_ style was thought
most proper."
THE ARGUMENTS.
CANTO I.
"The joys and plagues that wedlock brings,
The Limner paints, the Poet sings;
How the old dads weigh either scale,
And set their children up to sale;
How, void of thought, the Viscount weds
The nymph, who such a marriage dreads;
And, whilst himself the Fop admires,
_M----y_ with love her soul inspires."