"The Lawyer meets his just reward,
Nor from the triple tree is spar'd;
The Father takes my Lady home,
Where, when she hears her Lover's doom,
To desperate attempts she flies,
And with a dose of poison dies."
In these plates only a single variation is detected. In the very first
impressions of the second of them (perhaps a few only were taken off)
a lock of hair on the forehead of the lady is wanting. It was added by
our artist, after _Baron_ had finished the plate. In the early copies
he inserted it with _Indian_ ink. A passage in the _Analysis_[2]
will perhaps account for this supplemental ornament: "A lock of hair
falling cross the temples, and by that means breaking the regularity of
the oval, has an effect too alluring to be strictly decent." The room
represented in this plate is adorned with a _melange_ of pictures on
wanton and devotional subjects.
Mr. _Walpole_ has remarked, that the works of _Hogarth_ have little
obscurity. This position is true in general, though _Marriage à la
Mode_ may supply an exception to it; no two persons, perhaps, having
hitherto agreed in their explanation of Plate the third.[3]
When this set of plates was to be engraved, _Ravenet_, a young artist,
then just coming into employ, was recommended to Mr. _Hogarth_; and
a hard bargain was made. _Ravenet_ went through two of the plates,
but the price proved far inadequate to the labour. He remonstrated,
but could obtain no augmentation. When the _Sigismunda_ was to be
engraved, Mr. _Ravenet_ was in a different sphere of life. The
painter, with many compliments, solicited his assistance as an
engraver, but _Ravenet_ indignantly declined the connexion.
In the fourth of these plates[4] are the following portraits: Mrs.
_Lane_ (afterwards Lady _Bingley_) adoring _Carestini_; her husband
_Fox Lane_ asleep. _Rouquet_ only calls him "Un gentilhomme campagnard,
fatigué d'une course après quelque renard ou quelque cerf, s'endort."
This idea seems to be countenanced by the whip in his hand. The same
explainer adds, speaking of the two next figures, "Ici on voit en
papillotes un de ces personages qui passent toute leur vie à tâcher
de plaire sans y reüssir; la, un eventail au poing, on reconnoît un
de ces hérétiques en amour, un sectateur d'_Anacreon_." The former of
these has been supposed to represent Monsieur _Michel_, the _Prussian_
ambassador. _Weideman_ is playing on the _German_ flute.--The pictures
in the room are properly suited to the bed-chamber of a profligate
pair--_Jupiter_ and _Io, Lot_ with his Daughters, _Ganymede_ and the
Eagle, and the Young Lawyer who debauches the Countess. The child's
coral, hanging from the back of the chair she sits in, serves to shew
she was already a mother; a circumstance that renders her conduct
still more unpardonable. Some of her new-made purchases, exposed on
the floor, bear witness to the warmth of her inclinations. These will
soon be gratified at the fatal masquerade, for which her paramour is
offering her a ticket.
The pompous picture on the right hand of the window in the nobleman's
apartment, Plate I. also deserves attention. It appears to be designed
as a ridicule on the unmeaning flutter of _French_ portraits, some of
which (particularly those of _Louis_ XIV.) are painted in a style of
extravagance equal at least to the present parody by _Hogarth_. This
ancestor of our peer is invested with several foreign orders. At the
top of one corner of the canvas, are two winds blowing across each
other, while the hero's drapery is flying quite contrary directions.
A comet is likewise streaming over his head. In his hand he grasps
the lightning of _Jove_, and reposes on a cannon going off, whose
ball is absurdly rendered an object of sight. A smile, compounded of
self-complacency and pertness, is the characteristic of his face.
On the cieling of this magnificent saloon is a representation
of _Pharaoh_ and his Host drowned in the Red Sea. The pictures
underneath are not on the most captivating subjects--_David_
killing _Goliath--Prometheus_ and the Vulture--the Murder of the
_Innocents--Judith_ and _Holofernes_--St. _Sebastian_ shot full of
Arrows--_Cain_ destroying _Abel_--and St. _Laurence_ on the Gridiron.
Among such little circumstances in this plate as might escape the
notice of a careless spectator, is the Thief in the Candle, emblematic
of the mortgage on his Lordship's estate.
When engravings on a contracted scale are made from large pictures, a
few parts of them will unavoidably become so small, as almost to want
distinctness. It has fared thus with a number of figures that appear
before the unfinished edifice,[5] seen through a window in the first
plate of this work. _Hogarth_ designed them for the lazy vermin of
his Lordship's hall, who, having nothing to do, are sitting on the
blocks of stone, or staring at the building;[6] for thus _Rouquet_ has
described them, "Une troupe de lacquais oisifs, qui sont dans le cour
de ce batiment, acheve de caracteriser le faste ruineux qui environne
le comte." The same illustrator properly calls the _Citizen_ Echevin
(i. e. sheriff) of _London_, on account of the chain he wears.
Plate II. From the late Dr. _Ducarel_ I received the following
anecdote; but there must be some mistake in it, as _Herring_ was not
archbishop till several years after the designs for _Marriage à la
Mode_ were made.
"_Edward Swallow_, butler to Archbishop _Herring_, had an annuity
of ten pounds given to him in his Grace's will. For the honesty and
simplicity of his physiognomy, this old faithful servant was so
remarkable, that _Hogarth_, wanting such a figure in _Marriage à la
Mode_, accompanied the late dean of _Sarum_, Dr. _Thomas Greene_, on
a public day, to _Lambeth_, on purpose to catch the likeness. As they
were coming away, he whispered, 'I have him!' And he may now be seen to
the life preserved in the old steward, in Plate II. with his hands held
up, &c."
In Plate V. the back ground, which is laboured with uncommon delicacy
(a circumstance that will be remarked by few except artists), was the
work of Mr. _Ravenet's_ wife. _Solomon's_ wise judgement is represented
on the tapestry. When _Ravenet's_ two plates were finished, _Hogarth_
wanted much to retouch the faces,[7] and many disputes happened between
him and the engraver on this subject. The first impressions, however,
escaped without correction. Those who possess both copies, may discover
evident marks of _Hogarth's_ hand in the second. See particularly the
countenance of the dying nobleman, which is fairly ploughed up by his
heavier burin.
I have been told that our artist took the portrait of the female, who
is so placed, that the legs of a figure in the tapestry supply the want
of her own, from a coarse picture of a woman called _Moll Flanders_.
Plate the sixth of this set, affords _Rouquet_ an opportunity of
illustrating the following remark, which he had made at the outset of
his undertaking: "Ce qu'un _Anglois_ lit, pour ainsi dire, en jettant
les yeux sur ces estampes, va exiger de vous la lecture de plusieurs
pages." Speaking of our citizen's parsimony, says he--"Voyez-vous ces
pipes conservées dans le coin d'un armoire? Vous ne devineriez pas,
vous qui n'êtes pas jamais venu en _Angleterre_, qu'elles sont aussi
une marque d'economie; mais il faut vous dire que les pipes sont si
communes ici, qu'on ne fume jamais deux fois dans la même. La païsan,
l'artizan le plus vil prend une pipe gratis dans le premier cabaret où
il arrête: il continue son chemin en achevant de la fumer, et la jette
à ses pieds."
As _Rouquet_ observes, "Ce qui sert à garnir cet apartement ne
contribue pas à l'orner. Tout y indique une économie basse." The
scarcity of the real dinner--the picture exhibiting plenty of
provision--the starved dog--the departing physician--the infected and
ricketty condition of the child who is brought to take a last kiss of
its dying mother--are circumstances too striking to be overlooked.
_The Daily Advertiser_ of 1750 affords the following illustration
of our artist's history: "Mr. _Hogarth_ proposes to publish by
subscription two large prints, one representing _Moses_ brought to
_Pharaoh's_ daughter; the other _Paul_ before _Felix_; engraved after
the pictures of his painting which are now hung up in _The Foundling
Hospital_ and _Lincoln's-Inn Hall_. Five Shillings to be paid at the
time of subscribing, and Five Shillings more on the delivery of the
print. On the first payment a receipt will be given, which receipt
will contain a new print (in the true _Dutch_ taste) of _Paul_ before
_Felix_. Note, The above two prints will be Seven Shillings and Six
Pence each after the subscription is over; and the receipt-print
will not be sold at a less price than One Guinea each. Subscriptions
are taken in till the 6th of _June_ next, and no longer, at _The
Golden-Head_ in _Leicester-Fields_, where the drawings may be seen; as
likewise the author's six pictures of _Marriage-à-la-Mode_, which are
to be disposed of in the following manner: That every bidder sign a
note with the sum he intends to give. That such note be deposited in
the drawer of a cabinet, which cabinet shall be constantly kept locked
by the said _William Hogarth_; and in the cabinet, through a glass
door, the sums bid will be seen on the face of the drawer, but the
names of the bidders may be concealed till the time of bidding shall
be expired. That each bidder may, by a fresh note, advance a further
sum if he is outbid, of which notice shall be sent him. That the sum
so advanced shall not be less than Three Guineas. That the time of
bidding shall continue till twelve o'clock the 6th of _June_ next, and
no longer. That no dealer in pictures will be admitted a bidder.
"As (according to the standard of judgement, so righteously
and laudably established by picture-dealers, picture-cleaners,
picture-frame-makers, and other connoisseurs) the works of a painter
are to be esteemed more or less valuable as they are more or less
scarce, and as the living painter is most of all affected by the
inferences resulting from this and other considerations equally
uncandid and edifying; Mr. _Hogarth_, by way of precaution, not puff,
begs leave to urge, that, probably, this will be the last suit or
series of pictures he may ever exhibit, because of the difficulty of
vending such a number at once to any tolerable advantage, and that the
whole number he has already exhibited of the historical or humourous
kind does not exceed fifty, of which the three sets called _The
Harlot's Progress, The Rake's Progress,_ and that now to be sold, make
twenty; so that whoever has a taste of his own to rely on, not too
squeamish for the production of a Modern, and courage enough to own
it, by daring to give them a place in his collection (till Time, the
supposed finisher, but real designer of paintings, has rendered them
fit for those more sacred repositories where Schools, Names, Heads,
Masters, &c. attain their last stage of preferment), may from hence be
convinced that multiplicity at least of his (Mr. _Hogarth's_) pieces
will be no diminution of their value."
Mr. _Lane_, of _Hillingdon_ near _Uxbridge_, bought the six original
pictures for 120 guineas, at _Hogarth's_ auction.[8]
[1] _London Daily Post, April_ 7, 1743. "Mr. _Hogarth_ intends to
publish by subscription Six Prints from copper plates, engraved by the
best masters in _Paris_, after his own paintings (the heads, for the
better preservation of the characters and expressions, to be done by
the author), representing a variety of modern occurrences in high life,
and called _Marriage a-la-mode_.
"Particular care is taken that the whole work shall not be liable to
exception on account of any _indecency_ or _inelegancy_, and that none
of the characters represented shall be _personal_. The subscription
will be one guinea; half, &c."
[2] See p. 325.
[3] In the third plate of this work, the figure of the female
unclasping a penknife, is said to have been designed for the once
celebrated _Betty Careless_. This remark is supposed to be countenanced
by the initials E. C. on her bosom. From being in a state to receive
company, this woman had been long reduced to show it, and, after
repeated confinements in various prisons, was buried from the poor's
house of St. _Paul, Covent Garden, April_ 22, 1752, about seven years
after this set of prints had been published. Such a representation
of her decline from beauty, as may be given in the plate before us,
is justified by various passages in _Loveling's_ poems, _Latin_ and
_English_, written about the year 1738, and published in 1741. Thus in
his ode, "Ad _Sextum_,"
_Carlesis_ turpis macies decentem
Occupat vultum----
Again more amply in his Elegiac Epistle, "Ad _Henricum_:"
Nympha _Coventini_ quæ gloria sulferat Horti,
Cui vix vidisset _Druria_ vestra parem,
Exul, inops, liquit proprios miseranda Penates,
Fortunæ extremas sustinuitque vices,
Nunc trahit infaustam tenebroso in carcere vitam,
Et levat insolito mollia membra toro.
_Carlesis_, ah! quantum, quantum mutaris ab illâ,
_Carlese_, quæ _Veneris_ maxima cura fuit!
Æde tua risêre olim Charitesque Jocique,
Hic fuerant _Paphiæ_ currus & arma Deæ;
Arsèrunt Cives, arsit _Judæus Apella_,
Et te Bellorum deperiêre chori.
Jam sordes, pallensque genas, & flaccida mammas,
Non oculi, quondam qui micuere, micant.
Heu! ubi formosæ referentes lilia malæ!
Labra ubi purpureis quæ rubuére rosis!
Te puer _Idalius_, te fastiditque juventus
Tam marcescentem, dissimilemque tui.
Siccine tam fidam curas _Erycina_ ministram?
Hæccine militiæ praemia digna tuæ?
O _Venus!_ ô nimium, nimiumque oblita tuarum!
_Carlesis_ an meruit sortis acerba pati?
Quæ posthàc arisve tuis imponet honorem,
Ardebit posthàc vel tua castra sequi?
Omnigenas æquo circumspice lumine mœchas
Quas tua pellicibus _Druria_ dives alit,
Quæ cellas habitant, vicos peditesve peragrant,
Aut quæ _Wappinios_ incoluêre lares;
Invenienda fuit nusquam lascivior, artus
Mobilior, sacris vel magis apta tuis.
_Carlesis_ ah nostris & flenda & fleta Camœnis!
Accedat vestris nulla medela malis?
Te vereor miseram fortuna tenaciter anget,
Nec veniet rebus mollior aura tuis.
Again in his Ode, "Ad _Carolum B......._"
-----------------relinquent
_Carlesis_ quondam miseræ Penates
_Douglasa & Johnson_, duo pervicacis
Fulmina linguæ.
Again in a "Copy of Verses on _Betty Close's_ coming to Town, &c."
_Roberts_ will curse all whores--
From worn-out _Careless_ to fair _Kitty Walker_.
Again in an Ode intituled "Meretrices _Britannicæ_."
Alma scortorum _Druriæque_ custos
Orta _Neptuno!_ tibi cura pulchræ;
_Carlesis_ satis data, tu secundà
_Carlesis_ regnes.
These lines will serve to enforce the moral of _The Harlot's Progress_,
while they aim at the illustration of a single circumstance in
_Marriage à la Mode_; where if this female is introduced at all,
it seems to be in the character of an opulent procuress, either
threatening the peer for having diseased her favourite girl, or
preparing to revenge herself on the quack whose medicines had failed
to eradicate his lordship's disorder. That heroine must have been
notorious, who could at once engage the pencil of _Hogarth_ and the
pens of _Loveling_ and _Fielding_, who in the sixth chapter of the
first book of _Amelia_ has the following story: "I happened in my youth
to sit behind two ladies in a side-box at a play, where, in the balcony
on the opposite side was placed the inimitable _Betty Careless_,
in company with a young fellow of no very formal, or indeed sober,
appearance. One of the ladies, I remember, said to the other--'Did you
ever see any thing look so modest and so innocent as that girl over
the way? What pity it is such a creature should be in the way of ruin,
as I am afraid she is, by her being alone with that young fellow!' Now
this lady was no bad physiognomist; for it was impossible to conceive
a greater appearance of modesty, innocence, and simplicity, than what
nature had displayed in the countenance of that girl; and yet, all
appearances notwithstanding, I myself (remember, critic, it was in
my youth) had a few mornings before seen that very identical picture
of those engaging qualities in bed with a rake at a bagnio, smoaking
tobacco, drinking punch, talking obscenity, and swearing and cursing
with all the impudence and impiety of the lowest and most abandoned
trull of a soldier." We may add, that one of the mad-men in the last
plate of _The Rake's Progress_ has likewise written "charming _Betty
Careless"_ on the rail of the stairs, and wears her portrait round
his neck. Perhaps between the publication of _The Rake's Progress_
and _Marriage à la Mode_, she sunk from a wanton into a bawd. Mrs.
_Heywood's Betsey Thoughtless_ was at first entitled _Betsey Careless_,
but the name was afterwards changed for obvious reasons.
_The London Daily Post, Nov._ 28, 1735, contains the following
advertisement from this notorious female:
"Mrs. _Careless_, from the _Piazza_ in _Covent-Garden_, not being
able to make an end of her affairs so soon as she expected, intends
on _Monday_ next to open a coffee-house in _Prujean's-Court_, in _The
Old Bailey_, where she hopes her friends will favour her with their
company, notwithstanding the ill situation of the place; since her
misfortunes oblige her still to remain there.
"N. B. It is the uppermost house in the court, and coaches and chairs
may come up to the door."
Again in _The London Daily Post, Oct._ 21, 1741, Mrs. _Careless_
advertises _The Beggar's Opera_, at the theatre in _James-Street,
Haymarket_, for her benefit, _Oct._ 27. At the bottom of the
advertisement she says, "Mrs. _Careless_ takes this benefit because she
finds a small pressing occasion for one: and as she has the happiness
of knowing she has a great many friends, hopes not to find an instance
to the contrary by their being absent the above-mentioned evening; and
as it would be entirely inconvenient, and consequently disagreeable, if
they should, she ventures to believe they won't fail to let her have
the honour of their company." In the bill of the day she says--"N. B.
Mrs. _Careless_ hopes her friends will favour her according to their
promise, to relieve her from terrible fits of the vapours proceeding
from bad dreams, though the comfort is they generally go by the
contraries.
"Tickets to be had at Mrs. _Careless's_ Coffee-house, the
_Playhouse-Passage, Bridges-Street_."
Would the public, at this period of refinement, have patiently endured
the familiar address of such a shameless, superannuated, advertising
strumpet?
The reader will perhaps smile, when, after so much grave ratiocination,
and this long deduction of particulars, he is informed that the letters
are not E. C. but F. C. the initials of _Fanny Cock_, daughter to the
celebrated auctioneer of that name, with whom our artist had had some
casual disagreement.
The following, somewhat different, explanation has also been
communicated to me by _Charles Rogers_, esq. who says it came from
_Sullivan_, one of _Hogarth's_ engravers: "The nobleman threatens to
cane a quack-doctor for having given pills which proved ineffectual
in curing a girl he had debauched; and brings with him a woman, from
whom he alledges he caught the infection; at which she, in a rage, is
preparing to stab him with her clasp knife. This wretch is one of the
lowest class, as is manifest by the letters of her name marked with
gunpowder on her breast. She, however, is brought to the _French_
barber-surgeon for his examination and inspection, and for which
purpose he is wiping his spectacles with his coarse muckender."
The explanation given by _Rouquet_, however, ought not to be
suppressed, as in all probability he received it from _Hogarth_. "Il
falloit indiquer la mauvaise conduite du héros de la piece. L'auteur
pour cet effet l'introduit dans l'appartement d'un empirique, où il ne
peut guères se trouver qu'en consequence de ses débauches; il fait en
même tems rencontrer chez cet empirique une de ces femmes qui perdues
depuis long-tems, font enfin leur métier de la perte des autres. Il
suppose un démêlé entre cette femme et son héros, dont le sujet paroît
être la mauvaise santé d'un petite fille, du commerce de laquelle il ne
s'est pas bien trouvé. La petite fille au reste fait ici contraste par
son âge, sa timidité, sa douceur, avec le caractère de l'autre femme,
qui paroît un composé de rage, de fureur, et de tous les crimes qui
accompagnent d'ordinaire les dernières débauches chez celles de son
sexe.
"L'empirique et son appartement sont des objets entièrement
épisodiques. Quoique jadis barbier,[A] il est aujourdhui, si l'on
en juge par l'etalage, non seulment chirurgien, mais naturaliste,
chimiste, mechanicien, medecin, apoticaire; et vous remarquerez
qu'il est _François_ pour comble de ridicule. L'auteur pour achever
de le caracteriser suivant son idée, lui fait inventer des machines
extrèmement composées pour les opérations les plus simples, comme
celles de remettre un membre disloqué, ou de déboucher une bouteille.
"Je ne deciderai pas si l'auteur est aussi heureux dans le choix des
objets de sa satire, quand il les prend parmi nous, que lorsqu'il les
choisit parmi ceux de sa nation; mais il me semble qu'il doit mieux
connoître ceux-ci; et je crois que cette planche vous en paroîtra un
exemple bien marqué. Il tourne ici en ridicule ce que nous avons de
moins mauvais; que deviendroit le reste s'il étoit vrai qu'il nous
connût assez pour nous depeindre?"
[A] This circumstance seems to be implied by the broken comb, the
pewter bason, and the horn so placed as to resemble a barber's pole,
all which are exhibited either above, or within the glass case, in
which the skeleton appears whispering a man who had been exsiccated
by some mode of embalming at present unknown. About the time of the
publication of this set of prints, a number of bodies thus preserved
were discovered in a vault in _Whitechapel_ church.--Our Quack is
likewise a virtuoso. An ancient spur, a high-crowned hat, old shoes,
&c. together with a model of the gallows, are among his rarities.--On
his table is a skull, rendered carious by the disease he is professing
to cure.--These two last objects are monitory as well as characteristic.
[4] _Scotin_ engraved the first and sixth; _Baron_ the second and
third; _Ravenet_ the fourth and fifth.
[5] The blunders in architecture in this unfinished nobleman's seat, on
the same account, are seen to disadvantage.
[6] This edifice seems at a stand for want of money, no workman
appearing on the scaffolds, or near them.
[7] In his advertisement for this set of plates, he had engaged to
engrave all the faces with his own hand. See note 1 above.
[8] The account given in a former edition of this volume concerning the
sale of the original pictures of _Marriage-à-la-mode_, being somewhat
erroneous, I am happy in the present opportunity of acknowledging my
obligations to Mr. _Lane_ abovementioned, who has corrected my mistakes
by a communication of the following particulars relative to the
purchase:
"Some time after they had been finished, perhaps six or seven years,
during which period Mr. _Hogarth_ had been preparing and publishing
prints from them, in the year 1750 he advertised the sale of the
originals by a kind of auction not carried on by personal bidding, but
by a written ticket on which every one was to put the price he would
give, with his name subscribed to it. These papers were to be received
by Mr. _Hogarth_ for the space of one month; and the highest bidder, at
twelve o'clock on the last day of the month, was to be the purchaser:
and none but those who had in writing made their biddings were to be
admitted on the day that was to determine the sale. This nouvelle
method of proceeding probably disobliged the public; and there seemed
to be at that time a combination against poor _Hogarth_, who perhaps,
from the extraordinary and frequent approbation of his works, might
have imbibed some degree of vanity, which the town in general, friends
and foes, seemed resolved to mortify. If this was the case (and to me
it is very apparent), they fully effected their design; for on the
memorable sixth of _June_ 1750, which was to decide the fate of this
capital work, about eleven o'clock Mr. _Lane_, the fortunate purchaser,
arrived at the _Golden Head_: when, to his great surprize, expecting
(what he had been a witness to in 1745, when _Hogarth_ disposed of
many of his pictures) to have found his painting-room full of noble
and great personages, he only found the painter and his ingenious
friend Dr. _Parsons_, secretary to the Royal Society, talking together,
and expecting a number of spectators at least, if not of buyers. Mr.
_Hogarth_ then produced the highest bidding, from a gentleman well
known, of £120. Nobody coming in, about ten minutes before twelve, by
the decisive clock in the room, Mr. _Lane_ told Mr. _Hogarth_ he would
make the pounds guineas. The clock then struck twelve, and _Hogarth_
wished Mr. _Lane_ joy of his purchase, hoping it was an agreeable one.
Mr. _Lane_ answered, Perfectly so. Now followed a scene of disturbance
from _Hogarth's_ friend the Doctor, and, what more affected Mr. _Lane_,
a great appearance of disappointment in the painter, and truly with
great reason. The Doctor told him, he had hurt himself greatly by
fixing the determination of the sale at so early an hour, when the
people at that part of the town were hardly up. _Hogarth_, in a tone
and manner that could not escape observation, said, Perhaps it may be
so! Mr. _Lane_, after a short pause, declared himself to be of the
same opinion, adding, that the artist was very poorly rewarded for his
labour, and, if he thought it would be of service to him, would give
him till three o'clock to find a better purchaser. _Hogarth_ warmly
accepted the offer, and expressed his acknowledgements for the kindness
in the strongest terms. The proposal likewise received great encomiums
from the Doctor, who proposed to make it public. This was peremptorily
forbidden by Mr. _Lane_, whose concession in favour of our artist was
remembered by him to the time of his death.--About one o'clock, two
hours sooner than the time appointed by Mr. _Lane, Hogarth_ said he
would no longer trespass on his generosity, but that, if he was pleased
with his purchase, he himself was abundantly so with the purchaser.
He then desired Mr. _Lane_ to promise that he would not dispose of
the pictures without previously acquainting him of his intention, and
that he would never permit any person, under pretence of cleaning, to
meddle with them, as he always desired to take that office on himself.
This promise was readily made by Mr. _Lane_, who has been tempted more
than once by _Hogarth_ to part with his bargain at a price to be named
by himself. When Mr. _Lane_ bought the pictures, they were in Carlo
Marratt frames which cost the painter four guineas apiece."
The memory of this occurrence ought always to attend the work which
afforded Mr. _Lane_ an opportunity of displaying so much disinterested
generosity.
Another correspondent begins the same story as follows--A little
time before the auction, _Hogarth_ publickly declared, that no
picture-dealer should be allowed to bid. He also called on his friends,
requesting them not to appear at the sale, as his house was small, and
the room might be over crowded. They obeyed his injunctions. Early in
this mortifying day he dressed himself, put on his tye-wig, strutted
away one hour, and fretted away two more, no bidder appearing, &c. &c.
2. A small print of Archbishop _Herring_, at the head of the speech he
made to the clergy of _York, September_ 24, 1745. _William Hogarth
pinx. C. Moseley sculp._
3. The same head cut out of the plate, and printed off without the
speech.
4. The Battle of the Pictures. "_Ticket to admit persons to bid for his
works at an auction._" On the plate called _The Battle of the Pictures_
is written, "The bearer hereof is entitled (if he thinks proper) to be
a bidder for Mr. _Hogarth's_ pictures, which are to be sold on the last
day of this month [_February_, 1744-5.]."
5. A festoon, with a mask, a roll of paper, a palette, and a laurel.
Subscription ticket for _Garrick_ in _Richard_ the Third. A very
faithful copy from this receipt was made by _R. Livesay_, 1781. It is
to be sold at Mrs. _Hogarth's_ house in _Leicester-square_.
* * * * *
1746.
1. _Simon_ Lord _Lovat.[1] Drawn from the life, and etched in
aquafortis by William Hogarth.--Hogarth_ said himself, that Lord
_Lovat's_ portrait was taken (at the _White-Hart_, at _St. Alban's_)
in the attitude of relating on his fingers the numbers of the rebel
forces.--"Such a general had so many men, &c." and remarked, that the
muscles of _Lovat's_ neck appeared of unusual strength, more so than
he had ever seen. When the painter entered the room, his lordship,
being under the barber's hands, received his old friend with a salute,
which left much of the lather on his face.--The second impressions are
marked, _Price One Shilling_. When _Hogarth_ had finished this plate,
a printseller offered its weight in gold for it. The impressions could
not be taken off so fast as they were wanted, though the rolling-press
was at work all night for a week together. For several weeks afterwards
he is said to have received at the rate of 12 _l._ per day.
[1] "This powerful laird, it has been observed, was one of the last
Chieftains that preserved the rude manners and barbarous authority of
the early feudal ages. He resided in a house which would be esteemed
but an indifferent one for a very private, plain country gentleman in
_England_; as it had, properly, only four rooms on a floor, and those
not large. Here, however, he kept a sort of court, and several public
tables; and had a numerous body of retainers always attending. His own
constant residence, and the place where he received company, even at
dinner, was in the very same room where he lodged; and his lady's sole
apartment was her bed-room; and the only provision for the lodging of
the servants, and retainers, was a quantity of straw, which they spread
every night, on the floors of the lower rooms, where the whole inferior
part of the family, consisting of a very great number of persons, took
up their abode." See Mr. _King's_ observations on ancient Castles, in
the _Archæologia_, vol. IV.
Sir _William Young_, one of the managers appointed by the Commons of
_Great Britain_, for conducting the prosecution against this Nobleman
for High Treason, in the year 1745, makes the following observation:
"Your Lordships have already done national justice on some of the
principal traitors, who appeared in open arms against his Majesty, by
the ordinary course of law; but this noble Lord, who, in the whole
course of his life, has boasted of his superior cunning in wickedness,
and his ability to commit frequent treasons with impunity, vainly
imagined that he might possibly be a traitor in private, and rebel
only in his heart, by sending his son and his followers to join the
Pretender, and remaining at home himself, to endeavour to deceive his
Majesty's faithful subjects; hoping _he_ might be rewarded for his
son's services, if successful; or his _son_ alone be the sufferer
for _his_ offences, if the undertaking failed: diabolical cunning!
monstrous impiety!" See _State Trials_, vol. IX. p. 627.
2. Mr. _Garrick_[1] in the character of _Richard_ III. _Painted by
Wm. Hogarth; engraved by Wm. Hogarth and C. Grignion._ The late Mr.
_Duncombe_, of _Duncombe Park_ in _Yorkshire_, gave 200 _l._ for the
original picture, which is now in the possession of his family. The
expression of the countenance is happily hit off, but the figure is
abundantly too large and muscular. This print was afterwards, by
_Hogarth's_ permission, copied for a watch-paper.
[1] "Mr. _Garrick_ had several of _Hogarth's_ paintings; and the latter
designed for him, as president of the _Shakespeare_ club, a mahogany
chair richly carved, on the back of which hangs a medal of the poet
carved by _Hogarth_ out of the mulberry-tree planted at _Stratford_
by _Shakespeare_." Anecdotes of Painting, vol. IV. p. 180. edit. 8vo,
1782.
3. A stand of various weapons, bag-pipes, &c. and a pair of scissars
cutting out the arms of _Scotland_. A subscription-ticket for the March
to _Finchley_; of which the original price was only 7 _s._ 6 _d._ It
was to be raised to 10 _s._ 6 _d._ on closing the subscription. The
additional three shillings afforded the subscriber a chance for the
original picture.
* * * * *
1747.
1. Stage-coach. An election procession in the yard. _Designed and
engraved by William Hogarth._ In this plate there is a variation.
The early impressions have a flag behind the wheel of the coach,
inscribed NO OLD BABY, which was the cry used by the opponents of the
honourable _John Child Tylney_ (then Viscount _Castlemain_ and now Earl
_Tylney_[1]) when he stood member for the county of _Essex_, against
Sir _Robert Abdy_ and Mr. _Bramston_. The figure still carries a
horn-book, and a rattle in its hands. At the election, a man was placed
on a bulk with an _infant_ in his arms, and exclaimed, as he whipt the
child, "What, you little _Child_, must you be a member?" The family
name was changed from _Child_ to _Tylney_ by an act of parliament in
1735. In this disputed election, it appeared from the register-book of
the parish where Lord _Castlemain_ was born, that he was but 20 years
of age. Some pains have been taken to ascertain the particular inn-yard
in which the scene is laid, but without success, so many of the
publick-houses between _Whitechapel_ and _Chelmsford_ in _Essex_ having
been altered, or totally rebuilt.
[1] Since dead.--_Inter Socraticos notissima fossa cinædos_.
2. Industry and Idleness, in twelve plates.[1] Mr. _Walpole_ observes,
that "they have more merit in the intention than execution." At first
they were printed off on very thin paper. Plate V. The scene is
_Cuckold's Point_, below _London Bridge_. Plate VI. In a few first
impressions, "_Goodchild_ and _West_" is written under the sign,
instead of "_West_ and _Goodchild_." _Hogarth_ had inadvertently
placed the name of the junior partner first. Some mercantile friend,
however, pointing out the mistake, when as yet only a few copies
were taken off, our artist corrected it, to avoid the criticisms of
_Cheapside_ and _Cornhill_. In this plate is a figure of _Philip
in the Tub_, a well-known beggar and cripple, who was a constant
epithalamist at weddings in _London_, and had visited _Ireland_ and
_The Seven Provinces_. The _French_ clergyman in Plate VIII. was
designed for Mr. _Platell_, curate of _Barnet_. Plate XI. The scene
is in a cellar of a noted house that went by the name of "The Blood
Bowl House," from the various scenes of blood that were there almost
daily exhibited, and where there seldom passed a month without the
commission of a murder. _Blood Bowl-alley_ is down by the fishmonger's,
near _Water-lane, Fleet-street_; and I am assured, that the house and
event, that gave rise to the name, were there. In Plate XI. is _Tiddy
Doll_, the well-known vender of gingerbread. Just behind him, in a
cart, to bring away the body of the criminal, is his mother. Though her
face is concealed, she is distinguished by her excess of sorrow, and
the black hood she has worn throughout the foregoing representations
of her. Plate XII. _Frederick_ Prince of _Wales_, and the Princess
of _Wales_, in the balcony. The standards of the Blacksmiths' and
Stationers' Companies appear in the procession. The flag, at the corner
of one of the stands, belongs to the Pinners and Needlers. The hint
for this series of prints was evidently taken from the old comedy
of _Eastward-hoe_, by _Jonson, Chapman,_ and _Marston_, reprinted
in _Dodsley's_ Collection of Old Plays. "The scenes of _Bedlam_ and
the gaming-house," as Mr. _Walpole_ well observes, "are inimitable
representations of our serious follies, or unavoidable woes; and the
concern shown by the lord-mayor, when the companion of his childhood
is brought before him as a criminal, is a touching picture, and big
with humane admonition and reflection." The late comedian Mr. _James
Love_ (otherwise _Dance_, and brother to the painter of that name)
dramatized this series of prints; and Mr. _King_, now deputy-manager
of _Drury-lane_, performed the character of the Good 'Prentice.
These Plates were retouched by _Hogarth_; but, as usual, whatever they
gained in respect to force, they lost in the article of clearness.
They offer no variations, except such as are occasioned by his having
thrown a few of the figures into shade, that others might appear more
prominent. Dr. _Ducarel_ informed me, that the passages of Scripture
applicable to the different scenes were selected for Mr. _Hogarth_, by
his friend the Rev. Mr. _Arnold King_.
In the following year was published, price one shilling (being an
explanation of the moral of twelve celebrated prints lately published,
and designed by the ingenious Mr. _Hogarth_), "The Effects of Industry
and Idleness, illustrated in the Life, Adventures, and various Fortunes
of Two Fellow 'Prentices of the City of _London_: shewing the different
Paths, as well as Rewards of Virtue and Vice; how the good and virtuous
'Prentice, by gradual Steps of Industry, rose to the highest Pitch
of Grandeur; and how, by contrary Pursuits, his Fellow-'Prentice,
by Laziness and Wickedness, came to die an ignominious Death at the
Gallows. ¶ This little book ought to be read by every 'Prentice in
_England_, to imprint in their hearts these two different examples, the
contrary effects each will produce on their young minds being of more
worth than a hundred times the price, _i. e._ an abhorrence of the vice
and wickedness they perceive in the one boy, and, on the contrary, an
endeavour after an imitation of the actions of the other. And is a more
proper present to be given to the Chamber of _London_, at the binding
and enrolling an apprentice, than any other book whatever. Printed by
_Charles Corbett_, at _Addison's_ Head in _Fleet street_."
[1] The following description of _Hogarth's_ design is copied from his
own hand-writing: "Industry and Idleness exemplified in the conduct
of two Fellow 'Prentices: where the one, by taking good courses, and
pursuing points for which he was put apprentice, becomes a valuable man
and an ornament to his country; the other, by giving way to idleness,
naturally falls into poverty, and ends fatally, as is expressed in the
last print. As the prints were intended more for use than ornament,
they were done in a way that might bring them within the purchase of
whom they might most concern; and, lest any print should be mistaken,
the description of each print is engraved at top."
3. _Jacobus Gibbs_, architectus. _W. Hogarth delin. B. Baron sculp._
4. _Jacobus Gibbs_, architectus. _W. Hogarth delin. J. Mc Ardell
fec._ Partly mezzotinto, partly graved. No date.
5. To this period may be referred the arms of _The Foundling Hospital_,
printed off on the tops of the indentures; together with
6. The same, but smaller; employed as a frontispiece to "Psalms, Hymns,
and Anthems; for the Use of the Children of the Hospital for the
Maintenance and Education of exposed and deserted Young Children."
They are both classed here, because the original drawing (see under the
year 1781) is dated in 1747.
* * * * *
1748.
1. A monk leading an ass with a _Scotch_ man and woman on it, &c.
A wooden cut. Head-piece to the "Jacobite's Journal." This was a
news-paper set up and supported by _Henry Fielding_, and carried on for
a few months with some success. The wooden-cut was only prefixed to six
or seven of the papers. Being faintly executed, it was soon worn out,
and has lately been copied in aqua tinta by Mr. _Livesay_.
2. Pool of _Bethesda_, from the picture[1] he painted for _St.
Bartholomew's Hospital. Engraved by Ravenet for S. Austen_, as a
frontispiece for _Stackhouse's_ Bible. In this plate, I am assured by
an old acquaintance of Mr. _Hogarth_, is a faithful portrait of _Nell
Robinson_, a celebrated courtezan, with whom, in early life, they had
both been intimately acquainted.
[1] Of this picture Mr. _S. Ireland_ has a large sketch in oil.
* * * * *
1749.
1.[1] The Gate of _Calais_.[2] Engraved by C. _Mosley_ and _W.
Hogarth. "His own head sketching the view. He was arrested when he was
making the drawing, but set at liberty when his purpose was known."_
See above, p. 49. Mr. _Walpole_ also observes, that in this piece,
though it has great merit, "the caricatura is carried to excess." Mr.
_Pine_ the engraver sat for the portrait of the Friar, a circumstance
of which he afterwards repented;[3] for, thereby obtaining the
nick-name of _Friar Pine_, and being much persecuted and laughed at, he
strove to prevail on _Hogarth_ to give his Ghostly father another face.
Indeed, when he sat to our artist, he did not know to what purpose his
similitude would afterwards be applied. The original picture is in the
possession of the Earl of _Charlemont_. Soon after it was finished,
it fell down by accident, and a nail ran through the cross on the top
of the gate. _Hogarth_ strove in vain to mend it with the same colour,
so as to conceal the blemish. He therefore introduced a starved crow,
looking down on the roast-beef, and thus completely covered the defect.
The figure of the half-starved _French_ centinel has since been copied
at the top of more than one of the printed advertisements for recruits,
where it is opposed to the representation of a well-fed _British_
soldier. Thus the genius of _Hogarth_ still militates in the cause of
his country.
A copy of this print was likewise engraved at the top of a Cantata,
intituled, _The Roast Beef of Old England_. As it is probable that the
latter was published under the sanction of our artist, I shall, without
scruple, transcribe it.
RECITATIVE.
'Twas at the Gates of _Calais, Hogarth_ tells,
Where sad Despair and Famine always dwells,
A meagre _Frenchman_, Madam _Grandsire's_ cook,
As home he steer'd his carcase, that way took,
Bending beneath the weight of fam'd _Sir-loin_,
On whom he often wish'd in vain to dine.
Good Father _Dominick_ by chance came by,
With rosy gills, round paunch, and greedy eye;
Who, when he first beheld the greasy load,
His benediction on it he bestow'd;
And while the solid fat his finger press'd,
He lick'd his chaps, and thus the knight address'd:
AIR.
_A lovely Lass to a Friar came_, &c.
O rare _Roast Beef!_ lov'd by all mankind,
If I was doom'd to have thee,
When dress'd and garnish'd to my mind,
And swimming in thy gravy,
Not all thy country's force combin'd
Should from my fury save thee.
Renown'd _Sir-loin_, oft-times decreed
The theme of _English_ ballad,
E'en kings on thee have deign'd to feed,
Unknown to _Frenchman's_ palate;
Then how much more thy taste exceeds
Soup-meagre, frogs, and sallad.
RECITATIVE.
A half-starv'd soldier, shirtless, pale and lean,
Who such a sight before had never seen,
Like _Garrick's_ frighted _Hamlet_, gaping stood,
And gaz'd with wonder on the _British_ food.
His morning's mess forsook the friendly bowl,
And in small streams along the pavement stole;
He heav'd a sigh, which gave his heart relief,
And then in plaintive tone declar'd his grief.
AIR.
Ah, sacre Dieu! vat do I see yonder,
Dat looks so tempting, red and white?
Begar I see it is de _Roast Beef_ from _Londre_,
O grant to me one letel bite.
But to my guts if you give no heeding,
And cruel Fate dis boon denies,
In kind compassion to my pleading,
Return, and let me feast my eyes.
RECITATIVE.
His fellow guard, of right _Hibernian_ clay,
Whose brazen front his country did betray,
From _Tyburn's_ fatal tree had hither fled,
By honest means to get his daily bread;
Soon as the well-known prospect he espy'd,
In blubbering accents dolefully he cried:
AIR.
_Ellen a Roon_, &c.
Sweet _Beef_, that now causes my stomach to rise.
Sweet _Beef_, that now causes my stomach to rise,
So taking thy sight is,
My joy that so light is,
To view thee, by pailfuls runs out at my eyes.
While here I remain, my life's not worth a farthing,
While here I remain, my life's not worth a farthing,
Ah! hard-hearted _Lewy_,
Why did I come to ye?
The gallows, more kind, would have sav'd me from starving.
RECITATIVE.
Upon the ground hard by poor _Sawney_ sate,
Who fed his nose, and scratch'd his ruddy pate;
But when _Old England's_ bulwark he descry'd,
His dear-lov'd mull, alas! was thrown aside.
With lifted hands he bless'd his native place,
Then scrub'd himself, and thus bewail'd his case:
AIR.
_The Broom of Cowdenknows_, &c.
How hard, O _Sawney!_ is thy lot,
Who was so blyth of late,
To see such meat as can't be got,
When hunger is so great!
_O the Beef, the bonny bonny Beef!
When roasted nice and brown,
I wish I had a slice of thee,
How sweet it would gang down._
Ah, _Charley!_ hadst thou not been seen,
This ne'er had hapt to me:
I would the De'el had pickt mine eyne
Ere I had gang'd with thee.
_O the Beef_, &c.
RECITATIVE.
But see! my Muse to _England_ takes her flight,
Where _Health_ and _Plenty_ chearfully unite.
Where smiling _Freedom_ guards great _George's_ throne,
And chains, and racks, and tortures are not known;
Whose _Fame_ superior bards have often wrote.--
An ancient fable give me leave to quote.
AIR.
_The Roast Beef of Old England._
As once on a time a young _Frog_, pert and vain,
Beheld a large _Ox_ grazing on the wide plain,
He boasted his size he could quickly attain.
_Oh! the Roast Beef,_ &c.
Then eagerly stretching his weak little frame,
Mamma, who stood by, like a knowing old dame,
Cried, "Son, to attempt it you're greatly to blame."
_Oh! the Roast Beef,_ &c.
But, deaf to advice, he for glory did thirst,
An effort he ventured, more strong than the first,
Till swelling and straining too hard, made him burst.
_Oh! the Roast Beef,_ &c.
Then, _Britons_, be valiant; the moral is clear:
The _Ox_ is _Old England_, the _Frog_ is _Monsieur_,
Whose puffs and bravadoes we need never fear.
_Oh! the Roast Beef,_ &c.
For while by our commerce and arts we are able
To see the brave _Ox_ smoaking hot on our table,
The _French_ must e'en croak, like the _Frog_ in the fable.
_Oh! the Roast Beef,_ &c.
Printed for _R. Sayer_, at the _Golden Buck_ in _Fleet-street_; and _J.
Smith_, at _Hogarth's Head_ in _Cheapside_.
At the end of a pamphlet which I shall have occasion to mention under
the year 1755, was announced, as speedily to be published under the
auspices of our artist, "A Poetical Description of Mr. _Hogarth's_
celebrated print, _The Roast Beef of Old England_, or the _French_
surprized at the Gate of _Calais_."
[1] In _The General Advertiser, March_ 9, 1748-9, appeared the
following:
"This day is published, price 5_s._ A Print, designed and engraved by
Mr. _Hogarth_, representing a PRODIGY which lately appeared before the
Gate of _Calais_.
"O the Roast Beef of _Old England!_
"To be had at the _Golden-Head_, in _Leicester-Square_, and at the
Print Shops."
[2] The following lines were written by the Rev. Mr. _Townley_, Master
of _Merchant Taylors' School_, and spoken by one of the Scholars,
_October_ 22, 1767,
ASSA BUBULA.
Littore in opposito, quâ turrim _Dubris_ in altum
Ostentans, undas imperiosa regit,
Ferrea stat, multo cum milite, porta _Calesi_:
(Ingenium pinxit talia, _Hogarthe_, tuum).
Eo! sudans carnis portat latus ille bovile,
Quem, trepidis genibus, grande fatigat onus;
Obstupet hic fixis oculis atque ore patenti,
Et tenue, invitus, jus cito mittit humi:
Accedit monachus, digito tangente rubentem
Carnem, divinum prodigiumque colit.
Omnia visa placent animum; non pascis inani
Picturâ, pariter quæ placet atque docet.
Egregius patriæ proprios dat pictor honores;
Et palmam jussa est ferre bovina caro.
[3] Mr. _Walpole's_ new edition of his "Anecdotes of Painting" having
been published whilst the present page was preparing for the second
edition, I took the earliest opportunity of letting that admirable
writer speak for himself, in answer to a particular in which I had
presumed to differ from him. "If _Hogarth_ indulged his spirit of
ridicule in personalities," (I now use the words of Mr. _Walpole_)
"it never proceeded beyond sketches and drawings; his prints touched
the folly, but spared the person. Early he drew a noted miser, one of
the sheriffs, trying a mastiff that had robbed his kitchen, but the
magistrate's son went to his house and cut the picture in pieces.[A]
I have been reproved for this assertion," continues our agreeable
Biographer, "and instances have been pointed out that contradict me.
I am far from persevering in an error, and do allow that my position
was too positive. Still some of the instances adduced were by no means
caricaturas. Sir _John Gonson_ and Dr. _Misaubin_ in the _Harlot's
Progress_ were rather examples identified than satires. Others, as Mr.
_Pine's_, were mere portraits, introduced by their own desire, or with
their consent."
[A] See above, p. 69.
2. Portrait of _John Palmer_, esq. lord of the manor of _Cogenhoe_ or
_Cooknoe_, and patron of the church, of _Ecton_ in _Northamptonshire.
W. Hogarth pinx. B. Baron sculp._ This small head is inserted under a
view of _Ecton_ Church.
3. His own head in a cap, a pug-dog, and a palette with the line of
beauty, &c. inscribed _Gulielmus Hogarth. Seipse pinxit & sculpsit._
Very scarce, because _Hogarth_ erased his own portrait, and introduced
that of Mr. _Churchill_, under the character of a bear, in its room.
See under the year 1763.
On this print, in its original state, the _Scandalizade_, a satire
published about 1749, has the following lines. The author represents
himself as standing before the window of a print-shop.
"There elbowing in 'mong the crowd with a jog,
Lo! good father _Tobit_, said I, with his dog!
But the artist is wrong; for the dog should be drawn
At the heels of his master in trot o'er the lawn,--
To your idle remarks I take leave to demur,
'Tis not _Tobit_, nor yet his canonical cur,
(Quoth a sage in the crowd) for I'd have you to know, Sir,
'Tis _Hogarth_ himself and his honest friend _Towser_,
Inseparate companions! and therefore you see
Cheek by jowl they are drawn in familiar degree;
Both striking the eye with an equal eclat,
The biped _This_ here, and the quadruped _That_--
You mean--the great dog and the man, I suppose,
Or the man and the dog--be't just as you chuse.--
You correct yourself rightly--when much to be blam'd,
For the worthiest person you first should have nam'd,
Great dog! why great man I methinks you should say.
Split the difference, my friend, they're both great in their way.
Is't he then so famous for drawing a punk,
A harlot, a rake, and a parson so drunk,
Whom _Trotplaid_[1] delivers to praise as his friend?
Thus a jacknapes a lion would fain recommend.--
The very self same--how boldly they strike,
And I can't forbear thinking they're somewhat alike.--
Oh fie! to a dog would you _Hogarth_ compare?--
Not so--I say only they're alike as it were,
A respectable pair! all spectators allow,
And that they deserve a description below
In capital letters, _Behold we are Two_."
[1] The name under which _Fielding_ wrote a news-paper called _The
Jacobite's Journal_, the frontispiece by _Hogarth_.
4. Portrait of _Hogarth_, small circle. Mr. _Basire_ (to whom this
plate has been ascribed) says it is much in our artist's manner.
On enquiry, however, it appears to be no other than a watch-paper
"Published according to Act of Parliament by _R. Sayer_, opposite
_Fetter-lane, Sept._ 29, 1749," and certainly copied from the small
portrait of our artist introduced in _The Roast Beef of Old England_.
Another head of him, with a fur cap on, was also edited by the same
printseller, at the same time. There is likewise a third head of
_Hogarth_, in an oval, prefixed as a frontispiece to "A Dissertation"
on his six prints, &c. _Gin Lane_, &c. which appeared in 1751.
* * * * *
1750.
1. _Thomas Herring_, Archbishop of _Canterbury. W. Hogarth p. B. Baron
sculp._ Of this picture (which is preserved in _Lambeth-Palace_) the
Archbishop, in a letter to Mr. _Duncombe_, says, "None of my friends
can bear _Hogarth's_ picture;" and Mr. _Duncombe_, the son, in a note
to this epistle, observes, that "this picture (as appears by the print
engraved by _Baron_ in 1750) exhibits rather a caricature than a
likeness, the figure being gigantic, the features all aggravated and
_outrés_, and, on the whole, so far from conveying an idea of that
_os placidum, moresque benigni_, as Dr. _Jortin_ expresses it, that
engaging sweetness and benevolence, which were characteristic of this
prelate, that they seem rather expressive of a _Bonner_, who could burn
a heretic.
"_Lovat's_ hard features _Hogarth_ might command;
A _Herring's_ sweetness asks a _Reynolds'_ hand."
_Hogarth_ however made the following observation while the Archbishop
was sitting to him: "Your Grace, perhaps, does not know that some of
our chief dignitaries in the church have had the best luck in their
portraits. The most excellent heads painted by _Vandyck_ and _Kneller_,
were those of _Laud_ and _Tillotson_. The crown of my works will be the
representation of your Grace."
2. _Jacobus Gibbs_, Architectus, A. M. and F. R. S. _Hogarth delin.
Baron sculp._ The same face as that in 1747, but in an octagon frame,
which admits more of the body to be shewn, as well as some architecture
in the back ground. There is also a smaller head of _Gibbs_, in
a circle, &c. but whether engraved by _Baron_ from a picture by
_Hogarth_, or any other hand, is uncertain. Perhaps it was designed as
a vignette for some splendid edition of _Gibbs's_ works.
3. The March to _Finchley_,[1] dedicated to the King of _Prussia_[2][as
"an Encourager of the Arts,"] "_in resentment for the late king's
sending for the picture to St. James's, and returning it without
any other notice._" This print is _engraved by Luke Sullivan_ but
afterwards, as we learn from a note at the bottom of it, was "Retouched
and _improved_ by _Wm. Hogarth_, and republished _June_ 12, 1761." The
_improvements_ in it, however, remain to be discovered by better eyes
than mine.
I am authorized to add, that soon after the lottery described in a note
at the beginning of this article, our artist waited on the treasurer
to the _Foundling Hospital_, acquainting him that the trustees were at
liberty to dispose of the picture by auction. Scarce, however, was the
message delivered, before he changed his mind, and never afterwards
would consent to the measure he had originally proposed. The late Duke
of _Ancaster_ offered the hospital 300 _l._ for it. The following
complete explanation of it is in _The Student_, vol. II. p. 16. It is
supposed to have been written by the ingenious Mr. _Bonnel Thornton_.
"The scene of this representation is laid at _Tottenham Court
Turnpike_; the _King's-Head, Adam_ and _Eve_, and the _Turnpike-house_,
in full view; beyond which are discovered parties of the guards,
baggage, &c. marching towards _Highgate_, and a beautiful distant
prospect of the country; the sky finely painted. The picture,
considered together, affords a view of a military march, and the
humours and disorders consequent thereupon.
"Near the center of the picture, the painter has exhibited his
principal figure, which is a handsome young grenadier, in whose face is
strongly depicted repentance mixed with pity and concern; the occasion
of which is disclosed by two females putting in their claim for his
person, one of whom has hold of his right arm, and the other has
_seized_ his left. The figure upon his right hand, and perhaps placed
there by the painter by way of preference (as the object of love is
more desirable than that of duty), is a fine young girl in her person,
debauched, with child, and reduced to the miserable employ of selling
ballads, and who, with a look full of love, tenderness, and distress,
casts up her eyes upon her undoer, and with tears descending down her
cheeks, seems to say----_sure you cannot----will not leave me_! The
person and deportment of this figure well justifies the painter's
turning the body of the youth towards her. The woman upon the left
is a strong contrast to this girl; for rage and jealousy have thrown
the human countenance into no amiable or desirable form. This is the
wife of the youth, who, finding him engaged with such an _ugly slut_,
assaults him with a violence natural to a woman whose person and beauty
is neglected. To the fury of her countenance, and the dreadful weapon
her tongue, another terror appears in her hand, equally formidable,
which is a roll of papers, whereon is wrote, _The Remembrancer_; a
word of dire and triple import; for while it shews the occupation the
_amiable bearer_ is engaged in, it reminds the youth of an unfortunate
circumstance he would gladly forget: and the same word is also a
cant expression, to signify the blow she is meditating. And here, I
value myself upon hitting the true meaning, and entering into the
spirit of the great author of that celebrated _Journal_ called _The
Remembrancer_, or, _A weekly slap on the face for the Ministry_.
"It is easily discernible that the two females are of different
parties. The ballad of _God save our noble King_, and a print of the
_Duke of Cumberland_, in the basket of the girl, and the cross upon the
back of the wife, with the implements of her occupation, sufficiently
denote the painter's intention: and, what is truly beautiful, these
incidents are applicable to the march.
"The hard-favoured serjeant directly behind, who enjoys the foregoing
scene, is not only a good contrast to the youth, but also, with other
helps, throws forward the principal figure.
"Upon the right of the grenadier is a drummer, who also has his _two
Remembrancers_, a woman and a boy, the produce of their kinder hours;
and who have laid their claim by a violent seizure upon his person. The
figure of the woman is that of a complainant, who reminds him of her
great applications, as well in sending him clean to guard, as other
kind offices done, and his promises to make her an honest woman,
which he, base and ungrateful, has forgot, and pays her affection with
neglect. The craning of her neck shews her remonstrances to be of the
shrill kind, in which she is aided by the howling of her boy. The
drummer, who has a mixture of fun and wickedness in his face, having
heard as many reproaches as suit his present inclinations, with a bite
of his lip, and a leering eye, applies to the instrument of noise in
his profession, and endeavours to drown the united clamour; in which he
is luckily aided by the _ear-piercing fife_ near him.
"Between the figures before described, but more back in the picture,
appears the important but meagre phiz of a _Frenchman_, in close
whisper with an _Independent_. The first I suppose a spy upon the
motion of the army, the other probably drawn into the croud, in order
to give intelligence to his brethren, at their next meeting, to
commemorate their noble struggle in support of _Independency_. The
_Frenchman_ exhibits a letter, which he assures him contains positive
intelligence, that 10000 of his countrymen are landed in _England_, in
support of _liberty_ and _independency_. The joy with which his friend
receives these glorious tidings, causes him to forget the wounds upon
his head, which he has unluckily received by a too free and premature
declaration of his principles.
"There is a fine contrast in the smile of innocency in the child at the
woman's back, compared with the grim joy of a gentleman by it; while
the hard countenance of its mother gives a delicacy to the grenadier's
girl.
"Directly behind the drummer's quondam spouse, appears a soldier
pissing against a shed; and some distortions in his countenance
indicate a malady too indelicate to describe; this conjecture is aided
by a bill of Dr. _Rock's_ for relief in like cases. Directly over him
appears a wench at a wicket, probably drawn there to have a view of the
march; but is diverted from her first intention by the appearance of
another object directly under her eye, which seems to ingross her whole
attention.
"Behind the drummer under the sign of the _Adam_ and _Eve_ are a
group of figures; two of which are engaged in the fashionable art of
bruising: their equal dexterity is shewn, by _sewed-up peepers_ on one
side, and _a pate well-sconced_ on the other. And here the painter
has shewn his impartiality to the merit of our _noble youths_, (whose
minds, inflamed with love of glory, appear, not only encouragers
of this truly laudable science, but many of them are also great
proficients in the art itself,) by introducing a youth of quality,
whose face is expressive of those boisterous passions necessary for
forming a hero of this kind; and who, entering deep into the scene,
endeavours to inspire the combatants with a noble contempt of bruises
and broken bones. An old woman, moved by a foolish compassion,
endeavours to force through the croud and part the fray, in which
design she is stopped by a fellow, who prefers fun and mischief to
humanity. Above their heads appears a little man[3] of meagre frame,
but full of spirits, who enjoys the combat, and with fists clenched, in
imagination deals blow for blow with the heroes. This figure is finely
contrasted, by a heavy sluggish fellow just behind. The painter, with a
stroke of humour peculiar to himself, has exhibited a figure shrinking
under the load of a heavy box upon his back, who, preferring curiosity
to ease, is a spectator, and waits in this uneasy state the issue of
the combat. Upon a board next the sign, where roots, flowers, &c. were
said to be sold, the painter has humorously altered the words, and
wrote thereon, _Tottenham-Court Nursery_; alluding to a bruising-booth
in this place, and the group of figures underneath.
"Passing through the turnpike, appears a carriage laden with the
implements of war, as drums, halberts, tent-poles, and hoop-petticoats.
Upon the carriage are two old women-campaigners, funking their pipes,
and holding a conversation, as usual, in fire and smoke. These
grotesque figures afford a fine contrast to a delicate woman upon the
same carriage, who is suckling a child. This excellent figure evidently
proves, that the painter is as capable of succeeding in the graceful
style as in the humorous. A little boy laes at the feet of this
figure; and the painter, to shew him of martial breed, has placed a
small trumpet in his mouth.
"The serious group of the principal figures, in the center, is finely
relieved by a scene of humour on the left. Here an officer has seized
a milk-wench, and is kissing her in a manner excessively lewd, yet
not unpleasing to the girl, if her eye is a proper interpreter of her
affections: while the officer's ruffles suffer in this action, the girl
pays her price, by an arch soldier, who in her absence of attention
to her pails, is filling his hat with milk, and, by his waggish eye,
seems also to partake of the kissing scene. A chimney-sweeper's boy
with glee puts in a request to the soldier, to supply him with a
cap full, when his own turn is served; while another soldier points
out the fun to a fellow selling pyes, who, with an inimitable face
of simple joy, neglects the care of his goods, which the soldier
dexterously removes with his other hand. In the figure of the pye-man,
the pencil has exceeded description----here the sounding epithets of
_prodigious--excellent--wonderful_--and all the other terms used by
Connoisseurs (when speaking of the beauties of an old picture, where
the objects must have lain in eternal obscurity, if not conjured out
to the apprehension of the spectator, by the magic of unintelligible
description) are too faint to point out its real merit.
"The old soldier divested of one spatter-dash, and near losing the
other, and knocked down by all-potent gin, upon calling for t'other
cogue, his waggish comrade, supporting him with one hand, endeavours
to pour water into his mouth with the other, which the experienced
old one rejects with disdain, puts up his hand to his wife who bears
the arms and gin-bottle, and who, well acquainted with his taste, is
filling a quartern. And here the painter exhibits a sermon upon the
excessive use of spirituous liquors, and the destructive consequences
attending it: for the soldier is not only rendered incapable of his
duty, but (what is shocking to behold) a child begot and conceived in
gin, with a countenance emaciated, extends its little arms with great
earnestness, and wishes for that liquor, which it seems well acquainted
with the taste of. And here, not to dwell wholly upon the beauties
of this print, I must mention an absurdity discovered by a professed
connoisseur in painting--'Can there,' says he, 'be a greater absurdity
than the introducing a couple of chickens so near such a croud--and not
only so--but see--their direction is to go to objects it is natural
for 'em to shun--is this is knowledge of nature?--absurd to the last
degree!'----And here, with an air of triumph, ended our judicious
critic. But how great was his surprize, when it was discovered to him,
that the said chickens were in pursuit of the hen, which had made her
escape into the pocket of a sailor.
"Next the sign-post is an honest tar throwing up his hat, crying 'God
bless King _George_.' Before him is an image of drunken loyalty; who,
with his shirt out of his breeches, and bayonet in his hand, vows
destruction on the heads of the rebels. A fine figure of a speaking
old woman, with a basket upon her head, will upon view tell you what
she sells. A humane soldier perceiving a fellow hard-loaded with a
barrel of gin upon his back, and stopped by the croud, with a gimblet
bores a hole in the head of the cask, and is kindly easing him of a
part of his burthen. Near him, is the figure of a fine gentleman in the
army. As I suppose the painter designed him without character, I shall
therefore only observe, that he is a very pretty fellow, and happily
the contemplation of his own dear person guards him from the attempts
of the wicked women on his right hand. Upon the right hand of this
_petit maitre_ is a licentious soldier rude with a girl, who screams
and wreaks her little vengeance upon his face, whilst his comrade is
removing off some linen which hangs in his way.
"You will pardon the invention of a new term--I shall include the whole
_King's Head_ in the word _Cattery_, the principal figure of which is
a noted fat _Covent Garden_ lady,[4] who, with pious eyes cast up to
heaven, prays for the army's success, and the safe return of many of
her babes of grace. An officer offers a letter to one of this lady's
children, who rejects it; possibly not liking the cause her spark is
engaged in, or, what is more probable, his not having paid for her
last favour. Above her, a charitable girl is throwing a shilling to a
cripple, while another kindly administers a cordial to her companion,
as a sure relief against reflection. The rest of the windows are full
of the like cattle; and upon the house-top appear three cats, just
emblems of the creatures below, but more harmless in their amorous
encounters."
There is likewise another explanation in _The Old Woman's Magazine_,
vol. I. p. 182. To elucidate a circumstance, however, in this justly
celebrated performance, it is necessary to observe, that near
_Tottenham Court Nursery_ was the place where the famous _Broughton's_
amphitheatre for boxing was erected. It has been since taken down,
having been rendered useless by the justices not permitting such kind
of diversions. This will account for the appearance of the Bruisers
at the left hand corner of the print. One of _Hogarth's_ ideas in
this performance also needs the assistance of colouring, to render
it intelligible. The person to whom the _Frenchman_ is delivering a
letter, was meant for an old _Highlander_ in disguise, as appears from
the plaid seen through an opening in his grey coat; a circumstance
in the print that escaped me, till after I had seen the picture, and
perused _Rouquet's_ explanation of this particular circumstance,
which I shall add in his own words, with his reflections at the end
of it. "A droite du principal group paroit une figure de _François_,
qu'on a voulu representer comme un homme de quelque importance, afin
de lui donner plus de ridicule; il parle à un homme dont la nation est
indiquée par l'etoffe de sa veste, qui est celle dont s'habillent les
habitans des montagnes _d'Ecosse_: le _François_ semble communiquer
à l'_Ecossois_ des lettres qu'il vient de reçevoir, & qui ont
rapport à l'evenement qui donne lieu à cette marche. Les _Anglois_
ne se réjouissent jamais bien sans qu'il en coute quelque chose aux
_François_; leur theatre, leur conversation, leurs tableaux, et sur
tout ceux de notre peintre, portent toujours cette glorieuse marque
de l'amour de la patrie; les romans même sont ornés de traits amusans
sur cet ancien sujet; l'excellent auteur de _Tom Jones_ a voulu aussi
lâcher les siens. Mais le pretendu mépris pour les _François_ dont le
peuple de ce pais-ci fait profession, s'explique selon moi d'une façon
fort équivoque. Le mépris suppose l'oubli; mais un objet dont on médit
perpetuèllement est un objet dont on est perpetuèllement occupé: la
satire constitue une attention qui me feroit soupconner qu'on fait aux
_François_ l'honneur de les haïr un peu."
All the off tracts from the faces in the original picture of the March
to _Finchley_, in red chalk on oiled paper, are still preserved.
This representation may be said to contain three portraits, all of
which were acknowledged by the artist: a noted _French_ pye-man; one of
the young fifers then recently introduced into the army by the Duke of
_Cumberland_; and a chimney-sweeper with an aspect peculiarly roguish.
The two latter were hired by _Hogarth_, who gave each of them half a
crown, for his patience in sitting while his likeness was taken. Among
the portraits in the _March to Finchley_ (says a correspondent) that of
_Jacob Henriques_ may also be discovered. I wish it had been pointed
out.
With this plate (of which the very few proofs in aqua-fortis, as well
as the finished ones, are highly valuable) no unfair stratagems have
been practised, that a number of the various impressions, taken off
at different times, might be mistaken for the earliest. On copper
nothing is more easy than to cover, alter, efface, or re-engrave an
inscription, as often as temporary convenience may require a change in
it.[5] Witness, the several copies of _The Lottery_, three of which
exhibit the names of three different publishers: the fourth has none at
all.
The possessors of this March to _Finchley_ need not vehemently lament
their want of the original. The spirit of it is most faithfully
transfused on the copper. As to the colouring, it will hardly delight
such eyes are are accustomed to the pictures of _Steen_ or _Teniers_.
To me the painting of the _March to Finchley_ appears hard and heavy,
and has much the air of a coloured print.
I should not, on this occasion, omit to add, that Mr. _Strange_, in his
_Inquiry into the Rise and Establishment of the Royal Academy of Arts
in London_, observes, that "the donations in painting which several
artists presented to _The Foundling Hospital_," first led to the idea
of those Exhibitions which are at present so lucrative to our Royal
Academy, and so entertaining to the publick. _Hogarth_ must certainly
be considered as a chief among these benefactors.
[1] _General Advertiser, April_ 14, 1750. Mr _Hogarth_ is publishing,
by subscription, a print representing the march to _Finchley_ in the
year 1746, engraved on a copper-plate, 22 inches by 17. The price 7
_s._ 6 _d._
Subscriptions are taken in at _The Golden Head_ in _Leicester-Fields_,
till the 30th of this instant, and not longer, to the end that the
engraving may not be retarded.
Note. Each print will be half a Guinea after the Subscription is over.
In the Subscription-book, are the particulars of a proposal whereby
each subscriber of three shillings, over and above the said seven
shillings and sixpence for the print, will, in consideration thereof,
be entitled to a chance of having the original picture, which shall
be delivered to the winning subscriber as soon as the engraving is
finished.
_General Advertiser, May_ 1, 1750.
Yesterday Mr. _Hogarth's_ subscription was closed. 1843 chances being
subscribed for, Mr. _Hogarth_ gave the remaining 157 chances to _The
Foundling Hospital_. At two o'clock the box was opened, and the
fortunate chance was N° 1941, which belongs to the said Hospital; and
the same night Mr. _Hogarth_ delivered the picture to the Governors.
[2] PRUSIA, in the earliest impressions. I have been assured that
only twenty-five were worked off with this literal imperfection, as
_Hogarth_ grew tired of adding the mark ~ with a pen over one S, to
supply the want of the other. He therefore ordered the inscription
to be corrected before any greater number of impressions were taken.
Though this circumstance was mentioned by Mr. _Thane_, to whose
experience in such matters some attention is due, it is difficult to
suppose that _Hogarth_ was fatigued with correcting his own mistake in
so small a number of the first Impressions. I may venture to add, that
I have seen, at least, five and twenty marked in the manner already
described: and it is scarce possible, considering the multitudes of
these plates dispersed in the world, that I should have met with all
that were so distinguished.
[3] The real or nick name of this man, who was by trade a cobler, is
said to have been _Jockey James_.
[4] This figure is repeated in the last print but one of _Industry_.
and _Idleness_, and was designed for Mother _Douglas_ of the Piazza.
[5] _Proofs_ were anciently a few impressions taken off in the course
of an engraver's process. He _proved_ a plate in different states, that
he might ascertain how far his labours had been successful, and when
they were complete. The excellence of such early impressions, worked
with care, and under the artist's eye, occasioning them to be greedily
sought after, and liberally paid for, it has been customary among our
modern printsellers to take off a number of them, amounting, perhaps,
to hundreds, from every plate of considerable value; and yet their
want of rareness has by no means abated their price. On retouching a
plate, it has been also usual, among the same conscientious fraternity,
to cover the inscription, which was immediately added after the first
proofs were obtained, with slips of paper, that a number of secondary
proofs might also be created. This device is notorious, and too often
practised, without discovery, on the unskilful purchaser. A new print,
in short, is of the same use to a crafty dealer, as a fresh girl to a
politic bawd. In both instances _le fausse pucelage_ is disposed of
many times over.
* * * * *
1751.
1. _Beer-street_;[1] two of them, with variations, (the former price
1 _s._ the latter 1 _s._ 6 _d._), and _Gin Lane_. The following verses
under these two prints are by the Rev. Mr. _James Townley_, Master of
_Merchant Taylors School_:
BEER-STREET.
Beer, happy product of our isle,
Can sinewy strength impart,
And, wearied with fatigue and toil,
Can chear each manly heart.
Labour and Art, upheld by thee,
Successfully advance;
We quaff thy balmy juice with glee,
And water leave to _France_.
Genius of Health, thy grateful taste
Rivals the cup of _Jove_,
And warms each _English_ generous breast
With Liberty and Love.
GIN-LANE.
Gin, cursed fiend! with fury fraught,
Makes human race a prey;
It enters by a deadly draught,
And steals our life away.
Virtue and Truth, driven to despair,
Its rage compels to fly,
But cherishes, with hellish care,
Theft, Murder, Perjury.
Damn'd cup! that on the vitals preys,
That liquid fire contains,
Which madness to the heart conveys,
And rolls it thro' the veins.
Mr. _Walpole_ observes, that the variation of the butcher lifting
the _Frenchman_ in his hand, was an after-thought;[2] but he is
mistaken. This _butcher_ is in reality a _blacksmith_; and the violent
hyperbole is found in the original drawing, as well as in the earliest
impressions of the plate. The first copies of _Beer-street, Gin Lane,_
and _The Stages of Cruelty,_ were taken off on very thin paper; but
this being objected to, they were afterwards printed on thicker. The
painter, who in the former of these scenes is copying a bottle from one
hanging by him as a pattern, has been regarded as a stroke of satire on
_John Stephen Liotard_, who (as Mr. _Walpole_ observes) "could render
nothing but what he saw before his eyes."[3]
It is probable that _Hogarth_ received the first idea for these two
prints from a pair of others by _Peter Breugel_ (commonly called
_Breugel d'enfer_, or _Hellish Breugel_), which exhibit a contrast
of a similar kind. The one is entitled _La grasse_, the other _La
maigre Cuisine_. In the first, all the personages are well-fed and
plump; in the second, they are starved and slender. The latter of them
also exhibits the figures of an emaciated mother and child, sitting
on a straw-mat upon the ground, whom I never saw without thinking on
the female, &c. in _Gin Lane_.[4] In _Hogarth_, the fat _English_
blacksmith is insulting the gaunt _Frenchman_; and in _Breugel_, the
plump cook is kicking the lean one out of doors. Our artist was not
unacquainted with the works of this master, as will appear by an
observation on the _Lilliputians_ giving _Gulliver_ a clyster.
On the subject of these two plates, and the four following ones,
was published a stupid pamphlet, intituled, "A Dissertation on Mr.
_Hogarth's_ Six Prints lately published, viz. _Gin-Lane, Beer-street,_
and _The Four Stages of Cruelty_, Containing, I. A genuine narrative
of the horrible deeds perpetrated by that fiery dragon, _Gin_; the
wretched and deplorable condition of its votaries and admirers; the
dreadful havock and devaluation it has made amongst the human species;
its pernicious effects on the soldiers, sailors, and mechanicks of
this kingdom; and its poisonous and pestilent qualities in destroying
the health, and corrupting the morals of the people. II. Useful
observations on wanton and inhuman cruelty, severely satirizing the
practice of the common people in sporting with the lives of animals.
Being a proper key for the right apprehension of the author's meaning
in those designs. Humbly inscribed to the Right Honourable _Francis
Cockayne_, Esq; Lord Mayor of the City of _London_, and the worshipful
Court of Aldermen, who have so worthily distinguished themselves in the
measures they have taken to suppress the excessive use of spirituous
liquors. _London_: Printed for _B. Dickinson_ on _Ludgate-Hill_. 1751.
Price one shilling;" and eleven pence three farthings too dear, being
compiled out of _Reynolds's_ "God's Revenge against Murder," &c.
[1] _General Advertiser, February_ 13, 1750-51.
On _Friday_ next will be published, price one shilling each.
Two large Prints designed and etched by Mr. _Hogarth_, called
_Beer-street_ and _Gin-lane_.
A number will be printed in a better manner for the Curious at 1 _s._ 6
_d_. each.
And on _Thursday_ following will be published,
Four Prints on the subject of Cruelty. Price and size the same.
_N. B._ As the subjects of these Prints are calculated to reform some
reigning vices peculiar to the lower class of people, in hopes to
render them of more extensive use, the author has published them in the
cheapest manner possible.
To be had at the _Golden Head_ in _Leicester Fields_, where may be had
all his other works.
[2] I am sorry to perceive that this observation remains in the octavo
edition of the "Anecdotes of Painting," vol. IV. p. 147.
[3] The opinion which _Hogarth_ entertained of the writings of
Dr. _Hill_ may be discovered in his _Beer-Street_, where _Hill's_
critique upon the Royal Society is put into a basket directed to the
Trunk-Maker, in _St. Paul's Church-Yard_.
[4] This emaciated figure, who appears drunk and asleep at the corner
of this print, was painted from nature.
2. The Stages of Cruelty, in four prints. _Designed by Wm. Hogarth,
price_ 4 _s._ Of the two latter of these there are wooden plates[1] on
a large scale, _Invd. and published by Wm. Hogarth, Jan._ 1, 1750.
_J. Bell sculp._ They were done by order of our artist, who wished
to diffuse the salutary example they contain, as far as possible, by
putting them within the reach of the meanest purchaser; but finding
this mode of executing his design was expensive beyond expectation, he
proceeded no further in it, and was content to engrave them in his own
coarse, but spirited manner. Impressions from the wooden blocks are
to be had at Mrs. _Hogarth's_ house in _Leicester-fields_. This set of
prints, however, is illustrated with the following verses:
FIRST STAGE OF CRUELTY.
While various scenes of sportive woe
The infant race employ,
And tortur'd Victims bleeding shew
The tyrant in the boy;
Behold! a _youth_ of gentler heart,
To spare the Creature's pain,[2]
O take, he cries--take all my tart,
But tears and tart are vain.
Learn from this fair example--you,
Whom savage sports delight,
How Cruelty disgusts the view,
While pity charms the sight.
SECOND STAGE OF CRUELTY.
The generous _steed_, in hoary age,
Subdu'd by labour lies;
And mourns a cruel master's rage,
While _Nature_ strength denies.
The tender _Lamb_, o'erdrove and faint,
Amidst expiring throes,
Bleats forth it's innocent complaint,
And dies beneath the blows.
Inhuman wretch! say whence proceeds
This coward Cruelty?
What int'rest springs from barb'rous deeds
What joy from misery?
III. CRUELTY IN PERFECTION.
To lawless _Love_ when once betray'd,
Soon crime to crime succeeds;
At length beguil'd to _Theft_, the _maid_
By her _beguiler_ bleeds.
Yet learn, seducing man, not night
With all its sable cloud,
Can skreen the guilty _deed_ from sight:
Foul Murder cries aloud.
The gaping wounds, the blood-stain'd steel,
Now shock his trembling _soul_:
But oh! what pangs his breast must feel,
When Death his knell shall toll.
IV. THE REWARD OF CRUELTY.
Behold, the _Villain's_ dire disgrace
Not death itself can end:
He finds no peaceful _burial-place_;
His breathless corse, no friend,
Torn from the root, that wicked _Tongue_,
Which daily swore and curst!
Those eye-balls, from their sockets wrung,
That glow'd with lawless lust.
His heart, exposed to prying eyes,
To pity has no claim;
But, dreadful! from his bones shall rise
His monument of shame.[3]
[1] N. B. The first of these wooden cuts differs in many circumstances
from the engraving. In the former, the right hand of the murderer is
visible; in the latter it is pinioned behind him. Comparison will
detect several other variations in this plate and its fellow.
[2] The thrusting an arrow up the fundament of a dog, is not an idea of
_English_ growth. No man ever beheld the same act of cruelty practised
on any animal in _London. Hogarth_, however, met with this circumstance
in _Callot's Temptation of St. Antony_, and transplanted it, without
the least propriety, into its present situation.
[3] In the last of these plates, "how delicate and superior," as Mr.
_Walpole_ observes, "is _Hogarth's_ satire, when he intimates, in
the College of Physicians and Surgeons that preside at a dissection,
how the legal habitude of viewing shocking scenes hardens the human
mind, and renders it unfeeling. The president maintains the dignity
of insensibility over an executed corpse, and considers it but as the
object of a lecture. In the print of the Sleeping Judges, this habitual
indifference only excites our laughter." To render his spectacle,
however, more shocking, our artist has perhaps deviated from nature,
against whose laws he so rarely offends. He has impressed marks of
agony on the face of the criminal under dissection; whereas it is
well known, that, the most violent death once past, the tumult of the
features subsides for ever. But, in _Hogarth's_ print, the wretch who
has been executed, seems to feel the subsequent operation. Of this
plate Mr. _S. Ireland_ has the original drawing.
3. Boys peeping at Nature, with Variations.
Receipt for _Moses brought to Pharaoh's Daughter_, and St. _Paul before
Felix_.
The burlesque _Paul_, &c. being the current receipt for these two
prints, I know not why our artist should have altered and vamped up his
_Boys peeping at Nature_ (see p. 188.) for the same purpose. This plate
was lately found at Mrs. _Hogarth's_, but no former impressions from
it appear to have been circulated. It might have been a first thought,
before the idea of its ludicrous successor occurred. _Hogarth_,
however, with propriety, effaced all the wit in his original design,
before he meant to offer it as a prologue to his uninteresting serious
productions.
4. _Paul_ before _Felix_, designed and scratched in the true _Dutch_
taste, by _W. Hogarth_. This was the receipt for _Pharaoh's_ daughter,
and for the serious _Paul_ and _Felix_; and is a satire on _Dutch_
pictures. It also contains, in the character of a serjeant tearing his
brief, a portrait of _Hume Campbell_, who was not over-delicate in the
language he used at the bar to his adversaries and antagonists. This,
however, is said by others to be the portrait of _William King_,[1]
LL. D. Principal of _St. Mary Hall, Oxford_. In a variation of this
print, the Devil is introduced sawing off a leg of the stool on which
_Paul_ stands. In the _third_ impression, as is noted in the collection
sold last at _Christie's_, "_Hogarth_ has again taken out the Devil.
By these variations of _Devil and no Devil_, he glances at Collectors,
who give great prices for such rarities; and perhaps he had in his
eye the famous print of the Shepherd's Offering by _Poilly_, after
_Guido_, which sells very dear, without the Angels." This, however, is
erroneous. After the dæmon was once admitted, he was never discarded.
The plate in Mrs. _Hogarth's_ keeping confirms my assertion. In the
first proof of _Poilly's Shepherd's Offering_, the angels are lightly
sketched in; in the finished proof they are totally omitted; but were
afterwards inserted. There are similar variations relative to the arms
at the bottom of it.
Of this burlesque _Paul_, &c. none were originally intended for sale;
but our artist gave them away to such of his acquaintance, &c. as
begged for them. The number of these petitioners, however, increasing
every day, he resolved at last to part with no copies of it at a less
price than five shillings.[2] All the early proofs were stained by
himself, to give them that tint of age which is generally found on
the works of _Rembrandt_. Of this plate, however, there are _two_
impressions. The inscription under the _first_ is "_Paul_ before
_Felix_. Design'd and scratch'd in the true _Dutch_ taste by &c."
Under the _second_, "Designed and etch'd in the ridiculous manner of
_Rembrant_, &c." From the former of these _Hogarth_ took off a few
reverses. He must have been severely mortified when he found his
ludicrous representation of _Paul_ before _Felix_ was more coveted and
admired than his serious painting on the same subject.
[1] Of Dr. _King_, who was "a tall, lean, well-looking man," there is
a striking likeness in _Worlidge's_ View of the Installation of Lord
_Westmoreland_ as chancellor of _Oxford_ in 1761. Some particulars of
his life and writings may be seen in the "Anecdotes of Mr. _Bowyer_,"
p. 594.
[2] Mr. _Walpole_ has honoured a passage in the first edition of this
hasty work, with the following stricture: (see Anecdotes of Painting,
vol. IV. p. 149).
"I have been blamed for censuring the indelicacies of _Flemish_ and
_Dutch_ painters, by comparing them with the _purity_ of _Hogarth_,
against whom are produced many instances of indelicacy, and some
repetitions of the same indelicacy. I will not defend myself by
pleading that these instances are thinly scattered through a great
number of his works, and that there is at least humour in most of the
incidents quoted, and that they insinuate some reflection, which is
never the case of the foreigners--but can I chuse but smile when one of
the nastiest examples specified is from the burlesque of _Paul_ before
_Felix_, professedly in ridicule of the gross images of the _Dutch_?"
In consequence of private remarks from Mr. _W._ this questionable
position, as well as a few others, had been obviated in my second
impression of the trifling performance now offered to the public: but
as our author cannot _chuse but smile_, when the occasion of his mirth
was no longer meant to be in his way, I would ask, in defence of my
former observation, if moralists usually attempt to reform profligates
by writing treatises of profligacy? or, if painters have a right to
chastise indelicacy, by exhibiting gross examples of it in their own
performances? To become indecent ourselves, is an unwarrantable recipe
for curing indecency in others. The obscenities of _Juvenal_ have
hitherto met with no very successful vindication: "Few are the converts
_Aretine_ has made." According to our critic's mode of reasoning, a
homicide might urge that the crime of which he stands accused was
committed only as a salutary example of the guilt of murder; nay,
thus indeed every human offence might be allowed to bring with it its
own apology.--I forbear to proceed in this argument, or might observe
in behalf of our "foreigners," that their incidents insinuate some
reflections as well as _Hogarth's_. The evacuations introduced in
_Dutch_ pictures, most certainly inculcate the necessity of temperance,
for those only who eat and drink too much at fairs, or in ale-houses,
are liable to such public and unseemly accidents as _Heemskirk,
Ostade,_ and _Teniers,_ have occasionally represented. If we are to
look for "Sermons in stones, and good in everything," this inference
is as fair as many which Mr. _W._ seems inclined to produce in honour
of poor _Hogarth_, who, like _Shakspeare_, often sought to entertain,
without keeping any moral purpose in view. But was there either wit or
morality in _Hogarth's_ own evacuation against the door of a church,
a circumstance recorded by Mr. _Forrest_ in his MS. tour, though
prudently suppressed in his printed copy of it? Perhaps, following
Uncle _Toby's_ advice, he had better have wiped the whole up, and said
nothing about the matter. Our worthy Tour-writer, however, was by no
means qualified to be the author of a Sentimental Journey. He rather
(and purposely, as we are told) resembles _Ben Jonson's_ communicative
traveller, who says to his companion,
----I went and paid a moccinigo
For mending my silk stockings; by the way
I cheapen'd sprats, and at _St. Mark's_ I urin'd.
Faith, these are politic notes!
* * * * *
1752.
1. _Paul_ before _Felix_, from the original painting in _Lincoln's-Inn
Hall_, painted by _W. Hogarth._ "_There is much less Dignity in this,
than Wit in the preceding._" Under the inscription to the first
impressions of this plate is "Published _Feb._ 5, 1752. Engraved by
_Luke Sullivan._" To the second state of it was added the quotation
which, in p. 64, I have printed from Dr. _Joseph Warton's_ Essay on the
Genius of _Pope_. It was covered with paper in the third impression,
and entirely effaced in the fourth.
2. The same, "_as first designed, but the wife of_ Felix _was
afterwards omitted, because St_. Paul's _hand was very improperly
placed before her._" I have seen a copy of it, on which _Hogarth_ had
written, "A print off the plate that was set aside as insufficient.
Engraved by _W. H._" On the appearance of Dr. _Warton's_ criticism on
this plate, _Hogarth_ caused the whole of it to be engraved under both
this and the next mentioned print, without any comment.
3. _Moses_ brought to _Pharaoh's_ daughter, from a picture at _The
Foundling Hospital. Engraved by W. Hogarth and Luke Sullivan._
In the early impressions from this plate (exclusive of its necessary
and usual inscription) the words "Published _February_ 5, 1752,
according to Act of Parliament," and "_W. Hogarth pinxit_," are found.
In subsequent copies they are obliterated; and we have only "Published
as the Act directs" in their room. These were left out, however,
only to make room for the quotation from Dr. _Warton's_ book already
mentioned.[1]
[1] It should here be remarked, that the heads of several of the
figures in the original, differ widely from those in the engraving.
The daughter of the _Egyptian_ Monarch appears to more advantage
in the print than on the canvas, for there she resembles a wanton
under-actress, who, half-undrest, and waiting for her keeper, employs
the interval of time in settling accounts with a washerwoman, who has
her bastard at nurse, and has just brought him home to convince her
that young _Curl-pated Hugh_ has no shoes to his feet. The colouring
of this piece is beneath criticism. I have just been told the head
of _Pharaoh's_ daughter was copied from one _Seaton_, a smock-faced
youth of our artist's acquaintance: a proper model, no doubt, for an
_Eastern_ Princess! _Hogarth_ could not, like _Guido_, draw a _Venus_
from a common porter.
* * * * *
1753.
1. _Columbus_ breaking the egg. "_The subscription-ticket to his
Analysis._" First payment 5 _s. Hogarth_ published this print as a
sarcasm on those artists who had been inclined to laugh at his boasted
line of beauty, as a discovery which every one might have made.
2. Analysis of Beauty. Two plates. Mr. _Walpole_ observes, that
_Hogarth's_ "samples of grace in a young lord and lady are strikingly
stiff and affected. They are a _Bath_ beau and a county beauty." The
print is found in three different states. "In the original plate
the principal figure represented the present king, then prince, but
_Hogarth_ was desired to alter it. The present figure was taken from
the last duke of _Kingston_; yet, though like him, is stiff, and far
from graceful."[1] In Plate I. Fig. 19. the fat personage drest in a
_Roman_ habit, and elevated on a pedestal, was designed, as _Hogarth_
himself acknowledged, for a ridicule on _Quin_ in the character of
_Coriolanus. Essex_ the dancing-master is also represented in the act
of endeavouring to reduce the graceful attitude of _Antinous_ to modern
stiffness. Fig. 20. was likewise meant for the celebrated _Desnoyer_,
dancing in a grand ballet.
Dr. _Beattie_, speaking of the modes of combination, by which
incongruous qualities may be presented to the eye, or the fancy, so
as to provoke laughter, observes "A country dance of men and women,
like those exhibited by _Hogarth_ in his Analysis of Beauty, could
hardly fail to make a beholder merry, whether he believed their union
to be the effect of design or accident. Most of those persons have
incongruities of their own in their shape, dress, or attitude, and
all of them are incongruous in respect of one another; thus far the
assemblage displays contrariety or want of relation: and they are
all united in the same dance; and thus far they are mutually related.
And if we suppose the two elegant figures removed, which might be
done without lessening the ridicule, we should not easily discern any
contrast of dignity and meanness in the group that remains.
"Almost the same remarks might be made on _The Enraged Musician_,
another piece of the same great master, of which a witty author
quaintly says, that it deafens one to look at it. This extraordinary
group forms a very comical mixture of incongruity and relation; of
incongruity, owing to the dissimilar employment and appearances of the
several persons, and to the variety and dissonance of their respective
noises; and of relation, owing to their being all united in the same
place, and for the same purpose of tormenting the poor fidler. From
the various sounds co-operating to this one end, the piece becomes
more laughable, than if their meeting were conceived to be without any
particular destination; for the greater number of relations, as well as
of contrarieties, that take place in any ludicrous assembly, the more
ludicrous it will generally appear. Yet, though this group comprehends
not any mixture of meanness and dignity, it would, I think, be allowed
to be laughable to a certain degree, merely from the juxta-position of
the objects, even though it were supposed to be accidental." Essay on
Laughter and Ludicrous Composition, 4to Edit. 608.
"I have no new books, alas! to amuse myself or you; so can only return
yours of _Hogarth's_ with thanks. It surprized me agreeably; for I had
conceived the performance to be a set of prints only, whereas I found
a book which I did not imagine _Hogarth_ capable of writing; for in
his pencil I always confided, but never imagined his pen would have
afforded me so much pleasure. As to his not fixing _the precise degree
of obliquity_, which constitutes beauty, I forgive him, because I think
the task too hard to be performed literally: but yet he conveys an idea
between his pencil and his pen, which makes one conceive his meaning
pretty well." Lady _Luxborough's_ Letters, p. 380.
I shall here transcribe as much from the _Analysis_ as is necessary to
communicate our artist's design relative to the various figures that
compose the country-dance in the second plate. The reader who neither
possesses the book, nor wishes to accompany the author throughout his
technical explanations, may desire some intelligence concerning the
present subject.
"CHAP. XIV.
"OF ATTITUDE.
"--As two or three lines at first are sufficient to shew the intention
of an attitude, I will take this opportunity of presenting my reader
with the sketch of a country-dance, in the manner I began to set out
the design; in order to shew how few lines are necessary to express
the first thoughts as to different attitudes [see fig. 71. T. p. 2.],
which describe, in some measure, the several figures and actions,
mostly of the ridiculous kind, that are represented in the chief part
of plate II.
"The most amiable person may deform his general appearance by throwing
his body and limbs into plain lines; but such lines appear still in
a more disagreeable light in people of a particular make; I have
therefore chose such figures as I thought would agree best with my
first score of lines, fig. 71.
"The two parts of curves next to 71, served for the old woman and her
partner at the farther end of the room. The curve and two strait lines
at right angles gave the hint for the fat man's sprawling posture. I
next resolved to keep a figure within the bounds of a circle, which
produced the upper part of the fat woman between the fat man and the
aukward one in a bag-wig, for whom I had made a sort of an X. The
prim lady, his partner, in the riding habit, by pecking back her
elbows, as they call it, from the waist upwards, made a tolerable D,
with a straight line under it, to signify the scanty stiffness of her
petticoat; and a Z stood for the singular position the body makes with
the legs and thighs of the affected fellow in the tye-wig; the upper
part of his plump partner was confined to an O, and this, changed into
a P, served as a hint for the straight lines behind.[2] The uniform
diamond of a card was filled by the flying dress, &c. of the little
capering fellow in the Spencer wig; whilst a double L marked the
parallel position of his poking partner's hands and arms [_N. B. This
figure was copied from that of an uncouth young female whom_ Hogarth
_met with at_ Isleworth _assembly_]: and, lastly, the two waving lines
were drawn for the more genteel turns of the two figures at the hither
end.
"The drawing-room is also ornamented purposely with such statues
and pictures as may serve to a farther illustration. _Henry_ VIII.
[Fig. 72. P. 2] makes a perfect X with his legs and arms; and the
position of _Charles_ [Fig. 51. P. 2.] is composed of less-varied
lines than the statue of _Edward_ VI. [Fig. 73. P. 2.]; and the
medal over his head is in the like kind of lines; but that over Q.
_Elizabeth_, as well as her figure, is in the contrary; so are also
the two other wooden figures at the end. Likewise the comical posture
of astonishment expressed by following the direction of one plain
curve, as the dotted line in a _French_ print of _Sancho_, where Don
_Quixote_ demolishes the puppet-show [Fig. 75. R. P. 2], is a good
contrast to the effect of the serpentine lines in the fine turn of
the _Samaritan_ woman [Fig. 75. L. p. 2.] taken from one of the best
pictures _Annibal Carache_ ever painted."
Respecting the plate numbered I. there are no variations. In its
companion the changes repeatedly made as to the two principal figures
are more numerous than I had at first observed. It may, however, be
sufficient for me to point out some single circumstance in each, that
may serve as a mark of distinction. In the first, the principal female
has scarce any string to her necklace; in the second it is lengthened;
and still more considerably increased in the third. In the first and
second editions also of this plate, between the young lord and his
partner (and just under the figure of the man who is pointing out the
stateliness of some of K. _Henry_ VIIIth's proportions to a lady), is
a vacant easy chair. In the third impression this chair is occupied by
a person asleep. I have lately been assured that this country-dance
was originally meant to have formed one of the scenes in the _Happy
Marriage_. The old gentleman hastening away his daughter, while the
servant is putting on his spatter-dashes, seems to countenance the
supposition; and having since examined the original sketch in oil,
which is in Mr. _Ireland's_ possession, I observe that the dancing-room
is terminated by a large old-fashioned bow-window, a circumstance
perfectly consistent with the scenery of the wedding described in p.
46, &c.
I may add, that in this picture, the couple designed for specimens of
grace, appear, not where they stand in the print, but at the upper end
of the room: and so little versed was our painter in the etiquette
of a wedding-ball, that he has represented the bride dancing with the
bridegroom.[3]
When _Hogarth_ shewed the original painting, from which this dance has
been engraved, to my informant, he desired him to observe a pile of
hats in the corner, all so characteristic of their respective owners,
that they might with ease be picked out, and given to the parties for
whom they were designed.
[1] Anecdotes of Painting, 8vo. vol. IV. p. 166.
[2] The idea of making human figures conform to the shape of capital
letters, is by no means new. Several alphabets of this kind were
engraved above 150 years ago.
[3] As different fashions, however, prevail at different times, this
observation may be wrong.
3. The Political Clyster. _Nahtanoi Tfiws.[1] Dr. O'Gearth sculp. Nll
Mrrg. Cht Nf. ndw Lps ec ple &c. &c. shd b. Prgd. See Gulliver's Speech
to the Honble. House of Vulgaria in Lilliput._
This was originally published about 1727, or 1728, under the title
of "The punishment inflicted on _Lemuel Gulliver_, by applying a
_Lilypucian_ Fire Engine to his posteriors for his urinal profanation
of the Royal Pallace at _Mildendo_; which was intended as a
Frontispiece to his first volume, but omitted. _HogEarth sculp._" The
superiority of the impressions thus inscribed is considerable.[2]
More than the general idea of this print is stolen from another by
_Hellish Breugel_, whom I have already mentioned in a remark on
_Beer-street_, and _Gin-lane_. The _Dutchman_ has represented a number
of pigmies delivering a huge giant from a load of fæces. His postern
is thrust out, like that of _Gulliver_, to favour their operations.
_Breugel_ has no less than three prints on this subject, with
considerable variations from each other.
"When _Hogarth's_ topics were harmless," says Mr. _Walpole_, "all his
touches were marked with pleasantry and fun. He never laughed, like
_Rabelais_, at nonsense that he imposed for wit; but, like _Swift_,
combined incidents that divert one from their unexpected encounter, and
illustrate the tale he means to tell. Such are the hens roosting on the
upright waves in the scene of the Strollers, and the devils drinking
porter on the altar." The print now before us is, however, no very
happy exemplification of our critick's remark.
[1] Originally mistaken by Mr. _Walpole_ for the name of a _Lilliputian_
painter, but put right in his new edition.
[2] The present unmeaning title of this plate, was bestowed on it by
its owner, Mr. _Sayer_.
* * * * *
1754.
1. Crowns, mitres, maces, &c. A subscription-ticket for the Election
entertainment. This print has been already described. See p. 39. The
engraved forms of a receipt annexed to it do not always agree. In one
copy (which I suppose to be the eldest) it contains an acknowledgement
for "Five Shillings, being the first payment for a print representing
an Election Entertainment, which I promise to deliver, when finished,
on the receipt of five shillings and sixpence more." The second is for
"one guinea, being the first payment for four prints of an Election,
which I promise, &c. on the receipt of one guinea more." The third for
"fifteen shillings, being the first, &c. for three prints, &c. on the
payment of sixteen shillings and sixpence more."
2. Frontispiece to _Kirby's_ Perspective.[1] Engraved by _Sullivan_.
Satire on false perspective. Motto, "Whoever maketh a design without
the knowledge of Perspective, will be liable to such absurdities as are
shewn in this frontispiece." The occasion of engraving the plate arose
from the mistakes of Sir E. _Walpole_, who was learning to draw without
being taught perspective. To point out in a strong light the errors
which would be likely to happen from the want of acquaintance with
those principles, this design was produced. It was afterwards given to
_Kirby_, who dedicated Dr. _Brook Taylor's_ Method of Perspective to
Mr. _Hogarth_. The above anecdote is recorded on the authority of the
gentleman already mentioned. The plate, after the first quantity of
impressions had been taken from it, was retouched, but very little to
its advantage. Mr. _S. Ireland_ has the original sketch.
[1] "This work is in quarto, containing 172 pages, and 51 plates, in
the whole; with a frontispiece designed and drawn by Mr. _Hogarth_.
'Tis a humourous piece, shewing the absurdities a person may be liable
to, who attempts to draw without having some knowledge in perspective.
As the production of that great genius, it is entertaining; and, though
abounding with the grossest absurdities possible, may pass and please;
otherwise I think it is a palpable insult offered to common sense,
and tacitly calling the artists a parcel of egregious blockheads.
There is not a finished piece in the book, but the mason's yard and
the landscapes; so that I question if the whole of the plates were
forty pounds expence. It was first printed for himself at _Ipswich_,
dedicated to Mr. _Hogarth_, and published in the year 1754."
_Malton_, Appendix to Treatise on Perspective, p. 106.
* * * * *
1755.
1. Four prints of an Election.[1] These, by _Hogarth_, came out at
different times, _viz._ Plate I. _Feb._ 24, 1755 (inscribed to the
Right Hon. _Henry Fox_); Plate II. _Feb._ 20, 1757, (to his Excellency
Sir _Charles Hanbury Williams_, Ambassador to the Court of _Russia_);
Plate III. _Feb._ 20, 1758, (to the Hon. Sir _Edward Walpole_, Knight
of the Bath); Plate IV. _Jan._ 1, 1758, (to the Hon. _George Hay_,[2]
one of the Lords Commissioners of the Admiralty). The original
pictures are now in the possession of Mrs. _Garrick_, at _Hampton_.
The inscription on the banner, "Give us our eleven days," alludes
to the alteration of the Style in 1752; in which year, from the 2d
to the 14th of _September_, eleven days were not reckoned by act of
parliament. In the election-dinner, Mr. _Hogarth_ assured the writer
of this paragraph, that there is but one at table intended for a real
portrait and that is the _Irish_ gentleman [the present Sir _John
Parnell_, nephew to the poet, and remarkable for a very flat nose], who
is diverting the company by a face drawn with a burnt cork upon the
back of his hand, while he is supposed to be singing--_An old woman
cloathed in grey_. This gentleman (then an eminent attorney) begged it
as a favour; declaring, at the same time, he was so generally known,
that the introduction of his face would be of service to our artist
in the sale of his prints at _Dublin_. Notwithstanding _Hogarth's_
assertion, the handsome candidate is pronounced to be the late _Thomas
Potter_, esq. and the effigy, seen through the window, with the
words "_No Jews_" about its neck, to be meant for the late Duke of
_Newcastle_. Of yet another real personage we receive notice, from
a pamphlet intituled "The last Blow, or an unanswerable vindication
of the Society of _Exeter College_, in reply to the Vice-chancellor
Dr. _King_, and the writers of _The London Evening Post_." 4to. 1755.
p. 21.--"The next character, to whose merits we would do justice, is
the Rev. Dr. _C--ff--t (Cofferat)_. But as it is very difficult to
delineate this fellow in colours sufficiently strong and lively, it is
fortunate for us and the Doctor, that _Hogarth_ has undertaken that
task. In the print of an Election Entertainment, the publick will see
the Doctor represented sitting among the freeholders, and zealously
eating and drinking for the sake of the New Interest. His venerable
and humane aspect will at once bespeak the dignity and benevolence
of his heart. Never did alderman at _Guildhall_ devour custard with
half such an appearance of love to his country, or swallow ale with
so much the air of a patriot. These circumstances the pencil of
Mr. _Hogarth_ will undoubtedly make manifest; but it is much to be
lamented, that his words also cannot appear in this print, and that
the artist cannot delineate that persuasive flow of eloquence which
could prevail upon Copyholders to abjure their base tenures, and
swear themselves Freeholders. But this oratory (far different from
the balderdash of _Tully_ and Dr. _King_, concerning liberty and our
country) as the genius of mild ale alone could inspire, this fellow
alone could deliver."--The very paper of tobacco, inscribed "_Kirton's_
Best," has its peculiar significance. This man was a tobacconist
by St. _Dunstan's_ Church in _Fleet-street_, and ruined his health
and constitution, as well as impaired his circumstances, by being
busy in the _Oxfordshire_ election of 1754. Plate II. In the painted
cloth depending from the sign-post, the height of _The Treasury_ is
contrasted with the squat solidity of _The Horse-Guards_, where the
arch is so low, that the state-coachman cannot pass through it with
his head on; and the turret on the top is so drawn as to resemble
a beer-barrel. _Ware_ the architect very gravely remarked, on this
occasion, that the chief defect would have been sufficiently pointed
out by making the coachman only stoop. He was hurt by _Hogarth's_
stroke of satire. Money is likewise thrown from _The Treasury_ windows,
to be put into a waggon, and carried into the country. _George
Alexander Stevens_, in his celebrated "Lecture on Heads," exhibited
the man with a pot of beer, explaining, with pieces of a tobacco-pipe,
how _Porto Bello_ was taken with six ships only. In Plate III. Dr.
_Shebbeare_, with fetters on, is prompting the idiot; and in Plate IV.
the old Duke of _Newcastle_ appears at a window. A happy parody in the
last of these plates may, perhaps, have escaped the notice of common
observers. _Le Brun_, in his battle of the _Granicus_, has represented
an eagle hovering above the laurel'd helmet of _Alexander. Hogarth_
has painted a goose flying over the periwig'd head of the successful
candidate. During the contested _Oxfordshire_ election in 1754, an
outrageous mob in the Old Interest had surrounded a post-chaise,
and was about to throw it into the river; when Captain _T----_,
within-side, shot a chimney-sweeper who was most active in the assault.
The captain was tried and acquitted. To this fact _Hogarth_ is supposed
to allude in the Monkey riding on the Bear, with a cockade in his hat,
and a carbine by his side, which goes off and kills the little sweep,
who has clambered up on the wall. The member chaired is said to bear
more than an accidental resemblance to Mr. _Dodington_, afterwards Lord
_Melcombe_.
In 1759 appeared "A Poetical Description of Mr. _Hogarth's_ Election
Prints,[3] in four Cantos. Written under Mr. _Hogarth's_ sanction and
inspection," which I shall with the less scruple transcribe at large
below,[4] as it was originally introduced by the following remarkable
advertisement, dated _Cheapside, March_ 1, 1759. "For the satisfaction
of the reader, and in justice to the concealed author, I take the
liberty, with the permission of Mr. _Hogarth_, to insert in this manner
that gentleman's opinion of the following Cantos, which is, 'That the
thoughts entirely coincide with his own; that there is a well-adapted
vein of humour preserved through the whole; and that, though some of
his works have been formerly explained by other hands, yet none ever
gave him so much satisfaction as the present performance.' JOHN SMITH."
In the second state of the first of these plates few variations are
discoverable. The perspective in the oval over the stag's horns is
improved. A shadow on the wainscot, proceeding from a supposed window
on the left side, is effaced; the hand of the beldam kissing the young
candidate, is removed from under her apron, and now dangles by her
side: a saltseller is likewise missing from the table. In the first
impression also, the butcher who is pouring gin on the broken head of
another man, has _For our Country_ on his cockade; in the second we
find _Pro Patria_ in its stead. The lemons and oranges that once lay
on a paper, by the tub in which the boy is making punch, are taken
away; because _Hogarth_, in all probability, had been informed that
vitriol, or cream of tartar, is commonly used, instead of vegetable
acids, when a great quantity of such liquor is prepared at public
houses on public occasions. In the third impression a hat is added to
those before on the ground, and another on the bench. The whole plate
has also lost much of its former clearness. The original inscription
at one corner of it was--"Painted, and _the whole_ engraved by _Wm.
Hogarth_."[5] The two Words in _Italicks_ were afterwards effaced.
I may here observe, that this performance, in its original state, is
by far the most finished and laborious of all _Hogarth's_ engravings.
Having been two years on sale (from 1755 to 1757) it was considerably
worn before the publication of Plate the second; and was afterwards
touched and retouched till almost all the original and finer traces
of the burin were either obliterated or covered by succeeding ones.
In short, there is the same difference between the earliest and latest
impressions, as there was between the first and second state of Sir
_John Cutler's_ stockings, which, by frequent mending, from silk
degenerated into worsted.
I learn also, on the best authority, that our artist, who was always
fond of trying to do what no man had ventured to do before him,
resolved to finish this plate without taking a single proof from it as
he proceeded in his operation. The consequence of his temerity was,
that he almost spoiled his performance. When he discovered his folly,
he raved, stamped, and swore he was ruined, nor could be prevailed on
to think otherwise, till his passion subsided, and a brother artist
assisted him in his efforts to remedy the general defect occasioned by
such an attempt to perform an impossibility.
In Plate II. we meet with a fresh proof of our artist's inattention
to orthography; _Party-tool_ (used as a proper name) being here spelt
parti-tool. This plate was engraved by _C. Grignion_, and has been
retouched, as the upper-row of the lion's teeth are quite obliterated
in the second impression.
Plate III. The militia (or, as _Hogarth_ spells it, milicia) bill
appearing out of the pocket of the maimed voter, is only found in
the second impression. This print was engraved by _Hogarth_ and _Le
Cave_.[6]
The dead man, whom they are bringing up as a voter, alludes to an
event of the same kind that happened during the contested election
between _Bosworth_ and _Selwyn_. "Why," says one of the clerks, "you
have brought us here a dead man."--"Dead!" cries the bringer; "dead as
you suppose him, you shall soon hear him vote for _Bosworth_." On this,
a thump was given to the body, which, being full of wind, emitted a
sound that was immediately affirmed to be a distinct, audible, and good
vote for the candidate already mentioned.--This circumstance, however,
might have reference to the behaviour of the late Dr. _Barrowby_, who
persuaded a dying patient he was so much better, that he might venture
with him in his chariot to go and poll for Sir _George Vandeput_ in
_Covent-Garden_. The unhappy voter took his physician's advice, but
expired in an hour after his return from the hustings. "If _Hogarth_,"
says Mr. _Walpole_, "had an emblematic thought, he expressed it with
wit, rather than by a symbol. Such is that of the whore setting fire to
the world in _The Rake's Progress_. Once indeed he descended to use an
allegoric personage, and was not happy in it. In one of his Election
prints [plate III.] _Britannia's_ chariot breaks down, while the
coachman and footman are playing at cards on the box."
In the second impressions of Plate IV.[7] (which was engraved by _W.
Hogarth_ and _F. Aviline_) the shadow on the sun-dial, denoting the
hour, and the word indintur (commonly spelt indenture) on the scroll
hanging out at the attorney's window, are both added. The fire from
the gun is also continued farther; the bars of the church-gate are
darkened; and the upper sprigs of a tree, which were bare at first, are
covered with leaves.