Soon after his marriage, Hogarth had summer lodgings at South Lambeth,
and became intimate with Jonathan Tyers, then proprietor of Vauxhall
Gardens. On passing the tavern one morning, Hogarth saw Tyers, and
observing him to be very melancholy, “How now, Master Tyers; why so sad
this morning?” said the painter. “Sad times, Master Hogarth,” replied
Tyers, “and my reflections were on a subject not likely to brighten a
man’s countenance: I was thinking, do you know, which was likely to
prove the easiest death, hanging or drowning.” “Oh,” said Hogarth, “is
it come to that?” “Very nearly, I assure you,” said Tyers. “Then,”
replied Hogarth, “the remedy you think of applying is not likely to mend
the matter; don’t hang or drown to-day. I have a thought that may save
the necessity of either, and will communicate it to you to-morrow
morning; call at my house in Leicester Fields.” The interview took
place, and the result was the concocting and getting up the first
“Ridotto al Fresco,” which was very successful; one of the new
attractions being the embellishment of the pavilions in the gardens by
Hogarth’s pencil. Thus he drew the Four Parts of the Day, which Hayman
copied; and the two scenes of Evening and Night, with portraits of Henry
VIII. and Anne Boleyn. Hayman was one of the earliest members of the
Royal Academy, and was, when young, a scene-painter at Drury Lane
Theatre.
Hogarth was at this time in prosperity, and assisted Tyers more
essentially than by the few pieces he painted for the gardens; and for
this Tyers presented the painter with a gold ticket of admission for
himself and friends, which was handed down to Hogarth’s descendants--the
medal being for the admission of six persons, or “one coach,” as it was
termed.