THE MOTIVES BY WHICH HOGARTH WAS INDUCED TO PUBLISH HIS ANALYSIS
OF BEAUTY; THE ABUSE IT DREW UPON HIM, AND HIS VINDICATION OF
HIMSELF AND THE VOLUME. HE IS ELECTED A MEMBER OF THE IMPERIAL
ACADEMY AT AUGSBURG, AND APPOINTED SERJEANT PAINTER TO THE KING.
Hogarth finding his prints were become sufficiently numerous to form
a handsome volume, in the year 1745[50] engraved his own portrait
as a frontispiece. In one corner of the plate he introduced a
painter's palette, on which was a waving line inscribed "The Line of
Beauty." This created much curious speculation, and, as he himself
expresses it, "The bait soon took, and no Egyptian hieroglyphic ever
amused more than it did for a time. Painters and sculptors came
to me to know the meaning of it, being as much puzzled with it as
other people, till it came to have some explanation; then, indeed,
but not till then, some found it out to be an old acquaintance of
theirs,[51] though the account they could give of its properties
was very near as satisfactory as that which a day-labourer, who
constantly uses the lever, could give of that machine as a mechanical
power." "They knew it as Falstaff did Prince Henry--by instinct!"
This crooked line drew upon him a numerous band of opponents, and
involved him in so many disputes, that he at length determined to
write a book, explain his system, and silence his adversaries.
When his intentions were known, those who acknowledged his claim
to superiority as an artist were apprehensive that, by thus
wandering out of his sphere and commencing author, he would lessen
his reputation. Those who ridiculed his system presumed that he
would thus overturn it; and the few who envied and hated the man,
rejoiced in sure and certain hope that he would write himself into
disgrace. All this he laughed at, and in the following little epigram
whimsically enough describes his own feelings:--
"What! a book, and by Hogarth! then twenty to ten,
All he's gained by the pencil he'll lose by the pen.
Perhaps it may be so; howe'er, miss or hit,
He will publish,--here goes,--it's double or quit."
Notwithstanding this pleasantry preceding the publication, he
frankly acknowledges that the uncharitable spirit with which he was
in consequence assailed, and the squabbles it drew him into with
those of his own profession, and the dabblers in the arts, gave him
greater uneasiness than was balanced by its general success. Thus
does he express himself:--
"My preface and introduction to the _Analysis_ contain a general
explanation of the circumstances which led me to commence
author; but this has not deterred my opponents from loading me
with much gross and, I think, unmerited obloquy; it therefore
becomes necessary that I should try to defend myself from their
aspersions.
"Among many other high crimes and misdemeanours of which I am
accused, it is asserted that I have abused the great masters.
This is so far from being just, that when the truth is fairly
stated it may possibly appear that the professional reputation
of these luminaries of the arts is more injured by the wild
and enthusiastic admiration of those who denominate themselves
their fast friends, than by men who are falsely classed as their
enemies.
"Let us put a case: suppose a brilliant landscape had been so
finely painted by a first-rate artist, that the trees, water,
sky, etc. were boldly though tenderly relieved from each other,
and the eye of the spectator might, as it were, travel into
the scenery; and suppose this landscape, by the heat of the
sun, the ravages of time, or the still more fatal ravages of
picture-cleaners, was shorn of its beams and deprived of all its
original brightness; let me ask whether the man who will affirm
that this almost obliterated, unharmonious, spotty, patchwork
piece of antiquity is in the state that it first came out of the
artist's hands, does not abuse the painter?[52] and whether he
who asserts that though it might once have been bright and clear
it is now faded, does not thus place the defects to the proper
account, and consequently defend him?
"So far from attempting to lower the ancients, I have always
thought, and it is universally admitted, that they knew some
fundamental principles in nature which enabled them to produce
works that have been the admiration of succeeding ages; but I
have not allowed this merit to those leaden-headed imitators,
who, having no consciousness of either symmetry or propriety,
have attempted to mend nature, and in their truly ideal figures
gave similar proportions to a Mercury and a Hercules.
"This, and many other opinions which I have ventured to advance,
has roused a nest of hornets from whose stings I would wish to
guard myself, as I am conscious that they will try to condemn
all my works by my own rules. To disappoint these insects I
have, in my explanatory prints, done the Antinous, Venus, etc.
in a slighter style than the other figures, to show that they
are introduced as mere references to the originals; and I will
not now attempt to paint my Goddess of Beauty.[53] Who can
tell how long the artist was employed in giving such exquisite
grace to the Grecian Venus? he might perhaps think that a
single super-excellent statue would confer immortality, and was
sufficient for a whole life. Can any one expect to see equal
perfection in that which is done in little, and in a short space
of time?
"With respect to beauty, though men felt its effects, yet
both artists and others appeared to me to be totally ignorant
of its principles, and contented themselves with bestowing
undistinguishing praise, and giving us cold and servile copies
of the fine models of antiquity, without making any inquiry
into the system by which they were produced. The few who wished
to learn the principles found themselves so bewildered and
confounded by the vague and contradictory opinions which they
had heard and read concerning beauty and grace, that they began
to suspect the whole to be an illusion, and that neither one nor
the other existed except in fancy and imagination. This should
excite less surprise, from its having sometimes happened in a
matter of an infinitely higher and more important nature; and
were it politically right, it is possible that a small octavo
might be written, which would start as many folios of theological
controversy as would fill Westminster Hall, though the whole put
together might be mere lumber, and of no more use than waste
paper. But this by the by. To return into my own path, and resume
the reasons that induced me to tread it in a new character. In
doing this, it will be proper to give a succinct statement of the
strange way in which this subject has been treated by preceding
writers.
"The first attempts that were made to fix true ideas of taste
upon a surer basis, were by natural philosophers, who, in their
amplified contemplations on the universal beauty displayed in
the harmony and order of nature, very soon lost themselves; an
event that, from the way in which they set out, was inevitable:
for, if I may be permitted to adopt an allegorical figure, it
necessarily led them into the wide road of Order and Regularity,
which they unexpectedly found crossed and intersected by many
other paths that led into the Labyrinths of Variety; where, not
having passed through the Province of Painting, they became
confused, and could never find their way. To explaining the
order and usefulness of nature they might be equal; but of her
sportiveness and fancy they were totally ignorant. To extricate
themselves from these difficulties, they ascended the Mound of
Moral Beauty, contiguous to the open field of Divinity, where,
rambling and ranging at large, they lost all remembrance of their
former pursuit.
"These gentlemen having failed, it was next suggested that the
deeply read and travelled man was the only person fully qualified
to undertake the task of analyzing beauty. But here let it be
observed, that a few things well seen, and thoroughly understood,
are more likely to furnish proper materials for this purpose than
the cursory view of all that can be met with in a hasty journey
through Europe.
"Nature is simple, plain, and true in all her works; and those
who strictly adhere to her laws, and closely attend to her
appearances in their infinite varieties, are guarded against
any prejudiced bias from truth; while those who have seen many
things that they cannot well understand, and read many books
which they do not fully comprehend, notwithstanding all their
pompous parade of knowledge, are apt to wander about it and about
it, perpetually perplexing themselves and their readers with the
various opinions of other men.
"The knowledge necessary for writing a work on the arts, differs
as much from that acquired by the simple traveller, as the art of
simpling doth from the science of botany. Taking the grand tour
to see and pick up curiosities, which the travellers are taught
nicely to distinguish from each other by certain cramp marks and
hard names, may, with no great impropriety, be termed 'going a
simpling;' but with this special difference, that your 'field
simpler' never picks up a nettle for a marsh-mallow,--a mistake
which your 'tour simpler' is very liable to.
"As to those painters who have written treatises on painting,
they were in general too much taken up with giving rules for
the operative part of the art to enter into physiological
disquisitions on the nature of the objects. With respect to
myself, I thought I was sufficiently grounded in the principles
of my profession to throw some new lights on the subject; and
though the pen was to me a new instrument, yet, as the mechanic
at his loom may possibly give as satisfactory an account of the
materials and composition of the rich brocade he weaves as the
smooth-tongued mercer surrounded with all his parade of showy
silks, I trusted that I might make myself tolerably understood
by those who would take the trouble of examining my book and
prints together; for as one who makes use of signs and gestures
to convey his meaning in a language of which he has little
knowledge, I have occasionally had recourse to my pencil. For
this I have been assailed by every profligate scribbler in town,
and told that though 'words are man's province,' they are not my
province; and that though I have put my name to the _Analysis of
Beauty_, yet (as I acknowledge having received some assistance
from two or three friends) I am only the _supposed_ author. By
those of my own profession I am treated with still more severity;
pestered with caricature drawings, and hung up in effigy in
prints; accused of vanity, ignorance, and envy; called a mean and
contemptible dauber; represented in the strangest employments,
and pictured in the strangest shapes,--sometimes under the
hieroglyphical semblance of a satyr, and at others under the
still more ingenious one of an ass.[54]
"Not satisfied with this, finding that they could not overturn my
system, they endeavoured to wound the peace of my family. This
was a cruelty hardly to be forgiven: to say that such malicious
attacks and caricatures did not discompose me, would be untrue,
for to be held up to public ridicule would discompose any man;
but I must at the same time add that they did not much distress
me. I knew that those who venture to oppose received opinions
must in return have public abuse: so that, feeling I had no right
to exemption from the common tribute, and conscious that my book
had been generally well received, I consoled myself with the
trite observation that every success or advantage in this world
must be attended by some sort of a reverse; and that though the
worst writers and worst painters have traduced me, by the best
I have had more than justice done me. The partiality with which
the world has received my works, and the patronage and friendship
with which some of the best characters in it have honoured the
author, ought to excite my warmest gratitude, and demands my
best thanks. It enables me to despise this cloud of insects; for
happily, though their buzzing may tease, their stings are not
mortal."
That these hard blows of his adversaries were felt, and felt keenly,
appears from the whole tenor of his language; but his mortifications
were in a degree balanced. The annexed letter, from a man of
Warburton's literary fame, was a flattering testimony to his talents,
though a gentleman to whom I read it observed, that the Doctor might
be as much actuated by a fear of his satire as admiration of his
abilities. It enclosed a £10 bank note. By his friend Rouquet he was
informed that his book was eagerly expected in Paris, and told in
a note from the Vice-Chancellor of Cambridge, that it would have a
place in the University library:--
_For Mr. Hogarth._
"DEAR SIR,--I was pleased to find by the public papers that you
have determined to give us your original and masterly thoughts on
the great principles of your profession.
"You ow[55] this to your country, for you are both an honour to
your profession and a shame to that worthless crew professing
vertu[55] and connoisseurship, to whom all that grovel in the
splendid poverty of wealth and taste are the miserable bubbles.
"I beg you would give me leave to contribute my mite towards this
work, and permit the enclosed to entitle me to a subscription for
two copies.
"I am, dear Sir (with a true sense of your superior talents),
your very affectionate humble servant,
"W. WARBURTON.
"P. P., _March 28, 1752_."
_To Mr. Hogarth._
"DEAR SIR,--I expected to have been in England about this time,
but find myself disappointed by the tediousness of the progress
of what I have begun; and business coming in very smartly, I
believe I shall stay here some months longer than I proposed
at first, therefore shall indulge myself with the pleasure of
writing these till I enjoy that of your conversation. I have a
thousand observations to impart to you when we meet--some that
will please you, some that you will think inaccurate, but all
such as will not allow us time to yawn when we see one another.
First, I hope you are in perfect health, and the next news I
want to hear is, when your book is to be published. I have raised
some expectations about it amongst artists and virtuosi here, and
hope to have the first that shall come over, that I may boast
of your friendship, by being the first usher of a performance
which I am sure will make many people wish they were acquainted
with you. The humbug virtu is much more out of fashion here than
in England. Free-thinking, upon that and other topics, is, if
possible, more prevalent here than amongst you. Old paintings and
old stories fare much alike. A dark picture is become a damned
picture, as the soul of the dealer; and, consequently, modern
performances are much encouraged,--and mine amongst them,--for I
have met with a reception much beyond what I expected, or they
deserved. This circumstance has made Paris more agreeable to me
than it would have been without it. I pass my time in it very
swiftly, perpetually employed in a great variety of unavoidable
business. The days succeed one another with great rapidity.
Nevertheless, I think I don't enjoy so good a health as in
England, though I was often ill there; but the hurry I have been
in this six months, which cannot be described, may be the reason
of it. I am afflicted with a continual headache, which I have
not been subject to this five-and-twenty years, and which, if it
should not abate, will occasion my return before business will
well admit. I suppose you have before this time some spring
days at Ivy Hall. I shall have no country air this year, but am
going to lodge in the most open part of the town, which I hope
will do instead, that is, upon the Quay de Conti, next to College
Mazarine, where I shall be in three weeks ready to receive the
answer that I beg you will favour me with.--I am, Sir, your
humble servant,
"ROUQUET.
"PARIS, _March 22, 1753_."
_To Mr. Hogarth, in Leicester Fields._
"CAMBRIDGE, _Nov. 28, 1753_.
"SIR,--I return you thanks for your book, which came to my hand
last night, and for which I will find a place in the University
library. I have read it over with pleasure, and have no doubt but
that many others will do the same, as there can be no one here to
whom Mr. Hogarth's name will not be an inducement to inquire into
anything that comes from his hand.--I am, Sir, your most obedient
humble servant,
"P. YONGE."
Hogarth presented another copy to the Royal Society; and by several
of his books that were sent abroad, he found that, however captiously
the work had been treated by some of his own countrymen, it had
its admirers on the Continent. From Mr. Reiffsten of Cassel, in
consequence of this publication, he received a letter couched in most
complimentary terms, inviting him to become a counsellor and member
of the Imperial Academy at Augsburg,--an invitation which, by his
reply, he appears to have accepted.
An Italian translation of his _Analysis_ was published at Leghorn,
dedicated, "All' illustrissime Signora Diana Molineux Dama Inglese."
It had been previously done into German by Mr. Mylins, a new edition
of whose translation is thus pompously announced by Mr. C. F. Vok, in
a written paper I found among Hogarth's manuscripts:--
_Advertisement for a New Edition of Mr. Hogarth's "Analysis of
Beauty."_
"If ever a work met with great applause and deserved still more,
it was certainly Mr. Hogarth's _Analysis of Beauty_. The literary
journals and newspapers have amply and handsomely noticed it. The
author made the beauty of forms, which was the object of his art,
at the same time the subject of his philosophical meditations,
and fell at last upon a system which was meant to ascertain in
some degree the various conceptions of mankind concerning the
agreeable, and to banish from the learned as well as the vulgar
the absurd proverb, that men neither can nor ought to dispute
about Taste. 'Tis therefore to him we are indebted if the word
beautiful, to which people daily fix a thousand different ideas,
becomes for the future as much an object of reflection as it
has hitherto been of sensation. Yet this work does not contain
empty and fruitless speculations, which, when they are not of
practical use, justly merit the name of whim and chimera; but its
utility is equally extensive with its subject, viz. the beauty
of forms, and all arts and sciences that have a relation to it
will borrow new light from the performance. The philosopher, the
naturalist, the antiquarian, the orator (both in the pulpit and
on the stage), the painter, the statuary, the dancing-master,
must consider it as a book essentially necessary to them; and not
only to them, but also to those persons who are vain of being
thought connoisseurs, yet often form such contradictory and
inadequate judgment of what relates to the imitation of natural
beauty, that they but too plainly betray their want of fixed and
determinate ideas. One may venture to affirm that the utility of
Mr. Hogarth's system will soon extend itself into the empire of
fashion; for even there, where nothing reigned but occasional
caprice, now something of certainty may take its place by the
assistance of this theory.
"Mr. Mylins when in England translated it into German, under the
author's inspection; his translation was printed in London, and
contains only twenty-two sheets in quarto, and the two prints,
yet was it sold for five dollars."
Mr. Vok proposes taking subscriptions of one dollar for his edition,
which is not to be sold under two dollars to non-subscribers. He
further promises to annex a short description of Mr. Hogarth's
prints, translated from the French, and engages that the work shall
be ready in six weeks from the time of his proposals, which he dates
from Berlin, 1st July 1754.
_Mr. Reiffsten's Letter to Mr. Hogarth._
"SIR,--An universal reputation, and undisputed title to
superiority, cannot but draw upon you the importunities of those
who are ambitious of an acquaintance with men of genius. Ever
since my first perusing the _Analysis of Beauty_, in which the
author is no less to be admired than the artist, I have been
on the watch for a favourable opportunity of contributing my
share, though ever so small, to the thanks of the public. In that
ingenious and elaborate composition you are allowed by all men
of taste to have dispelled the mist and cleared the difficulties
that had previously attended a problem in painting, of exquisite
nicety and the greatest moment. The most eminent masters and
most sagacious theorists had travelled in the dark, or wandered
through mazes in a fruitless search after beauty. To you alone it
was reserved to unravel her windings, reveal her charms to open
view, and fix her hidden though genuine excellence.
"At length, sir, the opportunity I had so long coveted seems
to offer itself, of course. It is owing to the erection of an
Imperial Academy at Augsburg, for the study and improvement
of arts and letters. I am commissioned as a deputy from the
whole body to interpret their sentiments, and to inform you
how highly they value and respect your uncommon talents and
capacity. Proud of the acquisition of one no less distinguished
in the republic of letters than in the commonwealth of arts,
they earnestly desire you would accept the diploma of counsellor
and honorary member of their Academy. It is ready to be drawn
up, and will not fail being despatched so soon as they are sure
of your approbation; which, 'tis hoped, will not be refused by
one who has deserved so well of all lovers of taste and genius.
But before you take this step it is but natural you should ask
in what consists the Academy of which you are solicited to
become a member, and whose existence, probably enough, is not so
much as suspected in England. To obviate so proper an inquiry,
suffer me, sir, to acquaint you in a few words with its origin,
constitution, and design.
"About three or four years since, some artists of Augsburg formed
themselves into a society, in order to promote and encourage the
imitative arts, especially painting and engraving. They applied
to the Emperor for protection, which was graciously granted.
Soon after they published, at their own expense, a few select
pieces; but finding that the polite arts cannot be brought to
perfection without the help of literature, and that to excel an
artist must be something of a scholar himself, or be assisted
by men of learning, they associated those to their body by whom
they might be furnished with instructions in writing upon the two
above-mentioned branches, and a correspondence both within the
empire and abroad properly carried on. Having thus far met with
success, they began to extend their views, and endeavoured to
fix an institution for teaching methodically the art of drawing
or designing--an establishment much wanted here in Germany. This
scheme being laid before the Imperial Court, the society obtained
an ample charter and considerable privileges. It was incorporated
under the denomination of 'an Academy of Arts and Letters,' and
the Emperor was pleased to illustrate it with his own name. He
conferred the honour of knighthood upon the president, and the
title of imperial counsellor on the director, empowering the
members to choose those officers themselves; and, moreover,
to appoint counsellors and professors to direct the teaching
publicly the learned languages and the liberal arts, with several
other concessions concerning the printing and publishing of their
works.
"To crown their hopes, a common stock was still wanting for the
supply of unavoidable expenses, such as salaries to masters
and teachers, charges of the press, etc. On this account they
had recourse to a tontine,--a kind of lottery, consisting of
annuities for life,--which has met with tolerable success,
and will produce a capital sufficient to defray all necessary
disbursements. But till this end be compassed, the Academy
confines itself to the publishing (by means of artist members)
plates engraved after the original paintings of the best masters;
and by the help of such members as are men of letters, a
journal or periodical pamphlet, consisting of memoirs or essays
concerning those arts whose foundation is laid in designing. The
first part, by way of specimen, is to come out before the close
of this year, and it will be regularly continued every month in
the next.
"The chief materials are to be compiled by members settled at
Rome, Paris, Dresden, Stuttgard, Copenhagen, Cassel, etc.
"How happy should we think ourselves, sir, if, not only suffering
your name to be joined in our lists to those of Mengs, Lelio,
Meilens, De Marcii, Wille Schmid, Preissler, etc., you would,
like those artists, assist us with your pen, and give us a sketch
of the present improved state of the imitative arts in Great
Britain! What can be conceived more conducive to form and refine
our taste, elevate our ideas, and kindle our emulation, than to
be informed by yourself, with your manner of operating in those
unparalleled originals, whose striking beauties and glowing
expressions we closely study in the printed copies; and to be
favoured at least with some hints of those pieces we still expect
from your warm and masterly pencil?
"But I have too much reason to apprehend that, for a first
letter, this will appear tedious; a favourable answer I shall
look upon as a permission to explain myself more at large. In
hopes of receiving it, I remain, with the highest esteem and
regard, Sir, etc. etc. etc.
"I. F. REIFFSTEN.
"CASSEL, _March 25th, 1757_.
"My address is, Governor of the Payes."
_Mr. Hogarth's Answer._
"SIR,--On the receipt of your polite letter, dated Cassel, March
25th, I was most agreeably surprised, nor could I help being much
elated, at finding the very handsome invitation therein given to
me to become a member of so worthy and respectable a corporation
as the Imperial Society of Augsburg; on which account let me
request it as a favour that you will be so good as to pay my
proper compliments to the gentlemen belonging to it, and at the
same time assure them that I with eagerness accept the honour
they are pleased to confer upon me, and that they may depend
upon my best endeavours to merit their good opinion, by strictly
obeying to the utmost of my power such commands as they may think
fit to honour me with, tending to the advancement of the laudable
design they wisely began, and have since so successfully carried
on.
"With respect to the kind opinion you are pleased to entertain
of me and my performances, I sincerely return you thanks. And
believe me, Sir, the above valuable mark of distinction, which
must always tend greatly to my reputation, is still the more
grateful to me, as it may occasionally be the means of my
corresponding with you,--a happiness much to be coveted by, Sir,
etc. etc.,
"WM. HOGARTH.
"LONDON, _April 18, 1757_.
"A Monsieur Reiffsten."
In addition to the high and sounding title of Counsellor and Honorary
Member of the Imperial Academy at Augsburg, conferred upon Hogarth
in the German diploma, he was, on the 6th of June 1757, still
further dignified by being appointed Serjeant Painter to the King
of Great Britain, and entered on the duties of his office on the
16th of the following July. On the demise of George the Second, his
post necessarily became vacant; his present Majesty's warrant for
reinstating him is in my possession. I have annexed a copy, which
shows that the salary was ten pounds per annum, payable quarterly.
In one of his manuscripts I find the following memorandum of the
interest by which he obtained the place, and its annual profits:--
"Having, just after my brother's death, obtained, by means of my
friend Mr. Manning and the Duke of Devonshire, which might not have
exceeded one hundred a year to me for trouble and attendance; but by
two portraits at more than eighty pounds each, the last occasioned
by his present Majesty's accession, and some other things, it has
for these last five years been, one way or other, worth two hundred
pounds per annum."
Who these portraits were, or for whom they were painted, I know not.
By his manner of expressing himself, I should suppose that they were
royal, and, as is customary, presented to some of the ambassadors, in
which case they were probably sent to the Continent.
"GEORGE R.
"Whereas the King, our late royal grandfather, of glorious and
happy memory, by his letters patent, under his Great Seal of
Great Britain, and bearing date the sixth day of June, in the
thirtieth year of his reign, did grant unto William Hogarth,
Esq., the office of Serjeant Painter of all his said late
Majesty's works, as well belonging to his royal palaces or houses
as to his great wardrobe, or otherwise to hold the said office to
the said William Hogarth during his said late Majesty's pleasure:
And by the force of a statute made in the sixth year of the reign
of Queen Anne, the said William Hogarth did continue in the said
office for the space of six months, computed next after the
demise of his said late Majesty, and he the said William Hogarth
still continues therein, by or under our royal proclamation, in
such behalf issued: AND WHEREAS our gracious intentions are to
re-grant the said office to the said William Hogarth, our will
and pleasure is, that you forthwith prepare a Bill for our royal
signature, to pass our Great Seal of Great Britain, to revoke
and determine the said recited letters patent of our said late
royal grandfather, and to remove and discharge the said William
Hogarth from the office whereunto he was thereby appointed; and
to contain our grant unto our trusty and well-beloved, the said
William Hogarth, of the office of Serjeant Painter of all our
works, as well belonging to all our royal palaces or houses as to
our great wardrobe, or otherwise, to hold and exercise and enjoy
the said office to the said William Hogarth, during our pleasure
by himself, or his sufficient deputy or deputies, together with
the yearly fee or salary of ten pounds, payable at the receipt of
our Exchequer, out of any of our revenues there applicable to the
uses of our civil government, unto the said William Hogarth, for
the exercise and execution of the said office, and to commence
from the time to which he was last paid thereupon, by virtue of
or under the letters patent before recited, and to be computed
payable and paid from such the commencement thereof by the day,
or for the quarter, as the case may require, to and for the then
next ensuing usual quarterly day of payment in the year; and from
thenceforth quarterly, at the four most usual quarterly days
of payment in the year, by even and equal portions during his
continuance in the said office; and together with all other fees,
liveries, profits, commodities, and advantages to the said office
belonging, or in any wise appertaining, and in as full, ample,
and beneficial manner and form to all intents and purposes as he
the said William Hogarth held, exercised, and enjoyed, or might
have held, exercised, and enjoyed in the said office, by virtue
of or under the said recited letters patent of our said royal
grandfather; and you are to insert in the said Bill all such apt
clauses, directions, authorities, and powers as were contained in
the said former grant of the said office, and such others as you
shall think necessary for our service, and for making our grant
hereby intended to the said William Hogarth most firm, valid, and
effectual; and for so doing this shall be your warrant.
"Given at our Court at St. James's, the 30th day of October 1761,
in the second year of our reign.
"By his Majesty's command,
"HOLLES NEWCASTLE.
"NORTH.
"JAMES OSWALD.
"_To our Attorney or Solicitor General._
"William Hogarth, Esq., Serjeant Painter of his
Majesty's Works.--Office renewed."
The following oracular prediction I found among his papers, in the
handwriting of his friend Townley:--
"_From an old Greek Fragment._
"There was an ancient oracle delivered at Delphos which says that
the source of beauty should never again be rightly discovered
till a person should arise whose name was perfectly included in
the name of Pythagoras; which person should again restore the
ancient principle on which all beauty is founded.
"Πυθάγορας PYTHAGORAS.
"Ὄγαρϑ HOGARTH."
THE VASE.
"Is man no more than this? consider him well."--SHAKSPEARE.
[Illustration: THE VASE.]
As Dr. Townley, in the foregoing mythological fragment, chooses to
suppose that in the Greek particles which compounded the name of
Pythagoras were to be found the letters H O G A R T H; Hogarth,
with a whimsicality somewhat similar, sported an opinion that the
first man who made a well-formed vase took another man for his
model. In page 78 of his _Analysis_, he remarks "that the exact
cross of two equal lines cutting each other in the middle, as fig.
69, would confine the figure of a man drawn conformably to them, to
the disagreeable character of his being as broad as he is long. And
the two lines crossing each other, to make the height and breadth of
a figure, will want variety a contrary way, by one line being very
short in proportion to the other, and are therefore also incapable of
producing a figure of tolerable variety. To prove this, it will be
very easy for the reader to make the experiment by drawing a figure
or two (though ever so imperfectly), confined within these limits.
"There is a medium between these, proper for every character, which
the eye will easily and accurately determine.
"Thus, if the lines, fig. 70, were to be the measure of the extreme
length or breadth, set out either for the figure of a man or a vase,
the eye soon sees the longest of these is not quite sufficiently so
in proportion to the other for a genteel man, and yet it would make a
vase too taper to be elegant; no rule or compasses would decide this
matter either so quickly or so precisely as a good eye."
I apprehend that Hogarth intended to have introduced this vase into
the second print of his _Analysis_, but found he had not room; for,
on the same piece of paper with the drawing, he thus continues the
subject:
"We cannot wonder that many writers should have imagined that the
different orders of architecture have been taken from the human
form, since both are governed by the same principles of _fitness_,
_strength_, and _beauty_.[56] The general opinion that the
Corinthian capital was taken from a basket and dock leaves, may be
supported on the same grounds."
This leads him to one of his favourite ideas, a new order of
architecture.
HINTS FOR A NEW CAPITAL.
[Illustration: DESIGNS FOR CAPITALS.]
Three of the examples are selected from the most grotesque and
ridiculous objects; the other two from flowers; and the Bohemian
feathers seem slight essays to prove what he frequently advanced,
that though he considered the ancient orders with reverence, yet
being the productions of men, men might without heresy venture to
vary from them. He remarks: "That churches, palaces, prisons, common
houses, and summer houses might be built more in distinct characters
than they are, by contriving orders suitable to each; whereas, were
a modern architect to build a palace in Lapland or the West Indies,
Palladio must be his guide, nor would he dare to stir a step without
his book."
"This architects peremptorily assert is the only rule, nor dare they
deviate from the established orders. Should you press them hard for
a reason, they will tell you no man has yet been able to equal what
has been already done; which though I admit, yet have I ventured
to assert, and now repeat, that the most beautiful order in the
architecture of the ancients will perfectly agree with the rules of
composition laid down in the _Analysis_, and that new orders, adapted
to various purposes, may be still invented. I cannot help thinking it
is possible that a man who understood drawing, though he had never
seen a column, might, by applying the straight and waving line, and
correcting simplicity by variety, produce one with equal beauty to
any of them.
"In architecture, after FITNESS hath been strictly and geometrically
complied with, all the additional members or parts may, by attention
to the proper rules of composition, be continually varied and yet
be pleasing. For example, if the capitals composed of the confined
shapes of hats and wigs can be rendered tolerable, what might not
be done by selecting the elegant varieties which are displayed in
feathers, flowers, shells, etc.?"[57]
ROUND AND SQUARE HEADS.
[Illustration: SQUARE & ROUND HEADS.]
The five heads in the annexed plate are copied from sketches in
my possession, and all of them seem to have been intended for the
illustration of his _Analysis_, in which he remarks, that "the
particular expressions of a face or movement of a feature which
becomes one person shall be disagreeable in another, just as such
expressions or turns happen to fall in with the lines of beauty or
the reverse; for this reason there are pretty frowns and disagreeable
smiles: the lines that form a pleasing smile about the corners of
the mouth have gentle windings, as fig. 1,[58] but lose their beauty
in the full laugh; the expression of excessive laughter, oftener
than any other, gives a sensible face a silly or disagreeable look,
as it is apt to form regular plain lines about the mouth (like a
parenthesis), which sometimes appear like crying."
"In what we call plain lines there is this constant and remarkable
effect, that as they are more or less conspicuous in any kind of
character or expression in the face, they bring along with them
certain degrees of a foolish or a ridiculous aspect. The inimitable
Butler knew this, and describes the beard of Hudibras, fig. 2:
'In cut and dye so like a tile,
A sudden view it would beguile.'
"To set this in an _outréd_ light, see fig. 4,[59] a face almost as
square as a die; and fig. 5, as truly round as a globe. The effect of
the latter is rather ridiculous than ugly. Sir Plume's empty look,
described in the 'Rape of the Lock,' would not be near so vacant
without the idea of roundness:
'With round unthinking face.'
"The dialogue between Cleopatra and the Messenger, relative to the
person of Octavia, proves that Shakspeare, who seems to have seen
through all nature, saw this in the same light."[60]
To No. 3 he thus alludes in his _Analysis_, p. 128, but has not
engraved it in his explanatory plate, though it would certainly have
been a better example than his old man's head, fig. 98:--
"Human nature can hardly be represented more debased than in the
character of the Silenus, where the bulging line runs through all
the features of the face, as well as the other parts of this swinish
body; whereas, in the satyr of the wood, though the ancients have
joined the brute with the man, we still see preserved an elegant
display of serpentine lines that renders it graceful." His manuscript
continues:--
"The fine airs and graceful turns and windings of such a head were
produced by adhering to this line; and it was this Mr. Pope conceived
of Raphael and Guido in his epistle to Mr. Jarvis, the king's
painter, or he meant nothing:
'Each heavenly piece unwearied we compare,
Match Raphael's grace with thy loved Guido's air,
Carracci's strength, Correggio's softer line,
Paulo's free stroke,' etc.
"We must not seek for examples in any of the works Mr. Pope
recommends, for whatever was painted by his friends had his
unqualified praise.[61] He would have said the same of Mr. Kent.
Poets are the fountains of flattery, as kings are the fountains of
honour. The former can with as much ease make one man an inspired
painter, as the latter can create another right honourable, without
either of the parties producing their credentials."[62]
HERCULES, HENRY VIII., AND A FRENCH DANCING-MASTER.
[Illustration: HERCULES, HENRY 8^{TH} & A FRENCH DANCING MASTER.]
In Hogarth's manuscript of the _Analysis_, facing the chapter on
Fitness, I found a red-chalk sketch of these three figures, which
(with slight variations) he has introduced in his illustrative
prints. They are copied as an example of the manner in which he
sketched his first thoughts: they seem placed together to contrast
the easy and natural turn of the Hercules with the stiff and
artificial attitudes assumed by the other two figures, in both of
which uniformity is the leading principle. Relative to this, Hogarth,
in p. 20 of the _Analysis_, puts the following query:--
"If uniform objects were agreeable, why is there such care taken to
contrast and vary all the limbs of a statue? Were the eye pleased
with uniformity, the picture of Henry VIII. would be preferable
to the finely contrasted figures of Guido and Correggio; and the
Antinous' easy sway must submit to the stiff and straight figure of
the dancing-master.
"The 'Hercules' by Glycon (fig. 1) hath all its parts finely fitted
for purposes of the utmost strength that the texture of the human
form will bear. The back, breast, and shoulders have huge bones,
and muscles adequate to the supposed active strength of its upper
parts; but as less strength was required for the lower parts, the
judicious sculptor, contrary to all modern rule of enlarging every
part in proportion, lessened the size of the muscles gradually down
towards the feet, and for the same reason made the neck larger in
circumference than any part of the head; otherwise the figure would
have been burdened with an unnecessary weight, which would have been
a drawback from his strength, and, in consequence of that, from his
characteristic beauty. These seeming faults, which show the superior
anatomical knowledge as well as judgment of the ancients, are not to
be found in the leaden imitations near Hyde Park."
The bluff and boisterous Henry VIII. is described in the same volume
as forming a complete X with his legs and arms; and the pert and prim
dancing-master is so accomplished a person, that were he to see his
scholar in the easy and gracefully-turned attitude of the Antinous,
he would cry shame! tell him he looked as crooked as a ram's horn,
and bid him hold up his head, as he himself did. This figure is said
to be intended for Essex the dancing-master.
The very different position in which these three strongly contrasted
characters place their legs and feet is worthy of observation.
CHARLES I., ITALIAN JUPITER, ETC.
[Illustration: I. CHARLES I. II. HENRIETTA MARIA. III. GROTESQUE
ORNAMENT. IV. ITALIAN JUPITER.]
These figures, as well as the preceding, are copied from sketches in
the MS. of the _Analysis_; the Italian Jove, grasping a thunderbolt,
is intended for Monsieur Desnoyer dancing in a grand ballet. A
reduced copy of the figure is in the first plate to the _Analysis_,
placed as a companion to Quin in the character of Brutus; and it must
be acknowledged that the English actor, in a wig which Gorgon's self
might own, is as fair a representative of a Roman general as the
dancer is of a deity.
The figures 1 and 2 are from Vandyke's portraits of Charles I.
and Henrietta Maria. The former is copied from one of that great
painter's portraits, and almost wholly made up of straight lines; the
latter, though drawn with an easy and elegant air, Hogarth considers
as not composed on the principle of the waving line, which he says
Vandyke seems never to have thought of. Thus does he characterize
that artist in the page that faced the sketches:--
"Rubens knew the waving line, but his contours are rather
overcharged. Vandyke, his scholar, perhaps for fear of running into
what he might think gross in his master's manner, imitated nature
just as it chanced to present itself; and having an exact eye,
produced portraits which abound with delicacy and simplicity; but
when nature flagged he was tame, not knowing that principle which
might have raised his ideas. His best works are, however, marked with
grace."
No. 3 is intended to represent one of those clumsy, grotesque
ornaments with which our cathedrals abound, where a winged figure,
perched in the niche of an arch behind a shield, seems intended as
a guardian angel to the dust of the deceased hero, whose armorial
bearing is sometimes displayed in the front.
The last engraving which I have taken from the manuscript of the
_Analysis_, makes an easy and elegant form; and I have ventured to
introduce it in the title-page to this volume. The original drawing
is on the same leaf with two sketches of an ill-shaped candlestick
and torch thistle (Nos. 40 and 42), in the first plate to the
_Analysis_. I think it may be denominated "The Dolphin Candlestick,"
as it is composed of dolphins and snakes, so twisted as to combine
his favourite serpentine line, and crowned with the iris and lily.
In his MS., after remarking that "our furniture and utensils are
generally as tasteless and inelegant as straight and unvaried
lines can make them,"--and producing as examples the ill-shaped
candlesticks, etc., which are engraved in his first plate,--he
concludes by observing, "It is said in vindication of such forms,
that they are adhered to for the sake of simplicity; but this might
be preserved, and yet some portion of beauty introduced, did they
combine their little variations by the proper rules."
"Let the 'Dolphin Candlestick,' composed of serpentine lines varying
with each other, be compared with No. 40, plate I, which is made
up of plain unvaried parts, and it will show, in a much clearer
view than can be expressed by words, the necessity of variety to
constitute beauty.
"Nature gives us a few examples of tasteless forms in the torch
thistle, and some other ill-shaped exotics to be found in
green-houses, which form a striking contrast to such flowers as
the Chalcedonian iris and lily, whose enchanting beauty proceeds
from their variety--these two flowers united form a nozzle to the
candlestick above alluded to."
Notwithstanding Hogarth's perpetual reference to the line of grace
and analysis of the line of beauty, he has been generally said to
be totally incapable of imparting either one or the other to his
figures. Mr. Nichols, in his _Anecdotes_, insists on his notorious
deficiency in what is styled "the graceful," and in page 48 quotes
Mr. Garrick's opinion to corroborate his own. The writer of the
_North Briton_, No. 17, boldly asserts that he never caught a single
idea of beauty, grace, or elegance. Mr. Walpole, who is generally
candid and liberal in his praise, declares him totally devoid of
the principle, and, quoting the first plate of his _Analysis_ as an
example, concludes the sentence by remarking, that "the two figures
of a young lord and lady, which are added as samples of grace," are
strikingly stiff and affected. I do not know that the artist intended
them to be otherwise; he has not referred to them as models in his
book, and, it is but fair to think, meant them as leading figures,
less _outré_ in their forms, but nearly as affected in their graces,
as the other dancers. His object seems to be, exemplifying grace by
what it is not rather than by what it is. Whatever were his motives
for thus amplifying awkwardness in the Wandsworth assembly,[63] the
annexed design, which may be considered as its contrast, he has
either composed on a different principle, or, by a most happy and
singular accident, grouped some very easy and elegant forms with much
taste.
THE DANCE
[Illustration: THE DANCE.]
Was designed and engraved in the year 1723 for the first volume of
De la Mottraye's _Travels_. In p. 159, this tedious writer tells us,
in some very ill-arranged sentences, that the Greek women in the
isle of Scio, where the scene is laid, have a striking pre-eminence
over those of any other island in the Archipelago for beauty as well
as gaiety, and, some say, likewise for complaisance. They verify
the proverb, "Merry as a Greek," dance every Sunday or holiday in
the open air, and in ring, as represented in the print; and on such
occasions wine is not spared.[64] He describes fig. 1 as a chief
woman of Smyrna, and fig. 7 as her daughter; fig. 4 as a Greek woman
of Constantinople, and fig. 3 as a country girl of Scio, in a habit
peculiar to that place.
From these slender materials the artist made his design in a style
which proves (notwithstanding the total deficiency of taste alleged
by his biographers), that at this early period of his life he had the
power of delineating figures with some portion of grace.
It may possibly be asked, why examples of this do not more frequently
occur in his other works? To which I can only answer, that his
scenes were almost invariably laid in his own country, where he
painted objects as he saw them; and whatever grace the Grecian habit
might give to the beauties of Scio, the Germanic garb, in which the
beauties of Britain then disguised themselves,
"Chastely conceal'd each charm from every eye."
Mr. Benjamin Wilson the painter, in the letter that follows, puts a
query concerning a disputed point in perspective, which was adopted
by Hogarth, in support of his friend Kirby, who, in the epistle that
succeeds it, after returning his acknowledgments for the drawing
that Sullivan engraved for his book, requests the author of the
_Analysis_ to give him some supplementary support in his doctrine
of parallel columns, etc., for the volume he was then printing on
perspective. This Hogarth did not then comply with; but when Mr.
Highmore, a short time afterwards, attacked the system and its
author in the preface of a pamphlet, Hogarth, in support of both,
and to ridicule the erroneous principles of his opponent, wrote
Kirby some whimsical strictures, which have been already published
in the _Graphic Illustrations_. As they are immediately connected
with the letter which is subjoined, I have inserted them in a note,
and added such extracts from Highmore's and Kirby's prefaces as may
elucidate the subject in debate, and enable the reader to draw his
own conclusions:--
_To Wm. Hogarth, Esq., Chiswick._
"DEAR SIR,--When you come to town, I shall be very glad to show
you further advantages which I have gathered from your excellent
_Analysis_. I assure you I think myself greatly indebted to
you, and know of no method to repay you, but to acknowledge
it as I improve, that the world may have one instance of your
invariable principles being true. An odd appearance was mentioned
to me lately, which it seems is a fact. A parallelogram, viewed
obliquely at a given distance, forms a different representation
when seen through a telescope than it does when viewed with the
naked eye. In the one case the remote end of the parallelogram
appears larger than the near end, whilst in the other case it
appears smaller than the near end.
"_Q._ Do your disputants (in relation to the columns) suppose
a given point? If so, they will not regard the eye as you do.
Excuse haste.--I am, Sir, etc.,
"B. WILSON."
_For Mr. Hogarth._
"IPSWICH, _May 3d, 1753_.
"DEAR SIR,--Ever since I received the favour of your drawing, I
have been in expectation of having my Preface printed, but have
been continually disappointed, which was the reason of my not
returning you my most hearty thanks for the above favour long
before this time, and therefore I hope your goodness will excuse
it.
"The design which you have favoured me with is the best that
can be thought of for its intended purpose, as it tends to
recommend the study of perspective by exposing the mistakes of
those artists who are ignorant of it in such a striking manner
as is peculiar to the genius of Mr. Hogarth. I intend to have
it engraved by Mr. Sullivan, and shall send it to him as soon
as I know how to direct to him, unless any other person is more
agreeable to you for that purpose.
"I have enclosed my Preface for your inspection, and one page
of the work itself as a specimen of the paper and letter, and
shall be glad if they please you. My intention in the three last
paragraphs[65] will be obvious at first sight, and I hope you
will not think them unnecessary.
"But, good sir, give me leave to ask you (for you have given
me much assurance by your friendship, and particularly by your
promise), have you thought any more of what we have so often
discoursed upon in relation to parallel columns, etc.? I am more
and more convinced of the justness of your reasoning upon that
subject, and shall think myself prodigiously honoured if you
annex something of that kind to my work; for then I shall have
you both in my front and rear, and shall not be afraid even of
the d--l himself when I am so guarded. If the little witlings
despise the study of perspective, I'll give 'em a thrust with
my frontispiece which they cannot parry; and if there be any
that are too tenacious of mathematical rules, I'll give them
a cross-buttock with the 'Dissertations,' and crush them into
as ill-shaped figures as those they would draw by adhering too
strictly to the rules of perspective.
"I have nothing more to add but my humble thanks for all your
favours; and I shall be glad to know if you intend doing anything
as you proposed. And am, with compliments to Lady Thornhill, Mrs.
Hogarth, etc., your most obliged and obedient humble servant,
"JOS. KIRBY.
"_P.S._--I cannot fix the time when my work will be published,
but it is printing with the utmost expedition."
For another of Mr. Kirby's publications Hogarth designed a
frontispiece, which was engraved by Mr. Woollet, and is prefixed
to "_The Perspective of Architecture_, deduced from the principles
of Doctor Brook Taylor, begun by order of his present Majesty when
Prince of Wales." I have annexed a copy.
FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.
[Illustration: FRONTISPIECE TO THE PERSPECTIVE OF ARCHITECTURE.]
It is thus explained by Mr. Malton in the appendix to his _Treatise
on Perspective_:--
"Here is a curious frontispiece, designed by Mr. Hogarth, but not
in the same ludicrous style as the former (_i.e._ the frontispiece
to Kirby's _Perspective_): it were to be wished that he had
explained its meaning; for, being symbolical, the meaning of it is
not so obvious as the other (that on false perspective). To me it
conveys the idea which Milton so poetically describes of the angel
Uriel gliding down to Paradise on a sunbeam; but the young gentleman
has dropped off before he had arrived at his journey's end, with
Palladio's book of architecture on his knees. A ray of light from the
sun, rising over a distant mountain, is directed to a scroll on the
ground on which are two or three scraps of perspective, over which,
supported by a large block of stone, is the upper part of a sceptre
broke off; the shaft, very obliquely and absurdly inclined, somewhat
resembling the Roman fasces, and girt above with the Prince of Wales'
coronet as an astragal, through which the fasces rise and swell
into a crown adorned with embroidered stars; this is the principal
object, but most vilely drawn. The ray passes through a round temple
at a considerable distance, which is also falsely represented, the
curves being, for the distance, too round, and consequently the
diminution of the columns is too great. It appears to pass over a
piece of water: on this side the ground is fertile and luxuriant
with vegetation, abounding with trees and shrubs; on the other side
it is rocky and barren. What is indicated by this seems to be, that
where the arts are encouraged by the rays of royal favour, they will
thrive and flourish; but where they are neglected, and do not find
encouragement, they will droop and languish."[66]
On the ray from the sun rising over a distant mountain, etc.,
so facetiously treated by Mr. Malton, some light is thrown in a
manuscript chapter of the _Analysis_, where Hogarth, describing
painters' colours, remarks that--
"Sir Isaac Newton's theory of light and colours, though excellent in
itself, is an inquiry of so different a nature from ours, that were
we to take this great philosopher as our guide, he would not assist
but mislead us, as he did Dr. Brook Taylor, the ingenious author
of the best book on perspective that ever was written. The Doctor
printed an appendix to this work, which he entitled, _A New Theory
for Mixing Colours_, taken from Sir Isaac Newton's optics; but his
project, though ingenious in speculation, is altogether impracticable
in painting."
This observation Hogarth follows by the annexed remarks on those
visionaries who had puzzled the doctrine of colours with minute
and unnecessary divisions, and adopted a strange notion that these
divisions were governed by the same laws as music:--
"Both Albert Durer and Lomazzo, who wrote on painting, had this
conceit; and so much was Père Castle, a French theoretical doctor,
impressed with the idea, that with infinite pains and trouble he
contrived a harpsichord to play _harmonious composition of colours_!
On this he wrote a book, and built a system in which prism colours
were his notes; these the keys of his instrument were to produce
at pleasure. But surely he could not have been drawn into such an
absurdity without having first persuaded himself that colours and
sounds were of the same nature, and that the like disposition of
them both would answer the same purpose, _i.e._ that a jig in notes
would be a jig in colours.[67] I should not be much surprised if
some native of that nation of _taste_ contrived an instrument for
cookery on a similar plan.[68] This would without doubt be adopted in
England, where it must unquestionably have great encouragement. How
pleasant would it be to mark Monsieur de Quisiney at his harpsichord,
composing a grand festino for the entertainment of foreign ministers;
and would the inventor compose a banquet for an installation, or a
feast for a Lord Mayor's day, it would ensure him the hearts of both
courtiers and citizens. What delight would it afford to a certain
eminent composer to see his two favourite sciences thus united![69]
"The fact is, that though compositions of music and colours may
illustrate each other in their principles, they very essentially
differ in their effects. The notes on a scale in music will range
similar to the colours in a rainbow, or to those separated by the
prism, but their operations are precisely opposite.
"For example, let all the keys of an harpsichord be pressed down
at one stroke, and the ear will be offended with harsh, jarring,
and confused sounds; but if you run your fingers along them in
succession, it produces a sort of harmony. In colours it is directly
the reverse; for though the varied hues of the rainbow strike the
eye agreeably at first sight, yet were flickering colours to follow
each other in quick succession, the optic nerve would suffer pain in
proportion as the tints were more or less vivid, and played in quick
or slow time."
These observations are followed by some hints on easy deportment,
and succeeded by the following desultory thoughts, which in his
manuscript Hogarth entitles "A Supplementary Chapter on Dress:"--
"Dress is so copious a topic, that it would afford sufficient
matter for a large volume. The amazing force and folly of fashion
is placed in a most ridiculous point of view in an old book
called the _Artificial Changeling_, where the author not only
describes the uncouth, wild, and extravagant mode of clothing
the body in different ages and countries, but also states many
detestable and barbarous customs of whole nations, who mould and
torture the human frame to destroy its original form. Some of
the customs that he enumerates are, I believe, still practised,
particularly in China, where the feet of the females are bandaged
to prevent their growing; and among the Hottentots, where, to
improve their children's faces, they break the gristles of
their noses. Such is the force of habit, that the eye is soon
reconciled, and these horrid disproportions and deformities are
considered as beauties.
"In this country, fancy and the love of change, to which we may
sometimes add public and private interest, have generally given
the lead to fashion; nor is it to be objected to,--sumptuary
laws are not consonant to the spirit of a free people. In dress
nothing need be restrained except the folly (I had almost said
wickedness) of changing the form or colour of nature.[70]
"As to the fashion of men's dresses, if they are not rendered
inconvenient, it is of little consequence: the tailors may
contrive them as they will.[71] But for the sex to whom nature
has been so bountiful to disguise their enchanting forms, and
sacrifice ease, elegance, and grace on the shrine of fashion, is
defying symmetry and thwarting nature, which, in their capricious
variations, they should sometimes suffer to take fancy by the
hand. The principles laid down for sculpture, etc., will apply
to dress; and fitness, propriety, and convenience being first
established, it should be rendered pleasing. Attention to a few
plain and simple rules would be conducive to its being made so.
"For a degree of uniformity there is a necessity, as without it
our habits would be neither commodious nor comfortable; but when
uniformity can be corrected by taste, or rendered less obtrusive
by slight variations, the appearance will be more graceful and
becoming. Thus, feathers, jewels, and flowers should usually be
worn on one side of the head.
"Painters describe this disposition of ornament, etc. by the word
picturesque, and have contrived what they call a fancy dress.
This is wholly at their own disposal, and they profess to combine
in it all the principles of beauty. But, unhappily, should their
figures walk across the room, these fantastic garments would drop
from their shoulders. Were they contrived with a little attention
to common sense, they might have their uses. Such a succedaneum
would not only keep their works out of the reach of ill-natured
critics, by covering false anatomy, etc., but give an artist
such latitude for light and shadow as might enable him to shine
in the grand historical style; though in painting the manners
of the present day, where dress forms a part of the character,
he might be totally at a loss. On the same ground that I think
it more difficult to delineate scenes built on real life than
to display such as originate in fiction, I believe it an easier
task to write tragedy than comedy: I mean true comedy, not a
Dutch droll. Dress is in some cases an index to the mind, and
characters in improper habits would destroy the illusion at the
best performed play.
"Simplicity, little as it is attended to, is the most attractive
principle of beauty. By this I mean that the habit should not be
divided into too many parts, like an old-fashioned furbelowed and
flounced petticoat: this preposterous mode confounds the eye, and
gives an idea of rags and tatters. The plain unadorned dress of a
country girl is often more engaging than the richest court habit,
in which beauty is frequently obscured, overwhelmed, and buried
by gaudy and heavy ornaments that totally destroy the effect they
are intended to produce. Yet here, as in composition, simplicity
must be corrected by intricacy, to prevent its degenerating into
meanness. Parts of every dress should be loose, and at liberty to
play into folds, some of which will move with the figure; nay, it
sometimes produces grace to contrive things to rest in winding
forms, as is demonstrated by the figure of a sphinx.
"Quantity, as I have before remarked, adds dignity; robes of
state are always made large and full; the long sweeping trains of
queens have a majestic effect. To attain this, the ladies endure
great fatigue, and encumber themselves with an enormous hoop
petticoat, as much as they would by carrying a pair of panniers
on their hips. While they preserve the figure of the pyramid,
this produces some degree of dignity, but excess renders it
ridiculous.
"The horse-grenadier, mounted, caparisoned with his sword and
other accoutrements, gives a good example of the noble effect of
quantity, so combined as to come within pyramidal lines. What
a contrast would it produce, to see the little jockey fitted,
trimmed, and pared down for a race, riding by the side of him!"
Hogarth concludes with a remark, which intimates that he had
originally intended to have inserted the preceding chapter in his
_Analysis_, but altered his plan and reserved it for his intended
Supplement:--
"The even and uniform colour of the hair, by encompassing the
face as a frame doth a picture, contrasts with harmonious
colour its variegated and enclosed composition, and adds more
or less beauty thereto, according to the manner it is disposed.
This graceful ornament may, with some propriety, be called the
head-dress, and comes under that class; but as dress in general
is a matter of no small importance to a great part of the world,
it deserves to be treated more copiously than this volume will
admit of. It shall therefore be deferred till a more convenient
opportunity offers, when the Supplement shall be published."
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