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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/22500-8.txt b/22500-8.txt new file mode 100644 index 0000000..4b47ccc --- /dev/null +++ b/22500-8.txt @@ -0,0 +1,5458 @@ +The Project Gutenberg EBook of The Works of William Hogarth: In a Series +of Engravings, by John Trusler + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Works of William Hogarth: In a Series of Engravings + With Descriptions, and a Comment on Their Moral Tendency + +Author: John Trusler + +Contributor: John Hogarth + John Nichols + +Engraver: William Hogarth + +Release Date: September 4, 2007 [EBook #22500] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + + + + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + + + + + + +[Illustration: WILLIAM HOGARTH.] + + + + +THE +WORKS +OF +WILLIAM HOGARTH; + +IN A +SERIES OF ENGRAVINGS: +WITH +DESCRIPTIONS, +AND +A COMMENT ON THEIR MORAL TENDENCY, + +BY THE +REV. JOHN TRUSLER. + +TO WHICH ARE ADDED, +ANECDOTES OF THE AUTHOR AND HIS WORKS, +BY J. HOGARTH AND J. NICHOLS. + + +London: +PUBLISHED BY JONES AND CO. +TEMPLE OF THE MUSES, (LATE LACKINGTON'S,) FINSBURY SQUARE. + +1833. + + +C. BAYNES, PRINTER, 13 DUKE STREET, LINCOLN'S INN FIELDS. + + + + +THE LIFE OF HOGARTH. + + +William Hogarth is said to have been the descendant of a family +originally from Kirby Thore, in Westmorland. + +His grandfather was a plain yeoman, who possessed a small tenement in +the vale of Bampton, a village about fifteen miles north of Kendal, in +that county; and had three sons. + +The eldest assisted his father in farming, and succeeded to his little +freehold. + +The second settled in Troutbeck, a village eight miles north west of +Kendal, and was remarkable for his talent at provincial poetry. + +Richard Hogarth, the third son, who was educated at St. Bees, and had +kept a school in the same county, appears to have been a man of some +learning. He came early to London, where he resumed his original +occupation of a schoolmaster, in Ship-court in the Old Bailey, and was +occasionally employed as a corrector of the press. + +Mr. Richard Hogarth married in London; and our artist, and his sisters, +Mary and Anne, are believed to have been the only product of the +marriage. + +William Hogarth was born November 10, and baptised Nov. 28, 1697, in the +parish of St. Bartholomew the Great, in London; to which parish, it is +said, in the Biographia Britannica, he was afterwards a benefactor. + +The school of Hogarth's father, in 1712, was in the parish of St. +Martin, Ludgate. In the register of that parish, therefore, the date of +his death, it was natural to suppose, might be found; but the register +has been searched to no purpose. + +Hogarth seems to have received no other education than that of a +mechanic, and his outset in life was unpropitious. Young Hogarth was +bound apprentice to a silversmith (whose name was Gamble) of some +eminence; by whom he was confined to that branch of the trade, which +consists in engraving arms and cyphers upon the plate. While thus +employed, he gradually acquired some knowledge of drawing; and, before +his apprenticeship expired, he exhibited talent for caricature. "He felt +the impulse of genius, and that it directed him to painting, though +little apprised at that time of the mode Nature had intended he should +pursue." + +The following circumstance gave the first indication of the talents with +which Hogarth afterwards proved himself to be so liberally endowed. + +During his apprenticeship, he set out one Sunday, with two or three +companions, on an excursion to Highgate. The weather being hot, they +went into a public-house; where they had not long been, before a quarrel +arose between some persons in the same room; from words they soon got to +blows, and the quart pots being the only missiles at hand, were sent +flying about the room in glorious confusion. This was a scene too +laughable for Hogarth to resist. He drew out his pencil, and produced on +the spot one of the most ludicrous pieces that ever was seen; which +exhibited likenesses not only of the combatants engaged in the affray, +but also of the persons gathered round them, placed in grotesque +attitudes, and heightened with character and points of humour. + +On the expiration of his apprenticeship, he entered into the academy in +St. Martin's Lane, and studied drawing from the life: but in this his +proficiency was inconsiderable; nor would he ever have surpassed +_mediocrity_ as a painter, if he had not penetrated through external +form to character and manners. "It was character, passions, the soul, +that his genius was given him to copy." + +The engraving of arms and shop-bills seems to have been his first +employment by which to obtain a decent livelihood. He was, however, soon +engaged in decorating books, and furnished sets of plates for several +publications of the time. An edition of _Hudibras_ afforded him the +first subject suited to his genius: yet he felt so much the shackles of +other men's ideas, that he was less successful in this task than might +have been expected. In the mean time, he had acquired the use of the +brush, as well as of the pen and graver; and, possessing a singular +facility in seizing a likeness, he acquired considerable employment as a +portrait-painter. Shortly after his marriage, he informs us that he +commenced painter of small conversation pieces, from twelve to fifteen +inches in height; the novelty of which caused them to succeed for a few +years. One of the earliest productions of this kind, which distinguished +him as a painter, is supposed to have been a representation of Wanstead +Assembly; the figures in it were drawn from the life, and without +burlesque. The faces were said to bear great likenesses to the persons +so drawn, and to be rather better coloured than some of his more +finished performances. Grace, however, was no attribute of his pencil; +and he was more disposed to aggravate, than to soften the harsh touches +of Nature. + +A curious anecdote is recorded of our artist during the early part of +his practice as a portrait painter. A nobleman, who was uncommonly ugly +and deformed, sat for his picture, which was executed in his happiest +manner, and with singularly rigid fidelity. The peer, disgusted at this +counterpart of his dear self, was not disposed very readily to pay for a +reflector that would only insult him with his deformities. After some +time had elapsed, and numerous unsuccessful applications had been made +for payment, the painter resorted to an expedient, which he knew must +alarm the nobleman's pride. He sent him the following card:--"Mr. +Hogarth's dutiful respects to Lord----; finding that he does not mean to +have the picture which was drawn for him, is informed again of Mr. +Hogarth's pressing necessities for the money. If, therefore, his +lordship does not send for it in three days, it will be disposed of, +with the addition of a tail and some other appendages, to _Mr. Hare, the +famous wild beast man_; Mr. H. having given that gentleman a conditional +promise on his lordship's refusal." This intimation had its desired +effect; the picture was paid for, and committed to the flames. + +Hogarth's talents, however, for original comic design, gradually +unfolded themselves, and various public occasions produced displays of +his ludicrous powers. + +In the year 1730, he clandestinely married the only daughter of Sir +James Thornhill, the painter, who was not easily reconciled to her union +with an obscure artist, as Hogarth then comparatively was. Shortly +after, he commenced his first great series of moral paintings, "The +Harlot's Progress:" some of these were, at Lady Thornhill's suggestion, +designedly placed by Mrs. Hogarth in her father's way, in order to +reconcile him to her marriage. Being informed by whom they were +executed, Sir James observed, "The man who can produce such +representations as these, can also maintain a wife without a portion." +He soon after, however, relented, and became generous to the young +couple, with whom he lived in great harmony until his death, which took +place in 1733. + +In 1733 his genius became conspicuously known. The third scene of "The +Harlot's Progress" introduced him to the notice of the great: at a Board +of Treasury, (which was held a day or two after the appearance of that +print), a copy of it was shown by one of the lords, as containing, among +other excellences, a striking likeness of Sir John Gonson, a celebrated +magistrate of that day, well known for his rigour towards women of the +town. From the Treasury each lord repaired to the print-shop for a copy +of it, and Hogarth rose completely into fame. + +Upwards of twelve hundred subscribers entered their names for the +plates, which were copied and imitated on fan mounts, and in a variety +of other forms; and a pantomime taken from them was represented at the +theatre. This performance, together with several subsequent ones of a +similar kind, have placed Hogarth in the rare class of original geniuses +and inventors. He may be said to have created an entirely new species of +painting, which may be termed the _moral comic_; and may be considered +rather as a writer of comedy with a pencil, than as a painter. If +catching the manners and follies of an age, _living as they rise_--if +general satire on vices,--and ridicule familiarised by strokes of +Nature, and heightened by wit,--and the whole animated by proper and +just expressions of the passions,--be comedy, Hogarth composed comedies +as much as Moliere. + +Soon after his marriage, Hogarth resided at South Lambeth; and being +intimate with Mr. Tyers, the then spirited proprietor of Vauxhall +Gardens, he contributed much to the improvement of those gardens; and +first suggested the hint of embellishing them with paintings, some of +which were the productions of his own comic pencil. Among the paintings +were "The Four Parts of the Day," either by Hogarth, or after his +designs. + +Two years after the publication of his "Harlot's Progress," appeared the +"Rake's Progress," which, Lord Orford remarks, (though perhaps +superior,) "had not so much success, for want of notoriety: nor is the +print of the Arrest equal in merit to the others." The curtain, however, +was now drawn aside, and his genius stood displayed in its full lustre. + +The Rake's Progress was followed by several works in series, viz. +"Marriage a-la-Mode, Industry and Idleness, the Stages of Cruelty, and +Election Prints." To these may be added, a great number of single comic +pieces, all of which present a rich source of amusement:--such as, "The +March to Finchley, Modern Midnight Conversation, the Sleeping +Congregation, the Gates of Calais, Gin Lane, Beer Street, Strolling +Players in a Barn, the Lecture, Laughing Audience, Enraged Musician," +&c. &c. which, being introduced and described in the subsequent part of +this work, it would far exceed the limits, necessarily assigned to these +brief memoirs, _here_ minutely to characterise. + +All the works of this original genius are, in fact, lectures of +morality. They are satires of particular vices and follies, expressed +with such strength of character, and such an accumulation of minute and +appropriate circumstances, that they have all the truth of Nature +heightened by the attractions of wit and fancy. Nothing is without a +meaning, but all either conspires to the great end, or forms an addition +to the lively drama of human manners. His single pieces, however, are +rather to be considered as studies, not perhaps for the professional +artist, but for the searcher into life and manners, and for the votaries +of true humour and ridicule. No _furniture_ of the kind can vie with +Hogarth's prints, as a fund of inexhaustible amusement, yet conveying at +the same time lessons of morality. + +Not contented, however, with the just reputation which he had acquired +in his proper department, Hogarth attempted to shine in the highest +branch of the art,--serious history-painting. "From a contempt," says +Lord Orford, "of the ignorant virtuosi of the age, and from indignation +at the impudent tricks of picture dealers, whom he saw continually +recommending and vending vile copies to bubble collectors, and from +having never studied, or indeed having seen, few good pictures of the +great Italian masters, he persuaded himself that the praises bestowed on +those glorious works were nothing but the effects of prejudice. He +talked this language till he believed it; and having heard it often +asserted (as is true) that time gives a mellowness to colours, and +improves them, he not only denied the proposition, but maintained that +pictures only grew black and worse by age, not distinguishing between +the degrees in which the proposition might be true or false. He went +farther: he determined to rival the ancients, and unfortunately chose +one of the finest pictures in England as the object of his competition. +This was the celebrated Sigismonda of Sir Luke Schaub, now in the +possession of the Duke of Newcastle, said to be painted by Correggio, +probably by Furino."--"It is impossible to see the picture," (continues +his lordship,) "or read Dryden's inimitable tale, and not feel that the +same soul animated both. After many essays, Hogarth at last produced +_his_ Sigismonda,--but no more like Sigismonda than I to Hercules." + +Notwithstanding Hogarth professed to decry literature, he felt an +inclination to communicate to the public his ideas on a topic connected +with his art. His "Analysis of Beauty" made its appearance in one volume +quarto, in the year 1753. Its leading principle is, that beauty +fundamentally consists in that union of uniformity which is found in the +curve or waving line; and that round swelling figures are most pleasing +to the eye. This principle he illustrates by many ingenious remarks and +examples, and also by some plates characteristic of his genius. + +In the year 1757, his brother-in-law, Mr. Thornhill, resigned his office +of king's serjeant-painter in favour of Hogarth, who received his +appointment on the 6th of June, and entered on his functions on the 16th +of July, both in the same year. This place was re-granted to him by a +warrant of George the Third, which bears date the 30th October, 1761, +with a salary of ten pounds per annum, payable quarterly. + +This connexion with the court probably induced Hogarth to deviate from +the strict line of party neutrality which he had hitherto observed, and +to engage against Mr. Wilkes and his friends, in a print published in +September, 1762, entitled _The Times_. This publication provoked some +severe strictures from Wilkes's pen, in a North Briton (No. 17.) Hogarth +replied by a caricature of the writer: a rejoinder was put in by +Churchill, in an angry epistle to Hogarth (not the brightest of his +works); and in which the severest strokes fell on a defect the painter +had not caused, and could not amend--his age; which, however, was +neither remarkable nor decrepit; much less had it impaired his talents: +for, only six months before, he had produced one of his most capital +works. In revenge for this epistle, Hogarth caricatured Churchill, under +the form of a canonical bear, with a club and a pot of porter. + +During this period of warfare (so virulent and disgraceful to all the +parties), Hogarth's health visibly declined. In 1762, he complained of +an internal pain, the continuance of which produced a general decay of +the system, that proved incurable; and, on the 25th of October, 1764, +(having been previously conveyed in a very weak and languid state from +Chiswick to Leicester Fields,) he died suddenly, of an aneurism in his +chest, in the sixty-seventh or sixty-eighth year of his age. His remains +were interred at Chiswick, beneath a plain but neat mausoleum, with the +following elegant inscription by his friend Garrick:-- + + "Farewell, great painter of mankind, + Who reach'd the noblest point of art; + Whose pictured morals charm the mind, + And through the eye correct the heart. + If Genius fire thee, reader, stay; + If Nature touch thee, drop a tear: + If neither move thee, turn away, + For Hogarth's honour'd dust lies here." + + + + +LIST OF ENGRAVINGS. + +VOL. I. + + +RAKE'S PROGRESS. + Page + +PLATE 1 Heir taking Possession 11 +" 2 Surrounded by Artists 13 +" 3 Tavern Scene 15 +" 4 Arrested for Debt 17 +" 5 Marries an Old Maid 19 +" 6 Gaming House 21 +" 7 Prison Scene 23 +" 8 Mad House 25 + +The Distressed Poet 27 +The Bench 29 +The Laughing Audience 31 +Gate of Calais 33 +The Politician 35 +Taste in High Life 37 + + +HARLOT'S PROGRESS. + +PLATE 1 39 +" 2 41 +" 3 43 +" 4 45 +" 5 47 +" 6 49 + +The Lecture 51 +The Chorus 53 +Columbus breaking the Egg 55 +Modern Midnight Conversation 57 +Consultation of Physicians 59 +Portrait of Daniel Lock, Esq. 61 +The Enraged Musician 63 +Masquerades and Operas 65 + + +TIMES OF THE DAY. + +Morning 67 +Noon 69 +Evening 71 +Night 73 + +Sigismonda 75 +Portrait of Martin Fowkes, Esq. 77 +The Cockpit 78 +Captain Thomas Coram 81 +Country Inn Yard 83 + + +INDUSTRY AND IDLENESS. + +PLATE 1 85 +" 2 87 +" 3 89 +" 4 91 +" 5 93 +" 6 95 +" 7 97 +" 8 99 +" 9 101 +" 10 103 +" 11 105 +" 12 107 + +Southwark Fair. 109 +Garrick as Richard III. 111 + + +FRANCE AND ENGLAND. + +PLATE 1 France 113 +" 2 England 115 + + + + +HOGARTH'S WORKS. + + + + +THE RAKE'S PROGRESS. + + +Of all the follies in human life, there is none greater than that of +extravagance, or profuseness; it being constant labour, without the +least ease or relaxation. It bears, indeed, the colour of that which is +commendable, and would fain be thought to take its rise from laudable +motives, searching indefatigably after true felicity; now as there can +be no true felicity without content, it is this which every man is in +constant pursuit of; the learned, for instance, in his industrious quest +after knowledge; the merchant, in his dangerous voyages; the ambitious, +in his passionate pursuit of honour; the conqueror, in his earnest +desire of victory; the politician, in his deep-laid designs; the wanton, +in his pleasing charms of beauty; the covetous, in his unwearied +heaping-up of treasure; and the prodigal, in his general and extravagant +indulgence.--Thus far it may be well;--but, so mistaken are we in our +road, as to run on in the very opposite tract, which leads directly to +our ruin. Whatever else we indulge ourselves in, is attended with some +small degree of relish, and has some trifling satisfaction in the +enjoyment, but, in this, the farther we go, the more we are lost; and +when arrived at the mark proposed, we are as far from the object we +pursue, as when we first set out. Here then, are we inexcusable, in not +attending to the secret dictates of reason, and in stopping our ears at +the timely admonitions of friendship. Headstrong and ungovernable, we +pursue our course without intermission; thoughtless and unwary, we see +not the dangers that lie immediately before us; but hurry on, even +without sight of our object, till we bury ourselves in that gulf of +woe, where perishes at once, health, wealth and virtue, and whose +dreadful labyrinths admit of no return. + +Struck with the foresight of that misery, attendant on a life of +debauchery, which is, in fact, the offspring of prodigality, our author +has, in the scenes before us, attempted the reformation of the +worldling, by stopping him as it were in his career, and opening to his +view the many sad calamities awaiting the prosecution of his proposed +scheme of life; he has, in hopes of reforming the prodigal, and at the +same time deterring the rising generation, whom Providence may have +blessed with earthly wealth, from entering into so iniquitous a course, +exhibited the life of a young man, hurried on through a succession of +profligate pursuits, for the few years Nature was able to support +itself; and this from the instant he might be said to enter into the +world, till the time of his leaving it. But, as the vice of avarice is +equal to that of prodigality, and the ruin of children is often owing to +the indiscretion of their parents, he has opened the piece with a scene, +which, at the same time that it exposes the folly of the youth, shews us +the imprudence of the father, who is supposed to have hurt the +principles of his son, in depriving him of the necessary use of some +portion of that gold, he had with penurious covetousness been hoarding +up, for the sole purpose of lodging in his coffers. + + + + +PLATE I. + +THE YOUNG HEIR TAKING POSSESSION. + + Oh, vanity of age untoward! + Ever spleeny, ever froward! + Why these bolts and massy chains, + Squint suspicions, jealous pains? + Why, thy toilsome journey o'er, + Lay'st thou up an useless store? + _Hope_, along with _Time_ is flown; + Nor canst thou reap the field thou'st sown. + Hast thou a son? In time be wise; + He views thy toil with other eyes. + Needs must thy kind paternal care, + Lock'd in thy chests, be buried there? + Whence, then, shall flow that friendly ease, + That social converse, heartfelt peace, + Familiar duty without dread, + Instruction from example bred, + Which youthful minds with freedom mend, + And with the _father_ mix the _friend_? + Uncircumscribed by prudent rules, + Or precepts of expensive schools; + Abused at home, abroad despised, + Unbred, unletter'd, unadvised; + The headstrong course of life begun, + What comfort from thy darling son? + + HOADLEY. + + +The history opens, representing a scene crowded with all the monuments +of avarice, and laying before us a most beautiful contrast, such as is +too general in the world, to pass unobserved; nothing being more common +than for a son to prodigally squander away that substance his father +had, with anxious solicitude, his whole life been amassing.--Here, we +see the young heir, at the age of nineteen or twenty, raw from the +University, just arrived at home, upon the death of his father. Eager to +know the possessions he is master of, the old wardrobes, where things +have been rotting time out of mind, are instantly wrenched open; the +strong chests are unlocked; the parchments, those securities of treble +interest, on which this avaricious monster lent his money, tumbled out; +and the bags of gold, which had long been hoarded, with griping care, +now exposed to the pilfering hands of those about him. To explain every +little mark of usury and covetousness, such as the mortgages, bonds, +indentures, &c. the piece of candle stuck on a save-all, on the +mantle-piece; the rotten furniture of the room, and the miserable +contents of the dusty wardrobe, would be unnecessary: we shall only +notice the more striking articles. From the vast quantity of papers, +falls an old written journal, where, among other memorandums, we find +the following, viz. "May the 5th, 1721. Put off my bad shilling." Hence, +we learn, the store this penurious miser set on this trifle: that so +penurious is the disposition of the miser, that notwithstanding he may +be possessed of many large bags of gold, the fear of losing a single +shilling is a continual trouble to him. In one part of the room, a man +is hanging it with black cloth, on which are placed escutcheons, by way +of dreary ornament; these escutcheons contain the arms of the covetous, +_viz._ three vices, hard screwed, with the motto, "BEWARE!" On the +floor, lie a pair of old shoes, which this sordid wretch is supposed to +have long preserved for the weight of iron in the nails, and has been +soling with leather cut from the covers of an old Family Bible; an +excellent piece of satire, intimating, that such men would sacrifice +even their God to the lust of money. From these and some other objects +too striking to pass unnoticed, such as the gold falling from the +breaking cornice; the jack and spit, those utensils of original +hospitality, locked up, through fear of being used; the clean and empty +chimney, in which a fire is just now going to be made for the first +time; and the emaciated figure of the cat, strongly mark the natural +temper of the late miserly inhabitant, who could starve in the midst of +plenty.--But see the mighty change! View the hero of our piece, left to +himself, upon the death of his father, possessed of a goodly +inheritance. Mark how his mind is affected!--determined to partake of +the mighty happiness he falsely imagines others of his age and fortune +enjoy; see him running headlong into extravagance, withholding not his +heart from any joy; but implicitly pursuing the dictates of his will. To +commence this delusive swing of pleasure, his first application is to +the tailor, whom we see here taking his measure, in order to trick out +his pretty person. In the interim, enters a poor girl (with her mother), +whom our hero has seduced, under professions of love and promises of +marriage; in hopes of meeting with that kind welcome she had the +greatest reason to expect; but he, corrupted with the wealth of which he +is now the master, forgets every engagement he once made, finds himself +too rich to keep his word; and, as if gold would atone for a breach of +honour, is offering money to her mother, as an equivalent for the +non-fulfilling of his promise. Not the sight of the ring, given as a +pledge of his fidelity; not a view of the many affectionate letters he +at one time wrote to her, of which her mother's lap is full; not the +tears, nor even the pregnant condition of the wretched girl, could +awaken in him one spark of tenderness; but, hard hearted and unfeeling, +like the generality of wicked men, he suffers her to weep away her woes +in silent sorrow, and curse with bitterness her deceitful betrayer. One +thing more we shall take notice of, which is, that this unexpected +visit, attended with abuse from the mother, so engages the attention of +our youth, as to give the old pettifogger behind him an opportunity of +robbing him. Hence we see that one ill consequence is generally attended +with another; and that misfortunes, according to the old proverb, seldom +come alone. + + Mr. Ireland remarks of this plate--"He here presents to us the + picture of a young man, thoughtless, extravagant, and licentious; + and, in colours equally impressive, paints the destructive + consequences of his conduct. The first print most forcibly contrasts + two opposite passions; the unthinking negligence of _youth_, and the + sordid avaricious rapacity of age. It brings into one point of view + what Mr. Pope so exquisitely describes in his Epistle to Lord + Bathurst-- + + 'Who sees pale _Mammon_ pine amidst his store, + Sees but a backward steward for the poor; + This year a reservoir, to keep and spare; + The next a fountain, spouting through his heir.' + + The introduction to this history is well delineated, and the + principal figure marked with that easy, unmeaning vacancy of face, + which speaks him formed by nature for a DUPE. Ignorant of the value + of money, and negligent in his nature, he leaves his bag of untold + gold in the reach of an old and greedy pettifogging attorney, who is + making an inventory of bonds, mortgages, indentures, &c. This man, + with the rapacity so natural to those who disgrace the profession, + seizes the first opportunity of plundering his employer. Hogarth + had, a few years before, been engaged in a law suit, which gave him + some experience of the PRACTICE of those pests of society." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 1. + +THE YOUNG HERO TAKES POSSESSION OF THE MISER'S EFFECTS.] + + + + +PLATE II. + +SURROUNDED BY ARTISTS AND PROFESSORS. + + _Prosperity_ (with harlot's smiles, + Most pleasing when she most beguiles), + How soon, great foe, can all thy train + Of false, gay, frantic, loud, and vain, + Enter the unprovided mind, + And memory in fetters bind? + Load faith and love with golden chain, + And sprinkle _Lethe_ o'er the brain! + _Pleasure_, on her silver throne, + Smiling comes, nor comes alone; + _Venus_ comes with her along, + And smooth _Lyæus_, ever young; + And in their train, to fill the press, + Come _apish Dance_ and _swoln Excess_, + Mechanic _Honour_, vicious _Taste_, + And _Fashion_ in her changing vest. + + HOADLEY. + + +We are next to consider our hero as launched into the world, and having +equipped himself with all the necessaries to constitute him a man of +taste, he plunges at once into all the fashionable excesses, and enters +with spirit into the character he assumes. + +The avarice of the penurious father then, in this print, is contrasted +by the giddy profusion of his prodigal son. We view him now at his +levee, attended by masters of various professions, supposed to be here +offering their interested services. The foremost figure is readily known +to be a dancing-master; behind him are two men, who at the time when +these prints were first published, were noted for teaching the arts of +defence by different weapons, and who are here drawn from the life; one +of whom is a Frenchman, teacher of the small-sword, making a thrust with +his foil; the other an Englishman, master of the quarter-staff; the +vivacity of the first, and the cold contempt visible in the face of the +second, beautifully describe the natural disposition of the two nations. +On the left of the latter stands an improver of gardens, drawn also from +the life, offering a plan for that purpose. A taste for gardening, +carried to excess, must be acknowledged to have been the ruin of +numbers, it being a passion that is seldom, if ever, satisfied, and +attended with the greatest expense. In the chair sits a professor of +music, at the harpsichord, running over the keys, waiting to give his +pupil a lesson; behind whose chair hangs a list of the presents, one +Farinelli, an Italian singer, received the next day after his first +performance at the Opera House; amongst which, there is notice taken of +one, which he received from the hero of our piece, thus: "A gold +snuff-box, chased, with the story of Orpheus charming the brutes, by J. +Rakewell, esq." By these mementos of extravagance and pride, (for gifts +of this kind proceed oftener from ostentation than generosity,) and by +the engraved frontispiece to a poem, dedicated to our fashionable +spendthrift, lying on the floor, which represents the ladies of Britain +sacrificing their hearts to the idol Farinelli, crying out, with the +greatest earnestness, "one G--d, one Farinelli," we are given to +understand the prevailing dissipation and luxury of the times. Near the +principal figure in this plate is that of him, with one hand on his +breast, the other on his sword, whom we may easily discover to be a +bravo; he is represented as having brought a letter of recommendation, +as one disposed to undertake all sorts of service. This character is +rather Italian than English; but is here introduced to fill up the list +of persons at that time too often engaged in the service of the votaries +of extravagance and fashion. Our author would have it imagined in the +interval between the first scene and this, that the young man whose +history he is painting, had now given himself up to every fashionable +extravagance; and among others, he had imbibed a taste for cock-fighting +and horse-racing; two amusements, which, at that time, the man of +fashion could not dispense with. This is evident, from his rider +bringing in a silver punch-bowl, which one of his horses is supposed to +have won, and his saloon being ridiculously ornamented with the +portraits of celebrated cocks. The figures in the back part of this +plate represent tailors, peruke-makers, milliners, and such other +persons as generally fill the antichamber of a man of quality, except +one, who is supposed to be a poet, and has written some panegyric on the +person whose levee he attends, and who waits for that approbation he +already vainly anticipates. Upon the whole, the general tenor of this +scene is to teach us, that the man of fashion is too often exposed to +the rapacity of his fellow creatures, and is commonly a dupe to the more +knowing part of the world. + + "How exactly," says Mr. Ireland, "does Bramston describe the + character in his _Man of Taste_:-- + + 'Without Italian, and without an ear, + To Bononcini's music I adhere.---- + To boon companions I my time would give, + With players, pimps, and parasites I'd live; + I would with jockeys from Newmarket dine, + And to rough riders give my choicest wine. + My evenings all I would with sharpers spend, + And make the thief-taker my bosom friend; + In Figg, the prize-fighter, by day delight, + And sup with Colley Cibber every night.' + + "Of the expression in this print, we cannot speak more highly than + it deserves. Every character is marked with its proper and + discriminative stamp. It has been said by a very judicious critic + (the Rev. Mr. Gilpin) from whom it is not easy to differ without + being wrong, that the hero of this history, in the first plate of + the series, is _unmeaning_, and in the second _ungraceful_. The fact + is admitted; but, for so delineating him, the author is entitled to + our praise, rather than our censure. Rakewell's whole conduct proves + he was a fool, and at that time he had not learned how to perform an + artificial character; he therefore looks as he is, unmeaning, and + uninformed. But in the second plate he is _ungraceful_.--Granted. + The ill-educated son of so avaricious a father could not have been + introduced into very good company; and though, by the different + teachers who surround him, it evidently appears that he wishes to + _assume_ the character of a gentleman, his internal feelings tell + him he has not attained it. Under that consciousness, he is properly + and naturally represented as ungraceful, and embarrassed in his new + situation." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 2. + +SURROUNDED BY ARTISTS & PROFESSORS.] + + + + +PLATE III. + +THE TAVERN SCENE. + + "O vanity of youthful blood, + So by misuse to poison good! + Woman, framed for social love, + Fairest gift of powers above, + Source of every household blessing; + All charms in innocence possessing: + But, turn'd to vice, all plagues above; + Foe to thy being, foe to love! + Guest divine, to outward viewing; + Ablest minister of ruin? + And thou, no less of gift divine, + Sweet poison of misused wine! + With freedom led to every part, + And secret chamber of the heart, + Dost thou thy friendly host betray, + And shew thy riotous gang the way + To enter in, with covert treason, + O'erthrow the drowsy guard of reason, + To ransack the abandon'd place, + And revel there with wild excess?" + + +Mr. Ireland having, in his description of this Plate, incorporated +whatever is of value in Dr. Trusler's text, with much judicious +observation and criticism of his own, the Editor has taken the former +_verbatim_. + +"This Plate exhibits our licentious prodigal engaged in one of his +midnight festivities: forgetful of the past, and negligent of the +future, he riots in the present. Having poured his libation to Bacchus, +he concludes the evening orgies in a sacrifice at the Cyprian shrine; +and, surrounded by the votaries of Venus, joins in the unhallowed +mysteries of the place. The companions of his revelry are marked with +that easy, unblushing effrontery, which belongs to the servants of all +work in the isle of Paphos;--for the maids of honour they are not +sufficiently elevated. + +"He may be supposed, in the phrase of the day, to have beat the rounds, +overset a constable, and conquered a watchman, whose staff and lantern +he has brought into the room, as trophies of his prowess. In this +situation he is robbed of his watch by the girl whose hand is in his +bosom; and, with that adroitness peculiar to an old practitioner, she +conveys her acquisition to an accomplice, who stands behind the chair. + +"Two of the ladies are quarrelling; and one of them _delicately_ spouts +wine in the face of her opponent, who is preparing to revenge the +affront with a knife, which, in a posture of threatening defiance, she +grasps in her hand. A third, enraged at being neglected, holds a lighted +candle to a map of the globe, determined to _set the world on fire, +though she perish in the conflagration_! A fourth is undressing. The +fellow bringing in a pewter dish, as part of the apparatus of this +elegant and Attic entertainment, a blind harper, a trumpeter, and a +ragged ballad-singer, roaring out an obscene song, complete this motley +group. + +"This design may be a very exact representation of what were then the +nocturnal amusements of a brothel;--so different are the manners of +former and present times, that I much question whether a similar +exhibition is now to be seen in any tavern of the metropolis. That we +are less licentious than our predecessors, I dare not affirm; but we are +certainly more delicate in the pursuit of our pleasures. + +"The room is furnished with a set of Roman emperors,--they are not +placed in their proper order; for in the mad revelry of the evening, +this family of frenzy have decollated all of them, except Nero; and his +manners had too great a similarity to their own, to admit of his +suffering so degrading an insult; their reverence for _virtue_ induced +them to spare his head. In the frame of a _Cæsar_ they have placed a +portrait of _Pontac_, an eminent cook, whose great talents being turned +to heightening sensual, rather than mental enjoyments, he has a much +better chance of a votive offering from this company, than would either +Vespasian or Trajan. + +"The shattered mirror, broken wine-glasses, fractured chair and cane; +the mangled fowl, with a fork stuck in its breast, thrown into a corner, +and indeed every accompaniment, shews, that this has been a night of +riot without enjoyment, mischief without wit, and waste without +gratification. + +"With respect to the drawing of the figures in this curious female +coterie, Hogarth evidently intended several of them for beauties; and of +vulgar, uneducated, prostituted beauty, he had a good idea. The hero of +our tale displays all that careless jollity, which copious draughts of +maddening wine are calculated to inspire; he laughs the world away, and +bids it pass. The poor dupe, without his periwig, in the back-ground, +forms a good contrast of character: he is maudlin drunk, and sadly sick. +To keep up the spirit of unity throughout the society, and not leave the +poor African girl entirely neglected, she is making signs to her friend +the porter, who perceives, and slightly returns, her love-inspiring +glance. This print is rather crowded,--the subject demanded it should be +so; some of the figures, thrown into shade, might have helped the +general effect, but would have injured the characteristic expression." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 3. + +TAVERN SCENE.] + + + + +PLATE IV. + +ARRESTED FOR DEBT. + + "O, vanity of youthful blood, + So by misuse to poison good! + Reason awakes, and views unbarr'd + The sacred gates he wish'd to guard; + Approaching, see the harpy _Law_, + And _Poverty_, with icy paw, + Ready to seize the poor remains + That vice has left of all his gains. + Cold _penitence_, lame _after-thought_, + With fear, despair, and horror fraught, + Call back his guilty pleasures dead, + Whom he hath wrong'd, and whom betray'd." + + +The career of dissipation is here stopped. Dressed in the first style of +the ton, and getting out of a sedan-chair, with the hope of shining in +the circle, and perhaps forwarding a former application for a place or a +pension, he is arrested! To intimate that being plundered is the certain +consequence of such an event, and to shew how closely one misfortune +treads upon the heels of another, a boy is at the same moment stealing +his cane. + +The unfortunate girl whom he basely deserted, is now a milliner, and +naturally enough attends in the crowd, to mark the fashions of the day. +Seeing his distress, with all the eager tenderness of unabated love, she +flies to his relief. Possessed of a small sum of money, the hard +earnings of unremitted industry, she generously offers her purse for the +liberation of her worthless favourite. This releases the captive beau, +and displays a strong instance of female affection; which, being once +planted in the bosom, is rarely eradicated by the coldest neglect, or +harshest cruelty. + +The high-born, haughty Welshman, with an enormous leek, and a +countenance keen and lofty as his native mountains, establishes the +chronology, and fixes the day to be the first of March; which being +sacred to the titular saint of Wales, was observed at court. + + Mr. Nichols remarks of this plate:--"In the early impressions, a + shoe-black steals the Rake's cane. In the modern ones, a large group + of sweeps, and black-shoe boys, are introduced gambling on the + pavement; near them a stone inscribed _Black's_, a contrast to + _White's_ gaming-house, against which a flash of lightning is + pointed. The curtain in the window of the sedan-chair is thrown + back. This plate is likewise found in an intermediate state; the sky + being made unnaturally obscure, with an attempt to introduce a + shower of rain, and lightning very aukwardly represented. It is + supposed to be a first proof after the insertion of the group of + blackguard gamesters; the window of the chair being only marked for + an alteration that was afterwards made in it. Hogarth appears to + have so far spoiled the sky, that he was obliged to obliterate it, + and cause it to be engraved over again by another hand." + + Mr. Gilpin observes:--"Very disagreeable accidents often befal + gentlemen of pleasure. An event of this kind is recorded in the + fourth print, which is now before us. Our hero going, in full dress, + to pay his compliments at court on St. David's day, was accosted in + the rude manner which is here represented.--The composition is good. + The form of the group, made up of the figures in action, the chair, + and the lamplighter, is pleasing. Only, here we have an opportunity + of remarking, that a group is disgusting when the extremities of it + are heavy. A group in some respects should resemble a tree. The + heavier part of the foliage (the cup, as the landscape-painter calls + it) is always near the middle; the outside branches, which are + relieved by the sky, are light and airy. An inattention to this rule + has given a heaviness to the group before us. The two bailiffs, the + woman, and the chairman, are all huddled together in that part of + the group which should have been the lightest; while the middle + part, where the hand holds the door, wants strength and consistence. + It may be added too, that the four heads, in the form of a diamond, + make an unpleasing shape. All regular figures should be studiously + avoided.--The light had been well distributed, if the bailiff + holding the arrest, and the chairman, had been a little lighter, and + the woman darker. The glare of the white apron is disagreeable.--We + have, in this print, some beautiful instances of expression. The + surprise and terror of the poor gentleman is apparent in every limb, + as far as is consistent with the fear of discomposing his dress. The + insolence of power in one of the bailiffs, and the unfeeling heart, + which can jest with misery, in the other, are strongly marked. The + self-importance, too, of the honest Cambrian is not ill portrayed; + who is chiefly introduced to settle the chronology of the story.--In + pose of grace, we have nothing striking. Hogarth might have + introduced a degree of it in the female figure: at least he might + have contrived to vary the heavy and unpleasing form of her + drapery.--The perspective is good, and makes an agreeable shape." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 4. + +ARRESTED FOR DEBT AS GOING TO COURT.] + + + + +PLATE V. + +MARRIES AN OLD MAID. + + "New to the school of hard _mishap_, + Driven from the ease of fortune's lap. + What schemes will nature not embrace + T' avoid less shame of drear distress? + _Gold_ can the charms of youth bestow, + And mask deformity with shew: + Gold can avert the sting of shame, + In Winter's arms create a flame: + Can couple youth with hoary age, + And make antipathies engage." + + +To be thus degraded by the rude enforcement of the law, and relieved +from an exigence by one whom he had injured, would have wounded, +humbled, I had almost said reclaimed, any man who had either feeling or +elevation of mind; but, to mark the progression of vice, we here see +this depraved, lost character, hypocritically violating every natural +feeling of the soul, to recruit his exhausted finances, and marrying an +old and withered Sybil, at the sight of whom nature must recoil. + +The ceremony passes in the old church, Mary-le-bone, which was then +considered at such a distance from London, as to become the usual resort +of those who wished to be privately married; that such was the view of +this prostituted young man, may be fairly inferred from a glance at the +object of his choice. Her charms are heightened by the affectation of an +amorous leer, which she directs to her youthful husband, in grateful +return for a similar compliment which she supposes paid to herself. This +gives her face much meaning, but meaning of such a sort, that an +observer being ask, "_How dreadful must be this creature's hatred?_" +would naturally reply, "_How hateful must be her love!_" + +In his demeanor we discover an attempt to appear at the altar with +becoming decorum: but internal perturbation darts through assumed +tranquillity, for though he is _plighting his troth_ to the old woman, +his eyes are fixed on the young girl who kneels behind her. + +The parson and clerk seem made for each other; a sleepy, stupid +solemnity marks every muscle of the divine, and the nasal droning of the +_lay brother_ is most happily expressed. Accompanied by her child and +mother, the unfortunate victim of his seduction is here again +introduced, endeavouring to enter the church, and forbid the banns. The +opposition made by an old pew-opener, with her bunch of keys, gave the +artist a good opportunity for indulging his taste in the burlesque, and +he has not neglected it. + +A dog (Trump, Hogarth's favorite), paying his addresses to a one-eyed +quadruped of his own species, is a happy parody of the unnatural union +going on in the church. + +The commandments are broken: a crack runs near the tenth, which says, +_Thou shalt not covet thy neighbour's wife;_ a prohibition in the +present case hardly necessary. The creed is destroyed by the damps of +the church; and so little attention has been paid to the poor's box, +that it is covered with a _cobweb_! These three high-wrought strokes of +satirical humour were perhaps never equalled by any exertion of the +pencil; excelled they cannot be. + +On one of the pew doors is the following curious specimen of church-yard +poetry, and mortuary orthography. + + THESE : PEWES : VNSCRUD : AND TANE : IN : SVNDER + IN : STONE : THERS : GRAUEN : WHAT : IS : VNDER + TO : WIT : A VALT : FOR : BURIAL : THERE : IS + WHICH : EDWARD : FORSET : MADE : FOR : HIM : AND : HIS. + +This is a correct copy of the inscription. Part of these lines, in +raised letters, now form a pannel in the wainscot at the end of the +right-hand gallery, as the church is entered from the street. The mural +monument of the Taylor's, composed of lead, gilt over, is still +preserved: it is seen in Hogarth's print, just under the window. + +A glory over the bride's head is whimsical. + +The bay and holly, which decorate the pews, give a date to the period, +and determine this preposterous union of January with June, to have +taken place about the time of Christmas; + + "When Winter linger'd in her icy veins." + +Addison would have classed her among the evergreens of the sex. + +It has been observed, that "the church is too small, and the wooden +post, which seems to have no use, divides the picture very +disagreeably." This cannot be denied: but it appears to be meant as an +accurate representation of the place, and the artist delineated what he +saw. + +The grouping is good, and the principal figure has the air of a +gentleman. The light is well distributed, and the scene most +characteristically represented. + +The commandments being represented as broken, might probably give the +hint to a lady's reply, on being told that thieves had the preceding +night broken into the church, and stolen the communion-plate, and the +ten commandments. "I suppose," added the informant, "that they may melt +and sell the plate; but can you divine for what possible purpose they +could steal the commandments?"--"To _break_ them, to be sure," replied +she;--"to _break_ them." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 5. + +MARRIES AN OLD MAID.] + + + + +PLATE VI. + +SCENE IN A GAMING HOUSE. + + "_Gold_, thou bright son of Phoebus, source + Of universal intercourse; + Of weeping Virtue soft redress: + And blessing those who live to bless: + Yet oft behold this sacred trust, + The tool of avaricious lust; + No longer bond of human kind, + But bane of every virtuous mind. + What chaos such misuse attends, + Friendship stoops to prey on friends; + Health, that gives relish to delight, + Is wasted with the wasting night; + Doubt and mistrust is thrown on _Heaven_, + And all its power to chance is given. + Sad purchase of repentant tears, } + Of needless quarrels, endless fears, } + Of hopes of moments, pangs of years! } + Sad purchase of a tortured mind, + To an imprison'd body join'd." + + +Though now, from the infatuated folly of his antiquated wife, in +possession of a fortune, he is still the slave of that baneful vice, +which, while it enslaves the mind, poisons the enjoyments, and sweeps +away the possessions of its deluded votaries. Destructive as the +earthquake which convulses nature, it overwhelms the pride of the +forest, and engulfs the labours of the architect. + +Newmarket and the cockpit were the scenes of his early amusements; to +crown the whole, he is now exhibited at a gaming-table, where all is +lost! His countenance distorted with agony, and his soul agitated almost +to madness, he imprecates vengeance upon his own head. + + "In heartfelt bitter anguish he appears, + And from the blood-shot ball gush purpled tears! + He beats his brow, with rage and horror fraught; + His brow half bursts with agony of thought!" + +That he should be deprived of all he possessed in such a society as +surround him, is not to be wondered at. One of the most conspicuous +characters appears, by the pistol in his pocket, to be a highwayman: +from the profound stupor of his countenance, we are certain he also is a +losing gamester; and so absorbed in reflection, that neither the boy who +brings him a glass of water, nor the watchman's cry of "Fire!" can +arouse him from his reverie. Another of the party is marked for one of +those well-dressed continental adventurers, who, being unable to live in +their own country, annually pour into this, and with no other requisites +than a quick eye, an adroit hand, and an undaunted forehead, are +admitted into what is absurdly enough called _good_ company. + +At the table a person in mourning grasps his hat, and hides his face, in +the agony of repentance, not having, as we infer from his weepers, +received that legacy of which he is now plundered more than "a little +month." On the opposite side is another, on whom fortune has severely +frowned, biting his nails in the anguish of his soul. The fifth +completes the climax; he is frantic; and with a drawn sword endeavours +to destroy a _pauvre miserable_ whom he supposes to have cheated him, +but is prevented by the interposition of one of those staggering +votaries of Bacchus who are to be found in every company where there is +good wine; and gaming, like the rod of Moses, so far swallows up every +other passion, that the actors, engrossed by greater objects, willingly +leave their wine to the audience. + +In the back-ground are two collusive associates, eagerly dividing the +profits of the evening. + +A nobleman in the corner is giving his note to an usurer. The lean and +hungry appearance of this cent. per cent. worshipper of the golden calf, +is well contrasted by the sleek, contented vacancy of so well-employed a +legislator of this great empire. Seated at the table, a portly +gentleman, of whom we see very little, is coolly sweeping off his +winnings. + +So engrossed is every one present by his own situation, that the flames +which surround them are disregarded, and the vehement cries of a +watchman entering the room, are necessary to rouse their attention to +what is generally deemed the first law of nature, self-preservation. + + Mr. Gilpin observes:--"The fortune, which our adventurer has just + received, enables him to make one push more at the gaming-table. He + is exhibited, in the sixth print, venting curses on his folly for + having lost his last stake.--This is, upon the whole, perhaps, the + best print of the set. The horrid scene it describes, was never more + inimitably drawn. The composition is artful, and natural. If the + shape of the whole be not quite pleasing, the figures are so well + grouped, and with so much ease and variety, that you cannot take + offence. + + "The expression, in almost every figure, is admirable; and the whole + is a strong representation of the human mind in a storm. Three + stages of that species of madness which attends gaming, are here + described. On the first shock, all is inward dismay. The ruined + gamester is represented leaning against a wall, with his arms + across, lost in an agony of horror. Perhaps never passion was + described with so much force. In a short time this horrible gloom + bursts into a storm of fury: he tears in pieces what comes next him; + and, kneeling down, invokes curses upon himself. He next attacks + others; every one in his turn whom he imagines to have been + instrumental in his ruin.--The eager joy of the winning gamesters, + the attention of the usurer, the vehemence of the watchman, and the + profound reverie of the highwayman, are all admirably marked. There + is great coolness, too, expressed in the little we see of the fat + gentleman at the end of the table." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 6. + +GAMING HOUSE SCENE.] + + + + +PLATE VII. + +PRISON SCENE. + + "Happy the man whose constant thought, + (Though in the school of hardship taught,) + Can send remembrance back to fetch + Treasures from life's earliest stretch; + Who, self-approving, can review + Scenes of past virtues, which shine through + The gloom of age, and cast a ray + To gild the evening of his day! + Not so the guilty wretch confined: + No pleasures meet his conscious mind; + No blessings brought from early youth, + But broken faith, and wrested truth; + Talents idle and unused, + And every trust of Heaven abused. + In seas of sad reflection lost, + From horrors still to horrors toss'd, + _Reason_ the vessel leaves to steer, + And gives the helm to mad _Despair_." + + +By a very natural transition Mr. Hogarth has passed his hero from a +gaming house into a prison--the inevitable consequence of extravagance. +He is here represented in a most distressing situation, without a coat +to his back, without money, without a friend to help him. Beggared by a +course of ill-luck, the common attendant on the gamester, having first +made away with every valuable he was master of, and having now no other +resource left to retrieve his wretched circumstances, he at last, vainly +promising himself success, commences author, and attempts, though +inadequate to the task, to write a play, which is lying on the table, +just returned with an answer from the manager of the theatre, to whom he +had offered it, that his piece would by no means do. Struck speechless +with this disastrous occurrence, all his hopes vanish, and his most +sanguine expectations are changed into dejection of spirit. To heighten +his distress, he is approached by his wife, and bitterly upbraided for +his perfidy in concealing from her his former connexions (with that +unhappy girl who is here present with her child, the innocent offspring +of her amours, fainting at the sight of his misfortunes, being unable to +relieve him farther), and plunging her into those difficulties she never +shall be able to surmount. To add to his misery, we see the +under-turnkey pressing him for his prison fees, or garnish-money, and +the boy refusing to leave the beer he ordered, without being first paid +for it. Among those assisting the fainting mother, one of whom we +observe clapping her hand, another applying the drops, is a man crusted +over, as it were, with the rust of a gaol, supposed to have started from +his dream, having been disturbed by the noise at a time when he was +settling some affairs of state; to have left his great plan unfinished, +and to have hurried to the assistance of distress. We are told, by the +papers falling from his lap, one of which contains a scheme for paying +the national debt, that his confinement is owing to that itch of +politics some persons are troubled with, who will neglect their own +affairs, in order to busy themselves in that which noways concerns +them, and which they in no respect understand, though their immediate +ruin shall follow it: nay, so infatuated do we find him, so taken up +with his beloved object, as not to bestow a few minutes on the decency +of his person. In the back of the room is one who owes his ruin to an +indefatigable search after the philosopher's stone. Strange and +unaccountable!--Hence we are taught by these characters, as well as by +the pair of human wings on the tester of the bed, that scheming is the +sure and certain road to beggary: and that more owe their misfortunes to +wild and romantic notions, than to any accident they meet with in life. + +In this upset of his life, and aggravation of distress, we are to +suppose our prodigal almost driven to desperation. Now, for the first +time, he feels the severe effects of pinching cold and griping hunger. +At this melancholy season, reflection finds a passage to his heart, and +he now revolves in his mind the folly and sinfulness of his past +life;--considers within himself how idly he has wasted the substance he +is at present in the utmost need of;--looks back with shame on the +iniquity of his actions, and forward with horror on the rueful scene of +misery that awaits him; until his brain, torn with excruciating thought, +loses at once its power of thinking, and falls a sacrifice to merciless +despair. + + Mr. Ireland remarks, on the plate before us:--"Our improvident + spendthrift is now lodged in that dreary receptacle of human + misery,--a prison. His countenance exhibits a picture of despair; + the forlorn state of his mind is displayed in every limb, and his + exhausted finances, by the turnkey's demand of prison fees, not + being answered, and the boy refusing to leave a tankard of porter, + unless he is paid for it. + + "We see by the enraged countenance of his wife, that she is + violently reproaching him for having deceived and ruined her. To + crown this catalogue of human tortures, the poor girl whom he + deserted, is come with her child--perhaps to comfort him,--to + alleviate his sorrows, to soothe his sufferings:--but the agonising + view is too much for her agitated frame; shocked at the prospect of + that misery which she cannot remove, every object swims before her + eyes,--a film covers the sight,--the blood forsakes her cheeks--her + lips assume a pallid hue,--and she sinks to the floor of the prison + in temporary death. What a heart-rending prospect for him by whom + this is occasioned! + + "The wretched, squalid inmate, who is assisting the fainting female, + bears every mark of being naturalised to the place; out of his + pocket hangs a scroll, on which is inscribed, 'A scheme to pay the + National Debt, by J. L. now a prisoner in the Fleet.' So attentive + was this poor gentleman to the debts of the nation, that he totally + forgot his own. The cries of the child, and the good-natured + attentions of the women, heighten the interest, and realise the + scene. Over the group are a large pair of wings, with which some + emulator of _Dedalus_ intended to escape from his confinement; but + finding them inadequate to the execution of his project, has placed + them upon the tester of his bed. They would not exalt him to the + regions of air, but they o'ercanopy him on earth. A chemist in the + back-ground, happy in his views, watching the moment of projection, + is not to be disturbed from his dream by any thing less than the + fall of the roof, or the bursting of his retort;--and if his dream + affords him felicity, why should he be awakened? The bed and + gridiron, those poor remnants of our miserable spendthrift's + wretched property, are brought here as necessary in his degraded + situation; on one he must try to repose his wearied frame, on the + other, he is to dress his scanty meal." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 7. + +PRISON SCENE.] + + + + +PLATE VIII. + +SCENE IN A MADHOUSE. + + "_Madness!_ thou chaos of the brain, } + What art, that pleasure giv'st and pain? } + Tyranny of fancy's reign! + Mechanic _fancy!_ that can build + Vast labyrinths and mazes wild, + With rude, disjointed, shapeless measure, + Fill'd with _horror_, fill'd with _pleasure_! + Shapes of _horror_, that would even + Cast doubt of mercy upon Heaven; + Shapes of _pleasure_, that but seen, + Would split the shaking sides of _Spleen_. + + "O vanity of age! here see + The stamp of Heaven effaced by thee! + The headstrong course of youth thus run, + What comfort from this darling son? + His rattling chains with terror hear, + Behold death grappling with despair! + See him by thee to ruin sold, + And curse _thyself_, and curse thy _gold_!" + + +See our hero then, in the scene before us, raving in all the dismal +horrors of hopeless insanity, in the hospital of Bethlehem, the senate +of mankind, where each man may find a representative; there we behold +him trampling on the first great law of nature, tearing himself to +pieces with his own hands, and chained by the leg to prevent any further +mischief he might either do to himself or others. But in this scene, +dreary and horrid as are its accompaniments, he is attended by the +faithful and kind-hearted female whom he so basely betrayed. In the +first plate we see him refuse her his promised hand. In the fourth, she +releases him from the harpy fangs of a bailiff; she is present at his +marriage; and in the hope of relieving his distress, she follows him to +a prison. Our artist, in this scene of horror, has taken an opportunity +of pointing out to us the various causes of mental blindness; for such, +surely, it may be called, when the intuitive faculties are either +destroyed or impaired. In one of the inner rooms of this gallery is a +despairing wretch, imploring Heaven for mercy, whose brain is crazed +with lip-labouring superstition, the most dreadful enemy of human kind; +which, attended with ignorance, error, penance and indulgence, too often +deprives its unhappy votaries of their senses. The next in view is one +man drawing lines upon a wall, in order, if possible, to find out the +longitude; and another, before him, looking through a paper, by way of a +telescope. By these expressive figures we are given to understand that +such is the misfortune of man, that while, perhaps, the aspiring soul is +pursuing some lofty and elevated conception, soaring to an uncommon +pitch, and teeming with some grand discovery, the ferment often proves +too strong for the feeble brain to support, and lays the whole magazine +of notions and images in wild confusion. This melancholy group is +completed by the crazy tailor, who is staring at the mad astronomer with +a sort of wild astonishment, wondering, through excess of ignorance, +what discoveries the heavens can possibly afford; proud of his +profession, he has fixed a variety of patterns in his hat, by way of +ornament; has covered his poor head with shreds, and makes his measure +the constant object of his attention. Behind this man stands another, +playing on the violin, with his book upon his head, intimating that too +great a love for music has been the cause of his distraction. On the +stairs sits another, crazed by love, (evident from the picture of his +beloved object round his neck, and the words "charming Betty Careless" +upon the bannisters, which he is supposed to scratch upon every wall and +every wainscot,) and wrapt up so close in melancholy pensiveness, as not +even to observe the dog that is flying at him. Behind him, and in the +inner room, are two persons maddened with ambition. These men, though +under the influence of the same passion, are actuated by different +notions; one is for the papal dignity, the other for regal; one imagines +himself the Pope, and saying mass; the other fancies himself a King, is +encircled with the emblem of royalty, and is casting contempt on his +imaginary subjects by an act of the greatest disdain. To brighten this +distressful scene, and draw a smile from him whose rigid reasoning might +condemn the bringing into public view this blemish of humanity, are two +women introduced, walking in the gallery, as curious spectators of this +melancholy sight; one of whom is supposed, in a whisper, to bid the +other observe the naked man, which she takes an opportunity of doing by +a leer through the sticks of her fan. + +Thus, imagining the hero of our piece to expire raving mad, the story is +finished, and little else remains but to close it with a proper +application. Reflect then, ye parents, on this tragic tale; consider +with yourselves, that the ruin of a child is too often owing to the +imprudence of a father. Had the young man, whose story we have related, +been taught the proper use of money, had his parent given him some +insight into life, and graven, as it were, upon his heart, the precepts +of religion, with an abhorrence of vice, our youth would, in all +probability, have taken a contrary course, lived a credit to his +friends, and an honour to his country. + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 8. + +SCENE IN BEDLAM.] + + + + +THE DISTRESSED POET. + + +This Plate describes, in the strongest colours, the distress of an +author without friends to patronise him. Seated upon the side of his +bed, without a shirt, but wrapped in an old night-gown, he is now +spinning a poem upon "Riches:" of their _use_ he probably knoweth +little; and of their _abuse_,--if judgment can be formed from +externals,--_certes_, he knoweth less. Enchanted, impressed, inspired +with his subject, he is disturbed by a nymph of the _lactarium_. Her +shrill-sounding voice awakes one of the _little loves_, whose _chorus_ +disturbs his meditations. A link of the golden chain is broken!--a +thought is lost!--to recover it, his hand becomes a substitute for the +barber's comb:--enraged at the noise, he tortures his head for the +fleeting idea; but, ah! no thought is there! + +Proudly conscious that the lines already written are sterling, he +possesses by anticipation the mines of Peru, a view of which hangs over +his head. Upon the table we see "Byshe's Art of Poetry;" for, like the +pack-horse, who cannot travel without his _bells_, he cannot climb the +hill of Parnassus without his _jingling-book_. On the floor lies the +"Grub-street Journal," to which valuable repository of genius and taste +he is probably a contributor. To show that he is a master of the +PROFOUND, and will envelope his subject in a cloud, his pipe and +tobacco-box, those friends to cogitation deep, are close to him. + +His wife, mending that part of his dress, in the pockets of which the +affluent keep their gold, is worthy of a better fate. Her figure is +peculiarly interesting. Her face, softened by adversity, and marked with +domestic care, is at this moment agitated by the appearance of a +boisterous woman, insolently demanding payment of the milk-tally. In the +excuse she returns, there is a mixture of concern, complacency, and +mortification. As an addition to the distresses of this poor family, a +dog is stealing the remnant of mutton incautiously left upon a chair. + +The sloping roof, and projecting chimney, prove the throne of this +inspired bard to be high above the crowd;--it is a garret. The chimney +is ornamented with a _dare for larks_, and a book; a loaf, the +tea-equipage, and a saucepan, decorate the shelf. Before the fire hangs +half a shirt, and a pair of ruffled sleeves. His sword lies on the +floor; for though our professor of poetry waged no war, except with +words, a sword was, in the year 1740, a necessary appendage to every +thing which called itself "gentleman." At the feet of his domestic +seamstress, the full-dress coat is become the resting-place of a cat and +two kittens: in the same situation is one stocking, the other is half +immersed in the washing-pan. The broom, bellows, and mop, are scattered +round the room. The open door shows us that their cupboard is +unfurnished, and tenanted by a hungry and solitary mouse. In the corner +hangs a long cloak, well calculated to conceal the threadbare wardrobe +of its fair owner. + +Mr. Hogarth's strict attention to propriety of scenery, is evinced by +the cracked plaistering of the walls, broken window, and uneven floor, +in the miserable habitation of this poor weaver of madrigals. When this +was first published, the following quotation from Pope's "Dunciad" was +inscribed under the print: + + "Studious he sate, _with all his books_ around, + Sinking from thought to thought, a vast profound: + Plunged for his sense, but found no bottom there; + Then wrote and flounder'd on, in mere despair." + +_All his books_, amounting to _only four_, was, I suppose, the artist's +reason for erasing the lines. + +[Illustration: THE DISTRESSED POET.] + + + + +THE BENCH. + +CHARACTER, CARICATURA, AND OUTRE. + + +It having been universally acknowledged that Mr. Hogarth was one of the +most ingenious painters of his age, and a man possessed of a vast store +of humour, which he has sufficiently shown and displayed in his numerous +productions; the general approbation his works receive, is not to be +wondered at. But, as owing to the false notions of the public, not +thoroughly acquainted with the true art of painting, he has been often +called a _caricaturer_; when, in reality, _caricatura_ was no part of +his profession, he being a true copier of Nature; to set this matter +right, and give the world a just definition of the words, _character_, +_caricatura_, and _outré_, in which humorous painting principally +consists, and to show their difference of meaning, he, in the year 1758, +published this print; but, as it did not quite answer his purpose, +giving an illustration of the word _character_ only, he added, in the +year 1764, the group of heads above, which he never lived to finish, +though he worked upon it the day before his death. The lines between +inverted commas are our author's own words, and are engraved at the +bottom of the plate. + +"There are hardly any two things more essentially different than +_character_ and _caricatura_; nevertheless, they are usually confounded, +and mistaken for each other; on which account this explanation is +attempted. + +"It has ever been allowed, that when a _character_ is strongly marked in +the living face, it may be considered as an index of the mind, to +express which, with any degree of justness, in painting, requires the +utmost efforts of a great master. Now that, which has of late years got +the name of _caricatura_, is, or ought to be, totally divested of every +stroke that hath a tendency to good drawing; it may be said to be a +species of lines that are produced, rather by the hand of chance, than +of skill; for the early scrawlings of a child, which do but barely hint +the idea of a human face, will always be found to be like some person or +other, and will often form such a comical resemblance, as, in all +probability, the most eminent _caricaturers_ of these times will not be +able to equal, with design; because their ideas of objects are so much +more perfect than children's, that they will, unavoidably, introduce +some kind of drawing; for all the humorous effects of the fashionable +manner of _caricaturing_, chiefly depend on the surprise we are under, +at finding ourselves caught with any sort of similitude in objects +absolutely remote in their kind. Let it be observed, the more remote in +their nature, the greater is the excellence of these pieces. As a proof +of this, I remember a famous _caricatura_ of a certain Italian singer, +that struck at first sight, which consisted only of a straight +perpendicular stroke, with a dot over. As to the French word _outré_, it +is different from the rest, and signifies nothing more than the +exaggerated outlines of a figure, all the parts of which may be, in +other respects, a perfect and true picture of nature. A giant or a dwarf +may be called a common man, _outré_. So any part, as a nose, or a leg, +made bigger, or less than it ought to be, is that part _outré_, which is +all that is to be understood by this word, injudiciously used to the +prejudice of _character_."--ANALYSIS OF BEAUTY, chap. vi. + +To prevent these distinctions being looked upon as dry and +unentertaining, our author has, in this group of faces, ridiculed the +want of capacity among some of our judges, or dispensers of the law, +whose shallow discernment, natural disposition, or wilful inattention, +is here perfectly described in their faces. One is amusing himself in +the course of trial, with other business; another, in all the pride of +self-importance, is examining a former deposition, wholly inattentive to +that before him; the next is busied in thoughts quite foreign to the +subject; and the senses of the last are locked fast in sleep. + +The four sages on the Bench, are intended for Lord Chief Justice Sir +John Willes, the principal figure; on his right hand, Sir Edward Clive; +and on his left, Mr. Justice Bathurst, and the Hon. William Noel. + +[Illustration: THE BENCH.] + + + + +THE LAUGHING AUDIENCE. + + "Let him laugh now, who never laugh'd before; + And he who always laugh'd, laugh now the more." + + +"From the first print that Hogarth engraved, to the last that he +published, I do not think," says Mr. Ireland, "there is one, in which +character is more displayed than in this very spirited little etching. +It is much superior to the more delicate engravings from his designs by +other artists, and I prefer it to those that were still higher finished +by his own burin. + +"The prim coxcomb with an enormous bag, whose favours, like those of +Hercules between Virtue and Vice, are contended for by two rival orange +girls, gives an admirable idea of the dress of the day; when, if we may +judge from this print, our grave forefathers, defying Nature, and +despising convenience, had a much higher rank in the temple of Folly +than was then attained by their ladies. It must be acknowledged that, +since that period, the softer sex have asserted their natural rights; +and, snatching the wreath of fashion from the brow of presuming man, +have tortured it into such forms that, were it possible, which _certes_ +it is not, to disguise a beauteous face----But to the high behest of +Fashion all must bow. + +"Governed by this idol, our beau has a cuff that, for a modern fop, +would furnish fronts for a waistcoat, and a family fire-screen might be +made of his enormous bag. His bare and shrivelled neck has a close +resemblance to that of a half-starved greyhound; and his face, figure, +and air, form a fine contrast to the easy and degagée assurance of the +Grisette whom he addresses. + +"The opposite figure, nearly as grotesque, though not quite so formal as +its companion, presses its left hand upon its breast, in the style of +protestation; and, eagerly contemplating the superabundant charms of a +beauty of Rubens's school, presents her with a pinch of comfort. Every +muscle, every line of his countenance, is acted upon by affectation and +grimace, and his queue bears some resemblance to an ear-trumpet. + +"The total inattention of these three polite persons to the business of +the stage, which at this moment almost convulses the children of Nature +who are seated in the pit, is highly descriptive of that refined apathy +which characterises our people of fashion, and raises them above those +mean passions that agitate the groundlings. + +"One gentleman, indeed, is as affectedly unaffected as a man of the +first world. By his saturnine cast of face, and contracted brow, he is +evidently a profound critic, and much too wise to laugh. He must +indisputably be a very great critic; for, like _Voltaire's +Poccocurante_, nothing can please him; and, while those around open +every avenue of their minds to mirth, and are willing to be delighted, +though they do not well know why, he analyses the drama by the laws of +Aristotle, and finding those laws are violated, determines that the +author ought to be hissed, instead of being applauded. This it is to be +so excellent a judge; this it is which gives a critic that exalted +gratification which can never be attained by the illiterate,--the +supreme power of pointing out faults, where others discern nothing but +beauties, and preserving a rigid inflexibility of muscle, while the +sides of the vulgar herd are shaking with laughter. These merry mortals, +thinking with Plato that it is no proof of a good stomach to nauseate +every aliment presented them, do not inquire too nicely into causes, +but, giving full scope to their risibility, display a set of features +more highly ludicrous than I ever saw in any other print. It is to be +regretted that the artist has not given us some clue by which we might +have known what was the play which so much delighted his audience: I +should conjecture that it was either one of Shakespear's comedies, or a +modern tragedy. Sentimental comedy was not the fashion of that day. + +"The three sedate musicians in the orchestra, totally engrossed by +minims and crotchets, are an admirable contrast to the company in the +pit." + +[Illustration: THE LAUGHING AUDIENCE.] + + + + +GATE OF CALAIS. + + +O, THE ROAST BEEF OF OLD ENGLAND! + + "'Twas at the gate of Calais, Hogarth tells, + Where sad despair and famine always dwells; + A meagre Frenchman, Madame Grandsire's cook, + As home he steer'd, his carcase that way took, + Bending beneath the weight of famed sirloin, + 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; + And, when he first beheld the greasy load, + His benediction on it he bestow'd; + And while the solid fat his fingers press'd, + He lick'd his chops, and thus the knight address'd: + + 'O rare roast beef, lov'd by all mankind, + Was I but doom'd to have thee, + Well dress'd, and garnish'd to my mind, + And swimming in thy gravy; + Not all thy country's force combined, + Should from my fury save thee! + + 'Renown'd sirloin! 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 must thy taste exceed + Soup-meagre, frogs, and salad!'" + +The thought on which this whimsical and highly-characteristic print is +founded, originated in Calais, to which place Mr. Hogarth, accompanied +by some of his friends, made an excursion, in the year 1747. + +Extreme partiality for his native country was the leading trait of his +character; he seems to have begun his three hours' voyage with a firm +determination to be displeased at every thing he saw out of Old England. +For a meagre, powdered figure, hung with tatters, _a-la-mode de Paris_, +to affect the airs of a coxcomb, and the importance of a sovereign, is +ridiculous enough; but if it makes a man happy, why should he be +laughed at? It must blunt the edge of ridicule, to see natural hilarity +defy depression; and a whole nation laugh, sing, and dance, under +burthens that would nearly break the firm-knit sinews of a Briton. Such +was the picture of France at that period, but it was a picture which our +English satirist could not contemplate with common patience. The swarms +of grotesque figures who paraded the streets excited his indignation, +and drew forth a torrent of coarse abusive ridicule, not much to the +honour of his liberality. He compared them to Callot's beggars--Lazarus +on the painted cloth--the prodigal son--or any other object descriptive +of extreme contempt. Against giving way to these effusions of national +spleen in the open street, he was frequently cautioned, but advice had +no effect; he treated admonition with scorn, and considered his monitor +unworthy the name of Englishman. These satirical ebullitions were at +length checked. Ignorant of the customs of France, and considering the +gate of Calais merely as a piece of ancient architecture, he began to +make a sketch. This was soon observed; he was seized as a spy, who +intended to draw a plan of the fortification, and escorted by a file of +musqueteers to M. la Commandant. His sketch-book was examined, leaf by +leaf, and found to contain drawings that had not the most distant +relation to tactics. Notwithstanding this favourable circumstance, the +governor, with great politeness, assured him, that had not a treaty +between the nations been actually signed, he should have been under the +disagreeable necessity of hanging him upon the ramparts: as it was, he +must be permitted the privilege of providing him a few military +attendants, who should do themselves the honour of waiting upon him, +while he resided in the dominions of "the grande monarque." Two +sentinels were then ordered to escort him to his hotel, from whence they +conducted him to the vessel; nor did they quit their prisoner, until he +was a league from shore; when, seizing him by the shoulders, and +spinning him round upon the deck, they said he was now at liberty to +pursue his voyage without further molestation. + +So mortifying an adventure he did not like to hear recited, but has in +this print recorded the circumstance which led to it. In one corner he +has given a portrait of himself, making the drawing; and to shew the +moment of arrest, the hand of a serjeant is upon his shoulder. + +The French sentinel is so situated, as to give some idea of a figure +hanging in chains: his ragged shirt is trimmed with a pair of paper +ruffles. The old woman, and a fish which she is pointing at, have a +striking resemblance. The abundance of parsnips, and other vegetables, +indicate what are the leading articles in a Lenten feast. + +Mr. Pine, the painter, sat for the friar, and from thence acquired the +title of Father Pine. This distinction did not flatter him, and he +frequently requested that the countenance might be altered, but the +artist peremptorily refused. + +[Illustration: GATE OF CALAIS. + +"O THE ROAST BEEF OF OLD ENGLAND."] + + + + +THE POLITICIAN. + + "A politician should (as I have read) + Be furnish'd in the first place with a head." + + +One of our old writers gives it as his opinion, that "there are onlie +two subjects which are worthie the studie of a wise man," i.e. religion +and politics. For the first, it does not come under inquiry in this +print,--but certain it is, that too sedulously studying the second, has +frequently involved its votaries in many most tedious and unprofitable +disputes, and been the source of much evil to many well-meaning and +honest men. Under this class comes the Quidnunc here pourtrayed; it is +said to be intended for a Mr. Tibson, laceman, in the Strand, who paid +more attention to the affairs of Europe, than to those of his own shop. +He is represented in a style somewhat similar to that in which Schalcken +painted William the third,--holding a candle in his right hand, and +eagerly inspecting the Gazetteer of the day. Deeply interested in the +intelligence it contains, concerning the flames that rage on the +Continent, he is totally insensible of domestic danger, and regardless +of a flame, which, ascending to his hat,-- + + "Threatens destruction to his three-tail'd wig." + +From the tie-wig, stockings, high-quartered shoes, and sword, I should +suppose it was painted about the year 1730, when street robberies were +so frequent in the metropolis, that it was customary for men in trade to +wear swords, not to preserve their religion and liberty from foreign +invasion, but to defend their own pockets from "domestic collectors." + +The original sketch Hogarth presented to his friend Forrest; it was +etched by Sherwin, and published in 1775. + +[Illustration: THE POLITICIAN.] + + + + +TASTE IN HIGH LIFE, + +IN THE YEAR 1742. + + +The picture from which this print was copied, Hogarth painted by the +order of Miss Edwards, a woman of large fortune, who having been laughed +at for some singularities in her manners, requested the artist to +recriminate on her opponents, and paid him sixty guineas for his +production. + +It is professedly intended to ridicule the reigning fashions of high +life, in the year 1742: to do this, the painter has brought into one +group, an old beau and an old lady of the Chesterfield school, a +fashionable young lady, a little black boy, and a full-dressed monkey. +The old lady, with a most affected air, poises, between her finger and +thumb, a small tea-cup, with the beauties of which she appears to be +highly enamoured. + +The gentleman, gazing with vacant wonder at that and the companion +saucer which he holds in his hand, joins in admiration of its +astonishing beauties! + + "Each varied colour of the brightest hue, + The green, the red, the yellow, and the blue, + In every part their dazzled eyes behold, + Here streak'd with silver--there enrich'd with gold." + +This gentleman is said to be intended for Lord Portmore, in the habit he +first appeared at Court, on his return from France. The cane dangling +from his wrist, large muff, long queue, black stock, feathered chapeau, +and shoes, give him the air of + + "An old and finish'd fop, + All cork at heel, and feather all at top." + +The old lady's habit, formed of stiff brocade, gives her the appearance +of a squat pyramid, with a grotesque head at the top of it. The young +one is fondling a little black boy, who on his part is playing with a +petite pagoda. This miniature Othello has been said to be intended for +the late Ignatius Sancho, whose talents and virtues were an honour to +his colour. At the time the picture was painted, he would have been +rather older than the figure, but as he was then honoured by the +partiality and protection of a noble family, the painter might possibly +mean to delineate what his figure had been a few years before. + +The little monkey, with a magnifying glass, bag-wig, solitaire, laced +hat, and ruffles, is eagerly inspecting a bill of fare, with the +following articles _pour diner_; cocks' combs, ducks' tongues, rabbits' +ears, fricasee of snails, _grande d'oeufs buerre_. + +In the centre of the room is a capacious china jar; in one corner a +tremendous pyramid, composed of packs of cards, and on the floor close +to them, a bill, inscribed "Lady Basto, D^{r} to John Pip, for +cards,--£300." + +The room is ornamented with several pictures; the principal represents +the Medicean Venus, on a pedestal, in stays and high-heeled shoes, and +holding before her a hoop petticoat, somewhat larger than a fig-leaf; a +Cupid paring down a fat lady to a thin proportion, and another Cupid +blowing up a fire to burn a hoop petticoat, muff, bag, queue wig, &c. On +the dexter side is another picture, representing Monsieur Desnoyer, +operatically habited, dancing in a grand ballet, and surrounded by +butterflies, insects evidently of the same genus with this deity of +dance. On the sinister, is a drawing of exotics, consisting of queue and +bag-wigs, muffs, solitaires, petticoats, French heeled shoes, and other +fantastic fripperies. + +Beneath this is a lady in a pyramidical habit walking the Park; and as +the companion picture, we have a blind man walking the streets. + +The fire-screen is adorned with a drawing of a lady in a sedan-chair-- + + "To conceive how she looks, you must call to your mind + The lady you've seen in a lobster confined, + Or a pagod in some little corner enshrined." + +As Hogarth made this design from the ideas of Miss Edwards, it has been +said that he had no great partiality for his own performance, and that, +as he never would consent to its being engraved, the drawing from which +the first print was copied, was made by the connivance of one of her +servants. Be that as it may, his ridicule on the absurdities of +fashion,--on the folly of collecting old china,--cookery,--card playing, +&c. is pointed, and highly wrought. + +At the sale of Miss Edwards's effects at Kensington, the original +picture was purchased by the father of Mr. Birch, surgeon, of +Essex-street, Strand. + +[Illustration: TASTE IN HIGH LIFE.] + + + + +THE HARLOT'S PROGRESS. + +PLATE I. + + "The snares are set, the plot is laid, + Ruin awaits thee,--hapless maid! + Seduction sly assails thine ear, + And _gloating, foul desire_ is near; + Baneful and blighting are their smiles, + Destruction waits upon their wiles; + Alas! thy guardian angel sleeps, + Vice clasps her hands, and virtue weeps." + + +The general aim of historical painters, says Mr. Ireland, has been to +emblazon some signal exploit of an exalted and distinguished character. +To go through a series of actions, and conduct their hero from the +cradle to the grave, to give a history upon canvass, and tell a story +with the pencil, few of them attempted. Mr. Hogarth saw, with the +intuitive eye of genius, that one path to the Temple of Fame was yet +untrodden: he took Nature for his guide, and gained the summit. He was +the painter of Nature; for he gave, not merely the ground-plan of the +countenance, but marked the features with every impulse of the mind. He +may be denominated the biographical dramatist of domestic life. Leaving +those heroic monarchs who have blazed through their day, with the +destructive brilliancy of a comet, to their adulatory historians, he, +like Lillo, has taken his scenes from humble life, and rendered them a +source of entertainment, instruction, and morality. + +This series of prints gives the history of a Prostitute. The story +commences with her arrival in London, where, initiated in the school of +profligacy, she experiences the miseries consequent to her situation, +and dies in the morning of life. Her variety of wretchedness, forms such +a picture of the way in which vice rewards her votaries, as ought to +warn the young and inexperienced from entering this path of infamy. + +The first scene of this domestic tragedy is laid at the Bell Inn, in +Wood-street, and the heroine may possibly be daughter to the poor old +clergyman who is reading the direction of a letter close to the York +waggon, from which vehicle she has just alighted. In attire--neat, +plain, unadorned; in demeanor--artless, modest, diffident: in the bloom +of youth, and more distinguished by native innocence than elegant +symmetry; her conscious blush, and downcast eyes, attract the attention +of a female fiend, who panders to the vices of the opulent and +libidinous. Coming out of the door of the inn, we discover two men, one +of whom is eagerly gloating on the devoted victim. This is a portrait, +and said to be a strong resemblance of Colonel Francis Chartres. + +The old procuress, immediately after the girl's alighting from the +waggon, addresses her with the familiarity of a friend, rather than the +reserve of one who is to be her mistress. + +Had her father been versed in even the first rudiments of physiognomy, +he would have prevented her engaging with one of so decided an aspect: +for this also is the portrait of a woman infamous in her day: but he, +good, easy man, unsuspicious as Fielding's parson Adams, is wholly +engrossed in the contemplation of a superscription to a letter, +addressed to the bishop of the diocese. So important an object prevents +his attending to his daughter, or regarding the devastation occasioned +by his gaunt and hungry Rozinante having snatched at the straw that +packs up some earthenware, and produced + + "The wreck of flower-pots, and the crash of pans!" + +From the inn she is taken to the house of the procuress, divested of her +home-spun garb, dressed in the gayest style of the day; and the tender +native hue of her complexion incrusted with paint, and disguised by +patches. She is then introduced to Colonel Chartres, and by artful +flattery and liberal promises, becomes intoxicated with the dreams of +imaginary greatness. A short time convinces her of how light a breath +these promises were composed. Deserted by her keeper, and terrified by +threats of an immediate arrest for the pompous paraphernalia of +prostitution, after being a short time protected by one of the tribe of +Levi, she is reduced to the hard necessity of wandering the streets, for +that precarious subsistence which flows from the drunken rake, or +profligate debauchee. Here her situation is truly pitiable! Chilled by +nipping frost and midnight dew, the repentant tear trickling on her +heaving bosom, she endeavours to drown reflection in draughts of +destructive poison. This, added to the contagious company of women of +her own description, vitiates her mind, eradicates the native seeds of +virtue, destroys that elegant and fascinating simplicity, which gives +additional charms to beauty, and leaves, in its place, art, affectation, +and impudence. + +Neither the painter of a sublime picture, nor the writer of an heroic +poem, should introduce any trivial circumstances that are likely to draw +the attention from the principal figures. Such compositions should form +one great whole: minute detail will inevitably weaken their effect. But +in little stories, which record the domestic incidents of familiar life, +these accessary accompaniments, though trifling in themselves, acquire a +consequence from their situation; they add to the interest, and realise +the scene. In this, as in almost all that were delineated by Mr. +Hogarth, we see a close regard paid to things as they then were; by +which means his prints become a sort of historical record of the manners +of the age. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 1. + +ENSNARED BY A PROCURESS.] + + + + +THE HARLOT'S PROGRESS. + +PLATE II. + + "Ah! why so vain, though blooming in thy spring, + Thou shining, frail, adorn'd, but wretched thing + Old age will come; disease may come before, + And twenty prove as fatal as threescore!" + + +Entered into the path of infamy, the next scene exhibits our young +heroine the mistress of a rich Jew, attended by a black boy,[1] and +surrounded with the pompous parade of tasteless profusion. Her mind +being now as depraved, as her person is decorated, she keeps up the +spirit of her character by extravagance and inconstancy. An example of +the first is exhibited in the monkey being suffered to drag her rich +head-dress round the room, and of the second in the retiring gallant. +The Hebrew is represented at breakfast with his mistress; but, having +come earlier than was expected, the favourite has not departed. To +secure his retreat is an exercise for the invention of both mistress and +maid. This is accomplished by the lady finding a pretence for +quarrelling with the Jew, kicking down the tea-table, and scalding his +legs, which, added to the noise of the china, so far engrosses his +attention, that the paramour, assisted by the servant, escapes +discovery. + +The subjects of two pictures, with which the room is decorated, are +David dancing before the ark, and Jonah seated under a gourd. They are +placed there, not merely as circumstances which belong to Jewish story, +but as a piece of covert ridicule on the old masters, who generally +painted from the ideas of others, and repeated the same tale _ad +infinitum_. On the toilet-table we discover a mask, which well enough +intimates where she had passed part of the preceding night, and that +masquerades, then a very fashionable amusement, were much frequented by +women of this description; a sufficient reason for their being avoided +by those of an opposite character. + +Under the protection of this disciple of Moses she could not remain +long. Riches were his only attraction, and though profusely lavished on +this unworthy object, her attachment was not to be obtained, nor could +her constancy be secured; repeated acts of infidelity are punished by +dismission; and her next situation shows, that like most of the +sisterhood, she had lived without apprehension of the sunshine of life +being darkened by the passing cloud, and made no provision for the hour +of adversity. + +In this print the characters are marked with a master's hand. The +insolent air of the harlot, the astonishment of the Jew, eagerly +grasping at the falling table, the start of the black boy, the cautious +trip of the ungartered and barefooted retreating gallant, and the sudden +spring of the scalded monkey, are admirably expressed. To represent an +object in its descent, has been said to be impossible; the attempt has +seldom succeeded; but, in this print, the tea equipage really appears +falling to the floor; and, in Rembrandt's Abraham's Offering, in the +Houghton collection, now at Petersburg, the knife dropping from the hand +of the patriarch, appears in a falling state. + +Quin compared Garrick in Othello to the black boy with the tea-kettle, a +circumstance that by no means encouraged our Roscius to continue acting +the part. Indeed, when his face was obscured, his chief power of +expression was lost; and then, and not till then, was he reduced to a +level with several other performers. It has been remarked, however, that +Garrick said of himself, that when he appeared in Othello, Quin, he +supposed, would say, "Here's Pompey! where's the tea-kettle?" + +FOOTNOTE: + +[1] The attendant black boy gave the foundation of an ill-natured remark +by Quin, when Garrick once attempted the part of Othello. "He pretend to +play Othello!" said the surly satirist; "He pretend to play Othello! He +wants nothing but the tea-kettle and lamp, to qualify him for Hogarth's +Pompey!" + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 2. + +QUARRELS WITH HER JEW PROTECTOR.] + + + + + +THE HARLOT'S PROGRESS. + +PLATE III. + + "Reproach, scorn, infamy, and hate, + On all thy future steps shall wait; + Thy furor be loath'd by every eye, + And every foot thy presence fly." + + +We here see this child of misfortune fallen from her high estate! Her +magnificent apartment is quitted for a dreary lodging in the purlieus of +Drury-lane; she is at breakfast, and every object exhibits marks of the +most wretched penury: her silver tea-kettle is changed for a tin pot, +and her highly decorated toilet gives place to an old leaf table, +strewed with the relics of the last night's revel, and ornamented with a +broken looking-glass. Around the room are scattered tobacco-pipes, gin +measures, and pewter pots; emblems of the habits of life into which she +is initiated, and the company which she now keeps: this is farther +intimated by the wig-box of James Dalton, a notorious street-robber, who +was afterwards executed. In her hand she displays a watch, which might +be either presented to her, or stolen from her last night's gallant. By +the nostrums which ornament the broken window, we see that poverty is +not her only evil. + +The dreary and comfortless appearance of every object in this wretched +receptacle, the bit of butter on a piece of paper, the candle in a +bottle, the basin upon a chair, the punch-bowl and comb upon the table, +and the tobacco-pipes, &c. strewed upon the unswept floor, give an +admirable picture of the style in which this pride of Drury-lane ate her +matin meal. The pictures which ornament the room are, Abraham offering +up Isaac, and a portrait of the Virgin Mary; Dr. Sacheverell and +Macheath the highwayman, are companion prints. There is some +whimsicality in placing the two ladies under a canopy, formed by the +unnailed valance of the bed, and characteristically crowned by the +wig-box of a highwayman. + +When Theodore, the unfortunate king of Corsica, was so reduced as to +lodge in a garret in Dean-street, Soho, a number of gentlemen made a +collection for his relief. The chairman of their committee informed him, +by letter, that on the following day, at twelve o'clock, two of the +society would wait upon his majesty with the money. To give his attic +apartment an appearance of royalty, the poor monarch placed an +arm-chair on his half-testered bed, and seating himself under the +scanty canopy, gave what he thought might serve as the representation of +a throne. When his two visitors entered the room, he graciously held out +his right hand, that they might have the honour of--kissing it! + +A magistrate, cautiously entering the room, with his attendant +constables, commits her to a house of correction, where our legislators +wisely suppose, that being confined to the improving conversation of her +associates in vice, must have a powerful tendency towards the +reformation of her manners. Sir John Gonson, a justice of peace, very +active in the suppression of brothels, is the person represented. In _a +View of the Town in 1735_, by T. Gilbert, fellow of Peterhouse, +Cambridge, are the following lines: + + "Though laws severe to punish crimes were made, + What honest man is of these laws afraid? + All felons against judges will exclaim, + As harlots tremble at a Gonson's name." + +Pope has noticed him in his Imitation of Dr. Donne, and Loveling, in a +very elegant Latin ode. Thus, between the poets and the painter, the +name of this harlot-hunting justice, is transmitted to posterity. He +died on the 9th of January, 1765. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 3. + +APPREHENDED BY A MAGISTRATE.] + + + + +THE HARLOT'S PROGRESS. + +PLATE IV. + + With pallid cheek and haggard eye, + And loud laments, and heartfelt sigh, + Unpitied, hopeless of relief, + She drinks the bitter cup of grief. + + In vain the sigh, in vain the tear, + Compassion never enters here; + But justice clanks her iron chain, + And calls forth shame, remorse, and pain. + + +The situation, in which the last plate exhibited our wretched female, +was sufficiently degrading, but in this, her misery is greatly +aggravated. We now see her suffering the chastisement due to her +follies; reduced to the wretched alternative of beating hemp, or +receiving the correction of a savage task-master. Exposed to the +derision of all around, even her own servant, who is well acquainted +with the rules of the place, appears little disposed to show any return +of gratitude for recent obligations, though even her shoes, which she +displays while tying up her garter, seem by their gaudy outside to have +been a present from her mistress. The civil discipline of the stern +keeper has all the severity of the old school. With the true spirit of +tyranny, he sentences those who will not labour to the whipping-post, to +a kind of picketing suspension by the wrists, or having a heavy log +fastened to their leg. With the last of these punishments he at this +moment threatens the heroine of our story, nor is it likely that his +obduracy can be softened except by a well applied fee. How dreadful, how +mortifying the situation! These accumulated evils might perhaps produce +a momentary remorse, but a return to the path of virtue is not so easy +as a departure from it. + +To show that neither the dread, nor endurance, of the severest +punishment, will deter from the perpetration of crimes, a one-eyed +female, close to the keeper, is picking a pocket. The torn card may +probably be dropped by the well-dressed gamester, who has exchanged the +dice-box for the mallet, and whose laced hat is hung up as a companion +trophy to the hoop-petticoat. + +One of the girls appears scarcely in her teens. To the disgrace of our +police, these unfortunate little wanderers are still suffered to take +their nocturnal rambles in the most public streets of the metropolis. +What heart, so void of sensibility, as not to heave a pitying sigh at +their deplorable situation? Vice is not confined to colour, for a black +woman is ludicrously exhibited, as suffering the penalty of those +frailties, which are imagined peculiar to the fair. + +The figure chalked as dangling upon the wall, with a pipe in his mouth, +is intended as a caricatured portrait of Sir John Gonson, and probably +the production of some would-be artist, whom the magistrate had +committed to Bridewell, as a proper academy for the pursuit of his +studies. The inscription upon the pillory, "Better to work than stand +thus;" and that on the whipping-post near the laced gambler, "The reward +of idleness," are judiciously introduced. + +In this print the composition is good: the figures in the back-ground, +though properly subordinate, are sufficiently marked; the lassitude of +the principal character, well contrasted by the austerity of the rigid +overseer. There is a fine climax of female debasement, from the gaudy +heroine of our drama, to her maid, and from thence to the still object, +who is represented as destroying one of the plagues of Egypt. + +Such well dressed females, as our heroine, are rarely met with in our +present houses of correction; but her splendid appearance is +sufficiently warranted by the following paragraph in the Grub-street +Journal of September 14th, 1730. + +"One Mary Moffat, a woman of great note in the hundreds of Drury, who, +about a fortnight ago, was committed to hard labour in Tothill-fields +Bridewell, by nine justices, brought his majesty's writ of _habeas +corpus_, and was carried before the right honourable the Lord Chief +Justice Raymond, expecting to have been either bailed or discharged; but +her commitment appearing to be legal, his lordship thought fit to remand +her back again to her former place of confinement, where she is now +beating hemp in a gown very richly laced with silver." + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 4. + +SCENE IN BRIDEWELL.] + + + + +THE HARLOT'S PROGRESS. + +PLATE V. + + With keen remorse, deep sighs, and trembling fears + Repentant groans, and unavailing tears, + This child of misery resigns her breath, + And sinks, despondent, in the arms of death. + + +Released from Bridewell, we now see this victim to her own indiscretion +breathe her last sad sigh, and expire in all the extremity of penury and +wretchedness. The two quacks, whose injudicious treatment, has probably +accelerated her death, are vociferously supporting the infallibility of +their respective medicines, and each charging the other with having +poisoned her. The meagre figure is a portrait of Dr. Misaubin, a +foreigner, at that time in considerable practice. + +These disputes, it has been affirmed, sometimes happen at a consultation +of regular physicians, and a patient has been so unpolite as to die +before they could determine on the name of his disorder. + + "About the symptoms how they disagree, + But how unanimous about the fee!" + +While the maid servant is entreating them to cease quarrelling, and +assist her dying mistress, the nurse plunders her trunk of the few poor +remains of former grandeur. Her little boy, turning a scanty remnant of +meat hung to roast by a string; the linen hanging to dry; the coals +deposited in a corner; the candles, bellows, and gridiron hung upon +nails; the furniture of the room; and indeed every accompaniment; +exhibit a dreary display of poverty and wretchedness. Over the candles +hangs a cake of Jew's Bread, once perhaps the property of her Levitical +lover, and now used as a fly-trap. The initials of her name, M. H. are +smoked upon the ceiling as a kind of _memento mori_ to the next +inhabitant. On the floor lies a paper inscribed "anodyne necklace," at +that time deemed a sort of charm against the disorders incident to +children; and near the fire, a tobacco-pipe, and paper of pills. + +A picture of general, and at this awful moment, indecent confusion, is +admirably represented. The noise of two enraged quacks disputing in bad +English; the harsh, vulgar scream of the maid servant; the table +falling, and the pot boiling over, must produce a combination of sounds +dreadful and dissonant to the ear. In this pitiable situation, without a +friend to close her dying eyes, or soften her sufferings by a tributary +tear; forlorn, destitute, and deserted, the heroine of this eventful +history expires! her premature death, brought on by a licentious life, +seven years of which had been devoted to debauchery and dissipation, and +attended by consequent infamy, misery, and disease. The whole story +affords a valuable lesson to the young and inexperienced, and proves +this great, this important truth, that A DEVIATION FROM VIRTUE IS A +DEPARTURE FROM HAPPINESS. + +The emaciated appearance of the dying figure, the boy's thoughtless +inattention, and the rapacious, unfeeling eagerness of the old nurse, +are naturally and forcibly delineated. + +The figures are well grouped; the curtain gives depth, and forms a good +back-ground to the doctor's head; the light is judiciously distributed, +and each accompaniment highly appropriate. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 5. + +EXPIRES WHILE THE DOCTORS ARE DISPUTING.] + + + + +THE HARLOT'S PROGRESS. + +PLATE VI. + + "No friend's complaint, no kind domestic tear, + Pleas'd thy pale ghost, or grac'd thy mournful bier: + By harlots' hands thy dying eyes were clos'd; + By harlots' hands thy decent limbs compos'd; + By harlots' hands thy humble grave adorn'd; + By harlots honour'd, and by harlots mourn'd." + + +The adventures of our heroine are now concluded. She is no longer an +actor in her own tragedy; and there are those who have considered this +print as a farce at the end of it: but surely such was not the author's +intention. + +The ingenious writer of Tristram Shandy begins the life of his hero +before he is born; the picturesque biographer of Mary Hackabout has +found an opportunity to convey admonition, and enforce his moral, after +her death. A wish usually prevails, even among those who are most +humbled by their own indiscretion, that some respect should be paid to +their remains; that their eyes should be closed by the tender hand of a +surviving friend, and the tear of sympathy and regret shed upon the sod +which covers their grave; that those who loved them living, should +attend their last sad obsequies; and a sacred character read over them +the awful service which our religion ordains, with the solemnity it +demands. The memory of this votary of prostitution meets with no such +marks of social attention, or pious respect. The preparations for her +funeral are as licentious as the progress of her life, and the contagion +of her example seems to reach all who surround her coffin. One of them +is engaged in the double trade of seduction and thievery; a second is +contemplating her own face in a mirror. The female who is gazing at the +corpse, displays some marks of concern, and feels a momentary +compunction at viewing the melancholy scene before her: but if any other +part of the company are in a degree affected, it is a mere maudlin +sorrow, kept up by glasses of strong liquor. The depraved priest does +not seem likely to feel for the dead that hope expressed in our liturgy. +The appearance and employment of almost every one present at this +mockery of woe, is such as must raise disgust in the breast of any +female who has the least tincture of delicacy, and excite a wish that +such an exhibition may not be displayed at her own funeral. + +In this plate there are some local customs which mark the manners of the +times when it was engraved, but are now generally disused, except in +some of the provinces very distant from the capital; sprigs of rosemary +were then given to each of the mourners: to appear at a funeral without +one, was as great an indecorum as to be without a white handkerchief. +This custom might probably originate at a time when the plague +depopulated the metropolis, and rosemary was deemed an antidote against +contagion. It must be acknowledged that there are also in this print +some things which, though they gave the artist an opportunity of +displaying his humour, are violations of propriety and customs: such is +her child, but a few removes from infancy, being habited as chief +mourner, to attend his parent to the grave; rings presented, and an +escutcheon hung up, in a garret, at the funeral of a needy prostitute. +The whole may be intended as a burlesque upon ostentatious and expensive +funerals, which were then more customary than they are now. Mr. Pope has +well ridiculed the same folly; + + "When Hopkins dies, a thousand lights attend + The wretch who, living, sav'd a candle's end." + +The figures have much characteristic discrimination; the woman looking +into the coffin has more beauty than we generally see in the works of +this artist. The undertaker's gloating stare, his companion's leer, the +internal satisfaction of the parson and his next neighbour, are +contrasted by the Irish howl of the woman at the opposite side, and +evince Mr. Hogarth's thorough knowledge of the operation of the passions +upon the features. The composition forms a good shape, has a proper +depth, and the light is well managed. + +Sir James Thornhill's opinion of this series may be inferred from the +following circumstance. Mr. Hogarth had without consent married his +daughter: Sir James, considering him as an obscure artist, was much +displeased with the connexion. To give him a better opinion of his +son-in-law, a common friend, one morning, privately conveyed the six +pictures of the Harlot's Progress into his drawing-room. The veteran +painter eagerly inquired who was the artist; and being told, cried out, +"Very well! Very well indeed! The man who can paint such pictures as +these, can maintain a wife without a portion." This was the remark of +the moment; but he afterwards considered the union of his daughter with +a man of such abilities an honour to his family, was reconciled, and +generous. + +When the publication was advertised, such was the expectation of the +town, that above twelve hundred names were entered in the subscription +book. When the prints appeared, they were beheld with astonishment. A +subject so novel in the idea, so marked with genius in the execution, +excited the most eager attention of the public. At a time when England +was coldly inattentive to every thing which related to the arts, so +desirous were all ranks of people of seeing how this little domestic +story was delineated, that there were eight piratical imitations, +besides two copies in a smaller size than the original, published, by +permission of the author, for Thomas Bakewell. The whole series were +copied on fan-mounts, representing the six plates, three on one side, +and three on the other. It was transferred from the copper to the stage, +in the form of a pantomime, by Theophilus Cibber; and again represented +in a ballad opera, entitled, the Jew Decoyed; or, the Harlot's +Progress. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 6. + +THE FUNERAL.] + + + + +THE LECTURE. + +DATUR VACUUM. + + "No wonder that science, and learning profound, + In Oxford and Cambridge so greatly abound, + When so many take thither a little each day, + And we see very few who bring any away." + + +I was once told by a fellow of a college, says Mr. Ireland, that he +disliked Hogarth, because he had in this print ridiculed one of the +Universities. I endeavoured to defend the artist, by suggesting that +this was not intended as a picture of what Oxford is now, but of what it +was in days long past: that it was that kind of general satire with +which no one should be offended, &c. &c. His reply was too memorable to +be forgotten. "Sir, the Theatre, the Bench, the College of Physicians, +and the Foot Guards, are fair objects of satire; but those venerable +characters who have devoted their whole lives to feeding the lamp of +learning with hallowed oil, are too sacred to be the sport of an +uneducated painter. Their unremitting industry embraced the whole circle +of the sciences, and in their logical disputations they displayed an +acuteness that their followers must contemplate with astonishment. The +present state of Oxford it is not necessary for me to analyze, as you +contend that the satire is not directed against that." + +In answer to this observation, which was uttered with becoming gravity, +a gentleman present remarked, as follows. "For some of the ancient +customs of this seminary of learning, I have much respect, but as to +their dry treatises on logic, immaterial dissertations on materiality, +and abstruse investigations of useless subjects, they are mere literary +legerdemain. Their disputations being usually built on an undefinable +chimera, are solved by a paradox. Instead of exercising their power of +reason they exert their powers of sophistry, and divide and subdivide +every subject with such casuistical minuteness, that those who are not +convinced, are almost invariably confounded. This custom, it must be +granted, is not quite so prevalent as it once was: a general spirit of +reform is rapidly diffusing itself; and though I have heard cold-blooded +declaimers assert, that these shades of science are become the retreats +of ignorance, and the haunts of dissipation, I consider them as the +great schools of urbanity, and favourite seats of the _belles lettres_. +By the _belles lettres_, I mean history, biography, and poetry; that all +these are universally cultivated, I can exemplify by the manner in which +a highly accomplished young man, who is considered as a model by his +fellow-collegians, divides his hours. + +"At breakfast I found him studying the marvellous and eventful history +of Baron Munchausen; a work whose periods are equally free from the +long-winded obscurity of Tacitus, and the asthmatic terseness of +Sallust. While his hair was dressing, he enlarged his imagination and +improved his morals by studying Doctor what's his name's abridgement of +Chesterfield's Principles of Politeness. To furnish himself with +biographical information, and add to his stock of useful anecdote, he +studied the Lives of the Highwaymen; in which he found many +opportunities of exercising his genius and judgment in drawing parallels +between the virtues and exploits of these modern worthies, and those +dignified, and almost deified ancient heroes whose deeds are recorded in +Plutarch and Nepos. + +"With poetical studies, he is furnished by the English operas, which, +added to the prologues, epilogues, and odes of the day, afford him +higher entertainment than he could find in Homer or Virgil: he has not +stored his memory with many epigrams, but of puns has a plentiful stock, +and in _conundra_ is a wholesale dealer. At the same college I know a +most striking contrast, whose reading"--But as his opponent would hear +no more, my advocate dropped the subject; and I will follow his example. + +It seems probable, that when the artist engraved this print, he had only +a general reference to an university lecture; the words _datur vacuum_ +were an after-thought. Some prints are without the inscription, and in +some of the early impressions it is written with a pen. + +The scene is laid at Oxford, and the person reading, universally +admitted to be a Mr. Fisher, of Jesus College, _registrat_ of the +university, with whose consent this portrait was taken, and who lived +until the 18th of March, 1761. That he should wish to have such a face +handed down to posterity, in such company, is rather extraordinary, for +all the band, except one man, have been steeped in the stream of +stupidity. This gentleman has the profile of penetration; a projecting +forehead, a Roman nose, thin lips, and a long pointed chin. His eye is +bent on vacancy: it is evidently directed to the moon-faced idiot that +crowns the pyramid, at whose round head, contrasted by a cornered cap, +he with difficulty suppresses a laugh. Three fellows on the right hand +of this fat, contented "first-born transmitter of a foolish face," have +most degraded characters, and are much fitter for the stable than the +college. If they ever read, it must be in Bracken's Farriery, or the +Country Gentleman's Recreation. Two square-capped students a little +beneath the top, one of whom is holding converse with an adjoining +profile, and the other lifting up his eyebrows, and staring without +sight, have the same misfortune that attended our first James--their +tongues are rather too large. A figure in the left-hand corner has shut +his eyes to think; and having, in his attempt to separate a syllogism, +placed the forefinger of his right hand upon his forehead, has fallen +asleep. The professor, a little above the book, endeavours by a +projection of his under lip to assume importance; such characters are +not uncommon: they are more solicitous to look wise, than to be so. Of +Mr. Fisher it is not necessary to say much: he sat for his portrait, for +the express purpose of having it inserted in the Lecture!--We want no +other testimony of his talents. + +[Illustration: THE LECTURE.] + + + + +THE CHORUS. + +REHEARSAL OF THE ORATORIO OF JUDITH. + + "O _cara, cara!_ silence all that train, + Joy to great _chaos!_ let division reign." + + +The Oratorio of Judith, Mr. Ireland observes, was written by Esquire +William Huggins, honoured by the music of William de Fesch, aided by new +painted scenery and _magnifique_ decoration, and in the year 1733 +brought upon the stage. As De Fesch[2] was a German and a genius, we may +fairly presume it was well set; and there was at that time, as at this, +a sort of musical mania, that paid much greater attention to sounds than +to sense; notwithstanding all these points in her favour, when the +Jewish heroine had made her theatrical _début_, and so effectually smote +Holofernes, + + ----"As to sever + His head from his great trunk for ever and for ever." + +the audience compelled her to make her exit. To set aside this partial +and unjust decree, Mr. Huggins appealed to the public, and printed his +oratorio. Though it was adorned with a frontispiece designed by Hogarth, +and engraved by Vandergucht, the world could not be compelled to read, +and the unhappy writer had no other resource than the consolatory +reflection, that his work was superlatively excellent, but unluckily +printed in a tasteless age; a comfortable and solacing self-consciousness, +which hath, I verily believe, prevented many a great genius from becoming +his own executioner. + +To paint a sound is impossible; but as far as art can go towards it, +Hogarth has gone in this print. The tenor, treble, and bass of these +ear-piercing choristers are so decisively discriminated, that we all but +hear them. + +The principal figure, whose head, hands, and feet are in equal +agitation, has very properly tied on his spectacles; it would have been +prudent to have tied on his periwig also, for by the energy of his +action he has shaken it from his head, and, absorbed in an eager +attention to true time, is totally unconscious of his loss. + +A gentleman--pardon me, I meant a singer--in a bag wig, immediately +beneath his uplifted hand, I suspect to be of foreign growth. It has the +engaging air of an importation from Italy. + +The little figure in the sinister corner, is, it seems, intended for a +Mr. Tothall, a woollen-draper, who lived in Tavistock-court, and was +Hogarth's intimate friend. + +The name of the performer on his right hand, + + ----"Whose growling bass + Would drown the clarion of the braying ass," + +I cannot learn, nor do I think that this group were meant for particular +portraits, but a general representation of the violent distortions into +which these crotchet-mongers draw their features on such solemn +occasions. + +Even the head of the bass-viol has air and character: by the band under +the chin, it gives some idea of a professor, or what is, I think, called +a Mus. D. + +The words now singing, "The world shall bow to the Assyrian throne," are +extracted from Mr. Huggins' oratorio; the etching is in a most masterly +style, and was originally given as a subscription ticket to the Modern +Midnight Conversation. + +I have seen a small political print on Sir Robert Walpole's +administration, entitled, "Excise, a new Ballad Opera," of which this +was unquestionably the basis. Beneath it is the following learned and +poetical motto: + + "_Experto crede Roberto._" + + "Mind how each hireling songster tunes his throat, + And the vile knight beats time to every note: + So Nero sung while Rome was all in flames, + But time shall brand with infamy their names." + +FOOTNOTE: + +[2] He was a respectable performer on the violin, some years +chapel-master at Antwerp, and several seasons leader of the band at +Marybone Gardens. He published a collection of musical compositions, to +which was annexed a portrait of himself, characterised by three lines +from Milton: + + "Thou honour'dst verse, and verse must lend her wing + To honour thee, the priest of Phoebus' quire, + That tun'st her happiest lines in hymn or song." + +He died in 1750, aged seventy years, and gives one additional name to a +catalogue I have somewhere seen of very old professors of music, who, +saith my author, "generally live unto a greater age than persons in any +other way of life, from their souls being so attuned unto harmony, that +they enjoy a perpetual peace of mind." It has been observed, and I +believe justly, that thinking is a great enemy to longevity, and that, +consequently, they who think least will be likely to live longest. The +quantity of thought necessary to make an adept in this divine science, +must be determined by those who have studied it.--It would seem by this +remark, that Mr. Ireland was not aware that to acquire proficiency in +the divine science to which he so pleasantly alludes, requires great +application and study. + +[Illustration: THE CHORUS.] + + + + + +COLUMBUS BREAKING THE EGG. + + +By the success of Columbus's first voyage, doubt had been changed into +admiration; from the honours with which he was rewarded, admiration +degenerated into envy. To deny that his discovery carried in its train +consequences infinitely more important than had resulted from any made +since the creation, was impossible. His enemies had recourse to another +expedient, and boldly asserted that there was neither wisdom in the +plan, nor hazard in the enterprise. + +When he was once at a Spanish supper, the company took this ground, and +being by his narrative furnished with the reflections which had induced +him to undertake his voyage, and the course that he had pursued in its +completion, sagaciously observed, that "it was impossible for any man, a +degree above an idiot, to have failed of success. The whole process was +so obvious, it must have been seen by a man who was half blind! Nothing +could be so easy!" + +"It is not difficult now I have pointed out the way," was the answer of +Columbus: "but easy as it will appear, when you are possessed of my +method, I do not believe that, without such instruction, any person +present could place one of these eggs upright on the table." The cloth, +knives, and forks were thrown aside, and two of the party, placing their +eggs as required, kept them steady with their fingers. One of them swore +there could be no other way. "We will try," said the navigator; and +giving an egg, which he held in his hand, a smart stroke upon the table, +it remained upright. The emotions which this excited in the company are +expressed in their countenances. In the be-ruffed booby at his left hand +it raises astonishment; he is a DEAR ME! man, of the same family with +Sterne's Simple Traveller, and came from Amiens only yesterday. The +fellow behind him, beating his head, curses his own stupidity; and the +whiskered ruffian, with his fore-finger on the egg, is in his heart +cursing Columbus. As to the two veterans on the other side, they have +lived too long to be agitated with trifles: he who wears a cap, +exclaims, "Is this all!" and the other, with a bald head, "By St. Jago, +I did not think of that!" In the face of Columbus there is not that +violent and excessive triumph which is exhibited by little characters on +little occasions; he is too elevated to be overbearing; and, pointing to +the conical solution of his problematical conundrum, displays a calm +superiority, and silent internal contempt. + +Two eels, twisted round the eggs upon the dish, are introduced as +specimens of the line of beauty; which is again displayed on the +table-cloth, and hinted at on the knife-blade. In all these curves there +is peculiar propriety; for the etching was given as a receipt-ticket to +the Analysis, where this favourite undulating line forms the basis of +his system. + +In the print of Columbus, there is evident reference to the criticisms +on what Hogarth called his own discovery; and in truth the connoisseurs' +remarks on the painter were dictated by a similar spirit to those of the +critics on the navigator: they first asserted there was no such line, +and when he had proved that there was, gave the honour of discovery to +Lomazzo, Michael Angelo, &c. &c. + +[Illustration: COLUMBUS BREAKING THE EGG.] + + + + +A MIDNIGHT MODERN CONVERSATION. + + "Think not to find one meant resemblance there; + We lash the vices, but the persons spare. + Prints should be priz'd, as authors should be read, + Who sharply smile prevailing folly dead. + So Rabelais laugh'd, and so Cervantes thought; + So nature dictated what art has taught." + + +Notwithstanding this inscription, which was engraved on the plate some +time after its publication, it is very certain that most of these +figures were intended for individual portraits; but Mr. Hogarth, not +wishing to be considered as a personal satirist, and fearful of making +enemies among his contemporaries, would never acknowledge who were the +characters. Some of them the world might perhaps mistake; for though the +author was faithful in delineating whatever he intended to portray, +complete intoxication so far caricatures the countenance, that, +according to the old, though trite proverb, "the man is not himself." +His portrait, though given with the utmost fidelity, will scarcely be +known by his most intimate friends, unless they have previously seen him +in this degrading disguise. Hence, it becomes difficult to identify men +whom the painter did not choose to point out at the time; and a century +having elapsed, it becomes impossible, for all who composed the group, +with the artist by whom it was delineated, + + Shake hands with dust, and call the worm their kinsman. + +Mrs. Piozzi was of opinion that the divine with a cork-screw, +occasionally used as a tobacco-stopper, hanging upon his little finger, +was the portrait of parson Ford, Dr. Johnson's uncle; though, upon the +authority of Sir John Hawkins, of anecdotish memory, it has been +generally supposed to be intended for Orator Henley. As both these +worthies were distinguished by that rubicundity of face with which it is +marked, the reader may decree the honour of a sitting to which he +pleases. + +The roaring bacchanalian who stands next him, waving his glass in the +air, has pulled off his wig, and, in the zeal of his friendship, crowns +the divine's head. He is evidently drinking destruction to fanatics, and +success to mother church, or a mitre to the jolly parson whom he +addresses. + +The lawyer, who sits near him, is a portrait of one Kettleby, a +vociferous bar-orator, who, though an utter barrister, chose to +distinguish himself by wearing an enormous full-bottom wig, in which he +is here represented. He was farther remarkable for a diabolical squint, +and a satanic smile. + +A poor maudlin miserable, who is addressing him, when sober, must be a +fool; but, in this state, it would puzzle Lavater to assign him a proper +class. He seems endeavouring to demonstrate to the lawyer, that, in a +poi--poi--point of law, he has been most cruelly cheated, and lost a +cau--cau--cause, that he ought to have got,--and all this was owing to +his attorney being an infernal villain. This may very probably be true; +for the poor man's tears show that, like the person relieved by the good +Samaritan, he has been among thieves. The barrister grins horribly at +his misfortunes, and tells him he is properly punished for not employing +a gentleman. + +Next to him sits a gentleman in a black periwig. He politely turns his +back to the company, that he may have the pleasure of smoking a sociable +pipe. + +The justice, "in fair round belly, with good capon lin'd,"--the justice, +having hung up his hat, wig, and cloak, puts on his nightcap, and, with +a goblet of superior capacity before him, sits in solemn cogitation. His +left elbow, supported by the table, and his right by a chair, with a +pipe in one hand, and a stopper in the other, he puffs out the bland +vapour with the dignity of an alderman, and fancies himself as great as +Jupiter, seated upon the summit of Mount Olympus, enveloped by the thick +cloud which his own breath has created. + +With folded arms and open mouth, another leans back in his chair. His +wig is dropped from his head, and he is asleep; but though speechless, +he is sonorous; for you clearly perceive that, where nasal sounds are +the music, he is qualified to be leader of the band. + +The fallen hero, who with his chair and goblet has tumbled to the floor, +by the cockade in his hat, we suppose to be an officer. His forehead is +marked, perhaps with honourable scars. To wash his wounds, and cool his +head, the staggering apothecary bathes it with brandy. + +A gentleman in the corner, who, from having the Craftsman and London +Evening in his pocket, we determine to be a politician, very unluckily +mistakes his ruffle for the bowl of his pipe, and sets fire to it. + +The person in a bag-wig and solitaire, with his hand upon his head, +would not now pass for a fine gentleman, but in the year 1735 was a +complete beau. Unaccustomed to such joyous company, he appears to have +drank rather more than agrees with him. + +The company consists of eleven, and on the chimney-piece, floor, and +table, are three and twenty empty flasks. These, added to a bottle which +the apothecary holds in his hand, prove that this select society have +not lost a moment. The overflowing bowl, full goblets, and charged +glasses, prove that they think, "'Tis too early to part," though the +dial points to four in the morning. + +The different degrees of drunkenness are well discriminated, and its +effects admirably described. The poor simpleton, who is weeping out his +woes to honest lawyer Kettleby, it makes mawkish; the beau it makes +sick; and the politician it stupifies. One is excited to roaring, and +another lulled to sleep. It half closes the eyes of justice, renders the +footing of physic unsure, and lays prostrate the glory of his country, +and the pride of war. + +[Illustration: A MIDNIGHT MODERN CONVERSATION.] + + + + +CONSULTATION OF PHYSICIANS--THE UNDERTAKERS' ARMS. + + +This plate is designed, with much humour, according to the rules of +heraldry, and is called The Undertakers' Arms, to show us the connexion +between death and the quack doctor, as are also those cross-bones on the +outside of the escutcheon. When an undertaker is in want of business, he +cannot better apply than to some of those gentlemen of the faculty, who +are, for the most part, so charitably disposed, as to supply the +necessities of these sable death-hunters, and keep them from starving in +a healthy time. By the tenour of this piece, Mr. Hogarth would intimate +the general ignorance of such of the medical tribe, and teach us that +they possess little more knowledge than their voluminous wigs and +golden-headed canes. They are represented in deep consultation upon the +contents of an urinal. Our artist's own illustration of this coat of +arms, as he calls it, is as follows: "The company of undertakers +beareth, sable, an urinal, proper between twelve quack heads of the +second, and twelve cane heads, or, consultant. On a chief, _Nebulæ_, +ermine, one complete doctor, issuant, checkie, sustaining in his right +hand a baton of the second. On the dexter and sinister sides, two +demi-doctors, issuant of the second, and two cane heads, issuant of the +third; the first having one eye, couchant, towards the dexter side of +the escutcheon; the second faced, per pale, proper, and gules guardant. +With this motto, _Et plurima mortis imago_. The general image of death." + +It has been said of the ancients, that they began by attempting to make +physic a science, and failed; of the moderns, that they began by +attempting to make it a trade, and succeeded. This company are moderns +to a man, and, if we may judge of their capacities by their +countenances, are indeed a most sapient society. Their practice is very +extensive, and they go about, taking guineas, + + Far as the weekly bills can reach around, + From Kent-street end, to fam'd St. Giles's pound. + +Many of them are unquestionably portraits, but as these grave and sage +descendants of Galen are long since gone to that place where they before +sent their patients, we are unable to ascertain any of them, except the +three who are, for distinction, placed in the chief, or most honourable +part of the escutcheon. Those who, from their exalted situation, we may +naturally conclude the most distinguished and sagacious leeches of +their day, have marks too obtrusive to be mistaken. He towards the +dexter side of the escutcheon, is determined by an eye in the head of +his cane to be the all-accomplished Chevalier Taylor, in whose +marvellous and surprising history, written by his own hand, and +published in 1761, is recorded such events relative to himself and +others, as have excited more astonishment than that incomparable +romance, Don Belianis of Greece, the Arabian Nights, or Sir John +Mandeville's Travels. + +The centre figure, arrayed in a harlequin jacket, with a bone, or what +the painter denominates a baton, in the right hand, is generally +considered designed for Mrs. Mapp, a masculine woman, daughter to one +Wallin, a bone-setter at Hindon, in Wiltshire. This female Thalestris, +incompatible as it may seem with her sex, adopted her father's +profession, travelled about the country, calling herself Crazy Sally; +and, like another Hercules, did wonders by strength of arm. + +On the sinister side is Dr. Ward, generally called Spot Ward, from his +left cheek being marked with a claret colour. This gentleman was of a +respectable family, and though not highly educated, had talents very +superior to either of his coadjutors. + +For the chief, this must suffice; as for the twelve quack heads, and +twelve cane heads, or, consultant, united with the cross bones at the +corners, they have a most mortuary appearance, and do indeed convey a +general image of death. + +In the time of Lucian, a philosopher was distinguished by three +things,--his avarice, his impudence, and his beard. In the time of +Hogarth, medicine was a mystery, and there were three things which +distinguished the physician,--his gravity, his cane-head, and his +periwig. With these leading requisites, this venerable party are most +amply gifted. To specify every character is not necessary; but the upper +figure on the dexter side, with a wig like a weeping willow, should not +be overlooked. His lemon-like aspect must curdle the blood of all his +patients. In the countenances of his brethren there is no want of acids; +but, however sour, each individual was in his day, + + ----------------a doctor of renown, + To none but such as rust in health unknown; + And, save or slay, this privilege they claim, + Or death, or life, the bright reward's the same. + +[Illustration: CONSULTATION OF PHYSICIANS.] + + + + +DANIEL LOCK, ESQ. F.A.S. + + +Daniel Lock was an architect of some eminence. He retired from business +with an ample fortune, lived in Surrey-street, and was buried in the +chapel of Trinity College, Cambridge. This portrait was originally +engraved by J. M'Ardell from a painting by Hogarth, and is classed among +the productions of our artist that are of uncertain date. + +[Illustration: DANIEL LOCK, ESQ. F.A.S.] + + + + +THE ENRAGED MUSICIAN. + + "With thundering noise the azure vault they tear, + And rend, with savage roar, the echoing air: + The sounds terrific he with horror hears; + His fiddle throws aside,--and stops his ears." + + +We have seen displayed the distress of a poet; in this the artist has +exhibited the rage of a musician. Our poor bard bore his misfortunes +with patience, and, rich in his Muse, did not much repine at his +poverty. Not so this master of harmony, of heavenly harmony! To the +evils of poverty he is now a stranger; his _adagios_ and _cantabiles_ +have procured him the protection of nobles; and, contrary to the poor +shirtless mendicant of the Muses that we left in a garret, he is arrayed +in a coat decorated with frogs, a bag-wig, solitaire, and ruffled shirt. +Waiting in the chamber of a man of fashion, whom he instructs in the +divine science of music, having first tuned his instrument, he opens his +crotchet-book, shoulders his violin, flourishes his fiddle-stick, and, + + Softly sweet, in Lydian measure, + Soon he soothes his soul to pleasure. + +Rapt in Elysium at the divine symphony, he is awakened from his beatific +vision, by noises that distract him. + + ----------An universal hubbub wild, + Of stunning sounds, and voices all confus'd, + Assails his ears with loudest vehemence. + +Confounded with the din, and enraged by the interruption, our modern +Terpander starts from his seat, and opens the window. This operates as +air to a kindling fire; and such a combination of noises burst upon the +auricular nerve, that he is compelled to stop his ears,--but to stop the +torrent is impossible! + + A louder yet, and yet a louder strain, + Break his bands of thought asunder! + And rouse him, like a rattling peal of thunder; + At the horrible sound + He has rais'd up his head, + As awak'd from the dead, + And amazed he stares all around. + +In this situation he is delineated; and those who for a moment +contemplate the figures before him, cannot wonder at his rage. + + A crew of hell-hounds never ceasing bark, + With wide Cerberean mouth, full loud, and ring + A hideous peal. + +Of the _dramatis personæ_ who perform the vocal parts, the first is a +fellow, in a tone that would rend hell's concave, bawling, "Dust, ho! +dust, ho! dust!" Next to him, an amphibious animal, who nightly pillows +his head on the sedgy bosom of old Thames, in a voice that emulates the +rush of many waters, or the roaring of a cataract, is bellowing +"Flounda,a,a,ars!" A daughter of May-day, who dispenses what in London +is called milk, and is consequently a milk-maid, in a note pitched at +the very top of her voice, is crying, "Be-louw!" While a ballad-singer +dolefully drawls out The Ladie's Fall, an infant in her arms joins its +treble pipe in chorus with the screaming parrot, which is on a lamp-iron +over her head. On the roof of an opposite house are two cats, performing +what an amateur of music might perhaps call a bravura duet; near them +appears + + A sweep, shrill twittering on the chimney-top. + +A little French drummer, singing to his rub-a-dub, and the agreeable +yell of a dog, complete the vocal performers. + +Of the instrumental, a fellow blowing a horn, with a violence that would +have almost shaken down the walls of Jericho, claims the first notice; +next to him, the dustman rattles his bell with ceaseless clangour, until +the air reverberates the sound. + +The intervals are filled up by a paviour, who, to every stroke of his +rammer, adds a loud, distinct, and echoing, Haugh! The pedestrian cutler +is grinding a butcher's cleaver with such earnestness and force, that it +elicits sparks of fire. This, added to the agonizing howls of his +unfortunate dog, must afford a perfect specimen of the ancient +chromatic. The poor animal, between a man and a monkey, piping harsh +discords upon a hautboy, the girl whirling her _crepitaculum_, or +rattle, and the boy beating his drum, conclude the catalogue of this +harmonious band. + +This delineation originated in a story which was told to Hogarth by the +late Mr. John Festin, who is the hero of the print. He was eminent for +his skill in playing upon the German flute and hautboy, and much +employed as a teacher of music. To each of his scholars he devoted one +hour each day. "At nine o'clock in the morning," said he, "I once waited +upon my lord Spencer, but his lordship being out of town, from him I +went to Mr. V----n. It was so early that he was not arisen. I went into +his chamber, and, opening a shutter, sat down in the window-seat. Before +the rails was a fellow playing upon the hautboy. A man with a barrow +full of onions offered the piper an onion if he would play him a tune. +That ended, he offered a second onion for a second tune; the same for a +third, and was going on: but this was too much; I could not bear it; it +angered my very soul--'Zounds!' said I, 'stop here! This fellow is +ridiculing my profession; he is playing on the hautboy for onions!'" + +The whole of this bravura scene is admirably represented. A person +quaintly enough observed, that it deafens one to look at it. + +[Illustration: THE ENRAGED MUSICIAN.] + + + + +MASQUERADES AND OPERAS. + +BURLINGTON GATE. + + +This print appeared in 1723. Of the three small figures in the centre +the middle one is Lord Burlington, a man of considerable taste in +painting and architecture, but who ranked Mr. Kent, an indifferent +artist, above his merit. On one side of the peer is Mr. Campbell, the +architect; on the other, his lordship's postilion. On a show-cloth in +this plate is also supposed to be the portrait of king George II. who +gave 1000_l._ towards the Masquerade; together with that of the earl of +Peterborough, who offers Cuzzoni, the Italian singer, 8000_l._ and she +spurns at him. Mr. Heidegger, the regulator of the Masquerade, is also +exhibited, looking out of a window, with the letter H under him. + +The substance of the foregoing remarks is taken from a collection lately +belonging to Captain Baillie, where it is said that they were furnished +by an eminent connoisseur. + +A board is likewise displayed, with the words, "Long Room. Fawks's +dexterity of hand." It appears from the following advertisement that +this was a man of great consequence in his profession: "Whereas the town +hath been lately alarmed, that the famous Fawks was robbed and murdered, +returning from performing at the duchess of Buckingham's house at +Chelsea; which report being raised and printed by a person to gain money +to himself, and prejudice the above-mentioned Mr. Fawks, whose +unparalleled performance has gained him so much applause from the +greatest of quality, and most curious observers: We think, both in +justice to the injured gentleman, and for the satisfaction of his +admirers, that we cannot please our readers better than to acquaint them +he is alive, and will not only perform his usual surprising dexterity of +hand, posture-master, and musical clock: but, for the greater diversion +of the quality and gentry, has agreed with the famous Powell of the Bath +for the season, who has the largest, richest, and most natural figures, +and finest machines in England, and whose former performances in Covent +Garden were so engaging to the town, as to gain the approbation of the +best judges, to show his puppet-plays along with him, beginning in the +Christmas holidays next, at the Old Tennis-court, in James's-street, +near the Haymarket; where any incredulous persons may be satisfied he is +not left this world, if they please to believe their hands, though they +can't believe their eyes."--"May 25," indeed, "1731, died Mr. Fawks, +famous for his dexterity of hand, by which he had honestly acquired a +fortune of 10,000_l._ being no more than he really deserved for his +great ingenuity, by which he had surpassed all that ever pretended to +that art." + +This satirical performance of Hogarth, however, was thought to be +invented and drawn at the instigation of Sir James Thornhill, out of +revenge, because Lord Burlington had preferred Mr. Kent before him to +paint for the king at his palace at Kensington. Dr. Faustus was a +pantomime performed to crowded houses throughout two seasons, to the +utter neglect of plays, for which reason they are cried about in a +wheel-barrow. + +[Illustration: MASQUERADES AND OPERAS, BURLINGTON GATE.] + + + + +MORNING. + + Keen blows the blast, and eager is the air; + With flakes of feather'd snow the ground is spread; + To step, with mincing pace, to early prayer, + Our clay-cold vestal leaves her downy bed. + + And here the reeling sons of riot see, + After a night of senseless revelry. + + Poor, trembling, old, her suit the beggar plies; + But frozen chastity the little boon denies. + + +This withered representative of Miss Bridget Alworthy, with a shivering +foot-boy carrying her prayer-book, never fails in her attendance at +morning service. She is a symbol of the season.-- + + -------------Chaste as the icicle + That's curdled by the frost from purest snow, + And hangs on Dian's temple + +she looks with scowling eye, and all the conscious pride of severe and +stubborn virginity, on the poor girls who are suffering the embraces of +two drunken beaux that are just staggered out of Tom King's +Coffee-house. One of them, from the basket on her arm, I conjecture to +be an orange girl: she shows no displeasure at the boisterous salute of +her Hibernian lover. That the hero in a laced hat is from the banks of +the Shannon, is apparent in his countenance. The female whose face is +partly concealed, and whose neck has a more easy turn than we always see +in the works of this artist, is not formed of the most inflexible +materials. + +An old woman, seated upon a basket; the girl, warming her hands by a few +withered sticks that are blazing on the ground, and a wretched +mendicant,[3] wrapped in a tattered and parti-coloured blanket, +entreating charity from the rosy-fingered vestal who is going to church, +complete the group. Behind them, at the door of Tom King's Coffee-house, +are a party engaged in a fray, likely to create business for both +surgeon and magistrate: we discover swords and cudgels in the +combatants' hands. + +On the opposite side of the print are two little schoolboys. That they +have shining morning faces we cannot positively assert, but each has a +satchel at his back, and according with the description given by the +poet of nature, is + + Creeping, like snail, unwillingly to school. + +The lantern appended to the woman who has a basket on her head, proves +that these dispensers of the riches of Pomona rise before the sun, and +do part of their business by an artificial light. Near her, that +immediate descendant of Paracelsus, Dr. Rock, is expatiating to an +admiring audience, on the never-failing virtues of his wonder-working +medicines. One hand holds a bottle of his miraculous panacea, and the +other supports a board, on which is the king's arms, to indicate that +his practice is sanctioned by royal letters patent. Two porringers and a +spoon, placed on the bottom of an inverted basket, intimate that the +woman seated near them, is a vender of rice-milk, which was at that time +brought into the market every morning. + +A fatigued porter leans on a rail; and a blind beggar is going towards +the church: but whether he will become one of the congregation, or take +his stand at the door, in the hope that religion may have warmed the +hearts of its votaries to "Pity the sorrows of a poor blind man," is +uncertain. + +Snow on the ground, and icicles hanging from the penthouse, exhibit a +very chilling prospect; but, to dissipate the cold, there is happily a +shop where spirituous liquors are sold _pro bono publico_, at a very +little distance. A large pewter measure is placed upon a post before the +door, and three of a smaller size hang over the window of the house. + +The character of the principal figure is admirably delineated. She is +marked with that prim and awkward formality which generally accompanies +her order, and is an exact type of a hard winter; for every part of her +dress, except the flying lappets and apron, ruffled by the wind, is as +rigidly precise as if it were frozen. It has been said that this +incomparable figure was designed as the representative of either a +particular friend, or a relation. Individual satire may be very +gratifying to the public, but is frequently fatal to the satirist. +Churchill, by the lines, + + ----------------Fam'd Vine-street, + Where Heaven, the kindest wish of man to grant, + Gave me an old house, and an older aunt, + +lost a considerable legacy; and it is related that Hogarth, by the +introduction of this withered votary of Diana into this print, induced +her to alter a will which had been made considerably in his favour: she +was at first well enough satisfied with her resemblance, but some +designing people taught her to be angry. + +Extreme cold is very well expressed in the slip-shod footboy, and the +girl who is warming her hands. The group of which she is a part, is well +formed, but not sufficiently balanced on the opposite side. + +The church dial, a few minutes before seven; marks of little shoes and +pattens in the snow, and various productions of the season in the +market, are an additional proof of that minute accuracy with which this +artist inspected and represented objects, which painters in general have +neglected. + +Govent Garden is the scene, but in the print every building is reversed. +This was a common error with Hogarth; not from his being ignorant of the +use of the mirror, but from his considering it as a matter of little +consequence. + +FOOTNOTE: + +[3] "What signifies," says some one to Dr. Johnson, "giving halfpence to +common beggars? they only lay them out in gin or tobacco." "And why," +replied the doctor, "should they be denied such sweeteners of their +existence? It is surely very savage to shut out from them every possible +avenue to those pleasures reckoned too coarse for our own acceptance. +Life is a pill which none of us can swallow without gilding, yet for the +poor we delight in stripping it still more bare, and are not ashamed to +show even visible marks of displeasure, if even the bitter taste is +taken from their mouths." + +[Illustration: MORNING.] + + + + +NOON. + + Hail, Gallia's daughters! easy, brisk, and free; + Good humour'd, _débonnaire_, and _dégagée_: + Though still fantastic, frivolous, and vain, + Let not their airs and graces give us pain: + Or fair, or brown, at toilet, prayer, or play, + Their motto speaks their manners--TOUJOURS GAI. + + But for that powder'd compound of grimace, + That capering he-she thing of fringe and lace; + With sword and cane, with bag and solitaire, + Vain of the full-dress'd dwarf, his hopeful heir, + How does our spleen and indignation rise, + When such a tinsell'd coxcomb meets our eyes, + + +Among the figures who are coming out of church, an affected, flighty +Frenchwoman, with her fluttering fop of a husband, and a boy, habited +_à-la-mode de Paris_, claim our first attention. In dress, air, and +manner, they have a national character. The whole congregation, whether +male or female, old or young, carry the air of their country in +countenance, dress, and deportment. Like the three principal figures, +they are all marked with some affected peculiarity. Affectation, in a +woman, is supportable upon no other ground than that general indulgence +we pay to the omnipotence of beauty, which in a degree sanctifies +whatever it adopts. In a boy, when we consider that the poor fellow is +attempting to copy what he has been taught to believe praiseworthy, we +laugh at it; the largest portion of ridicule falls upon his tutors; but +in a man, it is contemptible! + +The old fellow, in a black periwig, has a most vinegar-like aspect, and +looks with great contempt at the frippery gentlewoman immediately before +him. The woman, with a demure countenance, seems very piously +considering how she can contrive to pick the embroidered beau's pocket. +Two old sybils joining their withered lips in a chaste salute, is +nauseous enough, but, being a national custom, must be forgiven. The +divine seems to have resided in this kingdom long enough to acquire a +roast-beef countenance. A little boy, whose woollen nightcap is pressed +over a most venerable flowing periwig, and the decrepit old man, leaning +upon a crutch-stick, who is walking before him, "I once considered," +says Mr. Ireland, "as two vile caricatures, out of nature, and unworthy +the artist. Since I have seen the peasantry of Flanders, and the +plebeian youth of France, I have in some degree changed my opinion, but +still think them rather _outré_." + +Under a sign of the Baptist's Head is written, Good Eating; and on each +side of the inscription is a mutton chop. In opposition to this head +without a body, unaccountably displayed as a sign at an eating-house, +there is a body without a head, hanging out as the sign of a +distiller's. This, by common consent, has been quaintly denominated the +good woman. At a window above, one of the softer sex proves her +indisputable right to the title by her temperate conduct to her husband, +with whom having had a little disagreement, she throws their Sunday's +dinner into the street. + +A girl, bringing a pie from the bakehouse, is stopped in her career by +the rude embraces of a blackamoor, who eagerly rubs his sable visage +against her blooming cheek. + +Good eating is carried on to the lower part of the picture. A boy, +placing a baked pudding upon a post, with rather too violent an action, +the dish breaks, the fragments fall to the ground, and while he is +loudly lamenting his misfortune, and with tears anticipating his +punishment, the smoking remnants are eagerly snatched up by a poor girl. +Not educated according to the system of Jean Jacques Rousseau, she feels +no qualms of conscience about the original proprietor, and, destitute of +that fastidious delicacy which destroys the relish of many a fine lady, +eagerly swallows the hot and delicious morsels, with all the +concomitants. + +The scene is laid at the door of a French chapel in Hog-lane; a part of +the town at that time almost wholly peopled by French refugees, or their +descendants. + +By the dial of St. Giles's church, in the distance, we see that it is +only half past eleven. At this early hour, in those good times, there +was as much good eating as there is now at six o'clock in the evening. +From twenty pewter measures, which are hung up before the houses of +different distillers, it seems that good drinking was considered as +equally worthy of their serious attention. + +The dead cat, and choked kennels, mark the little attention shown to the +streets by the scavengers of St. Giles's. At that time noxious effluvia +was not peculiar to this parish. The neighbourhood of Fleet-ditch, and +many other parts of the city, were equally polluted. + +Even at this refined period, there would be some use in a more strict +attention to the medical police of a city so crowded with inhabitants. +We ridicule the people of Paris and Edinburgh for neglecting so +essential and salutary a branch of delicacy, while the kennels of a +street in the vicinity of St. Paul's church are floated with the blood +of slaughtered animals every market-day. Moses would have managed these +things better: but in those days there was no physician in Israel! + +[Illustration: NOON.] + + + + +EVENING. + + One sultry Sunday, when no cooling breeze + Was borne on zephyr's wing, to fan the trees; + One sultry Sunday, when the torrid ray + O'er nature beam'd intolerable day; + When raging Sirius warn'd us not to roam, + And Galen's sons prescrib'd cool draughts at home; + One sultry Sunday, near those fields of fame + Where weavers dwell, and Spital is their name, + A sober wight, of reputation high + For tints that emulate the Tyrian dye, + Wishing to take his afternoon's repose, + In easy chair had just began to doze, + When, in a voice that sleep's soft slumbers broke, + His oily helpmate thus her wishes spoke: + "Why, spouse, for shame! my stars, what's this about? + You's ever sleeping; come, we'll all go out; + At that there garden, pr'ythee, do not stare! + We'll take a mouthful of the country air; + In the yew bower an hour or two we'll kill; + There you may smoke, and drink what punch you will. + Sophy and Billy each shall walk with me, + And you must carry little Emily. + Veny is sick, and pants, and loathes her food; + The grass will do the pretty creature good. + Hot rolls are ready as the clock strikes five-- + And now 'tis after four, as I'm alive!" + The mandate issued, see the tour begun, + And all the flock set out for Islington. + Now the broad sun, refulgent lamp of day, + To rest with Thetis, slopes his western way; + O'er every tree embrowning dust is spread, + And tipt with gold is Hampstead's lofty head. + The passive husband, in his nature mild, + To wife consigns his hat, and takes the child; + But she a day like this hath never felt, + "Oh! that this too, too solid flesh would melt, + Thaw, and resolve itself into a dew." + Such monstrous heat! dear me! she never knew. + Adown her innocent and beauteous face, + The big, round, pearly drops each other chase; + Thence trickling to those hills, erst white as snow, + That now like Ætna's mighty mountains glow, + They hang like dewdrops on the full blown rose, + And to the ambient air their sweets disclose. + Fever'd with pleasure, thus she drags along; + Nor dares her antler'd husband say 'tis wrong. + The blooming offspring of this blissful pair, + In all their parents' attic pleasures share. + Sophy the soft, the mother's earliest joy, + Demands her froward brother's tinsell'd toy; + But he, enrag'd, denies the glittering prize, + And rends the air with loud and piteous cries. + Thus far we see the party on their way-- + What dire disasters mark'd the close of day, + 'Twere tedious, tiresome, endless to obtrude; + Imagination must the scene conclude. + + +It is not easy to imagine fatigue better delineated than in the +appearance of this amiable pair. In a few of the earliest impressions, +Mr. Hogarth printed the hands of the man in blue, to show that he was a +dyer, and the face and neck of the woman in red, to intimate her extreme +heat. The lady's aspect lets us at once into her character; we are +certain that she was born to command. As to her husband, God made him, +and he must pass for a man: what his wife has made him, is indicated by +the cow's horns; which are so placed as to become his own. The hopes of +the family, with a cockade in his hat, and riding upon papa's cane, +seems much dissatisfied with female sway. A face with more of the shrew +in embryo than that of the girl, it is scarcely possible to conceive. +Upon such a character the most casual observer pronounces with the +decision of a Lavater. + +Nothing can be better imagined than the group in the alehouse. They have +taken a refreshing walk into the country, and, being determined to have +a cooling pipe, seat themselves in a chair-lumbered closet, with a low +ceiling; where every man, pulling off his wig, and throwing a +pocket-handkerchief over his head, inhales the fumes of hot punch, the +smoke of half a dozen pipes, and the dust from the road. If this is not +rural felicity, what is? The old gentleman in a black bag-wig, and the +two women near him, sensibly enough, take their seats in the open air. + +From a woman milking a cow, we conjecture the hour to be about five in +the afternoon: and, from the same circumstance, I am inclined to think +this agreeable party is going to their pastoral bower, rather than +returning from it. + +The cow and dog appear as much inconvenienced by heat as any of the +party: the former is whisking off the flies; and the latter creeps +unwillingly along, and casts a longing look at the crystal river, in +which he sees his own shadow. A remarkably hot summer is intimated by +the luxuriant state of a vine, creeping over an alehouse window. On the +side of the New River, where the scene is laid, lies one of the wooden +pipes employed in the water-works. Opposite Sadler's Wells there still +remains the sign of Sir Hugh Middleton's head, which is here +represented; but how changed the scene from what is here represented! + +[Illustration: EVENING.] + + + + +NIGHT. + + Now burst the blazing bonfires on the sight, + Through the wide air their corruscations play; + The windows beam with artificial light, + And all the region emulates the day. + + The moping mason, from yon tavern led, + In mystic words doth to the moon complain + That unsound port distracts his aching head, + And o'er the waiter waves his clouded cane. + + +Mr. Walpole very truly observes, that this print is inferior to the +three others; there is, however, broad humour in some of the figures. + +The wounded free-mason, who, in zeal of brotherly love, has drank his +bumpers to the craft till he is unable to find his way home, is under +the guidance of a waiter. This has been generally considered as intended +for Sir Thomas de Veil, and, from an authenticated portrait which I have +seen, I am, says Mr. Ireland, inclined to think it is, notwithstanding +Sir John Hawkins asserts, that "he could discover no resemblance." When +the knight saw him in his magisterial capacity, he was probably sober +and sedate; here he is represented a little disguised. The British +Xantippe showering her favours from the window upon his head, may have +its source in that respect which the inmates of such houses as the +Rummer Tavern had for a justice of peace. On the resignation of Mr. +Horace Walpole, in February, 1738, De Veil was appointed +inspector-general of the imports and exports, and was so severe against +the retailers of spirituous liquors, that one Allen headed a gang of +rioters for the purpose of pulling down his house, and bringing to a +summary punishment two informers who were there concealed. Allen was +tried for this offence, and acquitted, upon the jury's verdict declaring +him lunatic. + +The waiter who supports his worship, seems, from the patch upon his +forehead, to have been in a recent affray; but what use he can have for +a lantern, it is not easy to divine, unless he is conducting his charge +to some place where there is neither moonlight nor illumination. + +The Salisbury flying coach oversetting and broken, by passing through +the bonfire, is said to be an intended burlesque upon a right honourable +peer, who was accustomed to drive his own carriage over hedges, ditches, +and rivers; and has been sometimes known to drive three or four of his +maid servants into a deep water, and there leave them in the coach to +shift for themselves. + +The butcher, and little fellow, who are assisting the terrified +passengers, are possibly free and accepted masons. One of them seems to +have a mop in his hand;--the pail is out of sight. + +To crown the joys of the populace, a man with a pipe in his mouth is +filling a capacious hogshead with British Burgundy. + +The joint operation of shaving and bleeding, performed by a drunken +'prentice on a greasy oilman, does not seen a very natural exhibition on +a rejoicing night. + +The poor wretches under the barber's bench display a prospect of penury +and wretchedness, which it is to be hoped is not so common now, as it +was then. + +In the distance is a cart laden with furniture, which some unfortunate +tenant is removing out of the reach of his landlord's execution. + +There is humour in the barber's sign and inscription; "Shaving, +bleeding, and teeth drawn with a touch. ECCE SIGNUM!" + +By the oaken boughs on the sign, and the oak leaves in the free-masons' +hats, it seems that this rejoicing night is the twenty-ninth of May, the +anniversary of our second Charles's restoration; that happy day when, +according to our old ballad, "The king enjoyed his own again." This +might be one reason for the artist choosing a scene contiguous to the +beautiful equestrian statue of Charles the First. + +In the distance we see a house on fire; an accident very likely to +happen on such a night as this. + +On this spot once stood the cross erected by Edward the First, as a +memorial of affection for his beloved queen Eleanor, whose remains were +here rested on their way to the place of sepulture. It was formed from a +design by Cavalini, and destroyed by the religious fury of the +Reformers. In its place, in the year 1678, was erected the animated +equestrian statue which now remains. It was cast in brass, in the year +1633, by Le Soeur; I think by order of that munificent encourager of +the arts, Thomas Howard, Earl of Arundel. The parliament ordered it to +be sold, and broken to pieces; but John River, the brazier who purchased +it, having more taste than his employers, seeing, with the prophetic eye +of good sense, that the powers which were would not remain rulers very +long, dug a hole in his garden in Holborn, and buried it unmutilated. To +prove his obedience to their order, he produced to his masters several +pieces of brass, which he told them were parts of the statue. M. de +Archenholtz adds further, that the brazier, with the true spirit of +trade, cast a great number of handles for knives and forks, and offered +them for sale, as composed of the brass which had formed the statue. +They were eagerly sought for, and purchased,--by the loyalists from +affection to their murdered monarch,--by the other party, as trophies of +triumph. + +The original pictures of Morning and Noon were sold to the Duke of +Ancaster for fifty-seven guineas; Evening and Night to Sir William +Heathcote, for sixty-four guineas. + +[Illustration: NIGHT.] + + + + +SIGISMONDA + + ----------------Let the picture rust, + Perhaps Time's price-enhancing dust,-- + As statues moulder into earth, + When I'm no more, may mark its worth; + And future connoisseurs may rise, + Honest as ours, and full as wise, + To puff the piece, and painter too, + And make me then what Guido's now. + + HOGARTH'S EPISTLE. + + +A competition with either Guido, or Furino, would to any modern painter +be an enterprise of danger: to Hogarth it was more peculiarly so, from +the public justly conceiving that the representation of elevated +distress was not his _forte_, and his being surrounded by an host of +foes, who either dreaded satire, or envied genius. The connoisseurs, +considering the challenge as too insolent to be forgiven, before his +picture appeared, determined to decry it. The painters rejoiced in his +attempting what was likely to end in disgrace; and to satisfy those who +had formed their ideas of Sigismonda upon the inspired page of Dryden, +was no easy task. + +The bard has consecrated the character, and his heroine glitters with a +brightness that cannot be transferred to the canvass. Mr. Walpole's +description, though equally radiant, is too various, for the utmost +powers of the pencil. + +Hogarth's Sigismonda, as this gentleman poetically expresses it, "has +none of the sober grief, no dignity of suppressed anguish, no +involuntary tear, no settled meditation on the fate she meant to meet, +no amorous warmth turned holy by despair; in short, all is wanting that +should have been there, all is there that such a story would have +banished from a mind capable of conceiving such complicated woe; woe so +sternly felt, and yet so tenderly." This glowing picture presents to the +mind a being whose contending passions may be felt, but were not +delineated even by Corregio. Had his tints been aided by the grace and +greatness of Raphael, they must have failed. + +The author of the Mysterious Mother sought for sublimity, where the +artist strictly copied nature, which was invariably his archetype, but +which the painter, who soars into fancy's fairy regions, must in a +degree desert. Considered with this reference, though the picture has +faults, Mr. Walpole's satire is surely too severe. It is built upon a +comparison with works painted in a language of which Hogarth knew not +the idiom,--trying him before a tribunal, whose authority he did not +acknowledge, and from the picture having been in many respects altered +after the critic saw it, some of the remarks become unfair. To the +frequency of these alterations we may attribute many of the errors: the +man who has not confidence in his own knowledge of the leading +principles on which his work ought to be built, will not render it +perfect by following the advice of his friends. Though Messrs. Wilkes +and Churchill dragged his heroine to the altar of politics, and mangled +her with a barbarity that can hardly be paralleled, except in the +history of her husband,--the artist retained his partiality; which seems +to have increased in exact proportion to their abuse. The picture being +thus contemplated through the medium of party prejudice, we cannot +wonder that all its imperfections were exaggerated. The painted harlot +of Babylon had not more opprobrious epithets from the first race of +reformers than the painted Sigismonda of Hogarth from the last race of +patriots. + +When a favourite child is chastised by his preceptor, a partial mother +redoubles her caresses. Hogarth, estimating this picture by the labour +he had bestowed upon it, was certain that the public were prejudiced, +and requested, if his wife survived him, she would not sell it for less +than five hundred pounds. Mrs. Hogarth acted in conformity to his +wishes, but after her death the painting was purchased by Messrs. +Boydell, and exhibited in the Shakspeare Gallery. The colouring, though +not brilliant, is harmonious and natural: the attitude, drawing, etc. +may be generally conceived by the print. I am much inclined to think, +that if some of those who have been most severe in their censures, had +consulted their own feelings, instead of depending upon connoisseurs, +poor Sigismonda would have been in higher estimation. It has been said +that the first sketch was made from Mrs. Hogarth, at the time she was +weeping over the corse of her mother. + +Hogarth once intended to have appealed from the critics' fiat to the +world's opinion, and employed Mr. Basire to make an engraving, which was +begun, but set aside for some other work, and never completed. + +[Illustration: SIGISMONDA, WITH THE HEART OF HER HUSBAND.] + + + + +MARTIN FOLKES, ESQ. + + +Martin Folkes was a mathematician and antiquary of much celebrity in the +philosophical annals of this country. He was at the early age of +twenty-four admitted a member of the Royal Society, where he was greatly +distinguished. Two years afterwards he was chosen one of the council, +and was named by Sir Isaac Newton himself as vice president: he was +afterwards elected president, and held this high office till a short +time before his death, when he resigned it on account of ill-health. In +the Philosophical Transactions are numerous memoirs of this learned man: +his knowledge in coins, ancient and modern, was very extensive: and the +last work he produced was concerning the English Silver Coin from the +Conquest to his own time. He was president of the Society of Antiquaries +at the time of his death, which happened on the 28th of June, 1754, at +the age of sixty-four. A few days before his death he was struck with a +fit of the palsy, and never spoke after this attack. + +[Illustration: PORTRAIT OF MARTIN FOLKES, ESQ.] + + + + +THE COCKPIT. + + +The scene is probably laid at Newmarket, and in this motley group of +peers,--pick-pockets,--butchers,--jockies,--rat-catchers,--gentlemen, +--gamblers of every denomination, Lord Albemarle Bertie, being the +principal figure, is entitled to precedence. In the March to Finchley, +we see him an attendant at a boxing match; and here he is president of a +most respectable society assembled at a cockpit. What rendered his +lordship's passion for amusements of this nature very singular, was his +being totally blind. In this place he is beset by seven steady friends, +five of whom at the same instant offer to bet with him on the event of +the battle. One of them, a lineal descendant of Filch, taking advantage +of his blindness and negligence, endeavours to convey a bank note, +deposited in our dignified gambler's hat, to his own pocket. Of this +ungentlemanlike attempt his lordship is apprised by a ragged post-boy, +and an honest butcher: but he is so much engaged in the pronunciation of +those important words, Done! Done! Done! Done! and the arrangement of +his bets, that he cannot attend to their hints; and it seems more than +probable that the stock will be transferred, and the note negociated in +a few seconds. + +A very curious group surround the old nobleman, who is adorned with a +riband, a star, and a pair of spectacles. The whole weight of an +overgrown carpenter being laid upon his shoulder, forces our illustrious +personage upon a man beneath; who being thus driven downward, falls upon +a fourth, and the fourth, by the accumulated pressure of this ponderous +trio, composed of the upper and lower house, loses his balance, and +tumbling against the edge of the partition, his head is broke, and his +wig, shook from the seat of reason, falls into the cockpit. + +A man adjoining enters into the spirit of the battle,--his whole soul is +engaged. From his distorted countenance, and clasped hands, we see that +he feels every stroke given to his favourite bird in his heart's +core,--ay, in his heart of hearts! A person at the old peer's left hand +is likely to be a loser. Ill-humour, vexation, and disappointment are +painted in his countenance. The chimney-sweeper above, is the very +quintessence of affectation. He has all the airs and graces of a +boarding-school miss. The sanctified quaker adjoining, and the fellow +beneath, who, by the way, is a very similar figure to Captain Stab, in +the Rake's Progress, are finely contrasted. + +A French marquis on the other side, astonished at this being called +amusement, is exclaiming Sauvages! Sauvages! Sauvages!--Engrossed by the +scene, and opening his snuff-box rather carelessly, its contents fall +into the eyes of a man below, who, sneezing and swearing alternately, +imprecates bitter curses on this devil's dust, that extorts from his +inflamed eyes, "A sea of melting pearls, which some call tears." + +Adjoining is an old cripple, with a trumpet at his ear, and in this +trumpet a person in a bag-wig roars in a manner that cannot much gratify +the auricular nerves of his companions; but as for the object to whom +the voice is directed, he seems totally insensible to sounds, and if +judgment can be formed from appearances, might very composedly stand +close to the clock of St. Paul's Cathedral, when it was striking twelve. + +The figure with a cock peeping out of a bag, is said to be intended for +Jackson, a jockey; the gravity of this experienced veteran, and the cool +sedateness of a man registering the wagers, are well opposed by the +grinning woman behind, and the heated impetuosity of a fellow, stripped +to his shirt, throwing his coin upon the cockpit, and offering to back +Ginger against Pye for a guinea. + +On the lower side, where there is only one tier of figures, a sort of an +apothecary, and a jockey, are stretching out their arms, and striking +together the handles of their whips, in token of a bet. An hiccuping +votary of Bacchus, displaying a half-emptied purse, is not likely to +possess it long, for an adroit professor of legerdemain has taken aim +with a hooked stick, and by one slight jerk, will convey it to his own +pocket. The profession of a gentleman in a round wig is determined by a +gibbet chalked upon his coat. An enraged barber, who lifts up his stick +in the corner, has probably been refused payment of a wager, by the man +at whom he is striking. + +A cloud-capt philosopher at the top of the print, coolly smoking his +pipe, unmoved by this crash of matter, and wreck of property, must not +be overlooked: neither should his dog be neglected; for the dog, gravely +resting his fore paws upon the partition, and contemplating the company, +seems more interested in the event of the battle than his master. + +Like the tremendous Gog, and terrific Magog, of Guildhall, stand the two +cock-feeders; a foot of each of these consequential purveyors is seen at +the two extremities of the pit. + +As to the birds, whose attractive powers have drawn this admiring throng +together, they deserved earlier notice: + + Each hero burns to conquer or to die, + What mighty hearts in little bosoms lie! + +Having disposed of the substances, let us now attend to the shadow on +the cockpit, and this it seems is the reflection of a man drawn up to +the ceiling in a basket, and there suspended, as a punishment for having +betted more money than he can pay. Though suspended, he is not +reclaimed; though exposed, not abashed; for in this degrading situation +he offers to stake his watch against money, in another wager on his +favourite champion. + +The decorations of this curious theatre are, a portrait of Nan Rawlins, +and the King's arms. + +In the margin at the bottom of the print is an oval, with a fighting +cock, inscribed ROYAL SPORT. + +Of the characteristic distinctions in this heterogeneous assembly, it is +not easy to speak with sufficient praise. The chimney-sweeper's absurd +affectation sets the similar airs of the Frenchman in a most ridiculous +point of view. The old fellow with a trumpet at his ear, has a degree of +deafness that I never before saw delineated; he might have lived in the +same apartment with Xantippe, or slept comfortably in Alexander the +copper-smith's first floor. As to the nobleman in the centre, in the +language of the turf, he is a mere pigeon; and the peer, with a star and +garter, in the language of Cambridge, we must class as--a mere quiz. The +man sneezing,--you absolutely hear; and the fellow stealing a bank +note,--has all the outward and visible marks of a perfect and +accomplished pick-pocket; Mercury himself could not do that business in +a more masterly style. + +Tyers tells us that "Pope, while living with his father at Chiswick, +before he went to Binfield, took great delight in cock-fighting, and +laid out all his school-boy money, and little perhaps it was, in buying +fighting cocks." Lord Orrery observes, "If we may judge of Mr. Pope from +his works, his chief aim was to be esteemed a man of virtue." When +actions can be clearly ascertained, it is not necessary to seek the +mind's construction in the writings: and we must regret being compelled +to believe that some of Mr. Pope's actions, at the same time that they +prove him to be querulous and petulant, lead us to suspect that he was +also envious, malignant, and cruel. How far this will tend to confirm +the assertion, that when a boy, he was an amateur of this royal sport, I +do, says Mr. Ireland, not pretend to decide: but were a child, in whom I +had any interest, cursed with such a propensity, my first object would +be to correct it: if that were impracticable, and he retained a fondness +for the cockpit, and the still more detestable amusement of Shrove +Tuesday, I should hardly dare to flatter myself that he could become a +merciful man.--The subject has carried me farther than I intended: I +will, however, take the freedom of proposing one query to the +consideration of the clergy,--Might it not have a tendency to check that +barbarous spirit, which has more frequently its source in an early +acquired habit, arising from the prevalence of example, than in natural +depravity, if every divine in Great Britain were to preach at least one +sermon every twelve months, on our universal insensibility to the +sufferings of the brute creation? + + Wilt thou draw near the nature of the Gods, + Draw near them then in being merciful; + Sweet mercy is nobility's true badge. + +[Illustration: THE COCK PIT.] + + + + +CAPTAIN THOMAS CORAM. + + +Captain Coram was born in the year 1668, bred to the sea, and passed the +first part of his life as master of a vessel trading to the colonies. +While he resided in the vicinity of Rotherhithe, his avocations obliging +him to go early into the city and return late, he frequently saw +deserted infants exposed to the inclemencies of the seasons, and through +the indigence or cruelty of their parents left to casual relief, or +untimely death. This naturally excited his compassion, and led him to +project the establishment of an hospital for the reception of exposed +and deserted young children; in which humane design he laboured more +than seventeen years, and at last, by his unwearied application, +obtained the royal charter, bearing date the 17th of October, 1739, for +its incorporation. + +He was highly instrumental in promoting another good design, viz. the +procuring a bounty upon naval stores imported from the colonies to +Georgia and Nova Scotia. But the charitable plan which he lived to make +some progress in, though not to complete, was a scheme for uniting the +Indians in North America more closely with the British Government, by an +establishment for the education of Indian girls. Indeed he spent a great +part of his life in serving the public, and with so total a disregard to +his private interest, that in his old age he was himself supported by a +pension of somewhat more than a hundred pounds a year, raised for him at +the solicitation of Sir Sampson Gideon and Dr. Brocklesby, by the +voluntary subscriptions of public-spirited persons, at the head of whom +was the Prince of Wales. On application being made to this venerable and +good old man, to know whether a subscription being opened for his +benefit would not offend him, he gave this noble answer: "I have not +wasted the little wealth of which I was formerly possessed in +self-indulgence or vain expenses, and am not ashamed to confess, that in +this my old age I am poor." + +This singularly humane, persevering, and memorable man died at his +lodgings near Leicester-square, March 29, 1751, and was interred, +pursuant to his own desire, in the vault under the chapel of the +Foundling Hospital, where an historic epitaph records his virtues, as +Hogarth's portrait has preserved his honest countenance. + +"The portrait which I painted with most pleasure," says Hogarth, "and in +which I particularly wished to excel, was that of Captain Coram for the +Foundling Hospital; and if I am so wretched an artist as my enemies +assert, it is somewhat strange that this, which was one of the first I +painted the size of life, should stand the test of twenty years' +competition, and be generally thought the best portrait in the place, +notwithstanding the first painters in the kingdom exerted all their +talents to vie with it. + +"For the portrait of Mr. Garrick in Richard III. I was paid two hundred +pounds, (which was more than any English artist ever received for a +single portrait,) and that too by the sanction of several painters who +had been previously consulted about the price, which was not given +without mature consideration. + +"Notwithstanding all this, the current remark was, that portraits were +not my province; and I was tempted to abandon the only lucrative branch +of my art, for the practice brought the whole nest of phyzmongers on my +back, where they buzzed like so many hornets. All these people have +their friends, whom they incessantly teach to call my women harlots, my +Essay on Beauty borrowed, and my composition and engraving contemptible. + +"This so much disgusted me, that I sometimes declared I would never +paint another portrait, and frequently refused when applied to; for I +found by mortifying experience, that whoever would succeed in this +branch, must adopt the mode recommended in one of Gay's fables, and make +divinities of all who sit to him. Whether or not this childish +affectation will ever be done away is a doubtful question; none of those +who have attempted to reform it have yet succeeded; nor, unless portrait +painters in general become more honest, and their customers less vain, +is there much reason to expect they ever will." + +Though thus in a state of warfare with his brother artists, he was +occasionally gratified by the praise of men whose judgment was +universally acknowledged, and whose sanction became a higher honour, +from its being neither lightly nor indiscriminately given. + +[Illustration: CAPTAIN THOMAS CORAM.] + + + + +THE COUNTRY INN YARD; OR, THE STAGE COACH. + + The poet's adage, ALL THE WORLD'S A STAGE, + Has stood the test of each revolving age; + Another simile perhaps will bear, + 'Tis a STAGE COACH, where all must pay the fare; + Where each his entrance and his exit makes, + And o'er life's rugged road his journey takes. + Some unprotected must their tour perform, + And bide the pelting of the pitiless storm; + While others, free from elemental jars, + By fortune favour'd and propitious stars, + Secure from storms, enjoy their little hour, + Despise the whirlwind, and defy the shower. + Such is our life--in sunshine or in shade, + From evil shelter'd, or by woe assay'd: + Whether we sit, like Niobe, all tears, + Or calmly sink into the vale of years; + With houseless, naked Edgar sleep on straw, + Or keep, like Cæsar, subject worlds in awe-- + To the same port our devious journeys tend, + Where airy hopes and sickening sorrows end; + Sunk every eye, and languid every breast, + Each wearied pilgrim sighs and sinks to rest. + + E. + + +Among the writers of English novels, Henry Fielding holds the first +rank; he was the novelist of nature, and has described some scenes which +bear a strong resemblance to that which is here delineated. The artist, +like the author, has taken truth for his guide, and given such +characters as are familiar to all our minds. The scene is a country inn +yard, at the time passengers are getting into a stage-coach, and an +election procession passing in the back-ground. Nothing can be better +described; we become of the party. The vulgar roar of our landlady is no +less apparent than the grave, insinuating, imposing countenance of mine +host. Boniface solemnly protests that a bill he is presenting to an old +gentleman in a laced hat is extremely moderate. This does not satisfy +the paymaster, whose countenance shows that he considers it as a +palpable fraud, though the act against bribery, which he carries in his +pocket, designates him to be of a profession not very liable to suffer +imposition. They are in general less sinned against than sinning. An +ancient lady, getting into the coach, is from her breadth a very +inconvenient companion in such a vehicle; but to atone for her +rotundity, an old maid of a spare appearance, and in a most grotesque +habit, is advancing towards the steps. + +A portly gentleman, with a sword and cane in one hand, is deaf to the +entreaties of a poor little deformed postilion, who solicits his +customary fee. The old woman smoking her short pipe in the basket, pays +very little attention to what is passing around her: cheered by the +fumes of her tube, she lets the vanities of the world go their own way. +Two passengers on the roof of the coach afford a good specimen of French +and English manners. Ben Block, of the Centurion, surveys the subject of +La Grande Monarque with ineffable contempt. + +In the window are a very curious pair; one of them blowing a +French-horn, and the other endeavouring, but without effect, to smoke +away a little sickness, which he feels from the fumes of his last +night's punch. Beneath them is a traveller taking a tender farewell of +the chambermaid, who is not to be moved by the clangour of the great bar +bell, or the more thundering sound of her mistress's voice. + +The back-ground is crowded with a procession of active citizens; they +have chaired a figure with a horn-book, a bib, and a rattle, intended to +represent Child, Lord Castlemain, afterwards Lord Tylney, who, in a +violent contest for the county of Essex, opposed Sir Robert Abdy and Mr. +Bramston. The horn-book, bib, and rattle are evidently displayed as +punningly allusive to his name.[4] + +Some pains have been taken to discover in what part of Essex this scene +is laid; but from the many alterations made by rebuilding, removal, &c. +it has not been positively ascertained, though it is probably +Chelmsford. + +[Illustration: COUNTRY INN YARD.] + +FOOTNOTE: + +[4] At this election a man was placed on a bulk, with a figure +representing a child in his arms: as he whipped it he exclaimed, "What, +you little child, must you be a member?" This election being disputed, +it appeared from the register-book of the parish where Lord Castlemain +was born, that he was but twenty years of age when he offered himself a +candidate. + + + + +INDUSTRY AND IDLENESS. + + +As our future welfare depends, in a great measure, on our own conduct in +the outset of life, and as we derive our best expectations of success +from our own attention and exertion, it may, with propriety, be +asserted, that the good or ill-fortune of mankind is chiefly +attributable to their own early diligence or sloth; either of which +becomes, through habit in the early part of life, both familiar and +natural. This Mr. Hogarth has made appear in the following history of +the two Apprentices, by representing a series of such scenes as +naturally result from a course of Industry or Idleness, and which he has +illustrated with such texts of scripture as teach us their analogy with +holy writ. Now, as example is far more convincing and persuasive than +precept, these prints are, undoubtedly, an excellent lesson to such +young men as are brought up to business, by laying before them the +inevitable destruction that awaits the slothful, and the reward that +generally attends the diligent, both appropriately exemplified in the +conduct of these two fellow-'prentices; where the one, by taking good +courses, and pursuing those purposes 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 shown in the last of these instructive prints. + +In the chamber of the city of London, where apprentices are bound and +enrolled, the twelve prints of this series are introduced, and, with +great propriety, ornament the room. + + + + +PLATE I. + +THE FELLOW-'PRENTICES AT THEIR LOOMS. + + "The drunkard shall come to poverty, and drowsiness shall clothe a + man with rags." + + Proverbs, chap. xxiii. verse 21. + + "The hand of the diligent maketh rich."--Proverbs, chap. x. verse 4. + + +The first print presents us with a noble and striking contrast in two +apprentices at the looms of their master, a silk-weaver of Spitalfields: +in the one we observe a serene and open countenance, the distinguishing +mark of innocence; and in the other a sullen, down-cast look, the index +of a corrupt mind and vicious heart. The industrious youth is diligently +employed at his work, and his thoughts taken up with the business he is +upon. His book, called the "'Prentice's Guide," supposed to be given him +for instruction, lies open beside him, as if perused with care and +attention. The employment of the day seems his constant study; and the +interest of his master his continual regard. We are given to understand, +also, by the ballads of the London 'Prentice, Whittingham the Mayor, &c. +that hang behind him, that he lays out his pence on things that may +improve his mind, and enlighten his understanding. On the contrary, his +fellow-'prentice, with worn-out coat and uncombed hair, overpowered with +beer, indicated by the half-gallon pot before him, is fallen asleep; and +from the shuttle becoming the plaything of the wanton kitten, we learn +how he slumbers on, inattentive alike to his own and his master's +interest. The ballad of Moll Flanders, on the wall behind him, shows +that the bent of his mind is towards that which is bad; and his book of +instructions lying torn and defaced upon the ground, manifests how +regardless he is of any thing tending to his future welfare. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 1. + +THE FELLOW 'PRENTICES AT THEIR LOOMS.] + + + + +PLATE II. + +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN. + + "O how I love thy law; it is my meditation all the day."--Psalm + cxix. verse 97. + + +This plate displays our industrious young man attending divine service +in the same pew with his master's daughter, where he shows every mark of +decent and devout attention. + +Mr. Hogarth's strong bias to burlesque was not to be checked by time or +place. It is not easy to imagine any thing more whimsically grotesque +than the female Falstaff. A fellow near her, emulating the deep-toned +organ, and the man beneath, who, though asleep, joins his sonorous tones +in melodious chorus with the admirers of those two pre-eminent poets, +Hopkins and Sternhold. The pew-opener is a very prominent and principal +figure; two old women adjoining Miss West's seat are so much in shadow, +that we are apt to overlook them: they are, however, all three making +the dome ring with their exertions. + + Ah! had it been king David's fate + To hear them sing---- + +The preacher, reader, and clerk, with many of the small figures in the +gallery and beneath, are truly ludicrous, and we regret their being on +so reduced a scale, that they are scarce perceptible to the naked eye. +It was necessary that the artist should exhibit a crowded congregation; +but it must be acknowledged he has neglected the rules of perspective. +The print wants depth. In the countenance of Miss West and her lover +there is a resemblance. Their faces have not much expression; but this +is atoned for by a natural and pleasing simplicity. Character was not +necessary. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 2. + +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN.] + + + + +INDUSTRY AND IDLENESS. + +PLATE III. + +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH-YARD DURING DIVINE SERVICE. + + "Judgments are prepared for scorners, and stripes for the back of + fools." + + Proverbs, chap. xix. verse 29. + + +As a contrast to the preceding plate, of the industrious young man +performing the duties of a Christian, is this, representing the idle +'prentice at play in the church-yard during divine service. As an +observance of religion is allowed to be the foundation of virtue, so a +neglect of religious duties has ever been acknowledged the forerunner of +every wickedness; the confession of malefactors at the place of +execution being a melancholy confirmation of this truth. Here we see +him, while others are intent on the holy service, transgressing the laws +both of God and man, gambling on a tomb-stone with the off-scouring of +the people, the meanest of the human species, shoe-blacks, +chimney-sweepers, &c. for none but such would deign to be his +companions. Their amusement seems to be the favourite old English game +of hustle-cap, and our idle and unprincipled youth is endeavouring to +cheat, by concealing some of the half-pence under the broad brim of his +hat. This is perceived by the shoe-black, and warmly resented by the +fellow with the black patch over his eye, who loudly insists on the +hat's being fairly removed. The eager anxiety which marks these mean +gamblers, is equal to that of two peers playing for an estate. The +latter could not have more solicitude for the turn of a die which was to +determine who was the proprietor of ten thousand acres, than is +displayed in the countenance of young Idle. Indeed, so callous is his +heart, so wilfully blind is he to every thing tending to his future +welfare, that the tombs, those standing monuments of mortality, cannot +move him: even the new-dug grave, the sculls and bones, those lively and +awakening monitors, cannot rouse him from his sinful lethargy, open his +eyes, or pierce his heart with the least reflection; so hardened is he +with vice, and so intent on the pursuit of his evil course. The hand of +the boy, employed upon his head, and that of the shoe-black, in his +bosom, are expressive of filth and vermin; and show that our hero is +within a step of being overspread with the beggarly contagion. His +obstinate continuance in his course, until awakened by the blows of the +watchful beadle, point out to us, that "stripes are prepared for the +backs of fools;" that disgrace and infamy are the natural attendants of +the slothful and the scorner; and that there are but little hopes of his +alteration, until he is overtaken in his iniquity, by the avenging hand +of Omnipotence, and feels with horror and amazement, the unexpected and +inevitable approach of death. Thus do the obstinate and incorrigible +shut their ears against the alarming calls of Providence, and sin away +even the possibility of salvation. + +The figures in this print are admirably grouped, and the countenances of +the gamblers and beadle strikingly characteristic. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 3. + +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH YARD.] + + + + +INDUSTRY AND IDLENESS. + +PLATE IV. + +THE INDUSTRIOUS 'PRENTICE A FAVOURITE AND INTRUSTED BY HIS MASTER. + + "Well done, thou good and faithful servant; thou hast been faithful + over a few things, I will make thee ruler over many things." + Matthew, chap. xxv. verse 21. + + +The industrious apprentice, by a discreet and steady conduct, attracts +the notice of his master, and becomes a favourite: accordingly, we +behold him here (exquisitely continued from the first and second prints) +in the counting-house (with a distant view of the looms, and of the +quilsters, winding quills for the shuttles, from whence he was removed) +entrusted with the books, receiving and giving orders, (the general +reward of honesty, care, and diligence,) as appears from the delivery of +some stuffs by a city porter, from Blackwell-hall. By the keys in one +hand and the bag in the other, we are shown that he has behaved himself +with so much prudence and discretion, and given such proofs of fidelity, +as to become the keeper of untold gold: the greatest mark of confidence +he could be favoured with. The integrity of his heart is visible in his +face. The modesty and tranquillity of his countenance tell us, that +though the great trust reposed in him is an addition to his happiness, +yet, that he discharges his duty with such becoming diffidence and care, +as not to betray any of that pride which attends so great a promotion. +The familiar position of his master, leaning on his shoulder, is a +further proof of his esteem, declaring that he dwells, as it were, in +his bosom, and possesses the utmost share of his affection; +circumstances that must sweeten even a state of servitude, and make a +pleasant and lasting impression on the mind. The head-piece to the +London Almanack, representing Industry taking Time by the fore-lock, is +not the least of the beauties in this plate, as it intimates the danger +of delay, and advises us to make the best use of time, whilst we have it +in our power; nor will the position of the gloves, on the flap of the +escritoire, be unobserved by a curious examiner, being expressive of +that union that subsists between an indulgent master and an industrious +apprentice. + +The strong-beer nose and pimpled face of the porter, though they have no +connexion with the moral of the piece, are a fine caricatura, and show +that our author let slip no opportunity of ridiculing the vices and +follies of the age, and particularly here, in laying before us the +strange infatuation of this class of people, who, because a good deal of +labour requires some extraordinary refreshment, will even drink to the +deprivation of their reason, and the destruction of their health. The +surly mastiff, keeping close to his master, and quarrelling with the +house-cat for admittance, though introduced to fill up the piece, +represents the faithfulness of these animals in general, and is no mean +emblem of the honesty and fidelity of the porter. + + +In this print, neither the cat, dog, nor the porter are well drawn, nor +is much regard paid to perspective; but the general design is carried on +by such easy and natural gradations, and the consequent success of an +attentive conduct displayed in colours so plain and perspicuous, that +these little errors in execution will readily be overlooked. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 4. + +THE INDUSTRIOUS 'PRENTICE A FAVOURITE, AND ENTRUSTED BY HIS MASTER.] + + + + +INDUSTRY AND IDLENESS. + +PLATE V. + +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA. + + "A foolish son is the heaviness of his mother." Proverbs, chap. x. + verse 1. + + +Corrupted by sloth and contaminated by evil company, the idle +apprentice, having tired the patience of his master, is sent to sea, in +the hope that the being removed from the vices of the town, and the +influence of his wicked companions, joined with the hardships and perils +of a seafaring life, might effect that reformation of which his friends +despaired while he continued on shore. See him then in the ship's boat, +accompanied by his afflicted mother, making towards the vessel in which +he is to embark. The disposition of the different figures in the boat, +and the expression of their countenances, tell us plainly, that his evil +pursuits and incorrigible wickedness are the subjects of their +discourse. The waterman significantly directs his attention to a figure +on a gibbet, as emblematical of his future fate, should he not turn from +the evil of his ways; and the boy shows him a cat-o'-nine-tails, +expressive of the discipline that awaits him on board of ship; these +admonitions, however, he notices only by the application of his fingers +to his forehead, in the form of horns, jestingly telling them to look at +Cuckold's Point, which they have just passed; he then throws his +indentures into the water with an air of contempt, that proves how +little he is affected by his present condition, and how little he +regards the persuasions and tears of a fond mother, whose heart seems +ready to burst with grief at the fate of her darling son, and perhaps +her only stay; for her dress seems to intimate that she is a widow. Well +then might Solomon say, that "a foolish son is the heaviness of his +mother;" for we here behold her who had often rejoiced in the prospect +of her child being a prop to her in the decline of life, lamenting his +depravity, and anticipating with horror the termination of his evil +course. One would naturally imagine, from the common course of things, +that this scene would have awakened his reflection, and been the means +of softening the ruggedness of his disposition,--that some tender ideas +would have crossed his mind and melted the obduracy of his heart; but he +continues hardened and callous to every admonition. + +The group of figures composing this print has been copied by the +ingenious Lavater; with whose appropriate remarks we conclude our +present description. "Observe," says this great analyst of the human +countenance, "in the annexed group, that unnatural wretch, with the +infernal visage, insulting his supplicating mother; the predominant +character on the three other villain-faces, though all disfigured by +effrontery, is cunning and ironical malignity. Every face is a seal with +this truth engraved on it: 'Nothing makes a man so ugly as vice; nothing +renders the countenance so hideous as villainy.'" + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 5. + +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VI. + +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND MARRIED TO HIS MASTER'S +DAUGHTER. + + "The virtuous woman is a crown to her husband." Proverbs, chap. + xiii. verse 4. + + +The reward of industry is success. Our prudent and attentive youth is +now become partner with his master, and married to his daughter. The +sign, by which this circumstance is intimated, was at first inscribed +GOODCHILD and WEST. Some of Mr. Hogarth's city friends informing him +that it was usual for the senior partner's name to precede, it was +altered. + +To show that plenty reigns in this mansion, a servant distributes the +remains of the table to a poor woman, and the bridegroom pays one of the +drummers, who, according to ancient custom, attend with their thundering +gratulations the day after a wedding. A performer on the bass viol, and +a herd of butchers armed with marrow-bones and cleavers, form an English +concert. (Madame Pompadour, in her remarks on the English taste for +music, says, they are invariably fond of every thing that is full in the +mouth.) A cripple with the ballad of Jesse, or the Happy Pair, +represents a man known by the name of Philip in the Tub, who had visited +Ireland and the United Provinces; and, in the memory of some persons now +living, was a general attendant at weddings. From those votaries of +Hymen who were honoured with his epithalamiums, he received a small +reward. To show that Messrs. West and Goodchild's habitation is near the +monument, the base of that stately column appears in the back-ground. +The inscription which until lately graced this structure, used to remind +every reader of Pope's lines, + + Where London's column, pointing to the skies, + Like a tall bully, rears its head, and lies, &c. + +The duke of Buckingham's epigram on this magnificent pillar is not so +generally known: + + Here stand I, + The Lord knows why; + But if I fall-- + Have at ye all! + +A footman and butcher, at the opposite corner, compared with the other +figures, are gigantic; they might serve for the Gog and Magog of +Guildhall. + +It has been said that the thoughts in this print are trite, and the +actions mean, which must be in part acknowledged, but they are natural, +and appropriate to the rank and situation of the parties, and to the +fashions of the time at which it was published. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 6. + +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME & MARRIED TO HIS MASTER'S +DAUGHTER.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VII. + +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN A GARRET WITH A COMMON +PROSTITUTE. + + "The sound of a shaken leaf shall chase him." Leviticus, chap. xxvi. + verse 26. + + +The idle apprentice, as appears by this print, is advancing with rapid +strides towards his fate. We are to suppose him returned from sea after +a long voyage; and to have met with such correction abroad for his +obstinacy, during his absence from England, that though it was found +insufficient to alter his disposition, yet it determined him to pursue +some other way of life; and what he entered on is here but too evident +(from the pistols by the bed-side, and the trinkets his companion is +examining, in order to strip him of) to be that of the highway. He is +represented in a garret, with a common prostitute, the partaker of his +infamy, awaking, after a night spent in robbery and plunder, from one of +those broken slumbers which are ever the consequences of a life of +dishonesty and debauchery. Though the designs of Providence are visible +in every thing, yet they are never more conspicuous than in this,--that +whatever these unhappy wretches possess by wicked and illegal means, +they seldom comfortably enjoy. In this scene we have one of the finest +pictures imaginable of the horrors of a guilty conscience. Though the +door is fastened in the strongest manner with a lock and two bolts, and +with the addition of some planks from the flooring, so as to make his +retreat as secure as possible; though he has attempted to drive away +thought by the powerful effects of spirituous liquors, plain from the +glass and bottle upon the floor, still he is not able to brave out his +guilt, or steel his breast against reflection. Behold him roused by the +accidental circumstance of a cat's coming down the chimney, and the +falling of a few bricks, which he believes to be the noise of his +pursuers! Observe his starting up in bed, and all the tortures of his +mind imprinted in his face! He first stiffens into stone, then all his +nerves and muscles relax, a cold sweat seizes him, his hair stands on +end, his teeth chatter, and dismay and horror stalk before his eyes. How +different is the countenance of his wretched bed-fellow! in whom +unconcern and indifference to every thing but the plunder are plainly +apparent. She is looking at an ear-ring, which, with two watches, an +etwee, and a couple of rings, are spread upon the bed, as part of last +night's plunder. The phials on the mantel-piece show that sickness and +disease are ever attendant on prostitution; and the beggarly appearance +of the room, its wretched furniture, the hole by way of window, (by the +light of which she is examining her valuable acquisition, and against +which she had hung her old hoop-petticoat in order to keep out the +cold,) and the rat's running across the floor, are just and sufficient +indications that misery and want are the constant companions of a guilty +life. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 7. + +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN THE A GARRET WITH A +PROSTITUTE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VIII. + +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON. + + 'With all thy gettings get understanding. Exalt her and she shall + promote thee; she shall bring thee to honour, when thou dost embrace + her.' Proverbs, chap. iv. verse 7, 8. + + +From industry become opulent, from integrity and punctuality +respectable, our young merchant is now sheriff of London, and dining +with the different companies in Guildhall. A group on the left side are +admirably characteristic; their whole souls seem absorbed in the +pleasures of the table. A divine, true to his cloth, swallows his soup +with the highest _goût_. Not less gratified is the gentleman palating a +glass of wine. The man in a black wig is a positive representative of +famine; and the portly and oily citizen, with a napkin tucked in his +button-hole, has evidently burnt his mouth by extreme eagerness. + +The backs of those in the distance, behung with bags, major perukes, +pinners, &c. are most laughably ludicrous. Every person present is so +attentive to business, that one may fairly conclude they live to eat, +rather than eat to live. + +But though this must be admitted to be the case with this party, the +following instance of city temperance proves that there are some +exceptions. When the Lord Mayor, Sheriffs, Aldermen, Chamberlain, &c. of +the city of London were once seated round the table at a public and +splendid dinner at Guildhall, Mr. Chamberlain Wilkes lisped out, "Mr. +Alderman B----, shall I help you to a plate of turtle, or a slice of the +haunch,--I am within reach of both, sir?" "Neither one nor t'other, I +thank you, Sir," replied the Alderman, "I think I shall dine on the +beans and bacon which are at this end of the table." "Mr. Alderman +A----," continued the Chamberlain, "which would you choose, sir?" "Sir, +I will not trouble you for either, for I believe I shall follow the +example of my brother B----, and dine on beans and bacon," was the +reply. On this second refusal the old Chamberlain rose from his seat, +and, with every mark of astonishment in his countenance, curled up the +corners of his mouth, cast his eyes round the table, and in a voice as +loud and articulate as he was able, called "Silence!" which being +obtained, he thus addressed the pretorian magistrate, who sat in the +Chair: "My Lord Mayor, the wicked have accused us of intemperance, and +branded us with the imputation of gluttony; that they may be put to open +shame, and their profane tongues be from this day utterly silenced, I +humbly move, that your Lordship command the proper officer to record in +our annals, that two Aldermen of the city of London prefer beans and +bacon to either turtle soup or venison." + +Notwithstanding all this, there are men, who, looking on the dark side, +and perhaps rendered splenetic, and soured by not being invited to these +sumptuous entertainments, have affected to fear, that their frequent +repetition would have a tendency to produce a famine, or at least to +check the increase, if not extirpate the species, of those birds, +beasts, and fish, with which the tables of the rich are now so +plentifully supplied. But these half reasoners do not take into their +calculation the number of gentlemen so laudably associated for +encouraging cattle being fed so fat that there is no lean left; or that +more ancient association, sanctioned and supported by severe acts of +parliament, for the preservation of the game. From the exertions of +these and similar societies, we may reasonably hope there is no occasion +to dread any such calamity taking place; though the Guildhall tables +often groaning under such hecatombs as are recorded in the following +account, may make a man of weak nerves and strong digestion, shake his +head, and shudder a little. "On the 29th October, 1727, when George II. +and Queen Caroline honoured the city with their presence at Guildhall, +there were 19 tables, covered with 1075 dishes. The whole expense of +this entertainment to the city was 4889_l._ 4_s._" + +To return to the print;--a self-sufficient and consequential beadle, +reading the direction of a letter to Francis Goodchild, Esq. Sheriff of +London, has all the insolence of office. The important and overbearing +air of this dignified personage is well contrasted by the humble +simplicity of the straight-haired messenger behind the bar. The gallery +is well furnished with musicians busily employed in their vocation. + + Music hath charms to sooth the savage breast, + And therefore proper at a sheriff's feast. + +Besides a portrait of William the Third, and a judge, the hall is +ornamented with a full length of that illustrious hero Sir William +Walworth, in commemoration of whose valour the weapon with which he slew +Wat Tyler was introduced into the city arms. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 8. + +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON.] + + + + +INDUSTRY AND IDLENESS. + +PLATE IX. + +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE, AND TAKEN IN A NIGHT CELLAR +WITH HIS ACCOMPLICE. + + "The adulteress will hunt for precious life." Proverbs, chap. vi. + verse 26. + + +From the picture of the reward of diligence, we return to take a further +view of the progress of sloth and infamy; by following the idle +'prentice a step nearer to the approach of his unhappy end. We see him +in the third plate herding with the worst of the human species, the very +dregs of the people; one of his companions, at that time, being a +one-eyed wretch, who seemed hackneyed in the ways of vice. To break this +vile connexion he was sent to sea; but, no sooner did he return, than +his wicked disposition took its natural course, and every day he lived +served only to habituate him to acts of greater criminality. He +presently discovered his old acquaintance, who, no doubt, rejoiced to +find him so ripe for mischief: with this worthless, abandoned fellow, he +enters into engagements of the worst kind, even those of robbery and +murder. Thus blindly will men sometimes run headlong to their own +destruction. + +About the time when these plates were first published, which was in the +year 1747, there was a noted house in Chick Lane, Smithfield, that went +by the name of the Blood-Bowl House, so called from the numerous scenes +of blood that were almost daily carried on there; it being a receptacle +for prostitutes and thieves; where every species of delinquency was +practised; and where, indeed, there seldom passed a month without the +commission of some act of murder. To this subterraneous abode of +iniquity (it being a cellar) was our hero soon introduced; where he is +now represented in company with his accomplice, and others of the same +stamp, having just committed a most horrid act of barbarity, (that of +killing a passer-by, and conveying him into a place under ground, +contrived for this purpose,) dividing among them the ill-gotten booty, +which consists of two watches, a snuff-box, and some other trinkets. In +the midst of this wickedness, he is betrayed by his strumpet (a proof of +the treachery of such wretches) into the hands of the high constable and +his attendants, who had, with better success than heretofore, traced him +to this wretched haunt. The back-ground of this print serves rather as a +representation of night-cellars in general, those infamous receptacles +for the dissolute and abandoned of both sexes, than a further +illustration of our artist's chief design; however, as it was Mr. +Hogarth's intention, in the history before us, to encourage virtue and +expose vice, by placing the one in an amiable light, and exhibiting the +other in its most heightened scenes of wickedness and impiety, in hopes +of deterring the half-depraved youth of this metropolis, from even the +possibility of the commission of such actions, by frightening them from +these abodes of wretchedness; as this was manifestly his intention, it +cannot be deemed a deviation from the subject. By the skirmish behind, +the woman without a nose, the scattered cards upon the floor, &c. we are +shown that drunkenness and riot, disease, prostitution, and ruin are the +dreadful attendants of sloth, and the general fore-runners of crimes of +the deepest die; and by the halter suspended from the ceiling, over the +head of the sleeper, we are to learn two things--the indifference of +mankind, even in a state of danger, and the insecurity of guilt in every +situation. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 9. + +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE X. + +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON; THE IDLE ONE BROUGHT +BEFORE HIM, AND IMPEACHED BY HIS ACCOMPLICE. + + "Thou shalt do no unrighteousness in judgment." Leviticus, chap. + xix. verse 15. + + "The wicked is snared in the work of his own hands." Psalms, chap. + ix. verse 16. + + +Imagine now this depraved and atrocious youth hand-cuffed, and dragged +from his wicked haunt, through the streets to a place of security, +amidst the scorn and contempt of a jeering populace; and thence brought +before the sitting magistrate, (who, to heighten the scene and support +the contrast, is supposed to be his fellow-'prentice, now chosen an +alderman,) in order to be dealt with according to law. See him then at +last having run his course of iniquity, fallen into the hands of +justice, being betrayed by his accomplice; a further proof of the +perfidy of man, when even partners in vice are unfaithful to each other. +This is the only print among the set, excepting the first, where the two +principal characters are introduced; in which Mr. Hogarth has shown his +great abilities, as well in description, as in a particular attention to +the uniformity and connexion of the whole. He is now at the bar, with +all the marks of guilt imprinted on his face. How, if his fear will +permit him to reflect, must he think on the happiness and exaltation of +his fellow-'prentice on the one hand, and of his own misery and +degradation on the other! at one instant, he condemns the persuasions of +his wicked companions; at another, his own idleness and obstinacy: +however, deeply smitten with his crime, he sues the magistrate, upon his +knees, for mercy, and pleads in his cause the former acquaintance that +subsisted between them, when they both dwelt beneath the same roof, and +served the same common master: but here was no room for lenity, murder +was his crime, and death must be his punishment; the proofs are +incontestable, and his mittimus is ordered, which the clerk is drawing +out. Let us next turn our thoughts upon the alderman, in whose breast a +struggle between mercy and justice is beautifully displayed. Who can +behold the magistrate, here, without praising the man? How fine is the +painter's thoughts of reclining the head on one hand, while the other is +extended to express the pity and shame he feels that human nature should +be so depraved! It is not the golden chain or scarlet robe that +constitutes the character, but the feelings of the heart. To show us +that application for favour, by the ignorant, is often idly made to the +servants of justice, who take upon themselves on that account a certain +state and consequence, not inferior to magistracy, the mother of our +delinquent is represented in the greatest distress, as making interest +with the corpulent self-swoln constable, who with an unfeeling concern +seems to say, "Make yourself easy, for he must be hanged;" and to +convince us that bribery will even find its way into courts of +judicature, here is a woman feeing the swearing clerk, who has stuck his +pen behind his ear that his hands might be both at liberty; and how much +more his attention is engaged to the money he is taking, than to the +administration of the oath, may be known from the ignorant, treacherous +witness being suffered to lay his left hand upon the book; strongly +expressive of the sacrifice, even of sacred things, to the inordinate +thirst of gain. + +From Newgate (the prison to which he was committed; where, during his +continuance he lay chained in a dismal cell, deprived of the +cheerfulness of light, fed upon bread and water, and left without a bed +to rest on) the prisoner was removed to the bar of judgment, and +condemned to die by the laws of his country. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 10. + +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON. THE IDLE ONE IMPEACHED +BEFORE HIM BY HIS ACCOMPLICE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE XI. + +THE IDLE 'PRENTICE EXECUTED AT TYBURN. + + "When fear cometh as desolation, and their destruction cometh as a + whirlwind; when distress cometh upon them, then shall they call upon + God, but he will not answer." Proverbs, chapter i. verse 7, 8. + + +Thus, after a life of sloth, wretchedness, and vice, does our delinquent +terminate his career. Behold him, on the dreadful morn of execution, +drawn in a cart (attended by the sheriff's officers on horseback, with +his coffin behind him) through the public streets to Tyburn, there to +receive the just reward of his crimes,--a shameful ignominious death. +The ghastly appearance of his face, and the horror painted on his +countenance, plainly show the dreadful situation of his mind; which we +must imagine to be agitated with shame, remorse, confusion, and terror. +The careless position of the Ordinary at the coach window is intended to +show how inattentive those appointed to that office are of their duty, +leaving it to others, which is excellently expressed by the itinerant +preacher in the cart, instructing from a book of Wesley's. Mr. Hogarth +has in this print, digressing from the history and moral of the piece, +taken an opportunity of giving us a humorous representation of an +execution, or a Tyburn Fair: such days being made holidays, produce +scenes of the greatest riot, disorder, and uproar; being generally +attended by hardened wretches, who go there, not so much to reflect upon +their own vices, as to commit those crimes which must in time inevitably +bring them to the same shameful end. In confirmation of this, see how +earnestly one boy watches the motions of the man selling his cakes, +while he is picking his pocket; and another waiting to receive the +booty! We have here interspersed before us a deal of low humour, but +such as is common on occasions like this. In one place we observe an old +bawd turning up her eyes and drinking a glass of gin, the very picture +of hypocrisy; and a man indecently helping up a girl into the same cart; +in another, a soldier sunk up to his knees in a bog, and two boys +laughing at him, are well imagined. Here we see one almost squeezed to +death among the horses; there, another trampled on by the mob. In one +part is a girl tearing the face of a boy for oversetting her barrow; in +another, a woman beating a fellow for throwing down her child. Here we +see a man flinging a dog among the crowd by the tail; there a woman +crying the dying speech of Thomas Idle, printed the day before his +execution; and many other things too minute to be pointed out: two, +however, we must not omit taking notice of, one of which is the letting +off a pigeon, bred at the gaol, fly from the gallery, which hastes +directly home; an old custom, to give an early notice to the keeper and +others, of the turning off or death of the criminal; and that of the +executioner smoking his pipe at the top of the gallows, whose position +of indifference betrays an unconcern that nothing can reconcile with the +shocking spectacle, but that of use having rendered his wretched office +familiar to him; whilst it declares a truth, which every character in +this plate seems to confirm, that a sad and distressful object loses its +power of affecting by being frequently seen. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 11. + +THE IDLE 'PRENTICE EXECUTED AT TYBURN.] + + + + +INDUSTRY AND IDLENESS. + +PLATE XII. + +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON. + + "Length of days is in her right hand, and in her left hand riches + and honour." Proverbs, chap. iii. ver. 16. + + +Having seen the ignominious end of the idle apprentice, nothing remains +but to represent the completion of the other's happiness; who is now +exalted to the highest honour, that of Lord Mayor of London; the +greatest reward that ancient and noble city can bestow on diligence and +integrity. Our artist has here, as in the last plate, given a loose to +his humour, in representing more of the low part of the Lord Mayor's +show than the magnificent; yet the honour done the city, by the presence +of the Prince and Princess of Wales, is not forgotten. The variety of +comic characters in this print serves to show what generally passes on +such public processions as these, when the people collect to gratify +their childish curiosity, and indulge their wanton disposition, or +natural love of riot. The front of this plate exhibits the oversetting +of a board, on which some girls had stood, and represents them sprawling +upon the ground; on the left, at the back of the scaffold, is a fellow +saluting a fair nymph, and another enjoying the joke: near him is a +blind man straggled in among the crowd, and joining in the general +halloo: before him is a militia-man, so completely intoxicated as not to +know what he is doing; a figure of infinite humour. Though Mr. Hogarth +has here marked out two or three particular things, yet his chief +intention was to ridicule the city militia, which was at this period +composed of undisciplined men, of all ages, sizes, and height; some fat, +some lean, some tall, some short, some crooked, some lame, and in +general so unused to muskets, that they knew not how to carry them. One, +we observe, is firing his piece and turning his head another way, at +whom the man above is laughing, and at which the child is frightened. +The boy on the right, crying, "A full and true account of the ghost of +Thomas Idle," which is supposed to have appeared to the Mayor, +preserves the connexion of the whole work. The most obtrusive figure in +his Lordship's coach is Mr. Swordbearer, in a cap like a reversed +saucepan, which this great officer wears on these grand occasions. The +company of journeymen butchers, with their marrow-bones and cleavers, +appear to be the most active, and are by far the most noisy of any who +grace this solemnity. Numberless spectators, upon every house and at +every window, dart their desiring eyes on the procession; so great +indeed was the interest taken by the good citizens of London in these +civic processions that, formerly, it was usual in a London lease to +insert a clause, giving a right to the landlord and his friends to stand +in the balcony, during the time of "the shows or pastimes, upon the day +commonly called the Lord Mayor's Day." + +Thus have we seen, by a series of events, the prosperity of the one and +the downfall of the other; the riches and honour that crown the head of +industry, and the ignominy and destruction that await the slothful. +After this it would be unnecessary to say which is the most eligible +path to tread. Lay the roads but open to the view, and the traveller +will take the right of course; give but the boy this history to peruse, +and his future welfare is almost certain. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 12. + +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON.] + + + + +SOUTHWARK FAIR. + + +The subject of the plate under consideration is that of the Borough +Fair; a fair held some time since in the Borough of Southwark, though +now suppressed. This fair was attended, generally, by the inhabitants of +town and country, and, therefore, was one that afforded great variety; +especially as, before its suppression, it was devoted to every thing +loose and irregular. A view of the scene, of which the following print +is a faithful representation, will affirm this truth. + +The principal view upon the left represents the fall of a scaffold, on +which was assembled a strolling company, pointed out, by the paper +lantern hanging in front, to be that belonging to Cibber and Bullock, +ready dressed to exhibit "The Fall of Bajazet." Here we see +merry-andrews, monkeys, queens and emperors, sinking in one general +confusion; and, that the crash may appear the greater, the stand beneath +is humorously supposed to consist of earthenware and china. +Notwithstanding this fatal overthrow, few below are seen to notice it; +witness the boys and woman gambling at the box and dice, the upright +monkey, and the little bag-piper dancing his wooden figures. Above this +scaffold hangs a painting, the subject of which is the stage mutiny; +whose figures are as follow:--On one side is Pistol, (strutting and +crying out, "Pistol's alive,") Falstaff, Justice Shallow, and many other +characters of Shakspeare. On the other, the manager bearing in his hand +a paper, on which is written, "it cost 6000_l._" a scene-painter, who +has laid his brushes aside, and taken up a cudgel; and a woman holding +an ensign, bearing the words, "We'll starve 'em out." In the corner is a +man, quiet and snug, hugging a bag of money, laughing at the folly of +the rest; and behind, a monkey, perched upon a sign iron, supposed to be +that of the Rose Tavern in Drury-lane, squeaking out, "I am a +gentleman." These paintings are in general designed to show what is +exhibited within; but this alludes to a dispute that arose at the time +when this print was published, which was in the year 1733, between the +players and the patentee of Drury-lane Theatre, when young Cibber, the +son of the Laureate, was at the head of the faction. Above, on one +side, is an equilibrist swinging on a slack rope; and on the other, a +man flying from the tower to the ground, by means of a groove fastened +to his breast, slipping over a line strained from one place to the +other. At the back of this plate is Lee and Harper's great booth, where, +by the picture of the wooden horse, we are told, is represented "The +Siege of Troy." The next paintings consist of the fall of Adam and Eve, +and a scene in Punch's opera. Beneath is a mountebank, exalted on a +stage, eating fire to attract the public attention; while his +merry-andrew behind is distributing his medicines. Further back is a +shift and hat, carried upon poles, designed as prizes for the best +runner or wrestler. In front is a group of strollers parading the fair, +in order to collect an audience for their next exhibition; in which is a +female drummer, at that time well known, and remarked for her beauty, +which we observe has caught the eye of two countrymen, the one old, the +other young. Behind these men is a buskined hero, beset by a Marshalsea +Court officer and his follower. To the right is a Savoyard exhibiting +her farthing show; and behind, a player at back sword riding a blind +horse round the fair triumphantly, in all the boast of self-important +heroism, affecting terror in his countenance, glorying in his scars, and +challenging the world to open combat: a folly for which the English were +remarkable. To this man a fellow is directing the attention of a country +gentleman, while he robs him of his handkerchief. Next him is an artful +villain decoying a couple of unthinking country girls to their ruin. +Further back is a man kissing a wench in the crowd; and above, a juggler +performing some dexterity of hand. Indeed it would be tedious to enter +into an enumeration of the various matter of this plate; it is +sufficient to remark that it presents us with an endless collection of +spirited and laughable characters, in which is strikingly portrayed the +character of the times. + +[Illustration: SOUTHWARK FAIR.] + + + + +GARRICK IN THE CHARACTER OF RICHARD III. + + Give me another horse,--bind up my wounds,-- + Have mercy, Jesu!--Soft; I did but dream.-- + O coward conscience, how dost thou afflict me!-- + The lights burn blue!--is it not dead midnight? + Cold, fearful drops hang on my trembling flesh.-- + + +Such is the exclamation of Richard, and such is the disposition of his +mind at the moment of this delineation. The lamp, diffusing a dim +religious light through the tent, the crucifix placed at his head, the +crown, and unsheathed sword at his hand, and the armour lying on the +ground, are judicious and appropriate accompaniments. Those who are +acquainted with this prince's history, need not be told that he was +naturally bold, courageous, and enterprising; that when business called +him to the field, he shook off every degree of indulgence, and applied +his mind to the management of his affairs. This may account for his +being stripped no otherwise than of his armour, having retired to his +tent in order to repose himself upon his bed, and lessen the fatigues of +the preceding day. See him then hastily rising, at dead of night, in the +utmost horror from his own thoughts, being terrified in his sleep by the +dreadful phantoms of an affrighted imagination, seizing on his sword, by +way of defence against the foe his disordered fancy presents to him. So +great is his agitation, that every nerve and muscle is in action, and +even the ring is forced from his finger. When the heart is affected, how +great is its influence on the human frame!--it communicates its +sensibility to the extreme parts of the body, from the centre to the +circumference; as distant water is put in motion by circles, spreading +from the place of its disturbance. The paper on the floor containing +these words, + + Jockey of Norfolk, be not so bold, + For Dicken thy master is bought and is sold, + +brought him by the Duke of Norfolk, saying he found it in his tent, and +lying here unattended to, as a mark of contempt, plainly informs us that +however a man may attempt to steel himself against the arrows of +conscience, still they will find a way to his breast, and shake the +sinner even in his greatest security. And indeed we cannot wonder, when +we reflect on the many murders he was guilty of, deserving the severest +punishment; for Providence has wisely ordained that sin should be its +own tormentor, otherwise, in many cases, the offender would, in this +life, escape unpunished, and the design of heaven be frustrated. But +Richard, though he reached a throne, and by that means was exempt from +the sufferings of the subject, yet could not divest himself of his +nature, but was forced to give way to the workings of the heart, and +bear the tortures of a distracted mind. The expression in his face is a +master-piece of execution, and was a great compliment paid by Mr. +Hogarth to his friend Garrick; yet not unmerited, as all that have seen +him in the part must acknowledge the greatness of the actor. The figures +in the distance, two of whom, + + Like sacrifices by their fires of watch, + With patience sit, and inly ruminate + The morning's danger, + +are properly introduced, and highly descriptive. + +The tents of Richmond are so near + + That the fix'd sentinels almost receive + The secret whispers of each other's watch. + +Considered as a whole, the composition is simple, striking, and +original, and the figures well drawn. The whole moral tenour of the +piece informs us that conscience is armed with a thousand stings, from +which royalty itself is not secure; that of all tormentors, reflection +is the worst; that crowns and sceptres are baubles, compared with +self-approbation; and that nought is productive of solid happiness, but +inward peace and serenity of mind. + +[Illustration: GARRICK. + +In the Character of Richard the Third.] + + + + +THE INVASION; OR, FRANCE AND ENGLAND. + + +In the two following designs, Mr. Hogarth has displayed that partiality +for his own country and contempt for France, which formed a strong trait +in his character. He neither forgot nor forgave the insults he suffered +at Calais, though he did not recollect that this treatment originated in +his own ill humour, which threw a sombre shade over every object that +presented itself. Having early imbibed the vulgar prejudice that one +Englishman was a match for four Frenchmen, he thought it would be doing +his country a service to prove the position. How far it is either useful +or politic to depreciate the power, or degrade the character of that +people with whom we are to contend, is a question which does not come +within the plan of this work. In some cases it may create confidence, +but in others lead to the indulgence of that negligent security by which +armies have been slaughtered, provinces depopulated, and kingdoms +changed their rulers. + + + + +PLATE I. + +FRANCE. + + With lantern jaws and croaking gut, + See how the half-star'd Frenchmen strut, + And call us English dogs: + But soon we'll teach these bragging foes + That beef and beer give heavier blows + Than soup and roasted frogs. + + The priests, inflam'd with righteous hopes, + Prepare their axes, wheels, and ropes, + To bend the stiff-neck'd sinner; + But should they sink in coming over, + Old Nick may fish 'twixt France and Dover, + And catch a glorious dinner. + + +The scenes of all Mr. Hogarth's prints, except The Gate of Calais, and +that now under consideration, are laid in England. In this, having +quitted his own country, he seems to think himself out of the reach of +the critics, and, in delineating a Frenchman, at liberty to depart from +nature, and sport in the fairy regions of caricature. Were these Gallic +soldiers naked, each of them would appear like a forked radish, with a +head fantastically carved upon it with a knife: so forlorn! that to any +thick sight he would be invisible. To see this miserable woe-begone +refuse of the army, who look like a group detached from the main body +and put on the sick list, embarking to conquer a neighbouring kingdom, +is ridiculous enough, and at the time of publication must have had great +effect. The artist seemed sensible that it was necessary to account for +the unsubstantial appearance of these shadows of men, and has hinted at +their want of solid food, in the bare bones of beef hung up in the +window, the inscription on the alehouse sign, "_Soup maigre au Sabot +Royal_," and the spider-like officer roasting four frogs which he has +impaled upon his sword. Such light and airy diet is whimsically opposed +by the motto on the standard, which two of the most valorous of this +ghastly troop are hailing with grim delight and loud exultation. It is, +indeed, an attractive motto, and well calculated to inspire this +famishing company with courage:--"_Vengeance, avec la bonne Bière, et +bon boeuf d'Angleterre._" However meagre the military, the church +militant is in no danger of starving. The portly friar is neither +emaciated by fasting nor weakened by penance. Anticipating the glory of +extirpating heresy, he is feeling the sharp edge of an axe, to be +employed in the decollation of the enemies to the true faith. A sledge +is laden with whips, wheels, ropes, chains, gibbets, and other +inquisitorial engines of torture, which are admirably calculated for the +propagation of a religion that was established in meekness and mercy, +and inculcates universal charity and forbearance. On the same sledge is +an image of St. Anthony, accompanied by his pig, and the plan of a +monastery to be built at Black Friars. + +In the back-ground are a troop of soldiers so averse to this English +expedition, that their serjeant is obliged to goad them forward with his +halberd. To intimate that agriculture suffers by the invasion having +engaged the masculine inhabitants, two women, ploughing a sterile +promontory in the distance, complete this catalogue of wretchedness, +misery, and famine. + +[Illustration: FRANCE.] + + + + + +THE INVASION. + +PLATE II. + +ENGLAND. + + See John the Soldier, Jack the Tar, + With sword and pistol arm'd for war, + Should Mounseer dare come here; + The hungry slaves have smelt our food, + They long to taste our flesh and blood, + Old England's beef and beer. + + Britons to arms! and let 'em come, + Be you but Britons still, strike home, + And, lion-like, attack 'em, + No power can stand the deadly stroke + That's given from hands and hearts of oak, + With Liberty to back 'em. + + +From the unpropitious regions of France our scene changes to the fertile +fields of England. + + England! bound in with the triumphant sea, + Whose rocky shores beat back the envious siege + Of wat'ry Neptune. + +Instead of the forlorn and famished party who were represented in the +last plate, we here see a company of well-fed and high-spirited Britons, +marked with all the hardihood of ancient times, and eager to defend +their country. + +In the first group a young peasant, who aspires to a niche in the temple +of Fame, preferring the service of Mars to that of Ceres, and the +dignified appellation of soldier to the plebeian name of farmer, offers +to enlist. Standing with his back against the halberd to ascertain his +height, and, finding he is rather under the mark, he endeavours to reach +it by rising on tiptoe. This artifice, to which he is impelled by +towering ambition, the serjeant seems disposed to connive at--and the +serjeant is a hero, and a great man in his way; "your hero always must +be tall, you know." + +To evince that the polite arts were then in a flourishing state, and +cultivated by more than the immediate professors, a gentleman artist, +who to common eyes must pass for a grenadier, is making a caricature of +_le grand monarque_, with a label from his mouth worthy the speaker and +worthy observation, "You take a my fine ships; you be de pirate; you be +de teef: me send my grand armies, and hang you all." The action is +suited to the word, for with his left hand this most Christian potentate +grasps his sword, and in his right poises a gibbet. The figure and motto +united produce a roar of approbation from the soldier and sailor, who +are criticising the work. It is so natural that the Helen and Briseis of +the camp contemplate the performance with apparent delight, and, while +one of them with her apron measures the breadth of this herculean +painter's shoulders, the other, to show that the performance has some +point, places her forefinger against the prongs of a fork. The little +fifer, playing that animated and inspiring tune, "God save the King," is +an old acquaintance: we recollect him in the March to Finchley. In the +back-ground is a serjeant, teaching a company of young recruits their +manual exercise. + +This military meeting is held at the sign of the Gallant Duke of +Cumberland, who is mounted upon a prancing charger, + + As if an angel dropp'd down from the clouds, + To turn and wield a fiery Pegasus, + And witch the world with noble horsemanship. + +Underneath is inscribed "Roast and Boiled every day," which, with the +beef and beverage upon the table, forms a fine contrast to the _soup +maigre_, bare bones, and roasted frogs, in the last print. The bottle +painted on the wall, foaming with liquor, which, impatient of +imprisonment, has burst its cerements, must be an irresistible +invitation to a thirsty traveller. The soldier's sword laid upon the +round of beef, and the sailor's pistol on the vessel containing the ale, +intimate that these great bulwarks of our island are as tenacious of +their beef and beer, as of their religion and liberty. + +These two plates were published in 1756; but in the London Chronicle for +October 20, 1759, is the following advertisement: "This day are +republished, Two prints designed and etched by William Hogarth, one +representing the preparations on the French coast for an intended +invasion; the other, a view of the preparations making in England to +oppose the wicked designs of our enemies; proper to be stuck up in +public places, both in town and country, at this juncture." + +The verses which were inserted under each print, and subjoined to this +account, are, it must be acknowledged, coarse enough. They were, +however, written by David Garrick. + +[Illustration: ENGLAND.] + + + + +Transcriber's Note. + + +The following words were inconsistently hyphenated in the original text: + + down-cast / downcast + footboy / foot-boy + fore-finger / forefinger + half-pence / halfpence + +The orthography of the original text has been preserved. In particular +the following words are as they appear in the original: + + antichamber + aukwardly + corruscations + corse + Govent + Martin Fowkes + negociated + pannel + plaistering + pourtrayed + sculls + stupifies + tenour + vender + +The following words were inconsistently accented in the original text: + + a-la-mode / à-la-mode + degagée / dégagée + + + + + + +End of the Project Gutenberg EBook of The Works of William Hogarth: In a +Series of Engravings, by John Trusler + +*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + +***** This file should be named 22500-8.txt or 22500-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/2/5/0/22500/ + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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John Trusler. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .lowercase{text-transform: lowercase;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align:baseline; + position: relative; + bottom: 0.33em; + font-size: .8em; + text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + .poem span.i8 {display: block; margin-left: 8em; padding-left: 3em; text-indent: -3em;} + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Works of William Hogarth: In a Series +of Engravings, by John Trusler + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Works of William Hogarth: In a Series of Engravings + With Descriptions, and a Comment on Their Moral Tendency + +Author: John Trusler + +Contributor: John Hogarth + John Nichols + +Engraver: William Hogarth + +Release Date: September 4, 2007 [EBook #22500] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + + + + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + + + + + +</pre> + + + +<div class="figcenter" style="width: 464px;"> +<a href="images/frontispiece.jpg"><img src="images/thumb_frontispiece.jpg" width="464" height="600" alt="WILLIAM HOGARTH." title="" /></a> +<span class="caption">WILLIAM HOGARTH.</span> +</div> + +<hr style="width: 65%;" /> + +<h1><span style="font-size: 75%;">THE</span><br /> +<br /> +WORKS<br /> +<br /> +<span style="font-size: 50%;">OF</span><br /> +<br /> +WILLIAM HOGARTH;<br /> +<br /> +<span style="font-size: 50%;">IN A</span><br /> +<br /> +<span style="font-size: 75%;">SERIES OF ENGRAVINGS:</span><br /> +<br /> +<span style="font-size: 50%;">WITH</span><br /> +<br /> +<span style="font-size: 75%;">DESCRIPTIONS,</span><br /> +<br /> +<span style="font-size: 50%;">AND</span><br /> +<br /> +<span style="font-size: 75%;">A COMMENT ON THEIR MORAL TENDENCY,</span><br /> +<br /> +<span style="font-size: 50%;">BY THE</span><br /> +<br /> +<span style="font-size: 75%;">REV. JOHN TRUSLER.</span><br /> +<br /> +<span style="font-size: 50%;">TO WHICH ARE ADDED,</span><br /> +<br /> +<span style="font-size: 75%;">ANECDOTES OF THE AUTHOR AND HIS WORKS,</span><br /> +<br /> +<span style="font-size: 50%;">BY J. HOGARTH AND J. NICHOLS.</span></h1> + +<hr style="width: 25%;" /> + +<p class="center">London:<br /> +<span style="font-size: large;">PUBLISHED BY JONES AND CO.</span><br /> +TEMPLE OF THE MUSES, (LATE LACKINGTON'S,) FINSBURY SQUARE.</p> + +<hr style="width: 15%;" /> + +<p class="center">1833.</p> + +<hr style="width: 45%;" /> + +<p class='center'>C. BAYNES, PRINTER, 13 DUKE STREET, LINCOLN'S INN FIELDS.<span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LIFE_OF_HOGARTH" id="THE_LIFE_OF_HOGARTH"></a>THE LIFE OF HOGARTH.</h2> + + +<p>William Hogarth is said to have been the descendant of a family +originally from Kirby Thore, in Westmorland.</p> + +<p>His grandfather was a plain yeoman, who possessed a small tenement +in the vale of Bampton, a village about fifteen miles north of +Kendal, in that county; and had three sons.</p> + +<p>The eldest assisted his father in farming, and succeeded to his little +freehold.</p> + +<p>The second settled in Troutbeck, a village eight miles north west of +Kendal, and was remarkable for his talent at provincial poetry.</p> + +<p>Richard Hogarth, the third son, who was educated at St. Bees, and +had kept a school in the same county, appears to have been a man of some +learning. He came early to London, where he resumed his original occupation +of a schoolmaster, in Ship-court in the Old Bailey, and was +occasionally employed as a corrector of the press.</p> + +<p>Mr. Richard Hogarth married in London; and our artist, and his +sisters, Mary and Anne, are believed to have been the only product of +the marriage.</p> + +<p>William Hogarth was born November 10, and baptised Nov. 28, 1697, +in the parish of St. Bartholomew the Great, in London; to which parish, +it is said, in the Biographia Britannica, he was afterwards a benefactor.</p> + +<p>The school of Hogarth's father, in 1712, was in the parish of St. +Martin, Ludgate. In the register of that parish, therefore, the date of +his death, it was natural to suppose, might be found; but the register +has been searched to no purpose.</p> + +<p>Hogarth seems to have received no other education than that of +a mechanic, and his outset in life was unpropitious. Young Hogarth +was bound apprentice to a silversmith (whose name was Gamble) of +some eminence; by whom he was confined to that branch of the trade, +which consists in engraving arms and cyphers upon the plate. While +thus employed, he gradually acquired some knowledge of drawing; and,<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> +before his apprenticeship expired, he exhibited talent for caricature. +"He felt the impulse of genius, and that it directed him to painting, +though little apprised at that time of the mode Nature had intended he +should pursue."</p> + +<p>The following circumstance gave the first indication of the talents +with which Hogarth afterwards proved himself to be so liberally endowed.</p> + +<p>During his apprenticeship, he set out one Sunday, with two or three +companions, on an excursion to Highgate. The weather being hot, they +went into a public-house; where they had not long been, before a quarrel +arose between some persons in the same room; from words they soon +got to blows, and the quart pots being the only missiles at hand, were +sent flying about the room in glorious confusion. This was a scene too +laughable for Hogarth to resist. He drew out his pencil, and produced +on the spot one of the most ludicrous pieces that ever was seen; which +exhibited likenesses not only of the combatants engaged in the affray, +but also of the persons gathered round them, placed in grotesque attitudes, +and heightened with character and points of humour.</p> + +<p>On the expiration of his apprenticeship, he entered into the academy +in St. Martin's Lane, and studied drawing from the life: but in this his +proficiency was inconsiderable; nor would he ever have surpassed <i>mediocrity</i> +as a painter, if he had not penetrated through external form to +character and manners. "It was character, passions, the soul, that his +genius was given him to copy."</p> + +<p>The engraving of arms and shop-bills seems to have been his first +employment by which to obtain a decent livelihood. He was, however, +soon engaged in decorating books, and furnished sets of plates for several +publications of the time. An edition of <i>Hudibras</i> afforded him the first +subject suited to his genius: yet he felt so much the shackles of other +men's ideas, that he was less successful in this task than might have been +expected. In the mean time, he had acquired the use of the brush, as +well as of the pen and graver; and, possessing a singular facility in seizing +a likeness, he acquired considerable employment as a portrait-painter. +Shortly after his marriage, he informs us that he commenced painter of +small conversation pieces, from twelve to fifteen inches in height; the +novelty of which caused them to succeed for a few years. One of the +earliest productions of this kind, which distinguished him as a painter, is +supposed to have been a representation of Wanstead Assembly; the figures +in it were drawn from the life, and without burlesque. The faces were<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> +said to bear great likenesses to the persons so drawn, and to be rather +better coloured than some of his more finished performances. Grace, +however, was no attribute of his pencil; and he was more disposed to +aggravate, than to soften the harsh touches of Nature.</p> + +<p>A curious anecdote is recorded of our artist during the early part of +his practice as a portrait painter. A nobleman, who was uncommonly +ugly and deformed, sat for his picture, which was executed in his happiest +manner, and with singularly rigid fidelity. The peer, disgusted at this +counterpart of his dear self, was not disposed very readily to pay for a +reflector that would only insult him with his deformities. After some time +had elapsed, and numerous unsuccessful applications had been made for +payment, the painter resorted to an expedient, which he knew must alarm +the nobleman's pride. He sent him the following card:—"Mr. Hogarth's +dutiful respects to Lord ——; finding that he does not mean to have the +picture which was drawn for him, is informed again of Mr. Hogarth's +pressing necessities for the money. If, therefore, his lordship does not +send for it in three days, it will be disposed of, with the addition of a tail +and some other appendages, to <i>Mr. Hare, the famous wild beast man</i>; +Mr. H. having given that gentleman a conditional promise on his lordship's +refusal." This intimation had its desired effect; the picture was +paid for, and committed to the flames.</p> + +<p>Hogarth's talents, however, for original comic design, gradually unfolded +themselves, and various public occasions produced displays of his +ludicrous powers.</p> + +<p>In the year 1730, he clandestinely married the only daughter of Sir +James Thornhill, the painter, who was not easily reconciled to her union +with an obscure artist, as Hogarth then comparatively was. Shortly after, +he commenced his first great series of moral paintings, "The Harlot's +Progress:" some of these were, at Lady Thornhill's suggestion, designedly +placed by Mrs. Hogarth in her father's way, in order to reconcile him to +her marriage. Being informed by whom they were executed, Sir James +observed, "The man who can produce such representations as these, can +also maintain a wife without a portion." He soon after, however, relented, +and became generous to the young couple, with whom he lived in great +harmony until his death, which took place in 1733.</p> + +<p>In 1733 his genius became conspicuously known. The third scene +of "The Harlot's Progress" introduced him to the notice of the great: at a +Board of Treasury, (which was held a day or two after the appearance of<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> +that print), a copy of it was shown by one of the lords, as containing, +among other excellences, a striking likeness of Sir John Gonson, a celebrated +magistrate of that day, well known for his rigour towards women +of the town. From the Treasury each lord repaired to the print-shop for +a copy of it, and Hogarth rose completely into fame.</p> + +<p>Upwards of twelve hundred subscribers entered their names for the +plates, which were copied and imitated on fan mounts, and in a variety of +other forms; and a pantomime taken from them was represented at the +theatre. This performance, together with several subsequent ones of a +similar kind, have placed Hogarth in the rare class of original geniuses +and inventors. He may be said to have created an entirely new species of +painting, which may be termed the <i>moral comic</i>; and may be considered +rather as a writer of comedy with a pencil, than as a painter. If catching +the manners and follies of an age, <i>living as they rise</i>—if general satire on +vices,—and ridicule familiarised by strokes of Nature, and heightened by +wit,—and the whole animated by proper and just expressions of the passions,—be +comedy, Hogarth composed comedies as much as Moliere.</p> + +<p>Soon after his marriage, Hogarth resided at South Lambeth; and being +intimate with Mr. Tyers, the then spirited proprietor of Vauxhall Gardens, +he contributed much to the improvement of those gardens; and first +suggested the hint of embellishing them with paintings, some of which +were the productions of his own comic pencil. Among the paintings were +"The Four Parts of the Day," either by Hogarth, or after his designs.</p> + +<p>Two years after the publication of his "Harlot's Progress," appeared +the "Rake's Progress," which, Lord Orford remarks, (though perhaps superior,) +"had not so much success, for want of notoriety: nor is the print of +the Arrest equal in merit to the others." The curtain, however, was now +drawn aside, and his genius stood displayed in its full lustre.</p> + +<p>The Rake's Progress was followed by several works in series, viz. +"Marriage a-la-Mode, Industry and Idleness, the Stages of Cruelty, and +Election Prints." To these may be added, a great number of single comic +pieces, all of which present a rich source of amusement:—such as, "The +March to Finchley, Modern Midnight Conversation, the Sleeping Congregation, +the Gates of Calais, Gin Lane, Beer Street, Strolling Players in a +Barn, the Lecture, Laughing Audience, Enraged Musician," &c. &c. +which, being introduced and described in the subsequent part of this +work, it would far exceed the limits, necessarily assigned to these brief +memoirs, <i>here</i> minutely to characterise.<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> + +<p>All the works of this original genius are, in fact, lectures of morality. +They are satires of particular vices and follies, expressed with such strength +of character, and such an accumulation of minute and appropriate circumstances, +that they have all the truth of Nature heightened by the +attractions of wit and fancy. Nothing is without a meaning, but all either +conspires to the great end, or forms an addition to the lively drama of +human manners. His single pieces, however, are rather to be considered +as studies, not perhaps for the professional artist, but for the searcher into +life and manners, and for the votaries of true humour and ridicule. No +<i>furniture</i> of the kind can vie with Hogarth's prints, as a fund of inexhaustible +amusement, yet conveying at the same time lessons of morality.</p> + +<p>Not contented, however, with the just reputation which he had acquired +in his proper department, Hogarth attempted to shine in the highest branch +of the art,—serious history-painting. "From a contempt," says Lord +Orford, "of the ignorant virtuosi of the age, and from indignation at the +impudent tricks of picture dealers, whom he saw continually recommending +and vending vile copies to bubble collectors, and from having never +studied, or indeed having seen, few good pictures of the great Italian masters, +he persuaded himself that the praises bestowed on those glorious works +were nothing but the effects of prejudice. He talked this language till he +believed it; and having heard it often asserted (as is true) that time gives a +mellowness to colours, and improves them, he not only denied the proposition, +but maintained that pictures only grew black and worse by age, not +distinguishing between the degrees in which the proposition might be true +or false. He went farther: he determined to rival the ancients, and unfortunately +chose one of the finest pictures in England as the object of his +competition. This was the celebrated Sigismonda of Sir Luke Schaub, +now in the possession of the Duke of Newcastle, said to be painted by +Correggio, probably by Furino."—"It is impossible to see the picture," +(continues his lordship,) "or read Dryden's inimitable tale, and not feel +that the same soul animated both. After many essays, Hogarth at last produced +<i>his</i> Sigismonda,—but no more like Sigismonda than I to Hercules."</p> + +<p>Notwithstanding Hogarth professed to decry literature, he felt an +inclination to communicate to the public his ideas on a topic connected +with his art. His "Analysis of Beauty" made its appearance in one +volume quarto, in the year 1753. Its leading principle is, that beauty +fundamentally consists in that union of uniformity which is found in the +curve or waving line; and that round swelling figures are most pleasing<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> +to the eye. This principle he illustrates by many ingenious remarks and +examples, and also by some plates characteristic of his genius.</p> + +<p>In the year 1757, his brother-in-law, Mr. Thornhill, resigned his office +of king's serjeant-painter in favour of Hogarth, who received his appointment +on the 6th of June, and entered on his functions on the 16th of July, +both in the same year. This place was re-granted to him by a warrant of +George the Third, which bears date the 30th October, 1761, with a salary +of ten pounds per annum, payable quarterly.</p> + +<p>This connexion with the court probably induced Hogarth to deviate +from the strict line of party neutrality which he had hitherto observed, +and to engage against Mr. Wilkes and his friends, in a print published in +September, 1762, entitled <i>The Times</i>. This publication provoked some +severe strictures from Wilkes's pen, in a North Briton (No. 17.) Hogarth +replied by a caricature of the writer: a rejoinder was put in by Churchill, +in an angry epistle to Hogarth (not the brightest of his works); and in +which the severest strokes fell on a defect the painter had not caused, and +could not amend—his age; which, however, was neither remarkable nor +decrepit; much less had it impaired his talents: for, only six months +before, he had produced one of his most capital works. In revenge for +this epistle, Hogarth caricatured Churchill, under the form of a canonical +bear, with a club and a pot of porter.</p> + +<p>During this period of warfare (so virulent and disgraceful to all the +parties), Hogarth's health visibly declined. In 1762, he complained of +an internal pain, the continuance of which produced a general decay of +the system, that proved incurable; and, on the 25th of October, 1764, +(having been previously conveyed in a very weak and languid state from +Chiswick to Leicester Fields,) he died suddenly, of an aneurism in his +chest, in the sixty-seventh or sixty-eighth year of his age. His remains +were interred at Chiswick, beneath a plain but neat mausoleum, with the +following elegant inscription by his friend Garrick:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Farewell, great painter of mankind,<br /></span> +<span class="i0">Who reach'd the noblest point of art;<br /></span> +<span class="i0">Whose pictured morals charm the mind,<br /></span> +<span class="i0">And through the eye correct the heart.<br /></span> +<span class="i0">If Genius fire thee, reader, stay;<br /></span> +<span class="i0">If Nature touch thee, drop a tear:<br /></span> +<span class="i0">If neither move thee, turn away,<br /></span> +<span class="i0">For Hogarth's honour'd dust lies here."<br /></span> +<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></div></div> + + + +<hr style="width: 65%;" /> +<h2><a name="LIST_OF_ENGRAVINGS" id="LIST_OF_ENGRAVINGS"></a>LIST OF ENGRAVINGS.</h2> + +<h3>VOL. I.</h3> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='center' colspan='4'>RAKE'S PROGRESS.</td></tr> +<tr><td align='center'>Plate</td><td align='left'>1</td><td align='left'>Heir taking Possession</td><td align='right'><a href="#Page_11">11</a></td></tr> +<tr><td align='center'>"</td><td align='left'>2</td><td align='left'>Surrounded by Artists</td><td align='right'><a href="#Page_13">13</a></td></tr> +<tr><td align='center'>"</td><td align='left'>3</td><td align='left'>Tavern Scene</td><td align='right'><a href="#Page_15">15</a></td></tr> +<tr><td align='center'>"</td><td align='left'>4</td><td align='left'>Arrested for Debt</td><td align='right'><a href="#Page_17">17</a></td></tr> +<tr><td align='center'>"</td><td align='left'>5</td><td align='left'>Marries an Old Maid</td><td align='right'><a href="#Page_19">19</a></td></tr> +<tr><td align='center'>"</td><td align='left'>6</td><td align='left'>Gaming House</td><td align='right'><a href="#Page_21">21</a></td></tr> +<tr><td align='center'>"</td><td align='left'>7</td><td align='left'>Prison Scene</td><td align='right'><a href="#Page_23">23</a></td></tr> +<tr><td align='center'>"</td><td align='left'>8</td><td align='left'>Mad House</td><td align='right'><a href="#Page_25">25</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='left' colspan='3'>The Distressed Poet</td><td align='right'><a href="#Page_27">27</a></td></tr> +<tr><td align='left' colspan='3'>The Bench</td><td align='right'><a href="#Page_29">29</a></td></tr> +<tr><td align='left' colspan='3'>The Laughing Audience</td><td align='right'><a href="#Page_31">31</a></td></tr> +<tr><td align='left' colspan='3'>Gate of Calais</td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left' colspan='3'>The Politician</td><td align='right'><a href="#Page_35">35</a></td></tr> +<tr><td align='left' colspan='3'>Taste in High Life</td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='center' colspan='4'>HARLOT'S PROGRESS.</td></tr> +<tr><td align='left'><span class="smcap">Plate</span></td><td align='left' colspan='2'>1</td><td align='right'><a href="#Page_39">39</a></td></tr> +<tr><td align='left'>"</td><td align='left' colspan='2'>2</td><td align='right'><a href="#Page_41">41</a></td></tr> +<tr><td align='left'>"</td><td align='left' colspan='2'>3</td><td align='right'><a href="#Page_43">43</a></td></tr> +<tr><td align='left'>"</td><td align='left' colspan='2'>4</td><td align='right'><a href="#Page_45">45</a></td></tr> +<tr><td align='left'>"</td><td align='left' colspan='2'>5</td><td align='right'><a href="#Page_47">47</a></td></tr> +<tr><td align='left'>"</td><td align='left' colspan='2'>6</td><td align='right'><a href="#Page_49">49</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='left' colspan='3'>The Lecture</td><td align='right'><a href="#Page_51">51</a></td></tr> +<tr><td align='left' colspan='3'>The Chorus</td><td align='right'><a href="#Page_53">53</a></td></tr> +<tr><td align='left' colspan='3'>Columbus breaking the Egg</td><td align='right'><a href="#Page_55">55</a></td></tr> +<tr><td align='left' colspan='3'>Modern Midnight Conversation</td><td align='right'><a href="#Page_57">57</a></td></tr> +<tr><td align='left' colspan='3'>Consultation of Physicians</td><td align='right'><a href="#Page_59">59</a></td></tr> +<tr><td align='left' colspan='3'>Portrait of Daniel Lock, Esq.</td><td align='right'><a href="#Page_61">61</a></td></tr> +<tr><td align='left' colspan='3'>The Enraged Musician</td><td align='right'><a href="#Page_63">63</a></td></tr> +<tr><td align='left' colspan='3'>Masquerades and Operas</td><td align='right'><a href="#Page_65">65</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='center' colspan='4'>TIMES OF THE DAY.</td></tr> +<tr><td align='left' colspan='3'>Morning</td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left' colspan='3'>Noon</td><td align='right'><a href="#Page_69">69</a></td></tr> +<tr><td align='left' colspan='3'>Evening</td><td align='right'><a href="#Page_71">71</a></td></tr> +<tr><td align='left' colspan='3'>Night</td><td align='right'><a href="#Page_73">73</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='left' colspan='3'>Sigismonda</td><td align='right'><a href="#Page_75">75</a></td></tr> +<tr><td align='left' colspan='3'>Portrait of Martin Fowkes, Esq.</td><td align='right'><a href="#Page_77">77</a></td></tr> +<tr><td align='left' colspan='3'>The Cockpit</td><td align='right'><a href="#Page_78">78</a></td></tr> +<tr><td align='left' colspan='3'>Captain Thomas Coram</td><td align='right'><a href="#Page_81">81</a></td></tr> +<tr><td align='left' colspan='3'>Country Inn Yard</td><td align='right'><a href="#Page_83">83</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='center' colspan='4'>INDUSTRY AND IDLENESS.</td></tr> +<tr><td align='center'><span class="smcap">Plate</span></td><td align='left' colspan='2'>1</td><td align='right'><a href="#Page_85">85</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>2</td><td align='right'><a href="#Page_87">87</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>3</td><td align='right'><a href="#Page_89">89</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>4</td><td align='right'><a href="#Page_91">91</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>5</td><td align='right'><a href="#Page_93">93</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>6</td><td align='right'><a href="#Page_95">95</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>7</td><td align='right'><a href="#Page_97">97</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>8</td><td align='right'><a href="#Page_99">99</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>9</td><td align='right'><a href="#Page_101">101</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>10</td><td align='right'><a href="#Page_103">103</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>11</td><td align='right'><a href="#Page_105">105</a></td></tr> +<tr><td align='center'>"</td><td align='left' colspan='2'>12</td><td align='right'><a href="#Page_107">107</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='left' colspan='3'>Southwark Fair.</td><td align='right'><a href="#Page_109">109</a></td></tr> +<tr><td align='left' colspan='3'>Garrick as Richard III.</td><td align='right'><a href="#Page_111">111</a></td></tr> +<tr><td colspan='4'> </td></tr> +<tr><td align='center' colspan='4'>FRANCE AND ENGLAND.</td></tr> +<tr><td align='left'><span class="smcap">Plate</span></td><td align='left'>1</td><td align='left'>France</td><td align='right'><a href="#Page_113">113</a></td></tr> +<tr><td align='left'>"</td><td align='left'>2</td><td align='left'>England</td><td align='right'><a href="#Page_115">115</a></td></tr> +</table></div> + + + +<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + + + +<hr style="width: 65%;" /> +<h1>HOGARTH'S WORKS.</h1> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_RAKES_PROGRESS" id="THE_RAKES_PROGRESS"></a>THE RAKE'S PROGRESS.</h2> + + +<p>Of all the follies in human life, there is none greater than that of extravagance, +or profuseness; it being constant labour, without the least ease or +relaxation. It bears, indeed, the colour of that which is commendable, and +would fain be thought to take its rise from laudable motives, searching +indefatigably after true felicity; now as there can be no true felicity without +content, it is this which every man is in constant pursuit of; the learned, +for instance, in his industrious quest after knowledge; the merchant, in his +dangerous voyages; the ambitious, in his passionate pursuit of honour; the +conqueror, in his earnest desire of victory; the politician, in his deep-laid +designs; the wanton, in his pleasing charms of beauty; the covetous, in his +unwearied heaping-up of treasure; and the prodigal, in his general and +extravagant indulgence.—Thus far it may be well;—but, so mistaken are we +in our road, as to run on in the very opposite tract, which leads directly to +our ruin. Whatever else we indulge ourselves in, is attended with some +small degree of relish, and has some trifling satisfaction in the enjoyment, +but, in this, the farther we go, the more we are lost; and when arrived at +the mark proposed, we are as far from the object we pursue, as when we first +set out. Here then, are we inexcusable, in not attending to the secret +dictates of reason, and in stopping our ears at the timely admonitions of +friendship. Headstrong and ungovernable, we pursue our course without +intermission; thoughtless and unwary, we see not the dangers that lie +immediately before us; but hurry on, even without sight of our object, till<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> +we bury ourselves in that gulf of woe, where perishes at once, health, wealth +and virtue, and whose dreadful labyrinths admit of no return.</p> + +<p>Struck with the foresight of that misery, attendant on a life of debauchery, +which is, in fact, the offspring of prodigality, our author has, in the scenes +before us, attempted the reformation of the worldling, by stopping him as it +were in his career, and opening to his view the many sad calamities awaiting +the prosecution of his proposed scheme of life; he has, in hopes of +reforming the prodigal, and at the same time deterring the rising generation, +whom Providence may have blessed with earthly wealth, from entering into +so iniquitous a course, exhibited the life of a young man, hurried on through +a succession of profligate pursuits, for the few years Nature was able to support +itself; and this from the instant he might be said to enter into the +world, till the time of his leaving it. But, as the vice of avarice is equal to +that of prodigality, and the ruin of children is often owing to the indiscretion +of their parents, he has opened the piece with a scene, which, at the same +time that it exposes the folly of the youth, shews us the imprudence of the +father, who is supposed to have hurt the principles of his son, in depriving +him of the necessary use of some portion of that gold, he had with penurious +covetousness been hoarding up, for the sole purpose of lodging in his coffers.<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_I" id="RAKE_PLATE_I"></a>PLATE I.<br /> +<br /> +<span style="font-size: 75%;">THE YOUNG HEIR TAKING POSSESSION.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">Oh, vanity of age untoward!<br /></span> +<span class="i0">Ever spleeny, ever froward!<br /></span> +<span class="i0">Why these bolts and massy chains,<br /></span> +<span class="i0">Squint suspicions, jealous pains?<br /></span> +<span class="i0">Why, thy toilsome journey o'er,<br /></span> +<span class="i0">Lay'st thou up an useless store?<br /></span> +<span class="i0"><i>Hope</i>, along with <i>Time</i> is flown;<br /></span> +<span class="i0">Nor canst thou reap the field thou'st sown.<br /></span> +<span class="i0">Hast thou a son? In time be wise;<br /></span> +<span class="i0">He views thy toil with other eyes.<br /></span> +<span class="i0">Needs must thy kind paternal care,<br /></span> +<span class="i0">Lock'd in thy chests, be buried there?<br /></span> +<span class="i0">Whence, then, shall flow that friendly ease,<br /></span> +<span class="i0">That social converse, heartfelt peace,<br /></span> +<span class="i0">Familiar duty without dread,<br /></span> +<span class="i0">Instruction from example bred,<br /></span> +<span class="i0">Which youthful minds with freedom mend,<br /></span> +<span class="i0">And with the <i>father</i> mix the <i>friend</i>?<br /></span> +<span class="i0">Uncircumscribed by prudent rules,<br /></span> +<span class="i0">Or precepts of expensive schools;<br /></span> +<span class="i0">Abused at home, abroad despised,<br /></span> +<span class="i0">Unbred, unletter'd, unadvised;<br /></span> +<span class="i0">The headstrong course of life begun,<br /></span> +<span class="i0">What comfort from thy darling son?<br /></span> +</div></div> + +<p> +<span class="smcap" style="margin-left: 16em;">Hoadley</span>.<br /> +</p> + + +<p>The history opens, representing a scene crowded with all the monuments of avarice, +and laying before us a most beautiful contrast, such as is too general in the world, to +pass unobserved; nothing being more common than for a son to prodigally squander +away that substance his father had, with anxious solicitude, his whole life been amassing.—Here, +we see the young heir, at the age of nineteen or twenty, raw from the +University, just arrived at home, upon the death of his father. Eager to know the +possessions he is master of, the old wardrobes, where things have been rotting time +out of mind, are instantly wrenched open; the strong chests are unlocked; the parchments, +those securities of treble interest, on which this avaricious monster lent his +money, tumbled out; and the bags of gold, which had long been hoarded, with griping +care, now exposed to the pilfering hands of those about him. To explain every little +mark of usury and covetousness, such as the mortgages, bonds, indentures, &c. the piece +of candle stuck on a save-all, on the mantle-piece; the rotten furniture of the room, +and the miserable contents of the dusty wardrobe, would be unnecessary: we shall +only notice the more striking articles. From the vast quantity of papers, falls an old +written journal, where, among other memorandums, we find the following, viz. "May +the 5th, 1721. Put off my bad shilling." Hence, we learn, the store this penurious +miser set on this trifle: that so penurious is the disposition of the miser, that notwithstanding +he may be possessed of many large bags of gold, the fear of losing a single +shilling is a continual trouble to him. In one part of the room, a man is hanging it +with black cloth, on which are placed escutcheons, by way of dreary ornament; these +escutcheons contain the arms of the covetous, <i>viz.</i> three vices, hard screwed, with the +motto, "<span class="smcap">Beware</span>!" On the floor, lie a pair of old shoes, which this sordid wretch is +supposed to have long preserved for the weight of iron in the nails, and has been soling +with leather cut from the covers of an old Family Bible; an excellent piece of +satire, intimating, that such men would sacrifice even their God to the lust of money. +From these and some other objects too striking to pass unnoticed, such as the gold<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> +falling from the breaking cornice; the jack and spit, those utensils of original hospitality, +locked up, through fear of being used; the clean and empty chimney, in which a +fire is just now going to be made for the first time; and the emaciated figure of the cat, +strongly mark the natural temper of the late miserly inhabitant, who could starve in +the midst of plenty.—But see the mighty change! View the hero of our piece, left to +himself, upon the death of his father, possessed of a goodly inheritance. Mark how +his mind is affected!—determined to partake of the mighty happiness he falsely imagines +others of his age and fortune enjoy; see him running headlong into extravagance, +withholding not his heart from any joy; but implicitly pursuing the dictates of his +will. To commence this delusive swing of pleasure, his first application is to the +tailor, whom we see here taking his measure, in order to trick out his pretty person. +In the interim, enters a poor girl (with her mother), whom our hero has seduced, +under professions of love and promises of marriage; in hopes of meeting with that +kind welcome she had the greatest reason to expect; but he, corrupted with the +wealth of which he is now the master, forgets every engagement he once made, finds +himself too rich to keep his word; and, as if gold would atone for a breach of honour, +is offering money to her mother, as an equivalent for the non-fulfilling of his promise. +Not the sight of the ring, given as a pledge of his fidelity; not a view of the many +affectionate letters he at one time wrote to her, of which her mother's lap is full; not +the tears, nor even the pregnant condition of the wretched girl, could awaken in him +one spark of tenderness; but, hard hearted and unfeeling, like the generality of wicked +men, he suffers her to weep away her woes in silent sorrow, and curse with bitterness +her deceitful betrayer. One thing more we shall take notice of, which is, that this +unexpected visit, attended with abuse from the mother, so engages the attention of our +youth, as to give the old pettifogger behind him an opportunity of robbing him. Hence +we see that one ill consequence is generally attended with another; and that misfortunes, +according to the old proverb, seldom come alone.</p> + +<div class="blockquot"><p>Mr. Ireland remarks of this plate—"He here presents to us the picture of a young man, +thoughtless, extravagant, and licentious; and, in colours equally impressive, paints the destructive +consequences of his conduct. The first print most forcibly contrasts two opposite passions; the +unthinking negligence of <i>youth</i>, and the sordid avaricious rapacity of age. It brings into one point +of view what Mr. Pope so exquisitely describes in his Epistle to Lord Bathurst—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Who sees pale <i>Mammon</i> pine amidst his store,<br /></span> +<span class="i0">Sees but a backward steward for the poor;<br /></span> +<span class="i0">This year a reservoir, to keep and spare;<br /></span> +<span class="i0">The next a fountain, spouting through his heir.'<br /></span> +</div></div> + +<p>The introduction to this history is well delineated, and the principal figure marked with that easy, +unmeaning vacancy of face, which speaks him formed by nature for a <span class="smcap lowercase">DUPE</span>. Ignorant of the value +of money, and negligent in his nature, he leaves his bag of untold gold in the reach of an old and +greedy pettifogging attorney, who is making an inventory of bonds, mortgages, indentures, &c. +This man, with the rapacity so natural to those who disgrace the profession, seizes the first opportunity +of plundering his employer. Hogarth had, a few years before, been engaged in a law +suit, which gave him some experience of the <span class="smcap lowercase">PRACTICE</span> of those pests of society."</p></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_01.jpg"><img src="images/thumb_rake_01.jpg" width="600" height="503" alt="THE RAKE'S PROGRESS. + +PLATE 1 + +THE YOUNG HERO TAKES POSSESSION OF THE MISER'S EFFECTS." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS.<br /> +PLATE 1.<br /> +THE YOUNG HERO TAKES POSSESSION OF THE MISER'S EFFECTS.</span> +</div><p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_II" id="RAKE_PLATE_II"></a>PLATE II.<br /> +<br /> +<span style="font-size: 75%;">SURROUNDED BY ARTISTS AND PROFESSORS.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0"><i>Prosperity</i> (with harlot's smiles,<br /></span> +<span class="i0">Most pleasing when she most beguiles),<br /></span> +<span class="i0">How soon, great foe, can all thy train<br /></span> +<span class="i0">Of false, gay, frantic, loud, and vain,<br /></span> +<span class="i0">Enter the unprovided mind,<br /></span> +<span class="i0">And memory in fetters bind?<br /></span> +<span class="i0">Load faith and love with golden chain,<br /></span> +<span class="i0">And sprinkle <i>Lethe</i> o'er the brain!<br /></span> +<span class="i0"><i>Pleasure</i>, on her silver throne,<br /></span> +<span class="i0">Smiling comes, nor comes alone;<br /></span> +<span class="i0"><i>Venus</i> comes with her along,<br /></span> +<span class="i0">And smooth <i>Lyæus</i>, ever young;<br /></span> +<span class="i0">And in their train, to fill the press,<br /></span> +<span class="i0">Come <i>apish Dance</i> and <i>swoln Excess</i>,<br /></span> +<span class="i0">Mechanic <i>Honour</i>, vicious <i>Taste</i>,<br /></span> +<span class="i0">And <i>Fashion</i> in her changing vest.<br /></span> +</div></div> + +<p> +<span class="smcap" style="margin-left: 16em;">Hoadley</span>.<br /> +</p> + + +<p>We are next to consider our hero as launched into the world, and having equipped +himself with all the necessaries to constitute him a man of taste, he plunges at once +into all the fashionable excesses, and enters with spirit into the character he assumes.</p> + +<p>The avarice of the penurious father then, in this print, is contrasted by the giddy +profusion of his prodigal son. We view him now at his levee, attended by masters of +various professions, supposed to be here offering their interested services. The foremost +figure is readily known to be a dancing-master; behind him are two men, who at +the time when these prints were first published, were noted for teaching the arts of +defence by different weapons, and who are here drawn from the life; one of whom is +a Frenchman, teacher of the small-sword, making a thrust with his foil; the other an +Englishman, master of the quarter-staff; the vivacity of the first, and the cold contempt +visible in the face of the second, beautifully describe the natural disposition of the two +nations. On the left of the latter stands an improver of gardens, drawn also from the +life, offering a plan for that purpose. A taste for gardening, carried to excess, must be +acknowledged to have been the ruin of numbers, it being a passion that is seldom, if ever, +satisfied, and attended with the greatest expense. In the chair sits a professor of music, +at the harpsichord, running over the keys, waiting to give his pupil a lesson; behind +whose chair hangs a list of the presents, one Farinelli, an Italian singer, received the +next day after his first performance at the Opera House; amongst which, there is notice +taken of one, which he received from the hero of our piece, thus: "A gold snuff-box, +chased, with the story of Orpheus charming the brutes, by J. Rakewell, esq." By +these mementos of extravagance and pride, (for gifts of this kind proceed oftener from +ostentation than generosity,) and by the engraved frontispiece to a poem, dedicated to +our fashionable spendthrift, lying on the floor, which represents the ladies of Britain +sacrificing their hearts to the idol Farinelli, crying out, with the greatest earnestness, +"one G—d, one Farinelli," we are given to understand the prevailing dissipation and +luxury of the times. Near the principal figure in this plate is that of him, with one hand +on his breast, the other on his sword, whom we may easily discover to be a bravo; he +is represented as having brought a letter of recommendation, as one disposed to under<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>take +all sorts of service. This character is rather Italian than English; but is here +introduced to fill up the list of persons at that time too often engaged in the service of +the votaries of extravagance and fashion. Our author would have it imagined in the +interval between the first scene and this, that the young man whose history he is painting, +had now given himself up to every fashionable extravagance; and among others, +he had imbibed a taste for cock-fighting and horse-racing; two amusements, which, at +that time, the man of fashion could not dispense with. This is evident, from his rider +bringing in a silver punch-bowl, which one of his horses is supposed to have won, and +his saloon being ridiculously ornamented with the portraits of celebrated cocks. +The figures in the back part of this plate represent tailors, peruke-makers, milliners, +and such other persons as generally fill the antichamber of a man of quality, except one, +who is supposed to be a poet, and has written some panegyric on the person whose +levee he attends, and who waits for that approbation he already vainly anticipates. +Upon the whole, the general tenor of this scene is to teach us, that the man of fashion +is too often exposed to the rapacity of his fellow creatures, and is commonly a dupe to +the more knowing part of the world.</p> + +<div class="blockquot"><p>"How exactly," says Mr. Ireland, "does Bramston describe the character in his <i>Man of Taste</i>:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'Without Italian, and without an ear,<br /></span> +<span class="i0">To Bononcini's music I adhere.——<br /></span> +<span class="i0">To boon companions I my time would give,<br /></span> +<span class="i0">With players, pimps, and parasites I'd live;<br /></span> +<span class="i0">I would with jockeys from Newmarket dine,<br /></span> +<span class="i0">And to rough riders give my choicest wine.<br /></span> +<span class="i0">My evenings all I would with sharpers spend,<br /></span> +<span class="i0">And make the thief-taker my bosom friend;<br /></span> +<span class="i0">In Figg, the prize-fighter, by day delight,<br /></span> +<span class="i0">And sup with Colley Cibber every night.'<br /></span> +</div></div> + +<p>"Of the expression in this print, we cannot speak more highly than it deserves. Every character +is marked with its proper and discriminative stamp. It has been said by a very judicious critic +(the Rev. Mr. Gilpin) from whom it is not easy to differ without being wrong, that the hero of this +history, in the first plate of the series, is <i>unmeaning</i>, and in the second <i>ungraceful</i>. The fact is +admitted; but, for so delineating him, the author is entitled to our praise, rather than our censure. +Rakewell's whole conduct proves he was a fool, and at that time he had not learned how to +perform an artificial character; he therefore looks as he is, unmeaning, and uninformed. But in +the second plate he is <i>ungraceful</i>.—Granted. The ill-educated son of so avaricious a father could +not have been introduced into very good company; and though, by the different teachers who surround +him, it evidently appears that he wishes to <i>assume</i> the character of a gentleman, his internal +feelings tell him he has not attained it. Under that consciousness, he is properly and naturally +represented as ungraceful, and embarrassed in his new situation."</p></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_02.jpg"><img src="images/thumb_rake_02.jpg" width="600" height="493" alt="THE RAKE'S PROGRESS. + +PLATE 2. + +SURROUNDED BY ARTISTS & PROFESSORS." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS.<br /> +PLATE 2.<br /> +SURROUNDED BY ARTISTS & PROFESSORS.</span> +</div><p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_III" id="RAKE_PLATE_III"></a>PLATE III.<br /> +<br /> +<span style="font-size: 75%;">THE TAVERN SCENE.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"O vanity of youthful blood,<br /></span> +<span class="i0">So by misuse to poison good!<br /></span> +<span class="i0">Woman, framed for social love,<br /></span> +<span class="i0">Fairest gift of powers above,<br /></span> +<span class="i0">Source of every household blessing;<br /></span> +<span class="i0">All charms in innocence possessing:<br /></span> +<span class="i0">But, turn'd to vice, all plagues above;<br /></span> +<span class="i0">Foe to thy being, foe to love!<br /></span> +<span class="i0">Guest divine, to outward viewing;<br /></span> +<span class="i0">Ablest minister of ruin?<br /></span> +<span class="i0">And thou, no less of gift divine,<br /></span> +<span class="i0">Sweet poison of misused wine!<br /></span> +<span class="i0">With freedom led to every part,<br /></span> +<span class="i0">And secret chamber of the heart,<br /></span> +<span class="i0">Dost thou thy friendly host betray,<br /></span> +<span class="i0">And shew thy riotous gang the way<br /></span> +<span class="i0">To enter in, with covert treason,<br /></span> +<span class="i0">O'erthrow the drowsy guard of reason,<br /></span> +<span class="i0">To ransack the abandon'd place,<br /></span> +<span class="i0">And revel there with wild excess?"<br /></span> +</div></div> + + +<p>Mr. Ireland having, in his description of this Plate, incorporated whatever is of +value in Dr. Trusler's text, with much judicious observation and criticism of his own, +the Editor has taken the former <i>verbatim</i>.</p> + +<p>"This Plate exhibits our licentious prodigal engaged in one of his midnight festivities: +forgetful of the past, and negligent of the future, he riots in the present. Having +poured his libation to Bacchus, he concludes the evening orgies in a sacrifice at the +Cyprian shrine; and, surrounded by the votaries of Venus, joins in the unhallowed +mysteries of the place. The companions of his revelry are marked with that easy, unblushing +effrontery, which belongs to the servants of all work in the isle of Paphos;—for +the maids of honour they are not sufficiently elevated.</p> + +<p>"He may be supposed, in the phrase of the day, to have beat the rounds, overset a +constable, and conquered a watchman, whose staff and lantern he has brought into the +room, as trophies of his prowess. In this situation he is robbed of his watch by the +girl whose hand is in his bosom; and, with that adroitness peculiar to an old practitioner, +she conveys her acquisition to an accomplice, who stands behind the chair.</p> + +<p>"Two of the ladies are quarrelling; and one of them <i>delicately</i> spouts wine +in the face of her opponent, who is preparing to revenge the affront with a knife, +which, in a posture of threatening defiance, she grasps in her hand. A third, enraged +at being neglected, holds a lighted candle to a map of the globe, determined to <i>set the +world on fire, though she perish in the conflagration</i>! A fourth is undressing. The +fellow bringing in a pewter dish, as part of the apparatus of this elegant and Attic +entertainment, a blind harper, a trumpeter, and a ragged ballad-singer, roaring out an +obscene song, complete this motley group.</p> + +<p>"This design may be a very exact representation of what were then the nocturnal +amusements of a brothel;—so different are the manners of former and present times, +that I much question whether a similar exhibition is now to be seen in any tavern of the +metropolis. That we are less licentious than our predecessors, I dare not affirm; but +we are certainly more delicate in the pursuit of our pleasures.<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> + +<p>"The room is furnished with a set of Roman emperors,—they are not placed in +their proper order; for in the mad revelry of the evening, this family of frenzy have +decollated all of them, except Nero; and his manners had too great a similarity to their +own, to admit of his suffering so degrading an insult; their reverence for <i>virtue</i> +induced them to spare his head. In the frame of a <i>Cæsar</i> they have placed a +portrait of <i>Pontac</i>, an eminent cook, whose great talents being turned to heightening +sensual, rather than mental enjoyments, he has a much better chance of a votive +offering from this company, than would either Vespasian or Trajan.</p> + +<p>"The shattered mirror, broken wine-glasses, fractured chair and cane; the mangled +fowl, with a fork stuck in its breast, thrown into a corner, and indeed every accompaniment, +shews, that this has been a night of riot without enjoyment, mischief without wit, +and waste without gratification.</p> + +<p>"With respect to the drawing of the figures in this curious female coterie, Hogarth +evidently intended several of them for beauties; and of vulgar, uneducated, prostituted +beauty, he had a good idea. The hero of our tale displays all that careless +jollity, which copious draughts of maddening wine are calculated to inspire; he laughs +the world away, and bids it pass. The poor dupe, without his periwig, in the back-ground, +forms a good contrast of character: he is maudlin drunk, and sadly sick. +To keep up the spirit of unity throughout the society, and not leave the poor +African girl entirely neglected, she is making signs to her friend the porter, who +perceives, and slightly returns, her love-inspiring glance. This print is rather +crowded,—the subject demanded it should be so; some of the figures, thrown into shade, +might have helped the general effect, but would have injured the characteristic +expression."</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_03.jpg"><img src="images/thumb_rake_03.jpg" width="600" height="500" alt="THE RAKE'S PROGRESS. + +PLATE 3. + +TAVERN SCENE." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 3. +<br /> +TAVERN SCENE.</span> +</div><p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_IV" id="RAKE_PLATE_IV"></a>PLATE IV.<br /> +<br /> +<span style="font-size: 75%;">ARRESTED FOR DEBT.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"O, vanity of youthful blood,<br /></span> +<span class="i0">So by misuse to poison good!<br /></span> +<span class="i0">Reason awakes, and views unbarr'd<br /></span> +<span class="i0">The sacred gates he wish'd to guard;<br /></span> +<span class="i0">Approaching, see the harpy <i>Law</i>,<br /></span> +<span class="i0">And <i>Poverty</i>, with icy paw,<br /></span> +<span class="i0">Ready to seize the poor remains<br /></span> +<span class="i0">That vice has left of all his gains.<br /></span> +<span class="i0">Cold <i>penitence</i>, lame <i>after-thought</i>,<br /></span> +<span class="i0">With fear, despair, and horror fraught,<br /></span> +<span class="i0">Call back his guilty pleasures dead,<br /></span> +<span class="i0">Whom he hath wrong'd, and whom betray'd."<br /></span> +</div></div> + + +<p>The career of dissipation is here stopped. Dressed in the first style of the ton, +and getting out of a sedan-chair, with the hope of shining in the circle, and perhaps +forwarding a former application for a place or a pension, he is arrested! To intimate +that being plundered is the certain consequence of such an event, and to shew how +closely one misfortune treads upon the heels of another, a boy is at the same moment +stealing his cane.</p> + +<p>The unfortunate girl whom he basely deserted, is now a milliner, and naturally +enough attends in the crowd, to mark the fashions of the day. Seeing his distress, +with all the eager tenderness of unabated love, she flies to his relief. Possessed of a +small sum of money, the hard earnings of unremitted industry, she generously offers +her purse for the liberation of her worthless favourite. This releases the captive +beau, and displays a strong instance of female affection; which, being once planted in +the bosom, is rarely eradicated by the coldest neglect, or harshest cruelty.</p> + +<p>The high-born, haughty Welshman, with an enormous leek, and a countenance +keen and lofty as his native mountains, establishes the chronology, and fixes the day to +be the first of March; which being sacred to the titular saint of Wales, was observed +at court.</p> + +<div class="blockquot"><p>Mr. Nichols remarks of this plate:—"In the early impressions, a shoe-black steals the Rake's cane. +In the modern ones, a large group of sweeps, and black-shoe boys, are introduced gambling on the +pavement; near them a stone inscribed <i>Black's</i>, a contrast to <i>White's</i> gaming-house, against which +a flash of lightning is pointed. The curtain in the window of the sedan-chair is thrown back. +This plate is likewise found in an intermediate state; the sky being made unnaturally obscure, with an +attempt to introduce a shower of rain, and lightning very aukwardly represented. It is supposed to +be a first proof after the insertion of the group of blackguard gamesters; the window of the chair +being only marked for an alteration that was afterwards made in it. Hogarth appears to have so far<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> +spoiled the sky, that he was obliged to obliterate it, and cause it to be engraved over again by another +hand."</p> + +<p>Mr. Gilpin observes:—"Very disagreeable accidents often befal gentlemen of pleasure. An event +of this kind is recorded in the fourth print, which is now before us. Our hero going, in full dress, +to pay his compliments at court on St. David's day, was accosted in the rude manner which is here +represented.—The composition is good. The form of the group, made up of the figures in action, +the chair, and the lamplighter, is pleasing. Only, here we have an opportunity of remarking, that a +group is disgusting when the extremities of it are heavy. A group in some respects should resemble +a tree. The heavier part of the foliage (the cup, as the landscape-painter calls it) is always near +the middle; the outside branches, which are relieved by the sky, are light and airy. An inattention +to this rule has given a heaviness to the group before us. The two bailiffs, the woman, and the +chairman, are all huddled together in that part of the group which should have been the lightest; +while the middle part, where the hand holds the door, wants strength and consistence. It may be +added too, that the four heads, in the form of a diamond, make an unpleasing shape. All regular +figures should be studiously avoided.—The light had been well distributed, if the bailiff holding the +arrest, and the chairman, had been a little lighter, and the woman darker. The glare of the white +apron is disagreeable.—We have, in this print, some beautiful instances of expression. The surprise +and terror of the poor gentleman is apparent in every limb, as far as is consistent with the fear of +discomposing his dress. The insolence of power in one of the bailiffs, and the unfeeling heart, which +can jest with misery, in the other, are strongly marked. The self-importance, too, of the honest +Cambrian is not ill portrayed; who is chiefly introduced to settle the chronology of the story.—In pose +of grace, we have nothing striking. Hogarth might have introduced a degree of it in the female +figure: at least he might have contrived to vary the heavy and unpleasing form of her drapery.—The +perspective is good, and makes an agreeable shape."</p></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_04.jpg"><img src="images/thumb_rake_04.jpg" width="600" height="488" alt="THE RAKE'S PROGRESS. + +PLATE 4. + +ARRESTED FOR DEBT AS GOING TO COURT." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 4. +<br /> +ARRESTED FOR DEBT AS GOING TO COURT.</span> +</div><p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_V" id="RAKE_PLATE_V"></a>PLATE V.<br /> +<br /> +<span style="font-size: 75%;">MARRIES AN OLD MAID.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"New to the school of hard <i>mishap</i>,<br /></span> +<span class="i0">Driven from the ease of fortune's lap.<br /></span> +<span class="i0">What schemes will nature not embrace<br /></span> +<span class="i0">T' avoid less shame of drear distress?<br /></span> +<span class="i0"><i>Gold</i> can the charms of youth bestow,<br /></span> +<span class="i0">And mask deformity with shew:<br /></span> +<span class="i0">Gold can avert the sting of shame,<br /></span> +<span class="i0">In Winter's arms create a flame:<br /></span> +<span class="i0">Can couple youth with hoary age,<br /></span> +<span class="i0">And make antipathies engage."<br /></span> +</div></div> + + +<p>To be thus degraded by the rude enforcement of the law, and relieved from an +exigence by one whom he had injured, would have wounded, humbled, I had almost +said reclaimed, any man who had either feeling or elevation of mind; but, to mark the +progression of vice, we here see this depraved, lost character, hypocritically violating +every natural feeling of the soul, to recruit his exhausted finances, and marrying an +old and withered Sybil, at the sight of whom nature must recoil.</p> + +<p>The ceremony passes in the old church, Mary-le-bone, which was then considered at +such a distance from London, as to become the usual resort of those who wished to be +privately married; that such was the view of this prostituted young man, may be fairly +inferred from a glance at the object of his choice. Her charms are heightened by the +affectation of an amorous leer, which she directs to her youthful husband, in grateful +return for a similar compliment which she supposes paid to herself. This gives her +face much meaning, but meaning of such a sort, that an observer being ask, "<i>How +dreadful must be this creature's hatred?</i>" would naturally reply, "<i>How hateful +must be her love!</i>"</p> + +<p>In his demeanor we discover an attempt to appear at the altar with becoming decorum: +but internal perturbation darts through assumed tranquillity, for though he is +<i>plighting his troth</i> to the old woman, his eyes are fixed on the young girl who kneels +behind her.</p> + +<p>The parson and clerk seem made for each other; a sleepy, stupid solemnity marks +every muscle of the divine, and the nasal droning of the <i>lay brother</i> is most happily +expressed. Accompanied by her child and mother, the unfortunate victim of his seduction +is here again introduced, endeavouring to enter the church, and forbid the banns. +The opposition made by an old pew-opener, with her bunch of keys, gave the artist a +good opportunity for indulging his taste in the burlesque, and he has not neglected it.</p> + +<p>A dog (Trump, Hogarth's favorite), paying his addresses to a one-eyed quadruped +of his own species, is a happy parody of the unnatural union going on in the church.</p> + +<p>The commandments are broken: a crack runs near the tenth, which says, <i>Thou +shalt not covet thy neighbour's wife;</i> a prohibition in the present case hardly necessary.<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> +The creed is destroyed by the damps of the church; and so little attention has been +paid to the poor's box, that it is covered with a <i>cobweb</i>! These three high-wrought +strokes of satirical humour were perhaps never equalled by any exertion of +the pencil; excelled they cannot be.</p> + +<p>On one of the pew doors is the following curious specimen of church-yard poetry, +and mortuary orthography.</p> + +<div class="poem"><div class="stanza"> +<span class="i0 smcap">These : pewes : vnscrud : and tane : in : svnder<br /></span> +<span class="i0 smcap">In : stone : thers : grauen : what : is : vnder<br /></span> +<span class="i0 smcap">To : wit : a valt : for : burial : there : is<br /></span> +<span class="i0 smcap">Which : Edward : Forset : made : for : him : and : his.<br /></span> +</div></div> + +<p>This is a correct copy of the inscription. Part of these lines, in raised letters, now form +a pannel in the wainscot at the end of the right-hand gallery, as the church is entered +from the street. The mural monument of the Taylor's, composed of lead, gilt over, +is still preserved: it is seen in Hogarth's print, just under the window.</p> + +<p>A glory over the bride's head is whimsical.</p> + +<p>The bay and holly, which decorate the pews, give a date to the period, and determine +this preposterous union of January with June, to have taken place about the time +of Christmas;</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When Winter linger'd in her icy veins."<br /></span> +</div></div> + +<p>Addison would have classed her among the evergreens of the sex.</p> + +<p>It has been observed, that "the church is too small, and the wooden post, which +seems to have no use, divides the picture very disagreeably." This cannot be denied: +but it appears to be meant as an accurate representation of the place, and the artist +delineated what he saw.</p> + +<p>The grouping is good, and the principal figure has the air of a gentleman. The +light is well distributed, and the scene most characteristically represented.</p> + +<p>The commandments being represented as broken, might probably give the hint to +a lady's reply, on being told that thieves had the preceding night broken into the +church, and stolen the communion-plate, and the ten commandments. "I suppose," +added the informant, "that they may melt and sell the plate; but can you divine for +what possible purpose they could steal the commandments?"—"To <i>break</i> them, to be +sure," replied she;—"to <i>break</i> them."</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_05.jpg"><img src="images/thumb_rake_05.jpg" width="600" height="502" alt="THE RAKE'S PROGRESS. + +PLATE 5. + +MARRIES AN OLD MAID." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 5. +<br /> +MARRIES AN OLD MAID.</span> +</div><p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="RAKE_PLATE_VI" id="RAKE_PLATE_VI"></a>PLATE VI.<br /> +<br /> +<span style="font-size: 75%;">SCENE IN A GAMING HOUSE.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"<i>Gold</i>, thou bright son of Phœbus, source<br /></span> +<span class="i0">Of universal intercourse;<br /></span> +<span class="i0">Of weeping Virtue soft redress:<br /></span> +<span class="i0">And blessing those who live to bless:<br /></span> +<span class="i0">Yet oft behold this sacred trust,<br /></span> +<span class="i0">The tool of avaricious lust;<br /></span> +<span class="i0">No longer bond of human kind,<br /></span> +<span class="i0">But bane of every virtuous mind.<br /></span> +<span class="i0">What chaos such misuse attends,<br /></span> +<span class="i0">Friendship stoops to prey on friends;<br /></span> +<span class="i0">Health, that gives relish to delight,<br /></span> +<span class="i0">Is wasted with the wasting night;<br /></span> +<span class="i0">Doubt and mistrust is thrown on <i>Heaven</i>,<br /></span> +<span class="i0">And all its power to chance is given.<br /></span> +<span class="i0">Sad purchase of repentant tears, }<br /></span> +<span class="i0">Of needless quarrels, endless fears, }<br /></span> +<span class="i0">Of hopes of moments, pangs of years! }<br /></span> +<span class="i0">Sad purchase of a tortured mind,<br /></span> +<span class="i0">To an imprison'd body join'd."<br /></span> +</div></div> + + +<p>Though now, from the infatuated folly of his antiquated wife, in possession of a +fortune, he is still the slave of that baneful vice, which, while it enslaves the mind, +poisons the enjoyments, and sweeps away the possessions of its deluded votaries. +Destructive as the earthquake which convulses nature, it overwhelms the pride of the +forest, and engulfs the labours of the architect.</p> + +<p>Newmarket and the cockpit were the scenes of his early amusements; to crown the +whole, he is now exhibited at a gaming-table, where all is lost! His countenance distorted +with agony, and his soul agitated almost to madness, he imprecates vengeance +upon his own head.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In heartfelt bitter anguish he appears,<br /></span> +<span class="i0">And from the blood-shot ball gush purpled tears!<br /></span> +<span class="i0">He beats his brow, with rage and horror fraught;<br /></span> +<span class="i0">His brow half bursts with agony of thought!"<br /></span> +</div></div> + +<p>That he should be deprived of all he possessed in such a society as surround him, is +not to be wondered at. One of the most conspicuous characters appears, by the pistol +in his pocket, to be a highwayman: from the profound stupor of his countenance, we +are certain he also is a losing gamester; and so absorbed in reflection, that neither the +boy who brings him a glass of water, nor the watchman's cry of "Fire!" can arouse him +from his reverie. Another of the party is marked for one of those well-dressed continental +adventurers, who, being unable to live in their own country, annually pour into +this, and with no other requisites than a quick eye, an adroit hand, and an undaunted +forehead, are admitted into what is absurdly enough called <i>good</i> company.</p> + +<p>At the table a person in mourning grasps his hat, and hides his face, in the agony +of repentance, not having, as we infer from his weepers, received that legacy of which<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> +he is now plundered more than "a little month." On the opposite side is another, on +whom fortune has severely frowned, biting his nails in the anguish of his soul. The +fifth completes the climax; he is frantic; and with a drawn sword endeavours to +destroy a <i>pauvre miserable</i> whom he supposes to have cheated him, but is prevented by +the interposition of one of those staggering votaries of Bacchus who are to be found in +every company where there is good wine; and gaming, like the rod of Moses, so far +swallows up every other passion, that the actors, engrossed by greater objects, willingly +leave their wine to the audience.</p> + +<p>In the back-ground are two collusive associates, eagerly dividing the profits of the +evening.</p> + +<p>A nobleman in the corner is giving his note to an usurer. The lean and hungry +appearance of this cent. per cent. worshipper of the golden calf, is well contrasted by +the sleek, contented vacancy of so well-employed a legislator of this great empire. +Seated at the table, a portly gentleman, of whom we see very little, is coolly sweeping +off his winnings.</p> + +<p>So engrossed is every one present by his own situation, that the flames which surround +them are disregarded, and the vehement cries of a watchman entering the room, +are necessary to rouse their attention to what is generally deemed the first law of +nature, self-preservation.</p> + +<div class="blockquot"><p>Mr. Gilpin observes:—"The fortune, which our adventurer has just received, enables him to +make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his +folly for having lost his last stake.—This is, upon the whole, perhaps, the best print of the set. +The horrid scene it describes, was never more inimitably drawn. The composition is artful, +and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and +with so much ease and variety, that you cannot take offence.</p> + +<p>"The expression, in almost every figure, is admirable; and the whole is a strong representation of +the human mind in a storm. Three stages of that species of madness which attends gaming, are +here described. On the first shock, all is inward dismay. The ruined gamester is represented +leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was +described with so much force. In a short time this horrible gloom bursts into a storm of fury: he +tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next +attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.—The +eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watchman, +and the profound reverie of the highwayman, are all admirably marked. There is great +coolness, too, expressed in the little we see of the fat gentleman at the end of the table."</p></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_06.jpg"><img src="images/thumb_rake_06.jpg" width="600" height="495" alt="THE RAKE'S PROGRESS. + +PLATE 6. + +GAMING HOUSE SCENE." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 6. +<br /> +GAMING HOUSE SCENE.</span> +</div><p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="PLATE_VII" id="PLATE_VII"></a>PLATE VII.<br /> +<br /> +<span style="font-size: 75%;">PRISON SCENE.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"Happy the man whose constant thought,<br /></span> +<span class="i0">(Though in the school of hardship taught,)<br /></span> +<span class="i0">Can send remembrance back to fetch<br /></span> +<span class="i0">Treasures from life's earliest stretch;<br /></span> +<span class="i0">Who, self-approving, can review<br /></span> +<span class="i0">Scenes of past virtues, which shine through<br /></span> +<span class="i0">The gloom of age, and cast a ray<br /></span> +<span class="i0">To gild the evening of his day!<br /></span> +<span class="i0">Not so the guilty wretch confined:<br /></span> +<span class="i0">No pleasures meet his conscious mind;<br /></span> +<span class="i0">No blessings brought from early youth,<br /></span> +<span class="i0">But broken faith, and wrested truth;<br /></span> +<span class="i0">Talents idle and unused,<br /></span> +<span class="i0">And every trust of Heaven abused.<br /></span> +<span class="i0">In seas of sad reflection lost,<br /></span> +<span class="i0">From horrors still to horrors toss'd,<br /></span> +<span class="i0"><i>Reason</i> the vessel leaves to steer,<br /></span> +<span class="i0">And gives the helm to mad <i>Despair</i>."<br /></span> +</div></div> + + +<p>By a very natural transition Mr. Hogarth has passed his hero from a gaming +house into a prison—the inevitable consequence of extravagance. He is here represented +in a most distressing situation, without a coat to his back, without money, +without a friend to help him. Beggared by a course of ill-luck, the common attendant +on the gamester, having first made away with every valuable he was master of, and +having now no other resource left to retrieve his wretched circumstances, he at last, +vainly promising himself success, commences author, and attempts, though inadequate to +the task, to write a play, which is lying on the table, just returned with an answer from the +manager of the theatre, to whom he had offered it, that his piece would by no means +do. Struck speechless with this disastrous occurrence, all his hopes vanish, and his most +sanguine expectations are changed into dejection of spirit. To heighten his distress, +he is approached by his wife, and bitterly upbraided for his perfidy in concealing from +her his former connexions (with that unhappy girl who is here present with her child, +the innocent offspring of her amours, fainting at the sight of his misfortunes, being +unable to relieve him farther), and plunging her into those difficulties she never shall be +able to surmount. To add to his misery, we see the under-turnkey pressing him for +his prison fees, or garnish-money, and the boy refusing to leave the beer he ordered, +without being first paid for it. Among those assisting the fainting mother, one of +whom we observe clapping her hand, another applying the drops, is a man crusted +over, as it were, with the rust of a gaol, supposed to have started from his dream, having +been disturbed by the noise at a time when he was settling some affairs of state; +to have left his great plan unfinished, and to have hurried to the assistance of distress. +We are told, by the papers falling from his lap, one of which contains a scheme for paying +the national debt, that his confinement is owing to that itch of politics some +persons are troubled with, who will neglect their own affairs, in order to busy them<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>selves +in that which noways concerns them, and which they in no respect understand, +though their immediate ruin shall follow it: nay, so infatuated do we find him, so +taken up with his beloved object, as not to bestow a few minutes on the decency of his +person. In the back of the room is one who owes his ruin to an indefatigable search +after the philosopher's stone. Strange and unaccountable!—Hence we are taught by +these characters, as well as by the pair of human wings on the tester of the bed, that +scheming is the sure and certain road to beggary: and that more owe their misfortunes +to wild and romantic notions, than to any accident they meet with in life.</p> + +<p>In this upset of his life, and aggravation of distress, we are to suppose our prodigal +almost driven to desperation. Now, for the first time, he feels the severe effects of pinching +cold and griping hunger. At this melancholy season, reflection finds a passage to his +heart, and he now revolves in his mind the folly and sinfulness of his past life;—considers +within himself how idly he has wasted the substance he is at present in the utmost need +of;—looks back with shame on the iniquity of his actions, and forward with horror +on the rueful scene of misery that awaits him; until his brain, torn with excruciating +thought, loses at once its power of thinking, and falls a sacrifice to merciless despair.</p> + +<div class="blockquot"><p>Mr. Ireland remarks, on the plate before us:—"Our improvident spendthrift is now lodged in +that dreary receptacle of human misery,—a prison. His countenance exhibits a picture of despair; +the forlorn state of his mind is displayed in every limb, and his exhausted finances, by the turnkey's +demand of prison fees, not being answered, and the boy refusing to leave a tankard of porter, unless +he is paid for it.</p> + +<p>"We see by the enraged countenance of his wife, that she is violently reproaching him for having +deceived and ruined her. To crown this catalogue of human tortures, the poor girl whom he +deserted, is come with her child—perhaps to comfort him,—to alleviate his sorrows, to soothe his +sufferings:—but the agonising view is too much for her agitated frame; shocked at the prospect of +that misery which she cannot remove, every object swims before her eyes,—a film covers the +sight,—the blood forsakes her cheeks—her lips assume a pallid hue,—and she sinks to the floor of +the prison in temporary death. What a heart-rending prospect for him by whom this is occasioned!</p> + +<p>"The wretched, squalid inmate, who is assisting the fainting female, bears every mark of being +naturalised to the place; out of his pocket hangs a scroll, on which is inscribed, 'A scheme to pay +the National Debt, by J. L. now a prisoner in the Fleet.' So attentive was this poor gentleman to the +debts of the nation, that he totally forgot his own. The cries of the child, and the good-natured +attentions of the women, heighten the interest, and realise the scene. Over the group are a large +pair of wings, with which some emulator of <i>Dedalus</i> intended to escape from his confinement; but +finding them inadequate to the execution of his project, has placed them upon the tester of his bed. +They would not exalt him to the regions of air, but they o'ercanopy him on earth. A chemist in +the back-ground, happy in his views, watching the moment of projection, is not to be disturbed from +his dream by any thing less than the fall of the roof, or the bursting of his retort;—and if his dream +affords him felicity, why should he be awakened? The bed and gridiron, those poor remnants +of our miserable spendthrift's wretched property, are brought here as necessary in his degraded +situation; on one he must try to repose his wearied frame, on the other, he is to dress his scanty meal."</p></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_07.jpg"><img src="images/thumb_rake_07.jpg" width="600" height="494" alt="THE RAKE'S PROGRESS. + +PLATE 7. + +PRISON SCENE." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 7. +<br /> +PRISON SCENE.</span> +</div><p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="PLATE_VIII" id="PLATE_VIII"></a>PLATE VIII.<br /> +<br /> +<span style="font-size: 75%;">SCENE IN A MADHOUSE.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"<i>Madness!</i> thou chaos of the brain, }<br /></span> +<span class="i0">What art, that pleasure giv'st and pain? }<br /></span> +<span class="i0">Tyranny of fancy's reign!<br /></span> +<span class="i0">Mechanic <i>fancy!</i> that can build<br /></span> +<span class="i0">Vast labyrinths and mazes wild,<br /></span> +<span class="i0">With rude, disjointed, shapeless measure,<br /></span> +<span class="i0">Fill'd with <i>horror</i>, fill'd with <i>pleasure</i>!<br /></span> +<span class="i0">Shapes of <i>horror</i>, that would even<br /></span> +<span class="i0">Cast doubt of mercy upon Heaven;<br /></span> +<span class="i0">Shapes of <i>pleasure</i>, that but seen,<br /></span> +<span class="i0">Would split the shaking sides of <i>Spleen</i>.<br /></span> +<span class="i2">"O vanity of age! here see<br /></span> +<span class="i0">The stamp of Heaven effaced by thee!<br /></span> +<span class="i0">The headstrong course of youth thus run,<br /></span> +<span class="i0">What comfort from this darling son?<br /></span> +<span class="i0">His rattling chains with terror hear,<br /></span> +<span class="i0">Behold death grappling with despair!<br /></span> +<span class="i0">See him by thee to ruin sold,<br /></span> +<span class="i0">And curse <i>thyself</i>, and curse thy <i>gold</i>!"<br /></span> +</div></div> + + +<p>See our hero then, in the scene before us, raving in all the dismal horrors of hopeless +insanity, in the hospital of Bethlehem, the senate of mankind, where each man may +find a representative; there we behold him trampling on the first great law of nature, +tearing himself to pieces with his own hands, and chained by the leg to prevent any +further mischief he might either do to himself or others. But in this scene, dreary and +horrid as are its accompaniments, he is attended by the faithful and kind-hearted female +whom he so basely betrayed. In the first plate we see him refuse her his promised +hand. In the fourth, she releases him from the harpy fangs of a bailiff; she is present +at his marriage; and in the hope of relieving his distress, she follows him to a prison. +Our artist, in this scene of horror, has taken an opportunity of pointing out to us the +various causes of mental blindness; for such, surely, it may be called, when the intuitive +faculties are either destroyed or impaired. In one of the inner rooms of this gallery +is a despairing wretch, imploring Heaven for mercy, whose brain is crazed with lip-labouring +superstition, the most dreadful enemy of human kind; which, attended with +ignorance, error, penance and indulgence, too often deprives its unhappy votaries of +their senses. The next in view is one man drawing lines upon a wall, in order, if possible, +to find out the longitude; and another, before him, looking through a paper, by +way of a telescope. By these expressive figures we are given to understand that such +is the misfortune of man, that while, perhaps, the aspiring soul is pursuing some lofty +and elevated conception, soaring to an uncommon pitch, and teeming with some grand +discovery, the ferment often proves too strong for the feeble brain to support, and lays +the whole magazine of notions and images in wild confusion. This melancholy group +is completed by the crazy tailor, who is staring at the mad astronomer with a sort of<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +wild astonishment, wondering, through excess of ignorance, what discoveries the heavens +can possibly afford; proud of his profession, he has fixed a variety of patterns in +his hat, by way of ornament; has covered his poor head with shreds, and makes his +measure the constant object of his attention. Behind this man stands another, playing +on the violin, with his book upon his head, intimating that too great a love for music +has been the cause of his distraction. On the stairs sits another, crazed by love, (evident +from the picture of his beloved object round his neck, and the words "charming +Betty Careless" upon the bannisters, which he is supposed to scratch upon every wall +and every wainscot,) and wrapt up so close in melancholy pensiveness, as not even to +observe the dog that is flying at him. Behind him, and in the inner room, are two +persons maddened with ambition. These men, though under the influence of the same +passion, are actuated by different notions; one is for the papal dignity, the other for +regal; one imagines himself the Pope, and saying mass; the other fancies himself a +King, is encircled with the emblem of royalty, and is casting contempt on his imaginary +subjects by an act of the greatest disdain. To brighten this distressful scene, and +draw a smile from him whose rigid reasoning might condemn the bringing into public +view this blemish of humanity, are two women introduced, walking in the gallery, as +curious spectators of this melancholy sight; one of whom is supposed, in a whisper, +to bid the other observe the naked man, which she takes an opportunity of doing by a +leer through the sticks of her fan.</p> + +<p>Thus, imagining the hero of our piece to expire raving mad, the story is finished, +and little else remains but to close it with a proper application. Reflect then, ye parents, +on this tragic tale; consider with yourselves, that the ruin of a child is too +often owing to the imprudence of a father. Had the young man, whose story we have +related, been taught the proper use of money, had his parent given him some insight +into life, and graven, as it were, upon his heart, the precepts of religion, with an abhorrence +of vice, our youth would, in all probability, have taken a contrary course, +lived a credit to his friends, and an honour to his country.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/rake_08.jpg"><img src="images/thumb_rake_08.jpg" width="600" height="489" alt="THE RAKE'S PROGRESS. + +PLATE 8. + +SCENE IN BEDLAM." title="" /></a> +<span class="caption">THE RAKE'S PROGRESS. +<br /> +PLATE 8. +<br /> +SCENE IN BEDLAM.</span> +</div><p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_DISTRESSED_POET" id="THE_DISTRESSED_POET"></a>THE DISTRESSED POET.</h2> + + +<p>This Plate describes, in the strongest colours, the distress of an author without +friends to patronise him. Seated upon the side of his bed, without a shirt, but +wrapped in an old night-gown, he is now spinning a poem upon "Riches:" of their +<i>use</i> he probably knoweth little; and of their <i>abuse</i>,—if judgment can be formed from +externals,—<i>certes</i>, he knoweth less. Enchanted, impressed, inspired with his subject, +he is disturbed by a nymph of the <i>lactarium</i>. Her shrill-sounding voice awakes one +of the <i>little loves</i>, whose <i>chorus</i> disturbs his meditations. A link of the golden chain +is broken!—a thought is lost!—to recover it, his hand becomes a substitute for the +barber's comb:—enraged at the noise, he tortures his head for the fleeting idea; but, +ah! no thought is there!</p> + +<p>Proudly conscious that the lines already written are sterling, he possesses by +anticipation the mines of Peru, a view of which hangs over his head. Upon the +table we see "Byshe's Art of Poetry;" for, like the pack-horse, who cannot travel without +his <i>bells</i>, he cannot climb the hill of Parnassus without his <i>jingling-book</i>. On +the floor lies the "Grub-street Journal," to which valuable repository of genius and +taste he is probably a contributor. To show that he is a master of the <span class="smcap lowercase">PROFOUND</span>, and +will envelope his subject in a cloud, his pipe and tobacco-box, those friends to cogitation +deep, are close to him.</p> + +<p>His wife, mending that part of his dress, in the pockets of which the affluent keep +their gold, is worthy of a better fate. Her figure is peculiarly interesting. Her face, +softened by adversity, and marked with domestic care, is at this moment agitated by +the appearance of a boisterous woman, insolently demanding payment of the milk-tally. +In the excuse she returns, there is a mixture of concern, complacency, and +mortification. As an addition to the distresses of this poor family, a dog is stealing +the remnant of mutton incautiously left upon a chair.</p> + +<p>The sloping roof, and projecting chimney, prove the throne of this inspired bard +to be high above the crowd;—it is a garret. The chimney is ornamented with a <i>dare +for larks</i>, and a book; a loaf, the tea-equipage, and a saucepan, decorate the shelf.<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> +Before the fire hangs half a shirt, and a pair of ruffled sleeves. His sword lies on the +floor; for though our professor of poetry waged no war, except with words, a sword +was, in the year 1740, a necessary appendage to every thing which called itself "gentleman." +At the feet of his domestic seamstress, the full-dress coat is become the resting-place +of a cat and two kittens: in the same situation is one stocking, the other is half +immersed in the washing-pan. The broom, bellows, and mop, are scattered round +the room. The open door shows us that their cupboard is unfurnished, and tenanted +by a hungry and solitary mouse. In the corner hangs a long cloak, well calculated +to conceal the threadbare wardrobe of its fair owner.</p> + +<p>Mr. Hogarth's strict attention to propriety of scenery, is evinced by the cracked +plaistering of the walls, broken window, and uneven floor, in the miserable habitation +of this poor weaver of madrigals. When this was first published, the following quotation +from Pope's "Dunciad" was inscribed under the print:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Studious he sate, <i>with all his books</i> around,<br /></span> +<span class="i0">Sinking from thought to thought, a vast profound:<br /></span> +<span class="i0">Plunged for his sense, but found no bottom there;<br /></span> +<span class="i0">Then wrote and flounder'd on, in mere despair."<br /></span> +</div></div> + +<p><i>All his books</i>, amounting to <i>only four</i>, was, I suppose, the artist's reason for +erasing the lines.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/distressed_poet.jpg"><img src="images/thumb_distressed_poet.jpg" width="600" height="467" alt="THE DISTRESSED POET." title="" /></a> +<span class="caption">THE DISTRESSED POET.</span> +</div><p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_BENCH" id="THE_BENCH"></a>THE BENCH.<br /> +<br /> +<span style="font-size: 75%;">CHARACTER, CARICATURA, AND OUTRE.</span></h2> + + +<p>It having been universally acknowledged that Mr. Hogarth was one of the most +ingenious painters of his age, and a man possessed of a vast store of humour, which +he has sufficiently shown and displayed in his numerous productions; the general +approbation his works receive, is not to be wondered at. But, as owing to the false +notions of the public, not thoroughly acquainted with the true art of painting, he has +been often called a <i>caricaturer</i>; when, in reality, <i>caricatura</i> was no part of his profession, +he being a true copier of Nature; to set this matter right, and give the +world a just definition of the words, <i>character</i>, <i>caricatura</i>, and <i>outré</i>, in which +humorous painting principally consists, and to show their difference of meaning, he, +in the year 1758, published this print; but, as it did not quite answer his purpose, +giving an illustration of the word <i>character</i> only, he added, in the year 1764, the +group of heads above, which he never lived to finish, though he worked upon it the +day before his death. The lines between inverted commas are our author's own +words, and are engraved at the bottom of the plate.</p> + +<p>"There are hardly any two things more essentially different than <i>character</i> and +<i>caricatura</i>; nevertheless, they are usually confounded, and mistaken for each other; +on which account this explanation is attempted.</p> + +<p>"It has ever been allowed, that when a <i>character</i> is strongly marked in the living +face, it may be considered as an index of the mind, to express which, with any degree +of justness, in painting, requires the utmost efforts of a great master. Now that, +which has of late years got the name of <i>caricatura</i>, is, or ought to be, totally divested +of every stroke that hath a tendency to good drawing; it may be said to be a species +of lines that are produced, rather by the hand of chance, than of skill; for the early +scrawlings of a child, which do but barely hint the idea of a human face, will always +be found to be like some person or other, and will often form such a comical resemblance, +as, in all probability, the most eminent <i>caricaturers</i> of these times will not be<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> +able to equal, with design; because their ideas of objects are so much more perfect +than children's, that they will, unavoidably, introduce some kind of drawing; for all +the humorous effects of the fashionable manner of <i>caricaturing</i>, chiefly depend on +the surprise we are under, at finding ourselves caught with any sort of similitude in +objects absolutely remote in their kind. Let it be observed, the more remote in their +nature, the greater is the excellence of these pieces. As a proof of this, I remember +a famous <i>caricatura</i> of a certain Italian singer, that struck at first sight, which consisted +only of a straight perpendicular stroke, with a dot over. As to the French +word <i>outré</i>, it is different from the rest, and signifies nothing more than the exaggerated +outlines of a figure, all the parts of which may be, in other respects, a perfect +and true picture of nature. A giant or a dwarf may be called a common man, <i>outré</i>. +So any part, as a nose, or a leg, made bigger, or less than it ought to be, is that part +<i>outré</i>, which is all that is to be understood by this word, injudiciously used to the +prejudice of <i>character</i>."—<span class="smcap">Analysis of Beauty</span>, chap. vi.</p> + +<p>To prevent these distinctions being looked upon as dry and unentertaining, our +author has, in this group of faces, ridiculed the want of capacity among some of our +judges, or dispensers of the law, whose shallow discernment, natural disposition, or +wilful inattention, is here perfectly described in their faces. One is amusing himself +in the course of trial, with other business; another, in all the pride of self-importance, +is examining a former deposition, wholly inattentive to that before him; the next is +busied in thoughts quite foreign to the subject; and the senses of the last are locked +fast in sleep.</p> + +<p>The four sages on the Bench, are intended for Lord Chief Justice Sir John Willes, +the principal figure; on his right hand, Sir Edward Clive; and on his left, Mr. Justice +Bathurst, and the Hon. William Noel.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/bench.jpg"><img src="images/thumb_bench.jpg" width="600" height="506" alt="THE BENCH." title="" /></a> +<span class="caption">THE BENCH.</span> +</div><p><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LAUGHING_AUDIENCE" id="THE_LAUGHING_AUDIENCE"></a>THE LAUGHING AUDIENCE.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"Let him laugh now, who never laugh'd before;<br /></span> +<span class="i0">And he who always laugh'd, laugh now the more."<br /></span> +</div></div> + + +<p>"From the first print that Hogarth engraved, to the last that he published, I do +not think," says Mr. Ireland, "there is one, in which character is more displayed +than in this very spirited little etching. It is much superior to the more delicate +engravings from his designs by other artists, and I prefer it to those that were still +higher finished by his own burin.</p> + +<p>"The prim coxcomb with an enormous bag, whose favours, like those of Hercules +between Virtue and Vice, are contended for by two rival orange girls, gives an admirable +idea of the dress of the day; when, if we may judge from this print, our grave +forefathers, defying Nature, and despising convenience, had a much higher rank in the +temple of Folly than was then attained by their ladies. It must be acknowledged +that, since that period, the softer sex have asserted their natural rights; and, snatching +the wreath of fashion from the brow of presuming man, have tortured it into such +forms that, were it possible, which <i>certes</i> it is not, to disguise a beauteous face——But +to the high behest of Fashion all must bow.</p> + +<p>"Governed by this idol, our beau has a cuff that, for a modern fop, would furnish +fronts for a waistcoat, and a family fire-screen might be made of his enormous bag. +His bare and shrivelled neck has a close resemblance to that of a half-starved greyhound; +and his face, figure, and air, form a fine contrast to the easy and degagée +assurance of the Grisette whom he addresses.</p> + +<p>"The opposite figure, nearly as grotesque, though not quite so formal as its companion, +presses its left hand upon its breast, in the style of protestation; and, eagerly +contemplating the superabundant charms of a beauty of Rubens's school, presents her +with a pinch of comfort. Every muscle, every line of his countenance, is acted upon +by affectation and grimace, and his queue bears some resemblance to an ear-trumpet.</p> + +<p>"The total inattention of these three polite persons to the business of the stage, +which at this moment almost convulses the children of Nature who are seated in the<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +pit, is highly descriptive of that refined apathy which characterises our people of +fashion, and raises them above those mean passions that agitate the groundlings.</p> + +<p>"One gentleman, indeed, is as affectedly unaffected as a man of the first world. +By his saturnine cast of face, and contracted brow, he is evidently a profound critic, +and much too wise to laugh. He must indisputably be a very great critic; for, like +<i>Voltaire's Poccocurante</i>, nothing can please him; and, while those around open +every avenue of their minds to mirth, and are willing to be delighted, though they do +not well know why, he analyses the drama by the laws of Aristotle, and finding those +laws are violated, determines that the author ought to be hissed, instead of being +applauded. This it is to be so excellent a judge; this it is which gives a critic that +exalted gratification which can never be attained by the illiterate,—the supreme power +of pointing out faults, where others discern nothing but beauties, and preserving a +rigid inflexibility of muscle, while the sides of the vulgar herd are shaking with +laughter. These merry mortals, thinking with Plato that it is no proof of a good +stomach to nauseate every aliment presented them, do not inquire too nicely into +causes, but, giving full scope to their risibility, display a set of features more highly +ludicrous than I ever saw in any other print. It is to be regretted that the artist has +not given us some clue by which we might have known what was the play which so +much delighted his audience: I should conjecture that it was either one of Shakespear's +comedies, or a modern tragedy. Sentimental comedy was not the fashion of +that day.</p> + +<p>"The three sedate musicians in the orchestra, totally engrossed by minims and +crotchets, are an admirable contrast to the company in the pit."</p> + +<div class="figcenter" style="width: 512px;"> +<a href="images/laughing_audience.jpg"><img src="images/thumb_laughing_audience.jpg" width="512" height="600" alt="THE LAUGHING AUDIENCE." title="" /></a> +<span class="caption">THE LAUGHING AUDIENCE.</span> +</div><p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="GATE_OF_CALAIS" id="GATE_OF_CALAIS"></a>GATE OF CALAIS. +<br /> +<br /> +<span style="font-size: 75%;">O, THE ROAST BEEF OF OLD ENGLAND!</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i2">"'Twas at the gate of Calais, Hogarth tells,<br /></span> +<span class="i0">Where sad despair and famine always dwells;<br /></span> +<span class="i0">A meagre Frenchman, Madame Grandsire's cook,<br /></span> +<span class="i0">As home he steer'd, his carcase that way took,<br /></span> +<span class="i0">Bending beneath the weight of famed sirloin,<br /></span> +<span class="i0">On whom he often wish'd in vain to dine;<br /></span> +<span class="i0">Good Father Dominick by chance came by,<br /></span> +<span class="i0">With rosy gills, round paunch, and greedy eye;<br /></span> +<span class="i0">And, when he first beheld the greasy load,<br /></span> +<span class="i0">His benediction on it he bestow'd;<br /></span> +<span class="i0">And while the solid fat his fingers press'd,<br /></span> +<span class="i0">He lick'd his chops, and thus the knight address'd:<br /></span> +</div><div class="stanza"> +<span class="i2">'O rare roast beef, lov'd by all mankind,<br /></span> +<span class="i4">Was I but doom'd to have thee,<br /></span> +<span class="i2">Well dress'd, and garnish'd to my mind,<br /></span> +<span class="i4">And swimming in thy gravy;<br /></span> +<span class="i2">Not all thy country's force combined,<br /></span> +<span class="i4">Should from my fury save thee!<br /></span> +</div><div class="stanza"> +<span class="i2">'Renown'd sirloin! oft times decreed<br /></span> +<span class="i4">The theme of English ballad,<br /></span> +<span class="i2">E'en kings on thee have deign'd to feed,<br /></span> +<span class="i4">Unknown to Frenchman's palate;<br /></span> +<span class="i2">Then how much must thy taste exceed<br /></span> +<span class="i4">Soup-meagre, frogs, and salad!'"<br /></span> +</div></div> + +<p>The thought on which this whimsical and highly-characteristic print is founded, +originated in Calais, to which place Mr. Hogarth, accompanied by some of his friends, +made an excursion, in the year 1747.</p> + +<p>Extreme partiality for his native country was the leading trait of his character; he +seems to have begun his three hours' voyage with a firm determination to be displeased +at every thing he saw out of Old England. For a meagre, powdered figure, +hung with tatters, <i>a-la-mode de Paris</i>, to affect the airs of a coxcomb, and the importance +of a sovereign, is ridiculous enough; but if it makes a man happy, why should<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> +he be laughed at? It must blunt the edge of ridicule, to see natural hilarity defy +depression; and a whole nation laugh, sing, and dance, under burthens that would +nearly break the firm-knit sinews of a Briton. Such was the picture of France at +that period, but it was a picture which our English satirist could not contemplate +with common patience. The swarms of grotesque figures who paraded the streets +excited his indignation, and drew forth a torrent of coarse abusive ridicule, not much +to the honour of his liberality. He compared them to Callot's beggars—Lazarus on +the painted cloth—the prodigal son—or any other object descriptive of extreme contempt. +Against giving way to these effusions of national spleen in the open street, +he was frequently cautioned, but advice had no effect; he treated admonition with +scorn, and considered his monitor unworthy the name of Englishman. These satirical +ebullitions were at length checked. Ignorant of the customs of France, and considering +the gate of Calais merely as a piece of ancient architecture, he began to make +a sketch. This was soon observed; he was seized as a spy, who intended to draw a +plan of the fortification, and escorted by a file of musqueteers to M. la Commandant. +His sketch-book was examined, leaf by leaf, and found to contain drawings that had +not the most distant relation to tactics. Notwithstanding this favourable circumstance, +the governor, with great politeness, assured him, that had not a treaty between the +nations been actually signed, he should have been under the disagreeable necessity of +hanging him upon the ramparts: as it was, he must be permitted the privilege of providing +him a few military attendants, who should do themselves the honour of waiting +upon him, while he resided in the dominions of "the grande monarque." Two sentinels +were then ordered to escort him to his hotel, from whence they conducted him +to the vessel; nor did they quit their prisoner, until he was a league from shore; +when, seizing him by the shoulders, and spinning him round upon the deck, they said +he was now at liberty to pursue his voyage without further molestation.</p> + +<p>So mortifying an adventure he did not like to hear recited, but has in this print +recorded the circumstance which led to it. In one corner he has given a portrait of +himself, making the drawing; and to shew the moment of arrest, the hand of a serjeant +is upon his shoulder.</p> + +<p>The French sentinel is so situated, as to give some idea of a figure hanging in +chains: his ragged shirt is trimmed with a pair of paper ruffles. The old woman, +and a fish which she is pointing at, have a striking resemblance. The abundance of +parsnips, and other vegetables, indicate what are the leading articles in a Lenten +feast.</p> + +<p>Mr. Pine, the painter, sat for the friar, and from thence acquired the title of Father +Pine. This distinction did not flatter him, and he frequently requested that the countenance +might be altered, but the artist peremptorily refused.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/gate_of_calais.jpg"><img src="images/thumb_gate_of_calais.jpg" width="600" height="484" alt="GATE OF CALAIS. + +"O THE ROAST BEEF OF OLD ENGLAND."" title="" /></a> +<span class="caption">GATE OF CALAIS. +<br /> +"O THE ROAST BEEF OF OLD ENGLAND."</span> +</div><p><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_POLITICIAN" id="THE_POLITICIAN"></a>THE POLITICIAN.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"A politician should (as I have read)<br /></span> +<span class="i0">Be furnish'd in the first place with a head."<br /></span> +</div></div> + + +<p>One of our old writers gives it as his opinion, that "there are onlie two subjects +which are worthie the studie of a wise man," i.e. religion and politics. For the first, +it does not come under inquiry in this print,—but certain it is, that too sedulously +studying the second, has frequently involved its votaries in many most tedious and +unprofitable disputes, and been the source of much evil to many well-meaning and +honest men. Under this class comes the Quidnunc here pourtrayed; it is said to be +intended for a Mr. Tibson, laceman, in the Strand, who paid more attention to the +affairs of Europe, than to those of his own shop. He is represented in a style somewhat +similar to that in which Schalcken painted William the third,—holding a candle +in his right hand, and eagerly inspecting the Gazetteer of the day. Deeply interested +in the intelligence it contains, concerning the flames that rage on the Continent, he is +totally insensible of domestic danger, and regardless of a flame, which, ascending to +his hat,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Threatens destruction to his three-tail'd wig."<br /></span> +</div></div> + +<p>From the tie-wig, stockings, high-quartered shoes, and sword, I should suppose it +was painted about the year 1730, when street robberies were so frequent in the +metropolis, that it was customary for men in trade to wear swords, not to preserve +their religion and liberty from foreign invasion, but to defend their own pockets from +"domestic collectors."</p> + +<p>The original sketch Hogarth presented to his friend Forrest; it was etched by +Sherwin, and published in 1775.</p> + +<div class="figcenter" style="width: 475px;"> +<a href="images/politician.jpg"><img src="images/thumb_politician.jpg" width="475" height="600" alt="THE POLITICIAN." title="" /></a> +<span class="caption">THE POLITICIAN.</span> +</div><p><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="TASTE_IN_HIGH_LIFE" id="TASTE_IN_HIGH_LIFE"></a>TASTE IN HIGH LIFE,<br /> +<span style="font-size: 75%;">IN THE YEAR 1742.</span></h2> + + +<p>The picture from which this print was copied, Hogarth painted by the order of +Miss Edwards, a woman of large fortune, who having been laughed at for some singularities +in her manners, requested the artist to recriminate on her opponents, and +paid him sixty guineas for his production.</p> + +<p>It is professedly intended to ridicule the reigning fashions of high life, in the year +1742: to do this, the painter has brought into one group, an old beau and an old lady +of the Chesterfield school, a fashionable young lady, a little black boy, and a full-dressed +monkey. The old lady, with a most affected air, poises, between her finger +and thumb, a small tea-cup, with the beauties of which she appears to be highly +enamoured.</p> + +<p>The gentleman, gazing with vacant wonder at that and the companion saucer +which he holds in his hand, joins in admiration of its astonishing beauties!</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Each varied colour of the brightest hue,<br /></span> +<span class="i0">The green, the red, the yellow, and the blue,<br /></span> +<span class="i0">In every part their dazzled eyes behold,<br /></span> +<span class="i0">Here streak'd with silver—there enrich'd with gold."<br /></span> +</div></div> + +<p>This gentleman is said to be intended for Lord Portmore, in the habit he first appeared +at Court, on his return from France. The cane dangling from his wrist, large +muff, long queue, black stock, feathered chapeau, and shoes, give him the air of</p> + +<div class="poem"><div class="stanza"> +<span class="i4">"An old and finish'd fop,<br /></span> +<span class="i0">All cork at heel, and feather all at top."<br /></span> +</div></div> + +<p>The old lady's habit, formed of stiff brocade, gives her the appearance of a squat +pyramid, with a grotesque head at the top of it. The young one is fondling a little +black boy, who on his part is playing with a petite pagoda. This miniature Othello +has been said to be intended for the late Ignatius Sancho, whose talents and virtues<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> +were an honour to his colour. At the time the picture was painted, he would have +been rather older than the figure, but as he was then honoured by the partiality and +protection of a noble family, the painter might possibly mean to delineate what his +figure had been a few years before.</p> + +<p>The little monkey, with a magnifying glass, bag-wig, solitaire, laced hat, and +ruffles, is eagerly inspecting a bill of fare, with the following articles <i>pour diner</i>; +cocks' combs, ducks' tongues, rabbits' ears, fricasee of snails, <i>grande d'œufs buerre</i>.</p> + +<p>In the centre of the room is a capacious china jar; in one corner a tremendous +pyramid, composed of packs of cards, and on the floor close to them, a bill, inscribed +"Lady Basto, D<sup>r</sup> to John Pip, for cards,—£300."</p> + +<p>The room is ornamented with several pictures; the principal represents the Medicean +Venus, on a pedestal, in stays and high-heeled shoes, and holding before her a +hoop petticoat, somewhat larger than a fig-leaf; a Cupid paring down a fat lady to a +thin proportion, and another Cupid blowing up a fire to burn a hoop petticoat, muff, +bag, queue wig, &c. On the dexter side is another picture, representing Monsieur +Desnoyer, operatically habited, dancing in a grand ballet, and surrounded by butterflies, +insects evidently of the same genus with this deity of dance. On the sinister, is +a drawing of exotics, consisting of queue and bag-wigs, muffs, solitaires, petticoats, +French heeled shoes, and other fantastic fripperies.</p> + +<p>Beneath this is a lady in a pyramidical habit walking the Park; and as the companion +picture, we have a blind man walking the streets.</p> + +<p>The fire-screen is adorned with a drawing of a lady in a sedan-chair—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"To conceive how she looks, you must call to your mind<br /></span> +<span class="i0">The lady you've seen in a lobster confined,<br /></span> +<span class="i0">Or a pagod in some little corner enshrined."<br /></span> +</div></div> + +<p>As Hogarth made this design from the ideas of Miss Edwards, it has been said +that he had no great partiality for his own performance, and that, as he never would +consent to its being engraved, the drawing from which the first print was copied, was +made by the connivance of one of her servants. Be that as it may, his ridicule on the +absurdities of fashion,—on the folly of collecting old china,—cookery,—card playing, +&c. is pointed, and highly wrought.</p> + +<p>At the sale of Miss Edwards's effects at Kensington, the original picture was purchased +by the father of Mr. Birch, surgeon, of Essex-street, Strand.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/taste_high_life.jpg"><img src="images/thumb_taste_high_life.jpg" width="600" height="484" alt="TASTE IN HIGH LIFE." title="" /></a> +<span class="caption">TASTE IN HIGH LIFE.</span> +</div><p><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS" id="THE_HARLOTS_PROGRESS"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE I.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"The snares are set, the plot is laid,<br /></span> +<span class="i0">Ruin awaits thee,—hapless maid!<br /></span> +<span class="i0">Seduction sly assails thine ear,<br /></span> +<span class="i0">And <i>gloating, foul desire</i> is near;<br /></span> +<span class="i0">Baneful and blighting are their smiles,<br /></span> +<span class="i0">Destruction waits upon their wiles;<br /></span> +<span class="i0">Alas! thy guardian angel sleeps,<br /></span> +<span class="i0">Vice clasps her hands, and virtue weeps."<br /></span> +</div></div> + + +<p>The general aim of historical painters, says Mr. Ireland, has been to emblazon +some signal exploit of an exalted and distinguished character. To go through a series +of actions, and conduct their hero from the cradle to the grave, to give a history upon +canvass, and tell a story with the pencil, few of them attempted. Mr. Hogarth saw, +with the intuitive eye of genius, that one path to the Temple of Fame was yet untrodden: +he took Nature for his guide, and gained the summit. He was the painter of +Nature; for he gave, not merely the ground-plan of the countenance, but marked the +features with every impulse of the mind. He may be denominated the biographical +dramatist of domestic life. Leaving those heroic monarchs who have blazed through +their day, with the destructive brilliancy of a comet, to their adulatory historians, he, +like Lillo, has taken his scenes from humble life, and rendered them a source of entertainment, +instruction, and morality.</p> + +<p>This series of prints gives the history of a Prostitute. The story commences with +her arrival in London, where, initiated in the school of profligacy, she experiences the +miseries consequent to her situation, and dies in the morning of life. Her variety of +wretchedness, forms such a picture of the way in which vice rewards her votaries, as +ought to warn the young and inexperienced from entering this path of infamy.</p> + +<p>The first scene of this domestic tragedy is laid at the Bell Inn, in Wood-street, +and the heroine may possibly be daughter to the poor old clergyman who is reading +the direction of a letter close to the York waggon, from which vehicle she has just +alighted. In attire—neat, plain, unadorned; in demeanor—artless, modest, diffident: +in the bloom of youth, and more distinguished by native innocence than elegant symmetry; +her conscious blush, and downcast eyes, attract the attention of a female fiend, +who panders to the vices of the opulent and libidinous. Coming out of the door of +the inn, we discover two men, one of whom is eagerly gloating on the devoted victim. +This is a portrait, and said to be a strong resemblance of Colonel Francis Chartres.<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> + +<p>The old procuress, immediately after the girl's alighting from the waggon, addresses +her with the familiarity of a friend, rather than the reserve of one who is to be her +mistress.</p> + +<p>Had her father been versed in even the first rudiments of physiognomy, he would +have prevented her engaging with one of so decided an aspect: for this also is the +portrait of a woman infamous in her day: but he, good, easy man, unsuspicious as +Fielding's parson Adams, is wholly engrossed in the contemplation of a superscription +to a letter, addressed to the bishop of the diocese. So important an object prevents +his attending to his daughter, or regarding the devastation occasioned by his gaunt +and hungry Rozinante having snatched at the straw that packs up some earthenware, +and produced</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The wreck of flower-pots, and the crash of pans!"<br /></span> +</div></div> + +<p>From the inn she is taken to the house of the procuress, divested of her home-spun +garb, dressed in the gayest style of the day; and the tender native hue of her +complexion incrusted with paint, and disguised by patches. She is then introduced to +Colonel Chartres, and by artful flattery and liberal promises, becomes intoxicated with +the dreams of imaginary greatness. A short time convinces her of how light a breath +these promises were composed. Deserted by her keeper, and terrified by threats of +an immediate arrest for the pompous paraphernalia of prostitution, after being a short +time protected by one of the tribe of Levi, she is reduced to the hard necessity of +wandering the streets, for that precarious subsistence which flows from the drunken +rake, or profligate debauchee. Here her situation is truly pitiable! Chilled by nipping +frost and midnight dew, the repentant tear trickling on her heaving bosom, she endeavours +to drown reflection in draughts of destructive poison. This, added to the contagious +company of women of her own description, vitiates her mind, eradicates the +native seeds of virtue, destroys that elegant and fascinating simplicity, which gives +additional charms to beauty, and leaves, in its place, art, affectation, and impudence.</p> + +<p>Neither the painter of a sublime picture, nor the writer of an heroic poem, should +introduce any trivial circumstances that are likely to draw the attention from the +principal figures. Such compositions should form one great whole: minute detail +will inevitably weaken their effect. But in little stories, which record the domestic +incidents of familiar life, these accessary accompaniments, though trifling in themselves, +acquire a consequence from their situation; they add to the interest, and realise the +scene. In this, as in almost all that were delineated by Mr. Hogarth, we see a close +regard paid to things as they then were; by which means his prints become a sort of +historical record of the manners of the age.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_01.jpg"><img src="images/thumb_harlot_01.jpg" width="600" height="483" alt="THE HARLOT'S PROGRESS. + +PLATE 1. + +ENSNARED BY A PROCURESS." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 1. +<br /> +ENSNARED BY A PROCURESS.</span> +</div><p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS_2" id="THE_HARLOTS_PROGRESS_2"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE II.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"Ah! why so vain, though blooming in thy spring,<br /></span> +<span class="i0">Thou shining, frail, adorn'd, but wretched thing<br /></span> +<span class="i0">Old age will come; disease may come before,<br /></span> +<span class="i0">And twenty prove as fatal as threescore!"<br /></span> +</div></div> + + +<p>Entered into the path of infamy, the next scene exhibits our young heroine the +mistress of a rich Jew, attended by a black boy,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and surrounded with the pompous +parade of tasteless profusion. Her mind being now as depraved, as her person is decorated, +she keeps up the spirit of her character by extravagance and inconstancy. An +example of the first is exhibited in the monkey being suffered to drag her rich head-dress +round the room, and of the second in the retiring gallant. The Hebrew is represented +at breakfast with his mistress; but, having come earlier than was expected, the +favourite has not departed. To secure his retreat is an exercise for the invention of both +mistress and maid. This is accomplished by the lady finding a pretence for quarrelling +with the Jew, kicking down the tea-table, and scalding his legs, which, added to the +noise of the china, so far engrosses his attention, that the paramour, assisted by the +servant, escapes discovery.</p> + +<p>The subjects of two pictures, with which the room is decorated, are David dancing +before the ark, and Jonah seated under a gourd. They are placed there, not merely as +circumstances which belong to Jewish story, but as a piece of covert ridicule on the old +masters, who generally painted from the ideas of others, and repeated the same tale <i>ad +infinitum</i>. On the toilet-table we discover a mask, which well enough intimates where +she had passed part of the preceding night, and that masquerades, then a very fashionable +amusement, were much frequented by women of this description; a sufficient reason +for their being avoided by those of an opposite character.</p> + +<p>Under the protection of this disciple of Moses she could not remain long. Riches +were his only attraction, and though profusely lavished on this unworthy object, her<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> +attachment was not to be obtained, nor could her constancy be secured; repeated acts +of infidelity are punished by dismission; and her next situation shows, that like most of +the sisterhood, she had lived without apprehension of the sunshine of life being darkened +by the passing cloud, and made no provision for the hour of adversity.</p> + +<p>In this print the characters are marked with a master's hand. The insolent air of +the harlot, the astonishment of the Jew, eagerly grasping at the falling table, the start +of the black boy, the cautious trip of the ungartered and barefooted retreating gallant, +and the sudden spring of the scalded monkey, are admirably expressed. To represent +an object in its descent, has been said to be impossible; the attempt has seldom succeeded; +but, in this print, the tea equipage really appears falling to the floor; and, in +Rembrandt's Abraham's Offering, in the Houghton collection, now at Petersburg, the +knife dropping from the hand of the patriarch, appears in a falling state.</p> + +<p>Quin compared Garrick in Othello to the black boy with the tea-kettle, a circumstance +that by no means encouraged our Roscius to continue acting the part. Indeed, when +his face was obscured, his chief power of expression was lost; and then, and not till +then, was he reduced to a level with several other performers. It has been remarked, +however, that Garrick said of himself, that when he appeared in Othello, Quin, he supposed, +would say, "Here's Pompey! where's the tea-kettle?"</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_02.jpg"><img src="images/thumb_harlot_02.jpg" width="600" height="483" alt="THE HARLOT'S PROGRESS. + +PLATE 2. + +QUARRELS WITH HER JEW PROTECTOR." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 2. +<br /> +QUARRELS WITH HER JEW PROTECTOR.</span> +</div> + +<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS_3" id="THE_HARLOTS_PROGRESS_3"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE III.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"Reproach, scorn, infamy, and hate,<br /></span> +<span class="i0">On all thy future steps shall wait;<br /></span> +<span class="i0">Thy furor be loath'd by every eye,<br /></span> +<span class="i0">And every foot thy presence fly."<br /></span> +</div></div> + + +<p>We here see this child of misfortune fallen from her high estate! Her magnificent +apartment is quitted for a dreary lodging in the purlieus of Drury-lane; she is at breakfast, +and every object exhibits marks of the most wretched penury: her silver tea-kettle +is changed for a tin pot, and her highly decorated toilet gives place to an old leaf table, +strewed with the relics of the last night's revel, and ornamented with a broken looking-glass. +Around the room are scattered tobacco-pipes, gin measures, and pewter pots; +emblems of the habits of life into which she is initiated, and the company which she now +keeps: this is farther intimated by the wig-box of James Dalton, a notorious street-robber, +who was afterwards executed. In her hand she displays a watch, which might +be either presented to her, or stolen from her last night's gallant. By the nostrums +which ornament the broken window, we see that poverty is not her only evil.</p> + +<p>The dreary and comfortless appearance of every object in this wretched receptacle, +the bit of butter on a piece of paper, the candle in a bottle, the basin upon a chair, the +punch-bowl and comb upon the table, and the tobacco-pipes, &c. strewed upon the +unswept floor, give an admirable picture of the style in which this pride of Drury-lane +ate her matin meal. The pictures which ornament the room are, Abraham offering up +Isaac, and a portrait of the Virgin Mary; Dr. Sacheverell and Macheath the highwayman, +are companion prints. There is some whimsicality in placing the two ladies under +a canopy, formed by the unnailed valance of the bed, and characteristically crowned by +the wig-box of a highwayman.</p> + +<p>When Theodore, the unfortunate king of Corsica, was so reduced as to lodge in a +garret in Dean-street, Soho, a number of gentlemen made a collection for his relief. +The chairman of their committee informed him, by letter, that on the following day, at +twelve o'clock, two of the society would wait upon his majesty with the money. To +give his attic apartment an appearance of royalty, the poor monarch placed an arm-chair<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> +on his half-testered bed, and seating himself under the scanty canopy, gave what he +thought might serve as the representation of a throne. When his two visitors entered +the room, he graciously held out his right hand, that they might have the honour of—kissing +it!</p> + +<p>A magistrate, cautiously entering the room, with his attendant constables, commits +her to a house of correction, where our legislators wisely suppose, that being confined +to the improving conversation of her associates in vice, must have a powerful tendency +towards the reformation of her manners. Sir John Gonson, a justice of peace, very +active in the suppression of brothels, is the person represented. In <i>a View of the Town +in 1735</i>, by T. Gilbert, fellow of Peterhouse, Cambridge, are the following lines:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Though laws severe to punish crimes were made,<br /></span> +<span class="i0">What honest man is of these laws afraid?<br /></span> +<span class="i0">All felons against judges will exclaim,<br /></span> +<span class="i0">As harlots tremble at a Gonson's name."<br /></span> +</div></div> + +<p>Pope has noticed him in his Imitation of Dr. Donne, and Loveling, in a very elegant +Latin ode. Thus, between the poets and the painter, the name of this harlot-hunting +justice, is transmitted to posterity. He died on the 9th of January, 1765.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_03.jpg"><img src="images/thumb_harlot_03.jpg" width="600" height="490" alt="THE HARLOT'S PROGRESS. + +PLATE 3. + +APPREHENDED BY A MAGISTRATE." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 3. +<br /> +APPREHENDED BY A MAGISTRATE.</span> +</div><p><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS_4" id="THE_HARLOTS_PROGRESS_4"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE IV.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">With pallid cheek and haggard eye,<br /></span> +<span class="i0">And loud laments, and heartfelt sigh,<br /></span> +<span class="i0">Unpitied, hopeless of relief,<br /></span> +<span class="i0">She drinks the bitter cup of grief.<br /></span> +</div><div class="stanza"> +<span class="i0">In vain the sigh, in vain the tear,<br /></span> +<span class="i0">Compassion never enters here;<br /></span> +<span class="i0">But justice clanks her iron chain,<br /></span> +<span class="i0">And calls forth shame, remorse, and pain.<br /></span> +</div></div> + + +<p>The situation, in which the last plate exhibited our wretched female, was sufficiently +degrading, but in this, her misery is greatly aggravated. We now see her suffering the +chastisement due to her follies; reduced to the wretched alternative of beating hemp, or +receiving the correction of a savage task-master. Exposed to the derision of all around, +even her own servant, who is well acquainted with the rules of the place, appears little +disposed to show any return of gratitude for recent obligations, though even her shoes, +which she displays while tying up her garter, seem by their gaudy outside to have been +a present from her mistress. The civil discipline of the stern keeper has all the severity +of the old school. With the true spirit of tyranny, he sentences those who will not +labour to the whipping-post, to a kind of picketing suspension by the wrists, or having +a heavy log fastened to their leg. With the last of these punishments he at this moment +threatens the heroine of our story, nor is it likely that his obduracy can be softened +except by a well applied fee. How dreadful, how mortifying the situation! These +accumulated evils might perhaps produce a momentary remorse, but a return to the path +of virtue is not so easy as a departure from it.</p> + +<p>To show that neither the dread, nor endurance, of the severest punishment, will deter +from the perpetration of crimes, a one-eyed female, close to the keeper, is picking a +pocket. The torn card may probably be dropped by the well-dressed gamester, who +has exchanged the dice-box for the mallet, and whose laced hat is hung up as a companion +trophy to the hoop-petticoat.</p> + +<p>One of the girls appears scarcely in her teens. To the disgrace of our police, these +unfortunate little wanderers are still suffered to take their nocturnal rambles in the most +public streets of the metropolis. What heart, so void of sensibility, as not to heave a +pitying sigh at their deplorable situation? Vice is not confined to colour, for a black +woman is ludicrously exhibited, as suffering the penalty of those frailties, which are +imagined peculiar to the fair.<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> + +<p>The figure chalked as dangling upon the wall, with a pipe in his mouth, is intended +as a caricatured portrait of Sir John Gonson, and probably the production of some +would-be artist, whom the magistrate had committed to Bridewell, as a proper academy +for the pursuit of his studies. The inscription upon the pillory, "Better to work than +stand thus;" and that on the whipping-post near the laced gambler, "The reward of +idleness," are judiciously introduced.</p> + +<p>In this print the composition is good: the figures in the back-ground, though properly +subordinate, are sufficiently marked; the lassitude of the principal character, well contrasted +by the austerity of the rigid overseer. There is a fine climax of female debasement, +from the gaudy heroine of our drama, to her maid, and from thence to the still +object, who is represented as destroying one of the plagues of Egypt.</p> + +<p>Such well dressed females, as our heroine, are rarely met with in our present houses +of correction; but her splendid appearance is sufficiently warranted by the following +paragraph in the Grub-street Journal of September 14th, 1730.</p> + +<p>"One Mary Moffat, a woman of great note in the hundreds of Drury, who, about a +fortnight ago, was committed to hard labour in Tothill-fields Bridewell, by nine justices, +brought his majesty's writ of <i>habeas corpus</i>, and was carried before the right honourable +the Lord Chief Justice Raymond, expecting to have been either bailed or discharged; +but her commitment appearing to be legal, his lordship thought fit to remand her back +again to her former place of confinement, where she is now beating hemp in a gown +very richly laced with silver."</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_04.jpg"><img src="images/thumb_harlot_04.jpg" width="600" height="487" alt="THE HARLOT'S PROGRESS. + +PLATE 4. + +SCENE IN BRIDEWELL." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 4. +<br /> +SCENE IN BRIDEWELL.</span> +</div><p><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS_5" id="THE_HARLOTS_PROGRESS_5"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE V.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">With keen remorse, deep sighs, and trembling fears<br /></span> +<span class="i0">Repentant groans, and unavailing tears,<br /></span> +<span class="i0">This child of misery resigns her breath,<br /></span> +<span class="i0">And sinks, despondent, in the arms of death.<br /></span> +</div></div> + + +<p>Released from Bridewell, we now see this victim to her own indiscretion breathe +her last sad sigh, and expire in all the extremity of penury and wretchedness. The two +quacks, whose injudicious treatment, has probably accelerated her death, are vociferously +supporting the infallibility of their respective medicines, and each charging the other with +having poisoned her. The meagre figure is a portrait of Dr. Misaubin, a foreigner, at +that time in considerable practice.</p> + +<p>These disputes, it has been affirmed, sometimes happen at a consultation of regular +physicians, and a patient has been so unpolite as to die before they could determine on +the name of his disorder.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"About the symptoms how they disagree,<br /></span> +<span class="i0">But how unanimous about the fee!"<br /></span> +</div></div> + +<p>While the maid servant is entreating them to cease quarrelling, and assist her dying +mistress, the nurse plunders her trunk of the few poor remains of former grandeur. Her +little boy, turning a scanty remnant of meat hung to roast by a string; the linen hanging +to dry; the coals deposited in a corner; the candles, bellows, and gridiron hung upon +nails; the furniture of the room; and indeed every accompaniment; exhibit a dreary display +of poverty and wretchedness. Over the candles hangs a cake of Jew's Bread, +once perhaps the property of her Levitical lover, and now used as a fly-trap. The +initials of her name, M. H. are smoked upon the ceiling as a kind of <i>memento mori</i> to +the next inhabitant. On the floor lies a paper inscribed "anodyne necklace," at that +time deemed a sort of charm against the disorders incident to children; and near the +fire, a tobacco-pipe, and paper of pills.</p> + +<p>A picture of general, and at this awful moment, indecent confusion, is admirably +represented. The noise of two enraged quacks disputing in bad English; the harsh, +vulgar scream of the maid servant; the table falling, and the pot boiling over, must pro<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>duce +a combination of sounds dreadful and dissonant to the ear. In this pitiable situation, +without a friend to close her dying eyes, or soften her sufferings by a tributary +tear; forlorn, destitute, and deserted, the heroine of this eventful history expires! her +premature death, brought on by a licentious life, seven years of which had been devoted +to debauchery and dissipation, and attended by consequent infamy, misery, and disease. +The whole story affords a valuable lesson to the young and inexperienced, and proves +this great, this important truth, that <span class="smcap lowercase">A DEVIATION FROM VIRTUE IS A DEPARTURE +FROM HAPPINESS</span>.</p> + +<p>The emaciated appearance of the dying figure, the boy's thoughtless inattention, and +the rapacious, unfeeling eagerness of the old nurse, are naturally and forcibly delineated.</p> + +<p>The figures are well grouped; the curtain gives depth, and forms a good back-ground +to the doctor's head; the light is judiciously distributed, and each accompaniment +highly appropriate.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_05.jpg"><img src="images/thumb_harlot_05.jpg" width="600" height="484" alt="THE HARLOT'S PROGRESS. + +PLATE 5. + +EXPIRES WHILE THE DOCTORS ARE DISPUTING." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 5. +<br /> +EXPIRES WHILE THE DOCTORS ARE DISPUTING.</span> +</div><p><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_HARLOTS_PROGRESS_6" id="THE_HARLOTS_PROGRESS_6"></a>THE HARLOT'S PROGRESS.<br /> +<br /> +<span style="font-size: 75%;">PLATE VI.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"No friend's complaint, no kind domestic tear,<br /></span> +<span class="i0">Pleas'd thy pale ghost, or grac'd thy mournful bier:<br /></span> +<span class="i0">By harlots' hands thy dying eyes were clos'd;<br /></span> +<span class="i0">By harlots' hands thy decent limbs compos'd;<br /></span> +<span class="i0">By harlots' hands thy humble grave adorn'd;<br /></span> +<span class="i0">By harlots honour'd, and by harlots mourn'd."<br /></span> +</div></div> + + +<p>The adventures of our heroine are now concluded. She is no longer an actor in her +own tragedy; and there are those who have considered this print as a farce at the end +of it: but surely such was not the author's intention.</p> + +<p>The ingenious writer of Tristram Shandy begins the life of his hero before he is +born; the picturesque biographer of Mary Hackabout has found an opportunity to convey +admonition, and enforce his moral, after her death. A wish usually prevails, even +among those who are most humbled by their own indiscretion, that some respect should +be paid to their remains; that their eyes should be closed by the tender hand of a surviving +friend, and the tear of sympathy and regret shed upon the sod which covers their +grave; that those who loved them living, should attend their last sad obsequies; and a +sacred character read over them the awful service which our religion ordains, with the +solemnity it demands. The memory of this votary of prostitution meets with no such +marks of social attention, or pious respect. The preparations for her funeral are as +licentious as the progress of her life, and the contagion of her example seems to reach +all who surround her coffin. One of them is engaged in the double trade of seduction +and thievery; a second is contemplating her own face in a mirror. The female who is +gazing at the corpse, displays some marks of concern, and feels a momentary compunction +at viewing the melancholy scene before her: but if any other part of the company +are in a degree affected, it is a mere maudlin sorrow, kept up by glasses of strong +liquor. The depraved priest does not seem likely to feel for the dead that hope expressed +in our liturgy. The appearance and employment of almost every one present +at this mockery of woe, is such as must raise disgust in the breast of any female who +has the least tincture of delicacy, and excite a wish that such an exhibition may not be +displayed at her own funeral.</p> + +<p>In this plate there are some local customs which mark the manners of the times when +it was engraved, but are now generally disused, except in some of the provinces very +distant from the capital; sprigs of rosemary were then given to each of the mourners: +to appear at a funeral without one, was as great an indecorum as to be without a white<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> +handkerchief. This custom might probably originate at a time when the plague depopulated +the metropolis, and rosemary was deemed an antidote against contagion. It +must be acknowledged that there are also in this print some things which, though they +gave the artist an opportunity of displaying his humour, are violations of propriety and +customs: such is her child, but a few removes from infancy, being habited as chief +mourner, to attend his parent to the grave; rings presented, and an escutcheon hung up, +in a garret, at the funeral of a needy prostitute. The whole may be intended as a burlesque +upon ostentatious and expensive funerals, which were then more customary than +they are now. Mr. Pope has well ridiculed the same folly;</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When Hopkins dies, a thousand lights attend<br /></span> +<span class="i0">The wretch who, living, sav'd a candle's end."<br /></span> +</div></div> + +<p>The figures have much characteristic discrimination; the woman looking into the +coffin has more beauty than we generally see in the works of this artist. The undertaker's +gloating stare, his companion's leer, the internal satisfaction of the parson and his +next neighbour, are contrasted by the Irish howl of the woman at the opposite side, and +evince Mr. Hogarth's thorough knowledge of the operation of the passions upon the features. +The composition forms a good shape, has a proper depth, and the light is well managed.</p> + +<p>Sir James Thornhill's opinion of this series may be inferred from the following circumstance. +Mr. Hogarth had without consent married his daughter: Sir James, considering +him as an obscure artist, was much displeased with the connexion. To give him +a better opinion of his son-in-law, a common friend, one morning, privately conveyed the +six pictures of the Harlot's Progress into his drawing-room. The veteran painter eagerly +inquired who was the artist; and being told, cried out, "Very well! Very well indeed! +The man who can paint such pictures as these, can maintain a wife without a portion." +This was the remark of the moment; but he afterwards considered the union of his +daughter with a man of such abilities an honour to his family, was reconciled, and generous.</p> + +<p>When the publication was advertised, such was the expectation of the town, that above +twelve hundred names were entered in the subscription book. When the prints appeared, +they were beheld with astonishment. A subject so novel in the idea, so marked with +genius in the execution, excited the most eager attention of the public. At a time when +England was coldly inattentive to every thing which related to the arts, so desirous were +all ranks of people of seeing how this little domestic story was delineated, that there +were eight piratical imitations, besides two copies in a smaller size than the original, +published, by permission of the author, for Thomas Bakewell. The whole series were +copied on fan-mounts, representing the six plates, three on one side, and three on the +other. It was transferred from the copper to the stage, in the form of a pantomime, by +Theophilus Cibber; and again represented in a ballad opera, entitled, the Jew Decoyed; +or, the Harlot's Progress.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/harlot_06.jpg"><img src="images/thumb_harlot_06.jpg" width="600" height="470" alt="THE HARLOT'S PROGRESS. + +PLATE 6. + +THE FUNERAL." title="" /></a> +<span class="caption">THE HARLOT'S PROGRESS. +<br /> +PLATE 6. +<br /> +THE FUNERAL.</span> +</div><p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LECTURE" id="THE_LECTURE"></a>THE LECTURE.<br /> +<br /> +<span style="font-size: 75%;">DATUR VACUUM.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"No wonder that science, and learning profound,<br /></span> +<span class="i0">In Oxford and Cambridge so greatly abound,<br /></span> +<span class="i0">When so many take thither a little each day,<br /></span> +<span class="i0">And we see very few who bring any away."<br /></span> +</div></div> + + +<p>I was once told by a fellow of a college, says Mr. Ireland, that he disliked Hogarth, +because he had in this print ridiculed one of the Universities. I endeavoured to defend +the artist, by suggesting that this was not intended as a picture of what Oxford is now, +but of what it was in days long past: that it was that kind of general satire with which +no one should be offended, &c. &c. His reply was too memorable to be forgotten. "Sir, +the Theatre, the Bench, the College of Physicians, and the Foot Guards, are fair objects +of satire; but those venerable characters who have devoted their whole lives to feeding +the lamp of learning with hallowed oil, are too sacred to be the sport of an uneducated +painter. Their unremitting industry embraced the whole circle of the sciences, and in +their logical disputations they displayed an acuteness that their followers must contemplate +with astonishment. The present state of Oxford it is not necessary for me to +analyze, as you contend that the satire is not directed against that."</p> + +<p>In answer to this observation, which was uttered with becoming gravity, a gentleman +present remarked, as follows. "For some of the ancient customs of this seminary of +learning, I have much respect, but as to their dry treatises on logic, immaterial dissertations +on materiality, and abstruse investigations of useless subjects, they are mere +literary legerdemain. Their disputations being usually built on an undefinable chimera, +are solved by a paradox. Instead of exercising their power of reason they exert their +powers of sophistry, and divide and subdivide every subject with such casuistical minuteness, +that those who are not convinced, are almost invariably confounded. This custom, +it must be granted, is not quite so prevalent as it once was: a general spirit of reform +is rapidly diffusing itself; and though I have heard cold-blooded declaimers assert, that +these shades of science are become the retreats of ignorance, and the haunts of dissipation, +I consider them as the great schools of urbanity, and favourite seats of the <i>belles +lettres</i>. By the <i>belles lettres</i>, I mean history, biography, and poetry; that all these are +universally cultivated, I can exemplify by the manner in which a highly accomplished +young man, who is considered as a model by his fellow-collegians, divides his hours.</p> + +<p>"At breakfast I found him studying the marvellous and eventful history of Baron +Munchausen; a work whose periods are equally free from the long-winded obscurity of +Tacitus, and the asthmatic terseness of Sallust. While his hair was dressing, he<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> +enlarged his imagination and improved his morals by studying Doctor what's his name's +abridgement of Chesterfield's Principles of Politeness. To furnish himself with biographical +information, and add to his stock of useful anecdote, he studied the Lives of +the Highwaymen; in which he found many opportunities of exercising his genius and +judgment in drawing parallels between the virtues and exploits of these modern worthies, +and those dignified, and almost deified ancient heroes whose deeds are recorded in +Plutarch and Nepos.</p> + +<p>"With poetical studies, he is furnished by the English operas, which, added to the +prologues, epilogues, and odes of the day, afford him higher entertainment than he could +find in Homer or Virgil: he has not stored his memory with many epigrams, but of +puns has a plentiful stock, and in <i>conundra</i> is a wholesale dealer. At the same college +I know a most striking contrast, whose reading"—But as his opponent would hear no +more, my advocate dropped the subject; and I will follow his example.</p> + +<p>It seems probable, that when the artist engraved this print, he had only a general reference +to an university lecture; the words <i>datur vacuum</i> were an after-thought. Some +prints are without the inscription, and in some of the early impressions it is written with +a pen.</p> + +<p>The scene is laid at Oxford, and the person reading, universally admitted to be a Mr. +Fisher, of Jesus College, <i>registrat</i> of the university, with whose consent this portrait was +taken, and who lived until the 18th of March, 1761. That he should wish to have such +a face handed down to posterity, in such company, is rather extraordinary, for all the +band, except one man, have been steeped in the stream of stupidity. This gentleman +has the profile of penetration; a projecting forehead, a Roman nose, thin lips, and a long +pointed chin. His eye is bent on vacancy: it is evidently directed to the moon-faced +idiot that crowns the pyramid, at whose round head, contrasted by a cornered cap, he with +difficulty suppresses a laugh. Three fellows on the right hand of this fat, contented +"first-born transmitter of a foolish face," have most degraded characters, and are much +fitter for the stable than the college. If they ever read, it must be in Bracken's Farriery, +or the Country Gentleman's Recreation. Two square-capped students a little beneath +the top, one of whom is holding converse with an adjoining profile, and the other lifting +up his eyebrows, and staring without sight, have the same misfortune that attended our +first James—their tongues are rather too large. A figure in the left-hand corner has +shut his eyes to think; and having, in his attempt to separate a syllogism, placed the +forefinger of his right hand upon his forehead, has fallen asleep. The professor, a little +above the book, endeavours by a projection of his under lip to assume importance; such +characters are not uncommon: they are more solicitous to look wise, than to be so. Of +Mr. Fisher it is not necessary to say much: he sat for his portrait, for the express purpose +of having it inserted in the Lecture!—We want no other testimony of his talents.</p> + +<div class="figcenter" style="width: 516px;"> +<a href="images/lecture.jpg"><img src="images/thumb_lecture.jpg" width="516" height="600" alt="THE LECTURE." title="" /></a> +<span class="caption">THE LECTURE.</span> +</div><p><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_CHORUS" id="THE_CHORUS"></a>THE CHORUS.<br /> +<br /> +<span style="font-size: 75%;">REHEARSAL OF THE ORATORIO OF JUDITH.</span></h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"O <i>cara, cara!</i> silence all that train,<br /></span> +<span class="i0">Joy to great <i>chaos!</i> let division reign."<br /></span> +</div></div> + + +<p>The Oratorio of Judith, Mr. Ireland observes, was written by Esquire William +Huggins, honoured by the music of William de Fesch, aided by new painted scenery +and <i>magnifique</i> decoration, and in the year 1733 brought upon the stage. As De +Fesch<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> was a German and a genius, we may fairly presume it was well set; and there +was at that time, as at this, a sort of musical mania, that paid much greater attention to +sounds than to sense; notwithstanding all these points in her favour, when the Jewish +heroine had made her theatrical <i>début</i>, and so effectually smote Holofernes,</p> + +<div class="poem"><div class="stanza"> +<span class="i8">——"As to sever<br /></span> +<span class="i0">His head from his great trunk for ever and for ever."<br /></span> +</div></div> + +<p>the audience compelled her to make her exit. To set aside this partial and unjust +decree, Mr. Huggins appealed to the public, and printed his oratorio. Though it was +adorned with a frontispiece designed by Hogarth, and engraved by Vandergucht, the +world could not be compelled to read, and the unhappy writer had no other resource +than the consolatory reflection, that his work was superlatively excellent, but unluckily<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> +printed in a tasteless age; a comfortable and solacing self-consciousness, which hath, I +verily believe, prevented many a great genius from becoming his own executioner.</p> + +<p>To paint a sound is impossible; but as far as art can go towards it, Hogarth has +gone in this print. The tenor, treble, and bass of these ear-piercing choristers are so +decisively discriminated, that we all but hear them.</p> + +<p>The principal figure, whose head, hands, and feet are in equal agitation, has very +properly tied on his spectacles; it would have been prudent to have tied on his periwig +also, for by the energy of his action he has shaken it from his head, and, absorbed in an +eager attention to true time, is totally unconscious of his loss.</p> + +<p>A gentleman—pardon me, I meant a singer—in a bag wig, immediately beneath his +uplifted hand, I suspect to be of foreign growth. It has the engaging air of an importation +from Italy.</p> + +<p>The little figure in the sinister corner, is, it seems, intended for a Mr. Tothall, a +woollen-draper, who lived in Tavistock-court, and was Hogarth's intimate friend.</p> + +<p>The name of the performer on his right hand,</p> + +<div class="poem"><div class="stanza"> +<span class="i4">——"Whose growling bass<br /></span> +<span class="i0">Would drown the clarion of the braying ass,"<br /></span> +</div></div> + +<p>I cannot learn, nor do I think that this group were meant for particular portraits, but a +general representation of the violent distortions into which these crotchet-mongers draw +their features on such solemn occasions.</p> + +<p>Even the head of the bass-viol has air and character: by the band under the chin, it +gives some idea of a professor, or what is, I think, called a Mus. D.</p> + +<p>The words now singing, "The world shall bow to the Assyrian throne," are extracted +from Mr. Huggins' oratorio; the etching is in a most masterly style, and was originally +given as a subscription ticket to the Modern Midnight Conversation.</p> + +<p>I have seen a small political print on Sir Robert Walpole's administration, entitled, +"Excise, a new Ballad Opera," of which this was unquestionably the basis. Beneath it +is the following learned and poetical motto:</p> + +<div class="poem"><div class="stanza"> +<span class="i4">"<i>Experto crede Roberto.</i>"<br /></span> +</div><div class="stanza"> +<span class="i0">"Mind how each hireling songster tunes his throat,<br /></span> +<span class="i0">And the vile knight beats time to every note:<br /></span> +<span class="i0">So Nero sung while Rome was all in flames,<br /></span> +<span class="i0">But time shall brand with infamy their names."<br /></span> +</div></div> + +<div class="figcenter" style="width: 556px;"> +<a href="images/chorus_of_singers.jpg"><img src="images/thumb_chorus_of_singers.jpg" width="556" height="600" alt="THE CHORUS." title="" /></a> +<span class="caption">THE CHORUS.</span> +</div><p><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> + + +<hr style="width: 65%;" /> +<h2><a name="COLUMBUS_BREAKING_THE_EGG" id="COLUMBUS_BREAKING_THE_EGG"></a>COLUMBUS BREAKING THE EGG.</h2> + + +<p>By the success of Columbus's first voyage, doubt had been changed into admiration; +from the honours with which he was rewarded, admiration degenerated into envy. To +deny that his discovery carried in its train consequences infinitely more important than +had resulted from any made since the creation, was impossible. His enemies had +recourse to another expedient, and boldly asserted that there was neither wisdom in the +plan, nor hazard in the enterprise.</p> + +<p>When he was once at a Spanish supper, the company took this ground, and being by +his narrative furnished with the reflections which had induced him to undertake his +voyage, and the course that he had pursued in its completion, sagaciously observed, that +"it was impossible for any man, a degree above an idiot, to have failed of success. The +whole process was so obvious, it must have been seen by a man who was half blind! +Nothing could be so easy!"</p> + +<p>"It is not difficult now I have pointed out the way," was the answer of Columbus: +"but easy as it will appear, when you are possessed of my method, I do not believe +that, without such instruction, any person present could place one of these eggs upright +on the table." The cloth, knives, and forks were thrown aside, and two of the party, +placing their eggs as required, kept them steady with their fingers. One of them swore +there could be no other way. "We will try," said the navigator; and giving an egg, +which he held in his hand, a smart stroke upon the table, it remained upright. The +emotions which this excited in the company are expressed in their countenances. In +the be-ruffed booby at his left hand it raises astonishment; he is a <span class="smcap lowercase">DEAR ME</span>! man, of +the same family with Sterne's Simple Traveller, and came from Amiens only yesterday. +The fellow behind him, beating his head, curses his own stupidity; and the whiskered +ruffian, with his fore-finger on the egg, is in his heart cursing Columbus. As to the +two veterans on the other side, they have lived too long to be agitated with trifles: he +who wears a cap, exclaims, "Is this all!" and the other, with a bald head, "By St. +Jago, I did not think of that!" In the face of Columbus there is not that violent and +excessive triumph which is exhibited by little characters on little occasions; he is too +elevated to be overbearing; and, pointing to the conical solution of his problematical +conundrum, displays a calm superiority, and silent internal contempt.<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> + +<p>Two eels, twisted round the eggs upon the dish, are introduced as specimens of the +line of beauty; which is again displayed on the table-cloth, and hinted at on the knife-blade. +In all these curves there is peculiar propriety; for the etching was given as a +receipt-ticket to the Analysis, where this favourite undulating line forms the basis of his +system.</p> + +<p>In the print of Columbus, there is evident reference to the criticisms on what Hogarth +called his own discovery; and in truth the connoisseurs' remarks on the painter were +dictated by a similar spirit to those of the critics on the navigator: they first asserted +there was no such line, and when he had proved that there was, gave the honour of +discovery to Lomazzo, Michael Angelo, &c. &c.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/columbus_egg.jpg"><img src="images/thumb_columbus_egg.jpg" width="600" height="495" alt="COLUMBUS BREAKING THE EGG." title="" /></a> +<span class="caption">COLUMBUS BREAKING THE EGG.</span> +</div><p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_MIDNIGHT_MODERN_CONVERSATION" id="A_MIDNIGHT_MODERN_CONVERSATION"></a>A MIDNIGHT MODERN CONVERSATION.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"Think not to find one meant resemblance there;<br /></span> +<span class="i0">We lash the vices, but the persons spare.<br /></span> +<span class="i0">Prints should be priz'd, as authors should be read,<br /></span> +<span class="i0">Who sharply smile prevailing folly dead.<br /></span> +<span class="i0">So Rabelais laugh'd, and so Cervantes thought;<br /></span> +<span class="i0">So nature dictated what art has taught."<br /></span> +</div></div> + + +<p>Notwithstanding this inscription, which was engraved on the plate some time +after its publication, it is very certain that most of these figures were intended for individual +portraits; but Mr. Hogarth, not wishing to be considered as a personal satirist, +and fearful of making enemies among his contemporaries, would never acknowledge +who were the characters. Some of them the world might perhaps mistake; for though +the author was faithful in delineating whatever he intended to portray, complete +intoxication so far caricatures the countenance, that, according to the old, though trite +proverb, "the man is not himself." His portrait, though given with the utmost fidelity, +will scarcely be known by his most intimate friends, unless they have previously seen +him in this degrading disguise. Hence, it becomes difficult to identify men whom the +painter did not choose to point out at the time; and a century having elapsed, it becomes +impossible, for all who composed the group, with the artist by whom it was delineated,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Shake hands with dust, and call the worm their kinsman.<br /></span> +</div></div> + +<p>Mrs. Piozzi was of opinion that the divine with a cork-screw, occasionally used as a +tobacco-stopper, hanging upon his little finger, was the portrait of parson Ford, Dr. +Johnson's uncle; though, upon the authority of Sir John Hawkins, of anecdotish +memory, it has been generally supposed to be intended for Orator Henley. As both +these worthies were distinguished by that rubicundity of face with which it is marked, +the reader may decree the honour of a sitting to which he pleases.</p> + +<p>The roaring bacchanalian who stands next him, waving his glass in the air, has +pulled off his wig, and, in the zeal of his friendship, crowns the divine's head. He is +evidently drinking destruction to fanatics, and success to mother church, or a mitre to +the jolly parson whom he addresses.</p> + +<p>The lawyer, who sits near him, is a portrait of one Kettleby, a vociferous bar-orator, +who, though an utter barrister, chose to distinguish himself by wearing an enormous +full-bottom wig, in which he is here represented. He was farther remarkable for a +diabolical squint, and a satanic smile.</p> + +<p>A poor maudlin miserable, who is addressing him, when sober, must be a fool; but, +in this state, it would puzzle Lavater to assign him a proper class. He seems endeavouring +to demonstrate to the lawyer, that, in a poi—poi—point of law, he has been<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> +most cruelly cheated, and lost a cau—cau—cause, that he ought to have got,—and all +this was owing to his attorney being an infernal villain. This may very probably be +true; for the poor man's tears show that, like the person relieved by the good Samaritan, +he has been among thieves. The barrister grins horribly at his misfortunes, and +tells him he is properly punished for not employing a gentleman.</p> + +<p>Next to him sits a gentleman in a black periwig. He politely turns his back to the +company, that he may have the pleasure of smoking a sociable pipe.</p> + +<p>The justice, "in fair round belly, with good capon lin'd,"—the justice, having hung up +his hat, wig, and cloak, puts on his nightcap, and, with a goblet of superior capacity before +him, sits in solemn cogitation. His left elbow, supported by the table, and his right by a +chair, with a pipe in one hand, and a stopper in the other, he puffs out the bland vapour +with the dignity of an alderman, and fancies himself as great as Jupiter, seated upon the +summit of Mount Olympus, enveloped by the thick cloud which his own breath has created.</p> + +<p>With folded arms and open mouth, another leans back in his chair. His wig is +dropped from his head, and he is asleep; but though speechless, he is sonorous; for +you clearly perceive that, where nasal sounds are the music, he is qualified to be leader +of the band.</p> + +<p>The fallen hero, who with his chair and goblet has tumbled to the floor, by the +cockade in his hat, we suppose to be an officer. His forehead is marked, perhaps with +honourable scars. To wash his wounds, and cool his head, the staggering apothecary +bathes it with brandy.</p> + +<p>A gentleman in the corner, who, from having the Craftsman and London Evening in +his pocket, we determine to be a politician, very unluckily mistakes his ruffle for the +bowl of his pipe, and sets fire to it.</p> + +<p>The person in a bag-wig and solitaire, with his hand upon his head, would not now +pass for a fine gentleman, but in the year 1735 was a complete beau. Unaccustomed +to such joyous company, he appears to have drank rather more than agrees with him.</p> + +<p>The company consists of eleven, and on the chimney-piece, floor, and table, are three +and twenty empty flasks. These, added to a bottle which the apothecary holds in his +hand, prove that this select society have not lost a moment. The overflowing bowl, +full goblets, and charged glasses, prove that they think, "'Tis too early to part," though +the dial points to four in the morning.</p> + +<p>The different degrees of drunkenness are well discriminated, and its effects admirably +described. The poor simpleton, who is weeping out his woes to honest lawyer Kettleby, +it makes mawkish; the beau it makes sick; and the politician it stupifies. One is excited +to roaring, and another lulled to sleep. It half closes the eyes of justice, renders the +footing of physic unsure, and lays prostrate the glory of his country, and the pride of war.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/modern_midnight_conv.jpg"><img src="images/thumb_modern_midnight_conv.jpg" width="600" height="434" alt="A MIDNIGHT MODERN CONVERSATION." title="" /></a> +<span class="caption">A MIDNIGHT MODERN CONVERSATION.</span> +</div><p><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CONSULTATION_OF_PHYSICIANS_THE_UNDERTAKERS_ARMS" id="CONSULTATION_OF_PHYSICIANS_THE_UNDERTAKERS_ARMS"></a>CONSULTATION OF PHYSICIANS—THE UNDERTAKERS' ARMS.</h2> + + +<p>This plate is designed, with much humour, according to the rules of heraldry, and is +called The Undertakers' Arms, to show us the connexion between death and the quack +doctor, as are also those cross-bones on the outside of the escutcheon. When an +undertaker is in want of business, he cannot better apply than to some of those gentlemen +of the faculty, who are, for the most part, so charitably disposed, as to supply the +necessities of these sable death-hunters, and keep them from starving in a healthy time. +By the tenour of this piece, Mr. Hogarth would intimate the general ignorance of such +of the medical tribe, and teach us that they possess little more knowledge than their +voluminous wigs and golden-headed canes. They are represented in deep consultation +upon the contents of an urinal. Our artist's own illustration of this coat of arms, as he +calls it, is as follows: "The company of undertakers beareth, sable, an urinal, proper +between twelve quack heads of the second, and twelve cane heads, or, consultant. On +a chief, <i>Nebulæ</i>, ermine, one complete doctor, issuant, checkie, sustaining in his right +hand a baton of the second. On the dexter and sinister sides, two demi-doctors, issuant +of the second, and two cane heads, issuant of the third; the first having one eye, +couchant, towards the dexter side of the escutcheon; the second faced, per pale, proper, +and gules guardant. With this motto, <i>Et plurima mortis imago</i>. The general image +of death."</p> + +<p>It has been said of the ancients, that they began by attempting to make physic a +science, and failed; of the moderns, that they began by attempting to make it a trade, +and succeeded. This company are moderns to a man, and, if we may judge of their +capacities by their countenances, are indeed a most sapient society. Their practice is +very extensive, and they go about, taking guineas,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Far as the weekly bills can reach around,<br /></span> +<span class="i0">From Kent-street end, to fam'd St. Giles's pound.<br /></span> +</div></div> + +<p>Many of them are unquestionably portraits, but as these grave and sage descendants of +Galen are long since gone to that place where they before sent their patients, we are +unable to ascertain any of them, except the three who are, for distinction, placed in the +chief, or most honourable part of the escutcheon. Those who, from their exalted situation, +we may naturally conclude the most distinguished and sagacious leeches of their<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> +day, have marks too obtrusive to be mistaken. He towards the dexter side of the +escutcheon, is determined by an eye in the head of his cane to be the all-accomplished +Chevalier Taylor, in whose marvellous and surprising history, written by his own hand, +and published in 1761, is recorded such events relative to himself and others, as have +excited more astonishment than that incomparable romance, Don Belianis of Greece, the +Arabian Nights, or Sir John Mandeville's Travels.</p> + +<p>The centre figure, arrayed in a harlequin jacket, with a bone, or what the painter +denominates a baton, in the right hand, is generally considered designed for Mrs. Mapp, +a masculine woman, daughter to one Wallin, a bone-setter at Hindon, in Wiltshire. +This female Thalestris, incompatible as it may seem with her sex, adopted her father's +profession, travelled about the country, calling herself Crazy Sally; and, like another +Hercules, did wonders by strength of arm.</p> + +<p>On the sinister side is Dr. Ward, generally called Spot Ward, from his left cheek +being marked with a claret colour. This gentleman was of a respectable family, and +though not highly educated, had talents very superior to either of his coadjutors.</p> + +<p>For the chief, this must suffice; as for the twelve quack heads, and twelve cane +heads, or, consultant, united with the cross bones at the corners, they have a most mortuary +appearance, and do indeed convey a general image of death.</p> + +<p>In the time of Lucian, a philosopher was distinguished by three things,—his avarice, +his impudence, and his beard. In the time of Hogarth, medicine was a mystery, and +there were three things which distinguished the physician,—his gravity, his cane-head, +and his periwig. With these leading requisites, this venerable party are most amply +gifted. To specify every character is not necessary; but the upper figure on the dexter +side, with a wig like a weeping willow, should not be overlooked. His lemon-like aspect +must curdle the blood of all his patients. In the countenances of his brethren there is +no want of acids; but, however sour, each individual was in his day,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">———————a doctor of renown,<br /></span> +<span class="i0">To none but such as rust in health unknown;<br /></span> +<span class="i0">And, save or slay, this privilege they claim,<br /></span> +<span class="i0">Or death, or life, the bright reward's the same.<br /></span> +</div></div> + +<div class="figcenter" style="width: 501px;"> +<a href="images/consultation_physicians.jpg"><img src="images/thumb_consultation_physicians.jpg" width="501" height="600" alt="CONSULTATION OF PHYSICIANS." title="" /></a> +<span class="caption">CONSULTATION OF PHYSICIANS.</span> +</div><p><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="DANIEL_LOCK_ESQ_FAS" id="DANIEL_LOCK_ESQ_FAS"></a>DANIEL LOCK, ESQ. F.A.S.</h2> + + +<p>Daniel Lock was an architect of some eminence. He retired from business with +an ample fortune, lived in Surrey-street, and was buried in the chapel of Trinity College, +Cambridge. This portrait was originally engraved by J. M'Ardell from a painting by +Hogarth, and is classed among the productions of our artist that are of uncertain date.</p> + +<div class="figcenter" style="width: 488px;"> +<a href="images/lock.jpg"><img src="images/thumb_lock.jpg" width="488" height="600" alt="DANIEL LOCK, ESQ. F.A.S." title="" /></a> +<span class="caption">DANIEL LOCK, ESQ. F.A.S.</span> +</div><p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_ENRAGED_MUSICIAN" id="THE_ENRAGED_MUSICIAN"></a>THE ENRAGED MUSICIAN.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">"With thundering noise the azure vault they tear,<br /></span> +<span class="i0">And rend, with savage roar, the echoing air:<br /></span> +<span class="i0">The sounds terrific he with horror hears;<br /></span> +<span class="i0">His fiddle throws aside,—and stops his ears."<br /></span> +</div></div> + + +<p>We have seen displayed the distress of a poet; in this the artist has exhibited the +rage of a musician. Our poor bard bore his misfortunes with patience, and, rich in his +Muse, did not much repine at his poverty. Not so this master of harmony, of heavenly +harmony! To the evils of poverty he is now a stranger; his <i>adagios</i> and <i>cantabiles</i> +have procured him the protection of nobles; and, contrary to the poor shirtless mendicant +of the Muses that we left in a garret, he is arrayed in a coat decorated with frogs, a +bag-wig, solitaire, and ruffled shirt. Waiting in the chamber of a man of fashion, whom +he instructs in the divine science of music, having first tuned his instrument, he opens +his crotchet-book, shoulders his violin, flourishes his fiddle-stick, and,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Softly sweet, in Lydian measure,<br /></span> +<span class="i0">Soon he soothes his soul to pleasure.<br /></span> +</div></div> + +<p>Rapt in Elysium at the divine symphony, he is awakened from his beatific vision, by +noises that distract him.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">—————An universal hubbub wild,<br /></span> +<span class="i0">Of stunning sounds, and voices all confus'd,<br /></span> +<span class="i0">Assails his ears with loudest vehemence.<br /></span> +</div></div> + +<p>Confounded with the din, and enraged by the interruption, our modern Terpander starts +from his seat, and opens the window. This operates as air to a kindling fire; and such +a combination of noises burst upon the auricular nerve, that he is compelled to stop his +ears,—but to stop the torrent is impossible!</p> + +<div class="poem"><div class="stanza"> +<span class="i0">A louder yet, and yet a louder strain,<br /></span> +<span class="i0">Break his bands of thought asunder!<br /></span> +<span class="i0">And rouse him, like a rattling peal of thunder;<br /></span> +<span class="i2">At the horrible sound<br /></span> +<span class="i4">He has rais'd up his head,<br /></span> +<span class="i2">As awak'd from the dead,<br /></span> +<span class="i4">And amazed he stares all around.<br /></span> +</div></div> + +<p>In this situation he is delineated; and those who for a moment contemplate the +figures before him, cannot wonder at his rage.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">A crew of hell-hounds never ceasing bark,<br /></span> +<span class="i0">With wide Cerberean mouth, full loud, and ring<br /></span> +<span class="i0">A hideous peal.<br /></span> +<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></div></div> + +<p>Of the <i>dramatis personæ</i> who perform the vocal parts, the first is a fellow, in a tone +that would rend hell's concave, bawling, "Dust, ho! dust, ho! dust!" Next to him, an +amphibious animal, who nightly pillows his head on the sedgy bosom of old Thames, in +a voice that emulates the rush of many waters, or the roaring of a cataract, is bellowing +"Flounda,a,a,ars!" A daughter of May-day, who dispenses what in London is called +milk, and is consequently a milk-maid, in a note pitched at the very top of her voice, is +crying, "Be-louw!" While a ballad-singer dolefully drawls out The Ladie's Fall, an +infant in her arms joins its treble pipe in chorus with the screaming parrot, which is on +a lamp-iron over her head. On the roof of an opposite house are two cats, performing +what an amateur of music might perhaps call a bravura duet; near them appears</p> + +<div class="poem"><div class="stanza"> +<span class="i0">A sweep, shrill twittering on the chimney-top.<br /></span> +</div></div> + +<p>A little French drummer, singing to his rub-a-dub, and the agreeable yell of a dog, +complete the vocal performers.</p> + +<p>Of the instrumental, a fellow blowing a horn, with a violence that would have almost +shaken down the walls of Jericho, claims the first notice; next to him, the dustman +rattles his bell with ceaseless clangour, until the air reverberates the sound.</p> + +<p>The intervals are filled up by a paviour, who, to every stroke of his rammer, adds a +loud, distinct, and echoing, Haugh! The pedestrian cutler is grinding a butcher's +cleaver with such earnestness and force, that it elicits sparks of fire. This, added to +the agonizing howls of his unfortunate dog, must afford a perfect specimen of the ancient +chromatic. The poor animal, between a man and a monkey, piping harsh discords +upon a hautboy, the girl whirling her <i>crepitaculum</i>, or rattle, and the boy beating his +drum, conclude the catalogue of this harmonious band.</p> + +<p>This delineation originated in a story which was told to Hogarth by the late Mr. +John Festin, who is the hero of the print. He was eminent for his skill in playing +upon the German flute and hautboy, and much employed as a teacher of music. To +each of his scholars he devoted one hour each day. "At nine o'clock in the morning," +said he, "I once waited upon my lord Spencer, but his lordship being out of town, +from him I went to Mr. V——n. It was so early that he was not arisen. I went +into his chamber, and, opening a shutter, sat down in the window-seat. Before the +rails was a fellow playing upon the hautboy. A man with a barrow full of onions +offered the piper an onion if he would play him a tune. That ended, he offered +a second onion for a second tune; the same for a third, and was going on: but this +was too much; I could not bear it; it angered my very soul—'Zounds!' said I, 'stop +here! This fellow is ridiculing my profession; he is playing on the hautboy for onions!'"</p> + +<p>The whole of this bravura scene is admirably represented. A person quaintly +enough observed, that it deafens one to look at it.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/enraged_musician.jpg"><img src="images/thumb_enraged_musician.jpg" width="600" height="510" alt="THE ENRAGED MUSICIAN." title="" /></a> +<span class="caption">THE ENRAGED MUSICIAN.</span> +</div><p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="MASQUERADES_AND_OPERAS" id="MASQUERADES_AND_OPERAS"></a>MASQUERADES AND OPERAS.<br /> +<br /> +<span style="font-size: 75%;">BURLINGTON GATE.</span></h2> + + +<p>This print appeared in 1723. Of the three small figures in the centre the middle +one is Lord Burlington, a man of considerable taste in painting and architecture, but +who ranked Mr. Kent, an indifferent artist, above his merit. On one side of the peer +is Mr. Campbell, the architect; on the other, his lordship's postilion. On a show-cloth +in this plate is also supposed to be the portrait of king George II. who gave 1000<i>l.</i> +towards the Masquerade; together with that of the earl of Peterborough, who offers +Cuzzoni, the Italian singer, 8000<i>l.</i> and she spurns at him. Mr. Heidegger, the regulator +of the Masquerade, is also exhibited, looking out of a window, with the letter H +under him.</p> + +<p>The substance of the foregoing remarks is taken from a collection lately belonging to +Captain Baillie, where it is said that they were furnished by an eminent connoisseur.</p> + +<p>A board is likewise displayed, with the words, "Long Room. Fawks's dexterity +of hand." It appears from the following advertisement that this was a man of great +consequence in his profession: "Whereas the town hath been lately alarmed, that +the famous Fawks was robbed and murdered, returning from performing at the duchess +of Buckingham's house at Chelsea; which report being raised and printed by a person +to gain money to himself, and prejudice the above-mentioned Mr. Fawks, whose unparalleled +performance has gained him so much applause from the greatest of quality, and +most curious observers: We think, both in justice to the injured gentleman, and for +the satisfaction of his admirers, that we cannot please our readers better than to acquaint +them he is alive, and will not only perform his usual surprising dexterity of hand, +posture-master, and musical clock: but, for the greater diversion of the quality and +gentry, has agreed with the famous Powell of the Bath for the season, who has the +largest, richest, and most natural figures, and finest machines in England, and whose +former performances in Covent Garden were so engaging to the town, as to gain the +approbation of the best judges, to show his puppet-plays along with him, beginning +in the Christmas holidays next, at the Old Tennis-court, in James's-street, near the +Haymarket; where any incredulous persons may be satisfied he is not left this world,<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> +if they please to believe their hands, though they can't believe their eyes."—"May 25," +indeed, "1731, died Mr. Fawks, famous for his dexterity of hand, by which he had +honestly acquired a fortune of 10,000<i>l.</i> being no more than he really deserved for his +great ingenuity, by which he had surpassed all that ever pretended to that art."</p> + +<p>This satirical performance of Hogarth, however, was thought to be invented and +drawn at the instigation of Sir James Thornhill, out of revenge, because Lord Burlington +had preferred Mr. Kent before him to paint for the king at his palace at +Kensington. Dr. Faustus was a pantomime performed to crowded houses throughout +two seasons, to the utter neglect of plays, for which reason they are cried about in a +wheel-barrow.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/masquerades_and_operas.jpg"><img src="images/thumb_masquerades_and_operas.jpg" width="600" height="441" alt="MASQUERADES AND OPERAS, BURLINGTON GATE." title="" /></a> +<span class="caption">MASQUERADES AND OPERAS, BURLINGTON GATE.</span> +</div><p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="MORNING" id="MORNING"></a>MORNING.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">Keen blows the blast, and eager is the air;<br /></span> +<span class="i0">With flakes of feather'd snow the ground is spread;<br /></span> +<span class="i0">To step, with mincing pace, to early prayer,<br /></span> +<span class="i0">Our clay-cold vestal leaves her downy bed.<br /></span> +</div><div class="stanza"> +<span class="i0">And here the reeling sons of riot see,<br /></span> +<span class="i0">After a night of senseless revelry.<br /></span> +</div><div class="stanza"> +<span class="i0">Poor, trembling, old, her suit the beggar plies;<br /></span> +<span class="i0">But frozen chastity the little boon denies.<br /></span> +</div></div> + + +<p>This withered representative of Miss Bridget Alworthy, with a shivering foot-boy +carrying her prayer-book, never fails in her attendance at morning service. She is a +symbol of the season.—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">——————Chaste as the icicle<br /></span> +<span class="i0">That's curdled by the frost from purest snow,<br /></span> +<span class="i0">And hangs on Dian's temple<br /></span> +</div></div> + +<p>she looks with scowling eye, and all the conscious pride of severe and stubborn virginity, +on the poor girls who are suffering the embraces of two drunken beaux that are just +staggered out of Tom King's Coffee-house. One of them, from the basket on her arm, +I conjecture to be an orange girl: she shows no displeasure at the boisterous salute of +her Hibernian lover. That the hero in a laced hat is from the banks of the Shannon, +is apparent in his countenance. The female whose face is partly concealed, and whose +neck has a more easy turn than we always see in the works of this artist, is not formed +of the most inflexible materials.</p> + +<p>An old woman, seated upon a basket; the girl, warming her hands by a few withered +sticks that are blazing on the ground, and a wretched mendicant,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> wrapped in a tattered +and parti-coloured blanket, entreating charity from the rosy-fingered vestal who is going +to church, complete the group. Behind them, at the door of Tom King's Coffee-house, +are a party engaged in a fray, likely to create business for both surgeon and magistrate: +we discover swords and cudgels in the combatants' hands.</p> + +<p>On the opposite side of the print are two little schoolboys. That they have shining +morning faces we cannot positively assert, but each has a satchel at his back, and +according with the description given by the poet of nature, is</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Creeping, like snail, unwillingly to school.<br /></span> +</div></div> + +<p>The lantern appended to the woman who has a basket on her head, proves that these +dispensers of the riches of Pomona rise before the sun, and do part of their business by +an artificial light. Near her, that immediate descendant of Paracelsus, Dr. Rock, is<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> +expatiating to an admiring audience, on the never-failing virtues of his wonder-working +medicines. One hand holds a bottle of his miraculous panacea, and the other supports +a board, on which is the king's arms, to indicate that his practice is sanctioned by royal +letters patent. Two porringers and a spoon, placed on the bottom of an inverted basket, +intimate that the woman seated near them, is a vender of rice-milk, which was at that +time brought into the market every morning.</p> + +<p>A fatigued porter leans on a rail; and a blind beggar is going towards the church: +but whether he will become one of the congregation, or take his stand at the door, in +the hope that religion may have warmed the hearts of its votaries to "Pity the sorrows +of a poor blind man," is uncertain.</p> + +<p>Snow on the ground, and icicles hanging from the penthouse, exhibit a very chilling +prospect; but, to dissipate the cold, there is happily a shop where spirituous liquors are +sold <i>pro bono publico</i>, at a very little distance. A large pewter measure is placed upon +a post before the door, and three of a smaller size hang over the window of the house.</p> + +<p>The character of the principal figure is admirably delineated. She is marked with +that prim and awkward formality which generally accompanies her order, and is an +exact type of a hard winter; for every part of her dress, except the flying lappets and +apron, ruffled by the wind, is as rigidly precise as if it were frozen. It has been said +that this incomparable figure was designed as the representative of either a particular +friend, or a relation. Individual satire may be very gratifying to the public, but is +frequently fatal to the satirist. Churchill, by the lines,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">————————Fam'd Vine-street,<br /></span> +<span class="i0">Where Heaven, the kindest wish of man to grant,<br /></span> +<span class="i0">Gave me an old house, and an older aunt,<br /></span> +</div></div> + +<p>lost a considerable legacy; and it is related that Hogarth, by the introduction of this +withered votary of Diana into this print, induced her to alter a will which had been +made considerably in his favour: she was at first well enough satisfied with her resemblance, +but some designing people taught her to be angry.</p> + +<p>Extreme cold is very well expressed in the slip-shod footboy, and the girl who is +warming her hands. The group of which she is a part, is well formed, but not sufficiently +balanced on the opposite side.</p> + +<p>The church dial, a few minutes before seven; marks of little shoes and pattens in +the snow, and various productions of the season in the market, are an additional proof +of that minute accuracy with which this artist inspected and represented objects, which +painters in general have neglected.</p> + +<p>Govent Garden is the scene, but in the print every building is reversed. This was +a common error with Hogarth; not from his being ignorant of the use of the mirror, +but from his considering it as a matter of little consequence.</p> + +<div class="figcenter" style="width: 496px;"> +<a href="images/morning.jpg"><img src="images/thumb_morning.jpg" width="496" height="600" alt="MORNING." title="" /></a> +<span class="caption">MORNING.</span> +</div><p><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> + + +<hr style="width: 65%;" /> +<h2><a name="NOON" id="NOON"></a>NOON.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">Hail, Gallia's daughters! easy, brisk, and free;<br /></span> +<span class="i0">Good humour'd, <i>débonnaire</i>, and <i>dégagée</i>:<br /></span> +<span class="i0">Though still fantastic, frivolous, and vain,<br /></span> +<span class="i0">Let not their airs and graces give us pain:<br /></span> +<span class="i0">Or fair, or brown, at toilet, prayer, or play,<br /></span> +<span class="i0">Their motto speaks their manners—<span class="smcap lowercase">TOUJOURS GAI</span>.<br /></span> +</div><div class="stanza"> +<span class="i2">But for that powder'd compound of grimace,<br /></span> +<span class="i0">That capering he-she thing of fringe and lace;<br /></span> +<span class="i0">With sword and cane, with bag and solitaire,<br /></span> +<span class="i0">Vain of the full-dress'd dwarf, his hopeful heir,<br /></span> +<span class="i0">How does our spleen and indignation rise,<br /></span> +<span class="i0">When such a tinsell'd coxcomb meets our eyes,<br /></span> +</div></div> + + +<p>Among the figures who are coming out of church, an affected, flighty Frenchwoman, +with her fluttering fop of a husband, and a boy, habited <i>à-la-mode de Paris</i>, claim our +first attention. In dress, air, and manner, they have a national character. The whole +congregation, whether male or female, old or young, carry the air of their country in +countenance, dress, and deportment. Like the three principal figures, they are all +marked with some affected peculiarity. Affectation, in a woman, is supportable upon +no other ground than that general indulgence we pay to the omnipotence of beauty, +which in a degree sanctifies whatever it adopts. In a boy, when we consider that the +poor fellow is attempting to copy what he has been taught to believe praiseworthy, we +laugh at it; the largest portion of ridicule falls upon his tutors; but in a man, it is +contemptible!</p> + +<p>The old fellow, in a black periwig, has a most vinegar-like aspect, and looks with +great contempt at the frippery gentlewoman immediately before him. The woman, with +a demure countenance, seems very piously considering how she can contrive to pick the +embroidered beau's pocket. Two old sybils joining their withered lips in a chaste salute, +is nauseous enough, but, being a national custom, must be forgiven. The divine seems +to have resided in this kingdom long enough to acquire a roast-beef countenance. A +little boy, whose woollen nightcap is pressed over a most venerable flowing periwig, and +the decrepit old man, leaning upon a crutch-stick, who is walking before him, "I once +considered," says Mr. Ireland, "as two vile caricatures, out of nature, and unworthy the +artist. Since I have seen the peasantry of Flanders, and the plebeian youth of France, +I have in some degree changed my opinion, but still think them rather <i>outré</i>."</p> + +<p>Under a sign of the Baptist's Head is written, Good Eating; and on each side of<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> +the inscription is a mutton chop. In opposition to this head without a body, unaccountably +displayed as a sign at an eating-house, there is a body without a head, hanging out +as the sign of a distiller's. This, by common consent, has been quaintly denominated +the good woman. At a window above, one of the softer sex proves her indisputable right +to the title by her temperate conduct to her husband, with whom having had a little +disagreement, she throws their Sunday's dinner into the street.</p> + +<p>A girl, bringing a pie from the bakehouse, is stopped in her career by the rude +embraces of a blackamoor, who eagerly rubs his sable visage against her blooming cheek.</p> + +<p>Good eating is carried on to the lower part of the picture. A boy, placing a baked +pudding upon a post, with rather too violent an action, the dish breaks, the fragments +fall to the ground, and while he is loudly lamenting his misfortune, and with tears +anticipating his punishment, the smoking remnants are eagerly snatched up by a poor +girl. Not educated according to the system of Jean Jacques Rousseau, she feels no +qualms of conscience about the original proprietor, and, destitute of that fastidious delicacy +which destroys the relish of many a fine lady, eagerly swallows the hot and +delicious morsels, with all the concomitants.</p> + +<p>The scene is laid at the door of a French chapel in Hog-lane; a part of the town at +that time almost wholly peopled by French refugees, or their descendants.</p> + +<p>By the dial of St. Giles's church, in the distance, we see that it is only half past eleven. +At this early hour, in those good times, there was as much good eating as there is now +at six o'clock in the evening. From twenty pewter measures, which are hung up before +the houses of different distillers, it seems that good drinking was considered as equally +worthy of their serious attention.</p> + +<p>The dead cat, and choked kennels, mark the little attention shown to the streets by +the scavengers of St. Giles's. At that time noxious effluvia was not peculiar to this +parish. The neighbourhood of Fleet-ditch, and many other parts of the city, were +equally polluted.</p> + +<p>Even at this refined period, there would be some use in a more strict attention to the +medical police of a city so crowded with inhabitants. We ridicule the people of Paris +and Edinburgh for neglecting so essential and salutary a branch of delicacy, while the +kennels of a street in the vicinity of St. Paul's church are floated with the blood of +slaughtered animals every market-day. Moses would have managed these things +better: but in those days there was no physician in Israel!</p> + +<div class="figcenter" style="width: 507px;"> +<a href="images/noon.jpg"><img src="images/thumb_noon.jpg" width="507" height="600" alt="NOON." title="" /></a> +<span class="caption">NOON.</span> +</div><p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="EVENING" id="EVENING"></a>EVENING.</h2> + +<div class="poem"><div class="stanza"> +<span class="i2">One sultry Sunday, when no cooling breeze<br /></span> +<span class="i0">Was borne on zephyr's wing, to fan the trees;<br /></span> +<span class="i0">One sultry Sunday, when the torrid ray<br /></span> +<span class="i0">O'er nature beam'd intolerable day;<br /></span> +<span class="i0">When raging Sirius warn'd us not to roam,<br /></span> +<span class="i0">And Galen's sons prescrib'd cool draughts at home;<br /></span> +<span class="i0">One sultry Sunday, near those fields of fame<br /></span> +<span class="i0">Where weavers dwell, and Spital is their name,<br /></span> +<span class="i0">A sober wight, of reputation high<br /></span> +<span class="i0">For tints that emulate the Tyrian dye,<br /></span> +<span class="i0">Wishing to take his afternoon's repose,<br /></span> +<span class="i0">In easy chair had just began to doze,<br /></span> +<span class="i0">When, in a voice that sleep's soft slumbers broke,<br /></span> +<span class="i0">His oily helpmate thus her wishes spoke:<br /></span> +<span class="i2">"Why, spouse, for shame! my stars, what's this about?<br /></span> +<span class="i0">You's ever sleeping; come, we'll all go out;<br /></span> +<span class="i0">At that there garden, pr'ythee, do not stare!<br /></span> +<span class="i0">We'll take a mouthful of the country air;<br /></span> +<span class="i0">In the yew bower an hour or two we'll kill;<br /></span> +<span class="i0">There you may smoke, and drink what punch you will.<br /></span> +<span class="i0">Sophy and Billy each shall walk with me,<br /></span> +<span class="i0">And you must carry little Emily.<br /></span> +<span class="i0">Veny is sick, and pants, and loathes her food;<br /></span> +<span class="i0">The grass will do the pretty creature good.<br /></span> +<span class="i0">Hot rolls are ready as the clock strikes five—<br /></span> +<span class="i0">And now 'tis after four, as I'm alive!"<br /></span> +<span class="i2">The mandate issued, see the tour begun,<br /></span> +<span class="i0">And all the flock set out for Islington.<br /></span> +<span class="i0">Now the broad sun, refulgent lamp of day,<br /></span> +<span class="i0">To rest with Thetis, slopes his western way;<br /></span> +<span class="i0">O'er every tree embrowning dust is spread,<br /></span> +<span class="i0">And tipt with gold is Hampstead's lofty head.<br /></span> +<span class="i2">The passive husband, in his nature mild,<br /></span> +<span class="i0">To wife consigns his hat, and takes the child;<br /></span> +<span class="i0">But she a day like this hath never felt,<br /></span> +<span class="i0">"Oh! that this too, too solid flesh would melt,<br /></span> +<span class="i0">Thaw, and resolve itself into a dew."<br /></span> +<span class="i0">Such monstrous heat! dear me! she never knew.<br /></span> +<span class="i0">Adown her innocent and beauteous face,<br /></span> +<span class="i0">The big, round, pearly drops each other chase;<br /></span> +<span class="i0">Thence trickling to those hills, erst white as snow,<br /></span> +<span class="i0">That now like Ætna's mighty mountains glow,<br /></span> +<span class="i0">They hang like dewdrops on the full blown rose,<br /></span> +<span class="i0">And to the ambient air their sweets disclose.<br /></span> +<span class="i0">Fever'd with pleasure, thus she drags along;<br /></span> +<span class="i0">Nor dares her antler'd husband say 'tis wrong.<br /></span> +<span class="i2">The blooming offspring of this blissful pair,<br /></span> +<span class="i0">In all their parents' attic pleasures share.<br /></span> +<span class="i0">Sophy the soft, the mother's earliest joy,<br /></span> +<span class="i0">Demands her froward brother's tinsell'd toy;<br /></span> +<span class="i0">But he, enrag'd, denies the glittering prize,<br /></span> +<span class="i0">And rends the air with loud and piteous cries.<br /></span> +<span class="i2">Thus far we see the party on their way—<br /></span> +<span class="i0">What dire disasters mark'd the close of day,<br /></span> +<span class="i0">'Twere tedious, tiresome, endless to obtrude;<br /></span> +<span class="i0">Imagination must the scene conclude.<br /></span> +</div></div> + + +<p>It is not easy to imagine fatigue better delineated than in the appearance of this +amiable pair. In a few of the earliest impressions, Mr. Hogarth printed the hands of +the man in blue, to show that he was a dyer, and the face and neck of the woman in +red, to intimate her extreme heat. The lady's aspect lets us at once into her character; +we are certain that she was born to command. As to her husband, God made him, and +he must pass for a man: what his wife has made him, is indicated by the cow's horns; +which are so placed as to become his own. The hopes of the family, with a cockade in +his hat, and riding upon papa's cane, seems much dissatisfied with female sway. A +face with more of the shrew in embryo than that of the girl, it is scarcely possible to<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> +conceive. Upon such a character the most casual observer pronounces with the decision +of a Lavater.</p> + +<p>Nothing can be better imagined than the group in the alehouse. They have taken +a refreshing walk into the country, and, being determined to have a cooling pipe, seat +themselves in a chair-lumbered closet, with a low ceiling; where every man, pulling off +his wig, and throwing a pocket-handkerchief over his head, inhales the fumes of hot +punch, the smoke of half a dozen pipes, and the dust from the road. If this is not rural +felicity, what is? The old gentleman in a black bag-wig, and the two women near +him, sensibly enough, take their seats in the open air.</p> + +<p>From a woman milking a cow, we conjecture the hour to be about five in the afternoon: +and, from the same circumstance, I am inclined to think this agreeable party is +going to their pastoral bower, rather than returning from it.</p> + +<p>The cow and dog appear as much inconvenienced by heat as any of the party: the +former is whisking off the flies; and the latter creeps unwillingly along, and casts a +longing look at the crystal river, in which he sees his own shadow. A remarkably hot +summer is intimated by the luxuriant state of a vine, creeping over an alehouse window. +On the side of the New River, where the scene is laid, lies one of the wooden pipes +employed in the water-works. Opposite Sadler's Wells there still remains the sign of +Sir Hugh Middleton's head, which is here represented; but how changed the scene +from what is here represented!</p> + +<div class="figcenter" style="width: 489px;"> +<a href="images/evening.jpg"><img src="images/thumb_evening.jpg" width="489" height="600" alt="EVENING." title="" /></a> +<span class="caption">EVENING.</span> +</div><p><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="NIGHT" id="NIGHT"></a>NIGHT.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">Now burst the blazing bonfires on the sight,<br /></span> +<span class="i2">Through the wide air their corruscations play;<br /></span> +<span class="i0">The windows beam with artificial light,<br /></span> +<span class="i2">And all the region emulates the day.<br /></span> +</div><div class="stanza"> +<span class="i0">The moping mason, from yon tavern led,<br /></span> +<span class="i2">In mystic words doth to the moon complain<br /></span> +<span class="i0">That unsound port distracts his aching head,<br /></span> +<span class="i2">And o'er the waiter waves his clouded cane.<br /></span> +</div></div> + + +<p>Mr. Walpole very truly observes, that this print is inferior to the three others; +there is, however, broad humour in some of the figures.</p> + +<p>The wounded free-mason, who, in zeal of brotherly love, has drank his bumpers to the +craft till he is unable to find his way home, is under the guidance of a waiter. This has +been generally considered as intended for Sir Thomas de Veil, and, from an authenticated +portrait which I have seen, I am, says Mr. Ireland, inclined to think it is, +notwithstanding Sir John Hawkins asserts, that "he could discover no resemblance." +When the knight saw him in his magisterial capacity, he was probably sober and +sedate; here he is represented a little disguised. The British Xantippe showering her +favours from the window upon his head, may have its source in that respect which the +inmates of such houses as the Rummer Tavern had for a justice of peace. On the +resignation of Mr. Horace Walpole, in February, 1738, De Veil was appointed +inspector-general of the imports and exports, and was so severe against the retailers of +spirituous liquors, that one Allen headed a gang of rioters for the purpose of pulling +down his house, and bringing to a summary punishment two informers who were there +concealed. Allen was tried for this offence, and acquitted, upon the jury's verdict +declaring him lunatic.</p> + +<p>The waiter who supports his worship, seems, from the patch upon his forehead, to +have been in a recent affray; but what use he can have for a lantern, it is not easy to +divine, unless he is conducting his charge to some place where there is neither moonlight +nor illumination.</p> + +<p>The Salisbury flying coach oversetting and broken, by passing through the bonfire, is +said to be an intended burlesque upon a right honourable peer, who was accustomed to +drive his own carriage over hedges, ditches, and rivers; and has been sometimes known +to drive three or four of his maid servants into a deep water, and there leave them in +the coach to shift for themselves.<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span></p> + +<p>The butcher, and little fellow, who are assisting the terrified passengers, are possibly +free and accepted masons. One of them seems to have a mop in his hand;—the pail is +out of sight.</p> + +<p>To crown the joys of the populace, a man with a pipe in his mouth is filling a capacious +hogshead with British Burgundy.</p> + +<p>The joint operation of shaving and bleeding, performed by a drunken 'prentice on a +greasy oilman, does not seen a very natural exhibition on a rejoicing night.</p> + +<p>The poor wretches under the barber's bench display a prospect of penury and wretchedness, +which it is to be hoped is not so common now, as it was then.</p> + +<p>In the distance is a cart laden with furniture, which some unfortunate tenant is +removing out of the reach of his landlord's execution.</p> + +<p>There is humour in the barber's sign and inscription; "Shaving, bleeding, and teeth +drawn with a touch. <span class="smcap">Ecce signum</span>!"</p> + +<p>By the oaken boughs on the sign, and the oak leaves in the free-masons' hats, it seems +that this rejoicing night is the twenty-ninth of May, the anniversary of our second +Charles's restoration; that happy day when, according to our old ballad, "The king enjoyed +his own again." This might be one reason for the artist choosing a scene contiguous +to the beautiful equestrian statue of Charles the First.</p> + +<p>In the distance we see a house on fire; an accident very likely to happen on such a +night as this.</p> + +<p>On this spot once stood the cross erected by Edward the First, as a memorial of +affection for his beloved queen Eleanor, whose remains were here rested on their way to +the place of sepulture. It was formed from a design by Cavalini, and destroyed by the +religious fury of the Reformers. In its place, in the year 1678, was erected the animated +equestrian statue which now remains. It was cast in brass, in the year 1633, by Le +Sœur; I think by order of that munificent encourager of the arts, Thomas Howard, Earl +of Arundel. The parliament ordered it to be sold, and broken to pieces; but John +River, the brazier who purchased it, having more taste than his employers, seeing, with +the prophetic eye of good sense, that the powers which were would not remain rulers +very long, dug a hole in his garden in Holborn, and buried it unmutilated. To prove +his obedience to their order, he produced to his masters several pieces of brass, which he +told them were parts of the statue. M. de Archenholtz adds further, that the brazier, +with the true spirit of trade, cast a great number of handles for knives and forks, and +offered them for sale, as composed of the brass which had formed the statue. They were +eagerly sought for, and purchased,—by the loyalists from affection to their murdered +monarch,—by the other party, as trophies of triumph.</p> + +<p>The original pictures of Morning and Noon were sold to the Duke of Ancaster for +fifty-seven guineas; Evening and Night to Sir William Heathcote, for sixty-four guineas.</p> + +<div class="figcenter" style="width: 490px;"> +<a href="images/night.jpg"><img src="images/thumb_night.jpg" width="490" height="600" alt="NIGHT." title="" /></a> +<span class="caption">NIGHT.</span> +</div><p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="SIGISMONDA" id="SIGISMONDA"></a>SIGISMONDA</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">————————Let the picture rust,<br /></span> +<span class="i0">Perhaps Time's price-enhancing dust,—<br /></span> +<span class="i0">As statues moulder into earth,<br /></span> +<span class="i0">When I'm no more, may mark its worth;<br /></span> +<span class="i0">And future connoisseurs may rise,<br /></span> +<span class="i0">Honest as ours, and full as wise,<br /></span> +<span class="i0">To puff the piece, and painter too,<br /></span> +<span class="i0">And make me then what Guido's now.<br /></span> +</div></div> + +<p> +<span class="smcap" style="margin-left: 16em;">Hogarth's Epistle.</span><br /> +</p> + + +<p>A competition with either Guido, or Furino, would to any modern painter be an +enterprise of danger: to Hogarth it was more peculiarly so, from the public justly conceiving +that the representation of elevated distress was not his <i>forte</i>, and his being surrounded +by an host of foes, who either dreaded satire, or envied genius. The connoisseurs, +considering the challenge as too insolent to be forgiven, before his picture +appeared, determined to decry it. The painters rejoiced in his attempting what was +likely to end in disgrace; and to satisfy those who had formed their ideas of Sigismonda +upon the inspired page of Dryden, was no easy task.</p> + +<p>The bard has consecrated the character, and his heroine glitters with a brightness that +cannot be transferred to the canvass. Mr. Walpole's description, though equally radiant, +is too various, for the utmost powers of the pencil.</p> + +<p>Hogarth's Sigismonda, as this gentleman poetically expresses it, "has none of the +sober grief, no dignity of suppressed anguish, no involuntary tear, no settled meditation +on the fate she meant to meet, no amorous warmth turned holy by despair; in short, all +is wanting that should have been there, all is there that such a story would have banished +from a mind capable of conceiving such complicated woe; woe so sternly felt, and yet +so tenderly." This glowing picture presents to the mind a being whose contending +passions may be felt, but were not delineated even by Corregio. Had his tints been +aided by the grace and greatness of Raphael, they must have failed.</p> + +<p>The author of the Mysterious Mother sought for sublimity, where the artist strictly +copied nature, which was invariably his archetype, but which the painter, who soars into +fancy's fairy regions, must in a degree desert. Considered with this reference, though +the picture has faults, Mr. Walpole's satire is surely too severe. It is built upon a +comparison with works painted in a language of which Hogarth knew not the idiom,<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>—trying +him before a tribunal, whose authority he did not acknowledge, and from the picture +having been in many respects altered after the critic saw it, some of the remarks become +unfair. To the frequency of these alterations we may attribute many of the errors: the +man who has not confidence in his own knowledge of the leading principles on which +his work ought to be built, will not render it perfect by following the advice of his +friends. Though Messrs. Wilkes and Churchill dragged his heroine to the altar of +politics, and mangled her with a barbarity that can hardly be paralleled, except in the +history of her husband,—the artist retained his partiality; which seems to have increased +in exact proportion to their abuse. The picture being thus contemplated through the +medium of party prejudice, we cannot wonder that all its imperfections were exaggerated. +The painted harlot of Babylon had not more opprobrious epithets from the first race of +reformers than the painted Sigismonda of Hogarth from the last race of patriots.</p> + +<p>When a favourite child is chastised by his preceptor, a partial mother redoubles her +caresses. Hogarth, estimating this picture by the labour he had bestowed upon it, was +certain that the public were prejudiced, and requested, if his wife survived him, she +would not sell it for less than five hundred pounds. Mrs. Hogarth acted in conformity +to his wishes, but after her death the painting was purchased by Messrs. Boydell, and +exhibited in the Shakspeare Gallery. The colouring, though not brilliant, is harmonious +and natural: the attitude, drawing, etc. may be generally conceived by the print. I am +much inclined to think, that if some of those who have been most severe in their censures, +had consulted their own feelings, instead of depending upon connoisseurs, poor +Sigismonda would have been in higher estimation. It has been said that the first +sketch was made from Mrs. Hogarth, at the time she was weeping over the corse of her +mother.</p> + +<p>Hogarth once intended to have appealed from the critics' fiat to the world's opinion, +and employed Mr. Basire to make an engraving, which was begun, but set aside for +some other work, and never completed.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/sigismonda.jpg"><img src="images/thumb_sigismonda.jpg" width="600" height="527" alt="SIGISMONDA, +WITH THE HEART OF HER HUSBAND" title="" /></a> +<span class="caption">SIGISMONDA,<br /> +WITH THE HEART OF HER HUSBAND</span> +</div> + +<p><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p> + + +<hr style="width: 65%;" /> +<h2><a name="MARTIN_FOLKES_ESQ" id="MARTIN_FOLKES_ESQ"></a>MARTIN FOLKES, ESQ.</h2> + + +<p>Martin Folkes was a mathematician and antiquary of much celebrity in the philosophical +annals of this country. He was at the early age of twenty-four admitted a +member of the Royal Society, where he was greatly distinguished. Two years afterwards +he was chosen one of the council, and was named by Sir Isaac Newton himself as +vice president: he was afterwards elected president, and held this high office till a short +time before his death, when he resigned it on account of ill-health. In the Philosophical +Transactions are numerous memoirs of this learned man: his knowledge in coins, ancient +and modern, was very extensive: and the last work he produced was concerning the English +Silver Coin from the Conquest to his own time. He was president of the Society of +Antiquaries at the time of his death, which happened on the 28th of June, 1754, at the +age of sixty-four. A few days before his death he was struck with a fit of the palsy, +and never spoke after this attack.</p> + +<div class="figcenter" style="width: 480px;"> +<a href="images/martin_folkes.jpg"><img src="images/thumb_martin_folkes.jpg" width="480" height="600" alt="PORTRAIT OF MARTIN FOLKES, ESQ." title="" /></a> +<span class="caption">PORTRAIT OF MARTIN FOLKES, ESQ.</span> +</div> + +<p><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> + +<hr style="width: 65%;" /> +<h2><a name="THE_COCKPIT" id="THE_COCKPIT"></a>THE COCKPIT.</h2> + + +<p>The scene is probably laid at Newmarket, and in this motley group of peers,—pick-pockets,—butchers,—jockies,—rat-catchers,—gentlemen,—gamblers +of every denomination, +Lord Albemarle Bertie, being the principal figure, is entitled to precedence. In +the March to Finchley, we see him an attendant at a boxing match; and here he is +president of a most respectable society assembled at a cockpit. What rendered his +lordship's passion for amusements of this nature very singular, was his being totally +blind. In this place he is beset by seven steady friends, five of whom at the same +instant offer to bet with him on the event of the battle. One of them, a lineal descendant +of Filch, taking advantage of his blindness and negligence, endeavours to convey a bank +note, deposited in our dignified gambler's hat, to his own pocket. Of this ungentlemanlike +attempt his lordship is apprised by a ragged post-boy, and an honest butcher: but +he is so much engaged in the pronunciation of those important words, Done! Done! +Done! Done! and the arrangement of his bets, that he cannot attend to their hints; and +it seems more than probable that the stock will be transferred, and the note negociated +in a few seconds.</p> + +<p>A very curious group surround the old nobleman, who is adorned with a riband, a +star, and a pair of spectacles. The whole weight of an overgrown carpenter being laid +upon his shoulder, forces our illustrious personage upon a man beneath; who being thus +driven downward, falls upon a fourth, and the fourth, by the accumulated pressure of +this ponderous trio, composed of the upper and lower house, loses his balance, and +tumbling against the edge of the partition, his head is broke, and his wig, shook from +the seat of reason, falls into the cockpit.</p> + +<p>A man adjoining enters into the spirit of the battle,—his whole soul is engaged. +From his distorted countenance, and clasped hands, we see that he feels every stroke +given to his favourite bird in his heart's core,—ay, in his heart of hearts! A person at +the old peer's left hand is likely to be a loser. Ill-humour, vexation, and disappointment +are painted in his countenance. The chimney-sweeper above, is the very quintessence +of affectation. He has all the airs and graces of a boarding-school miss. The +sanctified quaker adjoining, and the fellow beneath, who, by the way, is a very similar +figure to Captain Stab, in the Rake's Progress, are finely contrasted.</p> + +<p>A French marquis on the other side, astonished at this being called amusement, is +exclaiming Sauvages! Sauvages! Sauvages!—Engrossed by the scene, and opening +his snuff-box rather carelessly, its contents fall into the eyes of a man below, who,<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> +sneezing and swearing alternately, imprecates bitter curses on this devil's dust, that +extorts from his inflamed eyes, "A sea of melting pearls, which some call tears."</p> + +<p>Adjoining is an old cripple, with a trumpet at his ear, and in this trumpet a person +in a bag-wig roars in a manner that cannot much gratify the auricular nerves of his +companions; but as for the object to whom the voice is directed, he seems totally insensible +to sounds, and if judgment can be formed from appearances, might very composedly +stand close to the clock of St. Paul's Cathedral, when it was striking twelve.</p> + +<p>The figure with a cock peeping out of a bag, is said to be intended for Jackson, a +jockey; the gravity of this experienced veteran, and the cool sedateness of a man registering +the wagers, are well opposed by the grinning woman behind, and the heated +impetuosity of a fellow, stripped to his shirt, throwing his coin upon the cockpit, and +offering to back Ginger against Pye for a guinea.</p> + +<p>On the lower side, where there is only one tier of figures, a sort of an apothecary, +and a jockey, are stretching out their arms, and striking together the handles of their +whips, in token of a bet. An hiccuping votary of Bacchus, displaying a half-emptied +purse, is not likely to possess it long, for an adroit professor of legerdemain has taken +aim with a hooked stick, and by one slight jerk, will convey it to his own pocket. The +profession of a gentleman in a round wig is determined by a gibbet chalked upon his +coat. An enraged barber, who lifts up his stick in the corner, has probably been refused +payment of a wager, by the man at whom he is striking.</p> + +<p>A cloud-capt philosopher at the top of the print, coolly smoking his pipe, unmoved by +this crash of matter, and wreck of property, must not be overlooked: neither should his +dog be neglected; for the dog, gravely resting his fore paws upon the partition, and +contemplating the company, seems more interested in the event of the battle than his +master.</p> + +<p>Like the tremendous Gog, and terrific Magog, of Guildhall, stand the two cock-feeders; +a foot of each of these consequential purveyors is seen at the two extremities of +the pit.</p> + +<p>As to the birds, whose attractive powers have drawn this admiring throng together, +they deserved earlier notice:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Each hero burns to conquer or to die,<br /></span> +<span class="i0">What mighty hearts in little bosoms lie!<br /></span> +</div></div> + +<p>Having disposed of the substances, let us now attend to the shadow on the cockpit, +and this it seems is the reflection of a man drawn up to the ceiling in a basket, and +there suspended, as a punishment for having betted more money than he can pay. +Though suspended, he is not reclaimed; though exposed, not abashed; for in this +degrading situation he offers to stake his watch against money, in another wager on his +favourite champion.<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> + +<p>The decorations of this curious theatre are, a portrait of Nan Rawlins, and the King's +arms.</p> + +<p>In the margin at the bottom of the print is an oval, with a fighting cock, inscribed +<span class="smcap lowercase">ROYAL SPORT</span>.</p> + +<p>Of the characteristic distinctions in this heterogeneous assembly, it is not easy to speak +with sufficient praise. The chimney-sweeper's absurd affectation sets the similar airs +of the Frenchman in a most ridiculous point of view. The old fellow with a trumpet +at his ear, has a degree of deafness that I never before saw delineated; he might have +lived in the same apartment with Xantippe, or slept comfortably in Alexander the copper-smith's +first floor. As to the nobleman in the centre, in the language of the turf, +he is a mere pigeon; and the peer, with a star and garter, in the language of Cambridge, +we must class as—a mere quiz. The man sneezing,—you absolutely hear; and +the fellow stealing a bank note,—has all the outward and visible marks of a perfect and +accomplished pick-pocket; Mercury himself could not do that business in a more +masterly style.</p> + +<p>Tyers tells us that "Pope, while living with his father at Chiswick, before he went +to Binfield, took great delight in cock-fighting, and laid out all his school-boy money, +and little perhaps it was, in buying fighting cocks." Lord Orrery observes, "If +we may judge of Mr. Pope from his works, his chief aim was to be esteemed a +man of virtue." When actions can be clearly ascertained, it is not necessary to +seek the mind's construction in the writings: and we must regret being compelled +to believe that some of Mr. Pope's actions, at the same time that they prove him +to be querulous and petulant, lead us to suspect that he was also envious, malignant, +and cruel. How far this will tend to confirm the assertion, that when a boy, +he was an amateur of this royal sport, I do, says Mr. Ireland, not pretend to decide: +but were a child, in whom I had any interest, cursed with such a propensity, my first +object would be to correct it: if that were impracticable, and he retained a fondness for +the cockpit, and the still more detestable amusement of Shrove Tuesday, I should hardly +dare to flatter myself that he could become a merciful man.—The subject has carried +me farther than I intended: I will, however, take the freedom of proposing one query +to the consideration of the clergy,—Might it not have a tendency to check that barbarous +spirit, which has more frequently its source in an early acquired habit, arising from +the prevalence of example, than in natural depravity, if every divine in Great Britain +were to preach at least one sermon every twelve months, on our universal insensibility +to the sufferings of the brute creation?</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Wilt thou draw near the nature of the Gods,<br /></span> +<span class="i0">Draw near them then in being merciful;<br /></span> +<span class="i0">Sweet mercy is nobility's true badge.<br /></span> +</div></div> + +<div class="figcenter" style="width: 600px;"> +<a href="images/cockpit.jpg"><img src="images/thumb_cockpit.jpg" width="600" height="490" alt="THE COCK PIT." title="" /></a> +<span class="caption">THE COCK PIT.</span> +</div><p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CAPTAIN_THOMAS_CORAM" id="CAPTAIN_THOMAS_CORAM"></a>CAPTAIN THOMAS CORAM.</h2> + + +<p>Captain Coram was born in the year 1668, bred to the sea, and passed the first +part of his life as master of a vessel trading to the colonies. While he resided in the +vicinity of Rotherhithe, his avocations obliging him to go early into the city and return +late, he frequently saw deserted infants exposed to the inclemencies of the seasons, and +through the indigence or cruelty of their parents left to casual relief, or untimely death. +This naturally excited his compassion, and led him to project the establishment of an +hospital for the reception of exposed and deserted young children; in which humane +design he laboured more than seventeen years, and at last, by his unwearied application, +obtained the royal charter, bearing date the 17th of October, 1739, for its incorporation.</p> + +<p>He was highly instrumental in promoting another good design, viz. the procuring a +bounty upon naval stores imported from the colonies to Georgia and Nova Scotia. But +the charitable plan which he lived to make some progress in, though not to complete, +was a scheme for uniting the Indians in North America more closely with the British +Government, by an establishment for the education of Indian girls. Indeed he spent a +great part of his life in serving the public, and with so total a disregard to his private +interest, that in his old age he was himself supported by a pension of somewhat more +than a hundred pounds a year, raised for him at the solicitation of Sir Sampson Gideon +and Dr. Brocklesby, by the voluntary subscriptions of public-spirited persons, at the +head of whom was the Prince of Wales. On application being made to this venerable +and good old man, to know whether a subscription being opened for his benefit would +not offend him, he gave this noble answer: "I have not wasted the little wealth of +which I was formerly possessed in self-indulgence or vain expenses, and am not ashamed +to confess, that in this my old age I am poor."</p> + +<p>This singularly humane, persevering, and memorable man died at his lodgings near +Leicester-square, March 29, 1751, and was interred, pursuant to his own desire, in the +vault under the chapel of the Foundling Hospital, where an historic epitaph records his +virtues, as Hogarth's portrait has preserved his honest countenance.</p> + +<p>"The portrait which I painted with most pleasure," says Hogarth, "and in which I +particularly wished to excel, was that of Captain Coram for the Foundling Hospital;<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> +and if I am so wretched an artist as my enemies assert, it is somewhat strange that this, +which was one of the first I painted the size of life, should stand the test of twenty years' +competition, and be generally thought the best portrait in the place, notwithstanding +the first painters in the kingdom exerted all their talents to vie with it.</p> + +<p>"For the portrait of Mr. Garrick in Richard III. I was paid two hundred pounds, +(which was more than any English artist ever received for a single portrait,) and that too +by the sanction of several painters who had been previously consulted about the price, +which was not given without mature consideration.</p> + +<p>"Notwithstanding all this, the current remark was, that portraits were not my +province; and I was tempted to abandon the only lucrative branch of my art, for the +practice brought the whole nest of phyzmongers on my back, where they buzzed like so +many hornets. All these people have their friends, whom they incessantly teach to call +my women harlots, my Essay on Beauty borrowed, and my composition and engraving +contemptible.</p> + +<p>"This so much disgusted me, that I sometimes declared I would never paint another +portrait, and frequently refused when applied to; for I found by mortifying experience, +that whoever would succeed in this branch, must adopt the mode recommended in one +of Gay's fables, and make divinities of all who sit to him. Whether or not this childish +affectation will ever be done away is a doubtful question; none of those who have +attempted to reform it have yet succeeded; nor, unless portrait painters in general +become more honest, and their customers less vain, is there much reason to expect they +ever will."</p> + +<p>Though thus in a state of warfare with his brother artists, he was occasionally +gratified by the praise of men whose judgment was universally acknowledged, and +whose sanction became a higher honour, from its being neither lightly nor indiscriminately +given.</p> + +<div class="figcenter" style="width: 427px;"> +<a href="images/cap_thomas_coram.jpg"><img src="images/thumb_cap_thomas_coram.jpg" width="427" height="600" alt="CAPTAIN THOMAS CORAM." title="" /></a> +<span class="caption">CAPTAIN THOMAS CORAM.</span> +</div><p><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_COUNTRY_INN_YARD_OR_THE_STAGE_COACH" id="THE_COUNTRY_INN_YARD_OR_THE_STAGE_COACH"></a>THE COUNTRY INN YARD; OR, THE STAGE COACH.</h2> + +<div class="poem"><div class="stanza"> +<span class="i2">The poet's adage, <span class="smcap">All the world's a stage</span>,<br /></span> +<span class="i0">Has stood the test of each revolving age;<br /></span> +<span class="i0">Another simile perhaps will bear,<br /></span> +<span class="i0">'Tis a <span class="smcap">Stage Coach</span>, where all must pay the fare;<br /></span> +<span class="i0">Where each his entrance and his exit makes,<br /></span> +<span class="i0">And o'er life's rugged road his journey takes.<br /></span> +<span class="i2">Some unprotected must their tour perform,<br /></span> +<span class="i0">And bide the pelting of the pitiless storm;<br /></span> +<span class="i0">While others, free from elemental jars,<br /></span> +<span class="i0">By fortune favour'd and propitious stars,<br /></span> +<span class="i0">Secure from storms, enjoy their little hour,<br /></span> +<span class="i0">Despise the whirlwind, and defy the shower.<br /></span> +<span class="i2">Such is our life—in sunshine or in shade,<br /></span> +<span class="i0">From evil shelter'd, or by woe assay'd:<br /></span> +<span class="i0">Whether we sit, like Niobe, all tears,<br /></span> +<span class="i0">Or calmly sink into the vale of years;<br /></span> +<span class="i0">With houseless, naked Edgar sleep on straw,<br /></span> +<span class="i0">Or keep, like Cæsar, subject worlds in awe—<br /></span> +<span class="i0">To the same port our devious journeys tend,<br /></span> +<span class="i0">Where airy hopes and sickening sorrows end;<br /></span> +<span class="i0">Sunk every eye, and languid every breast,<br /></span> +<span class="i0">Each wearied pilgrim sighs and sinks to rest.<br /></span> +</div></div> + +<p> +<span style="margin-left: 22em;">E.</span><br /> +</p> + + +<p>Among the writers of English novels, Henry Fielding holds the first rank; he was +the novelist of nature, and has described some scenes which bear a strong resemblance +to that which is here delineated. The artist, like the author, has taken truth for his +guide, and given such characters as are familiar to all our minds. The scene is a +country inn yard, at the time passengers are getting into a stage-coach, and an election +procession passing in the back-ground. Nothing can be better described; we become +of the party. The vulgar roar of our landlady is no less apparent than the grave, +insinuating, imposing countenance of mine host. Boniface solemnly protests that a bill +he is presenting to an old gentleman in a laced hat is extremely moderate. This does +not satisfy the paymaster, whose countenance shows that he considers it as a palpable +fraud, though the act against bribery, which he carries in his pocket, designates him to +be of a profession not very liable to suffer imposition. They are in general less sinned +against than sinning. An ancient lady, getting into the coach, is from her breadth a very +inconvenient companion in such a vehicle; but to atone for her rotundity, an old maid of +a spare appearance, and in a most grotesque habit, is advancing towards the steps.</p> + +<p>A portly gentleman, with a sword and cane in one hand, is deaf to the entreaties of a +poor little deformed postilion, who solicits his customary fee. The old woman +smoking her short pipe in the basket, pays very little attention to what is passing around +her: cheered by the fumes of her tube, she lets the vanities of the world go their own<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> +way. Two passengers on the roof of the coach afford a good specimen of French and +English manners. Ben Block, of the Centurion, surveys the subject of La Grande +Monarque with ineffable contempt.</p> + +<p>In the window are a very curious pair; one of them blowing a French-horn, and the +other endeavouring, but without effect, to smoke away a little sickness, which he feels +from the fumes of his last night's punch. Beneath them is a traveller taking a tender +farewell of the chambermaid, who is not to be moved by the clangour of the great bar +bell, or the more thundering sound of her mistress's voice.</p> + +<p>The back-ground is crowded with a procession of active citizens; they have chaired a +figure with a horn-book, a bib, and a rattle, intended to represent Child, Lord Castlemain, +afterwards Lord Tylney, who, in a violent contest for the county of Essex, opposed +Sir Robert Abdy and Mr. Bramston. The horn-book, bib, and rattle are evidently +displayed as punningly allusive to his name.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> + +<p>Some pains have been taken to discover in what part of Essex this scene is laid; but +from the many alterations made by rebuilding, removal, &c. it has not been positively +ascertained, though it is probably Chelmsford.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/country_inn_yard.jpg"><img src="images/thumb_country_inn_yard.jpg" width="600" height="447" alt="COUNTRY INN YARD." title="" /></a> +<span class="caption">COUNTRY INN YARD.</span> +</div><p><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> + + +<hr style="width: 65%;" /> +<h2><a name="INDUSTRY_AND_IDLENESS" id="INDUSTRY_AND_IDLENESS"></a>INDUSTRY AND IDLENESS.</h2> + + +<p>As our future welfare depends, in a great measure, on our own conduct in the outset +of life, and as we derive our best expectations of success from our own attention and +exertion, it may, with propriety, be asserted, that the good or ill-fortune of mankind is +chiefly attributable to their own early diligence or sloth; either of which becomes, through +habit in the early part of life, both familiar and natural. This Mr. Hogarth has made +appear in the following history of the two Apprentices, by representing a series of such +scenes as naturally result from a course of Industry or Idleness, and which he has +illustrated with such texts of scripture as teach us their analogy with holy writ. Now, +as example is far more convincing and persuasive than precept, these prints are, +undoubtedly, an excellent lesson to such young men as are brought up to business, by +laying before them the inevitable destruction that awaits the slothful, and the reward +that generally attends the diligent, both appropriately exemplified in the conduct of these +two fellow-'prentices; where the one, by taking good courses, and pursuing those +purposes 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 shown in the last of these instructive prints.</p> + +<p>In the chamber of the city of London, where apprentices are bound and enrolled, the +twelve prints of this series are introduced, and, with great propriety, ornament the room.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_I" id="APP_PLATE_I"></a>PLATE I.<br /> +<br /> +<span style="font-size: 75%;">THE FELLOW-'PRENTICES AT THEIR LOOMS.</span></h2> + +<div class="blockquot"><p>"The drunkard shall come to poverty, and drowsiness shall clothe a man with rags."<br /> +<span style="margin-left: 12em;">Proverbs, chap. xxiii. verse 21.</span></p> + +<p>"The hand of the diligent maketh rich."—Proverbs, chap. x. verse 4.</p></div> + + +<p>The first print presents us with a noble and striking contrast in two apprentices at +the looms of their master, a silk-weaver of Spitalfields: in the one we observe a serene<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> +and open countenance, the distinguishing mark of innocence; and in the other a sullen, +down-cast look, the index of a corrupt mind and vicious heart. The industrious youth +is diligently employed at his work, and his thoughts taken up with the business he is +upon. His book, called the "'Prentice's Guide," supposed to be given him for instruction, +lies open beside him, as if perused with care and attention. The employment of +the day seems his constant study; and the interest of his master his continual regard. +We are given to understand, also, by the ballads of the London 'Prentice, Whittingham +the Mayor, &c. that hang behind him, that he lays out his pence on things that may +improve his mind, and enlighten his understanding. On the contrary, his fellow-'prentice, +with worn-out coat and uncombed hair, overpowered with beer, indicated by +the half-gallon pot before him, is fallen asleep; and from the shuttle becoming the +plaything of the wanton kitten, we learn how he slumbers on, inattentive alike to his +own and his master's interest. The ballad of Moll Flanders, on the wall behind him, +shows that the bent of his mind is towards that which is bad; and his book of instructions +lying torn and defaced upon the ground, manifests how regardless he is of any +thing tending to his future welfare.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_01.jpg"><img src="images/thumb_industry_01.jpg" width="600" height="457" alt="INDUSTRY AND IDLENESS. + +PLATE 1. + +THE FELLOW 'PRENTICES AT THEIR LOOMS." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 1. +<br /> +THE FELLOW 'PRENTICES AT THEIR LOOMS.</span> +</div><p><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_II" id="APP_PLATE_II"></a>PLATE II.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN.</span></h2> + +<div class="blockquot"><p>"O how I love thy law; it is my meditation all the day."—Psalm cxix. verse 97.</p></div> + + +<p>This plate displays our industrious young man attending divine service in the same +pew with his master's daughter, where he shows every mark of decent and devout +attention.</p> + +<p>Mr. Hogarth's strong bias to burlesque was not to be checked by time or place. It +is not easy to imagine any thing more whimsically grotesque than the female Falstaff. +A fellow near her, emulating the deep-toned organ, and the man beneath, who, though +asleep, joins his sonorous tones in melodious chorus with the admirers of those two +pre-eminent poets, Hopkins and Sternhold. The pew-opener is a very prominent +and principal figure; two old women adjoining Miss West's seat are so much in shadow, +that we are apt to overlook them: they are, however, all three making the dome ring +with their exertions.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Ah! had it been king David's fate<br /></span> +<span class="i0">To hear them sing——<br /></span> +</div></div> + +<p>The preacher, reader, and clerk, with many of the small figures in the gallery and +beneath, are truly ludicrous, and we regret their being on so reduced a scale, that they +are scarce perceptible to the naked eye. It was necessary that the artist should exhibit +a crowded congregation; but it must be acknowledged he has neglected the rules +of perspective. The print wants depth. In the countenance of Miss West and her +lover there is a resemblance. Their faces have not much expression; but this is atoned +for by a natural and pleasing simplicity. Character was not necessary.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_02.jpg"><img src="images/thumb_industry_02.jpg" width="600" height="454" alt="INDUSTRY AND IDLENESS. + +PLATE 2. + +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN" title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 2. +<br /> +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN</span> +</div><p><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_III" id="APP_PLATE_III"></a>PLATE III.<br /> +<br /> +<span style="font-size: 75%;">THE IDLE 'PRENTICE AT PLAY IN THE CHURCH-YARD +DURING DIVINE SERVICE.</span></h2> + +<div class="blockquot"><p>"Judgments are prepared for scorners, and stripes for the back of fools."<br /> +<span style="margin-left: 12em;">Proverbs, chap. xix. verse 29.</span></p></div> + + +<p>As a contrast to the preceding plate, of the industrious young man performing the +duties of a Christian, is this, representing the idle 'prentice at play in the church-yard +during divine service. As an observance of religion is allowed to be the foundation of +virtue, so a neglect of religious duties has ever been acknowledged the forerunner of +every wickedness; the confession of malefactors at the place of execution being a melancholy +confirmation of this truth. Here we see him, while others are intent on the holy +service, transgressing the laws both of God and man, gambling on a tomb-stone with +the off-scouring of the people, the meanest of the human species, shoe-blacks, chimney-sweepers, +&c. for none but such would deign to be his companions. Their amusement +seems to be the favourite old English game of hustle-cap, and our idle and unprincipled +youth is endeavouring to cheat, by concealing some of the half-pence under the broad +brim of his hat. This is perceived by the shoe-black, and warmly resented by the +fellow with the black patch over his eye, who loudly insists on the hat's being fairly +removed. The eager anxiety which marks these mean gamblers, is equal to that of +two peers playing for an estate. The latter could not have more solicitude for the turn +of a die which was to determine who was the proprietor of ten thousand acres, than is +displayed in the countenance of young Idle. Indeed, so callous is his heart, so wilfully +blind is he to every thing tending to his future welfare, that the tombs, those standing +monuments of mortality, cannot move him: even the new-dug grave, the sculls and +bones, those lively and awakening monitors, cannot rouse him from his sinful lethargy, +open his eyes, or pierce his heart with the least reflection; so hardened is he with vice, +and so intent on the pursuit of his evil course. The hand of the boy, employed upon<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> +his head, and that of the shoe-black, in his bosom, are expressive of filth and vermin; and +show that our hero is within a step of being overspread with the beggarly contagion. His +obstinate continuance in his course, until awakened by the blows of the watchful beadle, +point out to us, that "stripes are prepared for the backs of fools;" that disgrace and +infamy are the natural attendants of the slothful and the scorner; and that there are but +little hopes of his alteration, until he is overtaken in his iniquity, by the avenging hand +of Omnipotence, and feels with horror and amazement, the unexpected and inevitable +approach of death. Thus do the obstinate and incorrigible shut their ears against the +alarming calls of Providence, and sin away even the possibility of salvation.</p> + +<p>The figures in this print are admirably grouped, and the countenances of the gamblers +and beadle strikingly characteristic.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_03.jpg"><img src="images/thumb_industry_03.jpg" width="600" height="456" alt="INDUSTRY AND IDLENESS. + +PLATE 3. + +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH YARD" title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 3. +<br /> +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH YARD</span> +</div><p><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_IV" id="APP_PLATE_IV"></a>PLATE IV.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE A FAVOURITE AND INTRUSTED +BY HIS MASTER.</span></h2> + +<div class="blockquot"><p>"Well done, thou good and faithful servant; thou hast been faithful over a few things, I will make thee +ruler over many things." Matthew, chap. xxv. verse 21.</p></div> + + +<p>The industrious apprentice, by a discreet and steady conduct, attracts the notice of +his master, and becomes a favourite: accordingly, we behold him here (exquisitely continued +from the first and second prints) in the counting-house (with a distant view of the +looms, and of the quilsters, winding quills for the shuttles, from whence he was removed) +entrusted with the books, receiving and giving orders, (the general reward of honesty, +care, and diligence,) as appears from the delivery of some stuffs by a city porter, from +Blackwell-hall. By the keys in one hand and the bag in the other, we are shown that +he has behaved himself with so much prudence and discretion, and given such proofs of +fidelity, as to become the keeper of untold gold: the greatest mark of confidence he +could be favoured with. The integrity of his heart is visible in his face. The modesty +and tranquillity of his countenance tell us, that though the great trust reposed in him is +an addition to his happiness, yet, that he discharges his duty with such becoming diffidence +and care, as not to betray any of that pride which attends so great a promotion. +The familiar position of his master, leaning on his shoulder, is a further proof of his +esteem, declaring that he dwells, as it were, in his bosom, and possesses the utmost +share of his affection; circumstances that must sweeten even a state of servitude, and +make a pleasant and lasting impression on the mind. The head-piece to the London +Almanack, representing Industry taking Time by the fore-lock, is not the least of the +beauties in this plate, as it intimates the danger of delay, and advises us to make the +best use of time, whilst we have it in our power; nor will the position of the gloves, on<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> +the flap of the escritoire, be unobserved by a curious examiner, being expressive of that +union that subsists between an indulgent master and an industrious apprentice.</p> + +<p>The strong-beer nose and pimpled face of the porter, though they have no +connexion with the moral of the piece, are a fine caricatura, and show +that our author let slip no opportunity of ridiculing the vices and +follies of the age, and particularly here, in laying before us the +strange infatuation of this class of people, who, because a good deal of +labour requires some extraordinary refreshment, will even drink to the +deprivation of their reason, and the destruction of their health. The +surly mastiff, keeping close to his master, and quarrelling with the +house-cat for admittance, though introduced to fill up the piece, +represents the faithfulness of these animals in general, and is no mean +emblem of the honesty and fidelity of the porter.</p> + +<p>In this print, neither the cat, dog, nor the porter are well drawn, nor is much regard +paid to perspective; but the general design is carried on by such easy and natural +gradations, and the consequent success of an attentive conduct displayed in colours so +plain and perspicuous, that these little errors in execution will readily be overlooked.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_04.jpg"><img src="images/thumb_industry_04.jpg" width="600" height="449" alt="INDUSTRY AND IDLENESS. + +PLATE 4. + +THE INDUSTRIOUS 'PRENTICE A FAVOURITE, AND ENTRUSTED BY HIS MASTER." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 4. +<br /> +THE INDUSTRIOUS 'PRENTICE A FAVOURITE, AND ENTRUSTED BY HIS MASTER.</span> +</div><p><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_V" id="APP_PLATE_V"></a>PLATE V.<br /> +<br /> +<span style="font-size: 75%;">THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA.</span></h2> + +<div class="blockquot"><p>"A foolish son is the heaviness of his mother." Proverbs, chap. x. verse 1.</p></div> + + +<p>Corrupted by sloth and contaminated by evil company, the idle apprentice, having +tired the patience of his master, is sent to sea, in the hope that the being removed from +the vices of the town, and the influence of his wicked companions, joined with the hardships +and perils of a seafaring life, might effect that reformation of which his friends +despaired while he continued on shore. See him then in the ship's boat, accompanied +by his afflicted mother, making towards the vessel in which he is to embark. The +disposition of the different figures in the boat, and the expression of their countenances, +tell us plainly, that his evil pursuits and incorrigible wickedness are the subjects of +their discourse. The waterman significantly directs his attention to a figure on a gibbet, +as emblematical of his future fate, should he not turn from the evil of his ways; and +the boy shows him a cat-o'-nine-tails, expressive of the discipline that awaits him on +board of ship; these admonitions, however, he notices only by the application of his +fingers to his forehead, in the form of horns, jestingly telling them to look at Cuckold's +Point, which they have just passed; he then throws his indentures into the water +with an air of contempt, that proves how little he is affected by his present condition, +and how little he regards the persuasions and tears of a fond mother, whose +heart seems ready to burst with grief at the fate of her darling son, and perhaps her +only stay; for her dress seems to intimate that she is a widow. Well then might +Solomon say, that "a foolish son is the heaviness of his mother;" for we here behold +her who had often rejoiced in the prospect of her child being a prop to her in the decline +of life, lamenting his depravity, and anticipating with horror the termination of his evil +course. One would naturally imagine, from the common course of things, that this +scene would have awakened his reflection, and been the means of softening the rugged<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>ness +of his disposition,—that some tender ideas would have crossed his mind and melted +the obduracy of his heart; but he continues hardened and callous to every admonition.</p> + +<p>The group of figures composing this print has been copied by the ingenious Lavater; +with whose appropriate remarks we conclude our present description. "Observe," +says this great analyst of the human countenance, "in the annexed group, that unnatural +wretch, with the infernal visage, insulting his supplicating mother; the predominant +character on the three other villain-faces, though all disfigured by effrontery, is cunning +and ironical malignity. Every face is a seal with this truth engraved on it: 'Nothing +makes a man so ugly as vice; nothing renders the countenance so hideous as villainy.'"</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_05.jpg"><img src="images/thumb_industry_05.jpg" width="600" height="449" alt="INDUSTRY AND IDLENESS. + +PLATE 5. + +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 5. +<br /> +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA.</span> +</div><p><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_VI" id="APP_PLATE_VI"></a>PLATE VI.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND +MARRIED TO HIS MASTER'S DAUGHTER.</span></h2> + +<div class="blockquot"><p>"The virtuous woman is a crown to her husband." Proverbs, chap. xiii. verse 4.</p></div> + + +<p>The reward of industry is success. Our prudent and attentive youth is now become +partner with his master, and married to his daughter. The sign, by which this circumstance +is intimated, was at first inscribed <span class="smcap">Goodchild</span> and <span class="smcap">West</span>. Some of Mr. +Hogarth's city friends informing him that it was usual for the senior partner's name to +precede, it was altered.</p> + +<p>To show that plenty reigns in this mansion, a servant distributes the remains of the +table to a poor woman, and the bridegroom pays one of the drummers, who, according +to ancient custom, attend with their thundering gratulations the day after a wedding. +A performer on the bass viol, and a herd of butchers armed with marrow-bones and +cleavers, form an English concert. (Madame Pompadour, in her remarks on the +English taste for music, says, they are invariably fond of every thing that is full in +the mouth.) A cripple with the ballad of Jesse, or the Happy Pair, represents a man +known by the name of Philip in the Tub, who had visited Ireland and the United Provinces; +and, in the memory of some persons now living, was a general attendant at +weddings. From those votaries of Hymen who were honoured with his epithalamiums, +he received a small reward. To show that Messrs. West and Goodchild's habitation +is near the monument, the base of that stately column appears in the back-ground. The +inscription which until lately graced this structure, used to remind every reader of +Pope's lines,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Where London's column, pointing to the skies,<br /></span> +<span class="i0">Like a tall bully, rears its head, and lies, &c.<br /></span> +<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></div></div> + +<p>The duke of Buckingham's epigram on this magnificent pillar is not so generally +known:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Here stand I,<br /></span> +<span class="i0">The Lord knows why;<br /></span> +<span class="i0">But if I fall—<br /></span> +<span class="i0">Have at ye all!<br /></span> +</div></div> + +<p>A footman and butcher, at the opposite corner, compared with the other figures, are +gigantic; they might serve for the Gog and Magog of Guildhall.</p> + +<p>It has been said that the thoughts in this print are trite, and the actions mean, which +must be in part acknowledged, but they are natural, and appropriate to the rank and +situation of the parties, and to the fashions of the time at which it was published.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_06.jpg"><img src="images/thumb_industry_06.jpg" width="600" height="452" alt="INDUSTRY AND IDLENESS. + +PLATE 6. + +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME & MARRIED TO HIS MASTER'S DAUGHTER." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 6. +<br /> +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME & MARRIED TO HIS MASTER'S DAUGHTER.</span> +</div><p><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_VII" id="APP_PLATE_VII"></a>PLATE VII.<br /> +<br /> +<span style="font-size: 75%;">THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN A +GARRET WITH A COMMON PROSTITUTE.</span></h2> + +<div class="blockquot"><p>"The sound of a shaken leaf shall chase him." Leviticus, chap. xxvi. verse 26.</p></div> + + +<p>The idle apprentice, as appears by this print, is advancing with rapid strides towards +his fate. We are to suppose him returned from sea after a long voyage; and to have +met with such correction abroad for his obstinacy, during his absence from England, +that though it was found insufficient to alter his disposition, yet it determined him to +pursue some other way of life; and what he entered on is here but too evident (from +the pistols by the bed-side, and the trinkets his companion is examining, in order to +strip him of) to be that of the highway. He is represented in a garret, with a common +prostitute, the partaker of his infamy, awaking, after a night spent in robbery and +plunder, from one of those broken slumbers which are ever the consequences of a life +of dishonesty and debauchery. Though the designs of Providence are visible in every +thing, yet they are never more conspicuous than in this,—that whatever these unhappy +wretches possess by wicked and illegal means, they seldom comfortably enjoy. In +this scene we have one of the finest pictures imaginable of the horrors of a guilty conscience. +Though the door is fastened in the strongest manner with a lock and two +bolts, and with the addition of some planks from the flooring, so as to make his retreat +as secure as possible; though he has attempted to drive away thought by the powerful +effects of spirituous liquors, plain from the glass and bottle upon the floor, still he is +not able to brave out his guilt, or steel his breast against reflection. Behold him roused +by the accidental circumstance of a cat's coming down the chimney, and the falling of a +few bricks, which he believes to be the noise of his pursuers! Observe his starting up +in bed, and all the tortures of his mind imprinted in his face! He first stiffens into<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> +stone, then all his nerves and muscles relax, a cold sweat seizes him, his hair stands on +end, his teeth chatter, and dismay and horror stalk before his eyes. How different is +the countenance of his wretched bed-fellow! in whom unconcern and indifference to +every thing but the plunder are plainly apparent. She is looking at an ear-ring, which, +with two watches, an etwee, and a couple of rings, are spread upon the bed, as part of +last night's plunder. The phials on the mantel-piece show that sickness and disease +are ever attendant on prostitution; and the beggarly appearance of the room, its +wretched furniture, the hole by way of window, (by the light of which she is examining +her valuable acquisition, and against which she had hung her old hoop-petticoat in +order to keep out the cold,) and the rat's running across the floor, are just and sufficient +indications that misery and want are the constant companions of a guilty life.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_07.jpg"><img src="images/thumb_industry_07.jpg" width="600" height="462" alt="INDUSTRY AND IDLENESS. + +PLATE 7. + +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN THE A GARRET WITH A PROSTITUTE." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 7. +<br /> +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN THE A GARRET WITH A PROSTITUTE.</span> +</div><p><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_VIII" id="APP_PLATE_VIII"></a>PLATE VIII.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF +OF LONDON.</span></h2> + +<div class="blockquot"><p>'With all thy gettings get understanding. Exalt her and she shall promote thee; she shall bring thee to +honour, when thou dost embrace her.' Proverbs, chap. iv. verse 7, 8.</p></div> + + +<p>From industry become opulent, from integrity and punctuality respectable, our young +merchant is now sheriff of London, and dining with the different companies in Guildhall. +A group on the left side are admirably characteristic; their whole souls seem +absorbed in the pleasures of the table. A divine, true to his cloth, swallows his soup +with the highest <i>goût</i>. Not less gratified is the gentleman palating a glass of wine. +The man in a black wig is a positive representative of famine; and the portly and oily +citizen, with a napkin tucked in his button-hole, has evidently burnt his mouth by +extreme eagerness.</p> + +<p>The backs of those in the distance, behung with bags, major perukes, pinners, &c. +are most laughably ludicrous. Every person present is so attentive to business, that +one may fairly conclude they live to eat, rather than eat to live.</p> + +<p>But though this must be admitted to be the case with this party, the following +instance of city temperance proves that there are some exceptions. When the Lord +Mayor, Sheriffs, Aldermen, Chamberlain, &c. of the city of London were once seated +round the table at a public and splendid dinner at Guildhall, Mr. Chamberlain Wilkes +lisped out, "Mr. Alderman B——, shall I help you to a plate of turtle, or a slice of the +haunch,—I am within reach of both, sir?" "Neither one nor t'other, I thank you, +Sir," replied the Alderman, "I think I shall dine on the beans and bacon which are at +this end of the table." "Mr. Alderman A——," continued the Chamberlain, "which +would you choose, sir?" "Sir, I will not trouble you for either, for I believe I shall +follow the example of my brother B——, and dine on beans and bacon," was the reply. +On this second refusal the old Chamberlain rose from his seat, and, with every mark of<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> +astonishment in his countenance, curled up the corners of his mouth, cast his eyes round +the table, and in a voice as loud and articulate as he was able, called "Silence!" which +being obtained, he thus addressed the pretorian magistrate, who sat in the Chair: "My +Lord Mayor, the wicked have accused us of intemperance, and branded us with the +imputation of gluttony; that they may be put to open shame, and their profane tongues +be from this day utterly silenced, I humbly move, that your Lordship command the +proper officer to record in our annals, that two Aldermen of the city of London prefer +beans and bacon to either turtle soup or venison."</p> + +<p>Notwithstanding all this, there are men, who, looking on the dark side, and perhaps +rendered splenetic, and soured by not being invited to these sumptuous entertainments, +have affected to fear, that their frequent repetition would have a tendency to produce a +famine, or at least to check the increase, if not extirpate the species, of those birds, +beasts, and fish, with which the tables of the rich are now so plentifully supplied. But +these half reasoners do not take into their calculation the number of gentlemen so +laudably associated for encouraging cattle being fed so fat that there is no lean left; or +that more ancient association, sanctioned and supported by severe acts of parliament, +for the preservation of the game. From the exertions of these and similar societies, we +may reasonably hope there is no occasion to dread any such calamity taking place; +though the Guildhall tables often groaning under such hecatombs as are recorded in the +following account, may make a man of weak nerves and strong digestion, shake his +head, and shudder a little. "On the 29th October, 1727, when George II. and Queen +Caroline honoured the city with their presence at Guildhall, there were 19 tables, +covered with 1075 dishes. The whole expense of this entertainment to the city was +4889<i>l.</i> 4<i>s.</i>"</p> + +<p>To return to the print;—a self-sufficient and consequential beadle, reading the direction +of a letter to Francis Goodchild, Esq. Sheriff of London, has all the insolence of +office. The important and overbearing air of this dignified personage is well contrasted +by the humble simplicity of the straight-haired messenger behind the bar. The gallery +is well furnished with musicians busily employed in their vocation.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Music hath charms to sooth the savage breast,<br /></span> +<span class="i0">And therefore proper at a sheriff's feast.<br /></span> +</div></div> + +<p>Besides a portrait of William the Third, and a judge, the hall is ornamented with +a full length of that illustrious hero Sir William Walworth, in commemoration of +whose valour the weapon with which he slew Wat Tyler was introduced into the city arms.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_08.jpg"><img src="images/thumb_industry_08.jpg" width="600" height="448" alt="INDUSTRY AND IDLENESS. + +PLATE 8. + +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 8. +<br /> +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON.</span> +</div><p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_IX" id="APP_PLATE_IX"></a>PLATE IX.<br /> +<br /> +<span style="font-size: 75%;">THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE, AND +TAKEN IN A NIGHT CELLAR WITH HIS ACCOMPLICE.</span></h2> + +<div class="blockquot"><p>"The adulteress will hunt for precious life." Proverbs, chap. vi. verse 26.</p></div> + + +<p>From the picture of the reward of diligence, we return to take a further view of the +progress of sloth and infamy; by following the idle 'prentice a step nearer to the +approach of his unhappy end. We see him in the third plate herding with the worst of +the human species, the very dregs of the people; one of his companions, at that time, +being a one-eyed wretch, who seemed hackneyed in the ways of vice. To break this vile +connexion he was sent to sea; but, no sooner did he return, than his wicked disposition +took its natural course, and every day he lived served only to habituate him to acts of +greater criminality. He presently discovered his old acquaintance, who, no doubt, +rejoiced to find him so ripe for mischief: with this worthless, abandoned fellow, he enters +into engagements of the worst kind, even those of robbery and murder. Thus blindly +will men sometimes run headlong to their own destruction.</p> + +<p>About the time when these plates were first published, which was in the year 1747, +there was a noted house in Chick Lane, Smithfield, that went by the name of the Blood-Bowl +House, so called from the numerous scenes of blood that were almost daily carried +on there; it being a receptacle for prostitutes and thieves; where every species of delinquency +was practised; and where, indeed, there seldom passed a month without the +commission of some act of murder. To this subterraneous abode of iniquity (it being +a cellar) was our hero soon introduced; where he is now represented in company with +his accomplice, and others of the same stamp, having just committed a most horrid act +of barbarity, (that of killing a passer-by, and conveying him into a place under ground, +contrived for this purpose,) dividing among them the ill-gotten booty, which consists of<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> +two watches, a snuff-box, and some other trinkets. In the midst of this wickedness, he +is betrayed by his strumpet (a proof of the treachery of such wretches) into the hands +of the high constable and his attendants, who had, with better success than heretofore, +traced him to this wretched haunt. The back-ground of this print serves rather as a representation +of night-cellars in general, those infamous receptacles for the dissolute and +abandoned of both sexes, than a further illustration of our artist's chief design; however, +as it was Mr. Hogarth's intention, in the history before us, to encourage virtue and expose +vice, by placing the one in an amiable light, and exhibiting the other in its most heightened +scenes of wickedness and impiety, in hopes of deterring the half-depraved youth of +this metropolis, from even the possibility of the commission of such actions, by frightening +them from these abodes of wretchedness; as this was manifestly his intention, it +cannot be deemed a deviation from the subject. By the skirmish behind, the woman +without a nose, the scattered cards upon the floor, &c. we are shown that drunkenness +and riot, disease, prostitution, and ruin are the dreadful attendants of sloth, and the +general fore-runners of crimes of the deepest die; and by the halter suspended from the +ceiling, over the head of the sleeper, we are to learn two things—the indifference of +mankind, even in a state of danger, and the insecurity of guilt in every situation.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_09.jpg"><img src="images/thumb_industry_09.jpg" width="600" height="459" alt="INDUSTRY AND IDLENESS. + +PLATE 9. + +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 9. +<br /> +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE.</span> +</div><p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_X" id="APP_PLATE_X"></a>PLATE X.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON; THE +IDLE ONE BROUGHT BEFORE HIM, AND IMPEACHED BY HIS +ACCOMPLICE.</span></h2> + + +<div class="blockquot"><p>"Thou shalt do no unrighteousness in judgment." Leviticus, chap. xix. verse 15.</p> + +<p>"The wicked is snared in the work of his own hands." Psalms, chap. ix. verse 16.</p></div> + + +<p>Imagine now this depraved and atrocious youth hand-cuffed, and dragged from his +wicked haunt, through the streets to a place of security, amidst the scorn and contempt +of a jeering populace; and thence brought before the sitting magistrate, (who, to heighten +the scene and support the contrast, is supposed to be his fellow-'prentice, now chosen an +alderman,) in order to be dealt with according to law. See him then at last having run +his course of iniquity, fallen into the hands of justice, being betrayed by his accomplice; +a further proof of the perfidy of man, when even partners in vice are unfaithful to each +other. This is the only print among the set, excepting the first, where the two principal +characters are introduced; in which Mr. Hogarth has shown his great abilities, as well +in description, as in a particular attention to the uniformity and connexion of the whole. +He is now at the bar, with all the marks of guilt imprinted on his face. How, if his +fear will permit him to reflect, must he think on the happiness and exaltation of his +fellow-'prentice on the one hand, and of his own misery and degradation on the other! +at one instant, he condemns the persuasions of his wicked companions; at another, his +own idleness and obstinacy: however, deeply smitten with his crime, he sues the magistrate, +upon his knees, for mercy, and pleads in his cause the former acquaintance that +subsisted between them, when they both dwelt beneath the same roof, and served the +same common master: but here was no room for lenity, murder was his crime, and<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> +death must be his punishment; the proofs are incontestable, and his mittimus is ordered, +which the clerk is drawing out. Let us next turn our thoughts upon the alderman, in +whose breast a struggle between mercy and justice is beautifully displayed. Who can +behold the magistrate, here, without praising the man? How fine is the painter's thoughts +of reclining the head on one hand, while the other is extended to express the pity and +shame he feels that human nature should be so depraved! It is not the golden chain +or scarlet robe that constitutes the character, but the feelings of the heart. To show us +that application for favour, by the ignorant, is often idly made to the servants of justice, +who take upon themselves on that account a certain state and consequence, not inferior +to magistracy, the mother of our delinquent is represented in the greatest distress, as +making interest with the corpulent self-swoln constable, who with an unfeeling concern +seems to say, "Make yourself easy, for he must be hanged;" and to convince us that +bribery will even find its way into courts of judicature, here is a woman feeing the +swearing clerk, who has stuck his pen behind his ear that his hands might be both at +liberty; and how much more his attention is engaged to the money he is taking, than to +the administration of the oath, may be known from the ignorant, treacherous witness +being suffered to lay his left hand upon the book; strongly expressive of the sacrifice, +even of sacred things, to the inordinate thirst of gain.</p> + +<p>From Newgate (the prison to which he was committed; where, during his continuance +he lay chained in a dismal cell, deprived of the cheerfulness of light, fed upon bread and +water, and left without a bed to rest on) the prisoner was removed to the bar of judgment, +and condemned to die by the laws of his country.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_10.jpg"><img src="images/thumb_industry_10.jpg" width="600" height="476" alt="INDUSTRY AND IDLENESS. + +PLATE 10. + +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON. THE IDLE ONE IMPEACHED BEFORE HIM BY HIS ACCOMPLICE." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 10. +<br /> +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON. THE IDLE ONE IMPEACHED BEFORE HIM BY HIS ACCOMPLICE.</span> +</div><p><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_XI" id="APP_PLATE_XI"></a>PLATE XI.<br /> +<br /> +<span style="font-size: 75%;">THE IDLE 'PRENTICE EXECUTED AT TYBURN.</span></h2> + +<div class="blockquot"><p>"When fear cometh as desolation, and their destruction cometh as a whirlwind; when distress cometh upon +them, then shall they call upon God, but he will not answer." Proverbs, chapter i. verse 7, 8.</p></div> + + +<p>Thus, after a life of sloth, wretchedness, and vice, does our delinquent terminate his +career. Behold him, on the dreadful morn of execution, drawn in a cart (attended by +the sheriff's officers on horseback, with his coffin behind him) through the public streets +to Tyburn, there to receive the just reward of his crimes,—a shameful ignominious +death. The ghastly appearance of his face, and the horror painted on his countenance, +plainly show the dreadful situation of his mind; which we must imagine to be agitated +with shame, remorse, confusion, and terror. The careless position of the Ordinary at +the coach window is intended to show how inattentive those appointed to that office are +of their duty, leaving it to others, which is excellently expressed by the itinerant preacher +in the cart, instructing from a book of Wesley's. Mr. Hogarth has in this print, +digressing from the history and moral of the piece, taken an opportunity of giving us a +humorous representation of an execution, or a Tyburn Fair: such days being made +holidays, produce scenes of the greatest riot, disorder, and uproar; being generally +attended by hardened wretches, who go there, not so much to reflect upon their own +vices, as to commit those crimes which must in time inevitably bring them to the same +shameful end. In confirmation of this, see how earnestly one boy watches the motions +of the man selling his cakes, while he is picking his pocket; and another waiting to +receive the booty! We have here interspersed before us a deal of low humour, but +such as is common on occasions like this. In one place we observe an old bawd turning +up her eyes and drinking a glass of gin, the very picture of hypocrisy; and a man indecently +helping up a girl into the same cart; in another, a soldier sunk up to his knees<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> +in a bog, and two boys laughing at him, are well imagined. Here we see one almost +squeezed to death among the horses; there, another trampled on by the mob. In one +part is a girl tearing the face of a boy for oversetting her barrow; in another, a woman +beating a fellow for throwing down her child. Here we see a man flinging a dog +among the crowd by the tail; there a woman crying the dying speech of Thomas Idle, +printed the day before his execution; and many other things too minute to be pointed +out: two, however, we must not omit taking notice of, one of which is the letting off +a pigeon, bred at the gaol, fly from the gallery, which hastes directly home; an old +custom, to give an early notice to the keeper and others, of the turning off or death of +the criminal; and that of the executioner smoking his pipe at the top of the gallows, +whose position of indifference betrays an unconcern that nothing can reconcile with the +shocking spectacle, but that of use having rendered his wretched office familiar to him; +whilst it declares a truth, which every character in this plate seems to confirm, that a +sad and distressful object loses its power of affecting by being frequently seen.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_11.jpg"><img src="images/thumb_industry_11.jpg" width="600" height="378" alt="INDUSTRY AND IDLENESS. + +PLATE 11. + +THE IDLE 'PRENTICE EXECUTED AT TYBURN." title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 11. +<br /> +THE IDLE 'PRENTICE EXECUTED AT TYBURN.</span> +</div><p><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="APP_PLATE_XII" id="APP_PLATE_XII"></a>PLATE XII.<br /> +<br /> +<span style="font-size: 75%;">THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON.</span></h2> + +<div class="blockquot"><p>"Length of days is in her right hand, and in her left hand riches and honour." Proverbs, chap. iii. ver. 16.</p></div> + + +<p>Having seen the ignominious end of the idle apprentice, nothing remains but to +represent the completion of the other's happiness; who is now exalted to the highest +honour, that of Lord Mayor of London; the greatest reward that ancient and noble city +can bestow on diligence and integrity. Our artist has here, as in the last plate, given +a loose to his humour, in representing more of the low part of the Lord Mayor's show +than the magnificent; yet the honour done the city, by the presence of the Prince and +Princess of Wales, is not forgotten. The variety of comic characters in this print serves +to show what generally passes on such public processions as these, when the people +collect to gratify their childish curiosity, and indulge their wanton disposition, or natural +love of riot. The front of this plate exhibits the oversetting of a board, on which some +girls had stood, and represents them sprawling upon the ground; on the left, at the +back of the scaffold, is a fellow saluting a fair nymph, and another enjoying the joke: +near him is a blind man straggled in among the crowd, and joining in the general +halloo: before him is a militia-man, so completely intoxicated as not to know what he +is doing; a figure of infinite humour. Though Mr. Hogarth has here marked out two +or three particular things, yet his chief intention was to ridicule the city militia, which +was at this period composed of undisciplined men, of all ages, sizes, and height; some +fat, some lean, some tall, some short, some crooked, some lame, and in general so unused +to muskets, that they knew not how to carry them. One, we observe, is firing +his piece and turning his head another way, at whom the man above is laughing, and +at which the child is frightened. The boy on the right, crying, "A full and true +account of the ghost of Thomas Idle," which is supposed to have appeared to the Mayor,<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> +preserves the connexion of the whole work. The most obtrusive figure in his Lordship's +coach is Mr. Swordbearer, in a cap like a reversed saucepan, which this great +officer wears on these grand occasions. The company of journeymen butchers, with +their marrow-bones and cleavers, appear to be the most active, and are by far the most +noisy of any who grace this solemnity. Numberless spectators, upon every house and +at every window, dart their desiring eyes on the procession; so great indeed was the +interest taken by the good citizens of London in these civic processions that, formerly, it +was usual in a London lease to insert a clause, giving a right to the landlord and his +friends to stand in the balcony, during the time of "the shows or pastimes, upon the +day commonly called the Lord Mayor's Day."</p> + +<p>Thus have we seen, by a series of events, the prosperity of the one and the downfall +of the other; the riches and honour that crown the head of industry, and the ignominy +and destruction that await the slothful. After this it would be unnecessary to say +which is the most eligible path to tread. Lay the roads but open to the view, and the +traveller will take the right of course; give but the boy this history to peruse, and his +future welfare is almost certain.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/industry_12.jpg"><img src="images/thumb_industry_12.jpg" width="600" height="445" alt="INDUSTRY AND IDLENESS. + +PLATE 12. + +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON" title="" /></a> +<span class="caption">INDUSTRY AND IDLENESS. +<br /> +PLATE 12. +<br /> +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON</span> +</div><p><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="SOUTHWARK_FAIR" id="SOUTHWARK_FAIR"></a>SOUTHWARK FAIR.</h2> + + +<p>The subject of the plate under consideration is that of the Borough Fair; a fair +held some time since in the Borough of Southwark, though now suppressed. This fair +was attended, generally, by the inhabitants of town and country, and, therefore, was one +that afforded great variety; especially as, before its suppression, it was devoted to every +thing loose and irregular. A view of the scene, of which the following print is a +faithful representation, will affirm this truth.</p> + +<p>The principal view upon the left represents the fall of a scaffold, on which was +assembled a strolling company, pointed out, by the paper lantern hanging in front, to +be that belonging to Cibber and Bullock, ready dressed to exhibit "The Fall of +Bajazet." Here we see merry-andrews, monkeys, queens and emperors, sinking in one +general confusion; and, that the crash may appear the greater, the stand beneath is +humorously supposed to consist of earthenware and china. Notwithstanding this fatal +overthrow, few below are seen to notice it; witness the boys and woman gambling at +the box and dice, the upright monkey, and the little bag-piper dancing his wooden +figures. Above this scaffold hangs a painting, the subject of which is the stage mutiny; +whose figures are as follow:—On one side is Pistol, (strutting and crying out, "Pistol's +alive,") Falstaff, Justice Shallow, and many other characters of Shakspeare. On the +other, the manager bearing in his hand a paper, on which is written, "it cost 6000<i>l.</i>" +a scene-painter, who has laid his brushes aside, and taken up a cudgel; and a woman +holding an ensign, bearing the words, "We'll starve 'em out." In the corner is a +man, quiet and snug, hugging a bag of money, laughing at the folly of the rest; and +behind, a monkey, perched upon a sign iron, supposed to be that of the Rose Tavern in +Drury-lane, squeaking out, "I am a gentleman." These paintings are in general +designed to show what is exhibited within; but this alludes to a dispute that arose at +the time when this print was published, which was in the year 1733, between the +players and the patentee of Drury-lane Theatre, when young Cibber, the son of the<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> +Laureate, was at the head of the faction. Above, on one side, is an equilibrist swinging +on a slack rope; and on the other, a man flying from the tower to the ground, by means +of a groove fastened to his breast, slipping over a line strained from one place to the +other. At the back of this plate is Lee and Harper's great booth, where, by the +picture of the wooden horse, we are told, is represented "The Siege of Troy." The +next paintings consist of the fall of Adam and Eve, and a scene in Punch's opera. +Beneath is a mountebank, exalted on a stage, eating fire to attract the public attention; +while his merry-andrew behind is distributing his medicines. Further back is a shift +and hat, carried upon poles, designed as prizes for the best runner or wrestler. In front +is a group of strollers parading the fair, in order to collect an audience for their next +exhibition; in which is a female drummer, at that time well known, and remarked for +her beauty, which we observe has caught the eye of two countrymen, the one old, the +other young. Behind these men is a buskined hero, beset by a Marshalsea Court +officer and his follower. To the right is a Savoyard exhibiting her farthing show; and +behind, a player at back sword riding a blind horse round the fair triumphantly, in all +the boast of self-important heroism, affecting terror in his countenance, glorying in his +scars, and challenging the world to open combat: a folly for which the English were +remarkable. To this man a fellow is directing the attention of a country gentleman, +while he robs him of his handkerchief. Next him is an artful villain decoying a couple +of unthinking country girls to their ruin. Further back is a man kissing a wench in +the crowd; and above, a juggler performing some dexterity of hand. Indeed it would +be tedious to enter into an enumeration of the various matter of this plate; it is sufficient +to remark that it presents us with an endless collection of spirited and laughable characters, +in which is strikingly portrayed the character of the times.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/southwark_fair.jpg"><img src="images/thumb_southwark_fair.jpg" width="600" height="466" alt="SOUTHWARK FAIR." title="" /></a> +<span class="caption">SOUTHWARK FAIR.</span> +</div><p><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="GARRICK_IN_THE_CHARACTER_OF_RICHARD_III" id="GARRICK_IN_THE_CHARACTER_OF_RICHARD_III"></a>GARRICK IN THE CHARACTER OF RICHARD III.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">Give me another horse,—bind up my wounds,—<br /></span> +<span class="i0">Have mercy, Jesu!—Soft; I did but dream.—<br /></span> +<span class="i0">O coward conscience, how dost thou afflict me!—<br /></span> +<span class="i0">The lights burn blue!—is it not dead midnight?<br /></span> +<span class="i0">Cold, fearful drops hang on my trembling flesh.—<br /></span> +</div></div> + + +<p>Such is the exclamation of Richard, and such is the disposition of his mind at the +moment of this delineation. The lamp, diffusing a dim religious light through the +tent, the crucifix placed at his head, the crown, and unsheathed sword at his hand, and +the armour lying on the ground, are judicious and appropriate accompaniments. +Those who are acquainted with this prince's history, need not be told that he was +naturally bold, courageous, and enterprising; that when business called him to the +field, he shook off every degree of indulgence, and applied his mind to the management +of his affairs. This may account for his being stripped no otherwise than of his armour, +having retired to his tent in order to repose himself upon his bed, and lessen the fatigues +of the preceding day. See him then hastily rising, at dead of night, in the utmost +horror from his own thoughts, being terrified in his sleep by the dreadful phantoms of +an affrighted imagination, seizing on his sword, by way of defence against the foe his +disordered fancy presents to him. So great is his agitation, that every nerve and +muscle is in action, and even the ring is forced from his finger. When the heart is +affected, how great is its influence on the human frame!—it communicates its sensibility +to the extreme parts of the body, from the centre to the circumference; as distant +water is put in motion by circles, spreading from the place of its disturbance. The +paper on the floor containing these words,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Jockey of Norfolk, be not so bold,<br /></span> +<span class="i0">For Dicken thy master is bought and is sold,<br /></span> +</div></div> + +<p>brought him by the Duke of Norfolk, saying he found it in his tent, and lying here +unattended to, as a mark of contempt, plainly informs us that however a man may<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> +attempt to steel himself against the arrows of conscience, still they will find a way to +his breast, and shake the sinner even in his greatest security. And indeed we cannot +wonder, when we reflect on the many murders he was guilty of, deserving the severest +punishment; for Providence has wisely ordained that sin should be its own tormentor, +otherwise, in many cases, the offender would, in this life, escape unpunished, and the +design of heaven be frustrated. But Richard, though he reached a throne, and by that +means was exempt from the sufferings of the subject, yet could not divest himself of +his nature, but was forced to give way to the workings of the heart, and bear the +tortures of a distracted mind. The expression in his face is a master-piece of +execution, and was a great compliment paid by Mr. Hogarth to his friend Garrick; yet +not unmerited, as all that have seen him in the part must acknowledge the greatness of +the actor. The figures in the distance, two of whom,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Like sacrifices by their fires of watch,<br /></span> +<span class="i0">With patience sit, and inly ruminate<br /></span> +<span class="i0">The morning's danger,<br /></span> +</div></div> + +<p>are properly introduced, and highly descriptive.</p> + +<p>The tents of Richmond are so near</p> + +<div class="poem"><div class="stanza"> +<span class="i0">That the fix'd sentinels almost receive<br /></span> +<span class="i0">The secret whispers of each other's watch.<br /></span> +</div></div> + +<p>Considered as a whole, the composition is simple, striking, and original, and the +figures well drawn. The whole moral tenour of the piece informs us that conscience is +armed with a thousand stings, from which royalty itself is not secure; that of all +tormentors, reflection is the worst; that crowns and sceptres are baubles, compared with +self-approbation; and that nought is productive of solid happiness, but inward peace +and serenity of mind.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/garrick.jpg"><img src="images/thumb_garrick.jpg" width="600" height="476" alt="GARRICK. + +In the Character of Richard the Third." title="" /></a> +<span class="caption">GARRICK. +<br /> +In the Character of Richard the Third.</span> +</div><p><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_INVASION_OR_FRANCE_AND_ENGLAND" id="THE_INVASION_OR_FRANCE_AND_ENGLAND"></a>THE INVASION; OR, FRANCE AND ENGLAND.</h2> + + +<p>In the two following designs, Mr. Hogarth has displayed that partiality for his own +country and contempt for France, which formed a strong trait in his character. He +neither forgot nor forgave the insults he suffered at Calais, though he did not recollect +that this treatment originated in his own ill humour, which threw a sombre shade over +every object that presented itself. Having early imbibed the vulgar prejudice that +one Englishman was a match for four Frenchmen, he thought it would be doing his +country a service to prove the position. How far it is either useful or politic to depreciate +the power, or degrade the character of that people with whom we are to contend, +is a question which does not come within the plan of this work. In some cases it may +create confidence, but in others lead to the indulgence of that negligent security by +which armies have been slaughtered, provinces depopulated, and kingdoms changed +their rulers.</p> + + + +<hr style="width: 45%;" /> +<h2><a name="FRANCE" id="FRANCE"></a>PLATE I.<br /> +<br /> +FRANCE.</h2> + +<div class="poem"><div class="stanza"> +<span class="i0">With lantern jaws and croaking gut,<br /></span> +<span class="i0">See how the half-star'd Frenchmen strut,<br /></span> +<span class="i2">And call us English dogs:<br /></span> +<span class="i0">But soon we'll teach these bragging foes<br /></span> +<span class="i0">That beef and beer give heavier blows<br /></span> +<span class="i2">Than soup and roasted frogs.<br /></span> +</div><div class="stanza"> +<span class="i0">The priests, inflam'd with righteous hopes,<br /></span> +<span class="i0">Prepare their axes, wheels, and ropes,<br /></span> +<span class="i2">To bend the stiff-neck'd sinner;<br /></span> +<span class="i0">But should they sink in coming over,<br /></span> +<span class="i0">Old Nick may fish 'twixt France and Dover,<br /></span> +<span class="i2">And catch a glorious dinner.<br /></span> +</div></div> + + +<p>The scenes of all Mr. Hogarth's prints, except The Gate of Calais, and that now +under consideration, are laid in England. In this, having quitted his own country, he +seems to think himself out of the reach of the critics, and, in delineating a Frenchman, +at liberty to depart from nature, and sport in the fairy regions of caricature. Were<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> +these Gallic soldiers naked, each of them would appear like a forked radish, with a +head fantastically carved upon it with a knife: so forlorn! that to any thick sight he +would be invisible. To see this miserable woe-begone refuse of the army, who look +like a group detached from the main body and put on the sick list, embarking to +conquer a neighbouring kingdom, is ridiculous enough, and at the time of publication +must have had great effect. The artist seemed sensible that it was necessary to account +for the unsubstantial appearance of these shadows of men, and has hinted at their want +of solid food, in the bare bones of beef hung up in the window, the inscription on the +alehouse sign, "<i>Soup maigre au Sabot Royal</i>," and the spider-like officer roasting +four frogs which he has impaled upon his sword. Such light and airy diet is whimsically +opposed by the motto on the standard, which two of the most valorous of this +ghastly troop are hailing with grim delight and loud exultation. It is, indeed, an +attractive motto, and well calculated to inspire this famishing company with courage:—"<i>Vengeance, +avec la bonne Bière, et bon bœuf d'Angleterre.</i>" However meagre the +military, the church militant is in no danger of starving. The portly friar is neither +emaciated by fasting nor weakened by penance. Anticipating the glory of extirpating +heresy, he is feeling the sharp edge of an axe, to be employed in the decollation of the +enemies to the true faith. A sledge is laden with whips, wheels, ropes, chains, gibbets, +and other inquisitorial engines of torture, which are admirably calculated for the propagation +of a religion that was established in meekness and mercy, and inculcates +universal charity and forbearance. On the same sledge is an image of St. Anthony, +accompanied by his pig, and the plan of a monastery to be built at Black Friars.</p> + +<p>In the back-ground are a troop of soldiers so averse to this English expedition, that +their serjeant is obliged to goad them forward with his halberd. To intimate that agriculture +suffers by the invasion having engaged the masculine inhabitants, two women, +ploughing a sterile promontory in the distance, complete this catalogue of wretchedness, +misery, and famine.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/france.jpg"><img src="images/thumb_france.jpg" width="600" height="481" alt="FRANCE." title="" /></a> +<span class="caption">FRANCE.</span> +</div><p><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> + + + + +<hr style="width: 45%;" /> +<h2><a name="THE_INVASION" id="THE_INVASION"></a>PLATE II.<br /> +<br /> +ENGLAND.</h2> + + +<div class="poem"><div class="stanza"> +<span class="i0">See John the Soldier, Jack the Tar,<br /></span> +<span class="i0">With sword and pistol arm'd for war,<br /></span> +<span class="i2">Should Mounseer dare come here;<br /></span> +<span class="i0">The hungry slaves have smelt our food,<br /></span> +<span class="i0">They long to taste our flesh and blood,<br /></span> +<span class="i2">Old England's beef and beer.<br /></span> +</div><div class="stanza"> +<span class="i0">Britons to arms! and let 'em come,<br /></span> +<span class="i0">Be you but Britons still, strike home,<br /></span> +<span class="i2">And, lion-like, attack 'em,<br /></span> +<span class="i0">No power can stand the deadly stroke<br /></span> +<span class="i0">That's given from hands and hearts of oak,<br /></span> +<span class="i2">With Liberty to back 'em.<br /></span> +</div></div> + + +<p>From the unpropitious regions of France our scene changes to the fertile fields of +England.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">England! bound in with the triumphant sea,<br /></span> +<span class="i0">Whose rocky shores beat back the envious siege<br /></span> +<span class="i0">Of wat'ry Neptune.<br /></span> +</div></div> + +<p>Instead of the forlorn and famished party who were represented in the last plate, we +here see a company of well-fed and high-spirited Britons, marked with all the hardihood +of ancient times, and eager to defend their country.</p> + +<p>In the first group a young peasant, who aspires to a niche in the temple of Fame, +preferring the service of Mars to that of Ceres, and the dignified appellation of soldier +to the plebeian name of farmer, offers to enlist. Standing with his back against the +halberd to ascertain his height, and, finding he is rather under the mark, he endeavours +to reach it by rising on tiptoe. This artifice, to which he is impelled by towering +ambition, the serjeant seems disposed to connive at—and the serjeant is a hero, and a +great man in his way; "your hero always must be tall, you know."</p> + +<p>To evince that the polite arts were then in a flourishing state, and cultivated by more +than the immediate professors, a gentleman artist, who to common eyes must pass for a +grenadier, is making a caricature of <i>le grand monarque</i>, with a label from his mouth +worthy the speaker and worthy observation, "You take a my fine ships; you be de +pirate; you be de teef: me send my grand armies, and hang you all." The action is<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> +suited to the word, for with his left hand this most Christian potentate grasps his sword, +and in his right poises a gibbet. The figure and motto united produce a roar of approbation +from the soldier and sailor, who are criticising the work. It is so natural that +the Helen and Briseis of the camp contemplate the performance with apparent delight, +and, while one of them with her apron measures the breadth of this herculean painter's +shoulders, the other, to show that the performance has some point, places her forefinger +against the prongs of a fork. The little fifer, playing that animated and inspiring tune, +"God save the King," is an old acquaintance: we recollect him in the March to +Finchley. In the back-ground is a serjeant, teaching a company of young recruits +their manual exercise.</p> + +<p>This military meeting is held at the sign of the Gallant Duke of Cumberland, who +is mounted upon a prancing charger,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">As if an angel dropp'd down from the clouds,<br /></span> +<span class="i0">To turn and wield a fiery Pegasus,<br /></span> +<span class="i0">And witch the world with noble horsemanship.<br /></span> +</div></div> + +<p>Underneath is inscribed "Roast and Boiled every day," which, with the beef and +beverage upon the table, forms a fine contrast to the <i>soup maigre</i>, bare bones, and +roasted frogs, in the last print. The bottle painted on the wall, foaming with liquor, +which, impatient of imprisonment, has burst its cerements, must be an irresistible +invitation to a thirsty traveller. The soldier's sword laid upon the round of beef, and +the sailor's pistol on the vessel containing the ale, intimate that these great bulwarks +of our island are as tenacious of their beef and beer, as of their religion and liberty.</p> + +<p>These two plates were published in 1756; but in the London Chronicle for October +20, 1759, is the following advertisement: "This day are republished, Two prints +designed and etched by William Hogarth, one representing the preparations on the +French coast for an intended invasion; the other, a view of the preparations making +in England to oppose the wicked designs of our enemies; proper to be stuck up in +public places, both in town and country, at this juncture."</p> + +<p>The verses which were inserted under each print, and subjoined to this account, are, +it must be acknowledged, coarse enough. They were, however, written by David +Garrick.</p> + +<div class="figcenter" style="width: 600px;"> +<a href="images/england.jpg"><img src="images/thumb_england.jpg" width="600" height="488" alt="ENGLAND." title="" /></a> +<span class="caption">ENGLAND.</span> +</div> + +<hr style="width: 65%;" /> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The attendant black boy gave the foundation of an ill-natured remark by Quin, when Garrick once +attempted the part of Othello. "He pretend to play Othello!" said the surly satirist; "He pretend to play +Othello! He wants nothing but the tea-kettle and lamp, to qualify him for Hogarth's Pompey!"</p></div> + + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> He was a respectable performer on the violin, some years chapel-master at Antwerp, and several seasons +leader of the band at Marybone Gardens. He published a collection of musical compositions, to which was +annexed a portrait of himself, characterised by three lines from Milton: +</p> +<div class="poem"><div class="stanza"> +<span class="i0">"Thou honour'dst verse, and verse must lend her wing<br /></span> +<span class="i0">To honour thee, the priest of Phœbus' quire,<br /></span> +<span class="i0">That tun'st her happiest lines in hymn or song."<br /></span> +</div></div> +<p> +He died in 1750, aged seventy years, and gives one additional name to a catalogue I have somewhere seen of +very old professors of music, who, saith my author, "generally live unto a greater age than persons in any other +way of life, from their souls being so attuned unto harmony, that they enjoy a perpetual peace of mind." It +has been observed, and I believe justly, that thinking is a great enemy to longevity, and that, consequently, +they who think least will be likely to live longest. The quantity of thought necessary to make an adept in +this divine science, must be determined by those who have studied it.—It would seem by this remark, that Mr. +Ireland was not aware that to acquire proficiency in the divine science to which he so pleasantly alludes, +requires great application and study.</p></div> + + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> "What signifies," says some one to Dr. Johnson, "giving halfpence to common beggars? they only +lay them out in gin or tobacco." "And why," replied the doctor, "should they be denied such sweeteners +of their existence? It is surely very savage to shut out from them every possible avenue to those pleasures +reckoned too coarse for our own acceptance. Life is a pill which none of us can swallow without gilding, +yet for the poor we delight in stripping it still more bare, and are not ashamed to show even visible marks of +displeasure, if even the bitter taste is taken from their mouths."</p></div> + + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> At this election a man was placed on a bulk, with a figure representing a child in his arms: as he +whipped it he exclaimed, "What, you little child, must you be a member?" This election being disputed, +it appeared from the register-book of the parish where Lord Castlemain was born, that he was but twenty +years of age when he offered himself a candidate.</p></div> +</div> + +<hr style="width: 65%;" /> + +<h3>Transcriber's Note.</h3> + +<p>The following words were inconsistently hyphenated in the original text:</p> + +<ul><li>down-cast / downcast</li> +<li>footboy / foot-boy</li> +<li>fore-finger / forefinger</li> +<li>half-pence / halfpence</li></ul> + +<p>The orthography of the original text has been preserved. In particular +the following words are as they appear in the original:</p> + +<ul><li>antichamber</li> +<li>aukwardly</li> +<li>corruscations</li> +<li>corse</li> +<li>Govent</li> +<li>Martin Fowkes</li> +<li>negociated</li> +<li>pannel</li> +<li>plaistering</li> +<li>pourtrayed</li> +<li>sculls</li> +<li>stupifies</li> +<li>tenour</li> +<li>vender</li></ul> + +<p>The following words were inconsistently accented in the original text:</p> +<ul><li>a-la-mode / à-la-mode</li> +<li>degagée / dégagée</li></ul> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Works of William Hogarth: In a +Series of Engravings, by John Trusler + +*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + +***** This file should be named 22500-h.htm or 22500-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/2/5/0/22500/ + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Works of William Hogarth: In a Series of Engravings + With Descriptions, and a Comment on Their Moral Tendency + +Author: John Trusler + +Contributor: John Hogarth + John Nichols + +Engraver: William Hogarth + +Release Date: September 4, 2007 [EBook #22500] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + + + + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + + + + + + +[Illustration: WILLIAM HOGARTH.] + + + + +THE +WORKS +OF +WILLIAM HOGARTH; + +IN A +SERIES OF ENGRAVINGS: +WITH +DESCRIPTIONS, +AND +A COMMENT ON THEIR MORAL TENDENCY, + +BY THE +REV. JOHN TRUSLER. + +TO WHICH ARE ADDED, +ANECDOTES OF THE AUTHOR AND HIS WORKS, +BY J. HOGARTH AND J. NICHOLS. + + +London: +PUBLISHED BY JONES AND CO. +TEMPLE OF THE MUSES, (LATE LACKINGTON'S,) FINSBURY SQUARE. + +1833. + + +C. BAYNES, PRINTER, 13 DUKE STREET, LINCOLN'S INN FIELDS. + + + + +THE LIFE OF HOGARTH. + + +William Hogarth is said to have been the descendant of a family +originally from Kirby Thore, in Westmorland. + +His grandfather was a plain yeoman, who possessed a small tenement in +the vale of Bampton, a village about fifteen miles north of Kendal, in +that county; and had three sons. + +The eldest assisted his father in farming, and succeeded to his little +freehold. + +The second settled in Troutbeck, a village eight miles north west of +Kendal, and was remarkable for his talent at provincial poetry. + +Richard Hogarth, the third son, who was educated at St. Bees, and had +kept a school in the same county, appears to have been a man of some +learning. He came early to London, where he resumed his original +occupation of a schoolmaster, in Ship-court in the Old Bailey, and was +occasionally employed as a corrector of the press. + +Mr. Richard Hogarth married in London; and our artist, and his sisters, +Mary and Anne, are believed to have been the only product of the +marriage. + +William Hogarth was born November 10, and baptised Nov. 28, 1697, in the +parish of St. Bartholomew the Great, in London; to which parish, it is +said, in the Biographia Britannica, he was afterwards a benefactor. + +The school of Hogarth's father, in 1712, was in the parish of St. +Martin, Ludgate. In the register of that parish, therefore, the date of +his death, it was natural to suppose, might be found; but the register +has been searched to no purpose. + +Hogarth seems to have received no other education than that of a +mechanic, and his outset in life was unpropitious. Young Hogarth was +bound apprentice to a silversmith (whose name was Gamble) of some +eminence; by whom he was confined to that branch of the trade, which +consists in engraving arms and cyphers upon the plate. While thus +employed, he gradually acquired some knowledge of drawing; and, before +his apprenticeship expired, he exhibited talent for caricature. "He felt +the impulse of genius, and that it directed him to painting, though +little apprised at that time of the mode Nature had intended he should +pursue." + +The following circumstance gave the first indication of the talents with +which Hogarth afterwards proved himself to be so liberally endowed. + +During his apprenticeship, he set out one Sunday, with two or three +companions, on an excursion to Highgate. The weather being hot, they +went into a public-house; where they had not long been, before a quarrel +arose between some persons in the same room; from words they soon got to +blows, and the quart pots being the only missiles at hand, were sent +flying about the room in glorious confusion. This was a scene too +laughable for Hogarth to resist. He drew out his pencil, and produced on +the spot one of the most ludicrous pieces that ever was seen; which +exhibited likenesses not only of the combatants engaged in the affray, +but also of the persons gathered round them, placed in grotesque +attitudes, and heightened with character and points of humour. + +On the expiration of his apprenticeship, he entered into the academy in +St. Martin's Lane, and studied drawing from the life: but in this his +proficiency was inconsiderable; nor would he ever have surpassed +_mediocrity_ as a painter, if he had not penetrated through external +form to character and manners. "It was character, passions, the soul, +that his genius was given him to copy." + +The engraving of arms and shop-bills seems to have been his first +employment by which to obtain a decent livelihood. He was, however, soon +engaged in decorating books, and furnished sets of plates for several +publications of the time. An edition of _Hudibras_ afforded him the +first subject suited to his genius: yet he felt so much the shackles of +other men's ideas, that he was less successful in this task than might +have been expected. In the mean time, he had acquired the use of the +brush, as well as of the pen and graver; and, possessing a singular +facility in seizing a likeness, he acquired considerable employment as a +portrait-painter. Shortly after his marriage, he informs us that he +commenced painter of small conversation pieces, from twelve to fifteen +inches in height; the novelty of which caused them to succeed for a few +years. One of the earliest productions of this kind, which distinguished +him as a painter, is supposed to have been a representation of Wanstead +Assembly; the figures in it were drawn from the life, and without +burlesque. The faces were said to bear great likenesses to the persons +so drawn, and to be rather better coloured than some of his more +finished performances. Grace, however, was no attribute of his pencil; +and he was more disposed to aggravate, than to soften the harsh touches +of Nature. + +A curious anecdote is recorded of our artist during the early part of +his practice as a portrait painter. A nobleman, who was uncommonly ugly +and deformed, sat for his picture, which was executed in his happiest +manner, and with singularly rigid fidelity. The peer, disgusted at this +counterpart of his dear self, was not disposed very readily to pay for a +reflector that would only insult him with his deformities. After some +time had elapsed, and numerous unsuccessful applications had been made +for payment, the painter resorted to an expedient, which he knew must +alarm the nobleman's pride. He sent him the following card:--"Mr. +Hogarth's dutiful respects to Lord----; finding that he does not mean to +have the picture which was drawn for him, is informed again of Mr. +Hogarth's pressing necessities for the money. If, therefore, his +lordship does not send for it in three days, it will be disposed of, +with the addition of a tail and some other appendages, to _Mr. Hare, the +famous wild beast man_; Mr. H. having given that gentleman a conditional +promise on his lordship's refusal." This intimation had its desired +effect; the picture was paid for, and committed to the flames. + +Hogarth's talents, however, for original comic design, gradually +unfolded themselves, and various public occasions produced displays of +his ludicrous powers. + +In the year 1730, he clandestinely married the only daughter of Sir +James Thornhill, the painter, who was not easily reconciled to her union +with an obscure artist, as Hogarth then comparatively was. Shortly +after, he commenced his first great series of moral paintings, "The +Harlot's Progress:" some of these were, at Lady Thornhill's suggestion, +designedly placed by Mrs. Hogarth in her father's way, in order to +reconcile him to her marriage. Being informed by whom they were +executed, Sir James observed, "The man who can produce such +representations as these, can also maintain a wife without a portion." +He soon after, however, relented, and became generous to the young +couple, with whom he lived in great harmony until his death, which took +place in 1733. + +In 1733 his genius became conspicuously known. The third scene of "The +Harlot's Progress" introduced him to the notice of the great: at a Board +of Treasury, (which was held a day or two after the appearance of that +print), a copy of it was shown by one of the lords, as containing, among +other excellences, a striking likeness of Sir John Gonson, a celebrated +magistrate of that day, well known for his rigour towards women of the +town. From the Treasury each lord repaired to the print-shop for a copy +of it, and Hogarth rose completely into fame. + +Upwards of twelve hundred subscribers entered their names for the +plates, which were copied and imitated on fan mounts, and in a variety +of other forms; and a pantomime taken from them was represented at the +theatre. This performance, together with several subsequent ones of a +similar kind, have placed Hogarth in the rare class of original geniuses +and inventors. He may be said to have created an entirely new species of +painting, which may be termed the _moral comic_; and may be considered +rather as a writer of comedy with a pencil, than as a painter. If +catching the manners and follies of an age, _living as they rise_--if +general satire on vices,--and ridicule familiarised by strokes of +Nature, and heightened by wit,--and the whole animated by proper and +just expressions of the passions,--be comedy, Hogarth composed comedies +as much as Moliere. + +Soon after his marriage, Hogarth resided at South Lambeth; and being +intimate with Mr. Tyers, the then spirited proprietor of Vauxhall +Gardens, he contributed much to the improvement of those gardens; and +first suggested the hint of embellishing them with paintings, some of +which were the productions of his own comic pencil. Among the paintings +were "The Four Parts of the Day," either by Hogarth, or after his +designs. + +Two years after the publication of his "Harlot's Progress," appeared the +"Rake's Progress," which, Lord Orford remarks, (though perhaps +superior,) "had not so much success, for want of notoriety: nor is the +print of the Arrest equal in merit to the others." The curtain, however, +was now drawn aside, and his genius stood displayed in its full lustre. + +The Rake's Progress was followed by several works in series, viz. +"Marriage a-la-Mode, Industry and Idleness, the Stages of Cruelty, and +Election Prints." To these may be added, a great number of single comic +pieces, all of which present a rich source of amusement:--such as, "The +March to Finchley, Modern Midnight Conversation, the Sleeping +Congregation, the Gates of Calais, Gin Lane, Beer Street, Strolling +Players in a Barn, the Lecture, Laughing Audience, Enraged Musician," +&c. &c. which, being introduced and described in the subsequent part of +this work, it would far exceed the limits, necessarily assigned to these +brief memoirs, _here_ minutely to characterise. + +All the works of this original genius are, in fact, lectures of +morality. They are satires of particular vices and follies, expressed +with such strength of character, and such an accumulation of minute and +appropriate circumstances, that they have all the truth of Nature +heightened by the attractions of wit and fancy. Nothing is without a +meaning, but all either conspires to the great end, or forms an addition +to the lively drama of human manners. His single pieces, however, are +rather to be considered as studies, not perhaps for the professional +artist, but for the searcher into life and manners, and for the votaries +of true humour and ridicule. No _furniture_ of the kind can vie with +Hogarth's prints, as a fund of inexhaustible amusement, yet conveying at +the same time lessons of morality. + +Not contented, however, with the just reputation which he had acquired +in his proper department, Hogarth attempted to shine in the highest +branch of the art,--serious history-painting. "From a contempt," says +Lord Orford, "of the ignorant virtuosi of the age, and from indignation +at the impudent tricks of picture dealers, whom he saw continually +recommending and vending vile copies to bubble collectors, and from +having never studied, or indeed having seen, few good pictures of the +great Italian masters, he persuaded himself that the praises bestowed on +those glorious works were nothing but the effects of prejudice. He +talked this language till he believed it; and having heard it often +asserted (as is true) that time gives a mellowness to colours, and +improves them, he not only denied the proposition, but maintained that +pictures only grew black and worse by age, not distinguishing between +the degrees in which the proposition might be true or false. He went +farther: he determined to rival the ancients, and unfortunately chose +one of the finest pictures in England as the object of his competition. +This was the celebrated Sigismonda of Sir Luke Schaub, now in the +possession of the Duke of Newcastle, said to be painted by Correggio, +probably by Furino."--"It is impossible to see the picture," (continues +his lordship,) "or read Dryden's inimitable tale, and not feel that the +same soul animated both. After many essays, Hogarth at last produced +_his_ Sigismonda,--but no more like Sigismonda than I to Hercules." + +Notwithstanding Hogarth professed to decry literature, he felt an +inclination to communicate to the public his ideas on a topic connected +with his art. His "Analysis of Beauty" made its appearance in one volume +quarto, in the year 1753. Its leading principle is, that beauty +fundamentally consists in that union of uniformity which is found in the +curve or waving line; and that round swelling figures are most pleasing +to the eye. This principle he illustrates by many ingenious remarks and +examples, and also by some plates characteristic of his genius. + +In the year 1757, his brother-in-law, Mr. Thornhill, resigned his office +of king's serjeant-painter in favour of Hogarth, who received his +appointment on the 6th of June, and entered on his functions on the 16th +of July, both in the same year. This place was re-granted to him by a +warrant of George the Third, which bears date the 30th October, 1761, +with a salary of ten pounds per annum, payable quarterly. + +This connexion with the court probably induced Hogarth to deviate from +the strict line of party neutrality which he had hitherto observed, and +to engage against Mr. Wilkes and his friends, in a print published in +September, 1762, entitled _The Times_. This publication provoked some +severe strictures from Wilkes's pen, in a North Briton (No. 17.) Hogarth +replied by a caricature of the writer: a rejoinder was put in by +Churchill, in an angry epistle to Hogarth (not the brightest of his +works); and in which the severest strokes fell on a defect the painter +had not caused, and could not amend--his age; which, however, was +neither remarkable nor decrepit; much less had it impaired his talents: +for, only six months before, he had produced one of his most capital +works. In revenge for this epistle, Hogarth caricatured Churchill, under +the form of a canonical bear, with a club and a pot of porter. + +During this period of warfare (so virulent and disgraceful to all the +parties), Hogarth's health visibly declined. In 1762, he complained of +an internal pain, the continuance of which produced a general decay of +the system, that proved incurable; and, on the 25th of October, 1764, +(having been previously conveyed in a very weak and languid state from +Chiswick to Leicester Fields,) he died suddenly, of an aneurism in his +chest, in the sixty-seventh or sixty-eighth year of his age. His remains +were interred at Chiswick, beneath a plain but neat mausoleum, with the +following elegant inscription by his friend Garrick:-- + + "Farewell, great painter of mankind, + Who reach'd the noblest point of art; + Whose pictured morals charm the mind, + And through the eye correct the heart. + If Genius fire thee, reader, stay; + If Nature touch thee, drop a tear: + If neither move thee, turn away, + For Hogarth's honour'd dust lies here." + + + + +LIST OF ENGRAVINGS. + +VOL. I. + + +RAKE'S PROGRESS. + Page + +PLATE 1 Heir taking Possession 11 +" 2 Surrounded by Artists 13 +" 3 Tavern Scene 15 +" 4 Arrested for Debt 17 +" 5 Marries an Old Maid 19 +" 6 Gaming House 21 +" 7 Prison Scene 23 +" 8 Mad House 25 + +The Distressed Poet 27 +The Bench 29 +The Laughing Audience 31 +Gate of Calais 33 +The Politician 35 +Taste in High Life 37 + + +HARLOT'S PROGRESS. + +PLATE 1 39 +" 2 41 +" 3 43 +" 4 45 +" 5 47 +" 6 49 + +The Lecture 51 +The Chorus 53 +Columbus breaking the Egg 55 +Modern Midnight Conversation 57 +Consultation of Physicians 59 +Portrait of Daniel Lock, Esq. 61 +The Enraged Musician 63 +Masquerades and Operas 65 + + +TIMES OF THE DAY. + +Morning 67 +Noon 69 +Evening 71 +Night 73 + +Sigismonda 75 +Portrait of Martin Fowkes, Esq. 77 +The Cockpit 78 +Captain Thomas Coram 81 +Country Inn Yard 83 + + +INDUSTRY AND IDLENESS. + +PLATE 1 85 +" 2 87 +" 3 89 +" 4 91 +" 5 93 +" 6 95 +" 7 97 +" 8 99 +" 9 101 +" 10 103 +" 11 105 +" 12 107 + +Southwark Fair. 109 +Garrick as Richard III. 111 + + +FRANCE AND ENGLAND. + +PLATE 1 France 113 +" 2 England 115 + + + + +HOGARTH'S WORKS. + + + + +THE RAKE'S PROGRESS. + + +Of all the follies in human life, there is none greater than that of +extravagance, or profuseness; it being constant labour, without the +least ease or relaxation. It bears, indeed, the colour of that which is +commendable, and would fain be thought to take its rise from laudable +motives, searching indefatigably after true felicity; now as there can +be no true felicity without content, it is this which every man is in +constant pursuit of; the learned, for instance, in his industrious quest +after knowledge; the merchant, in his dangerous voyages; the ambitious, +in his passionate pursuit of honour; the conqueror, in his earnest +desire of victory; the politician, in his deep-laid designs; the wanton, +in his pleasing charms of beauty; the covetous, in his unwearied +heaping-up of treasure; and the prodigal, in his general and extravagant +indulgence.--Thus far it may be well;--but, so mistaken are we in our +road, as to run on in the very opposite tract, which leads directly to +our ruin. Whatever else we indulge ourselves in, is attended with some +small degree of relish, and has some trifling satisfaction in the +enjoyment, but, in this, the farther we go, the more we are lost; and +when arrived at the mark proposed, we are as far from the object we +pursue, as when we first set out. Here then, are we inexcusable, in not +attending to the secret dictates of reason, and in stopping our ears at +the timely admonitions of friendship. Headstrong and ungovernable, we +pursue our course without intermission; thoughtless and unwary, we see +not the dangers that lie immediately before us; but hurry on, even +without sight of our object, till we bury ourselves in that gulf of +woe, where perishes at once, health, wealth and virtue, and whose +dreadful labyrinths admit of no return. + +Struck with the foresight of that misery, attendant on a life of +debauchery, which is, in fact, the offspring of prodigality, our author +has, in the scenes before us, attempted the reformation of the +worldling, by stopping him as it were in his career, and opening to his +view the many sad calamities awaiting the prosecution of his proposed +scheme of life; he has, in hopes of reforming the prodigal, and at the +same time deterring the rising generation, whom Providence may have +blessed with earthly wealth, from entering into so iniquitous a course, +exhibited the life of a young man, hurried on through a succession of +profligate pursuits, for the few years Nature was able to support +itself; and this from the instant he might be said to enter into the +world, till the time of his leaving it. But, as the vice of avarice is +equal to that of prodigality, and the ruin of children is often owing to +the indiscretion of their parents, he has opened the piece with a scene, +which, at the same time that it exposes the folly of the youth, shews us +the imprudence of the father, who is supposed to have hurt the +principles of his son, in depriving him of the necessary use of some +portion of that gold, he had with penurious covetousness been hoarding +up, for the sole purpose of lodging in his coffers. + + + + +PLATE I. + +THE YOUNG HEIR TAKING POSSESSION. + + Oh, vanity of age untoward! + Ever spleeny, ever froward! + Why these bolts and massy chains, + Squint suspicions, jealous pains? + Why, thy toilsome journey o'er, + Lay'st thou up an useless store? + _Hope_, along with _Time_ is flown; + Nor canst thou reap the field thou'st sown. + Hast thou a son? In time be wise; + He views thy toil with other eyes. + Needs must thy kind paternal care, + Lock'd in thy chests, be buried there? + Whence, then, shall flow that friendly ease, + That social converse, heartfelt peace, + Familiar duty without dread, + Instruction from example bred, + Which youthful minds with freedom mend, + And with the _father_ mix the _friend_? + Uncircumscribed by prudent rules, + Or precepts of expensive schools; + Abused at home, abroad despised, + Unbred, unletter'd, unadvised; + The headstrong course of life begun, + What comfort from thy darling son? + + HOADLEY. + + +The history opens, representing a scene crowded with all the monuments +of avarice, and laying before us a most beautiful contrast, such as is +too general in the world, to pass unobserved; nothing being more common +than for a son to prodigally squander away that substance his father +had, with anxious solicitude, his whole life been amassing.--Here, we +see the young heir, at the age of nineteen or twenty, raw from the +University, just arrived at home, upon the death of his father. Eager to +know the possessions he is master of, the old wardrobes, where things +have been rotting time out of mind, are instantly wrenched open; the +strong chests are unlocked; the parchments, those securities of treble +interest, on which this avaricious monster lent his money, tumbled out; +and the bags of gold, which had long been hoarded, with griping care, +now exposed to the pilfering hands of those about him. To explain every +little mark of usury and covetousness, such as the mortgages, bonds, +indentures, &c. the piece of candle stuck on a save-all, on the +mantle-piece; the rotten furniture of the room, and the miserable +contents of the dusty wardrobe, would be unnecessary: we shall only +notice the more striking articles. From the vast quantity of papers, +falls an old written journal, where, among other memorandums, we find +the following, viz. "May the 5th, 1721. Put off my bad shilling." Hence, +we learn, the store this penurious miser set on this trifle: that so +penurious is the disposition of the miser, that notwithstanding he may +be possessed of many large bags of gold, the fear of losing a single +shilling is a continual trouble to him. In one part of the room, a man +is hanging it with black cloth, on which are placed escutcheons, by way +of dreary ornament; these escutcheons contain the arms of the covetous, +_viz._ three vices, hard screwed, with the motto, "BEWARE!" On the +floor, lie a pair of old shoes, which this sordid wretch is supposed to +have long preserved for the weight of iron in the nails, and has been +soling with leather cut from the covers of an old Family Bible; an +excellent piece of satire, intimating, that such men would sacrifice +even their God to the lust of money. From these and some other objects +too striking to pass unnoticed, such as the gold falling from the +breaking cornice; the jack and spit, those utensils of original +hospitality, locked up, through fear of being used; the clean and empty +chimney, in which a fire is just now going to be made for the first +time; and the emaciated figure of the cat, strongly mark the natural +temper of the late miserly inhabitant, who could starve in the midst of +plenty.--But see the mighty change! View the hero of our piece, left to +himself, upon the death of his father, possessed of a goodly +inheritance. Mark how his mind is affected!--determined to partake of +the mighty happiness he falsely imagines others of his age and fortune +enjoy; see him running headlong into extravagance, withholding not his +heart from any joy; but implicitly pursuing the dictates of his will. To +commence this delusive swing of pleasure, his first application is to +the tailor, whom we see here taking his measure, in order to trick out +his pretty person. In the interim, enters a poor girl (with her mother), +whom our hero has seduced, under professions of love and promises of +marriage; in hopes of meeting with that kind welcome she had the +greatest reason to expect; but he, corrupted with the wealth of which he +is now the master, forgets every engagement he once made, finds himself +too rich to keep his word; and, as if gold would atone for a breach of +honour, is offering money to her mother, as an equivalent for the +non-fulfilling of his promise. Not the sight of the ring, given as a +pledge of his fidelity; not a view of the many affectionate letters he +at one time wrote to her, of which her mother's lap is full; not the +tears, nor even the pregnant condition of the wretched girl, could +awaken in him one spark of tenderness; but, hard hearted and unfeeling, +like the generality of wicked men, he suffers her to weep away her woes +in silent sorrow, and curse with bitterness her deceitful betrayer. One +thing more we shall take notice of, which is, that this unexpected +visit, attended with abuse from the mother, so engages the attention of +our youth, as to give the old pettifogger behind him an opportunity of +robbing him. Hence we see that one ill consequence is generally attended +with another; and that misfortunes, according to the old proverb, seldom +come alone. + + Mr. Ireland remarks of this plate--"He here presents to us the + picture of a young man, thoughtless, extravagant, and licentious; + and, in colours equally impressive, paints the destructive + consequences of his conduct. The first print most forcibly contrasts + two opposite passions; the unthinking negligence of _youth_, and the + sordid avaricious rapacity of age. It brings into one point of view + what Mr. Pope so exquisitely describes in his Epistle to Lord + Bathurst-- + + 'Who sees pale _Mammon_ pine amidst his store, + Sees but a backward steward for the poor; + This year a reservoir, to keep and spare; + The next a fountain, spouting through his heir.' + + The introduction to this history is well delineated, and the + principal figure marked with that easy, unmeaning vacancy of face, + which speaks him formed by nature for a DUPE. Ignorant of the value + of money, and negligent in his nature, he leaves his bag of untold + gold in the reach of an old and greedy pettifogging attorney, who is + making an inventory of bonds, mortgages, indentures, &c. This man, + with the rapacity so natural to those who disgrace the profession, + seizes the first opportunity of plundering his employer. Hogarth + had, a few years before, been engaged in a law suit, which gave him + some experience of the PRACTICE of those pests of society." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 1. + +THE YOUNG HERO TAKES POSSESSION OF THE MISER'S EFFECTS.] + + + + +PLATE II. + +SURROUNDED BY ARTISTS AND PROFESSORS. + + _Prosperity_ (with harlot's smiles, + Most pleasing when she most beguiles), + How soon, great foe, can all thy train + Of false, gay, frantic, loud, and vain, + Enter the unprovided mind, + And memory in fetters bind? + Load faith and love with golden chain, + And sprinkle _Lethe_ o'er the brain! + _Pleasure_, on her silver throne, + Smiling comes, nor comes alone; + _Venus_ comes with her along, + And smooth _Lyaeus_, ever young; + And in their train, to fill the press, + Come _apish Dance_ and _swoln Excess_, + Mechanic _Honour_, vicious _Taste_, + And _Fashion_ in her changing vest. + + HOADLEY. + + +We are next to consider our hero as launched into the world, and having +equipped himself with all the necessaries to constitute him a man of +taste, he plunges at once into all the fashionable excesses, and enters +with spirit into the character he assumes. + +The avarice of the penurious father then, in this print, is contrasted +by the giddy profusion of his prodigal son. We view him now at his +levee, attended by masters of various professions, supposed to be here +offering their interested services. The foremost figure is readily known +to be a dancing-master; behind him are two men, who at the time when +these prints were first published, were noted for teaching the arts of +defence by different weapons, and who are here drawn from the life; one +of whom is a Frenchman, teacher of the small-sword, making a thrust with +his foil; the other an Englishman, master of the quarter-staff; the +vivacity of the first, and the cold contempt visible in the face of the +second, beautifully describe the natural disposition of the two nations. +On the left of the latter stands an improver of gardens, drawn also from +the life, offering a plan for that purpose. A taste for gardening, +carried to excess, must be acknowledged to have been the ruin of +numbers, it being a passion that is seldom, if ever, satisfied, and +attended with the greatest expense. In the chair sits a professor of +music, at the harpsichord, running over the keys, waiting to give his +pupil a lesson; behind whose chair hangs a list of the presents, one +Farinelli, an Italian singer, received the next day after his first +performance at the Opera House; amongst which, there is notice taken of +one, which he received from the hero of our piece, thus: "A gold +snuff-box, chased, with the story of Orpheus charming the brutes, by J. +Rakewell, esq." By these mementos of extravagance and pride, (for gifts +of this kind proceed oftener from ostentation than generosity,) and by +the engraved frontispiece to a poem, dedicated to our fashionable +spendthrift, lying on the floor, which represents the ladies of Britain +sacrificing their hearts to the idol Farinelli, crying out, with the +greatest earnestness, "one G--d, one Farinelli," we are given to +understand the prevailing dissipation and luxury of the times. Near the +principal figure in this plate is that of him, with one hand on his +breast, the other on his sword, whom we may easily discover to be a +bravo; he is represented as having brought a letter of recommendation, +as one disposed to undertake all sorts of service. This character is +rather Italian than English; but is here introduced to fill up the list +of persons at that time too often engaged in the service of the votaries +of extravagance and fashion. Our author would have it imagined in the +interval between the first scene and this, that the young man whose +history he is painting, had now given himself up to every fashionable +extravagance; and among others, he had imbibed a taste for cock-fighting +and horse-racing; two amusements, which, at that time, the man of +fashion could not dispense with. This is evident, from his rider +bringing in a silver punch-bowl, which one of his horses is supposed to +have won, and his saloon being ridiculously ornamented with the +portraits of celebrated cocks. The figures in the back part of this +plate represent tailors, peruke-makers, milliners, and such other +persons as generally fill the antichamber of a man of quality, except +one, who is supposed to be a poet, and has written some panegyric on the +person whose levee he attends, and who waits for that approbation he +already vainly anticipates. Upon the whole, the general tenor of this +scene is to teach us, that the man of fashion is too often exposed to +the rapacity of his fellow creatures, and is commonly a dupe to the more +knowing part of the world. + + "How exactly," says Mr. Ireland, "does Bramston describe the + character in his _Man of Taste_:-- + + 'Without Italian, and without an ear, + To Bononcini's music I adhere.---- + To boon companions I my time would give, + With players, pimps, and parasites I'd live; + I would with jockeys from Newmarket dine, + And to rough riders give my choicest wine. + My evenings all I would with sharpers spend, + And make the thief-taker my bosom friend; + In Figg, the prize-fighter, by day delight, + And sup with Colley Cibber every night.' + + "Of the expression in this print, we cannot speak more highly than + it deserves. Every character is marked with its proper and + discriminative stamp. It has been said by a very judicious critic + (the Rev. Mr. Gilpin) from whom it is not easy to differ without + being wrong, that the hero of this history, in the first plate of + the series, is _unmeaning_, and in the second _ungraceful_. The fact + is admitted; but, for so delineating him, the author is entitled to + our praise, rather than our censure. Rakewell's whole conduct proves + he was a fool, and at that time he had not learned how to perform an + artificial character; he therefore looks as he is, unmeaning, and + uninformed. But in the second plate he is _ungraceful_.--Granted. + The ill-educated son of so avaricious a father could not have been + introduced into very good company; and though, by the different + teachers who surround him, it evidently appears that he wishes to + _assume_ the character of a gentleman, his internal feelings tell + him he has not attained it. Under that consciousness, he is properly + and naturally represented as ungraceful, and embarrassed in his new + situation." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 2. + +SURROUNDED BY ARTISTS & PROFESSORS.] + + + + +PLATE III. + +THE TAVERN SCENE. + + "O vanity of youthful blood, + So by misuse to poison good! + Woman, framed for social love, + Fairest gift of powers above, + Source of every household blessing; + All charms in innocence possessing: + But, turn'd to vice, all plagues above; + Foe to thy being, foe to love! + Guest divine, to outward viewing; + Ablest minister of ruin? + And thou, no less of gift divine, + Sweet poison of misused wine! + With freedom led to every part, + And secret chamber of the heart, + Dost thou thy friendly host betray, + And shew thy riotous gang the way + To enter in, with covert treason, + O'erthrow the drowsy guard of reason, + To ransack the abandon'd place, + And revel there with wild excess?" + + +Mr. Ireland having, in his description of this Plate, incorporated +whatever is of value in Dr. Trusler's text, with much judicious +observation and criticism of his own, the Editor has taken the former +_verbatim_. + +"This Plate exhibits our licentious prodigal engaged in one of his +midnight festivities: forgetful of the past, and negligent of the +future, he riots in the present. Having poured his libation to Bacchus, +he concludes the evening orgies in a sacrifice at the Cyprian shrine; +and, surrounded by the votaries of Venus, joins in the unhallowed +mysteries of the place. The companions of his revelry are marked with +that easy, unblushing effrontery, which belongs to the servants of all +work in the isle of Paphos;--for the maids of honour they are not +sufficiently elevated. + +"He may be supposed, in the phrase of the day, to have beat the rounds, +overset a constable, and conquered a watchman, whose staff and lantern +he has brought into the room, as trophies of his prowess. In this +situation he is robbed of his watch by the girl whose hand is in his +bosom; and, with that adroitness peculiar to an old practitioner, she +conveys her acquisition to an accomplice, who stands behind the chair. + +"Two of the ladies are quarrelling; and one of them _delicately_ spouts +wine in the face of her opponent, who is preparing to revenge the +affront with a knife, which, in a posture of threatening defiance, she +grasps in her hand. A third, enraged at being neglected, holds a lighted +candle to a map of the globe, determined to _set the world on fire, +though she perish in the conflagration_! A fourth is undressing. The +fellow bringing in a pewter dish, as part of the apparatus of this +elegant and Attic entertainment, a blind harper, a trumpeter, and a +ragged ballad-singer, roaring out an obscene song, complete this motley +group. + +"This design may be a very exact representation of what were then the +nocturnal amusements of a brothel;--so different are the manners of +former and present times, that I much question whether a similar +exhibition is now to be seen in any tavern of the metropolis. That we +are less licentious than our predecessors, I dare not affirm; but we are +certainly more delicate in the pursuit of our pleasures. + +"The room is furnished with a set of Roman emperors,--they are not +placed in their proper order; for in the mad revelry of the evening, +this family of frenzy have decollated all of them, except Nero; and his +manners had too great a similarity to their own, to admit of his +suffering so degrading an insult; their reverence for _virtue_ induced +them to spare his head. In the frame of a _Caesar_ they have placed a +portrait of _Pontac_, an eminent cook, whose great talents being turned +to heightening sensual, rather than mental enjoyments, he has a much +better chance of a votive offering from this company, than would either +Vespasian or Trajan. + +"The shattered mirror, broken wine-glasses, fractured chair and cane; +the mangled fowl, with a fork stuck in its breast, thrown into a corner, +and indeed every accompaniment, shews, that this has been a night of +riot without enjoyment, mischief without wit, and waste without +gratification. + +"With respect to the drawing of the figures in this curious female +coterie, Hogarth evidently intended several of them for beauties; and of +vulgar, uneducated, prostituted beauty, he had a good idea. The hero of +our tale displays all that careless jollity, which copious draughts of +maddening wine are calculated to inspire; he laughs the world away, and +bids it pass. The poor dupe, without his periwig, in the back-ground, +forms a good contrast of character: he is maudlin drunk, and sadly sick. +To keep up the spirit of unity throughout the society, and not leave the +poor African girl entirely neglected, she is making signs to her friend +the porter, who perceives, and slightly returns, her love-inspiring +glance. This print is rather crowded,--the subject demanded it should be +so; some of the figures, thrown into shade, might have helped the +general effect, but would have injured the characteristic expression." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 3. + +TAVERN SCENE.] + + + + +PLATE IV. + +ARRESTED FOR DEBT. + + "O, vanity of youthful blood, + So by misuse to poison good! + Reason awakes, and views unbarr'd + The sacred gates he wish'd to guard; + Approaching, see the harpy _Law_, + And _Poverty_, with icy paw, + Ready to seize the poor remains + That vice has left of all his gains. + Cold _penitence_, lame _after-thought_, + With fear, despair, and horror fraught, + Call back his guilty pleasures dead, + Whom he hath wrong'd, and whom betray'd." + + +The career of dissipation is here stopped. Dressed in the first style of +the ton, and getting out of a sedan-chair, with the hope of shining in +the circle, and perhaps forwarding a former application for a place or a +pension, he is arrested! To intimate that being plundered is the certain +consequence of such an event, and to shew how closely one misfortune +treads upon the heels of another, a boy is at the same moment stealing +his cane. + +The unfortunate girl whom he basely deserted, is now a milliner, and +naturally enough attends in the crowd, to mark the fashions of the day. +Seeing his distress, with all the eager tenderness of unabated love, she +flies to his relief. Possessed of a small sum of money, the hard +earnings of unremitted industry, she generously offers her purse for the +liberation of her worthless favourite. This releases the captive beau, +and displays a strong instance of female affection; which, being once +planted in the bosom, is rarely eradicated by the coldest neglect, or +harshest cruelty. + +The high-born, haughty Welshman, with an enormous leek, and a +countenance keen and lofty as his native mountains, establishes the +chronology, and fixes the day to be the first of March; which being +sacred to the titular saint of Wales, was observed at court. + + Mr. Nichols remarks of this plate:--"In the early impressions, a + shoe-black steals the Rake's cane. In the modern ones, a large group + of sweeps, and black-shoe boys, are introduced gambling on the + pavement; near them a stone inscribed _Black's_, a contrast to + _White's_ gaming-house, against which a flash of lightning is + pointed. The curtain in the window of the sedan-chair is thrown + back. This plate is likewise found in an intermediate state; the sky + being made unnaturally obscure, with an attempt to introduce a + shower of rain, and lightning very aukwardly represented. It is + supposed to be a first proof after the insertion of the group of + blackguard gamesters; the window of the chair being only marked for + an alteration that was afterwards made in it. Hogarth appears to + have so far spoiled the sky, that he was obliged to obliterate it, + and cause it to be engraved over again by another hand." + + Mr. Gilpin observes:--"Very disagreeable accidents often befal + gentlemen of pleasure. An event of this kind is recorded in the + fourth print, which is now before us. Our hero going, in full dress, + to pay his compliments at court on St. David's day, was accosted in + the rude manner which is here represented.--The composition is good. + The form of the group, made up of the figures in action, the chair, + and the lamplighter, is pleasing. Only, here we have an opportunity + of remarking, that a group is disgusting when the extremities of it + are heavy. A group in some respects should resemble a tree. The + heavier part of the foliage (the cup, as the landscape-painter calls + it) is always near the middle; the outside branches, which are + relieved by the sky, are light and airy. An inattention to this rule + has given a heaviness to the group before us. The two bailiffs, the + woman, and the chairman, are all huddled together in that part of + the group which should have been the lightest; while the middle + part, where the hand holds the door, wants strength and consistence. + It may be added too, that the four heads, in the form of a diamond, + make an unpleasing shape. All regular figures should be studiously + avoided.--The light had been well distributed, if the bailiff + holding the arrest, and the chairman, had been a little lighter, and + the woman darker. The glare of the white apron is disagreeable.--We + have, in this print, some beautiful instances of expression. The + surprise and terror of the poor gentleman is apparent in every limb, + as far as is consistent with the fear of discomposing his dress. The + insolence of power in one of the bailiffs, and the unfeeling heart, + which can jest with misery, in the other, are strongly marked. The + self-importance, too, of the honest Cambrian is not ill portrayed; + who is chiefly introduced to settle the chronology of the story.--In + pose of grace, we have nothing striking. Hogarth might have + introduced a degree of it in the female figure: at least he might + have contrived to vary the heavy and unpleasing form of her + drapery.--The perspective is good, and makes an agreeable shape." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 4. + +ARRESTED FOR DEBT AS GOING TO COURT.] + + + + +PLATE V. + +MARRIES AN OLD MAID. + + "New to the school of hard _mishap_, + Driven from the ease of fortune's lap. + What schemes will nature not embrace + T' avoid less shame of drear distress? + _Gold_ can the charms of youth bestow, + And mask deformity with shew: + Gold can avert the sting of shame, + In Winter's arms create a flame: + Can couple youth with hoary age, + And make antipathies engage." + + +To be thus degraded by the rude enforcement of the law, and relieved +from an exigence by one whom he had injured, would have wounded, +humbled, I had almost said reclaimed, any man who had either feeling or +elevation of mind; but, to mark the progression of vice, we here see +this depraved, lost character, hypocritically violating every natural +feeling of the soul, to recruit his exhausted finances, and marrying an +old and withered Sybil, at the sight of whom nature must recoil. + +The ceremony passes in the old church, Mary-le-bone, which was then +considered at such a distance from London, as to become the usual resort +of those who wished to be privately married; that such was the view of +this prostituted young man, may be fairly inferred from a glance at the +object of his choice. Her charms are heightened by the affectation of an +amorous leer, which she directs to her youthful husband, in grateful +return for a similar compliment which she supposes paid to herself. This +gives her face much meaning, but meaning of such a sort, that an +observer being ask, "_How dreadful must be this creature's hatred?_" +would naturally reply, "_How hateful must be her love!_" + +In his demeanor we discover an attempt to appear at the altar with +becoming decorum: but internal perturbation darts through assumed +tranquillity, for though he is _plighting his troth_ to the old woman, +his eyes are fixed on the young girl who kneels behind her. + +The parson and clerk seem made for each other; a sleepy, stupid +solemnity marks every muscle of the divine, and the nasal droning of the +_lay brother_ is most happily expressed. Accompanied by her child and +mother, the unfortunate victim of his seduction is here again +introduced, endeavouring to enter the church, and forbid the banns. The +opposition made by an old pew-opener, with her bunch of keys, gave the +artist a good opportunity for indulging his taste in the burlesque, and +he has not neglected it. + +A dog (Trump, Hogarth's favorite), paying his addresses to a one-eyed +quadruped of his own species, is a happy parody of the unnatural union +going on in the church. + +The commandments are broken: a crack runs near the tenth, which says, +_Thou shalt not covet thy neighbour's wife;_ a prohibition in the +present case hardly necessary. The creed is destroyed by the damps of +the church; and so little attention has been paid to the poor's box, +that it is covered with a _cobweb_! These three high-wrought strokes of +satirical humour were perhaps never equalled by any exertion of the +pencil; excelled they cannot be. + +On one of the pew doors is the following curious specimen of church-yard +poetry, and mortuary orthography. + + THESE : PEWES : VNSCRUD : AND TANE : IN : SVNDER + IN : STONE : THERS : GRAUEN : WHAT : IS : VNDER + TO : WIT : A VALT : FOR : BURIAL : THERE : IS + WHICH : EDWARD : FORSET : MADE : FOR : HIM : AND : HIS. + +This is a correct copy of the inscription. Part of these lines, in +raised letters, now form a pannel in the wainscot at the end of the +right-hand gallery, as the church is entered from the street. The mural +monument of the Taylor's, composed of lead, gilt over, is still +preserved: it is seen in Hogarth's print, just under the window. + +A glory over the bride's head is whimsical. + +The bay and holly, which decorate the pews, give a date to the period, +and determine this preposterous union of January with June, to have +taken place about the time of Christmas; + + "When Winter linger'd in her icy veins." + +Addison would have classed her among the evergreens of the sex. + +It has been observed, that "the church is too small, and the wooden +post, which seems to have no use, divides the picture very +disagreeably." This cannot be denied: but it appears to be meant as an +accurate representation of the place, and the artist delineated what he +saw. + +The grouping is good, and the principal figure has the air of a +gentleman. The light is well distributed, and the scene most +characteristically represented. + +The commandments being represented as broken, might probably give the +hint to a lady's reply, on being told that thieves had the preceding +night broken into the church, and stolen the communion-plate, and the +ten commandments. "I suppose," added the informant, "that they may melt +and sell the plate; but can you divine for what possible purpose they +could steal the commandments?"--"To _break_ them, to be sure," replied +she;--"to _break_ them." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 5. + +MARRIES AN OLD MAID.] + + + + +PLATE VI. + +SCENE IN A GAMING HOUSE. + + "_Gold_, thou bright son of Phoebus, source + Of universal intercourse; + Of weeping Virtue soft redress: + And blessing those who live to bless: + Yet oft behold this sacred trust, + The tool of avaricious lust; + No longer bond of human kind, + But bane of every virtuous mind. + What chaos such misuse attends, + Friendship stoops to prey on friends; + Health, that gives relish to delight, + Is wasted with the wasting night; + Doubt and mistrust is thrown on _Heaven_, + And all its power to chance is given. + Sad purchase of repentant tears, } + Of needless quarrels, endless fears, } + Of hopes of moments, pangs of years! } + Sad purchase of a tortured mind, + To an imprison'd body join'd." + + +Though now, from the infatuated folly of his antiquated wife, in +possession of a fortune, he is still the slave of that baneful vice, +which, while it enslaves the mind, poisons the enjoyments, and sweeps +away the possessions of its deluded votaries. Destructive as the +earthquake which convulses nature, it overwhelms the pride of the +forest, and engulfs the labours of the architect. + +Newmarket and the cockpit were the scenes of his early amusements; to +crown the whole, he is now exhibited at a gaming-table, where all is +lost! His countenance distorted with agony, and his soul agitated almost +to madness, he imprecates vengeance upon his own head. + + "In heartfelt bitter anguish he appears, + And from the blood-shot ball gush purpled tears! + He beats his brow, with rage and horror fraught; + His brow half bursts with agony of thought!" + +That he should be deprived of all he possessed in such a society as +surround him, is not to be wondered at. One of the most conspicuous +characters appears, by the pistol in his pocket, to be a highwayman: +from the profound stupor of his countenance, we are certain he also is a +losing gamester; and so absorbed in reflection, that neither the boy who +brings him a glass of water, nor the watchman's cry of "Fire!" can +arouse him from his reverie. Another of the party is marked for one of +those well-dressed continental adventurers, who, being unable to live in +their own country, annually pour into this, and with no other requisites +than a quick eye, an adroit hand, and an undaunted forehead, are +admitted into what is absurdly enough called _good_ company. + +At the table a person in mourning grasps his hat, and hides his face, in +the agony of repentance, not having, as we infer from his weepers, +received that legacy of which he is now plundered more than "a little +month." On the opposite side is another, on whom fortune has severely +frowned, biting his nails in the anguish of his soul. The fifth +completes the climax; he is frantic; and with a drawn sword endeavours +to destroy a _pauvre miserable_ whom he supposes to have cheated him, +but is prevented by the interposition of one of those staggering +votaries of Bacchus who are to be found in every company where there is +good wine; and gaming, like the rod of Moses, so far swallows up every +other passion, that the actors, engrossed by greater objects, willingly +leave their wine to the audience. + +In the back-ground are two collusive associates, eagerly dividing the +profits of the evening. + +A nobleman in the corner is giving his note to an usurer. The lean and +hungry appearance of this cent. per cent. worshipper of the golden calf, +is well contrasted by the sleek, contented vacancy of so well-employed a +legislator of this great empire. Seated at the table, a portly +gentleman, of whom we see very little, is coolly sweeping off his +winnings. + +So engrossed is every one present by his own situation, that the flames +which surround them are disregarded, and the vehement cries of a +watchman entering the room, are necessary to rouse their attention to +what is generally deemed the first law of nature, self-preservation. + + Mr. Gilpin observes:--"The fortune, which our adventurer has just + received, enables him to make one push more at the gaming-table. He + is exhibited, in the sixth print, venting curses on his folly for + having lost his last stake.--This is, upon the whole, perhaps, the + best print of the set. The horrid scene it describes, was never more + inimitably drawn. The composition is artful, and natural. If the + shape of the whole be not quite pleasing, the figures are so well + grouped, and with so much ease and variety, that you cannot take + offence. + + "The expression, in almost every figure, is admirable; and the whole + is a strong representation of the human mind in a storm. Three + stages of that species of madness which attends gaming, are here + described. On the first shock, all is inward dismay. The ruined + gamester is represented leaning against a wall, with his arms + across, lost in an agony of horror. Perhaps never passion was + described with so much force. In a short time this horrible gloom + bursts into a storm of fury: he tears in pieces what comes next him; + and, kneeling down, invokes curses upon himself. He next attacks + others; every one in his turn whom he imagines to have been + instrumental in his ruin.--The eager joy of the winning gamesters, + the attention of the usurer, the vehemence of the watchman, and the + profound reverie of the highwayman, are all admirably marked. There + is great coolness, too, expressed in the little we see of the fat + gentleman at the end of the table." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 6. + +GAMING HOUSE SCENE.] + + + + +PLATE VII. + +PRISON SCENE. + + "Happy the man whose constant thought, + (Though in the school of hardship taught,) + Can send remembrance back to fetch + Treasures from life's earliest stretch; + Who, self-approving, can review + Scenes of past virtues, which shine through + The gloom of age, and cast a ray + To gild the evening of his day! + Not so the guilty wretch confined: + No pleasures meet his conscious mind; + No blessings brought from early youth, + But broken faith, and wrested truth; + Talents idle and unused, + And every trust of Heaven abused. + In seas of sad reflection lost, + From horrors still to horrors toss'd, + _Reason_ the vessel leaves to steer, + And gives the helm to mad _Despair_." + + +By a very natural transition Mr. Hogarth has passed his hero from a +gaming house into a prison--the inevitable consequence of extravagance. +He is here represented in a most distressing situation, without a coat +to his back, without money, without a friend to help him. Beggared by a +course of ill-luck, the common attendant on the gamester, having first +made away with every valuable he was master of, and having now no other +resource left to retrieve his wretched circumstances, he at last, vainly +promising himself success, commences author, and attempts, though +inadequate to the task, to write a play, which is lying on the table, +just returned with an answer from the manager of the theatre, to whom he +had offered it, that his piece would by no means do. Struck speechless +with this disastrous occurrence, all his hopes vanish, and his most +sanguine expectations are changed into dejection of spirit. To heighten +his distress, he is approached by his wife, and bitterly upbraided for +his perfidy in concealing from her his former connexions (with that +unhappy girl who is here present with her child, the innocent offspring +of her amours, fainting at the sight of his misfortunes, being unable to +relieve him farther), and plunging her into those difficulties she never +shall be able to surmount. To add to his misery, we see the +under-turnkey pressing him for his prison fees, or garnish-money, and +the boy refusing to leave the beer he ordered, without being first paid +for it. Among those assisting the fainting mother, one of whom we +observe clapping her hand, another applying the drops, is a man crusted +over, as it were, with the rust of a gaol, supposed to have started from +his dream, having been disturbed by the noise at a time when he was +settling some affairs of state; to have left his great plan unfinished, +and to have hurried to the assistance of distress. We are told, by the +papers falling from his lap, one of which contains a scheme for paying +the national debt, that his confinement is owing to that itch of +politics some persons are troubled with, who will neglect their own +affairs, in order to busy themselves in that which noways concerns +them, and which they in no respect understand, though their immediate +ruin shall follow it: nay, so infatuated do we find him, so taken up +with his beloved object, as not to bestow a few minutes on the decency +of his person. In the back of the room is one who owes his ruin to an +indefatigable search after the philosopher's stone. Strange and +unaccountable!--Hence we are taught by these characters, as well as by +the pair of human wings on the tester of the bed, that scheming is the +sure and certain road to beggary: and that more owe their misfortunes to +wild and romantic notions, than to any accident they meet with in life. + +In this upset of his life, and aggravation of distress, we are to +suppose our prodigal almost driven to desperation. Now, for the first +time, he feels the severe effects of pinching cold and griping hunger. +At this melancholy season, reflection finds a passage to his heart, and +he now revolves in his mind the folly and sinfulness of his past +life;--considers within himself how idly he has wasted the substance he +is at present in the utmost need of;--looks back with shame on the +iniquity of his actions, and forward with horror on the rueful scene of +misery that awaits him; until his brain, torn with excruciating thought, +loses at once its power of thinking, and falls a sacrifice to merciless +despair. + + Mr. Ireland remarks, on the plate before us:--"Our improvident + spendthrift is now lodged in that dreary receptacle of human + misery,--a prison. His countenance exhibits a picture of despair; + the forlorn state of his mind is displayed in every limb, and his + exhausted finances, by the turnkey's demand of prison fees, not + being answered, and the boy refusing to leave a tankard of porter, + unless he is paid for it. + + "We see by the enraged countenance of his wife, that she is + violently reproaching him for having deceived and ruined her. To + crown this catalogue of human tortures, the poor girl whom he + deserted, is come with her child--perhaps to comfort him,--to + alleviate his sorrows, to soothe his sufferings:--but the agonising + view is too much for her agitated frame; shocked at the prospect of + that misery which she cannot remove, every object swims before her + eyes,--a film covers the sight,--the blood forsakes her cheeks--her + lips assume a pallid hue,--and she sinks to the floor of the prison + in temporary death. What a heart-rending prospect for him by whom + this is occasioned! + + "The wretched, squalid inmate, who is assisting the fainting female, + bears every mark of being naturalised to the place; out of his + pocket hangs a scroll, on which is inscribed, 'A scheme to pay the + National Debt, by J. L. now a prisoner in the Fleet.' So attentive + was this poor gentleman to the debts of the nation, that he totally + forgot his own. The cries of the child, and the good-natured + attentions of the women, heighten the interest, and realise the + scene. Over the group are a large pair of wings, with which some + emulator of _Dedalus_ intended to escape from his confinement; but + finding them inadequate to the execution of his project, has placed + them upon the tester of his bed. They would not exalt him to the + regions of air, but they o'ercanopy him on earth. A chemist in the + back-ground, happy in his views, watching the moment of projection, + is not to be disturbed from his dream by any thing less than the + fall of the roof, or the bursting of his retort;--and if his dream + affords him felicity, why should he be awakened? The bed and + gridiron, those poor remnants of our miserable spendthrift's + wretched property, are brought here as necessary in his degraded + situation; on one he must try to repose his wearied frame, on the + other, he is to dress his scanty meal." + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 7. + +PRISON SCENE.] + + + + +PLATE VIII. + +SCENE IN A MADHOUSE. + + "_Madness!_ thou chaos of the brain, } + What art, that pleasure giv'st and pain? } + Tyranny of fancy's reign! + Mechanic _fancy!_ that can build + Vast labyrinths and mazes wild, + With rude, disjointed, shapeless measure, + Fill'd with _horror_, fill'd with _pleasure_! + Shapes of _horror_, that would even + Cast doubt of mercy upon Heaven; + Shapes of _pleasure_, that but seen, + Would split the shaking sides of _Spleen_. + + "O vanity of age! here see + The stamp of Heaven effaced by thee! + The headstrong course of youth thus run, + What comfort from this darling son? + His rattling chains with terror hear, + Behold death grappling with despair! + See him by thee to ruin sold, + And curse _thyself_, and curse thy _gold_!" + + +See our hero then, in the scene before us, raving in all the dismal +horrors of hopeless insanity, in the hospital of Bethlehem, the senate +of mankind, where each man may find a representative; there we behold +him trampling on the first great law of nature, tearing himself to +pieces with his own hands, and chained by the leg to prevent any further +mischief he might either do to himself or others. But in this scene, +dreary and horrid as are its accompaniments, he is attended by the +faithful and kind-hearted female whom he so basely betrayed. In the +first plate we see him refuse her his promised hand. In the fourth, she +releases him from the harpy fangs of a bailiff; she is present at his +marriage; and in the hope of relieving his distress, she follows him to +a prison. Our artist, in this scene of horror, has taken an opportunity +of pointing out to us the various causes of mental blindness; for such, +surely, it may be called, when the intuitive faculties are either +destroyed or impaired. In one of the inner rooms of this gallery is a +despairing wretch, imploring Heaven for mercy, whose brain is crazed +with lip-labouring superstition, the most dreadful enemy of human kind; +which, attended with ignorance, error, penance and indulgence, too often +deprives its unhappy votaries of their senses. The next in view is one +man drawing lines upon a wall, in order, if possible, to find out the +longitude; and another, before him, looking through a paper, by way of a +telescope. By these expressive figures we are given to understand that +such is the misfortune of man, that while, perhaps, the aspiring soul is +pursuing some lofty and elevated conception, soaring to an uncommon +pitch, and teeming with some grand discovery, the ferment often proves +too strong for the feeble brain to support, and lays the whole magazine +of notions and images in wild confusion. This melancholy group is +completed by the crazy tailor, who is staring at the mad astronomer with +a sort of wild astonishment, wondering, through excess of ignorance, +what discoveries the heavens can possibly afford; proud of his +profession, he has fixed a variety of patterns in his hat, by way of +ornament; has covered his poor head with shreds, and makes his measure +the constant object of his attention. Behind this man stands another, +playing on the violin, with his book upon his head, intimating that too +great a love for music has been the cause of his distraction. On the +stairs sits another, crazed by love, (evident from the picture of his +beloved object round his neck, and the words "charming Betty Careless" +upon the bannisters, which he is supposed to scratch upon every wall and +every wainscot,) and wrapt up so close in melancholy pensiveness, as not +even to observe the dog that is flying at him. Behind him, and in the +inner room, are two persons maddened with ambition. These men, though +under the influence of the same passion, are actuated by different +notions; one is for the papal dignity, the other for regal; one imagines +himself the Pope, and saying mass; the other fancies himself a King, is +encircled with the emblem of royalty, and is casting contempt on his +imaginary subjects by an act of the greatest disdain. To brighten this +distressful scene, and draw a smile from him whose rigid reasoning might +condemn the bringing into public view this blemish of humanity, are two +women introduced, walking in the gallery, as curious spectators of this +melancholy sight; one of whom is supposed, in a whisper, to bid the +other observe the naked man, which she takes an opportunity of doing by +a leer through the sticks of her fan. + +Thus, imagining the hero of our piece to expire raving mad, the story is +finished, and little else remains but to close it with a proper +application. Reflect then, ye parents, on this tragic tale; consider +with yourselves, that the ruin of a child is too often owing to the +imprudence of a father. Had the young man, whose story we have related, +been taught the proper use of money, had his parent given him some +insight into life, and graven, as it were, upon his heart, the precepts +of religion, with an abhorrence of vice, our youth would, in all +probability, have taken a contrary course, lived a credit to his +friends, and an honour to his country. + +[Illustration: THE RAKE'S PROGRESS. + +PLATE 8. + +SCENE IN BEDLAM.] + + + + +THE DISTRESSED POET. + + +This Plate describes, in the strongest colours, the distress of an +author without friends to patronise him. Seated upon the side of his +bed, without a shirt, but wrapped in an old night-gown, he is now +spinning a poem upon "Riches:" of their _use_ he probably knoweth +little; and of their _abuse_,--if judgment can be formed from +externals,--_certes_, he knoweth less. Enchanted, impressed, inspired +with his subject, he is disturbed by a nymph of the _lactarium_. Her +shrill-sounding voice awakes one of the _little loves_, whose _chorus_ +disturbs his meditations. A link of the golden chain is broken!--a +thought is lost!--to recover it, his hand becomes a substitute for the +barber's comb:--enraged at the noise, he tortures his head for the +fleeting idea; but, ah! no thought is there! + +Proudly conscious that the lines already written are sterling, he +possesses by anticipation the mines of Peru, a view of which hangs over +his head. Upon the table we see "Byshe's Art of Poetry;" for, like the +pack-horse, who cannot travel without his _bells_, he cannot climb the +hill of Parnassus without his _jingling-book_. On the floor lies the +"Grub-street Journal," to which valuable repository of genius and taste +he is probably a contributor. To show that he is a master of the +PROFOUND, and will envelope his subject in a cloud, his pipe and +tobacco-box, those friends to cogitation deep, are close to him. + +His wife, mending that part of his dress, in the pockets of which the +affluent keep their gold, is worthy of a better fate. Her figure is +peculiarly interesting. Her face, softened by adversity, and marked with +domestic care, is at this moment agitated by the appearance of a +boisterous woman, insolently demanding payment of the milk-tally. In the +excuse she returns, there is a mixture of concern, complacency, and +mortification. As an addition to the distresses of this poor family, a +dog is stealing the remnant of mutton incautiously left upon a chair. + +The sloping roof, and projecting chimney, prove the throne of this +inspired bard to be high above the crowd;--it is a garret. The chimney +is ornamented with a _dare for larks_, and a book; a loaf, the +tea-equipage, and a saucepan, decorate the shelf. Before the fire hangs +half a shirt, and a pair of ruffled sleeves. His sword lies on the +floor; for though our professor of poetry waged no war, except with +words, a sword was, in the year 1740, a necessary appendage to every +thing which called itself "gentleman." At the feet of his domestic +seamstress, the full-dress coat is become the resting-place of a cat and +two kittens: in the same situation is one stocking, the other is half +immersed in the washing-pan. The broom, bellows, and mop, are scattered +round the room. The open door shows us that their cupboard is +unfurnished, and tenanted by a hungry and solitary mouse. In the corner +hangs a long cloak, well calculated to conceal the threadbare wardrobe +of its fair owner. + +Mr. Hogarth's strict attention to propriety of scenery, is evinced by +the cracked plaistering of the walls, broken window, and uneven floor, +in the miserable habitation of this poor weaver of madrigals. When this +was first published, the following quotation from Pope's "Dunciad" was +inscribed under the print: + + "Studious he sate, _with all his books_ around, + Sinking from thought to thought, a vast profound: + Plunged for his sense, but found no bottom there; + Then wrote and flounder'd on, in mere despair." + +_All his books_, amounting to _only four_, was, I suppose, the artist's +reason for erasing the lines. + +[Illustration: THE DISTRESSED POET.] + + + + +THE BENCH. + +CHARACTER, CARICATURA, AND OUTRE. + + +It having been universally acknowledged that Mr. Hogarth was one of the +most ingenious painters of his age, and a man possessed of a vast store +of humour, which he has sufficiently shown and displayed in his numerous +productions; the general approbation his works receive, is not to be +wondered at. But, as owing to the false notions of the public, not +thoroughly acquainted with the true art of painting, he has been often +called a _caricaturer_; when, in reality, _caricatura_ was no part of +his profession, he being a true copier of Nature; to set this matter +right, and give the world a just definition of the words, _character_, +_caricatura_, and _outre_, in which humorous painting principally +consists, and to show their difference of meaning, he, in the year 1758, +published this print; but, as it did not quite answer his purpose, +giving an illustration of the word _character_ only, he added, in the +year 1764, the group of heads above, which he never lived to finish, +though he worked upon it the day before his death. The lines between +inverted commas are our author's own words, and are engraved at the +bottom of the plate. + +"There are hardly any two things more essentially different than +_character_ and _caricatura_; nevertheless, they are usually confounded, +and mistaken for each other; on which account this explanation is +attempted. + +"It has ever been allowed, that when a _character_ is strongly marked in +the living face, it may be considered as an index of the mind, to +express which, with any degree of justness, in painting, requires the +utmost efforts of a great master. Now that, which has of late years got +the name of _caricatura_, is, or ought to be, totally divested of every +stroke that hath a tendency to good drawing; it may be said to be a +species of lines that are produced, rather by the hand of chance, than +of skill; for the early scrawlings of a child, which do but barely hint +the idea of a human face, will always be found to be like some person or +other, and will often form such a comical resemblance, as, in all +probability, the most eminent _caricaturers_ of these times will not be +able to equal, with design; because their ideas of objects are so much +more perfect than children's, that they will, unavoidably, introduce +some kind of drawing; for all the humorous effects of the fashionable +manner of _caricaturing_, chiefly depend on the surprise we are under, +at finding ourselves caught with any sort of similitude in objects +absolutely remote in their kind. Let it be observed, the more remote in +their nature, the greater is the excellence of these pieces. As a proof +of this, I remember a famous _caricatura_ of a certain Italian singer, +that struck at first sight, which consisted only of a straight +perpendicular stroke, with a dot over. As to the French word _outre_, it +is different from the rest, and signifies nothing more than the +exaggerated outlines of a figure, all the parts of which may be, in +other respects, a perfect and true picture of nature. A giant or a dwarf +may be called a common man, _outre_. So any part, as a nose, or a leg, +made bigger, or less than it ought to be, is that part _outre_, which is +all that is to be understood by this word, injudiciously used to the +prejudice of _character_."--ANALYSIS OF BEAUTY, chap. vi. + +To prevent these distinctions being looked upon as dry and +unentertaining, our author has, in this group of faces, ridiculed the +want of capacity among some of our judges, or dispensers of the law, +whose shallow discernment, natural disposition, or wilful inattention, +is here perfectly described in their faces. One is amusing himself in +the course of trial, with other business; another, in all the pride of +self-importance, is examining a former deposition, wholly inattentive to +that before him; the next is busied in thoughts quite foreign to the +subject; and the senses of the last are locked fast in sleep. + +The four sages on the Bench, are intended for Lord Chief Justice Sir +John Willes, the principal figure; on his right hand, Sir Edward Clive; +and on his left, Mr. Justice Bathurst, and the Hon. William Noel. + +[Illustration: THE BENCH.] + + + + +THE LAUGHING AUDIENCE. + + "Let him laugh now, who never laugh'd before; + And he who always laugh'd, laugh now the more." + + +"From the first print that Hogarth engraved, to the last that he +published, I do not think," says Mr. Ireland, "there is one, in which +character is more displayed than in this very spirited little etching. +It is much superior to the more delicate engravings from his designs by +other artists, and I prefer it to those that were still higher finished +by his own burin. + +"The prim coxcomb with an enormous bag, whose favours, like those of +Hercules between Virtue and Vice, are contended for by two rival orange +girls, gives an admirable idea of the dress of the day; when, if we may +judge from this print, our grave forefathers, defying Nature, and +despising convenience, had a much higher rank in the temple of Folly +than was then attained by their ladies. It must be acknowledged that, +since that period, the softer sex have asserted their natural rights; +and, snatching the wreath of fashion from the brow of presuming man, +have tortured it into such forms that, were it possible, which _certes_ +it is not, to disguise a beauteous face----But to the high behest of +Fashion all must bow. + +"Governed by this idol, our beau has a cuff that, for a modern fop, +would furnish fronts for a waistcoat, and a family fire-screen might be +made of his enormous bag. His bare and shrivelled neck has a close +resemblance to that of a half-starved greyhound; and his face, figure, +and air, form a fine contrast to the easy and degagee assurance of the +Grisette whom he addresses. + +"The opposite figure, nearly as grotesque, though not quite so formal as +its companion, presses its left hand upon its breast, in the style of +protestation; and, eagerly contemplating the superabundant charms of a +beauty of Rubens's school, presents her with a pinch of comfort. Every +muscle, every line of his countenance, is acted upon by affectation and +grimace, and his queue bears some resemblance to an ear-trumpet. + +"The total inattention of these three polite persons to the business of +the stage, which at this moment almost convulses the children of Nature +who are seated in the pit, is highly descriptive of that refined apathy +which characterises our people of fashion, and raises them above those +mean passions that agitate the groundlings. + +"One gentleman, indeed, is as affectedly unaffected as a man of the +first world. By his saturnine cast of face, and contracted brow, he is +evidently a profound critic, and much too wise to laugh. He must +indisputably be a very great critic; for, like _Voltaire's +Poccocurante_, nothing can please him; and, while those around open +every avenue of their minds to mirth, and are willing to be delighted, +though they do not well know why, he analyses the drama by the laws of +Aristotle, and finding those laws are violated, determines that the +author ought to be hissed, instead of being applauded. This it is to be +so excellent a judge; this it is which gives a critic that exalted +gratification which can never be attained by the illiterate,--the +supreme power of pointing out faults, where others discern nothing but +beauties, and preserving a rigid inflexibility of muscle, while the +sides of the vulgar herd are shaking with laughter. These merry mortals, +thinking with Plato that it is no proof of a good stomach to nauseate +every aliment presented them, do not inquire too nicely into causes, +but, giving full scope to their risibility, display a set of features +more highly ludicrous than I ever saw in any other print. It is to be +regretted that the artist has not given us some clue by which we might +have known what was the play which so much delighted his audience: I +should conjecture that it was either one of Shakespear's comedies, or a +modern tragedy. Sentimental comedy was not the fashion of that day. + +"The three sedate musicians in the orchestra, totally engrossed by +minims and crotchets, are an admirable contrast to the company in the +pit." + +[Illustration: THE LAUGHING AUDIENCE.] + + + + +GATE OF CALAIS. + + +O, THE ROAST BEEF OF OLD ENGLAND! + + "'Twas at the gate of Calais, Hogarth tells, + Where sad despair and famine always dwells; + A meagre Frenchman, Madame Grandsire's cook, + As home he steer'd, his carcase that way took, + Bending beneath the weight of famed sirloin, + 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; + And, when he first beheld the greasy load, + His benediction on it he bestow'd; + And while the solid fat his fingers press'd, + He lick'd his chops, and thus the knight address'd: + + 'O rare roast beef, lov'd by all mankind, + Was I but doom'd to have thee, + Well dress'd, and garnish'd to my mind, + And swimming in thy gravy; + Not all thy country's force combined, + Should from my fury save thee! + + 'Renown'd sirloin! 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 must thy taste exceed + Soup-meagre, frogs, and salad!'" + +The thought on which this whimsical and highly-characteristic print is +founded, originated in Calais, to which place Mr. Hogarth, accompanied +by some of his friends, made an excursion, in the year 1747. + +Extreme partiality for his native country was the leading trait of his +character; he seems to have begun his three hours' voyage with a firm +determination to be displeased at every thing he saw out of Old England. +For a meagre, powdered figure, hung with tatters, _a-la-mode de Paris_, +to affect the airs of a coxcomb, and the importance of a sovereign, is +ridiculous enough; but if it makes a man happy, why should he be +laughed at? It must blunt the edge of ridicule, to see natural hilarity +defy depression; and a whole nation laugh, sing, and dance, under +burthens that would nearly break the firm-knit sinews of a Briton. Such +was the picture of France at that period, but it was a picture which our +English satirist could not contemplate with common patience. The swarms +of grotesque figures who paraded the streets excited his indignation, +and drew forth a torrent of coarse abusive ridicule, not much to the +honour of his liberality. He compared them to Callot's beggars--Lazarus +on the painted cloth--the prodigal son--or any other object descriptive +of extreme contempt. Against giving way to these effusions of national +spleen in the open street, he was frequently cautioned, but advice had +no effect; he treated admonition with scorn, and considered his monitor +unworthy the name of Englishman. These satirical ebullitions were at +length checked. Ignorant of the customs of France, and considering the +gate of Calais merely as a piece of ancient architecture, he began to +make a sketch. This was soon observed; he was seized as a spy, who +intended to draw a plan of the fortification, and escorted by a file of +musqueteers to M. la Commandant. His sketch-book was examined, leaf by +leaf, and found to contain drawings that had not the most distant +relation to tactics. Notwithstanding this favourable circumstance, the +governor, with great politeness, assured him, that had not a treaty +between the nations been actually signed, he should have been under the +disagreeable necessity of hanging him upon the ramparts: as it was, he +must be permitted the privilege of providing him a few military +attendants, who should do themselves the honour of waiting upon him, +while he resided in the dominions of "the grande monarque." Two +sentinels were then ordered to escort him to his hotel, from whence they +conducted him to the vessel; nor did they quit their prisoner, until he +was a league from shore; when, seizing him by the shoulders, and +spinning him round upon the deck, they said he was now at liberty to +pursue his voyage without further molestation. + +So mortifying an adventure he did not like to hear recited, but has in +this print recorded the circumstance which led to it. In one corner he +has given a portrait of himself, making the drawing; and to shew the +moment of arrest, the hand of a serjeant is upon his shoulder. + +The French sentinel is so situated, as to give some idea of a figure +hanging in chains: his ragged shirt is trimmed with a pair of paper +ruffles. The old woman, and a fish which she is pointing at, have a +striking resemblance. The abundance of parsnips, and other vegetables, +indicate what are the leading articles in a Lenten feast. + +Mr. Pine, the painter, sat for the friar, and from thence acquired the +title of Father Pine. This distinction did not flatter him, and he +frequently requested that the countenance might be altered, but the +artist peremptorily refused. + +[Illustration: GATE OF CALAIS. + +"O THE ROAST BEEF OF OLD ENGLAND."] + + + + +THE POLITICIAN. + + "A politician should (as I have read) + Be furnish'd in the first place with a head." + + +One of our old writers gives it as his opinion, that "there are onlie +two subjects which are worthie the studie of a wise man," i.e. religion +and politics. For the first, it does not come under inquiry in this +print,--but certain it is, that too sedulously studying the second, has +frequently involved its votaries in many most tedious and unprofitable +disputes, and been the source of much evil to many well-meaning and +honest men. Under this class comes the Quidnunc here pourtrayed; it is +said to be intended for a Mr. Tibson, laceman, in the Strand, who paid +more attention to the affairs of Europe, than to those of his own shop. +He is represented in a style somewhat similar to that in which Schalcken +painted William the third,--holding a candle in his right hand, and +eagerly inspecting the Gazetteer of the day. Deeply interested in the +intelligence it contains, concerning the flames that rage on the +Continent, he is totally insensible of domestic danger, and regardless +of a flame, which, ascending to his hat,-- + + "Threatens destruction to his three-tail'd wig." + +From the tie-wig, stockings, high-quartered shoes, and sword, I should +suppose it was painted about the year 1730, when street robberies were +so frequent in the metropolis, that it was customary for men in trade to +wear swords, not to preserve their religion and liberty from foreign +invasion, but to defend their own pockets from "domestic collectors." + +The original sketch Hogarth presented to his friend Forrest; it was +etched by Sherwin, and published in 1775. + +[Illustration: THE POLITICIAN.] + + + + +TASTE IN HIGH LIFE, + +IN THE YEAR 1742. + + +The picture from which this print was copied, Hogarth painted by the +order of Miss Edwards, a woman of large fortune, who having been laughed +at for some singularities in her manners, requested the artist to +recriminate on her opponents, and paid him sixty guineas for his +production. + +It is professedly intended to ridicule the reigning fashions of high +life, in the year 1742: to do this, the painter has brought into one +group, an old beau and an old lady of the Chesterfield school, a +fashionable young lady, a little black boy, and a full-dressed monkey. +The old lady, with a most affected air, poises, between her finger and +thumb, a small tea-cup, with the beauties of which she appears to be +highly enamoured. + +The gentleman, gazing with vacant wonder at that and the companion +saucer which he holds in his hand, joins in admiration of its +astonishing beauties! + + "Each varied colour of the brightest hue, + The green, the red, the yellow, and the blue, + In every part their dazzled eyes behold, + Here streak'd with silver--there enrich'd with gold." + +This gentleman is said to be intended for Lord Portmore, in the habit he +first appeared at Court, on his return from France. The cane dangling +from his wrist, large muff, long queue, black stock, feathered chapeau, +and shoes, give him the air of + + "An old and finish'd fop, + All cork at heel, and feather all at top." + +The old lady's habit, formed of stiff brocade, gives her the appearance +of a squat pyramid, with a grotesque head at the top of it. The young +one is fondling a little black boy, who on his part is playing with a +petite pagoda. This miniature Othello has been said to be intended for +the late Ignatius Sancho, whose talents and virtues were an honour to +his colour. At the time the picture was painted, he would have been +rather older than the figure, but as he was then honoured by the +partiality and protection of a noble family, the painter might possibly +mean to delineate what his figure had been a few years before. + +The little monkey, with a magnifying glass, bag-wig, solitaire, laced +hat, and ruffles, is eagerly inspecting a bill of fare, with the +following articles _pour diner_; cocks' combs, ducks' tongues, rabbits' +ears, fricasee of snails, _grande d'oeufs buerre_. + +In the centre of the room is a capacious china jar; in one corner a +tremendous pyramid, composed of packs of cards, and on the floor close +to them, a bill, inscribed "Lady Basto, D^{r} to John Pip, for +cards,--L300." + +The room is ornamented with several pictures; the principal represents +the Medicean Venus, on a pedestal, in stays and high-heeled shoes, and +holding before her a hoop petticoat, somewhat larger than a fig-leaf; a +Cupid paring down a fat lady to a thin proportion, and another Cupid +blowing up a fire to burn a hoop petticoat, muff, bag, queue wig, &c. On +the dexter side is another picture, representing Monsieur Desnoyer, +operatically habited, dancing in a grand ballet, and surrounded by +butterflies, insects evidently of the same genus with this deity of +dance. On the sinister, is a drawing of exotics, consisting of queue and +bag-wigs, muffs, solitaires, petticoats, French heeled shoes, and other +fantastic fripperies. + +Beneath this is a lady in a pyramidical habit walking the Park; and as +the companion picture, we have a blind man walking the streets. + +The fire-screen is adorned with a drawing of a lady in a sedan-chair-- + + "To conceive how she looks, you must call to your mind + The lady you've seen in a lobster confined, + Or a pagod in some little corner enshrined." + +As Hogarth made this design from the ideas of Miss Edwards, it has been +said that he had no great partiality for his own performance, and that, +as he never would consent to its being engraved, the drawing from which +the first print was copied, was made by the connivance of one of her +servants. Be that as it may, his ridicule on the absurdities of +fashion,--on the folly of collecting old china,--cookery,--card playing, +&c. is pointed, and highly wrought. + +At the sale of Miss Edwards's effects at Kensington, the original +picture was purchased by the father of Mr. Birch, surgeon, of +Essex-street, Strand. + +[Illustration: TASTE IN HIGH LIFE.] + + + + +THE HARLOT'S PROGRESS. + +PLATE I. + + "The snares are set, the plot is laid, + Ruin awaits thee,--hapless maid! + Seduction sly assails thine ear, + And _gloating, foul desire_ is near; + Baneful and blighting are their smiles, + Destruction waits upon their wiles; + Alas! thy guardian angel sleeps, + Vice clasps her hands, and virtue weeps." + + +The general aim of historical painters, says Mr. Ireland, has been to +emblazon some signal exploit of an exalted and distinguished character. +To go through a series of actions, and conduct their hero from the +cradle to the grave, to give a history upon canvass, and tell a story +with the pencil, few of them attempted. Mr. Hogarth saw, with the +intuitive eye of genius, that one path to the Temple of Fame was yet +untrodden: he took Nature for his guide, and gained the summit. He was +the painter of Nature; for he gave, not merely the ground-plan of the +countenance, but marked the features with every impulse of the mind. He +may be denominated the biographical dramatist of domestic life. Leaving +those heroic monarchs who have blazed through their day, with the +destructive brilliancy of a comet, to their adulatory historians, he, +like Lillo, has taken his scenes from humble life, and rendered them a +source of entertainment, instruction, and morality. + +This series of prints gives the history of a Prostitute. The story +commences with her arrival in London, where, initiated in the school of +profligacy, she experiences the miseries consequent to her situation, +and dies in the morning of life. Her variety of wretchedness, forms such +a picture of the way in which vice rewards her votaries, as ought to +warn the young and inexperienced from entering this path of infamy. + +The first scene of this domestic tragedy is laid at the Bell Inn, in +Wood-street, and the heroine may possibly be daughter to the poor old +clergyman who is reading the direction of a letter close to the York +waggon, from which vehicle she has just alighted. In attire--neat, +plain, unadorned; in demeanor--artless, modest, diffident: in the bloom +of youth, and more distinguished by native innocence than elegant +symmetry; her conscious blush, and downcast eyes, attract the attention +of a female fiend, who panders to the vices of the opulent and +libidinous. Coming out of the door of the inn, we discover two men, one +of whom is eagerly gloating on the devoted victim. This is a portrait, +and said to be a strong resemblance of Colonel Francis Chartres. + +The old procuress, immediately after the girl's alighting from the +waggon, addresses her with the familiarity of a friend, rather than the +reserve of one who is to be her mistress. + +Had her father been versed in even the first rudiments of physiognomy, +he would have prevented her engaging with one of so decided an aspect: +for this also is the portrait of a woman infamous in her day: but he, +good, easy man, unsuspicious as Fielding's parson Adams, is wholly +engrossed in the contemplation of a superscription to a letter, +addressed to the bishop of the diocese. So important an object prevents +his attending to his daughter, or regarding the devastation occasioned +by his gaunt and hungry Rozinante having snatched at the straw that +packs up some earthenware, and produced + + "The wreck of flower-pots, and the crash of pans!" + +From the inn she is taken to the house of the procuress, divested of her +home-spun garb, dressed in the gayest style of the day; and the tender +native hue of her complexion incrusted with paint, and disguised by +patches. She is then introduced to Colonel Chartres, and by artful +flattery and liberal promises, becomes intoxicated with the dreams of +imaginary greatness. A short time convinces her of how light a breath +these promises were composed. Deserted by her keeper, and terrified by +threats of an immediate arrest for the pompous paraphernalia of +prostitution, after being a short time protected by one of the tribe of +Levi, she is reduced to the hard necessity of wandering the streets, for +that precarious subsistence which flows from the drunken rake, or +profligate debauchee. Here her situation is truly pitiable! Chilled by +nipping frost and midnight dew, the repentant tear trickling on her +heaving bosom, she endeavours to drown reflection in draughts of +destructive poison. This, added to the contagious company of women of +her own description, vitiates her mind, eradicates the native seeds of +virtue, destroys that elegant and fascinating simplicity, which gives +additional charms to beauty, and leaves, in its place, art, affectation, +and impudence. + +Neither the painter of a sublime picture, nor the writer of an heroic +poem, should introduce any trivial circumstances that are likely to draw +the attention from the principal figures. Such compositions should form +one great whole: minute detail will inevitably weaken their effect. But +in little stories, which record the domestic incidents of familiar life, +these accessary accompaniments, though trifling in themselves, acquire a +consequence from their situation; they add to the interest, and realise +the scene. In this, as in almost all that were delineated by Mr. +Hogarth, we see a close regard paid to things as they then were; by +which means his prints become a sort of historical record of the manners +of the age. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 1. + +ENSNARED BY A PROCURESS.] + + + + +THE HARLOT'S PROGRESS. + +PLATE II. + + "Ah! why so vain, though blooming in thy spring, + Thou shining, frail, adorn'd, but wretched thing + Old age will come; disease may come before, + And twenty prove as fatal as threescore!" + + +Entered into the path of infamy, the next scene exhibits our young +heroine the mistress of a rich Jew, attended by a black boy,[1] and +surrounded with the pompous parade of tasteless profusion. Her mind +being now as depraved, as her person is decorated, she keeps up the +spirit of her character by extravagance and inconstancy. An example of +the first is exhibited in the monkey being suffered to drag her rich +head-dress round the room, and of the second in the retiring gallant. +The Hebrew is represented at breakfast with his mistress; but, having +come earlier than was expected, the favourite has not departed. To +secure his retreat is an exercise for the invention of both mistress and +maid. This is accomplished by the lady finding a pretence for +quarrelling with the Jew, kicking down the tea-table, and scalding his +legs, which, added to the noise of the china, so far engrosses his +attention, that the paramour, assisted by the servant, escapes +discovery. + +The subjects of two pictures, with which the room is decorated, are +David dancing before the ark, and Jonah seated under a gourd. They are +placed there, not merely as circumstances which belong to Jewish story, +but as a piece of covert ridicule on the old masters, who generally +painted from the ideas of others, and repeated the same tale _ad +infinitum_. On the toilet-table we discover a mask, which well enough +intimates where she had passed part of the preceding night, and that +masquerades, then a very fashionable amusement, were much frequented by +women of this description; a sufficient reason for their being avoided +by those of an opposite character. + +Under the protection of this disciple of Moses she could not remain +long. Riches were his only attraction, and though profusely lavished on +this unworthy object, her attachment was not to be obtained, nor could +her constancy be secured; repeated acts of infidelity are punished by +dismission; and her next situation shows, that like most of the +sisterhood, she had lived without apprehension of the sunshine of life +being darkened by the passing cloud, and made no provision for the hour +of adversity. + +In this print the characters are marked with a master's hand. The +insolent air of the harlot, the astonishment of the Jew, eagerly +grasping at the falling table, the start of the black boy, the cautious +trip of the ungartered and barefooted retreating gallant, and the sudden +spring of the scalded monkey, are admirably expressed. To represent an +object in its descent, has been said to be impossible; the attempt has +seldom succeeded; but, in this print, the tea equipage really appears +falling to the floor; and, in Rembrandt's Abraham's Offering, in the +Houghton collection, now at Petersburg, the knife dropping from the hand +of the patriarch, appears in a falling state. + +Quin compared Garrick in Othello to the black boy with the tea-kettle, a +circumstance that by no means encouraged our Roscius to continue acting +the part. Indeed, when his face was obscured, his chief power of +expression was lost; and then, and not till then, was he reduced to a +level with several other performers. It has been remarked, however, that +Garrick said of himself, that when he appeared in Othello, Quin, he +supposed, would say, "Here's Pompey! where's the tea-kettle?" + +FOOTNOTE: + +[1] The attendant black boy gave the foundation of an ill-natured remark +by Quin, when Garrick once attempted the part of Othello. "He pretend to +play Othello!" said the surly satirist; "He pretend to play Othello! He +wants nothing but the tea-kettle and lamp, to qualify him for Hogarth's +Pompey!" + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 2. + +QUARRELS WITH HER JEW PROTECTOR.] + + + + + +THE HARLOT'S PROGRESS. + +PLATE III. + + "Reproach, scorn, infamy, and hate, + On all thy future steps shall wait; + Thy furor be loath'd by every eye, + And every foot thy presence fly." + + +We here see this child of misfortune fallen from her high estate! Her +magnificent apartment is quitted for a dreary lodging in the purlieus of +Drury-lane; she is at breakfast, and every object exhibits marks of the +most wretched penury: her silver tea-kettle is changed for a tin pot, +and her highly decorated toilet gives place to an old leaf table, +strewed with the relics of the last night's revel, and ornamented with a +broken looking-glass. Around the room are scattered tobacco-pipes, gin +measures, and pewter pots; emblems of the habits of life into which she +is initiated, and the company which she now keeps: this is farther +intimated by the wig-box of James Dalton, a notorious street-robber, who +was afterwards executed. In her hand she displays a watch, which might +be either presented to her, or stolen from her last night's gallant. By +the nostrums which ornament the broken window, we see that poverty is +not her only evil. + +The dreary and comfortless appearance of every object in this wretched +receptacle, the bit of butter on a piece of paper, the candle in a +bottle, the basin upon a chair, the punch-bowl and comb upon the table, +and the tobacco-pipes, &c. strewed upon the unswept floor, give an +admirable picture of the style in which this pride of Drury-lane ate her +matin meal. The pictures which ornament the room are, Abraham offering +up Isaac, and a portrait of the Virgin Mary; Dr. Sacheverell and +Macheath the highwayman, are companion prints. There is some +whimsicality in placing the two ladies under a canopy, formed by the +unnailed valance of the bed, and characteristically crowned by the +wig-box of a highwayman. + +When Theodore, the unfortunate king of Corsica, was so reduced as to +lodge in a garret in Dean-street, Soho, a number of gentlemen made a +collection for his relief. The chairman of their committee informed him, +by letter, that on the following day, at twelve o'clock, two of the +society would wait upon his majesty with the money. To give his attic +apartment an appearance of royalty, the poor monarch placed an +arm-chair on his half-testered bed, and seating himself under the +scanty canopy, gave what he thought might serve as the representation of +a throne. When his two visitors entered the room, he graciously held out +his right hand, that they might have the honour of--kissing it! + +A magistrate, cautiously entering the room, with his attendant +constables, commits her to a house of correction, where our legislators +wisely suppose, that being confined to the improving conversation of her +associates in vice, must have a powerful tendency towards the +reformation of her manners. Sir John Gonson, a justice of peace, very +active in the suppression of brothels, is the person represented. In _a +View of the Town in 1735_, by T. Gilbert, fellow of Peterhouse, +Cambridge, are the following lines: + + "Though laws severe to punish crimes were made, + What honest man is of these laws afraid? + All felons against judges will exclaim, + As harlots tremble at a Gonson's name." + +Pope has noticed him in his Imitation of Dr. Donne, and Loveling, in a +very elegant Latin ode. Thus, between the poets and the painter, the +name of this harlot-hunting justice, is transmitted to posterity. He +died on the 9th of January, 1765. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 3. + +APPREHENDED BY A MAGISTRATE.] + + + + +THE HARLOT'S PROGRESS. + +PLATE IV. + + With pallid cheek and haggard eye, + And loud laments, and heartfelt sigh, + Unpitied, hopeless of relief, + She drinks the bitter cup of grief. + + In vain the sigh, in vain the tear, + Compassion never enters here; + But justice clanks her iron chain, + And calls forth shame, remorse, and pain. + + +The situation, in which the last plate exhibited our wretched female, +was sufficiently degrading, but in this, her misery is greatly +aggravated. We now see her suffering the chastisement due to her +follies; reduced to the wretched alternative of beating hemp, or +receiving the correction of a savage task-master. Exposed to the +derision of all around, even her own servant, who is well acquainted +with the rules of the place, appears little disposed to show any return +of gratitude for recent obligations, though even her shoes, which she +displays while tying up her garter, seem by their gaudy outside to have +been a present from her mistress. The civil discipline of the stern +keeper has all the severity of the old school. With the true spirit of +tyranny, he sentences those who will not labour to the whipping-post, to +a kind of picketing suspension by the wrists, or having a heavy log +fastened to their leg. With the last of these punishments he at this +moment threatens the heroine of our story, nor is it likely that his +obduracy can be softened except by a well applied fee. How dreadful, how +mortifying the situation! These accumulated evils might perhaps produce +a momentary remorse, but a return to the path of virtue is not so easy +as a departure from it. + +To show that neither the dread, nor endurance, of the severest +punishment, will deter from the perpetration of crimes, a one-eyed +female, close to the keeper, is picking a pocket. The torn card may +probably be dropped by the well-dressed gamester, who has exchanged the +dice-box for the mallet, and whose laced hat is hung up as a companion +trophy to the hoop-petticoat. + +One of the girls appears scarcely in her teens. To the disgrace of our +police, these unfortunate little wanderers are still suffered to take +their nocturnal rambles in the most public streets of the metropolis. +What heart, so void of sensibility, as not to heave a pitying sigh at +their deplorable situation? Vice is not confined to colour, for a black +woman is ludicrously exhibited, as suffering the penalty of those +frailties, which are imagined peculiar to the fair. + +The figure chalked as dangling upon the wall, with a pipe in his mouth, +is intended as a caricatured portrait of Sir John Gonson, and probably +the production of some would-be artist, whom the magistrate had +committed to Bridewell, as a proper academy for the pursuit of his +studies. The inscription upon the pillory, "Better to work than stand +thus;" and that on the whipping-post near the laced gambler, "The reward +of idleness," are judiciously introduced. + +In this print the composition is good: the figures in the back-ground, +though properly subordinate, are sufficiently marked; the lassitude of +the principal character, well contrasted by the austerity of the rigid +overseer. There is a fine climax of female debasement, from the gaudy +heroine of our drama, to her maid, and from thence to the still object, +who is represented as destroying one of the plagues of Egypt. + +Such well dressed females, as our heroine, are rarely met with in our +present houses of correction; but her splendid appearance is +sufficiently warranted by the following paragraph in the Grub-street +Journal of September 14th, 1730. + +"One Mary Moffat, a woman of great note in the hundreds of Drury, who, +about a fortnight ago, was committed to hard labour in Tothill-fields +Bridewell, by nine justices, brought his majesty's writ of _habeas +corpus_, and was carried before the right honourable the Lord Chief +Justice Raymond, expecting to have been either bailed or discharged; but +her commitment appearing to be legal, his lordship thought fit to remand +her back again to her former place of confinement, where she is now +beating hemp in a gown very richly laced with silver." + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 4. + +SCENE IN BRIDEWELL.] + + + + +THE HARLOT'S PROGRESS. + +PLATE V. + + With keen remorse, deep sighs, and trembling fears + Repentant groans, and unavailing tears, + This child of misery resigns her breath, + And sinks, despondent, in the arms of death. + + +Released from Bridewell, we now see this victim to her own indiscretion +breathe her last sad sigh, and expire in all the extremity of penury and +wretchedness. The two quacks, whose injudicious treatment, has probably +accelerated her death, are vociferously supporting the infallibility of +their respective medicines, and each charging the other with having +poisoned her. The meagre figure is a portrait of Dr. Misaubin, a +foreigner, at that time in considerable practice. + +These disputes, it has been affirmed, sometimes happen at a consultation +of regular physicians, and a patient has been so unpolite as to die +before they could determine on the name of his disorder. + + "About the symptoms how they disagree, + But how unanimous about the fee!" + +While the maid servant is entreating them to cease quarrelling, and +assist her dying mistress, the nurse plunders her trunk of the few poor +remains of former grandeur. Her little boy, turning a scanty remnant of +meat hung to roast by a string; the linen hanging to dry; the coals +deposited in a corner; the candles, bellows, and gridiron hung upon +nails; the furniture of the room; and indeed every accompaniment; +exhibit a dreary display of poverty and wretchedness. Over the candles +hangs a cake of Jew's Bread, once perhaps the property of her Levitical +lover, and now used as a fly-trap. The initials of her name, M. H. are +smoked upon the ceiling as a kind of _memento mori_ to the next +inhabitant. On the floor lies a paper inscribed "anodyne necklace," at +that time deemed a sort of charm against the disorders incident to +children; and near the fire, a tobacco-pipe, and paper of pills. + +A picture of general, and at this awful moment, indecent confusion, is +admirably represented. The noise of two enraged quacks disputing in bad +English; the harsh, vulgar scream of the maid servant; the table +falling, and the pot boiling over, must produce a combination of sounds +dreadful and dissonant to the ear. In this pitiable situation, without a +friend to close her dying eyes, or soften her sufferings by a tributary +tear; forlorn, destitute, and deserted, the heroine of this eventful +history expires! her premature death, brought on by a licentious life, +seven years of which had been devoted to debauchery and dissipation, and +attended by consequent infamy, misery, and disease. The whole story +affords a valuable lesson to the young and inexperienced, and proves +this great, this important truth, that A DEVIATION FROM VIRTUE IS A +DEPARTURE FROM HAPPINESS. + +The emaciated appearance of the dying figure, the boy's thoughtless +inattention, and the rapacious, unfeeling eagerness of the old nurse, +are naturally and forcibly delineated. + +The figures are well grouped; the curtain gives depth, and forms a good +back-ground to the doctor's head; the light is judiciously distributed, +and each accompaniment highly appropriate. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 5. + +EXPIRES WHILE THE DOCTORS ARE DISPUTING.] + + + + +THE HARLOT'S PROGRESS. + +PLATE VI. + + "No friend's complaint, no kind domestic tear, + Pleas'd thy pale ghost, or grac'd thy mournful bier: + By harlots' hands thy dying eyes were clos'd; + By harlots' hands thy decent limbs compos'd; + By harlots' hands thy humble grave adorn'd; + By harlots honour'd, and by harlots mourn'd." + + +The adventures of our heroine are now concluded. She is no longer an +actor in her own tragedy; and there are those who have considered this +print as a farce at the end of it: but surely such was not the author's +intention. + +The ingenious writer of Tristram Shandy begins the life of his hero +before he is born; the picturesque biographer of Mary Hackabout has +found an opportunity to convey admonition, and enforce his moral, after +her death. A wish usually prevails, even among those who are most +humbled by their own indiscretion, that some respect should be paid to +their remains; that their eyes should be closed by the tender hand of a +surviving friend, and the tear of sympathy and regret shed upon the sod +which covers their grave; that those who loved them living, should +attend their last sad obsequies; and a sacred character read over them +the awful service which our religion ordains, with the solemnity it +demands. The memory of this votary of prostitution meets with no such +marks of social attention, or pious respect. The preparations for her +funeral are as licentious as the progress of her life, and the contagion +of her example seems to reach all who surround her coffin. One of them +is engaged in the double trade of seduction and thievery; a second is +contemplating her own face in a mirror. The female who is gazing at the +corpse, displays some marks of concern, and feels a momentary +compunction at viewing the melancholy scene before her: but if any other +part of the company are in a degree affected, it is a mere maudlin +sorrow, kept up by glasses of strong liquor. The depraved priest does +not seem likely to feel for the dead that hope expressed in our liturgy. +The appearance and employment of almost every one present at this +mockery of woe, is such as must raise disgust in the breast of any +female who has the least tincture of delicacy, and excite a wish that +such an exhibition may not be displayed at her own funeral. + +In this plate there are some local customs which mark the manners of the +times when it was engraved, but are now generally disused, except in +some of the provinces very distant from the capital; sprigs of rosemary +were then given to each of the mourners: to appear at a funeral without +one, was as great an indecorum as to be without a white handkerchief. +This custom might probably originate at a time when the plague +depopulated the metropolis, and rosemary was deemed an antidote against +contagion. It must be acknowledged that there are also in this print +some things which, though they gave the artist an opportunity of +displaying his humour, are violations of propriety and customs: such is +her child, but a few removes from infancy, being habited as chief +mourner, to attend his parent to the grave; rings presented, and an +escutcheon hung up, in a garret, at the funeral of a needy prostitute. +The whole may be intended as a burlesque upon ostentatious and expensive +funerals, which were then more customary than they are now. Mr. Pope has +well ridiculed the same folly; + + "When Hopkins dies, a thousand lights attend + The wretch who, living, sav'd a candle's end." + +The figures have much characteristic discrimination; the woman looking +into the coffin has more beauty than we generally see in the works of +this artist. The undertaker's gloating stare, his companion's leer, the +internal satisfaction of the parson and his next neighbour, are +contrasted by the Irish howl of the woman at the opposite side, and +evince Mr. Hogarth's thorough knowledge of the operation of the passions +upon the features. The composition forms a good shape, has a proper +depth, and the light is well managed. + +Sir James Thornhill's opinion of this series may be inferred from the +following circumstance. Mr. Hogarth had without consent married his +daughter: Sir James, considering him as an obscure artist, was much +displeased with the connexion. To give him a better opinion of his +son-in-law, a common friend, one morning, privately conveyed the six +pictures of the Harlot's Progress into his drawing-room. The veteran +painter eagerly inquired who was the artist; and being told, cried out, +"Very well! Very well indeed! The man who can paint such pictures as +these, can maintain a wife without a portion." This was the remark of +the moment; but he afterwards considered the union of his daughter with +a man of such abilities an honour to his family, was reconciled, and +generous. + +When the publication was advertised, such was the expectation of the +town, that above twelve hundred names were entered in the subscription +book. When the prints appeared, they were beheld with astonishment. A +subject so novel in the idea, so marked with genius in the execution, +excited the most eager attention of the public. At a time when England +was coldly inattentive to every thing which related to the arts, so +desirous were all ranks of people of seeing how this little domestic +story was delineated, that there were eight piratical imitations, +besides two copies in a smaller size than the original, published, by +permission of the author, for Thomas Bakewell. The whole series were +copied on fan-mounts, representing the six plates, three on one side, +and three on the other. It was transferred from the copper to the stage, +in the form of a pantomime, by Theophilus Cibber; and again represented +in a ballad opera, entitled, the Jew Decoyed; or, the Harlot's +Progress. + +[Illustration: THE HARLOT'S PROGRESS. + +PLATE 6. + +THE FUNERAL.] + + + + +THE LECTURE. + +DATUR VACUUM. + + "No wonder that science, and learning profound, + In Oxford and Cambridge so greatly abound, + When so many take thither a little each day, + And we see very few who bring any away." + + +I was once told by a fellow of a college, says Mr. Ireland, that he +disliked Hogarth, because he had in this print ridiculed one of the +Universities. I endeavoured to defend the artist, by suggesting that +this was not intended as a picture of what Oxford is now, but of what it +was in days long past: that it was that kind of general satire with +which no one should be offended, &c. &c. His reply was too memorable to +be forgotten. "Sir, the Theatre, the Bench, the College of Physicians, +and the Foot Guards, are fair objects of satire; but those venerable +characters who have devoted their whole lives to feeding the lamp of +learning with hallowed oil, are too sacred to be the sport of an +uneducated painter. Their unremitting industry embraced the whole circle +of the sciences, and in their logical disputations they displayed an +acuteness that their followers must contemplate with astonishment. The +present state of Oxford it is not necessary for me to analyze, as you +contend that the satire is not directed against that." + +In answer to this observation, which was uttered with becoming gravity, +a gentleman present remarked, as follows. "For some of the ancient +customs of this seminary of learning, I have much respect, but as to +their dry treatises on logic, immaterial dissertations on materiality, +and abstruse investigations of useless subjects, they are mere literary +legerdemain. Their disputations being usually built on an undefinable +chimera, are solved by a paradox. Instead of exercising their power of +reason they exert their powers of sophistry, and divide and subdivide +every subject with such casuistical minuteness, that those who are not +convinced, are almost invariably confounded. This custom, it must be +granted, is not quite so prevalent as it once was: a general spirit of +reform is rapidly diffusing itself; and though I have heard cold-blooded +declaimers assert, that these shades of science are become the retreats +of ignorance, and the haunts of dissipation, I consider them as the +great schools of urbanity, and favourite seats of the _belles lettres_. +By the _belles lettres_, I mean history, biography, and poetry; that all +these are universally cultivated, I can exemplify by the manner in which +a highly accomplished young man, who is considered as a model by his +fellow-collegians, divides his hours. + +"At breakfast I found him studying the marvellous and eventful history +of Baron Munchausen; a work whose periods are equally free from the +long-winded obscurity of Tacitus, and the asthmatic terseness of +Sallust. While his hair was dressing, he enlarged his imagination and +improved his morals by studying Doctor what's his name's abridgement of +Chesterfield's Principles of Politeness. To furnish himself with +biographical information, and add to his stock of useful anecdote, he +studied the Lives of the Highwaymen; in which he found many +opportunities of exercising his genius and judgment in drawing parallels +between the virtues and exploits of these modern worthies, and those +dignified, and almost deified ancient heroes whose deeds are recorded in +Plutarch and Nepos. + +"With poetical studies, he is furnished by the English operas, which, +added to the prologues, epilogues, and odes of the day, afford him +higher entertainment than he could find in Homer or Virgil: he has not +stored his memory with many epigrams, but of puns has a plentiful stock, +and in _conundra_ is a wholesale dealer. At the same college I know a +most striking contrast, whose reading"--But as his opponent would hear +no more, my advocate dropped the subject; and I will follow his example. + +It seems probable, that when the artist engraved this print, he had only +a general reference to an university lecture; the words _datur vacuum_ +were an after-thought. Some prints are without the inscription, and in +some of the early impressions it is written with a pen. + +The scene is laid at Oxford, and the person reading, universally +admitted to be a Mr. Fisher, of Jesus College, _registrat_ of the +university, with whose consent this portrait was taken, and who lived +until the 18th of March, 1761. That he should wish to have such a face +handed down to posterity, in such company, is rather extraordinary, for +all the band, except one man, have been steeped in the stream of +stupidity. This gentleman has the profile of penetration; a projecting +forehead, a Roman nose, thin lips, and a long pointed chin. His eye is +bent on vacancy: it is evidently directed to the moon-faced idiot that +crowns the pyramid, at whose round head, contrasted by a cornered cap, +he with difficulty suppresses a laugh. Three fellows on the right hand +of this fat, contented "first-born transmitter of a foolish face," have +most degraded characters, and are much fitter for the stable than the +college. If they ever read, it must be in Bracken's Farriery, or the +Country Gentleman's Recreation. Two square-capped students a little +beneath the top, one of whom is holding converse with an adjoining +profile, and the other lifting up his eyebrows, and staring without +sight, have the same misfortune that attended our first James--their +tongues are rather too large. A figure in the left-hand corner has shut +his eyes to think; and having, in his attempt to separate a syllogism, +placed the forefinger of his right hand upon his forehead, has fallen +asleep. The professor, a little above the book, endeavours by a +projection of his under lip to assume importance; such characters are +not uncommon: they are more solicitous to look wise, than to be so. Of +Mr. Fisher it is not necessary to say much: he sat for his portrait, for +the express purpose of having it inserted in the Lecture!--We want no +other testimony of his talents. + +[Illustration: THE LECTURE.] + + + + +THE CHORUS. + +REHEARSAL OF THE ORATORIO OF JUDITH. + + "O _cara, cara!_ silence all that train, + Joy to great _chaos!_ let division reign." + + +The Oratorio of Judith, Mr. Ireland observes, was written by Esquire +William Huggins, honoured by the music of William de Fesch, aided by new +painted scenery and _magnifique_ decoration, and in the year 1733 +brought upon the stage. As De Fesch[2] was a German and a genius, we may +fairly presume it was well set; and there was at that time, as at this, +a sort of musical mania, that paid much greater attention to sounds than +to sense; notwithstanding all these points in her favour, when the +Jewish heroine had made her theatrical _debut_, and so effectually smote +Holofernes, + + ----"As to sever + His head from his great trunk for ever and for ever." + +the audience compelled her to make her exit. To set aside this partial +and unjust decree, Mr. Huggins appealed to the public, and printed his +oratorio. Though it was adorned with a frontispiece designed by Hogarth, +and engraved by Vandergucht, the world could not be compelled to read, +and the unhappy writer had no other resource than the consolatory +reflection, that his work was superlatively excellent, but unluckily +printed in a tasteless age; a comfortable and solacing self-consciousness, +which hath, I verily believe, prevented many a great genius from becoming +his own executioner. + +To paint a sound is impossible; but as far as art can go towards it, +Hogarth has gone in this print. The tenor, treble, and bass of these +ear-piercing choristers are so decisively discriminated, that we all but +hear them. + +The principal figure, whose head, hands, and feet are in equal +agitation, has very properly tied on his spectacles; it would have been +prudent to have tied on his periwig also, for by the energy of his +action he has shaken it from his head, and, absorbed in an eager +attention to true time, is totally unconscious of his loss. + +A gentleman--pardon me, I meant a singer--in a bag wig, immediately +beneath his uplifted hand, I suspect to be of foreign growth. It has the +engaging air of an importation from Italy. + +The little figure in the sinister corner, is, it seems, intended for a +Mr. Tothall, a woollen-draper, who lived in Tavistock-court, and was +Hogarth's intimate friend. + +The name of the performer on his right hand, + + ----"Whose growling bass + Would drown the clarion of the braying ass," + +I cannot learn, nor do I think that this group were meant for particular +portraits, but a general representation of the violent distortions into +which these crotchet-mongers draw their features on such solemn +occasions. + +Even the head of the bass-viol has air and character: by the band under +the chin, it gives some idea of a professor, or what is, I think, called +a Mus. D. + +The words now singing, "The world shall bow to the Assyrian throne," are +extracted from Mr. Huggins' oratorio; the etching is in a most masterly +style, and was originally given as a subscription ticket to the Modern +Midnight Conversation. + +I have seen a small political print on Sir Robert Walpole's +administration, entitled, "Excise, a new Ballad Opera," of which this +was unquestionably the basis. Beneath it is the following learned and +poetical motto: + + "_Experto crede Roberto._" + + "Mind how each hireling songster tunes his throat, + And the vile knight beats time to every note: + So Nero sung while Rome was all in flames, + But time shall brand with infamy their names." + +FOOTNOTE: + +[2] He was a respectable performer on the violin, some years +chapel-master at Antwerp, and several seasons leader of the band at +Marybone Gardens. He published a collection of musical compositions, to +which was annexed a portrait of himself, characterised by three lines +from Milton: + + "Thou honour'dst verse, and verse must lend her wing + To honour thee, the priest of Phoebus' quire, + That tun'st her happiest lines in hymn or song." + +He died in 1750, aged seventy years, and gives one additional name to a +catalogue I have somewhere seen of very old professors of music, who, +saith my author, "generally live unto a greater age than persons in any +other way of life, from their souls being so attuned unto harmony, that +they enjoy a perpetual peace of mind." It has been observed, and I +believe justly, that thinking is a great enemy to longevity, and that, +consequently, they who think least will be likely to live longest. The +quantity of thought necessary to make an adept in this divine science, +must be determined by those who have studied it.--It would seem by this +remark, that Mr. Ireland was not aware that to acquire proficiency in +the divine science to which he so pleasantly alludes, requires great +application and study. + +[Illustration: THE CHORUS.] + + + + + +COLUMBUS BREAKING THE EGG. + + +By the success of Columbus's first voyage, doubt had been changed into +admiration; from the honours with which he was rewarded, admiration +degenerated into envy. To deny that his discovery carried in its train +consequences infinitely more important than had resulted from any made +since the creation, was impossible. His enemies had recourse to another +expedient, and boldly asserted that there was neither wisdom in the +plan, nor hazard in the enterprise. + +When he was once at a Spanish supper, the company took this ground, and +being by his narrative furnished with the reflections which had induced +him to undertake his voyage, and the course that he had pursued in its +completion, sagaciously observed, that "it was impossible for any man, a +degree above an idiot, to have failed of success. The whole process was +so obvious, it must have been seen by a man who was half blind! Nothing +could be so easy!" + +"It is not difficult now I have pointed out the way," was the answer of +Columbus: "but easy as it will appear, when you are possessed of my +method, I do not believe that, without such instruction, any person +present could place one of these eggs upright on the table." The cloth, +knives, and forks were thrown aside, and two of the party, placing their +eggs as required, kept them steady with their fingers. One of them swore +there could be no other way. "We will try," said the navigator; and +giving an egg, which he held in his hand, a smart stroke upon the table, +it remained upright. The emotions which this excited in the company are +expressed in their countenances. In the be-ruffed booby at his left hand +it raises astonishment; he is a DEAR ME! man, of the same family with +Sterne's Simple Traveller, and came from Amiens only yesterday. The +fellow behind him, beating his head, curses his own stupidity; and the +whiskered ruffian, with his fore-finger on the egg, is in his heart +cursing Columbus. As to the two veterans on the other side, they have +lived too long to be agitated with trifles: he who wears a cap, +exclaims, "Is this all!" and the other, with a bald head, "By St. Jago, +I did not think of that!" In the face of Columbus there is not that +violent and excessive triumph which is exhibited by little characters on +little occasions; he is too elevated to be overbearing; and, pointing to +the conical solution of his problematical conundrum, displays a calm +superiority, and silent internal contempt. + +Two eels, twisted round the eggs upon the dish, are introduced as +specimens of the line of beauty; which is again displayed on the +table-cloth, and hinted at on the knife-blade. In all these curves there +is peculiar propriety; for the etching was given as a receipt-ticket to +the Analysis, where this favourite undulating line forms the basis of +his system. + +In the print of Columbus, there is evident reference to the criticisms +on what Hogarth called his own discovery; and in truth the connoisseurs' +remarks on the painter were dictated by a similar spirit to those of the +critics on the navigator: they first asserted there was no such line, +and when he had proved that there was, gave the honour of discovery to +Lomazzo, Michael Angelo, &c. &c. + +[Illustration: COLUMBUS BREAKING THE EGG.] + + + + +A MIDNIGHT MODERN CONVERSATION. + + "Think not to find one meant resemblance there; + We lash the vices, but the persons spare. + Prints should be priz'd, as authors should be read, + Who sharply smile prevailing folly dead. + So Rabelais laugh'd, and so Cervantes thought; + So nature dictated what art has taught." + + +Notwithstanding this inscription, which was engraved on the plate some +time after its publication, it is very certain that most of these +figures were intended for individual portraits; but Mr. Hogarth, not +wishing to be considered as a personal satirist, and fearful of making +enemies among his contemporaries, would never acknowledge who were the +characters. Some of them the world might perhaps mistake; for though the +author was faithful in delineating whatever he intended to portray, +complete intoxication so far caricatures the countenance, that, +according to the old, though trite proverb, "the man is not himself." +His portrait, though given with the utmost fidelity, will scarcely be +known by his most intimate friends, unless they have previously seen him +in this degrading disguise. Hence, it becomes difficult to identify men +whom the painter did not choose to point out at the time; and a century +having elapsed, it becomes impossible, for all who composed the group, +with the artist by whom it was delineated, + + Shake hands with dust, and call the worm their kinsman. + +Mrs. Piozzi was of opinion that the divine with a cork-screw, +occasionally used as a tobacco-stopper, hanging upon his little finger, +was the portrait of parson Ford, Dr. Johnson's uncle; though, upon the +authority of Sir John Hawkins, of anecdotish memory, it has been +generally supposed to be intended for Orator Henley. As both these +worthies were distinguished by that rubicundity of face with which it is +marked, the reader may decree the honour of a sitting to which he +pleases. + +The roaring bacchanalian who stands next him, waving his glass in the +air, has pulled off his wig, and, in the zeal of his friendship, crowns +the divine's head. He is evidently drinking destruction to fanatics, and +success to mother church, or a mitre to the jolly parson whom he +addresses. + +The lawyer, who sits near him, is a portrait of one Kettleby, a +vociferous bar-orator, who, though an utter barrister, chose to +distinguish himself by wearing an enormous full-bottom wig, in which he +is here represented. He was farther remarkable for a diabolical squint, +and a satanic smile. + +A poor maudlin miserable, who is addressing him, when sober, must be a +fool; but, in this state, it would puzzle Lavater to assign him a proper +class. He seems endeavouring to demonstrate to the lawyer, that, in a +poi--poi--point of law, he has been most cruelly cheated, and lost a +cau--cau--cause, that he ought to have got,--and all this was owing to +his attorney being an infernal villain. This may very probably be true; +for the poor man's tears show that, like the person relieved by the good +Samaritan, he has been among thieves. The barrister grins horribly at +his misfortunes, and tells him he is properly punished for not employing +a gentleman. + +Next to him sits a gentleman in a black periwig. He politely turns his +back to the company, that he may have the pleasure of smoking a sociable +pipe. + +The justice, "in fair round belly, with good capon lin'd,"--the justice, +having hung up his hat, wig, and cloak, puts on his nightcap, and, with +a goblet of superior capacity before him, sits in solemn cogitation. His +left elbow, supported by the table, and his right by a chair, with a +pipe in one hand, and a stopper in the other, he puffs out the bland +vapour with the dignity of an alderman, and fancies himself as great as +Jupiter, seated upon the summit of Mount Olympus, enveloped by the thick +cloud which his own breath has created. + +With folded arms and open mouth, another leans back in his chair. His +wig is dropped from his head, and he is asleep; but though speechless, +he is sonorous; for you clearly perceive that, where nasal sounds are +the music, he is qualified to be leader of the band. + +The fallen hero, who with his chair and goblet has tumbled to the floor, +by the cockade in his hat, we suppose to be an officer. His forehead is +marked, perhaps with honourable scars. To wash his wounds, and cool his +head, the staggering apothecary bathes it with brandy. + +A gentleman in the corner, who, from having the Craftsman and London +Evening in his pocket, we determine to be a politician, very unluckily +mistakes his ruffle for the bowl of his pipe, and sets fire to it. + +The person in a bag-wig and solitaire, with his hand upon his head, +would not now pass for a fine gentleman, but in the year 1735 was a +complete beau. Unaccustomed to such joyous company, he appears to have +drank rather more than agrees with him. + +The company consists of eleven, and on the chimney-piece, floor, and +table, are three and twenty empty flasks. These, added to a bottle which +the apothecary holds in his hand, prove that this select society have +not lost a moment. The overflowing bowl, full goblets, and charged +glasses, prove that they think, "'Tis too early to part," though the +dial points to four in the morning. + +The different degrees of drunkenness are well discriminated, and its +effects admirably described. The poor simpleton, who is weeping out his +woes to honest lawyer Kettleby, it makes mawkish; the beau it makes +sick; and the politician it stupifies. One is excited to roaring, and +another lulled to sleep. It half closes the eyes of justice, renders the +footing of physic unsure, and lays prostrate the glory of his country, +and the pride of war. + +[Illustration: A MIDNIGHT MODERN CONVERSATION.] + + + + +CONSULTATION OF PHYSICIANS--THE UNDERTAKERS' ARMS. + + +This plate is designed, with much humour, according to the rules of +heraldry, and is called The Undertakers' Arms, to show us the connexion +between death and the quack doctor, as are also those cross-bones on the +outside of the escutcheon. When an undertaker is in want of business, he +cannot better apply than to some of those gentlemen of the faculty, who +are, for the most part, so charitably disposed, as to supply the +necessities of these sable death-hunters, and keep them from starving in +a healthy time. By the tenour of this piece, Mr. Hogarth would intimate +the general ignorance of such of the medical tribe, and teach us that +they possess little more knowledge than their voluminous wigs and +golden-headed canes. They are represented in deep consultation upon the +contents of an urinal. Our artist's own illustration of this coat of +arms, as he calls it, is as follows: "The company of undertakers +beareth, sable, an urinal, proper between twelve quack heads of the +second, and twelve cane heads, or, consultant. On a chief, _Nebulae_, +ermine, one complete doctor, issuant, checkie, sustaining in his right +hand a baton of the second. On the dexter and sinister sides, two +demi-doctors, issuant of the second, and two cane heads, issuant of the +third; the first having one eye, couchant, towards the dexter side of +the escutcheon; the second faced, per pale, proper, and gules guardant. +With this motto, _Et plurima mortis imago_. The general image of death." + +It has been said of the ancients, that they began by attempting to make +physic a science, and failed; of the moderns, that they began by +attempting to make it a trade, and succeeded. This company are moderns +to a man, and, if we may judge of their capacities by their +countenances, are indeed a most sapient society. Their practice is very +extensive, and they go about, taking guineas, + + Far as the weekly bills can reach around, + From Kent-street end, to fam'd St. Giles's pound. + +Many of them are unquestionably portraits, but as these grave and sage +descendants of Galen are long since gone to that place where they before +sent their patients, we are unable to ascertain any of them, except the +three who are, for distinction, placed in the chief, or most honourable +part of the escutcheon. Those who, from their exalted situation, we may +naturally conclude the most distinguished and sagacious leeches of +their day, have marks too obtrusive to be mistaken. He towards the +dexter side of the escutcheon, is determined by an eye in the head of +his cane to be the all-accomplished Chevalier Taylor, in whose +marvellous and surprising history, written by his own hand, and +published in 1761, is recorded such events relative to himself and +others, as have excited more astonishment than that incomparable +romance, Don Belianis of Greece, the Arabian Nights, or Sir John +Mandeville's Travels. + +The centre figure, arrayed in a harlequin jacket, with a bone, or what +the painter denominates a baton, in the right hand, is generally +considered designed for Mrs. Mapp, a masculine woman, daughter to one +Wallin, a bone-setter at Hindon, in Wiltshire. This female Thalestris, +incompatible as it may seem with her sex, adopted her father's +profession, travelled about the country, calling herself Crazy Sally; +and, like another Hercules, did wonders by strength of arm. + +On the sinister side is Dr. Ward, generally called Spot Ward, from his +left cheek being marked with a claret colour. This gentleman was of a +respectable family, and though not highly educated, had talents very +superior to either of his coadjutors. + +For the chief, this must suffice; as for the twelve quack heads, and +twelve cane heads, or, consultant, united with the cross bones at the +corners, they have a most mortuary appearance, and do indeed convey a +general image of death. + +In the time of Lucian, a philosopher was distinguished by three +things,--his avarice, his impudence, and his beard. In the time of +Hogarth, medicine was a mystery, and there were three things which +distinguished the physician,--his gravity, his cane-head, and his +periwig. With these leading requisites, this venerable party are most +amply gifted. To specify every character is not necessary; but the upper +figure on the dexter side, with a wig like a weeping willow, should not +be overlooked. His lemon-like aspect must curdle the blood of all his +patients. In the countenances of his brethren there is no want of acids; +but, however sour, each individual was in his day, + + ----------------a doctor of renown, + To none but such as rust in health unknown; + And, save or slay, this privilege they claim, + Or death, or life, the bright reward's the same. + +[Illustration: CONSULTATION OF PHYSICIANS.] + + + + +DANIEL LOCK, ESQ. F.A.S. + + +Daniel Lock was an architect of some eminence. He retired from business +with an ample fortune, lived in Surrey-street, and was buried in the +chapel of Trinity College, Cambridge. This portrait was originally +engraved by J. M'Ardell from a painting by Hogarth, and is classed among +the productions of our artist that are of uncertain date. + +[Illustration: DANIEL LOCK, ESQ. F.A.S.] + + + + +THE ENRAGED MUSICIAN. + + "With thundering noise the azure vault they tear, + And rend, with savage roar, the echoing air: + The sounds terrific he with horror hears; + His fiddle throws aside,--and stops his ears." + + +We have seen displayed the distress of a poet; in this the artist has +exhibited the rage of a musician. Our poor bard bore his misfortunes +with patience, and, rich in his Muse, did not much repine at his +poverty. Not so this master of harmony, of heavenly harmony! To the +evils of poverty he is now a stranger; his _adagios_ and _cantabiles_ +have procured him the protection of nobles; and, contrary to the poor +shirtless mendicant of the Muses that we left in a garret, he is arrayed +in a coat decorated with frogs, a bag-wig, solitaire, and ruffled shirt. +Waiting in the chamber of a man of fashion, whom he instructs in the +divine science of music, having first tuned his instrument, he opens his +crotchet-book, shoulders his violin, flourishes his fiddle-stick, and, + + Softly sweet, in Lydian measure, + Soon he soothes his soul to pleasure. + +Rapt in Elysium at the divine symphony, he is awakened from his beatific +vision, by noises that distract him. + + ----------An universal hubbub wild, + Of stunning sounds, and voices all confus'd, + Assails his ears with loudest vehemence. + +Confounded with the din, and enraged by the interruption, our modern +Terpander starts from his seat, and opens the window. This operates as +air to a kindling fire; and such a combination of noises burst upon the +auricular nerve, that he is compelled to stop his ears,--but to stop the +torrent is impossible! + + A louder yet, and yet a louder strain, + Break his bands of thought asunder! + And rouse him, like a rattling peal of thunder; + At the horrible sound + He has rais'd up his head, + As awak'd from the dead, + And amazed he stares all around. + +In this situation he is delineated; and those who for a moment +contemplate the figures before him, cannot wonder at his rage. + + A crew of hell-hounds never ceasing bark, + With wide Cerberean mouth, full loud, and ring + A hideous peal. + +Of the _dramatis personae_ who perform the vocal parts, the first is a +fellow, in a tone that would rend hell's concave, bawling, "Dust, ho! +dust, ho! dust!" Next to him, an amphibious animal, who nightly pillows +his head on the sedgy bosom of old Thames, in a voice that emulates the +rush of many waters, or the roaring of a cataract, is bellowing +"Flounda,a,a,ars!" A daughter of May-day, who dispenses what in London +is called milk, and is consequently a milk-maid, in a note pitched at +the very top of her voice, is crying, "Be-louw!" While a ballad-singer +dolefully drawls out The Ladie's Fall, an infant in her arms joins its +treble pipe in chorus with the screaming parrot, which is on a lamp-iron +over her head. On the roof of an opposite house are two cats, performing +what an amateur of music might perhaps call a bravura duet; near them +appears + + A sweep, shrill twittering on the chimney-top. + +A little French drummer, singing to his rub-a-dub, and the agreeable +yell of a dog, complete the vocal performers. + +Of the instrumental, a fellow blowing a horn, with a violence that would +have almost shaken down the walls of Jericho, claims the first notice; +next to him, the dustman rattles his bell with ceaseless clangour, until +the air reverberates the sound. + +The intervals are filled up by a paviour, who, to every stroke of his +rammer, adds a loud, distinct, and echoing, Haugh! The pedestrian cutler +is grinding a butcher's cleaver with such earnestness and force, that it +elicits sparks of fire. This, added to the agonizing howls of his +unfortunate dog, must afford a perfect specimen of the ancient +chromatic. The poor animal, between a man and a monkey, piping harsh +discords upon a hautboy, the girl whirling her _crepitaculum_, or +rattle, and the boy beating his drum, conclude the catalogue of this +harmonious band. + +This delineation originated in a story which was told to Hogarth by the +late Mr. John Festin, who is the hero of the print. He was eminent for +his skill in playing upon the German flute and hautboy, and much +employed as a teacher of music. To each of his scholars he devoted one +hour each day. "At nine o'clock in the morning," said he, "I once waited +upon my lord Spencer, but his lordship being out of town, from him I +went to Mr. V----n. It was so early that he was not arisen. I went into +his chamber, and, opening a shutter, sat down in the window-seat. Before +the rails was a fellow playing upon the hautboy. A man with a barrow +full of onions offered the piper an onion if he would play him a tune. +That ended, he offered a second onion for a second tune; the same for a +third, and was going on: but this was too much; I could not bear it; it +angered my very soul--'Zounds!' said I, 'stop here! This fellow is +ridiculing my profession; he is playing on the hautboy for onions!'" + +The whole of this bravura scene is admirably represented. A person +quaintly enough observed, that it deafens one to look at it. + +[Illustration: THE ENRAGED MUSICIAN.] + + + + +MASQUERADES AND OPERAS. + +BURLINGTON GATE. + + +This print appeared in 1723. Of the three small figures in the centre +the middle one is Lord Burlington, a man of considerable taste in +painting and architecture, but who ranked Mr. Kent, an indifferent +artist, above his merit. On one side of the peer is Mr. Campbell, the +architect; on the other, his lordship's postilion. On a show-cloth in +this plate is also supposed to be the portrait of king George II. who +gave 1000_l._ towards the Masquerade; together with that of the earl of +Peterborough, who offers Cuzzoni, the Italian singer, 8000_l._ and she +spurns at him. Mr. Heidegger, the regulator of the Masquerade, is also +exhibited, looking out of a window, with the letter H under him. + +The substance of the foregoing remarks is taken from a collection lately +belonging to Captain Baillie, where it is said that they were furnished +by an eminent connoisseur. + +A board is likewise displayed, with the words, "Long Room. Fawks's +dexterity of hand." It appears from the following advertisement that +this was a man of great consequence in his profession: "Whereas the town +hath been lately alarmed, that the famous Fawks was robbed and murdered, +returning from performing at the duchess of Buckingham's house at +Chelsea; which report being raised and printed by a person to gain money +to himself, and prejudice the above-mentioned Mr. Fawks, whose +unparalleled performance has gained him so much applause from the +greatest of quality, and most curious observers: We think, both in +justice to the injured gentleman, and for the satisfaction of his +admirers, that we cannot please our readers better than to acquaint them +he is alive, and will not only perform his usual surprising dexterity of +hand, posture-master, and musical clock: but, for the greater diversion +of the quality and gentry, has agreed with the famous Powell of the Bath +for the season, who has the largest, richest, and most natural figures, +and finest machines in England, and whose former performances in Covent +Garden were so engaging to the town, as to gain the approbation of the +best judges, to show his puppet-plays along with him, beginning in the +Christmas holidays next, at the Old Tennis-court, in James's-street, +near the Haymarket; where any incredulous persons may be satisfied he is +not left this world, if they please to believe their hands, though they +can't believe their eyes."--"May 25," indeed, "1731, died Mr. Fawks, +famous for his dexterity of hand, by which he had honestly acquired a +fortune of 10,000_l._ being no more than he really deserved for his +great ingenuity, by which he had surpassed all that ever pretended to +that art." + +This satirical performance of Hogarth, however, was thought to be +invented and drawn at the instigation of Sir James Thornhill, out of +revenge, because Lord Burlington had preferred Mr. Kent before him to +paint for the king at his palace at Kensington. Dr. Faustus was a +pantomime performed to crowded houses throughout two seasons, to the +utter neglect of plays, for which reason they are cried about in a +wheel-barrow. + +[Illustration: MASQUERADES AND OPERAS, BURLINGTON GATE.] + + + + +MORNING. + + Keen blows the blast, and eager is the air; + With flakes of feather'd snow the ground is spread; + To step, with mincing pace, to early prayer, + Our clay-cold vestal leaves her downy bed. + + And here the reeling sons of riot see, + After a night of senseless revelry. + + Poor, trembling, old, her suit the beggar plies; + But frozen chastity the little boon denies. + + +This withered representative of Miss Bridget Alworthy, with a shivering +foot-boy carrying her prayer-book, never fails in her attendance at +morning service. She is a symbol of the season.-- + + -------------Chaste as the icicle + That's curdled by the frost from purest snow, + And hangs on Dian's temple + +she looks with scowling eye, and all the conscious pride of severe and +stubborn virginity, on the poor girls who are suffering the embraces of +two drunken beaux that are just staggered out of Tom King's +Coffee-house. One of them, from the basket on her arm, I conjecture to +be an orange girl: she shows no displeasure at the boisterous salute of +her Hibernian lover. That the hero in a laced hat is from the banks of +the Shannon, is apparent in his countenance. The female whose face is +partly concealed, and whose neck has a more easy turn than we always see +in the works of this artist, is not formed of the most inflexible +materials. + +An old woman, seated upon a basket; the girl, warming her hands by a few +withered sticks that are blazing on the ground, and a wretched +mendicant,[3] wrapped in a tattered and parti-coloured blanket, +entreating charity from the rosy-fingered vestal who is going to church, +complete the group. Behind them, at the door of Tom King's Coffee-house, +are a party engaged in a fray, likely to create business for both +surgeon and magistrate: we discover swords and cudgels in the +combatants' hands. + +On the opposite side of the print are two little schoolboys. That they +have shining morning faces we cannot positively assert, but each has a +satchel at his back, and according with the description given by the +poet of nature, is + + Creeping, like snail, unwillingly to school. + +The lantern appended to the woman who has a basket on her head, proves +that these dispensers of the riches of Pomona rise before the sun, and +do part of their business by an artificial light. Near her, that +immediate descendant of Paracelsus, Dr. Rock, is expatiating to an +admiring audience, on the never-failing virtues of his wonder-working +medicines. One hand holds a bottle of his miraculous panacea, and the +other supports a board, on which is the king's arms, to indicate that +his practice is sanctioned by royal letters patent. Two porringers and a +spoon, placed on the bottom of an inverted basket, intimate that the +woman seated near them, is a vender of rice-milk, which was at that time +brought into the market every morning. + +A fatigued porter leans on a rail; and a blind beggar is going towards +the church: but whether he will become one of the congregation, or take +his stand at the door, in the hope that religion may have warmed the +hearts of its votaries to "Pity the sorrows of a poor blind man," is +uncertain. + +Snow on the ground, and icicles hanging from the penthouse, exhibit a +very chilling prospect; but, to dissipate the cold, there is happily a +shop where spirituous liquors are sold _pro bono publico_, at a very +little distance. A large pewter measure is placed upon a post before the +door, and three of a smaller size hang over the window of the house. + +The character of the principal figure is admirably delineated. She is +marked with that prim and awkward formality which generally accompanies +her order, and is an exact type of a hard winter; for every part of her +dress, except the flying lappets and apron, ruffled by the wind, is as +rigidly precise as if it were frozen. It has been said that this +incomparable figure was designed as the representative of either a +particular friend, or a relation. Individual satire may be very +gratifying to the public, but is frequently fatal to the satirist. +Churchill, by the lines, + + ----------------Fam'd Vine-street, + Where Heaven, the kindest wish of man to grant, + Gave me an old house, and an older aunt, + +lost a considerable legacy; and it is related that Hogarth, by the +introduction of this withered votary of Diana into this print, induced +her to alter a will which had been made considerably in his favour: she +was at first well enough satisfied with her resemblance, but some +designing people taught her to be angry. + +Extreme cold is very well expressed in the slip-shod footboy, and the +girl who is warming her hands. The group of which she is a part, is well +formed, but not sufficiently balanced on the opposite side. + +The church dial, a few minutes before seven; marks of little shoes and +pattens in the snow, and various productions of the season in the +market, are an additional proof of that minute accuracy with which this +artist inspected and represented objects, which painters in general have +neglected. + +Govent Garden is the scene, but in the print every building is reversed. +This was a common error with Hogarth; not from his being ignorant of the +use of the mirror, but from his considering it as a matter of little +consequence. + +FOOTNOTE: + +[3] "What signifies," says some one to Dr. Johnson, "giving halfpence to +common beggars? they only lay them out in gin or tobacco." "And why," +replied the doctor, "should they be denied such sweeteners of their +existence? It is surely very savage to shut out from them every possible +avenue to those pleasures reckoned too coarse for our own acceptance. +Life is a pill which none of us can swallow without gilding, yet for the +poor we delight in stripping it still more bare, and are not ashamed to +show even visible marks of displeasure, if even the bitter taste is +taken from their mouths." + +[Illustration: MORNING.] + + + + +NOON. + + Hail, Gallia's daughters! easy, brisk, and free; + Good humour'd, _debonnaire_, and _degagee_: + Though still fantastic, frivolous, and vain, + Let not their airs and graces give us pain: + Or fair, or brown, at toilet, prayer, or play, + Their motto speaks their manners--TOUJOURS GAI. + + But for that powder'd compound of grimace, + That capering he-she thing of fringe and lace; + With sword and cane, with bag and solitaire, + Vain of the full-dress'd dwarf, his hopeful heir, + How does our spleen and indignation rise, + When such a tinsell'd coxcomb meets our eyes, + + +Among the figures who are coming out of church, an affected, flighty +Frenchwoman, with her fluttering fop of a husband, and a boy, habited +_a-la-mode de Paris_, claim our first attention. In dress, air, and +manner, they have a national character. The whole congregation, whether +male or female, old or young, carry the air of their country in +countenance, dress, and deportment. Like the three principal figures, +they are all marked with some affected peculiarity. Affectation, in a +woman, is supportable upon no other ground than that general indulgence +we pay to the omnipotence of beauty, which in a degree sanctifies +whatever it adopts. In a boy, when we consider that the poor fellow is +attempting to copy what he has been taught to believe praiseworthy, we +laugh at it; the largest portion of ridicule falls upon his tutors; but +in a man, it is contemptible! + +The old fellow, in a black periwig, has a most vinegar-like aspect, and +looks with great contempt at the frippery gentlewoman immediately before +him. The woman, with a demure countenance, seems very piously +considering how she can contrive to pick the embroidered beau's pocket. +Two old sybils joining their withered lips in a chaste salute, is +nauseous enough, but, being a national custom, must be forgiven. The +divine seems to have resided in this kingdom long enough to acquire a +roast-beef countenance. A little boy, whose woollen nightcap is pressed +over a most venerable flowing periwig, and the decrepit old man, leaning +upon a crutch-stick, who is walking before him, "I once considered," +says Mr. Ireland, "as two vile caricatures, out of nature, and unworthy +the artist. Since I have seen the peasantry of Flanders, and the +plebeian youth of France, I have in some degree changed my opinion, but +still think them rather _outre_." + +Under a sign of the Baptist's Head is written, Good Eating; and on each +side of the inscription is a mutton chop. In opposition to this head +without a body, unaccountably displayed as a sign at an eating-house, +there is a body without a head, hanging out as the sign of a +distiller's. This, by common consent, has been quaintly denominated the +good woman. At a window above, one of the softer sex proves her +indisputable right to the title by her temperate conduct to her husband, +with whom having had a little disagreement, she throws their Sunday's +dinner into the street. + +A girl, bringing a pie from the bakehouse, is stopped in her career by +the rude embraces of a blackamoor, who eagerly rubs his sable visage +against her blooming cheek. + +Good eating is carried on to the lower part of the picture. A boy, +placing a baked pudding upon a post, with rather too violent an action, +the dish breaks, the fragments fall to the ground, and while he is +loudly lamenting his misfortune, and with tears anticipating his +punishment, the smoking remnants are eagerly snatched up by a poor girl. +Not educated according to the system of Jean Jacques Rousseau, she feels +no qualms of conscience about the original proprietor, and, destitute of +that fastidious delicacy which destroys the relish of many a fine lady, +eagerly swallows the hot and delicious morsels, with all the +concomitants. + +The scene is laid at the door of a French chapel in Hog-lane; a part of +the town at that time almost wholly peopled by French refugees, or their +descendants. + +By the dial of St. Giles's church, in the distance, we see that it is +only half past eleven. At this early hour, in those good times, there +was as much good eating as there is now at six o'clock in the evening. +From twenty pewter measures, which are hung up before the houses of +different distillers, it seems that good drinking was considered as +equally worthy of their serious attention. + +The dead cat, and choked kennels, mark the little attention shown to the +streets by the scavengers of St. Giles's. At that time noxious effluvia +was not peculiar to this parish. The neighbourhood of Fleet-ditch, and +many other parts of the city, were equally polluted. + +Even at this refined period, there would be some use in a more strict +attention to the medical police of a city so crowded with inhabitants. +We ridicule the people of Paris and Edinburgh for neglecting so +essential and salutary a branch of delicacy, while the kennels of a +street in the vicinity of St. Paul's church are floated with the blood +of slaughtered animals every market-day. Moses would have managed these +things better: but in those days there was no physician in Israel! + +[Illustration: NOON.] + + + + +EVENING. + + One sultry Sunday, when no cooling breeze + Was borne on zephyr's wing, to fan the trees; + One sultry Sunday, when the torrid ray + O'er nature beam'd intolerable day; + When raging Sirius warn'd us not to roam, + And Galen's sons prescrib'd cool draughts at home; + One sultry Sunday, near those fields of fame + Where weavers dwell, and Spital is their name, + A sober wight, of reputation high + For tints that emulate the Tyrian dye, + Wishing to take his afternoon's repose, + In easy chair had just began to doze, + When, in a voice that sleep's soft slumbers broke, + His oily helpmate thus her wishes spoke: + "Why, spouse, for shame! my stars, what's this about? + You's ever sleeping; come, we'll all go out; + At that there garden, pr'ythee, do not stare! + We'll take a mouthful of the country air; + In the yew bower an hour or two we'll kill; + There you may smoke, and drink what punch you will. + Sophy and Billy each shall walk with me, + And you must carry little Emily. + Veny is sick, and pants, and loathes her food; + The grass will do the pretty creature good. + Hot rolls are ready as the clock strikes five-- + And now 'tis after four, as I'm alive!" + The mandate issued, see the tour begun, + And all the flock set out for Islington. + Now the broad sun, refulgent lamp of day, + To rest with Thetis, slopes his western way; + O'er every tree embrowning dust is spread, + And tipt with gold is Hampstead's lofty head. + The passive husband, in his nature mild, + To wife consigns his hat, and takes the child; + But she a day like this hath never felt, + "Oh! that this too, too solid flesh would melt, + Thaw, and resolve itself into a dew." + Such monstrous heat! dear me! she never knew. + Adown her innocent and beauteous face, + The big, round, pearly drops each other chase; + Thence trickling to those hills, erst white as snow, + That now like AEtna's mighty mountains glow, + They hang like dewdrops on the full blown rose, + And to the ambient air their sweets disclose. + Fever'd with pleasure, thus she drags along; + Nor dares her antler'd husband say 'tis wrong. + The blooming offspring of this blissful pair, + In all their parents' attic pleasures share. + Sophy the soft, the mother's earliest joy, + Demands her froward brother's tinsell'd toy; + But he, enrag'd, denies the glittering prize, + And rends the air with loud and piteous cries. + Thus far we see the party on their way-- + What dire disasters mark'd the close of day, + 'Twere tedious, tiresome, endless to obtrude; + Imagination must the scene conclude. + + +It is not easy to imagine fatigue better delineated than in the +appearance of this amiable pair. In a few of the earliest impressions, +Mr. Hogarth printed the hands of the man in blue, to show that he was a +dyer, and the face and neck of the woman in red, to intimate her extreme +heat. The lady's aspect lets us at once into her character; we are +certain that she was born to command. As to her husband, God made him, +and he must pass for a man: what his wife has made him, is indicated by +the cow's horns; which are so placed as to become his own. The hopes of +the family, with a cockade in his hat, and riding upon papa's cane, +seems much dissatisfied with female sway. A face with more of the shrew +in embryo than that of the girl, it is scarcely possible to conceive. +Upon such a character the most casual observer pronounces with the +decision of a Lavater. + +Nothing can be better imagined than the group in the alehouse. They have +taken a refreshing walk into the country, and, being determined to have +a cooling pipe, seat themselves in a chair-lumbered closet, with a low +ceiling; where every man, pulling off his wig, and throwing a +pocket-handkerchief over his head, inhales the fumes of hot punch, the +smoke of half a dozen pipes, and the dust from the road. If this is not +rural felicity, what is? The old gentleman in a black bag-wig, and the +two women near him, sensibly enough, take their seats in the open air. + +From a woman milking a cow, we conjecture the hour to be about five in +the afternoon: and, from the same circumstance, I am inclined to think +this agreeable party is going to their pastoral bower, rather than +returning from it. + +The cow and dog appear as much inconvenienced by heat as any of the +party: the former is whisking off the flies; and the latter creeps +unwillingly along, and casts a longing look at the crystal river, in +which he sees his own shadow. A remarkably hot summer is intimated by +the luxuriant state of a vine, creeping over an alehouse window. On the +side of the New River, where the scene is laid, lies one of the wooden +pipes employed in the water-works. Opposite Sadler's Wells there still +remains the sign of Sir Hugh Middleton's head, which is here +represented; but how changed the scene from what is here represented! + +[Illustration: EVENING.] + + + + +NIGHT. + + Now burst the blazing bonfires on the sight, + Through the wide air their corruscations play; + The windows beam with artificial light, + And all the region emulates the day. + + The moping mason, from yon tavern led, + In mystic words doth to the moon complain + That unsound port distracts his aching head, + And o'er the waiter waves his clouded cane. + + +Mr. Walpole very truly observes, that this print is inferior to the +three others; there is, however, broad humour in some of the figures. + +The wounded free-mason, who, in zeal of brotherly love, has drank his +bumpers to the craft till he is unable to find his way home, is under +the guidance of a waiter. This has been generally considered as intended +for Sir Thomas de Veil, and, from an authenticated portrait which I have +seen, I am, says Mr. Ireland, inclined to think it is, notwithstanding +Sir John Hawkins asserts, that "he could discover no resemblance." When +the knight saw him in his magisterial capacity, he was probably sober +and sedate; here he is represented a little disguised. The British +Xantippe showering her favours from the window upon his head, may have +its source in that respect which the inmates of such houses as the +Rummer Tavern had for a justice of peace. On the resignation of Mr. +Horace Walpole, in February, 1738, De Veil was appointed +inspector-general of the imports and exports, and was so severe against +the retailers of spirituous liquors, that one Allen headed a gang of +rioters for the purpose of pulling down his house, and bringing to a +summary punishment two informers who were there concealed. Allen was +tried for this offence, and acquitted, upon the jury's verdict declaring +him lunatic. + +The waiter who supports his worship, seems, from the patch upon his +forehead, to have been in a recent affray; but what use he can have for +a lantern, it is not easy to divine, unless he is conducting his charge +to some place where there is neither moonlight nor illumination. + +The Salisbury flying coach oversetting and broken, by passing through +the bonfire, is said to be an intended burlesque upon a right honourable +peer, who was accustomed to drive his own carriage over hedges, ditches, +and rivers; and has been sometimes known to drive three or four of his +maid servants into a deep water, and there leave them in the coach to +shift for themselves. + +The butcher, and little fellow, who are assisting the terrified +passengers, are possibly free and accepted masons. One of them seems to +have a mop in his hand;--the pail is out of sight. + +To crown the joys of the populace, a man with a pipe in his mouth is +filling a capacious hogshead with British Burgundy. + +The joint operation of shaving and bleeding, performed by a drunken +'prentice on a greasy oilman, does not seen a very natural exhibition on +a rejoicing night. + +The poor wretches under the barber's bench display a prospect of penury +and wretchedness, which it is to be hoped is not so common now, as it +was then. + +In the distance is a cart laden with furniture, which some unfortunate +tenant is removing out of the reach of his landlord's execution. + +There is humour in the barber's sign and inscription; "Shaving, +bleeding, and teeth drawn with a touch. ECCE SIGNUM!" + +By the oaken boughs on the sign, and the oak leaves in the free-masons' +hats, it seems that this rejoicing night is the twenty-ninth of May, the +anniversary of our second Charles's restoration; that happy day when, +according to our old ballad, "The king enjoyed his own again." This +might be one reason for the artist choosing a scene contiguous to the +beautiful equestrian statue of Charles the First. + +In the distance we see a house on fire; an accident very likely to +happen on such a night as this. + +On this spot once stood the cross erected by Edward the First, as a +memorial of affection for his beloved queen Eleanor, whose remains were +here rested on their way to the place of sepulture. It was formed from a +design by Cavalini, and destroyed by the religious fury of the +Reformers. In its place, in the year 1678, was erected the animated +equestrian statue which now remains. It was cast in brass, in the year +1633, by Le Soeur; I think by order of that munificent encourager of +the arts, Thomas Howard, Earl of Arundel. The parliament ordered it to +be sold, and broken to pieces; but John River, the brazier who purchased +it, having more taste than his employers, seeing, with the prophetic eye +of good sense, that the powers which were would not remain rulers very +long, dug a hole in his garden in Holborn, and buried it unmutilated. To +prove his obedience to their order, he produced to his masters several +pieces of brass, which he told them were parts of the statue. M. de +Archenholtz adds further, that the brazier, with the true spirit of +trade, cast a great number of handles for knives and forks, and offered +them for sale, as composed of the brass which had formed the statue. +They were eagerly sought for, and purchased,--by the loyalists from +affection to their murdered monarch,--by the other party, as trophies of +triumph. + +The original pictures of Morning and Noon were sold to the Duke of +Ancaster for fifty-seven guineas; Evening and Night to Sir William +Heathcote, for sixty-four guineas. + +[Illustration: NIGHT.] + + + + +SIGISMONDA + + ----------------Let the picture rust, + Perhaps Time's price-enhancing dust,-- + As statues moulder into earth, + When I'm no more, may mark its worth; + And future connoisseurs may rise, + Honest as ours, and full as wise, + To puff the piece, and painter too, + And make me then what Guido's now. + + HOGARTH'S EPISTLE. + + +A competition with either Guido, or Furino, would to any modern painter +be an enterprise of danger: to Hogarth it was more peculiarly so, from +the public justly conceiving that the representation of elevated +distress was not his _forte_, and his being surrounded by an host of +foes, who either dreaded satire, or envied genius. The connoisseurs, +considering the challenge as too insolent to be forgiven, before his +picture appeared, determined to decry it. The painters rejoiced in his +attempting what was likely to end in disgrace; and to satisfy those who +had formed their ideas of Sigismonda upon the inspired page of Dryden, +was no easy task. + +The bard has consecrated the character, and his heroine glitters with a +brightness that cannot be transferred to the canvass. Mr. Walpole's +description, though equally radiant, is too various, for the utmost +powers of the pencil. + +Hogarth's Sigismonda, as this gentleman poetically expresses it, "has +none of the sober grief, no dignity of suppressed anguish, no +involuntary tear, no settled meditation on the fate she meant to meet, +no amorous warmth turned holy by despair; in short, all is wanting that +should have been there, all is there that such a story would have +banished from a mind capable of conceiving such complicated woe; woe so +sternly felt, and yet so tenderly." This glowing picture presents to the +mind a being whose contending passions may be felt, but were not +delineated even by Corregio. Had his tints been aided by the grace and +greatness of Raphael, they must have failed. + +The author of the Mysterious Mother sought for sublimity, where the +artist strictly copied nature, which was invariably his archetype, but +which the painter, who soars into fancy's fairy regions, must in a +degree desert. Considered with this reference, though the picture has +faults, Mr. Walpole's satire is surely too severe. It is built upon a +comparison with works painted in a language of which Hogarth knew not +the idiom,--trying him before a tribunal, whose authority he did not +acknowledge, and from the picture having been in many respects altered +after the critic saw it, some of the remarks become unfair. To the +frequency of these alterations we may attribute many of the errors: the +man who has not confidence in his own knowledge of the leading +principles on which his work ought to be built, will not render it +perfect by following the advice of his friends. Though Messrs. Wilkes +and Churchill dragged his heroine to the altar of politics, and mangled +her with a barbarity that can hardly be paralleled, except in the +history of her husband,--the artist retained his partiality; which seems +to have increased in exact proportion to their abuse. The picture being +thus contemplated through the medium of party prejudice, we cannot +wonder that all its imperfections were exaggerated. The painted harlot +of Babylon had not more opprobrious epithets from the first race of +reformers than the painted Sigismonda of Hogarth from the last race of +patriots. + +When a favourite child is chastised by his preceptor, a partial mother +redoubles her caresses. Hogarth, estimating this picture by the labour +he had bestowed upon it, was certain that the public were prejudiced, +and requested, if his wife survived him, she would not sell it for less +than five hundred pounds. Mrs. Hogarth acted in conformity to his +wishes, but after her death the painting was purchased by Messrs. +Boydell, and exhibited in the Shakspeare Gallery. The colouring, though +not brilliant, is harmonious and natural: the attitude, drawing, etc. +may be generally conceived by the print. I am much inclined to think, +that if some of those who have been most severe in their censures, had +consulted their own feelings, instead of depending upon connoisseurs, +poor Sigismonda would have been in higher estimation. It has been said +that the first sketch was made from Mrs. Hogarth, at the time she was +weeping over the corse of her mother. + +Hogarth once intended to have appealed from the critics' fiat to the +world's opinion, and employed Mr. Basire to make an engraving, which was +begun, but set aside for some other work, and never completed. + +[Illustration: SIGISMONDA, WITH THE HEART OF HER HUSBAND.] + + + + +MARTIN FOLKES, ESQ. + + +Martin Folkes was a mathematician and antiquary of much celebrity in the +philosophical annals of this country. He was at the early age of +twenty-four admitted a member of the Royal Society, where he was greatly +distinguished. Two years afterwards he was chosen one of the council, +and was named by Sir Isaac Newton himself as vice president: he was +afterwards elected president, and held this high office till a short +time before his death, when he resigned it on account of ill-health. In +the Philosophical Transactions are numerous memoirs of this learned man: +his knowledge in coins, ancient and modern, was very extensive: and the +last work he produced was concerning the English Silver Coin from the +Conquest to his own time. He was president of the Society of Antiquaries +at the time of his death, which happened on the 28th of June, 1754, at +the age of sixty-four. A few days before his death he was struck with a +fit of the palsy, and never spoke after this attack. + +[Illustration: PORTRAIT OF MARTIN FOLKES, ESQ.] + + + + +THE COCKPIT. + + +The scene is probably laid at Newmarket, and in this motley group of +peers,--pick-pockets,--butchers,--jockies,--rat-catchers,--gentlemen, +--gamblers of every denomination, Lord Albemarle Bertie, being the +principal figure, is entitled to precedence. In the March to Finchley, +we see him an attendant at a boxing match; and here he is president of a +most respectable society assembled at a cockpit. What rendered his +lordship's passion for amusements of this nature very singular, was his +being totally blind. In this place he is beset by seven steady friends, +five of whom at the same instant offer to bet with him on the event of +the battle. One of them, a lineal descendant of Filch, taking advantage +of his blindness and negligence, endeavours to convey a bank note, +deposited in our dignified gambler's hat, to his own pocket. Of this +ungentlemanlike attempt his lordship is apprised by a ragged post-boy, +and an honest butcher: but he is so much engaged in the pronunciation of +those important words, Done! Done! Done! Done! and the arrangement of +his bets, that he cannot attend to their hints; and it seems more than +probable that the stock will be transferred, and the note negociated in +a few seconds. + +A very curious group surround the old nobleman, who is adorned with a +riband, a star, and a pair of spectacles. The whole weight of an +overgrown carpenter being laid upon his shoulder, forces our illustrious +personage upon a man beneath; who being thus driven downward, falls upon +a fourth, and the fourth, by the accumulated pressure of this ponderous +trio, composed of the upper and lower house, loses his balance, and +tumbling against the edge of the partition, his head is broke, and his +wig, shook from the seat of reason, falls into the cockpit. + +A man adjoining enters into the spirit of the battle,--his whole soul is +engaged. From his distorted countenance, and clasped hands, we see that +he feels every stroke given to his favourite bird in his heart's +core,--ay, in his heart of hearts! A person at the old peer's left hand +is likely to be a loser. Ill-humour, vexation, and disappointment are +painted in his countenance. The chimney-sweeper above, is the very +quintessence of affectation. He has all the airs and graces of a +boarding-school miss. The sanctified quaker adjoining, and the fellow +beneath, who, by the way, is a very similar figure to Captain Stab, in +the Rake's Progress, are finely contrasted. + +A French marquis on the other side, astonished at this being called +amusement, is exclaiming Sauvages! Sauvages! Sauvages!--Engrossed by the +scene, and opening his snuff-box rather carelessly, its contents fall +into the eyes of a man below, who, sneezing and swearing alternately, +imprecates bitter curses on this devil's dust, that extorts from his +inflamed eyes, "A sea of melting pearls, which some call tears." + +Adjoining is an old cripple, with a trumpet at his ear, and in this +trumpet a person in a bag-wig roars in a manner that cannot much gratify +the auricular nerves of his companions; but as for the object to whom +the voice is directed, he seems totally insensible to sounds, and if +judgment can be formed from appearances, might very composedly stand +close to the clock of St. Paul's Cathedral, when it was striking twelve. + +The figure with a cock peeping out of a bag, is said to be intended for +Jackson, a jockey; the gravity of this experienced veteran, and the cool +sedateness of a man registering the wagers, are well opposed by the +grinning woman behind, and the heated impetuosity of a fellow, stripped +to his shirt, throwing his coin upon the cockpit, and offering to back +Ginger against Pye for a guinea. + +On the lower side, where there is only one tier of figures, a sort of an +apothecary, and a jockey, are stretching out their arms, and striking +together the handles of their whips, in token of a bet. An hiccuping +votary of Bacchus, displaying a half-emptied purse, is not likely to +possess it long, for an adroit professor of legerdemain has taken aim +with a hooked stick, and by one slight jerk, will convey it to his own +pocket. The profession of a gentleman in a round wig is determined by a +gibbet chalked upon his coat. An enraged barber, who lifts up his stick +in the corner, has probably been refused payment of a wager, by the man +at whom he is striking. + +A cloud-capt philosopher at the top of the print, coolly smoking his +pipe, unmoved by this crash of matter, and wreck of property, must not +be overlooked: neither should his dog be neglected; for the dog, gravely +resting his fore paws upon the partition, and contemplating the company, +seems more interested in the event of the battle than his master. + +Like the tremendous Gog, and terrific Magog, of Guildhall, stand the two +cock-feeders; a foot of each of these consequential purveyors is seen at +the two extremities of the pit. + +As to the birds, whose attractive powers have drawn this admiring throng +together, they deserved earlier notice: + + Each hero burns to conquer or to die, + What mighty hearts in little bosoms lie! + +Having disposed of the substances, let us now attend to the shadow on +the cockpit, and this it seems is the reflection of a man drawn up to +the ceiling in a basket, and there suspended, as a punishment for having +betted more money than he can pay. Though suspended, he is not +reclaimed; though exposed, not abashed; for in this degrading situation +he offers to stake his watch against money, in another wager on his +favourite champion. + +The decorations of this curious theatre are, a portrait of Nan Rawlins, +and the King's arms. + +In the margin at the bottom of the print is an oval, with a fighting +cock, inscribed ROYAL SPORT. + +Of the characteristic distinctions in this heterogeneous assembly, it is +not easy to speak with sufficient praise. The chimney-sweeper's absurd +affectation sets the similar airs of the Frenchman in a most ridiculous +point of view. The old fellow with a trumpet at his ear, has a degree of +deafness that I never before saw delineated; he might have lived in the +same apartment with Xantippe, or slept comfortably in Alexander the +copper-smith's first floor. As to the nobleman in the centre, in the +language of the turf, he is a mere pigeon; and the peer, with a star and +garter, in the language of Cambridge, we must class as--a mere quiz. The +man sneezing,--you absolutely hear; and the fellow stealing a bank +note,--has all the outward and visible marks of a perfect and +accomplished pick-pocket; Mercury himself could not do that business in +a more masterly style. + +Tyers tells us that "Pope, while living with his father at Chiswick, +before he went to Binfield, took great delight in cock-fighting, and +laid out all his school-boy money, and little perhaps it was, in buying +fighting cocks." Lord Orrery observes, "If we may judge of Mr. Pope from +his works, his chief aim was to be esteemed a man of virtue." When +actions can be clearly ascertained, it is not necessary to seek the +mind's construction in the writings: and we must regret being compelled +to believe that some of Mr. Pope's actions, at the same time that they +prove him to be querulous and petulant, lead us to suspect that he was +also envious, malignant, and cruel. How far this will tend to confirm +the assertion, that when a boy, he was an amateur of this royal sport, I +do, says Mr. Ireland, not pretend to decide: but were a child, in whom I +had any interest, cursed with such a propensity, my first object would +be to correct it: if that were impracticable, and he retained a fondness +for the cockpit, and the still more detestable amusement of Shrove +Tuesday, I should hardly dare to flatter myself that he could become a +merciful man.--The subject has carried me farther than I intended: I +will, however, take the freedom of proposing one query to the +consideration of the clergy,--Might it not have a tendency to check that +barbarous spirit, which has more frequently its source in an early +acquired habit, arising from the prevalence of example, than in natural +depravity, if every divine in Great Britain were to preach at least one +sermon every twelve months, on our universal insensibility to the +sufferings of the brute creation? + + Wilt thou draw near the nature of the Gods, + Draw near them then in being merciful; + Sweet mercy is nobility's true badge. + +[Illustration: THE COCK PIT.] + + + + +CAPTAIN THOMAS CORAM. + + +Captain Coram was born in the year 1668, bred to the sea, and passed the +first part of his life as master of a vessel trading to the colonies. +While he resided in the vicinity of Rotherhithe, his avocations obliging +him to go early into the city and return late, he frequently saw +deserted infants exposed to the inclemencies of the seasons, and through +the indigence or cruelty of their parents left to casual relief, or +untimely death. This naturally excited his compassion, and led him to +project the establishment of an hospital for the reception of exposed +and deserted young children; in which humane design he laboured more +than seventeen years, and at last, by his unwearied application, +obtained the royal charter, bearing date the 17th of October, 1739, for +its incorporation. + +He was highly instrumental in promoting another good design, viz. the +procuring a bounty upon naval stores imported from the colonies to +Georgia and Nova Scotia. But the charitable plan which he lived to make +some progress in, though not to complete, was a scheme for uniting the +Indians in North America more closely with the British Government, by an +establishment for the education of Indian girls. Indeed he spent a great +part of his life in serving the public, and with so total a disregard to +his private interest, that in his old age he was himself supported by a +pension of somewhat more than a hundred pounds a year, raised for him at +the solicitation of Sir Sampson Gideon and Dr. Brocklesby, by the +voluntary subscriptions of public-spirited persons, at the head of whom +was the Prince of Wales. On application being made to this venerable and +good old man, to know whether a subscription being opened for his +benefit would not offend him, he gave this noble answer: "I have not +wasted the little wealth of which I was formerly possessed in +self-indulgence or vain expenses, and am not ashamed to confess, that in +this my old age I am poor." + +This singularly humane, persevering, and memorable man died at his +lodgings near Leicester-square, March 29, 1751, and was interred, +pursuant to his own desire, in the vault under the chapel of the +Foundling Hospital, where an historic epitaph records his virtues, as +Hogarth's portrait has preserved his honest countenance. + +"The portrait which I painted with most pleasure," says Hogarth, "and in +which I particularly wished to excel, was that of Captain Coram for the +Foundling Hospital; and if I am so wretched an artist as my enemies +assert, it is somewhat strange that this, which was one of the first I +painted the size of life, should stand the test of twenty years' +competition, and be generally thought the best portrait in the place, +notwithstanding the first painters in the kingdom exerted all their +talents to vie with it. + +"For the portrait of Mr. Garrick in Richard III. I was paid two hundred +pounds, (which was more than any English artist ever received for a +single portrait,) and that too by the sanction of several painters who +had been previously consulted about the price, which was not given +without mature consideration. + +"Notwithstanding all this, the current remark was, that portraits were +not my province; and I was tempted to abandon the only lucrative branch +of my art, for the practice brought the whole nest of phyzmongers on my +back, where they buzzed like so many hornets. All these people have +their friends, whom they incessantly teach to call my women harlots, my +Essay on Beauty borrowed, and my composition and engraving contemptible. + +"This so much disgusted me, that I sometimes declared I would never +paint another portrait, and frequently refused when applied to; for I +found by mortifying experience, that whoever would succeed in this +branch, must adopt the mode recommended in one of Gay's fables, and make +divinities of all who sit to him. Whether or not this childish +affectation will ever be done away is a doubtful question; none of those +who have attempted to reform it have yet succeeded; nor, unless portrait +painters in general become more honest, and their customers less vain, +is there much reason to expect they ever will." + +Though thus in a state of warfare with his brother artists, he was +occasionally gratified by the praise of men whose judgment was +universally acknowledged, and whose sanction became a higher honour, +from its being neither lightly nor indiscriminately given. + +[Illustration: CAPTAIN THOMAS CORAM.] + + + + +THE COUNTRY INN YARD; OR, THE STAGE COACH. + + The poet's adage, ALL THE WORLD'S A STAGE, + Has stood the test of each revolving age; + Another simile perhaps will bear, + 'Tis a STAGE COACH, where all must pay the fare; + Where each his entrance and his exit makes, + And o'er life's rugged road his journey takes. + Some unprotected must their tour perform, + And bide the pelting of the pitiless storm; + While others, free from elemental jars, + By fortune favour'd and propitious stars, + Secure from storms, enjoy their little hour, + Despise the whirlwind, and defy the shower. + Such is our life--in sunshine or in shade, + From evil shelter'd, or by woe assay'd: + Whether we sit, like Niobe, all tears, + Or calmly sink into the vale of years; + With houseless, naked Edgar sleep on straw, + Or keep, like Caesar, subject worlds in awe-- + To the same port our devious journeys tend, + Where airy hopes and sickening sorrows end; + Sunk every eye, and languid every breast, + Each wearied pilgrim sighs and sinks to rest. + + E. + + +Among the writers of English novels, Henry Fielding holds the first +rank; he was the novelist of nature, and has described some scenes which +bear a strong resemblance to that which is here delineated. The artist, +like the author, has taken truth for his guide, and given such +characters as are familiar to all our minds. The scene is a country inn +yard, at the time passengers are getting into a stage-coach, and an +election procession passing in the back-ground. Nothing can be better +described; we become of the party. The vulgar roar of our landlady is no +less apparent than the grave, insinuating, imposing countenance of mine +host. Boniface solemnly protests that a bill he is presenting to an old +gentleman in a laced hat is extremely moderate. This does not satisfy +the paymaster, whose countenance shows that he considers it as a +palpable fraud, though the act against bribery, which he carries in his +pocket, designates him to be of a profession not very liable to suffer +imposition. They are in general less sinned against than sinning. An +ancient lady, getting into the coach, is from her breadth a very +inconvenient companion in such a vehicle; but to atone for her +rotundity, an old maid of a spare appearance, and in a most grotesque +habit, is advancing towards the steps. + +A portly gentleman, with a sword and cane in one hand, is deaf to the +entreaties of a poor little deformed postilion, who solicits his +customary fee. The old woman smoking her short pipe in the basket, pays +very little attention to what is passing around her: cheered by the +fumes of her tube, she lets the vanities of the world go their own way. +Two passengers on the roof of the coach afford a good specimen of French +and English manners. Ben Block, of the Centurion, surveys the subject of +La Grande Monarque with ineffable contempt. + +In the window are a very curious pair; one of them blowing a +French-horn, and the other endeavouring, but without effect, to smoke +away a little sickness, which he feels from the fumes of his last +night's punch. Beneath them is a traveller taking a tender farewell of +the chambermaid, who is not to be moved by the clangour of the great bar +bell, or the more thundering sound of her mistress's voice. + +The back-ground is crowded with a procession of active citizens; they +have chaired a figure with a horn-book, a bib, and a rattle, intended to +represent Child, Lord Castlemain, afterwards Lord Tylney, who, in a +violent contest for the county of Essex, opposed Sir Robert Abdy and Mr. +Bramston. The horn-book, bib, and rattle are evidently displayed as +punningly allusive to his name.[4] + +Some pains have been taken to discover in what part of Essex this scene +is laid; but from the many alterations made by rebuilding, removal, &c. +it has not been positively ascertained, though it is probably +Chelmsford. + +[Illustration: COUNTRY INN YARD.] + +FOOTNOTE: + +[4] At this election a man was placed on a bulk, with a figure +representing a child in his arms: as he whipped it he exclaimed, "What, +you little child, must you be a member?" This election being disputed, +it appeared from the register-book of the parish where Lord Castlemain +was born, that he was but twenty years of age when he offered himself a +candidate. + + + + +INDUSTRY AND IDLENESS. + + +As our future welfare depends, in a great measure, on our own conduct in +the outset of life, and as we derive our best expectations of success +from our own attention and exertion, it may, with propriety, be +asserted, that the good or ill-fortune of mankind is chiefly +attributable to their own early diligence or sloth; either of which +becomes, through habit in the early part of life, both familiar and +natural. This Mr. Hogarth has made appear in the following history of +the two Apprentices, by representing a series of such scenes as +naturally result from a course of Industry or Idleness, and which he has +illustrated with such texts of scripture as teach us their analogy with +holy writ. Now, as example is far more convincing and persuasive than +precept, these prints are, undoubtedly, an excellent lesson to such +young men as are brought up to business, by laying before them the +inevitable destruction that awaits the slothful, and the reward that +generally attends the diligent, both appropriately exemplified in the +conduct of these two fellow-'prentices; where the one, by taking good +courses, and pursuing those purposes 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 shown in the last of these instructive prints. + +In the chamber of the city of London, where apprentices are bound and +enrolled, the twelve prints of this series are introduced, and, with +great propriety, ornament the room. + + + + +PLATE I. + +THE FELLOW-'PRENTICES AT THEIR LOOMS. + + "The drunkard shall come to poverty, and drowsiness shall clothe a + man with rags." + + Proverbs, chap. xxiii. verse 21. + + "The hand of the diligent maketh rich."--Proverbs, chap. x. verse 4. + + +The first print presents us with a noble and striking contrast in two +apprentices at the looms of their master, a silk-weaver of Spitalfields: +in the one we observe a serene and open countenance, the distinguishing +mark of innocence; and in the other a sullen, down-cast look, the index +of a corrupt mind and vicious heart. The industrious youth is diligently +employed at his work, and his thoughts taken up with the business he is +upon. His book, called the "'Prentice's Guide," supposed to be given him +for instruction, lies open beside him, as if perused with care and +attention. The employment of the day seems his constant study; and the +interest of his master his continual regard. We are given to understand, +also, by the ballads of the London 'Prentice, Whittingham the Mayor, &c. +that hang behind him, that he lays out his pence on things that may +improve his mind, and enlighten his understanding. On the contrary, his +fellow-'prentice, with worn-out coat and uncombed hair, overpowered with +beer, indicated by the half-gallon pot before him, is fallen asleep; and +from the shuttle becoming the plaything of the wanton kitten, we learn +how he slumbers on, inattentive alike to his own and his master's +interest. The ballad of Moll Flanders, on the wall behind him, shows +that the bent of his mind is towards that which is bad; and his book of +instructions lying torn and defaced upon the ground, manifests how +regardless he is of any thing tending to his future welfare. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 1. + +THE FELLOW 'PRENTICES AT THEIR LOOMS.] + + + + +PLATE II. + +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN. + + "O how I love thy law; it is my meditation all the day."--Psalm + cxix. verse 97. + + +This plate displays our industrious young man attending divine service +in the same pew with his master's daughter, where he shows every mark of +decent and devout attention. + +Mr. Hogarth's strong bias to burlesque was not to be checked by time or +place. It is not easy to imagine any thing more whimsically grotesque +than the female Falstaff. A fellow near her, emulating the deep-toned +organ, and the man beneath, who, though asleep, joins his sonorous tones +in melodious chorus with the admirers of those two pre-eminent poets, +Hopkins and Sternhold. The pew-opener is a very prominent and principal +figure; two old women adjoining Miss West's seat are so much in shadow, +that we are apt to overlook them: they are, however, all three making +the dome ring with their exertions. + + Ah! had it been king David's fate + To hear them sing---- + +The preacher, reader, and clerk, with many of the small figures in the +gallery and beneath, are truly ludicrous, and we regret their being on +so reduced a scale, that they are scarce perceptible to the naked eye. +It was necessary that the artist should exhibit a crowded congregation; +but it must be acknowledged he has neglected the rules of perspective. +The print wants depth. In the countenance of Miss West and her lover +there is a resemblance. Their faces have not much expression; but this +is atoned for by a natural and pleasing simplicity. Character was not +necessary. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 2. + +THE INDUSTRIOUS 'PRENTICE PERFORMING THE DUTY OF A CHRISTIAN.] + + + + +INDUSTRY AND IDLENESS. + +PLATE III. + +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH-YARD DURING DIVINE SERVICE. + + "Judgments are prepared for scorners, and stripes for the back of + fools." + + Proverbs, chap. xix. verse 29. + + +As a contrast to the preceding plate, of the industrious young man +performing the duties of a Christian, is this, representing the idle +'prentice at play in the church-yard during divine service. As an +observance of religion is allowed to be the foundation of virtue, so a +neglect of religious duties has ever been acknowledged the forerunner of +every wickedness; the confession of malefactors at the place of +execution being a melancholy confirmation of this truth. Here we see +him, while others are intent on the holy service, transgressing the laws +both of God and man, gambling on a tomb-stone with the off-scouring of +the people, the meanest of the human species, shoe-blacks, +chimney-sweepers, &c. for none but such would deign to be his +companions. Their amusement seems to be the favourite old English game +of hustle-cap, and our idle and unprincipled youth is endeavouring to +cheat, by concealing some of the half-pence under the broad brim of his +hat. This is perceived by the shoe-black, and warmly resented by the +fellow with the black patch over his eye, who loudly insists on the +hat's being fairly removed. The eager anxiety which marks these mean +gamblers, is equal to that of two peers playing for an estate. The +latter could not have more solicitude for the turn of a die which was to +determine who was the proprietor of ten thousand acres, than is +displayed in the countenance of young Idle. Indeed, so callous is his +heart, so wilfully blind is he to every thing tending to his future +welfare, that the tombs, those standing monuments of mortality, cannot +move him: even the new-dug grave, the sculls and bones, those lively and +awakening monitors, cannot rouse him from his sinful lethargy, open his +eyes, or pierce his heart with the least reflection; so hardened is he +with vice, and so intent on the pursuit of his evil course. The hand of +the boy, employed upon his head, and that of the shoe-black, in his +bosom, are expressive of filth and vermin; and show that our hero is +within a step of being overspread with the beggarly contagion. His +obstinate continuance in his course, until awakened by the blows of the +watchful beadle, point out to us, that "stripes are prepared for the +backs of fools;" that disgrace and infamy are the natural attendants of +the slothful and the scorner; and that there are but little hopes of his +alteration, until he is overtaken in his iniquity, by the avenging hand +of Omnipotence, and feels with horror and amazement, the unexpected and +inevitable approach of death. Thus do the obstinate and incorrigible +shut their ears against the alarming calls of Providence, and sin away +even the possibility of salvation. + +The figures in this print are admirably grouped, and the countenances of +the gamblers and beadle strikingly characteristic. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 3. + +THE IDLE 'PRENTICE AT PLAY IN THE CHURCH YARD.] + + + + +INDUSTRY AND IDLENESS. + +PLATE IV. + +THE INDUSTRIOUS 'PRENTICE A FAVOURITE AND INTRUSTED BY HIS MASTER. + + "Well done, thou good and faithful servant; thou hast been faithful + over a few things, I will make thee ruler over many things." + Matthew, chap. xxv. verse 21. + + +The industrious apprentice, by a discreet and steady conduct, attracts +the notice of his master, and becomes a favourite: accordingly, we +behold him here (exquisitely continued from the first and second prints) +in the counting-house (with a distant view of the looms, and of the +quilsters, winding quills for the shuttles, from whence he was removed) +entrusted with the books, receiving and giving orders, (the general +reward of honesty, care, and diligence,) as appears from the delivery of +some stuffs by a city porter, from Blackwell-hall. By the keys in one +hand and the bag in the other, we are shown that he has behaved himself +with so much prudence and discretion, and given such proofs of fidelity, +as to become the keeper of untold gold: the greatest mark of confidence +he could be favoured with. The integrity of his heart is visible in his +face. The modesty and tranquillity of his countenance tell us, that +though the great trust reposed in him is an addition to his happiness, +yet, that he discharges his duty with such becoming diffidence and care, +as not to betray any of that pride which attends so great a promotion. +The familiar position of his master, leaning on his shoulder, is a +further proof of his esteem, declaring that he dwells, as it were, in +his bosom, and possesses the utmost share of his affection; +circumstances that must sweeten even a state of servitude, and make a +pleasant and lasting impression on the mind. The head-piece to the +London Almanack, representing Industry taking Time by the fore-lock, is +not the least of the beauties in this plate, as it intimates the danger +of delay, and advises us to make the best use of time, whilst we have it +in our power; nor will the position of the gloves, on the flap of the +escritoire, be unobserved by a curious examiner, being expressive of +that union that subsists between an indulgent master and an industrious +apprentice. + +The strong-beer nose and pimpled face of the porter, though they have no +connexion with the moral of the piece, are a fine caricatura, and show +that our author let slip no opportunity of ridiculing the vices and +follies of the age, and particularly here, in laying before us the +strange infatuation of this class of people, who, because a good deal of +labour requires some extraordinary refreshment, will even drink to the +deprivation of their reason, and the destruction of their health. The +surly mastiff, keeping close to his master, and quarrelling with the +house-cat for admittance, though introduced to fill up the piece, +represents the faithfulness of these animals in general, and is no mean +emblem of the honesty and fidelity of the porter. + + +In this print, neither the cat, dog, nor the porter are well drawn, nor +is much regard paid to perspective; but the general design is carried on +by such easy and natural gradations, and the consequent success of an +attentive conduct displayed in colours so plain and perspicuous, that +these little errors in execution will readily be overlooked. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 4. + +THE INDUSTRIOUS 'PRENTICE A FAVOURITE, AND ENTRUSTED BY HIS MASTER.] + + + + +INDUSTRY AND IDLENESS. + +PLATE V. + +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA. + + "A foolish son is the heaviness of his mother." Proverbs, chap. x. + verse 1. + + +Corrupted by sloth and contaminated by evil company, the idle +apprentice, having tired the patience of his master, is sent to sea, in +the hope that the being removed from the vices of the town, and the +influence of his wicked companions, joined with the hardships and perils +of a seafaring life, might effect that reformation of which his friends +despaired while he continued on shore. See him then in the ship's boat, +accompanied by his afflicted mother, making towards the vessel in which +he is to embark. The disposition of the different figures in the boat, +and the expression of their countenances, tell us plainly, that his evil +pursuits and incorrigible wickedness are the subjects of their +discourse. The waterman significantly directs his attention to a figure +on a gibbet, as emblematical of his future fate, should he not turn from +the evil of his ways; and the boy shows him a cat-o'-nine-tails, +expressive of the discipline that awaits him on board of ship; these +admonitions, however, he notices only by the application of his fingers +to his forehead, in the form of horns, jestingly telling them to look at +Cuckold's Point, which they have just passed; he then throws his +indentures into the water with an air of contempt, that proves how +little he is affected by his present condition, and how little he +regards the persuasions and tears of a fond mother, whose heart seems +ready to burst with grief at the fate of her darling son, and perhaps +her only stay; for her dress seems to intimate that she is a widow. Well +then might Solomon say, that "a foolish son is the heaviness of his +mother;" for we here behold her who had often rejoiced in the prospect +of her child being a prop to her in the decline of life, lamenting his +depravity, and anticipating with horror the termination of his evil +course. One would naturally imagine, from the common course of things, +that this scene would have awakened his reflection, and been the means +of softening the ruggedness of his disposition,--that some tender ideas +would have crossed his mind and melted the obduracy of his heart; but he +continues hardened and callous to every admonition. + +The group of figures composing this print has been copied by the +ingenious Lavater; with whose appropriate remarks we conclude our +present description. "Observe," says this great analyst of the human +countenance, "in the annexed group, that unnatural wretch, with the +infernal visage, insulting his supplicating mother; the predominant +character on the three other villain-faces, though all disfigured by +effrontery, is cunning and ironical malignity. Every face is a seal with +this truth engraved on it: 'Nothing makes a man so ugly as vice; nothing +renders the countenance so hideous as villainy.'" + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 5. + +THE IDLE 'PRENTICE TURNED AWAY AND SENT TO SEA.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VI. + +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME, AND MARRIED TO HIS MASTER'S +DAUGHTER. + + "The virtuous woman is a crown to her husband." Proverbs, chap. + xiii. verse 4. + + +The reward of industry is success. Our prudent and attentive youth is +now become partner with his master, and married to his daughter. The +sign, by which this circumstance is intimated, was at first inscribed +GOODCHILD and WEST. Some of Mr. Hogarth's city friends informing him +that it was usual for the senior partner's name to precede, it was +altered. + +To show that plenty reigns in this mansion, a servant distributes the +remains of the table to a poor woman, and the bridegroom pays one of the +drummers, who, according to ancient custom, attend with their thundering +gratulations the day after a wedding. A performer on the bass viol, and +a herd of butchers armed with marrow-bones and cleavers, form an English +concert. (Madame Pompadour, in her remarks on the English taste for +music, says, they are invariably fond of every thing that is full in the +mouth.) A cripple with the ballad of Jesse, or the Happy Pair, +represents a man known by the name of Philip in the Tub, who had visited +Ireland and the United Provinces; and, in the memory of some persons now +living, was a general attendant at weddings. From those votaries of +Hymen who were honoured with his epithalamiums, he received a small +reward. To show that Messrs. West and Goodchild's habitation is near the +monument, the base of that stately column appears in the back-ground. +The inscription which until lately graced this structure, used to remind +every reader of Pope's lines, + + Where London's column, pointing to the skies, + Like a tall bully, rears its head, and lies, &c. + +The duke of Buckingham's epigram on this magnificent pillar is not so +generally known: + + Here stand I, + The Lord knows why; + But if I fall-- + Have at ye all! + +A footman and butcher, at the opposite corner, compared with the other +figures, are gigantic; they might serve for the Gog and Magog of +Guildhall. + +It has been said that the thoughts in this print are trite, and the +actions mean, which must be in part acknowledged, but they are natural, +and appropriate to the rank and situation of the parties, and to the +fashions of the time at which it was published. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 6. + +THE INDUSTRIOUS 'PRENTICE OUT OF HIS TIME & MARRIED TO HIS MASTER'S +DAUGHTER.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VII. + +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN A GARRET WITH A COMMON +PROSTITUTE. + + "The sound of a shaken leaf shall chase him." Leviticus, chap. xxvi. + verse 26. + + +The idle apprentice, as appears by this print, is advancing with rapid +strides towards his fate. We are to suppose him returned from sea after +a long voyage; and to have met with such correction abroad for his +obstinacy, during his absence from England, that though it was found +insufficient to alter his disposition, yet it determined him to pursue +some other way of life; and what he entered on is here but too evident +(from the pistols by the bed-side, and the trinkets his companion is +examining, in order to strip him of) to be that of the highway. He is +represented in a garret, with a common prostitute, the partaker of his +infamy, awaking, after a night spent in robbery and plunder, from one of +those broken slumbers which are ever the consequences of a life of +dishonesty and debauchery. Though the designs of Providence are visible +in every thing, yet they are never more conspicuous than in this,--that +whatever these unhappy wretches possess by wicked and illegal means, +they seldom comfortably enjoy. In this scene we have one of the finest +pictures imaginable of the horrors of a guilty conscience. Though the +door is fastened in the strongest manner with a lock and two bolts, and +with the addition of some planks from the flooring, so as to make his +retreat as secure as possible; though he has attempted to drive away +thought by the powerful effects of spirituous liquors, plain from the +glass and bottle upon the floor, still he is not able to brave out his +guilt, or steel his breast against reflection. Behold him roused by the +accidental circumstance of a cat's coming down the chimney, and the +falling of a few bricks, which he believes to be the noise of his +pursuers! Observe his starting up in bed, and all the tortures of his +mind imprinted in his face! He first stiffens into stone, then all his +nerves and muscles relax, a cold sweat seizes him, his hair stands on +end, his teeth chatter, and dismay and horror stalk before his eyes. How +different is the countenance of his wretched bed-fellow! in whom +unconcern and indifference to every thing but the plunder are plainly +apparent. She is looking at an ear-ring, which, with two watches, an +etwee, and a couple of rings, are spread upon the bed, as part of last +night's plunder. The phials on the mantel-piece show that sickness and +disease are ever attendant on prostitution; and the beggarly appearance +of the room, its wretched furniture, the hole by way of window, (by the +light of which she is examining her valuable acquisition, and against +which she had hung her old hoop-petticoat in order to keep out the +cold,) and the rat's running across the floor, are just and sufficient +indications that misery and want are the constant companions of a guilty +life. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 7. + +THE IDLE 'PRENTICE RETURNED FROM SEA, AND IN THE A GARRET WITH A +PROSTITUTE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE VIII. + +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON. + + 'With all thy gettings get understanding. Exalt her and she shall + promote thee; she shall bring thee to honour, when thou dost embrace + her.' Proverbs, chap. iv. verse 7, 8. + + +From industry become opulent, from integrity and punctuality +respectable, our young merchant is now sheriff of London, and dining +with the different companies in Guildhall. A group on the left side are +admirably characteristic; their whole souls seem absorbed in the +pleasures of the table. A divine, true to his cloth, swallows his soup +with the highest _gout_. Not less gratified is the gentleman palating a +glass of wine. The man in a black wig is a positive representative of +famine; and the portly and oily citizen, with a napkin tucked in his +button-hole, has evidently burnt his mouth by extreme eagerness. + +The backs of those in the distance, behung with bags, major perukes, +pinners, &c. are most laughably ludicrous. Every person present is so +attentive to business, that one may fairly conclude they live to eat, +rather than eat to live. + +But though this must be admitted to be the case with this party, the +following instance of city temperance proves that there are some +exceptions. When the Lord Mayor, Sheriffs, Aldermen, Chamberlain, &c. of +the city of London were once seated round the table at a public and +splendid dinner at Guildhall, Mr. Chamberlain Wilkes lisped out, "Mr. +Alderman B----, shall I help you to a plate of turtle, or a slice of the +haunch,--I am within reach of both, sir?" "Neither one nor t'other, I +thank you, Sir," replied the Alderman, "I think I shall dine on the +beans and bacon which are at this end of the table." "Mr. Alderman +A----," continued the Chamberlain, "which would you choose, sir?" "Sir, +I will not trouble you for either, for I believe I shall follow the +example of my brother B----, and dine on beans and bacon," was the +reply. On this second refusal the old Chamberlain rose from his seat, +and, with every mark of astonishment in his countenance, curled up the +corners of his mouth, cast his eyes round the table, and in a voice as +loud and articulate as he was able, called "Silence!" which being +obtained, he thus addressed the pretorian magistrate, who sat in the +Chair: "My Lord Mayor, the wicked have accused us of intemperance, and +branded us with the imputation of gluttony; that they may be put to open +shame, and their profane tongues be from this day utterly silenced, I +humbly move, that your Lordship command the proper officer to record in +our annals, that two Aldermen of the city of London prefer beans and +bacon to either turtle soup or venison." + +Notwithstanding all this, there are men, who, looking on the dark side, +and perhaps rendered splenetic, and soured by not being invited to these +sumptuous entertainments, have affected to fear, that their frequent +repetition would have a tendency to produce a famine, or at least to +check the increase, if not extirpate the species, of those birds, +beasts, and fish, with which the tables of the rich are now so +plentifully supplied. But these half reasoners do not take into their +calculation the number of gentlemen so laudably associated for +encouraging cattle being fed so fat that there is no lean left; or that +more ancient association, sanctioned and supported by severe acts of +parliament, for the preservation of the game. From the exertions of +these and similar societies, we may reasonably hope there is no occasion +to dread any such calamity taking place; though the Guildhall tables +often groaning under such hecatombs as are recorded in the following +account, may make a man of weak nerves and strong digestion, shake his +head, and shudder a little. "On the 29th October, 1727, when George II. +and Queen Caroline honoured the city with their presence at Guildhall, +there were 19 tables, covered with 1075 dishes. The whole expense of +this entertainment to the city was 4889_l._ 4_s._" + +To return to the print;--a self-sufficient and consequential beadle, +reading the direction of a letter to Francis Goodchild, Esq. Sheriff of +London, has all the insolence of office. The important and overbearing +air of this dignified personage is well contrasted by the humble +simplicity of the straight-haired messenger behind the bar. The gallery +is well furnished with musicians busily employed in their vocation. + + Music hath charms to sooth the savage breast, + And therefore proper at a sheriff's feast. + +Besides a portrait of William the Third, and a judge, the hall is +ornamented with a full length of that illustrious hero Sir William +Walworth, in commemoration of whose valour the weapon with which he slew +Wat Tyler was introduced into the city arms. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 8. + +THE INDUSTRIOUS 'PRENTICE GROWN RICH, AND SHERIFF OF LONDON.] + + + + +INDUSTRY AND IDLENESS. + +PLATE IX. + +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE, AND TAKEN IN A NIGHT CELLAR +WITH HIS ACCOMPLICE. + + "The adulteress will hunt for precious life." Proverbs, chap. vi. + verse 26. + + +From the picture of the reward of diligence, we return to take a further +view of the progress of sloth and infamy; by following the idle +'prentice a step nearer to the approach of his unhappy end. We see him +in the third plate herding with the worst of the human species, the very +dregs of the people; one of his companions, at that time, being a +one-eyed wretch, who seemed hackneyed in the ways of vice. To break this +vile connexion he was sent to sea; but, no sooner did he return, than +his wicked disposition took its natural course, and every day he lived +served only to habituate him to acts of greater criminality. He +presently discovered his old acquaintance, who, no doubt, rejoiced to +find him so ripe for mischief: with this worthless, abandoned fellow, he +enters into engagements of the worst kind, even those of robbery and +murder. Thus blindly will men sometimes run headlong to their own +destruction. + +About the time when these plates were first published, which was in the +year 1747, there was a noted house in Chick Lane, Smithfield, that went +by the name of the Blood-Bowl House, so called from the numerous scenes +of blood that were almost daily carried on there; it being a receptacle +for prostitutes and thieves; where every species of delinquency was +practised; and where, indeed, there seldom passed a month without the +commission of some act of murder. To this subterraneous abode of +iniquity (it being a cellar) was our hero soon introduced; where he is +now represented in company with his accomplice, and others of the same +stamp, having just committed a most horrid act of barbarity, (that of +killing a passer-by, and conveying him into a place under ground, +contrived for this purpose,) dividing among them the ill-gotten booty, +which consists of two watches, a snuff-box, and some other trinkets. In +the midst of this wickedness, he is betrayed by his strumpet (a proof of +the treachery of such wretches) into the hands of the high constable and +his attendants, who had, with better success than heretofore, traced him +to this wretched haunt. The back-ground of this print serves rather as a +representation of night-cellars in general, those infamous receptacles +for the dissolute and abandoned of both sexes, than a further +illustration of our artist's chief design; however, as it was Mr. +Hogarth's intention, in the history before us, to encourage virtue and +expose vice, by placing the one in an amiable light, and exhibiting the +other in its most heightened scenes of wickedness and impiety, in hopes +of deterring the half-depraved youth of this metropolis, from even the +possibility of the commission of such actions, by frightening them from +these abodes of wretchedness; as this was manifestly his intention, it +cannot be deemed a deviation from the subject. By the skirmish behind, +the woman without a nose, the scattered cards upon the floor, &c. we are +shown that drunkenness and riot, disease, prostitution, and ruin are the +dreadful attendants of sloth, and the general fore-runners of crimes of +the deepest die; and by the halter suspended from the ceiling, over the +head of the sleeper, we are to learn two things--the indifference of +mankind, even in a state of danger, and the insecurity of guilt in every +situation. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 9. + +THE IDLE 'PRENTICE BETRAYED BY A PROSTITUTE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE X. + +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON; THE IDLE ONE BROUGHT +BEFORE HIM, AND IMPEACHED BY HIS ACCOMPLICE. + + "Thou shalt do no unrighteousness in judgment." Leviticus, chap. + xix. verse 15. + + "The wicked is snared in the work of his own hands." Psalms, chap. + ix. verse 16. + + +Imagine now this depraved and atrocious youth hand-cuffed, and dragged +from his wicked haunt, through the streets to a place of security, +amidst the scorn and contempt of a jeering populace; and thence brought +before the sitting magistrate, (who, to heighten the scene and support +the contrast, is supposed to be his fellow-'prentice, now chosen an +alderman,) in order to be dealt with according to law. See him then at +last having run his course of iniquity, fallen into the hands of +justice, being betrayed by his accomplice; a further proof of the +perfidy of man, when even partners in vice are unfaithful to each other. +This is the only print among the set, excepting the first, where the two +principal characters are introduced; in which Mr. Hogarth has shown his +great abilities, as well in description, as in a particular attention to +the uniformity and connexion of the whole. He is now at the bar, with +all the marks of guilt imprinted on his face. How, if his fear will +permit him to reflect, must he think on the happiness and exaltation of +his fellow-'prentice on the one hand, and of his own misery and +degradation on the other! at one instant, he condemns the persuasions of +his wicked companions; at another, his own idleness and obstinacy: +however, deeply smitten with his crime, he sues the magistrate, upon his +knees, for mercy, and pleads in his cause the former acquaintance that +subsisted between them, when they both dwelt beneath the same roof, and +served the same common master: but here was no room for lenity, murder +was his crime, and death must be his punishment; the proofs are +incontestable, and his mittimus is ordered, which the clerk is drawing +out. Let us next turn our thoughts upon the alderman, in whose breast a +struggle between mercy and justice is beautifully displayed. Who can +behold the magistrate, here, without praising the man? How fine is the +painter's thoughts of reclining the head on one hand, while the other is +extended to express the pity and shame he feels that human nature should +be so depraved! It is not the golden chain or scarlet robe that +constitutes the character, but the feelings of the heart. To show us +that application for favour, by the ignorant, is often idly made to the +servants of justice, who take upon themselves on that account a certain +state and consequence, not inferior to magistracy, the mother of our +delinquent is represented in the greatest distress, as making interest +with the corpulent self-swoln constable, who with an unfeeling concern +seems to say, "Make yourself easy, for he must be hanged;" and to +convince us that bribery will even find its way into courts of +judicature, here is a woman feeing the swearing clerk, who has stuck his +pen behind his ear that his hands might be both at liberty; and how much +more his attention is engaged to the money he is taking, than to the +administration of the oath, may be known from the ignorant, treacherous +witness being suffered to lay his left hand upon the book; strongly +expressive of the sacrifice, even of sacred things, to the inordinate +thirst of gain. + +From Newgate (the prison to which he was committed; where, during his +continuance he lay chained in a dismal cell, deprived of the +cheerfulness of light, fed upon bread and water, and left without a bed +to rest on) the prisoner was removed to the bar of judgment, and +condemned to die by the laws of his country. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 10. + +THE INDUSTRIOUS 'PRENTICE ALDERMAN OF LONDON. THE IDLE ONE IMPEACHED +BEFORE HIM BY HIS ACCOMPLICE.] + + + + +INDUSTRY AND IDLENESS. + +PLATE XI. + +THE IDLE 'PRENTICE EXECUTED AT TYBURN. + + "When fear cometh as desolation, and their destruction cometh as a + whirlwind; when distress cometh upon them, then shall they call upon + God, but he will not answer." Proverbs, chapter i. verse 7, 8. + + +Thus, after a life of sloth, wretchedness, and vice, does our delinquent +terminate his career. Behold him, on the dreadful morn of execution, +drawn in a cart (attended by the sheriff's officers on horseback, with +his coffin behind him) through the public streets to Tyburn, there to +receive the just reward of his crimes,--a shameful ignominious death. +The ghastly appearance of his face, and the horror painted on his +countenance, plainly show the dreadful situation of his mind; which we +must imagine to be agitated with shame, remorse, confusion, and terror. +The careless position of the Ordinary at the coach window is intended to +show how inattentive those appointed to that office are of their duty, +leaving it to others, which is excellently expressed by the itinerant +preacher in the cart, instructing from a book of Wesley's. Mr. Hogarth +has in this print, digressing from the history and moral of the piece, +taken an opportunity of giving us a humorous representation of an +execution, or a Tyburn Fair: such days being made holidays, produce +scenes of the greatest riot, disorder, and uproar; being generally +attended by hardened wretches, who go there, not so much to reflect upon +their own vices, as to commit those crimes which must in time inevitably +bring them to the same shameful end. In confirmation of this, see how +earnestly one boy watches the motions of the man selling his cakes, +while he is picking his pocket; and another waiting to receive the +booty! We have here interspersed before us a deal of low humour, but +such as is common on occasions like this. In one place we observe an old +bawd turning up her eyes and drinking a glass of gin, the very picture +of hypocrisy; and a man indecently helping up a girl into the same cart; +in another, a soldier sunk up to his knees in a bog, and two boys +laughing at him, are well imagined. Here we see one almost squeezed to +death among the horses; there, another trampled on by the mob. In one +part is a girl tearing the face of a boy for oversetting her barrow; in +another, a woman beating a fellow for throwing down her child. Here we +see a man flinging a dog among the crowd by the tail; there a woman +crying the dying speech of Thomas Idle, printed the day before his +execution; and many other things too minute to be pointed out: two, +however, we must not omit taking notice of, one of which is the letting +off a pigeon, bred at the gaol, fly from the gallery, which hastes +directly home; an old custom, to give an early notice to the keeper and +others, of the turning off or death of the criminal; and that of the +executioner smoking his pipe at the top of the gallows, whose position +of indifference betrays an unconcern that nothing can reconcile with the +shocking spectacle, but that of use having rendered his wretched office +familiar to him; whilst it declares a truth, which every character in +this plate seems to confirm, that a sad and distressful object loses its +power of affecting by being frequently seen. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 11. + +THE IDLE 'PRENTICE EXECUTED AT TYBURN.] + + + + +INDUSTRY AND IDLENESS. + +PLATE XII. + +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON. + + "Length of days is in her right hand, and in her left hand riches + and honour." Proverbs, chap. iii. ver. 16. + + +Having seen the ignominious end of the idle apprentice, nothing remains +but to represent the completion of the other's happiness; who is now +exalted to the highest honour, that of Lord Mayor of London; the +greatest reward that ancient and noble city can bestow on diligence and +integrity. Our artist has here, as in the last plate, given a loose to +his humour, in representing more of the low part of the Lord Mayor's +show than the magnificent; yet the honour done the city, by the presence +of the Prince and Princess of Wales, is not forgotten. The variety of +comic characters in this print serves to show what generally passes on +such public processions as these, when the people collect to gratify +their childish curiosity, and indulge their wanton disposition, or +natural love of riot. The front of this plate exhibits the oversetting +of a board, on which some girls had stood, and represents them sprawling +upon the ground; on the left, at the back of the scaffold, is a fellow +saluting a fair nymph, and another enjoying the joke: near him is a +blind man straggled in among the crowd, and joining in the general +halloo: before him is a militia-man, so completely intoxicated as not to +know what he is doing; a figure of infinite humour. Though Mr. Hogarth +has here marked out two or three particular things, yet his chief +intention was to ridicule the city militia, which was at this period +composed of undisciplined men, of all ages, sizes, and height; some fat, +some lean, some tall, some short, some crooked, some lame, and in +general so unused to muskets, that they knew not how to carry them. One, +we observe, is firing his piece and turning his head another way, at +whom the man above is laughing, and at which the child is frightened. +The boy on the right, crying, "A full and true account of the ghost of +Thomas Idle," which is supposed to have appeared to the Mayor, +preserves the connexion of the whole work. The most obtrusive figure in +his Lordship's coach is Mr. Swordbearer, in a cap like a reversed +saucepan, which this great officer wears on these grand occasions. The +company of journeymen butchers, with their marrow-bones and cleavers, +appear to be the most active, and are by far the most noisy of any who +grace this solemnity. Numberless spectators, upon every house and at +every window, dart their desiring eyes on the procession; so great +indeed was the interest taken by the good citizens of London in these +civic processions that, formerly, it was usual in a London lease to +insert a clause, giving a right to the landlord and his friends to stand +in the balcony, during the time of "the shows or pastimes, upon the day +commonly called the Lord Mayor's Day." + +Thus have we seen, by a series of events, the prosperity of the one and +the downfall of the other; the riches and honour that crown the head of +industry, and the ignominy and destruction that await the slothful. +After this it would be unnecessary to say which is the most eligible +path to tread. Lay the roads but open to the view, and the traveller +will take the right of course; give but the boy this history to peruse, +and his future welfare is almost certain. + +[Illustration: INDUSTRY AND IDLENESS. + +PLATE 12. + +THE INDUSTRIOUS 'PRENTICE LORD MAYOR OF LONDON.] + + + + +SOUTHWARK FAIR. + + +The subject of the plate under consideration is that of the Borough +Fair; a fair held some time since in the Borough of Southwark, though +now suppressed. This fair was attended, generally, by the inhabitants of +town and country, and, therefore, was one that afforded great variety; +especially as, before its suppression, it was devoted to every thing +loose and irregular. A view of the scene, of which the following print +is a faithful representation, will affirm this truth. + +The principal view upon the left represents the fall of a scaffold, on +which was assembled a strolling company, pointed out, by the paper +lantern hanging in front, to be that belonging to Cibber and Bullock, +ready dressed to exhibit "The Fall of Bajazet." Here we see +merry-andrews, monkeys, queens and emperors, sinking in one general +confusion; and, that the crash may appear the greater, the stand beneath +is humorously supposed to consist of earthenware and china. +Notwithstanding this fatal overthrow, few below are seen to notice it; +witness the boys and woman gambling at the box and dice, the upright +monkey, and the little bag-piper dancing his wooden figures. Above this +scaffold hangs a painting, the subject of which is the stage mutiny; +whose figures are as follow:--On one side is Pistol, (strutting and +crying out, "Pistol's alive,") Falstaff, Justice Shallow, and many other +characters of Shakspeare. On the other, the manager bearing in his hand +a paper, on which is written, "it cost 6000_l._" a scene-painter, who +has laid his brushes aside, and taken up a cudgel; and a woman holding +an ensign, bearing the words, "We'll starve 'em out." In the corner is a +man, quiet and snug, hugging a bag of money, laughing at the folly of +the rest; and behind, a monkey, perched upon a sign iron, supposed to be +that of the Rose Tavern in Drury-lane, squeaking out, "I am a +gentleman." These paintings are in general designed to show what is +exhibited within; but this alludes to a dispute that arose at the time +when this print was published, which was in the year 1733, between the +players and the patentee of Drury-lane Theatre, when young Cibber, the +son of the Laureate, was at the head of the faction. Above, on one +side, is an equilibrist swinging on a slack rope; and on the other, a +man flying from the tower to the ground, by means of a groove fastened +to his breast, slipping over a line strained from one place to the +other. At the back of this plate is Lee and Harper's great booth, where, +by the picture of the wooden horse, we are told, is represented "The +Siege of Troy." The next paintings consist of the fall of Adam and Eve, +and a scene in Punch's opera. Beneath is a mountebank, exalted on a +stage, eating fire to attract the public attention; while his +merry-andrew behind is distributing his medicines. Further back is a +shift and hat, carried upon poles, designed as prizes for the best +runner or wrestler. In front is a group of strollers parading the fair, +in order to collect an audience for their next exhibition; in which is a +female drummer, at that time well known, and remarked for her beauty, +which we observe has caught the eye of two countrymen, the one old, the +other young. Behind these men is a buskined hero, beset by a Marshalsea +Court officer and his follower. To the right is a Savoyard exhibiting +her farthing show; and behind, a player at back sword riding a blind +horse round the fair triumphantly, in all the boast of self-important +heroism, affecting terror in his countenance, glorying in his scars, and +challenging the world to open combat: a folly for which the English were +remarkable. To this man a fellow is directing the attention of a country +gentleman, while he robs him of his handkerchief. Next him is an artful +villain decoying a couple of unthinking country girls to their ruin. +Further back is a man kissing a wench in the crowd; and above, a juggler +performing some dexterity of hand. Indeed it would be tedious to enter +into an enumeration of the various matter of this plate; it is +sufficient to remark that it presents us with an endless collection of +spirited and laughable characters, in which is strikingly portrayed the +character of the times. + +[Illustration: SOUTHWARK FAIR.] + + + + +GARRICK IN THE CHARACTER OF RICHARD III. + + Give me another horse,--bind up my wounds,-- + Have mercy, Jesu!--Soft; I did but dream.-- + O coward conscience, how dost thou afflict me!-- + The lights burn blue!--is it not dead midnight? + Cold, fearful drops hang on my trembling flesh.-- + + +Such is the exclamation of Richard, and such is the disposition of his +mind at the moment of this delineation. The lamp, diffusing a dim +religious light through the tent, the crucifix placed at his head, the +crown, and unsheathed sword at his hand, and the armour lying on the +ground, are judicious and appropriate accompaniments. Those who are +acquainted with this prince's history, need not be told that he was +naturally bold, courageous, and enterprising; that when business called +him to the field, he shook off every degree of indulgence, and applied +his mind to the management of his affairs. This may account for his +being stripped no otherwise than of his armour, having retired to his +tent in order to repose himself upon his bed, and lessen the fatigues of +the preceding day. See him then hastily rising, at dead of night, in the +utmost horror from his own thoughts, being terrified in his sleep by the +dreadful phantoms of an affrighted imagination, seizing on his sword, by +way of defence against the foe his disordered fancy presents to him. So +great is his agitation, that every nerve and muscle is in action, and +even the ring is forced from his finger. When the heart is affected, how +great is its influence on the human frame!--it communicates its +sensibility to the extreme parts of the body, from the centre to the +circumference; as distant water is put in motion by circles, spreading +from the place of its disturbance. The paper on the floor containing +these words, + + Jockey of Norfolk, be not so bold, + For Dicken thy master is bought and is sold, + +brought him by the Duke of Norfolk, saying he found it in his tent, and +lying here unattended to, as a mark of contempt, plainly informs us that +however a man may attempt to steel himself against the arrows of +conscience, still they will find a way to his breast, and shake the +sinner even in his greatest security. And indeed we cannot wonder, when +we reflect on the many murders he was guilty of, deserving the severest +punishment; for Providence has wisely ordained that sin should be its +own tormentor, otherwise, in many cases, the offender would, in this +life, escape unpunished, and the design of heaven be frustrated. But +Richard, though he reached a throne, and by that means was exempt from +the sufferings of the subject, yet could not divest himself of his +nature, but was forced to give way to the workings of the heart, and +bear the tortures of a distracted mind. The expression in his face is a +master-piece of execution, and was a great compliment paid by Mr. +Hogarth to his friend Garrick; yet not unmerited, as all that have seen +him in the part must acknowledge the greatness of the actor. The figures +in the distance, two of whom, + + Like sacrifices by their fires of watch, + With patience sit, and inly ruminate + The morning's danger, + +are properly introduced, and highly descriptive. + +The tents of Richmond are so near + + That the fix'd sentinels almost receive + The secret whispers of each other's watch. + +Considered as a whole, the composition is simple, striking, and +original, and the figures well drawn. The whole moral tenour of the +piece informs us that conscience is armed with a thousand stings, from +which royalty itself is not secure; that of all tormentors, reflection +is the worst; that crowns and sceptres are baubles, compared with +self-approbation; and that nought is productive of solid happiness, but +inward peace and serenity of mind. + +[Illustration: GARRICK. + +In the Character of Richard the Third.] + + + + +THE INVASION; OR, FRANCE AND ENGLAND. + + +In the two following designs, Mr. Hogarth has displayed that partiality +for his own country and contempt for France, which formed a strong trait +in his character. He neither forgot nor forgave the insults he suffered +at Calais, though he did not recollect that this treatment originated in +his own ill humour, which threw a sombre shade over every object that +presented itself. Having early imbibed the vulgar prejudice that one +Englishman was a match for four Frenchmen, he thought it would be doing +his country a service to prove the position. How far it is either useful +or politic to depreciate the power, or degrade the character of that +people with whom we are to contend, is a question which does not come +within the plan of this work. In some cases it may create confidence, +but in others lead to the indulgence of that negligent security by which +armies have been slaughtered, provinces depopulated, and kingdoms +changed their rulers. + + + + +PLATE I. + +FRANCE. + + With lantern jaws and croaking gut, + See how the half-star'd Frenchmen strut, + And call us English dogs: + But soon we'll teach these bragging foes + That beef and beer give heavier blows + Than soup and roasted frogs. + + The priests, inflam'd with righteous hopes, + Prepare their axes, wheels, and ropes, + To bend the stiff-neck'd sinner; + But should they sink in coming over, + Old Nick may fish 'twixt France and Dover, + And catch a glorious dinner. + + +The scenes of all Mr. Hogarth's prints, except The Gate of Calais, and +that now under consideration, are laid in England. In this, having +quitted his own country, he seems to think himself out of the reach of +the critics, and, in delineating a Frenchman, at liberty to depart from +nature, and sport in the fairy regions of caricature. Were these Gallic +soldiers naked, each of them would appear like a forked radish, with a +head fantastically carved upon it with a knife: so forlorn! that to any +thick sight he would be invisible. To see this miserable woe-begone +refuse of the army, who look like a group detached from the main body +and put on the sick list, embarking to conquer a neighbouring kingdom, +is ridiculous enough, and at the time of publication must have had great +effect. The artist seemed sensible that it was necessary to account for +the unsubstantial appearance of these shadows of men, and has hinted at +their want of solid food, in the bare bones of beef hung up in the +window, the inscription on the alehouse sign, "_Soup maigre au Sabot +Royal_," and the spider-like officer roasting four frogs which he has +impaled upon his sword. Such light and airy diet is whimsically opposed +by the motto on the standard, which two of the most valorous of this +ghastly troop are hailing with grim delight and loud exultation. It is, +indeed, an attractive motto, and well calculated to inspire this +famishing company with courage:--"_Vengeance, avec la bonne Biere, et +bon boeuf d'Angleterre._" However meagre the military, the church +militant is in no danger of starving. The portly friar is neither +emaciated by fasting nor weakened by penance. Anticipating the glory of +extirpating heresy, he is feeling the sharp edge of an axe, to be +employed in the decollation of the enemies to the true faith. A sledge +is laden with whips, wheels, ropes, chains, gibbets, and other +inquisitorial engines of torture, which are admirably calculated for the +propagation of a religion that was established in meekness and mercy, +and inculcates universal charity and forbearance. On the same sledge is +an image of St. Anthony, accompanied by his pig, and the plan of a +monastery to be built at Black Friars. + +In the back-ground are a troop of soldiers so averse to this English +expedition, that their serjeant is obliged to goad them forward with his +halberd. To intimate that agriculture suffers by the invasion having +engaged the masculine inhabitants, two women, ploughing a sterile +promontory in the distance, complete this catalogue of wretchedness, +misery, and famine. + +[Illustration: FRANCE.] + + + + + +THE INVASION. + +PLATE II. + +ENGLAND. + + See John the Soldier, Jack the Tar, + With sword and pistol arm'd for war, + Should Mounseer dare come here; + The hungry slaves have smelt our food, + They long to taste our flesh and blood, + Old England's beef and beer. + + Britons to arms! and let 'em come, + Be you but Britons still, strike home, + And, lion-like, attack 'em, + No power can stand the deadly stroke + That's given from hands and hearts of oak, + With Liberty to back 'em. + + +From the unpropitious regions of France our scene changes to the fertile +fields of England. + + England! bound in with the triumphant sea, + Whose rocky shores beat back the envious siege + Of wat'ry Neptune. + +Instead of the forlorn and famished party who were represented in the +last plate, we here see a company of well-fed and high-spirited Britons, +marked with all the hardihood of ancient times, and eager to defend +their country. + +In the first group a young peasant, who aspires to a niche in the temple +of Fame, preferring the service of Mars to that of Ceres, and the +dignified appellation of soldier to the plebeian name of farmer, offers +to enlist. Standing with his back against the halberd to ascertain his +height, and, finding he is rather under the mark, he endeavours to reach +it by rising on tiptoe. This artifice, to which he is impelled by +towering ambition, the serjeant seems disposed to connive at--and the +serjeant is a hero, and a great man in his way; "your hero always must +be tall, you know." + +To evince that the polite arts were then in a flourishing state, and +cultivated by more than the immediate professors, a gentleman artist, +who to common eyes must pass for a grenadier, is making a caricature of +_le grand monarque_, with a label from his mouth worthy the speaker and +worthy observation, "You take a my fine ships; you be de pirate; you be +de teef: me send my grand armies, and hang you all." The action is +suited to the word, for with his left hand this most Christian potentate +grasps his sword, and in his right poises a gibbet. The figure and motto +united produce a roar of approbation from the soldier and sailor, who +are criticising the work. It is so natural that the Helen and Briseis of +the camp contemplate the performance with apparent delight, and, while +one of them with her apron measures the breadth of this herculean +painter's shoulders, the other, to show that the performance has some +point, places her forefinger against the prongs of a fork. The little +fifer, playing that animated and inspiring tune, "God save the King," is +an old acquaintance: we recollect him in the March to Finchley. In the +back-ground is a serjeant, teaching a company of young recruits their +manual exercise. + +This military meeting is held at the sign of the Gallant Duke of +Cumberland, who is mounted upon a prancing charger, + + As if an angel dropp'd down from the clouds, + To turn and wield a fiery Pegasus, + And witch the world with noble horsemanship. + +Underneath is inscribed "Roast and Boiled every day," which, with the +beef and beverage upon the table, forms a fine contrast to the _soup +maigre_, bare bones, and roasted frogs, in the last print. The bottle +painted on the wall, foaming with liquor, which, impatient of +imprisonment, has burst its cerements, must be an irresistible +invitation to a thirsty traveller. The soldier's sword laid upon the +round of beef, and the sailor's pistol on the vessel containing the ale, +intimate that these great bulwarks of our island are as tenacious of +their beef and beer, as of their religion and liberty. + +These two plates were published in 1756; but in the London Chronicle for +October 20, 1759, is the following advertisement: "This day are +republished, Two prints designed and etched by William Hogarth, one +representing the preparations on the French coast for an intended +invasion; the other, a view of the preparations making in England to +oppose the wicked designs of our enemies; proper to be stuck up in +public places, both in town and country, at this juncture." + +The verses which were inserted under each print, and subjoined to this +account, are, it must be acknowledged, coarse enough. They were, +however, written by David Garrick. + +[Illustration: ENGLAND.] + + + + +Transcriber's Note. + + +The following words were inconsistently hyphenated in the original text: + + down-cast / downcast + footboy / foot-boy + fore-finger / forefinger + half-pence / halfpence + +The orthography of the original text has been preserved. In particular +the following words are as they appear in the original: + + antichamber + aukwardly + corruscations + corse + Govent + Martin Fowkes + negociated + pannel + plaistering + pourtrayed + sculls + stupifies + tenour + vender + +The following words were inconsistently accented in the original text: + + a-la-mode / a-la-mode + degagee / degagee + + + + + + +End of the Project Gutenberg EBook of The Works of William Hogarth: In a +Series of Engravings, by John Trusler + +*** END OF THIS PROJECT GUTENBERG EBOOK WORKS OF WILLIAM HOGARTH *** + +***** This file should be named 22500.txt or 22500.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/2/5/0/22500/ + +Produced by Susan Skinner, Bryan Ness and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +book was produced from scanned images of public domain +material from the Google Print project.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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